Marjorie Kramer (born 1943 in Englewood, NJ, raised in Greenwich, CT) is a figurative painter of al fresco landscapes and feminist self-portraits.[1]

Early life and feminism
[edit]
Kramer has a BFA from Cooper Union and was a founding scholar in 1964 at the brand new York Studio School of Drawing, Painting and Sculpture, and studied with Mercedes Matter, Charles Cajori and Louis Finkelstein. She donated a portion of her small inheritance to pay the School’s first month’s rent of $500.[2]

Kramer was a founding editor with Irene Peslikis and others of the Girl and Artwork Quarterly (1969-71), the primary girls artists’ publication. [4] From 1968 to 1973, Kramer organized shows of labor by girls artists, including SoHo Ladies’s Artists in a Canal Avenue loft with Girls Artists in Revolution (Warfare) and Feminist Artwork at Columbia College with Patricia Mainardi. [1] With these associates, she participated in New York Radical Women in 1968 and in January 1969 was involved in the founding of the radical feminist collective Redstockings. [3] Kramer’s response was First Self Portrait (1970). The expression on her face led Larry Campbell, in ARTnews to write down of a plucky artist with perspective. Of their first press, The Village Voice reported that the ladies felt they have been taking cost of their own bodies finally.

In 1971, Kramer combined her art and politics in Open Show of Feminist Art at an area run by Art Staff Coalition known as MUSEUM: A Project of Dwelling Artists at 729 Broadway, which was supported by a new York State grant; she put advertisements in alternative weeklies and posted flyers downtown saying that each one woman artists were welcome with a $1.50 donation to help cowl the costs.[5] It was solely girl because they do not get chances to indicate their work, Kramer told the Every day Information, which known as the group the “Anti-Oppressionists.”[6] Among the many roughly 125 participating artists were Alice Neel, Religion Ringgold, and Gretna Campbell; another participant, Juanita McNeely hauled a large painting about menstruation to the show, hung it herself, and thought, “I felt fast love and at house. We women artists were now not alone.”[7] Lawrence Alloway wrote that this show affirmed the artists’ management over their very own work, a necessity in the anti-authoritarian women’s motion.[8]

Alice Neel, at 71, couldn’t transport her paintings to the show, so Kramer and Noah Baen picked them up. Neel stated they might take something and they took her portrait of the outrageous Joe Gould, painted in 1933.[9] Neel remarked that she had received little consideration within the artwork world, and had by no means been in the Whitney Annual, which led Kramer to write down a petition to the Whitney Museum about their exclusion of this main painter. Working on it with Baen and Cindy Nemser, they gathered 100 signatures of artists,[10] which was instrumental in the staging of Neel’s Whitney retrospective in March 1974.[11]

Professional life
[edit]
There were other one-woman shows throughout the japanese U.S. Ken Johnson, in a brand new York Instances evaluation, discovered Kramer to be a realist painter with a delicate painterly touch in her solo present at 55 Mercer.[12] Group reveals included the Nationwide Academy Museum and college, Gray Art Gallery at New York University, Dishman Artwork Museum,[13] and others.

In 2003, Kramer was awarded the Veteran Feminists of America Medal in the Salute to Feminists within the Arts from the Nationwide Arts Club in New York.[14] In 2007, she received a brand new York Studio College Painting Residency on Governors Island.[15]

Kramer was a founding coordinator of the Artists’ Alternative Museum in New York in 1976.[13]

Artwork
[edit]
Called a neomodernist for her observational rigor, her work was considered to have upset the traditional male subjects-system of self-portraiture.[16]

Much of her landscape painting is from her current house in Northern Vermont, which has led her to working with the Vermont Progressive Celebration, which focuses on political equality and ecological coverage with its members in the Legislature and within the Governor’s office. She was marketing campaign supervisor for 2 of their nominees,[17] in addition to working with the local community Supported Agriculture group for higher stewardship of the land.[18]

^ a b Barbara Love, ed., “Marjorie Kramer,” Feminists Who Modified America 1963-1975 (College of Illinois Press, 2006), 263.

^ Jennifer Samet, “Mapping the Pedagogy of the NY Studio Faculty,” NYSS 40th Anniversary Exhibition Catalog (2005), 7. Retrieved 2017-04-05.

^ “Scenes,” Village Voice (March 13, 1969): 16. Retrieved 2017-04-05.

^ Larry Campbell, ARTnews Magazine (December 1971): 27. Retrieved 2017-04-05.

^ Marjorie Kramer, “Ideas on Feminist Artwork,” in Feminist Art Concept: An Anthology 1968-2000, edited by Hilary Robinson, 2d ed. (Hoboken, NJ: Wiley-Blackwell, 2015), 225.

^ Anthony Burton, “Name These Gal Artists the Anti-Opressionists,” Day by day News(December 11, 1971): 7.

^ Sharyn Finnegan, “Juanita McNeely: Artwork and Life Entwined,” Girl’s Art Journal 32, no. 2 (Fall/Winter 2011): 40.

^ Lawrence Alloway, “Girls’s Art in the ’70s,” Art in America (May-June 1976): 66.

^ Adrian Seattle, The Guardian (July 7, 2010). Retrieved 2017-04-12

^ Cindy Nemser, “Whitney Petition,” Women and Art (Winter 1971): 13.

^ Phoebe Hoban, Alice Neel: The Art of Not Sitting Pretty (New York: St.Martin’s Press 2010):289.

^ Ken Johnson, “Art Guide,” New York Instances (January 16, 1998). Retrieved 2017-4-5.

^ a b Better Than Ever: Ladies Figurative Artists of the ’70s SoHo Co-ops (Brooklyn: Salena Gallery, 2009).

^ Veteran Feminists of America, 2003. Retrieved 2017-04-10.

^ “Scrapbook,” New York Studio Faculty. Retrieved 2017-04-12.

^ Peter Gallo, Art: New England (June/July 2001).

^ Vermont Progressive Party. Retrieved 2017-4-8.

^ Community Supported Agriculture. Retrieved 2017-04-12.

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The Dialectic of Intercourse: The Case for Feminist Revolution (1970)

Sexual Politics (1970)

Sisterhood Is Powerful (1970)

“The parable of the Vaginal Orgasm” (1970)

The Feminine Eunuch (1970)

Lesbian Nation (1973)

Girl Hating (1974)

Towards Our Will: Men, Ladies and Rape (1974)

Pornography: Males Possessing Women (1981)

Ain’t I a Lady? (1981)

In opposition to Sadomasochism (1982)

Feminist Theory: From Margin to Middle (1984)

Sisterhood Is Global (1984)

Intercourse (1987)

Feminism Unmodified (1987)

Towards a Feminist Concept of the State (1989)

The Straight Mind and Other Essays (1992)

Solely Phrases (1993)

Scapegoat: The Jews, Israel, and Ladies’s Liberation (2000)

Sisterhood Is Ceaselessly (2003)

The Industrial Vagina (2008)

Off Our Backs (1970-2008)

SCUM Manifesto (1967)

She’s Beautiful When She’s Angry (2014)

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Retrieved from “https://en.wikipedia.org/w/index.php?title=Marjorie_Kramer&oldid=1264492997”

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1943 births

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twenty first-century American girls painters

twenty first-century American painters

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This web page was last edited on 22 December 2024, at 05:25 (UTC).

Marjorie Kramer

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