" In the 1970s, during the rise of the feminist movement, Joan Semmel began making large-scale Photorealistic paintings that take an uncompromisingly honest look at the nude figure using her own body as subject. With the predominance of the concept of ‘male gaze’ in the feminist discourse, Semmel used her paintings to literally shift the viewer’s perspective of the female body and sexuality in her art." -NMWA
Frank Stella (born May 12, 1936) is an American painter and printmaker. He is a significant figure in minimalism and post-painterly abstraction.
He was born in Malden, Massachusetts. After attending high school at Phillips Academy in Andover, Massachusetts, he went on to Princeton University, where he painted, influenced by the abstract expressionism of Jackson Pollock and Franz Kline, and majored in history. Early visits to New York art galleries would prove to be an influence upon his artistic development. Stella moved to New York in 1958 after his graduation. He is one of the most well-regarded postwar American painters who still works today. Frank Stella has reinvented himself in consecutive bodies of work over the course of his five-decade career.
James Turrell (born 1943, Los Angeles) is an artist primarily concerned with light and space.He is best known for his work in progress, Roden Crater. Located outside Flagstaff, Arizona, Turrell is turning this natural cinder volcanic crater into a massive naked-eye observatory, designed specifically for the viewing of celestial phenomena. His other works usually enclose the viewer in order to control their perception of light; a James Turrell skyspace is an enclosed room large enough for roughly 15 people. Inside, the viewers sit on benches along the edge to view the sky through an opening in the roof. He is also known for his light tunnels and light projections that create shapes that seem to have mass and weight, though they are created with only light. As a lifelong Quaker, Turrell designed the Live Oak Meeting House for the Society of Friends, with an opening or skyhole in the roof, wherein the notion of light takes on a decidedly religious connotation. (See PBS documentary). His work "Meeting," at P.S. 1, is a recreation of such a meeting house.
His work Acton is a very popular exhibit at the Indianapolis Museum of Art. It consists of a room that appears to have a blank canvas on display, but the "canvas" is actually a rectangular hole in the wall, lit to look otherwise. Security guards are known to come up to unsuspecting visitors and say "Touch it! Touch it!"
Turrell's works defy the accelerated habits of people especially when looking at art. He feels that viewers spend so little time with the art that it makes it hard to appreciate. “ I feel my work is made for one being, one individual. You could say that's me, but that's not really true. It's for an idealized viewer. Sometimes I'm kind of cranky coming to see something. I saw the Mona Lisa when it was in L.A., saw it for 13 seconds and had to move on. But, you know, there's this slow-food movement right now. Maybe we could also have a slow-art movement, and take an hour. "