Sentences with phrase «as feminist art»

Like other postmodernist artists, such as Damien Hirst (1965) and Tracey Emin (1963), Saville has benefited considerably from Saatchi's patronage, and her disturbing (sometimes gross) depictions of obese, occasionally faceless women have gained widespread attention without being seen as feminist art or linked with feminism.

At the fair itself, special projects include the free sculpture park boasting big names such as feminist art icon Kiki Smith and Thomas Houseago, whose messy take on macho modernism has made him a rising star.

An example of Conceptual as well as feminist art, from a leading Young British artist.

As a feminist art project, Breitmore anticipated Cindy Sherman's penchant for dressing up in costumes and photographing herself hundreds of times in her project Untitled Film Stills, from 1977 to 1980.

Preciado's research interests include contemporary art and post-1960s conceptualist vanguards such as feminist art and performance art, with a special focus on Latin American art and its diaspora in the United States.

As feminist art historians Helen Molesworth, Lisa Tickner, and Mignon Nixon have pointed out, the history of art made by women is a history of omission.

As feminist art sought visual form for the depiction of female sexual desire, the surrealist movement provided important models.

Thinking back to the time she wrote her most famous piece, she once told Reilly that «there was no such thing as a feminist art history: like all other forms of historical discourse, it had to be constructed.

Quiet Lunch: The Untitled Space has developed a name for itself as a feminist arts space, and inherently political, was this always the goal?

Not exact matches

This time they come disguised as feminists, leftists, and fundamentalist Christians, but their intent to misuse the arts and humanities is the same as those of the manipulators of earlier times.

Over the coming decades, Varda became a force in art cinema, conceiving many of her films as political and feminist statements, and using a radical objectivity to create her unforgettable characters.

The filmmaker behind «We're Glad You're Here» discusses her film as a feminist experiment, filling a hole in the independent - film scene and life imitating art.

As a member of TAG (The Technoculture, Art, and Games Research Centre) they explore politics of game technologies and game making hobby communities from an intersectional feminist maker perspective.

It is certainly not realistic to hope that a majority of men, in the arts, or in any other field, will soon see the light and find that it is in their own self - interest to grant complete equality to women, as some feminists optimistically assert, or to maintain that men themselves will soon realize that they are diminished by denying themselves access to traditionally «feminine» realms and emotional reactions.

If there actually were large numbers of «hidden» great women artists, or if there really should be different standards for women's art as opposed to men's — and one can't have it both ways — then what are the feminists fighting for?

No sign of a «female style»; no centralized imagery or necessary pattern and decoration, as some essentialist feminist art critics believed at the beginning of the women's movement.

Another attempt to answer the question involves shifting the ground slightly and asserting, as some contemporary feminists do, that there is a different kind of «greatness» for women's art than for men's, thereby postulating the existence of a distinctive and recognizable feminine style, different both in its formal and its expressive qualities and based on the special character of women's situation and experience.

Such attempts, whether undertaken from a feminist point of view, like the ambitious article on women artists which appeared in the 1858 Westminster Review, 2 or more recent scholarly studies on such artists as Angelica Kauffmann and Artemisia Gentileschi, 3 are certainly worth the effort, both in adding to our knowledge of women's achievement and of art history generally.

This, on the surface of it, seems reasonable enough: in general, women's experience and situation in society, and hence as artists, is different from men's, and certainly the art produced by a group of consciously united and purposefully articulate women intent on bodying forth a group consciousness of feminine experience might indeed be stylistically identifiable as feminist, if not feminine, art.

This exhibition is described by the museum as the first - ever to present the perspectives of women of color «distinct from the primarily white, middle - class mainstream feminist movement — in order to reorient conversations around race, feminism, political action, art production, and art history in this significant historical period.»

Mira Schor is a New York - based artist and writer known for her advocacy for painting in a post-medium culture, for her representations of writing as image, and for her writings on painting and on feminist art history.

However, such otherwise inclusive surveys of feminist art as Wack!

Art and the Feminist Revolution at LA MOCA and P.S. 1 in 2006 did not include her paintings (as they omitted work by other feminist artists like Judith Bernstein, Anita Steckel, and Betty Tompkins whose work may have appeared too transgressive).

McNeely's deep humanism and personal connection to the corporeal circumstances particular to women were qualities which may have been perceived as insufficiently theory - driven in the politicized crucible of early feminist art.

Womanhouse was conceived by a member of Chicago and Schapiro's program staff, art historian Paula Harper, who The New York Times celebrated as «the first [of] art historians to bring a feminist perspective to the study of painting and sculpture.»

The transformation of a Hollywood house, previously scheduled to be demolished, allowed the artists to make traditionally female spaces, such as kitchens, into feminist works of art.

Gingeras is an independent curator as well as holding an adjunct curatorship at Dallas Contemporary, where she most recently curated Black Sheep Feminism: The Art of Sexual Politics, which examined the work of four radical feminist artists from the 1970s: Joan Semmel, Anita Steckel, Betty Tompkins, and Cosey Fanni Tutti.

Organized by the Brooklyn Museum, this exhibition is presented as the first - ever to explore the perspectives of women of color «distinct from the primarily white, middle - class mainstream feminist movement — in order to reorient conversations around race, feminism, political action, art production, and art history in this significant historical period.»

Jonas emerged as a key figure in the performance art and feminist movements of the 60s and the year 1979 saw Jonas» UK debut at the Whitechapel Gallery.

«Many figures in this section - such as Renate Bertlmann, Birgit Jürgenssen, Penny Slinger and Betty Tompkins - were too transgressive to be included in anthologizing museum shows, which arguably forged a consensual canon for important feminist art.

Feminist scholar Lisa Tickner argues that feminist art freed artists from the Oedipal narrative of art history, which she interprets as generations of (male) artists reacting to and rejecting the work of their «art fathers.»

Today, Faith Wilding, Dara Birnbaum and Amy Sillman are among the distinguished artists and scholars tackling topics such as feminist painting and transgender art in «The Feminist Art Project.&raqart in «The Feminist Art Project.&raqArt Project.»

The writer of Orlando, To the Lighthouse and The Waves has proven a lasting influence beyond the literary sphere, and this exhibition uses her work as a prism through which to explore feminist perspectives on landscape, domesticity and identity in modern and contemporary art.

She drew inspiration from many of the movements of her day — land art, conceptual art, performance and feminist art — but her special combination of sculpture, land art and performance art (earth - body, as she called it) is a form of expression that is entirely her own.

Famous for her monochrome or Op Art «paintings» made from knitted wool and other distaff materials, Rosemarie Trockel often tackles themes of appropriation from a feminist stance — but her work is far richer and stranger, as admirers of her 2012 New Museum show can attest.

Chicago gained broad public attention in the late 1970s for her monumental feminist installation The Dinner Party, now permanently installed as part of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum of Art.

However, more than one artist never thought of her practice as feminist, and they were not making overtly political art.

Photographs and ephemera relating to the project are displayed alongside documentation of other Judson initiatives, including experimental works by Claes Oldenburg and Jim Dine, and those by lesser - known artists such as Martha Edelheit, whose 1960 psychedelic watercolour, Dream of the Tattooed Lady, anticipates later developments in feminist art.

Fraser was a founding member of the feminist performance group The V - Girls (1986 — 96), the project - based artist initiative Parasite (1997 — 98), and the cooperative art gallery Orchard (2005 — 08), and has served as a board member of W.A.G.E. since 2013.

Many figures in this section such as Renate Bertlmann, Birgit Jürgenssen, Marilyn Minter, Penny Slinger and Betty Tompkins, were too transgressive to be included in anthologizing museum shows which arguably forged a consensual canon for important feminist art.

The feminist analysis of art has revealed that the excellence of this major art produced by male artists, who have been credited as geniuses, has been determined as opposed to the secondary value of minor art prepared by female artists.

It ranges from the NMWA's women only collection and exhibition - programme to an entire wing of the Brooklyn Museum being dedicated to feminist art; there's also The Metropolitan Museum of Art's decision to show work by lesser - known artists like Helen Torr and Elizabeth Catlett that has never been on view in «Reimagining Modernism: 1900 — 1950» (the rehang of their modern art collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artiart; there's also The Metropolitan Museum of Art's decision to show work by lesser - known artists like Helen Torr and Elizabeth Catlett that has never been on view in «Reimagining Modernism: 1900 — 1950» (the rehang of their modern art collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artiArt's decision to show work by lesser - known artists like Helen Torr and Elizabeth Catlett that has never been on view in «Reimagining Modernism: 1900 — 1950» (the rehang of their modern art collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artiart collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artist.

Nochlin herself did as much as anyone to make feminist art history essential reading.

I approach these two exhibitions with the ironic realization that I was schooled in the same male universal aesthetic value system that Schapiro struggled with — both internally and due the external art world — as she sought a feminist practice; it is one of my critical considerations.

Since then, Cornell has co-curated a solo show of Puerto Rican artist Beatriz Santiago Muñoz's films at the New Museum and a stunning group show, «Invisible Adversaries,» which used the work of radical feminist artist VALIE EXPORT as a jumping off point, at Bard College's Hessel Museum of Art.

Taking as its title and starting point a statement by the pioneering British feminist artist Jo Spence, the exhibition focuses on major performance art made by women artists in the UK during the 1970s.

They are both invested in art's revolutionary possibilities for social change as evinced in Rainer's anti-war protest dances in the 1970s and the feminist dimensions of her radical choreographic style and films, as well as in Pendleton's Black Lives Matter flag for the Belgian Pavilion in the 2015 Venice Biennial and his latest series of paintings entitled Untitled (A Victim of American Democracy), which debuted this past summer as part of Edwards» Blackness in Abstraction exhibition at Pace Gallery and are now on display in Pendleton's first show with Galerie Eva Presenhuber, Zurich named Midnight in America.

Still, otherwise inclusive surveys of feminist art such as Wack!

For as long as Hershman Leeson has been creating her feminist art, she has always incorporated technology into her exploration.

Praising the exhibition, P.S. 1 Contemporary Art Center Director Alanna Heiss notes: «In addition to exploring international occurrences of feminist art, the show emphasizes New York's role in the movement, as well as its relationship with each artist involvArt Center Director Alanna Heiss notes: «In addition to exploring international occurrences of feminist art, the show emphasizes New York's role in the movement, as well as its relationship with each artist involvart, the show emphasizes New York's role in the movement, as well as its relationship with each artist involved.