Robert Adanto's film explores radical «4th wave»
feminist performance through interviews with a new generation of artists who use their bodies as subject matter.
Not exact matches
2010En el Barrio de Gavin Black
through evas arche un der
feminist in the back room of Gavin Brown Enterprise; curated by Pati Hertling, New York, NY In the Company of; Housatonic Museum, curated by Terri Smith, Bridgeport, CT The Pursuer; Greene Naftali Gallery, New York, NY Greater New York Cinema Program; PS1, Long Island City, NY Beside Himself; curated by Terri Smith, Ditch Projects, Springfield, OR Hardcorps: Movement Research Festival 2010; Center for
Performance Research, Brooklyn, NY Alphabet Soup; The Creative Alliance, Baltimore, MD A Failed Entertainment: Selections from the Filmography of James O. Incandenza; The Leroy Neiman Gallery at Columbia University, New York, NY
Through a series of scripted body positions, Street slowly imprints quasi-photographic imagery into pools of wet acrylic paint on canvas, her body wrapped in hosiery, an indexical gesture that recalls
feminist performances of the 60 ′ s and 70 ′ s.
The texts considerGilmore's contemporary reassessment of both hardcore and
feminist performance practices that emerged in the 1960s and 70s, which explored physical limits and social norms, often
through exposure and endurance.
Using her body, its breathing, touching, shaping and transitioning to explore space and time, her practice engages in decolonial and
feminist explorations of the present
through performance, installation, video and sound.
O'Grady subsequently found her way
through photography,
performance, writing, photomontage and film to critically engage the complicated power structures, institutions, and social constructs that guide
feminist histories, interracial relationships, biculturalism, and Western subjectivity.
Declaring «the personal is political,»
feminist artists critiqued the objectification of women
through the agency of
performance art, often using their own bodies but also incorporating narrative strategies, autobiography, and role reversal.
It explores Black
feminist art where the ideas come first, and then
through multiple mediums including, video, sculpture,
performance, photography and painting she decided which will portray her expression best.
Overlooked in her discussion of Sherman is the recognition that her dressing - up, role - playing, selfie - photo schtick was already old when she revved it up in the late 1970s, and that, for some time, such pioneering
feminist artists as Martha Wilson, Martha Rosler, Suzy Lake and others had already been examining women's society - defined roles and images
through photographic,
performance - based artistic projects.
Addressing how femininity is outwardly performed or written into appearance, Kiki Smith's etching «Ballerina (Stretching Left)» (2000) draws on the long legacy of womanhood as portrayed
through the dancerly physique, from Degas» 19th - century ruminations on dancing girls to Eleanor Antin's complex
feminist performances as her alter ego Eleanora Antinova.
Medium: Video, installation,
performance Style: Everyday life
through a kaleidoscopic microscope Birthday: 1943 Superpower: Rosler's
feminist artworks dissect aspects of daily life, especially from a woman's perspective, from cooking shows to systems of underground transportation and the images of war.
Arguably the ultimate expression of female passivity - an anathema for
feminists - the
performance tested audience reaction to the opportunities presented and affirmed the artist's identity
through the actions of others.
Ana Mendieta, a groundbreaking
feminist Cuban artist best known for her earth - body
performances, explored female identity
through photography, film, and sculpture.