Let Me See You And Stay

Agnes Pelton (1881–1961) — Mother of Silence  (oil on canvas, 1933)

A displaced Palestinian couple held their wedding in the camp.

From everydaypalestine

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

Architectural decay portrayed in art pieces

‘Roman Ruins’ by Hubert Robert, 1760

‘Capriccio of Classical Ruins’ by Giovanni Paolo Panini, 1725 and 1730

‘Landscape with Classical Ruins and Figures’ by Marco and Sebastiano Ricci, 1725-1730

‘Ruins in Baalbek’ bu Jules Louis Coignet, 1846

‘Gothic Church Ruin’ by Carl Blechen, 1829-1831

‘The Ruins of Holyrood Chapel’ by Louis Daguerre, 1824

‘Christ and Adulteress’ by Ascanio Luciano, 1669

‘Detail of View of the Arch of Constantine with the Colosseum’ by Canaletto, 1742-1745

‘Ruins of the Palace’ by Ramon Martí Alsina, 1859

Yoshitomo Nara. cover for Absynthe Minded, There Is Nothing, 2007

Hanna Kim, Not Much, 2019

Nobuhiko Obayashi, Hausu, 1977

Всемирный Конгресс Женщин | International Women's Congress;

Raisa Zenkova, 1965.

Kati Horna :: Surreal Portrait of Remedios Varo, 1957. [Wearing a mask made by Leonora Carrington] | src Princeton University Art Museum

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Théophile Steinlen (1859 - 1923) - Siamese Cat and her Kitten. 1920. Charcoal and pastel on paper.