{"id":3033,"date":"2019-08-13T18:53:37","date_gmt":"2019-08-13T17:53:37","guid":{"rendered":"http:\/\/christianestruyven.be\/en\/?page_id=3033"},"modified":"2022-01-31T10:27:21","modified_gmt":"2022-01-31T09:27:21","slug":"international-contemporary-women-artists-1990-2020","status":"publish","type":"page","link":"https:\/\/www.christianestruyven.be\/en\/international-contemporary-women-artists-1990-2020\/","title":{"rendered":"International contemporary Women Artists 1990-2020"},"content":{"rendered":"

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Top women artists in\u00a0contemporary art 1990-2020<\/h3>
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In the 1990\u2019s many young women artists emerge in many countries and continents. They can break through in the multiple art events, that are created worldwide. Still the Venice Bi\u00ebnnal remains the most important vehicle to show and promote women artists. This is because of its duration, its large public, its high press coverage and\u00a0 the awards of the international jury. Examples are the South-African Marlene Dumas, the Libanese Mona Hatoum, the Columbian Doris Salcedo, the South-Korean Kimsooja. They work around globalisation, identity, postcolonialism, increasing\u00a0 urbanisation, political violence and displacement. The British Tracey Emin, the Swiss Pipilotti Rist and two Belgian artists, Ann Veronica Janssens and Berlinde De Bruyckere also get world attention there. As of 2005, the art market welcomes talented young women artists of African origin: the Ethiopian-American Julie Mehretu, the Afro-American Kara Walker and since 2016, the Nigerian-American Njideka Akunyili Crosby.\u00a0 They have become real stars. In the last years,\u00a0 2019-2022, it is striking that there are hundreds of exhibits of women artists in contemporary art worldwide. Is this a breakthrough?\u00a0<\/p> <\/div>\r\n<\/div>\r\n <\/div>\r\n <\/div>\r\n

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Please contact<\/a> me for more information.<\/p> <\/div>\r\n<\/div>\r\n <\/div>\r\n <\/div>\r\n \t <\/div>\r\n\t \r\n\t<\/div>\r\n\t\r\n\t<\/div>\r\n","protected":false},"excerpt":{"rendered":"

Top women artists in\u00a0contemporary art 1990-2020 In the 1990\u2019s many young women artists emerge in many countries and continents. They can break through in the multiple art events, that are created worldwide. Still the Venice Bi\u00ebnnal remains the most important vehicle to show and promote women artists. This is because of its duration, its large […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"page.php","meta":{"footnotes":""},"class_list":["post-3033","page","type-page","status-publish","hentry"],"builder_content":"\n

Top women artists in\u00a0contemporary art 1990-2020<\/h3> \n

In the 1990\u2019s many young women artists emerge in many countries and continents. They can break through in the multiple art events, that are created worldwide. Still the Venice Bi\u00ebnnal remains the most important vehicle to show and promote women artists. This is because of its duration, its large public, its high press coverage and\u00a0 the awards of the international jury. Examples are the South-African Marlene Dumas, the Libanese Mona Hatoum, the Columbian Doris Salcedo, the South-Korean Kimsooja. They work around globalisation, identity, postcolonialism, increasing\u00a0 urbanisation, political violence and displacement. The British Tracey Emin, the Swiss Pipilotti Rist and two Belgian artists, Ann Veronica Janssens and Berlinde De Bruyckere also get world attention there. As of 2005, the art market welcomes talented young women artists of African origin: the Ethiopian-American Julie Mehretu, the Afro-American Kara Walker and since 2016, the Nigerian-American Njideka Akunyili Crosby.\u00a0 They have become real stars. In the last years,\u00a0 2019-2022, it is striking that there are hundreds of exhibits of women artists in contemporary art worldwide. Is this a breakthrough?\u00a0<\/p>\n\"International\n\"International\n\"International\n\"International\n

Please contact<\/a> me for more information.<\/p>","_links":{"self":[{"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/pages\/3033","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/comments?post=3033"}],"version-history":[{"count":7,"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/pages\/3033\/revisions"}],"predecessor-version":[{"id":3367,"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/pages\/3033\/revisions\/3367"}],"wp:attachment":[{"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/media?parent=3033"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}