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- https://human.libretexts.org/Courses/Prince_Georges_Community_College/Introduction_to_Art__Art_History_Part_2/10%3A_Modernism_and_Post-Modernism_Art_(1900__1980)/10.15%3A_Post-MinimalismAt one point in the film, the artist Helen Frankenthaler, known for her stained abstractions in which pools of color saturated the canvas, was asked “What was it like to be a woman painter?” Like many...At one point in the film, the artist Helen Frankenthaler, known for her stained abstractions in which pools of color saturated the canvas, was asked “What was it like to be a woman painter?” Like many female modernists, Frankenthaler had faced the hostility of critics who claimed women did not have the wherewithal to produce the heroically large abstractions of their male counterparts.
- https://human.libretexts.org/Bookshelves/Art/SmartHistory_of_Art/10%3A_Modernisms_1900__1980/10.15%3A_Post-MinimalismAt one point in the film, the artist Helen Frankenthaler, known for her stained abstractions in which pools of color saturated the canvas, was asked “What was it like to be a woman painter?” Like many...At one point in the film, the artist Helen Frankenthaler, known for her stained abstractions in which pools of color saturated the canvas, was asked “What was it like to be a woman painter?” Like many female modernists, Frankenthaler had faced the hostility of critics who claimed women did not have the wherewithal to produce the heroically large abstractions of their male counterparts.
- https://human.libretexts.org/Courses/Saint_Mary's_College_(Notre_Dame_IN)/Literature/Chimamanda_Adichie%3A_A_Research_Guide/02%3A_Terms_and_ThemesIts basic tenets are: (1) Race is a social construct, not a biological science. (2) Racism in the United States is an everyday experience for people of color (3) Advances and setbacks for people of co...Its basic tenets are: (1) Race is a social construct, not a biological science. (2) Racism in the United States is an everyday experience for people of color (3) Advances and setbacks for people of color typically originate to benefit white groups. (4) Negative stereotyping of minorities serves to elevate white power (5) Individuals cannot be defined by their membership in a single group due to the complex nature of “intersectionalities.”
- https://human.libretexts.org/Learning_Objects/Literature_Supplemental_Modules/Chimamanda_Adichie%3A_A_Research_Guide/02%3A_Terms_and_ThemesIts basic tenets are: (1) Race is a social construct, not a biological science. (2) Racism in the United States is an everyday experience for people of color (3) Advances and setbacks for people of co...Its basic tenets are: (1) Race is a social construct, not a biological science. (2) Racism in the United States is an everyday experience for people of color (3) Advances and setbacks for people of color typically originate to benefit white groups. (4) Negative stereotyping of minorities serves to elevate white power (5) Individuals cannot be defined by their membership in a single group due to the complex nature of “intersectionalities.”
- https://human.libretexts.org/Courses/Southwestern_College/Art_104%3A_Introduction_To_Art_(Donovan)/08%3A_Sculpture_Performance_Art_and_Non_traditional_Media/8.07%3A_Post-MinimalismAt one point in the film, the artist Helen Frankenthaler, known for her stained abstractions in which pools of color saturated the canvas, was asked “What was it like to be a woman painter?” Like many...At one point in the film, the artist Helen Frankenthaler, known for her stained abstractions in which pools of color saturated the canvas, was asked “What was it like to be a woman painter?” Like many female modernists, Frankenthaler had faced the hostility of critics who claimed women did not have the wherewithal to produce the heroically large abstractions of their male counterparts.
- https://human.libretexts.org/Courses/Housatonic_Community_College/Art_E103%3A_Art_History_III_(1840Present)/04%3A_Postwar_Postmodern_(c.1946c.1980)/4.06%3A_Post-MinimalismAt one point in the film, the artist Helen Frankenthaler, known for her stained abstractions in which pools of color saturated the canvas, was asked “What was it like to be a woman painter?” Like many...At one point in the film, the artist Helen Frankenthaler, known for her stained abstractions in which pools of color saturated the canvas, was asked “What was it like to be a woman painter?” Like many female modernists, Frankenthaler had faced the hostility of critics who claimed women did not have the wherewithal to produce the heroically large abstractions of their male counterparts.
