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The feminist art movement that emerged in the 1960s grew out of the lack of possibilities for women artists who had been excluded from the male-dominated, institutional art world. Despite their progressive goals, this movement lacked voices of color, featuring predominantly white female artists. Opening this Wednesday at the California African American Museum, We Wanted a Revolution: Black Radical Women, 1965–85 focuses on pioneering black female artists, whose work brought to the fore their own experiences and narratives, long neglected by both the mainstream and avant-garde. Featuring a diverse selection of media from conceptual, performance, and video art, to photography, painting, and sculpture, it includes work by Emma Amos, Elizabeth Catlett, Julie Dash, Maren Hassinger, Senga Nengudi, Lorraine O’Grady, Howardena Pindell, Faith Ringgold, Lorna Simpson, Carrie Mae Weems, and many others.
This Wednesday, the museum will be hosting a curatorial walkthrough with Catherine Morris, Sackler Family Senior Curator for the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, and Rujeko Hockley, assistant curator of contemporary art at the Whitney Museum of American Art, who together organized the exhibition’s previous iteration at the Brooklyn Museum. Following the event, visitors are invited to stay for the opening celebration of three exhibitions including Lezley Saar: Salon des Refusés and Circles and Circuits I: History and Art of the Chinese Caribbean Diaspora, part of the Getty’s expansive initiative on Latin American and Latino art, Pacific Standard Time: LA/LA .
When: Wednesday, October 25, 6–7pm
Where: California African American Museum (600 State Drive, Exposition Park, Los Angeles)
More info here.
Poussin and the Dance is a valiant attempt to break into Poussin’s staunchly academic oeuvre and provide a relatable point of entry, highlighting the exciting elements of revelry and movement despite impenetrable and unemotional rendering.
Anarchist illustrator N.O. Bonzo produces decentralized media in a highly bureaucratic cultural landscape. Their illustrations, murals, and literature emerge in unexpected places, from the streets of Portland, Oregon, to the far ends of Reddit and Twitter, addressing relations of labor and identity in the workplace and on the streets. Growth and care are central themes…
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
With scavenged materials, Amanda Maciel Antunes constructs a motherland.
Where are the directors taking the stage to acknowledge workers’ demands today?
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
There is a debate whether the memory of Little Syria should be seized upon to tell truthful and positive stories about Arabs in the US, or whether any conflation between its history and contemporary politics is inappropriate.
The profile includes works by Egon Schiele, Amedeo Modigliani, Peter Paul Rubens, and a prehistoric Venus of Willendorf figurine.
These horrifying dolls definitely won’t murder you in your sleep.