Sentences with phrase «generation of women artists»

Joan Snyder is an avowed feminist and belongs to the first generation of women artists to identify themselves as such.

Stoically, she plowed through the male - dominated art world to make way for her art and by doing so, cleared a way for a generation of women artists.

The organic qualities of Hesse's mature work caused the next generation of women artists to view her as a pathbreaker who deconceptualized sculpture and raised questions about gendered meanings suppressed in the broad material life of American culture.

The exhibition is severely overhung, with only a handful of works installed off the wall, and features seventy - five works that, according to the wall text, highlight a «new generation of women artists who are exploring many levels of sexuality through layers of identity and using the internet as a tool for sexual empowerment.»

Born in Brussels in 1930, Marthe Wéry was professor of painting at the Institut Saint - Luc in Brussels, and as an instructor, influenced a young generation of women artists, such as Ann Veronica Janssens and Joëlle Tuerlinckx.

Has anyone ever thought about the fact that June Leaf helped pave the way for a generation of women artists, including Kiki Smith and Daisy Youngblood, among others, and has never received an ounce of acknowledgment for it?

She was professor of painting at the Institut Saint - Luc in Brussels, and as an instructor, influenced a young generation of women artists, such as Ann Veronica Janssens and Joëlle Tuerlinckx.

Those pieces were in every sense my homage to the first generation of women artists like Louise Bourgeois, Nancy Spero, Hannah Wilke, Carolee Schneemann, and a few others who paved the way in our constant struggle for visibility and power.

Body Talk addresses issues of feminism, sexuality and the body, as they play themselves out in the work of a generation of women artists from Africa active since the late 1990s.

Chanzit mentions that in the course of the preparation of this project over one hundred artists were considered, and while «most were not consistent participants in the movement» and do not belong in this particular study, the very existence of such a long roster of potential candidates indicates that this generation of women artists is ripe for reconsideration.

«In Her Own Right: Minnesota's First Generation of Women Artists» at the Minnesota Museum of American Art

Rona Pondick was among an important new generation of women artists including Kiki Smith, Sarah Lucas and Jeanne Silverthorne, whose works featured daring materials and references to the body.

Curated by Anika Meier, the show explores the contemporary generation of women artists who use new media to explore gender, sexuality and identity in the digital age.

KSThat earlier generation of women artists was not given the option of being feminists — and, even later in life, many were not interested in embracing that identity when it was on offer.

This is distinctly different from the earlier generation of women artists such as Frankenthaler, Grace Hartigan, and Joan Mitchell, who bristled at the idea of being called a feminist.

«Coming To Power» pays homage to the first generation of women artists who pioneered a new artistic genre in the mid 60s and early 70s using explicit sexual imagery.

Hilma af Klint, Emma Kunz and Agnes Martin represent three generations of women artists who pursued non-traditional paths in visualising thought through geometric abstraction.

Nevertheless, they have managed to release the extraordinary and innovative body of work of immense power, and have made a legacy upon which new generations of women artists started working...

Not only does Nebulous join these important works, but it also significantly complements the holdings of major sculptures by generations of women artists, including Louise Bourgeois and Cornelia Parker.

Also, Louise Bourgeois has been a touchstone, as has Eva Hesse, between numerous generations of women artists.

Though they come from two generations of women artists, Wilson and Von Habsburg - Lothringen have each developed an artistic practice that deals with notions of femininity and power structures.

By omitting older artists and references to earlier waves of feminism, NSFW implies that previous generations of women artists somehow failed to create a «bold new visual language of desire, breaking expectations and social norms to be nakedly afraid.»

Her art and her ideas continue to exert a palpable influence on generations of women artists who came after.

Not exact matches

Accepting the award, Jolie said she still feels «wonder at the privilege of being able to work as an artist,» especially because for past generations of women, «the freedom to pursue art and ideas independently, on equal footing, was a bitter dream.

Lee Krasner was creating her art as one of the few woman - artists - together with Eline De Kooning - of the first generation American Abstract Expressionism.

A graduate of the University of Virginia, Sara is a 2016 Stevie Award Winner for «Female Innovator of the Year;» a Global Shaper with the World Economic Forum; an American Express Ashoka Emerging Innovator; a Cordes Fellow with the Opportunity Collaboration; a Peace X Peace 2012 Women, Power, & Peace Award Winner (Generation Peace Award); the only U.S. recipient of the Youth Leader Award in the Americas by the Inter-American Development Bank Annual Board of Governors Meeting; an Ashoka Activating Empathy Award Winner; a three - time Beyond Sport Award Finalist; named a «Woman Entrepreneur» by World Resources Institute New Ventures Mexico; a Creative Community Fellow with National Arts Strategies; a StartingBloc Fellow; a Finalist Nominee Social Entrepreneur / Innovator for the Women's Information Network 18th Annual Young Women of Achievement Award; 1 of 3 Artists Transforming the World by the Arts and Healing Network; Global Good Fund Fellow; honored among The Jewish Week NY's «36 Under 36»; and a Susan Schiffer Stautberg Leadership Fellow.

In a similar spirit, Thorn also posted an article celebrating the first generation of postwar shojo manga artists, the men and women whose work profoundly influenced such Magnificent 49ers as Keiko Takemiya and Moto Hagio.

As the most visited art museum in the state of New Mexico and the first museum in the United States that is dedicated to a single woman artist, we work hard every day to ensure the preservation of these treasures for the enjoyment of generations to come.

Woman with a Camera presents photographs by 14 women artists who come from a diverse set of backgrounds and generations, and address various artistic concerns.

The addition of a large - scale sculpture from this period by Nancy Graves, one of the leading artists of her generation, introduces an important woman artist to the ICA / Boston's collection and marks a major contribution to the museum's holdings of sculptures by such artists as Louise Bourgeois, Tara Donovan, Rachel Harrison, and Keith Sonnier.

Highlighting artists from across the globe and generations, Self Proliferation explores female identity politics and the construct of «self» as modern culture has defined women, but with a common backdrop of varied landscapes.

Her ground - breaking exhibition, Masques of Shahrazad (2009), showcased the work of three generations of Iranian women artists and toured internationally.

Group exhibitions include: «GENERATION: 25 Years of Contemporary Art in Scotland», Scottish National Gallery of Modern Art, Edinburgh (2014); «A Picture Show», Gallery of Modern Art, Glasgow (2013); «Studio 58: Women Artists in Glasgow Since WWII», Mackintosh Museum, The Glasgow School of Art (2012); «Edge of the Real», The Whitechapel Gallery, London (2004); «Painting Not Painting», Tate St. Ives, Cornwall (2003); and «Matisse and Beyond», San Francisco Museum of Modern Art, San Francisco (2003).

The legacy of these women is conveyed through a section of the exhibition that presents works by contemporary female artists and designers that reflect and expand upon the work of the earlier generation.

In the meantime however, not only the art market — one of her early works was recently sold as the most expensive work ever by a woman artist — but also and above all a young generation of artists have rediscovered Joan Mitchell and her art.

1997 Three Generations of African American Women Sculptors: A Study in Paradox, California African - American Museum, Los Angeles, CA; Telfair Museum of Art, Savannah, GA Explorations in the City of Light: African - American Artists in Paris, 1915 - 1965, Modern Art Museum of Fort Worth, Fort Worth, TX; Milwaukee Art Museum, Milwaukee, WI Bearing Witness: Contemporary African American Women Artists, Fort Wayne Museum of Art, Fort Wayne, IN; St. Paul Museum, St. Paul, MN

These are impressively adept paintings with a confident sense of scale, but they do not have a distinctive character compared to contemporary works by artists such as Helen Frankenthaler, Grace Hartigan, or Joan Mitchell, to reference only the most noted women abstract painters of Schapiro's generation.

Osborne was only the third woman to be hired as an instructor at the Academy, making her a pioneer and mentor to a generation of Philadelphia artists.

Magnetic Fields: Expanding American Abstraction, 1960s to Today places abstract works by multiple generations of black women artists in context with one another — and within the larger history of abstract art — for the first time, revealing the artists» role as under - recognized leaders in abstraction.

1996 Three Generations of African American Women Sculptors: A Study in Paradox, African American Historical and Cultural Museum, Philadelphia, PA; The Equitable Gallery, New York, NY Explorations in the City of Light: African - American Artists in Paris, 1915 - 1965, The Studio Museum, Harlem, NY; Chicago Cultural Center, Chicago, IL; New Orleans Museum of Art, New Orleans, LA Bearing Witness: Contemporary African American Women Artists, Spelman College Museum of Fine Art, Atlanta, GA; Tuskegee University Art Gallery, Tuskegee, AL

Art historian Melanie Herzog has called Catlett «the foremost African American woman artist of her generation.»

Like all American artists of his generation, Nauman spent his formative years surrounded by the political clashes over the war in Vietnam, the Civil Rights Movement (particularly the race riots in American cities) and what was back then called the Women's Movement.

1984 Dreams and Nightmares, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC Crime and Punishment: Reflections of Violence in Contemporary Art, Triton Museum of Art, Santa Clara, CA American Women Artists: Part II: The Recent Generation, Sidney Janis Gallery, New York, NY About Face, Art Museum of South Texas, Corpus Christi, TX Pratt Invitational Alumni: A Multimedia Presentation of Outstanding Pratt Alumni, Pratt Institute and 469 Broome Street Gallery, New York, NY ID, Bette Stoler Gallery, New York, NY Modern Masks, Whitney Museum of American Art at Philip Morris, New York, NY Sculpture Exhibition, Gallery Moos Ltd., Toronto, Ontario, Canada Drawing: Works on Paper From the Past Five Years by Fifty Artists, Barbara Toll Fine Arts, New York, NY Sculptors» Drawings 1910 - 1980, Selections from the Permanent Collection, Whitney Museum of American Art, New York, NY

While some Pop artists use photography to react to consumer culture, Robert Heineken repurposes found magazine imagery to talk about the media's role in objectifying women, Richard Prince and Sarah Charlesworth of the Pictures Generation push the boundaries of image appropriation, Christopher Williams talks about means of image production and contemporary artist Lucas Blalock confuses subject and backdrop through Photoshop.

1996 African - American Art: 20th Century Masterworks, III, Michael Rosenfeld Gallery, New York, NY The Countee Cullen Art Collection from the Hampton University Museum, California African American Museum, Los Angeles, CA Three Generations of African American Women Sculptors: A Study in Paradox, Afro - American Historical and Cultural Museum, Philadelphia, PA; The Equitable Gallery, New York, NY; Museum of African American Life and Culture, Dallas, TX; California Afro - American Museum Foundation, Los Angeles, CA; Museum of the National Center of Afro - American Artists, Boston, MA; Telfair Museum of Art, Savannah, GA; Center for the Study of African American Life and Culture, Smithsonian Institution, Washington, DC Woman's Work: A Century of Achievement in American Art, The Columbus Museum, Columbus, GA The Figure in American Sculpture: A Question of Modernity, National Academy of Design, New York, NY

Lives and works New York) Cheryl Donegan's work demonstrates the concerns and modes of a generation of artists, many of them women, who began to use conceptual strategies in the early 1990s to question the hegemony of canonized artists, many of them male.

«WE WANTED A REVOLUTION» AT THE BROOKLYN MUSEUM April 21 — September 17 — Prospect Heights «We Wanted a Revolution: Black Radical Women, 1965 — 85» is a groundbreaking show that gives an underrecognized generation of female artists and activists of color their due, including Emma Amos, Beverly Buchanan, Pat Davis, Lisa Jones, Samella Lewis, Lorna Simpson, Ming Smith, Carrie Mae Weems, and others.

Her use of weaving claims a relationship to the reassertion of «women's work» by an earlier generation of feminist artists amplifying the tradition of stitchcraft.

Feminism in the art world resulted in a much larger presence for women artists in the 1970s and 1980s, and the «Pictures» generation — those who arrived on the New York City art scene in the late 1970s (many from California Institute of the Arts or Buffalo State College) and experimented radically with using borrowed images — may be the first group of artists associated with a particular movement in which there are as many (or more) high - profile women as there are men.

(The issue of second - generation Ab Ex women, whose best work is critically considered to have occurred after 1950, is one that many women artists felt was dismissive of the actual timing of their development and work.)