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.”
Behind the “veil of daily newspapers,” there are real faces of women—as revealed in the exhibition “My Iran: Six Women Photographers” at the Sackler Gallery.
Where now? Where next? These are the questions that come to mind in viewing the National Geographic Society’s “WOMEN: A CENTURY OF CHANGE” exhibit. The display is divided into six themes, thought it also includes the beautiful and haunting image of a green-eyed “Afghan girl” that embodies all of them. Joy is in Amy Toensing’s photo of two […]
Live Dangerously, on display now at the National Museum of Women in the Arts, is a breathtaking challenge of the possibilities—representing the female image freed from constraints of artistic history with its traditional display of women as part of the scenery.
Judy Chicago’s exhibition “The End,” now opened at the National Museum of Women in the Arts, showcases an artist’s confrontation with the difficult subjects of aging and death.