“I opened Girls Garage as a physical space where all girls, especially girls of color, would feel safe and inspired to exercise their personal voice and power. The fact that a space like this exists is in and of itself, a political statement, and the creativity that comes out of it naturally represents our hope, anger and identities.”
She was the first woman to breastfeed on national television. She was banned from the airwaves by two U.S. presidents. She’s the only Indigenous artist ever to win an Academy Award. Folk hero. Songwriter icon. Living legend.
A long overdue work prioritizes Indigenous artist Buffy Sainte-Marie’s voice foremost, allowing her to set the record straight.
“Made It: The Women Who Revolutionized Fashion,” a new exhibition at the Peabody Essex Museum in Massachusetts, explores 250 years of fashion through 79 female designers—innovators, entrepreneurs and activists who fostered social and political change as women won more equity and freedom in the world.
The exhibit open in-person Nov. 21, 2020, with virtual events for remote visitors.
Writing about the Azerbaijan-Armenia conflict, Nelli Sargsyan argues, “the multi-ethnic potential of love ethic can help us heal our traumatized imagination, as the work of feminists across the borders in the region shows.”
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.”
Posing in front of mosaic tiles and Victorian paintings, sporting handmade outfits like feathered, cotton candy-colored dresses or quarantine-friendly bathrobes, a young woman exposes the misogynistic undertones of art at big-name museums like the National Gallery in London and the Getty in Los Angeles. She stands at about a foot tall with an annotated notecard on a small wooden stick in hand. Her name is Barbie.
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.
“The Art of Equal Pay: The Campaign to Close the Wage Gap in the Visual Arts” is Pred’s year-long initiative—launching on Equal Pay Day, March 31—calling for women artists to raise their prices over the next year to close the gender wage gap for visual artists.
The Brandywine River Museum’s “Votes for Women: A Visual History” exhibit provides museum guests with an opportunity to reflect on the centennial anniversary of the 19th Amendment.
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.