Sentences with phrase «women artists often»

From the Littlest Sister Fair showcasing work by 10 women in Little River to the signature Art Basel Miami Beach fair in the Miami Beach Convention Center, women artists often claimed the spotlight.

Many artists have digested this so fully that even women artists often deliver back the male gaze itself as a feminist statement, making MORE images of sexy women.

Not exact matches

Women and minority actors and stage managers are getting fewer jobs and often wind up in lower - paying shows than white male theater artists, according to a new study by Actors» Equity.

@realscientists - Real science from real scientists, communicators, writers, artists and clinicians, often featuring women (13.3 K followers)

The books and articles they churned out, often without ever actually speaking to any of the men and women involved in these relationships, generally lambasted the men as abusers and losers and the women as gold diggers, scam artists, or victims.

For centuries male filmmakers, writers, painters, artists of all kinds have often cited women as the inspiration for their brilliant masterpieces.

The Swiss artist has been a video - art giant for the past three and a half decades, reclaiming the often demeaning image of women in mainstream media.

In his later paintings, in which surfaces tend to be impasto and there are no cartoon balloons, Trosch often depicts a woman (patron) and a macho male artist, who has a thick head of hair and is often bare - chested.

The textile arts, including materials and methods often associated with craft and women's work, appear in myriad ways in the works of contemporary artists.

The groundbreaking exhibition Women of Abstract Expressionism will celebrate the often unknown female artists of this mid-twentieth-century art movement.

In the postwar era, societal shifts made it possible for larger numbers of women to work professionally as artists, yet their work was often dismissed in the male dominated art world, and few support networks existed for them.

An admired artist in India, Arpita Singh, who is best known for her figurative paintings of woman, often floating in an elusive space, rarely shows in America and that is our loss.

I start my paintings with a stained pattern, often a variation on historical women artists designs (Sonia Delaunay, Varvara Stepanova, Lyubov Popova, Vanessa Bell).

The career trajectories of the twentieth century's women artists have often been more unwieldy, and less straightforward, than their male peers, with attention arriving much later.»

These works are less widely recognizable than his women, presenting a significant shift in the career of the artist with his move away from more evocative (and often figural) paintings of the 1950s.

Often nicknamed Mimi Appleseed, after Johnny Appleseed whose dream was for a land where blossoming apple trees were everywhere (even more often just Mimi), Schapiro has opened paths previously closed and unknown to women artists, past and present, trained and untraOften nicknamed Mimi Appleseed, after Johnny Appleseed whose dream was for a land where blossoming apple trees were everywhere (even more often just Mimi), Schapiro has opened paths previously closed and unknown to women artists, past and present, trained and untraoften just Mimi), Schapiro has opened paths previously closed and unknown to women artists, past and present, trained and untrained.

The work of men chosen for the Biennial was acquired by the museum twice as often as the work of women chosen for the Biennial; More than 70 % of the acquisitions of art by women in the Biennials up until then had taken place in the 1970's; The museum already owned works by 12 of the 43 artists in the 1987 Biennial show; Between 1982 - 1987 there had been only one solo show of a woman artist at The Whitney.

Mack's subversive work underscores the struggles of many women artists in the 1970s who found their role as homemaker monotonous and often an obstacle to being taken seriously in a male - dominated art world.

When viewing the work of these artists it is clear that not only do women have a very different voice and treatment of the nude, but also are breaking boundaries with work that often reveals details only a women can understand intimately.

Born in Philadelphia in 1900, Alice Neel trained at the Philadelphia School of Design for Women and carved out a career as an artist in New York, often in difficult circumstances.

Despite her tragically short life and career, Modersohn - Becker is an artist whose work remains ever - powerful, in particular in relation to the difficulties often faced by women artists in combining a family life with an artistic one.

rosalux presents Julia Riddiough A British artist with an active interest in exploring and investigating the archive, looking at the space between fact and fiction, meaning and perception often referencing the representation and portrayal of women.

Women have always been involved in art, either in making it, inspiring it, collecting it, or critiquing and writing about it, but they have more often been perceived as muse rather than as artist.

He most often casts just one or two actors, most often himself or the artist Jean - Luc Verna made up as women, in all roles.

Through her depictions of women — often bearing heavy kohled eyes and crimson pouts — the artist explores femininity through minimalistic watercolor brush strokes.

Alfred Lombard was a famous French artist widely known for his paintings where he often depicted nude women in brilliant arrangements of colors.

I first saw drawing by Wilson in a group show at P.S. 1, where writers often mentioned her in the same breath as Amy Cutler, another artist who works on paper with plenty of white space, spare outlines, and a cast of young women in allusively rural settings.

Brooklyn Museum's «We Wanted a Revolution: Black Radical Women, 1965 - 85» reorients the conversation around race, feminism, political activism and art during the emergence of second - wave feminism by highlighting the often dismissed work of women artists of cWomen, 1965 - 85» reorients the conversation around race, feminism, political activism and art during the emergence of second - wave feminism by highlighting the often dismissed work of women artists of cwomen artists of color.

Often depicting African - American women in colorful interiors, they take inspiration from the past - the sensuous odalisques of Matisse and Ingres - while also pushing portraiture forward alongside artists like Chris Ofili, Marilyn Minter, and Kehinde Wiley.

Ringgold is one of the few artists included in the exhibition who aligned herself with the mainstream feminist movement, though she, like other black women, often found it lacking, and identified more pointedly as a black feminist.

Adolphe Piot was a French artist best known for his paintings depicting often idealized portraits of women and girls.

Academy museum director Brooke Davis Anderson said works by women from throughout the 20th century were highlighted in the gifts and acquisitions, «reflecting our commitment to collecting works by women artists and artists from communities often overlooked by the conventional canon of art history.»

Through various mediums, the exhibiting artists in the show have used the female body and femininity as a way to subvert the dominance often inflicted on women in a patriarchal society.

Antunes often shines light on artists shoved into shadow, who are frequently women; this is her aim again today.

Jenkins Johnson Gallery: If the shows mounted here have been inclusive, they've also been especially attuned (and allotted generous space) to works by women artists, who are often constrained or confronted by gender / identity politics, social upheaval, sexism and backlash.

Though the 12 international artists — all women — work in various media, they are all united as artists sticking true to process to create works that are often hard to categorize, but stand critically in - between formalist abstraction and minimalism.

Several women artists who are left out of this exhibition, such as Jenny Holzer or Adrian Piper, have challenged the commodification of text by reclaiming it as representational in contemporary art, often portraying direct, confrontational statements to viewers.

The exhibition's final three sections — the Dionysian Pavilion, devoted to women artists and artists addressing women and female sexuality, and the Pavilions of Color and of Time and Infinity — are far too broad and nebulous to be helpful frames for any of the (often great) works therein.

From makeup to celebrity culture, these artists mine «girly» motifs — often ignored or dismissed as flippant and unserious by the art world — to explore issues of gendered expectations and pressures women face through representations of women in the media and culture at large.

Polly Apfelbaum has a floral carpet, but as part of an often overlooked woman artist's discovery of decorative arts and craft.

An artist who was also one of the three curators of the past Whitney Biennial, where she packed her floor of the museum with extraordinary women painters, Michelle Grabner creates worked - over canvases that use obsessively rendered geometric patterns — often lifted from home textiles and other distaff sources — to enormously powerful effect.

But the women artists who taught, studied, and made groundbreaking work with them are often remembered in history books as wives of their male counterparts or, worse, not at all.

Inspired by the life of the late New Orleans preacher, artist and poet Sister Gertrude Morgan, Dill's installation reflects on the often under - recognized power of women's voices and writing.

Women artists who contributed mightily to art movements throughout history, but been relegated to the shadows, have always interested me and often been the focus of personal research.

At odds with her paintings» self - conscious qualities, Rawlings often uses bold, block colours and patterns that, combined with the subject of femininity, are reminiscent of Pop artist Pauline Boty's paintings of women from the 1960s.

New York - based artist Thomas often depicts African American women presented as celebrities, and frequently explores notions of femininity and power in her works.

Equally, Neel was unflinching in her depiction of the female body, often in states of awkwardness and unease, as seen in the painting Childbirth, 1939, and assured of her own freedom as an artist, challenging a Western tradition that regarded a woman's proper place in the arts as sitter or muse.

Shirin Neshat (b. 1957) is an Iranian - born artist whose works often focus on the mores of Muslin societies, especially as they affect women.

Declaring «the personal is political,» feminist artists critiqued the objectification of women through the agency of performance art, often using their own bodies but also incorporating narrative strategies, autobiography, and role reversal.

These narratives — often loosely related to the artist's own background as an Asian American woman — morph as they are read, creating unexpected juxtapositions and paradoxes.