The exhibition includes a site - specific
installation by feminist pioneer Mary Beth Edelson, part of an ongoing series of collage projects initiated years after her renowned collage posters of the 1970s; a series of preparatory collages by Marlene McCarty produced for her large - scale drawings of young women who committed patricide; and a series of mixed - media collages by veteran feminist artist Anita Steckel that places the artist within drawings by Tom of Finland, exploring the possibility of alternate forms of cross-gender desire and visual pleasure.
The first exhibition of The Dinner Party — a collaborative
installation by feminist artist Judy Chicago consisting of a table with place settings for thirty - nine mythical and historical women — opens.
Not exact matches
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.
From the seminal performance work
by Rachel Rosenthal, the early queer video work of EZTV, boundary breaking art
installations by Barbara T. Smith, the pioneering media explorations
by Electronic Café International, to the
feminist media interventions of Suzanne Lacy and Leslie Labowitz - Starus, these five influential and often overlooked artists and collaborative arts groups were fundamental to charting the course for the artist space movement and its vision of egalitarian artistic production and reception.
Arcadia Missa, also in Peckham, showed a joint multimedia
installation combining works
by the American artist A.L. Steiner, of the collective Chicks on Speed, and the British
feminist artist Phoebe Collings - James.
«Pussies,» Judy Chicago's first solo exhibition in San Francisco since her iconic
installation The Dinner Party premiered there in 1979, presented paintings, drawings, and ceramic plates made between 1968 and 2004, many of which exemplified the
feminist art practices pioneered
by the artist in the 1960s and»70s.
Katarzyna Kozyra is
feminist artist, widely known
by her controversial
installations Animal Pyramide, Blood relationship (1995), Olympia (1996), Bath House (1997 - 1999) in which she addresses taboo themes such as industry of animal killing, sexuality of the woman body affected
by cancer, topics of intimacy or processes of societal gender construction and gender - related pop girls star style clichés.
I also included pieces
by a few much older artists who made specifically
feminist work in the 1970s: Alice Neel's portraits of Linda Nochlin and other figures from the movement, and a number of Louise Bourgeois»
installation and performance works.
Women House is a sequel to the famous art
installation Womanhouse developed in 1972
by feminist artists Judy Chicago and Miriam Schapiro.
299 Meserole was supposed to feature several exhibitions curated
by local, as well as international galleries,
feminist symposium / art
installation Flower Garden and another Confronting Bushwick discussion panel.
Pharr is now working on a collaboration inspired
by Womanhouse, the 1970s
feminist installation and performance space organized
by Judy Chicago and Miriam Shapiro, with Atlanta artist Martha Whittington, another professor - mentor, and dancer Onur Topal.
«The City of Dreams» has a long and rich history of
feminist art practice and exhibition making, including LACMA's watershed attempt at inserting
feminist art history into the museum with Women Artists: 1550 — 1950, curated
by art historian Linda Nochlin and Ann Sutherland Harris in 1976, or, for example, Judy Chicago and Miriam Schapiro's inspiring
installation and performance space Womanhouse (1972).
The godmother of
feminist art, Kelly is known for her provocative films and large - scale narrative
installations that explore notions of sexuality, work, power, and politics
by tapping into the more visceral aspects of daily life... «Kelly is one of the most important female Conceptual artists of our time,» says L.A. gallerist Susanne Vielmetter, who represents the artist along with New York — based Mitchell - Innes & Nash, and Pippy Houldsworth Gallery of London.
A 48 - part photographic
installation by radical Viennese
feminist artist Renate Bertlmann is the centerpiece of the presentation.
That is exemplified
by two series of paintings, which question (even mock) painterliness without abandoning it, and a wonderful
installation that — perhaps in something of a
feminist riposte — redistributes the poundage of Richard Serra's massive «Delineator» (1974 - 75).
Other artistic disciplines explored
by feminists include photography (Cindy Sherman, Laurie Simmons, Nan Goldin), Photomontage (Anita Steckel),
installation art (Judy Chicago), as well as design - especially graphic art (Sheila Levrant de Bretteville, Barbara Kruger), and word art (Jenny Holzer).
The contributions also consider such specific works as Kelly's Interim (1984 — 1989), the subject of a special issue of October; Gloria Patri (1992), an
installation conceived in response to the first Gulf War; The Ballad of Kastriot Rexhepi (2001), an extensive project including a 200 - foot narrative executed in the medium of compressed lint and the performance of a musical score
by Michael Nyman; and two recent works, Love Songs (2005 - 2007), which explores the role of memory in
feminist politics, and Mimus (2012), a triptych that parodies the House Un-American Activities Committee's 1962 investigation of the pacifist group, Women Strike for Peace.
The group show, curated
by Ugochukwu - Smooth C. Nzewi, immediately evokes notions of Judy Chicago's radical
installation Dinner Party (1979), but with its
feminist message subverted to address the expanse of African culture and the continent's place within the global art scene.
In 1972, pioneering
feminist artists Judy Chicago and Miriam Schapiro transformed a derelict Hollywood mansion into «Womanhouse,» a network of exhibitions,
installations and performances
by a vastly underrepresented subculture of American artists: women.
Judy Chicago (born 1939) was an American artist and activist best known for large - scale collaborative
installation artworks — The Dinner Party and The Birth Project — both based on
feminist themes and The Holocaust Project — based on the atrocities committed
by the Nazi Party during World War II.
Zoe Leonard, an artist primarily known for her photography, sculpture, and site - specific
installations, is also an influential
feminist and queer activist who started working in New York City in the 1980s, an era marked
by overwhelming loss during the AIDS epidemic.