#women-artists

#women-artists

Carter Shocket stated, 'They kind of felt like they happened and then they were over, like it wasn't a long-lasting kind of project. It was just a flash-in-the-pan kind of thing.'

The library was to hold material relating to women's work, too. This year's centenary is an opportunity to celebrate the institution's unique holdings.

The deeper I go, the more feminist I become! Yet my experience of academic philosophy has largely disclosed the opposite: a discipline that solemnly declares its devotion to openness proves curiously unsettled by me as a woman.

The concert features 'Field of Sorrow,' a new work by Juhi Bansal, which sets translations of landays, women's poetry from Afghanistan, for soprano, cello, and piano.

Aliza Nisenbaum's vibrant portraiture portrays her subjects in bold chromatics, echoing her larger project, a celebratory mural for the Obama Presidential Center.

Kamrooz Aram is everywhere this year, from Mumbai Art Week to the Whitney Biennial, and critic Aruna D'Souza is grateful. She pens a beautiful meditation on his work, reading his abstract paintings as not simply a denunciation of Western modernism nor a reassertion of Islamic visual motifs, but something else entirely - something gestural, exuberant, riotous, and incomparably his own.

"These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

We visited the Female Artists of the Mougins Museum, in Mougins, a small village on a hill near Cannes. Full of exclusively female artists from Berthe Morisot in the 19th century and Frida Kahlo in the early 20th to contemporary figures such as Tracey Emin it houses an incredible collection of often overlooked art and artists. We visited on a rainy October day and it was remarkably quiet and calm. I particularly enjoyed the abstract works well worth a trip up the hill.

Laura Berger continues her explorations of communion in a suite of staggering paintings that place her signature minimal figures in intimate fellowship with one another and the earth.

Hong Kong's particular and seductive Metabolist city planning is an ode to consumption as a great totalizer of culture, and to contemporary art as merely a niche commodity form among many others.

"These paintings merge the landscape and the intimacy of windows through the framing of the car, bridging the two realms I've typically explored separately. The car becomes a meditation on transition, on existing simultaneously here and elsewhere."

Founded in 2014 as a tongue-in-cheek alternative to the esteemed Whitney Biennial, the Every Woman Biennial has evolved into an intergenerational showcase that mixes emerging talent with established feminist art stars while maintaining the scrappy, activist energy that inspired it in the first place.

What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.

I really wanted to look at the differences between films made by men ... when they're directed by men, it's very taboo, it's sensationalized, it's explicit and it's often violent .... (with) the films made by women, or best case, lesbian women because it's so different, it is like night and day. I'm trying to show that contrast, and that difference.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

If you want to paint, put your clothes back on! That was how Carolee Schneemann summarised the critical response to her 1975 performance piece Interior Scroll, which she had performed nude standing on a gallery table. After making a series of life model poses, she removed a scroll from her vagina and began to read her manifesto. In doing so, Schneemann asked an important question: What does it mean for a female artist to be both the artist and the life model?

Tracey Emin is internationally renowned for her coruscatingly confessional art, which for over three decades has chronicled an often tumultuous life in various media, including painting, video, textiles, neon, writing, sculpture and installation. Born in Croydon, London, and raised in the seaside town of Margate, Emin first attracted widespread attention when, as a Turner Prize nominee in 1999, she exhibited the now notorious work My Bed (1998) provoking fierce critical debate on what art could-or should-be.