Not exact matches
«I am a Flatbush girl», first - time
feature director Eliza Hittman said proudly at the world premiere of It Felt Like Love in the Next section (it later went to Competition in Rotterdam), and, while not entirely
autobiographical, the film draws from her experience of growing up in this largely
working - class neighbourhood of New York City's most populous borough, of these endless summers where you have to escape to the sea with your friends for fear of melting like the asphalt under your feet.
Regarded as a seminal figure in gay and lesbian cinema, and in particular, pre-Internet video -
work, Benning's short films often
feature autobiographical content in fragmented narratives that address feminism, gender identity, and youth and popular cultures.
Featuring over 120
works, this mid-career survey spans 1991 to 2015 and is arranged to highlight recurring themes, imagery and cultural references that are found in the artist's deeply
autobiographical practice.
Featuring 10 new paintings in Sam's signature style, a play with light and shadow, the
works explore different characters in low sunlight and are based on
autobiographical experiences.
The exhibition brings together more than two decades of Stark's poetic compositions and
autobiographical reflections,
featuring 125
works, including the artist's early carbon drawings, intricate collages, and mixed - media paintings as well as her more recent videos.
The artist's
works, rich in both content and colour,
feature autobiographical references as well as map contemporary British society and its wider social issues.
Lisa Brice's Well Worn 5 was part of a body of
work that
featured a cast of female protagonists engaged in
autobiographical acts of looking and being looked at.
Later
works include exuberantly satirical
works of the 1960s, many
featuring the vaguely
autobiographical figure described by critic and artist Anne Doran as a «nattily dressed and deeply ridiculous Everyman in mad pursuit of liberty, poetry, and sex»; the pornography - inspired «X-Rated Paintings» of the early 1970s; the «Noun» paintings of the same period (each depicting a single everyday object against a bright, patterned background); the schematic, figurative canvases made in homage to Copley's Surrealist idol Francis Picabia; and the story cycles and morality tales from the 1980s and 90s, including a painting from the installation project The Tomb of the Unknown Whore.