Representations of Rape in Contemporary Women's Art in the US
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Moma PS1 to PRESENT FIRST NEW YORK EXHIBITION of NIKI DE SAINT PHALLE OPENING MARCH 11
MoMA PS1 TO PRESENT FIRST NEW YORK EXHIBITION OF NIKI DE SAINT PHALLE OPENING MARCH 11 LONG ISLAND CITY, New York, February 8, 2021— MoMA PS1 presents the first New York museum exhibition of the work of visionary feminist artist Niki de Saint Phalle (American and French, 1930‒2002). On view from March 11 to September 6, 2021, Niki de Saint Phalle: Structures for Life will feature over 200 works created from the mid-1960s until the artist’s death, including sculptures, prints, drawings, jewelry, films, and archival materials. Highlighting Saint Phalle’s interdisciplinary approach and engagement with key social and political issues, the exhibition will focus on works that she created to transform environments, individuals, and society. From the beginning of her career in the 1950s, Saint Phalle pushed against accepted artistic practices, creating work that used assemblage as well as performative and collaborative modes of production. Saint Phalle initially gained attention in the early 1960s with her Tirs, paintings produced by firing a gun at plaster reliefs to release pockets of paint, and Nanas, brightly colored sculptures of female figures whose sinuous curves would inform much of her work to come. Beginning in the late 1960s, Saint Phalle started producing large-scale sculptures, which led to an expansion of her practice into architectural projects, sculpture gardens, books, prints, films, theater sets, clothing, jewelry, and, famously, her own perfume. Central to the exhibition is an examination of Saint Phalle’s large-scale outdoor sculptures and architectural projects, including Le rêve de l’oiseau (built for Rainer von Diez between 1968 and 1971); Golem, a playground in Jerusalem (1971-72); Le Dragon de Knokke, a children’s playhouse in Belgium (1973-75); and La fontaine Stravinsky (1983); among others. -
The Broad Launches Unprecedented Survey of Groundbreaking Artist Shirin Neshat
Media Contacts Tyler Mahowald | [email protected] Justin Conner | [email protected] Alice Chung | [email protected] THE BROAD LAUNCHES UNPRECEDENTED SURVEY OF GROUNDBREAKING ARTIST SHIRIN NESHAT The Artist’s Largest Survey to Date and First Major Exhibition of Her Work in the Western U.S. Will Be on View October 19, 2019–February 16, 2020 in Los Angeles LOS ANGELES—This fall, The Broad will launch a new survey—the largest held to date—of internationally acclaimed artist Shirin Neshat’s work. The exhibition, Shirin Neshat: I Will Greet the Sun Again, will be on view from October 19, 2019, through February 16, 2020, and is the renowned multidisciplinary artist’s first major exhibition to take place in the western United States. The artist has been in the Broad collection for 20 years, beginning with the 1999 acquisition of Rapture (1999)—the first multiscreen video installation to enter the collection. Originated by The Broad, this exhibition surveys approximately 30 years of Neshat’s dynamic video works and photography, investigating the artist’s passionate engagement with ancient and recent Iranian history, the experience of living in exile and the human impact of political revolution. Taking its title from a poem by Iranian poet Forugh Farrokhzad (1934–67), the exhibition begins with her most famous body of work, Women of Allah (1993–97) and features the global debut of Land of Dreams, a new, multi-faceted project that was completed this past summer in New Mexico, and encompasses two videos and a body of photographs. Arranged chronologically, Shirin Neshat: I Will Greet the Sun Again presents over 230 photographs and eight video installations, including iconic video works such as Rapture, Turbulent (1998) and Passage (2001), journeying from works that address specific events in contemporary Iran, both before and after the Islamic Revolution, to work that increasingly uses metaphor and ancient Persian history and literature to reflect on universal concerns of gender, political borders and rootedness. -
Discovering the Contemporary
of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S. -
Women in the City Micol Hebron Chapman University, [email protected]
Chapman University Chapman University Digital Commons Art Faculty Articles and Research Art 1-2008 Women in the City Micol Hebron Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/art_articles Part of the Art and Design Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Hebron, Micol. “Women in the City”.Flash Art, 41, pp 90, January-February, 2008. Print. This Article is brought to you for free and open access by the Art at Chapman University Digital Commons. It has been accepted for inclusion in Art Faculty Articles and Research by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Women in the City Comments This article was originally published in Flash Art International, volume 41, in January-February 2008. Copyright Flash Art International This article is available at Chapman University Digital Commons: http://digitalcommons.chapman.edu/art_articles/45 group shows Women in the City S t\:'-: F RA:'-.CISCO in over 50 locations in the Los ments on um screens throughout Museum (which the Guerrilla Angeles region. Nobody walks in the city, presenting images of Girls have been quick to critique LA, but "Women in the City" desirable lu xury items and phrases for its disproportionate holdings of encourages the ear-flaneurs of Los that critique the politics of work by male artists). The four Angeles to put down their cell commodity culture. L{)uisc artists in "Women in the City," phones and lattcs and look for the Lawler's A movie will be shown renowned for their ground billboards, posters, LED screens without the pictures (1979) was re breaking exploration of gender and movie marquis that host the screened in it's original location stereotypes, the power of works in this eJ~;hibition. -
NO BINGO for FELONS Arcadia University Art Gallery Exhibition Checklist August 28 – November 3, 2013 Height Precedes Width Precedes Depth
NO BINGO FOR FELONS Arcadia University Art Gallery Exhibition Checklist August 28 – November 3, 2013 Height precedes width precedes depth. Frank Bender Anna Duval 1977 fiberglass, clay, paint, wig 12” x 8" x 10” Courtesy of Frank Bender Forensics, LLC World-renowned forensic artist Frank Bender began his career without any formal training in forensics. As a graduate of the Pennsylvania Academy and an artist interested in anatomy, he had the opportunity to see the remains of an unidentified crime victim presented to him by a medical examiner. Studying the victim, he believed he could render a reliable sculptural likeness solely from the remains. His attempt, included in this exhibition—Bender’s first reconstruction— eventually led to the successful identification of murder victim Anna Duval by a New Jersey State Police detective. It is one of dozens of busts by Bender that proved instrumental in solving crimes, demonstrating his uncanny instincts both with rendering the body as well as the psychology of the subjects with which he worked. Jennifer Bolande The Porn Series 1982/83 black and white photography 16” x 20" framed Courtesy of the artist Bloande's Porn Series is described by the artist as "cropped stills from 50s retro porn films by Irving Klaw. Watching them really fast, I noticed these moments of calm at the beginning or the end, with all of this ‘activity’ in between. It was this kind of aporia, with just an empty set, before that particular kind of narrative ride takes place." In these noir-ish images we see the spaces between transgression. -
Jenny Holzer, Attempting to Evoke Thought in Society
Simple Truths By Elena, Raphaelle, Tamara and Zofia Introduction • A world without art would not only be dull, ideas and thoughts wouldn’t travel through society or provoke certain reactions on current events and public or private opinions. The intersection of arts and political activism are two fields defined by a shared focus of creating engagement that shifts boundaries, changes relationships and creates new paradigms. Many different artists denounce political issues in their artworks and aim to make large audiences more conscious of different political aspects. One particular artist that focuses on political art is Jenny Holzer, attempting to evoke thought in society. • Jenny Holzer is an American artist who focuses on differing perspectives on difficult political topics. Her work is primarily text-based, using mediums such as paper, billboards, and lights to display it in public spaces. • In order to make her art as accessible to the public, she intertwines aesthetic art with text to portray her political opinions from various points of view. The text strongly reinforces her message, while also leaving enough room for the work to be open to interpretation. Truisms, (1977– 79), among her best-known public works, is a series inspired by Holzer’s experience at Whitney Museum’s Independent Study Program. These form a series of statements, each one representing one individual’s ideology behind a political issue. When presented all together, the public is able to see multiple perspectives on multiple issues. Holzer’s goal in this was to create a less polarized and more tolerant view of our differing viewpoints, normally something that separates us and confines us to one way of thinking. -
SUZANNE LACY, FEMINISM and QUILTING by JACQUELINE
EVER PRESENT, NEVER PRESENTED: SUZANNE LACY, FEMINISM AND QUILTING by JACQUELINE WITKOWSKI B.A. (Hons), DePaul University, 2010 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Art History) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) September 2014 © Jacqueline Witkowski, 2014 Abstract Seated at tables of four, over four hundred women aged 55-95 years old unfold tablecloths of yellow, red, and black. With their choreographed and synchronized gesturing hands, they mimic traditional Euro-American quilt patterns. This performance, titled The Crystal Quilt, was produced by Los Angeles-based artist Suzanne Lacy in 1987 as the culminating work to the two- year long, statewide initiative Whisper Minnesota (1985-1987). There is a continued resonance of the quilt in Lacy’s oeuvre, as The Crystal Quilt was the third project to reference quilts and quilt making. The first project, Evalina and I: Crimes, Quilts, Art (1975-78), and a smaller commemorative project (1980), employed tactile quilting projects instead of the conceptual quilt arrangement that Lacy would incorporate in 1987. The formal and historical attributes of this textile practice have been largely ignored in contemporary scholarship on the artist, thus raising the question of how this very specific medium encouraged her artistic and activist agenda. The primary focus of this thesis is an exploration of how Lacy mediates these two approaches, one of feminism and the other inspired by conceptual artist Allan Kaprow, through the medium of the quilt. Neither Lacy’s quilt works nor the use of craft during the second wave feminist movement has been sufficiently analyzed within craft scholarship. -
Barbara Kruger Born 1945 in Newark, New Jersey
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek -
Wedel Art Collective Launch Face Masks Designed by Leading Artists
Wedel Art Collective launch face masks designed by leading artists: Jenny Holzer, Rashid Johnson, Barbara Kruger, Raymond Pettibon, Lorna Simpson and Rosemarie Trockel Left to right, face masks designed by: Rosemarie Trockel; Jenny Holzer; Lorna Simpson; Barbara Kruger; Raymond Pettibon and Rashid Johnson. Courtesy Wedel Art Collective. Wedel Art Collective have collaborated with six international leading artists to produce a set of unique artist-designed face masks, all proceeds from which will be donated to international relief efforts and artist support for those affected by COVID-19. Launching exclusively on MATCHESFASHION from 24 August the project draws upon the power of contemporary art to encourage more people to wear face masks to protect, and support. Each of the participating artists are internationally celebrated for their work addressing some of the most important social and political issues of our times. Through the inspiration of these artists’ work, the limited-edition face masks reflect the artists’ passionate and urgent response to the pandemic, highlighting the need for community action. Artists include: Jenny Holzer (b. 1950, Ohio, USA); Rashid Johnson (b. 1977, Chicago, USA); Barbara Kruger (b. 1975, New Jersey, USA); Raymond Pettibon (b. 1957, Arizona, USA); Lorna Simpson (b. 1960, New York, USA); and Rosemarie Trockel (b. 1952, Schwerte, Germany). Jenny Holzer's face mask taps into the necessity of mask-wearing, reading “You – Me”. “I like to think of my work as useful,” Holzer says “That is a recurrent impulse, when something happens in the world, if I have an idea that be properly responsive… Not necessarily a cure or a solution but at least an offering.” Raymond Pettibon's mask design features Vavoom, a figure inspired by Felix the Cat that he has drawn since the mid-1980s. -
The Legacy of 1970S Feminist Artistic Practices on Contemporary Activist Art Reviewing 1970S and 1980S Feminist Art Practices In
n.paradoxa online, issue 14 February 2001 Editor: Katy Deepwell n.paradoxa online issue no.14 Feb 2001 ISSN: 1462-0426 1 Published in English as an online edition by KT press, www.ktpress.co.uk, as issue 14, n.paradoxa: international feminist art journal http://www.ktpress.co.uk/pdf/nparadoxaissue14.pdf February 2001, republished in this form: January 2010 ISSN: 1462-0426 All articles are copyright to the author All reproduction & distribution rights reserved to n.paradoxa and KT press. No part of this publication may be reprinted or reproduced or utilized in any form or by any electronic, mechanical or other means, including photocopying and recording, information storage or retrieval, without permission in writing from the editor of n.paradoxa. Views expressed in the online journal are those of the contributors and not necessarily those of the editor or publishers. Editor: [email protected] International Editorial Board: Hilary Robinson, Renee Baert, Janis Jefferies, Joanna Frueh, Hagiwara Hiroko, Olabisi Silva. www.ktpress.co.uk n.paradoxa online issue no.14 Feb 2001 ISSN: 1462-0426 2 List of Contents Meena Alexander Post-Colonial Theatre of Sense: The Art of Chila Kumari Burman 4 Katrin Kivimaa Introducing Sexual Difference into Estonian Art Feminist Tendencies during the 1990s 14 Reviewing 1970s and 1980s Feminist Art Practices in the 1990s: Three Major Exhibitions on Judy Chicago, Eleanor Antin and Martha Rosler College Art Association Conference panel papers, February 2001 (14, Feb 2001) Lisa Bloom (chair) Opening Remarks and CV's of contributors (14, Feb 2001) 30 Alison Rowley Exhibiting Martha Rosler? A Feminist Response to martha rosler: positions in the life world (14, Feb 2001) 35 Catherine Caesar Martha Rosler's Critical Position within Feminist Conceptual Practices (14, Feb 2001) 43 Ruth Wallen The Legacy of 1970s Feminist Artistic Practices on Contemporary Activist Art (14, Feb 2001) 52 Lucy Soutter Community vs. -
Being There Art Assignment 9
ART ASSIGNMENT SHIRIN NESHAT I WILL GREET THE SUN AGAIN In conjunction with Shirin Neshat: I Will Greet the Sun Again, the Modern’s education department and Akin White are pleased to present this Art Assignment packet for high school students and educators. This packet is a supplement to the gallery experience and offers background information on the artist and work, as well as ideas to consider while engaging in the art project. Shirin Neshat was born in Qazvin, Iran, a small city two hours from Tehran, in 1957. Shirin Neshat: I Will Greet the Sun Again surveys approximately 30 years of the artist’s video works and photography, investigating her passionate engagement with ancient and recent Iranian history. The experience of living in exile and the human impact of political revolution are also explored by Neshat. The exhibition takes its title from a poem by the Iranian poet Forugh Farrokhzad (1934–1967). I Will Greet the Sun Again begins with Neshat’s most famous body of work, Women of Allah, 1993–97, and also features her early iconic video works such as Rapture, 1999, Turbulent, 1998, and Passage, 2001. Monumental photography installations include The Book of Kings, 2012, The Home of My Eyes, 2015, and Land of Dreams, 2019, a new, ambitious work encompassing a photographic series and video. The exhibition journeys from works that address specific events in contemporary Iran, both before and after the Islamic Revolution, to works that increasingly use metaphor and ancient Persian history and literature to reflect on universal concerns of gender, political borders, and rootedness. -
Oral History Interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27
Oral history interview with Suzanne Lacy, 1990 Mar. 16-Sept. 27 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Suzanne Lacy on March 16, 1990. The interview took place in Berkeley, California, and was conducted by Moira Roth for the Archives of American Art, Smithsonian Institution. This interview has been extensively edited for clarification by the artist, resulting in a document that departs significantly from the tape recording, but that results in a far more usable document than the original transcript. —Ed. Interview [ Tape 1, side A (30-minute tape sides)] MOIRA ROTH: March 16, 1990, Suzanne Lacy, interviewed by Moira Roth, Berkeley, California, for the Archives of American Art. Could we begin with your birth in Fresno? SUZANNE LACY: We could, except I wasn’t born in Fresno. [laughs] I was born in Wasco, California. Wasco is a farming community near Bakersfield in the San Joaquin Valley. There were about six thousand people in town. I was born in 1945 at the close of the war. My father [Larry Lacy—SL], who was in the military, came home about nine months after I was born. My brother was born two years after, and then fifteen years later I had a sister— one of those “accidental” midlife births.