Sentences with phrase «by feminist artists»

To my eye, the painting speaks to the central core imagery that was being developed by feminist artists such as Judy Chicago, though Fishman attributes it more directly a response to Al Held's black - and - white abstractions of 1967 — 69.

Video and film by feminist artists and filmmakers, from the 1970s to today, selected by Carmen Hermo, assistant curator, Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum.

Semmel was involved in the 1970s feminist movement and Coplans, in turn, was influenced by feminist artists and their forthright treatment of sexuality and the female body.

RAGNAR KJARTANSSON — I was blown away by feminist artists» approach.

These questions are further complicated by the reception of female artists in the 1970s by other female artists: Schor gives the example of Jürgenssen being reproached by feminist artists for wearing make - up and dressing fashionably, a critique that Hannah Wilke famously responded to with Marxism and Art: Beware of Fascist Feminism (1977).

This invitational exhibition highlights recent work by feminist artists who were active in the Twin Cities in the 1970s and «80s as well as artists who self - identify as «third - wave» feminists.

Women House is a sequel to the famous art installation Womanhouse developed in 1972 by feminist artists Judy Chicago and Miriam Schapiro.

«Women's work» (or «woman's work»), usually a pejorative term for women's gender - restricted domestic roles, was redefined by feminist artists.

Often underrepresented in the art world, a need for rebalancing has been recognised by Frieze itself this year and a specially curated section showcases work by feminist artists from the 1970s and 1980s.

She often uses traditional techniques that hold references to both high culture and low culture, and she draws inspiration from traditions developed by feminist artists and avant - garde movements.

The later sections of the show frame the intersection of feminism and painting in easel paintings, large - scale works and performances by feminist artists in the 1970s and early 90s.

She was embraced by the feminist artists of that period, after which, notes Robert Storr, she became more vocal about the specific source of her pain

She worked for decades as a relative unknown — at one point using the roof of her townhouse as a studio — but championed by feminist artists in the Seventies, and by curator Robert Storr, she became well known and highly regarded in late middle age, making her the unofficial patron saint of unheralded midcareer artists everywhere.

In the Raw: The Female Gaze on the Nude was co-curated by feminist artists Coco Dolle and Indira Cesarine.

The first exhibition of The Dinner Party — a collaborative installation by feminist artist Judy Chicago consisting of a table with place settings for thirty - nine mythical and historical women — opens.

Inspired by feminist artist Miriam Schapiro, Reimagining Femmage invites the artist to draw upon the tenets she established.

Highlights included works by feminist artist Judy Chicago, Tammy Rae Carland's Lesbian Beds photo series, Nicole Wermer's Untitled (Bench)(2016) which featured colored rocks in a plexiglass container, and two of Margo Wolowiec's woven works.

In 2002, the museum received the work The Dinner Party, by feminist artist Judy Chicago, as a gift from The Elizabeth A. Sackler Foundation.

Meshes of the Afternoon (1943) was the first experiment in film by feminist artist and director Maya Deren.

Not exact matches

When details of her self - titled 2013 album were originally leaked earlier that year under the moniker Mrs. Carter, it was panned by some critics for its foreshadowed embrace of the artist's still - new identity as hip - hop mogul Sean «Jay - Z» Carter's wife rather than the trailblazing feminist icon who coined powerful female anthems like Irreplaceable, Single Ladies and Independent Women from her Destiny's Child days.

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The panel will be chaired by the philosopher Kwame Anthony Appiah and consists of: crime writer Val McDermid; cultural critic Leo Robson; feminist writer and critic Jacqueline Rose; and artist and graphic novelist Leanne Shapton.

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.

And he wasn't alone — she was blacklisted by Fluxus founder George Maciunas, and many feminist artists (except her longtime friend Carolee Schneemann) publicly denounced her, believing that she too willingly offered her body up for Paik and other men.

Produced in a basement flat in London's Notting Hill Gate by three editors, Richard Neville, Jim Anderson and Felix Dennis, the magazine was renowned for its psychedelic covers by pop artist Martin Sharp, cartoons by Robert Crumb, radical feminist thought by Germaine Greer and provocative articles that called into question established norms of the period.

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.

David Lewis gallery on the Lower East Side offered the opportunity to consider power imbalances as perpetuated or refuted by image economies in relation to the oeuvre of under - recognized artist Mary Beth Edelson, a pioneer of the 1970s feminist movement.

A critically recognized artist, Ringgold's early paintings in the 1960s and»70s responded to the civil rights and feminist movements with provocative images influenced by Cubism and African sculpture.

An artist and activist, her bold 1960s paintings were inspired by the civil rights and feminist movements.

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).

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.

These works also address classic feminist critiques of body language (the socialized differences of behavior between men and women) and reference the many works made by women artists that deploy imagery of hands: a symbol of domestic labor, idealized femininity, craft, and self - image.

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.

With his inaugural public show, Eric Firestone is bringing work by a visionary feminist artist to a block that's been celebrated for its male artists.

Repeating a 1970s - era tradition of feminist exhibition - making — one that is as entangled in debate as the long modernist tradition and its claims, critiques, and counterclaims about the studio — «Revolution in the Making: Abstract Sculpture by Women, 1947 — 2016» assembles thirty - four artists who were in each case selected for their work, but were also selected for being artists who are women.

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.

As the title suggests, the exhibition casts a wide net, capturing everything from cultural artifacts (feminist literature, earthenware) to graphic design (exhibition posters, bakery business cards), to unique artists» works influenced by graphic novels, Girl Scout badges, stock photography, and other bric - a-brac.

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.

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.

Her work, influenced by German artist Katharina Grosse, had a feminist bent in this exhibition in which she tortured objects associated with domesticity.

One is Griselda [Pollock], who Richmond cites to make the case that, «a feminist perspective (or problematic) is determined not by the gender or political identity of the artist but rather the «effect» of the work: «the way it acts upon, makes demands of, and produces positions for its viewers.

Without being doctrinaire, Alice Neel always acted on the principle, insisted upon by some feminist theoreticians, that a woman artist should emphasize the personal.

The anthology includes 68 titles by more than 60 artists, and is curated into eight programs ranging from conceptual, performance - based, feminist, and image - processed works, to documentary and grassroots activism.

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.

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.

Perhaps the most surprising work of this trio and the one that looks the most disconcertingly new — as if painted by a young zombie formalist feminist artist — is «Voyage,» in which appliquéd bits of textile melt into the surface while other textile patterns appear as silhouettes, not literally collaged on but, rather, spray - painted.

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 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.