Sentences with phrase «works by feminist»

The audience will have an opportunity to see works by the feminist pop icon Evelyne Axell, but also the social commentary as evident in works by Danny McDonals, Raymond Pettibon or Peter Wächtler and conceptual works by the likes of R.H. Quaytman and Mario Garcia Torres.

Highlights included works by feminist artist Judy Chicago, Tammy Rae Carland's Lesbian Beds photo series, Nicole Wermer's Untitled (Bench)(2016) which featured colored rocks in a plexiglass container, and two of Margo Wolowiec's woven works.

Often underrepresented in the art world, a need for rebalancing has been recognised by Frieze itself this year and a specially curated section showcases work by feminist artists from the 1970s and 1980s.

This invitational exhibition highlights recent work by feminist artists who were active in the Twin Cities in the 1970s and «80s as well as artists who self - identify as «third - wave» feminists.

There's an eruption of bulges in After Awkward Objects, at London's Hauser & Wirth, an exhibition of work by feminist - art titans Louise Bourgeois, Lynda Benglis and Alina Szapocznikow.

Not exact matches

Noddings» answers to these questions have won her praise in feminist and leftwing circles; her book is hailed by Rosemary Ruether and Daniel Maguire as an «important contribution to philosophical ethics» and a work that should be «significant» in theological seminaries.

Although friendship is not possible among all feminists, the work of Be-Friending can be shared by all, and all can benefit from this Metamorphospheric activity.

Feminists began their critical work in response to insults and injustices generated — to paraphrase Sobrino — by scientific and philosophical understandings that «explained» and «gave meaning to existing realities» of exclusion, especially of women.

By infusing her feminism with an identifiably Anglican set of concerns (patristics and ecclesiology, for example), Coakley points the way for black Baptist feminists or Pentecostal feminists to do work that elevates their own traditions.

Modleski concludes: «By working on a variety of fronts for the survival and empowerment of women, feminist criticism performs an escape act dedicated to freeing women from all male captivity narratives, whether these be found in literature, criticism, or theory.»

And yes, it's also true that many of us (at least those of us who are white and middle - class) are a bit self - absorbed or extremely focused on our careers (we're the «third waver» feminists, and many of us from Day One saw our lives as defined by our work.

Work - life balance was ignored by early feminists, it's time we bring the basic experiences of women to the table, pregnancy, birth postpartum & parenting.

Instead of trying to remake the working world to respect and support mother love, feminists have ducked the responsibility by denying that mother love is so very powerful, or by claiming that «real» feminists find career more compelling than being with their children.

Many feminists believed that her views hurt the cause of equal rights for women by inducing guilt in working mothers.

Granted, I suppose I'm a complete dichotomy (homeschooler and working mom, liberal and a military spouse, feminist and a wife who lives by very «traditional» ideals — you could say we have a «1950's household» and I * consciously * chose that lifestyle.

I think that the Working Families Party is terrific,» said Brewer, who was sporting the wide - brimmed hat worn by the late feminist Congresswoman Bella Abzug at the rally on the steps of City Hall.

We also looked at more draconian legal approaches, including the one operating in Sweden, which is often celebrated by feminists opposed to sex work.

The notion that females earn 79 cents for every dollar earned by men for doing the same work, an article of faith for feminists and the Obama administration, has been debunked as often as the much - repeated nonsense that a «rape epidemic» exists on college and university campuses.

During the campaign, she defined herself as a feminist who understands the struggles of working families and immigrants, someone who could break barriers for the upper Manhattan district, which has long been dominated by male leadership.

Other examples include Amos Tversky and Daniel Kahneman's studies of human reasoning, which show that humans frequently reason with unseen and persistent biases, and the work of Keller, Longino, and other feminist critics showing that scientists are cognitively limited by the ideologies accepted in their wider cultures.

Readers of literature will find it too shallow, scholars of history will find it skewed, feminists will think it too masculine, filmmakers will be distracted by the inept camera work, and generally anyone will respond as Goldilocks.

It's a subversive, feminist take on the Mattel toy, set to be directed by Alethea Jones and based on a script worked on by Lindsey Beer, Jenny Bicks, Kim Caramele, Diablo Cody, Bert V. Royal, Hilary Winston and Schumer.

Virginia Woolf's Mrs. Dalloway is considered by many to be an important feminist work, one that most people have not read (or even heard of).

The Assassination of Jesse James by the Coward Robert Ford is a work of great majesty; The Proposition is as searing as anything that came before it; while Tarantino fused his love of the genre and contempt for the slave trade in Django Unchained, which managed to be both incendiary and huge amounts of fun; The Homesman and Meek's Cutoff gave the western a stirring feminist spin; and last week's Jauja (a similarly Danish - American mash - up, this time South American) played with genre tropes to produce something surreal and unforgettable.

Eighty - one - year - old Jacob, who has attended every festival since 1964 and became its chief selector in 1978, added: «The job of feminists and of people like me who like the work of female film - makers is to say to him: «Are you sure there isn't somewhere a film by a woman that deserves to be competing?»

Either that or people were disappointed that The Homesman wasn't the feminist Western they were expecting — it is a feminist Western, but despite Swank's strong work and the theme of women mistreated by men, this is still a story about Briggs, and the hardness of the West.

Marta Kristen takes the role of Lisabeth much further than Beverly Washburn, though feminists will be aghast by her final statement, «Cooking is women's work.»

With this book, Showalter adds much - needed perspective to women's literature, putting works rediscovered by feminist literary scholars into historical context.

It is regarded as an important early work of American feminist literature, illustrating attitudes in the 19th century toward women's health, both physical and mental.Presented in the first person, the story is a collection of journal entries written by a woman whose physician husband (John) has rented an old mansion for the summer.

Art and the Feminist Revolution at LA MOCA and P.S. 1 in 2006 did not include her paintings (as they omitted work by other feminist artists like Judith Bernstein, Anita Steckel, and Betty Tompkins whose work may have appeared too transgressive).

These works also address classic feminist critiques of body language (the socialized differences of behavior between men and women) and reference the many works made by women artists that deploy imagery of hands: a symbol of domestic labor, idealized femininity, craft, and self - image.

Published in cooperation with the Fabric Workshop and Museum, Philadelphia, and featuring critical essays by a diverse array of writers and art theorists — including feminist philosopher Hélène Cixous — ALLY shows how these artists have worked together to create a new pictorial language.

The BMA presents Front Room: Guerrilla Girls, a selection of 48 works by the New York - based anonymous feminist collective known for using humor to confront sexism and racism in the art world.

With his inaugural public show, Eric Firestone is bringing work by a visionary feminist artist to a block that's been celebrated for its male artists.

Repeating a 1970s - era tradition of feminist exhibition - making — one that is as entangled in debate as the long modernist tradition and its claims, critiques, and counterclaims about the studio — «Revolution in the Making: Abstract Sculpture by Women, 1947 — 2016» assembles thirty - four artists who were in each case selected for their work, but were also selected for being artists who are women.

As the title suggests, the exhibition casts a wide net, capturing everything from cultural artifacts (feminist literature, earthenware) to graphic design (exhibition posters, bakery business cards), to unique artists» works influenced by graphic novels, Girl Scout badges, stock photography, and other bric - a-brac.

Early works from the 1980s emerged in the wake of explosive changes in political, social and cultural conditions marked by the AIDS crisis, a fervent discourse on sexuality and gender, and feminist activism.

Just a quick glance around the black - walled gallery reveals works by key feminist greats like Carolee Schneemann, Marilyn Minter, Louise Bourgeois, Lynda Benglis, Joan Semmel and Hannah Wilke.

In a show that gestures toward several 20th century art movements — though there happens to be a suspicious dearth of photography — I'm most looking forward to works by postwar feminists like Carolee Schneemann, Dara Birnbaum, and Nancy Spero, whose imaginations repudiate narrow definitions of the body, sexuality, and violence, and seem, to me, utterly sound.

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.

Her work, influenced by German artist Katharina Grosse, had a feminist bent in this exhibition in which she tortured objects associated with domesticity.

One is Griselda [Pollock], who Richmond cites to make the case that, «a feminist perspective (or problematic) is determined not by the gender or political identity of the artist but rather the «effect» of the work: «the way it acts upon, makes demands of, and produces positions for its viewers.

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.

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 19Work, 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 19work within the feminist genre of the 1970s.

AlhóndigaBilbao presents a wide exhibition of the work performed by American feminist art collective Guerrilla Girls since its founding in 1985 until today.

In the fall of 1975 Morton relocated to San Diego for a one - year visiting position at the University of California, where the development of the personal content of her work was increasingly influenced by the local feminist movement.

Just a quick glance around the black - walled gallery reveals works by key feminist greats like

Photographs and ephemera relating to the project are displayed alongside documentation of other Judson initiatives, including experimental works by Claes Oldenburg and Jim Dine, and those by lesser - known artists such as Martha Edelheit, whose 1960 psychedelic watercolour, Dream of the Tattooed Lady, anticipates later developments in feminist art.

Earlier feminists tackled grim and unfunny issues such as sexual violence, inspiring the Guerrilla Girls to keep their spirits intact by approaching their work with wit and laughter, thus preventing a backlash.

For the past two years, my work has revolved around the early feminist utopian novel, Moving the Mountain by Charlotte -LSB-...]