Ready For Art Basel? Here Are 15 Women Artists Who Will Be Exhibited In Miami Beach
Whether or not you’ll be able to make it to Art Basel this weekend, there’s plenty to see– the show’s website includes information about an photos of the artworks that are going to be exhibited as well as the show’s sectors and artists. To celebrate the show opening tomorrow, here are fifteen extraordinary artworks from female artists who will be exhibited at Art Basel:
Marta Minujin, Revolución Productiva (1983): Minujin produced this sculpture the same year that Argentina, her home country, saw a return to democracy after seven years of military dictatorship.
Hannah Wilke, S.O.S. Starification Object Series (1974): Wilke created the little vulva-shaped objects that are stuck to her body out of chewing gum, and went on to use chewing gum as part of her artwork for several years.
Rosalyn Drexler, The Dream (1963): Drexler was part of the original wave of pop art that included Andy Warhol and Roy Lichtenstein, but never achieved the same status as her male peers, partly because her work addressed political themes.
Mira Schendel, Untitled (1970-1979): Schendel escaped Fascist Italy and settled in Brazil in 1953, where she became a modernist painter. Her work is influenced by Wittgenstein and phenomenology.
Susan Te Kahurangi King, Untitled (1960): King stopped speaking at the age of four, and has been communicating through her artwork ever since. Her paintings and drawings are largely considered Outsider Art, and early work such as this was influenced by Disney animations.
Helen Frankenthaler, Yearning (1973): Frankenthaler pioneered the second generation of Color Field painting and introduced the technique of staining by painting directly onto unprimed, turpentine-soaked canvas.
Anna Barham, https://soundcloud.com/banana_harm/sets/penetrating-squid (2015): Barham’s work connects visual art with digital art – the response codes in her works lead to URLs, this one, as the title indicates, a SoundCloud page with a thirty-minute talking track.
Marina Abramović, Levitation of Saint Teresa (2010): Abramović credits her strict upbringing in a Communist household in what used to be Yugoslavia for her ability to sit, stand, and be still for hours on end for her performance artworks.
Deana Lawson, Nikki’s Kitchen, Detroit, Michigan (2015): From Lawson’s bio page: “Lawson’s pictures speak to the ways that sexuality, violence, family, and social status may be written, sometimes literally, upon the body.”
Irma Blank, Radical Writings, Doppa pagina, dal libro totale IV (1985): Blank explained her artwork to Artforum as such: “The word is deceptive. Since the literary critiques of the 1960s, faith in the word has been largely lost. We see it still today: words, words, words that say nothing. The word is emptied of its meaning. I try to retrieve the space of silence, the unsaid.”
Keren Cytter, Red Hand (2014)
Cytter creates artworks – sharpie drawings, videos, and books – that are basically so self-aware that they’re sort of peak ironic post-modernism, but in a way that’s very funny and endearing and intentionally kitschy.
Ruby Oyinyechi Amanze, Either way, you’ll be in a pool of something (2015)
Amanze is a Nigerian artist whose artworks see “the freedom to play as revolutionary.”
Kara Walker, Excerpt from Underground Railroad (1996): You might know Walker’s name most recently from her sugar sphinx, A Subtlety, but she originally made her name with cut-out silhouettes like this that would fill entire rooms and immerse viewers into a disturbing, mythological-seeming version of the American South during the era of slavery.
Sylvie Fleury, Jane Fonda’s Original Stepper (2014): Sylvie Fleury is a contemporary pop and appropriation artist whose work explores themes like shopping.
Lygia Clark, Bicho parafuso Sem Fim MD (1962): Clark eventually abandoned art to work in psychotherapy, but before that, she made artworks that the viewer could touch or perform. Her Bichos can’t be folded flat, but they allow the viewer to make their own forms and their own experiences with the object by folding and playing with them.
[Images via Art Basel]
[Header image: Sylvie Fleury’s Eternity Now]
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