Sentences with phrase «women artists felt»

However, many black women artists felt neglected by both the male - dominated Black Arts Movement, the largely white Feminist art movement, as well as the mainstream art world.

(The issue of second - generation Ab Ex women, whose best work is critically considered to have occurred after 1950, is one that many women artists felt was dismissive of the actual timing of their development and work.)

Not exact matches

But I was just amazed by how everyone, young and old wanted to be involved... and was so deeply enriched and touched by the experience and the laughter and the love I experienced from the people I met and how women would in particular open their hearts to me and tell me the stories of where they've come from, particularly because I have the language and was coming there as a woman and just how touched they were that I was there as a woman from England who's learned the language and who's an artist and running this project and come all the way to see them so they didn't feel forgotten I think that was pretty much what they felt... that their stories were being heard so they don't feel forgotten knowing the tents would be around the world.

«I want people in military communities who see this art to feel gratitude for fellow servicemen and women,» said Seattle artist Jennifer Ament.

Ohhhhh Aran if you could look into my heart and know what I am feeling as a woman, mother, friend, artist, these days you would understand fully why this...

clothespin soldier ornaments Lilla A rocking horse ornament Ordinary Life Magic glittering fairy peg doll ornaments 54 Stitches paper frame ornaments Bookhou Crafts snowy owl ornament That Artist Woman wax - dipped pinecone ornament The Magic Onions geometric straw ornament Elsie Marley cinnamon & applesauce ornaments 5 Orange Potatoes ornaments from the kitchen Rhythm of the Home citrus & cinnamon ornaments Natural Suburbia cork tree ornaments Between The Lines pinecone gnome ornament The Magic Onions acorn nest ornament Twig And Toadstool joy to the world ornaments Cultivated Lives salt dough ornaments Filth Wizardry recycled paper ornament Meyamo sewn paper ornaments Elsie Marley glitter wood ornaments Ninth Street East felt ginger cookie ornaments Creature Comforts toilet paper tube wreath Michele Made Me

«My hope is that women and girls around the world will hear these artists» songs, learn their stories and feel a greater sense of possibility for their own lives.»

The book features images of Danish models, singers, actresses, artists and students all connected by a timeless and classic feel of strong women being proud of their bodies.

At that time I felt like there weren't a lot of makeup options for darker skin tones available, and the makeup artists at the department store counters seemed to think that loading up the darkest shades of shadow, blush, and lipstick was the only way to go --(this is before YouTube changed the world of makeup for women of color)-- that's when I decided to take matters in to my own hands and I became sort of obsessed with playing with makeup.

NYX Professional Makeup shares with all makeup artists their passion for makeup artistry and inspires women everywhere to feel beautiful, radiate confidence and have fun while wearing NYX Professional Makeup.

Poets and artists are against standards and insist on that a woman's attractiveness can't be understood with one's mind, one can only feel it.

Across its whole sweep — which in retrospect now does seem genuinely epic — the Harry Potter series offers one ravishing special effect no digital compositor or makeup artist can match: the opportunity to see the three leads, Radcliffe, Watson, and Grint, age from adorably buck - toothed 11 - year - olds into young men and women toward whom the audience now feels an oddly avuncular pride.

The opening scene (s) showed dozens of women kissing this guy (break - up artist) who just happens to cry in front of them and tell them that they made him feel alive again.

Accepting the award, Jolie said she still feels «wonder at the privilege of being able to work as an artist,» especially because for past generations of women, «the freedom to pursue art and ideas independently, on equal footing, was a bitter dream.

The guilt a woman artist might feel in removing herself from her family in order to create is less likely to trouble a man, a man who imagines himself — as Dickens did — working for his family.

But I have a feeling the art market is going to be biased for a long time, despite the heartening progress that 20th - and 21st - century women artists have made in university galleries, in publications, and in museums.

If she felt anger about not being taken seriously as an artist because she was a woman, she was not alone.

How does she feel about being a «woman artist»?

How do you feel about the term woman artist?

While it can feel disjointed, this approach is more inclusive in its attempts to move beyond prescribed art - historical labels, revealing the extent to which women or black artists, for example, contributed to a cutting - edge downtown scene.

For example, when I chose to work photographically I felt that I was siding with the many women artists I was interested in who had also chosen to work photographically, such as Barbara Kruger, Louise Lawler, Barbara Bloom, Sherrie Levine, and Sarah Charlesworth.

I didn't feel like I was having problems as an artist because I was a woman.

One New York gallery in particular, Untitled Space, is currently inviting multidisciplinary women artists to submit work to an upcoming exhibition titled «Angry Women,» which will channel the feelings of election - related rage and anxiety into challenging and confrontational works of feministwomen artists to submit work to an upcoming exhibition titled «Angry Women,» which will channel the feelings of election - related rage and anxiety into challenging and confrontational works of feministWomen,» which will channel the feelings of election - related rage and anxiety into challenging and confrontational works of feminist art.

Now that much has changed for women artists, it is perhaps important to review a moment when women felt the need to confront particularly iconic male artists — «feminina a mano,» that is to say, combat with a woman's touch.

Woman I (1950 - 52) is given a wall, but the spot it occupies in the narrative marks the point in the show where the installation becomes confusing, loses concentration, and where large rooms turn into vast halls where even great works seem like orphans (the scale of the David Smith and Franz Kline room does these artists a disservice as the temperature drops and the corporate quality rises although the same works in another context would feel very different).

Soon after Rosen was showing other new artists, including Rita Ackermann, Ken Lum, Heimo Zobernig, Tony Feher, Andrea Zittel, Paula Hayes, Julia Scher, and Sean Landers — who had a breakthrough 1992 show there of a year's worth of his personal calendar entries wherein he recorded everything from being work - blocked, to feeling attracted to other women, to his professional rages and delusions of grandeur.

Lim feels Eve is representative of herself, as a woman and an artist.

Figurative painter Natalie Frank discusses the prize and says, «Establishing new names, new routes, new protections [for women artists] feels more important than ever.»

«As an artist and gallerist,» Cesarine concludes, «I felt it was the right timing for an exhibition that embraced inspiration as a tool for change with numerous artists coming together to highlight inspirational women and their achievements.»

Later, artist Betye Saar would criticize Walker on PBS: «I felt the work of Kara Walker was sort of revolting and negative and a form of betrayal to the slaves, particularly women and children; that it was basically for the amusement and the investment of the white art Establishment.»

I felt it was important for the exhibit to reflect how women are feeling right now, and to have artists from all over the country with diverse backgrounds represented in the show.

Girls» Club has engaged Miami artist team TM Sisters — sisters Monica and Natasha Lopez de Victoria — to collaborate with the collection of contemporary art by women amassed by Fort Lauderdale collectors Francie Bishop Good and David Horvitz, and curate the 2013/2014 exhibition, selecting works which spoke to the mysterious attraction the girls felt to each piece.

«I never felt any kind of resentment toward me because I was a woman... I had none of the hang - ups to deal with that the women in New York had to deal with,» artist Sonia Gechtoff said.

Namely, the artist was raised in the family of mixed racial background, so she felt marginalized in the art world and exposed to certain stereotypes, not only as a woman but as a person of color as well.

I was drawn to the Dana Schutz painting at Petzel (although not my favorite work by her, I felt obliged to photograph a work by a woman artist that I like).

When I was co-curating The Historical Exhibition, I made sure there was a really strong group of women artists in the show, as I felt that balance was vital.

Widewalls: And coming back to that human experience: as artists and women, how do you feel walking around the city?

The works include reenactments of Vito Acconci's Seedbed (1972), in which the artist occupied the space under a false floor, masturbating and speaking through a microphone to visitors above; Valie Export's Action Pants: Genital Panic (1969) in which Export walked through a movie theater in crotchless pants, challenging the audience to turn from the images of women on the screen to a real female body; and Abramovic's own Lips of Thomas (1975), in which she ate a kilogram of honey and drank a liter of red wine before breaking her glass with her hand, incising a star in her stomach with a razor blade, whipping herself until she «no longer felt pain,» then lying down on an ice cross while a space heater suspended above her caused her to bleed even more profusely.

To the past honorees, however, among whom I feel especially humbled and privileged to share this honor, I'd like to thank you for your example and achievements that have enriched us all: Andrea [Barnwell Brownlee], whose ambitious and inspired curatorial work gives voice to women artists of the African Diaspora; Jerry [Cullum], a visionary writer whose genius lies in his ability to synthesize the experience of art with poetic complexity; Louis [Corrigan], a trailblazing community leader whose innovative ethos and generosity has rekindled the boundless spirit of Nexus; Lisa [Cremin], a leader of responsible and responsive philanthropy who personifies the idiomatic true north for the arts in Atlanta; Lucinda [Bunnen], a brilliant artist and pioneering collector who established photography as an essential feature of contemporary visual culture in our city... and at the High Museum; and Susan [Bridges], den mother to us all, whose generosity of spirit is set off by her unshakable personal integrity.

As an artist, I feel I'm responsible for freeing women from the idea of eternal youth and perfection.

I was not the only woman or artist of color in the class; there were a few of us, so it felt particularly egregious.

MS. RICHARDS: So no one would've left the Guerrilla Girls to join Godzilla, because it didn't feel that issues important to Asian women artists were being addressed in the Guerrilla Girls?

«I've always felt that women artists in the twentieth century are dramatically underrated, underrepresented, and underpriced.»

On Being a «Lady» (February 10, 2013) was my solution for how to review a show I was in, «since the show is divided into two parts, installed along two separate sections of the space, with one side featuring the works of women artists who are deceased, and the other side featuring those of us still among the living, I feel that I can safely recommend the dead without incurring controversy among the other living artists in the show or referring to my own work in it or the ramifications of the word «lady,» which I know has stirred some controversy.»

The artist had a much more difficult relationship with her father, a charming philanderer, whose inappropriate advances toward various women and rather conspicuous 10 - year affair with Bourgeois» English tutor led to a household ruptured by secrets, deception, infidelity and wounded feelings.

The hullabaloo over Tracey Emin's unmade bed - which became an instant icon of popular culture - further inflamed feelings, especially when a protest by two Chinese artists who jumped up and down on it only brought yet more publicity for the woman who has supplanted Turner himself as Margate's most famous export.

Through the increase of Women's Movement literature and the radical idea that gender is constructed and not predetermined by genitalia, Chicago felt the need to rediscover herself as a woman artist, to determine what women's art was, and to help other women become professional artWomen's Movement literature and the radical idea that gender is constructed and not predetermined by genitalia, Chicago felt the need to rediscover herself as a woman artist, to determine what women's art was, and to help other women become professional artwomen's art was, and to help other women become professional artwomen become professional artists.

By 1968, when Bridget Riley had become the first UK artist — and woman — to win the Venice Biennale international grand prize for painting, her dazzling abstract images had become so widely ingrained in the swinging 60s zeitgeist that she must have felt the need for new avenues.

If I felt like I was only ghettoized as a woman artist, that would be a problem, but I don't think that's the case.

Although she states in her essay that she felt «honored» to be included in the group, she also felt the need for an «affirmation» of black women artists.