Sentences with phrase «performances by feminist»
The later sections of the show frame the intersection of feminism and painting in easel paintings, large - scale works and performances by feminist artists in the 1970s and early 90s.
http://www.frankenthalerfoundation.org/ Not exact matches
The conservative campaign — energised by such high - profile incidents as the arrest and imprisonment of the Pussy Riot punk rock feminists for their performance of an anti-Putin stunt in Moscow's Cathedral of Christ the Saviour — succeeded in keeping Putin's core support mobilised and, crucially, it reconnected Putin with conservatively - inclined citizens who had threatened to join with the opposition.
Basic Instinct was championed by feminist critic Camille Paglia, who argued that it features «one of the great performances by a woman in screen history.»
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.
Feminists and others were expanding it by introducing aspects of beading, sewing, quilting, rug - making and more performance, thereby introducing elements of craft, the body and personal identity, and forcefully defining creators as nonmale or nonwhite.
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.
The anthology includes 68 titles by more than 60 artists, and is curated into eight programs ranging from conceptual, performance - based, feminist, and image - processed works, to documentary and grassroots activism.
Taking as its title and starting point a statement by the pioneering British feminist artist Jo Spence, the exhibition focuses on major performance art made by women artists in the UK during the 1970s.
Be sure not to miss booths by Benrubi Gallery from New York, a leading gallery with a focus on 20th Century and contemporary photographs; Blindspot Gallery from Hong Kong, a gallery with a primary focus on contemporary image - based works; Bryce Wolkowitz Gallery from New York, a gallery with a major commitment to representing new media artists who are exploring the intersection of arts and technology; Dittrich & SCHLECHTRIEM & V1 from Berlin, a gallery representing emerging, mid-career and established artists from around the world; Fraenkel Gallery from San Francisco exploring photography and its relation to other arts; Gagosian Gallery from New York, Hong Kong, Beverly Hills, Athens and Rome; Hamiltons Gallery from London, one of the world's foremost galleries of photography; Galerie Lelong from Paris focusing on an international contemporary art and representing artists and estates from the United States, South America, Europe, and the Asia - Pacific Region; Magda Danysz from Paris, Shanghai and London dedicated to promoting and supporting emerging artists and favouring a larger access to contemporary art on an international level; Mai 36 from Zurich focusing on trading and presenting international contemporary art; Pace Prints / Mac Gill, a publisher of fine art prints and artist editions affiliated with the Pace Gallery; Richard Saltoun Gallery from London specialising in post-war and contemporary art with an interest in conceptual, feminist and performance artists; Roman Road from London; Rosegallery from Santa Monica, an internationally recognized gallery of 20th and 21st century works on paper; Taka Ishii Gallery from Paris, Tokyo, and New York devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice; White Space from Beijing; and Yumiko Chiba Associates from Tokyo, among others.
From The Infinity Engine, the exhibition splits into Hershman Leeson's early works which are characterized by drawing, painting, sculpture, and feminist performance and protest pieces, and mid-career works which focus on the internet, artificial intelligence and technology.
2010En el Barrio de Gavin Black through evas arche un der feminist in the back room of Gavin Brown Enterprise; curated by Pati Hertling, New York, NY In the Company of; Housatonic Museum, curated by Terri Smith, Bridgeport, CT The Pursuer; Greene Naftali Gallery, New York, NY Greater New York Cinema Program; PS1, Long Island City, NY Beside Himself; curated by Terri Smith, Ditch Projects, Springfield, OR Hardcorps: Movement Research Festival 2010; Center for Performance Research, Brooklyn, NY Alphabet Soup; The Creative Alliance, Baltimore, MD A Failed Entertainment: Selections from the Filmography of James O. Incandenza; The Leroy Neiman Gallery at Columbia University, New York, NY
Inspired by Donna Haraway's essay, A Cyborg Manifesto, the feminist science fiction and Afrofurturists of the 1970s; the exhibit will feature performance, sculpture, painting, comics, and photography that aim to re code normative expectations celebrating the LIFEFORCE that is beyond human matter and closer to it's essence.
Called a pioneer of performance, feminist and interactive - video art by the mavens who trace that history, Hershman Leeson has been playing with what she calls «the permutation of identity» for 35 years.
Room to be (Ms.) understood aims to interrogate the origins and genealogies of these practices by looking to a different, often neglected history of feminist writing, performance, and site - specific interventions from the 1970s.
Barbara Cleveland's projects are shaped by queer and feminist methodologies, as well as drawing on the histories of visual arts — with a particular emphasis on performance and its relationship to documentation and memory.
This presentation is made possible in part with public funds from the New York State Council for the Arts» Electronic Media and Film Presentation Funds grant program, administered by The ARTS Council of the Southern Finger Lakes and Women and Performance: a journal of feminist theory.
[33] Maria Troy, «I Say I Am: Women's Performance Video from the 1970s,» also the title to a collection of «early feminist tapes» curated by Troy as Associate Curator of Media at the Wexner Center in Columbus, Ohio.
-- 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
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.
A fearless pioneer whose performances were fueled by feminist indignation of the vulnerable position of women in American society, her work has been a harbinger of experiments in social practice, new media, interactive and net - based art decades before technology and digital culture would re-shape our experience of reality.
Strongly influenced by the origins of activist, feminist and socially engaged art, Pilgrim works in a wide range of media including live performance, film, text, workshops and musical composition.
bringing the magic of The Watermill Center's summer benefit to Manhattan for the first time and boasting a special performance by glam punk rock musician and feminist artist
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).
Linder is renowned for the staunchly feminist collages and performance works, like the iconic single - artwork for the Buzzcock's 1977 «Orgasm Addict», with the words reorganising and destablising common social narratives by entering into them.
The performance will take place in the gallery within the current exhibition, Rising, a major new commission by New York - based artist Judith Bernstein, reflecting on a prolific five decade - long career at the forefront of feminist activism and political injustice, her first solo presentation to take place in the UK.
Semiotics of the Kitchen is a feminist parody video and performance piece released in 1975 by Martha Rosler.
Inspired by the flow of natural elements and the cycle of the seasons, she links this wild energy in her work to her engagement in feminist publishing and performance projects outside her studio.
It is a milestone in the history of performance art, a moment that encapsulated the artist's provocative feminist work by giving womens» bodies «back to ourselves.»
Carolee Schneemann, who has produced trailblazing feminist and performance art for more than half a century, has been awarded Golden Lion for Lifetime Achievement by the Venice Biennale.
It consists of a series of live performances by artists from Greece and abroad, as well as a special tribute to the artist Ana Mendieta (Cuba, 1948 — New York, 1985) who holds an emblematic position in the feminist history of art, which will run for the whole duration of the Biennale (SMCA, Moni Lazariston, 30 September 2017 — 14 January 2018).
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.
A pioneer of feminist performance who has transformed the very definition of art, her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, and the body of the artist in relation to the social body.
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.
In the curated gallery sections, Focus features presentations by galleries aged 12 years or younger; Live is a space for performance and participation works; and new for 2017, Sex Work: Feminist Art & Radical Politics showcases female artists working at the extreme edges of feminist practice since the 1970s.
Gilmore offers a contemporary reassessment of both hardcore and feminist performance practices that emerged in the 1960s and 70s, established by artists such as Marina Abramović, Chris Burden, and Carolee Schneemann.
By voicing and embodying these multiple male perspectives, the performance engages long - standing debates about gender and women's liberation, and in doing so it recalls some of the key concerns of feminist movements past and present.
Body - related performances have also been associated with feminist art: see for example «Interior Scroll» (1975) by Carolee Schneemann (b. 1939).
Cindy Sherman paints herself into (and out of) any number of fictional roles in her classic Untitled Film Stills — part performance, part painting with make - up — in a sustained essay on the relationship between character and appearance; while a feminist like Lynn Hershman paints her face by numbers in Revlon and Max Factor to illustrate the tyranny of make - up.
Influenced by the folk aesthetics and history of her surroundings, Norton's work employs music, video, mixed media, and performance as her country - music alter ego Ninnie, in a manner that combines feminist thought with local and vernacular imagery inspired by the cultural traditions of the rural South and specifically of her native Kentucky.