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Join us as we take you on a virtual tour of Out of Place: A Feminist Look at the Collection! Created by Catherine Morris, Sackler Senior Curator, Elizabeth A. Sackler Center for Feminist Art, and Carmen Hermo, Associate Curator, Elizabeth A. Sackler Center for Feminist Art. 

Starting with groundbreaking work by women artists, the show looks at practices once considered ‘out of place’ for reasons as varied as an artist’s identity, the community they came from, or the unconventional materials they used. 

Out of Place shows how artists once seen as outside the mainstream have enriched and changed art history and contemporary culture.

Out of Place is organized in three parts.

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Institutional Space highlights the important ways women artists have changed art historical conversations, adding feminism to abstraction for example, and proving that creative brilliance exists in domestic craft forms as much as it does in the more venerated mediums of painting and sculpture. 

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In the 1970s historical American quilts were shown on the walls of modern art museums for the first time, and a tradition once seen merely as women’s work and an outlet for domestic inventiveness was suddenly understood as a brilliant and ongoing history of creative abstraction with deep cultural legacies. Here a 1995 crazy quilt by Anna Williams (left) is paired with an 1890s Amish Bars quilt (right). 

Fun fact: It’s not what you think/it’s got nothing to do with insanity – the name crazy quilt comes from the surface looking splintered or crazed, like stained glass.

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Untitled (Frustula Series), circa 1978

A groundbreaking artist in New York in the 1970s, Beverly Buchanan enriched the often purely cerebral  Minimalism of the day with poignant narratives, evoking ruins, the geological world, and lost histories of African American communities through her strata-like, layered concrete constructions. 

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The Dwarves without Snow White, 1992

The horizontal orientation of this multi-part painting by Polly Apfelbaum deliberately departs from the traditional conventions of the medium. Composed of stained, crushed velvet, which the artist has called  “the perfect modern material,” for both its elegance and accessibility, The Dwarves without Snow White links the ridiculous misogyny of fairy tales with the oppressive social history of abstract expressionism. 

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Place Making recalibrates the influence of artists and art-making communities that thrive outside of art world epicenters. While artists with mainstream ambitions often feel the need to live in cities like New York – with major museums, galleries, and large creative communities ––  richly varied forms of creative expression that have always flourished in less heralded places continue to influence and change the mainstream in brilliant ways.

Many of the artworks in this section explore place as a subject or subtext.

Thornton Dial, The Town, 1987 (Right) 

An unflinching parody of white America turning a “blind eye” to the entrenched oppressions common under Jim Crow, Thornton Dial’s “The Town” features a lively and colorful townscape, hiding a menacing violence conveyed by cavorting figures– two with their eyes pointedly gouged out. This artwork, and several other highlights in the show, were gifted to the Museum in 2018 by Souls Grown Deep Foundation

God’s Gift to Man, 1987 (Left) 

God’s Gift to Man was a part of a significant gift of artwork by African American artists working in the South from the Souls Grown Deep Foundation. Constructed on and from a tree trunk sourced in the Tennessee woods, Bessie Harvey’s embellished female characters reflect the artist’s own struggle to reconcile her strong Christian beliefs with personal experiences of sexual violence.

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Judith Scott, Untitled, 1994

From 1987 to 2005, Judith Scott worked at Creative Growth, a studio-based program in Oakland, California, designed for artists with developmental disabilities. Scott’s compelling sculptural assemblages transform art history, telling a complex story about creativity and cognitive diversity. The Brooklyn Museum organized the first major retrospective of Judith Scott’s work in 2014.

Can you guess what found objects Scott incorporated inside this object?

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Mary Frank, The Apparition, 1959

Fun Fact: Mary Frank created The Apparition just a few years after completing studies at the Brooklyn Museum Art School. 

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Focusing on domesticity as a subject, or a site for artmaking, Domestic Space, feels particularly relevant   during our current social distancing moment. Including artists who worked at home, often carving out space to create within demanding economic and familial situations, this section makes connections to feminist critiques of domestic labor and art hierarchies.

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Mary Heilmann, Blinds, 1975

Mary Heilman’s paintings humorously ground abstraction in everyday life, in part in response to the long and at times oppressive shadow that Abstract Expressionism cast over painters of her generation. Heilman’s Blinds series was inspired by the artist’s private surroundings, and includes references to air vents, French doors, and window blinds. 

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Stella Waitzkin, Four Thousand Images, 1993

Stella Waitzkin was a lover of books as objects and metaphors for intellectual freedom. Casting them by the thousand as resin sculptures, Waitzkin created an elaborate environment full of domestic objects rendered as sculptural abstractions in her rooms at the Chelsea Hotel.

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Carolee Schneemann, Infinity Kisses II, 1990–98

Frequently disparaged by an art world that wasn’t ready for her trailblazing and challenging ideas,  Carolee Schneemann embraced her most radical creative impulses: In this case her self-determined role as an outlandish cat lady. Infinity Kisses is part of a decades-long project documenting a morning ritual with her cats Cluny and Vesper (who she saw as reincarnations of one being), exploring taboos around sensuality and love.

Thank you for joining us on our virtual tour of Out of Place: A Feminist Look at the Collection. Tune in next Sunday for another virtual tour of our galleries.

Installation views, Out of Place: A Feminist Look at the Collection, Brooklyn Museum (Photo: Jonathan Dorado)

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Happy Sunday!
30 seconds of loudness to keep the virus at bay?! Does that work? How about wearing garlic and silver crosses? The garage is back in business with teen son on the drums. #familylife #rockout #musicsaveslives #musician #stayhealthy #collectart #artconquersall #creativespace #guitarist #drummers #gibsonguitars #lespaulstandard #playguitar #museumlover #livegigs #garagebandmusic #me #myself
https://www.instagram.com/p/B-mWrmXnqls/?igshid=1of0w2kcgegnx

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Boy in a Turban holding a Nosegay -  Michiel Sweerts (1655)

Além de pintar cenas da vida nas ruas com personagens pitorescos inspirados por seus anos em Roma, Sweerts também produziu alguns retratos, além de uma série de homens e meninos idosos e jovens de meia e meia altura. Estas figuras são representadas contra um fundo escuro e liso, com a cabeça virada para o lado e a luz entrando pela esquerda. Entre os melhores exemplos está Boy in a Hat no Wadsworth Atheneum, Hartford.

A tela atual não faz parte dessa série, mas o tratamento da luz e da modelagem deriva da experiência do artista na Itália. A tela foi publicada e divulgada pela primeira vez ao público em geral quando foi incluída na exposição intitulada Artists in Rome do século XVIIrealizada em Londres em 1955. Nesse momento, foi catalogada como obra por Sweerts e é considerada uma de suas obras mais atraentes desde aquela data. Foi atribuído anteriormente a Francesco de Rosa, de acordo com uma etiqueta no verso.

Garoto em um turbante segurando um Nosegay foi associado ao grupo de pinturas que Sweerts executou no final de seu período em Amsterdã. O tema da pintura atual e o sexo da figura foram o foco do debate e deram origem a diferentes interpretações. As características delicadas e delicadas e o turbante que esconde o cabelo dificultam a definição precisa do assunto, e a tela era anteriormente intitulada Figura em um turbante. Foi somente em 1958, quando a pintura foi incluída em uma exposição em Sweerts, em Roterdã, que a babá foi descrita como um menino, uma leitura que foi mantida nos dias atuais.

A imagem desse menino é transmitida com um grande senso de volume através da modelagem e da combinação de cores escolhidas para as roupas. A grande área da capa azul, pintada de maneira altamente linear com relação à aplicação do pigmento e à construção das dobras, contrasta com o amarelo pálido do turbante, o imaculado branco da camisa e o vermelho de alguns dos as flores e a faixa. A brilhante representação do turbante e a pose e modelagem habilidosas da figura fazem desta uma das pinturas de maior sucesso de Sweerts.

freaklost
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So, of course you have to #rename the #art and #statues when you are at @nationalmuseumswe #art #sculpture#artwork #artist #artsy

#arts #arte #artoftheday #artistic #artofinstagram

#artwork #artistic #artlovers #artworks #art🎨

#museums #museumart #museumlover #museumday #museum
https://www.instagram.com/p/B-O39i4Dabg/?igshid=1dh7lfw91b49e

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