Sentences with phrase «feminist practices»

The section has a concentration of conceptualist and feminist practices from the 1960s and 1970s, including historical figures not only from Europe and North America, but also from Asia, Latin America and the Middle East.

This is an opportunity to consider feminist practices, ideas of authenticity, skill and craft, as well as what it means to discuss the work of artists who make alongside artists who work with new technologies.

Her wearing of pants with a matching jacket conformed to contemporary feminist practices that helped move women of all ages to adopt the elegance, comfort, and politics of pants.

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.

WE (Not I) began as a series of discussions and presentations at South London Gallery, London and Artists Space, New York in 2015, which gathered over 100 women artists, writers and curators together to discuss their projects in relation to authorship, collaboration, and the valuation of feminist practices.

In feminist practices the intertwining of the theological and

In an investigation of feminist practices at least three themes emerge within each practice: justice, dialogue and imagination.

In feminist practices, theology itself is about such «saving work.»

The section at Frieze London will be dedicated to women artists working at the extreme edges of feminist practice since the 1960s, and the galleries who supported them, including: Galerie Andrea Caratsch presenting Betty Tompkins; Blum and Poe presenting Penny Slinger; Richard Saltoun presenting Renate Bertlmann; Salon 94 presenting Marilyn Minter; and Hubert Winter presenting Birgit Jürgenssen.

Renate Bertlmann has been working on the edges of transgressive feminist practice in Austria since the late 1960s.

Entitled «Alt - Feminisms», the talk will address the history of feminist practice and its continuing relevance today.

Each of these women grapples in her work with how painting has historically and might continue to signify a feminist practice.

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.

The section features nine solo presentations of women artists working at the extreme edges of feminist practice during the 1970s and «80s, all sharing a focus on explicit sexual iconography combined with radical political agency.

The section was dedicated to women artists working at the extreme edges of feminist practice since the 1960s, and the galleries who supported them.

Highlights this year include curated gallery sections dedicated to discovery and radical feminist practice, Frieze Projects» non-profit programme featuring commissions from 11 international artists and for the first time this year, Frieze Sculpture, London's largest free showcase of major outdoor works.

Sidestepping any didactic elements in her particular style of feminist practice, Steir instead employs an approach to painting that makes metaphoric references to the leaks, seepages and flows of the female body, seeking to draw out allusions to something that is more random, intuitive, and created by chance circumstances.

Exploring new perspectives on feminism, the section is dedicated to female artists who have been working at the extreme edges of feminist practice since the 1960s, including artists such as Renate Bertlmann, Birgit Jürgenssen, Marilyn Minter, Penny Slinger, and Betty Tompkins.

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

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.»

began, specifically highlighting the influence of feminist practice on the styles and methods of painting from the 1960's on.

SOM: To celebrate a broader sense of Feminism and the definition of what makes up a feminist practice, we invited artists whose practices re-envision a change in current social structures.

Seducing the Machine, an exhibition of digital video and photographic work, marks the culmination of Katherine Nolan's doctoral research into narcissism, performance and contemporary feminist practice.

New section: Sex Work Curated by Alison M. Gingeras, Sex Work: Feminist Art & Radical Politics features nine solo presentations of women artists working at the extreme edges of feminist practice during the 1970s and «80s, all sharing a focus on explicit sexual iconography combined with radical political agency.

This is the first book on Mexican artist Mónica Mayer's (born 1954) broad range of production, bringing together two - and three - dimensional works, records of actions, sound and film recordings and archival materials, enabling a reading of Mayer's place in the construction of feminist practice in Mexico.

Can you elaborate on what collaboration means to you and if you see it as a particularly feminist practice?

Featuring women artists working at the extreme edges of feminist practice since the 1960s, and the galleries who supported them, highlights from the section include: • Galerie Andrea Caratsch with Betty Tompkins; • Blum and Poe with Penny Slinger; • Richard Saltoun with Renate Bertlmann; • Salon 94 with Marilyn Minter; • Hubert Winter with Birgit Jürgenssen.

The Austrian feminist artist Renate Bertlmann has been working on the edges of transgressive feminist practice using fetishistic objects as her props, dildos, condoms, pacifiers.

Feminist South is a curatorial project and research platform spanning across 2017 - 2019 that aims to generate discussion on contemporary feminist practice located in and around Asia, Australia and the Pacific regions.

Highlights this year include curated gallery sections dedicated to discovery and radical feminist practice, Frieze Projects» non-profit programme featuring commissions from 11 international artists.

Artists Nicole Doran, Nathalie Alfonso, Juana Valdes, and Clara Varas will explore notions feminist practice, identity politics and the role of the female artist in our attention - economy.

▸ Feminist South together with Kelly Doley Feminist South is a curatorial project and research platform spanning across 2017 - 2019 that aims to generate discussion on contemporary feminist practice located in and around Asia, Australia and the Pacific regions.

Feminist Art & Radical Politics, curated by Alison Gingeras, highlighting feminist practice since the 1960s, and the galleries who supported them.

It is at the moment primarily a discursive and / or artistic practice; this is where our primary interventions lie, with the ambition that this work will have effects on what thought and feminist practice shape up to be, and in turn how people act in the world.

In the curated gallery sections, Focus features presentations by galleries aged 12 years or younger; Live is a space for performance and participation works; and new for 2017, Sex Work: Feminist Art & Radical Politics showcases female artists working at the extreme edges of feminist practice since the 1970s.

It's not until the past year, however, that the artist's ever - evolving feminist practice was celebrated in her first major retrospective: «Marilyn Minter: Pretty / Dirty» at the Brooklyn Museum.

Sex - Work is a new section for Frieze London 2017, curated by Alison Gingeras, exploring feminist art and radical politics The section at Frieze London will be dedicated to women artists working at the extreme edges of feminist practice since the 1960s, and the galleries who supported them, including: Galerie Andrea Caratsch presenting Betty Tompkins; Blum and Poe presenting Penny Slinger; Richard Saltoun presenting Renate Bertlmann; Salon 94 presenting Marilyn Minter; and Hubert Winter presenting Birgit Jürgenssen.

Not exact matches

Pat's pragmatic optimism inspires me, too: when men «get it» and become an ally of feminist women, they can become the most powerful champions for women and evangelists of equitable practices.

Some of my practices are using explicitly feminist God - language, not just «inclusive» because folk hear / see / imagine a male god when they hear «God.»

Third, many women theologians are using insights and practices from feminist theology in order to address broader social and ethical questions confronting the church, such as globalization, care of the earth, and the shifting patterns of work and family.

Never one to shy away from the hard questions, Bessey engages critically with Scripture and church practices that are often used against full equality and shares how following Jesus made a feminist out of her.

Second, an increasing number of feminist theologians are directing their energies toward the church's central doctrines and practices — justification by faith, the incarnation, baptism and the Eucharist.

Egalitarians and Christian feminists both share a common denominator — that justice and equality for females is a biblical ideal that can and should be part of the moral teachings and practices of Christians.

I speak throughout Canada and internationally to churches, conferences, women's groups, universities, and workshops on topics ranging from spiritual formation, a sacramental view of living, being a Christian feminist, the ways that we can navigate change throughout our faith journey, the embrace of ancient church practices as a charismatic Christian, writing, social justice, and many other topics.

Development of theory and practice in the feminist movement conforms to the praxis model.

Feminists see that our whole inherited system of language expresses and undergirds the patriarchal practice.

Likewise, Patricia Hill Collins in Black Feminist Thought develops what she calls an «Afrocentric feminist epistemology» based on the practices of concrete experience as a criterion of meaning, the use of dialogue in assessing knowledge claims, the ethic of caring and an ethic of accountability.

Central to feminist theological practice is recognizing the unrealized possibilities in a situation.

Justice, as a basic theme of theological education, is central to each practice of feminist theological education.

Honestly, I wasn't a feminist by practice, just by inward position.