If you ask someone to name five artists, they will likely name prominent male artists, but how many people can list five women artists? Throughout March’s Women’s History Month, we will be joining institutions around the world to answer this very question posed by the National Museum of Women in the Arts (NWMA). We will be featuring a woman artist every day this month, and highlighting artists in our current exhibition Half the Picture: A Feminist Look at the Collection which explores a wide range of art-making, focusing on enduring political subjects—encompassing gender, race, and class—that remain relevant today. The show is on view until March 31, 2019.
Together we hope to draw attention to the gender and race imbalance in the art world, inspire conversation and awareness, and hopefully add a few more women to everyone’s lists.
Yolanda Lopez’s art practice grew alongside her activism for the Chicanx student movement, which emerged in the late 1960s, and frequently centers the labor of women. Women’s Work Is Never Done is currently on view in Half the Picture: A Feminist Look at the Collection. In it, Lopez combines a 1965 image of labor leader Dolores Huerta proudly holding a strike poster with a group portrait of anonymous female farm workers dressed in protective gear for the heavy industrial work of a 1995 broccoli harvest. This International Women’s Day we celebrate the intellectual, organizing, and nourishing labor of the women depicted—and the work and lives of all trans and cis women around the world.
Yolanda M. López (American, born 1942). Woman’s Work is Never Done, from 10 x 10 Portfolio, 1995. Screenprint, sheet. Brooklyn Museum, Alfred T. White Fund, 1996.46.6. © artist or artist’s estate
SPACE MUSHROOM FROM KATAMARI DAMACY
東條 明子 / Tojo Akiko (@akiko_tojo_sculpture)
People washing carpets, Tehran, Iran, 1967
Saigon, Vietnam. Credit to laphanblog (Instagram).
The Voice, 1930, and Mount of Flame, 1932, by Agnes Pelton
WELCOME TO THE WANTING. IT IS HEAVY HERE. (cc: @jonismitchell)
caption: The Wanting, @jonismitchell // Água Viva, Clarice Inspector // Sense and Sensibility, Jane Austen // x // Imitation of Life (1959) // South London Forever, Florence and the Machine // Plainwater: Essays and Poetry, Anne Carson // All Too Well, Taylor Swift // New York Movie, Edward Hopper // Reading too much into a Tongue bite by Me // I want you to Love Me, Fiona Apple // IWYTLM genius annotation // Ada Limón on Preparing the Body for a Reopened World // The Unabridged journals of Sylvia Plath // He Held Radical Light: the Art of Faith, the Faith of Art, Christian Wiman // x // Hunger, Florence and the Machine // Eye Level: Poems, Jenny Xie // Big God, Florence and the Machine // Ada Limón // Emily Dickinson correspondences with Sue // Sharks in the River, Ada Limón // x // Nobody, Mitski // I will name this tragedy after you by Me // Litany in which certain things are crossed out, Richard Siken //
caption: The Wanting, @jonismitchell // Água Viva, Clarice Inspector // Sense and Sensibility, Jane Austen // x // Imitation of Life (1959) // South London Forever, Florence and the Machine // Plainwater: Essays and Poetry, Anne Carson // All Too Well, Taylor Swift // New York Movie, Edward Hopper // Reading too much into a Tongue bite by Me // I want you to Love Me, Fiona Apple // IWYTLM genius annotation // Ada Limón on Preparing the Body for a Reopened World // The Unabridged journals of Sylvia Plath // He Held Radical Light: the Art of Faith, the Faith of Art, Christian Wiman // x // Hunger, Florence and the Machine // Eye Level: Poems, Jenny Xie // Big God, Florence and the Machine // Ada Limón // Emily Dickinson correspondences with Sue // Sharks in the River, Ada Limón // x // Nobody, Mitski // I will name this tragedy after you by Me // Litany in which certain things are crossed out, Richard Siken //
end of evangelion screencaps
me, unsure of how to add an additional piece of context to my sentence:
the humble parentheses:
Agnes Pelton (1881–1961) — Mother of Silence (oil on canvas, 1933)