As 2022 begins, there are reasons to salute recent advancements women have made globally in the arts. But women are still underrepresented and underacknowledged in music and the arts.
At The Jane Club Wednesday, artist and activist Michelle Hartney talked about her collaborative installation fighting for birth control access and the power of reckoning with Margaret Sanger’s legacy.
“It’s so cruel to force pregnancy on people. These letters are testimony to that.”
On Wednesday, feminist artist Michelle Hartney launched UNPLANNED PARENTHOOD—a collaborative, textile-based piece exploring historical attacks on reproductive health access and calling for intersectional reproductive justice.
“I want to tell the stories of the women who suffered because of laws that once prohibited so many from accessing information and care, and reckon with the fact that the attacks we’re seeing now on reproductive care hurt women at the intersections the most.”
“Notorious RBG: The Life and Times of Ruth Bader Ginsburg” is the memoir that Ginsburg never wrote. The exhibit now at The New York Historical Society traces her life through objects, audio recordings and photographs.
Award-winning collage artist and blogger Sally Edelstein calls herself a “visual anthropologist” and describes her intricate works as ”nostalgia-based.”
“Politics and art are one,” said Edelstein. “Nothing I do is without social content. That’s my interest.”
“Whatever we’re exposed to has an impact on us as we come of age. I want people to think about the messages they’re taking in.”
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.
In her latest exhibition, “Freedom is for Everybody,” artist-activist Michele Pred uses sculpture, assemblage and performance as a call-to-action to uplift marginalized voices, activate and mobilize around the protection of freedom for *all* bodies—now more than ever.
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.