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Feminist Art

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Style: Feminist
Patricia Miranda, Dreaming Awake, 2020, nightdress, cochineal dyes, plaster,
Patricia Miranda, Dreaming Awake, 2020, nightdress, cochineal dyes, plaster,

Patricia MirandaPatricia Miranda, Dreaming Awake, 2020, nightdress, cochineal dyes, plaster,, 2020

$5,000

Patricia Miranda, Dreaming Awake, 2020, nightdress, cochineal dyes, plaster,

By Patricia Miranda

Located in Darien, CT

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...

Category

2010s Feminist Art

Materials

Fabric, Thread, Dye, Found Objects, Plaster

Hand-Painted Porcelain Sculptures from Historic Jar Series
Hand-Painted Porcelain Sculptures from Historic Jar Series

Alex Hodge 1Hand-Painted Porcelain Sculptures from Historic Jar Series, 2019

$6,550

Hand-Painted Porcelain Sculptures from Historic Jar Series

By Alex Hodge 1

Located in Miami Beach, FL

The three series that make up her thesis show all center around the woman as an art historical trope who becomes a contemporary archetype of tenderness and tenacity with her own narrative. The tradition of the woman as muse or object is questioned and turned upside down as she gives her women the position of subject, i.e., the position of power. The jars, which uphold pairs of women, are the ultimate overturn of male dominance as she removes and replaces all male characters from famous artworks with women. The couples care for one another and are so consumed in their connection that the viewer is ignored. They do not exist for the viewer’s fantasy because their desires are already fulfilled. Through these three bodies of work, she creates archival objects which combine to build a narrative of women’s power, based on the Love Ethic, as discussed by bell hooks in her book, All About Love. Furthermore, notions of power are investigated in tandem with Mary Follett’s writings on power, which delineate Western conception as power-over, and the feminist ideal as power-with. Alex Hodge...

Category

2010s Feminist Art

Materials

Gold

Signed Feminist LGBTQ+ Acrylic on Canvas Painting - Long Journey 45
Signed Feminist LGBTQ+ Acrylic on Canvas Painting - Long Journey 45

Linda SteinSigned Feminist LGBTQ+ Acrylic on Canvas Painting - Long Journey 45, 1975

$25,000

Signed Feminist LGBTQ+ Acrylic on Canvas Painting - Long Journey 45

By Linda Stein

Located in New York, NY

Linda Stein, Long Journey 45 - Signed Feminist LGBTQ+ Acrylic on Canvas Painting Long Journey 45 is from Linda Stein's Profiles series--drawings, collages and paintings of facial pr...

Category

1970s Feminist Art

Materials

Canvas, Acrylic, Linen, Board, Stretcher Bars

Patricia Dahlman, No_Trump, 2017, pencil, fabric, paper, thread, collage, banner
Patricia Dahlman, No_Trump, 2017, pencil, fabric, paper, thread, collage, banner

Patricia DahlmanPatricia Dahlman, No_Trump, 2017, pencil, fabric, paper, thread, collage, banner, 2017

$5,335

Patricia Dahlman, No_Trump, 2017, pencil, fabric, paper, thread, collage, banner

By Patricia Dahlman

Located in Darien, CT

Patricia Dahlman was born in Cincinnati, Ohio and studied art at Wright State University in Dayton, Ohio and Yale University Summer School of Art and Music in Norfolk, Connecticut. Dahlman has lived and worked as an artist in Seattle, San Francisco and the New York City area. She has received a New Jersey Printmaking Fellowship to the Brodsky Center, two Geraldine R. Dodge Foundation Fellowships to attend Vermont Studio Center and Virginia Center for Creative Arts, a Puffin Foundation Grant Award for The War and Peace Print Project, a Yaddo Residency, a Gallery Aferro Studio Residency and recently was an artist in residence at SLAK Atelier in Arnhem, Netherlands. Dahlman has exhibited her work all over the United States and has been included in exhibitions at George Adams Gallery...

Category

2010s Feminist Art

Materials

Fabric, Thread, Paper, Pencil

Fire Goddess, gold, red & blue painting and collage relief, figurative portrait
Fire Goddess, gold, red & blue painting and collage relief, figurative portrait

Deming King HarrimanFire Goddess, gold, red & blue painting and collage relief, figurative portrait, 2016

$2,000

Fire Goddess, gold, red & blue painting and collage relief, figurative portrait

By Deming King Harriman

Located in Jersey City, NJ

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...

Category

2010s Feminist Art

Materials

Paper, Acrylic, Wood Panel

Kiki Smith -- for Leslie Gore Mo Tucker Laura Nyro & Mama Cass, Signed/N, Framed
Kiki Smith -- for Leslie Gore Mo Tucker Laura Nyro & Mama Cass, Signed/N, Framed

Kiki SmithKiki Smith -- for Leslie Gore Mo Tucker Laura Nyro & Mama Cass, Signed/N, Framed, 2000

$15,000

Kiki Smith -- for Leslie Gore Mo Tucker Laura Nyro & Mama Cass, Signed/N, Framed

By Kiki Smith

Located in New York, NY

Kiki Smith For Leslie Gore, Mo Tucker, Laura Nyro and Mama Cass: What Girls Know About Grids (signed twice), 2000 Eight etching and relief etchings on handmade Japanese paper attache...

Category

Early 2000s Feminist Art

Materials

Handmade Paper, Photographic Paper, Etching

Set of Four Carved Porcelain Vases, Contemporary, Unsung Muses Series
Set of Four Carved Porcelain Vases, Contemporary, Unsung Muses Series

Alex Hodge 1Set of Four Carved Porcelain Vases, Contemporary, Unsung Muses Series, 2014

$16,500

Set of Four Carved Porcelain Vases, Contemporary, Unsung Muses Series

By Alex Hodge 1

Located in Miami Beach, FL

This vessel is the first of the Unsung Muses series, and it references two compositions by Cezanne in which women are seen bathing, undisturbed by the voyeurism of the artist and/or viewer. However, in my version, the two women on the “back” are staring straight out at the audience as if they are perturbed by our interruption. The text reads from front to back, “we are not here for / your viewing pleasure.” This piece is meant to speak to the way women are constantly objectified and ogled for male gratification while offering a firm statement on our autonomy. Unsung Muses is a group of large-scale vessels, wall pieces, and small sculptures which comprised a solo exhibition at the University of Georgia's School of Art in October 2015. The works were accompanied by an excerpt from an Adrienne Rich poem titled "Transcendental Etude." The excerpt reads: "But in fact we were always like this, rootless, dismembered: knowing it makes the difference. Birth stripped our birthright from us, tore us from a woman, from women, from ourselves so early on and the whole chorus throbbing at our ears like midges, told us nothing, nothing of origins, nothing we needed to know, nothing that could re-member us." Alex Hodge...

Category

2010s Feminist Art

Materials

Clay, Ceramic, Porcelain, Paint

Patricia Miranda, Lamentations for Rebecca; 2020, lace, cochineal dye, thread
Patricia Miranda, Lamentations for Rebecca; 2020, lace, cochineal dye, thread

Patricia MirandaPatricia Miranda, Lamentations for Rebecca; 2020, lace, cochineal dye, thread, 2020

$11,250

Patricia Miranda, Lamentations for Rebecca; 2020, lace, cochineal dye, thread

By Patricia Miranda

Located in Darien, CT

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...

Category

2010s Feminist Art

Materials

Ceramic, Fabric, Thread, Dye, Found Objects

Leslie Fry_Arise_2022_Sculpture_Cast Bronze_Feminist
Leslie Fry_Arise_2022_Sculpture_Cast Bronze_Feminist

Leslie Fry Leslie Fry_Arise_2022_Sculpture_Cast Bronze_Feminist, 2022

$85,000

Leslie Fry_Arise_2022_Sculpture_Cast Bronze_Feminist

By Leslie Fry

Located in Darien, CT

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 ...

Category

2010s Feminist Art

Materials

Bronze

Feminist art for sale on 1stDibs.

Find a wide variety of authentic Feminist art available for sale on 1stDibs. Works in this style were very popular during the 21st Century and Contemporary, but contemporary artists have continued to produce works inspired by this movement. If you’re looking to add art created in this style to introduce contrast in an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, pink, red, purple and other colors. Many Pop art paintings were created by popular artists on 1stDibs, including Cécile Plaisance, Lida Pshenichka, Suzanne Benton, and Ann Chernow. Frequently made by artists working with Fabric, and Paint and other materials, all of these pieces for sale are unique and have attracted attention over the years. Not every interior allows for large Feminist art, so small editions measuring 2.76 inches across are also available. Prices for art made by famous or emerging artists can differ depending on medium, time period and other attributes. On 1stDibs, the price for these items starts at $90 and tops out at $45,000, while the average work sells for $2,769.

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