Marie-Louise Ester Maude Ekman, née Fuchs, known during her first marriage under the surname De Geer, during and after her second as De Geer Bergenstråhle is a Swedish painter and film director. She is former rector at the Royal University College of Fine Arts, Stockholm. In 1991 at the 26th Guldbagge Awards she won the Creative Achievement award and in 2007 was awarded the prestigious Prince Eugen Medal. Since 2009 Ekman has been Managing Director of Sweden's national stage, she was married 1966–1971 to the artist Carl Johan De Geer, 1971–1980 to the director and writer Johan Bergenstråhle, to actor and stage director Gösta Ekman from 1989 until his death in 2017. 1976 - Hallo Baby 1977 - Mamma, barn 1979 - Barnförbjudet 1983 - Moderna människor 1985 - Stilleben 1990 - Den hemliga vännen 1991 - Duo Jag 1992 - Vennerman & Winge 1996 - Nu är pappa trött igen 2001 - Puder 2005 - Asta Nilssons sällskap Marie-Louise Ekman on IMDb Marie-Louise Ekman at the Swedish Film Database
Iman Issa is an Egyptian multi-disciplinary artist whose work looks at the power of display in relation to academic and cultural institutions at large. Issa has participated in numerous group exhibitions, her most notable shows include the solo exhibition, Iman Issa: Heritage Studies at MACBA, Iman Issa: Heritage Studiesat the Pérez Art Museum Miami, Material at Rodeo, Istanbul. Her videography has been featured at the Transmediale, Institute of Contemporary Art, Tate Modern, Spacex, Open Eye Gallery and Bidoun Artists' Cinema, she lectures at the New School and is a part-time professor at the Cooper Union's School of Arts. Issa works between Cairo and New York City. Iman Issa was born in Cairo, Egypt in 1979. In 2001, she completed her bachelor's degree at the American University in Cairo, she studied philosophy and political science, continued to pursue photography when the university launched a visual arts program. Issa moved to New York in 2005, completed her MFA at Columbia University two years later.
Iman Issa has been producing art since 2001 in various mediums including sculpture, text and photography. Memory and familiarity permeate Issa's work as she navigates through history and political and civic duty, she incorporates three major themes in her art: specificity and movement. Curator Ryan Inoyue of Sharjah Biennial 12 writes that Issa has "developed an aesthetic that mines the latent meaning and transformational potential of objects and figures that appear out of sync with our times." Many of her artworks have been inspired by existing monuments or objects but these initial sources of inspiration remain unknown. Hints are provided in subjective titles which describe something about the original work, but in subverting titular restrictions, Issa opens up her works for reinterpretation and communication, her artwork is aesthetically minimalist and at times, incorporates various mediums to culminate in one artwork she calls a "display." Heritage Studies is an ongoing series of paired sculptures and texts that explores the void between object and history, unsettling the stability of form and meaning as cultural objects navigating through time and space.
Unlike her previous series, Heritage Studies focuses on artifacts from ethnographic and anthropological museums whose meanings are constructed by their designations which she feels have a "particular resonance and communicative ability in the present." Issa engages these objects with history as an existent to designate relationships between sites and artifacts that are contemporarily relevant. Each artwork is presented as a museological display with predetermined didactic labels by the artist; these labels and texts are ambiguous. This sculpture has been acquired by the Solomon R. Guggenheim Museum in New York and will be featured in the upcoming show, But a Storm is Blowing from Paradise: Contemporary Art of the Middle East and North Africa; this body of works has been displayed in solo exhibitions at MACBA and PAMM. This series pairs texts to reevaluate and reinterpret visual art from the 20th century. Issa aims to unpack the possibilities of the original works' titles in order to offer new physical expression of their meanings.
Issa remakes historical artworks— including drawings, oil paintings, lithographs—by presenting framed texts that detail the original work with a new reinterpreted artwork, never disclosing the original art. The display's title is only a hint; the viewer's role is to reconsider the relationship between object and language. Lexicon was first shown in 2014 at the 8th Berlin Biennial and shown again in 2015 at Rodeo Gallery, London; this installation was first revealed in the Abraaj Group Art Prize exhibition, "extra | ordinary" in 2013. It consists of 54 framed text panels, 14 framed chromogenic prints, five wooden sculptures, five painted white plinths, a caption; the text panels feature quotes from the famous Arab writers: Edward Said, Mourid Barghouti, Taha Hussein, Nawal Al-Saadawi. Issa picked five autobiographies from the aforementioned writers and lifted excerpts that communicated snippets of their lives tied to broader socio-political context. Functioning as one comprehensive installation, each component contributing to the overall narrative Issa wished to communicate.
In this body of work, Issa considers sculpture studies as proposals to replace existing monuments she has known since she was a child. Issa understands the language of monuments and memorials to be limiting and simplistic but used the constraints to probe for deeper context. Once again, the titles of displays are vaguely reminiscent of existing monuments, yet she named them subjectively. One example title is Material for a sculpture commemorating an economist whose name now marks the streets and squares he once frequented; this is an audio piece written by Issa and narrated by text-to-speech software which creates an image of a revolutionary character. Each display in Triptychs has three parts: on the left is a small shot of an urban space, a larger photograph with a neutral background displaying disparate subjects, a three-dimensional element on a shelf or stand. Issa initiated her series by taking images of alluring spaces she frequented that triggered memories and associations for her. Belvedere 21er Haus Artist
Laurel Ptak is an artist, curator and educator based in New York City. She is director and curator of the artist-founded non-profit organization Art in General in New York City. A multidisciplinary figure inside the field of culture, she has made contributions across disciplines of photography, new media, social practice art and technology, she was named one of 100 top Leading Global Thinkers by Foreign Policy magazine in 2014. She is an MFA professor in the School of Art and Technology at The New School and faculty member in the Curatorial Practice graduate program at the School of Visual Arts, her work has looked at the social effects of technology and recent projects have taken up topics including feminism and social media. She is co-editor of the book Undoing Property? with artist Marysia Lewandowska. Its essays and artistic projects explore themes of immaterial labor, political economy and the commons. One of Ptak's best known projects, Wages For Facebook, draws upon ideas from the 1970s international Wages for housework feminist campaign to think through contemporary relationships of capitalism and affective labor inside social media.
When it launched as a website it drew over 20,000 views and was and internationally debated via social media and the press, setting off a public conversation about worker’s rights and the nature of labor, as well as the politics of its refusal, in the digital age. She is a co-founder of the award-winning Art+Feminism Wikipedia-Edit-A-Thon project which addresses gender disparities online and their effects on public forms of knowledge, with public edit-a-thons organized each year at the Museum of Modern Art in New York City and co-organized by numerous art institutions and universities around the world. Ptak studied art, critical theory and art history at Hampshire College and holds an M. A. in curating and the history of contemporary art from the Center for Curatorial Studies at Bard College where she wrote her graduate thesis on feminist art from the 1990s
Mai-Thu Perret is a Swiss artist of Franco-Vietnamese origin. Perret's work is multidisciplinary, installation-based, performative, combining feminist politics with literary texts, homemade crafts and 20th century avant-garde aesthetics. Perret was born in Geneva, Switzerland in 1976, she received her BA in English Literature from Cambridge University, England in 1997. From 2002 to 2003, Perret was enrolled in the Whitney Independent Study Program at the Whitney Museum of American Art, New York, NY. Since 1999, Mai-Thu Perret has been working on a project entitled The Crystal Frontier - a chronicle of the lives and work of a fictional group of women self-exiled in New Mexico. Calling their utopian feminist commune "New Ponderosa Year Zero." Perret's multidisciplinary project manifests in a number of ways, including film, writings, artifacts and more, all produced by the women in the fictitious commune."New Ponderosa Year Zero is the true life story of a group of girls, in their 20s and 30s, who decided to follow the activist Beatrice Mandell and create an autonomous community in the desert country of New Mexico.
While the reasons for their discontent with mainstream society were different for each of the girls, they all shared the desire to give this unlikely social experiment a try. The decision to make it all-female did not stem from their personal hatred of men, but from Mandell's conviction that a non-patriciarchal social organization had to be built from the ground up, starting with a core group of women who would have to learn how to be self-sufficient before being able to include men in the community. Mandell's theories were a mixture of classic feminist beliefs about the oppression of women, what could best be described as her psychedelic-pastoral tendencies."Perret's background in literature provides a starting point for her interdisciplinary work. Inspired by autonomous and squatting communities in her hometown of Geneva, Perret blends her reverence for modernist movements such at the Bauhaus into cross-platform artworks. Since 2016, the artist has moved on from The Crystal Frontier body of work to focus on other narrative projects.
Perret integrates historical figures from art and literature into her work, as with her sculpture Autoprogettazione I, a kiln-fired concrete copy of an Enzo Mari table meant to be produced by the general public, revolutionizing the furniture industry in the mid-1970s. With the new body of work, Les guérillères X, Perret is developing an all-female militia: life-size female figures sculpted from materials such as ceramic, papier-mâché, latex and armed with rifles made of translucent plastic. Perret has a number of aquatint works and a sculpture in the collection of the Museum of Modern Art, as well as a few sculptural pieces and a print in the collection of the San Francisco Museum of Modern Art. In 2011, Perret presented Love Letters in Ancient Brick, a dance performance piece at the Swiss Institute/ Contemporary Art New York. Love Letters was choreographed in collaboration with Laurence Yadi, inspired by American comic- strip artist George Herriman’s seminal work Krazy Kat. For the 2014 Biennale of Moving Images in Geneva, Perret presented Figures.
The production featured a life-sized marionette and took influence from bunraku, a Japanese style of puppetry. In 2016, in conjunction with Sightings, a solo exhibition at the Nasher Sculpture Center in Texas, Perret presented a restaging of the 2014 Figures and a new piece o, described as a "series of interventions throughout the museum." In discussing The Crystal Frontier, Perret has cited a number of influences. Namely, Robert Smithson's text The Crystal Land. Other influences include Herland by Charlotte Perkins Gilman and The Blazing World by Margaret Cavendish, Duchess of Newcastle. Perret has contributed to Frieze Magazine with an essay on the work of Ree Morton. Perret's current body of work, Les guérillères X is influenced by the avant-garde writer and feminist theorist Monique Wittig and her 1969 book Les Guérillères. In 2011, Perret was awarded the Zurich Art le Prix Culturel Manor, her work was a part of the 54th Venice Biennale under curator Bice Curiger's ILLUMInations. Perret, Mai-Thu Mai-Thu Perret: Land of Crystal.
Zurich, Switzerland: JRP Ringier. Y.: Distributed by D. A. P./Distributed Art Publishers, 2008. ISBN 978-3905701555 Perret, Mai-Thu Mai-Thu Perret. Zurich, Switzerland: JRP Ringier. Y.: Distributed by D. A. P./Distributed Art Publishers, 2011. ISBN 978-3037642016 2014 Biennale of Moving Images Swiss Institute of Contemporary Art
Walid Raad is a contemporary media artist. The Atlas Group is a fictional collective, the work of, produced by Walid Raad, he lives and works in New York, where he is an Associate Professor at the School of Art at the Cooper Union School of Art. His works to date include film, multimedia installations, accompanying public performances and literary essays. All, in one way or another, deal with the contemporary history of Lebanon with particular emphasis on the wars in Lebanon between 1975 and 1991; the work is often concerned with the representation of traumatic events of collective historical dimensions. He is a member of the Arab Image Foundation. Walid Raad was born in 1967 in Christian East Beirut to a Lebanese father. Raad's dream was to become a photojournalist, it was his father who helped to create a home darkroom. Since his teen years Raad has been introduced to the photographic medium as well as European photography magazines such as Photo and Photo Reporter, where he saw the work of Eugène Atget, Henri Cartier-Bresson, Man Ray, Diane Arbus, Helmut Newton.
Ra'ad had to relocate to the United States. He received his BFA from the Rochester Institute of Technology in 1989, where he continued focused study of photography. In addition to that he started taking classes in Middle Eastern studies, he comments: "I never got to learn anything about the history of the Arab world, or the history of Lebanon in a serious way. That training was in the United States." He went on to complete his MA and Ph. D. in Cultural and Visual Studies at the University of Rochester in 1993 and 1996, respectively. He completed a dissertation based on writing by American and European hostages held in Lebanon in the 1980s during the country's civil wars. Working on the dissertation Raad had to encounter extensive work with archives and archival documents, as well as obtaining theoretical literacy and presentation skills to meet the demands of a PhD; those skills Raad will employ throughout his artistic practice. Raad's video works include Talaeen a Junuub, I Think It Would Be Better If I Could Weep a collection of video shorts titled The Dead Weight of a Quarrel Hangs, Hostage: The Bachar Tapes, 18 min.
2000). Mixed-media projects include The Atlas Group: Documents from The Atlas Group Archive, The Loudest Muttering Is Over: Documents from The Atlas Group Archive, My Neck Is Thinner Than A Hair; the artists is a member of the Fondation Arabe pour l’image, founded in Beirut in 1996, which collects and exhibits photographic testimony from the Arab world. In this context Raad has co-curated with Akram Zaatari the exhibition titled Mapping Sitting: On portraiture and Photography, an investigation in Arab photography and its relationship to questions of identity. In June 2009, "The Atlas Group" exhibition opened at the Reina Sofia in Madrid. Undertaken by Raad, the project aimed to research and document the contemporary history of Lebanon the years between 1975 and 1991; the exhibition - consisting of installations and photographs - attempts to draw awareness to the various ways in which history is told and sometimes manipulated. From this perspective The Atlas Group archive's fictional character makes it a kind of counter-archive to the FAI.
Raad has collaborated with Chinese American artist David Diao, their work was shown in fall 2012 at Paula Cooper Gallery. In the late 1990s Raad created a fictional foundation called The Atlas Group in order to accommodate and contextualise his growing output of works documenting the Lebanese Civil Wars dated 1975–1990. Within Atlas Group Raad produces artworks, addressing the infrastructural and psychic devastation wrought by the wars, which he re-dates and attributes to an array of invented figures who in turn are said to have donated these works directly or by proxy to The Atlas Group archive. Regardless of original medium of the documents, Raad processes and outputs all of his work digitally consciously adding another layer of documentary intervention to his overarching fictional conceit. Raad states the fictional dimension of the collective applying complex methodology and performative dimension of Atlas Group presentation to blur the line between fiction and reality:"In different places and at different times I have called the Atlas Group an imaginary foundation, a foundation I established in 1976, a foundation established in 1976 by Maha Traboulsi.
In Lebanon in 1999, I stated, "The Atlas Group is a nonprofit foundation established in Beirut in 1967." In New York in 2000 and in Beirut in 2002, I stated, "The Atlas Group is an imaginary foundation that I established in 1999." I say different things at different times and in different places according to personal, historical and political considerations with regard to the geographical location and my personal and professional relation with the audience and how much they know about the political and cultural histories of Lebanon, the wars in Lebanon, the Middle East, contemporary art. I always mention in exhibitions and lectures that the Atlas Group documents are ones that I produced and that I attribute to various imaginary individuals, but this direct statement fails, in many instances, to make evident for readers or an audience the imaginary nature of the Atlas Group and its documents." Not th
Corita Kent, born Frances Elizabeth Kent and known as Sister Mary Corita Kent, was an American Roman Catholic religious sister and educator. She worked exclusively with silkscreen known as serigraphy, pushing back the limitations of the two-dimensional medium by the development of innovative methods. Kent's emphasis on printing was due to her wish for democratic outreach, as she wished for affordable art for the masses, her artwork, with its messages of love and peace, was popular during the social upheavals of the 1960s and 1970s. After a cancer diagnosis in the early 1970s, she entered an prolific period in her career, including the Rainbow Swash design on the LNG storage tank in Boston, the 1985 version of the United States Postal Service's special Love stamp. In recent years, Corita has gained increased recognition for her role in the pop art movement. Critics and theorists failed to count her work as part of any mainstream "canon," but in the last few years there has been a resurgence of attention given to Kent.
As both a nun and a woman making art in the twentieth century, she was in many ways cast to the margins of the different movements she was a part of. Corita's art was her activism, her spiritually-informed social commentary promoted love and tolerance. Frances Elizabeth Kent was born in Fort Dodge, Iowa in 1918. Upon entering the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles in 1936, Kent took the name Sister Mary Corita, she took classes at Otis and Chouinard Art Institute and earned her BA from Immaculate Heart College in 1941. She earned her MA at the University of Southern California in Art History in 1951. Between 1938 and 1968 Kent worked in the Immaculate Heart Community, she taught in the Immaculate Heart College and became the chair of its art department in 1964. Her classes at Immaculate Heart were an avant-garde mecca for prominent, ground-breaking artists and inventors, such as Alfred Hitchcock, John Cage, Saul Bass, Buckminster Fuller and Charles & Ray Eames.
Kent credited Charles Eames, Buckminster Fuller, art historian Dr. Alois Schardt for their important roles in her intellectual and artistic growth. By the early 1950s, she had such a unique and well-known aesthetic and teaching style that clergy members from all over the country were sent to be educated at Immaculate Heart College, her students were drawn to her selflessness and unique teaching methods such as large class assignments like asking students to create 200 drawings or take three hours to draw their arm without looking at what they were creating. She toured the following decade. After the Second Vatican Council, Kent transformed Immaculate Heart College’s annual Mary’s Day procession into a community celebration, part of the sister’s campaign to bring secular people together. During this time, Kent’s work became political, addressing events such as the Vietnam War and humanitarian crises. For example, she was commissioned by the Physicians for Social Responsibility to create what she called “we can create life without war” billboards.
Tensions between the order and church leadership were mounting, with the Los Angeles archdiocese criticizing the college as “liberal” and Cardinal James McIntyre labeling the college as “communist” and Kent’s work as “blasphemous.” Due to this, Kent returned to secular life in 1968 as Corita Kent. Most sisters followed suit and the Immaculate Heart College closed in 1980. In 1985, Kent’s design for a United States Postal Service Stamp is issued, she did not attend the unveiling because she wanted it to happen at the United Nations and was not happy with the message, sent when the design was unveiled on the Love Boat. Her 1985 work "love is hard work" was made in response; the stamp itself sold successfully- over 700 million times. After she left the order, she moved to Boston, her split from the Immaculate Heart Community was emotional and difficult for her, since her religious faith was a central element of her life for decades. Corita Kent was diagnosed with cancer in 1974. After this diagnosis, in the Back Bay of Boston, Kent confined her art to water color painting and only pursued printmaking if it was in order to say something substantiative.
She died on September 1986 in Watertown Massachusetts at the age of sixty-seven. She left unsold works to the Immaculate Heart College Community. Kent created several hundred serigraph designs, for posters, book covers, murals, her work includes the 1985 United States Postal Service stamp Love and the 1971 Rainbow Swash, the largest copyrighted work of art in the world, covering a 150-foot high natural gas tank in Boston. Kent was commissioned to create work for the 1964 World’s Fair in New York, the 1965 IBM Christmas display in New York, her 1951 print, The Lord is with Thee had won first prizes in printmaking at the Los Angeles County Museum of History, Art, at the California State Fair. By the 1960s, Kent had shown work at 230 exhibitions across the country and her work was included in the collections of the Museum of Modern Art, the Los Angeles County Museum, the Metropolitan Museum of Art. Corita Kent worked at the intersection of several powerful and at times contradictory cultural and religious influences.
Corita Kent, inspired by the works of Andy Warhol, began using popular culture as raw material for her work in 1962. Her screen prints incorporated the archetypical product of brands of American consumerism alongside spiritual texts, her design process involved appropriating an original advertising graphic to suit her idea.
Shirin Neshat is an Iranian visual artist who lives in New York City, known for her work in film and photography. Her artwork centers on the contrasts between Islam and the West and masculinity, public life and private life and modernity, bridging the spaces between these subjects. Neshat has been recognized countless times for her work, from winning the International Award of the XLVIII Venice Biennale in 1999, to winning the Silver Lion for best director at the 66th Venice Film Festival in 2009, to being named Artist of the Decade by Huffington Post critic G. Roger Denson. Neshat is the fourth of five children of wealthy parents, brought up in the religious town of Qazvin in north-western Iran under a "very warm, supportive Muslim family environment", where she learned traditional religious values through her maternal grandparents. Neshat's father was her mother a homemaker. Neshat said that her father "fantasized about the west, romanticized the west, rejected all of his own values. What happened, I think, was that their identity dissolved, they exchanged it for comfort.
It served their class". As a part of Neshat's "Westernization" she was enrolled in a Catholic boarding school in Tehran. Through her father's acceptance of Western ideologies came an acceptance of a form of western feminism. Neshat's father encouraged each of his daughters to "be an individual, to take risks, to learn, to see the world", he sent his daughters as well as his sons to college to receive their higher education. In 1975, Neshat left Iran to study art at UC Berkeley and completed her BA, MA and MFA. Neshat graduated from UC Berkeley in 1983, where she soon moved to New York City, it was there she realized that making art wasn't going to be her profession at the time. After meeting her future husband, who ran the Storefront for Art and Architecture, an alternative space in Manhattan, she dedicated 10 years of her life to working with him at the storefront, where her true education began. During this time, she did not make any serious attempts at creating art, the few attempts were subsequently destroyed.
She was intimidated by the New York art scene and believed the art she was making was not substantial enough. She states "those ten years I made no art, the art I did make I was dissatisfied with and destroyed."In 1990, she returned to Iran, one year after Khomeini's death. "It was one of the most shocking experiences that I have had. The difference between what I had remembered from the Iranian culture and what I was witnessing was enormous; the change was both exciting. Most noticeable, of course, was the change in people's physical appearance and public behavior."As the Storefront ran like a cultural laboratory, she was exposed to creators like artists and philosophers. In 1993 Neshat began to make art again, starting with photography. Neshat's earliest works were photographs, such as the Unveiling and Women of Allah series, which explore notions of femininity in relation to Islamic fundamentalism and militancy in her home country; as a way of coping with the discrepancy between the culture that she was experiencing and that of the pre-revolution Iran in which she was raised, she began her first mature body of work, the Women of Allah series, portraits of women overlaid by Persian calligraphy.
Her work refers to the social and religious codes of Muslim societies and the complexity of certain oppositions, such as man and woman. Neshat emphasizes this theme showing two or more coordinated films concurrently, creating stark visual contrasts through motifs such as light and dark and white, male and female. Neshat has made more traditional narrative short films, such as Zarin; the work of Neshat addresses the social and psychological dimensions of women's experience in contemporary Islamic societies. Although Neshat resists stereotypical representations of Islam, her artistic objectives are not explicitly polemical. Rather, her work recognizes the complex intellectual and religious forces shaping the identity of Muslim women throughout the world. Using Persian poetry and calligraphy she examined concepts such as martyrdom, the space of exile, the issues of identity and femininity. In 2001–02, Neshat collaborated with singer Sussan Deyhim and created Logic of the Birds, produced by curator and art historian RoseLee Goldberg.
The full length multimedia production premiered at the Lincoln Center Summer Festival in 2002 and toured to the Walker Art Institute in Minneapolis and to Artangel in London. In this collaboration, as well as her other projects that incorporate music, Neshat uses sound to help create an evocative and beautiful piece that will resonate with viewers of both Eastern and Western cultures. In an interview with Bomb magazine in 2000, Neshat revealed: "Music becomes the soul, the personal, the intuitive, neutralizes the sociopolitical aspects of the work; this combination of image and music is meant to create an experience that moves the audience." Neshat was profiled in The New Yorker magazine on October 22, 2007. When Neshat first came to use film, she was influenced by the work of Iranian director Abbas Kiarostami, she directed several videos, among them Anchorage and, projected on two opposing walls: Shadow under the Web, Turbulent and Soliloquy. Neshat's recognition became more international