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Frida Kahlo. Self-Portrait with Cropped Hair, 1940 Georgia O'Keeffe, Jack-in-the- Pulpit No. IV, 1930.

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Presentation on theme: "Frida Kahlo. Self-Portrait with Cropped Hair, 1940 Georgia O'Keeffe, Jack-in-the- Pulpit No. IV, 1930."— Presentation transcript:

1 Frida Kahlo. Self-Portrait with Cropped Hair, 1940 Georgia O'Keeffe, Jack-in-the- Pulpit No. IV, 1930

2 Catalogue Cover and Participants Catalogue cover and participants Womanhouse 1971

3 Kitchen

4

5 Kitchen breasts

6

7 Bride

8 Linen closet Linen Closet

9 Lipstick Bathroom

10 Menstruation bathroom Menstruation Bathroom

11 Nightmare Bathroom

12 Dollhouse

13 MS Paul Gauguin and Me 75; MS Mary Cassatt and Me 76 Miriam Schapiro, Collaboration: Mary Cassatt and Me 1976

14 MS She Sweeps with Many Colored Brooms 76; Connections 76 Miriam Schapiro, She Weeps with Many Colored Brooms, 1976

15 Lynda Benglis, advertisement in Artforum, 1974

16 Betty Grable; Lynda Benglis

17 Lynda Benglis, Arforum Nov 74

18 JC Dinner Party Judy Chicago Dinner Party

19 Dinner Party Goddesses Goddesses

20 Dinner Party Wolfe & O’Keefe Virginia Woolf and Georgia O’Keefe

21 Dinner Party Fertile Goddess

22

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24 Dinner Party Eleanor Aquitaine

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26 Dinner Party Mary Wollstonecraft Mary Wollstonecraft

27 Dinner Party Emily Dickinson study

28 Dinner Party Virginia Woolf

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30 Carolee Schneemann, Interior Scroll, 1975

31

32 Carolee Schneemann, 36 Transformative acts for camera, 1963

33 Interior Scroll 1975 Performance. Performed in East Hampton,NY and at the Telluride Film Festival, Colorado. Schneemann ritualistically stood naked on a table, painted her body with mud until she slowly exracted a paper scroll from her vagina while reading from it. "I thought of the vagina in many ways-- physically, conceptually: as a sculptural form, an architectural referent, the sources of sacred knowledge, ecstasy, birth passage, transformation. I saw the vagina as a translucent chamber of which the serpent was an outward model: enlivened by it's passage from the visible to the invisible, a spiraled coil ringed with the shape of desire and generative mysteries, attributes of both female and male sexual power. This source of interior knowledge would be symbolized as the primary index unifying spirit and flesh in Goddess worship." -CS

34 Carolee Schneemann, Judson Church, NYC. Group performance: raw fish, chickens, sausages, wet paint, plastic, rope, shredded scrap paper

35 Meat Joy has the character of an erotic rite: excessive, indulgent, a celebration of flesh as material: raw fish, chickens, sausages, wet paint, transparent plastic, rope brushes, paper scrap. It's propulsion is toward the ecstatic-- shifting and turning between tenderness, wilderness, precision, abandon: qualities which could at any moment be sensual, comic, joyous, repellent."

36 Hannah Wilke, SOS Starification Object Series, 1974

37 HW Teasal Cushion Hannah Wilke, SOS Starification Object Series, 1974

38 HW SOS

39 HW SOS performance

40 HW SOS installation

41 HW My Country Tis of Thee 76 Hannah Wilke, My Country tis of thee, 1975

42 HW Lincoln Memorial; Florida Keys

43 HW My Country Tis of Thee 76

44 HW Through Looking Glass Hannah Wilke, Through the Looking Glass

45 HW Iobject

46 HW Ponder-r-rose

47 AM Glass

48 AM Death of Chicken Ana Mendieta, Death of Chicken, 1972

49 AM Rape Performance 73; AM People Looking at Blood 73 Ana Mendieta, Rape Performance, 1973

50 AM Tree of Life Ana Mendieta, Tree of Life, 1973

51 AM Silueta 77 fire; AM Silhueta 78 pigment Ana Mendieta, Silueta, 1977

52 AM Silueta 78 clover; AM Silueta 79 mud


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