#feministart
Driven, Maria Friberg, 1998,Brooklyn Museum: Elizabeth A. Sackler Center for Feminist Art
© Maria Friberg and Monika Larsen Dennis
Medium: Single-channel video projection, color, silent, 4 minutes 3 seconds
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“A woman without a man is like a fish without a bicycle” ~gloria steinem
15,226 OF YOU CANT BE WRONG
We posted Suzanna Scott (@suzanna_scott) ‘Coin Cunt’ project as part of our THINGS WE LOVE series and you showed us how much YOU loved it by liking and reblogging it 15, 226 times.
As the editor of HAHA, I had the opportunity to include these purses in a show I curated. If you guys have been dreaming of owning one, the day has come–> you can add one to your art collection by clicking thislink.
(kisslock coin purses, turned inside out, folded and stitched to resemble a vulva).
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Making some more booty mugs and who arrives to quench their thirst? This little guy! It was fun watching this lil spider waltz around on my mugs for a bit before continuing on with his spider ways
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#ceramicartist #ceramics #pottery #wheelthrown #mugshotmonday #wheelthrownmug #bootymug #bigbellybabe #bigbellybabemug #clayartist #feministart #bodypositivity #queerart #queerartist
https://www.instagram.com/p/CdV3WJYrFXm/?igshid=NGJjMDIxMWI=
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“i’m not always where my body is” I / II
mixed media on paper
I s. . 25.5 x 21 cm / II s. .29 x 23.5 cm
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L O V E the work from @tylerfeder! Powerful portraits and beautiful drawings. #staylegendary ✊️
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#art #artwork #artist #feminism #feministart #legendarywomen #repost #michelleobama #likeforlike #feminist #feministaf #strength #power #motivation #dailyquotes
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Recommended read/visual-feast. The “Pattern and Decoration” movement — both thrilling and garish? This great catalogue from LA MoCA is sparking a lot of ideas!
#patternanddecoration #feministart #artcraft #decorativearts #artbooks #miriamschapiro @moca
https://www.instagram.com/p/CHEiWDWAXjo/?igshid=zf6wx67ts0lu
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Happy birthday @aprilbey_ !
, Installation view, GAVLAK Los Angeles, 2020
April Bey
(' ) , 2020
Digitally printed woven blanket with hand-sewn “African” Chinese knock off wax fabric and glitter
80 x 60 in (203.2 x 152.4 cm)
April Bey
' , (), 2019
Relief photopolymer plate print sewn into hand-drilled golden glittered resin on panel with golden metallic thread
20 x 16 in (50.8 x 40.6 cm)
April Bey
(), 2019
Relief photopolymer plate print sewn into hand-drilled golden glittered resin on panel golden metallic thread
20 x 16 in (50.8 x 40.6 cm)
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#aprilbey #laartist #womenartists #womanartist #femaleartist #nastywomen #nastywoman #gavlakla #dtla #artistportrait #bipocart #bipocartists #happybirthday #feminism #feministart #earthfeminism #atlantica #atlanticaarchives #beyonce #workingartist #aprilbeyart (at Gavlak)
https://www.instagram.com/p/CJrM3y3FLNM/?igshid=191u5sgohzmg0
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LAST CHANCE! closes at GAVLAK Los Angeles! To schedule an appointment, click the link in our bio.
, GAVLAK Los Angeles
Installation View, 2020.
Photography: Ed Mumford
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#nastywomen #ruthbaderginsburg #nastywoman #nastywomenunite #womeninleadership #womenssuffrage #intersectionalfeminism #femaleartists #feministart #womeninart #womenartists #womenforwomen #equalityforall #powerfulwomen #wearenastywomen #installationart (at Gavlak)
https://www.instagram.com/p/CItRJtFFVzH/?igshid=5dsnfm2nmr09
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✨TRUE STORIES✨
A Group Show Presented by The Untitled Space @untitledspaceny
OPENING RECEPTION
April 9, 2022, 4pm – 8pm
RSVP [email protected]
EXHIBITION ON VIEW
April 9 – May 27, 2022
45 Lispenard Street, NYC
The Untitled Space has announced their latest group show, titled “TRUE STORIES” opening on April 9th and on view through May 27th, 2022. Curated by @IndiraCesarine, the exhibition features over 30 contemporary artists whose work addresses storytelling through narrative painting, drawing, or portraiture.
Through their depictions, the artists present complex narratives featuring characters and scenes that provoke our imagination, address our hopes, fears, and desires. They channel their abilities to give shape and character to stories that can be read across time, language, and cultures.
EXHIBITING ARTISTS
@anniebritohodgin @annikaconnor @bartoszbeda @boristorres @briaaafernandes @danielle.muzina @evaredamonti_art @faustinebadrichani.art @gabrizea @graupepillard @hannahdugganart @ianwilsonclyde #indiracesarine @jaredfresch @katiecommodore #kenmart @kerrylessardstudio @kestincornwall @kristinoconnor @louise_campion @meeganbarnes @melaniereese @michael_hubbard_art @mbrody16 @birdbirdbirdbirdbird @robinjtewes @siobhanmcbride8 @sophiaoshodinart @tabitha_whitley_art @tracybrownart @artofmere_
✨Read More: untitled-magazine.com
#TRUESTORIES #GroupShow #ContemporaryArt #UntitledSpaceNY #TheUntitledSpace #FigurativeArt #Narrativeart #storytelling #painting #drawing #oiloncanvas #Blackart #FeministArt #BIPOCart #QueerArt
(at The Untitled Space)
https://www.instagram.com/p/CcDtK0mOtvK/?utm_medium=tumblr
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Art History #11 — Female Identity // 22.12.20
Proppedis a superlative self-portrait by Jenny Saville, first displayed at her degree show in Edinburgh in May, 1992. The painting displays an exposed woman adjusted on a high stool in front of a mirror, with the words “If we continue to speak in this sameness — speak as men have spoken for centuries, we will fail each other” facing towards her. The combination of vulnerability, independence and message within this portrait demonstrates Saville’s intention to diminish several propositions: society’s toxic beauty standards, sexist ideals, and the relentless male convention of female nudity (with a specific focus on cultural aversion to corpulence).
In the artist’s words, “I’m interested in the power a large female body has – a body that occupies a lot of physical space, but also someone who’s acutely aware that our contemporary culture encourages her to disguise her bulk and look as small as possible”, her paintings present the viewer with a dichotomy; there is an intense sense of vulnerability that permeates Saville’s subjects, and yet their large size belies this impression of fragility. The portrait is ultimately painted in such a way to counteract these stubborn stereotypes and ideals — Saville is successfully able to promote inclusitivioty and interrogate prescribed notions of beauty. Additionally, for a young woman, at the time, to insert herself into the male canon of nude paintings was highly audacious. It was extremely rare for women to paint the female nude with such candour, and they instead simply painted their subjects clothes. Saville’s intentions of carving out a space for herself in a very male dominated field is clear, especially since the primary subject in early works is herself — there is significance to this choice. Her work, therefore, would not only have been influential through its inherent message of body acceptance, but also due to her bold denial of sexist rules. She reinvented society’s expectations in several ways, and in doing so suggested a more feminist, fair viewpoint.
Sources:
- Art History lesson notes.
- https://www.sothebys.com/en/articles/the-groundbreaking-self-portrait-that-launched-jenny-savilles-career
“Do Women Have To Be Naked To Get Into the Met. Museum?” is a poster created by the Guerrilla Girls in 1989. They are a group of anonymous, female artists who are known for their devotion to fighting sexism and racism within the art world. This particular poster is a feminist social commentary and critique that was provoked by the International Survey of Painting and Sculpture exhibition, held in 1984 at the Museum of Modern Art, New York. This exhibition included the work of 169 artists, less than 10% of whom were women. Although female artists had played a central role in experimental American art of the 1970s, their presence in museum and gallery exhibitions were diminished dramatically. This prejudice therefore inspired the Guerrilla Girls to speak out in an artistic way, that targeted everyone they felt actively responsible for the exclusion of women and non-white artists from mainstream exhibitions and publications.
The poster itself displays an image of a partially censored naked lady, commenting on the still prevalent patriarchal times of society. It comments largely on the woman’s worth, presenting her to be seen in a sexualised light by civilisation, but then also highlighting the stupidity of this through the witty and sarcastic title. Although displayed to be very bare, the woman is still able to keep her identity hidden through the Gorilla mask, reflecting also on the artists’ own anonymity. Combining bold block text with lists and statistics allowed for the Girls to appropriate the visual language of advertising and have it actually be recognised by the public in the streets. Through the means of displaying social commentary within art in a still very sexist world, the Guerrilla Girls were able to influence minds and fulfil their responsibility of reaching a wider audience. Their use of wit and irony to point a critical finger at double standards prevalent in the art world and elsewhere was, and still is, a very important motive to help make a change.
