Sentences with phrase «by feminist art»

A poster with the statement: «It's even worse in Europe» dating back to 1986, which went on display in New York City, created by feminist art collective Guerilla Girls.

Thus revitalized, post-war American craftspeople became better trained and their studio art more proficient, a process accelerated in the 1960s and 1970s by the feminist art movement - see, for instance, the work of Judy Chicago (b. 1939)- and by the anti-industrialism trend among young people.

Decades have passed since the imbalance was first raised by feminist art historians, and well over a century since the first women students were admitted into art schools.

Her most celebrated work began to emerge around 1970 when, motivated by feminist art principles, she produced a series of paintings which featured male nudes alluding directly to canonical female nudes, for example those of Ingres, Titian and Velázquez.

Not exact matches

A Biblical drama with a stylish high - art look and a timely feminist angle, Mary Magdalene sets out to right historical wrongs by putting Jesus of Nazareth's most famous female follower back at the heart of his story.

More Articles on Inspiring Women Artists — Go to the WomenArts Blog >> Research on Gender Parity in the Arts — Go to Women's Employment in the Arts >> Film Reviews — Go to Film Reviews by the Hot Pink Pen (Jan Lisa Huttner) >> WomenArts News Room — Check out live feeds from 35 feminist arts bloggerArts — Go to Women's Employment in the Arts >> Film Reviews — Go to Film Reviews by the Hot Pink Pen (Jan Lisa Huttner) >> WomenArts News Room — Check out live feeds from 35 feminist arts bloggerArts >> Film Reviews — Go to Film Reviews by the Hot Pink Pen (Jan Lisa Huttner) >> WomenArts News Room — Check out live feeds from 35 feminist arts bloggerarts bloggers >>

It's definitely a mix, but of course most of the lectures on campuses are attended by students and faculty from the queer / feminist studies and art departments, with a smattering of local cartoonists and artists.

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.

was the cover story, written by Linda Nochlin, a professor of art history at Vassar College who had become interested in feminist studies in the fall of 1969 (after returning from a Fulbright fellowship in Italy) and had changed the subject of her Vassar seminar to women in art.

Originally written for an anthology on women in sexist society that had been edited by Vivian Gornick but not yet published, Nochlin's essay caused feminist artists and the larger art world to question everything.

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.»

This exhibition seeks to redress this gap in the history of American art through an exploration of Schapiro's signature femmages, the term she coined to describe her distinctive hybrid of painting and collage inspired by women's domestic arts and crafts and the feminist critique of the hierarchy of art and craft.

Referencing past precedents of feminist art, installation, performance, and ideology, the artworks in the show present an expanded visual language that has resulted from a more inclusive art world, shaped in part by the social movements of the 1970's, thereby paying homage to a generation who has paved the way for contemporary female expression.

It was the stable of the docent's gallery talk and the art appreciation course — and it was replaced, not totally but massively, by the postmodernist discourse that was imported from Paris in the late 70s, in the texts of Michel Foucault, Jacques Derrida, Jean Baudrillard, Jean - François Lyotard, and Jacques Lacan, and of the French feminists Hélène Cixous and Luce Irigaray.

Additionally, like much early feminist art, McNeely's paintings were largely ignored by the gallery system, finding a venue only in the cooperative galleries.

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).

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.»

These artists are expanding upon feminist themes evoked by knitting and crocheting found in art by Louise Bourgeois and Rosemarie Trockel and others back in the 1970s and 1980s.

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.»

Published in cooperation with the Fabric Workshop and Museum, Philadelphia, and featuring critical essays by a diverse array of writers and art theorists — including feminist philosopher Hélène Cixous — ALLY shows how these artists have worked together to create a new pictorial language.

The BMA presents Front Room: Guerrilla Girls, a selection of 48 works by the New York - based anonymous feminist collective known for using humor to confront sexism and racism in the art world.

The question was posed, picked apart and licked clean in an essay by Linda Nochlin, the great feminist art historian.

The second nests these ideas about abstraction and the sculptural in an emphatically feminist argument, one that asserts that the production, display, and reception of such art has been shaped by the personhood of the artists who tended to practice it, and by the sexist social and institutional conditions those individuals faced under modernism.

Kat Griefen, an art dealer and art historian, is the co-owner of Accola Griefen, which focuses on modern and contemporary art by American women artists and feminist artists of historical significance.

In a show that gestures toward several 20th century art movements — though there happens to be a suspicious dearth of photography — I'm most looking forward to works by postwar feminists like Carolee Schneemann, Dara Birnbaum, and Nancy Spero, whose imaginations repudiate narrow definitions of the body, sexuality, and violence, and seem, to me, utterly sound.

From the seminal performance work by Rachel Rosenthal, the early queer video work of EZTV, boundary breaking art installations by Barbara T. Smith, the pioneering media explorations by Electronic Café International, to the feminist media interventions of Suzanne Lacy and Leslie Labowitz - Starus, these five influential and often overlooked artists and collaborative arts groups were fundamental to charting the course for the artist space movement and its vision of egalitarian artistic production and reception.

Using a process inspired by the renowned feminist art critic, Arlene Raven, students examined the reasons and context of their artistic production in order...

With the exceptions of essays by Rosalind Krauss (in Francesca Woodman: Photographic Work, edited by Ann Gabhart, Rosalind Krauss and Abigail Solomon - Godeau, published by Hunter College Art Gallery, New York and Wellesley College Museum, Wellesley, 1986) and Benjamin Buchloh (in Francesca Woodman: Photographs 1975 - 1980, edited by Benjamin Buchloh and Betsy Berne, published by Marian Goodman Gallery, New York, 2004), few critics have contextualised Woodman's work within the feminist genre of the 1970s.

AlhóndigaBilbao presents a wide exhibition of the work performed by American feminist art collective Guerrilla Girls since its founding in 1985 until today.

The exhibition is accompanied by workshops on feminist posters taught by Guerrilla Girls, along with the second Feminist Perspectives in Artist Practice and Theory of Art course that is co-directed by the curator of the exhibition, Xabier Arakistain and the senior professor in Social Anthropology of the UPV / EHU, Lourdes Méndez.

Affected by feminist ideas that were widely represented during the late 1960's, when the only few women taught in college art departments and rarely exhibit in museums and galleries, Janet Fish pierced through the male's world where people even believed in different aesthetic approach depending on the sex.

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.

Bob calls for a politics and culture informed by art, a consciousness recognizing we all have stories to tell and grim moments, an education system with creativity at it's heart and a much needed feminist art movement.

At the end of the decade she finds inspiration for her art not only among family members, but also by observing women and children, whom she thus paints at the dawn of the feminist movement.

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.

Sex - Work is a new section for Frieze London 2017, curated by Alison Gingeras, exploring feminist art and radical politics

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.

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.

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.

It's fascinating to think of Schapiro, inspired by the discourse she was helping to create, doing these pieces when she was able to return to her studio after the intense period of working with the feminist program on the Womanhouse project in the fall of 1971 and early winter of 1972, but before she had a name for this work, before «femmage» and «pattern and decoration» became movements and personal brands, with their declarative power but sometimes restrictive effect on art practice.

Almost forgotten by art history and the feminist movement, the work of Rama, stretching over seven decades, constitutes an anti-archive allowing a reconstruction of the avant - garde movements of the 20th century.

Organized by Faith Wilding, Schapiro, and Chicago, along with Feminists Art Program students, including the painter and theorist Mira Schor, twenty - four women refurbished a house in Los Angeles.

The workshop was inspired by the pedagogy of feminist art historian Arlene Raven.

SAF — Sharjah Art Foundation SAM — Seattle Art Museum SAM — Singapore Art Museum SCUM — Society For Cutting Up Men (a feminist group invented in 1967 by Valerie Solanas, who shot Andy Warhol in 1968 in a failed assassination attempt) SFKM — Sogn og Fjordane Museum of Fine Arts (Førde) SKMU — Sørlandet's Museum of Art (Kristiansand) SMAK — Stedelijk Museum voor Actuele Kunst (Ghent) SoHo — South of Houston, home to the artistic avant - garde in 1970s New York (and to a few remaining galleries today) SWAG — Silver, wine, art, and gold (a term coined by Investment Week's Joe Roseman for investment categories with a history of outperforming the stock markArt Foundation SAM — Seattle Art Museum SAM — Singapore Art Museum SCUM — Society For Cutting Up Men (a feminist group invented in 1967 by Valerie Solanas, who shot Andy Warhol in 1968 in a failed assassination attempt) SFKM — Sogn og Fjordane Museum of Fine Arts (Førde) SKMU — Sørlandet's Museum of Art (Kristiansand) SMAK — Stedelijk Museum voor Actuele Kunst (Ghent) SoHo — South of Houston, home to the artistic avant - garde in 1970s New York (and to a few remaining galleries today) SWAG — Silver, wine, art, and gold (a term coined by Investment Week's Joe Roseman for investment categories with a history of outperforming the stock markArt Museum SAM — Singapore Art Museum SCUM — Society For Cutting Up Men (a feminist group invented in 1967 by Valerie Solanas, who shot Andy Warhol in 1968 in a failed assassination attempt) SFKM — Sogn og Fjordane Museum of Fine Arts (Førde) SKMU — Sørlandet's Museum of Art (Kristiansand) SMAK — Stedelijk Museum voor Actuele Kunst (Ghent) SoHo — South of Houston, home to the artistic avant - garde in 1970s New York (and to a few remaining galleries today) SWAG — Silver, wine, art, and gold (a term coined by Investment Week's Joe Roseman for investment categories with a history of outperforming the stock markArt Museum SCUM — Society For Cutting Up Men (a feminist group invented in 1967 by Valerie Solanas, who shot Andy Warhol in 1968 in a failed assassination attempt) SFKM — Sogn og Fjordane Museum of Fine Arts (Førde) SKMU — Sørlandet's Museum of Art (Kristiansand) SMAK — Stedelijk Museum voor Actuele Kunst (Ghent) SoHo — South of Houston, home to the artistic avant - garde in 1970s New York (and to a few remaining galleries today) SWAG — Silver, wine, art, and gold (a term coined by Investment Week's Joe Roseman for investment categories with a history of outperforming the stock markArt (Kristiansand) SMAK — Stedelijk Museum voor Actuele Kunst (Ghent) SoHo — South of Houston, home to the artistic avant - garde in 1970s New York (and to a few remaining galleries today) SWAG — Silver, wine, art, and gold (a term coined by Investment Week's Joe Roseman for investment categories with a history of outperforming the stock markart, and gold (a term coined by Investment Week's Joe Roseman for investment categories with a history of outperforming the stock market)

Be sure not to miss booths by Benrubi Gallery from New York, a leading gallery with a focus on 20th Century and contemporary photographs; Blindspot Gallery from Hong Kong, a gallery with a primary focus on contemporary image - based works; Bryce Wolkowitz Gallery from New York, a gallery with a major commitment to representing new media artists who are exploring the intersection of arts and technology; Dittrich & SCHLECHTRIEM & V1 from Berlin, a gallery representing emerging, mid-career and established artists from around the world; Fraenkel Gallery from San Francisco exploring photography and its relation to other arts; Gagosian Gallery from New York, Hong Kong, Beverly Hills, Athens and Rome; Hamiltons Gallery from London, one of the world's foremost galleries of photography; Galerie Lelong from Paris focusing on an international contemporary art and representing artists and estates from the United States, South America, Europe, and the Asia - Pacific Region; Magda Danysz from Paris, Shanghai and London dedicated to promoting and supporting emerging artists and favouring a larger access to contemporary art on an international level; Mai 36 from Zurich focusing on trading and presenting international contemporary art; Pace Prints / Mac Gill, a publisher of fine art prints and artist editions affiliated with the Pace Gallery; Richard Saltoun Gallery from London specialising in post-war and contemporary art with an interest in conceptual, feminist and performance artists; Roman Road from London; Rosegallery from Santa Monica, an internationally recognized gallery of 20th and 21st century works on paper; Taka Ishii Gallery from Paris, Tokyo, and New York devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice; White Space from Beijing; and Yumiko Chiba Associates from Tokyo, among others.

«Pussies,» Judy Chicago's first solo exhibition in San Francisco since her iconic installation The Dinner Party premiered there in 1979, presented paintings, drawings, and ceramic plates made between 1968 and 2004, many of which exemplified the feminist art practices pioneered by the artist in the 1960s and»70s.

2016 talks included a panel on contemporary art in historical museums and vice versa with Okwui Enwezor (Haus der Kunst, Munich), Hou Hanru (MAXXI, Rome) and Sheena Wagstaff (The Metropolitan Museum of Art, New York), chaired by Jennifer Higgie; Lynette Yiadom - Boakye (Artist) and Gabriele Finaldi (National Gallery, London) in conversation; a panel on feminist art chaired by writer and curator Alison Gingeras with Nancy Grossman and Joan Semmel — two artists featuring in this year's Frieze Mas - ters Spotlight section; Marlene Dumas (Artist) on portraiture; and Cornelia Parker (Artist) in conversation with Dr Maria Balshaw CBE (the Whitworth and Manchester Art Gallerart in historical museums and vice versa with Okwui Enwezor (Haus der Kunst, Munich), Hou Hanru (MAXXI, Rome) and Sheena Wagstaff (The Metropolitan Museum of Art, New York), chaired by Jennifer Higgie; Lynette Yiadom - Boakye (Artist) and Gabriele Finaldi (National Gallery, London) in conversation; a panel on feminist art chaired by writer and curator Alison Gingeras with Nancy Grossman and Joan Semmel — two artists featuring in this year's Frieze Mas - ters Spotlight section; Marlene Dumas (Artist) on portraiture; and Cornelia Parker (Artist) in conversation with Dr Maria Balshaw CBE (the Whitworth and Manchester Art GallerArt, New York), chaired by Jennifer Higgie; Lynette Yiadom - Boakye (Artist) and Gabriele Finaldi (National Gallery, London) in conversation; a panel on feminist art chaired by writer and curator Alison Gingeras with Nancy Grossman and Joan Semmel — two artists featuring in this year's Frieze Mas - ters Spotlight section; Marlene Dumas (Artist) on portraiture; and Cornelia Parker (Artist) in conversation with Dr Maria Balshaw CBE (the Whitworth and Manchester Art Gallerart chaired by writer and curator Alison Gingeras with Nancy Grossman and Joan Semmel — two artists featuring in this year's Frieze Mas - ters Spotlight section; Marlene Dumas (Artist) on portraiture; and Cornelia Parker (Artist) in conversation with Dr Maria Balshaw CBE (the Whitworth and Manchester Art GallerArt Gallery).

As a proactive member of the feminist art movement, she began adopting the photographic techniques and subject matter used in pornography to create a series of paintings that presented a different narrative from the fetishized one promoted by the porn industry.

The catalogue includes essays by Jeffrey Grove and Olga Viso, as well as a work by Pulitzer Prize finalist, playwright, and feminist philosopher Susan Griffin and texts by Bill Arning, Director of the Contemporary Arts Museum Houston, and Helen Molesworth, Barbara Lee Chief Curator, ICA, Boston.