Sentences with phrase «painting as a feminist»

What does it mean to paint «like a woman» — and how might that differ from painting as a feminist?

SL At the panel, Joan Semmel said something like: I don't paint as a feminist, but when I put my work into the world, then I need my feminism, then it comes through.

And then this woman from the audience asked: «But I want to make paintings as a feminist, so how do I do that?»

JS: Do you see your paintings as feminist in the sense that they are acknowledging this kind of messiness?

Not exact matches

One of the first Hollywood films to take a serious look at child - custody issues, the movie stacks the deck in favor of Dustin Hoffman's harried single dad, painting runaway mom Meryl Streep as something of a feminist caricature.

Mira Schor is a New York - based artist and writer known for her advocacy for painting in a post-medium culture, for her representations of writing as image, and for her writings on painting and on feminist art history.

Joan Semmel's Erotic Series (or «fuck paintings») of the 1970s, subsequent nude self - portraits, and recent unflinching depictions of her aging body establish her as one of the most important feminist painters of her generation.

Art and the Feminist Revolution at LA MOCA and P.S. 1 in 2006 did not include her paintings (as they omitted work by other feminist artists like Judith Bernstein, Anita Steckel, and Betty Tompkins whose work may have appeared too transgressive).

Womanhouse was conceived by a member of Chicago and Schapiro's program staff, art historian Paula Harper, who The New York Times celebrated as «the first [of] art historians to bring a feminist perspective to the study of painting and sculpture.»

It could actually be viewed as Miriam's first feminist painting.

Today, Faith Wilding, Dara Birnbaum and Amy Sillman are among the distinguished artists and scholars tackling topics such as feminist painting and transgender art in «The Feminist Art Project.»

Famous for her monochrome or Op Art «paintings» made from knitted wool and other distaff materials, Rosemarie Trockel often tackles themes of appropriation from a feminist stance — but her work is far richer and stranger, as admirers of her 2012 New Museum show can attest.

Perhaps the most surprising work of this trio and the one that looks the most disconcertingly new — as if painted by a young zombie formalist feminist artist — is «Voyage,» in which appliquéd bits of textile melt into the surface while other textile patterns appear as silhouettes, not literally collaged on but, rather, spray - painted.

It ranges from the NMWA's women only collection and exhibition - programme to an entire wing of the Brooklyn Museum being dedicated to feminist art; there's also The Metropolitan Museum of Art's decision to show work by lesser - known artists like Helen Torr and Elizabeth Catlett that has never been on view in «Reimagining Modernism: 1900 — 1950» (the rehang of their modern art collection); and there's the recent acquisition by the Tate of a painting by Mary Beale, who is regarded as Britain's first professional female artist.

They are both invested in art's revolutionary possibilities for social change as evinced in Rainer's anti-war protest dances in the 1970s and the feminist dimensions of her radical choreographic style and films, as well as in Pendleton's Black Lives Matter flag for the Belgian Pavilion in the 2015 Venice Biennial and his latest series of paintings entitled Untitled (A Victim of American Democracy), which debuted this past summer as part of Edwards» Blackness in Abstraction exhibition at Pace Gallery and are now on display in Pendleton's first show with Galerie Eva Presenhuber, Zurich named Midnight in America.

Over the last decade, 2017 — 18 Gabriela and Ramiro Garza Distinguished Artist in Residence Cheryl Donegan has made paintings that are as irreverent and subversive as her widely acclaimed political, feminist approaches to video.

As a proactive member of the feminist art movement, she began adopting the photographic techniques and subject matter used in pornography to create a series of paintings that presented a different narrative from the fetishized one promoted by the porn industry.

This conversation between two feminist comrades - in - arms will be a crucial look at Tompkins's Fuck paintings within the historical context of their initial negative reception and as they continue to strain against the dismissive label of pornography today.

Among many, some works of note include textile portraits of Frida Kahlo and Angela Davis by Jess De Wahls, a painting by Tara Lewis entitled, High School, that acts as an ode to millennial feminists, and multimedia paintings by Nichole Washington, inspired by 90s female hip hop artists, such as Queen Latifah and Missy Elliot.

While this aversion to naming and categorization positions her vast and diverse body of sculptures, drawings, paintings and mixed media works into a relational practice that defies the specificities of medium or periodization, it also takes form in the artist's blatant refusal to identify herself or her work as feminist.

A pioneer of feminist art, Carolee Schneemann's work in performance, video, photography, and painting helped to define the human body as a locus for artistic production — as a medium, a surface, and a confrontational aesthetic site.

-- Nikolay Oleynikov, Tsaplya Olga Egorova, Dmitry Vilensky, and others Claire Fontaine (fictional conceptual artist)-- A Paris - based collective including Fulvia Carnevale and James Thornhill CPLY — William N. Copley Diane Pruis (pseudonymous Los Angeles gallerist)-- Untitled gallery's Joel Mesler Donelle Woolford (black female artist)-- Actors hired to impersonate said fictional artist by white artist Joe Scanlan Dr. Lakra (Mexican artist inspired by tattoo culture)-- Jeronimo Lopez Ramirez Dr. Videovich (a «specialist in curing television addiction»)-- The Argentine - American conceptual artist Jaime Davidovich Dzine — Carlos Rolon George Hartigan — The male pseudonym that the Abstract Expressionist painter Grace Hartigan adopted early in her career Frog King Kwok (Hong Kong performance artist who uses Chinese food as a frequent medium)-- Conceptualist Kwok Mang Ho The Guerrilla Girls — A still - anonymous group of feminist artists who made critical agit - prop work exposing the gender biases in the art world Hennessy Youngman (hip - hop - styled YouTube advice dispenser), Franklin Vivray (increasingly unhinged Bob Ross - like TV painting instructor)-- Jayson Musson Henry Codax (mysterious monochrome artist)-- Jacob Kassay and Olivier Mosset JR — Not the shot villain of «Dallas» but the still - incognito street artist of global post-TED fame John Dogg (artist), Fulton Ryder (Upper East Side gallerist)-- Richard Prince KAWS — Brian Donnelly The King of Kowloon (calligraphic Hong Kong graffiti artist)-- Tsang Tsou - choi Klaus von Nichtssagend (fictitious Lower East Side dealer)-- Ingrid Bromberg Kennedy, Rob Hult, and Sam Wilson Leo Gabin — Ghent - based collective composed of Gaëtan Begerem, Robin De Vooght, and Lieven Deconinck Lucie Fontaine (art and curatorial collective)-- The writer / curator Nicola Trezzi and artist Alice Tomaselli MadeIn Corporation — Xu Zhen Man Ray — Emmanuel Radnitzky Marvin Gaye Chetwynd (Turner Prize - nominated artist formerly known as Spartacus Chetwynd)-- Alalia Chetwynd Maurizio Cattelan — Massimiliano Gioni, at least in many interviews the New Museum curator did in the famed Italian artist's stead in the»90s Mr. Brainwash (Banksy - idolizing street artist)-- Thierry Guetta MURK FLUID, Mike Lood — The artist Mark Flood R. Mutt, Rrose Sélavy — Marcel Duchamp Rammellzee — Legendary New York street artist and multimedia visionary, whose real name «is not to be told... that is forbidden,» according to his widow Reena Spaulings (Lower East Side gallery)-- Artist Emily Sundblad and writer John Kelsey Regina Rex (fictional Brooklyn gallerist)-- The artists Eli Ping (who now has opened Eli Ping Gallery on the Lower East Side), Theresa Ganz, Yevgenia Baras, Aylssa Gorelick, Angelina Gualdoni, Max Warsh, and Lauren Portada Retna — Marquis Lewis Rod Bianco (fictional Oslo galleris)-- Bjarne Melgaard RodForce (performance artist who explored the eroticized associations of black culture)-- Sherman Flemming Rudy Bust — Canadian artist Jon Pylypchuk Sacer, Sace (different spellings of a 1990s New York graffiti tag)-- Dash Snow SAMO (1980s New York Graffiti Tag)-- Jean - Michel Basquiat Shoji Yamaguchi (Japanese ceramicist who fled Hiroshima and settled in the American South with a black civil - rights activist, then died in a car crash in 1991)-- Theaster Gates Vern Blosum — A fictional Pop painter of odd image - and - word combinations who was invented by a still - unnamed Abstract Expressionist artist in an attempt to satirize the Pop movement (and whose work is now sought - after in its own right) Weegee — Arthur Fellig What, How and for Whom (curators of 2009 Istanbul Biennial)-- Ana Dević, Nataša Ilić, Sabina Sabolović, Dejan Kršić, and Ivet Curlin The Yes Men — A group of «culture - jamming» media interventionists led by Jacques Servin and Igor Vamos

By pairing three historical paintings of women by men with contemporary portraits of women predominantly by women, the exhibit takes as its point of departure the notion that both reading and authoring representational images is a form of feminist resistance.

By painting these juvenile faces of Rainer Werner Fassbinder, Pier Paolo Pasolini — paternal figures of 20th century cinema that maintained a deep relationship with their mothers, as they even appeared in some of their films — and Frida Khalo — painter and feminist figure — Giulia addresses the issue of childhood.

[13] Works such as Fallen Painting (1968) inform the approach with a feminist perspective.

The «mother of American modernism» and the world's most - expensive woman artist, this pioneering feminist painter is a true American icon, as famous for her lifestyle in the rugged New Mexican desert, as for the large paintings of flowers that are her best - known works.

It's difficult distill Rama's work down to a singular style or theme — some of her paintings could be compared to those of other Italian postwar giants, like Alberto Burri or Lucio Fontana, while others could be seen as prescient feminist statements.

That essay empowered me to build on the discoveries uncovered in the first TRWBP painting, and has given the painting a life as a Zelig - like backdrop for my feminist community.

During the 1970s, Lucy Lippard, Miriam Schapiro, Judy Chicago, and other feminists put forth a theory about women's art, finding that an enclosure or rounded form was at the center of much work by women, including O'Keeffe, whose flower paintings, begun in the 1920s, had often been described as symbolic of female sexuality.

Conversely, when two, typically large, neo-expressionist paintings by Julian Schnabel and Eric Fischl — each depicting an attenuated male figure — are placed within the feminist - themed «Gender Trouble» section, they gain fresh relevance as signifiers of «masculinist» culture's decline in the»80s and of the American male's diminishing economic prospects today.

She studied traditional Japanese - style «Nihonga» painting early on but came of age as a boundary - pushing, feminist artist in New York's avant - garde scene in the»60s.

Perchuk also praised the early work of feminist legend Judy Chicago, who went to school to learn auto - body paint techniques to make her own contribution to the hot rod - inspired branch of California minimalism known as «finish fetish.»

Special gallery installations will juxtapose the diverse and competing aesthetics that were the topical subjects of magazine articles, as well as museum and gallery shows during the»80s: the «Bad Boys» of painting, feminist conceptualism, appropriation and the Pictures Generation, «abstraction and culture,» political activism, the graffiti movement, and Warhol and the decade of art celebrity.

Yuskavage's paintings have been read as beguiling, disturbing and ironic, while the soft porn aesthetic — borrowed from men's magazines such as Penthouse — has in the past attracted criticism from some feminists.

Ms. Kass — known for appropriating the styles of male artists as both homage and feminist one - upmanship — first created «OY» as a painting riffing on Edward Ruscha's 1962 Pop canvas, «OOF.»

In contrast, and in what Broadway 1602's Anke Kempkes describes in this show's catalogue as a «(post) feminist stance,» Stein has an «expressive, self - absorbed, figurative painting

Recalling my own first eye - opening encounter with feminist work as a young artist, the paintings are full of forms that resonate with the strangeness and preliterate opaqueness of archaic sculpture.

As a woman artist not associated to feminist movement, she was always underestimated in favor of her male peers, but her contribution to the abstract art and painting transformation in 20th is enormous.

Eigenheer's perspective, according to a gallery statement, is feminist: «she views the new painting as patriarchy's last desperate stand.»

This retrospective celebrates and contextualizes her Nanas while shedding light on her other work — from paintings to sculptures to experimental films — as well as her boldly cultivated persona and the political and feminist subjects that her art addressed.

Lozano's turbulent tool paintings and drawings can be understood as critiques of both sexual and art world decorum at a moment when the feminist movement had yet to coalesce and actively question either.

As Weber writes in the catalogue, the painting alludes to Jasper Johns but also, in its abjection, to Mike Kelley's Janitorial Banner (1984); some observers at the time seized on it as a «feminist gesture.&raquAs Weber writes in the catalogue, the painting alludes to Jasper Johns but also, in its abjection, to Mike Kelley's Janitorial Banner (1984); some observers at the time seized on it as a «feminist gesture.&raquas a «feminist gesture.»

It pivots at African - American painter Sam Gilliam, who approached color through a jazzy framework, and feminist artist Lynda Benglis, who cites Frankenthaler's floor painting as inspirational.

O'Keeffe asserted full control over her public persona, famously rejecting feminist readings of her flower paintings as vaginas and eschewing the label of a «woman artist.»

As the artist becomes a reflection, she delivers a strikingly universal work.Historically, writing in one's own blood calls upon a range of practices from cave painting to radical feminist art.

Their art collective staged numerous incendiary performances such as an orgy in a biology museum to parody then - President Dmitry Medvedev's plans to boost the birth rate, and a giant penis painted on a drawbridge in St Petersburg.Three members of the punk band were each sentenced to two years in jail for performing an anti-Putin song in Moscow's Christ the Saviour Cathedral in a «feminist attempt to take Russia from the Middle Ages to the modern era».

For her first solo exhibition at Simon Lee Gallery, Paulina Olowska will show a group of new paintings which continue her exploration of feminist and socially engaged themes, of shifts in cultural perspective between East and West and of the female figure as archetype.

The image represents a mock up of a magazine cover and can be seen as a bold feminist comment on the sexualization of the female body on magazine covers, referencing many of the elements used in the artist's 30 year career - throwaway objects, mannequins, material debris, assemblage, painting, photography and her distinctive irreverent approach to sculpture and materiality.

Sylvia Sleigh (1910 - 2010) was a figure in the feminist art movement of the 1970s who is best known for turning portraiture and art history on its head as she reversed traditional sex roles in her paintings, casting her husband and their friends and associates as male nudes that recalled the female subjects often found in paintings by Titian or Ingres.

Her work has progressed since the early»90s — from graphic design - based, politically motivated work intended as queer activism, to representational painting, to abstract painting that borrows from 1970s feminist art.