Sentences with phrase «by feminists include»

Other artistic disciplines explored by feminists include photography (Cindy Sherman, Laurie Simmons, Nan Goldin), Photomontage (Anita Steckel), installation art (Judy Chicago), as well as design - especially graphic art (Sheila Levrant de Bretteville, Barbara Kruger), and word art (Jenny Holzer).

Not exact matches

One can point to the emergence of a variety of critical approaches to religion in general, and to Christianity in particular, which have contributed to the breakdown of certainties: These include historical - critical and other new methods for the study of biblical texts, feminist criticism of Christian history and theology, Marxist analysis of the function of religious communities, black studies pointing to long - obscured realities, sociological and anthropological research in regard to cross-cultural religious life, and examinations of traditional teachings by non-Western scholars.

As a feminist I believe all women have the right to medical care including a safe sanitary hospital birth so it is sad to see this term appropriated by people who believe a less safe form of birth is better for ideological reasons.

We also looked at more draconian legal approaches, including the one operating in Sweden, which is often celebrated by feminists opposed to sex work.

Last month, Nixon said she might challenge Cuomo, when asked by NY1 at a fundraiser she was co-hosting with a feminist collective, whose directors include Mayor Bill de Blasio's finance director and the communications director for his reelection campaign.

In January, she said «maybe» when asked about joining the governor's race by NY1 at a fundraiser she was co-hosting with a feminist collective whose directors include de Blasio's finance director and the communications director for his reelection campaign.

Other examples include Amos Tversky and Daniel Kahneman's studies of human reasoning, which show that humans frequently reason with unseen and persistent biases, and the work of Keller, Longino, and other feminist critics showing that scientists are cognitively limited by the ideologies accepted in their wider cultures.

Created by Laura Nowak, the account includes screen shots of different conversations Nowak has with men on Tinder and their reactions to her «feminist» About section.

If you're lost a very sexy hookups hook up sex - for - hire like minded nawty girl looking for OUTCALL personal services, including NSA - no strings Browsing Adult escorts provided by young girls he just a relationship in Las Vegas, experience read reviews of feminist - sex - worker narratives have met anyone know what is dangerous, but there a casual encounters.

How to Build a Girl By Caitlin Moran Harper Perennial • $ 15.95 • ISBN 9780062335982 The rowdy first novel from the author of the best - selling feminist memoir / manifesto How to Be a Woman borrows events from Moran's own improbable life story, including her experiences as a teen critic for a British music magazine.

Having conducted dozens of interviews with victims and academics, she considers the very real damage (including suicides) caused by weaponizing the word slut (often by teens), while also exploring attempts to reclaim slut by those willing to embrace it with everything from cheeky humor to feminist rage.

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).

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 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.

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.

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.

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 Gallery).

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.

Among many, some works of note include textile portraits of Frida Kahlo and Angela Davis by Jess De Wahls, a painting by Tara Lewis entitled, High School, that acts as an ode to millennial feminists, and multimedia paintings by Nichole Washington, inspired by 90s female hip hop artists, such as Queen Latifah and Missy Elliot.

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

Supported by an Art Fund Jonathan Ruffer curatorial grant, it brings together work by artists including Louise Bourgeois, Claude Cahun and Woolf's sister Vanessa Bell, and invites us to view them from feminist perspectives.

«Skins...» curated by Alison Dillulio, focuses on the contributions of major second wave feminists, including Mary Beth Edelson, Lynda Benglis, Joan Semmel, Howardena Pindell, and Hannah Wilke.

Highlights included a distinctive Winged Goat Gargoyle (France, 14th - 15th century), exhibited by Sam Fogg, and US feminist Judy Chicago's vibrant Rearrangeable Rainbow Blocks (1965; Riflemaker).

In Brooklyn, Reilly organized several groundbreaking exhibitions, including «Global Feminisms,» a 2007 show featuring feminist works by 80 women artists from 1990 on.

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

Balshaw also commented on the instantly successful new section for 2017, Sex Work, curated by independent curator and scholar Alison M. Gingeras which featured nine solo presentations of women artists working at the extreme edges of feminist practice: «As a woman born in 1970 raised by a tribe of feminist aunts, I find it tremendously exhilarating to see the women artists in Sex Work: Feminist Art & Radical Politics included in the context of an art fair.»

BHQFU's FUG exhibition and project space, which opened in 2015, has already hosted eight major events including #ProvokeProtestPrevail presented by the Guerilla Girls that included three workshops led by the feminist activists.

I also included pieces by a few much older artists who made specifically feminist work in the 1970s: Alice Neel's portraits of Linda Nochlin and other figures from the movement, and a number of Louise Bourgeois» installation and performance works.

The artists included in the exhibition — Ginger Brooks Takahashi, Nicole Eisenman, Wynne Greenwood, K8 Hardy, Ulrike Müller, Emily Roysdon, and A.L. Steiner — are engaged in artistic practices informed by the history of feminism, while also expressing a desire to reinvent their relationship to feminist strategies in both their individual and collective endeavors.

The history of the Chrysler Museum includes stories of 19th century feminist visionaries and a mid-20th century penny drive by schoolchildren to buy a single Renoir that was about the size of a paperback book.

During the 1970s, Lucy Lippard, Miriam Schapiro, Judy Chicago, and other feminists put forth a theory about women's art, finding that an enclosure or rounded form was at the center of much work by women, including O'Keeffe, whose flower paintings, begun in the 1920s, had often been described as symbolic of female sexuality.

Strongly influenced by the origins of activist, feminist and socially engaged art, Pilgrim works in a wide range of media including live performance, film, text, workshops and musical composition.

A comprehensive survey examining the foundations and legacy of early feminist art (1965 to 1980) including works by Martha Rosler at P.S. 1 Contemporary Art Center, Long Island City, Queens.

«The City of Dreams» has a long and rich history of feminist art practice and exhibition making, including LACMA's watershed attempt at inserting feminist art history into the museum with Women Artists: 1550 — 1950, curated by art historian Linda Nochlin and Ann Sutherland Harris in 1976, or, for example, Judy Chicago and Miriam Schapiro's inspiring installation and performance space Womanhouse (1972).

Thomas, whose work was included in the Museum's 2013 presentation of «Posing Beauty in African American Culture» and 2009 exhibition «Undercover: Performing and Transforming Black Female Identities,» is inspired by a range of sources including art history, popular culture and feminist thought.

With works by over a hundred artists from fifteen countries — including the likes of Ana Mendieta and Lygia Clark as well as lesser - known figures such as Colombian sculptor Feliza Burztyn and Brazilian video artist Leticia Parent — «Radical Women» bolsters the international history of contemporary feminist art.

Under the curatorial directorship of Gabriele Schor, the collection includes significant bodies of work by some of the key feminist avant - garde artists of the 1970s (as well as by many male artists, it should be pointed out).

Part 2 of the portal includes other recorded talks from the 2014 April Judy Chicago Symposium, as well as interview footage by Chicago of Keifer - Boyd and of Youdelman, who was one of the original students in Chicago's groundbreaking feminist art program in the 1970s.

The accompanying text also includes a quote by feminist theorist Kristeva, «One does not give birth in pain, one gives birth to pain».

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.

Ephemera comprises much of the show, and it's crammed into every nook of the galleries: there is the exhibition announcement for Ms. Lippard's legendary 1966 exhibition «Eccentric Abstraction,» which included organic, tactile work by Eva Hesse, Louise Bourgeois and others as the feminist counterpoint to minimalism; an issue of Aspen Magazine devoted to minimalism; and documentation of Richard Serra's famous molten iron piece Splashing (1968).

We Choose Art: A Feminist Perspective is a group exhibition that will include works by a variety of Los Angeles based artists, each of whom touch upon concepts of race, class, culture, politics, social commentary, and / or gender from a feminist perspective.

In two ads in Artforum magazine in 1970, including one announcing the adoption of her new name, Chicago used conceptual strategies taken up in the following years by a number of emerging feminist artists, such as Lynda Benglis and Hannah Wilke.

One can also detect a strong Black feminist undercurrent to many parts of the exhibition with works by Betye Saar, including The Liberation of Aunt Jemima (1972).

The exhibition will be accompanied by various side events including discussions, lectures, a theatrical production, and public readings, each focused on different forms of feminist and gender research (from the perspective of art history, social sciences, philosophy, etc.).

The exhibition includes a site - specific installation by feminist pioneer Mary Beth Edelson, part of an ongoing series of collage projects initiated years after her renowned collage posters of the 1970s; a series of preparatory collages by Marlene McCarty produced for her large - scale drawings of young women who committed patricide; and a series of mixed - media collages by veteran feminist artist Anita Steckel that places the artist within drawings by Tom of Finland, exploring the possibility of alternate forms of cross-gender desire and visual pleasure.

The contributions also consider such specific works as Kelly's Interim (1984 — 1989), the subject of a special issue of October; Gloria Patri (1992), an installation conceived in response to the first Gulf War; The Ballad of Kastriot Rexhepi (2001), an extensive project including a 200 - foot narrative executed in the medium of compressed lint and the performance of a musical score by Michael Nyman; and two recent works, Love Songs (2005 - 2007), which explores the role of memory in feminist politics, and Mimus (2012), a triptych that parodies the House Un-American Activities Committee's 1962 investigation of the pacifist group, Women Strike for Peace.

While she was exhibiting and performing in circles that included prominent feminist artists such as Schneemann, Slinger followed a more independent path, ultimately taking decade long hiatus from exhibiting in 1979 to pursue the spiritual side of her work (stock of her Mountain Ecstasy artist book had been burned by British Customs in 1978.)

Whitney Biennial (New York) Established in 1973, and held at the Whitney Museum of American Art (March thru May), this is New York's leading exhibition of postmodernist art by unknown, emerging and established American - based artists - including a fair representation of women artists, thanks to feminist pioneers like Judy Chicago (b. 1939) and Barbara Kruger (b. 1945).

Sex - Work is a new section for Frieze London 2017, curated by Alison Gingeras, exploring feminist art and radical politics The section at Frieze London will be dedicated to women artists working at the extreme edges of feminist practice since the 1960s, and the galleries who supported them, including: Galerie Andrea Caratsch presenting Betty Tompkins; Blum and Poe presenting Penny Slinger; Richard Saltoun presenting Renate Bertlmann; Salon 94 presenting Marilyn Minter; and Hubert Winter presenting Birgit Jürgenssen.