Sentences with phrase «feminist art which»

It is also seen as an early form of feminist art which only came of age during the 1970s.

Not exact matches

She also has a mailer that she sends out to targeted businesses like yoga studios and feminist book stores, which are a good fit for her art.

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 generally.

which covered a wide swath of feminist art, a sign outside a room filled with photographs of variously splayed vaginas warned, «Please note this exhibition contains graphic content.»

McNeely's deep humanism and personal connection to the corporeal circumstances particular to women were qualities which may have been perceived as insufficiently theory - driven in the politicized crucible of early feminist art.

With a combination of audacious graphics, telling statistics, and provocative humor, the Guerrilla Girls, a groundbreaking feminist collective, use humor to call attention to the ways in which museums, private collectors, publications, and the art market have historically marginalized female artists and artists of color.

Gingeras is an independent curator as well as holding an adjunct curatorship at Dallas Contemporary, where she most recently curated Black Sheep Feminism: The Art of Sexual Politics, which examined the work of four radical feminist artists from the 1970s: Joan Semmel, Anita Steckel, Betty Tompkins, and Cosey Fanni Tutti.

«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.

Feminist scholar Lisa Tickner argues that feminist art freed artists from the Oedipal narrative of art history, which she interprets as generations of (male) artists reacting to and rejecting the work of their «art fathers.»

Edwards plans to work closely with participating artists and galleries to present art works which touch on themes that include feminist protest, gun violence, racism and queer utopias, according to Frieze.

Kat Griefen, an art dealer and art historian, is the co-owner of Accola Griefen, which focuses on modern and contemporary art by American women artists and feminist artists of historical significance.

The writer of Orlando, To the Lighthouse and The Waves has proven a lasting influence beyond the literary sphere, and this exhibition uses her work as a prism through which to explore feminist perspectives on landscape, domesticity and identity in modern and contemporary art.

Written in the first surge of the most significant feminist movement since the suffragettes, Nochlin's 1971 essay marked the beginning of an era in which public art institutions were challenged about the representation of women in their collections.

She's been very much a part of the New York art scene and a part of the feminist collective The Heresies, which had Joan Semel and Lucy Lippard.

Was she a stronger artist when she worked in the male universal, objective, modernist, formalist vein — which, say what you will about it, provides art with armor, whereas the feminist mode strips away that armor and leaves the work more contingent upon interpretation and aesthetically more vulnerable?

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.

Since then, Cornell has co-curated a solo show of Puerto Rican artist Beatriz Santiago Muñoz's films at the New Museum and a stunning group show, «Invisible Adversaries,» which used the work of radical feminist artist VALIE EXPORT as a jumping off point, at Bard College's Hessel Museum of Art.

For feminist artists, embodied art offered a means through which to challenge the canon and to foreground their own subjectivity.

The last part of the show, which starts off with Louise Bourgeois, looks at how feminist art has both embraced and criticized certain representations of motherhood, and how it's often gone back to myths of goddesses and mother figures to reappropriate power.

focuses on the crucial period of the 1970s, during which the majority of feminist activism and art making occurred internationally.

They are both invested in art's revolutionary possibilities for social change as evinced in Rainer's anti-war protest dances in the 1970s and the feminist dimensions of her radical choreographic style and films, as well as in Pendleton's Black Lives Matter flag for the Belgian Pavilion in the 2015 Venice Biennial and his latest series of paintings entitled Untitled (A Victim of American Democracy), which debuted this past summer as part of Edwards» Blackness in Abstraction exhibition at Pace Gallery and are now on display in Pendleton's first show with Galerie Eva Presenhuber, Zurich named Midnight in America.

One New York gallery in particular, Untitled Space, is currently inviting multidisciplinary women artists to submit work to an upcoming exhibition titled «Angry Women,» which will channel the feelings of election - related rage and anxiety into challenging and confrontational works of feminist art.

«What I appreciate in what Natalie is doing is that we need more complex feminist stories in this #MeToo era,» says Veronica Roberts, curator of modern and contemporary art at the Blanton Museum at the University of Texas, Austin, which showed the Grimm series after the Drawing Center.

She is, however, responsible for one of feminist art's most enduring images: the advert she placed in Artforum magazine to accompany a 1974 article about her work, in which she poses nude but for a pair of cat - eye shades and a slick of body oil.

«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.

It houses the documentation of their public performance work organized under Adriadne: A Social Art Network, which occurred between 1977 - 82 during a seminal moment in the international feminist movement.

Now the gallery is continuing this theme of feminist resistance through art with their latest exhibit, «She Inspires», which will run from May 2 - 20.

The show will span five decades, from her work as a pioneer of feminist performance to a practitioner of public art, in which Ukeles invites us to reconsider indispensable urban systems and the workers who maintain them.

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.

«Art and Feminismis a handsome, meaty book which provides an excellent overview of the influence of feminist theory and politics on four decades of women artists... Wide - ranging, well researched... A significant resource... The curators of the book make startling and informative connections... The sheer heft of lavishly produced images will be indispensable to scholars, critics and artists.»

This exhibition is led by her writing, which will act as a prism through which to explore feminist perspectives on landscape, domesticity and identity in modern and contemporary art - with works by over 70 artists.

feminist art survey (2007), which had people desperately searching for wall tags in an exhibition so large that it made Dolly Parton's breasts seem small, yet certainly home to some of our favorite feminist artists: Cindy Sherman, the Guerrilla Girls, and Sherrie Levine — in an exhibition that is, «a survey of leading women artists that examines the crucial feminist contribution to the development of deconstructivism in the 1970s and»80s.»

Proud Rebels is a project about an important black feminist wave which took place in the 80ties and was funded by CBK Zuidoost and Amsterdam Fund for the arts.

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.

As one of the founders of the A.I.R. Gallery in New York, which promotes women artists, she was a pioneer of feminist art.

Her most celebrated work began to emerge around 1970 when, motivated by feminist art principles, she produced a series of paintings which featured male nudes alluding directly to canonical female nudes, for example those of Ingres, Titian and Velázquez.

AB: The exhibition The Future is Female focuses on contemporary female artists who have drawn on the feminist art movement of the 1960s and 70s, which included, among others, Judy Chicago, Martha Rosler and Lynda Benglis.

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.»

a feminist art show that Connie Butler curated in 07, and which traveled into 08, featured perhaps a dozen of De Feos 1970s «tripod» works — a paean to how photography had been the mechanism of getting her back to work, after the exhaustion of The Rose.

The list includes artists who have played a role in the feminist art movement which largely stemmed from second - wave feminism.

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.

Art and the Feminist Revolution focuses on the crucial period 1965 — 80, during which the majority of feminist activism and artmaking occurred internationally.

Martha Nilsson Edelheit (born September 3, 1931, in New York City), [1] also known as Martha Ross Edelheit, is an American - born artist currently living in Sweden who is known for her feminist art of the 1960s and 1970s, which focuses on erotic nudes.

Rejected at the time not only by prudish institutions and the male - dominated art world, but also by the mainstream feminist movement — which regarded pornography as a vulgar extension of patriarchy — Tompkins» work has been marginalized for more than 30 years.

Women Art Revolution (2010), a documentary about the feminist art movement, which fused free speech and politics into an art that radically transformed culture; and, finally, the premiere of a new documentary about Tania Bruguera, whose survey exhibition, organized by YBCA, will premiere at YBCA in June 20Art Revolution (2010), a documentary about the feminist art movement, which fused free speech and politics into an art that radically transformed culture; and, finally, the premiere of a new documentary about Tania Bruguera, whose survey exhibition, organized by YBCA, will premiere at YBCA in June 20art movement, which fused free speech and politics into an art that radically transformed culture; and, finally, the premiere of a new documentary about Tania Bruguera, whose survey exhibition, organized by YBCA, will premiere at YBCA in June 20art that radically transformed culture; and, finally, the premiere of a new documentary about Tania Bruguera, whose survey exhibition, organized by YBCA, will premiere at YBCA in June 2017.

Women Art Revolution (2011), which is about feminist artists, and Strange Culture (2007), which follows an artist on trial for bioterrorism charges.

Over the past two years, the feminist video artist has had critically acclaimed solo shows at Modern Art Oxford, Bridget Donahue in New York, and the ZKM Center for Art in Karlsruhe, Germany, and now her work can be seen at the Whitechapel Gallery's much - hyped show «Electronic Superhighway 2016 — 1966,» which surveys the Internet's impact on aArt Oxford, Bridget Donahue in New York, and the ZKM Center for Art in Karlsruhe, Germany, and now her work can be seen at the Whitechapel Gallery's much - hyped show «Electronic Superhighway 2016 — 1966,» which surveys the Internet's impact on aArt in Karlsruhe, Germany, and now her work can be seen at the Whitechapel Gallery's much - hyped show «Electronic Superhighway 2016 — 1966,» which surveys the Internet's impact on artart.

Radical Women, co-curated by Andrea Giunta and Cecilia Fajardo - Hill, is one of many exhibitions to employ redefined understandings of female, feminist, queer, and other gender - nonconforming identities, breaking new ground for Latin America's art histories, which have until now been largely unexplored in US museum institutions, with a few notable exceptions.

Famous modern installation artists include: Joseph Beuys (1921 - 86) the war - scarred ex-Professor of Monumental Sculpture at the Dusseldorf Academy, whose lard and felt installations, extensive use of found objects, bold lectures on art and creativity and career long dedication earned him a retrospective at the Guggenheim Museum in New York; Italian Arte Povera artists Mario Merz (1925 - 2003), Michelangelo Pistoletto (b. 1933), Jannis Kounellis (b. 1936), and Gilberto Zorio (b. 1944); the German multi-media artist Rebecca Horn (b. 1944), noted for her performance films, her kinetic installations, and her Guggenheim retrospective which toured Europe in 1994; Judy Chicago (b. 1939), noted for her installation of feminist art - The Dinner Party (1979, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York); Bruce Nauman (b. 1941), noted for his neon light sculpture and video installations; and the Frenchman Christian Boltanski (b. 1944), famous for his installations of photographs, sometimes with lighart and creativity and career long dedication earned him a retrospective at the Guggenheim Museum in New York; Italian Arte Povera artists Mario Merz (1925 - 2003), Michelangelo Pistoletto (b. 1933), Jannis Kounellis (b. 1936), and Gilberto Zorio (b. 1944); the German multi-media artist Rebecca Horn (b. 1944), noted for her performance films, her kinetic installations, and her Guggenheim retrospective which toured Europe in 1994; Judy Chicago (b. 1939), noted for her installation of feminist art - The Dinner Party (1979, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York); Bruce Nauman (b. 1941), noted for his neon light sculpture and video installations; and the Frenchman Christian Boltanski (b. 1944), famous for his installations of photographs, sometimes with lighart - The Dinner Party (1979, Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York); Bruce Nauman (b. 1941), noted for his neon light sculpture and video installations; and the Frenchman Christian Boltanski (b. 1944), famous for his installations of photographs, sometimes with lighArt, Brooklyn Museum, New York); Bruce Nauman (b. 1941), noted for his neon light sculpture and video installations; and the Frenchman Christian Boltanski (b. 1944), famous for his installations of photographs, sometimes with lights.

Barbara Kruger (b. 1945) Conceptual artist associated with feminist art in the United States, which typically consisted of black - and - white photographs overlaid with captions.