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"In We Flew over the Bridge, one of the country's preeminent African American artists--and award-winning children's book authors--shares the fascinating story of her life. Faith Ringgold's artworks--startling "story quilts," politically charged paintings, and more--hang in the Studio Museum in Harlem, the Metropolitan Museum of Art, the Guggenheim Museum, the Museum of Modern Art, and other major museums around the world, as well as in the private collections of Maya Angelou and Oprah Winfrey. Her children's books, including the Caldecott Honor Book Tar Beach, have sold hundreds of thousands of copies. But Ringgold's path to success has not been easy. In this gorgeously illustrated memoir, she looks back and shares the story of her struggles, growth, and triumphs. Ringgold recollects how she had to surmount a wall of prejudices as she worked to refine her artistic vision and raise a family. At the same time, the story she tells is one of warm family memories and sustaining friendships, community involvement, and hope for the future."--
African American women artists --- Art, Modern --- Ringgold, Faith. --- Afro-American women artists --- Women artists, African American --- Women artists --- kunst --- 7.071 --- kunst en literatuur --- biografieën --- kunstenaarsgeschriften --- twintigste eeuw --- eenentwintigste eeuw --- Ringgold Faith --- Verenigde Staten --- activisme --- feminisme --- zwarte identiteit --- zwarte cultuur --- Ringgold, Faith
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A collection of thirty texts written by the internationally renowned conceptual and performance artist Suzanne Lacy between 1974 and 2007.
Political philosophy. Social philosophy --- Art --- performance artists --- performances (kunst) --- maatschappijkritiek --- cultuurkritiek --- Lacy, Suzanne --- Public art. --- Arts --- Politics in art. --- Social problems in art. --- Performance art. --- Art and society. --- Political aspects. --- Criticism and interpretation. --- Art conceptuel --- Performance --- Art et politique --- Identité de genre --- Féminisme --- Public art --- Politics in art --- Social problems in art --- Performance art --- Art and society
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Since the 1970s, the performance and conceptual artist Suzanne Lacy has explored women’s lives and experiences, as well as race, ethnicity, aging, economic disparities, and violence, through her pioneering community-based art. Combining aesthetics and politics, and often collaborating with other artists and community organizations, she has staged large-scale public art projects, sometimes involving hundreds of participants. Lacy has consistently written about her work: planning, describing, and analyzing it; advocating socially engaged art practices; theorizing the relationship between art and social intervention; and questioning the boundaries separating high art from popular participation. By bringing together thirty texts that Lacy has written since 1974, Leaving Art offers an intimate look at the development of feminist, conceptual, and performance art since those movements’ formative years. In the introduction, the art historian Moira Roth provides a helpful overview of Lacy’s art and writing, which in the afterword the cultural theorist Kerstin Mey situates in relation to contemporary public art practices.
Political philosophy. Social philosophy --- Art --- performance artists --- performances (kunst) --- maatschappijkritiek --- cultuurkritiek --- Lacy, Suzanne
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Women's Work. Is Never Done' brings together the twenty most important essays by internationally acclaimed art critic and curator Catherine de Zegher. Together with Gerald McMaster, de Zegher has been appointed artistic director of this year's 18th Biennale of Sydney. Her essays on female artists, which have now been collected for the first time, cover a period of thirteen years. Over the years de Zegher's essays launched and consolidated the careers of such artists as Joelle Tuerlinckx, Ann Veronica Janssens, Eva Hesse and Bracha L. Ettinger. Thanks to de Zegher, these artists are now wildly acclaimed and acknowledged in the art world for their cutting edge, groundbreaking artistic activism that has shaped female artistic practice from the late 19th century onwards.
kunst --- twintigste eeuw --- eenentwintigste eeuw --- 7.036/039 --- Kunz Emma --- Martin Agnes --- Gill Simryn --- Bloch Pierrette --- Kot'áková Eva --- Wright Judith --- De Keersmaeker Anne Teresa --- Grzymala Monika --- Verhaeghe Ria --- Ettinger Bracha L. --- Shettar Ranjani --- Iglesias Cristina --- Mehretu Julie --- Tuerlinckx Joëlle --- Hesse Eva --- Gego --- af Klint Hilma --- Atkins Anna --- Newman Avis --- Maiolino Anna Maria --- Gallagher Ellen --- Spero Nancy --- Rosler Martha --- Janssens Ann Veronica --- Hatoum Mona --- Vicuña Cecilia --- Nicodemus Everlyn --- gender studies --- feminisme --- Kunst van vrouwen 20ste en 21ste eeuw --- 7.041 --- 7.01 --- 7.038 --- 7.039 --- Gender Studies --- Feminisme --- Iconografie de mens, portretten --- Kunst theorie, filosofie, esthetica --- Kunstgeschiedenis 1950 - 2000 --- Kunstgeschiedenis 2000 - 2050 --- Kunz, Emma --- Gill, Simryn --- Shettar, Ranjani --- Verhaeghe, Ria --- Nicodemus, Everlyn --- Wright, Judith --- Keersmaeker, de, Anne Teresa --- Bloch, Pierrette --- Lichtenberg-Ettinger, Bracha --- Iglesias, Cristina --- Mehretu, Julie --- Grzymala, Monika --- Klint, Hilma A.F. --- Kot'átková, Eva --- Feminism and the arts --- Feminisme en kunst --- Kunstenaressen --- Women as artists --- vrouwelijke kunstenaars --- Atkins, Anna --- Klint, Hilma af --- Ettinger, Bracha L. --- Keersmaeker, Anne Teresa De --- Kot'átkova, Eva --- 21ste eeuw --- Kunst ; van vrouwen ; 20ste en 21ste eeuw --- Iconografie ; de mens, portretten --- Kunst ; theorie, filosofie, esthetica --- Kunstgeschiedenis ; 1950 - 2000 --- Kunstgeschiedenis ; 2000 - 2050 --- drawing [image-making] --- video recordings --- Art --- performance art --- installations [visual works] --- painting [image-making] --- sculpting --- Martin, Agnes --- Hatoum, Mona --- Hesse, Eva --- Maiolino, Anna Maria --- Janssens, Ann Veronica --- Gallagher, Ellen --- Vicuña, Cecilia --- Spero, Nancy --- Newman, Avis --- Rosler, Martha --- Tuerlinckx, Joëlle --- women [female humans] --- hedendaagse kunst --- Sociology of the family. Sociology of sexuality --- feminism --- Contemporary [style of art] --- vrouw in de kunst --- Artists --- moderne kunst --- 20ste eeuw --- Arts [Modern ] --- 20th century --- 21st century --- Women artists --- MAD-faculty 15 --- hedendaagse kunstenaars --- Women artists. --- Ettinger Bracha L --- Af Klint, Hilma --- video recordings [physical artifacts] --- vrouwelijke kunstenaar --- vrouwelijke kunstenaars. --- hedendaagse kunst. --- moderne kunst. --- Nicodemus, Everlyn. --- Vicuña, Cecilia. --- Hatoum, Mona. --- Janssens, Ann Veronica. --- Rosler, Martha. --- Spero, Nancy. --- Gallagher, Ellen. --- Maiolino, Anna Maria. --- Newman, Avis. --- Atkins, Anna. --- Af Klint, Hilma. --- Kunz, Emma. --- Martin, Agnes. --- Gego. --- Hesse, Eva. --- Tuerlinckx, Joëlle. --- Mehretu, Julie. --- Iglesias, Cristina. --- Shettar, Ranjani. --- Verhaeghe, Ria. --- Grzymala, Monika. --- Keersmaeker, Anne Teresa De. --- Wright, Judith. --- Kot'átkova, Eva. --- Bloch, Pierrette. --- Gill, Simryn. --- 20ste eeuw. --- 21ste eeuw.
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This fully illustrated 248-page book accompanies the first comprehensive American retrospective of Robert Smithson's (1938-1973) complex and highly influential career. Straddling the movements of minimalism and land art, Smithson, who died in a plane crash at the age of 35, had a profound impact on the cultural landscape that resonates to this day. 'Robert Smithson 'presents essays by top Smithson scholars alongside both archival imagery and specially commissioned photography of the artist's works it considers the interrelationship of Smithson's complete artistic output, from the earliest figurative work up to his famed earthworks. Smithson's revolutionary ideas positioned art as existing beyond the walls of the museum in media such as writing and film, and even in the landscape itself. This volume and the exhibition it accompanies explore Smithson's work within the context of the artistic climate of the late 1960s as well as ensuing decades. Perhaps most renowned as the creator of 'Spiral Jetty '(1970), a fifteen-hundred-foot rock coil dramatically situated in the Great Salt Lake, Smithson also broke new ground with his films, photographs, writing, drawings, and collages. Eugenie Tsai provides a curatorial overview of the exhibition, which includes early writings, drawings, and other work with religious, erotic, and pop culture motifs that deepen our understanding of Smithson's diverse practice. Other contributions to the volume are a previously unpublished interview with Smithson by Moira Roth a substantive historical and critical essay by Thomas Crow an essay by MOCA curator Cornelia Butler discussing Smithson's lineage and his influence on contemporary artists and a series of texts focusing on key works from Smithson's oeuvre, including 'Incidents of Mirror Travel in the Yucatan 'by Suzaan Boettger, 'Enantiomorphic Chambers 'by Ann Reynolds, 'Airport Terminal Project 'by Mark Linder, 'Spiral Jetty 'by Jennifer Roberts, 'Heap of Language 'by Richard Sieburth
sculpting --- earthworks [sculpture] --- installations [visual works] --- drawing [image-making] --- Smithson, Robert --- Criticism and interpretation --- Criticism and interpretation. --- kunst --- Verenigde Staten --- twintigste eeuw --- Smithson Robert --- land art --- 7.071 SMITHSON --- Exhibitions --- Smithson, Robert - Exhibitions --- Smithson, Robert - Criticism and interpretation
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"Moira Roth − Est-ce quelque chose que vous aimiez chez Duchamp − qu'il ne pensait pas comme cela? S'inquiétait-il pour ses amis ou pour les gens qu'il aimait?J.C. − Il ne donnait pas l'impression d'être quelqu'un d'inquiet, non. La seule fois où il m'a troublé, c'est cette fois où il m'en a tant voulu de ne pas avoir gagné une partie d'échecs. C'était une partie que j'aurais pu gagner, et puis j'ai fait un mouvement idiot et il a été vraiment furieux et vraiment en colère. Il m'a dit : 'N'avez-vous jamais envie de gagner?'. Et il m'en voulait tellement qu'il a quitté la pièce, sans sourire ni rien. Et je me suis senti − nous étions dans cette petite ville espagnole − je me suis senti comme si j'avais fait une erreur en décidant d'être avec lui puisqu'il était tellement en colère contre moi."John Cage rencontre Marcel Duchamp en 1941. Trente après, il confie les souvenirs qu'il conserve de cet homme aussi simple qu'énigmatique. Et d'abord il salue en lui la beauté de son indifférence. En 1913, Duchamp a composé un Erratum musical de manière aléatoire. Raison pour laquelle John Cage le hisse en précurseur de ses propres recherches. Il rapporte aussi quelques anecdotes, et notamment la rare fois où Duchamp a perdu son sang-froid, lui d'ordinaire si magnanime : une mémorable partie d'échecs, que Cage aurait dû gagner mais qu'il a perdue, mettant Duchamp dans une colère noire. Le compositeur rend aussi compte avec sa simplicité coutumière des grandes problématiques soulevées par Marcel Duchamp, et notamment le rapport entre l'œuvre et le spectateur, préoccupation partagée entre les deux hommes. Les deux œuvres s'offrent d’ailleurs l'une l’autre dans un miroir inversé : Cage explique avec une grande clarté avoir voulu développer la dimension physique de l'écoute quand Duchamp voulait réduire cette dimension dans la peinture. Pédagogique, drôle, émouvant, un témoignage inédit en français sur celui qui "prenait le fait de s’amuser très au sérieux".
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Kunsteducatie, immigratie, multiculturalisme
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