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I loved the use of Burman's colour, and how she is able to replicate an emotion within her artwork so effortlessly. I have also looked into some other pieces she has done, and found her to be a rather inspirational feminist. She created a piece surrounding the idea of 'poking fun at her own heritage for its unrealistic ideals of 'what women should be, and in her own words,'re-appropriating the meaning of her heritage.
In Phillipson's work; I liked her use of creating a kind of 'symbol' to represent the way our society is heading. Her way of expressing, rather theatrically and sarcastically by having a 'cherry' on top is quite amusing in its own right. I really appreciate the way she can play around with those sorts of ideas.

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I particularly am interested in the conversation about feminism and the self-empowerment she creates with her contemporary artwork.

https://whitecube.com/artists/artist/tracey_emin

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Kerri Jefferis - Low-fi/Sci-Fi workshop 4/10/21

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Kerri Jefferis - Low-fi/Sci-Fi workshop 4/10/21

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-Writing and creating short stories about futuristic topics.
-Improvisation
-Roleplay and art

Embracing story-telling and being a part of the 'unknowing'...
Choosing one's own adventure and asking, 'What next?' and 'What if?' when it comes to our own creative processes.

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'There have always been great women artists' Chila Burman (1986) 11/10/21

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'There have always been great women artists' Chila Burman (1986) 11/10/21

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Feminist artwork is always a kind of 'intervention'. Whether this is recovering forgotten female artists, redefining what good art is, and investigating the intersections of gender, race, and sexuality within the world.

ARTISTS:
Gentileschi - Female Painter who was also a survivour of rape.
Senzeni Marasela - Covering Sarah Series.
Faith Kinggold and her Mother - Quilting 'Echoes of Harlem, 1980'.
Guerrilla Girls - 'Do women have to be naked to get into the met museum?' Poster.

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Responds to Trafalgar Square as a site of celebration and protest, its point is to put an end to things that aren't right in our society. It does this by symbolically having a live-feed that shows its audience; somewhat hinting at a 'dystopian' future.

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'Do you see worlds in rainbows?' by Chila  Burman

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'Do you see worlds in rainbows?' by Chila  Burman

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This installation in the heart of Covent Garden, is about joy, calmness as well as her own heritage. The use of colour, lighting and texture allows us to view her blend of Indian and Western heritage.

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'What I've Learned from you & myself' by Adam Farah

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'What I've Learned from you & myself' by Adam Farah

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Zeinab Saleh – Softest place (on earth) 

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Zeinab Saleh – Softest place (on earth) 

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Phoebe Collings-James – A Scratch! A Scratch!

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Phoebe Collings-James – A Scratch! A Scratch!

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I love working in black and white graphite pencils as I love the stark contrast I can create in my work. My choices in what and why I create evolve all the time and I rarely stay to one particular topic, however, I have found it is always about recent, up-to-date issues I have personally faced and overcome.

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''As a potter you learn to shape the world''

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''As a potter you learn to shape the world''

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The exhibition aim: Demonstrating the significance of clay - within its 'material and spiritual legacies.'
Explores craft, labor, performance, and racial identity by using clay to convey the way buildings create communities.

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I love his use of texture and visible paint strokes in his figurative art.

https://www.royalacademy.org.uk/exhibition/lucian-freud-self-portraits

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A gallery that presents products of modernism, with its function being blank and silent.
'The history of modernism is ultimately framed by that space'
---> Monets Waterlillies, which are framed by its white wall background.

Creating a striking balance between the work and the overall decor of the gallery space.

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'Sorry to bother you (2018)'
American black comedy by Boots Riley

Young black telemarketer adopts a 'white' accent to succeed in his job. - He must choose between profit or joining his activist friends.

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'How long is now?': Nature of time and how we might work with it in art 8/11/21

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'How long is now?': Nature of time and how we might work with it in art 8/11/21

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Contemporary art - How and when the idea of 'now' comes into art.
Is time a universal concept? The idea of time between different cultures and how it can demonstrate itself differently in artwork across the world.

Swatch Internet time having no time zones.

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I took part in a collaborative exhibition called 'Connection'. This piece of work depicts myself in three different movements all blended, conveying the connection between my movement and my internal monologue. I often find myself daydreaming and having very peculiar dreams where I feel as though I drift from reality and find it difficult to connect with what task I should be doing at that time.

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Having an open space with natural daylight, and my own inspiration (whether thats my favoruite pieces I've made or prints of other artists work).

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Drawing on the Thames session w/ Kathleen

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Drawing on the Thames session w/ Kathleen

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Drawing on the Thames Session w/ Kathleen

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Drawing on the Thames Session w/ Kathleen

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For a long time I have been rather fascinated with different modes of investigations from things ike criminology and public enquiries.
From speaking with my personal tutor, Alberto, We have been able to fund my passion and I have been experimenting with putting my passion for criminal justice, specifically feminism and femicide into my practise. I have read two books so far on this topic and documented what I have found interesting (EVIDENCE, by Larry Sultan and Mike Mandel) & (Scene of the Crime by Ralph Rugoff, Vidler Anthony and Wollen Peter)

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What is it about? - A collection of art that demonstrates a 'Call to Action' throughout history, and how these amazing female artists dealt with these prejudices.

The Audience? - The most important part of this curation is that the audience is able to connect with the artwork shown and to be able to take away this message when they leave the exhibit.

Funding and Budget? - I would need to start adding all the costs together. These fees could include the artist's fees, the people putting up the work, lighting, shipping, and handling of artwork, advertising and the cost of the space itself, or any insurance needed on the work and people visiting in case of accidents. Through research, I have found that it may be possible to apply for certain grants and loans from places locally that would like to be involved in this type of exhibition, and are also able to gain some exposure for showing their support towards the feminist movement.

Get Journalists to write about it! - Demonstrate your understanding of what work you are showing, in this case, a heavily detailed discussion on forgotten feminist artists, and provide knowledge on why this curation is important as it can educate more on feminism and how important it is that we don't forget how important these movements are and how they need to continue.

Opening Day! - I should also add into the budget things like food and drinks to be provided, as the audience may feel a bit more enticed to come! It's all about pleasing the audience and making them feel excited and welcome, and this is the perfect time to answer any questions the audience may want to ask before we even get into the exhibited works. Branding in this case could then also be important as I would want the audience to know who to talk to about any questions or to start a range of discussions about future curations and to gain knowledge about what I could do next time and gain contacts.

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Looking into the irony of her stolen work...

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Does the text look familiar?
That's because Supreme, the incredibly well-known over-priced designer brand quite literally ripped off her work. James Jebbia (the creator of supreme) likes to say he was 'inspired' by her white Futura font on a red box. Ironically, Barbara Kruger's work is about the anti-capitalist world and puts this text over 1950s advertising media.
In response to this another clothing company, which was run by women, made a response to this by releasing beanies that said 'supreme bitch' on them. It wasn't until they attempted to trademark this that Supreme started a $10 million dollar lawsuit.
You can probably catch on as to why I chose Barbara Kruger's work in my exhibition for female feminist artists. It's the whole irony that she can have her work ripped off and stuck onto items, and capitalise off of her, yet no one can do the same to James Jebbia. Kruger's hilarious response was to say 'What a ridiculous clusterfuck of totally uncool jokers.

Sourced information: https://www.thecut.com/2017/11/i-think-about-when-barbara-kruger-dragged-supreme-a-lot.html

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Part of the 1990s Young British Artists. Her work strips back the fundamentals of what it is to be a woman in societies eyes and quite literally made that into an object. I find this piece of significant value to this curation as it is able to speak for itself without much description needed. Those who understand what it is like to be 'woman' will understand it.

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Formed in 1985, a group of anonymous female artists came together in New York City with the notion of collaborating gender and racism into mainstream art communities.

These 'great women artists' formed in 1985 when the Museum of Modern Art curated an exhibition that was supposed to entail 'an international Survey of Painting and Sculpture'. To much disappointment, the 169 artists included only thirteen women and no black artists. The Guerrilla Girls were rightly furious with this as there were so many women and black artists so they protested and plastered posters all over the streets of New York and the museum.
To this day they still protest for the exposure of both women and black artists and want to be taken more seriously.

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-Photography, Painting and Drawing
- Exhibited pieces in the  Imperial War Museum, London and the West Collection, Oaks and Pennsylvania.
- Pieces of Art include:  Catalyst: Contemporary Art & War (Imperial War Museum North, Manchester, 2013-14); Homage to January (Division of Labour / Worcester Museum & Art Gallery, 2014) Paysages conçus pour les drones (Galerie des petits carreaux, Paris, 2014) We Are History (Beaconsfield, London, 2014) and Turning Points at the Hungarian National Gallery, Budapest. His book: Landscape and the Science Fiction Imaginary was published by University of Chicago Press in 2018

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- Previous student at Middlesex University
- Works from using performance into video
International and National Exhibitions:  Ann Arbor Film Festival, Michigan, USA (2019); Visions in the Nunnery, London (2018); Terror Has No Shape, Camden Arts Centre, London (2018), Alchemy Film Festival, Hawick, Scotland (2018), Oriel Davies Open, Newtown, Wales, (2018); and The Modern Language Experiment, Folkestone Triennial (2017). Recent prizes include: Hauser & Wirth First Prize and Soho House Mentoring Prize for Black Swan Open (2018) and First Prize for Creekside Open (2017). In her recent solo show at Danielle Arnaud, London, Please call me home, 2021, she transformed the intimate space into ‘a series of unsettling screen bodies, punctuated by strewn metal skins.’