From Eve to Sojourner Truth, the Baltimore Museum of Art’s “Women Behaving Badly: 400 Years of Power and Protest” explores how women have been rebellious and revolutionary throughout history.
“The flag is often associated with men and their accomplishments, and over the years has become associated with conservative Americans. But the flag is supposed to represent all of us,” said visual artist Marilyn Artus.
For the creation of Her Flag, Artus planned to travel to all 36 states that voted to ratify, in order of ratification, over a time span of 14 months to work with the state artists creating a stripe for Her Flag and sewing it onto the 18- by 26-foot flag.
A public mural of Kamala Harris reveals her portrait created in vibrant yarn. The project was spearheaded by the L.A.-based, international “yarn bomber” and street artist London Kaye, and brought to life by over 150 crocheters.
Featuring works by 16 women artists, the ecofeminism(s) exhibition at the Thomas Erben Gallery in NYC presents art that “delights the eye, provokes the mind, and can inspire change.”
Why are there not more recognized women artists in museums? Why are artworks by women—especially native artists who are women—classified as a separate and distinct form? That is, not as art but as craft? “Hearts of Our People: Native Women Artists” goes right to the core of that question.
Tess Taylor, a poet in the Bay Area, undertook the journey once travelled by Dorothea Lange, the extraordinary woman photographer.
“She inspired me as a model of persistence.”
Linda Nochlin (1931–2017) was a ground-breaking academic and art historian dedicated to building appreciation for the contributions of women in the arts. The Betty Boyd Dettre Library and Research Center of the National Museum of Women in the Arts (NMWA) and the Smithsonian’s Archives of American Art have teamed up to present an exhibition featuring Nochlin’s papers and other tokens to celebrate her monumental contributions to art and culture.
In 2019, a study found that women made up only 34 percent of all film reviewers. One century before, in 1919, Pauline Kael, the female movie critic at The New Yorker from 1968 to 1991 who is also considered one of the leading film critics of all time, was born.
The National Museum of African Art’s exhibition “I Am…Contemporary Women Artists of Africa” offers viewers the opportunity to see African experiences in a more intimate and global context.
Susan Rome takes on the role of Louise Nevelson, one of the most influential woman sculptors of the twentieth century, in Theater J’s production of “Occupant.”