Podcasts about Guerrilla Girls

Welcome back, loves!The male gaze didn't begin with film, it was already centuries old by the time cameras appeared. In this episode, I trace how powerful patrons, religious institutions and elite collectors shaped beauty standards through the paintings they commissioned. From reclining Venuses to carefully staged portraits, these images didn't just depict women, they trained viewers how to look at them. But when women finally entered the art world and began painting themselves and each other, the visual language started to shift.By the end of the episode, you may never look at a painting, a movie scene, or even your own camera roll quite the same way again.Are. You. Ready?****************Sources & Further Reading:The Civil Contract of Photography, Ariella Aïsha Azoulay. 2008. Zone Books.Negotiating the Female Body in Art, Elisabeth Bronfen. 1998. University of Chicago Press.Women, Art, and Society, Whitney Chadwick. 1990. Thames & Hudson.Why Love Hurts, Eva Illouz. 2012. Polity Press.The Painting of Modern Life, T. J. Clark. 1985. Princeton University Press.The Will to Change: Men, Masculinity, and Love, bell hooks. 2004. Atria Books.Ways of Seeing, John Berger. 1972. Penguin Books.Museum Frictions, Ivan Karp & Corinne A. Kratz (eds.). 2006. Duke University Press.Women, Art, and Power, Linda Nochlin. 1988. Harper & Row.Old Mistresses: Women, Art, and Ideology, Rozsika Parker & Griselda Pollock. 1981. Routledge & Kegan Paul.Vision and Difference, Griselda Pollock. 1988. Routledge.The Burden of Representation, John Tagg. 1988. University of Minnesota Press.Visual and Other Pleasures, Laura Mulvey. 1989. Palgrave Macmillan.Gender and Art, Gill Perry. 1999. Yale University Press.Cold Intimacies, Eva Illouz. 2007. Polity Press.Art and Agency, Alfred Gell. 1998. Oxford University Press.The Linda Nochlin Reader, Linda Nochlin (ed. by Maura Reilly). 2015. Thames & Hudson.The Guerrilla Girls' Bedside Companion to the History of Western Art, Guerrilla Girls. 1998. Penguin Books.****************Peer-Reviewed Articles & Theoretical EssaysNochlin, Linda. “Why Have There Been No Great Women Artists?” 1971. ARTnews.Pollock, Griselda. “Feminist Interventions in the Histories of Art.” 1988. Various academic journals.Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” 1975. Screen.****************Paintings Mentioned:Venus of Urbino — TitianLa Fornarina — RaphaelPortrait of Eleonora di Toledo with Her Son — Agnolo BronzinoThe Arnolfini Portrait — Jan van EyckGinevra de' Benci — Leonardo da VinciPortrait of Agnolo and Maddalena Doni — RaphaelThe Birth of Venus — Sandro BotticelliDanaë — TitianDanaë — Jean-François de TroySusanna and the Elders — TintorettoGrande Odalisque — IngresLa Maja Desnuda — Francisco GoyaGirl with a Pearl Earring — VermeerThe Three Graces — RubensDiana Leaving the Bath (representing Boucher's mythological nudes)Self‑Portrait as the Allegory of Painting — Artemisia GentileschiSelf‑Portrait with Her Daughter Julie — Élisabeth Vigée Le BrunSelf‑Portrait — Judith LeysterThe Child's Bath — Mary CassattWoman at Her Toilette — Berthe MorisotThe Chess Game — Sofonisba Anguissola****************Leave Us a 5* Rating, it helps the show!Apple Podcast:https://podcasts.apple.com/us/podcast/beauty-unlocked-the-podcast/id1522636282Spotify Podcast:https://open.spotify.com/show/37MLxC8eRob1D0ZcgcCorA****************Follow Us on TikTok & Subscribe to our YouTube Channel!YouTube:@beautyunlockedspodcasthourTikTok:tiktok.com/@beautyunlockedthepod****************Intro/Outro Music:“Fame Inc” by Savvier — https://icons8.com/music

Oelze, Sabine www.deutschlandfunk.de, Kultur heute

Oelze, Sabine www.deutschlandfunkkultur.de, Fazit

Meg meets up with Donna Kaz and her friend Tara who survived working swing shifts waiting tables at The Saloon, the massive bistro near Lincoln Center which featured roller skating staff, abusive bosses, and occasional Baryshnikov sightings.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Leon Black, a billionaire financier and Dartmouth alumnus, has faced growing scrutiny over his long and lucrative association with Jeffrey Epstein — scrutiny that has extended to his alma mater. Black and his wife donated $48 million to Dartmouth College, funding the Black Family Visual Arts Center, which bears their name. However, revelations that Black paid Epstein $158 million for “tax and estate planning services” between 2012 and 2017 — years after Epstein's conviction for sex crimes — sparked outrage within the Dartmouth community. Critics argued that maintaining Black's name on campus was incompatible with the college's stated values. Epstein had also been listed as a trustee on Black's family foundation, further entangling the financier's legacy with that of the disgraced predator.The Guerrilla Girls, an anonymous feminist art collective known for holding cultural institutions accountable for gender and racial justice, publicly challenged Black over his ties to Epstein. They canceled a book deal with Phaidon Press (which is owned by Black) upon learning of his “extensive and shady dealings” with Epstein.    They also led campaigns urging MoMA to remove Black from its board, installing public posters outside the museum and rallying other artists and activists to pressure the institution to sever ties with donors linked to sexual misconduct.to contact me:bobbycapucci@protonmail.com

Leon Black, a billionaire financier and Dartmouth alumnus, has faced growing scrutiny over his long and lucrative association with Jeffrey Epstein — scrutiny that has extended to his alma mater. Black and his wife donated $48 million to Dartmouth College, funding the Black Family Visual Arts Center, which bears their name. However, revelations that Black paid Epstein $158 million for “tax and estate planning services” between 2012 and 2017 — years after Epstein's conviction for sex crimes — sparked outrage within the Dartmouth community. Critics argued that maintaining Black's name on campus was incompatible with the college's stated values. Epstein had also been listed as a trustee on Black's family foundation, further entangling the financier's legacy with that of the disgraced predator.The Guerrilla Girls, an anonymous feminist art collective known for holding cultural institutions accountable for gender and racial justice, publicly challenged Black over his ties to Epstein. They canceled a book deal with Phaidon Press (which is owned by Black) upon learning of his “extensive and shady dealings” with Epstein.    They also led campaigns urging MoMA to remove Black from its board, installing public posters outside the museum and rallying other artists and activists to pressure the institution to sever ties with donors linked to sexual misconduct.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

In Part Two of our late-night conversation, Bad at Sports digs deeper into the remarkable trajectory of Kenny Schachter. From law school dropout to autodidact philosopher, from Sotheby's bidder to artist and teacher, Schachter traces the unlikely path that brought him into the heart of the art world — a place he insists remains strangely conservative despite all its pretenses of progress. The discussion moves between personal history and systemic critique. Schachter recounts the role of art in surviving trauma, loss, and addiction, and why surrounding himself with works by others has been both solace and education. He reflects on the stubborn conservatism of the market, celebrity crossovers from Johnny Depp to Julian Schnabel, and the tension between wanting freedom and the systems that resist it. For Schachter, art is both a lifeline and a way to comment on the world's chaos — a practice rooted in generosity, curiosity, and contradiction. This episode captures him at his most reflective and most biting, moving from humor to vulnerability and back again. Highlights • Schachter's first encounters with Twombly, Rauschenberg, and Frankenthaler at the National Gallery. • The shock of Andy Warhol's estate sale in 1988. • Dealer-to-dealer hustling as an unlikely entry into art. • Why “there are no rules” is his best definition of being an artist. • The paradox of an art world that markets rebellion but runs on tradition. Names Dropped Andy Warhol I.M. Pei, https://www.pcf-p.com/about/i-m-pei/ Chase Manhattan Bank, https://www.jpmorganchase.com/about/art-collection Christie's, https://www.christies.com/en Sotheby's, https://www.sothebys.com/en/ Phillips Auction House, https://www.phillips.com/ Patrick Drahi, https://www.artnews.com/art-collectors/top-200-profiles/patrick-drahi/ Leonard Lauder, https://www.artnews.com/art-news/news/leonard-lauder-sothebys-klimt-matisse-1234751922/ The Pritzker family, https://www.artnews.com/art-news/news/pritzker-art-collection-sothebys-breuer-1234751864/ Elaine Wynn, https://www.christies.com/en/events/the-collection-of-elaine-wynn Wyatt Kline, https://unframed.lacma.org/2014/01/28/contemporary-friends-acquire-ten-new-works-by-artists-from-around-the-world Alex Burns, Felix Reuter (Ryder), https://felixreuter.bandcamp.com/ Guerrilla Girls, https://www.guerrillagirls.com/ Old Friends Gallery, https://www.oldfriendsgallery.com/ David Letterman, https://en.wikipedia.org/wiki/David_Letterman The Suburban, http://www.thesuburban.org/

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

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.

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.