Since the early 1980s, the Polish artist Magdalena Abakanowicz (b. 1930) has gained worldwide acclaim for her role in the revival of figuration in late-twentieth-century sculpture. Her cycles of headless, hollow, and crude burlap crowds of the mid-1970s and the 1980s, exhibited in major museums across America, Europe, and Asia, are roundly praised for their expressive power and innovative form. In this first scholarly art historical analysis of Abakanowicz's figurative sculpture, Joanna Inglot penetrates the myth of isolation that surrounds and obscures this internationally celebrated artist...
Since the early 1980s, the Polish artist Magdalena Abakanowicz (b. 1930) has gained worldwide acclaim for her role in the revival of figuration in lat...
In 1976, the Women's Art Registry of Minnesota opened a gallery in downtown Minneapolis--and introduced the Twin Cities to a feminist approach to art. WARM was a significant presence both nationally and locally, offering educational workshops, a mentoring program, and an alternative exhibit space for Minnesota women artists. Its longevity and success rivaled those of feminist art collectives in New York, Los Angeles, and Chicago, and renowned artists and critics such as Miriam Schapiro, Judy Chicago, Harmony Hammond, and Lucy Lippard participated in WARM's programs and exhibits.
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In 1976, the Women's Art Registry of Minnesota opened a gallery in downtown Minneapolis--and introduced the Twin Cities to a feminist approach to a...
