The majority of the works on view were from the 1980s and 1990s, a groundbreaking period that was
shaped by the feminist and civil rights movements of the previous decades.
Not exact matches
I'm a
feminist because I follow Jesus, my feminism is
shaped by my discipleship to Jesus.
Feminists have taught us to read our history in a way that shows how even the more favored women have been treated as male property, excluded from the possibility of developing and expressing their independent capacities, identified chiefly
by their relations to men, and expected to
shape their lives for the sake of husbands and children.
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.
The second nests these ideas about abstraction and the sculptural in an emphatically
feminist argument, one that asserts that the production, display, and reception of such art has been
shaped by the personhood of the artists who tended to practice it, and
by the sexist social and institutional conditions those individuals faced under modernism.
As photographs circulate in online realms — on social media and through digital platforms, where they are
shaped and affected both
by human decisions and algorithms — can we discern a
feminist approach?
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.
Watson's expressionism is deeply informed
by autobiographical themes from her youth, and is
shaped by a whimsical,
feminist perspective.
Rope ladders recalling those used
by aerialists (a figure that is also known as a
feminist trope) also resemble double helixes, the
shape of DNA.
Chair
by Allen Jones, 1969, which depicts a woman bent into the
shape of furniture, was damaged in a
feminist attack in 1986.
The MoMA show, which featured an untitled hanging wire sculpture
by Asawa from circa 1955, led The New York Times critic Holland Cotter in his review to assert «the reality that work
by women,
feminists or not, was the major inventive force propelling and
shaping late - 20th - century art.»
Mira Dancy's gorgeous, joyful mural of a reclining female nude, for instance, takes off across from the ecstasy of
feminist artist Mary Beth Edelson's Woman Rising (1973), a black - and - white photograph in which a woman stands in an open desert, her arms stretched out toward the sky in a gesture of empowerment and freedom that is reinforced
by a V -
shaped line of contrails in the sky.
And for just as long,
feminist assessments of marriage have been
shaped by earlier findings that when people married, the women began doing more household work, while the men started doing less.