The publicized
comment by a feminist theologian at the «Re-imagining» conference a few years ago is only one example of the discomfort: «I don't...
Jeremy I have been restrained in
my comments by the feminists and scripturally confused among your admirers.
The publicized
comment by a feminist theologian at the «Re-imagining» conference a few years ago is only one example of the discomfort: «I don't think we need a theory of atonement at all.
Not exact matches
Jeremy, this
comment by Pam is an example of the kind of unbiblical
feminist attitudes and fruit you are engendering and encouraging
by your post.
The
comments made
by the predominantly white, middle - class, cisgender
feminists such as Harriet Harman, Caroline Flint, Stella Creasy and Fiona McTaggart revealed a genuine or wilful ignorance about the experiences of sex workers.
Alexis Grenell, a political strategist and commentator on
feminist issues, said the
comment described
by DeRosa is a quintessential example of how women are verbally undermined in the workplace.
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.
Her art doesn't aim to be pretty — au contraire, it strives to make a
feminist comment by showing the other side of reality that we often neglect or run away from.
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.»
In 1984, she wrote a biography of early 20th century writer Hilda Doolittle, «Herself Defined: The Poet H.D. and Her World,» that was trashed
by many
feminists for its
comments on the negative and positive sides of the modernist poet.
I was amused recently
by a hilariously un-self-aware
comment from
feminist journalist Jill Filipovic.