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The examination of the need for there to be a separate field of feminist aesthetics is discussed. If there is a separate field, women's art gets defined as feminist, then it assumes that the “normal” and all other art is automatically categorized as masculine. [11] The idea of the creative genius is inspected in feminist aesthetics. In ...
Wilke first gained renown with her "vulval" terra-cotta sculptures in the 1960s. [15]Her sculptures, first exhibited in New York in the late 1960s, are often mentioned as some of the first explicit vaginal imagery arising from the women's liberation movement, [15] and they became her signature form which she made in various media, colors and sizes, including large floor installations ...
The Federation of Feminist Women's Health Centres originated in Los Angeles, and subsequent member clinics opened throughout California, Tallahassee, Florida, Atlanta, and Georgia. Women's health movement historian Sandra Morgen notes, "Until the National Black Women's Health Project... in the 1980s, the FFWHC was the only multiple-site group ...
A feminist health center is an independent, not-for-profit, alternative medical facility that primarily provides gynecological health care. Many feminist health centers were founded in the 1970s as part of the women's health movement in the United States .
In the 1860s, Los Angeles County appointed a County Physician, and a small hospital for the poor in Los Angeles was established. [6] The Department of Charities was formed in 1913 and included five Divisions: County Hospital, County Farm, Outdoor Relief, Olive View Sanatorium, and Cemetery Divisions. [7]
Suzanne Lacy (born 1945) is an American artist, educator, writer, and professor at the USC Roski School of Art and Design. She has worked in a variety of media, including installation, video, performance, public art, photography, and art books, in which she focuses on "social themes and urban issues."
The Woman's Building focused on feminist art and served as a venue for the women's movement and was spearheaded by artist Judy Chicago, graphic designer Sheila Levrant de Bretteville and art historian Arlene Raven. [1] The center was open from 1973 until 1991. [2] During its existence, the Los Angeles Times called the Woman's Building a ...
Kim Abele's main influences for her sculptures and installations stem from the urban world and historical and contemporary issues. She focuses on this because she had her childhood in the known "steel town" of Pittsburgh. In addition, she moved to smoggy Los Angeles in 1978. Then in 1980, sweatshops started to pop up around her Los Angeles studio.