Twentieth Century Foxes Twelve centenarians reflect on women' progress an offer advice.
Time Capsule Capturing the century through the objects that changed women's lives
Women on The Verge of 2000

-Just the Facts
-Word: (My) Lord
-Have You Seen This Potato?

What About Tomorrow?>by Marcia Ann Gillespie
-Go Figure: Wag Gap Wrangling
-Why the Consulting Business Is Becoming Woman Friendly
-Women Architects: If You Build It
Who Knew? A compendium of women's deeds, feats, and innovations
-Great Leaps Forward -Artswatch
Being There A look back at the events that shaped and changed America during the twentieth century
-Novel Companions: Writers on Books They Treasure

- Editor's Page
- Letters
- Making Waves
- No Comment

- Activists: The Bottom Line for '99
-Liberte, Egalite, Parite
-NOW Does Hollywood
-Opinion: Abortion and Crime
-Women on the Verge of 2000
-Mexico City's Women Traffic Cops
-Opinion: Guns and Lobsters
-Indian Women Sue Canadian Feds
- Under Fire: The Year of the Gun
Buddha Supports Shiva Awakening the Races, by Joyce J. Scott
To Bead or Not to Bead . . . For more than three decades, Joyce J. Scott's work in textiles, site-specific installations, and performance--to name a few of her media--has garnered her worldwide acclaim. In particular, her fantastic sculptural constructs, which include beads, fabric, embroidery, and sequins, reflect one of contemporary art's truly individual voices. The Baltimore Museum of Art's 30-year retrospective of Scott's work promises to get the millennium off to a great start. January 23 through May 21. For details, call the BMA at (410) 396-7100.


It Ain't Ansel Virginia Beahan and Laura McPhee have created landscape photographs that explore the connection between natural environments and the planet's human inhabitants. "No part of the earth's surface is unaltered by human activity," says the pair, who record seemingly homely juxtapositions exquisitely. Children swimming in a lake that verges on an industrial site, and graffiti scrawled on the rim of a volcanic crater, for example, reflect the delicate coexistence of our Mother and us. See their work at the Gallery of Contemporary Photography in Santa Monica, California, from January 18 to March 4. Or check out their book, No Ordinary Land (Aperture Press, $35). For more info, call the gallery at (310) 264- 8440.
Beahan/McPhee's The Blue Lagoon
puppet from Fool's Fire, by Julie Taymor
Taymor's Theatrics It's not often that a theatrical director is the subject of a major exhibition at an art museum. Then again, there aren't many who possess the manifold talents of director/designer Julie Taymor. The show, Julie Taymor: Playing With Fire, demonstrates how her gifts--as a creator of sets, costumes, masks, and puppets, and as a director of theater, opera, and film--helped Taymor become the first woman to win a Tony Award for Best Director of a Musical (in 1998, for The Lion King). The exhibition features installations, set recreations, puppets, and costumes, many showing the influence of Indonesian art on Taymor's work. Through January 2 at the Wexner Center at Ohio State University in Columbus. Call (614) 292-0330 for info.
Inside Cover On the phone with Barbara Chase-Riboud, a question arises: what is she striving for in her sculpture? She quotes from the jacket of a magnificent new book about her work (Barbara Chase-Riboud, Sculptor, Abrams, $39.95): "Claude Levi-Strauss," she says, "has stated that 'art is the only proof that anything has ever happened in the past.' This is one of the most provocative--and one of the truest--comments on the role of art I've ever read or heard." The choice of that quote is indicative of Chase-Riboud's work: intellectual, concise, beautiful, and beautifully thought out. Chase-Riboud has been called a genius for her range of skills--she is an author of fiction (her novel Sally Hemings is being reissued by Griffin Trade this spring) and a poet as well as a sculptor. With all of it, what she wants most is to create art that will "last." There's nothing to worry about on that score.
Barbara Chase-Riboud

Copyright Ms. Magazine 2009