Sentences with phrase «feminist art history»

That article quickly became a cornerstone for the developing field of feminist art history.

She continues her scholarly work in art criticism, public talks and panels, with focus on feminist art history and critical discourse.

, invented feminist art history more or less from the ground up.

A palpable hit for feminist art history.

: Art and the Feminist Revolution at the Museum of Contemporary Art in Los Angeles in 2007, organized by Hammer curator Connie Butler — preceding Radical Women made waves by inserting feminist art history into major institutions.

«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).

Nochlin's essay is considered the beginning of modern feminist art history and a textbook example of institutional critique.

Recent publications explore the work of artists previously marginalised from art discourse and institutions including Otherwise: Imagining queer feminist art histories (Manchester, 2016); Seeing Differently: A History and Theory of Identification and the Visual Arts (Routledge, 2012); The Feminism and Visual Culture Reader (Routledge, new edition 2010); and Irrational Modernism: A Neurasthenic History of New York Dada (MIT, 2004); and numerous articles.

Nochlin herself did as much as anyone to make feminist art history essential reading.

Known for her feminist art, her publications and lectures on black feminist art history and criticism, including the coining of «Afrofemcentrism», she has lectured on contemporary African art nationally and internationally, and consulted in Nigeria and Germany.

The rise of feminist art history brought her renewed attention, and she was the subject of a one - woman show at the Martin Diamond Gallery in 1980 and a retrospective at the New Jersey State Museum in Trenton in 1990.

But because so much of feminist art history relies on arguments which thematically or historically reframe works of art which are not explicitly feminist in their imagery or content, and because of the persistent institutional resistance to opening museums to the perspectives of women ---- as well as people of color, lesbians and gay men ---- the models for making feminist exhibitions have been much less fully explored than the models for carrying out feminist scholarship.

She earned undergraduate and graduate degrees in modern and contemporary non-Western art with a focus on Japan from American University's feminist art history program.

Of the numerous exhibitions that will be presented this fall, it is difficult to measure exact percentages of female artists that will be included, yet it is clear that Radical Women seeks to correct Latin American and Latinx art's relationship to feminist art histories through a historically framed presentation of experimental artworks from over fifteen countries.

has noted that Los Angeles has a different relationship to history and feminist art history because it is «always rewriting itself into [it],» and perhaps this ability will lend a unique context to the history that Radical Women will attempt to construct.

But so often with feminist art history, what you see is a display of bad faith, a disregard for the achievement of great artists and a failure to understand why women often did not participate.

In the midst of a year of renewed visibility (with work on view in exhibitions at Alexander Gray Associates, Cheim & Reid, the Whitney, and Dallas Contemporary, among others), Semmel welcomed Laila Pedro to her New York studio to reflect on her process, her position in feminist art history, and her perspective on aging before her own painterly gaze.

Woodman's photographs — with their reframing of the relationship between the body and space, and their hybridization of photography and performance — have helped to redefine parameters of feminist art history as well as lead the medium of photography into an expanded field.

Mira Schor is a New York - based artist and writer known for her advocacy for painting in a post-medium culture, for her representations of writing as image, and for her writings on painting and on feminist art history.

in 1970, there was no such thing as a feminist art history: like all other forms of historical discourse, it had to be constructed.

Thinking back to the time she wrote her most famous piece, she once told Reilly that «there was no such thing as a feminist art history: like all other forms of historical discourse, it had to be constructed.

Only now, after decades of revisionist / feminist art history is some attention finally being given to the work of Rosalyn Drexler and Marjorie Strider.

Only now, after decades of revisionist / feminist art history is some attention... Continue reading →

Even to feminist art histories, she has rated at best a passing notice.

Nochlin was celebrated for her pioneering contributions to feminist art history, most famously in her 1971 essay «Why Have There Been No Great Women Artists?»

The discrepancy between the emergence of feminist art history and the time it has taken for its thinking to manifest itself in public displays and education policy suggests that there are other factors at work.

Neither has a strictly feminist impulse, although both give greater scope for a feminist art history.

It's a short but effective piece that manages to compress one of the longstanding arguments of feminist art history — that while the simple re-insertion of women into histories of art is a vital endeavour, this will be nothing without a fundamental structural overhaul of the discipline to ensure that it can encompass a multiplicity of perspectives and politics — into a resource that, thanks to Jessa, is eminently accessible to sixth formers and undergraduates.

A major icon of feminist art history, Womanhouse allowed artists to transform rooms into installations (Chicago's «Menstruation Bathroom» was probably most notorious) and enact domestic - themed performances (Faith Wilding's poetically evocative «Waiting»).

Mira Schor is a New York - based artist and writer noted for her advocacy of painting in a post-medium visual culture and for her contributions to feminist art history.

American artist, writer, curator and scholar Harmony Hammond, famed for her contributions to feminist art history, has chosen the Getty Research Institute to house her extensive archive.

This 5th edition of one of the best - selling World of Art titles features a completely new chapter that charts the evolution of feminist art history and pedagogy since the 1970s, revealing how artists have developed and subverted the strategies of feminism.

The show's curators — Andrea Giunta and Cecilia Fajardo - Hill — are both art historians who have made significant contributions to the field of Latin American art history and have turned their expert attention to female artists and feminist art history for some time now.

These predecessors took up the charge of lending visibility to female artists globally and in the United States, but despite what seemed like an explosion of exhibitions dedicated to female artists, there was still a long way to go in order to create an expanded historical narrative of feminist art history that also included Latin American and Latina art.

A founding member of the women's art collective A.I.R., Bernstein has been discussed primarily within the limiting discourse of feminist art history; yet her rich and layered creations speak to an engagement with traditions ranging from conceptualism to neo-dada.

Linda Nochlin (1931 — 2017), pioneer of feminist art history.

This is especially important for Leeds, given its importance as a centre of feminist art history, and as the site of the Feminist Archive North.

Mira Schor (b. in New York City in 1950) is an American artist, writer, editor, and educator, known for her contributions to critical discourse on the status of painting in contemporary art and culture as well as to feminist art history and criticism.

Ms. Nochlin, a pioneer of feminist art history and an organizer of the museum's «Global Feminisms» show, wasn't the only mark; artists were singled out as well.

Carrie Moyer's seductive, abstract paintings, composed of bold shapes and lines of bright color, glitter, and raw canvas, vacillate between intimate personal experiences for both artist and viewer to loaded, clever constructs that reference art history and feminist art history.

Mira Schor is a New York - based artist and writer noted for her advocacy of painting in a post - medium visual culture and for her contributions to feminist art history.

The Woman's Art Journal is a feminist art history journal that focuses on women in the visual arts and serves as a forum for critical analysis of contemporary art issues as they relate to the women's art movement and art worldwide.