Sentences with phrase «feminist art world»

Lynn Hershman Leeson is a key figure in the feminist art world and recognised for her innovative and ground - breaking work in terms of technology and art.

Rail: You said Miriam Schapiro was weird about lesbians and I wonder if it was a point of contention within your feminist art world — I don't know how you identify, but I think most of your romantic partners are men.

Not exact matches

At some point Jensen started to grow apart from the anarcho - feminist cohort, and she became disillusioned with the art world.

In Dead Feminists, O'Leary and Spring honor 27 illustrious ladies — strong - willed leaders who changed the world through leadership, literature, art and education.

It ages, I don't,» Marcia Tucker, the exuberantly feminist, shoot - from - the - lip founding director of the New Museum declared in her posthumously published 2008 memoir, A Short Life of Trouble: Forty Years in the New York Art World.

Originally written for an anthology on women in sexist society that had been edited by Vivian Gornick but not yet published, Nochlin's essay caused feminist artists and the larger art world to question everything.

Referencing past precedents of feminist art, installation, performance, and ideology, the artworks in the show present an expanded visual language that has resulted from a more inclusive art world, shaped in part by the social movements of the 1970's, thereby paying homage to a generation who has paved the way for contemporary female expression.

This landmark collaborative art project explored feminist concerns about women's place in the professional and art worlds.

Meanwhile, the art world seemed more ready for her, having embraced a newer wave of appropriation artists like Richard Prince and Sherrie Levine, whose After Walker Evans series — photographs of Evans's photographs — brought a postmodern, feminist slant to the discourse about originality and authenticity.

The BMA presents Front Room: Guerrilla Girls, a selection of 48 works by the New York - based anonymous feminist collective known for using humor to confront sexism and racism in the art world.

«Guerilla Girls 1985 - 2013 ′ is the major retrospective of the work of the Guerilla Girls, the US feminist art group that has become the «the conscience of the art world» with its posters and interventions.

Affected by feminist ideas that were widely represented during the late 1960's, when the only few women taught in college art departments and rarely exhibit in museums and galleries, Janet Fish pierced through the male's world where people even believed in different aesthetic approach depending on the sex.

Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world.

She is known for her work to dismantle the sexist, racist and homophobic structure of the art world, and seeks to elaborate a queer, anti-racist, feminist history and theory of modern and contemporary Euro - American visual arts.

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.

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.

In New York, Semmel became involved in the feminist movement and feminist art groups devoted to gender equality in the art world.

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.

Created by the famed anonymous group of feminist female artists (in collaboration with Australian design studio Third Drawer Down), the tote pays homage to the Guerrilla Girls» work illuminating and eliminating racism and sexism in the art world.

At the time, she was propelled by the burgeoning momentum of the feminist art movement and her frustration with the chauvinism of the art world and American society at large...

Lynn Hershman - Leeson has been called one of the world's most influential media artists and a pioneer of feminist art.

Roberta Breitmore was never «real,» even though she was made of flesh and blood; her persona was, in fact, just a figment of Hershman Leeson's feminist imagination, only more developed than most artificially created alter egos that are set loose in the art world.

This week, the art world plays punk teen - fantasy dress - up: feminist CD - ROMs, soap - opera karaoke, protest discussions, and DIY costumes.

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.

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.

Often underrepresented in the art world, a need for rebalancing has been recognised by Frieze itself this year and a specially curated section showcases work by feminist artists from the 1970s and 1980s.

Within the art world, meanwhile, she is also admired for her queer and feminist activism, for planting her subjects in Brooklyn beer gardens and other proletarian settings where artists congregate, and for the hints of physical comedy in her work (also apparent in this print).

Both exhibitions emphasize the plural nature of feminist art: art made all over the world by women of all different nationalities, classes, and cultural and racial affiliations, and presumably identified with both the «essentialist» and the «constructionist» brands of feminist theory and politics, not to mention the many strategies of feminist art, from craft work to political exposé to canon - busting to the deconstruction of gender mythologies to body - centered investigations.

By re-inventing conventional handicraft techniques, so - called women's work, and introducing it to the world of contemporary art, her art resonates with the feminist tenets of the «personal as political».

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

Legendary feminist art historian Linda Nochlin and art curator Maura Reilly are joined by contemporary women artists for a discussion moderated by Arezoo Moseni about the positions of women artists and women in the art world today and how they have changed since the 1971 publication of Nochlin's landmark essay «Why Have There Been No Great Women Artists?»

Labeled a «lipstick feminist» by the art world — she once recast Yves Klein's «Blue Venus» in cherry - red lipstick, and frequently uses cosmetics in her work — Lachowicz's art falls under many headings: appropriationist, conceptual, feminist, postminimalist.

The Guerrilla Girls, an anonymous group of female feminist artists and art - world professionals in 1989 placed the poster illustrating the statistic data that less than 5 % of artists included in Modern Art Sections were female, but more than 85 % nudes are womart - world professionals in 1989 placed the poster illustrating the statistic data that less than 5 % of artists included in Modern Art Sections were female, but more than 85 % nudes are womArt Sections were female, but more than 85 % nudes are women.

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 my cut - out installation, she is Mrs Thatcher, her lover Ronald Reagan, the people are mostly from the art world: the critic, the dealer, 1980s artists, eager feminists...» A virtuoso piece, it is brazen in its details.

The postwar Parisian - Venezuelan feminist gained early acclaim in the New York art world in the 1960s before moving to Italy.

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.

You may have noticed that we've been mentioning something called the Guerrilla Girls Takeover, and starting tomorrow the feminist collective focused on equality and inclusion in art scenes kick off their full blown Takeover of Twincy's local art world.

«To me, they are art world royalty,» said a Whitney Museum curator about the famous feminist art collective.

«I'm a full - blown feminist and I'm very conscious about taking up space in the art world,» Cain continued, addressing the warped way abstraction is often gendered as male.

Schapiro directly confronted the male dominated art world and its masculine symbols by replacing them with new bold, imagined feminist icons.

Excommunicated from the art world in the early»90s for her cheerful paintings of hard - core pornography — Minter said feminists accused her of sexism — today she shows her work at the Venice Biennale; she's collected by the Guggenheim and Jay Z and is a godmother to a new generation of artists experimenting with what she calls «the feminine grotesque.»

«These feminist artists broke down the hierarchies of what is considered acceptable in the world of sculpture, whether it's the use of wire or cloth or yarns or foam or fiberglass,» said Paul Schimmel, the former chief curator of the Museum of Contemporary Art in Los Angeles, who organized the gallery's show.

Nancy Spero on Art: 21 Nancy Spero, artist, feminist, activist, wife, mother, and a great presence in the art world, passed away yesterdArt: 21 Nancy Spero, artist, feminist, activist, wife, mother, and a great presence in the art world, passed away yesterdart world, passed away yesterday.

These early members were trailblazers in the feminist art movement and helped to push beyond the expectations of the art world at this time.

In an art world that all too often resembles a boys» club, the artist Deborah Kass has long been an agent provocateur on behalf of the feminist perspective, infiltrating the male spotlight through works freighted with her own Jewish female identity.

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.

In terms of being a woman of color in the arts, she stated in an interview with MM Lafleur that in the show We Wanted A Revolution, «we wanted to show that black women are not outsiders to the art world or to the feminist movement — we are right in the middle of it, being hosts and not guests.»

Her specific concerns, and the directives that have driven her art practice, engage black feminist discourse, questions of history, and now, ritual performance and practice in art as tools to help us out of our world crisis.