Feminist Art

The Hour Is Devoted to Revenge, 1999 Louise Bourgeois Letterpress and lithograph in colours, on two sheets of smooth wove Arches Signed with initials, inscribed ‘AP’ and numbered 15...

2021, 110x88 cm

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

Madonna, 2021, 110x88 cm

Linda Stein, Gloria Steinem 812 - Signed Limited Edition Feminist Contemporary Art Print Linda Stein considers her Women of Courage Mood Portraits series a feminist labor of love. ...

Disney Legend Mary Blair was also a commercial illustrator for national brands such as Maxwell House Coffee and Beatrice Foods, and two complete national campaigns for Pall Mall cigarettes. The present work was part of her Pall Mall cigarette campaign "'So friendly to your taste!'". We are unsure whether this work was a reproduced, or was only used in a test market , or for a client comp. Nonetheless, as a piece of commercial work-for-hire art, it rises to the realm of fine art. Even though the look of the work has a quick, loose and playful feel to it, each element is carefully placed to strike a perfect balance. In this campaign, the artist created the background, and the art director stripped in the product label. The cigarette to the left is also a cut-out and pasted into position to achieve the ideal look. Commercial art is, in almost all cases, a collaborative effort between the Art Director, the Artist, Account People, and the Client, yet in this case, the Mary Blair signature flat graphic and colorful style is dominant and the packaging is secondary. We have to assume the client, American Tobacco Company's brand Pall Mall was trying to sell the sizzle and not the steak. Nothing in advertising is done by chance. This Pall Mall campaign was acutely tested, and apparently, the Mary Blair style was the brand identity that the ad agency chose over other submissions. Blair's warm personal feel fits perfectly with the tag line "'So friendly to your taste!'" and connects with the audience. In the 1950s - 1960s, Mary Blair was one of the few women artists to design and execute a major mainstream advertising campaign that was not solely women-oriented subject matter: babies, women's clothes, and household products. Cigarette ads had some of the most significant budgets and visibility. Typically, they were a full page back or inside cover and pervasive billboards. The ad agencies could have called any artist in the world, and they would have jumped at the opportunity for such a sought-after, lucrative and prestigious job. In the commercial art field, Mary Blair was somewhat like Margaret Burke...

"Power From the Unseen" Organic Contemporary Wall Sculpture Diptych Industrial hemp fiber, pigment, mixed media. Dimensions: Overall installation approximately: Height: 80 cm (31....

Amphibian, - Ink and watercolor, - 90 x 71 cm / 35.43 x 27.95 in - Ecology Cartoon, c. 2025 Saelia Aparicio expands drawing until it becomes world. This universe borrows as much f...

An original impressionist style watercolor painting of a female portrait. It could also be viewed as abstract in style and the colors are minimal....perfect for decorating.

Sleepwalking Portraits, Nicole Chaput - Oil on polypropylene, - 39 x 32 cm / 15.35 x 12.62 in - Colorful portraits, c. 2025 Nicole Chaput expands painting until it becomes body, ...

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...

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 ...

This is part on an ongoing series of works by the artist depicting strong allegorical women in various landscapes. The painting is oil on linen canvas signed on reverse

Artist: Larissa De Jesús Negrón Title: I forget how big it is Medium: Digital Print on Fine Art Paper Size: 27 x 23 Inches (30 x 26 Inches Framed) Edition: 25 Year: 2022 Notes: Art...

Shirin Neshat (Iranian, b. 1957) Unveiling Series #1, 1993, 2025 Medium: Pigment print and silkscreen with varnish seal on paper Dimensions: 42 x 33.3 cm (16.5 x 13 in) Edition of 25...

Rare 1990s Guerrilla Girls Announcement Cards: Set of 3 printed works published on the occasion(s) of: 1) Guerilla Girls, A New Years Resolution for the 90's, 1990 announcement card...

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 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 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. The Spirit of Hope (Alice Paul) One of the prime dedicated vocal leaders of the women’s suffrage movement in the twentieth century, Alice Paul actively campaigned for the passage of the 19th Amendment...

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. THE GAZE Monoprint with Chine collé, 13 ¼ x 10 inches, 1999 Dorothy Canfield Fisher 1879 –1958) Dorothy Canfield Fisherwas an educational reformer, social activist, and best-selling American author in the early 20th century. She strongly supported women's rights, racial equality, and lifelong education. Eleanor Roosevelt named her one of the ten most influential women in the United States. The Women’s Rights Historical Park exhibited Benton's 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. 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...

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...

the subject of this work is Yemaya orisha or saint of the seven oceans . Her colors are blue and white and she exudes great power and love.

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...

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...

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...

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...

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...

The Kelly Girls is a treasure trove of historical importance. First is the medium, color xerox printing. For anyone who worked in the alternative photography media, color xerox had a...

The Kelly Girls is a treasure trove of historical importance. First is the medium, color xerox printing. For anyone who worked in the alternative photography media, color xerox had a...

The Kelly Girls is a treasure trove of historical importance. First is the medium, color xerox printing. For anyone who worked in the alternative photography media, color xerox had a...

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...

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...

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...

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...

2021, 110x88 cm

Taurus, by María Conejo - Ink on Paper - 40 x 30 cm - Feminist, Zodiac Series, c. 2024. Drawing inspiration from ancient medical texts, alchemical treatises, astrological imagery, ...

Joyce Wieland (1931-1998) was one of the most accomplished and versatile Canadian artists of the 20th century. Emerging on the Toronto art scene at the beginning of the 1960s, over t...

Nancy Spero Explicit Explanation 1998 published in an edition of 25. Printed from a type high zinc relief plate. Screen printing was used for the text.

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...

Drawing her inspiration from the grand masters of photography – Avedon, Lindbergh, Newton, or Toscani, amongst others – Cécile Plaisance uses lenticular printing to allow the viewer ...

Bubble bath by Carol Magnatta Painting, Pastel Painting, Oil Painting, Women, Girly, Girlhood, Womanhood, Women, Female, Bubble Bath, Bathroom, Spa, Bubbles, Fancy, Home Decor, Wall...

Watercolor

An elegantly rendered mid-century Parisian model with a stylish hat is masterfully rendered by American female illustrator Ruth Sigrid Grafstrom ...

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 ...

This work clearly has homosexual overtones which in the mid-'40s was as daring as showing nudity. I am not sure if this was the artist's intention but the salesgirl and the model look identical and she signs it twice Shermond. Added to this is a strobe light effect where the model's image is partly replicated giving the impression of 2 figures. She's lost in thought pondering the notion of removing the bows and seeing the consequences. Meanwhile, the sales girls ( perhaps her alta ego - perhaps an admirer ) eggs her on. Caption: "You can always remove the bows if you think they're too fussy." Cover cartoon for unknown publication - Signed "Shermund" twice in the lower right image, dated on verso, and captioned in graphite in the lower margin. Original Matte and not framed - Barbara Shermund...

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...

Oil on polypropylene, by Nicole Chaput - 17 x 21 cm / 6.69 x 8.27 in - Myth painting, c. 2025 Nicole Chaput expands painting until it becomes body, working through a deeply carnal ...

Love me, love me not, -Oil on polypropylene, - 17 x 21 cm / 6.69 x 8.27 in - Feminist painting, 2025 Nicole Chaput expands painting until it becomes body, working through a deepl...

Mid-Century fashion watercolors by accomplished Austrian Female Illustrator. Fashion Gret Kalous-Scheffer (1892 Vienna - 1975 Vienna) was a daughter of the renowned Austrian painter...

Woman enjoying and feeling pleasure

Brush not glide, but enter, Nicole Caput - Oil on polypropylene - 17 x 21 cm - Feminist painting, c.2025 Nicole Chaput expands painting until it becomes body, working through a d...

Charming original watercolor by American artist Peggy Abrams, known for her elegant and whimsical portrayals of fashion accessories. This piece features a richly detailed purple hat ...

Before & After, by Saelia Aparicio - Ink and watercolor - 90 x71 cm / 35.43 x 27.95 in - Nude and figurative drawing, c. 2025 Saelia Aparicio expands drawing until it becomes...