Artsy Female and Nonbinary Artists with "Feminist Art" and "Contemporary Feminist" Genes 2017-07-07
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slug (aka "Artsy Artist ID" on wikidata)
person working on
wikidata idArtsy idartsy url
first / given name
last / family namemiddle name
display_name
genderbirthdaydeathdayhometownnationalitylocationfollow_count
artworks_count
public_artworks_count
published_artworks_count
biographyblurbgenomeFeminist Art
Contemporary Feminist
2
adejoke-tugbiyele
541058827261696f11670400
https://www.artsy.net/artist/adejoke-tugbiyele
AdejokeTugbiyelefemale1977American
Brooklyn, New York
11232011In work ranging from subtle to unflinching, Adejoke Tugbiyele explores LGBTQ human rights issues around the world, and her own [identity](gene/sexual-identity) as a queer woman of Nigerian descent. For her, art and activism are inextricably linked. As she describes, “Activism helps me stay in touch with the issues and ideas I respond to in my work. My work in turn educates and empowers others in the LGBT movement in Nigeria and beyond. Both depend on each other.” In her earlier work, Tugbiyele focused on Nigerian female identity. Though she is now recognized for tackling LGBTQ concerns in her [sculptures](/gene/sculpture), [textiles](/gene/textile-arts), mixed media paintings, [drawings](/gene/drawing), and [videos](/gene/film-slash-video), it was not until 2012 that she felt comfortable enough with her own sexuality to embrace such subjects. She has done this in, for example, expressive sculptures of figures marginalized by society because of their sexuality.
2000-present
African Diaspora
Afrofuturism
Contemporary
Contemporary Feminist
Emerging Art
Film/Video
Gender
Installation
Performance Art
Performing Arts
Sculpture
Sexual Identity
United States
Western Africa
FALSETRUE
3
adrian-piperBarry
506a1fddbf313e0002000112
https://www.artsy.net/artist/adrian-piper
AdrianPiperfemale1948
New York, New York
American
Berlin, Germany
337807
1970s
Alter Egos and Avatars
Conceptual Art
Contemporary
Cultural Commentary
Feminist Art
Institutional Critique
Intersectionality
Language
Performance Art
Political
Provocative
Racial and Ethnic Identity
Research as Art
Self as Subject
The Body
United States
TRUEFALSE
4
adriana-lestido
5439682c7261692d28ab0200
https://www.artsy.net/artist/adriana-lestido
Adriana Lestido
female1955
Buenos Aires, Argentina
Argentine
Buenos Aires, Argentina
93209027
1990s
Black-and-white Photography
Childhood
Conflict
Contemporary
Contemporary Feminist
Cultural Commentary
Documentary Photography
Documentary Travel Photographers
Family
Femininity
Fertility/Pregnancy/Birth
Focus on the Social Margins
Gender
Group Portrait
Individual Portrait
Landscapes
Love
Photography
Photojournalism
Scenes of Everyday Life
Social Action
Southern Cone (Argentina, Chile, Paraguay, Uruguay)
FALSETRUE
5
adriana-marmorek
526fe039a09a6793d50000f0
https://www.artsy.net/artist/adriana-marmorek
AdrianaMarmorek Arango
Adriana Marmorek
female1969
Bogota, Colombia
Colombian
Bogota, Colombia
3833033
2000-present
Abstract Sculpture
Andes Region (Bolivia, Colombia, Ecuador, Peru, Venezuela)
Appropriation
Biomorphic
Contemporary
Contemporary Feminist
Figurative Sculpture
Film/Video
Found Objects
Gender
Installation
Photography
Representation of Everyday Objects
Sculpture
The Body
FALSETRUE
6
adriana-minolitiRoopQ32632772
526adf0acd530e283e0001a7
https://www.artsy.net/artist/adriana-minoliti
AdrianaMinolitifemale1980
Buenos Aires, Argentina
Argentine11777058
2000-present
Abstract Art
Abstract versus Figurative Art
Bright/Vivid Colors
Contemporary
Contemporary Feminist
Digital Print
Gender
Installation
Interiors
Layered Images
Mixed-Media
Multiple Styles
Nature
Painting
Related to Games
Sculpture
Sexual Identity
Southern Cone (Argentina, Chile, Paraguay, Uruguay)
Work on Paper
FALSETRUE
7
adriana-varejaoQ2799585
4de7e025facfc00001009d13
https://www.artsy.net/artist/adriana-varejao
AdrianaVarejãofemale1964
Rio de Janeiro, Brazil
Brazilian
Rio de Janeiro, Brazil
53219012Adriana Varejão’s practice centers on the use of ceramic tiles, both depicted in paint and as literal components of the work. This geometric tile patterning is juxtaposed with a flesh-like interior in the sculptural “Jerked-beef ruin” series (2000-04), in which the tile is ruptured to expose bloody viscera beneath. Varejão has cited a range of inspirations including [Baroque](/gene/baroque) art, architectural ruins, nature, science, theater, and colonial history, alluding to her native Brazil’s colonization by featuring the blue and white azulejos tiles brought by the Portuguese colonists. With meticulous attention to craft, Varejão’s practice stages the convergence of binaries, between geometric and organic, mesmerizing and repulsive.
2000-present
Abstract versus Figurative Art
Brazil
Collective History
Color Photography
Contemporary
Contemporary Feminist
Contemporary Surrealistic
Figurative Painting
Human Figure
Installation
Medical/Health
Mosaics
Painting
Photography
Political
Provocative
Sculpture
The Body
The Fantastic
Waterscapes
FALSETRUE
8
agnes-vardaQ229990
506b343a4466170002001cc1
https://www.artsy.net/artist/agnes-varda
AgnèsVardafemale1928
Brussels, Belgium
FrenchParis, France4049047
1960s
Belgium
Contemporary
Cultural Commentary
Documentary Film
Femininity
Feminist Art
Film/Video
Focus on the Social Margins
France
Gender
Modern
Personal Histories
Photography
Political
TRUEFALSE
9
alexandra-rubinsteinRoopQ32639290
5519e7737261692af2e50000
https://www.artsy.net/artist/alexandra-rubinstein
AlexandraRubinsteinfemale1988RussiaAmericanNew York5325023
2000-present
Appropriation
Body Parts
Celebrity
Close-Up
Contemporary
Contemporary Feminist
Contemporary Pop
Cultural Commentary
Engagement with Mass Media
Erased and Obscured
Erotic
Face
Figurative Art
Grotesque
Humor
Oil Painting
Oil on Panel
Painting
Popular Culture
Portraits without a Face
Provocative
Representation of Everyday Objects
Russia
Self as Subject
The Body
United States
FALSETRUE
10
alexandra-wiesenfeldRoopQ32641364
532e1166a09a6733ce00029c
https://www.artsy.net/artist/alexandra-wiesenfeld
AlexandraWiesenfeldfemale1967
Munich, Germany
German
Los Angeles, California
2595086Alexandra Wiesenfeld works from photographs to create fantastical figurative and landscape paintings. The Los Angeles–based artist begins her paintings from her own photographs, transforming them from depictions of the real world into otherworldly spaces that expand upon the source image’s psychic implications. She maintains traces of the original image in her paintings through references to the natural world or the appearance of humans. “In figuration, I find a mirror of our everyday balancing act—between reading the appearance of the physical and dealing with its psychological, symbolic, historical, literary ramifications,” Wiesenfeld has said.
2000-present
Animals
Contemporary
Contemporary Feminist
Drawing
Dreams / Altered States of Consciousness
Flora
Germany
Human Figure
Individual Portrait
Landscapes
Layered Images
Mixed-Media
Nature
Painting
Photographic Source
Process-Oriented
The Elements
The Fantastic
United States
Work on Paper
FALSETRUE
11
ali-kheradyarRoopQ32644517
4fa1ab9a2615bd00010011d3
https://www.artsy.net/artist/ali-kheradyar
AliKheradyarfemale1988
Iranian-American
Los Angeles, California
1111200Photographer and performance artist Ali Kheradyar uses her body and camera to explore perceptions of beauty and sculpture. In a series of large-scale, minimal photographic compositions shot in color, including [_Malibu Betty_](/artwork/ali-kheradyar-malibu-betty) (2011), Kheradyar presented cropped portraits of her own pubic hair matted with Betty Hair Dye, a dye designed specifically for the pubic region. The artist says of the series, “I started asking a lot of questions: ‘What was this practice about? The commercialization of the female? Consumerism? Color? Challenging the male gaze, or partaking in female objectification?’” Kheradyar’s body art has been compared to the work of the late Cuban-American artist [Ana Mendieta](/artist/ana-mendieta).
2000-present
Black-and-white Photography
Contemporary
Contemporary Feminist
Erotic
Gender
Human Figure
Humor
Individual Portrait
Iran
Middle East
Photography
Portrait
Provocative
Self as Subject
Self-Portrait
The Body
United States
FALSETRUE
12
alina-szapocznikowRoopQ466550
506b342e4466170002001b81
https://www.artsy.net/artist/alina-szapocznikow
AlinaSzapocznikowfemale19261973Kalisz, PolandPolish15958046Polish sculptor Alina Szapocznikow is best known for her resin casts of body parts, glossy objects that present lips and breasts as luxury objects. She began working during the postwar period in a classical figurative style, studying in Prague and Paris with [Jean Arp](/artist/jean-arp) and [Alberto Giacometti](/artist/alberto-giacometti) before being recalled to Poland and eventually returning to Paris. Sometimes considered a counterpart to the essentialist, body-conscious work of Americans [Lynda Benglis](/artist/lynda-benglis), [Eva Hesse](/artist/eva-hesse), and [Hannah Wilke](/artist/hannah-wilke) or French sculptor [Louise Bourgeois](/artist/louise-bourgeois), Szapocznikow explored a black humor rooted in the fragility of the body and the sexualization of certain parts, employing such loaded symbolism as presenting the female head as an ashtray. “Through casts of the body,” Szapocznikow wrote in a 1972 artist statement, “I try to fix the fleeting moments of life, its paradoxes and absurdity.”
1960s
Biomorphic
Body Parts
Collective History
Contemporary
Eastern Europe
Feminist Art
Figurative Sculpture
Hyperrealism
Modern
Mutated Bodies
Personal Histories
Sculpture
Self as Subject
Shiny/Glossy
Smooth Surface
The Body
The Fantastic
Violence
Work on Paper
TRUEFALSE
13
alison-saarQ4727179519f9037275b24e3f500003f
https://www.artsy.net/artist/alison-saar
AlisonSaarfemale1956
Los Angeles, California
American
Los Angeles, California
19945027Employing both found and traditional artistic materials, Alison Saar’s sculptures and assemblages meditate on a range of experiences related to the African diaspora and femininity. The daughter of the artist [Betye Saar](/artist/betye-saar), she continues her mother’s attention to the marginalization of both women and minorities. Often working with female nudes, Saar is among a larger generation of artists who recognize the body as a site of identity formation, acknowledging historical injustices and presenting defiant figures that seem to transcend their pasts. Referencing African and Afro-Caribbean art in her work, she often alludes to mythological narratives or rituals that fuel notions of history and identity.
1990s
2000-present
Abstract versus Figurative Art
Contemporary
Contemporary Feminist
Contemporary Surrealistic
Drawing
Fertility/Pregnancy/Birth
Figurative Art
Found Objects
Gender
Human Figure
Identity Politics
Mutated Bodies
Nude
Painting
Racial and Ethnic Identity
Sculpture
United States
Use of Common Materials
Work on Paper
FALSETRUE
14
allie-pohl
5329e0e5139b21a50c00033b
https://www.artsy.net/artist/allie-pohlAlliePohlfemale1984
Winter Park, Florida
American
Los Angeles, California
283032000-present
Contemporary
Contemporary Feminist
Sculpture
United States
FALSETRUE
15
allison-greenRoopQ32652902
501e8f03ef3c4200020003bd
https://www.artsy.net/artist/allison-green
AllisonGreenfemale1974
Philadelphia, Pennsylvania
American
Jersey City, New Jersey
8941040Allison Green grew up on the outskirts of a lush forest in Pennsylvania, an experience that continues to inform her artistic practice. Primarily a painter, Green is best known for her large-scale, detailed paintings of trees isolated against jewel-toned backgrounds—a body of work she describes as “Arboreal Portraits”. “When viewed together, these trees appear as a family, united by their compositional structure, yet distinctively different from one another,” she describes. The works carry a feminist sentiment; Green names each tree after a woman who has influenced her identity, expressing the powerful relationships between women through the “venerable symbol of the family tree,” as she describes. In another series, Green created portraits of birch trees, posed and anthropomorphized by their titles like _Midnight Lovers_ and _Wedding Portrait_.
2000-present
Anthropomorphism
Bright/Vivid Colors
Contemporary
Contemporary Feminist
Flora
Nature
Nostalgia
Painting
Personal Histories
United States
FALSETRUE
16
amanda-valdez
5272aaeecd530e85bd000061
https://www.artsy.net/artist/amanda-valdez
AmandaValdezfemale1982
Seattle, Washington
American
New York, New York
9276020
2000-present
Abstract Art
Biomorphic
Bright/Vivid Colors
Contemporary
Contemporary Feminist
Gender
Hard-Edged
Isolation/Alienation
Layered Images
Line, Form and Color
Mixed-Media
Painting
Paper Cut-Outs
Primary Abstraction
Sexual Identity
Splattered/Dripped
Tangled Forms
The Abject
The Body
United States
Use of Fabric
FALSETRUE
17
amina-benbouchtaRoopQ32710016
52681dc6b202a3356c00038b
https://www.artsy.net/artist/amina-benbouchta
AminaBenbouchtafemale1963Moroccan8595089Casablanca-based Amina Benbouchta engages gender politics and the feminist slogan “the personal is political” in paintings and photographs in which she uses herself as a subject. Positioning her body in charged, confining spaces, and often wearing costumes, Benbouchta explores themes of alienation, restriction, and identity. Differentiating herself from American conceptual photographers [Cindy Sherman](/artist/cindy-sherman) and [Francesca Woodman](/artist/francesca-woodman), who have also made themselves subjects, Benbouchta focuses on issues surrounding the oppressed position of women in the contemporary Arab world. In her most recent series of photographs, she incorporates objects that reference dualistic themes of domestic confinement and escapism. Caged birds, rubber gloves, teapots, and mirrors cover the artist’s face, acting as masks that transform Benbouchta into a universal symbol for inequality.
2000-present
Architecture's Effects
Cinematic
Color Photography
Contemporary
Contemporary Feminist
Erased and Obscured
Femininity
France
Gender
Installation
Interiors
Northern Africa
Painting
People at Home
Photography
Self as Subject
Staged Photography
Symbolic Composition
Unsettling
FALSETRUE
18
amy-bessone
4f5f64c13b555230ac000093
https://www.artsy.net/artist/amy-bessone
AmyBessonefemale1970
New York, New York
American
Los Angeles, California
662203
2000-present
Art in Art
Classical Figure
Comic/Cartoon
Contemporary
Contemporary Feminist
Flatness
Gender
Human Figure
Irregular Curvilinear Forms
Line, Form and Color
Painting
Sculpture
The Body
United States
FALSETRUE
19
amy-cutler
500d6e3dc0fde90002000401
https://www.artsy.net/artist/amy-cutler
AmyCutlerfemale1974
Poughkeepsie, New York
American
Brooklyn, New York
18424017In her spare, exquisitely detailed prints and gauche on paper paintings, Amy Cutler draws from the media, popular culture, fairytales, and her own experiences to convey the complexities of womanhood. At once autobiographical and universal, Cutler’s works are sweet and dark—delicately rendered, whimsical parables illustrating the deleterious effects of the unrealistic expectations that cultures impose on women. Referring to the impossible definitions of femininity by which we are constantly assailed, Cutler says, “Contemporary culture is entirely rife with magic and folklore.” A sense of magic infuses all of her works, in which women engage in strange, enigmatic, and often useless tasks against white backgrounds—mending gashes in tigers, pulling buildings with their long braids, flattening each other with irons. If this is a woman’s work, Cutler suggests, may it never be done.
2000-present
Contemporary
Contemporary Feminist
Contemporary Surrealistic
Drawing
Flatness
Highly-Detailed
Human Figure
Illustration/Art
Intaglio
Interiors
Lithograph
Narrative
Painting
Personal Histories
Symbolic Composition
The Fantastic
United States
Work on Paper
FALSETRUE
20
amy-sillman
4df2a0cf9000080001003630
https://www.artsy.net/artist/amy-sillman
AmySillmanfemale1955
Detroit, Michigan
American78218014In her relentless dedication to the exploration of non-figurative painting, Amy Sillman has aligned herself closely with such canonical modernists as [Lee Krasner](/artist/lee-krasner), [Jackson Pollock](/artist/jackson-pollock), and [Joan Mitchell](/artist/joan-mitchell). Working in gestural and abstract style, Sillman describes her art as the result of a “physical thinking process” and an extension of her inner dialogue. Her compositions often feature broad swathes of color contrasted against sharp linear elements, the latter both defining space and lending her pictures a bold, expressive character. She applies paint in varying consistencies and textures to create a multi-faceted painted surface, yielding an [impasto](/gene/impasto) comparable to that of [Willem de Kooning](/artist/willem-de-kooning) and [Arshile Gorky](/artist/arshile-gorky). Sillman also creates prints and works on paper and occasionally experiments with representation, drawing figures into sparse color fields.
1990s
Abstract Painting
Abstract versus Figurative Art
Contemporary
Contemporary Feminist
Failure
Figurative Painting
Gender
Gestural
Human Figure
Humor
Painting
United States
FALSETRUE
21
ana-laura-alaez-1
52040a9c8b3b81b50f000132
https://www.artsy.net/artist/ana-laura-alaez-1
Ana Laura Aláez
female1964Basque24909For Ana Laura Aláez, who represented Spain at the 2001 Venice Biennale, being an artist enables her to take charge of her own identity and independence as a woman. She came of age during the political and cultural repression of Francoist Spain. In Aláez’s words: “If I had allowed myself to listen to the people around me, I would have been imprisoned by their reality. I think my intuition told me that art could fight back against the authoritarian and institutional language. But above all, I would allow myself, as a woman, a very different role to the one that society sought to impose on me.” Aláez fights back through sculptures, installations, performances, videos, photographs, and sound pieces. She unflinchingly foregrounds a fierce femininity and unabashed sexuality, while both elevating and undermining work traditionally associated with women.
1990s
Adolescence
Artists’ Books
Contemporary
Contemporary Feminist
Contemporary Pop
Cultural Commentary
Erotic
Gender
Installation
Photography
Popular Culture
Related to Fashion
Sculpture
Spain
Staged Photography
The Body
FALSETRUE
22
ana-mendieta
4f30358d6448420001000751
https://www.artsy.net/artist/ana-mendieta
AnaMendietafemale19481985Havana, Cuba
American, Cuban born
New York, New York
145161049An influential artist best known for her “earth-body” performances, as she called them, Ana Mendieta explored her identity as a female emigrant in work that also encompassed photography, film, and sculpture. Exiled from Cuba at the age of 12 and sent to an orphanage in Iowa, Mendieta used the earth as a site to address issues of displacement, impressing her body in various outdoor locations and recording its imprint in photographs and video. In these _Silueta_ works, performed from 1973–77, she would often fill in the silhouette of her body with materials including rocks, twigs, flowers, and blood, combining a concern with primal rituals and a modern, feminist sensibility. Mendieta wanted to invoke the “magic, knowledge, and power of primitive art…to express the immediacy of life and the eternity of nature,” as she once said. In other works she smeared herself with blood, or used it to trace her outline. She tragically died, aged 36, in New York when she fell from her 34th-floor apartment window; her husband, the artist [Carl Andre](/artist/carl-andre), was acquitted of her murder.
1970s
Body Art
Contemporary
Cuba
Cultural Commentary
Feminist Art
Film/Video
Gender
Human Figure
Identity Politics
Land Art
Modernizing of Traditional Technique
Nature
Performance Art
Personal Histories
Photography
Portraits without a Face
Process-Oriented
Sculpture
Self as Subject
The Abject
The Body
The Elements
United States
Violence
TRUEFALSE
23
ana-teresa-fernandez526c3299cd530eff390006c5
https://www.artsy.net/artist/ana-teresa-fernandez
AnaFernandezTeresa
Ana Teresa Fernandez
female1981
Tampico, Mexico
Mexican
San Francisco, California
1172202“The most apparent thing in my work is that it deals with gender and inequalities between male and female,” says painter, video, and performance artist Ana Teresa Fernandez. Her social sculptures, which combine elements of performance and sculptural practice, include the re-enactment of gendered labor in order to call attention to issues of class and sex. Fernandez’s “Entre” painting series is based on documentary photographs of her 2012 performance _Borrando la Frontera_ (“erasing the border”), in which she whitewashed a section of the San Diego-Tijuana border wall, making it appear as though it had disappeared. With meticulously detailed brushwork and intensely lit compositions, the paintings depict evocative scenes of women engaging in labor.
2000-present
Contemporary
Contemporary Feminist
Cultural Commentary
Figurative Art
Film/Video
Gender
Human Figure
Hyperrealism
Installation
Light as Subject
Mexico
Movement
Oil Painting
Painting
Performance Art
Personal Histories
Photographic Source
Photorealistic
Political
Sculpture
Wall Sculpture and Installation
Water
FALSETRUE
24
ana-wieder-blank
54318a8d7261692d4afd0000
https://www.artsy.net/artist/ana-wieder-blank
AnaWieder-Blankfemale
Washington, D.C.
American
New York, New York
10503
2000-present
Abstract versus Figurative Art
Bible Story
Bright/Vivid Colors
Contemporary
Contemporary Feminist
Figurative Art
Human Figure
Impasto
Large Brushstrokes/Loose Brushwork
Nude
Oil Painting
Painting
Related to Religion
Rough
Sculptural Use of Paint
United States
FALSETRUE
25
anahita-razmi
50b5fe0413d82081f1000b03
https://www.artsy.net/artist/anahita-razmi
AnahitaRazmifemale1981
Hamburg, Germany
German
Berlin, Germany
803201Digital and performance artist Anahita Razmi mines her Iranian cultural heritage and appropriates iconic works of art—particularly those of feminist artists—bringing to them a new Eastern context. She is best known for _Roof Piece Tehran_ (2011), a video installation for which Razmi recreated Trisha Brown’s seminal 1971 work Roof Piece, filming 12 dancers not on the rooftops of New York but on those of Tehran—a reference to the rooftop demonstrations during Iran’s 2009 election protests. “My works are always conceptual and political but they also have a sense of humor,” she has said. For _Re/cut Piece_, a re-enactment of Yoko Ono’s _Cut Piece_ (1964), Razmi wore a black Gucci dress and invited an audience in Dubai to cut it off her body. In other works Razmi has referenced [Tracey Emin](/artist/tracey-emin)’s quilted textiles and [Cindy Sherman](/artist/cindy-sherman)’s self-portraits.
2000-present
Appropriation
Contemporary
Contemporary Feminist
Contemporary Participation
Cultural Commentary
Film/Video
Gender
Germany
Humor
Iran
Performance Art
Photography
Political
Racial and Ethnic Identity
Self as Subject
Text
Textile Arts
FALSETRUE
26
andi-arnovitz
53595e54b202a3ef5a000134
https://www.artsy.net/artist/andi-arnovitz
AndiArnovitzfemale1959
Kansas City, Missouri
American
Jerusalem, Israel
9600
2000-present
Contemporary
Contemporary Feminist
Etching/Engraving
Gender
Highly-Detailed
Israel
Knitted and Crocheted
Mixed-Media
Non-Functional Design
Political
Related to Religion
Repetition
Sculpture
United States
Use of Fabric
Work on Paper
FALSETRUE
27
andrea-bowers4f5f64c13b555230ac0000c0
https://www.artsy.net/artist/andrea-bowers
AndreaBowersfemale1965
Wilmington, Ohio
American
Los Angeles, California
11540034Working in a variety of mediums including drawing, installation, and video, Andrea Bowers centers her work on the convergence of art and activism. The topics she has addressed in her practice range from workers’ rights and the Occupy Movement to sexuality and gender discrimination, and is a self-described feminist artist. In a recent multimedia exhibition at Susanne Vielmetter Los Angeles Projects, Bowers explored a historic labor movement, absorbing and reconfiguring its imagery in monumental graphics and linking its legacy to the contemporary Occupy Movement.
2000-present
Bright/Vivid Colors
Collective History
Contemporary
Contemporary Feminist
Contemporary Participation
Cultural Commentary
Drawing
Film/Video
Focus on the Social Margins
Gender
Human Figure
Individual Portrait
Installation
Institutional Critique
Mixed-Media
Outdoor Art
Political
Political Events
Political Minimalism
Portrait
Printed Matter
Prints
Social Action
Text
The Environment
United States
Violence
Work on Paper
FALSETRUE
28
andrea-fraser
4e56617e079fc3000100efa0
https://www.artsy.net/artist/andrea-fraser
AndreaFraserfemale1965
Billings, Montana
American242202[Performance](/gene/performance-art) and [video artist](/gene/video-art) Andrea Fraser is known for her institutional critique in works such as _Official Welcome_ (2001), in which she delivered a monologue satirizing the bombastic language used when presenting art exhibitions and prizes, or the controversial _Untitled_ (2003), a videotaped encounter in which a collector paid $20,000 in exchange for sex with the artist, posing the question of whether art is prostitution. Elsewhere, she has created color print mash-ups of works by modern and [Renaissance](/gene/renaissance) masters like a [Jackson Pollock](/artist/jackson-pollock) and [Titian](/artist/titian-vecelli).
1980s
Color Photography
Contemporary
Contemporary Feminist
Erotic
Feminist Art
Film/Video
Gender
Human Figure
Identity Politics
Institutional Critique
Manipulated Photography
Neo-Conceptualism
Performance Art
Photography
Provocative
Relational Aesthetics
United States
Work on Paper
TRUETRUE
29
andrea-hasler
533367e38b3b810c6a000679
https://www.artsy.net/artist/andrea-hasler
AndreaHaslerfemale201800
2000-present
Advertising and Brands
Body Parts
Consumerism
Contemporary
Contemporary Feminist
Contemporary Grotesque
Cultural Commentary
Grotesque
Installation
Mixed-Media
Related to Fashion
Sculpture
Switzerland
The Body
United Kingdom and Ireland
War and Military
FALSETRUE
30
andrea-mary-marshall
5150c2f8dbdcf46a20000080
https://www.artsy.net/artist/andrea-mary-marshall
Andrea Mary Marshall
femaleAmerican5121810118Andrea Mary Marshall is perhaps best recognized for—and through—her variously photographed and painted self portraits. For Marshall, who studied fashion at Parsons the New School, the works are a combination of fashion, props, posture, and performance—her characters are frequently seen smoking one or several cigarettes, or satisfying an oral fixation. Her cast of alter egos feature invented characters including Loretta Minx, Rosemary Myst, and Gia Condo, based on [Leonardo da Vinci](/artist/leonardo-da-vinci)’s _Mona Lisa_ (c. 1503). Marshall also creates paintings, films, and conceptual sculpture. Her mixed media works include reimagined lurid _Vogue_ covers under the moniker Vague, featuring historic icons such as Coco Chanel and Saint Theresa and “Confessional Handbags” (2011), a series of painted and modified Louis Vuitton monogramed bags and identical replicas, each containing a secret, personal object.
2000-present
Art in Art
Black-and-white Photography
Color Photography
Contemporary
Contemporary Fact versus Fiction
Contemporary Feminist
Emerging Art
Engagement with Mass Media
Figurative Painting
Film/Video
Gender
Painting
Photography
Popular Culture
Printed Matter
Provocative
Related to Fashion
Self as Subject
Self-Portrait
Staged Photography
United States
Violence
FALSETRUE
31
anetta-mona-chisa-and-lucia-tkacova
4dea16cb6a1426000100372e
https://www.artsy.net/artist/anetta-mona-chisa-and-lucia-tkacova
Anetta Mona Chisa & Lucia Tkáčová
female1975 and 1977
Romania and Slovakia
Berlin and Prague
3439031
Anetta Mona Chişa (Romania) and Lucia Tkáčová (Slovakia) have been working together since 2000. They both graduated at the Academy of Fine Arts in Bratislava and currently live and work in Prague. Anetta Mona Chişa and Lucia Tkáčová represent Romania at this year’s Venice Biennale.
„[...] we see our collaboration as a socratic adventure and we started to consider it as a foetus of a possible amazonian clan. [...] We see it as a method how to overcome egocentrism, competition and emulation. The aspect of reflection (self-reflection) crops up as continuous questioning and mirroring ourselves in the other one. During the creative process we truly dissolve into each other, beyond the boundaries of the ego, otherness and own existence and re-create ourselves as a temporary “we” without any reserves. It is very liberating, provoking and exciting at the same time. Usually a female duo is perceived as the incarnation of standard erotic male phantasies. Yet precisely because we are a female duo, we generate the cockiness and strength to wrestle with the sublimations of these phantasies. Forming and performing a female duo is a way to outdare the scripts inflicted on women by the society as well as a way to dismantle the self-imposed (internalized) mechanisms of male domination that women carry out."
(Excerpts from “From Flirtation through Fatal Attraction to Fixation – Balancing out the Scales of Power”, Raluca Voinea in conversation with Anetta Mona Chişa and Lucia Tkáčová.)
Since 2000, Anetta Mona Chisa and Lucia Tkáčová have been collaborating to produce intellectual, acerbically humorous works that challenge gender stereotypes, the processes of making and marketing art, and the repressive insider-outsider dichotomies of political and cultural systems. Everything and everyone is fair game for their provocative, irreverent videos, installations, performances, and text-based works. In their _Dialectics of Subjection_ videos (2004-06), for example, Chisa and Tkáčová treat male politicians, artists, curators, and critics as sex objects, discussing their erotic appeal and whether or not they would sleep with them. For their ongoing _Private Collection_ project (2005-), they steal various mundane objects from prestigious contemporary art galleries and display them like valuable works of art, attempting, as they write, “to undermine the orthodoxies of a capitalist market within the art system.”
2000-present
Color Photography
Contemporary
Contemporary Feminist
Contemporary Participation
Documentary Photography
Eastern Europe
Film/Video
Focus on the Social Margins
Gender
Human Figure
Mixed-Media
Outdoor Art
Photography
Portrait
Textile Arts
The Art Market
FALSETRUE
32
angela-ellsworth
527944168b3b8158a00000e9
https://www.artsy.net/artist/angela-ellsworth
AngelaEllsworthfemale1964American2812011Through performance, action drawing, video, and sculptural installations, the multidisciplinary artist Angela Ellsworth explores the intersections between art and daily life, public and private. She is particularly interested in the body in motion, tracking physical movement and researching how the body responds to materials, space, and social structures. Her work is informed by the histories of public art, feminism, and religious traditions, especially those pertaining to her rejected Mormon heritage. Her series of “Seer Bonnets: A Continuing Offense” (2009-10) are small reproductions of 19th-century women’s bonnets constructed from thousands of pearl-tipped corsage pins embedded into fabric in precise circular patterns evoking early Mormon “seer stones”. While the pearlescent surfaces look beautiful and pure, the sharp metal pins render the bonnets’ interiors menacing, in reference to domestic oppression, submission, and control endured by women.
1980s
1990s
2000-present
Collaborations/Collectives
Contemporary
Contemporary Conceptualism
Contemporary DIY
Contemporary Feminist
Cultural Commentary
Drawing
Focus on Materials
Gender
Installation
Intricately Sculpted
Mixed-Media
Modernizing of Traditional Technique
Performance Art
Personal Histories
Related to Religion
Representation of Everyday Objects
The Body
United States
Use of Common Materials
FALSETRUE
33
angela-washko
557c5f367261694d540007d7
https://www.artsy.net/artist/angela-washko
AngelaWashkofemale198674404
2000-present
Contemporary
Contemporary Conceptualism
Contemporary Feminist
Contemporary Participation
Cultural Commentary
Digital Art
Digital Culture
Endurance Art
Femininity
Film/Video
Performance Art
Popular Culture
Post-Internet Art
Related to Games
Research as Art
Social Action
United States
FALSETRUE
34
anida-yoeu-ali
52c593dbc9dc24390b000041
https://www.artsy.net/artist/anida-yoeu-ali
Anida Yoeu Ali
female1974
Battambang, Cambodia
Cambodian
Phnom Penh, Cambodia
14303
2000-present
Collective History
Contemporary
Contemporary Feminist
Cross-Cultural Dialogue
Fertility/Pregnancy/Birth
Film/Video
Globalization
Installation
Migration
Myth/Religion
Performance Art
Personal Histories
Political
Related to Religion
Self as Subject
Social Action
Southeast Asia
United States
Urbanization
FALSETRUE
35
anila-quayyum-agha
54ef45677261692b1b880300
https://www.artsy.net/artist/anila-quayyum-agha
AnilaQuayyum Aghafemale
Lahore, Pakistan
PakistaniIndianapolis14154048
2000-present
Abstract Art
Collective History
Contemporary
Contemporary Conceptualism
Contemporary Feminist
Curvilinear Forms
Drawing
Engaged with Traditional Islamic Art
Engagement with Mass Media
Found Objects
Gender
Geometric
Immersive
Installation
Light Art
Light as Subject
Linear Forms
Mixed-Media
Painting
Pakistan
Shadows
Use of Common Materials
FALSETRUE
36
anita-steckel
5290d4a28b3b812af40001bb
https://www.artsy.net/artist/anita-steckel
AnitaSteckelfemale19302012
New York, New York
American741200
1960s
1970s
Appropriation
Art in Art
City Scenes
Collage
Contemporary
Feminist Art
Figurative Art
Gender
Human Figure
Individual Portrait
Institutional Critique
Mixed-Media
Modern
Nude
Painting
Paper Cut-Outs
Printed Matter
Provocative
Psychedelic
Self-Portrait
Sexual Identity
The Body
United States
Work on Paper
TRUEFALSE
37
anna-halldin-maule
53b340647261695d2bc80000
https://www.artsy.net/artist/anna-halldin-maule
Anna Halldin Maule
female1972Swedish158705Working with her husband, the photographer Tom Maule, Anna Halldin-Maule produces meticulously detailed, [photorealistic](/gene/photorealistic) paintings of nude—or nearly nude—women, accessorized with the trappings of fashion and luxury consumerism. Each of her large-scale, oil on canvas paintings begins with a photo shoot. Halldin-Maule carefully prepares waif-thin models—in the past, she has adorned them in jewelry from brands like Louis Vuitton and posed them fighting over a crimson Hermés Birkin bag—and her husband photographs the women in various poses. She then selects the strongest image and transforms it into a painting that appears to glow from within. Some of Halldin-Maule’s compositions feature the models’ bodies fragmented by scarves and birdcages, recalling the [surrealist](/gene/surrealism) works of [René Magritte](/artist/rene-magritte). Halldin-Maule’s works question whether we are in control of our desire for luxury and consumption, or whether these impulses control us.
2000-present
Advertising and Brands
Consumerism
Contemporary
Contemporary Feminist
Figurative Art
Gender
Glamour
Human Figure
Hyperrealism
Individual Portrait
Nude
Oil Painting
Painting
Photorealistic
Related to Fashion
Scandinavia
The Fantastic
FALSETRUE
38
anna-maria-maiolino
4de6c30664967a0001001b66
https://www.artsy.net/artist/anna-maria-maiolino
AnnaMaiolinoMariafemale1942ItalyItalian-Brazilian
Sao Paulo, Brazil
3341390117Anna Maria Maiolino makes drawings, artist books, sculpture, and video, frequently drawing inspiration from her experience as an immigrant growing up in politically unstable Brazil. Maiolino was involved in Brazil's 1960s New Figuration movement; her representational prints and drawings from these years were acts of resistance to the national military regime, rising urban inequalities, and culturally ingrained patriarchy. She would later act on a growing interest in spatial and existential issues with a shift towards [Minimalism](/gene/minimalism) and [Conceptualism](/gene/conceptual-art), creating installations that coaxed interaction between viewer and object. Since 1989, Maiolino has worked primarily with clay, crafting impermanent labor-intensive installations that foreground her handling of the material, a reference to the unconscious and recurrent gestures of everyday human life.
1970s
1980s
1990s
2000-present
Black and White
Brazil
Ceramic
Close-Up
Conceptual Art
Contemporary
Feminist Art
Film/Video
Installation
Italy
Maps/Networks
Minimalism
Mixed-Media
Process-Oriented
Terracotta
The Body
Work on Paper
TRUEFALSE
39
anna-titova
54059de072616926de400c00
https://www.artsy.net/artist/anna-titova
AnnaTitovafemale1984
Ulan-Ude, Buryatia, Russia
RussianMoscow, Russia2920017
2000-present
Abstract Art
Appropriation
Architecture's Effects
Collective History
Contemporary
Contemporary Conceptualism
Contemporary Feminist
Cultural Commentary
Film/Video
Found Objects
Immersive
Installation
Interactive
Line, Form and Color
Photography
Russia
Sculpture
Spaces of the Art World
FALSETRUE
40
anne-brigman
52acae7c9c18dbb8b70001e5
https://www.artsy.net/artist/anne-brigman
AnneBrigmanfemale18691950
Honolulu, Hawaii
American
Oakland, California
20301
1900 - 1917
American Tonalism
Feminist Art
Fertility/Pregnancy/Birth
Figures in Nature
Human Figure
Landscapes
Manipulated Photography
Modern
Mysticism and the Occult
Nature
Nude
Photography
Pictorialism
Provocative
United States
TRUEFALSE
41
anne-mie-van-kerckhoven
4f5f64c23b555230ac000665
https://www.artsy.net/artist/anne-mie-van-kerckhoven
Anne-MieVan Kerckhovenfemale1951Belgian4618012
1990s
2000-present
Abstract versus Figurative Art
Appropriation
Belgium
Collage
Consumerism
Contemporary
Contemporary Conceptualism
Contemporary Feminist
Digital Art
Digitally Manipulated
Drawing
Erased and Obscured
Figurative Painting
Film/Video
Human Figure
Language
Layered Images
Multiple Styles
Nude
Popular Culture
Printed Matter
Science
Text
Written Word
FALSETRUE
42
anne-sauser-hall
556f2c0d7261697383270900
https://www.artsy.net/artist/anne-sauser-hall
AnneSauser-Hallfemale1953
Genf, Switzerland
Swiss
Genf, Switzerland
6101
1980s
Appropriation
Contemporary
Contemporary Conceptualism
Contemporary Fact versus Fiction
Contemporary Feminist
Cultural Commentary
Femininity
Film/Video
Found Objects
Gender
Installation
Masculinity
Popular Culture
Related to Literature
Sexual Identity
Switzerland
The Domestic and Domesticity
FALSETRUE
43
anne-sherwood-pundyk
4d8b927c4eb68a1b2c000158
https://www.artsy.net/artist/anne-sherwood-pundyk
AnneSherwood Pundykfemale
New York, New York
American
New York, New York
18418017
Anne Sherwood Pundyk was born in New York City, where she currently resides. She received a BA from Pomona College, CA, and an MFA from RISD in 1982. Recently, Pundyk has exhibited her paintings at Washington and Lee University, Lexington, VA, Nichols Gallery, Barboursville, VA, Forrest Scott Gallery, Millburn, NJ, DFN Gallery, NY and in SEFA's recent group show Heading Home. She has lectured at Manhattan Marymount College, at Fordham University and maintains a dynamic dialogue about contemporary art through her blog www.annesherwoodpundyk.blogspot.com.
In paintings of photographs she has either found or personally captured, Anne Sherwood Pundyk strings together her cognitive responses to daily interactions. Using vibrant colors and loose brushstrokes, Pundyk paints from various photographs that capture particular moments of her past. She records her process in published books corresponding to each painting, a project she calls "My Atlas," in which she displays her reference photos with detailed and personal explanations alongside each image. For example, in the book that accompanied her painting [_Aqueous Flesh_](/artwork/anne-sherwood-pundyk-aqueous-flesh) (2009), Pundyk reveals that her reference for the human figure was clipped from a newspaper, tree branches from a photo taken out of her family-in-law's New York apartment, facial features from a candid photo of a friend on vacation in Paris, and an abstracted version of two women sourced from an image in a waiting room magazine.
2000-present
Abstract Art
Abstract Painting
Bright/Vivid Colors
Contemporary
Contemporary Feminist
Contemporary Gestural Abstraction
Dynamism
Gestural
Large Brushstrokes/Loose Brushwork
Layered Images
Painting
Patterns
Photographic Source
Splattered/Dripped
Stains/Washes
United States
FALSETRUE
44
annette-messager
4e9753180307800001001c48
https://www.artsy.net/artist/annette-messager
AnnetteMessagerfemale1943Berck, FranceFrench37840026
1970s
Color Photography
Contemporary
Contemporary Feminist
Contemporary Traces of Memory
Engagement with Mass Media
Erotic
Figurative Painting
Found Objects
France
Gender
Human Figure
Installation
Language
Line, Form and Color
Modern
Mortality
Myth/Religion
Painting
Performance Art
Personal Histories
Photography
Related to Film
Related to Toys
Representation of Everyday Objects
Sculpture
Self as Subject
Use of Common Materials
FALSETRUE
45
annie-dorsen
51b8c5d8275b247c40000151
https://www.artsy.net/artist/annie-dorsen
AnnieDorsenfemale1973American0000
2000-present
Chance
Collective History
Consumerism
Contemporary
Contemporary Feminist
Contemporary Participation
Digital Culture
Film/Video
Generative Art
Language
Performance Art
Political
Related to Literature
United States
FALSETRUE
46
april-bey
58b76607c9dc246966f152f5
https://www.artsy.net/artist/april-beyAprilBeyfemaleAmerican
Los Angeles, CA, United States
312012
2000-present
Art in Art
Bright/Vivid Colors
Caribbean
Celebrity
Contemporary
Contemporary Feminist
Digital Culture
Digital Print
Figurative Art
Figurative Painting
Gender
Individual Portrait
Installation
Mixed-Media
Painting
Patterns
Racial and Ethnic Identity
Striped
Text
United States
Use of Fabric
FALSETRUE
47
asta-groting
4f85b85bf8ab430001000c04
https://www.artsy.net/artist/asta-groting
AstaGrötingfemale1961
Herford, Germany
German
Braunschweig, Germany
3223019
1990s
2000-present
Abstract Art
Abstract Sculpture
Abstract versus Figurative Art
Body Casts/Body Prints
Body Parts
Contemporary
Contemporary Feminist
Film/Video
Germany
Human Figure
Imitated Material
Metal
Mortality
Performance Art
Personal Histories
Related to Toys
Resin
Sculpture
Soft Sculpture
The Body
Traces/Indexes/Implied Presence
FALSETRUE
48
aude-du-pasquier-grall
535166b1a09a67c9f7000050
https://www.artsy.net/artist/aude-du-pasquier-grall
AudeDu Pasquier Grall
Aude Du Pasquier Grall
female1974FrenchParis, France1910010
2000-present
Collective History
Color Photography
Contemporary
Contemporary Feminist
Dreams / Altered States of Consciousness
Figure Studies
Film/Video
France
Gender
Grid
Human Figure
Individual Portrait
Nude
Photography
Provocative
Self as Subject
Staged Photography
The Artist's Studio
FALSETRUE
49
audrey-anastasi
4d8b928f4eb68a1b2c000224
https://www.artsy.net/artist/audrey-anastasi
AudreyAnastasifemale
Baltimore, Maryland
American
Brooklyn, New York
19187039
After graduating Magna cum Laude from the University of Miami, Audrey Frank Anastasi moved to Brooklyn to attend Pratt Institute, where she earned her Master's Degree in Fine Arts. From 1985 until 1994, she taught figure drawing, portfolio development, and anatomy for artists at Parson's School of Design. She has an extensive history of exhibiting her artwork in the US and abroad.
As a Humanist, in her own work and in teaching, Ms. Anastasi feels it is important for her to impart an awareness of how current social forces influence the way we see and interpret the human subject and inherently, the human condition, in art.
Audrey Anastasi has been featured in Smart Money Magazine, New York & Company, AKA the Lenny Lopate Show on National Public Radio (NPR), the New York Times, the New York Daily News, amNY newspaper, Pratt Folio, Jewish Week, the Arts & Entertainment supplements of the Brooklyn Eagle (InBrooklyn), the Brooklyn Courier (24/7), the Artworld Digest magazine, Zeek: A Jewish Journal of Thought and Culture, Valentine New York's Brooklyn Fine Art Magazine (BFA) premier Issue, On the Issues Magazine.com, and the New York Observer.
She was President of the Brooklyn Waterfront Artists Coalition (BWAC) from 1999 to 2004, and currently serves on the Board of Directors of the Brooklyn Arts Council (BAC) and Dance Theater Etcetera (DTE). She is a member of the National Association of Women Artists (NAWA) and the New York society of Women Artists (NYSWA). Anastasi is passionate about advocacy issues affecting artists lives each day. 

Audrey and her husband Joseph are Co-Founders and Directors of Tabla Rasa Gallery, 224 48 Street, the first art gallery in Sunset Park, Brooklyn.
A curator, gallery owner/director, educator and arts advocate, Audrey Anastasi remains, above all else, a tireless and dedicated working artist.
Audrey Anatasi paints figurative images concentrating on the human face, figures, and nature. Anatasi describes her depictions of women in contemporary settings as “breaking the ‘third wall’ with individuals in the paintings scrutinizing the viewer on equal footing with the viewer scrutinizing the painting.” In other works, recognizable scenes are replaced by dark, indeterminate spaces through which mythic male and female figures seem to fall, often nude. According to Anastasi, these figures are meant to appear at once heroic and suffering, caught in a Promethean struggle or confronting inner demons. Although she is right-handed, she has painted with her left hand since 1990, in order to “reconnect with the physicality of the paint stroke…and redirect my attention on the soul of the subject matter.”
2000-present
Contemporary
Contemporary Feminist
Drawing
Figurative Painting
Gender
Human Figure
Interiors
Mixed-Media
Nude
Painting
United States
Work on Paper
FALSETRUE
50
audrey-flack
4f4424d83409280001000643
https://www.artsy.net/artist/audrey-flack
AudreyFlackfemale1931
New York, New York
American
New York, New York
14378078One of the first [photorealist](/gene/photorealistic) painters to be included in the Museum of Modern Art’s permanent collection, Audrey Flack focused the early years of her career on large-scale paintings of still lifes that drew from 17th-century Dutch vanitas painting—updated through a contemporary lens—and brought feminine identities under scrutiny. In meticulous, complex arrangements of fruit, flowers, candles, makeup, and ladies’ accouterments, Flack’s loaded symbolic tableaus address stereotypes of the female ideal. Since the 1980s, Flack has turned her focus to monumental sculpture: “Making sculpture attracted me because of its substantiality,” she has said. In her [Neoclassical](/gene/neoclassicism) public sculptures of gilded bronze angels, muses, and goddesses, Flack mines Greek mythology, presenting the female in an array of archetypal guises. Though some critics have condemned her focus on the classical white female, Flack is an avowed feminist, and many of her sculptures seek to reinvent their subjects and source material.
1970s
Color Photography
Contemporary
Contemporary Feminist
Figurative Painting
Gender
Human Figure
Individual Portrait
Modern
Myth/Religion
Outdoor Art
Painting
Photography
Photorealistic
Popular Culture
Portrait
Representation of Everyday Objects
Sculpture
Still Life
United States
Work on Paper
Yale University School of Art
FALSETRUE
51
aura-rosenberg
528fcd149c18db7692000140
https://www.artsy.net/artist/aura-rosenberg
AuraRosenbergfemale1946
New York, New York
American
New York City and Berlin, Germany
5934026
1990s
2000-present
Appropriation
Childhood
Collective History
Contemporary
Contemporary Conceptualism
Contemporary Feminist
Contemporary Grotesque
Digital Culture
Erotic
Figurative Art
Gender
Grotesque
Humor
Manipulated Photography
Mixed-Media
Nude
Painting
Photograph as Material
Photography
Provocative
The Body
United States
FALSETRUE
52
ayakoh-furukawa
517191d8d03fd43f22000374
https://www.artsy.net/artist/ayakoh-furukawa
AyakohFurukawafemaleJapanJapanese
New York, New York
28402
2000-present
Animals
Contemporary
Contemporary Feminist
Contemporary Grotesque
Dense Composition
Drawing
Erotic
Figurative Painting
Flora
Gender
Grotesque
Highly-Detailed
Human Figure
Individual Portrait
Japan
Mutated Bodies
Nude
Painting
Provocative
Tangled Forms
Text
The Abject
United States
Violence
Work on Paper
FALSETRUE
53
barbara-horlander
58adbb43139b210ee923377c
https://www.artsy.net/artist/barbara-horlander
BarbaraHorlanderfemale343035
2000-present
Abstract Art
Abstract Sculpture
Abstract versus Figurative Art
Contemporary
Contemporary Feminist
Decay
Femininity
Installation
Mixed-Media
Mutated Bodies
Organic Material
Pastel Colors
Polychrome Sculpture
Sculpture
Sharp/Prickly
Soft Sculpture
The Abject
The Body
United States
Wall Sculpture and Installation
FALSETRUE
54
barbara-kruger
4d8b928c4eb68a1b2c000206
https://www.artsy.net/artist/barbara-kruger
BarbaraKrugerfemale1945
Newark, New Jersey
American
New York, NY; Los Angeles, CA
635271040Best known for laying aggressively directive slogans over black-and-white photographs that she finds in magazines, Barbara Kruger developed a visual language that was strongly influenced by her early work as a graphic designer (at magazines including _House and Garden_, _Mademoiselle_, and _Aperture_). Among her most famous pieces are _I shop, therefore I am_ (1987) and _Your body is a battleground_ (1985). Informed by feminism, Kruger's work critiques consumerism and desire, and has appeared on billboards, bus cards, posters and in public parks, train station platforms, and other public spaces. She has also created site-specific installations comprised of video, film, audio, and projection.
1980s
Advertising and Brands
Appropriation
CalArts
Consumerism
Contemporary
Cultural Commentary
Digital Print
Engagement with Mass Media
Femininity
Feminist Art
Identity Politics
Language
Mixed-Media
Political
Popular Culture
Provocative
Related to Fashion
Text
The Pictures Generation
Typography
United States
Work on Paper
TRUEFALSE
55
bettina-hubby
532e121c7622ddc5b10001ef
https://www.artsy.net/artist/bettina-hubby
BettinaHubbyfemale1968
New York, NY, United States
American
Los Angeles, CA, United States
621140114 “I’d rather have something break if it means getting to the breakthrough,” says Hubby, whose work can often take radically different forms from project to project. Past works have included a photographic series about construction near her house, tailored tours of Los Angeles, and a pop-up boutique. Much of her work is jocular or celebratory, but she is also interested in the politics of the female body, intimacy, and sexual desire. In two series, both titled “sex without the people,” Hubby unpacked the semiotics of desire by removing the subjects and objects of lust. In photographic works, Hubby displayed only the clothes discarded by lovers, while in collages she excised all the figures from antique erotic illustrations, allowing viewers to home in on the stylized gestures used to convey sexual passion.
2000-present
Appropriation
Collage
Contemporary
Contemporary Feminist
Contemporary Participation
Cultural Commentary
Erased and Obscured
Erotic
Fashion Design and Wearable Art
Gender
Human Figure
Installation
Interactive
Manipulated Photography
Negative Image
Obsolescence
Photography
Printed Matter
Sculpture
Site Specific Art
Textile Arts
The Body
Work and Workers
Work on Paper
FALSETRUE
56
betty-tompkins50cb30ccfdafaeadfa000641
https://www.artsy.net/artist/betty-tompkins
BettyTompkinsfemale1945
Washington, D.C.
American
New York, NY, United States
301215097Rendered in softly airbrushed tones, Betty Tompkins’s photorealist paintings of intimate sexual encounters, including exposed genitalia, penetration, and masturbation, derive from pornography. Though her series of nine “Fuck Paintings” were flagged by French customs officials for pornographic content and withheld from display in 1973, they have since received belated acknowledgment and appreciation. Tompkins carefully crops out faces or body parts to excise narrative detail, enlarging the scale to fill large expanses of wall. By emptying her paintings of signifiers of race, class, time, and circumstance, Tompkins presents erotic encounters between two (or sometimes more) powerfully consonant bodies.
2000-present
Black and White
Blurred
Body Parts
Contemporary
Contemporary Traces of Memory
Drawing
Erotic
Feminist Art
Figurative Painting
Hyperrealism
Painting
Photographic Source
Photorealistic
Provocative
Sex
The Body
United States
Unsettling
Work on Paper
TRUEFALSE
57
birgit-jurgenssen
528a478f139b21b3660002fa
https://www.artsy.net/artist/birgit-jurgenssen
BirgitJürgenssenfemale19492003Vienna, AustriaAustrian16737034
1960s
1970s
Black and White
Black-and-white Photography
Body Art
Body Parts
Color Photography
Contemporary
Drawing
Feminist Art
Figurative Art
Gender
Grotesque
Human Figure
Individual Portrait
Modern
Painting
Photography
Photomontage
Self-Portrait
Staged Photography
The Abject
The Body
Trauma and Struggle
Work on Paper
TRUEFALSE
58
blake-fitch
5238915fc9dc2424020000d7
https://www.artsy.net/artist/blake-fitch
BlakeFitchfemale1971
Rochester, New York
American
Boston, Massachusetts
19101
2000-present
Adolescence
Childhood
Color Photography
Contemporary
Contemporary Feminist
Contemporary Realist Portrait Photography
Cultural Commentary
Diaristic
Documentary Photography
Family
Gender
Human Figure
Individual Portrait
Photography
The Body
United States
FALSETRUE
59
cai-jin
4f5f64c13b555230ac000103
https://www.artsy.net/artist/cai-jinJinCaiCai Jinfemale1965Tunxi, ChinaChinese461108It was on a trip to her hometown in eastern China that artist Cai Jin discovered the motif that would be at the center of her career: the banana plant. Upon the discovery of a wilting plant hidden among weeds, she took two rolls of photographs, which she would carry with her as inspiration for years to come. Since then she has explored the theme in more than 200 paintings of the plant, mostly in oils with a [psychedelic](/gene/psychedelic) rainbow of pink, purple, blue, and her signature red. Rather than literal subject matter, the banana plant has become and emblem for Cai, though which she explores ideas of beauty, fertility, and sexuality.
2000-present
Abstract Landscape
China
Close-Up
Contemporary
Contemporary Feminist
Drawing
Erotic
Figurative Painting
Flora
Food
Human Figure
Nature
Painting
Photographic Source
The Body
Work on Paper
FALSETRUE
60
carol-cole
53bd22057261696e71a70400
https://www.artsy.net/artist/carol-coleCarolColefemale1943
Philadelphia, Mississippi
American4202
2000-present
Abstract Art
Antiquity as Subject
Appropriation
Art in Art
Assemblage
Columns and Totems
Contemporary
Contemporary Archaeological
Contemporary Feminist
Curvilinear Forms
Drawing
Food
Found Objects
Gender
Geometric
Humor
Mixed-Media
Patterns
Radiating Lines
Recycled
Repetition
Sculpture
United States
Use of Common Materials
Wall Sculpture and Installation
FALSETRUE
61
carol-k-brown
528a6f07cd530e2e930001a0
https://www.artsy.net/artist/carol-k-brown
CarolBrownK.female
Memphis, Tennessee
American
Miami & New York
821021
2000-present
Contemporary
Contemporary Feminist
Cultural Commentary
Figurative Art
Painting
Photograph as Material
Photographic Source
Process-Oriented
Related to Toys
Sculpture
Self as Subject
United States
FALSETRUE
62
carol-rama
4f9aec0c72893800010003d5
https://www.artsy.net/artist/carol-rama
CarolRamafemale19182015
Turin, Metropolitan City of Turin, Italy
Italian
Turin, Metropolitan City of Turin, Italy
55136033In her decades-spanning practice, Carol Rama has explored sexuality and desire through different materials and mediums. Self-taught, Rama began painting as a means of dealing with family tragedies. In her early work in the 1930s and 1940s, she created lustful images of the female body, highlighting sexuality and pleasure as major themes. Rama later experimented with abstraction and assemblage in the vein of [arte povera](/gene/arte-povera), using bicycle tires from her father’s factory before he declared bankruptcy and committed suicide. She returned to making paintings and watercolors in the 1980s. The recipient of the Golden Lion at the 50th Venice Biennale, Rama falls outside the confines of any particular artistic movement or period, but she remains a seminal figure and an important influence to artists such as [Cindy Sherman](/artist/cindy-sherman) and [Kiki Smith](/artist/kiki-smith).
1940s-1950s
1960s
Assemblage
Automatism
Erotic
Feminist Art
Figurative Art
Gender
Human Figure
Italy
Modern
Personal Histories
Provocative
Sexual Identity
Soft Sculpture
Surrealism
The Body
The Fantastic
Trauma and Struggle
Use of Common Materials
Watercolor
TRUEFALSE
63
carole-caroompas
4f15c0e09482ec0001000470
https://www.artsy.net/artist/carole-caroompas
CaroleCaroompasfemale1946
Oregon City, Oregon
American
Los Angeles, California
46900Carole Caroompas’s conceptual approach to painting explores narrative tropes and the inter-relationship of the sexes. Offering a feminist perspective on gender roles in society, Caroompas deconstructs the mechanisms of sexism through paintings that mash up imagery in suggestive, oblique juxtapositions. “These fragmented narratives explore through psychological imagery the struggle, conflict and vulnerability of male and female roles in a male dominant culture,” Caroompas has said. In a recent series of paintings and drawings that incorporate paper and vinyl acetate, titled “Uncle Lenny: Right As Wrong/ Wrong As Right” (2009), the artist focused on the comedian Lenny Bruce to explore ideas of verity and paradox, drawing imagery from pop culture and classic and contemporary television shows and combining it with overlaid texts of Bruce’s own words.
1990s
Adolescence
Americana
Assemblage
Cinematic
Circus/Carnival
Collage
Color Photography
Comic/Cartoon
Conflict
Contemporary
Contemporary Graphic Realism
Contemporary Traces of Memory
Dense Composition
Drawing
Engagement with Mass Media
Erotic
Feminist Art
Figurative Painting
Found Objects
Gender
Glamour
Group of Portraits
Highly-Detailed
Human Figure
Humor
Illustration/Art
Individual Portrait
Love
Mixed-Media
Multiple Exposure
Multiple Screens
Myth/Religion
Narrative
Nude
Painting
Patterns
Photographic Source
Photography
Portrait
Psychedelic
Racial and Ethnic Identity
Related to Film
Related to Literature
Related to Music
Text
Textile Arts
The Body
United States
Work on Paper
TRUEFALSE
64
carolee-schneemann
4fce4f476581650001000993
https://www.artsy.net/artist/carolee-schneemann
CaroleeSchneemannfemale1939
Fox Chase, Pennsylvania
American
New York, New York
7841160104
1960s
1970s
Assemblage
Body Art
Conflict
Contemporary
Erotic
Feminist Art
Film/Video
Fluxus
Gender
Happenings
Installation
Modern
Painting
Performance Art
Political
Provocative
The Abject
The Body
United States
TRUEFALSE
65
carolina-baptista-rodriguez
508ecf8a90a78e0002000385
https://www.artsy.net/artist/carolina-baptista-rodriguez
CarolinaRodriguezBaptista
Carolina Baptista Rodriguez
female1971VenezuelaVenezuelan212000
2000-present
Andes Region (Bolivia, Colombia, Ecuador, Peru, Venezuela)
Bronze
Contemporary
Contemporary Feminist
Drawing
Figurative Sculpture
Human Figure
Marble
Painting
Patinated/Oxidized/Verdigris
Related to Fashion
Rough
Sculpture
Spain
The Body
United States
FALSETRUE
66
carolina-convers
531d2b06a09a675cf90009b4
https://www.artsy.net/artist/carolina-convers
CarolinaConversfemale1973
Barrancabermeja, Colombia
Colombian
Bogota, Colombia
9313013Merging her own memories with found photographs, and digital technology with the handmade, Carolina Convers creates mixed-media compositions centered upon a range of female protagonists and interior and outdoor scenes. She begins by sourcing (often vintage) photographs of women and comfortable suburban scenes, which she uploads onto the computer and alters as she sees fit—blurring or eradicating faces, multiplying figures, adjusting the placement of chairs, tables, or other elements. After printing these manipulated photographs onto sheets of acetate, she alters them still further with exuberant, expressive brushstrokes, wild patterning, and the bright colors reminiscent of [Pop Art](/gene/pop-art). The female figures at the heart of so many of her works appear at once perfectly perky and monstrous, products of the impossible ideal of femininity, and of Convers’s pointed defacement of it.
2000-present
Andes Region (Bolivia, Colombia, Ecuador, Peru, Venezuela)
Bright/Vivid Colors
Contemporary
Contemporary Feminist
Contemporary Graphic Realism
Contemporary Pop
Dense Composition
Figurative Art
Flatness
Gender
Groups of People
Human Figure
Mixed-Media
Painting
Photographic Source
Transfer
Use of Common Materials
Use of Vintage Imagery
FALSETRUE
67
carolina-gomez
5323314bcb4c2748b7000017
https://www.artsy.net/artist/carolina-gomez
CarolinaGomezfemale1974
Bogota, Colombia
Colombian
Bogota, Colombia
232300
2000-present
Andes Region (Bolivia, Colombia, Ecuador, Peru, Venezuela)
Contemporary
Contemporary Feminist
Design
Figurative Art
Gemstone
Gender
Glamour
Human Figure
Jewelry
Mixed-Media
Oil Painting
Painting
Popular Culture
Printed Matter
Related to Fashion
FALSETRUE
68
caroline-mousseau
545a3c657261690a40570000
https://www.artsy.net/artist/caroline-mousseau
CarolineMousseaufemale1989
Winnipeg, MB, Canada
Canadian
Vancouver, BC, Canada
1917017
2000-present
Abstract Art
Canada
Contemporary
Contemporary Feminist
Contemporary Gestural Abstraction
Gestural
Impasto
Line, Form and Color
Oil Painting
Painting
Repetition
Sculptural Use of Paint
FALSETRUE
69
caroline-wells-chandlerMBQ32631832
559d845d7261694f070008c4
https://www.artsy.net/artist/caroline-wells-chandler
Caroline WellsChandlernonbinary1985
Norfolk, VA, United States
American
New York, NY, United States
13870046
2000-present
Abstract versus Figurative Art
Bright/Vivid Colors
Comic/Cartoon
Contemporary
Contemporary DIY
Contemporary Feminist
Contour Line
Emerging Art
Figurative Art
Figurative Sculpture
Gender
Human Figure
Installation
Knitted and Crocheted
Psychedelic
Sculpture
Sexual Identity
Soft Sculpture
Sports/Athletics
Textile Arts
United States
Wall Sculpture and Installation
FALSETRUE
70
carrie-moyer
503cebfe5446d80002000678
https://www.artsy.net/artist/carrie-moyer
CarrieMoyerfemale1960
Detroit, Michigan
American
Brooklyn, New York
19036032
1990s
Abstract Painting
Abstract versus Figurative Art
Contemporary
Contemporary Feminist
Cultural Commentary
Gender
Layered Images
Outdoor Art
Painting
Political
Prints
United States
Use of Common Materials
FALSETRUE
71
cassils
50a55e3c367bb5498200163a
https://www.artsy.net/artist/cassilsHeatherCassilsCassilsfemale
Montreal, Canada
Canadian
Los Angeles, California
581509“Our bodies are sculptures formed by society’s expectations…[M]y body is my medium,” says Heather Cassils, who uses art to explore gender in non-binary terms. Approaching transexuality as a continuum rather than a process of transition with an end point, he combines the artistic traditions of documentation and [performance](/gene/performance-art) with his own bodybuilding practice. In the work _Cuts: A Traditional Sculpture_, Cassils revisits [Eleanor Antin](/artist/eleanor-antin)’s landmark work of [feminist art](/gene/feminist-art), _Carving: A Traditional Sculpture_. Cassil’s work upends Antin’s quest for physical perfection by focusing on the quest to gain mass rather than lose it.
2000-present
Canada
Contemporary
Contemporary Conceptualism
Contemporary Feminist
Contemporary Grotesque
Figurative Art
Film/Video
Human Figure
Individual Portrait
Multiple Screens
Nude
Performance Art
Popular Culture
Portrait
Sexual Identity
Sports/Athletics
The Body
United States
FALSETRUE
72
catherine-tafur
508c5ccd5ee04100020007e9
https://www.artsy.net/artist/catherine-tafur
CatherineTafurfemale1976Lima, Peru
Peruvian-American
New York, New York
362408
2000-present
Art in Art
Collective History
Contemporary
Contemporary Fact versus Fiction
Contemporary Feminist
Contemporary Grotesque
Contemporary Surrealistic
Drawing
Engagement with Mass Media
Gender
Grotesque
Human Figure
Mortality
Mutated Bodies
Narrative
Painting
Political
Popular Culture
Provocative
United States
Unsettling
Violence
FALSETRUE
73
cathy-daley
52c6e278c9dc24fd8a00001a
https://www.artsy.net/artist/cathy-daley
CathyDaleyfemale1955
Toronto, Canada
Canadian
Toronto, Canada
1092030188Cathy Daley’s black, oil-pastel silhouettes of women’s bodies reflect an enduring fascination with female form and identity. Depicting dainty and lithe female figures in dresses, tutus, gowns, and high heels, her images are inspired by fashion, fairytales, and Hollywood. Daley renders her subjects in thick black ink on almost translucent vellum, with vivacious, scrawling scribbles. The contrast between opaque ink and delicate paper creates a tension between weighty, striking forms and the lightness attributed to figures like ballerinas or fairies, suggesting an ambivalent attitude toward the mode of femininity she represents.
2000-present
Abstract versus Figurative Art
Black and White
Blurred
Body Parts
Calligraphic
Canada
Contemporary
Contemporary Feminist
Contemporary Traces of Memory
Drawing
Dynamism
Figurative Art
Gender
Gestural
Glamour
Human Figure
Large Brushstrokes/Loose Brushwork
Pastel
Performing Arts
Popular Culture
Related to Fashion
Tangled Forms
Work on Paper
FALSETRUE
74
cecile-plaisance
5460dc907261692d5bd80400
https://www.artsy.net/artist/cecile-plaisance
CecilePLAISANCEfemale1973French7748042
2000-present
Chiaroscuro
Childhood
Color Photography
Contemporary
Contemporary Feminist
Cultural Commentary
Engagement with Mass Media
Erotic
Femininity
France
Gender
Individual Portrait
Photography
Popular Culture
Related to Fashion
Related to Toys
Single Object
Staged Photography
FALSETRUE
75
cecilia-bonilla536bf6cf1a1e865d9f000369
https://www.artsy.net/artist/cecilia-bonilla
CeciliaBonillafemale1973Uruguayan
London, United Kingdom
8808
2000-present
Collage
Contemporary
Contemporary Feminist
Engagement with Mass Media
Film/Video
Gender
Scandinavia
Southern Cone (Argentina, Chile, Paraguay, Uruguay)
United Kingdom and Ireland
FALSETRUE
76
chantal-joffe
4dd3455a58c8b60001005312
https://www.artsy.net/artist/chantal-joffe
ChantalJoffefemale1969
St. Albans, Vermont
British
London, United Kingdom
200354034Recalling [Alice Neel](/artist/alice-neel), [Max Beckmann](/artist/max-beckmann), and [Alex Katz](/artist/alex-katz), Chantal Joffe makes portraits that bring a combination of insight, wit, and an eye for awkwardness and individuality to the genre of portrait painting. Based loosely on photographs of women sourced from fashion magazines, photo albums, pornography, and elsewhere, Joffe’s paintings—juxtaposing thin, dripping washes with thicker oily passages—explore the notion that all appearances and images, regardless of how off-hand they may seem, are carefully planned and constructed. "I’m a terrible photographer [...] But in a way, the more the photo is crap, the better to paint from," she says.
2000-present
Advertising and Brands
Appropriation
Childhood
Contemporary
Contemporary Faux Naïf
Contemporary Feminist
Family
Femininity
Figurative Art
Figurative Painting
Flatness
Group Portrait
Human Figure
Individual Portrait
Large Brushstrokes/Loose Brushwork
Nostalgia
Nude
Painting
Photographic Source
Popular Culture
Related to Fashion
Self-Portrait
United Kingdom and Ireland
FALSETRUE
77
charlotte-cornaton
526855319c18db4ee400006c
https://www.artsy.net/artist/charlotte-cornaton
CharlotteCornatonfemale1986Paris, FranceFrench231800Charlotte Cornaton is best known for her interrogation of contemporary femininity, vanity, and Eastern spiritual traditions in a practice that freely overlaps video art, performance, and sculpture. Her most recent series of works, "Insomnia," was created in the historic porcelain workshops of Jingdezhen, China. While she worked with traditional techniques—engraving the porcelain with a celadon glaze, painting it using cobalt calligraphy, and drawing with cloisonné glaze—the resulting pieces are thoroughly modernized through their reference to the dream interpretation of Carl Jung. Cornaton also creates “Chakra” sculptures from ceramic and glass vases that resemble natural crystals and minerals. In Hindu metaphysical traditions, chakras are meeting points in the flow of spiritual energy around the body; these small sculptures are translations of her overriding concerns with the body into a spiritual context.
2000-present
Abstract Art
Animation
Body Parts
Contemporary
Contemporary Feminist
Contemporary Grotesque
Contemporary Surrealistic
Cross-Cultural Dialogue
Cultural Commentary
Design
Figurative Art
Film/Video
France
Gender
Grotesque
Human Figure
Imitated Material
Installation
Irregular Curvilinear Forms
Jewelry
Mixed-Media
Mortality
Patterns
Performance Art
Performing Arts
Piles/Stacks
Process-Oriented
Psychedelic
Psychoanalysis
Sculpture
Self as Subject
Shiny/Glossy
The Abject
The Body
The Fantastic
FALSETRUE
78
chelsea-rae-klein
58bf04497622dd54b5a752ed
https://www.artsy.net/artist/chelsea-rae-klein
ChelseaRae Kleinfemale0101
2000-present
Collage
Contemporary
Contemporary Conceptualism
Contemporary Feminist
Contemporary Traces of Memory
Film/Video
Found Objects
Gender
Human Figure
Mixed-Media
Photography
Research as Art
Sexual Identity
Text
Textile Arts
The Body
United States
War and Military
FALSETRUE
79
chiara-fumai
5329d0ecc9dc24a23b0002ee
https://www.artsy.net/artist/chiara-fumai
ChiaraFumaifemale1978RomeItalian17600192000-present
Contemporary
Contemporary Feminist
Italy
Performance Art
FALSETRUE
80
christina-ramberg
4f9adc0051d0480001000085
https://www.artsy.net/artist/christina-ramberg
ChristinaRambergfemale19461995
Fort Campbell, Kentucky
AmericanChicago, Illinois1321405Christina Ramberg was known for seductively rendering fragments of women’s bodies—often bound torsos, never the face—with acrylic and felt-tip or ballpoint pens in muted tones. In some works, the women are merely implied by bodices, hairdos, pairs of high heels, or other symbols of femininity. In the works in which female figures are present, bits of flesh often escape the constraints of corsets, girdles, and bras. As critic and scholar Nancy Princenthal once wrote, “Women twist around, squirming out of their bondage. It’s not easy; they get stuck, and, in the next rendering, try again.” Ramberg was loosely associated with the [Chicago Imagists](/gene/chicago-imagists), a 1960s group of artists (including [Ed Paschke](/artist/ed-paschke) and Gladys Nilsson) whose sexy, high-color, figurative images gleaned from comic books and catalogues are regarded as the forerunners of American [Pop art](/gene/pop-art).
1960s
Chicago Imagists
Close-Up
Comic/Cartoon
Contemporary
Drawing
Erotic
Feminist Art
Figurative Painting
Flatness
Gender
Human Figure
Humor
Modern
Nude
Painting
Pop Art
Related to Fashion
The Body
Typologies
United States
TRUEFALSE
81
cindy-sherman4d9b3342ff9a375c2f0031ab
https://www.artsy.net/artist/cindy-sherman
CindyShermanfemale1954
Glen Ridge, New Jersey
American
New York, New York
161092270165Cindy Sherman established her reputation—and a novel brand of uncanny self-portraiture—with her “Untitled Film Stills” (1977-80), a series of 69 photographs of the artist herself enacting female clichés of 20th-century pop culture. Though her work continually re-examines women’s roles in history and contemporary society, Sherman resists the notion that her photographs have an explicit narrative or message, leaving them untitled and largely open to interpretation. “I didn’t think of what I was doing as political,” she once said. “To me it was a way to make the best out of what I liked to do privately, which was to dress up.” Always in meticulous costumes, wigs, and makeup, Sherman has produced series in which she dresses as women from history paintings, fashion, and pornography. In the late 1980s and into the ’90s, she expanded her focus to more grotesque imagery, like the mutilated mannequins of her “Sex Pictures” (1992).
1980s
Alter Egos and Avatars
Art in Art
Bedrooms and Bathrooms
Black-and-white Photography
Cinematic
Color Photography
Contemporary
Contemporary Fact versus Fiction
Engagement with Mass Media
Feminist Art
Gender
Grotesque
Human Figure
Humor
Identity Politics
Implied Narrative
Photography
Provocative
Self as Subject
Self-Portrait
Staged Photography
The Pictures Generation
United States
Unsettling
TRUEFALSE
82
clare-e-rojas
4f0648328501fa10ca000312
https://www.artsy.net/artist/clare-e-rojas
ClareRojasE.female1976
Columbus, Ohio
American
San Francisco, California
39284073Referencing West Coast modernism, Quaker art, Native American textiles, [Byzantine](/gene/byzantine-art) mosaics, and [Outsider art](/gene/outsider-art), Clare Rojas tells stories through painting, installations, and video. Often her narratives concern relationships between the sexes and among humans and animals, in their struggle to find harmony and balance. Many works quietly celebrate the traditional strengths of women, depicting them like Russian nesting dolls in conventional roles without critical undertones or hints of sexual exploitation. Quilt-like patterns in vivid colors accentuate the folk art-inspired scenes present in some works, while simple geometric forms and stark interiors evoke [Bauhaus](/gene/bauhaus) design in others. Recently, Rojas has focused her attention on the abstract shapes formed by architecture and shadow that dominate interior spaces, producing colorful, precise, abstract compositions on stretched linen.
2000-present
Abstract versus Figurative Art
Advertising and Brands
Angular
City Scenes
Contemporary
Contemporary Feminist
Contemporary Graphic Realism
Figurative Painting
Flatness
Flora
Gender
Graffiti/Street Art
Hard-Edged
Human Figure
Humor
Illustration/Art
Installation
Love
Mixed-Media
Narrative
Nature
Nude
Painting
Patterns
Related to Music
Repetition
Sparse
United States
Waterscapes
Work on Paper
FALSETRUE
83
claudia-hart
4e493cd89718eb0001003701
https://www.artsy.net/artist/claudia-hart
ClaudiaHartfemale1955
New York, New York
American
Chicago & New York
8954032Claudia Hart’s works juxtapose the futuristic and the classical, combining 3-D animation software with such canonical images as the nude female form and still lifes of apples. Hart presents themes of death and the inevitable ravages of time, offset by a vision of an alternate technological universe in which plastic bodies elude decay. Though patently artificial, the figures in Hart’s film installations emote in a recognizably human way as they are put through often agonizing processes involving containment and atrophy. For the series “PhotoMortifications” (2007-2009), Hart superimposed 3-D images of decomposing statues on to photographs of large modern public interiors. In a similar interplay between artifice and authenticity, “The Real and the Fake” (2011) features photographed edibles of questionable nutritional value with computer-generated images of flawless apples, inspired by the decline in the quality of food.
2000-present
Animation
Color Photography
Computer-Aided Manufacturing
Contemporary
Contemporary Feminist
Contemporary Surrealistic
Cultural Commentary
Digital Art
Figurative Sculpture
Film/Video
Human Figure
Installation
Landscapes
Manipulated Photography
Nature
Nude
Photography
Representations of Architecture
Sculpture
Still Life
The Body
United States
FALSETRUE
84
coco-fusco
51d33677275b244e180003a6
https://www.artsy.net/artist/coco-fusco
CocoFuscofemale1960
New York, New York
Cuban-American
New York, New York
2081502An interdisciplinary artist, writer, and feminist theorist, Coco Fusco explores the politics of gender, race, war, and identity in videos, photography, and multimedia productions that incorporate performance, projections, and audience interaction. Fusco is best known for her two-year touring performance collaboration with Guillermo Gomez-Pena, _The Year of the White Bear and Two Amerindians Visit the West_ (1992–4), in which the two artists locked themselves in a cage and acted the part of native inhabitants of a Latin American island, for white onlookers to watch; members of the audience could pay for dances, stories, and Polaroids. Her video work, _The Empty Plaza/ La Plaza Vacia_ (2012), is a meditation, following the 2011 Arab Spring, on communal spaces around the world being utilized for protest, and those left vacant, such as the empty Plaza de la Revolución in Havana, Cuba. Other works have examined intercultural and gendered encounters in times of war, and the interrogation methods and power dynamics of military prisons.
1990s
Contemporary
Contemporary Feminist
Contemporary Participation
Cultural Commentary
Digital Culture
Globalization
Identity Politics
Interactive
Net Art
Performance Art
Political
Racial and Ethnic Identity
Social Action
United States
War and Military
FALSETRUE
85
cristina-vergano
4e9846b5a200000001004328
https://www.artsy.net/artist/cristina-vergano
CristinaVerganofemale1960
Italian-American
New York, New York
6000
2000-present
Contemporary
Contemporary Feminist
Contemporary Pop
Contemporary Surrealistic
Figurative Painting
Gender
Grotesque
Human Figure
Humor
Hybrids and Imaginary Creatures
Nature
Oil Painting
Painting
Provocative
The Fantastic
United States
FALSETRUE
86
cui-xiuwen
4f0648328501fa10ca0000d0
https://www.artsy.net/artist/cui-xiuwen
XiuwenCuiCui Xiuwenfemale1970Harbin, ChinaChineseBeijing, China13336024The photographic world of Cui Xiuwen is filled with women. They are seen in secretly shot videos nervously fidgeting with their lipstick on the subway, or fixing each other’s hair as they chat in a nightclub bathroom (viewers later find out that the women in the club are actually prostitutes arranging dates). In her photographic series “Angel”, a schoolgirl dwarfs the Forbidden City, while a pregnant woman lies before a contemporary building site and an army of girls moves like a phalanx of sleepwalkers. There’s a similar dreamlike quality to her series “Existential Emptiness”, in which she digitally inserts herself and a doll-like alter ego into spare monochromatic landscapes inspired by Chinese ink painting.
2000-present
Bedrooms and Bathrooms
Childhood
China
Cinematic
Close-Up
Color Photography
Contemporary
Contemporary Feminist
Erotic
Film/Video
Gender
Human Figure
Isolation/Alienation
Manipulated Photography
Nude
Painting
Photography
Portrait
Provocative
Staged Photography
Surveillance
The Body
FALSETRUE
87
dana-hoey
4e5661fd80c548000100c9bb
https://www.artsy.net/artist/dana-hoey
DanaHoeyfemale1966
San Francisco, California
American
New York, New York
66605Photographer Dana Hoey achieved recognition for her staged compositions investigating women's social roles and relationships, often depicting counter-cultural, idealistic figures, as in _Freedom Officers_ (1999), two female correction officers on four-wheelers, or _Pregnant Smoker_ (2002), a woman reclining in ecstatic triumph. Recently, she has departed from her narrative style in series like "Pattern Recognition" (2006), kaleidoscopic collages of original and appropriated images of women, and "Experiments in Primitive Living" (2007-2008), a photographic cycle exploring life under different weather conditions.
2000-present
Cinematic
Collage
Color Photography
Contemporary
Contemporary Feminist
Gender
Human Figure
Narrative
Nude
Patterns
Photography
Portrait
Staged Photography
Time
United States
FALSETRUE
88
daphne-vega
5070fd653b94c200020002ad
https://www.artsy.net/artist/daphne-vega
DaphneVegafemaleAmerican
Los Angeles, California
7100
2000-present
Body Parts
Ceramic
Contemporary
Contemporary Feminist
Figurative Painting
Sculpture
The Body
United States
Wood
FALSETRUE
89
deborah-grant
52a0b26c9c18dbd192000057
https://www.artsy.net/artist/deborah-grant
DeborahGrantfemale
Toronto, Canada
New York, New York
23101
2000-present
Allover Composition
Appropriation
Art in Art
Canada
Collage
Comic/Cartoon
Contemporary
Contemporary Feminist
Dense Composition
Drawing
Figurative Art
Gender
Painting
Personal Histories
United States
Use of Vintage Imagery
FALSETRUE
90
deborah-kass
4ecab5e3c9f7bd0001004275
https://www.artsy.net/artist/deborah-kass
DeborahKassfemale1952
San Antonio, Texas
American
Brooklyn, New York
49592060Walking the line between respectful homage and brazen [appropriation](/gene/appropriation), Deborah Kass mimics and reworks the signature styles of some of the 20th century’s most iconic male artists—including [Frank Stella](/artist/frank-stella), [Andy Warhol](/artist/andy-warhol), [Jackson Pollock](/artist/jackson-pollock), and [Ed Ruscha](/artist/ed-ruscha)—in her bold, meticulous paintings. “They’re my daddies,” she has said, in witty acknowledgment of her indebtedness to her male antecedents. Kass’s alterations of their work in her own paintings are both bitingly funny formal interventions and keenly critical commentary on the historically dominant position of male artists. Feminism is central to her approach. As she explains: “It is about my desire to be part of what they’re a part of. […] I think the desire was ambition and greatness. For women of my age, it was still not very cool to be overtly ambitious.”
1990s
Appropriation
Bright/Vivid Colors
Contemporary
Contemporary Feminist
Contemporary Pop
Figurative Painting
Gender
Light Art
Painting
Performing Arts
Political
Popular Culture
Sculpture
Self as Subject
Text
Typography
United States
Work on Paper
FALSETRUE
91
deborah-turbeville
5310d883cb4c27c9860000c2
https://www.artsy.net/artist/deborah-turbeville
DeborahTurbevillefemale19322013
Stoneham, Massachusetts
American2531530118
1970s
Contemporary
Contemporary Vintage Photography
Fashion Photography
Feminist Art
Gender
Groups of People
Human Figure
Implied Narrative
Manipulated Photography
Modern
Nostalgia
Provocative
The Fantastic
United States
Unsettling
Vacant and Vacated Spaces
TRUEFALSE
92
dianne-gall
531f909a275b24f0420004db
https://www.artsy.net/artist/dianne-gall
DianneGallfemale1964
Adelaide, Australia
Australian
Adelaide, Australia
45303
2000-present
Australia and New Zealand
Cinematic
Contemporary
Contemporary Feminist
Figurative Art
Oil Painting
Painting
Photorealistic
Related to Film
Scenes of Everyday Life
FALSETRUE
93
dina-goldstein
54089e827261696190250100
https://www.artsy.net/artist/dina-goldstein
DinaGoldsteinfemale1969
Tel Aviv-Yafo, Israel
Canadian
Vancouver, BC, Canada
15175075
2000-present
Canada
Color Photography
Contemporary
Contemporary Feminist
Cultural Commentary
Documentary Photography
Femininity
Figurative Art
Gender
Israel
Photography
Staged Photography
FALSETRUE
94
dorothy-iannone
4df63dc17d4b290001002512
https://www.artsy.net/artist/dorothy-iannone
DorothyIannonefemale1933
Boston, Massachusetts
American
Berlin, Germany
11047029In her trademark [psychedelic](/gene/psychedelic) style, Dorothy Iannone depicts the transcendent spirituality of the female sexual experience. Her visual language is derived from Egyptian frescoes, Byzantine mosaics, and ancient fertility statues, and her subject of choice has been her declared muse, long-time lover and fellow artist [Dieter Roth](/artist/dieter-roth), and their sexual relationship. _An Icelandic Saga (1978-86)_, a comic book-like series of drawings with handwritten text that recalls in great sexual detail Iannone’s early relationship with Roth, was featured in her 2010 solo at the New Museum. Iannone works on canvas, paper, wood, and, in later work, video and installation.
1970s
Bright/Vivid Colors
Contemporary
Contemporary Faux Naïf
Drawing
Erotic
Feminist Art
Figurative Painting
Flatness
Gender
Human Figure
Illustration/Art
Love
Modern
Myth/Religion
Outsider Art
Painting
Patterns
Sculpture
Self-Portrait
United States
TRUEFALSE
95
dorothy-yoon
5280bc44139b215b0f0000ae
https://www.artsy.net/artist/dorothy-yoon
DorothyYoonfemale1976
Busan, South Korea
Korean
London and Seoul
41201
2000-present
Adolescence
Artist as Ethnographer
Contemporary
Contemporary Feminist
Cross-Cultural Dialogue
Cultural Commentary
Film/Video
Human Figure
Individual Portrait
Korea
Mixed-Media
Personal Histories
Photography
Typologies
United Kingdom and Ireland
FALSETRUE
96
duan-jianyu-duan-jian-yu
50e93de66f85a3f8d3000bac
https://www.artsy.net/artist/duan-jianyu-duan-jian-yu
JianyuDuan
Duan Jianyu 段建宇
female1970Chinese
Guangzhou, China
831009Duan Jianyu’s paintings explore the tensions between urban and rural parts of the rapidly industrializing China, and the friction between art history and Asian popular culture, as well as themes of tourism, cultural identity, mass migration, and family. She strives to create paintings that are at once dynamic and conjure a sense of cheap tackiness—qualities that she associates with the feeling of living in modern China. Duan is known for her figurative style, unconventional juxtapositions of scenes and objects, and ironic sense of humor. “I love secretly describing the details of life, apparently rationally and politely, calming them with fakes, falsities, and untruths,” she says.
2000-present
China
Collective History
Contemporary
Contemporary Feminist
Contemporary Traces of Memory
Diaristic
Figurative Painting
Figures in Nature
Human Figure
Narrative
Oil Painting
Painting
Rural Life
Scenes of Everyday Life
Work and Workers
FALSETRUE
97
dunja-evers
531dafc8139b2114730008ed
https://www.artsy.net/artist/dunja-evers
DunjaEversfemale1963
Hamburg, Germany
German
Dusseldorf & Berlin
8000
2000-present
Appropriation
Blurred
Contemporary
Contemporary Conceptualism
Contemporary Feminist
Found Objects
Germany
Mixed-Media
Photograph as Material
Photography
Popular Culture
Process-Oriented
Related to Film
Traditional Photographic Techniques
Use of Vintage Imagery
FALSETRUE
98
e-dot-v-day4ff75560f24fdd0001000804
https://www.artsy.net/artist/e-dot-v-day
E.V.Dayfemale1967
New York, New York
American
New York, New York
8237023Working primarily in sculpture and installation, E.V. Day explores sexuality and popular culture through a feminist lens, upending symbols of the feminine ideal. In her series of mummified Barbie dolls, Day presented the iconic female figurines encased in materials such as beeswax and silver, which she described as transforming “a sexual or feminized trope into a statement of power and independence.” During a residency at [Claude Monet](/artist/claude-monet)’s garden in Giverny, France in 2010, Day produced prints of flowers that were clipped, pressed in a microwave, scanned digitally, and magnified to 18 times their original size. She then manipulated their forms by mirroring half of each image so that the flowers appear perfectly symmetrical. Through this process, Day removed the suggestion of femininity and organic sexuality that flowers are often associated with, instead presenting images that recall religious iconography—mandalas, shivas, and chalices.
2000-present
Abstract Sculpture
Art That Plays With Scale
Close-Up
Color Photography
Contemporary
Contemporary Feminist
Erotic
Flora
France
Glamour
Grotesque
Human Figure
Humor
Installation
Mixed-Media
Nature
Nude
Open Form
Photography
Provocative
Related to Fashion
Sculpture
Single Object
Site Specific Art
The Body
The Fantastic
United States
Use of Common Materials
Work on Paper
FALSETRUE
99
ebony-g-patterson
506b33f744661700020015f5
https://www.artsy.net/artist/ebony-g-patterson
EbonyPattersonG.female1981
Kingston, Jamaica
Jamaican
Lexington, KY, United States
17819014In her work, the Jamaica-born mixed-media artist Ebony G. Patterson recontextualizes gender norms and explores Jamaican dancehall culture. She creates highly entrancing, colorful pieces, which are reminiscent of Kehinde Wiley’s paintings. Patterson represents the transformations of gender and body politics by blending tapestry, beading, sequins, crochet, and Internet-sourced images of violent murders. The resulting pieces seduce the viewer with mesmerizing, striking textures. “I'm hoping . . . to pull the viewer in to see further and raise questions about how we engage in the act of looking,” she has said. Patterson’s work thus elicits a civic awareness that raises the stakes for popular culture as a whole.
2000-present
Caribbean
Contemporary
Contemporary Feminist
Contemporary Pop
Cultural Commentary
Dense Composition
Femininity
Figurative Art
Glittery
Highly Ornamented
Highly-Detailed
Identity Politics
Individual Portrait
Installation
Masculinity
Painting
Patterns
Popular Culture
Racial and Ethnic Identity
The City
Use of Fabric
FALSETRUE
100
eija-liisa-ahtila
4f552b2e3b55524170000005
https://www.artsy.net/artist/eija-liisa-ahtila
Eija-LiisaAhtilafemale1959
Hämeenlinna, Finland
Finnish511002Eija-Liisa Ahtila explores the complexities of human experience and suffering in films, projection works, and photography. Influenced by philosophers and feminist thinkers, Ahtila’s emotionally charged narratives often take on female trauma, probing ideas around identity and the relationship between self and other. She is concerned with “how the subconscious is inherited in some way,” as she describes. In _The Wind_ (2002), which is based on interviews with women who suffered mental breakdowns, Ahtila portrays the internal experience of one woman battling such a collapse. In _Where Is Where?_ (2009), a six-channel projected installation, a European poet, with the help of a character personifying Death, tries to understand an event that occurred 50 years earlier during the Algerian war, when two Arab boys killed their French friend.
2000-present
Contemporary
Contemporary Conceptualism
Contemporary Feminist
Film/Video
Focus on the Social Margins
Institutional Critique
Multiple Screens
Narrative
Photography
Scandinavia
Trauma and Struggle
Visual Perception
FALSETRUE
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