Sentences with phrase «feminist art practice»

In Women Artists at the Millennium, artists, art historians, and critics examine the differences that feminist art practice and critical theory have made in late twentieth - century art and the discourses surrounding it.

In Women Artists at the Millennium, artists, art historians, and critics examine the differences that feminist art practice and critical theory have made in late twentieth - century art and the discourses surrounding it.In 1971, when Linda Nochlin published her essay «Why Have There Been No Great Women Artists?»

In this interview, artist Martha Rosler considers the past, and the future, of feminist art practice.

In recent years, Smith's practice has been reappraised in a number of important exhibitions including Connie Butler's survey of feminist art practice: «WACK!

«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).

The panel will explore the impact that LA - London Lab had on subsequent feminist art practice, the evolution of performance work, and the role that artist - run and alternative spaces continue to play in the art world of today.

During Feminism's formative decades, feminist art practice and ideologies took many forms and addressed many issues involving both the personal and public spheres.

Under the Polish «critical art» during 1990s, she started specific feminist art practice of displaying and overcoming social stereotypes of the body in terms of binaries perfect - imperfect, healthy - ill, male - female, dead - alive and thus reveal strong patriarchal ideals as dominant within the society.

Yet beyond the contemporary and future implications of this piece, Imagination, Dead Imagine exists within a critical canon of uniquely disruptive, feminist art practice.

What can it offer art — or, even further, a feminist art practice like yours?

«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.

These critiques of neo-expressionism reveal that money and public relations really sustained contemporary art world credibility in America during the same period that conceptual and feminist art practices were systematically reevaluating modern art.

Works from Let Her Rave and It's Just Uncomfortable are currently on display in The Future is Female, a group exhibition at 21c Cincinnati, Ohio, that examines the legacy of feminist art practices from the 1970s.

Talk: Mickalene Thomas and Judith Bernstein at National Academy of Design As part of the ongoing «Salon» talks series at the National Academy of Design, this conversation between artists Mickalene Thomas and Judith Bernstein promises a compelling look at two feminist art practices of different generations.

Miralles, a vital contributor to feminist art practices in the 1970s, reminds us that although Beuys supported women's liberation, his female contemporaries did not always receive him well, and that younger women artists have drawn from his practice in highly selective ways.

With more than 100 artists and fifteen countries represented in the show, Radical Women constitutes the first show to directly address the genealogy of feminist art practices and influence in Latin America and internationally.

constitutes the first show to directly address the genealogy of feminist art practices and influence in Latin America and internationally.

Wieland's utilization of unabashed femininity against a token of patriotic rhetoric is an excellent example of feminist art practices from the time, when artists embraced vernacular elements from womanhood against patriarchal order.

Despite the cultural and geographic discrepancies, this selection will exhibit common threads and shared politics in feminist art practices across Western Europe, as well as exploring the different usages of the photographic medium.

Hershman's solo media projects addressing feminist art practices are well known, but the impact of this short - lived but influential organization deserves a second look, especially considering it facilitated projects by a slew of important contemporary artists, from Michael Asher to Eleanor Antin.

Working within the overlapping discourses of Conceptual art, land art, poetry, and feminist art practices, Vicuña has long refused categorical distinctions, operating fluidly between concept and craft, text and textile.

Not exact matches

In «The Beguiled,» she once again practices the fine art of narrative subtraction, this time in service of an understated yet purposeful feminist reading.

Guerrilla Girls - an anonymous collective in existence since 1985 with an undefined number of members who always appear in public wearing gorilla masks - have concerned themselves since their inception with the feminist - inspired, witty infiltration of prevailing meaning - production in popular culture, art and advertisements, linked to blind spots in (art) institutional practice.

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.

Second Century: Photography, Feminism, Politics acknowledges the absorption and application of myriad feminist ideals and practices at the beginning of a second century of organized and evolved feminist approaches to art and politics.

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.

The exhibition highlights groundbreaking practices that shaped the feminist art movement and provides a timely reminder of the wide impact of a generation of artists.

However, more than one artist never thought of her practice as feminist, and they were not making overtly political art.

I approach these two exhibitions with the ironic realization that I was schooled in the same male universal aesthetic value system that Schapiro struggled with — both internally and due the external art world — as she sought a feminist practice; it is one of my critical considerations.

This is an evening discussion exploring the possibilities of having a feminist curatorial practice in the art world today.

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.

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.

The affirmation of the self as subject and the prevalence of craft - based practices such as sewing, weaving, embroidery, and applique in 21st - century art is a legacy of the feminist art of the 1970s.

Emily Roysdon's work was first shown at Art in General as a co-founder and editor of the feminist journal and artist collective, LTTR, whose exhibition and residency, Explosion LTTR: Practice More Failure, was on view in 2004.

The project was based on the art of Joyce Wieland and early feminist practice in 1960s and 1970s Canada.

Associated with conceptual art practices from the 1970s and known as a feminist filmmaker and performance artist, Antin playfully deals with questions of identity, gender, and class.

Although radical feminist and women's art is facing criticism, artists who belong to this art movement are still deconstructing patriarchal structures of power and oppression, through their brave and unique artistic practices.

One of the pioneers of Conceptual Art and the most prolific feminist artists, whose practice unifies all the stated above, is definitely Adrian Piper.

Obviously, those who are part of the radical sexual feminist art believe that female nudity celebrates women's body and that their practice does not subjugate women to patriarchal oppression.

For the 2016 Walter Annenberg Lecture, Rosler will speak about her multidisciplinary practice and the genealogy of conceptual and feminist art in the United States with Adam D. Weinberg, the Museum's Alice Pratt Brown Director.

-- a dramatic feminist call - to - arms that called traditional art historical practices into question and led to a major revision of the discipline.

We also discuss her studio practice, education, views on feminist art, and her coined «glitch feminism».

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.&raqArt & Radical Politics included in the context of an art fair.&raqart fair.»

Another intergenerational dynamic I'm intrigued by is the pairing of Bracha L Ettinger and Lee Relvas (Callicoon Fine Arts, New York, H34): to prioritize feminist practices like these and to reference Ettinger's own published writings is a really ambitious gesture for the gallery — and that should make for a quite beautiful presentation.

In addition to Burn's prolific sculptural and video work, the self - proclaimed «compulsive collaborator» co-founded W.A.G.E. (Working Artists and the Greater Economy), an important advocacy group for fair economic practices in the arts, co-founded Randy, an annual trans - feminist art magazine, and is a member of LTTR, a feminist genderqueer artist collective with an annual journal, performance series, and screenings.

Additionally, the focus on a woman's own voice and gaze, as opposed to the more art historical objectification of women, that the feminist artists initiated, deeply influenced my education and thus my own practice.

Benglis rose to prominence during the 1960s and»70s, a time when her singular practice both intersected with and transcended the categories of post-Minimalism and feminist art.

ORGASMIC STREAMING — ORGANIC GARDENING — ELECTROCULTURE — «a group exhibition looking at practices that emerge between text and performance, the page and the body, combining a display and events program of historical and contemporary works — seeks an alternative framework to look at the influence of conceptual procedures as well as experimental writing within contemporary feminist performance practices across visual art, sound and text.»

Proposal for an Exhibition «CARE» (1969) was a major intervention in feminist performance practices and public art.

A fearless pioneer whose performances were fueled by feminist indignation of the vulnerable position of women in American society, her work has been a harbinger of experiments in social practice, new media, interactive and net - based art decades before technology and digital culture would re-shape our experience of reality.