Sentences with phrase «feminist art such»

There is a long history of women employing food in subversive feminist art such as Carolee Schneemann's Meat Joy.

Chicago, Judy (b. 1939) Feminist artist (born Judy Cohen), best known for her defining 1970s works of feminist art such as The Dinner Party (1979) and Through the Flower (1973).

Still, otherwise inclusive surveys of feminist art such as Wack!

Not exact matches

Such attempts, whether undertaken from a feminist point of view, like the ambitious article on women artists which appeared in the 1858 Westminster Review, 2 or more recent scholarly studies on such artists as Angelica Kauffmann and Artemisia Gentileschi, 3 are certainly worth the effort, both in adding to our knowledge of women's achievement and of art history generaSuch attempts, whether undertaken from a feminist point of view, like the ambitious article on women artists which appeared in the 1858 Westminster Review, 2 or more recent scholarly studies on such artists as Angelica Kauffmann and Artemisia Gentileschi, 3 are certainly worth the effort, both in adding to our knowledge of women's achievement and of art history generasuch artists as Angelica Kauffmann and Artemisia Gentileschi, 3 are certainly worth the effort, both in adding to our knowledge of women's achievement and of art history generally.

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.

However, such otherwise inclusive surveys of feminist art as Wack!

The transformation of a Hollywood house, previously scheduled to be demolished, allowed the artists to make traditionally female spaces, such as kitchens, into feminist works of art.

«Many figures in this section - such as Renate Bertlmann, Birgit Jürgenssen, Penny Slinger and Betty Tompkins - were too transgressive to be included in anthologizing museum shows, which arguably forged a consensual canon for important feminist art.

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.

Today, Faith Wilding, Dara Birnbaum and Amy Sillman are among the distinguished artists and scholars tackling topics such as feminist painting and transgender art in «The Feminist Art Project.&raqart in «The Feminist Art Project.&raqArt Project.»

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.

Many figures in this section such as Renate Bertlmann, Birgit Jürgenssen, Marilyn Minter, Penny Slinger and Betty Tompkins, were too transgressive to be included in anthologizing museum shows which arguably forged a consensual canon for important feminist art.

She is not interested, however, in feminist art that «places social critique or politics in the foreground,» acknowledging the feminine, emotional side to artists such as Mike Kelley or Matthew Barney, of whom she was an early collector.

How do you see the role of such a space in a renewed mainstream interest in feminist art?

Ewa Partum is well known in Eastern Europe where she is perceived as a pioneer of feminist art, as well as in Western Europe largely because of her move to Berlin in 1982, and her close cooperation with European Fluxus artists, such as Wolf Vostell.

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.

But championed by the feminists of the New York art world in the 1970s, and then embraced by such curatorial powerhouses as Robert Storr, she became well known as she entered her seventies.

The 1960s New Tapestry Movement saw fiber art as a tool of political or feminist expression; many women artists, such as Jagoda Buić and Olga de Amaral, followed by Annette Messager, dared to return to the craft and the decorative.

Before Kali has a wide range of references, from Indus Valley figurines, to ancient Indian Rasa theory that deals with art and aesthetics, to premodern sculptures, current political events, references to Western art history and contemporary feminist artists such as Louise Bourgeois and Maria Lassnig.»

Her graduate studies and research are focused on contemporary art through the lenses of affect theory and feminist theory, and her art criticism has appeared in publications such as Mousse Magazine and Art Papeart through the lenses of affect theory and feminist theory, and her art criticism has appeared in publications such as Mousse Magazine and Art Papeart criticism has appeared in publications such as Mousse Magazine and Art PapeArt Papers.

In her videos, Gilmore critiques and also inserts herself into male dominated movements such as Abstract Expressionism and Minimalism, exploring feminist themes and modern and contemporary art tropes, all the while exhibiting relentless determination.

In addition to the more than 4,000 items in the Egyptian holdings, museumgoers can scope pieces by masters such as Cézanne, Monet and Degas, plus an entire center devoted to feminist art.

The artist's reverence for art history and her playful resistance to its authorial discourse are made evident in references to heavy hitters such as Judy Chicago (a queen mother of feminist art and the maker of The Dinner Party, 1974 — 79) and Marcel Broodthaers (a conceptual - art mastermind and the creator of Department of Eagles in Brussels in 1968).

Complementing the residency and exhibitions will be panel discussions intended for the general public, university students, and faculty in which the exhibiting artists, art historians, and activists will explore topics such as attitudes toward feminist art among women of different generations; the role of artists as agents of change; and the representation of women in the contemporary art world.

Preciado's research interests include contemporary art and post-1960s conceptualist vanguards such as feminist art and performance art, with a special focus on Latin American art and its diaspora in the United States.

In the tradition of feminist trailblazers such as Judy Chicago and Marina Abramovic, the transatlantic collective functions as an experimental arts community, working to inspire intelligent conversation, creativity, and expression, while ushering in a renaissance for a new generation of young female artists.

[10] While Lucas continues the artistic legacy of feminist artists such as Hannah Wilke, Cindy Sherman, and Rachel Whiteread, her visual language empties femininity of meaning and thus removes her from such a clear «feminist art» title.

She has written extensively and lectured internationally on such interdisciplinary topics as art and urbanism, art and the public sphere, art and the declaration of rights, art and war, and feminist theories of subjectivity in visual representation.

With artworks such as Interior Scroll, 1975, Carolee Schneemann was radically ahead of her time, and incorporated feminist themes into Performance Art.

Women Art Revolution elaborates the relationship of the Feminist Art Movement of the 1960s anti-war and civil rights movement and explains how historical events, such as the all - male protest exhibition against the invasion of Cambodia, sparked the first of many feminist actions against major cultural institutions.

This interest in identity — particularly in relation to gender — is key to Maclean's work, and the way that she uses her body as a medium through which to explore this brings to mind the art of feminist artists such as Cindy Sherman and Lynne Hershman Leeson.

Multimedia works by international artists such as Zoe Buckman, Zanele Muholi, and Saya Woolfalk make strong feminist statements in this timely exhibition of contemporary art.

Speaking to their contrasting views on such «segregated» exhibitions, Morris and Hockley noted that while, in both title and subject, the exhibition «is focused purposefully on the work and experiences of black women... it also features the work of men and non-black women of colour, and, through ephemera, references the work of white women artists, feminists, and art world influencers.»

In fact, Kusama dealt with pop art, minimalism, and feminist art movements before they were popular, making her an influence on contemporaries such as Andy Warhol and Claes Oldenburg.

The personally dangerous aspect of his performances chimes with many contemporaries working in feminist and body art, such as Marina AbramoviÄ ‡ or the Viennese Actionists.

Judy Chicago (b. 1939) creates large - scale, collaborative artwork has brought greater prominence to feminist themes and craft arts such as needlework and ceramics.

«This canonical essay precipitated a paradigm shift within the discipline of art history,» Reilly states in her preface to Women Artists: The Linda Nochlin Reader (2015), «and as such her name became inseparable from the phrase, «feminist art,» on a global scale.»

Parallel to these art historical reservations were thematic questions that brewed as the feminist movement championed positive depictions of the female body, such as Judy Chicago and Miriam Schapiro's 1971 founding of the Feminist Art Program at the California Institute of the Arts, as well as the 1974 — 79 creation of the monumental The Dinner Party, a celebration of women's history through a specifically female - bodied lineage of vaginal place settinart historical reservations were thematic questions that brewed as the feminist movement championed positive depictions of the female body, such as Judy Chicago and Miriam Schapiro's 1971 founding of the Feminist Art Program at the California Institute of the Arts, as well as the 1974 — 79 creation of the monumental The Dinner Party, a celebration of women's history through a specifically female - bodied lineage of vaginal place settinArt Program at the California Institute of the Arts, as well as the 1974 — 79 creation of the monumental The Dinner Party, a celebration of women's history through a specifically female - bodied lineage of vaginal place settings.

In Chicago in the early 1970s, we had our own third and best - known generation of alternative spaces (each city can claim its own artist - run history, probably with a fair share of boosterism thrown in), such as ARC, Artemisia (both were feminist galleries formed from West - East Bag, a nationwide network of women artists), and N.A.M.E., with the much - heralded Randolph Street Gallery opening in 1979.7 This is not to mention still - running artist - driven efforts such as the Hyde Park Art Center, founded in 1948, and the South Side Community Art Center, the only surviving Federal Arts Center from the WPA era and the oldest African American art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 19Art Center, founded in 1948, and the South Side Community Art Center, the only surviving Federal Arts Center from the WPA era and the oldest African American art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 19Art Center, the only surviving Federal Arts Center from the WPA era and the oldest African American art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 19art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 1940.

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.

At the fair itself, special projects include the free sculpture park boasting big names such as feminist art icon Kiki Smith and Thomas Houseago, whose messy take on macho modernism has made him a rising star.

Including Brodhead within feminist art movements would not only be disingenuous, but it would lead to her becoming pigeonholed, as many artists such as Barbara Kruger, Judy Chicago or the Guerilla Girls have been.

Like other postmodernist artists, such as Damien Hirst (1965) and Tracey Emin (1963), Saville has benefited considerably from Saatchi's patronage, and her disturbing (sometimes gross) depictions of obese, occasionally faceless women have gained widespread attention without being seen as feminist art or linked with feminism.

Through historical works of pioneering feminist artists such as Betty Tompkins and Joan Semmel, to that of emerging contemporary female artists such as Andrea Mary Marshall, India Munuez, Myla Dalbesio, Katie Commodore, and Leah Schrager, Secret Garden presents works by taboo shattering artists who fearlessly address sexual themes in their art and celebrate freedom of expression.

In addition, temporary exhibitions of modern and contemporary art - such as the seminal exhibition of feminist art, «Elles» (2009 - 2011)- are regularly staged on a third floor of the Centre.

After producing installation pieces such as Womanhouse (1972) and The Dinner Party (1975), Chicago achieved international stardom as a pioneer of the feminist art movement in the 1970s.

This is an especially deadly charge when measuring art of a feminist provenance: It's still rare enough that such art is considered worthy of serious discourse.

It also became a favourite strategy of feminist artists — such as the gorilla - masked Guerrilla Girls, whose mission was to expose sexism, racism, and corruption mainly in the art world — as well as of artists elsewhere in the world, such as the Chinese artist Zhang Huan.

Their art collective staged numerous incendiary performances such as an orgy in a biology museum to parody then - President Dmitry Medvedev's plans to boost the birth rate, and a giant penis painted on a drawbridge in St Petersburg.Three members of the punk band were each sentenced to two years in jail for performing an anti-Putin song in Moscow's Christ the Saviour Cathedral in a «feminist attempt to take Russia from the Middle Ages to the modern era».

Black's abstraction reveals numerous art historical references, including the Abstract Expressionists such as Jackson Pollock and feminist performance artists like Carolee Schneemann and Bobby Baker.