Sentences with phrase «within feminist art»

Abstract artists — including women painters and sculptors whose work had been so influential and notable within feminist art discourse in the 70s — often felt left out of major exhibitions and texts devoted to women artists and feminism.

Including Brodhead within feminist art movements would not only be disingenuous, but it would lead to her becoming pigeonholed, as many artists such as Barbara Kruger, Judy Chicago or the Guerilla Girls have been.

Rail: You said Miriam Schapiro was weird about lesbians and I wonder if it was a point of contention within your feminist art world — I don't know how you identify, but I think most of your romantic partners are men.

Not exact matches

Mimi's smaller piece within this exhibition was called Dollhouse (one of the best - known icons of feminist art) and it was constructed using various scrap pieces to create all the furniture and accessories in the house.

With the exceptions of essays by Rosalind Krauss (in Francesca Woodman: Photographic Work, edited by Ann Gabhart, Rosalind Krauss and Abigail Solomon - Godeau, published by Hunter College Art Gallery, New York and Wellesley College Museum, Wellesley, 1986) and Benjamin Buchloh (in Francesca Woodman: Photographs 1975 - 1980, edited by Benjamin Buchloh and Betsy Berne, published by Marian Goodman Gallery, New York, 2004), few critics have contextualised Woodman's work within the feminist genre of the 1970s.

Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world.

The ideas within Estes» paintings in Dispatches from the Front Lines come out of the feminist art movement of the early seventies and the subsequent flowering of the pluralism and inclusiveness of that time.

Hybrid reveals Booker's ability to connect the historical lineage of textile, decoration, craft and modern and feminist art within a refined yet dynamic artistic vocabulary.

Yet beyond the contemporary and future implications of this piece, Imagination, Dead Imagine exists within a critical canon of uniquely disruptive, feminist art practice.

Regarding Nancy Spero, she finds «great resonance and so many lessons from her work — not just her production of an entire feminist canon but also her making a community with other women, writing and doing everything within her means to address historic, systemic, gendered absences in art.»

Other works in the exhibition include Jorge Pardo's handcrafted wooden palette and modernist designed furniture that question the nature of the aesthetic experience; pioneering conceptual artist Joseph Kosuth's discourse on aesthetics in neon, An Object Self - Defined, 1966; Rachel Lachowicz's 1992 row of urinals cast in red lipstick, which delivers a feminist critique of Duchamp's readymade; Richard Pettibone's paintings of photographs of Fountain; Richard Phillips» recent paintings based on Gerhard Richter's highly valued work; Miami artist Tom Scicluna's neon sign, «Interest in Aesthetics,» a critique of the use of aesthetics in Fort Lauderdale's ordinance on homelessness; the French collaborative Claire Fontaine's lightbox highlighting Duchamp's critical comments about art juries; Corey Arcangel's video Apple Garage Band Auto Tune Demonstration, 2007, which tweaks the concept of aesthetics in the digital age; Bernd and Hilla Becher's photographs, Four Water Towers, 1980, that reveal the potential for aesthetic choices within the same typological structures; and works by Elad Lassry and Steven Baldi, who explore the aesthetic history of photography.

Shifting between art and public space, Holzer examines the role and position of feminist art within contemporary societies and its political implications.

Within the art world, meanwhile, she is also admired for her queer and feminist activism, for planting her subjects in Brooklyn beer gardens and other proletarian settings where artists congregate, and for the hints of physical comedy in her work (also apparent in this print).

Under the Polish «critical art» during 1990s, she started specific feminist art practice of displaying and overcoming social stereotypes of the body in terms of binaries perfect - imperfect, healthy - ill, male - female, dead - alive and thus reveal strong patriarchal ideals as dominant within the society.

[32] While attending art school in Cincinnati, Saville's feminist passion was conceived through a realisation of gender within art history.

Even though her work is part of the feminist history, she actively work, teaches and exhibits regularly — independently and within the art groups.

Housed within the confines of SOHO20, a historic feminist art space, Marcin continues to deflate the gendered hierarchies embedded within the film industry.

ORGASMIC STREAMING — ORGANIC GARDENING — ELECTROCULTURE — «a group exhibition looking at practices that emerge between text and performance, the page and the body, combining a display and events program of historical and contemporary works — seeks an alternative framework to look at the influence of conceptual procedures as well as experimental writing within contemporary feminist performance practices across visual art, sound and text.»

Even within this sex - positive black - sheep subset of feminist art, there were conceptual and political rifts.

They are still largely overlooked within the legacy of feminist art as a whole.

Inspired by the feminist masterpiece The Dinner Party by Judy Chicago, this exhibition featured artists who have risen above the narrow roles imposed on women and whose work has challenged the status quo, particularly within the canons of art history.

«This canonical essay precipitated a paradigm shift within the discipline of art history,» Reilly states in her preface to Women Artists: The Linda Nochlin Reader (2015), «and as such her name became inseparable from the phrase, «feminist art,» on a global scale.»

Most of the paintings, sculpture, works on paper, and videos in the exhibition are by self - declared feminists and artists of later generations working within the historic framework of feminist art.

Dating from two generations within the ongoing American feminist art movement, these artists exemplify the diversities of concerns, aesthetics, concepts, and approaches that make up the movement.

Even with her influence upon future generations of feminist artists, Nevelson's opinion of discrimination within the art world bordered on the belief that artists who were not gaining success based on gender suffered from a lack of confidence.

The seminal anonymous feminist activist group Guerrilla Girls, devoted to fighting sexism and racism within the art world, present a lecture illustrating their work over the past thirty years, and the work that still needs to be done.

It is grounded within legacies of conceptual art and intersectional feminist and queer theory.

In the short term, she sought to increase the opportunities available to women them within the American art system, and to reinterpret the history of art from a more feminist perspective.

Ashley challenges assumptions about form, boundaries, and perception, working «within a deeply feminist critique of the contemporary art world.

Regarded as the iconic piece of feminist video art, this 6 - minute feminist parody of a televised cooking show seeks to change preconceived notions about the woman's role within the home, and how this is represented in the mass media.

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.

Working within the overlapping discourses of Conceptual art, land art, poetry, and feminist art practices, Vicuña has long refused categorical distinctions, operating fluidly between concept and craft, text and textile.