Skip to main content

Feminist Art

to
46
226
69
99
50
109
Overall Width
to
Overall Height
to
212
341
1
3
4
6
12
133
25
24
119,535
64,205
56,757
28,967
14,507
9,664
6,747
6,153
4,199
3,200
2,519
2,378
2,151
574
263
205
16
257
177
108
84
56
47
38
34
33
31
21
21
20
19
17
15
15
13
13
11
251
217
181
179
147
34
22
19
19
9
87
32
414
78
Style: Feminist
XVII From The Red Series
XVII From The Red Series

Megha JoshiXVII From The Red Series, 2023

$1,200

XVII From The Red Series

By Megha Joshi

Located in Miami Beach, FL

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...

Category

2010s Feminist Art

Materials

Cotton, Paper, Acrylic, Watercolor, Pencil

Signed Limited Edition Feminist Contemporary Fine Art Print - Heroes 842

Linda SteinSigned Limited Edition Feminist Contemporary Fine Art Print - Heroes 842, 2015

$1,100

Signed Limited Edition Feminist Contemporary Fine Art Print - Heroes 842

Located in New York, NY

Linda Stein, Heroes 842 - Signed Limited Edition Feminist Contemporary Fine Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of love. Each portrait is made by hand with watercolors and gouache paints, then converted into a limited-edition, fine-art original print with archival inks. Heroes 842 highlights twelve of Stein's heroes: Susan B. Anthony, Bella Abzug...

Category

2010s Feminist Art

Materials

Archival Pigment

XVI and XVII Diptych. From The Red Series
XVI and XVII Diptych. From The Red Series

Megha JoshiXVI and XVII Diptych. From The Red Series, 2023

$2,400

XVI and XVII Diptych. From The Red Series

By Megha Joshi

Located in Miami Beach, FL

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...

Category

2010s Feminist Art

Materials

Cotton, Paper, Acrylic, Watercolor, Pencil

Benton, Susan B. Anthony the Elder, monoprint with Chine collé, PioneerActivist

Suzanne BentonBenton, Susan B. Anthony the Elder, monoprint with Chine collé, PioneerActivist, 2020

$2,640

Benton, Susan B. Anthony the Elder, monoprint with Chine collé, PioneerActivist

By Suzanne Benton

Located in Darien, CT

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. Susan B. Anthony the Elder, monoprint with Chine collé, 18 ½ x 13 ¼ inches, 2020 From Wikipedia Susan B. Anthony (born Susan Anthony; February 15, 1820 – March 13, 1906) was an American social reformer and women's rights activist who played a pivotal role in the women's suffrage movement. Born into a Quaker family committed to social equality, she collected anti-slavery petitions at the age of 17. In 1856, she became the New York state agent for the American Anti-Slavery Society. In 1851, she met Elizabeth Cady Stanton, who became her lifelong friend and co-worker in social reform activities, primarily in the field of women's rights. In 1852, they founded the New York Women's State Temperance Society after Anthony was prevented from speaking at a temperance conference because she was female. In 1863, they founded the Women's Loyal National League, which conducted the largest petition drive in United States history...

Category

2010s Feminist Art

Materials

Laid Paper, Monoprint

Suzanne Benton, 1974, Pelvic Woman, Copper, Coated Steel
Suzanne Benton, 1974, Pelvic Woman, Copper, Coated Steel

Suzanne BentonSuzanne Benton, 1974, Pelvic Woman, Copper, Coated Steel, 1974

$10,667

Suzanne Benton, 1974, Pelvic Woman, Copper, Coated Steel

By Suzanne Benton

Located in Darien, CT

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...

Category

1970s Feminist Art

Materials

Copper, Steel

Patricia Miranda, Seeing Red Lace, 2020, egg tempera on panel
Patricia Miranda, Seeing Red Lace, 2020, egg tempera on panel

Patricia MirandaPatricia Miranda, Seeing Red Lace, 2020, egg tempera on panel, 2020

$2,250

Patricia Miranda, Seeing Red Lace, 2020, egg tempera on panel

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, Plastic, Dye

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

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.

More Ways To Browse

Maggie Siner
Maplethorpe Calla
Marble Woman Head
Marcel Leprin
Mark Stock
Martin Hardie
Mauritz Lindstrom
Maximillien Luce
Michael Budden Central Park
Midcentury Matador Paintings
Mike Wright
Miracle On Ice
Mississippi River Painting
Monarch Of The Glen Painting
Moroccan Paintings Essaouira
Morpho Butterfly Art
Mount Tamalpais
Murray Dessner
View All Popular Art Searches