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Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums. Live Form shines new light on the relation of ceramics to the artistic avant-garde by looking at the central role of women in the field: potters who popularized ceramics as they worked with or taught male counterparts like John Cage, Peter Voulkos, and Ken Price. Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.

Women potters --- Ceramics --- Richards, Mary Caroline --- Wildenhain, Marguerite --- women, woman, womanhood, female, gender, ceramics, clay, pottery, craft, crafted, communal, community, relationships, interpersonal, history, historical, academic, scholarly, art, artistic, research, 20th century, contemporary, modern, textbook, abstract, creative, creativity, potter, america, american, marguerite wildenhain, mary caroline, mc, formalism, black mountain college, susan peterson, throwing, wheel.

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Working in New York and Vienna, Pop artist Kiki Kogelnik (1935-97) created colorful paintings, sculptures, collages and installations, exploring politics, the space age and the body. This volume focuses on her sculptural work and her performances and happenings.

Pop [fine arts styles] --- Kogelnik, Kiki --- anno 1900-1999

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A bold reappraisal of Land art through the pioneering work of 12 women sculptors. Using materials such as earth, wind, water, fire, wood, salt, rocks, mirrors and explosives, American artists of the 1960s began to move beyond the white cube gallery space to work directly in the land. With ties to Minimal and Conceptual art, these artists placed less emphasis on the discrete object and turned their attention to the experience of the artwork-however fleeting or permanent that might be-foregrounding natural materials and the site itself to create large-scale works located outside of typical urban art-world circuits. Histories of Land art have long been dominated by men, but Groundswell: Women of Land Art shifts that focus to shed new light on the vast number of earthworks by women artists. While their careers ran parallel to those of their better-known male counterparts, they have received less recognition and representation in museum presentations-until now. This book includes five scholarly essays, as well as a detailed chronology, exhibition checklist and illustrated biographies of exhibition artists. Groundswell is a resource for readers interested in understanding the historical Land art movement and our own relationship to the earth. Artists include: Lita Albuquerque, Alice Aycock, Beverly Buchanan, Agnes Denes, Maren Hassinger, Nancy Holt, Patricia Johanson, Ana Mendieta, Mary Miss, Jody Pinto, Michelle Stuart and Meg Webster.

Sculpture --- earthworks [sculpture] --- environmental art --- vrouwelijke kunstenaar --- vrouw in de kunst --- United States of America --- Art minimal --- Land art --- Femme --- Art conceptuel --- Etats-Unis --- Earthworks (Art) --- Women artists --- Conceptual art --- Environment (Art) --- Nature in art --- Femmes artistes --- Environnement (Art) --- Nature dans l'art --- Conceptual art. --- Nature in art. --- Expositions --- 2000-2099

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Abakanowicz, Magdalena ; Asawa, Ruth ; Barlow, Phyllida ; Benglis, Lynda ; Black, Karla ; Bontecou, Lee ; Bourgeois, Louise ; Bucher, Heidi ; Deville, Abigail ; Falkenstein, Claire ; Gego ; Genzken, Isa ; Gomes, Sonia ; Grossen, Françoise ; Hesse, Eva ; Hicks, Sheila ; Iglesias, Cristina ; Khedoori, Rachel ; Kusama, Yayoi ; Larner, Liz ; Maiolino, Anna Maria ; Merz, Marisa ; Nengudi, Senga ; Nevelson, Louise ; Pape, Lygia ; Schendel, Mira ; Schnitger, Lara ; Smith, Shinique ; Stockholder, Jessica ; Stuart, Michelle ; Upson, Kaari ; Von Rydingsvard, Ursula ; Wilke, Hannah ; Winsor, Jackie

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Some 250 works explore three distinct periods in American history when mainstream and outlier artists intersected, ushering in new paradigms based on inclusion, integration, and assimilation. The exhibition aligns work by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican with both historic folk art and works by self-taught artists ranging from Horace Pippin to Janet Sobel and Joseph Yoakum. It also examines a recent influx of radically expressive work made on the margins that redefined the boundaries of the mainstream art world, while challenging the very categories of "outsider" and "self-taught." Historicizing the shifting identity and role of this distinctly American version of modernism's "other," the exhibition probes assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. The exhibition is curated by Lynne Cooke, senior curator, special projects in modern art, National Gallery of Art.

art history --- avant-garde --- outsider art --- folk art [traditional art] --- self-taught artists --- outsider artists --- outsider art --- Edmondson, William --- Lankton, Greer --- Morgan, Sister Gertrude --- Pippin, Horace --- Ramírez, Martín --- Saar, Betye --- Scott, Judith --- Sobel, Janet --- Traylor, Bill --- Yoakum, Joseph --- Ramberg, Christina --- Sherman, Cindy --- Mullican, Matt --- Walker, Kara --- Darger, Henry --- Sheeler, Charles --- United States of America