Podcasts about Guerrilla Girls

Robin celebrates the 40th birthday of the great, witty, profound Guerrilla Girls, with guests "Frida Kahlo" and "Kathe Kollwitz"—the Originals still going strong!

Изкуството на непослушанието оживява в новия епизод на Изотопия! 

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode of High Theory, Faye Raquel Gleisser tells us about Risk. A calculable danger in economics, athletics, sociology, or healthcare, risk has become a socially constructed danger that changes who we are and how we move through the world. Faye asks us to think about how risk management and risk literacy shaped the conceptual and performance work of American artists in the late twentieth century. Who is at risk? Who is safe? And how do we know? Faye's book, Risk Work: Making Art and Guerrilla Tactics in Punitive America, 1967–1987 (U Chicago Press, 2023) studies how artists in the US starting in the 1960s came to use guerrilla tactics in performance and conceptual art, maneuvering policing, racism, and surveillance. As US news covered anticolonialist resistance abroad and urban rebellions at home, and as politicians mobilized the perceived threat of “guerrilla warfare” to justify increased police presence nationwide, artists across the country began adopting guerrilla tactics in performance and conceptual art. Risk Work tells the story of how artists' experimentation with physical and psychological interference from the late 1960s through the late 1980s reveals the complex and enduring relationship between contemporary art, state power, and policing. Drawing on art history and sociology as well as performance, prison, and Black studies, Gleisser argues that artists' anticipation of state-sanctioned violence invokes the concept of “punitive literacy,” a collectively formed understanding of how to protect oneself and others in a carceral society. Faye Raquel Gleisser is an associate professor of art history at Indiana University and curator, whose work focuses on three main subject areas: art and tactical intervention; the racial logics of archives; and curatorial ethics and canon formation. By bridging curation, art history, and performance studies, she investigates histories of art that challenge intertwined anti-Black societal structures and patriarchal, white-centering notions of value that have long limited the canon of “American art.” She approaches art as a material manifestation of sociopolitical conditions and artists as theorists of power and social encounter. In the episode Faye names several artists including Asco, Chris Burden, the Guerrilla Girls, Tehching Hsieh, and Adrian Piper. This image for this episode is a photograph by Harry Gambota Jr. titled First Supper (After a Major Riot), 1974 that documents a performance by the Chicano art group Asco in Los Angeles. See the Artsy page about the photograph for more about the art and the artist. Learn more about your ad choices. Visit megaphone.fm/adchoices

Holy debut episode, Batman! Listen in as Curtis, Erin, and Gabe – our dynamic trio – reveal their secret superpowers and dive deep into Gotham City's (allegedly) dark, thrilling underbelly to explore Tim Burton's 1989 blockbuster! Is it really that different from Adam West's camp fest? Will it pass the Bechdel test? And what's up with all that screaming? Stay tuned, Pod-fans, as we dissect this Batman and reveal our favorite Batman actors of all time! Same Pod-time, same Pod-channel!Click on the links for more information about random things we discussed:Listen to this week's Mixtape! https://spoti.fi/4aQBvg6Bechdel Test: https://bechdeltest.com/Kevin Smith's hot take on Ben Affleck's Batman: https://comicbookmovie.com/batman_vs_superman/kevin-smith-says-the-hardest-part-of-being-batman-is-bruce-wayne-a130393The legend of Prince's Batman Soundtrack: https://en.wikipedia.org/wiki/Batman_(album)Adam West autographed everything: https://www.ebay.com/b/Adam-West-Autograph/57/bn_7023230420Camp Batman: https://lwlies.com/articles/batman-the-movie-adam-west-comic-genius/Guerrilla Girls: https://en.wikipedia.org/wiki/Guerrilla_GirlsTo shred our hot takes in this episode, email us at hello@ratedgenxpod.comTo disagree or suggest movies for future episodes, engage with us on Instagram @ratedgenxpod

Season 21!!! We are back with an icon of art, the one and only Judith Bernstein (b. 1942, Newark, New Jersey) to discuss almost 60 years of art making. Since graduating from Yale in 1967, Bernstein has developed a reputation as one of the most unwaveringly provocative artists of her generation. Steadfast in her cultural, political and social critique for over 50 years, she surged into art world prominence in the early 1970's with her monumental charcoal drawings of penis-screw hybrids; early incarnations of which were exhibited at A.I.R. Gallery, Brooks Jackson Iolas Gallery, Brooklyn Museum, and MoMA P.S.1, among other institutions. In reviewing Bernstein's 2012-13 solo exhibition at the New Museum in NY, Ken Johnson, critic at the New York Times, referred to these words as “bravura performances of draftsmanship” and “masterpieces of feminine protest”. Bernstein was a founding member of A.I.R. Gallery – the first all-female artists gallery in the United States – as well as an early member of many art and activist organizations including Guerrilla Girls, Art Workers' Coalition and Fight Censorship.We explore Bernstein's first exhibition in London in over a decade at Emalin gallery. TRUTH AND CHAOS comprises works spanning thirty years of her practice. Direct and confrontational, they are inspired by outrage and violence, the American military industrial complex and the private scribbles of the Yale University men's bathroom stalls. The exhibition presents historical works from her 1990s ‘word drawings' series alongside the maximalist phallic screw drawings that Bernstein has been making since 1969 and that initiated her complicated relationship with censorship and popular recognition amidst 1970s second-wave feminism.Judith Bernstein is concerned with the psyche of men and whatever men may stand for. She observes the scribbles and cartoons they leave behind in bathroom stalls, their furious impotence and possessiveness, the overpowering penetration of their violence and its statistics in war. Most of all, she watches their self-involvement: there is nothing beyond the raging ego, no depth to their own picture-plane. Detaching the symbol of an erect penis from any personhood and mounting it as a standalone totem of military violence and industrial extraction, she hacks with charcoal and oil paint at the abuse of power she witnesses. Symbols of American capitalism scratch their way into the work: guns are dicks, dicks are screws, screws are missiles, missiles are Mickey Mouse and the artist's signature is an ejaculation. Words and forms are disgorged onto paper – Bernstein's own subjectivity ejects mark-making.Follow @Judith_Bernstein and visit @EmalinOfficial Judith's solo exhibition Truth and Chaos is now open and runs until 15 June 2024. Free entry:https://emalin.co.uk/exhibitions/truth-and-chaos Hosted on Acast. See acast.com/privacy for more information.

Leon Black and his seat on the MoMa board has come under Intense scrutiny in the wake of the report of Black's much more intimate than reported relationship with Epstein and his bankrolling of convicted sex offender.The activist group, Guerrilla Girls has gone so far as to cut ties with a would be publisher owned by Black as they demand accountability by the board and the museum.(commercial at 10:12)To contact me:Bobbycapucci@protonmail.comsource:https://www.vanityfair.com/style/2021/02/leon-black-epstein-moma-protests

Leon Black and his seat on the MoMa board has come under Intense scrutiny in the wake of the report of Black's much more intimate than reported relationship with Epstein and his bankrolling of convicted sex offender.The activist group, Guerrilla Girls has gone so far as to cut ties with a would be publisher owned by Black as they demand accountability by the board and the museum.(commercial at 10:12)To contact me:Bobbycapucci@protonmail.comsource:https://www.vanityfair.com/style/2021/02/leon-black-epstein-moma-protests

Entdecke neue Perspektiven: Frauen in Kunst. Ein Interview mit Kunsthistorikerin und Kuratorin Dr. Tina Sauerländer.

The Guerrilla Girls are an anonymous collective of feminist artists and activists who challenge and critique racial and gender inequalities in the art world and beyond. Follow them on social networks and on their website guerrillagirls.com Image by Sandra Muller, Wiki Commons Sources: Official Guerrilla Girls Website: guerrillagirls.com Guerrilla Girls in Bodies of Knowledge, Art2, Season 11, https://youtu.be/XjsN-yWxNPE?si=L4TscVrHFk9jKxZE INclusive Art Social Networks Podcast: INstagram: https://www.instagram.com/arteinclusivopodcast/ Facebook: https://www.facebook.com/arteinclusivopodcast Twitter: @inclusivo_arte Email: arteinclusivopodcast@gmail.com

Las Guerrilla Girls son un colectivo anónimo de artistas y activistas feministas que utilizan el arte y el activismo para desafiar y criticar las desigualdades raciales y de género en el mundo del arte y más allá. Síguelas en redes sociales y en su página web guerrillagirls.com Fuentes: guerrillagirls.com Guerrilla Girls in Bodies of Knowledge, Art2, Season 11, https://youtu.be/XjsN-yWxNPE?si=L4TscVrHFk9jKxZE. Illustration by Sandra Mu, WikiCommons Redes Sociales de Arte INclusivo Podcast: INstagram: https://www.instagram.com/arteinclusivopodcast/ Facebook: https://www.facebook.com/arteinclusivopodcast Twitter: @inclusivo_arte Email: arteinclusivopodcast@gmail.com

Aujourd'hui, je vais vous parler des guerilla girls.    Crédit image : Guerrilla girls Texte : Sonia Zannad  Voix : Odile Dussaucy  Production, réalisation : MesSortiesCulture   Le texte de cet épisode, avec son visuel est sur TartinesDeCulture, ici.      Abonnez-vous à nos podcasts, ici.     A bientôt pour un nouvel épisode!     Retrouvez nos #mardidevinette et #enigmeduvendredi sur Facebook et Instagram.  Trouvez vos visites guidées sur MesSortiesCulture.  Nourrissez votre curiosité avec TartinesDeCulture.  Enchantez vos collaborateurs et vos clients avec MSCulture.  Recevez votre Newsletter personnalisée.  Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Akiko Bonilla, Oscar Murra, Lucia Olivares,  Adrian Murra   y Fernando Veloz hablan de todo que ver con el lenguaje inclusivo dentro y fuera de la cultura pop.Hablaremos de:Beyonce, JayZ, Apeshit, La Chica Danesa, Guerrilla Girls, XY, Paris Is Burning, Sex Education ... Todo Que Ver TEMPORADA 4 Apple Podcasts Spotify Google Podcasts Amazon Music

Ravjot Mehek Singh is an award winning Indian American Film and TV Director and art activist. With many multifaceted successes under her belt at a very young age, many Indian and American magazines and news outlets refer to her as one of the youngest female directors in Bollywood and one of the only openly LGBTQ+ women directors in South Asia. By the time she was 21, she had directed 3 television talk shows for Dish Network through the largest Asian American TV channel Jus Punjabi. She began directing major Bollywood music videos and was listed as being the youngest ever female music video director to ever be launched by T-Series (India's largest record label) in 2021.Ravjot's work also takes on installation artwork which has been featured in major galleries such as the Guggenheim Museum in New York City in collaboration with other talented artists and in various art galleries in New England, USA. As a LGBTQ+ activist, she has been featured in countless magazines, articles, and shows including Harper's Bazaar and Cosmopolitan magazine. Her work is often likened to that of the Guerrilla Girls.Her film and art activism work is driven by a passion to create lasting change not only in the entertainment field, but in society. Her documentary feature debut, "I Stand With Jessy", was not only awarded best documentary at the Dada Saheb Phalke Film Festival (one of India's largest film festivals) in India in 2017 amongst other film festival wins, but also made waves in local legislation to provide better health-care for low income women. An advocate for change through art, Ravjot constantly works with large scale organizations such as Phenomenal, Impact, Sikh Coalition, PBS, and YWCA to create change and advocate for a better, more just future. --- Send in a voice message: https://podcasters.spotify.com/pod/show/shernivision/message

Guest artist FLORENCE PEAKE joins ELIZABETH FULLERTON to discuss her multi-faceted, performance-led art practice via 'Stone Butch Blues' 1993 by Leslie Feinberg. It tells the story of life as a butch lesbian in 1970s, working class America and is particularly unique due to the writer gaining full rights to the text, making it fully accessible online and for free. Florence and Elizabeth talk about hysterical clay, collapsing paintings, mark-making without sight, rigid heteronormative conventions, the patriarchy's rule which brings a perpetual fear of violence, butch lesbians in the 70s, drag queens, sex workers and femmes, extractions of earthly matter and energy, the dance floor as a space for belonging and expression, splattering the audience with clay, tenderness and care, finding comfort in the face of shame, and encountering ourselves imaginatively in relationship to objective reality. Please support this podcast via patreon.com/ARTFICTIONSPODCAST FLORENCE PEAKE florencepeake.com insta florence_peake Richard Saltoun Gallery 2023 16 April - 2 July 'Factual Actual Ensemble' at Southwark Park Galleries then touring to Fruitmarket Gallery and Towner Gallery 2023 11 Feb - 7 May 'Earth Spells: Witches of the Anthropocene' at RAM Museum, Exter with Caroline Achaintre, Emma Hart, Kris Lemsalu, Mercedes Mühleisen, Grace Ndiritu, Florence Peake, Kiki Smith, Lucy Stein 2023 18 Feb - 6 May 'Body Poetics' at Giant, Bournemouth with Penny Slinger, Helen Chadwick, Florence Peake, Louise Bourgeois, Judy Chicago, Charlotte Edey, Enam Gbewonyo, Rosie Gibbens, Guerrilla Girls, Evan Ifekoya, Ad Minoliti, Senga Nengudi, Niki De Saint Phalle, Carolee Schneemann, Tai Shani, Kiki Smith, Rae-Yen Song, Holly Stevenson curated by Marcelle Joseph and Bella Pelly-Fry 2021 Factual Actual at National Gallery 2021-22 Crude Care for British Art Show at Aberdeen Art Gallery then touring UK 2019 Apparition Apparition at Venice Biennale 2018 RITE: on this pliant body we slip our WOW! at De La Warr Pavillion 2015 Voicings for Block Universe at Modern Art Oxford, Somerset House ARTISTS + PERFORMERS Cameron Armitage Carolee Schneeman 'Meat Joy' Donald Judd Emma Hart Eve Stainton Fabian Peake Igor Sravinsky 'The Rite of Spring' Gabi Agis Grayson Duitu Jo Moran Jordan McKenzie Kate Bush Lee Bowie Lindsey Kemp Mercedes Grower Michael Clarke 'I am a Curious Orange' Rosemary Butcher Siobhan Davis Studios Tai Shani The Fall Yvonne Rainer BOOKS Juliet Jacques 'Variations' 2021 Carmen Maria Machado 'In the Dreamhouse' 2019 Octavia Butler

This week art and activism collide as the ladies wrap up their series on Famous Artists with Cate reporting on the Guerrilla Girls and the recent attacks on well known masterpieces by advocates for the environment fighting against climate change. Cate and Liz are off for the holidays and will return in 2023! Connect with Cate and Liz on Instagram at @famouscateandliz or drop them a line at famouscateandliz@gmail.com.

Today we talk about how women express and are expected to express themselves in art. Why topics of sexual abuse are taboo, and why painting pretty women is preferred.TRIGGER WARNING!This episode contains themes of sexual abuse, infertility, and miscarriage.We hope this knowledge helps you make the best choice for you. Artists mentioned:Guerrilla Girls: https://www.tate.org.uk/art/artists/guerrilla-girls-6858Sherry McDonald: https://www.instagram.com/smickeydee/ Key Takeaways1. As women we often get the implicit or explicit message that we are too much (like too loud, too fat, too angry, too hairy). Carrying this with us permeates what we do and how we perceive ourselves, including our art or our potential art. 2. Women often paint pretty subjects. Why is that? Is it a choice, or a feeling of obligation to fulfil a feminine beauty ideal? 3. Paint what makes you happy, but also analyse why you're doing it.4. Making art (whether pretty, raw or anything else) is vulnerable, and it's natural to worry about people's response to it. 5. The concept of badness often gets conflated with ugliness, which adds a further barrier to exploring ugly art or a sense of shame when our artis accidentally ugly. 6. How society views the value of our labour, and specifically focuses on unpaid domestic labour as the domain of women, can influence how seriously we take ourselves. Prioritise making art over loading the dishwasher!7. We can explore the boundaries of femininity and question why certain expressions seem to be excluded from existing within femininity 8. Feminine and masculine energies or approaches are not necessarily gender specific. 9. Incorporating our lived experiences into our art is often political and therefore potentially polarising. Having that voice and using it is exciting but also scary. 10.If you want to explore topics about womanhood and art, check out Guerrilla Girls, they are an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world11. Seek out people who encourage you to make the art you want to make. Don't seek out or listen to the naysayers12. We need softness and cuteness, but we also need stupid and graphic and raw. And we need everyone to feel free to make the art they want.Enjoyed the podcast? Please rate, review & share it with anyone who might enjoy it or find it useful!Email us: notarealartistpodcast@gmail.com (let us know what you enjoyed, your 'AHA' moments, or any questions you'd like us to answer)IrisWebsite: https://iris-impressions.com/Instagram: https://www.instagram.com/iris.impressions.art/TamaraWebsite: https://www.ruskea.com/Instagram: https://www.instagram.com/ruskea_art/ Hosted on Acast. See acast.com/privacy for more information.

Meg protests inequity in the art world with the Guerrilla Girls. Jessica orders for the table at Danny Meyer's groundbreaking Union Square Café.

Kultūros žurnalo „Literatūra ir menas“ apžvalga.Režimo ir laisvo žmogaus akistata, antidemokratinės sistemos ir pamatinių kiekvienos asmenybės teisių sandūra, čia ir dabar kuriamų džiazo improvizacijų bei teatro sintezė – tai unikalios Vilniaus mažojo teatro premjeros „Infinity“ temos. Tarptautinio projekto autoriai – režisierė Gabrielė Tuminaitė ir „NoJo Airlines“ įkūrėjas, lietuvių džiazo būgnininkas, kompozitorius Dalius Naujokaitis (Niujorkas, JAV).Pasaulio kultūros apžvalgoje: literatūros Nobelio premijos laureatė Anni Ernaux, Bitlų ir Bondo jubiliejus, kantri muzikos žvaigždė Loreta Lynn.Naujoje MO muziejaus parodoje „Susitikimas, kurio nebuvo“ – Andy Warholo, Guerrilla Girls, Yves Klein'o, Marlene Dumas ir kitų pasaulinio garso menininkų darbai, kviečiantys kalbėti apie itin reikšmingą laikotarpį, tebedarantį įtaką šiandienos pasauliui.Spalio 7–9 dienomis Vilniuje vyko simpoziumas „Vilnelės Odisėja“ diskusijų, praktinių užsiėmimų ir ekskursijų metu klausęs, kaip bendruomenės ir kultūra gali kurti miestą. Ką pavyko išsigryninti ir atrasti, kalbamės su organizatoriais ir dalyviais.Domanto Razausko muzikos naujienų apžvalga.Šiandien minime Pasaulinę psichikos sveikatos dieną – kaip emocinei sveikatai gerinti taikomos dailės, muzikos ir judesio terapijos?Ved. Urtė Karalaitė

Meg reports on the morning when Ana Mendieta fell from Carl Andre's high rise window. Jessica gets a highly coveted table at Mortimer's and dishes about Elaine's.

The Gorgons spend this episode gushing about Heather's current crafty crushes, the Guerrilla Girls. Listen in to hear about this history of work that that Guerrilla Girls have been doing to call out problems in the Art industry, including racism, sexually predatory behavior towards art students, and other major issues particularly impacting artists of color, women, non-binary, and other marginalized groups.  https://www.guerrillagirls.com/about (https://www.guerrillagirls.com/about)

Leon Black and his seat on the MoMa board has come under Intense scrutiny in the wake of the report of Black's much more intimate than reported relationship with Epstein and his bankrolling of convicted sex offender.The activist group, Guerrilla Girls has gone so far as to cut ties with a would be publisher owned by Black as they demand accountability by the board and the museum.(commercial at 10:12)To contact me:Bobbycapucci@protonmail.comsource:https://www.vanityfair.com/style/2021/02/leon-black-epstein-moma-protests

Leon Black and his seat on the MoMa board has come under Intense scrutiny in the wake of the report of Black's much more intimate than reported relationship with Epstein and his bankrolling of convicted sex offender.The activist group, Guerrilla Girls has gone so far as to cut ties with a would be publisher owned by Black as they demand accountability by the board and the museum.(commercial at 10:12)To contact me:Bobbycapucci@protonmail.comsource:https://www.vanityfair.com/style/2021/02/leon-black-epstein-moma-protests

Y'all! We are so excited and honored to have the opportunity to talk with Silas Munro (of Polymode) about the amazing exhibition, "Strikethrough", he co-curated at the Letterform Archive. Strikethrough features over 100 objects (including broadsides, buttons, signs, t-shirts, posters, and ephemera) by ACT UP, Amos Kennedy, Jr., Sister Corita Kent, Emory Douglas, Favianna Rodriguez, Guerrilla Girls, Jenny Holzer, W. E. B. Du Bois, and many many more. Make sure to check out the show, get in on the rad special events they're doing, check out the custom site by Chris Hamamoto, Jon Sueda, and Minkyoung Kim—and pick up the amazing book!—if you can. Thank you to Silas Munro and to Stephen Coles from Letterform Archive for being open to having this conversation! A few links to resources around protest and design (via Silas): Schomberg Center for Research in Black Culture: https://www.nypl.org/locations/schomburg One Archives at the USC Libraries: https://one.usc.edu/ Lohman Center (NY): https://www.leslielohman.org/archive National Museum of African American History & Culture (Smithsonian/DC): https://www.si.edu/museums/african-american-museum Research / writings of Colette Gaiter: https://walkerart.org/magazine/authors/colette-gaiter (profile from the Walker) Center for the Study of the Political Graphics: https://www.politicalgraphics.org/

Sestdien, 6. augustā Līgatnes pagasta Ratniekos Starptautiskajā mūzikas un mākslas festivālā "LABA DABA" savu tikšanos ar festivāla baudītājiem piedzīvos laikmetīgās dejas izrāde "FEMINA". Šovakar Radio NABA ēterā būs dzirdama saruna ar horeogrāfi Sabīni Neilandi un scenogrāfi Līgu Ūbeli. “FEMINA” ir izpētē balstīts stāsts par supersievietes gēna meklējumiem, par duālo un pretrunīgo sievietes tēlu sabiedrībā un kultūrā, kas būtiski ietekmējis to, kā mūsdienu sieviete uztver sevi. Radošo komandu veido idejas autore un horeogrāfe Sabīne Neilande sadarbībā ar režisoru Naubertas Jasinskas (Lietuva), dejotāju Lauru Gorodko, scenogrāfi un mākslinieci Līgu Ūbeli, mūziķi Līvu Dumpi, gaismu mākslinieku Niku Ciprusu. Izrādes producents – laikmetīgās dejas mākslinieku apvienība, biedrība – “LDM5”.  Viena no galvenajām tēmām, kam izrāde pievēršas, ir sievietes loma mākslā. Kā spēcīgs iedvesmas avots izpētes procesā bijis mākslinieču apvienības “Guerrilla Girls” plakāts “Vai sievietēm ir jābūt kailām, lai iekļūtu Met. muzejā?” (1989). Uz tā redzama kaila sievietes figūra un teksts, kas vēsta, ka mazāk kā 5% no māksliniekiem, kas izstādīti Metropolitan mākslas muzeja modernās mākslas sekcijā, ir sievietes, bet 85% izstādīto aktu ir sieviešu kailie ķermeņi. Vairāku gadsimtu laikā radītos mākslas šedevros, kas apskatāmi pasaules labākajos muzejos, sieviete galvenokārt redzama caur mākslinieka-vīrieša prizmu, kā pasīvs un kluss mākslas objekts. Šāda sievietes tēla reprezentācija nereti saglabājusies arī mūsdienu popkultūrā - kino, mūzikā un sociālajos tīklos. Izrādes radošo komandu interesē tas, kā šāds sievietes tēls, uz ko esam pieraduši skatīties kopš bērnības, ietekmējis 21.gadsimta sievieti viņas ikdienā, kā tas veidojis viņas attiecības pašai ar sevi. Dejotāja Laura Gorodko iedvesmojoties no piemēriem mākslā un savas personiskās pieredzes, aicina skatītāju doties sev līdzi transformatīvā ceļojumā cauri dažādām ādām, kas viņu ieskauj šajā vīrieša radītajā pasaulē. Tur, aiz savas samtainās miesas, viņa meklē izeju.     Mūzikas un mākslas festivāls “LABA DABA”  norisināsies no 5. līdz 7. augustam un turpina aizsākto tradīciju festivāla muzikālo programmu papildināt ar teātra un dejas izrādēm, performances mākslas notikumiem un multimediāliem priekšnesumiem, tiem atvēlot šķūni jeb Suņa skatuvi. Vairāk nekā desmit dažādi uzvedumi un iestudējumi priecēs festivāla mazos un lielos apmeklētājus divas festivāla dienas, ievedot skatītājus absurda teātra, muzikālo pasaku un cilvēciskās esības izziņas labirintos. Papildu informācija labadaba.lv KŪL| Kultūras ūnijas laiks ir eksperimentāls aktuālās mākslas un dzīves kultūras telpā skaidrojošs, ilustrējošs un dokumentējošs Radio NABA raidījums. Raidījums tiek veidots ar mērķi aplūkot un fiksēt aktuālos kultūras un laikmetīgās mākslas notikumus. Tā ir iknedēļas tikšanās vieta kultūras dzīves veidotājiem, māksliniekiem, režisoriem, studentiem, pētniekiem, lai runātu, kā rodas dažādās kultūras izpausmes formas. Raidījums Radio NABA programmā ir dzirdams trešdienās plkst. 19:00, raidījumu vada un producē Anete Enikova. Raidījums tapis ar “Valsts Kultūrkapitāla fonda” atbalstu.

En 2022, la Bibliothèque Kandinsky a fait l'acquisition de l'ensemble des affiches des Guerrilla Girls. Ce collectif de femmes artistes et activistes anonymes s'est constitué en 1985 à New York pour lutter contre le sexisme et le racisme dans le monde de l'art. Ce podcast revient sur leur histoire, leur mode opératoire et leurs revendications. Leur travail est mis en perspective par l'historienne de l'art Véronique Goudinoux, qui retrace les collaborations entre artistes à travers les siècles, et par le collectif Collages Féministes Lille, dont les actions militantes actuelles rappellent les campagnes d'affichage urbain des Guerrilla Girls. CréditsÉcriture et réalisation : Celia CretienMontage : Antoine Dahan Enregistrement et mixage : Ivan Gariel Voix : Malika Berrichi, Clara Gouraud, Flore Martel, Sarah Mazri, Chloé Quentin, Alizée Sabouraud, Ana StenneHabillage musical : Nawel Ben Kraïem et Nassim Kouti Avec la participation de Véronique Goudinoux, le collectif Collages Féministes Lille et Elisa Hervelin-FedeliExtraits musicaux : Pussy Riot, Panic attack ; Bikini Kill, Rebel Girl ; Tacocat, Men explain things to me ; Soul of Bear, Mansplaining ; Austra, Change the paradigm Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Welcome! Today Deborah is joined by artist and interior designer, Jennifer Evans. Together they host a sumptuous soirée where the guest list is packed with women who have given Jennifer food for thought.  Round the table, you will find:Jennifer herself;Sally Gunnell;Christiane Amanpour;Miranda July;Gina Miller;Freya Gabie;Guerrilla Girls;Joan Harris;Barbara Demick;Mary Seacole.

This month on Live Culture the tables get turned as Yale Quantum Institute Manager Florian Carle interviews Martha Willette Lewis about her work in the exhibit The Quantum Revolution: Made In New Haven, up now at the New Haven Museum. The show features Martha's original notebook drawings and artifacts from the quantum labs at Yale University, where Martha was artist-in-residence.To find out more about The Quantum Revolution visit here https://www.newhavenmuseum.org/39692-2/ In the second half, things shift back to normal and disentangle, as Martha interviews visual artist and writer Brahna Yassky about her new memoir Slow Dancing With Fire: A Memoir of Resilience, a story of rebuilding a new life after the previous one is suddenly and painfully destroyed. Brahna started writing this memoir thirty years after literally catching on fire, an event which altered the course of her destiny. As an emerging young painter in New York City, she lived her dream, supporting herself painting full time. At night, she attended openings, cultural events and clubs. In 1982, a flame burned 55% of her body, including her painting arm. She spent months in the burn unit, and the next year in physical and occupational therapy. As Brahna healed, her priorities shifted from the aspiration of art-world fame to more collaborative creative interactions. She worked as an art therapist in a hospital program for abused children, in nursing homes and in schools. She did large-scale public projects for The New York City Department of Health and joined The Guerrilla Girls, a women's artist-activist collective, fighting injustices in the art world. She has turned her life experiences into a film and now this book. Slow Dancing With Fire: A Memoir of Resilience is available now through Shanti Press. About the Author: Brahna Yassky won honorable mention for the 2018 Doheny Prize from the Center for Fiction and finalist for the 2019 Brooklyn Nonfiction Prize. Her essays have been published in The Plentitudes Journal, The American Writers Review 2020 (San Fedele Press), Wired, Salon, The Independent, among others. Trained as a visual artist at California College of the Arts and San Francisco State University her work has been widely exhibited, including The Bali Purnati Center, MOMA, The San Francisco Museum of Modern Art, The Hudson River Museum and The Painting Center, NYC. More about Brahna can be found here https://www.brahnayassky.com/

Piya Malik (Say She She) and I talk about working with El Michels Affair and touring with Chicano Batman, Turkish and Bollywood Funk, Indian and Mexican cultural similarities, el cuco, Guerrilla Girls, and more! Support the show (https://www.patreon.com/40minutesoffunk)

This episode is part of a series of four live round tables that took place in the art fair artgenève in early March 2022. They took place in French and will be available soon in English as a dubbed version. Sexisme, Discrimination Positive et Qualité Artistique/Sexism, Positive Discrimination, and Artistic Quality Samedi 5 mars à 18 heures, stand A10 / Saturday, March 5th, 3 p.m. stand A10 avec Emilie Ding, artist, CH Delphine Bedel, artiste, éditrice et présidente de la Fondation Engagement Arts NL, NL Nathalie Herschdorfer, directrice du Musée des Beaux-Arts Le Locle, CH Alain Quemin, professor of sociology of art, GEMAS - Sorbonne Université / Institut Universitaire de France, FR Lancée depuis de nombreuses années aux Etats-Unis par rapport aux discriminations raciales, l'idée de la discrimination positive est de favoriser les femmes dans un certain nombre de domaines afin de rétablir une forme d'équité qui, de fait, n'est pas la règle. Cette action désormais présente sous différentes formes en Europe suscite cependant encore de nombreux débats. On le sait, la majorité des artistes sortant des écoles d'art sont des femmes et pourtant il nous faut encore déplorer leur plus faible représentation tant dans les musées que sur le marché de l'art, sans compter la conception masculinisée que l'on se fait de l'Histoire de l'art de ces cinquante dernières années. Depuis longtemps deux attitudes semblent s'offrir aux artistes femmes qui sont conscientes de cet état de fait, parfois fluctuant à l'intérieur même de leurs pratiques. D'un côté elles détournent l'assignation qui leur est faite de la cuisine, la maison, les travaux « d'aiguille », brandissant ces pratiques genrées pour en faire un étendard de liberté et de créativité assumée. De l'autre côté du féminisme, certaines préfèrent construire leur œuvre sans référence particulière à cette question, estimant que c'est la reconnaissance de la qualité de leur travail qui sera la plus efficace pour le changement. Avec des groupes plus activistes tels les fameuses « Guerrilla Girls », on se situe bien entendu dans la revendication nette d'une place plus importante que les femmes se devraient d'imposer à un système de présentation des œuvres dominé par les hommes. Doit-on, pour ces artistes femmes, prendre des mesures comparables à celles qui changent la donne depuis une bonne décennie en politique ou en matière de droits sociaux ? Ou peut-on au contraire redouter un effet pervers dû à un doute sur la qualité artistique qui devrait être seule prise en compte ? Texte de Frédéric Elkaïm conseiller en art, spécialiste du marché de l'art et fondateur de Art Now! --- Send in a voice message: https://anchor.fm/rawradical/message

Leon Black and his seat on the MoMa board has come under Intense scrutiny in the wake of the report of Black's much more intimate than reported relationship with Epstein and his bankrolling of convicted sex offender.The activist group, Guerrilla Girls has gone so far as to cut ties with a would be publisher owned by Black as they demand accountability by the board and the museum.(commercial at 10:12)To contact me:Bobbycapucci@protonmail.comsource:https://www.vanityfair.com/style/2021/02/leon-black-epstein-moma-protests

Leon Black and his seat on the MoMa board has come under Intense scrutiny in the wake of the report of Black's much more intimate than reported relationship with Epstein and his bankrolling of convicted sex offender.The activist group, Guerrilla Girls has gone so far as to cut ties with a would be publisher owned by Black as they demand accountability by the board and the museum.(commercial at 10:12)To contact me:Bobbycapucci@protonmail.comsource:https://www.vanityfair.com/style/2021/02/leon-black-epstein-moma-protests

28. un 29. janvārī, Latvijas Kultūras akadēmijas Nacionālajā filmu skolas paviljonā, pirmizrādi ar skatītājiem piedzīvos horeogrāfes Sabīnes Neilandes laikmetīgās dejas izrāde “FEMINA” -  sievietes esības manifestācija. Šajā raidījumā klausies sarunu ar iejas autori un horeogrāfi Sabīni Neilandi. “FEMINA” ir izpētē balstīts stāsts par supersievietes gēna meklējumiem, par duālo un pretrunīgo sievietes tēlu sabiedrībā un kultūrā, kas būtiski ietekmējis to, kā mūsdienu sieviete uztver sevi. Radošo komandu veido idejas autore un horeogrāfe Sabīne Neilande sadarbībā ar režisoru Naubertas Jasinskas (Lietuva), dejotāju Lauru Gorodko, scenogrāfi un mākslinieci Līgu Ūbeli, mūziķi Līvu Dumpi, multimediju mākslinieci Mariannu Lapiņu, gaismu mākslinieku Niku Ciprusu. Izrādes producents – laikmetīgās dejas mākslinieku apvienība, biedrība – “LDM5". Viena no galvenajām tēmām, kam izrāde pievēršas, ir sievietes loma mākslā. Kā spēcīgs iedvesmas avots izpētes procesā bijis mākslinieču apvienības “Guerrilla Girls” plakāts “Vai sievietēm ir jābūt kailām, lai iekļūtu Met. muzejā?” (1989). Uz tā redzama kaila sievietes figūra un teksts, kas vēsta, ka mazāk kā 5% no māksliniekiem, kas izstādīti Metropolitan mākslas muzeja modernās mākslas sekcijā, ir sievietes, bet 85% izstādīto aktu ir sieviešu kailie ķermeņi. Vairāku gadsimtu laikā radītos mākslas šedevros, kas apskatāmi pasaules labākajos muzejos, sieviete galvenokārt redzama caur mākslinieka-vīrieša prizmu, kā pasīvs un kluss mākslas objekts. Šāda sievietes tēla reprezentācija nereti saglabājusies arī mūsdienu popkultūrā - kino, mūzikā un sociālajos tīklos. Izrādes radošo komandu interesē tas, kā šāds sievietes tēls, uz ko esam pieraduši skatīties kopš bērnības, ietekmējis 21.gadsimta sievieti viņas ikdienā, kā tas veidojis viņas attiecības pašai ar sevi. Dejotāja Laura Gorodko iedvesmojoties no piemēriem mākslā un savas personiskās pieredzes, aicina skatītāju doties sev līdzi transformatīvā ceļojumā cauri dažādām ādām, kas viņu ieskauj šajā vīrieša radītajā pasaulē. Tur, aiz savas samtainās miesas, viņa meklē izeju.

Hoy Aurora Morales entrevistará a Alba Gamo García. Ella hizo #HistoriadelArte en la UCM y está especializada en Arte Contemporáneo. Posteriormente haría el máster de Gestión Cultural en la UOC (Universitat Oberta de Catalunya). Hoy Alba nos hablará sobre el grupo de artistas #feministas, antirracistas y anónimas "Guerrilla Girls"

"Do women have to be naked to be in the met?" The Guerrilla Girls asked this question in 1985 and Klaire Lockheart has us still asking today! Dive into a fantastic episode about art history and statistics that will have you ready to buy more art by women!  More info at: galsguide.org Patreon: patreon.com/galsguide Facebook: www.facebook.com/galsguidelibrary/ Twitter: twitter.com/GalsGuideLib  

If you enjoy rebelling against established institutions, you'll enjoy some aspects of Postmodern Art and the work it inspires today. Host Klaire Lockheart will briefly review Modernism before explaining the Postmodernism movement. Discover the legacy of the Guerrilla Girls, and learn about an epic feud over the blackest black paint. Artists and Artwork: Damien Hirst (Away from the Flock), Colleen Wolstenholme, Jeff Koons (String of Puppies), Art Rogers (Puppies), Chuck Close, Jean-Michel Basquiat, Al Diaz, Andy Warhol, Guerrilla Girls (Do women have to be naked to get into the Met. Museum?; When Racism And Sexism Are No Longer Fashionable, How Much Will Your Art Collection Be Worth?), Anish Kapoor (Cloud Gate), and Stuart Semple Additional Topics: Modernism, SAMO©, Neo-Expressionism, Linda Nochlin, James Elkins (Stories of Art), the Bean, Vantablack, Culture Hustle, Black 3.0, and “Art Workers' Coalition: Statement of Demands” klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

This week: two festivals of art. Aimee Dawson talks to Frida Kahlo and Kathe Kollwitz of the Guerrilla Girls about their ongoing activism and their new billboards for Art Night, while Ben Luke discusses Glasgow International with its director, Richard Parry, and then reviews the work in the festival with The Art Newspaper's contemporary art correspondent Louisa Buck. And in this week's Work of the Week, Ben talks to Samantha Friedman, co-curator of the Museum of Modern Art in New York's Cézanne Drawing show, about a study sheet of pencil sketches by the French artist, with an apple, a self-portrait, a bather and a portrait of Francisco Goya. See acast.com/privacy for privacy and opt-out information.

The Guerilla Girls share their take on sexism, racism, and corruption in the art world, and how they fight back with “creative complaining” It was a great honor to welcome two of the Guerrilla Girls, “Frida Kahlo” and “Käthe Kollwitz,” to this episode of the Raw and Radical Women in the Arts podcast. The Guerilla Girls group is made up of anonymous feminist activist artists, who wear gorilla masks and adopt the names of famous women artists as pseudonyms so that public attention remains on the work they do, rather than on their identities. Beginning of the Guerrilla Girls The group formed in 1985, after a 1984 MOMA exhibition included just 13 women and 8 artists of color in their line up of 169 artists. “We realised … we had to do something, and a bunch of women, not us, called a protest,” says Käthe. “It had no effect at all. And we understood at that moment that people thought the art world was a meritocracy … where the gatekeepers, the powers that be, always picked the best. So if you weren’t in a museum, you sucked, you weren’t any good, and that was our ‘ah ha’ moment. We realized there had to be a better way to tell people about this issue, a way that broke through their preconceived notions: Since then, the Guerrilla Girls have engaged in what they call “creative complaining,” to raise awareness and catalyze change. Their new book, Guerrilla Girls: The Art of Behaving Badly, documents the hundreds of projects they have done over the last 35 years to expose sexism, racism, and corruptions. “Our idea from the beginning was to create a new kind of political art using strategies of persuasion, like advertising,” says Käthe. “We do books, we do videos, we do huge billboards, but it’s all based on that kind of graphic execution and we started out doing street posters and bringing our work directly to people.” For more information on our guests and this episode, visit the website of raw and radical. This podcast is supported by the Swiss arts council prohelvetia and the City of Lancy, Switzerland --- Send in a voice message: https://anchor.fm/rawradical/message

Tracy shared so vulnerably about body image and the importance of being seen and valued for who you are. She talked about struggling in school, but feeling power as an artist, and how her experiences shape her teaching. She shared so many wonderful resources for teaching and art-making, which I’ve also linked in the blog post, so don’t miss that! Tracy Brown was born and raised outside of Detroit, Michigan, and obtained a BFA with a major in art education from Michigan State University in 2005. She has been an art teacher for the past 14 years and she is dedicated to instilling a passion and appreciation for creation and self-expression into her students. Tracy believes in the ability of art to transform and bridge minds into understanding and unity. She moved to the desert to teach and make art during the great recession without intentions of staying but fell in love with the slower pace lifestyle, culture, and landscape of the desert. Over the last decade, Tracy has had an artist studio in downtown Tucson and has been actively showing her art in feminist exhibitions nationally and internationally. She has an impressive exhibition and publication history and has shown alongside some of the greats including the Guerrilla Girls. Blog post with images and links: https://www.teachingartistpodcast.com/episode-56-tracy-brown/ www.tracybrownart.com @tracybrownart . . . Follow: @teachingartistpodcast @pottsart @playinspiregallery www.playinspiregallery.com www.mariacoit.com/join-play-inspire Check out the featured artists: https://www.teachingartistpodcast.com/featured-artists/ Apply to do an IG Takeover @teachingartistpodcast: https://forms.gle/TqurTB9wvykPDbKZ6 Support this podcast. Subscribe, leave a review, or see more ways to support here (https://www.teachingartistpodcast.com/support/). We also offer opportunities for artists! (https://www.teachingartistpodcast.com/opportunities/) --- Send in a voice message: https://anchor.fm/teachingartistpodcast/message Support this podcast: https://anchor.fm/teachingartistpodcast/support

Award winning, multimedia artist Janet O'Neal joins the podcast today! Janet shares heartwarming, and interesting stories from her career of over 30 years (and still going strong!), as well as current projects, including collaborations with musicians and other creatives.To learn more about Janet O'Neal, please visit www.janetoneal.comJanet O'Neal is an award winning multimedia artist, photographer and teacher. She is best known for her colorful energetic abstracts and multimedia assemblages. Born in Raleigh North Carolina, she is a graduate of the University of North Carolina at Chapel Hill where she studied art and obtained a degree in Administration of Criminal Justice. After working as a deputy sheriff and an assistant to the district attorney in North Carolina, she decided not to attend law school, began a career in real estate and finally launched a full time career in art in 1987. She moved to Florida and began traveling extensively through out the country participating in juried art festivals and gallery exhibitions. Janet has studied with leading American artists through out her 33-year career including Rudy Pozzatti, Glen Bradshaw, Maxine Masterfield, Carole Barnes, Sharon Montgomery, Barbara Nechis, Carrie Brown, and Bernice Ficeck Swenson and John M. Swenson: Landmark Editions, The Guerrilla Girls, The Penland School, Santa Fe Photography Workshops, photographer Marcel Perez and photographer George DeWolfe.Janet has worked in watercolor, printmaking, painting, ceramics, multimedia assemblage, sculpture and photography. Her desire to express new ideas and emotions is almost always accompanied by the search and exploration of new techniques and media. Her current works include digital photography and conceptual multimedia works and installations where photography is the dominant media. She has won awards in the prestigious Georgia O’Keeffe International Photography Competition, International Pollux Awards Competition and is a Julia Margaret Cameron Awards Finalist.Her artworks are included in private collections and over 300 corporate and public collections nationwide. She currently lives and works in Santa Fe New Mexico.To learn more about host, Tammy Takaishi, check out her personal website which includes a creative arts blog, recipes from guests, and official podcast merchandise! All found at https://tstakaishi.wixsite.com/music

La parola può essere uno slogan pubblicitario, un grido politico ma anche un'immagine. In questa puntata, Costantino e Francesco mettono a confronto il serioso Joseph Kosuth e il giocoso Lawrence Wiener, ci spiegano come fare arte fotocopiando un vocabolario e parlano dei neon logorroici di Maurizio Nannucci, di come un marchio di moda si è appropriato dello stile di Barbara Kruger e di quanto Jenny Holzer terrorizzasse i galleristi. Infine, Francesco ci propone la sua distinzione tra artisti-mattone e artisti-colonna e cerca di far luce su uno dei più grandi gialli del nostro tempo: Costantino è davvero stitico o ha solo un bagno deprimente?In questa puntata si parla di Joseph Kosuth, Ferdinand de Saussure, Ludwig Wittgenstein, Dawn French, Jennifer Saunders, Jacopo da Pontormo, Lawrence Wiener, Tino Sehgal, Maurizio Nannucci, Bruce Nauman, Kerry Hill, Geoffrey Bawa, Sophie Calle, Barbara Kruger, Guerrilla Girls, Cartesio, Jenny Holzer, Helmut Lang, Glenn Ligon, Okwui Enwezor, The Harlem Six, Robert Barry, Richard Prince, Hito Steyerl e Alberto Manzi.

Wednesday, March 17, 2021 - Todd Melby is the author of the new book, “A Lot Can Happen in the Middle of Nowhere” -- stories about the making of the movie “Fargo.” That movie is now 25 years old. Prairie Public is hosting a Zoom event with Melby this Sunday. ~~~ In this week’s Natural North Dakota, biologist Chuck Lura discusses rabbits and hares. ~~~ Donna Kaz is a writer, director, choreographer and activist, who leads the theatre troupe, “Guerrilla Girls on Tour.” She’s teaching, directing and choreographing " Songs For a New World " at Concordia College, which opens tomorrow, the 18th. She joins us to talk about the production,and about theatre in the time of COVID.

This month Liz will be celebrating Women's History Month by highlighting women artists each episode in March 2021. Liz tells the story of her technical difficulties with her laptop and microphone and how she is slowly resolving them. Then, she talks about the feminist female group of artists known as the Guerrilla Girls. How they came to be. Why they wear gorilla masks. Their notable works of art. How they have changed over the 30 years and why they are anonymous.  For images that were described in this podcast episode you can go to @elizabeth.callie on Instagram and look under the saved stories for the circle labeled "Podcast" --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/absurdart/support

Yeni yayımlanan Guerrilla Girls külliyatından, bu hafta katılabileceğimiz feminist kültür sanat programlarından konuşuyoruz.

"The history of art is the history of power." This week's episode examines the feminist activist artist collective, Guerrilla Girls and their creative, smart, and comedic tactics in fighting against discrimination in the art world. Originally Released June 25th, 2016 Order the Honest Art Dictionary: https://www.arthistorybabes.com/get-our-book AHB YouTube: http://www.youtube.com/c/TheArtHistoryBabes Patreon: www.patreon.com/arthistorybabes Website: www.arthistorybabes.com Insta: @arthistorybabespodcast Tiktok: @arthistorybabes Email: arthistorybabes@gmail.com Theme music by Brendan Dalton: https://www.brendan-dalton.com/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

"se l'arte è una traccia della nostra cultura, e l'arte viene raccontata solo attraverso i lavori di uomini bianchi, questa arte è la storia del patriarcato, non di chi siamo" Guerrilla Girls. finale di stagione con consigli su cosa ascoltare, vedere, leggere per consumare dei media fatti da voci diverse. Scorretta la trovate su instagram, facebook, twitter, etc. Cinque artiste: Guerrilla Girls, Artemisia Gentileschi, Hilma Af Klint, Judy Chicago, Barbare Kruger. Cinque dischi: Rosalia - El Mal Querer; M.I.A. - Kala; Salt-n-pepa - Very Necessary; Fleetwood Mac - Rumours; La femme - Psycho tropical Berlin; insignificant other - i'm so glad i feel this way about you. Cinque film: Disclosure, Paris is Burning, Legally Blonde (la rivincita delle bionde), The Virgin Suicides, Promising Young Women. Cinque libri: i loro occhi guardavano Dio - Zora Houston; Un uomo - Oriana Fallaci; Invisibili - Caroline Criado Perez; awards for good boys - Shelby Lorman; Too fat, too slutty, too loud: the rise of the unruly woman - Anne Helen Petersen; Revolting Prostitutes - Juno Mac and Molly Smith. Cinque podcast: Tutte le ragazze avanti; Troie Radicali; Freegida; How Cum; The science of sex. --- Support this podcast: https://podcasters.spotify.com/pod/show/scorretta/support

Gerilla Kızlar bizlere belki de aktivist sanatın en garip halini sunuyor. Günümüzde devam eden resmi ve resmi olmayan birçok ayrımcılık ve şiddeti sanatı kullanarak -tabir yerinde ise- "yuh"luyorlar. Bu podcastimizde de biraz onları tanıyıp asıl hikâyelerine bakmayı amaçladık. Keyifli dinlemeler. Seslendiren: Polen BİÇER Yazan: İrem ÇALIŞKAN Erişim Kanallarımız https://linktr.ee/MozartCulturesPodcast   “Uygarlığa Gebe Sanat”, uygarlığın ayak izlerini gözler önüne serip, belli başlı kavramlar ve akımlarını anlamak hayatımızın içinden olduğunu anlamak için haftada bir paylaşılan podcast serisidir. Tarihin, siyaset, sanat ve nice yüzünü görmek, birikimler sonucu geldiğimiz bu çağa anlam kazandırmak ve analiz yapabilmek için size sunduğumuz haftalık podcast serilerimiz heyecanla dinlenmeyi bekliyor! Mozartcultures; Türkiye' de tamamı gönüllülerden oluşan ve kâr amacı gütmeyen bir kuruluş olarak,sanatı ve bilimi güneşin doğup battığı tüm topraklara yayabilmek amacıyla çıktığımız bu yolda sizlere çok değerli podcast yayınları dinletmeyi amaçlıyoruz.  

The Guerrilla Girls are anonymous artist activists who use disruptive headlines, outrageous visuals and killer statistics to expose gender and ethnic bias and corruption in art, film, politics and pop culture. They believe in an intersectional feminism that fights for human rights for all people and all genders. They undermine the idea if a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. Guerrilla Girls: The Art of Behaving Badly is the first book to document their hundreds of street projects all over the world asSEE DETAILS The post Woman UP! Podcast Series 2, Episode 13 Christmas Special – Guerrilla Girls appeared first on Desperate Artwives.

Over the course of our almost two years of bringing you the Radio Juxtapoz podcast, the core is looking at the stories and characters that have help shape the past, present and future of graffiti and street art. From Shepard Fairey, Martha Cooper, Felipe Pantone, Hyuro, Craig Costello, REVOK, Cleon Peterson, Dan Witz, Ron English, ESPO, Swoon... what all these episodes have in common in many ways is today's guest, curator Roger Gastman. For over 20 years, Gastman has been at the forefront of documenting, publishing and creating historical overviews of the history of two of the most popular art forms we cover. That graffiti and street art still resonates with audiences so deeply decades into their existence is, in part, a celebration of Gastman's work. In 2018, Gastman started Beyond the Streets, an exhibition that helped create a more linear narrative to what is an often complicated and storied history of art in the streets. Not only were the shows highlighting the graffiti and street artists that we have come to know today, but the show provided an opportunity to show just how widespread and impactful the vandal element of those forms has influenced contemporary art and culture. From Takashi Murakami, Guerrilla Girls and the Beastie Boys, you began to see how Beyond the Streets was more encompassing than past graffiti and street art shows. With exhibitions in both Los Angeles and Brooklyn in 2018 and 2019, Gastman was looking to take the show to new markets when the pandemic put a pause on everything. For 2020, Beyond the Streets is a virtual art fair, streaming on the NTWRK APP December 5th & 6th, 2020, a two day art fair with exclusive paintings, sculptures, editioned prints, skate decks, drawings, exclusive drops, and "thought-provoking discussions and panels though a series of videos curated by culture historian Roger Gastman." On this episode of Radio Juxtapoz, we get our own history of Gastman's love and interest in graffiti culture, how he grew to understand the often merging world of street art and how many pivotal moments over the past 50 years have allowed for a major pop-culture interest in Beyond the Streets. From his early days in Washington, DC, his work in publishing and now looking to expand BTS to international markets, this is just the beginning of Gastman's vision to keep graffiti and street art global. The Radio Juxtapoz podcast is hosted by FIFTH WALL TV's Doug Gillen and Juxtapoz editor, Evan Pricco. Episode 059 was recorded via Skype from Los Angeles, San Francisco, London, November 27, 2020. Beyond the Streets will be streaming on the NTWRK APP on December 5th & 6th, 2020.

In 1985 a group of anonymous female artists in New York began dressing up with gorilla masks on their heads and putting up fly-posters around the city's museums and galleries. We hear from two of the original Guerrilla Girls, who launched a campaign to demand greater representation for women and minorities in the art world. Also on the programme, the rarely heard voices of Africans who were forced to take sides in WW1; how Pluto lost its status as a planet, the invention of a revolutionary sign language, Makaton, in the 1970s, and changing 20th century theories of child rearing. PHOTO: Some of the Guerrilla Girls in 1990 (Getty Images)

The Guerrilla Girls, the self-professed "Conscience of the Art World," are a band of feminist activist artists, who have been wearing gorilla masks in public and using facts, humor, and outrageous visuals to expose gender bias, ethnic bias, and corruption in the art world since the mid-1980s. Join Tamar for a conversation with two of their founding members. [2:29]: Introductions. [3:41] Why choose these artists as your pseudonyms? [5:37]: The origin story of the Guerrilla Girls (and their font!). [8:17]: How has the group changed and evolved, both internally and in terms of its mission? Has progress been made? [15:49]: The joys and pitfalls of all-women shows. Is “woman artist” a problematic phrase? [23:18]: Is there something that innately connects women artists? [27:43]: Reflecting on our inflamed current moment, and whether things are indeed getting better. [34:33]: How do we get people excited about artists they're not familiar with, and who fall outside the established canon? [38:16]: How to reach out to people who disagree with you. [42:47]: How the Guerrilla Girls changed the rules for artists who came after them. Follow the Guerrilla Girls: www.guerrillagirls.com Interview webpage: https://bit.ly/3lGETBi Music used: The Blue Dot Sessions, "Pinky"

In 1985, a group of anonymous female artists in New York began dressing up with gorilla masks on their heads and putting up fly-posters around the city's museums and galleries. It was part of a campaign to demand greater representation for women and ethnic minorities in the art world. The guerrilla girls' campaign later went international. Laura Fitzpatrick has been talking to the activists known as "Frida Kahlo" and "Kathe Kollowitz". PHOTO: Some of the Guerrilla Girls in 1990 (Getty Images)

This week, we have filmmaker Garrett Bradley discussing her new documentary Time, which follows a larger-than-life matriarch, fighting for the release of her incarcerated husband. Bradley discusses the idea of time in her film — time served, the slowness of justice and the accumulation of grief and joy. Later in the episode, we have one of the founding members of the Guerrilla Girls, alias Kathe Kollwitz, on to discuss the legendary Guerrilla Girl movement, misogyny and racism in the arts, the battles ahead and the battles won.

The Guerrilla Girls have been resisting sexism and racism through art for the last 30 years. An anonymous collective of gorilla-mask bedecked agitators, their campaigns have ranged from protests to posters, billboards, and museum interventions. With style, humor, and collective action, they call attention to issues rich and powerful institutions would rather side-step. All the members take pseudonyms after dead women artists. We talked with founding members Frida Kahlo and Käthe Kollwitz about the body of work collected in a new book: Guerrilla Girls: The Art of Behaving Badly.  As we all grit our teeth for Election Day, we wanted to hear from people who have been deeply engaged in changing systems, for the long haul.  See omnystudio.com/listener for privacy information.

This week, we have filmmaker Garrett Bradley discussing her new documentary Time, which follows a larger-than-life matriarch, fighting for the release of her incarcerated husband. Bradley discusses the idea of time in her film — time served, the slowness of justice and the accumulation of grief and joy. Later in the episode, we have one of the founding members of the Guerrilla Girls, alias Kathe Kollwitz, on to discuss the legendary Guerrilla Girl movement, misogyny and racism in the arts, the battles ahead and the battles won.

To mark the FIVE YEAR ANNIVERSARY of @thegreatwomenartists Instagram, in this very special episode, Katy Hessel interviews the trailblazing, fearless, ICONS Kathë Kollwitz and Frida Kahlo of the GUERRILLA GIRLS !!!!!  [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] I don’t think I have ever been so excited! The anonymous feminist activist artist collective founded in 1985, who go by the guises of deceased female artists, the Guerrilla Girls are known to wear masks in public and use facts, humour, and outrageous and bold visuals to expose gender and ethnic bias in art, film, politics and in pop culture.  Working tirelessly for the past 35 years, the Guerrilla Girls have constantly fought discrimination and supported human rights for all people and all genders through their data-based artwork, which has been exhibited on buses, billboards, some of the biggest museums in the world – from the Tate to the Whitney – but also our very own bedrooms, including my own, with their aim being to spread equality and action through more than ninety posters, mugs, tea-towels, workbooks and more. Best known for their outrageous and witty statements including, “do women have to be naked to get into the met museum”, or “the advantages of being a woman artist”, it is through humour, bold graphics and data that the Guerrilla Girls catch our attention, and leave us wondering how just did museums get away with celebrating the history of patriarchy, as opposed to the history of art.  The most inspiring, encouraging, educational and unfortunately very needed artist collective out there, the Guerrilla Girls have changed – and are still changing – the story of art, one stunt at a time. I have been lucky enough to be the owner of much of their merchandise, and am delighted to say that they have just brought out a staggering new book,  The Guerrilla Girls: The Art of Behaving Badly, the first publication to catalog the entire career of the Guerrilla Girls from 1985 to present. ENJOY!!!!! FURTHER LINKS! https://www.guerrillagirls.com/ New book! https://www.guerrillagirls.com/store/the-art-of-behaving-badly Projects! https://www.guerrillagirls.com/projects Exhibitions! https://www.guerrillagirls.com/exhibitionshttps://www.tate.org.uk/art/artists/guerrilla-girls-6858 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Amber Miller (@amber_m.iller) Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

The Guerrilla Girls is an anonymous group of feminist, female artists devoted to fighting sexism and racism within the art world. The group formed in New York City in 1985 with the mission of bringing gender and racial inequality into focus within the greater arts community. The group employs cultural jamming in the form of posters, books, billboards, and public appearances to expose discrimination and corruption. To remain anonymous, members don gorilla masks and use pseudonyms that refer to deceased female artists. Their identities are concealed because issues matter more than individual identities, they want the focus to be on the issues, not on their personalities or their own work. Guerrilla Girls member Käthe Kollwitz and Zuckerman discuss facts, writing museum wall labels, the power of killer statistics, how Guerrilla Girls get added, changing people’s minds, being intersectional feminists, broadening museum collections, and how the further you get from New York the representation of women and artists of color in museums improves! This episode is brought to you by Kelly Klee private insurance . Please check out their website: Kellyklee.com/Heidi and they will make a $50 donation to Artadia, an art charity I’ve recommended, per each qualified referral. This episode is brought to you by Best & Co. Please visit www.BestandCoAspen.com and use discount code Heidi2020 to receive 5% off of any item on the Best & Co. website. If you are interested in creating a custom piece please email custom@bestandcoaspen.com and mention that you heard about Best & Co. on my podcast to receive the special discount. *** Interested in sponsoring the podcast? Please email press@hiz.art *** If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds, and it really makes a difference in helping to convince hard-to-get guests.Follow Heidi: Instagram: https://www.instagram.com/heidizuckerman/ Twitter: https://twitter.com/heidizuckerman LinkedIn: https://www.linkedin.com/in/heidi-zuckerman-a236b55/

In this week’s episode, Maddy and Natalie share how they landed themselves in the creative world. Natalie starts your week off rough by talking about Ed Gein and Gary M. Heidnik, the real-life killers that inspired the Silence of the Lambs’ antagonist, Buffalo Bill, and touches on the unfortunate portrayal of transgender people in media. Maddy cools things down by chatting about a bad-ass anonymous group of feminist artists that call themselves the Guerrilla Girls. Feel free to skip around to what interests you! Highs and Lows / Chit Chat 0:00 The: Killers that Inspired Buffalo Bill 6:51 How We Got Into Art 50:30 The Guerrilla Girls 1:00:47 Intro song by Francy Mae Clark References: https://murderpedia.org/male.G/g/gein-edward.htm https://murderpedia.org/male.H/h1/heidnik-gary.htm https://www.guerrillagirls.com/ https://en.wikipedia.org/wiki/Guerrilla_Girls

Season 1: Ready, Set, Wait | Episode 4—The final episode in a three-part series, "The Scream" reveals the works in the Benton's collection that museum staff and interns find particularly relevant at this time, whether they were created recently or 200 years ago. In this episode listeners will hear how these works of art speak to individual experiences of 2020, from the isolation brought about by the pandemic to a renewed sense of urgency related to social justice and systemic racism. Discussed in this episode are works on paper by Norwegian artist Edvard Munch and the Guerrilla Girls collective as well as a photograph by Henri Cartier-Bresson and James Turrell’s Skyspace Dividing the Light. Image checklist: https://pomona.box.com/s/rno0huxf14s4zuh7v70xirlykls005vv Transcript: https://pomona.box.com/s/wrk3xlq4amibb9mzhnx5tgb11noot5dv

No episódio de Nº 49 a artista convidada é a artista e educadora Vanessa Alves que lê Guerrilla Girls. ESCUTE EM: www.podcastversar.com SPOTIFY: https://open.spotify.com/episode/4TlSHjBmPC5q9bvfgjbIPe?si=imPAwPogTjyHaa_GPZYIQQ Vanessa Alves é artista visual e arte-educadora formada pela UFPR (2011). Desde 2008, participou de mais de 20 exposições de arte no Brasil, Colômbia e Reino Unido. Sua poética envolve temas como a localização da arte, feminismo e desigualdade social usando as linguagens da proposição artística, fotografia, desenho e pintura. Atualmente, produz e ministra aulas no ateliê que mantém em sociedade com seu pai e produz conteúdo em seu Instagram @vanessaalves.art sobre história da arte com foco no trabalho de artistas mulheres. VER.SAR é um podcast com artistas convidados para compartilhar leituras de textos sobre práticas artísticas, maternidades e feminismos. Este Podcast é uma plataforma de comunicação colaborativa que reúne mulheres artistas e seus referenciais textuais, a partir do exercício da leitura e busca para criar um arquivo de consulta e compartilhar conteúdo gratuito relacionado a assuntos relacionados a temas e conceitos implicados na mulher na contemporaneidade. Como artistas convidados são mulheres que investigam e discutem conflitos políticos da vida doméstica e pública produzindo pensamentos críticos no nosso contexto e propondo mudanças negativas no mundo da arte. INSTAGRAM: @podcastversar FACEBOOK: Ver.sar - práticas artísticas, maternidades e feminismos --- Send in a voice message: https://anchor.fm/podcastversar/message

Vous le savez déjà si vous êtes un auditeur ou une auditrice fidèle du podcast, toutes les trois semaines, je vous propose un format un peu plus court, dans lequel je dresse le portrait d’une femme de l’histoire de l’art. Cette semaine, j’ai décidé de vous parler non pas d’une femme, mais d’un collectif de femmes. Que vous connaissez très certainement d’ailleurs, il s’agit des Guerrilla Girls. L’une de leurs affiches est très connue, il s’agit d’un détournement de La Grande Odalisque d’Ingres. On peut voir une femme allongée, de dos, nue, dont la tête a été remplacée par celle d’un gorille. A côté, en très grosses lettres, une phrase questionne : “Faut-il que les femmes soient nues pour entrer au Metropolitan Museum ?”. Pour bien comprendre le travail de ce groupe d’artistes féministes il faut remonter un peu en arrière, en 1985 exactement. A l’époque, le MoMa, à New York, organise une exposition qui a pour vocation de dresser un panorama de l’art contemporain. Seulement voilà : sur les 169 artistes présentés, il n’y a que 13 femmes… de quoi susciter la colère de certaines femmes artistes, parmi lesquelles les futures membres des Guerrilla Girls. Le reste est dans l’épisode ! Bonne écoute ! • Crédits : Femmes d’art est un podcast produit et réalisé par Marie-Stéphanie Servos Musique libre de droits www.femmes-dart.com www.instagram.com/femmesdart_ Contact : femmesdart@gmail.com

Выпуск про австралийскую стендап-комедиантку Ханну Гэдсби. Patreon: www.patreon.com/blitzandchips Boom Clap: podcasts.apple.com/ru/podcast/boom…ap/id1456280130 Жуть: podcasts.apple.com/ru/podcast/%D0%…8C/id1474237014 Beats and Chords: podcasts.apple.com/ru/podcast/beat…ds/id1326222560 Канал на YouTube: www.youtube.com/c/BlitzandChipsVideo В подкасте участвуют: Гриша Пророков, Даша Татаркова, Димочка Веснин, Вася Кистяковский Музыку написал Иван Калашников из Наади (спасибо!) Логотип сделал Даня Удобный (спасибо!) Почта: prorokovgrisha@gmail.com Канал в Telegram: telegram.me/grishaprorokov Вот ссылки: kimkibabaduk про Ханну Гэдсби: https://bit.ly/30woE26 Майя Чеснокова: https://bit.ly/3f8zsYn подкаст Vulture с Гэдсби: https://bit.ly/2Yor7ZM обложка Variety: https://bit.ly/30vyWzI обнажённые женщины в живописи: https://bit.ly/30vwQ2O Гоген: https://nyti.ms/3cPWzW7 видео про The Guerrilla Girls: https://bit.ly/2XQmsAX Спасибо всем кто даёт $10 и больше на Patreon: Alexey Kalenchuk Aydar Galimov Alexeenko Angelina Вова Апенов Artem Gordin Ilya Kochetkov Golgothan Sonya Permiakova Lena Khalilova Vadim Patsev Евдокия Антощак Anna Ravinskaya Федор Белоусов

In this episode, we discuss the reason we have Pride, and why it’s important that our work is intersectional. We need to show up for Black Lives, on the streets, in our communities, in our families. This is a conversation about the ways we can tackle anti-blackness in the Latinx community but also how to start doing the inner and outer work for justice. Below are two national directories to Bail funds across the country, and local orgs doing work on the ground: https://docs.google.com/document/d/1CjZMORRVuv-I-qo4B0YfmOTqIOa3GUS207t5iuLZmyA/mobilebasic https://www.papermag.com/where-to-donate-protests-minneapolis-2646128317.html?rebelltitem=6#rebelltitem6 Also in the Bay Area, The Black Earth Farms Collective is an agroecological lighthouse organization composed of skilled Pan-African and Pan-Indigenous farmers, builders, and educators who spread ancestral knowledge and train community members to build collectivized, autonomous, and chemical-free food systems. They are providing food for those affected by the recent protests, Venmo: @blackearthfarms We referenced this article in Teen Vogue by Angie Jaime https://www.teenvogue.com/story/how-latinx-people-can-fight-anti-black-racism-in-our-own-culture Recommended Reading “So You Want to Talk About Race by Ijeoma Oluo”: https://www.hachettebookgroup.com/articles/so-you-want-to-talk-about-race-by-ijeoma-oluo/' Our title references a famous poster made in 1987, by Avram Finkelstein, Brian Howard, Oliver Johnston, Charles Kreloff, Chris Lione, and Jorge Socarrás who founded the SILENCE=DEATH Project to support one another during the AIDS crisis. Inspired by the posters of the Art Workers Coalition and the Guerrilla Girls (both of whose work is on view nearby), they mobilized to spread the word about the epidemic and created the now-iconic Silence=Death poster featuring the pink triangle as a reference to Nazi persecution of LGBTQ people in the 1930s and 1940s. It became the central visual symbol of AIDS activism after it was adopted by the direct-action advocacy group AIDS Coalition to Unleash Power (ACT UP).

In this episode, we discuss the reason we have Pride, and why it’s important that our work is intersectional. We need to show up for Black Lives, on the streets, in our communities, in our families. This is a conversation about the ways we can tackle anti-blackness in the Latinx community but also how to start doing the inner and outer work for justice. Below are two national directories to Bail funds across the country, and local orgs doing work on the ground: https://docs.google.com/document/d/1CjZMORRVuv-I-qo4B0YfmOTqIOa3GUS207t5iuLZmyA/mobilebasic https://www.papermag.com/where-to-donate-protests-minneapolis-2646128317.html?rebelltitem=6#rebelltitem6 Also in the Bay Area, The Black Earth Farms Collective is an agroecological lighthouse organization composed of skilled Pan-African and Pan-Indigenous farmers, builders, and educators who spread ancestral knowledge and train community members to build collectivized, autonomous, and chemical-free food systems. They are providing food for those affected by the recent protests, Venmo: @blackearthfarms We referenced this article in Teen Vogue by Angie Jaime https://www.teenvogue.com/story/how-latinx-people-can-fight-anti-black-racism-in-our-own-culture Recommended Reading “So You Want to Talk About Race by Ijeoma Oluo”: https://www.hachettebookgroup.com/articles/so-you-want-to-talk-about-race-by-ijeoma-oluo/' Our title references a famous poster made in 1987, by Avram Finkelstein, Brian Howard, Oliver Johnston, Charles Kreloff, Chris Lione, and Jorge Socarrás who founded the SILENCE=DEATH Project to support one another during the AIDS crisis. Inspired by the posters of the Art Workers Coalition and the Guerrilla Girls (both of whose work is on view nearby), they mobilized to spread the word about the epidemic and created the now-iconic Silence=Death poster featuring the pink triangle as a reference to Nazi persecution of LGBTQ people in the 1930s and 1940s. It became the central visual symbol of AIDS activism after it was adopted by the direct-action advocacy group AIDS Coalition to Unleash Power (ACT UP).

How many times have you heard someone in a museum scoff "I could do that" in the presence of a solid-black canvas or an obtuse conceptual installation? You're not alone, and frankly, curator-turned-YouTube-star Sarah Urist Green understands the disconnect between art enthusiasts and art skeptics. But she wants to fix it by guiding all of us, from truck drivers to art historians, into tapping our own inner wells of creativity using the biggest video platform on the planet. After grad school and a curatorship at the former Indianapolis Museum of Art (renamed Newfields in 2017), Urist Green was well-versed in the ins and outs of the contemporary-art scene. But she eventually began to tire of the insular world built up around the work itself and longed for a way to expand art's audience. When her husband, the novelist John Green, mentioned off-hand that PBS was developing new educational programming, she took the plunge and pitched a show called "The Art Assignment" centered on projects designed by avant-garde artists that everyone, everywhere could complete themselves. Now a weekly digital web series, the YouTube fixture has some 500,000 subscribers, and it has branched out from its core concept to include travel episodes, art-history-themed cooking lessons, and much more. After six years helming the wildly popular series, Green published her first book, You Are an Artist: Assignments to Spark Creation, in late March, just as millions of people around the world were being forced to retreat indoors for weeks on end. The timing was uncanny. Born out of her YouTube series, the book is brimming with projects dreamed up by such critically acclaimed talents as Alec Soth, Michelle Grabner, and the Guerrilla Girls—each one engineered to be feasible from home with the materials available. It's a perfect solution for our long days of sheltering in place.  On this week's episode, Urist Green joins Andrew Goldstein by phone to discuss her unexpected art-world journey, the serendipitous appeal of her new book, and how you—yes, you—can be an artist, too.

How many times have you heard someone in a museum scoff "I could do that" in the presence of a solid-black canvas or an obtuse conceptual installation? You're not alone, and frankly, curator-turned-YouTube-star Sarah Urist Green understands the disconnect between art enthusiasts and art skeptics. But she wants to fix it by guiding all of us, from truck drivers to art historians, into tapping our own inner wells of creativity using the biggest video platform on the planet. After grad school and a curatorship at the former Indianapolis Museum of Art (renamed Newfields in 2017), Urist Green was well-versed in the ins and outs of the contemporary-art scene. But she eventually began to tire of the insular world built up around the work itself and longed for a way to expand art's audience. When her husband, the novelist John Green, mentioned off-hand that PBS was developing new educational programming, she took the plunge and pitched a show called "The Art Assignment" centered on projects designed by avant-garde artists that everyone, everywhere could complete themselves. Now a weekly digital web series, the YouTube fixture has some 500,000 subscribers, and it has branched out from its core concept to include travel episodes, art-history-themed cooking lessons, and much more. After six years helming the wildly popular series, Green published her first book, You Are an Artist: Assignments to Spark Creation, in late March, just as millions of people around the world were being forced to retreat indoors for weeks on end. The timing was uncanny. Born out of her YouTube series, the book is brimming with projects dreamed up by such critically acclaimed talents as Alec Soth, Michelle Grabner, and the Guerrilla Girls—each one engineered to be feasible from home with the materials available. It's a perfect solution for our long days of sheltering in place.  On this week's episode, Urist Green joins Andrew Goldstein by phone to discuss her unexpected art-world journey, the serendipitous appeal of her new book, and how you—yes, you—can be an artist, too.

Renowned American science writer David Quammen joined Amy to discuss his prescient 2012 book, Spillover: Animal Infections and the Next Human Pandemic. David explores why zoonotic spillovers that cause diseases like COVID–19 are occurring more and more. He also tells us what humans must do to prevent the next viral pandemic, including changing our relationship to nature and stopping the disruption and destruction of diverse ecosystems. Megan Patty, Head of Publications at the National Gallery of Victoria talks about their latest book of essays, She Persists: Perspectives on Women in Art & Design, which highlights the work of women artists across centuries and cultures. Megan also discusses her essay on the poster as a site of resistance, and 1980s feminist art activists the Guerrilla Girls. Plus Ben Eltham from New Matilda chats about the latest in federal politics.

Welcome to 5 minutes with Bad Ass women from Art History, a quarantine and social isolation (#Covid-19 lol) induced series. Launching off the back of a twitter series I created in 2014 but now in a much better podcast form!Women have been involved in the making of fine art throughout history. However, its no secret that their work, when compared with their male counterparts has been often obfuscated, overlooked and undervalued even being demoted to heavily gendered categories such as “arts and crafts” rather than fine art (massive EYE ROLL).Women in art have been faced with challenges due to gender biases in the mainstream fine art world. They have often encountered difficulties in training, travelling and trading their work, as well as gaining recognition. Beginning in the late 1960s and 1970s, feminist artists and art historians created a Feminist art movement that overtly addresses the role of women especially in the Western art world, how world art is perceived, evaluated or appropriated according to gender.Episode 0 or our Special Episode will be launching as a testimony to this very movement, showcasing the Bad Ass women who inspired me to create this series, also Josh, Josh inspired me too..The next episode, episode 1, will be starting from the beginning of Art History (Prehistoric) aaaall the way to contemporary and current era.

This week, we speak with Prof. Lucy Gilson about the ways in which business and research go together; we hear about how the Guerrilla Girls changed the way we think about art; and we look back on a very patriotic series of fires on the Storrs campus. 

Dans ce podcast sur la création artistique, on a demandé à Elisabeth Lebovici de nous parler d'histoire de l'art à travers le prisme queer. On lui a demandé comment on faisait, nous, individus invisibilisé.e.s, pour s'inscrire dans une culture où lorsqu'on réclame plus d'inclusivité, on se fait silencier. On a aussi voulu savoir ce que c'était un art queer, et comment est-ce qu'on peut faire de cet art une continuité de nos luttes dans la société. On s'est aussi demandé.e.s comment est-ce qu'on faisait pour réintégrer nos communautés dans les arts visuels, pour nous inclure dans nos musées, et pour inclure nos artistes dans un monde de l'art gouverné par une logique marchande, blanche, et hétéropatriarcale ? Elisabeth Lebovici nous a expliqué la nécessité de faire tomber les barrières entre "haute" et "basse" culture, de queeriser l'histoire de l'art, mais aussi d'œuvres qui vous sauvent la vie. Bibliographie non exhaustive : - Femmes artistes, artistes femmes : Paris de 1880 à nos jours, avec Catherine Gonard, 2007, Hazan. - « Généalogie queer », in Critique 2010/8-9 (n° 759-760), pages 669 à 681 - Ce que le sida m'a fait. Art et activisme à la fin du XXè siècle, publié avec l'Association des amis de la Maison rouge, 2017, JRP Ringier Références et artistes cité.e.s : - Queer Nation : groupe transpédégouine radical fondé en mars 1990 à New York aux Etats Unis par des militant.e.s d'ACT UP. - David Halperin : historien et théoricien queer américain. - Jose Esteban Muñoz, Cruising Utopia: The Then and There of Queer Futurity, 2019, NYU Press : en cours de traduction - Art & Queer culture, Catherine Lord et Richard Meyer, 2013, Phaidon - Art queer. Une théorie freak, Renate Lorenz, 2018, Éditions B 42 - Griselda Pollock : critique d'art et de culture moderne et contemporain, et professeur en Histoire de l'Art et de Cultural Studies à l'Université de Leeds. Elle est l'autrice notamment de Differencing the Canon. Feminism and the Writing of Art's Histories, 1999, Routledge - Renate Lorenz & Pauline Baudry : duo d'artistes créant notamment des vidéos portant sur l'histoire des personnes queers. - Henrick Olesen, Some Faggy Gestures, 2008, JRP Ringier - Andy Warhol, Thirteen most wanted men : murale des criminels les plus recherchés, créée pour l'exposition universelle de 1964 à New York - Isabelle Alfonsi, Pour une esthétique de l'émancipation, 2019, Éditions B 42 - Guerrilla Girls : groupe d'artistes féministes fondé à New York en 1985 en réaction à l'infime représentation des femmes artistes dans les musées. - Claude Cahun – Marcel Moore : couple d'artistes, figures du mouvement surréaliste, qui ont notamment lutté contre le poids de l'hétérosexalité comme norme de conduite. - Zoe Leonard : artiste et activiste américaine, qui accède a la reconnaissance lors de la documenta IX en 1992 à Kassel. - Les Argonautes, Maggie Nelson, 2015, Éditions du sous-sol Lexique : - Male gaze : action de montrer les femmes et le monde dans la pop culture via le prisme du regard masculin dominant et hétérosexuel. - Art en grêve : label qui réunit des militant.e.s de différents secteurs du monde de l'art, engagés dans une réflexion sur le monde du travail. - Le CLAQ : Comité de Libération et d'Autonomie Queer - La Buse : collectif qui s'intéresse aux conditions de travail des travailleur.euse.s de l'art. Furies est un podcast de la Queer Week, cet épisode a été enregistré en janvier 2020, écrit par Anaïs Reinhardt et Clara Grimaud, réalisé et monté par Anaïs Reinhardt. La musique originale est de Clara Apolit.

When you got to an art gallery, how much of what you see has been made by women? Women artists are underrepresented in most museums. But this year, a special series at the New Britain Museum of American Art will exclusively feature exhibitions by female artists. This hour, we talk with the museum’s director, Min Jung Kim. We also talk with Shantell Martin, a visual artist whose work will be featured in a solo exhibition at the New Britain Museum of American Art. And later, we hear from a member of the Guerrilla Girls, an anonymous group of women artists and activists who’ve protested disparities in museums collections. How does the predominance of white men in the art world skew our perceptions of what’s good or valuable art?Support the show: http://wnpr.org/donateSee omnystudio.com/listener for privacy information.

Au programme : Les Guerrilas Girls, qui ? Quoi ? Où Quand ? trouvez les réponses dans ce podcast Plus d’infos sur l’épisode : Vous pouvez suivre l'animatrice Aldjia sur instagram

This week the sisters talk about the overlap of two seemingly different things: The Nightingale, a novel by Kirstin Hannah and the art of the Guerrilla Girls, an...

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Guerrilla Girls – Feminist Art-Activists, Creative Complainers, and Hashtag Heroes.  Anonymous, but hilarious, female artists tackle discrimination and equity issues in the art world.  Their super power – creative complaining – has moved the needle and may be a model of effective protest and activism for many of the troubling issues of our time. John meets Kathe Kollwitz and Shigeko Kubota of the Guerrilla Girls at a top secret location for a rare interview with the mask-wearing covert crusaders of the art world. The Guerrilla Girls discuss: The art of creative complaining The delicious and deleterious aspects of being anonymous Political art Not waiting for approval Fresh ways of presenting facts Making change by making people laugh Featured Music: With permission of our friends at Ropeadope Records this episode features the song No Regrets by Mwenso and the Shakes off their album Emergence [The Process of Coming Into Being].   Super cool band!  Peep this article that JAZZIZ wrote about their album being released on August 2, 2019. Get Connected: Guerrilla Girls Website Guerrilla Girls on Facebook Guerrilla Girls on YouTube Guerilla Girls on Email Mwenso and the Shakes Website Mwenso on Facebook Mwenso on Instagram Ropeadope Records on Facebook Ropeadope on Instagram    MM S2 Ep.17 Blogpost: http://bit.ly/2O82oag  MM on iTunes:   http://apple.co/2j6f94V  MM Download: http://bit.ly/2fPWnZy  MM on Spotify: http://spoti.fi/2kOMS1d MM on Stitcher: http://bit.ly/2qsMdDi MM on Google Play: http://bit.ly/2B7i2I5 MM website: https://makemoveswithjohn.com/ MM Facebook Page: http://bit.ly/2p5UnG0 MAKE MOVES EXCLUSIVES Group: http://bit.ly/2t75JqK   MM on Instagram: http://bit.ly/2rkEN67

Michelle Hartney kicks off Art & Morality by speaking with a founding member of the feminist art collective, the Guerrilla Girls (GG) on sexism and racism in the arts--from the study of its history to representation in museum, institutions and galleries. Michelle asks GG founder, speaking under the pseudonym Frida Kahlo, about the emergence of the Guerrilla Girls in the 80s, the Westernization of the art world, and the arguments made against "over-contextualizing" art and the fear of censorship in the art world.*Helpful Links*Hannah Gadsby, Nanette, Netflix SpecialThe Guerrilla Girls' Bedside Companion to the History of Western ArtGuerrilla Girls, Three Ways to Write a Museum Wall Label When the Artist is a Sexual Predator, 2018-About the Guerrilla Girls-The Guerrilla Girls are feminist activist artists. Over 55 people have been members over the years, some for weeks, some for decades. Our anonymity keeps the focus on the issues, and away from who we might be. We wear gorilla masks in public and use facts, humor and outrageous visuals to expose gender and ethnic bias as well as corruption in politics, art, film, and pop culture. We undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair. We believe in an intersectional feminism that fights discrimination and supports human rights for all people and all genders. We have done over 100 street projects, posters and stickers all over the world, including New York, Los Angeles, Minneapolis, Mexico City, Istanbul, London, Bilbao, Rotterdam, and Shanghai, to name just a few. We also do projects and exhibitions at museums, attacking them for their bad behavior and discriminatory practices right on their own walls, including our 2015 stealth projection about income inequality and the super rich hijacking art on the façade of the Whitney Museum in New York. Our retrospectives in Bilbao and Madrid, Guerrilla Girls 1985-2015, and our US traveling exhibition, Guerrilla Girls: Not Ready To Make Nice, have attracted thousands. We could be anyone. We are everywhere. What’s next? More creative complaining!!Learn more at https://www.guerrillagirls.com/

On this Liza-esque (?) episode of Oeuvre Busters, Liam and George discuss 2002's Love Liza, starring Philip Seymour Hoffman and Kathy Bates and directed by Todd Louiso. Topics discussed: American consumption of petrol in all its varied forms; Magic: The Gathering; hobby enthusiasts; sad white guys and the people who love their stories. Also, we find out that George is a Pasolini poser. Quelle surprise. Finally, please listen to the very end for a special message from our good friend Adam Schartoff of Filmwax Radio fame. Topics not discussed: The aesthetic provocations of the feminist art-group The Guerrilla Girls and their critique of august art institutions, such as the MoMA and the Metropolitan Museum of Art. You can find more OB content at www.oeuvrebusters.com! Also, please feel free to drop us a line, either via email or voicemail recording, at Oeuvrebusters@gmail.com We are looking to incorporate feedback from our listeners during the show itself, so leave us some thoughts and we might share them on the podcast.Please don't forget to subscribe, rate, and review whenever and wherever you can. We appreciate all the love and support."Robobozo" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ See acast.com/privacy for privacy and opt-out information.

Jules Muck began writing graffiti as a teen in Europe and England in the 90s. Back in NYC she worked under Lady Pink for many years. Muck bombed with Spek and Since and was painting highways and rooftops with BTC throughout the late nineties. Her first interview in 1999 was by Zephyr for While You Were Sleeping magazine. Smith took Muck into the NYC subway tunnels and the freight yards. Muck was christened into graffiti by some great early legends. She has been published in numerous books including Broken Windows, Burning New York, Ganz’s Graffiti Women and Cey Adams' The Art and Design of Hip Hop. Muck has had work in numerous collaborative projects such as the Wooster Collective, 11 Spring Street, and Hanksy’s Surplus Candy. She was one of the first females to paint at 106th and Park Hall of Fame in NYC and did an installation with the Guerrilla Girls for the lobby of the Bronx Museum of Art. She has painted murals for TV shows and movies including Under the Dome, Mr. Mercedes and IT. Muck has produced several large-scale murals in Wynwood for Miami’s Art Basel. She travels and paints often in New York, New Orleans, Texas and anywhere else she can. The landscape of Venice Beach remains the most Mucked place in the world, as her Venice home and studio is her favorite place to be. “Muckrock” is the IG handle she chose as an ode to graffiti’s hip hop roots but it has come to represent her obsession with all things music. She has painted over 5 memorial murals for Motorhead’s Lemmy, including one at the Rainbow Bar and Grill and a 40 ft Mt. Lemmy at Dave Grohl’s recording studio in LA. Pixie’s Video Classic Masher features a stop-motion Muck mouth, Engelbert Humperdinck’s house in Bel air has been Mucked, and her work is collected by Everlast and Ministry’s Al Jourgensen. Humanitarian efforts have included painting murals in Syrian Refugee camps, Miami’s Juvenile Detention Center and several large scale Bernie Sanders pieces. Muck’s real passion is to paint on things she’s not supposed to paint on but those opportunities are rapidly decreasing as she is ever invited to paint on more and more walls and things. She enjoys painting humping bunnies on RVs and dressing up any manner of vehicle. julesmuck.com You're living your dream. Don't miss it. If you’re enjoying this podcast, please rate and subscribe on iTunes or your podcast player of choice. And if you’re really digging it, you can help me out with some of the expense by hitting the Donate button on my website or going through my Amazon link for all your Amazon purchases. All very much appreciated.

Coco Dolle is a French-American artist and curator whose work explores themes of the body, identity and feminism. She is the founder of the "Legacy Fatale" performance art project and the curator of “TRANS-Ville” series at Catinca Tabacaru Gallery. An avant-guard curator within the feminist conversations in New York, Miss Dolle has presented numerous concept exhibitions including at the SPRING/BREAK Art Show, The National Arts Club and The Untitled Space, while working with pioneer artists such as Betty Tompkins, Kembra Pfahler, Narcissister and the Guerrilla Girls. Her performance works have been presented widely including at The Queens Museum, Czech Center (NYC), Miami Art Basel,  Deitch Projects and Manchester Art Gallery (UK). © Photo of Legacy Fatale performance art by Kim Doan Quoc, 2018 Music for this episode is generously provided by Leigh Celent and Castle Black. Check them out on www.castleblackmusic.com Coco will host an upcoming performance happening with her troupe Legacy Fatale that includes workshops and immersive performance happening in Rosekill, NY on Saturday, May 25. You are welcome to bring your tent and camp overnight and enjoy Sunday by the lake. PANATHENAIA FESTIVAL FB event PANATHENAIA TICKETS 

In this episode of My Favorite Feminists, Megan & Milena cover what suffragists have to do with the Guerrilla Girls & the slightly problematic Margaret Sanger The Guerrilla Girls & Those Silly Shrill Suffragists Sure, equal representation in the art world is skewed AF, but good news! Since the 1980’s there’s been a badass group […] The post Ep. 2 Hairy-Faced Ladies & Anti a Billion Babies appeared first on My Favorite Feminists.

video interview with the Guerilla Girls

Beep beep!! New Art and Labor here! Your favorite podcast focusing on the on-going struggle to survive as an art or cultural worker. Hosted by O.K. Fox and Lucia Love. This episode we fill you in even more social justice activism happening in the late sixties/early seventies. We talk proto Guerrilla Girls, and we trace the … Continue reading "Episode 3 – Black Emergency Cultural Coalition and Women Artists in Revolution"

Hoje vamos continuar o que faltou dizer na primeira parte das indicações de melhores do ano de 2017: Nesse programa #39 retomamos as listas feitas por funcionários da editora, com suas indicações de leituras, filmes, séries, álbuns, e muito mais. Vamos lá? Quezia Cleto, editorial Melhores pratos: Frittata, a omelete espanhola com batatas; Pão no vapor com barriga de porco; Sanduíche de lagosta. Livros: “O gene”, de Siddhartha Mukherjee; “Americanah”, de Chimamanda Ngozi Adichie; “Uma breve história da bebedeira”, de Mark Forsyth (que será lançado em 2018 pelo selo da Paralela). Melhores livros infantis: “Barrigão no chão”, Coleção Hora do bebê; “Bárbaro”, de Renato Moriconi; “Quem soltou o pum?”, Blandina Franco. Julia Bussius, editorial Melhores leituras para fazer junto com crianças: “Coisa de menina”, de Pri Ferrari; “Nós agora somos quatro”, Lilli L'Arronge; “Muito cansado e bem acordado”, de Susanne Straßer. Podcasts: Where should we begin?, da autora de “Sexo no cativeiro”; The Longest Shortest Time; Dear Sugars, da autora de “Livre”. Séries: “Big little lies”; “Handmaid’s tale”; “Girls”. Livros que deseja ler em 2018: “Manual da faxineira”, de Lucia Berlin; “Noite da espera”, de Milton Hatoum; “Guerra e paz”, de Liev Tolstói. Luara França, editorial Releituras de clássicos: “Anna Kariênina”, de Liév Tolstói; “Sempre vivemos no castelo”, de Shirley Jackson; “Frankenstein”, de Mary Shelley. Filmes: “Eu, Daniel Blake”; “Moana: Um Mar de Aventuras”; “Star Wars: Episódio VIII - Os Últimos Jedi”. Álbuns: “I see you”, de The XX; “Turn out the lights”, de Julien Baker; “Out in the Storm”, de Waxahatchee; “Ctrl”, de Sza. Marina Pastore, e-books Podcasts: - No such thing as a fish; - Scienceish; - My dad wrote a porno. Começos de livros: - “Middlesex”, de Jeffrey Eugenides; - “As intermitências da morte”, de José Saramago; “Enclausurado”, de Ian McEwan; Enrico Weg Sera, divulgação Séries: “Big little lies”; “American Crime Story The People vs. O. J. Simpson”; “The good fight”. Shows: Dua lipa, na Audio Club; Daughter, no Memorial da América Latina; Carne doce, no Memorial da América Latina. Livros: “First love, last rites”, livro de contos de Ian McEwan; “Elsewhere, Perhaps”, de Amós Oz; “A noite da espera”, de Milton Hatoum. Fabio Uehara, novos negócios Podcasts "On taking pictures"; "99% invisibles"; "Projeto humanos". Livros “Manual da faxineira”, de Lucia Berlin; "A noite da espera”, de Milton Hatoum; "Nossas noites", de Kent Haruf. Documentários “Empire of the Tsars”; “Minimalism: A Documentary About the Important Things”; “The mask you live in”. Indicação de show: Sigur Rós Indicação de exposição: Os americanos, de Robert Frank Laura Bing, produtora do podcast Exposições “Nada levarei quando morrer”, de Miguel Rio Branco, no MASP; “The Clock”, de Christian Marclay, no Instituto Moreira Salles; “Guerrilla Girls”, no MASP. Documentários “The mask you live in”; “The Internet's Own Boy: The Story of Aaron Swartz”; “Jim & Andy: The Great Beyond – Featuring a Very Special, Contractually Obligated Mention of Tony Clifton”. Indicação de podcast: Conversations with people who hate me Helen Garcia Claro, marketing Livros "Como se estivéssemos em palimpsesto de putas", de Elvira Vigna "Antes de nascer do mundo", de Mia Couto "O homem sem doença", de Arnon Grunberg Protagonistas de séries Kimmy Schmidt, de “Unbreakable Kimmy Schmidt” Nola, de “Ela quer tudo” Olivia Pope, de “Scandal” Músicas mais ouvidas Qualquer uma de Simone e Simaria “Massarandupió”, de Chico Buarque “Tu”, de Tulipa Ruiz E já temos nosso compromisso para o final de janeiro, certo? O Clube Rádio Companhia, dessa vez com o livro Anna Kariênina, de Liev Tolstói. É só escrever lá no evento do clube de leitura no Facebook, que nós leremos os comentários durante a gravação do podcast, lembrando que as melhores participações ganham livros da Companhia das Letras!

TOME is a New York-based fashion label. Designers Ramon Martin & Ryan Lobo are known for collaborating with, and taking inspiration from, female artists. This season they looked to the Guerrilla Girls for a show inspired by the Women’s Marches and the Trump administration's attacks on Planned Parenthood. How can high fashion combine the pursuit of gorgeousness with serious messages about diversity and equality? What role does the runway have to play? ‘We underestimate the power of beauty and humour to help us connect,’ says Ramon. In this Episode, we discuss fashion activism, sustainability, TOME’s White Shirt Project and winning fans like Amal Clooney and Sarah Jessica Parker. Getting dressed every morning is a political act. What you wear makes a statement about who you want to be and how you wish to communicate with the world around you. What’s your wardrobe saying?  The WARDROBE CRISIS show notes unpack the issues addressed in each Episode. Way more than just links, it's like a mini magazine!   Head over to www.clarepress.com/ to read yours and #bethechange  Finally, if you enjoyed the show, we’d love you to leave a review on iTunes.  Music is by Montaigne http://www.montaignemusic.com.au/  Finally, if you enjoyed the show, we’d love you to leave a review on iTunes.  See omnystudio.com/listener for privacy information.

This week we discuss Jeremy's lactose intolerance and Rafael’s allergy to artist collectives Peanut and lactose allergies http://www.newyorker.com/magazine/2011/02/07/the-peanut-puzzle Internet surf clubs https://en.wikipedia.org/wiki/Surfing_club Nasty Nets http://classic.rhizome.org/portfolios/artwork/53981/ Arcangel Surf Ware http://www.arcangelsurfware.biz/ 640 480 (Jeremy’s first collective) http://theagyuisoutthere.org/everywhere/?p=2126 Neen http://www.afterneen.com/ General Idea http://canadianart.ca/reviews/general-idea-ago/ Colours of the Spectrum (work Jeremy made with Mimi Paige) https://www.youtube.com/watch?v=N5CupNWm3g4 Louise Bourgeois http://www.tate.org.uk/art/artists/louise-bourgeois-2351 Aids-3d http://www.interviewmagazine.com/art/berlin-aids-3d/ Berlin Bienniale http://bb9.berlinbiennale.de/ DIS (collective) https://en.wikipedia.org/wiki/DIS_(collective) DIS magazine http://dismagazine.com/ K-Hole http://khole.net/ Fluxus https://en.wikipedia.org/wiki/Fluxus ArtStars* interviews Tony Conrad https://www.youtube.com/watch?v=7xe_3ScPRWU Tactilism, Marinetti’s manifesto http://peripheralfocus.net/poems-told-by-touch/manifesto_of_tactilism.html Flux Kit https://www.moma.org/interactives/exhibitions/2011/fluxus_editions/category_works/fluxkit/ Sex Pistols https://en.wikipedia.org/wiki/Sex_Pistols The Aesthetics of Narcissism https://people.ucsc.edu/~ilusztig/176/downloads/reading/rosalindkraus.pdf Gaengeviertel http://das-gaengeviertel.info/ Holacracy http://www.holacracy.org/ Design by committee https://en.wikipedia.org/wiki/Design_by_committee Adam Curtis, the Dangers of Self-Expression https://thecreativeindependent.com/people/adam-curtis-on-the-dangers-of-self-expression/ Tony Robbins, I am not your guru https://www.tonyrobbins.com/documentary/ Gilbert & George http://www.gilbertandgeorge.co.uk/ Ant Farm http://www.vdb.org/artists/ant-farm Friends with You http://friendswithyou.com/ Critical Art Ensemble http://critical-art.net/ Guerrilla Girls https://www.guerrillagirls.com/ Kaymak https://en.wikipedia.org/wiki/Kaymak Small Wooden Shoe https://www.smallwoodenshoe.org/

This week, Claire Kovacs and Melissa Mohr pick up where they left off by talking about the Guerrilla Girls, an anonymous group of feminist artists.

We're back after a short hiatus – did you miss us?! This episode, Lotte fills in for Shannon, who is away enjoying the sunshine (Jealous? Us?...). We meet Top Boy and Urban Hymn's Letitia Wright and ask a crowd of Louis Theroux fans what they love about him. Plus, Georgia talks all things Guerrilla Girls and Annie chats about our fashion week faves with Jemma and Nat. Enjoy! See acast.com/privacy for privacy and opt-out information.

In this episode we discuss the Guerrilla Girls Twin Cities Takeover, the Oscar-nominated film Carol, as well as Carrie Brownstein’s memoir Hunger Makes Me a Modern Girl.

Robin starts the season commenting on refugees, political campaigns, Megyn Kelly, the Pope, Amnesty International, Black Lives Matter, Women Rangers—and how she spent her vacation. Guests: Maria Teresa Kumar; the Guerrilla Girls; Gloria Steinem. Guerrilla Girls: Gloria Steinem Maria Teresa Kumar & Voto Latino:

MACHISMOS 2.0. Entre otras están con nosotros June Fernández de PIKARA MAGAZINE y Ana Requena, responsable del blog MICROMACHISMOS de eldiario.es. Está presente la acción directa de las Guerrilla Girls y cerramos con el sonido de barrio pero siempre rock de los grandérrimos PORRETAS.

MACHISMOS 2.0. Entre otras están con nosotros June Fernández de PIKARA MAGAZINE y Ana Requena, responsable del blog MICROMACHISMOS de eldiario.es. Está presente la acción directa de las Guerrilla Girls y cerramos con el sonido de barrio pero siempre rock de los grandérrimos PORRETAS.

Founding Guerrilla Girls member, "Frida Kahlo" was at Fairfield University’s Oak Room, on September 23rd to deliver "Guerrilla Girls: A Dialogue on Discrimination in Art, Media, and Politics." This fun and fact-filled performance, outlined the group’s creative process and actions, and was followed by a Q&A with the audience and with exhibition curator Neysa Page-Lieberman. The Guerrilla Girls have been powerfully and consistently active since first breaking onto the art scene in 1985. Appearing only in gorilla masks and assuming the names of dead women artists, the activist group has remained anonymous for nearly three decades while revealing shocking truths about sexism and prejudice in the art world and beyond. Beginning with their courageous poster campaigns of the 1980s and continuing with large-scale international projects, they brilliantly take on the art establishment in a way that has never been seen before or since. Using “facts, humor, and fake fur,” they have exposed the discriminatory collecting and exhibiting practices of the most feared art dealers, curators, and collectors. Expanding their work to include non-visual arts media in the 1990s, the Guerrilla Girls have taken on everything from the discrimination of women film directors to the environmental crisis. The Westport Arts Center was a community partner for this event, which was made possible in part by a grant from the Humanities Institute, College of Arts and Sciences, Fairfield University.

In the spring of 1985 the Museum of Modern Art held an international exhibition of the year's most significant artists. Out of 169 artists showcased, only 13 were women. Infuriated, a group of women found themselves protesting the museum and created The Guerrilla Girls.

Guerrilla Girls is a group of female artists/activists whose mission is to expose discrimination in the art world. In this episode, Molly and Cristen investigate and discuss the origins, activism and effectiveness of the Guerrilla Girls. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

East Tennessee State University

An audiobook recording of Suzi Gablik's 'Conversations Before the End of Time', produced by Cast Iron Radio for European Capital of Culture Aarhus 2017. Conversations Before the End of Time was first published by Thames and Hudson in 1995. Copyright © 1995 Suzi Gablik Reproduced by permission of Thames & Hudson Inc. All rights reserved.