Feminist Art

Linda Stein, Noor Inayat Khan 1131 - Feminist Contemporary Fabric Sculptural Wall Tapestry Noor Inayat Khan 1131 is from Linda Stein's Holocaust Heroes: Fierce Females series, which highlights Holocaust-era female heroes. Stein began to produce sculptural tapestries in 2013, in which she combines archival images of a subject with her pantheon of female Exemplars--Wonder Woman, Princess Mononoke, Storm, Nausicaa, Kannon, and Lady Gaga--with multiple fabrics and leather. Noor Inayat Khan 1131 features Noor Inayat Khan, a Special Operations Executive agent, who became the first female radio operator to be sent from Britain to aid the French resistance...

Linda Stein, Masculinities: Soft vs. Strong 860 - Feminist Contemporary Sculptural Tapestry Masculinities: Soft vs. Strong 860 is from Linda Stein's Sexism series, which advocates ...

Linda Stein, Lucy Stone 798 - Signed Limited Edition Feminist Contemporary Fine Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of love....

Linda Stein, Flo Kennedy 406 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of love. Ea...

Linda Stein, Shulamith Firestone 745 Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of love...

Linda Stein, Billie Jean King 382 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits...

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

Linda Stein, Gender Scrambling 850: Soft vs Hard Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victoria Gallery ...

Linda Stein, Gender Scrambling 799: Strong, Levin, Beckenstein Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Vic...

Linda Stein, Gender Scrambling 848: Veteran Feminists of America Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of V...

Linda Stein, Gender Scrambling 889: Freedom to Express Everything Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of ...

Linda Stein, Gender Scrambling 782: VanSickle, Roosevelt Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victoria ...

Linda Stein, Gender Scrambling 778: Stein, Obama Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victoria Gallery ...

Linda Stein, Gender Scrambling 773 Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victoria Gallery & Museum in th...

Linda Stein, Gender Scrambling 777: Gaga, Obama, Salander Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Victori...

Linda Stein, Gender Scrambling 769: Stein, Romney, Obama, Hardacre Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of...

Linda Stein, Gender Scrambling 771: Barack Obama, Sasha Hoffman Signed Limited Edition Feminist Contemporary Art Print Prints from this series are in the Permanent Collections of Vi...

This set of drawings has been like a Covid-19 diary of one woman and her domestic realm. Simone de Beauvoir, the century's most iconic feminist scholar, called the burden of women's ...

Watercolor

2021, 110x80 cm

2021, 110x88cm

An original impressionalistic watercolor painting of a female portrait.

Modern Venus, 110x90cm, oil on canvas

2021, 110x88 cm

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

2021, 110x88 cm

Reflections, 2021, 110x88 cm

2021, 110x88 cm

Printed on Archival Moab Entrada paper with Deckled Edge Signed by a Founding Member of the Guerrilla Girls Limited Edition of 50 "Dear Art Collector" is a provocative artwork by th...

Repairs in the Sky, 1999 Louise Bourgeois Letterpress and lithograph in colours, on two sheets of smooth wove paper Signed and numbered “Inscribed ‘AP’ and numbered ‘12’, one of 14 ...

New tapestry, my interpretation of modern, traditional Ukrainian folk art As part of the project on my idea before the war, I continue to implement my ideas, old and new. My arrival home gives me new strength and ideas. Despite the danger of living in a frontline city. My new tapestry is a modern interpretation of classic tapestries...

Tracey Emin, Grand Hotel I, Lithograph Print, 2016 A Polymer gravure lithograph printed on Somerset 300gsm paper From a limited edition of 100. 81/100 Hand signed, titled and numb...

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 ...

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...

Artist/Designer: Karl Lagerfeld (German, 1933-2019) Marking(s); notes: marking(s), signed; 1966 Materials: mixed media on card stock Dimensions (H, W, D): 19.5"h, 8.25"w; 21.75"h, 10...

Untitled, 2004 Tracey Emin Etching, on wove paper Initialed from the edition of 125 Published by White Cube, London With the artist's ink stamp on the reverse Image: 14 × 19 cm (5.5...

The subject is primarily about multiple personalities. It is signed and dated on the reverse side. *ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings ar...

Tracey Emin, The Sex Series (The Complete Set of 5) Giclee Print on Paper, 2013 Giclee print on paper Edition of 200. Signed, unnumbered Excellent / 'as new' condition. Each piece i...

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...

Michèle TAUPIN was born in Paris, but she could have been born somewhere in ancient Greece, on the banks of the Nile or in Florence… “An immense desire...

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

The image is 8 x 8 inches, and the paper it is printed on is 15 x 13.5 inches. This is a quirky and tender image of a naked man sitting on the floor holding a giant iguana on his la...

Liliane Danino, Queen of the desert, Natural pigment and fabric on canvas, mixed media, idealized portrait, woman of virtue, Israeli artist, Israeli art

Soft pastel on toned archival sanded paper with border suitable for framing under glass. Signed and dated on bottom left hand corner

Large charcoal drawing on Grey archival paper signed and dated bottom left. An unusual departure for the artist who generally works in color. Suitable for framing under glass. The ...

2021, 110x80cm

This is an artist proof aquatint of a woman stepping forward in a tiled Mexican living room with her dog and a mysterious giant cactus coming out of the floor. Image is 9.75 x 9.75 ...

Juliette Gordon (American, b. 1934) Untitled (Love Potion), circa 1973 Collage on board 30 x 20 inches Provenance: Allan Stone Gallery, New York Sold wi...

RINY artists Audrey Anastasi and C.Dimitri collaborated to create contemporary collage works.

Soft pastel on toned sanded pastel paper richly worked. Part of an ongoing series on mirrors and fame figures. Signed at bottom

Whether the subject matter is figuration or nature, Audrey Anastasi approaches all her subjects directly and unabashedly. In this work on paper, she c...

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...

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...

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. Mary Church Terrell Over Time, monoprint with Chine collé, 27 x 20 inches, 2018 (1863 – 1954) Mary Church Terrell Life Cycle, monoprint with Chine collé, 27 x 20 inches, 2018 (1863 – 1954) Born in Memphis, Tennessee, Mary Church Terrell was a well-known author and activist for equal rights. Terrell’s parents were freed slaves who grew to become financially successful. A part of a rising African-American upper middle class, Terrell used her position to campaign for racial equality and women’s suffrage. I In 1884, she graduated from Oberlin College...

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. Anna Julia Cooper, monoprint with Chine collé, 27 x 19 3/4 inches, 2020 1858-1964 An educator, administrator, and social reformer, Anna J. Haywood Cooper was born a slave in Raleigh, North Carolina, and spent fourteen years fighting to gain access to Latin and Greek classes reserved for men at St. Augustine's Normal School and Collegiate Institute, from which she graduated in 1877. She married the Reverend A. C. Cooper at St. Augustine's, where each taught, but after his death in 1881, she began the second phase of her education at Oberlin. That year she joined Mary Eliza Church (Terrell) and Ida A. Gibbs Hunt in the "gentleman's" collegiate course and graduated in 1884. One of the pioneer African-American women who earned a B.A., she returned to Oberlin for an M.A. in Mathematics, which she received in 1887. Continuing her trailblazing for race and gender issues, Cooper wrote the feminist manifesto, A Voice from the South, spoke at feminist and educational conferences, and achieved many honors such as membership in the American Negro Academy. She was a leader in the National Association of Colored Women. Aligned with DuBois's philosophy, she spoke at the 1900 Pan African Conference in London, arguing for self-determination for African-Americans and an end to colonialism in Africa and apartheid in South Africa. Anna Cooper received a Ph.D. at the Sorbonne in 1925 after a decade of study while she also maintained a full-time teaching load. Her thesis was on French policies during slavery. She had been shaping Frelinghuysen University in Washington, D.C., an interdenominational Bible college, and became its president in 1930, at the age of 72. She died in 1964 at the age of 105. In preparation for this ongoing series the artist received images from Legacy Magazine’s photo archive of 19th Century women writers, understanding that she’d obtain permission from each source to use the photos in her artworks. Permissions were received and she began the series in 1992. The Harvard/Radcliffe Schlesinger library then offered Suzanne access to relevant microfiche images that were employed in subsequent works. In addition, the library exhibited the in 1992. The collector Vivien Leone purchased and donated one to the library, and the library subsequently purchased two more. The Women’s Rights Historical Park in Seneca Falls, NY, exhibited the growing series in 1995 during the 75th anniversary of women’s suffrage. The Oberlin College...

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. Antoinette B Blackwell in the Blue Circle, monoprint with Chine collé, 9 3/4 x 7 3/4 inches, 1996 (1825 –1921) Reverend Antoinette Louisa Brown Blackwell graduated from the Ladies¹Department in 1847 and returned to Oberlin to take theology courses, having been denied the right to participate as a member of the Theological Department.  When she completed the course of study in 1850, she was also denied ordination and recognition at commencement, but in 1853 was ordained in her home church in Butler New York and, despite Oberlin Collége...

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...

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...

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...