Sentences with phrase «key women artists»

The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power 1973 — 1991, (2011), edited by Princenthal, in keeping with its excellent title, progresses the debate at a profound level, enabling further access to the careers of key women artists.

Not exact matches

Defrost Artist: Randal Kleiser; Key Collaborator: Tanna Frederick In this futuristic, sci - fi virtual reality adventure, viewers are put in the seat of a woman who wakes up after being frozen for nearly 30 years to reunite with her family.

Fiction about Women, Artists and Mad Genius One of the key themes in The Swan Thieves is the challenge of male and female artists who form relationships and must navigate the storms of artistic temperament and Artists and Mad Genius One of the key themes in The Swan Thieves is the challenge of male and female artists who form relationships and must navigate the storms of artistic temperament and artists who form relationships and must navigate the storms of artistic temperament and genius.

Nadja Romain is a key advocate of the work of Women for Women International, putting to work her impressive experience in the arts to support Women for Women International through last year's TANK Art Attack and co-chairing this year's Artists for Women for Women International event.

The gallery's third exhibition Includes works by the likes of Eva Hesse, Yayoi Kusama, Agnes Martin, Tauba Auerbach, Tara Donovan and Marsha Cottrell, and attempts to sketch a trajectory of women artists working through key concerns in the long male - dominated field of minimalism from mid-century to today...

Women artists held their own as a key voice in the field and their contributions undeniably defined the movements of the time.

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.

In a way that no other exhibition has done previously, Radical Women: Latin American Art, 1960 — 1985 will give visibility to the artistic practices of women artists working in Latin America and US - born women artists of Latino heritage between 1960 and 1985 — a key period in Latin American history and in the development of contemporaryWomen: Latin American Art, 1960 — 1985 will give visibility to the artistic practices of women artists working in Latin America and US - born women artists of Latino heritage between 1960 and 1985 — a key period in Latin American history and in the development of contemporarywomen artists working in Latin America and US - born women artists of Latino heritage between 1960 and 1985 — a key period in Latin American history and in the development of contemporarywomen artists of Latino heritage between 1960 and 1985 — a key period in Latin American history and in the development of contemporary art.

It sheds light on key topics in these artists» works, but also the specific history of the gallery and its connection to these important female figures of an art that subtly addresses women's roles in very different ways...

In the late 1890s and early 1900s an increasing number of women artists came to study and work at the league many of them taking on key roles.

«We've always supported the work of women artists over the years, many of those have gone on to have key roles in the contemporary art world, but I think there's still a huge amount of work to be done,» said Nigel Hurst, the gallery's chief executive.

Eccentric Abstraction: In the «60s, women artists were among the key pioneers of a new direction for abstraction that emphasized unusual materials and processes.

One of their key concerns is to make visible the work of black women artists and black female subjectivities, to counteract forces that seek to make them and their community invisible or unseen.

The artist Isabel Rawsthorne, who had become a friend of Giacometti's in pre-war Paris and was a key inspiration for his haunting elongated women, brought admirers such as Eduardo Paolozzi and William Turnbull to his door and introduced him to Francis Bacon and Lucian Freud.

In London, the Whitechapel Gallery revisits key chapters of Exhibition Histories with a conversation between artist Lubaina Himid and curator and researcher Paul Goodwin (March 3) around three seminal exhibitions Himid curated in early 1980s London: «Five Black Women», Africa Centre (1983), «Black Women Time Now», Battersea Arts Centre (1983 - 4) and «The Thin Black Line», Institute of Contemporary Arts (1985).

In celebration of the publication of Louise Nevelson: Light and Shadow, art historian and biographer Laurie Wilson discusses the remarkable life and art of one of the great sculptors of the 20th century in a presentation that considers the key elements of Nevelson's work, the links between her childhood experiences and adult life as an artist, the major influences on her evolving style, the challenges she faced to be taken seriously, and the relationship between her public face and the flesh - and - blood woman.

An impish reference to Duchamp's infamous last major artwork Étant donnés (Given)(1946 - 66), Give In is an optical illusion, visible only through a key hole in an old wooden door; instead of Duchamp's tableau of a nude woman lying on her back, Turk presents his audience with a distorted examination of self, through the lens of the artist.

In addition to presenting important artworks, the exhibition will convey the political foment of an era that saw both the emergence of Conceptual art and the rise of the Women's Rights, Civil Rights, and anti — Vietnam War movements, and will illustrate the period's experimental impulses through catalogues, artist publications, periodicals, photographs, and ephemera from key exhibitions and events.

While individual expression is key, several themes recur in works by the women artists seen in this exhibition.

Organized in groupings that explore varied themes — such as «Women, Men, and Other Beasts,» «Primal Landscapes,» «An Art of Memory,» and «Vicissitudes of the Grid» — the show features key works by artists such as Louise Bourgeois, Helen Frankenthaler, Adolph Gottlieb, Philip Guston, Willem and Elaine de Kooning, Louise Nevelson, Philip Pearlstein, and Robert Rauschenberg.

In her introduction to the catalogue, Chanzit explains the specific goals for this project: to broaden the history of Abstract Expressionism so that it includes women artists as key progenitors of the style and to expand the definition so that it incorporates those creative practices in which women artists specialized.

Curator: Justine Topfer Selected Artists: Clare Rojas, Jefferson Pinder, Rebar, Reko Rennie and Monica Canilao Key partners: The Australian Embassy (Washington DC), the Corcoran Gallery, the National Museum of Women in the Arts, the DC Commission Office of Planning, Arch Development Corporation, ArtPlace America and many more...

Although it builds upon key resources, such as Ann Eden Gibson's Abstract Expressionism: Other Politics and Marter's 1997 Women and Abstract Expressionism exhibition at the Sidney Mishkin Gallery at Baruch College, Women of Abstract Expressionism is the first exhibition at a major museum with the singular purpose of exploring the contributions women artists made to Abstract Expressionism in AmeWomen and Abstract Expressionism exhibition at the Sidney Mishkin Gallery at Baruch College, Women of Abstract Expressionism is the first exhibition at a major museum with the singular purpose of exploring the contributions women artists made to Abstract Expressionism in AmeWomen of Abstract Expressionism is the first exhibition at a major museum with the singular purpose of exploring the contributions women artists made to Abstract Expressionism in Amewomen artists made to Abstract Expressionism in America.

«In Part 1 of 2, Los Angeles artist and activist Kysa Johnson talks about: the various platforms and outlets for her activism, and how donating money, signing petitions and watching protest - based movies gave way to attending the initial protest in L.A., the Women's March in Washington, a protest at LAX airport, artist political group meetings, [and] phone calls to Congress; how her «being active» was a necessary reaction to the extreme change in the political landscape, and how protests... matter because the visibility and solidarity of resistance is a key arm of resistance that lets those in power know that you're angry.»

«Magnetic Fields: Expanding American Abstraction, 1960 s to Today is an important and relevant project at a time when the art world is at last recognizing the contributions of women artists to the key moments in American Art,» notes Lowery Stokes Sims, Curator Emerita, Museum of Arts and Design, and member of the Magnetic Fields advisory group.

This publication gathers together some of the key essays de Zegher has written on women artists over the past 20 years: Hilma af Klint, Bracha L. Ettinger, Ellen Gallagher, Gego, Monika Grzymala, Mona Hatoum, Eva Hesse, Cristina Iglesias, Ann Veronica Janssens, Emma Kunz, Anna Maria Maiolino, Agnes Martin, Julie Mehretu, Avis Newman, Martha Rosler, Ranji Shettar, Nancy Spero, Joëlle Tuerlinckx, Ria Verhaeghe and Cecilia Vicuña.

The exhibition is comprised glass edition works from 2014 - 2016 which take keys, hammers and shovels as their motifs, together with an installation using «shoji» (sliding paper doors) of Ono's artist book «Spare Room» published in 2003 for her solo exhibition «Yoko Ono Women's Room» at the National Museum of Modern Art in Paris.

«Magnetic Fields is an important and relevant project at a time when the art world is at last recognizing the contributions of women artists to the key moments in American art,» notes Lowery Stokes Sims, curator emerita, Museum of Arts and Design, and contributing author to the exhibition catalogue.

After first establishing herself in New York as a highly regarded abstract painter in the midst of the heavily male New York School, Schapiro continued shaping feminist art, inviting Judy Chicago and the women artists of her Fresno Feminist Art Program to CalArts, and serving as a key player in bringing about the Feminist Art Program's legendary installation art project and performance space, Womanhouse, in 1972.

Our key focus is on achieving equal opportunity for all artistic talent irrespective of gender, and recognising the great talent of women artists working in the UK.

Artist Statement «Women hold the key to perpetuating a family line and so each woman is beautiful in her own right.

Parsons serves as a key example of a woman who shaped the canon through her persistent support of underrepresented artists, all while maintaining a rigorous studio practice, and while her nearly six decades of luminous paintings were exhibited and sold throughout her lifetime, they were timidly recognized by the art world.

Throughout her career as a dealer, Parsons strove to exhibit challenging art by undiscovered artists, regardless of sales potential or unconventional content, fostering the early careers of key figures in Abstract Expressionism, including women and artists of color.

The gallery has gathered works by five artists key to its development — Jenny Holzer, Rosemarie Trockel, Louise Lawler, Cindy Sherman and Barbara Kruger — all of whom subtly address women's roles in very different ways.