Women in Art

Moses, Frida Kahlo

Bourgeois in 1975, wearing a latex cast of her work Avenza

Yayoi Kusama in her New York studio, c.1958–59

“Her name is Bourgeois, but she is not bourgeois”: Jerry Gorovoy on a lifetime working with Louise Bourgeois via It’s Nice That

“If she didn’t have problems in the real world, I don’t think she would’ve been an artist. She tried to escape, understand or forgive what she went through. Her work is an inquiry into a state of being.”

Anne Arnold with Christy, c. 1987; Sitting Cat, 1888; Quixote (Cat), 1982.

“My main desire was to express the Egyptian character, the reality and dreams of the simple downtrodden man who works hard all day in horrible circumstances without enjoying lawful rights or having a law to protect him. I wanted to reveal to people the abuse of man by man and the deteriorating situation of women in the Egyptian society, especially the working women and the female peasants.”

In the 1960s artists began to use their own bodies as expressive material in works that exist at the intersection of dance, performance, and theater. Using the body as a tool, artists like Sylvia Palacios Whitman, Martha Araujo, and Cecilia Vicuña, explore temporality, aesthetics, subjectivity, and audience engagement in works performed live or documented in photos and video. 

Posted by Rachel Lewis

Bester IV, Mayotte, by Zanele Muholi, 2015.