Sentences with phrase «how women artists»

Bonhams reports that only 19 of the top 500 artists sold by value last year were women — showing how women artists are «woefully undervalued.»

Art and the Feminist Revolution, an international survey of the relationship between art and feminism curated by Connie Butler, Schor's exhibition distinctly focuses on «how women artists changed the image and the representation of women in art.»

At this artist talk, their stories behind the works will be shared with us and tell how these women artists see their countries after all these years with dramatic changes in the political landscape and take them into their artistic practices.

It is about traditional gender roles in our society, and demonstrates how women artists have challenged and revised our ideas about women, home and hearth.

ARTnews magazine has devoted its June issue to a special report assessing the state of women in the art world — how women artists are faring in terms of solo museum exhibitions and representation in museum collections, gallery representation, press coverage and market valuation, and also measuring opportunities garnered by female curators and museum directors.

It is also an important artistic document of how a woman artist identified, or did not, with the history of image - making, and with being the object of the gaze while rarely doing the making — or the gazing back, for that matter.

Not exact matches

Here, the agency hired criminal sketch artist Gil Zamora to draw a handful of women both as they described themselves and how a stranger described them.

But I was just amazed by how everyone, young and old wanted to be involved... and was so deeply enriched and touched by the experience and the laughter and the love I experienced from the people I met and how women would in particular open their hearts to me and tell me the stories of where they've come from, particularly because I have the language and was coming there as a woman and just how touched they were that I was there as a woman from England who's learned the language and who's an artist and running this project and come all the way to see them so they didn't feel forgotten I think that was pretty much what they felt... that their stories were being heard so they don't feel forgotten knowing the tents would be around the world.

As for the woman's actions, I'm not sure how far the artist pushed his style or message in the museum display but vandalism is not the way to respond or defend one's personal beliefs.

But my favorite part of the story is how the artist & designer Mila Sohn is a woman who tells her story and embraces her strength after life's unexpected difficulties.

Here, celebrity makeup artist Kara Yoshimoto Bua tells us the five items every woman should keep in her beauty bag to be camera ready (and how to use them), in honor of Coco Chanel's birthday.

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How men in their late 40's or 50's can date women 20 A large library for pick - up artists.

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I was just thinking about The Disaster Artist, and that here is a film with a scene in it where you see how abusive this man is to a woman.

And to capture his character's arrogance, it's reported that Ryan based his act off a TV show about pick - up artists and manuals on how to effortlessly pick up women.

In addition to being a visually sumptuous showcase for a terrific actor, it's fun to think how many of the alpha - male artists she quotes would be horrified by the thought of a woman speaking their precious, earth - shattering words.

The actress» debut as a writer - director, «In A World...,» was a movie about Hollywood voiceover artists that was both a crackerjack romantic comedy and a subtle critique of how women are treated in the workplace.

Alison Brie «really admires» how James Franco has responded to being accused of sexual misconduct.The «Disaster Artist» actor was accused by five women of inappropriate behaviour and abuse of power earlier this month, and though...

Congratulations to the 2018 Hugo finalists, especially URB authors Sarah Pinsker (Best Novella and Best Novelette finalist and contributor to the anthology How to Live on Other Planets: A Handbook for Aspiring Aliens), Caroline M. Yoachim (Best Short Story finalist and contributor to the anthology Sharp & Sugar Tooth: Women Up To No Good), and Bogi Takács (Best Fan Writer finalist and contributor to the anthologies How to Live on Other Planets and Sunvault: Stories of Solarpunk and Eco-Speculation), and URB artist Likhain (Best Fan Artist finalist and cover artist of Sunvartist Likhain (Best Fan Artist finalist and cover artist of SunvArtist finalist and cover artist of Sunvartist of Sunvault)!

Underlying the question about woman as artist, then, we find the myth of the Great Artist — subject of a hundred monographs, unique, godlike — bearing within his person since birth a mysterious essence, rather like the golden nugget in Mrs. Grass's chicken soup, called Genius or Talent, which, like murder, must always out, no matter how unlikely or unpromising the circumstartist, then, we find the myth of the Great Artist — subject of a hundred monographs, unique, godlike — bearing within his person since birth a mysterious essence, rather like the golden nugget in Mrs. Grass's chicken soup, called Genius or Talent, which, like murder, must always out, no matter how unlikely or unpromising the circumstArtist — subject of a hundred monographs, unique, godlike — bearing within his person since birth a mysterious essence, rather like the golden nugget in Mrs. Grass's chicken soup, called Genius or Talent, which, like murder, must always out, no matter how unlikely or unpromising the circumstances.

This summer, the V&A will explore how Frida Kahlo, one of the most recognised and significant artists and women of the 20th century, fashioned her identity.

Amy Bluett discovers how 19th - century women aspiring to be artists had an uphill struggle to get equal access to training at the Royal Academy Schools.

Joan Mitchell: Lady Painter adds to the growing literature of how women American artists struggled to find their place — not as a homogenous group but as vibrant individuals.

How does she feel about being a «woman artist»?

The artist described how she put herself into the body of each woman whose name appears in the paintings, and in the case of Angry Razel, she said, «I started to see the anger that Razel was not able to take on herself.»

In 1978, the same year she made Walking, she collaborated with Senga Nengudi on a performance in which the two artists, entangled in pantyhose, illustrated how women are restricted by societal gender norms.

Mind and Matter and these other exhibition and incidental installations of individual works are part of an ongoing initiative among women curators at MoMA to delve deeply into the permanent collection in order to find out what works by women artists they already own and then see how gaps in the collection can be filled through acquisitions, with assistance from the Modern Women's women curators at MoMA to delve deeply into the permanent collection in order to find out what works by women artists they already own and then see how gaps in the collection can be filled through acquisitions, with assistance from the Modern Women's women artists they already own and then see how gaps in the collection can be filled through acquisitions, with assistance from the Modern Women's Women's Fund.

How do you feel about the term woman artist?

AMc: How have you seen things change for women artists during your lifetime?

In the Brooklyn Rail, Deborah Kass remembers how NYC's Second Wave Feminists changed the course of painting history in the 1970's: «When I served burgers at the Broome Street Bar and lived in a loft on West Broadway next to Towers Cafeteria, soon to be The Odeon, there were several women artists along with Elizabeth... read more... «Feminism, painting and New York City in the 1970's»

They also shared their thoughts on women in the art world, and how the sector has changed to be more inclusive and accessible to women artists and art dealers.

Unsurprisingly, this image caused less of a stir than Benglis» explicit nude shot, further illustrating how open sexuality and displays of fetishism was chastised in women while being blindly accepted with male artists.

It shows how wrong it is to compartmentalize her as an artist or woman — all the more so as she knew when to do it herself in her art.

GG One remembers an occasion a few years back when the West Coast group called an art gallery to ask how many women artists it represented.

Artists, she seems to say, know full well how to deal head on with the idea of a woman as an overgrown child.

And, depending on how you interpret the figures, at best, 36 per cent of living artists collected by the Tate that year were women; at worst, it comes out at 21 per cent.

Women artists in particular know enough to be concerned not only with what they see, but also with how they are seen.

She described the situation like this: «The fact of the matter is that there have been no supremely great women artists, as far as we know, although there have been many interesting and very good ones who remain insufficiently investigated or appreciated; nor have there been any great Lithuanian jazz pianists, nor Eskimo tennis players, no matter how much we might wish there had been.»

In interviews with the artist, she discusses how observing women on a trip to Africa, as well as reading Gulliver's Travels, inspired the creation of more than forty - five of these pieces.

The podcast What Artists Listen To asks women artists about how music impacts their work and their lives outside the Artists Listen To asks women artists about how music impacts their work and their lives outside the artists about how music impacts their work and their lives outside the studio.

A panel discussion at The New York Times Art for Tomorrow conference in Doha explored the subject of how Arab women are portrayed in art, with Lalla Essaydi, an artist who lives and works in New York and Marrakesh, and Touria El Glaoui, the founder of the 1:54 Contemporary African Art Fair and the daughter of the renowned Moroccan painter Hassan El Glaoui.

by R.Tufnell / White Columns / 320 W 13 enter onHoratio / thru 12/20 Betty Tompkins / Rines / 55 Gansevoort / thru 12/13 Dust, Dialogue, and Uncertainty: Slow knowledge in design thinking and practice / Pratt / 144 W 14 / thru 2/7 Opening12 / 4 Franscesco Clemente thru 2/2; All - Knowing Buddha thru 4/13; Etc. / Rubin Museum / 150 W 17 Ann Lislegaard / Murray Guy / 453 W 17 / thru 12/20 Spaced Out: Migration to the Interior curated by Phong Bui / Red Bull / 220 W 18 / thru 12/14 Sean Landers / Petzel / 456 W 18 / thru 12/20 Thomas Houseago / Hauser & Wirth / 511 W 18 (second NYC location) / thru 1/17 Willie Doherty / Alexander and Bonin / 132 10th Ave. @ 18 / thru 12/6 Susan Te Kahurangi King / Edlin / 134 Tenth Ave. / thru 12/20 Willard Boepple; Helen Miranda Wilson / Bookstein / 138 Tenth Ave. @ 19 / thru12 / 20 Batik d'Afrique / Cohen / 251 W 19 / thru 12/31 Ridley Howard / Koenig & Clinton / 459 W 19 / thru 12/13 Klaus Lutz / Kitchen / 512 W 19 / thru 12/20 Hugue Caland / Lombard - Freid / 518 W 19 / thru 12/20 Wu Jian» an / Chambers / 522 W 19 / thru 12/20 Christopher Williams / Zwirner / 525 W 19 / thru 12/20 Neo Rauch / Zwirner / 533 W 19 / thru 12/20 Barbara Chase - Ribold / Rosenfeld / 100 Eleventh Ave. @ 19 / thru 1/10 Lynette Yiadom - Boakye / Shainman / 513 W 20 / thru 1/10 Opening 11/21 Stephane Calais / Zieher Smith & Horton / 516 W 20 / thru 12/20 Nicolas Guagnini / Bortolami / 520 W 20 / thru 1/10 Opening 11/20 Small is Beautiful / Flowers / 529 W 20 / thru 1/10 Opening 11/20 Dylan Stone; Diana de Solares / Bienvenu / 529 W 20 — floor 2 / thru 12/13 Dan Miller / Ricco - Maresca / 529 W 20 — floor 3 / thru 12/6 Sui Park; Shonagh Adelman / Bibro / 529 W 20 — floor 4 / thru 12/13 Owusu - Ankomah / Skoto / 529 W 20 — floor 5 / thru 1/10 Pat Passlof / Harris / 529 W 20 — floor 6 / thru 12/20 Lisa Breslow / Markel / 529 W 20 — floor 6 / thru 12/20 Opening 11/20 David Goerk / Scott / 529 W 20 / floor 7 / thru 11/29 Cathy Diamond; Dana Gordon / Zarre / 529 W 20 / floor 8 / thru 12/5 Gladys Nilsson / Greenan / 529 W 20 — floor 10 / thru 12/6 Heri Dono / Rollins / 529 W 20 — floor 10 / thru 12/20 Andy Warhol / Kern / 532 W 20 / thru 12/20 Opening 11/20 Richard Serra thru 12/20; Franz West thru 12/13 / Zwirner / 537 W 20 Gabriele Beveridge / Dee / 545 W 20 / thru 12/20 Pier 54 (featuring 27 women artists, photographs by Liz Ligon) / 120 11th Ave. @ 20 / thru 12/13 Be Here How: J.Grubin; M.Hoferer; M.Kukla; D.Levine; I.Sunshine; S.York / 308@156 / 156 Fifth Ave @ 21 / thru 1/9 Opening 11/20

Amelia Jones: «How do the feminist artistic practices of the 1960s and 1970s impact on our supposedly post-feminist present, a period in which women artists are woefully under - represented in gallery and museum exhibitions?

The exhibition shows the exceptional contribution made by Castoro in the areas of painting, language and performance, and demonstrates how some key figures of Minimalism, especially women artists, have not received the attention they deserve.

How can we describe the singular contributions by the Latina and Latin American women artists to contemporary art of this period?

Outside the actual fairground itself, Asia Art Archive's booth was overtaken by the work of the feminist group Guerrilla Girls, who invited visitors to take a poll on how many women artists they saw at specific booths in the fair.

Broadly interviews artist - friends Precious Okoyomon and Phoebe Collings - James about their experiences as immigrant black women and how their identities inform their respective works.