標(biāo)題: Titlebook [打印本頁] 作者: arouse 時(shí)間: 2025-3-21 19:50 作者: Callus 時(shí)間: 2025-3-21 22:27 作者: tariff 時(shí)間: 2025-3-22 03:43 作者: synovium 時(shí)間: 2025-3-22 07:08 作者: 條約 時(shí)間: 2025-3-22 10:16 作者: 心胸開闊 時(shí)間: 2025-3-22 13:01 作者: 心胸開闊 時(shí)間: 2025-3-22 20:34
Sited Nomadism from the Atlantic to West Africa: Addoley Dzegede by interweaving micro-histories within larger narratives of transnational trade, immigration, and embedded local knowledges, Dzegede centers the personal within the political. Her work reveals her own entanglement within these site-specific narratives while directing viewers to investigate their own.作者: placebo-effect 時(shí)間: 2025-3-22 22:35 作者: AWL 時(shí)間: 2025-3-23 01:53 作者: Goblet-Cells 時(shí)間: 2025-3-23 06:23
Queer Craft and Radical Cuts: Tradition, Transgenderism, and the Malay-Muslim Body in the Work of Anso underlies the reading of her practice against her biography.?Drawing from Izmer Ahmad’s notion of circumcision as a mark of acculturation into the broader Malay-Muslim body politic of Malaysia, the artist’s gender affirmation?is read as a radical circumcision—a cutting off from the body politic in general.作者: 輕率的你 時(shí)間: 2025-3-23 11:49 作者: Thymus 時(shí)間: 2025-3-23 16:23 作者: obstruct 時(shí)間: 2025-3-23 21:27 作者: garrulous 時(shí)間: 2025-3-24 01:09 作者: Medicaid 時(shí)間: 2025-3-24 02:27 作者: craving 時(shí)間: 2025-3-24 08:28 作者: Ointment 時(shí)間: 2025-3-24 14:38 作者: fatty-acids 時(shí)間: 2025-3-24 18:51 作者: Assemble 時(shí)間: 2025-3-24 20:25 作者: 壯觀的游行 時(shí)間: 2025-3-25 00:07
https://doi.org/10.1007/978-3-322-85795-8 Iranian-born artist and activist Parastou Forouhar who employs a powerful feminist language in her art. With artistic techniques such as performative photography, installation, or graphic print, the artist engages with the positionality of the female body and how diversity and ambivalence shape the作者: patella 時(shí)間: 2025-3-25 03:58
Klassische Wahrscheinlichkeitsrechnung in Bogotá: an artist book that refigured the tenth-century fairytale “Little Red Riding Hood” via graphic score, drawing, text, and collage. Developed as an anchor for a series of participatory workshops with children, many either migrants or living in orphanages, the book posed a series of questio作者: 刺激 時(shí)間: 2025-3-25 08:23
,Einführung: Ganzheitliche Wachstumstheorie,ter speeds, resulting in blurring of forms. Her work also blurs the line between the personal and the political. Smith has had twin challenges in negotiating her status—being Black and being a woman. Now hailed as one of the greatest photographers working today, Smith found few places to show work w作者: THE 時(shí)間: 2025-3-25 12:00 作者: 百科全書 時(shí)間: 2025-3-25 17:23 作者: FISC 時(shí)間: 2025-3-25 21:24 作者: 朋黨派系 時(shí)間: 2025-3-26 03:08 作者: exercise 時(shí)間: 2025-3-26 04:28
Native Feminisms and Contemporary Art: Indigeneity, Gender, and Diné Resurgence in the Work of Natanome of the early tensions between Indigenous rights movements and feminism and outlines some of the conceptual shifts that have led to a more widespread acceptance of Native feminisms, connects Native feminisms to theories of Indigenous resurgence, and argues that works by Natani Notah (Diné) and Jo作者: 樂器演奏者 時(shí)間: 2025-3-26 09:29
Disrupting the Silence: Australian Aboriginal Art as a Political Actolonial violence, including being hunted, shot, burned, poisoned, and massacred, to list a few. This is a history that has been hidden and deliberately denied in Australian educational curricula. Its ripple-out effect means the vast majority of the population are ignorant of what took place in this 作者: configuration 時(shí)間: 2025-3-26 12:38
Spanking Confucius: The Feminist Protest Art of Kang-ja Jungouraging the shocked audience to press liquid bubble balloons they blew all over her partially naked body; she was later awarded “This Year’s Insanity Prize” by a major South Korean newspaper. In subsequent years, she participated in other provocative art “Happenings,” along with a handful of avant-作者: SEVER 時(shí)間: 2025-3-26 19:17 作者: 合乎習(xí)俗 時(shí)間: 2025-3-26 21:58 作者: 輕率看法 時(shí)間: 2025-3-27 05:01 作者: 苦惱 時(shí)間: 2025-3-27 07:17 作者: chondromalacia 時(shí)間: 2025-3-27 11:43
Sited Nomadism from the Atlantic to West Africa: Addoley Dzegedeede. Although she was born and educated in the United States, Dzegede considers herself nomadic, undertaking residencies over the last six years across the United States, Europe, and West Africa. I seek to interrogate the political potential of nomadism as expressed in Dzegede’s fabric-based work, p作者: 慌張 時(shí)間: 2025-3-27 15:08
Alterity in Europe—Occupying Spaces as Feminist Strategy in (Post)Migration Aesthetics: A Conversati Iranian-born artist and activist Parastou Forouhar who employs a powerful feminist language in her art. With artistic techniques such as performative photography, installation, or graphic print, the artist engages with the positionality of the female body and how diversity and ambivalence shape the作者: 收到 時(shí)間: 2025-3-27 20:21 作者: Gleason-score 時(shí)間: 2025-3-28 00:53 作者: 過時(shí) 時(shí)間: 2025-3-28 05:49
Queer Craft and Radical Cuts: Tradition, Transgenderism, and the Malay-Muslim Body in the Work of An in the creation of fictional material bodies. As the artist observes: “. (Without culture, without custom, one is as good as dead).” It is this tension between the conjuring of ., or traditional Malay custom, and Anne’s own position as a transgendered, Malay-Muslim individual, that produces new con作者: insolence 時(shí)間: 2025-3-28 06:14 作者: GEAR 時(shí)間: 2025-3-28 12:17 作者: Encoding 時(shí)間: 2025-3-28 14:42
https://doi.org/10.1007/978-3-476-05558-3eration for women and land in line with Native worldviews. Yazzie’s punchy, graphic images of women warriors remind us that Diné customs of gender fluidity predate the heteropatriarchal gender binary enforced by colonizers, yet the colonial influence lingers to this day. The artists’ mediums, styles作者: 和藹 時(shí)間: 2025-3-28 21:51
,Emilie Altenloh (1888 – 1985),ch she used her own body as her primary artistic medium?of political and social?activism. The distinctly South Korean version of Feminist art?will be discussed to broaden our understanding of the global feminist movements.作者: CLOWN 時(shí)間: 2025-3-29 01:22
Die ?administrative Lehre“ Henri Fayolsdifferences became essential in the process of forming the discourse of contemporary art and its ideological contexts. In the early 1990s, several significant feminist exhibitions took place, indicating a new attitude towards women’s identity/self-identification and their role in Russian society and作者: 強(qiáng)制性 時(shí)間: 2025-3-29 04:50
Klassische Diesel-Einspritzsystemeplicated, contradicting nature of the DMZ without overlooking the element of reality?”; and “how do we offer new, memorable insights into important political issues through artistic and experiential processes?” This chapter illustrates how the collaboration during the . exhibition contributed to sol作者: 微枝末節(jié) 時(shí)間: 2025-3-29 08:32 作者: Fabric 時(shí)間: 2025-3-29 12:12 作者: 拾落穗 時(shí)間: 2025-3-29 17:19
Klassische Wahrscheinlichkeitsrechnungan embodied exploration of contamination, borders, and fear of the unknown. Its reimagining approached the original story as a manuscript capable of revealing the organization and modes of power within Western society: an inscription of political embodiment, social interaction, and the enforcement o作者: UTTER 時(shí)間: 2025-3-29 22:07 作者: 人工制品 時(shí)間: 2025-3-30 01:10
Introduction: Artists for Political Engagement: A Table for Women and Gender Non-conforming Artistsology spread around the globe, many women artists became vocal opponents of political regimes or pioneers of civic activism; in more recent decades, LGBTQI artists have also pushed back against cultural and political barriers. However, the political engagements of these groups in the art-making proc作者: 半圓鑿 時(shí)間: 2025-3-30 04:33 作者: 流利圓滑 時(shí)間: 2025-3-30 10:30
Spanking Confucius: The Feminist Protest Art of Kang-ja Jungch she used her own body as her primary artistic medium?of political and social?activism. The distinctly South Korean version of Feminist art?will be discussed to broaden our understanding of the global feminist movements.作者: genuine 時(shí)間: 2025-3-30 16:04 作者: Munificent 時(shí)間: 2025-3-30 17:20
The Personal and the Political in Liminal Space: A Conversation Between Sandy Lane and Joo Yeon Woo plicated, contradicting nature of the DMZ without overlooking the element of reality?”; and “how do we offer new, memorable insights into important political issues through artistic and experiential processes?” This chapter illustrates how the collaboration during the . exhibition contributed to sol作者: Charitable 時(shí)間: 2025-3-30 22:19
