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首页> 外文期刊>Textile >Unpicking the Narrative: Difficult Women, Difficult Work
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Unpicking the Narrative: Difficult Women, Difficult Work

机译:揭开叙事:困难的女人,艰辛的工作

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摘要

Freddie Robins discusses her practice with curators Day+Gluckman in the context of textiles, feminism, heritage, and art practice. Using examples of her work and exhibition profile, they will consider how her career and practice has developed as an artist working with textiles and whether she consciously considers it to have a feminist voice; whether gender still has a pivotal role in how textiles are read and how Freddie's work continues to contribute to that debate. Linking to recent Day+Gluckman exhibitions that have included Freddie- Concerning Matter in 2009, Fifties, Fashion and Emerging Feminism in 2011, andmore recently, Liberties: Reflecting on 40 Years Since the Sex Discrimination Act-the conversation will look at how textiles have been curated into exhibitions, for example, FABRIC (2014) and Entangled (2017), examining curatorial hierarchies and whether there is a perceived or actual fear in displaying objects that do not hold their shape. They will also discuss the propensity of echo chambers in the art world? and beyond-are we only talking to each other?! How do artists and curators identify their audiences and is there a gendered snobbery about the "right type" of audience?
机译:弗雷迪·罗宾斯(Freddie Robins)与策展人Day + Gluckman讨论了她在纺织品,女权主义,传统和艺术实践方面的实践。他们将以她的作品和展览概况为例,来考虑她作为一名从事纺织品工作的艺术家的事业和实践如何发展,以及她是否有意识地认为它具有女权主义的声音;性别在纺织品的阅读方式以及房地美的工作如何继续助长这场辩论中是否仍然起着关键作用。与最近的Day + Gluckman展览相关,其中包括2009年的房地美(Freddie-Concerning Matter),2011年的五十年代,时尚和新兴女权主义,以及 r n最近的《自由:反思《性别歧视法》以来的40年”。如何将纺织品策划成展览,例如FABRIC(2014)和Entangled(2017),检查策展层次结构,以及在展示不保持其形状的物体时是否存在感知或实际的恐惧。他们还将讨论艺术世界中回声腔的倾向吗?还有,我们只是互相交谈吗?艺术家和策展人如何识别观众,并且“正确类型”的观众是否有性别歧视?

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