Podcasts about Guerrilla Girls

In this episode of Framed: Canvas, Cuffs & Other Stuffs, we dive into the wild history of the Guerrilla Girls — the anonymous collective of feminist art activists who shook up the art world with gorilla masks, sharp humour, and shocking stats.From the courtroom drama of the early 2000s — when anonymity was tested and real names were forced into the open — to splinter groups, copyright battles, and the ironic moment when their protest posters ended up hanging in the very museums they once critiqued, this story has it all.We break down:The lawsuit that nearly unmasked the Guerrilla Girls.How splinter groups like Guerrilla Girls Broad Band and Guerrilla Girls on Tour complicated the movement.Why anonymity still matters, and how the group used humour, stats, and spectacle to highlight sexism and racism in art.The legacy: from shocking posters to museum walls.

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.

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.

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.