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DTSTART;TZID=America/New_York:20260517T213000
DTEND;TZID=America/New_York:20260519T223000
DTSTAMP:20260525T015205
CREATED:20260509T141846Z
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SUMMARY:Un-Language 4 Gender Equality
DESCRIPTION:UN-LANGUAGE 4 Gender Equality\, 5/17\, 5/18\, & 5/19 @ 9:30 PM\nCo-authors/Performers: Beatriz Albuquerque\, Simone Federman\, David Moscovich\, Kaushik Reddy Pamulaparthy\, Nina Sobell @ The Tank NYC\, 312 W 36th St. NYC\, NY 10018 \nThe performers are talking without saying a word. Can you decipher the code?\nOne microphone awaits\, with a spotlight shining over it. Will you\, too\, step up and play a part? This is UN-LANGUAGE. \n“UN-LANGUAGE 4 Gender Equality” facilitates conversations that challenge societal norms and inspire action towards gender equality. Art has the power to evoke empathy\, cast doubt\, to expand worldviews\, and we are committed to using this platform to amplify marginalized voices. By fostering an inclusive environment\, we foment a space where individuals feel empowered to share their experiences and perspectives\, ultimately contributing to a more equitable society. \nDonations from the program will be given to the Global Justice Center\, a New York non-profit. \nhttps://thetanknyc.org/calendar-1/2026/4/1/un-language-4-gender-equality
URL:https://thefeministartproject.org/event/un-language-4-gender-equality/
LOCATION:The tank\, 312 W 36th St.\, New York\, NYC\, 10018
CATEGORIES:Exhibition,Performance
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2026/05/Poster_unLanguage.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20260320T080000
DTEND;TZID=America/Chicago:20260418T233000
DTSTAMP:20260525T015205
CREATED:20260322T141521Z
LAST-MODIFIED:20260322T141521Z
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SUMMARY:Call for Art: Body Sovereignty
DESCRIPTION:Call for Art: Body Sovereignty \nCurator: Danni O’Brien \nApplication Deadline: Saturday\, April 18\, 2026 \nThe body has always been contested territory. Legislated\, pathologized\, fetishized\, disciplined — the body and its desires have rarely been left in peace\, let alone in the control of the people who inhabit them.\nBody Sovereignty is an exhibition about who owns our body\, its expression and its sexuality.\nARC Gallery invites artists working across all media to submit work that claims for itself a radical ownership over sexuality\, desire\, and bodily identity. We are interested in art that refuses to be tamed — work that finds the erotic in the accidental\, the absurd\, the domestic\, and the discarded. Work that borrows the visual language of instruction and mechanism only to subvert it. Work that is bold in its irreverence\, polymorphic in its affect\, and unafraid to blur lines between innocence and perversion\, function and fantasy\, the handmade and the found.\nWe are drawn to art that treats the body not as subject matter but as site of survival — art assembled from cultural cast-offs\, scavenged and repurposed into something fantastical and alive. Art that is cheeky and meditative in equal measure. That takes months to resolve what was gathered intuitively. That arrives slowly at something unsettling and true.\nBody Sovereignty is not about shock. It is about depth of feeling — about understanding\, as Audre Lorde wrote\, that the erotic is a measure of our most expansive sense of self. \nWe Welcome Work That: \n\n\nClaims ownership over desire\, sexuality\, and gender on one’s own terms \n\n\nPlays at the intersection of the bodily\, the mechanical\, and the domestic \n\n\nTransforms everyday materials into something visceral and alive \n\n\nExplores queer identity\, conspicuous consumption\, and bodily survival through a fantastical or absurdist lens \n\n\nEngages the erotic through abstraction\, humor\, tenderness\, or the uncanny — not necessarily through explicit imagery \n\n\nRefuses easy categorization and sits comfortably at the edge of innocence and perversion\, play and politics \n\n\nMedia \n\n\nAll media welcome\, including sculpture\, assemblage\, ceramics\, collage\, painting\, drawing\, fiber arts\, printmaking\, papermaking\, video\, and installation. We are especially excited by hybrid works and interdisciplinary practices. \n\n\nDeadline for Submission of Applications: Saturday\, April 18 2026 at 11:59pm CST \n\n\nNotification of Acceptance: By email on May 6\, 2026 \n\n\nDelivery of work to ARC: Thursday & Friday May 28 & May 29\, 2026\, 2-6pm; Saturday\, May 30\, 12-4pm \n\n\nPick-Up Work at Gallery: Saturday\, June 27\, 2026\, 2:30-4pm \n\n\nShipped Work Return Date: First two weeks of July (determined by the delivery method) \n\n\n*Pre-Paid FedEx or UPS return label is required \n\n\n*Do not use the U.S. Postal Service \n\n\nAbout the Curator: Danni O’Brien \nDanni O’Brien (she/they) is a queer\, interdisciplinary artist based outside Baltimore\, MD. Through scavenging and collecting\, O’Brien builds enigmatic sculptures and reliefs from found objects\, vintage patent diagrams\, handmade paper pulp\, ceramics\, and the cast-offs of consumer culture. Her work grapples with queer identity\, dystopian survival\, and conspicuous consumption — playful and absurd on the surface\, deeply meditative underneath. O’Brien has exhibited at the Museum of Contemporary Art Arlington\, Asya Geisberg Gallery\, Hamiltonian Gallery\, and the Virginia Museum of Contemporary Art\, and has held residencies with The Wassaic Project\, Baltimore Clayworks\, the Elizabeth Murray Artist Residency\, Byrdcliffe Colony\, and Stove Works\, among others. She is the recipient of Individual Artist Grants from the Belle Foundation for Cultural Development and the Maryland State Arts Council. \nVisit Dani @ www.danielleobrienart.com \nOpening Reception\, Friday\, June 5th\, 5:00-8:00pm\n\n\nExhibition dates: June 5-26\, 2026 \n\n\nGallery hours: Thurs – Fri 2-6pm\, Sat – Sun 12-4 pm \n\n\nThis program is partially supported by a grant from the Illinois Arts Council Agency.
URL:https://thefeministartproject.org/event/call-for-art-body-sovereignty/
LOCATION:ARC Gallery\, 1463 W Chicago Ave\, Chicago\, IL\, 60642\, United States
CATEGORIES:Call for Applications/Residency,Exhibition
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ORGANIZER;CN="ARC Gallery":MAILTO:info@arcgallery.org
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260117
DTEND;VALUE=DATE:20260405
DTSTAMP:20260525T015205
CREATED:20260119T131327Z
LAST-MODIFIED:20260119T131633Z
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SUMMARY:Bailey Doogan: Ways of Seeing
DESCRIPTION:The University of Arizona Museum of Art presents “Bailey Doogan: Ways of Seeing\,” the first comprehensive survey to showcase selections from every phase of the late artist’s prolific career. A celebrated painter\, graphic designer\, and Professor Emerita\, Bailey Doogan (1941–2022) was a pivotal figure in the feminist art movement\, using her work to interrogate traditional conventions of female beauty and the politics of the aging body.\nThis exhibition features 80 works that span Doogan’s evolution from surrealist experimentation to her monumental\, unflinching figurative paintings. Central to her practice was the belief that “our bodies are diaries of our experience”. By centering wrinkles\, scars\, and the physical realities of the female form—subjects historically marginalized in Western art—Doogan’s work opens vital conversations about representation\, self-examination\, and the power of the female gaze.\n\nFeatured Feminist Programming\n\nExhibition Reception: Thursday\, January 22\, 2026 | 5:00 PM – 7:00 PM\nPanel Discussion: Friday\, January 23\, 2026 | 4:30 PM – 5:30 PM. Featuring Terry Etherton\, Doug Nielsen\, Cynthia Miller\, and Ann Simmons-Myers; moderated by curator Violet Rose Arma.\nVirtual Talk: “Horror and Humor: Bailey Doogan and the Feminist Revolution”Thursday\, February 5\, 2026 | 5:00 PM – 6:00 PM. Art critic Eleanor Heartney examines how 1980s feminist thinking shaped Doogan’s strikingly original outlook on gender\, power\, and the body.\n\nCurators: Violet Rose Arma and Olivia Miller\, in close consultation with Moira Doogan.
URL:https://thefeministartproject.org/event/bailey-doogan-ways-of-seeing/
LOCATION:University of Arizona Museum of Art\, 1031 North Olive Road\, Tuscon\, AZ\, 85719\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Mexico_City:20251121T180000
DTEND;TZID=America/Mexico_City:20251121T210000
DTSTAMP:20260525T015205
CREATED:20251122T145728Z
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SUMMARY:Ecoarte: South Geopoetics: Art\, Gender and Biocultural Transformation in a Contemporary Latin American Context
DESCRIPTION:EcoArte Exhibition: South Geopoetics\nCollective exhibition\nCURATORIA Lilian Amaral\nArtists Participants: Brazil + Colombia + Costa Rica\nAna Akaui – Ana Cristina Mendes – Cecília Calaça – Clarisse Tarran – Ivonne Villamil (Colombia/Spain) – Laurita Salles\, Lilian Amaral & Bia Santos – Lucia Madriz (Costa Rica/Germany) – Luisa Giraldo Murillo (Colombia) – Lynn Carone Marina Jerusalinsly & Ana Basaglia – Nivalda Assunção & Armando Queiroz – Susan Campos-Fonseca (Costa Rica) Suzete Venturelli – Studio Urubu – Tania Fraga – Val Sampaio Ligia Oviedo Zúñiga MAP. \n“Ecoarte: South Geopoetics: Art\, Gender and Biocultural Transformation in a Contemporary Latin American Context”\nCured by Prof. Dr. Lilian Amaral | DIVERSITAS USP \nWe live in a constantly changing world that pushes us forward\, forgetting the past and those who came before us. Public institutions and museums\, in particular\, as places that host the memory of collective heritage\, have the social\, cultural and ecological responsibility to preserve this memory on the basis of equality\, equity\, sustainability and interculturality. \nThe Nomadic Chair of Research-Creation | Diversitas USP has as perspective the research\, reflection and the poetic-political action around the active presence of women in art\, science and education\, from the artivist curatorship and the collaboration of artists-researchers from different parts of the world\, as promoters of artistic practices located horizontally\, breaking hierarchies\, with special focus in the Global South. \n“Ecoarte: South Geopoetics: Art\, gender and biocultural transformation in a contemporary Latin American context”\, derives from the project of art\, ecology and technology EcoArte: Terra em Trânsito\, carried out throughout the year 2024 in Brazil and Spain. It proposes to expand and deepen the experiences\, processes\, methods and links between artists\, researchers\, artists\, environmentalists and teachers\, through processes of creation and economic research\, directly involving issues that articulate the body\, ecology\, memory and technodiversity\, putting in dialogue different cosmoperceptions and forms of care\, highlighting the interdependence between different forms of human and non-human existence. \nConsidering the geopoetics\, polyphony and transdisciplinarity of artistic and socio-environmental contexts focused on South and Central America\, the works presented are shared in the Virtual Exhibition and analyzed in hybrid and face-to-face encounters\, pointing to the intrinsic relationship between human being\, nature and culture in their deep connections\, awakening understanding and awareness about the ecological\, biopolitical and interspecific dimensions involved in the global environmental/climatic agenda. \nArt\, as a catalyst for awareness and critical reflection on territories in emergency situations\, has the unique ability to go beyond scientific data\, appealing to the sensitive and emotional experience to generate deeper and more transformative involvement. In this scenario of biocultural and geopolitical mutations\, geopoetics emerges as a fundamental perspective. It is not just a static representation of geography\, but a dynamic way of inhabiting and understanding territories in emergency\, activating urgent dialogues about our responsibility and our deep connection with the planet. In this context\, poetic action becomes a powerful “artivism”\, a practice that goes beyond contemplation to transform scientific knowledge and complex data into experiences capable of mobilizing consciousness and action\, awakening “states of presence”. \nIt is a call for a culture of care\, where art not only reflects the global climate crisis\, but also invites us to actively inhabit it and reinvent our relationships with the environment and with others. It is a call for a technical invention that\, as Simondon and Yuk Hui teach us\, is aware of its impact and fosters the diversity of technological and poetic approaches\, seeking true sustainability and mutual flourishing. \nEcoArte thus presents a geopoetic and technodiverse panorama through sound and visual works that expand the contours and materialities of the making and point out the profound transformations of the present\, crossing languages\, media and contexts: photographs\, embroidery\, painting\, performance\, videoperformance\, animation with use of AI\, video art\, created by 20 female artists | collectives of different Latin American origins\, integrating a program activated by Exhibition \n________________\n“EcoArte: Geopoéticas del Sur. Arte\, género y medio ambiente” \n\n\nEn el marco de la exhibición online “EcoArte: Geopoéticas del Sur. Arte\, género y medio ambiente”\, que se inaugura el 22 de noviembre en el Museo de las Mujeres\, se celebra el IV Festival de VideoArte Museo de las Mujeres “Ecoarte y comunidades 2025” una muestra audiovisual que reúne las voces de artistas mujeres de Brasil\, España y Costa Rica se unen a comunidades en Honduras\, la costa pacífica de Costa Rica\, y un Colegio Nocturno del caso urbano de Costa Rica para poner sobre la mesa la necesidad de ampliar el espacio para los discursos de cuidado\, preservación\, convivencia pacífica con el medio ambiente como un acto político. \nA través de tres bloques curatoriales\, el festival propone un espacio para reflexionar sobre diversas perspectivas críticas y poéticas: cuerpo\, territorio\, memoria\, extractivismo\, biodiversidad y prácticas de cuidado. \nAdemás de la proyección de obras\, se realizarán breves conversatorios con artistas y colectivos participantes\, por un diálogo directo sobre los procesos de creación\, y las luchas ambientales que atraviesan sus prácticas. \nDesde la denuncia hasta la celebración de lo natural\, esta edición del festival busca visibilizar las miradas ecofeministas\, interseccionales y comunitarias que emergen desde el arte contemporáneo en América Latina y España \nEsta actividad forma parte del Art City Tour y es posible gracias al apoyo de la Cátedra Diversitas de la Universidad de São Paulo\, el Museo de las Mujeres de Costa Rica y nuestro anfitrión el Centro Cultural de España en Costa Rica. \nPrograma\n6pm. Recepción\, bienvenida y presentación curatorial\n6:25pm. Bloque 1\n1. Arriskua\, 4’28»\, por Ivonne Villamil \nArriskua es un diálogo desde la escucha meteorológica\, la navegación\, las fronteras invisibles\, las predicciones del tiempo. Reúne sonidos de la tierra y del cosmos\, voces de cuerpos y materias que vibran entre sí\, y lecturas (en euskera) de reportes meteorológicos. Una suma de fenómenos\, fuerzas y seres que coexisten de un modo casi aleatorio e impredecible. La pieza sonora es creada en colaboración con Jimmy Solórzano y Alba Fernández. \n2. Mulheres na Luz\, 2’01»\, por LiIlian Amaral y Bia Santos \nMulheres na Luz es un acto poético-político de videoarte y arte público creado por Lilian Amaral y Bia Santos en São Paulo. Visibiliza la lucha de mujeres trabajadoras y en prostitución mediante una procesión performática colectiva\, inscribiendo sus cuerpos\, voces e historias en el espacio urbano como gesto de resistencia. \n3. EntreMundos: Videoperformance\, ecologia\, subjetivação na criação de uma heterotopia\, 5’04»\, por Lynn Carone \nEntreMundos es una videoperformance que explora desplazamientos y metáforas del lugar mediante el cuerpo en acción y la tecnología. Combina espacios reales y utópicos\, creando una ecología interior y heterotopía\, donde lo humano y no humano dialogan a través de imagen\, animación y sonido en un espacio simbólico y sensorial. \n4. Flores\, Memoráveis Momentos na Mente de um Demiurgo?\, 5’04»\, por Tania Fraga \nEl ensayo reflexiona sobre la poesía como acto de creación en arte computacional. Presenta imágenes donde las flores simbolizan la vida y la tensión entre caos y orden. Estas obras invitan a experimentar y deleitarse\, revelando la unión de opuestos y la evolución poética del demiurgo creador \n5. Cavalo – Banano – Coco\, 4’01»\, por Suzete Venturelli \nTrabaja en arte computacional\, realidad virtual\, inteligencia artificial e interactividad\, integrando ciencia\, tecnología y creación artística. Coordina el grupo de investigación Arte Computacional Bioinspirada (CNPq) y desarrolla proyectos\, exposiciones y publicaciones que exploran la relación entre arte\, tecnología y naturaleza desde una perspectiva innovadora y multidisciplinaria. \n6:55pm. Breve conversatorio con artistas creadoras\n7:10pm. Bloque 2\n6. No mar do céu\, 4’04» por Arte coletivo \nEn el mar del cielo es consecuencia de la inmersión «danza y mar» con Beth Bastos y Mnrena Nascimento\, en el Studio Urubu\, en Picinguaba – Ubatuba\, SP. Se trata de una investigación sobre el movimiento en espiral y su relación con el mar. Las imágenes fueron captadas durante una tarde de descanso entre las actividades de la inmersión. \n7. Aguas de àl-mar\, 4’04»\, por Laurita Salles \nÁguas de al-mar es una obra de videoarte que explora el movimiento del agua como metáfora emocional. A través de montaje y sonido electroacústico\, crea un flujo audiovisual sin horizonte ni paisaje\, articulando cine expandido con ritmos visuales y sonoros que invitan a una experiencia sensorial libre y poética. \n8. The End\, 1’44»\, por Lucía Madriz \nLa obra de Lucía Madriz aborda el biocolonialismo y la lucha indígena por la autodeterminación frente a la apropiación de recursos genéticos. Su arte denuncia la mercantilización de la vida y plantea la sostenibilidad como única vía posible hacia el futuro\, tanto del arte como de la humanidad. \n9. Quebrada Amarilla Video Arte\, 4’19»\, por Susan Fonseca Campos \nEsta obra\, parte del “Extended Quijongo Project”\, es un videoclip que simboliza la simbiosis entre plantas y terrenos industriales abandonados. Dirigido por Julián de la Chica y Rafael Chinchilla\, es una canción de resistencia contra la destrucción de la Tierra causada por intereses humanos y transnacionales. \n10. Une danse teintée violet / La creación de la maternidad\, 2’02»\, por Colectivo a.capello.gva \nUne danse teintée violet / La creación de la maternidad es una danza colectiva de mujeres de diversas nacionalidades\, incluyendo costarricenses\, que usan el método Dalcroze. Sus cuerpos son instrumentos que resuenan la vida y la maternidad\, explorando la creación desde el ser vivo hasta la experiencia femenina. \n7:45pm. Breve conversatorio con artistas creadoras\n8pm. Bloque 3\n11. El eco del fuego: San Juancito pinta voces con alas\, 5»\, por Kelvyn RehMar \nKelvyn RehMar rescata trozos quemados de árboles del Parque Nacional San Juancito\, Honduras\, para crear tintas orgánicas con las que pinta aves que representan a los animales víctimas de incendios forestales. Su instalación\, junto a un importante río que abastece Tegucigalpa\, recuerda y honra a estas especies invisibilizadas durante las grandes tragedias forestales. \n12. Aulas urbanas\, problemas de la costa: más voces para Gandoca\, 15»\, por el Colegio Nocturno de Desamparados \nEstudiantes del Colegio Nocturno de Desamparados crean un video y podcast crítico sobre La Loca de Gandoca de Ana Cristina Rossi. Esta experiencia reflexiona sobre la convivencia con la naturaleza desde un barrio urbano de San José\, fomentando sensibilidad literaria y nuevos vínculos entre lo urbano y rural. \n13. Manos de mujeres cuidan el Pacífico\, 12»\, por Mariposas del golfo \nLa Asociación de Mujeres Mariposas presenta su experiencia con el extractivismo\, mostrando la realidad y esperanza de que convivir con los recursos costeros\, en armonía con el medio ambiente y sin explotación\, es posible donde exista respeto y cuidado ecológico y social. \n8:30pm. Conversatorio breve con creadores gestores de honduras\, mujeres pescadoras y estudiantes creadores de contenido del Colegio Nocturno de Desamparados\n8:45pm Cierre del festival y palabras finales\n  \nSobre las entidades organizadoras\nEl Museo de las Mujeres de Costa Rica\, fundado en 2009\, es una institución pionera en Centroamérica dedicada a la visibilización de las mujeres en el arte\, la historia y los movimientos sociales. Es una filial activa de la Red Internacional de Museos de Mujeres (IAWM por sus siglas en inglés)\, lo que le permite conectar su trabajo local con agendas globales por la igualdad de género\, los derechos humanos y la justicia ambiental. Desde su espacio físico en San José y sus plataformas digitales\, el museo desarrolla exposiciones\, archivos\, investigaciones y actividades educativas con perspectiva feminista e inclusiva. \nLa Cátedra Diversitas: Disidencias Sexuales\, Género y Derechos Humanos de la Universidad de São Paulo (USP) es un espacio académico y de articulación social que promueve la investigación\, formación y divulgación en torno a temas de género\, sexualidad\, derechos humanos\, interseccionalidad y justicia social. Vinculada a la Facultad de Filosofía\, Letras y Ciencias Humanas\, impulsa proyectos interdisciplinarios con impacto regional y latinoamericano\, fortaleciendo redes entre universidades\, colectivos\, artistas y comunidades. Desde un enfoque crítico y descolonial\, la cátedra busca ampliar los marcos de comprensión sobre las disidencias y luchas por equidad\, posicionando el conocimiento como herramienta de transformación social.
URL:https://thefeministartproject.org/event/ecoarte-south-geopoetics-art-gender-and-biocultural-transformation-in-a-contemporary-latin-american-context/
LOCATION:NYC
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/11/CCE-e1763823411572.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251115
DTEND;VALUE=DATE:20251201
DTSTAMP:20260525T015205
CREATED:20251122T153855Z
LAST-MODIFIED:20251122T154430Z
UID:10000819-1763164800-1764547199@thefeministartproject.org
SUMMARY:FALL OF FREEDOM: Freedom of Expression
DESCRIPTION:The “FALL OF FREEDOM: Freedom of Expression” exhibit is a Women’s Caucus for Art (WCA) national\, pop-up\, online art exhibition spearheaded by the WCA Art Activism Pod. The exhibit was inspired by the recent New York Times article\, “Artists Respond to the Fall of Freedom” (October 14\, 2025). The call invited WCA members to reflect on the theme\, “Freedom of Expression”.\nThe Fall of Freedom project is an urgent call to action—asking the arts community to unite in defiance of the authoritarian forces sweeping the nation. On November 21 and 22\, galleries\, museums\, libraries\, comedy clubs\, theaters\, and concert halls across the country will host exhibitions\, performances\, and public events that channel the urgency of this moment. To join in\, WCA Art Activism Pod is hosting an online Artist Reception and Gallery Tour. \nTo learn more about Fall of Freedom Project\, visit falloffreedom.com. \nThe exhibit is on view November 15-30\, 2026.
URL:https://thefeministartproject.org/event/fall-of-freedom-freedom-of-expression/
LOCATION:NYC
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/11/Screenshot-2025-11-22-at-10-37-30-Instagram.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250708T160000
DTEND;TZID=America/New_York:20250906T180000
DTSTAMP:20260525T015205
CREATED:20250711T161502Z
LAST-MODIFIED:20250711T161502Z
UID:10000810-1751990400-1757181600@thefeministartproject.org
SUMMARY:Body in Action
DESCRIPTION:Beatriz Albuquerque presents her solo retrospective exhibition ‘Corpo em Ação’ (Body in Action) from July 12\, 2025 to September 6\, 2025 at Vila Velha Museum in Vila Real\, Portugal. \nBeatriz Albuquerque has a BA/BFA from Faculty of Fine Arts of Porto\, an MFA from The School of the Art Institute of Chicago and a Doctorate from Columbia University\, City of New York. Beatriz Albuquerque won multiple awards such as the Myers Award from Columbia University\, New York\, The Revelation Award at the 17th Cerveira Biennial\, in Portugal as well as the ‘Ambient Series’ Award\, PAC/Edge Performance Festival\, Chicago. \nThis new solo exhibition showcases various interdisciplinary artistic and performative projects by Beatriz Albuquerque\, such as Wonder Memories (Pilgrims of Memory) which is about the Portuguese diaspora; Crisis of Luck (Crisis in Luck)\, which won the Revelation Award at the 17th Cerveira Biennial\, in which Beatriz offers the public a solution to all problems in the form of a fortune cake; or Activism (part of the Guerilla project) – a game and video art piece created to spark revolution and positive activism in all of us\, which won the Myers Art Prize in New York and was selected by the director of the Casoria Contemporary Art Museum to be burned\, in an act of protest\, part of a campaign against austerity in art in Italy. \nOn July 12\, 2025\, at 4 pm\, Beatriz Albuquerque will present a performance that is part of the exhibition\, another of her ongoing projects\, Trabalho de Graça (Work For Free). In this action\, Beatriz offers the creation of a work of art requested by the participants. Each visitor will be able to order a piece\, choosing from different media – painting\, drawing\, photography\, performance\, artist book\, video\, mail art\, among others – and determine all the characteristics of the work. The only requirement is that the visitor provides the materials (canvas\, paper\, paint\, etc.) and waits for the work to be completed. In some cases\, the visitor will be able to witness the creation of the work. With this project\, Beatriz Albuquerque continues to explore a desire to bring art closer to life and\, simultaneously\, our search for the democratization of art\, thought and culture. Beatriz will close the exhibition with a performance scheduled for September 6\, 2025 at 4pm.
URL:https://thefeministartproject.org/event/body-in-action/
LOCATION:Vila Velha Museum\, Rua de Trás-os-Muros\, Vila Real\, 5000-657\, Portugal
CATEGORIES:Exhibition,Performance
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/07/Beatriz-Albuquerque_imagem.jpg
ORGANIZER;CN="Museum Vila Velha":MAILTO:mvv@cm-vilareal.pt
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250526T080000
DTEND;TZID=America/New_York:20250830T170000
DTSTAMP:20260525T015205
CREATED:20250522T203404Z
LAST-MODIFIED:20250522T203404Z
UID:10000808-1748246400-1756573200@thefeministartproject.org
SUMMARY:Legendary: An Exhibition of Women Artists
DESCRIPTION:Legendary: An Exhibition of Women Artists addresses these inequities and aims to rectify them by creating a safe space for women artists to meet\, exhibit and engage with the public.\nFeatured artists:\nAmber Bryson\nAnn Pham\nAntonella Manganelli\nAnyamani “Yok” Wongkachonkitti\nAstrid Reeves\nBobbi Horsens\nCheryl VanderMolen Neway\nDebra Wright\nHana Yang\nHeather Eberst\nJes Berry\nJessica Gardner\nJo Westfall\nKathleen Stark\nKelly Snyder\nKristina Kilgallen\nLori Saunders\nNatalia Malley\nRenee Sandell\nRosemary Gallick\nSarah Ernst \nThis exhibition will be on view from May 26 to August 30\, 2025.
URL:https://thefeministartproject.org/event/legendary-an-exhibition-of-women-artists-2/
LOCATION:The Stacy C. Sherwood Center\, 3740 Blenheim Blvd\, Fairfax\, VA\, 22030
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/05/legendary-IG-format-1-e1747946032566.jpg
ORGANIZER;CN="Debra Wright%2C The Rogue Art Project":MAILTO:info@debrawrightstudio.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250508T173000
DTEND;TZID=America/New_York:20250508T200000
DTSTAMP:20260525T015205
CREATED:20250411T155206Z
LAST-MODIFIED:20250411T155206Z
UID:10000803-1746725400-1746734400@thefeministartproject.org
SUMMARY:Idiosyncratic Identities
DESCRIPTION:Brooklyn\, NY—In celebration of its 20th Anniversary as a cornerstone of Brooklyn’s richly diverse cultural community\, Tabla Rasa Gallery is pleased to announce a new exhibition titled Idiosyncratic Identities\, curated by Izzy Nova and Giustina Surbone. The exhibition’s featured artists\, Christina Schlesinger\, Giustina Surbone\, Grace Graupe-Pillard\, Robin Tewes\, and Sandra Cavanagh\, explore the complexities of individual identity through the framework of contemporary art. On view May 8 – 30\, 2025. \nOver the past two decades\, Tabla Rasa Gallery has established its own “idiosyncratic identity\,” shaped by the wide variety of artists and stories it has presented to the public. Continuing this rich narrative tradition\, Idiosyncratic Identities showcases work that engages with themes of personal experiences\, cultural heritage\, and the continually evolving understanding of self. Viewers can expect to see paintings that examine the intersections of individuality and collective identity. \n“Arising from our multiple vantage points as practicing artists\, supporters of art nonprofits\, and commercial gallerists\, it is thrilling to celebrate Tabla Rasa’s 20th Anniversary\,” said directors Audrey and Joseph Anastasi. “As the first full-time gallery in Sunset Park\, Brooklyn\, it has been profoundly rewarding to have shared visual art within this vibrant residential and industrial community.” \nThe public is invited to join them in celebrating 20 years of art\, culture\, and storytelling\, honoring Tabla Rasa Gallery’s vibrant legacy. The exhibition will run from May 8 to 30th\, 2025. \nAbout Tabla Rasa Gallery\nFounded twenty years ago by Audrey and Joseph Anastasi\, Tabla Rasa Gallery is dedicated to the visual arts as an expression of the human spirit and a voice for social issues. The gallery provides a non-intimidating\, accessible\, and community-friendly space for high-quality art viewing. It showcases works by emerging\, mid-career\, and established artists from Brooklyn\, New York\, and across the United States. Located in a turn-of-the-century carriage house in industrial Sunset Park\, Brooklyn\, the gallery hosts solo and group exhibitions encompassing various styles\, themes\, and media.  \nExhibitions are free and open to the public. For the latest updates on events and scheduling\, please call (917) 880 8337 or Audrey.TablaRasa@gmail.com.
URL:https://thefeministartproject.org/event/idiosyncratic-identities/
LOCATION:Tabla Rasa Gallery\, 224 48th St\, Brooklyn\, NY 11220\, NY\, 11220\, United States
CATEGORIES:Exhibition,Openings & Receptions
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/04/4-Artists-e1744386713835.png
ORGANIZER;CN="Izzy Nova":MAILTO:mail@izzynova.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250412T100000
DTEND;TZID=America/New_York:20250928T170000
DTSTAMP:20260525T015205
CREATED:20250406T151558Z
LAST-MODIFIED:20250406T151718Z
UID:10000802-1744452000-1759078800@thefeministartproject.org
SUMMARY:Guerrilla Girls: Making Trouble
DESCRIPTION:The dynamic and indefatigable artist collective known as the Guerrilla Girls mark their fortieth anniversary in 2025. The group\, who declared themselves “the conscience of the art world\,” emerged in 1985 with bold text- and graphic-based prints denouncing discrimination. Comprising anonymous feminist-activist artists\, the Guerrilla Girls are known for their provocative street campaigns and the advertising-style graphics that they use to broadcast their messages across billboards\, buildings\, banners\, and other sites. Combining eye-catching aesthetics with stark statistics\, the group brings widespread attention to issues of inequality and inequity. \nDrawn from NMWA’s extensive holdings of work by the Guerrilla Girls\, this exhibition presents an enthralling visual timeline of the group’s progress and ever-expanding subject matter. Although their first focus was gender disparity in the visual arts\, today they cast a critical eye over a wide array of fields\, including film\, theater\, politics\, and pop culture. While the past four decades have seen unprecedented change in numerous social movements\, many of the topics that the Guerrilla Girls addressed in the 1980s and ’90s (reproductive rights\, environmental issues\, and political corruption\, to name a few) remain pressing today. \nOver the years\, the Guerrilla Girls have continued to make waves with their signature bold installations and advocacy for positive change. This exhibition highlights the collective’s intrepid work and encourages museum visitors to speak up with their own observations and activism. For forty years\, the Guerrilla Girls have advocated for greater transparency and fairness in the arts and beyond\, and they are not slowing down. \n\n\n\nExhibition Sponsors\nGuerrilla Girls: Making Trouble  is organized by the National Museum of Women in the Arts and generously supported by the members of NMWA. \nMuseum Hours\nTuesday to Sunday\n10 am to 5 pm
URL:https://thefeministartproject.org/event/guerrilla-girls-making-trouble/
LOCATION:National Museum of Women in the Arts\, 1250 New York Ave. NW\, Washington\, DC\, 20005
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/webp:https://thefeministartproject.org/wp-content/uploads/2025/04/Guerrilla-Girls.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250401T110000
DTEND;TZID=America/New_York:20250719T170000
DTSTAMP:20260525T015205
CREATED:20250406T145942Z
LAST-MODIFIED:20250406T151827Z
UID:10000801-1743505200-1752944400@thefeministartproject.org
SUMMARY:Anonymous Was A Woman: The First 25 Years
DESCRIPTION:NYU’s Grey Art Museum Highlights 25 Years of Women’s Achievements in Contemporary Art\nAnonymous Was A Woman: The First 25 Years\nApril 1–July 19\, 2025 \nExhibition celebrates landmark Anonymous Was A Woman artist grant\, which has awarded over $8 million to nearly 300 mid-career women artists\n \nPress Contact\nSofeia Eddy | sofeia.eddy@nyu.edu | 212-998-6782 \n[Download Press Release]\n[Download List of Exhibiting Artists] \n(NEW YORK\, NY\, January 13\, 2025)—The Grey Art Museum at New York University presents Anonymous Was A Woman: The First 25 Years\, an exhibition celebrating recipients of the titular grant for mid-career women artists living and working in the United States. On view from April 1 to July 19\, 2025\, at 18 Cooper Square\, this ambitious exhibition invites reflection on a quarter century of artistic achievement tied to the Anonymous Was A Woman (AWAW) grant program\, which\, since 1996\, has supported women artists over the age of 40 with unrestricted awards. Six years in the making\, Anonymous Was A Woman is organized by the Grey Art Museum at NYU and guest curated by Nancy Princenthal and Vesela Sretenović. \nFeaturing some 50 artworks by 41 of the 251 award recipients from when the grant was inaugurated in 1996 through 2020\, the exhibition showcases a range of media and subjects by artists including Jeanne Silverthorne (AWAW 1996)\, Laura Aguilar (AWAW 2000)\, Senga Nengudi (AWAW 2005)\, Mary Heilmann (AWAW 2006)\, An-My Lê (AWAW 2006)\, Carrie Mae Weems (AWAW 2007)\, Ida Applebroog (AWAW 2009)\, Jungjin Lee (2011)\, Janine Antoni (AWAW 2014)\, and Jennifer Wen Ma (AWAW 2019)\, among others. With each year represented by at least one artist\, the exhibition includes works created within a few years of their grant\, demonstrating the significance of the award to the artist’s growth. “Nancy and I sought to create a visually compelling and intellectually stimulating exhibition that balances work by well-established and lesser-known artists. We also wanted to highlight leaps in production that the grant made possible\, both practically—many artists were enabled to try new materials and processes—and conceptually\,” Sretenović says. All 251 artists are represented in a publication accompanying the exhibition\, which also includes critical essays about the awardees by Princenthal\, Sretenović\, and other women scholars. \nVisitors to Anonymous Was A Woman will encounter works that trace the development of contemporary art practice over the last twenty-five years\, addressing issues of identity and community; the position of women artists in society; the shifting value of craft; the changing possibilities for installation and time-based media; as well as the many uses of anonymity. Flamethrower\, for example\, a painting by Carrie Moyer (AWAW 2009) demonstrates the artist’s characteristic high-gloss surfaces and curvaceous\, colorful forms\, and challenges gendered conventions of abstraction. Rona Pondick (AWAW 2016)\, also featured in the exhibition\, has used her own body to create self-portraits in various materials—such as the colored molded resin of Magenta Swimming in Yellow—that are at once deeply personal and anonymizing. Likewise\, Elizabeth King (AWAW 2014) often references her own body when creating precisely moveable\, half-scale figurative sculptures and combining them with stop-motion animation\, as in Feints and Sleights. \nPrincenthal explains\, “Every single one of the artists who received a grant in our target period is remarkable\, and it was an enormous challenge to choose among them. Vesela and I embraced the variety of thematic and formal approaches seen in the awardees’ work\, as well as the full range of their regional\, ethnic\, and racial backgrounds\, and the several generations they represent.” For example\, Betye Saar’s (AWAW 2004) assemblage\, Globe Trotter\, depicts a worn vintage doll held captive inside of a small birdcage resting atop a globe—a combination of powerful symbols referencing the history of slavery. Claudia Joskowicz’s (AWAW 2020) Some Dead Don’t Make a Sound\, like many of her video and installation works\, evokes the transformative effect of violent political events on physical spaces and collective memory. \n“I think what is astonishing for all of us\,” states Lynn Gumpert\, director of the Grey Art Museum since 1997\, “is to look over this list of amazing artists and realize the impact they have made on the last twenty-five years of the art scene. As of 2019—when we were first conceiving the show—just 11% of all acquisitions and 14% of exhibitions at major American museums over the past decade were of work by female artists\, according to the Burns Halperin Report. We know that there is still a lot of work to be done.”\nLast year\, Susan Unterberg and AWAW launched the Anonymous Was A Woman Artist Survey in collaboration with journalists Charlotte Burns and Julia Halperin\, arts leader Loring Randolph\, and SMU Data Arts. A first-of-its-kind study\, the survey aims to gain a better understanding of women artists’ lives and careers\, and the factors contributing to their successes and challenges. Findings will be made publicly available on April 9\, 2025\, as part of “Artists Speak: The Anonymous Was A Woman Symposium\,” hosted at NYU.  Registration will be available on the AWAW website. \nAbout AWAW\nFounded by visionary philanthropist and photographer Susan Unterberg\, the Anonymous Was A Woman (AWAW) grant program has provided annual unrestricted gifts of $25\,000 each to ten exceptional artists over the age of 40\, enabling them to further push boundaries in their creative fields. In 2024 the number of awardees permanently increased to fifteen and the cash prize doubled to $50\,000. “Since I am an artist\, I knew firsthand that the needs of mid-career artists were generally overlooked\,” says Unterberg\, who herself remained anonymous until 2018. \nThe groundbreaking program\, inspired by a line from Virginia Woolf’s essay\, “A Room of One’s Own\,” was established in response to the National Endowment for the Arts’s decision to end funding for individual artists. True to its name\, AWAW selects artists via anonymous panels based on recommendations proposed each year by a group of anonymous nominators comprising previous awardees\, curators\, writers\, and other art professionals. Unterberg says\, “Women throughout history—and especially women artists—have often remained anonymous. They didn’t sign their work\, and of course\, they received very little recognition. AWAW has given me an immense amount of joy—and mostly since I’ve gone public. It’s a way to show my activism and advocate that women shouldn’t remain anonymous any longer.” Over the years\, this grant has been transformative for many artists\, offering critical financial support and awarding over $8 million to more than 300 recipients to date. In 2022 AWAW partnered with the New York Foundation for the Arts (NYFA) to initiate the Environmental Art Grant\, a yearly open call for woman-led art projects that inspire thought\, action\, and ethical engagement with the environment. \nFor more information on Anonymous Was A Woman\, please visit anonymouswasawoman.org. \nPublication\nAnonymous Was A Woman: The First 25 Years is accompanied by a 392-page volume of the same name\, which will be released prior to the opening of the exhibition. Co-published by Hirmer Verlag and the Grey Art Museum at New York University\, the publication commemorates all 251 recipients of the award from 1996 through 2020\, offering a visual and critical account of their work and careers. Featuring new essays by Nancy Princenthal\, Vesela Sretenović\, Valerie Cassel Oliver\, Alexandra Schwartz\, Cecilia Fajardo-Hill\, Jenni Sorkin\, and Gaby Collins-Fernández\, as well as a roundtable discussion with founder Susan Unterberg\, the book also unveils previously untold histories\, underscoring the lasting influence of these artists. “The book\, unlike the exhibition\, functions as kind of a mini-history\, which is exciting\,” shares Gumpert. Available soon at the Grey Art Museum Bookstore\, $55 retail\, and online. \nCredits\nAnonymous Was A Woman: The First 25 Years is organized by the Grey Art Museum\, New York University\, and curated by Nancy Princenthal and Vesela Sretenović. The exhibition is made possible in part by the generous support of the Grey’s Director’s Circle\, Inter/National Council\, and Friends; and the Abby Weed Grey Trust. \nAbout the Curators\nNancy Princenthal is a Brooklyn-based writer whose book Agnes Martin: Her Life and Art (2015) received the 2016 PEN/Jacqueline Bograd Weld Award for Biography. She is also the author of Hannah Wilke (2010) and Unspeakable Acts: Women\, Art\, and Sexual Violence in the 1970s (2019)\, and co-author of Mothers of Invention: The Feminist Roots of Contemporary Art (2024). Princenthal has taught at Bard\, Princeton\, Yale\, the School of Visual Arts\, NYU’s Institute of Fine Arts\, and elsewhere. \nVesela Sretenović is an art historian and curator of modern and contemporary art with a special interest in cross-disciplinary art practices and in bridging theoretical knowledge with hands-on experience. From 2009–23 she served as Director of Contemporary Art Initiatives and Academic Affairs at The Phillips Collection\, Washington\, DC. She is currently working as an independent curator and educator. \nAbout the Grey Art Museum\nAfter nearly a half-century on Washington Square\, the Grey Art Gallery became the Grey Art Museum\, New York University\, in 2024. The Grey’s new facility occupies the ground floor of a brick and iron building in the NoHo Historic District\, its open storefront façade facing out onto a busy pedestrian thoroughfare. The new location accommodates three galleries—expanding exhibition space by 40 percent—and\, on the lower level\, the Cottrell-Lovett Study Center\, which will enable more direct access to the collection for students\, faculty\, and researchers. \nOver the last five decades the institution has organized exhibitions that have encompassed all the visual arts: painting\, sculpture\, drawing and printmaking\, photography\, architecture and decorative arts\, video\, film\, and performance. In addition to producing its own exhibitions\, which often travel to other venues in the United States and abroad\, the museum hosts traveling shows that might otherwise not be seen in New York and produces scholarly publications that are distributed worldwide. In 2025 the Grey Art Museum celebrates its 50th anniversary. \nGeneral Information\nGrey Art Museum\, New York University\n18 Cooper Square\, New York\, NY 10003 \n(Mailing address: 20 Cooper Square\, 2nd Floor\, New York\, NY 10003)\nTel: 212-998-6780\, Fax: 212-995-4024\nE-mail: greyartmuseum@nyu.edu Website: greyartmuseum.nyu.edu \nHours\nTuesday: 11 am–6 pm\nWednesday: 11 am–8 pm\nThursday: 11 am–6 pm\nFriday: 11 am–6 pm\nSaturday: 11 am–5 pm\nClosed Sunday\, Monday\, and major holidays \nAdmission\nSuggested donation: $5; free of charge to NYU students\, faculty\, and staff \n\nImage: Judy Pfaff (AWAW 2012)\, Ram’s Delhi\, 2012. Wood\, mild steel rod\, melted plastics\, black aluminum foil\, and LED and UV Fluorescent light\, 70 x 132 x 17 in. Courtesy the artist and Miles McEnery Gallery\, New York
URL:https://thefeministartproject.org/event/anonymous-was-a-woman-the-first-25-years/
LOCATION:Grey Art Museum\, 18 Cooper Square\, NYC\, NY\, 10003\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/webp:https://thefeministartproject.org/wp-content/uploads/2025/04/15_Pondick_Magenta-Swimming-in-Yellow_2015-17-e1743952702681.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250319T083000
DTEND;TZID=America/New_York:20250330T180000
DTSTAMP:20260525T015205
CREATED:20250314T191822Z
LAST-MODIFIED:20250314T191822Z
UID:10000794-1742373000-1743357600@thefeministartproject.org
SUMMARY:Beyond Smiles: Tackling Dental Health Care Access When Facing Intimate Partner Violence (IPV)
DESCRIPTION:We are proud to support the “Beyond Smiles” project and art exhibition.\n\n\nEventbrite link: https://www.eventbrite.ca/…/beyond-smiles-tackling…\n\n\nArt workshop facilitated by Feminist Art Collective residency artist Hemangi Shroff & research exhibition curated by Feminist Art Collective founder Ilene Sova.\n\n\nBeyond Smiles: Tackling Dental Health Care Access When Facing Intimate Partner Violence (IPV)\n\n\nThis event is all about addressing the challenges of accessing dental health care when dealing with intimate partner violence.\nIntimate partner violence is a major public health issue in Canada. It disproportionately affects racialized women who face increased obstacles in accessing care. A University of Toronto study explored these challenges from the viewpoints of women with lived experience of violence and service providers. This event will discuss opportunities for improving access to necessary supports\, including actionable change in dental care delivery\, and feature self-portraits by the women who participated in the study.\n\n\nJoin us at OCAD U – 100 McCaul St – on March 27th to learn from experts in the field and connect with others who are passionate about improving access to dental care for those facing IPV. This event is free and open to all. Don’t miss out on this opportunity to learn more!\n\n\nThe art exhibit is opened from March 19th-March30th 2025 at the OCADU Ada Slaight Gallery.\nMCA Gallery Hours:\nMonday to Friday: 7:30 AM to 12:00 AM (Card swipe from 8pm to Midnight)\nSaturday: 8:30 AM to 6:00 PM\nSunday: 12:00PM to12:00AM (Card swipe from 8pm to Midnight)
URL:https://thefeministartproject.org/event/beyond-smiles-tackling-dental-health-care-access-when-facing-intimate-partner-violence-ipv/
LOCATION:OCAD U\, 100 Mccaul Street\, Toronto\, ON\, M5T 1W1\, Canada
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/03/483852635_1073773444795194_1591535125898376037_n-e1741979892836.jpg
ORGANIZER;CN="FAC":MAILTO:torontofac@gmaill.com
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250314T103000
DTEND;TZID=America/New_York:20250429T180000
DTSTAMP:20260525T015205
CREATED:20250324T210540Z
LAST-MODIFIED:20250324T210540Z
UID:10000799-1741948200-1745949600@thefeministartproject.org
SUMMARY:Divergence of Three:  Exhibiting Artists Marcie Gill-Kinast\, Kelly Nicola Chiovitti\, and Priscilla Roggenkamp
DESCRIPTION:In a variety of media that includes drawing\, painting\, collage\, gouache\, fiber art\, painting\, and collography\, three artists are coming together to create an exhibit that unifies with serendipity on themes of nature\, fascination\, and protection. \nMarcie Gill-Kinast says\, “In this series\, all elements originate in natural forms\, but become more intensified\, morphing in shape\, scale and color. Thought and spirit create an unexpected grammar of expression. This ongoing series is\, at its essence\, rooted in the power of nature over man. Technically\, this also provides an opportunity to experiment with and expand on color relationships and theory. I have found that gouaches gives me a great deal of flexibility in this exploration as well as providing me with a less toxic work environment while figuratively exploring the different toxicities that exist in our world. \nKelly Nicola Chiovitti’s artwork is centered on capturing the wild and untamed qualities of nature\, with a particular focus on the delicate shapes of flowers. Through her drawings\, she explores the intricate lines and textures found in the natural world\, expressing her belief that beauty can be found in even the smallest and most overlooked details. Working primarily with graphite and ink pens\, Kelly’s style brings a sense of simplicity and appreciation to the natural forms she studies. Sustainability is a key principle in Kelly’s practice. \nPriscilla Roggenkamp says\, “Textiles are my ‘jam’ so to speak. As an art material they are ripe with content. They reflect our collective experience of wearing\, touching\, and desiring cloth. Clothing denotes personhood\, and labor status. It calls to our memories\, and oh so many things about ourselves and our culture. Aesthetically textiles speak of the tactile\, the sensual and the sculptural.” Roggenkamp’s work touches on themes of mythical stories\, identity\, relations to our planet\, immigration\, and family. \nJoin us to look closely at this intricate exhibit. \nMonday – Friday 10am ish – 6pm\nSaturday 11am – 3pm\nClosed first Saturday of the month\nClosed on Sundays
URL:https://thefeministartproject.org/event/divergence-of-three-exhibiting-artists-marcie-gill-kinast-kelly-nicola-chiovitti-and-priscilla-roggenkamp/
LOCATION:Cyrus Custom Framing\, 2645 Cleveland Avenue NW\, Canton\, OH\, 44709\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/03/Divergence-of-Three-e1742850330596.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250312T130000
DTEND;TZID=America/New_York:20250322T160000
DTSTAMP:20260525T015205
CREATED:20250321T144003Z
LAST-MODIFIED:20250321T144222Z
UID:10000797-1741784400-1742659200@thefeministartproject.org
SUMMARY:(UN)censored
DESCRIPTION:ARTISTS FIGHT BACK AFTER CANCELLATION OF ART EXHIBIT AT UN HEADQUARTERS\nCommunity rallies around women’s rights exhibition; now open in Brooklyn as a symbol of resistance\nExhibition title: “(UN)censored”\n630 Flushing Ave\, Brooklyn\, NY \nOpening hours – RSVP required: artefleur@gmail.com\nMarch 12\, 1-3:30pm\nMarch 13\, 1-3:30pm\nMarch 19\, 1-4pm\nMarch 20\, 1-4pm\nMarch 22\, 11am-4pm (before the public reception) \nCLOSING RECEPTION: March 22\, 4-8pm \nNew York\, NY – March 2\, 2025 – Just weeks before its scheduled debut at United Nations Headquarters\, “Rules\, Responsibilities\, Restraints: Women’s Pursuit of Equity\,” an exhibition about women’s labor and rights—was unexpectedly stripped of its previously secured endorsement from the European Union Delegation. This was not a financial sponsorship\, but an official endorsement—a necessary requirement for the exhibition to be shown at UNHQ. Without this backing\, the exhibition\, which was meant to be displayed in the highly visible UNHQ Visitors’ Lobby\, was shut down. “This decision takes away a chance to bring global attention to human rights\, artistic expression\, and freedom of speech\,” says Sawyer Rose\, an artist with works in this exhibit. \nWith their UNHQ exhibition silenced\, Rose and Fleur Spolidor\, a French artist with paintings in the exhibition\, raced to find a new venue in New York City—at the very moment these conversations should have been front and center. Refusing to let their work be censored\, the community rallied behind Spolidor and Rose to make sure the exhibition found a platform where it could be seen and heard. In response to the situation\, they have rebranded the exhibition as “(UN)censored\,” a powerful statement against the suppression of free speech and challenging artistic work. \nThe exhibition\, featuring work by American sculptor Rose (The Carrying Stones Project) and French painter Spolidor (The Swimsuits Series)\, was set to open alongside the 69th session of the Commission on the Status of Women (CSW69) and the 30th anniversary of the Beijing Declaration on women’s rights—a moment meant to celebrate progress toward gender equity. Yet\, in a striking contradiction\, the EU Delegation pulled its endorsement just two weeks before opening\, citing the ‘challenging global context.’ \n“It’s getting harder to have honest conversations about equity and human rights\,” Rose says. “If even an exhibition about women’s labor and rights is considered too risky\, that tells you everything. These are exactly the kinds of discussions we should be putting front and center\, not shutting down.” \n“This is beyond frustrating\,” Spolidor says. “Nothing about our exhibition has changed since it was first approved. We spent years planning this\, got our endorsement\, followed every rule—then\, at the last minute\, it’s pulled. This isn’t just about our work being canceled; it’s about who gets to have a voice in these spaces. If art can’t challenge people\, what is it for?” \n——————————\nThe Bigger Picture: Art\, Politics\, and Free Expression\nThe artists are also calling on journalists\, arts organizations\, and advocacy groups to help amplify this story and raise awareness about the growing restrictions on artistic expression in today’s political climate. With the NEA directing more 2025 grant funding toward projects celebrating the nation’s 250th anniversary\, and recent shifts in the Kennedy Center for Performing Arts’ board under the current administration\, the arts are increasingly being shaped by political influence. \nThese developments highlight a troubling trend: the narrowing of creative spaces where freedom of speech and artistic expression can thrive. \n“The cancellation of this exhibition is part of a much larger fight for artistic freedom\,” Spolidor says. “When art that challenges the status quo is silenced\, it’s not just the artists who lose—it’s all of us.” \n—————————— \nHow You Can Help \nPress & Media: Journalists interested in covering this story can contact us for interviews\, images\, and additional details. \nAdvocacy & Outreach: If you work with a museum\, nonprofit\, or advocacy group that supports artistic freedom\, we’d love to connect. \nFor all inquiries\, contact:\nsawyer@sawyerrose.com  |  415-806-2458\nMore information: artforwomensequity.com\n\n——————————\n\nAbout the Team \nFleur Spolidor is a French painter whose work explores themes of women’s rights\, its history\, and cultural representations. The Swimsuits Series is a visual representation of the surreal challenges that women face in society. \nSawyer Rose is an American sculptor and activist recognized for The Carrying Stones Project\, a body of work that blends sculpture with data visualization to highlight the disproportionate labor burdens placed on women. \nKaren M. Gutfreund is the Curatorial Producer of “(UN)censored.” An artist and curator with a focus on “Art as Activism.” Gutfreund has created more than forty-five national exhibitions with self-identified women artists\, on feminist and social justice themes.
URL:https://thefeministartproject.org/event/uncensored/
LOCATION:630 Flushing Ave\, Brooklyn\, NY\, 630 Flushing Ave.\, Brooklyn\, 11206\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/03/IG-Sawyer-5-e1742567648850.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250123T180000
DTEND;TZID=America/New_York:20250307T170000
DTSTAMP:20260525T015205
CREATED:20250202T155434Z
LAST-MODIFIED:20250202T155434Z
UID:10000790-1737655200-1741366800@thefeministartproject.org
SUMMARY:Tacit Knowledge:  Paper as Practice in the Dieu Donné West Bay View Foundation Fellowship Program
DESCRIPTION:Tacit Knowledge:\nPaper as Practice in the Dieu Donné West Bay View Foundation Fellowship Program\nJanuary 23 – March 7\, 2025 \nEFA Studios\n323 West 39th St.\, New York\, NY\, 3rd Floor\nHours: Tue–Fri\, 12–5 pm \nAnna Hendrick Karpatkin Benjamin\nKatharine L. DeLamater\nCandy Alexandra González\nJaz Graf\nLauren Krukowski\nSR Lejeune\nAnela Ming-Yue Oh \nCurated by Eliana Blechman \nContemporary papermaking draws on generations of knowledge about fibers\, waters\, and motions of the body. There is ritual in the processes of preparing pulp\, pulling sheets\, and pressing and drying paper between or upon boards. The practice of papermaking is learned as much through an inherent\, tacit understanding within the body as it is through overt instruction. Working with pulp is a tactile exercise – one through which artists imbue meaning and history into their materials and art. \nTacit Knowledge celebrates seven years of Dieu Donné’s West Bay View Foundation Fellowship\, an immersive studio mentorship for emerging papermakers to expand and enrich their artistic practices at Dieu Donné’s papermaking studios in Brooklyn\, NY. Artists and papermakers Anna Hendrick Karpatkin Benjamin\, Katharine L. DeLamater\, Candy Alexandra González\, Jaz Graf\, Lauren Krukowski\, SR Lejeune\, and Anela Ming-Yue Oh each spent three to six months in the Dieu Donné papermaking studios\, fully immersing themselves in the art of papermaking\, supporting artists and projects coming through the studio\, and learning to hone their techniques and develop their own practices. Their fellowships culminated in dedicated professional studio days for each artist to each create new bodies of artwork in handmade paper. Their resulting artworks pull from personal\, social\, and historical experience\, and explore ritual\, identity\, heritage\, and environment\, mining both inherited and privatized forms of knowledge. \nFor all press inquiries\, please contact Emma Hill at ehill@dieudonne.org. \nFor more info please visit:  https://www.studios-efanyc.org/exhibitions \n 
URL:https://thefeministartproject.org/event/tacit-knowledge-paper-as-practice-in-the-dieu-donne-west-bay-view-foundation-fellowship-program/
LOCATION:Elizabeth Foundation for the Arts\, EFA Studios - 323 West 39th St.\, 3rd Floor\, New York\, NY\, 10018\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/02/GRAF_Jaz-firemanuscript-e1738511662831.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Vancouver:20241124T180000
DTEND;TZID=America/Vancouver:20241130T060000
DTSTAMP:20260525T015205
CREATED:20241102T133122Z
LAST-MODIFIED:20241102T133543Z
UID:10000399-1732471200-1732946400@thefeministartproject.org
SUMMARY:Mitochondrial Ontologies: Deep Time and the Digital at Mónica Reyes Gallery
DESCRIPTION:A video installation by Gabriela Aceves Sepúlveda in collaboration with with Freya Zinovieff\, prOphecy Sun and Steve DiPaola with the participation of Salome Nieto\, Matilda Aslizadeh\, Maira Cristina Castro\, Lois Klassen\, Alessandra Santos\, Sarah Shamash\, Reese Muntean and Jay Tseng.\n\nThe video installation will be on view from dusk till dawn between November 24 -30.\, in a drive-by-drive-in style screening at Mónica Reyes Gallery\, Vancovuer B.C\,\n\nOpening: Sunday\,  November 24\, 6 pm to 8 pm.\nArtist Talk:  Saturday\, November 30\,12 pm to 1 pm.\nhttps://www.monicareyesgallery.com/gabriela-aceves.html\n\n\nMitochondrial Ontologies: Deep Time and the Digital (a 15-minute video installation with sound) is part of an ongoing collaborative project directed by Gabriela Aceves Sepúlveda. The project uses the concept of mitochondria as a metaphor to explore the female body as a generative host of human and non-human life. Known as the powerhouse of the cell\, the mitochondria control energy production at the cellular level. In most multicellular organisms\, the mother inherits the mitochondrial DNA\, thus pointing to the possibility of tracing maternal lineages over time through the female body. \nMitochondrial Ontologies: Deep Time and the Digital uses the generative conflations of mitochondria as powerhouse and maternal lineage to explore possible futures in which algorithms may demarcate biological and digital boundaries.  Drawing from Lynn Margulis’ (1986) endosymbiotic theory of evolution\, which emphasizes cooperation rather than competition\, the project also explores symbiosis as a co-creation methodology through participatory dance workshops\, bacteria growth experiments and A.I. image generation. \nThe video combines images and sounds created by nine artists invited to participate in a series of Butoh dance workshops and to grow bacteria individually from their bodies and domestic spaces with a DIY kit. It constructs a visual narrative that reflects the possibility of tracing past lineages of humans and non-humans through the female body. It references how knowledge and information are passed down from generation to generation across bodies\, machines\, and geographies. \nOver six months\, the participating artists practiced butoh together to develop a common choreography of movements to reflect on their past and future human and non- human ancestries. They also shared their experiences of growing bacteria through audio\, photography\, poetry and video. Butoh’s focus on improvisation and emphasis on inviting embodied communal and individual reflections on the nature of being through visual prompts\, facilitated connections among participants. The dance workshops turned into rich environments\, hosts of energies\, affects\, ideas\, and resources that inspired symbiotic interactions between the participants and generated other projects. These parallel projects and collaborations can be viewed here. \nThe video is directed and developed by Gabriela Aceves Sepúlveda in collaboration with sound artists and researchers Freya Zinovieff and prOphecy sun. It incorporates AI images created by artist and researcher Steve Di Paola. Choreographer and dancer Salome Nieto led the butoh workshops with participating artists Matilda Aslizadeh\, Maira Cristina Castro\, Lois Klassen\, Alessandra Santos\, Sarah Shamash\, prOphecy Sun\, Freya Zinovieff and Gabriela Aceves Sepúlveda. Reese Muntean and Jay Tseng provided support with photography and video editing. \nMitochondrial Ontologies: Deep Time and the Digital builds from previous collaborations exploring the relations between self and technology and the use of computational tools in live performance and video art by Gabriela Aceves Sepúlveda\, Freya Zinovieff\, prOphecy Sun and Steve DiPaola. \n\n\n\nThanks to the support of the Canada Council for the Arts. \nImage: “Gabriela Aceves Sepúlveda\, Mitochondrial Ontologies: Deep Time and the Digital. 2024. 15-minute one-channel video with sound. Video Still”
URL:https://thefeministartproject.org/event/mitochondrial-ontologies-deep-time-and-the-digital-at-monica-reyes-gallery/
LOCATION:Monica Reyes Gallery\, 2895 W 33rd Avenue\, Vancouver\, BC\, British Columbia\, V6N 2G3\, Canada
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/11/gaceves_MITO_press1-e1730554371747.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Mexico_City:20241122T180000
DTEND;TZID=America/Mexico_City:20250217T200000
DTSTAMP:20260525T015205
CREATED:20241122T142305Z
LAST-MODIFIED:20241122T142305Z
UID:10000401-1732298400-1739822400@thefeministartproject.org
SUMMARY:From the summit the clouds
DESCRIPTION:This is a multisensorial installation by Mexican artist and curator Elizabeth Ross. \nThe artist primarily used Xuan paper and inks to create an emotional\, artistic\, and gestural diary\, a response to the intense emotions evoked by the ongoing events in West Asia. Sound\, video\, and aroma create a singular experience. \nThe curator Iris lam Chen ends her presentation text with this paragraph: All the works highlight the complementary contrast between the angry and sanguine nature of the Latin American vocal denunciation that demands a reaction\, and the melancholic and phlegmatic nature of the Chinese culture that prays for the honor of the fallen from silence and ritual. This intercultural mix is ​​inexorable in Elizabeth’s work and a constant in the present exhibition.
URL:https://thefeministartproject.org/event/from-the-summit-the-clouds/
LOCATION:Jardín Borda Cultural Center\,\, Av. Morelos 271\, Cuernavaca Centro\, Centro\, 62000 Cuernavaca\, Morelos\, Mexico
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/11/inva-e1732285372399.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Los_Angeles:20241109T170000
DTEND;TZID=America/Los_Angeles:20241109T190000
DTSTAMP:20260525T015205
CREATED:20241019T131650Z
LAST-MODIFIED:20241019T132323Z
UID:10000387-1731171600-1731178800@thefeministartproject.org
SUMMARY:Perfectly Imperfect. International Group Show  | Opening Reception
DESCRIPTION:The Imperfecta Art & Design Gallery is pleased to present Perfectly Imperfect\, a group art show that features 27 artists based in the US\, UK\, Italy\, Spain\, Chile and Mexico. \nOn view from November 9th to the 31st\, the show features new original artworks by women artists Ágata Pérez\, Alexis Marcie Bomarito\, Amelia Johannsen\, Arianna Gazca\, Bea Garth\, Bernadette Fox\, Daria Loi\, Deborah Donelson\, Francesca Dalla Benetta\, Francesca Loi\, Holly de Saillan\, Jacqueline Myers-Cho\, Kate Reed\, Laura Pedrini\, Linda Tarr\, Mimma Scarpini\, Natasha Martinovic\, Rosa Henriquez\, Ruth Meijer\, Sage Kemmerlin\, Sena Clara Creston\, Sandra Alderman\, Sue Schaefer\, Strauss-McQueen\, Wynter Jones\, Zarod Rominski and Zexuan Jia. \nArtists were challenged to explore notions of imperfection and the beauty of imperfect uniqueness by creating monochromatic artworks in any medium. The 27 artworks on show include oil and acrylic paintings\, ceramic art\, art dolls\, bronze sculptures\, multimedia art\, mixed media art\, fiber art\, ink and pencil drawings and photography. \nParticipating artists Strauss-McQueen (a collaboration between Keith McQueen and Maxfield Strauss) state that “imperfection is the rest state of humanity” and “perfection is a mirage — and yet\, as humans we aspire with amusing naivety to this unattainable plane.” Their piece\, entitled Per[fiction]\, poetically demonstrates this paradox. \nCeramist Linda Tarr\, who created a standing tonal percussion instrument to celebrate imperfection\, reflects: “To assume imperfection enables risk. To notice and then be curious about the gifts of materials acting out their own character\, and accept outcomes that are unintended develops a kind of humble dignity.” \nArt doll maker Zexuan Jia created a cat that is “attempting to sew herself back together” to reflect on a painful experience using an “unserious tone\, because it is perfectly fine to be flawed and damaged as long as you still try to pull everything together even if you’re imperfect at fixing it all.” \nMultimedia artist Arianna Gazca leveraged a dark blue-gray color scheme to express the “feeling of emptiness\, of uncertainty\, and of ominous ambiguity” associated with notions of imperfection. Her moving images “blend and layer on top of one another to emphasize running thoughts and levels of anxiety” and the audio accompaniment “provides a looped effect to exemplify a moment of replaying a previous event in one’s head.” \nIn her acrylic on canvas piece\, Kate Reed explored “how even a person who is “perfect” can often only see their own perceived imperfections” and with her piece titled “Origins”\, Natasha Martinovic depicts “the moment of acceptance of oneself and one’s imperfections as a sign of individuality and self-knowledge.” \nThe above statements are but a small sample of the powerful stories and interpretations of what imperfection may mean and represent. As participating artist Amelia Johannsen well puts it: “In a world driven by ideals of perfection\, I find beauty in the flaws and irregularities that nature presents. Imperfections are not failures; they are marks of life\, evidence of growth\, resilience\, and adaptation.” \nThe show debuts on November 9 with an Opening Reception from 5 to 7pm and runs through November 31. \nAbout Imperfecta Art & Design Gallery\nimperfecta is an art & design gallery focused on elevating the work and voices of women artists and minority creatives.\nlocation: 117 6th street\, Oregon City OR 97045 USA\nweb: http://www.imperfecta.xyz
URL:https://thefeministartproject.org/event/perfectly-imperfect-international-group-show-opening-reception/
LOCATION:imperfecta\, 117 6th street\, Oregon City\, OR\, 97045\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2024/10/perfectly-imperfect-square-e1729344191997.png
ORGANIZER;CN="imperfecta":MAILTO:imperfecta@studioloi.xyz
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20241031T180000
DTEND;TZID=America/New_York:20241201T170000
DTSTAMP:20260525T015205
CREATED:20241129T143949Z
LAST-MODIFIED:20241129T144137Z
UID:10000404-1730397600-1733072400@thefeministartproject.org
SUMMARY:DOMESTIC. video art exhibition
DESCRIPTION:”State policies and law regulations regarding women’s rights in the territories of the former Eastern Bloc maintained a conservative view of the role of women in society\, despite equal rights and formal opportunities. This generated social norms and prejudices still maintained today and contributed to the one-way association of women with the domestic space. ln the idea of the imprint of an aesthetic and some issues specific to these territories\, but also some nuanced differences\, Domestic brings together several narratives from Romania\, Serbia and Croatia at the intersection of video art and short film. Discourses invite us to dive deep into the idea of domestic in contemporary societies\, both as a physical and as a mental space\, observing the social pressure\, the dynamics of gender roles and the relationship between private and public life.\nThis vision focused exclusively on artistic practices in the sphere of the dynamic image makes it possible to outline a durational analytical perspective in order to launch an updated debate on the concept of domesticity regarding gender roles and identities\, domestic work and motherhood\, reproductive rights and responsibility\, domestic violence\, care\, autonomy and dependence and intersectionality. The project raises awareness on aspects of women’s lives that are often invisible in the public space\, such as depression and anxiety\, with the aim of emphasizing the importance of social integration of psycho-emotional dimensions such as vulnerability\, shame\, sadness and empathy. The domestic space can be a source of trauma\, an environment of comfort and recovery\, a territory of identity deconstruction and reconstruction\, a place of honesty and intimacy\, of uncomfortable confrontations and of mirroring social norms. This project joins the efforts of understanding the current context of women’s rights and equal opportunities in Romania and in other Eastern European countries from the nuanced perspective of the relationship with the present\, the historical and the political past and the mentalities\, bringing up narratives that record the impact of domestic life on women.” (curatorial statement by Olivia Nitis)
URL:https://thefeministartproject.org/event/domestic-video-art-exhibition/
LOCATION:Artep Gallery\, Soseaua Sararie nr. 15\, IASI\, Romania
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/11/Domestic-AfisWeb-scaled-e1732891287977.jpg
ORGANIZER;CN="Artep Gallery Association":MAILTO:priveste@artep.ro
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Puerto_Rico:20241017T190000
DTEND;TZID=America/Puerto_Rico:20250315T170000
DTSTAMP:20260525T015205
CREATED:20241019T132528Z
LAST-MODIFIED:20241024T193104Z
UID:10000393-1729191600-1742058000@thefeministartproject.org
SUMMARY:DIVERSE. Poetics of Nature.
DESCRIPTION:“Diverse. Poetics of Nature is an exhibition that reveals my enormous admiration and respect for nature\, for its intuitive and spontaneous frankness. In times when everything tends to be the result of a construction: images\, what we say\, perceptions… the only thing that remains real and true\, is nature.” \n Jeannette Betancourt
URL:https://thefeministartproject.org/event/diverse-poetics-of-nature/
LOCATION:Universidad Ana G. Méndez – Recinto de Gurabo\, 6XRV+Q6H\, Rio Grande Road\, Juncos\, Gurabo 00777\, Puerto Rico\, Gurabo\, Puerto Rico
CATEGORIES:Artist Talk,Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/10/jb-expo-e1729344321660.jpeg
ORGANIZER;CN="Museum of the Ana G. Mendez University":MAILTO:museo-gu@uagm.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240927T080000
DTEND;TZID=America/New_York:20241106T170000
DTSTAMP:20260525T015205
CREATED:20241005T134112Z
LAST-MODIFIED:20241019T132701Z
UID:10000382-1727424000-1730912400@thefeministartproject.org
SUMMARY:Black\, Femme\, Queer\, Here
DESCRIPTION:This exhibition of images shines a light on the lives and legacies of Black\, femme\, & queer people from right here in Kentucky. From the fiery performances of Toni LaFlame to the downtown strolls of Sweet Evening Breeze\, these individuals have played a crucial role in making Lexington a safer space for the LGBTQ+ community. \nSome of these images were collected through Facebook posts and messages from members of Lexington’s queer community while most are from the collections of the Faulkner Morgan Archive. FMA shares Kentucky’s lesbian\, gay\, bisexual\, trans\, and queer history. Founded in 2014\, they are dedicated to telling Kentucky’s LGBTQ story. The Faulkner Morgan Archive currently houses 15\,000 items and more than 250 hours of recorded interviews. Their collections span 200 years of history\, representing individuals\, events\, and institutions across Kentucky’s diverse LGBTQ spectrum\, creating a rich resource for activists\, scholars\, artists\, and museums. You can help them continue to preserve stories like this by visiting faulknermorgan.org. \nThis project is continuing to expand\, so if you have any images\, stories\, or history that you would like to share\, please reach out! Send any information you have on Black\, femme\, & queer Kentuckians to josh@itsjoshporter.com.
URL:https://thefeministartproject.org/event/black-femme-queer-here/
LOCATION:Lexington\, KY
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/10/TonyLaFlameDerbymid-1980s31-e1729344415830.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240917T120000
DTEND;TZID=America/New_York:20241013T190000
DTSTAMP:20260525T015205
CREATED:20241012T111130Z
LAST-MODIFIED:20241012T111130Z
UID:10000389-1726574400-1728846000@thefeministartproject.org
SUMMARY:Llegaremos todas al mar / We will all reach the sea
DESCRIPTION:Paintings by Pamela Zubillaga\n\n\nPamela Zubillaga’s artwork reveals in a very natural way the complex and often invisible intergenerational relations between women in a clan. Her paintings capture intimate and silent moments\, which show both the weight and the beauty of these connections. From that intimacy\, she seeks to explore the generational loyalty that has united the women of her family. Zubillaga reconstructs a reality that makes color a vibrant and evocative language of identity\, a tool that reveals the links\, the hierarchies\, the secrets.\n\nFrom September 17th to October 13th\n\nvenue and organizer: AGUAFUERTE Galería\nMéxico City\n\naguafuertegaleria.com
URL:https://thefeministartproject.org/event/llegaremos-todas-al-mar-we-will-all-reach-the-sea/
LOCATION:AGUAFUERTE Galería\, Guanajuato 118\, Roma Nte.\, Cuauhtémoc\, 06700 Ciudad de México\, CDMX\, Mexico\, Mexico City\, Mexico
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/10/Llegaremos-todas-al-mar-we-will-all-reach-the-sea-e1729345535524.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240815T100000
DTEND;TZID=America/New_York:20241015T180000
DTSTAMP:20260525T015205
CREATED:20241012T110049Z
LAST-MODIFIED:20241012T110306Z
UID:10000388-1723716000-1729015200@thefeministartproject.org
SUMMARY:Por favor\, considérame un sueño / Please\, consider me a dream
DESCRIPTION:Por favor\, considérame un sueño / Please\, consider me a dream\, a painting exhibition by Mexican artist Itziar Giner.\n\n\nThis is a series of paintings that represent dream states in intimate environments\, where there are mostly portraits of couples surrounded by symbolism that gives open meaning. These pieces are thresholds towards a world where the everyday and familiar is breaking down.The exhibition will be until mid-October at the Jardín Borda Cultural Center\, from Tuesday to Sunday from 10 am to 6 pm. Show ends October 15th.\n\nOrganizer: Centro Cultural Jardín Borda Cuernavaca\, Morelos\, México.\n\nhttps://www.facebook.com/CentroCulturalJardinBorda
URL:https://thefeministartproject.org/event/por-favor-considerame-un-sueno-please-consider-me-a-dream/
LOCATION:Jardín Borda Cultural Center\,\, Av. Morelos 271\, Cuernavaca Centro\, Centro\, 62000 Cuernavaca\, Morelos\, Mexico
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/10/Por-favor-considerame-un-sueno-Please-consider-me-a-dream-e1728730833981.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240420T100000
DTEND;TZID=America/New_York:20240512T210000
DTSTAMP:20260525T015205
CREATED:20240502T154054Z
LAST-MODIFIED:20240502T154458Z
UID:10000014-1713607200-1715547600@thefeministartproject.org
SUMMARY:CONNECT
DESCRIPTION:Initially inspired by the online connections formed during the pandemic lockdown\, Stephanie Camille’s art delves into the intersections of digital and physical existence. Rooted in the introspections from her journal during the initial lonely months\, she explores those realities through metaphorical ‘windows’ using recognizable digital interfaces. Blending traditional mediums like oil and gouache\, Connect is a journey of self-discovery\, unraveling the complexities of isolation\, loneliness\, and routine. On one end\, screens trap us\, but on the other end\, we can fall in love with our only connection to the people we yearn to be physically near. \nPresented by Studio 180 Theatre and the Feminist Art Collective. Stephanie Camille is an artist currently residing in the GTA and is currently finishing up her MFA at OCAD University. Oil paint\, being Stephanie’s preferred medium\, has a ‘timeless\,’ adaptable-yet-ridged\, and romantic quality that Stephanie loves juxtaposing with her modern\, vibrant aesthetic. She has previously experimented with digital collage and interventions during the pandemic when everything was online-focused. Inspired by bright\, saturated colours\, Stephanie paints technicolour portraits that connect to her current topic of focus for her thesis: hyperfemininity and girly-girl aesthetics. Learn more about Stephanie’s work here. \nPresented in conjunction the Canadian Premiere of FOUR MINUTES TWELVE SECONDS by James Fritz and directed by Mark McGrinder.
URL:https://thefeministartproject.org/event/connect/
LOCATION:Studio 180 Theatre\, 19 Madison Ave\, Third Floor\, Toronto\, ON\, Canada
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2024/04/thumbnail_Screenshot-2024-03-14-at-5.42.34-PM-e1714664505978.png
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240405T160000
DTEND;TZID=America/New_York:20240405T183000
DTSTAMP:20260525T015205
CREATED:20240321T140938Z
LAST-MODIFIED:20240322T132544Z
UID:10000005-1712332800-1712341800@thefeministartproject.org
SUMMARY:Fuego:  Women set their world on fire
DESCRIPTION:On view 4/1/24 – 5/5/24 with opening reception and artist talks Friday\, April 5\, 2024 from 4:00 p.m. to 6:30 p.m. \nmosaicARTs and Debra Wright Studio have joined forces to commemorate the feminist art movement. These women artists ignited a spark that inspired them to create\, build\, and establish a supportive art community for others. The collaboration aims to acknowledge the significant contributions of female artists while promoting gender equality and empowerment for women. \nIn the United States\, 51% of living visual artists are women\, yet only 13.7% of them are represented in galleries. On average\, they earn 81 cents for every dollar made by their male contemporaries. \nApropos to the exhibition title as well as the feminist art movement\, Fuego is the Spanish word for “fire.”  Women artists have to kick down doors otherwise held wide open for men and\, when we do\, there is often backlash.  Yet these misogynistic efforts aimed at undermining us catalyze our solidarity\, instead. \nCurator Debra Wright incurred such wrath when an enraged male artist doused her artwork with lighter fluid and set it ablaze in retribution.  These actions intended to derail her backfired\, generating an outpouring of support from women artists everywhere that compelled Wright to focus her future efforts furthering feminist art initiatives.  Fuego is a continuation of this commitment. \nAs we acknowledge feminist artists of today\, we also pay testament to the perseverance of those who came before us.  These actions ensure our place in history.  We cannot allow ourselves to be absent from the cultural record. \nLighting the torch for each other\, we find our way together and inspiration ignites in each of us. \nWomen set the world on fire. \nImage: Debra Wright\, Moneyshot\, undergarment and currency\, 6 x 6 x 4 inches
URL:https://thefeministartproject.org/event/fuego-women-set-their-world-on-fire/
LOCATION:mosaicARTs Gallery\, 2931-B Eskridge Road\, Fairfax\, VA\, 22031\, United States
CATEGORIES:Artist Talk,Exhibition
ATTACH;FMTTYPE=image/webp:https://thefeministartproject.org/wp-content/uploads/2024/03/Wright_Debra_Moneyshot_undergarment_currency_6x6x4-inches_900-e1711113467477.webp
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240328T180000
DTEND;TZID=America/New_York:20240504T180000
DTSTAMP:20260525T015205
CREATED:20240320T174821Z
LAST-MODIFIED:20240322T133232Z
UID:10000004-1711648800-1714845600@thefeministartproject.org
SUMMARY:The State We’re In
DESCRIPTION:Solo exhibition at Kathryn Markel Fine Arts: \nNancy Cohen’s unconventional drawings\, drawn with paper pulp and fritted glass\, find their origin in her move to Jersey City in the 1980s. Along the shore and waterways\, the evergreen vegetation thriving amid industrial waste sparked Cohen’s environmental awareness. Waterways\, as subject and imagery\, draw from personal experience and recur in her work as symbols of nature’s ability to endure adversity. In “The State We’re In\,” Cohen pursues the theme of survival\, environmentally and personally. Cohen describes her process as “thinking with her hands.” Concerns outside the studio and challenges within are explored through physically pushing the boundaries of paper and glass. The materials serve as collaborators and provocateurs\, where fused glass objects or a handmade paper are repurposed as source material and inspiration for later works. Cohen’s choices of materials and processes challenge notions of fragility and resilience. Like fritted glass undergoing transformation in a kiln\, Cohen’s work focuses on strength and beauty in the struggle for survival. \nImage: Nancy Cohen\, Breathing Under Water\, 2023 (detail)
URL:https://thefeministartproject.org/event/the-state-were-in/
LOCATION:NYC
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/03/Nancy-Cohen-Evite-scaled-e1711114295170.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Costa_Rica:20240308T090000
DTEND;TZID=America/Costa_Rica:20240616T210000
DTSTAMP:20260525T015205
CREATED:20240418T130213Z
LAST-MODIFIED:20240508T184647Z
UID:10000013-1709888400-1718571600@thefeministartproject.org
SUMMARY:STRETCHING TIME\, AND YOU CAN'T CALL ME OLD LADY!
DESCRIPTION:This is a project that has been developing since 2018 in México\,where it has been shown in different museums around the country\, to think and create around the feelings\, emotions\, fears and joys of getting old. To make art focusing on Age is always challenging and empowering not only the ones who are ageing but the young.  This year the exhibition is hosted by the Centro Cultural de España en Costa Rica and features local artists as well as some well known\, as Martha Wilson or the Brit Sue Williams.\nThe opening was on March 8\, turning into a huge celebration with performance\, music\, poetry and yes\, art.
URL:https://thefeministartproject.org/event/stretching-time-and-you-cant-call-me-old-lady/
LOCATION:Centro Cultural de España en Costa Rica\, De la Iglesia Santa Teresita 200 metros al este y 200 metros al norte. Frente a la Rotonda del Farolito. Barrio Escalante\, San José\, San José\, 10101\, Costa Rica
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/04/whatsapp-image-2024-02-19-at-10.40.34-am-e1713445619224.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20230913T170000
DTEND;TZID=America/New_York:20231222T170000
DTSTAMP:20260525T015205
CREATED:20231127T220557Z
LAST-MODIFIED:20240321T212522Z
UID:10000001-1694624400-1703264400@thefeministartproject.org
SUMMARY:The Brodsky Center at Rutgers University: Three Decades\, 1986–2017
DESCRIPTION:Rutgers Distinguished Professor Emerita Judith K. Brodsky\, a visionary artist and advocate\, arts administrator and entrepreneur\, printmaker\, and scholar\, recognized that women and gender nonconforming artists\, as well as artists of color\, were excluded from the art world in the 1980s. Brodsky’s pioneering vision set out to rectify the situation by establishing in 1986 a print- and papermaking residency center for these artists\, now known as the Brodsky Center. From its inception\, the Center strategically placed itself at the vanguard of art making\, not only with print and papermaking techniques but also with the innovation of new ideas and narratives as a model for institutional and artworld diversity\, equity\, and inclusion. \nThe Brodsky Center\, with state-of-the-art facilities\, was the site of experiments with concepts that emerged in the 21st century as dominant concerns of artists in the contemporary art world: race and ethnic identity\, nonconforming gender issues\, climate and the environment\, the politics of language\, and immigration. The Center encouraged artists to explore how working in what were often for them the new processes of print and paper could expand their previous realms of thought. While at Rutgers University\, the Brodsky Center served as a catalyst for cultural transformation in New Jersey\, in the United States\, and worldwide. It continues to do so at its present location in Philadelphia\, the Pennsylvania Academy of the Fine Arts. \nThe artworks on view in this exhibition are illustrative of new imagery and artistic languages now incorporated into contemporary art making in the 21st century. The exhibition is thematically conceived\, exemplifying the Brodsky Center’s mission to insert new narratives into the American cultural mainstream. Five representative artworks\, as emblems that capture the essence of the Brodsky Center\, have been singled out for placement at the entrance to the exhibition. The works on view are then organized into nine other sections: Cultural Vitality and Social Justice\, Documenting Place: Real and Imagined\, Escaping the Unitary Linear\, Icons and Symbols\, Innovations\, Looking at the Portrait\, The Sages\, Tribulations and Endings\, and Visualizing Texts. \nOrganized by Ferris Olin\, Distinguished Professor Emerita\, Rutgers University
URL:https://thefeministartproject.org/event/the-brodsky-center-at-rutgers-university-three-decades-1986-2017/
LOCATION:Zimmerli Art Museum\, 71 Hamilton St\, Rutgers\, NJ\, 08901
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2023/11/fall-exhibitions-Rutgers.jpg
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