The Brooklyn Museum is aiming to show that feminist artists—stretching across a span of decades and styles—have always known exactly how to push back.
How do we effect positive change through art? In this exhibition, self-identified women artists responded to this question.
The Sister Chapel was created in 1978 as a commentary on gender roles and the disenfranchisement of the feminine in history and culture. Now it’s back and more powerful than ever.
Natalie White for Equal Rights, which centers on ratifying the Equal Rights Amendment (ERA), launched with an exhibition at WhiteBox Art Center in New York City and ultimately ends with a two-week march to Washington, D.C.
Cindy Sherman: Imitation of Life features over 120 pieces ranging from photographs of sculptures to large-scale wall murals that span from as far back as 1975 to the present.
I spoke with Mushkin Goldman on her motivation to curate “Smile!,” a vibrant, multigenerational all-women art exhibition on catcalling, gender performance and objectification of women.
Sister Corita Kent is a Pop Art pioneer too often erased from the annals of modern art history. Now, she’s taking center stage.
The British artist Tracey Emin is famous for uncompromising displays of female vulnerability in the most fleshly and confessional of forms. From the dirty underwear and tampons of her 1998 “My Bed” installation to the visceral sexuality of her autobiographical paintings, Emin’s work is filtered through a desirous—and often distressed—mortal body defined by a raging […]
Dicks, dicks and more dicks. These days it seems no matter where you turn, dicks of all sorts—whether in the flesh or artistically rendered—are popping up everywhere, from primetime TV to popular music to the U.S. presidential election. Thanks to the internet, the ubiquity of dicks has only increased, with penises proliferating on pornographic websites and social media platforms. And […]
Rose Freymuth-Frazier is no stranger to criticism. Recently, the 37-year-old figurative realist painter received an incensed email from an older man, asking why she insisted on creating such “grotesque” paintings. “He was a fan of my ‘other’ work,” Freymuth-Frazier says, “but he just couldn’t understand who I was so angry at. Was it my parents? […]