Artsfemin IG

Bernadette Bour b. 1939 in Nancy, France is one of the few French abstract artists to be well known by the 1970s. She graduated in 1970 from the École nationale des beaux-arts in the history of art and archaeology. She developed her artistic practice while teaching at Strasbourg University and then at the École des beaux-arts in Lorient. Her first solo exhibition was held in 1974 at the Galerie Germain in Paris. In one of her first works, Neuf formes géométriques simples (1969-1972), she created a network of tall black zigzag columns made from a fine metallic structure covered in rough sisal punctured with holes. The manner of this work’s construction contrasted markedly with its apparent minimalism. Her reductive process led her to explore sign systems. In 1973, she created Fiches au procès, a set of 42 boards bringing together a punctuated rhythmic pulse, a form of rhythmic writing devoid of any meaning and expressed by means of pencil strokes, needle holes, and machine-stitched threads. From one board to the next, this graphic logic takes shape, a mix of signs and matter. Bour worked subsequently with cotton canvas, tissue paper, blotting paper, and gauze. She made use of techniques including tearing, machine perforation, sewing, superimposition, and saturation with colours. Between 1973 and 1978, these works, some of them quite large in scale, in pale and washed-out hues, were “machine-drawn”, as the artist has stated. These many layers of assorted materials did not however have the effect of cancelling each other out, but rather they came together as one single corpus. Their superposition or union, their interaction, their complicity and their tension all make up the fullness of a language that modulates through repetition, sequencing, and progression, as in Buvard (1975). From the 1980s, her shapes became typified by complex “angulations” and by an alternation of golden yellow and anthracite. Her tissue paper, always run through with grooves, thus reveals the infinite dialogue of her materials. #bernadettebour #frenchfemaleartist #artistefrancaise #frenchvisualartist #femalevisualartist #annalisarimmaudo #lisacizo https://www.instagram.com/p/CHFNApcnEI-/?igshid=198qgrpyiccv6

There is is a spiritual purpose behind everything that happens, whether that is what we perceive as being good or being bad. How did your experience go so far? Have you learned something new? Did it inspire you? #artsales #artonline #artmarketplace #virtualgallery #virutalexhibition #onlineexhibition #3dgallery #3dexhibition #femalepainter #arts #instaart #artist #arte #newart #bestart #instaartlovers #instaartists #instaarte #instaarts #artstagram #femaleartist #emergingartist #sculptor #sculptrice #photographer #ilustrator #callforartists https://www.instagram.com/p/CHFMv5nHJUk/?igshid=1ukz7p5v060xb

At the end of her studies at the Warsaw Academy of Fine Arts, Zofia Kulik b. 1947 in Wroclaw, Poland founded, alongside Przemysław Kwiek, the KwieKulik duo, a group active in the Polish and international conceptual art scenes from 1971 and 1987. They were particularly well-known for their performance pieces, films, and photographic works, which were principally influenced by the theory of the “open shape” developed by Oskar Hansen, a Polish architect and theoristf. At the start of their collaboration, they intermingled their private daily lives with the symbols of the totalitarian Polish regime, particularly in the series of photographs and slides Actions with Dobromierz, for which their son portrayed the main character. In its eagerness to exhibit personal and political ideology within a domestic environment, the work is emblematic of the history of feminism in Eastern Europe – a feminism very different from that of the Western world, as it does not condemn the home as a prison that isolates women but defends it as one of the only places where women could show resistance to the communist regime. At the same time, Kulik and Kwiek founded PDDiU in their Warsaw atelier, a sort of private, alternative institution where they organised exhibitions and compiled a large and unique documentation on the new Polish avant-garde. They used their works to criticise the communist government, earning them a ban on travel in 1975. During the same period, they developed their mail art projects. After 1987, Kulik devoted herself to her solo work and started a series of photomontages, often made up of black and white motifs that called to mind stained glass windows and oriental carpets. She revealed her taste for centred compositions, symmetry, order, multiplication, and figurative decoration, and applied a kaleidoscopic procedure, in particular in her numerous life-size self-portraits, in which she is seen dressed in garments made from hundreds of miniature photographs of bodies. To this day, she continues to present her perspective on feminism, through her works. #zofiakulik Natasa #polishfemaleartist #femalevisualartist #femaleartist #visualartist #petrešinbachelez #lisacizo https://www.instagram.com/p/CG9jQo9H1Kp/?igshid=1t294u1zu3u65

Online art sales are increasing every year, and more artists are trying to sell art online every year. The amount of competition you will have is unimaginable. The only way that you will become successful selling your art online is to develop an art marketing plan that will separate your art business from all of the other artists selling art online. How can you separate yourself from other artists who paint or draw similar subjects? The easiest way to get started is to focus on your niche. A niche market is the subset of the market on which a specific product is focused. The market niche defines the product features aimed at satisfying specific market needs, as well as the price range, production quality and the demographics that it is intended to target. It is also a small market segment. #artsales #artonline #artmarketplace #virtualgallery #virutalexhibition #onlineexhibition #3dgallery #3dexhibition #femalepainter #arts #instaart #artist #arte #newart #bestart #instaartlovers #instaartists #instaarte #instaarts #artstagram #femaleartist #emergingartist #sculptor #sculptrice #photographer #ilustrator #callforartists https://www.instagram.com/p/CG9i7lEHtXl/?igshid=cjo7jkfjnl0b

Anna Bella Geiger is one of the most prominent artists of the Brazilian art scene of the 20th and 21st centuries. Born 1933 in Rio de Janeiro she studied under Fayga Ostrower (1920-2001) and in 1953 presented her paintings at the National Exhibition of Abstract Art alongside those of future members of the Frente Group and Neo-Concrete Movement. During this time, she travelled to North America several times and studied art history in New York. From 1960 to 1965, she showed her abstract engravings at various exhibitions in South America and Europe, including the 5th Biennale of Young Artists in Paris in 1967. Awards and growing critical acclaim earned her a teaching position at the Museum of Modern Art in Rio in 1968. During the political unrest of the mid-60s, A. B. Geiger temporarily gave up painting in favour of other mediums more likely to express her outlook on the social realities of the time. For the installation Circumambulation (1972), she combined Super 8 film, photography, and text. The piece reflected her growing interest in anthropology and geography, which she began to express in 1974 in her photographic engravings and conceptual photographic pieces. In 1977, she used postcards – a modest and vernacular form – to ironize and question her status as an artist and citizen: Brasil natal/Brasil alienígena (“Native Brazil/Alien Brazil”, 1977) echoes the contradictory condition of indigenous populations, which Brazilian society both discriminates against and idealises. In the 1980s, A. B. Geiger reverted to a more pictorial approach and in 1987 she and Fernando Cocchiarale published Abstracionismo geométrico e informal, a vanguarda brasileira nos anos cinqüenta (“Geometric and Informal Abstraction: The Brazilian Avant-Garde in the 1950s”). Since the 1990s, she has created metal and wax objects such as Frontiçeiros, sculptures that border on both abstraction and figuration. Her works have been shown regularly since the 1960s and are featured in various international collections. #annabellageiger #brazilianfemaleartist #femalevisualartist #femaleartist #damariceamao https://www.instagram.com/p/CG4W_aqn2SR/?igshid=1b57t7mfghyz2

If you wanted to be a traditional artist and sell your work this wasn’t impossible, but up until the 1990’s you ideally needed either a shop, or to rent or own a place to show your artwork and have people come in and browse it in order to sell it. This was limiting as the cost of renting somewhere was often too much for artists to afford based on the amount of work they were selling. It was also limiting because of the types of visitors the shop would get, depending upon the shops location it may not have necessarily been the ideal customer market base to sell the work to. To sell your artwork nowadays there are a whole host of platforms and solutions, you can sell your work to anyone around the world without the need of a physical shop or rented space. You can either create a web shop for for a small yearly or monthly fee to cover the website address and hosting, and sell your artwork online. There are also so many ways you can reach customers that will be interested in your artwork and ways for them to reach you. It is much easier to put the word out about your artwork than it ever was before. Having said that reaching the right audience and taking full advantage of this online opportunity requires a clear strategy and handling it as a business like any other brick and mortar or online. #artsales #artonline #artmarketplace #virtualgallery #virutalexhibition #onlineexhibition #3dgallery #3dexhibition #femalepainter #arts #instaart #artist #arte #newart #bestart #instaartlovers #instaartists #instaarte #instaarts #artstagram #femaleartist #emergingartist #sculptor #sculptrice #photographer #ilustrator #callforartists https://www.instagram.com/p/CG4Wm0mnuz3/?igshid=1qverz1ymzbxl

Han Sai Por b. 1943 in Singapore has had an exceptional career as a sculptor, working with a wide range of materials such as fibreglass, wood, glass, bronze, steel, and, more recently, paper. However, she is best known for her work with stone from carving and polishing figurative and organic abstract forms out of stone pieces to hewing hefty 20 tns blocks of granite so as to confront the viewer with the raw presence of the rock and the force of her chiselling, hammering, and drilling. She first worked as a full-time teacher after graduating from the Singapore Teachers’ Training College in 1968 but took part-time art courses at the Nanyang Academy of Fine Arts (NAFA) for two years. In 1979, she left Singapore for the UK to pursue undergraduate studies in fine art at the East Ham College of Art (London) and the Wolverhampton College of Art (Wolverhampton). It was here that she learned and honed her skills for stone sculpture from her teachers. She returned in 1983 to Singapore and became an art teacher for most of the 1980s and 1990s, whilst developing her career as a sculptor. She later left for Canterbury, New Zealand, to take up further studies in landscape architecture at Lincoln University. Although born into an impoverished family of six children, Han Sai Por had a carefree childhood, spent mostly by the sea on Changi beach exploring and constructing different forms from sand and found objects. As Han Sai Por notes: “In my sculpture, I would like to depict life and nature. I derive inspiration by sensitively observing natural forms. I eliminate everything superfluous to create pure and essential form, rather than a mere superficial imitation of nature. I would like to think my sculpture has a force or inner life inside struggling to get out.” Han Sai Por’s work has been exhibited and collected in Southeast Asia, China, Japan, South Korea, North America and Europe, and a number are public and private commissions. For her contributions to art, she was awarded Singapore’s Cultural Medallion in 1995. #hansaipor #singaporeanfemaleartist #singaporeanfemalesculptor #femalesculptor #femaleartist #adeletan https://www.instagram.com/p/CGzNszqn406/?igshid=dnfhxs2bycwq

A pioneer of Californian contemporary art, Eleanor Antin b. 1935 in New York has developed a body of work – photographs, videos, performances, and installations – that combines humour and narration in problematizing postmodern and identity-based questions: identity and its representation; the connections among reality, fiction, and transformations; and the relationship between biography and autobiography. After her initial conceptual explorations, marked notably by Blood of a Poet Box (1965), a box containing hundreds of blood samples, the artist created 100 Boots (1971-1973), for which she photographed pairs of US Navy boots in various places around California, and bypassed the traditional methods of artistic dissemination by presenting the images in the form of postcards and sending them to hundreds of critics, artists, and museums. Similarly, in 1972 Carving: A Traditional Sculpture presented a series of 144 photographs of her body, taken over a period of 36 days of dieting: with an almost scientific objectivity, her body becomes her own sculpture. Gradually, E. Antin began to question the notion of fiction, incarnating various characters during her performances. In the series of photographs, drawings, and performances Recollections of My Life with Diaghilev (1974 -1989), she appears as Elanora Antinova, the (fictive) prima ballerina of the Ballets Russes, thus testifying to her interest in the relationship between history and memory. Since 2001, three photographic series based on the classical age, The Last Days of Pompei, Roman Allegories, and Helen’s Odyssey, illustrate her fresh take on the relationship between past and present, lived history and imagined history, but also on society, and her personal approach. Her work cannot be seen independently of her social “affirmations” or, for that matter, of her own biography. After a long career as a professor at the University of California in San Diego, E. Antin continues to explore issues pertaining to feminism, autobiography, and social history through fictional characters. #eleanorantin #americanfemaleartist #femalevisualartist #femaleartist #maïakantor #annaknight https://www.instagram.com/p/CGrVpbtH0zI/?igshid=8uj8avnfu6yi

The amazing mobile sculptor Alexander Calder cited “To an engineer, good enough means perfect. With an artist, there's no such thing as perfect, my fan mail is enormous. Everyone is under six.” #alexandercalder #americansculptor #artsales #artonline #artmarketplace #virtualgallery #virutalexhibition #onlineexhibition #3dgallery #3dexhibition #femalepainter #arts #instaart #artist #arte #newart #bestart #instaartlovers #instaartists #instaarte #instaarts #artstagram #femaleartist #emergingartist #sculptor #sculptrice #photographer #ilustrator #callforartists https://www.instagram.com/p/CGrVOkeHBCK/?igshid=11e0c07r1e9w8

From 1954 to 1959 in New Delhi, Arpita Singh b. 1937 in Baranagar, India took art classes at the Delhi School of Art and Delhi Polytechnic. Her art was initially figurative, but in the late 1960s, she created abstract drawings comprising basic elements, dots, or lines in black and white, only gradually reintroducing figurative elements and colour into her work in the 1980s. In the intimacy of her studio, she paints women with empathy. They are her main subjects of study, in a poetic modern environment that is entirely recreated. Her world oscillates between real and fantastic. Her series concerning the young woman Ayesha Kidwai and her family, a veritable “microcosm of modern India” (cited by Yashodhara Dalmia) is seemingly limitless. The artist creates continuity through a play of varied combinations of colour, motifs, and forms, thanks to the association of disparate elements, which are for her pretexts for working on form. In this enchanted world the profusion of banal themes in an apparently calm space creates a tension that reflects the surrounding social chaos, for instance in My Mother (private collection, Washington, 1993). In these highly constructed compositions, each space on the canvas is articulated with these recurring symbols inspired by daily life, in the manner of the kantha, a kind of traditional Bengalese embroidery. The floral patterns and numbers create a frame within the frame that initially protects the scene, but that gradually opens up beneath inevitable invasive action of the outside world. #arpitasingh #indianfemaleartist #indianartist #indianfemalepainter #judithferlicchi #annaknight https://www.instagram.com/p/CGmMqC0HvbD/?igshid=1e23btt8wgpf6

The most important factor for online buyers is confidence especially when buying a new artist work in thousands for the first time, they are more confident on their trusted gallery or art platform that are reserved to established galleries that are vetted by the likes of artsy, artnet, 1stdibs and other top tier art platforms. Your chances in reaching the right audience and in masses having your work presented by a gallery on these platforms are far higher than trying to turn your personal site to a store and bringing the right audience to it. We got your covered, we can help you get a gallery representation and get your work on all these platforms and more, visit our site and get in touch we would love to hear from you. #artsales #artonline #artmarketplace #virtualgallery #virutalexhibition #onlineexhibition #3dgallery #3dexhibition #femalepainter #arts #instaart #artist #arte #newart #bestart #instaartlovers #instaartists #instaarte #instaarts #artstagram #femaleartist #emergingartist #sculptor #sculptrice #photographer #ilustrator #callforartists https://www.instagram.com/p/CGmMRzxnubn/?igshid=xvejiskm0jh

Natalia LL b. 1937 is one of the most prominent Polish feminist artists. She studied at Wrocław Academy from 1957 to 1963. In addition to creating films, photographic series, performance pieces, and videos, she is the author of theoretical texts as well as the organizer of “Women’s Art”, the first international exhibition of women artists in Poland, in Wrocław in 1978. In 1970, she and other photographers and artists from the Polish neo-avant-garde, Zbigniew Dłubak, Andrzej Lachowicz and Antoni Dzieduszycki, founded the group and gallery Permafo (“permanent formalisation”), which remained active up to 1981 and which played a crucial role in the development of non-decorative photography. LL began exploring erotic imagery in the late 1960s, inspired by her readings of Georges Bataille and the Marquis de Sade, but later moved toward a more conceptual approach to photography, with her famous series Consumer Art (1972-1974), which was presented at the 1975 Paris Biennale, followed by Post-Consumer Art (1975), in which practices of consumption, especially eating, are depicted through attitudes and imagery evocative of eroticism, pop culture, and mass media. In these series, the blonde-haired artist can be seen eating a banana or letting white fluid dribble down her chin. Her works display an analytical approach to conceptual art and sign language. She uses her face as a vehicle for a range of expressions, searching for variations that she then arranges into sequences of images. She continued to use pictures of herself through the 2000s, as well as religious and philosophical quotations. Her works were shown at the exhibitions La Photographie polonaise (Centre Georges-Pompidou, 1982) in Paris, and Europa, Europa (Kunst-und-Ausstellungshalle, 1994) in Bonn, and are featured in several international contemporary art collections. #nataliall #polishfemalephotographer #polishfemaleartist #natašapetrešin https://www.instagram.com/p/CGhHOy_HVhc/?igshid=5j9uj816gbu4

Napoleon is arguably credited for the quote “rien n’est impossible” but this is about a quote from English master sculptor Henry Moore who cited ”The secret of life is to have a task, something you devote your entire life to, something you bring everything to, every minute of the day for the rest of your life. And the most important thing is, it must be something you cannot possibly do.” That’s quite challenging, are you up for it? is this what you’re experiencing? #henrymoore #britishsculptor #englishartist #artsales #artonline #artmarketplace #virtualgallery #virutalexhibition #onlineexhibition #3dgallery #3dexhibition #femalepainter #arts #instaart #artist #arte #newart #bestart #instaartlovers #instaartists #instaarte #instaarts #artstagram #femaleartist #emergingartist #sculptor #sculptrice #photographer #ilustrator #callforartists https://www.instagram.com/p/CGhG21nH803/?igshid=1e12svne6y18i

Marta Minujín is possibly the most famous artist of the post-war Argentine art scene. Born 1943 into a bourgeois family in the suburbs of Buenos Aires, she received art training very early on. After studying at the Buenos Aires School of Fine Arts, she exhibited her work from 1957 onwards and held her first solo exhibition in 1959 in the Argentinian capital. During these years, she became friends with Alberto Greco, a very famous informal artist who was to have a great influence on her career. She studied from 1960 to 1963 in Paris, where she participated in the second Biennial in 1961 and became friends with the new realist artists, particularly Niki de Saint-Phalle, Jean Tinguely, Christo, and Robert Rauschenberg. In 1962, she started to create her Colchones (sculptures) and inhabitable structures made from supple materials, mainly blankets and mattresses found in the dumpsters of Parisian hospitals. In 1963, she organised her first happening in Paris, entitled La Destrucción, in which she burned all the artworks exhibited a few days before in her studio, thus laying the foundations for her future questioning of artistic consumption and demystification of the art object, thus aligning her with the pop art movement. Among the most famous was La Menesunda (1965), created with Rubén Santantonín at the Instituto Torcuato di Tella, in which the audience could walk through various spaces in which all of the senses were solicited. Almost all of her environments became ephemeral artworks, such as El obelisco de pan dulce (1979), which was eaten by the audience. Her themes revolve around ways of thinking about art and its enjoyment, but also about human behaviour. From the 1970s, the artist presented pieces criticising the Argentinian political situation such as La Academia del Fracaso (1975) and El pago de la deuda externa argentina (1985), a photograph in which we see her giving ears of corn to Andy Warhol to symbolise the Argentinian debt to the United States. Since 1980, she has continued to perform happenings drawing on massive public participation. #martaminujín #argentinianfemaleartist #femalevisualartist #femaleartist #annalisarimmaudo #annaknight https://www.instagram.com/p/CGZUnqNnNjD/?igshid=cmkef0f4ng7z

or do you keep them? American cartoonist Scott Adams cited “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” #scottadams #americancartoonist #artsales #artonline #artmarketplace #virtualgallery #virutalexhibition #onlineexhibition #3dgallery #3dexhibition #femalepainter #arts #instaart #artist #arte #newart #bestart #instaartlovers #instaartists #instaarte #instaarts #artstagram #femaleartist #emergingartist #sculptor #sculptrice #photographer #ilustrator #callforartists https://www.instagram.com/p/CGZUXV4nDC1/?igshid=mzo94lrc5nhi

“Mashrabiya” has become a leitmotiv in Samta Benyahia’s work. Diamonds, stars, and the Mediterranean blue rosette – known as a “Fatima” in the Andalusian Arabic repertoire – are the pillars of her vocabulary. S. Benyahia b. 1949 grew up in Constantine, Algeria, and went on to study at the École nationale supérieure des Arts Décoratifs in Paris from 1974 to 1980. Her reflections on engraving techniques led her to take an interest in the symbols and geometric shapes used repeatedly in Muslim art. As the first female professional engraver in Algeria, she was instrumental in the creation of the engraving workshop at the Algiers School of Fine Arts. She taught there from 1980 to 1988, before moving permanently to France, where she pursued her studies at Paris VIII – Vincennes-Saint-Denis University. Her life and her work combine both her Algerian and French backgrounds, and she is deeply committed to intermingling African, Arab, Berber, and Western cultures. Mashrabiya is a style of mural surface, an openwork architectural element typically found in constructions from the Mediterranean basin Her work references the intimate spheres of the generations of women who came before her – invisible and yet very present. She works on these screens in series, in a style close to minimalism. She uses the language of abstraction to represent potential areas of division and communication among people and between the genders. She accentuates the play of shadows, creating environments that consider the notion of passage, and therefore encourage viewers to adapt their physical behaviour to these intermediate patterns and structures. In 1986, S. Benyahia’s work was shown at the Havana Biennale in Cuba. Since then, it has been presented at many international collective shows. Several of her works are kept in public collections, particularly at the Musée national des Beaux-Arts in Algiers, Bibliothèque nationale d’Algérie, Bibliothèque nationale de France, Fonds régional d’art contemporain d’Alsace, Institut français de Casablanca and by the Art in Embassies Program (ART). #satmabenyahia #algerianfemaleartist #carolinehancock #IMA Thierry Rambaud https://www.instagram.com/p/CGW2KK-HmoH/?igshid=18nhrlx4mtyzu