Feminist Art

ZOFIA ANNA MISIAK Zofia Anna Misiak is a contemporary painter from an artistic family. Her parents are Janina Żylińska and Stanisław Misiak. Zofia Anna Misiak graduated from the Acad...

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 ...

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 ...

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 ...

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. Carrie Chapman Catt, monoprint with Chine collé, 18 ¾ "x 12 15/16", 1992 (1859 – 1947) The women’s right to vote in the United States is owed largely to the efforts of Carrie Chapman Catt. Born in Wisconsin and educated at Iowa State, Catt left work as a high school principle and later as a newspaper editor to join the fight for women’s suffrage. Skilled as a lecturer, Catt rose rapidly to national leadership, succeeding Susan B. Anthony as president of the National/American Women’s Suffrage Association in 1900. Catt’s pressure on President Woodrow Wilson and her tireless work to secure state ratification, culminated in the Nineteenth Amendment’s adoption in 1920. Following suffrage work, Catt devoted herself to peace and disarmament issues, serving as chair of the Committee on the Cause and Cure of War. The Women’s Rights Historical Park exhibited the growing series in 1995 during the 75th anniversary of women’s suffrage. The Oberlin College...

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, Profile Landscape 438.075 - Signed Feminist LGBTQ+ Acrylic on Canvas Painting Profile Landscape 438.075 is from Linda Stein's Profiles series--drawings, collages and pa...

Linda Stein, Profile Landscape 438.078 - Signed Feminist LGBTQ+ Acrylic on Canvas Painting Profile Landscape 438.078 is from Linda Stein's Profiles series--drawings, collages and pa...

Linda Stein, Profile Landscape 438.079 - Signed Feminist LGBTQ+ Acrylic on Canvas Painting Profile Landscape 438.079 is from Linda Stein's Profiles series--drawings, collages and pa...

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...

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...

2021, 110x88 cm

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 Okrassa. Annex...

Linda Stein, Blade Vibration 276 - Acrylic on paper, impressionist, colorful, yellows, reds In the 1990s Linda Stein began to work on a series called Blades, sculptural works that...

Linda Stein, Breaking Rules 712 - Acrylic on paper, impressionist, colorful, yellows, reds In the 1990s Linda Stein began to work on a series called Blades, sculptural works that ...

Linda Stein, Profile Solid 383.060 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.060 is from Linda Stein's Profiles series--drawings, coll...

Linda Stein, Profile Solid 383.035 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.035 is from Linda Stein's Profiles series--drawings, coll...

Linda Stein, Profile Solid 383.036 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.036 is from Linda Stein's Profiles series--drawings, coll...

Linda Stein, Bourrée I 418.031 - Signed Feminist LGBTQ+ Ink and Graphite on Paper, Musical Notation Drawing Bourrée I 418.031 is from Linda Stein's Profiles Notation series--draw...

Linda Stein, Letter to an Archeologist 20 - Mixed media, acrylic and shells on board, sculptural painting Letter to an Archeologist 20 is from Linda Stein's Missives series. The mi...

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...

Nancy Spero Goddess and Mourning Women 1989 unique example of handprinting and printed collage on paper, measuring 20 by 17 inches

Linda Stein, Profile Flying 446.075 - Signed Feminist LGBTQ+ Graphite on Paper Drawing Profile Flying 446.075 is from Linda Stein's Profiles series--drawings, collages and paintin...

Linda Stein, Profile Notation 418.020 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.020 is from Linda Stein's Profiles ser...

Linda Stein, Profile Notation 418.024 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.024 is from Linda Stein's Profiles ser...

Linda Stein, Profile Notation 418.025 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.025 is from Linda Stein's Profiles ser...

Linda Stein, Profile Notation - 418.028 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.028 is from Linda Stein's Profiles s...

Linda Stein, Courante 418.030 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Courante 418.030 is from Linda Stein's Profiles Notation series--d...

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...

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

Linda Stein, Profile Notation 418.022 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.022 is from Linda Stein's Profiles ser...

Linda Stein, Profile Notation 418.023 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.023 is from Linda Stein's Profiles ser...

2021, 110x88 cm

Size: 110× 88 cm Medium: Digital art, print,canvas

2021, 110x88 cm

2021, 110x88 cm

Linda Stein, Profile Notation 418.014 - Signed Feminist LGBTQ+ Ink and Graphite on Paper Drawing Profile Notation 418.014 is from Linda Stein's Profiles series--drawings, collages ...

Linda Stein, Profile Notation 418.015 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, Graphite on Paper Drawing Profile Notation 418.015 is from Linda Stein's Profiles series-...

Linda Stein, Profile Notation 418.016 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.016 is from Linda Stein's Profiles ser...

Linda Stein, Profile Notation 418.017 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.017 is from Linda Stein's Profiles ser...

Linda Stein, Profile Notation 418.019 - Signed Feminist LGBTQ+ Colorful Ink, Color Pencil, and Graphite on Paper Drawing Profile Notation 418.019 is from Linda Stein's Profiles ser...

In this painting, I delved deeply into the interplay of expression and surrealism. The fiery palette and swirling forms symbolize a riot of emotions and thoughts that transcend the ...

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

Linda Stein, Protection 430 - Black and White Signed Etching Limited Edition Fine Art Print Linda Stein has been practicing art for the last six decades. This limited edition etch...

Linda Stein, Profile 1192 - Signed Feminist LGBTQ+ Colorful Ink on Board Drawing In the 1960s and 1970s, Linda Stein started her Profiles series--drawings, collages and paintings of...

Linda Stein, Profile Contented 1175 - Signed Feminist LGBTQ+ Colorful Ink on Board Drawing In the 1960s and 1970s, Linda Stein started her Profiles series--drawings, collages and pa...

Linda Stein, Profile 1173 - Signed Feminist LGBTQ+ Colorful Ink on Board Drawing In the 1960s and 1970s, Linda Stein started her Profiles series--drawings, collages and paintings of...

Linda Stein, Profile Segments 1166 - Signed Feminist LGBTQ+ Colorful Ink on Board Drawing In the 1960s and 1970s, Linda Stein started her Profiles series--drawings, collages and pa...

Linda Stein, Profile 1148 - Signed Feminist LGBTQ+ Colorful Ink on Paper Drawing In the 1960s and 1970s, Linda Stein started her Profiles series--drawings, collages and paintings o...

Linda Stein, Profile 1150 - Signed Feminist LGBTQ+ Colorful Ink on Paper Drawing In the 1960s and 1970s, Linda Stein started her Profiles series--drawings, collages and paintings o...

Ann Chernow’s work is based on impressions related to images from movies from the l930s and l940s. She uses film clips, studio publicity material, fan magazines and other memorabilia...

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...

Nancy Spero Airborne, 1998 Mixed Media: Silkscreen with collage additions on Somerset velvet paper 30 × 22 inches Edition of 50 Signed, dated and numbered from the limited edition of only 50 on the front Unframed Very poignant imagery: an airborne angel grabs the hand of a nude female; underneath are figures that recall the four horsemen of the apocalypse...

The inspiration for Mary Dwyer's work revolves around storytelling, historic events, a love of political cartoons and early portraiture paintings. An integral part of this work is research. Spurred by an innate curiosity, she creates political, historical and personal paintings. In the last few years Dwyer has been researching and painting the American Suffrage movement. In this research she discovered that the people working as both Suffragists and Abolitionists also started their own newspapers and published their own pamphlets. They became journalists, as no one was covering their story. Dwyer's paintings are a celebration of both the voter’s rights activist and the visual pageantry of the Suffrage movement. The use of color in her Suffrage paintings speak to the vibrant pageantry and the visual marketing used during the movement. Sashes, button, banners, flags and ribbons were made by women and marketed for women. The significance of free press is paramount in a free and fair society. The importance of journalist has become a theme that has continued in her present work. Recently she has been working on a Memorial Paintings...

Hatay is a visual artist, a healer and a former Rock and Roll photojournalist. Born in Scotland of a Hungarian physicist/inventor and an English art dealer, she grew up in an intern...

Linda Stein, Profile Solid 383.026 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.026 is from Linda Stein's Profiles series--drawings, coll...

Linda Stein, Profile Solid 383.027 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.027 is from Linda Stein's Profiles series--drawings, coll...

Linda Stein, Profile Solid 383.028 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.028 is from Linda Stein's Profiles series--drawings, coll...

Linda Stein, Profile Solid 383.029 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.029 is from Linda Stein's Profiles series--drawings, coll...

Linda Stein, Profile Solid 383.031 - Signed Feminist LGBTQ+ Colorful Acrylic and Gouache on Paper Drawing Profile Solid 383.031 is from Linda Stein's Profiles series--drawings, coll...