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Style: Feminist
Horses, Chicken, Ducks, Rooster and  Pigs Children's Book - Female Illustrator
Horses, Chicken, Ducks, Rooster and  Pigs Children's Book - Female Illustrator

Horses, Chicken, Ducks, Rooster and Pigs Children's Book - Female Illustrator

Located in Miami, FL

Cover illustration for mid-century children's book publisher Merril Publishers. Signed lower right. Unframed. Retta Scott or Retta Worcester was (February 23, 1916 – August 26, 1990) was an pioneering Female Illustrator / American artist. She was the first woman to receive screen credit as an animator at the Walt Disney Animation Studios. Scott worked on storyboards to develop scenes of Bambi, his mother, and the film’s hunting dogs, on which she spent weeks to develop them into “vicious, snarling, really mean beasts.” Male artists in the company were stunned who initially assumed that only a man could create drawings with such intensity and technical skill. Her sketches caught the eye of Disney, so when the film went into production, she was assigned to animate scenes of hunting dogs chasing Faline. She worked under the film's supervising director, David D. Hand,and was tutored by Disney animator Eric Larson. This was a significant coup for the young woman, since at the 1930s-era Disney studio, women were considered only for routine tasks: "Ink and paint art was a laborious part of the animation process, and was solely the domain of women..." Her promotion to animator was in part thanks to the success of herself and other women such as Bianca Majolie, Sylvia Holland, and Mary Blair as storyboard artists. Even after receiving a promotion to animator, she and her animations continued being under appreciated in the industry. Though the most recognized Walt Disney female artist is Mary Blair, it is Retta Scott who opened up the doors for women in the animation industry. She became the first woman to receive screen credit as an animator. By the spring of 1941, Scott was also considered a "specialist in animal sketches." Scott helped produce Fantasia and Dumbo, as well as an adaptation of The Wind in the Willows that was later cancelled. She also made an appearance in The Reluctant Dragon...

Category

1950s Feminist Art

Materials

Gouache

'Crochet V' Mixed media Fiber Arts on handmade paper
'Crochet V' Mixed media Fiber Arts on handmade paper

'Crochet V' Mixed media Fiber Arts on handmade paper

By Louise Bourgeois

Located in New York, NY

In 'Crochet V', Louise Bourgeois transforms the traditionally domestic practice of crochet into a powerful meditation on memory, care, and the body. Using hand-worked textile forms, ...

Category

1980s Feminist Art

Materials

Mixed Media, Handmade Paper, Color

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

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

Deflowered Monograph with DVD hand signed by famed feminist artist Judy Chicago
Deflowered Monograph with DVD hand signed by famed feminist artist Judy Chicago

Deflowered Monograph with DVD hand signed by famed feminist artist Judy Chicago

By Judy Chicago

Located in New York, NY

Judy Chicago Deflowered (Hand Signed Book), 2013 Hardback Monograph and DVD (Mixed media book set) Boldly signed by the artist in black marker on the first front end page. 12 1/4 × 12 1/4 x 2 1/2 inches Unframed This hand signed monograph makes a terrific gift! Judy Chicago signed...

Category

2010s Feminist Art

Materials

Mixed Media

Mary Dwyer, Ida Tarbell, 2017, watercolor on paper, Suffragists and Journalists
Mary Dwyer, Ida Tarbell, 2017, watercolor on paper, Suffragists and Journalists

Mary Dwyer, Ida Tarbell, 2017, watercolor on paper, Suffragists and Journalists

By Mary Dwyer

Located in Darien, CT

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...

Category

2010s Feminist Art

Materials

Acrylic, Archival Paper

Leslie Fry_Touched_2025_Ceramic sculpture_Portraiture
Leslie Fry_Touched_2025_Ceramic sculpture_Portraiture

Leslie Fry_Touched_2025_Ceramic sculpture_Portraiture

By Leslie Fry 1

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

Clay, Glaze, Pigment

Set of 4 artworks. From The Red Series
Set of 4 artworks. From The Red Series

Set of 4 artworks. 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

Patricia Miranda, Florilegium Series, 2016, cochineal dyes, antique books, pearl
Patricia Miranda, Florilegium Series, 2016, cochineal dyes, antique books, pearl

Patricia Miranda, Florilegium Series, 2016, cochineal dyes, antique books, pearl

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, Plaster, Dye, Found Objects

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

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, Sentinella, 2020, Battinger lace, synthetic dyes, cast plaster
Patricia Miranda, Sentinella, 2020, Battinger lace, synthetic dyes, cast plaster

Patricia Miranda, Sentinella, 2020, Battinger lace, synthetic dyes, cast 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, Dye, Plastic

Ann Chernow, Trouble, Rag Paper, Etching

Ann Chernow, Trouble, Rag Paper, Etching

By Ann Chernow

Located in Darien, CT

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...

Category

2010s Feminist Art

Materials

Rag Paper, Etching

"Francis Bacon bathers"
"Francis Bacon bathers"

"Francis Bacon bathers"

By Kyrylo Bondarenko

Located in Edinburgh, GB

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 ...

Category

21st Century and Contemporary Feminist Art

Materials

Canvas, Oil

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.