Feminist Art

Linda Stein, Blade Vibration 247 - Watercolor on paper, impressionist, colorful, green, blue In the 1990s Linda Stein began to work on a series called Blades, sculptural works that ...

Original French poster of Rene Gruau's Frou Frou. Centre de L"Affiche; Mairie de Toulouse. Mai and Juin 2002. Gruau a.k.a. RENATO DE ZAVAGLI. This original French poster of Rene ...

Maya, 2024 UV pigment print on 410gsm Somerset Tub Sized Radiant White paper with 4 metallic silkscreen glitter and shimmer layers, a CMYK silkscreen central panel and matte varnish ...

Suzanne Benton has been a working artist in a wide range of media for more than 60 years, with more than 150 solo exhibitions, 110 group shows, and two retrospectives of her multi-fa...

“Untitled, 1966” by Carolee Schneemann (American, 1939-2019) A rare, early collage by Carolee Schneemann composed of ribbons, film, and gift-wrapping paper. The piece is an explosio...

Linda Stein, Before the Computer 121 - Signed Feminist LGBTQ+ Colorful Acrylic on Board Painting Before the Computer 121 is from Linda Stein's Missives series--a body of work born ...

Linda Stein, Interested Party 124 - Signed Feminist LGBTQ+ Colorful Acrylic on Board Painting Interested Party 124 is from Linda Stein's Missives series--a body of work born from h...

Linda Stein, Inner Route 123 - Signed Feminist LGBTQ+ Colorful Acrylic on Board Painting Inner Route 123 is from Linda Stein's Missives series--a body of work born from her earlier...

Linda Stein, Shirley Chisholm 763 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of love...

Leslie's public projects respond to site, history and the body. Figures are female or hermaphroditic, of imaginary descent, often melded with animal, architecture and plant forms. I ...

“I fell in love with black; it contained all color. It wasn't a negation of color... Black is the most aristocratic color of all... You can be quiet, and it contains the whole thing....

Linda Stein, Fascist Five 937 - Feminist Contemporary Fabric Mixed Media Sculptural Tapestry Fascist Five 937 is from Linda Stein's Armored for Today's Events series, which advocat...

ARTIST: Joanna Rusinek (1979) Polish contemporary painter. Diploma at the Academy of Fine Arts in Gdańsk in 2007 at the Graphics Studio under the supervision of prof. Jadwiga Okras...

Drawing her inspiration from the grand masters of photography – Avedon, Lindbergh, Newton, or Toscani, amongst others – Cécile Plaisance uses lenticular printing to allow the viewer to dress or undress the models, real women, barbies, and idealized beauties that are everywhere around us. This time though, the models, whether human or doll, have an unapologetic way of looking right into the camera, as a way of reclaiming their right to display their charms, to seduce, to pleasure… in other words to live hedonistically, regardless of religion, the male gaze...

Rare 1990s Guerrilla Girls Announcement Cards: Set of 3 printed works published on the occasion(s) of: 1) Guerilla Girls, A New Years Resolution for the 90's, 1990 announcement card...

Linda Stein, Profile Landscape 438.080 - Signed Feminist LGBTQ+ Acrylic on Canvas Painting Profile Landscape 438.080 is from Linda Stein's Profiles series--drawings, collages and pa...

Linda Stein, Profile Landscape 438.094 - Signed Feminist LGBTQ+ Acrylic on Canvas Painting Profile Landscape 438.094 is from Linda Stein's Profiles series--drawings, collages and pa...

ABOUT THE ARTWORK The artwork titled "Towards the Real Me" presents a thought-provoking blend of the figurative and the whimsical. Dominated by a vivid spectrum of turquoise and cora...

Linda Stein, Profile Landscape 438.086 - Signed Feminist LGBTQ+ Acrylic on Canvas Paintings Diptych Profile Landscape 438.086 is from Linda Stein's Profiles series--drawings, collag...

Beautiful original painting depicting the interior of the room. Lots of details. Stylish painting will be a great addition to your interior and art collection.

"""Passage"" A lone bird swims between two sea ice formations with mountains and clouds in the background Bird in between two ice formations with mountains in backdrop Th...

Leslie's public projects respond to site, history and the body. Figures are female or hermaphroditic, of imaginary descent, often melded with animal, architecture and plant forms. I ...

Artist/Designer: Karl Lagerfeld (1933-2019) Marking(s); notes: marking(s) Materials: paper Dimensions: approx. 12.75"h, 10"w (159 images) Additional Information: Fashion design sketc...

Linda Stein, Profile Landscape 438.057 - Signed Feminist LGBTQ+ Acrylic on Canvas Painting Profile Landscape 438.057 is from Linda Stein's Profiles series--drawings, collages and pa...

Linda Stein, Warrior Waging Peace: Addressing Fear 1279 - Feminist Figurative Mixed Media Black and Colorful Contemporary Sculpture T...

Madonna, 2021, 110x88 cm

Guerrilla Girls' Greatest Hits Postcard Book, 1999: A rare 1999 book of approximately 20 detachable postcards, paying homage to the Guerrilla Girls' most memorable public display wo...

Linda Stein, Gloria 449 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits ser...

Linda Stein, Eleanor Roosevelt 785 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of lov...

Linda Stein, Elizabeth Cady Stanton 800 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Moo...

Behind Every Strong Woman… by Amy Gardner [2020] limited_edition Screen Print Edition number 40 Image size: H:118.9 cm x W:84.1 cm Sold Unframed Please n...

May Mott Smith (1879 - 1952) A Martinique Native in French Guiana, circa 1925 Watercolor on paper 24 x 20 inches Signed lower right; titled on the reverse “Martinique Native” is an ...

Original poster: SIRENE et PHOQUE; artist: P. Scheiurllez. 1940's original antique French lithograph coffee poster. Original lithographic, archival ...

Linda Stein, Profile Landscape 438.020 - Signed Feminist LGBTQ+ Colorful Acrylic on Board Painting Profile Landscape 438.020 is from Linda Stein's Profiles series--drawings, collag...

Suzanne Benton has been a working artist in a wide range of media for more than 60 years, with more than 150 solo exhibitions, 110 group shows, and two retrospectives of her multi-fa...

Digital photograph, edition of 25.

Painting and three dimensional collage relief in gold, red and blue with portrait, stars, mandala like patterns; from the artist's MAGI INTENTIONS series exploring mystical symbols and characters. Layered found paper collage relief, acrylic paint, mixed media on panel. Custom white shadow box frame. ABOUT THE ARTIST Deming King...

2021, 110x80 cm

Underwater nude photograph of a young woman processed in an abstract black and white symmetrical composition. Original gallery quality archival pigment print on archival paper sig...

Judy Chicago Birth Tear/Tear, 1985 Signed, dated, and numbered in margin Serigraph on Stonehenge Natural White Image 25 x 35 inches Sheet 30 x 40 inches Judy Chicago’s “Birth Tear/T...

Artist/Designer: Karl Lagerfeld (1933-2019) Marking(s); notes: signed Materials: heavy card stock Dimensions: 21.75"h, 10.5"w, 1.25"d (frame) Additional Information: Fashion design s...

Malick Sidibé - Soirée départ Djim, 1967 This is not a decorative photograph. It is living history, crystallized at the exact moment when urban Africa became aware of itself. ...

Pioneer Activists is an ongoing series of artworks by Suzanne Benton. Consisting largely of monoprints with Chine collé where the artist references suffragists, feminists, writers an...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Suzanne Benton has been a working artist in a wide range of media for more than 60 years, with more than 150 solo exhibitions, 110 group shows, and two retrospectives of her multi-fa...

Linda Stein, Susan B. Anthony 786 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits series a...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

Pioneer Activists is an ongoing series of artworks by Suzanne Benton. Consisting largely of monoprints with Chine collé where the artist references suffragists, feminists, writers an...

Patricia Miranda's work includes interdisciplinary installation, textile, paper and books. The textiles incorporated in these new pieces are vintage linens from her Italian and Irish grandmothers and sourced from friends and strangers around the country. Each donation is documented and integrated into the work. Textile as a form that wraps the body from cradle to grave. The role of lacemaking in the lives of women both economically and historically is packed with metaphorical potential. The relationship of craft and women’s work (re)appropriated by artists today to environmental and social issues is integral to the artist's research. Her work is process oriented; materials are submerged in natural dyes from oak gall wasp nests, cochineal insects, turmeric, indigo, and clay. She forages for raw materials, cook dyes, grind pigments, ecofeminist actions that consider environmental impacts of objects. The process is left visible as dyestuff is unfiltered in the vat and finished work. Sewn into larger works, Miranda incorporates hair, pearls, bone beads, Milagros, cast plaster. The distinct genetics and environmental and cultural history of each material asserts its voice as collaborator rather than medium. The lace inserts a visceral femininity into the pristine gallery, and exerts a ghostly trace of the history of domestic labor. The combination of earth and lace references human and environmental devastation and the conflation of nature and women’s bodies as justifications for exploitation. Mournful and solastalgic, they are lamentations to the violence against women and the earth. Patricia Miranda is an interdisciplinary artist, curator, educator, and founder of The Crit Lab, graduate-level critique seminars and Residency for artists, and MAPSpace project space. She has been Visiting Artist at Vermont Studio Center, the Heckscher Museum, and University of Utah; and been awarded residencies at I-Park, Weir Farm, Vermont Studio Center, and Julio Valdez Printmaking Studio. She received an Anonymous Was a Woman Covid19 Artist Relief Grant, an artist grant from ArtsWestchester/New York State Council on the Arts, and was part of a year-long NEA grant working with homeless youth. Miranda currently teaches graduate curatorial studies at Western Colorado University, and develops programs for K-12, museums, and institutions such as Franklin Furnace. Her work has been exhibited at ODETTA, NYC; ABC No Rio, NYC; Alexey von...

Pioneer Activists is an ongoing series of artworks by Suzanne Benton. Consisting largely of monoprints with Chine collé where the artist references suffragists, feminists, writers and educators from the 19th century and beyond. These works embody the artist’s stellar theme of bringing past to present. The Suffragist (Alice Paul) One of the prime dedicated vocal leaders of the women’s suffrage movement in the twentieth century, Alice Paul actively campaigned for the passage of the 19th Amendment to the US Constitution...

Pioneer Activists is an ongoing series of artworks by Suzanne Benton. Consisting largely of monoprints with Chine collé where the artist references suffragists, feminists, writers and educators from the 19th century and beyond. These works embody the artist’s stellar theme of bringing past to present. THE GAZE Monoprint with Chine collé, 13 ¼ x 10 inches, 1999 Dorothy Canfield Fisher 1879 –1958) Dorothy Canfield Fisherwas an educational reformer, social activist, and best-selling American author in the early 20th century. She strongly supported women's rights, racial equality, and lifelong education. Eleanor Roosevelt named her one of the ten most influential women in the United States. The Women’s Rights Historical Park exhibited Benton's growing series in 1995 during the 75th anniversary of women’s suffrage. The Oberlin College...

In 1972, the women’s movement was in full flower. Suzanne Benton had been an early activist, a founder and organizer of NOW Chapters, CT Feminists in the Arts, Women, Metamorphosis 1 (in New Haven, CT, the first women’s art festival in the USA). She'd already been creating metal sculpted masks and working with them in mask tale performances of Women of Myth and Heritage. Her inaugural performance of Sarah and Hagar n 1972 took place at Lincoln Center in NYC. Benton then became the artistic director and producer of an evening on Broadway, Four Chosen Women (performers included herself as mask tale performer, author Anais Nin, actress Vinie Burroughs and dancer Joan Stone). The evening took place at the Edison Theatre, November 22, 1972. While developing the evening on Broadway, Benton met renowned Swedish actress and Hollywood star, Viveca Lindfors. Viveca was then working on her solo performance, I AM A WOMAN, and was looking for a unique theatre set for the show. The happenstance that brought Viveca and Suzanne together. At that same time, recent travel to Macchu Picchu inspired her with the mountain’s great stones sitting on the edge of precipices. These vast stones led her to create welded steel Seated Sculpture Works. Viveca was intrigued by the concept and let her own imagination fly. Imagining a set of welded steel sculpture, she took the leap in commissioning Suzanne with complete faith in artist's ability to fulfill her mandate. Benton created groups of welded sculptures for two theater sets. Protection is one of three sculptures in first set created in 1973. Mother and Child, Pelvic Woman, Facing Each Other are three of five works from the 1974 second set. The first toured with her shows throughout the East Coast and into Toronto, Canada. The second set, created to nest together could travel as checked baggage for international and domestic airline travel. They flew to Denmark in 1980 for her performance at the UN sponsored 1980 Women’s International Conference, Copenhagen. In addition to creating the theatre sets, Benton mounted exhibitions of her masks and sculptures in the lobbies of theatres where she performed (NYC and Northampton). Continuing on with this theme, Becoming is her 1975 Seated Sculpture Work. The theatre sets were returned at the final end of its long run. These Seated Sculpture Works have often been featured in exhibitions, including both the 2003 and 2005 retrospectives. They are part of an oeuvre of 797 sculptures and masks. What attracted her to welded sculpture? This excerpt from her book, The Art of Welded Sculpture, Van Nostrand Reinhold, 1975 speaks of its lure: "Early in my life, when I had decided to become an artist, I had had an inner vision of being able to hold the physical material of my art in such a way as to bring it into existence with my hands. In welding, I wear a mask, a heavy apron, and gloves. I heat the metal and make it bend so smoothly and gracefully; I cut the metal, rigid metal, into endless shapes; I join the pieces by causing them to flow together with the heat of the flame. Welding was a return to my adolescent vision. It was fulfillment. At that beginning time I felt that even if I went no further, this experience in itself gave me astounding satisfaction. It was as thrilling as the moment of birth. It was my birth." (Pelvic Woman and Protection are illustrated in the book): What began in 1965 became by 2017 an oeuvre of 797 sculptures and masks. The magic of the welding mask...

Three High-Fashion figures adorned in flowing gowns are lined up in a row, facing the viewer. They have an Avant-garde complex design reminiscent of Gustav Klimt. The work is constru...

Fiber print, edition of 10.

Digital photograph, edition of 25.

Nan Goldin Supreme Skateboard Decks, 2018 (complete set of 3): – Misty and Jimmy Paulette in a taxi, (NYC 1991) – Kim in Rhinestones, (Paris 1991) – Nan as a Dominatrix (Cambridge MA...

Louise Bourgeois (After) I had a flashback of something that never existed, 2020 Fine bone china 10 1/2 in diameter 26.7 cm diameter Edition of 175 Printed signature and edition de...

The social theme of the southern life of the people of Africa. Their way of life, national costumes and the color of the clay red soil. All this creates a unique original coloring in...

Nan Goldin Supreme Skateboard Deck: 'Nan as a Dominatrix, Cambridge MA' (1978/2018): Published in 2018 by Supreme New York Features Nan Goldin printed signature on verso From a sold...

The red series are vermilion drawings with cotton/diya baati wicks used in prayer, the fruit of the artist's longstanding preoccupation with gender, religion and rituals. The interfe...