Red Starr Un Official Fan Site Tribute

Red Starr : This Is An Un Official Fan Site Tribute
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Movie Title Year Distributor Notes Rev Formats Final Test 1978 Avon Video DPP IR 1 On the Street 1976 Alpha Blue Archives IR Untamed Vixens 1976 Video Home Library BJOnly IR of the Martin Brothers and William Moorcroft, the Arts and Crafts movement, the Bauhaus and the rediscovery of traditional artisan pottery and the excavation of large quantities of Song pottery in China.[6] Leading trends in British studio pottery in the 20th century are represented by both men and women: Bernard Leach, William Staite Murray, Dora Billington, Lucie Rie and Hans Coper. Leach (1887–1979) established a style of pottery, the ethical pot, strongly influenced by Chinese, Korean, Japanese and medieval English forms. His style dominated British studio pottery in the mid-20th century. Leach's influence was disseminated in particular by his A Potter's Book[61] and the apprentice system he ran at his pottery in St Ives, Cornwall.
Other ceramic artists exerted an influence through their positions in art schools. Dora Billington (1890–1968) studied at Hanley School of Art, worked in the pottery industry and became head of pottery at the Central School of Arts and Crafts. She worked in media that Leach did not, e.g. tin-glazed earthenware, and influenced potters such as William Newland, Katherine Pleydell-Bouverie and Margaret Hine.[62][63] Since the 1960s, a new generation of potters, influenced by the Camberwell School of Art and the Central School of Art and Design including, Alison Britton, Ruth Duckworth and Elizabeth Fritsch who began to experiment\abstract ceramic objects, varied surface and glaze effects to critical acclaim. Elizabeth Fritsch has work represented in major collections and museums worldwide. Moreover, the reputation of British ceramisists has attracted talent from around the world and released notable artists in the field. They include: Indian Nirmala Patwardhan, Kenyan, Magdalene Odundo and Iranian, Homa Vafaie Farley.

As in Britain, pottery was integral to the United States Arts and Crafts movement in the late 19th century and early 20th century. Charles Fergus Binns, who was the first director of the New York State School of Clay-Working and Ceramics at Alfred University, was an important influence. Some potters in the United States adopted the approach from emerging studio pottery movements in Britain and Japan. Worldwide and European artists coming to the United States have contributed to the public appreciation of ceramics as art, and included Marguerite Wildenhain, Maija Grotell, Susi Singer and Gertrude and Otto Natzler. Significant studio potters in the United States include Otto and Vivika Heino, Beatrice Wood and Amber Aguirre. Meanwhile, in the reducing primeval forests of the African Great Lakes region in the Rift Valley, there is a people clinging to their foraging ancestral way of life. They are the Batwa, among the most marginalised people in the world, whose womenfolk (and the occasional man) continue the centuries-old custom of making pottery which has been used as barter with the peasants and pastoralists of the region. Their pots range from plain to highly decorated.[64][65][66] Batwa women with traditional pottery Vase thrown by Lucie Rie Ceramic bird by Margaret Hine, 1950s. Glazed stoneware with sgraffito decoration Hand-Built pot by Elizabeth Fritsch Magdalene Odundo's thrown burnished pot Contemporary artists Samira Alikhanzadeh, No.7 the Persian Carpet series-digital print on perspex, Borchalou rug and mirror fragments on board, 2011 (Assar Art Gallery) Tehran In 1993, Rachel Whiteread was the first woman to win the Tate Gallery's Turner Prize. Gillian Wearing won the prize in 1997, when there was an all-woman shortlist, the other nominees being Christine Borland, Angela Bulloch and Cornelia Parker. In 1999, Tracey Emin gained considerable media coverage for her entry My Bed, but did not win. In 2006 the prize was awarded to abstract painter, Tomma Abts. In 2001, a conference called "Women Artists at the Millennium" was organized at Princeton University. A book by that name was published in 2006, featuring major art historians such as Linda Nochlin analysing prominent women artists such as Louise Bourgeois, Yvonne Rainer, Bracha Ettinger, Sally Mann, Eva Hesse, Rachel Whiteread and Rosemarie Trockel. Internationally prominent contemporary artists who are women also include Magdalena Abakanowicz, Marina Abramovic, Jaroslava Brychtova, Lynda Benglis, Lee Bul, Sophie Calle, Janet Cardiff, Li Chevalier, Marlene Dumas, Orshi Drozdik, Marisol Escobar, Jenny Holzer, Runa Islam, Chantal Joffe, Yayoi Kusama, Karen Kilimnik, Sarah Lucas, Yoko Ono, Tanja Ostojic, Jenny Saville, Carolee Schneeman, Cindy Sherman, Shazia Sikander, Lorna Simpson, Lisa Steele, Stella Vine, Kara Walker, Rebecca Warren, Bettina Werner and Susan Dorothea White. Japanese artist Yayoi Kusama's paintings, collages, soft sculptures, performance art and environmental installations all share an obsession with repetition, pattern, and accumulation. Her work shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She describes herself as an "obsessive artist". In November 2008, Christie's auction house New York sold her 1959 painting No. 2 for $5,100,000, the record price in 2008 for a work by a living female artist.[67] During 2010–2011, Pompidou Centre in Paris presented its curators' choice of contemporary women artists in a three-volume's exhibition named elles@Centrepompidou.[68] The museum showed works of major women artists from its own collection. 2010 saw Eileen Cooper elected as the first ever woman 'Keeper of the Royal Academy'. 1995 saw Dame Elizabeth Blackadder in the 300-year history made 'Her Majesty's painter and limber in Scotland, she was awarded the OBE in 1982. An interesting genre of women's art is women's environmental art. As of December 2013, the Women Environmental Artists Directory listed 307 women environmental artists, such as Marina DeBris, Vernita Nemec and Betty Beaumont. DeBris uses beach trash to raise awareness of beach and ocean pollution.[69] and to educate children about beach trash.[70] Nemec recently used junk mail to demonstrate the complexity of modern life.[71] Beaumont has been described as a pioneer of environmental art[72] and uses art to challenge our beliefs and actions.[73] Kenojuak Ashevak Window of John Bell Chapel, 2004, Appleby College, Oakville, Canada Rachel Whiteread, Holocaust Monument, 2000, Judenplatz, Vienna Magdalena Abakanowicz, Nierozpoznani ("The Unrecognised Ones"), 2002, in the Cytadela Yayoi Kusama, Ascension of Polkadots on the Trees at the Singapore Biennale, 2006 Marina Abramovic performing in The Artist is Present at the Museum of Modern Art, May 2010 Misrepresentation in art history Judith Leyster, Self-portrait, 1630, National Gallery of Art, Washington, D.C. Marie-Denise Villers, Young Woman Drawing 1801, Metropolitan Museum of Art Women artists have often been mis-characterized in historical accounts, both intentionally and unintentionally; such misrepresentations have often been dictated by the socio-political mores of the given era.[74] There are a number of issues that lie behind this, including: Scarcity of biographical information Anonymity – Women artists were often most active in artistic expressions that were not typically signed. During the Early Medieval period, manuscript illumination was a pursuit of monks and nuns alike.[75] Painters' Guilds – In the Medieval and Renaissance periods, many women worked in the workshop system. These women worked under the auspices of a male workshop head, very often the artist's father. Until the twelfth century there is no record of a workshop headed by a woman, when a widow would be allowed to assume her husband's former position.[76] Often guild rules forbade women from attaining the various ranks leading to master,[77][78] so they remained "unofficial" in their status. Naming Conventions – the convention whereby women take their husbands' last names impedes research on female articles, especially in cases in which a work of unknown origin was signed only with a first initial and last name. Even the simplest biographical statements may be misleading. For example, one might say that Jane Frank was born in 1918, but in reality she was Jane Schenthal at birth – Jane "Frank" didn't exist until over twenty years later.[79] Examples like this create a discontinuity of identity for women artists. Mistaken identity and incorrect attribution – In the eighteenth and nineteenth centuries, work by women was often reassigned. Some unscrupulous dealers even went so far as to alter signatures, as in the case of some paintings by Judith Leyster (1630) that were reassigned to Frans Hals.[80][81][82] Marie-Denise Villers (1774–1821) was a French painter who specialized in portraits. Villers was a student of the French painter Girodet. Villers' most famous painting, Young Woman Drawing, (1801) is displayed in the Metropolitan Museum of Art. The painting was attributed to Jacques-Louis David at one time, but was later realized to be Villers' work. Women in Outsider art Main article: Outsider art Anna Zemánková, Untitled, 1960s Helen Martins, the Owl House. The concept of outsider art arose in the 20th-century when mainstream practitioners, collectors and critics began to consider the artistic expression of people without a conventional training. Among them would be, the self-taught, children, folk artists from around the world and inmates of mental institutions. Among the first to study this huge and mainly uncharted art space were members of the Blaue Reiter group in Germany, followed later by the French artist, Jean Dubuffet. Some of the noted women considered as exponents of "art brut", the French expression for outsider art, are: Holly Farrell, 21st century Canadian self taught artist whose paintings include the Barbie & Ken series, is considered an Outsider artist.[83] Madge Gill (1882–1961) was an English mediumistic artist who made thousands of drawings "guided" by a spirit she called "Myrninerest" (my inner rest). Annie Hooper (1897–1986), a sculptor of visionary religious art from Buxton, North Carolina, who created nearly 5,000 sculptures depicting biblical scenes. Her work is now in the permanent collection of North Carolina State University. Georgiana Houghton (1814–1884), a British spiritualist medium, known for her visionary 'spirit drawings', consisting of intricate abstract watercolours. Mollie Jenson (1890–1973) created a series of large-scale concrete sculptures embellished with tile mosaics in River Falls, Wisconsin. Susan Te Kahurangi King (born 1951) is a New Zealand artist whose ability to speak declined by the age of four and stopped speaking altogether by age eight. King is an autistic savant who has methodically created an entire analogous world through extraordinary drawings using pen, graphite, colored pencil, crayon and ink. She drew prolifically through to the early 1990s and then without reason suddenly stopped. King renewed drawing in 2008 during filming of a documentary on her artwork. Halina Korn (1902-1978) was a Pole of Jewish descent who settled in London during World War II. She was originally a writer who married the artist, Marek Zulawski, and took up sculpture and painting in mid-life. She painted the everyday and exhibited in England, Scotland, the US and Poland.[84] Maud Lewis (1903–1970) was a Canadian folk artist. Lewis painted bright scenes of rural Nova Scotian life on found objects, including boards, construction materials, etc. Helen Martins (1897–1976) transformed the house she inherited from her parents in Nieu-Bethesda, South Africa, into a fantastical environment decorated with crushed glass and cement sculptures. The house is known as The Owl House. Grandma Moses (1860–1961), widely considered to be a painter of Folk art. Judith Scott (1943–2005) was born deaf and with Down syndrome. After being institutionalized for 35 years she attended Creative Growth Art Center (a center for artists with disabilities in Oakland, California) and went on to become an internationally renowned fiber art sculptor. Anna Zemánková (1908–1986) was a self-taught Czech painter, draftsman and pastel artist. Her work was featured in a group show at London's Hayward Gallery in 1979, and eighteen of her pieces were shown at the

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