Sentences with phrase «among women artists»

She was also a pioneer among women artists.

One of the great painters of the twentieth century, she was a pioneer among women artists; a representational painter of people, landscape and still life in an era dominated by the essentially masculine language of Abstract Expressionism.

Alice Neel was one of the great American artists of the twentieth century and a pioneer among women artists.

She has earned her standing among women artists and Native artists while simultaneously aligning these often still - marginalized groups more closely with the mainstream art world.

Marginalization within a male - dominated art world was a shared experience among women artists, but Neel's dedication to figural representation in the era of abstraction compounded her invisibility.

Related reviews look at their past work, with Tom Sachs at the Park Avenue Armory and Rachel Harrison among women artists in Chelsea in 2007, as well as the opening of what was then the Noguchi Garden Museum.

Pressing Idea: Fifty Years of Women's Lithographs from Tamarind brings together a conversation among women artists who helped to uncover an artistic medium that had essentially lain dormant for decades and to revive the concept of working collaboratively.

Not exact matches

Among the 24 NYC - based women - led companies on the Inc. 5000 is tour operator Artist Travel Consultants, which comes in at No. 69.

It's a French pharmaceutical product that is a favorite among women, beauty editors, and makeup artists around the world.

The Academy of Motion Picture Arts and Sciences and its ceremony's presenters championed inclusion throughout the proceedings, celebrating representation on screen, solidarity particularly among women, and groundbreaking artists in addition to the best films of 2017.

A graduate of the University of Virginia, Sara is a 2016 Stevie Award Winner for «Female Innovator of the Year;» a Global Shaper with the World Economic Forum; an American Express Ashoka Emerging Innovator; a Cordes Fellow with the Opportunity Collaboration; a Peace X Peace 2012 Women, Power, & Peace Award Winner (Generation Peace Award); the only U.S. recipient of the Youth Leader Award in the Americas by the Inter-American Development Bank Annual Board of Governors Meeting; an Ashoka Activating Empathy Award Winner; a three - time Beyond Sport Award Finalist; named a «Woman Entrepreneur» by World Resources Institute New Ventures Mexico; a Creative Community Fellow with National Arts Strategies; a StartingBloc Fellow; a Finalist Nominee Social Entrepreneur / Innovator for the Women's Information Network 18th Annual Young Women of Achievement Award; 1 of 3 Artists Transforming the World by the Arts and Healing Network; Global Good Fund Fellow; honored among The Jewish Week NY's «36 Under 36»; and a Susan Schiffer Stautberg Leadership Fellow.

First, as the narrator Marc shared with us, humorously and candidly, his views on the practice of medicine, his patients, artists and entertainers and women, among other subjects.

It will at the very least allow artists not used to public attention to see their work in a larger context and learn what other people like them are doing, to perhaps even discover what, if any, similarities there are among the women.

Each print has received a hand - painted alteration, reimagining the artist in various guises drawn from a range of cultural sources: Wonder Woman, the sculptor Louise Bourgeois, the Hindu goddess Kali, and the Irish Sheela - na - gig, among others.

Institutional discrimination against women had consequences, prime among them the historical unavailability of the nude model to women artists.

The existence of a tiny band of successful, if not great, women artists throughout history does nothing to gainsay this fact, any more than does the existence of a few superstars or token achievers among the members of any minority groups.

We're artists who happen to be women or men among other things we happen to be — tall, short, blonde, dark, mesomorph, ectomorph, black, Spanish, German, Irish, hot - tempered, easy - going — that are in no way relevant to our being artists.

She is one of Britain's most famous living artists and ranks among the most successful female artists in history, serving as one of just two women on the faculty of London's Royal Academy of Arts.

With a wildly diverse background as an artist, an art writer for Artnews, Art & Auction, Parkett and others, and as a teacher to senior citizens in The Bronx, Elisabeth Kley has been awarded a Pollock - Krasner Foundation Grant and has been nominated for The Joan Mitchell Foundation Fellowship and the Anonymous Was a Woman Award, among others.

At auction, her large - scale canvases have been selling north of $ 1 million for years, consistently ranking her among the most expensive living women artists.

Mind and Matter and these other exhibition and incidental installations of individual works are part of an ongoing initiative among women curators at MoMA to delve deeply into the permanent collection in order to find out what works by women artists they already own and then see how gaps in the collection can be filled through acquisitions, with assistance from the Modern Women's women curators at MoMA to delve deeply into the permanent collection in order to find out what works by women artists they already own and then see how gaps in the collection can be filled through acquisitions, with assistance from the Modern Women's women artists they already own and then see how gaps in the collection can be filled through acquisitions, with assistance from the Modern Women's Women's Fund.

She has edited several titles including the recently released Dorothy Iannone; You Who Read Me With Passion Now Must Forever Be My Friends, along with It Is Almost That: A Collection of Image + Text Work by Women Artists & Writers, Torture of Women by Nancy Spero, and The Nancy Book by Joe Brainard (co-edited with Ron Padgett), among others.

As Peter Schjeldahl writes in The New Yorker, «Outlasting insult and condescension, a woman among competitive men, and a figurative artist in times agog for abstraction, she triumphed.»

At auction her work consistently ranks among the most expensive compared with other living women artists and outpaces all other black women artists.

Weems is among the few women artists who have had a solo show at the Guggenheim in New York.

The thematic section «Strong Women» includes work by Frida Kahlo and her lesser - known but equally distinguished compatriots, including artists like Nahui Olin, photographer Tina Modotti, multidisciplinary artist Rosa Rolanda, and photographer Lola Álvarez Bravo, among others.

The works are organized thematically into groups including self - portraits, portraits of fellow artists and intimate scenes with family and friends, among other genres most practiced by women artists at the time.

Ms. Tompkins is so far the only woman in the pantheon of great self - taught artists — among them Bill Traylor, Henry Darger, Martín Ramírez and James Castle — whose achievements came to light in the second half of the 20th century and have altered the shape of American art history.

Among other topics, chapters focus on artists of African, South Asian and Caribbean origin; the significance of the 1970s; the rise and fall of The Black - Art Gallery; and women artists.

The ambitious show will build a comprehensive narrative around the art and influence of black women artists (Camille Billops, Beverly Buchanan, Lorraine O'Grady, Howardena Pindell, Betye Saar, and Carrie Mae Weems among them) who, during the beginnings of second - wave feminism, «worked beyond and at times in antagonism to Eurocentric narratives of feminism and feminist art,» she says.

Other main group exhibitions include The King and the Mockingbird, Vermillion Sands, Copenhagen, Denmark, 2016; Yinchuan Biennale 2016 — For an Image, Faster Than Light, Museum of Contemporary Art Yinchuan, Ningxia, China, 2016; SHE — International Women Artists Exhibition, Long Museum, Shanghai, China, 2016; Tutorials, Pino Pascali Foundation Museum, Polignano, Italy, 2016; Bentu, Chinese Artists in A Time of Turbulence and Transformation, Foundation Louis Vuitton, Paris, 2016; Unordinary Space, Aurora Museum, Shanghai, 2015; CAFAM Future, Central Academy of Fine Art Museum, Beijing, 2015; Now You See, Whitebox Art Center, New York, 2014; 7th Shenzhen Sculpture Biennale, OCT - Contemporary Art Terminal, Shenzhen, 2012; stillspotting nyc, Solomon R. Guggenheim Museum, New York, among others.

Earlier this month, artnet News ranked Mehretu among the most expensive living women artists, making her work the most expensive of any black female artist.

(Abstract Expressionists have slightly more women artists among them — Helen Frankenthaler, Joan Mitchell, Elaine deKooning, Lee Krasner, to name a few, but they still represent a radically small percentage of the movement and therefore are not as visible at major sales.

Tracey Emin, Sarah Lucas and Mona Hatoum are among the artists of today whose work is linked with the surrealist movement of the 1920s and 30s by this exhibition; one of the first modern art movements to involve a significant number of women.

Exhibitions including iona rozeal brown: a ³... black on both sides (2004), Amalia Amaki: Boxes, Buttons and the Blues (2005), Hale Woodruff, Nancy Elizabeth Prophet and the Academy (2007), Cinema Remixed & Reloaded: Black Women Artists and the Moving Image Since 1970 (2007), María Magdalena Campos - Pons: Dreaming of an Island (2008), Undercover: Performing and Transforming Black Female Identities (2009), and IngridMwangiRobertHutter: Constant Triumph (2011) are among the projects that she has curated and co-curated.

Among the women included are emblematic figures such as Lygia Clark, Ana Mendieta, and Marta Minujín alongside lesser - known names such as the Cuban - born abstract artist Zilia Sánchez, the Colombian sculptor Feliza Bursztyn, and the Brazilian video artist Leticia Parente.

She also gave a lecture in 1959 on women artists at the Ridley College in St. Catharines, Ontario, singling out Emily Carr (the only Canadian artist she mentioned), as well as European artists such as Suzanne Valadon, Angelica Kauffman, and Paula Modersohn - Becker, among others.

Among them were exhibitions of the works of Ant Farm, Joe Brainard, Joan Brown, Theresa Hak Kyung Cha, Robert Colescott, Jay DeFeo, Juan Gris, Eva Hesse, Paul Kos, Robert Mapplethorpe, Barry McGee, Richard Misrach, Bruce Nauman, Peter Paul Rubens, Martin Puryear, Sebastião Salgado, William Wiley, and many others, as well as thematic exhibitions including Made in U.S.A.: An Americanization in Modern Art, the»50s &»60s; State of Mind: New California Art Circa 1970; In a Different Light; Human / Nature: Artists Respond to a Changing Planet; Masterworks of Chinese Painting: In Pursuit of Mists and Clouds; Beauty Revealed: Images of Women in Qing Dynasty Painting; and Andrea Fraser: Aren't They Lovely?.

Even if Bourgeois, like many women artists, did not necessarily like to be pinned down to being (only) a woman artist, her critical view of patriarchal power and its warping effect on relations among women, is one of the foundations of her work.

Roberts has been engaging issues of beauty, race, and women's bodies for the past 20 years and counts current exhibiting artist Wangechi Mutu among her artistic inspirations.

Other topics included an influential 1983 article by Sid Sachs (University of the Arts)-- who was in the audience — on whether there was such a thing as a Philadelphia Imagist tradition; a College Art Association conference chaired by curator Judith Stein (also in the audience); the number of artists who taught and lived in both Chicago and Philadelphia (particularly Ree Morton and Rafael Ferrer); and the equal representation of men and women among the Chicago Imagists.

To be sure, this new transformation had roots going further back than the 1990s, especially among artists, who for decades were actively preoccupied with politics, black power, women's liberation, gay liberation, and more.

Deutsche Welle reviews Virtual Normality — Women Net Artist's 2.0, the upcoming group show at Museum der bildenden Künste, Leipzig featuring works by Signe Pierce, Molly Soda, and Arvida Byström among others.

As happy as Murray was to be among the few female artists whose work was regularly shown at the museum — and as proud as she was in 2005 to be one of the handful honored with a retrospective there — her Artist's Choice pointedly proclaimed her refusal to be a stand - in for all the women present in the institution's database yet unaccounted for on its walls.

Complementing the residency and exhibitions will be panel discussions intended for the general public, university students, and faculty in which the exhibiting artists, art historians, and activists will explore topics such as attitudes toward feminist art among women of different generations; the role of artists as agents of change; and the representation of women in the contemporary art world.

Quite unusual for large group shows, 20 of the featured artists are women, among them legendary figures Yoko Ono and Yayoi Kusama.

The gallery program has since focused on reintroducing women artists from the 1960s and 70s, such as Babette Mangolte (US), Rosemarie Castoro (US), Idelle Weber (US), Sylvia Palacios Whitman (Chile / US), Evelyne Axell (Belgium), Gina Pane (France), Lenora de Barros (Brazil), Lydia Okumura (Brazil), Ewa Partum (Poland), Teresa Murak (Poland), Wanda Czelkowska (Poland), Penny Slinger (UK), among others.

She is the author of ten books, authored both individually and collectively, among which are Rosa chillante: mujeres y performance en México [Screeching Pink: Women and Performance in Mexico](México: Conaculta / Fonca, 2004), andEscandalario: los artistas y la distribución del arte [Agents of Scandal: Artists and Art Distribution](México: AVJ Ediciones, 2006).

This is a group exhibition that serves to demonstrate solidarity among artists who identify with being a Nasty Woman in the face of threats to roll back women's rights, individual rights, LGBTQ + rights, and immigrant rights.

Among their many peers, three women artists — Tayeba Begum Lipi (b. 1969), Dilara Begum Jolly (b. 1960) and Nazia Andaleeb Preema (b. 1974)-- explore these issues via the lens of gender.