Ergebnis der AAP-Volltext-Katalogsuche nach Female
Medienart: alle Medien, Sortierung: ID, absteigend.
Alle Suchbegriffe sind in jedem Ergebnis enthalten: 14 Treffer
Corsaro Julia / Mills Rebecca / Pfeifer Claudio, Hrsg.
Girlcoremagazine - 2012 Book
Berlin (Deutschland): PogoBooks, 2012
(Buch) 52 S., 21x14,6 cm, 2 Stück. ISBN/ISSN 978-3-942547-16-1
Techn. Angaben Broschur, Pogobooks #038
ZusatzInformation Girlcore is an all-female collective based in London. Originally founded on a desire to promote international female talent in creative industries - Girlcore's resume has grown far and beyond anything originally hoped for. Be it showcasing new DJ's alongside the likes of veterans such as Peaches and Annie Mac, to creating a website dedicated to promoting recent flair in the visual arts. All the work done by the group is a labour of love, each member of the collective having their own careers in the creative industries. This side-project is a way of celebrating the amazing work we encounter along the way.
Text von der Webseite
TitelNummer 011024356 Einzeltitelanzeige (URI)
Ruiz Francesc, Hrsg.
bearcode by Anna Colin
London (Großbritannien): Gasworks, 2010
(Heft) 44 unpag. S., 25,3x17,8 cm,
Techn. Angaben Drahtheftung, in losem Pappumschlag, zwei verschiedene Papiere, in transparenter Kunststoffhülle mit Aufklebern
ZusatzInformation Begleitheft zur Ausstellung "Gasworks Yaoi" vom 26.11.2010 - 23.01.2011 im Gasworks in London.
"Gasworks Yaoi" is the first solo exhibition by Spanish artist Francesc Ruiz in London. The show is the culmination of Ruiz's research in the local area, conducted during his residency at Gasworks. Inspired by the longstanding gay establishments in Vauxhall, the artist has created a semi-fictional narrative that overemphasises the clichés around sexuality and lifestyle in the area.
For "Gasworks Yaoi", Ruiz will transform the front of the gallery into a bookshop specialising in yaoi comic books. Originating in Japan, this genre (translated as 'boys love') depicts male homoerotic narratives. However, unlike male-oriented gay erotica, yaoi comic books are both produced and consumed by women.
The yaoi comics, featured in Ruiz's bookshop at Gasworks are allegedly produced by female amateur illustrators who portray the encounters of a group of men whose nightlives revolve around Vauxhall's sprawling gay club and bar scene. By adopting the yaoi comic format and resorting to female authorship, Ruiz distances himself from the stories and characters he depicts, allowing for the imagination to run wild, indulging in stereotypes and idealised situations. Through the comics' humour and distortion of reality Ruiz gives himself license to explore a specific subculture and the way it sits within the wider fabric of the neighbourhood.
Turned into a specialised comic bookshop for women, Gasworks' space becomes an environment where sexuality, local context and its social dynamics are fictionalised and packaged into a product for consumption.
Text von der Webseite
TitelNummer 011791407 Einzeltitelanzeige (URI)
Gockel Cornelia, Hrsg.
Generations - Female Artists in Dialogue
München (Deutschland): Haus der Kunst / Sammlung Goetz, 2018
(Heft)  S., 18,8x14,5 cm,
Techn. Angaben Drahtheftung, zwei Blätter lose eingelegt
ZusatzInformation Die Sammlung Goetz feiert 2018 ihr 25-jähriges Bestehen mit einer 3-teiligen Ausstellung, die sich dem künstlerischen Schaffen von Frauen widmet. Gezeigt werden nahezu 200 Arbeiten angefangen von Zeichnungen, über Fotografien, Gemälde und Skulpturen bis hin zu Filmen und umfangreichen Installationen von mehr als 40 Künstlerinnen in einem generationsübergreifenden Dialog.
Text von der Webseite.
Namen Carla Accardi / Cindy Sherman / Diane Arbus / Elfie Semotan / Ellen Gallagher / Evelyn Hofer / Geta Bratescu / Haegue Yang / Jenny Holzer / Karin Sander / Kiki Smith / Louise Bourgeois / Mona Hatoum / Nan Goldin / Roni Horn / Sarah Lucas / Sherrie Levine / Tracey Emin / Yayoi Kusama
Geschenk von Sammlung Goetz
Stichwort Appropriation / Ausstellung / Female / Feminismus / Film / Fotografie / Frau / Generation / Installation / Künstlerin / Skulptur
TitelNummer 027340765 Einzeltitelanzeige (URI)
Toronto (Kanada): Fairway Press Kitchener, 1994
(Buch) 19x26,5x1,5 cm, ISBN/ISSN 0-9690745-1-4
Techn. Angaben Eingelegtes Kärtchen
ZusatzInformation Epigraph: Eyes half-closed. Nothing as strong as solace. Do the themes still connect? A Venus day is longer than a Venus year, the National Geographic Society says. A selection was assembled from more than 2000 photographs taken over an eight month period the year before last. Erect walking became necessary when female pre-hominids lost their estrus cycle. The street runs below the window which is above the cinema. Everything in place. Nothing is ever forgotten, only displaced. The planet spins on its axis once every 243 Earth days and orbits the Sun every 224.7 Earth days. Pyramids have always been. What you once thought still holds. The man who invented the first lighthouse perished in his own primitive model. "It was a totally whimsical point. It's inarguable of course. The evidence is all around. The facts are there."
Text von der Webseite
TitelNummer 000521174 Einzeltitelanzeige (URI)
Thomann Mirjam, Hrsg.
Female Soul at Work
Bratislava (Slowakei): Selbstverlag, 2013
(Heft) 36 S., 21x14,8 cm, Auflage: 225,
Techn. Angaben Drahtheftung, Begleitheft zum Seminar an der Akademie der bildenden Künste Wien im Wintersemester 2012/13
ZusatzInformation Beiträge von Ahu Dural, Eva Hettmer, Memo Glitzer Trixi, Mirjam Thomann
Geschenk von Hammann & von Mier
TitelNummer 010551371 Einzeltitelanzeige (URI)
Vengeful Female Spirits
Barcelona (Spanien): TDpapeles, 2012
(Heft)  S., 21x14,8 cm, Auflage: 20, 2 Stück.
Techn. Angaben Drahtheftung, auf letzter Seite innen vom Verlag gestempelt
TitelNummer 010580361 Einzeltitelanzeige (URI)
Valencia (Spanien): Concreta, 2012
(Heft) 32 unpag. S., 22,3x14,9 cm, ISBN/ISSN 978-84-940701-0-5
Techn. Angaben Drahtheftung,
ZusatzInformation "For me press images are an endless source of material with which to work in one way or another. A long time ago, I realised that, almost unconsciously, I was collecting groups of photographs in a folder without a specific theme. Later on, going through them, I noticed that the female figure was a recurrent subject. I selected them because they caught my attention, they talked to me, or they simply attracted my attention. When I understood that there was that link between them, I felt that maybe there were more images of women than men in the media, so I decided to pick up several newspapers and count their photographs. However, the surprise came when I found that it wasn't like that at all."
Text von der Webseite
Sprache Englisch / Spanisch
TitelNummer 011770416 Einzeltitelanzeige (URI)
Stux Stefan, Hrsg.
Annegret Soltau - Female Genealogy
New York, NY (Vereinigte Staaten von Amerika): Stefan Stux Gallery, 1999
(Heft) 24 S., 10x11 cm, signiert,
Techn. Angaben Drahtheftung, signiert
ZusatzInformation Anlässlich der gleichnamigen Ausstellung in der Stafan Stux Gallery, New York, Dezember 1999 bis Januar 2000
Geschenk von Annegret Soltau
TitelNummer 014091512 Einzeltitelanzeige (URI)
London (Großbritannien): Rare Art Press, 2012
(Buch)  S., 23,5x23,5 cm, ISBN/ISSN 978-0-9572610-5-1
Techn. Angaben Fadengeheftet, Hardcover, Cover beidseitig geprägt und Banderole
ZusatzInformation This volume is the lasting legacy of Elvgren’s slide collection. It helps us build a more complete picture of his artistic process and it offers a valuable insight into the development of glamour photography. However, the lasting impression of the collection is of a man who loved and appreciated the female form. Its real beauty and impact lies in the knowledge that one of the greatest masters of the illustrated pin-up took his inspiration from the very real flesh of womanly curves in all of their natural glory.
Text von der Website.
Stichwort 1940er / 1950er / Akt / Fotografie / Frau / Model / nackt / Pin Up
TitelNummer 025951726 Einzeltitelanzeige (URI)
Eroticism on the line
München (Deutschland): 100for10 / Melville Brand Design, 2017
(Buch) 106 S., 21x14,8 cm, Auflage: Print on Demand,
Techn. Angaben Broschur
Fabio Bacchini was born in Italy and studies Communication and Design for Publishing at the ISIA Urbino. His main profession is graphic design but he is also passionate about illustration, especially the erotic one. His goal is to convey the sensuality of the female body through the use of lines only.
Geschenk von Melville Brand Design
Stichwort Erotik / Formen / Illustration / Liebe / Linien / Schwarz-Weiß
TitelNummer 026375741 Einzeltitelanzeige (URI)
von Rabenau Kai, Hrsg.
MONO.KULTUR #39 Terre Thaemlitz - The Arrogance of Optimism
Berlin (Deutschland): mono.kultur, 2015
(Zeitschrift, Magazin / Heft) 48 S., 20x15 cm, ISBN/ISSN 1861-7085
Techn. Angaben Drahtheftung, auf verschiedenem Papier gedruckt, von rechts nach links zu lesen
ZusatzInformation Politics and the dance floor make for uneasy bedfellows, and it is this uneasiness that drives most of the work of Terre Thaemlitz, confronting head-on issues that are usually off limits in electronic music. Thaemlitz is a producer and DJ, also known under their monikers of DJ Sprinkles, Social Material, and K-S.H.E, among others. But they are also a writer, educator and activist of sorts, with very fluid notions of gender, switching continuously between male and female drag. Born in 1968, Terre Thaemlitz left the rigidly conservative and violently homophobic environment of their home state, Missouri, in the mid-1980s for New York. They became involved in the queer and transgender scenes both socially and musically at a time when house music was not a genre but simply the wide open sound of a specific social and political space. As New York’s underground queer music scenes dissolved under gentrification, Thaemlitz eventually relocated to Tokyo at the beginning of the ’00s. In a challenging interview with mono.kultur, Terre Thaemlitz talked about the politics of sexuality, his disillusion with the music industry, and why roller disco was so amazing. Visually, the issue is a dark affair, steeped in a dirty, gritty black. Printed on no less than six different paper stocks and juxtaposing several grids and graphic systems, it creates its own visual logic – only to disturb our most fundamental habits of reading and navigating a magazine by opening backwards, from right to left.
Text von der Website.
Namen DJ Sprinkles / G.R.R.L. / K-S.H.E. / Teriko / Terre Thaemlitz
Stichwort 1980er / DJ / elektronische Musik / Interview / Musik / Queer / Szene / Transgender
TitelNummer 026627737 Einzeltitelanzeige (URI)
Selected works from 1990's
Genf (Schweiz): innen, 2016
(Zine)  S., 19x13 cm, Auflage: 500,
Techn. Angaben Drahtheftung, Schwarz-Weiss Offsetdruck
ZusatzInformation The William Crawford Estate is owned and represented by Ampersand Gallery. William Crawford's drawings were discovered in an abandoned house in Oakland, California. His work brings to mind characteristics of prison drawings, an impression confirmed by the fact that several were made on the backs of prison roster sheets dated 1997. These printouts, however, were cut down the middle, so the exact prison from which they originate is unknown. But given their origin in the Bay Area and the fact that several drawings include San Francisco landmarks, it's possible that Crawford made the work in a California state prison. Other than this information drawn from the archive itself, nothing is known about Crawford's life. Indeed, we only know his name because he signed just a few of the drawings, either as Bill, William or WM Crawford. The archive appears to have consisted of several books, with individual drawings in sequences of 30 or more adding up to tell complex visual stories. Several include written captions or fragments of conversation between male and female characters. These sequences, however, have been broken up over the years and reach us now in a fragmentary and fascinating collection of hundreds of delicate pencil drawings. The work conveys the intense sense of sexual longing of a man with an urge to tell dynamic stories. The drawings, which resemble the eroticism of Eric Stanton, the exaggerated male anatomy of Tom of Finland or the ample breasts of a John Currin, show scantily dressed women, drug use, cuckolding and orgies. The details of his interiors, the hairdos and style of dress suggest that Crawford might have come of age in the late 70s or early 80s. A cast of recurring figures populate the drawings, notably one man with a short afro and a moustache who often figures at the center of events, presumably the artist William Crawford himself. Remarkably, given the number of drawings, there is little to no repetition in the work. Crawford’s inventive eye for sexual positions, facial expressions and gestures of hand and body was vast and masterful. Simple geometric details and architectural subtleties define the unusual settings where the action unfolds. We see rooms shown from unusual angles, features that are hinted at, erased or altogether omitted and articles of clothing that are drawn with obsessive precision. This singular and original drawing style compels us to immerse ourselves in the world William Crawford created, more dream than documentation, more fantasy than perversion. Crawford's drawings have been widely exhibited, notably at Galerie Susanne Zander (Cologne and Berlin), Zieher, Smith and Horton (New York), Freddy (Baltimore) and upcoming solo exhibitions at FARAGO (Los Angeles) and Richardson (New York). His work is also featured in the latest issue of Richardson Magazine and was included in "System and Vision" at David Zwirner, an exhibition organized in collaboration with Delmes & Zander. Reviewing it, The New Yorker wrote, "William Crawford's orgiastic illustrations on the backs of prison rosters haven an erotic intensity that rivals anything by Hans Bellmer or Pierre Klossowski."
Text von der Webseite
Stichwort Erotik / Porno / Sex / Zeichnung
TitelNummer 026690755 Einzeltitelanzeige (URI)
ruine 06 - The Görli From Ipanema (and other texts)
München (Deutschland): Hammann von Mier Verlag, 2018
(Zine / Flyer, Prospekt) 36 S., 21,6x15,3 cm, Auflage: 90, 3 Teile. ISBN/ISSN 978-3-947250-19-6
Techn. Angaben 2 auf farbige Papiere fotokopierte Hefte, Drahtheftung, ineinander gesteckt, zusammen in gefaltetem Blatt A3 mit Prägedrucken
ZusatzInformation Zum Release und zur performativen Lesung im Café Bellevue de Monaco in München am 06.12.2018 um 19 Uhr.
Adelaide Ivánova (1982, Recife/Brazil) is a journalist and political activist working with poetry, photography, performance, translation and publishing. Her poems were translated into German, Galician, English, Spanish, Greek and Italian. Her texts and photographic work were printed in publications such as The Huffington Post (USA), Marie Claire (BR), Clinic (UK), alba londres (UK), Lateinamerika Nachrichten (GER), artiCHOKE (GER), modern poetry in translation (UK). Her photo reportage are part of the collection of Kunst Museum Dieselkraftwerk (Germany), L’arthotèque – Museum of Fine Arts (France) and Galeria Murilo Castro (Brazil). She edits the anarco-feminist zine “MAIS PORNÔ, PVFR!” (proudly not online) and is co-founder of RESPEITA!, a coalition of Brazilian female poets and slammers. She lives in Berlin, where she tries earn a living as baby-sitter, life model, waiter and other alienating jobs.
Text von der Webseite
Namen Ruine München
Stichwort Brasilien / Fotografie / Gesellschaft / Lesung / Poesie / Text
TitelNummer 027047761 Einzeltitelanzeige (URI)
McKelvey Johnson Monica
Rage, Heal, Root, Grow
Brooklyn, NY (Vereinigte Staaten von Amerika): woolandbrickpress, 2019
(Heft)  S., 28,9x22,2 cm, Auflage: 200, signiert,
Techn. Angaben Fadenheftung, sechsfarbiger Risographie, letzte Seite ausklappbar
ZusatzInformation Rage, Heal, Root, Grow is a celebration of the chaos and complexity of life and one person’s process of adapting to it. Johnson’s postpartum years were challenging. She was fearful of what she saw happening—that she was disappearing as her male partner was becoming more visible. She struggled to find the time and space necessary to heal her body, and to reconcile the intense inequity of a child-rearing partnership when one partner (her) was nursing. A unique postpartum tale that refuses the female body as its central character. In its place: that body’s voice, and the bespoke flotsam of daily life.
Rage, Heal, Root, Grow was created on a shared Risograph duplicator over many months while Johnson’s child slept in a stroller nearby. She scanned and printed drawings they had made together with markers, watercolors, crayons, pencils, and lots of stamps into symphonic six-color prints. A narrative text describes her experience of raging, healing, rooting herself, and subsequently growing in a new direction.
Geschenk von Marshall Weber
Stichwort Chaos / Frau / Heilung / Kinderzeichnung / Komplexität / Mutter / Wachstum / Wurzel / Wut / Zeichnung
TitelNummer 027286763 Einzeltitelanzeige (URI)