BEGIN:VCALENDAR VERSION:2.0 PRODID:-//The Feminist Art Project - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:The Feminist Art Project X-ORIGINAL-URL:https://thefeministartproject.org X-WR-CALDESC:Events for The Feminist Art Project REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20260308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20261101T060000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/Vancouver BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20230312T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20231105T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20240310T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20241103T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20250309T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20251102T090000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/Mexico_City BEGIN:STANDARD TZOFFSETFROM:-0600 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20230101T000000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/Los_Angeles BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20230312T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20231105T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20240310T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20241103T090000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0800 TZOFFSETTO:-0700 TZNAME:PDT DTSTART:20250309T100000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0800 TZNAME:PST DTSTART:20251102T090000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/Puerto_Rico BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0400 TZNAME:AST DTSTART:20230101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20250708T160000 DTEND;TZID=America/New_York:20250906T180000 DTSTAMP:20260418T144836 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:20250528T173000 DTEND;TZID=America/New_York:20250528T193000 DTSTAMP:20260418T144836 CREATED:20250520T114411Z LAST-MODIFIED:20250520T114418Z UID:10000806-1748453400-1748460600@thefeministartproject.org SUMMARY:OPENING RECEPTION Legendary: An Exhibition of Women Artists DESCRIPTION:Legendary: An Exhibition of Women Artists \nIn the United States\, 51% of living visual artists are women\, yet only 13.7% are represented in galleries. On average\, women artists earn 81¢ for every dollar made by their male contemporaries. [Source: National Endowment for the Arts; Artnet Analytics; Maastricht University] \nLegendary: 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/opening-reception-legendary-an-exhibition-of-women-artists/ LOCATION:The Stacy C. Sherwood Center\, 3740 Blenheim Blvd\, Fairfax\, VA\, 22030 CATEGORIES:Openings & Receptions ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/05/legendary-infographic-with-artist-images-e1747741438736.jpg ORGANIZER;CN="Debra Wright%2C The Rogue Art Project":MAILTO:info@debrawrightstudio.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250526T080000 DTEND;TZID=America/New_York:20250830T170000 DTSTAMP:20260418T144836 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:20250516T190000 DTEND;TZID=America/New_York:20250521T210000 DTSTAMP:20260418T144836 CREATED:20250520T114113Z LAST-MODIFIED:20250520T114113Z UID:10000807-1747422000-1747861200@thefeministartproject.org SUMMARY:Mirarnos desde el Este/Looking ourselves from the East\, V Chinese Female Videoartists Festival DESCRIPTION:The Chinese Female Videoartists Festival was launched in 2015 in Mexico City\, with participating artists from both mainland China and the diaspora. This 2025 we celebrate 10 years of continuous realization of this project\, whose objective is to create bridges of knowledge between China and Spanish-speaking countries through the video art of its women. This time\, the inclusion of video artists from Mexico\, Peru\, Spain and Costa Rica\, intertwines our visions with the ones coming from the East and establishes a rich dialogue to look at all of us\, and to be looked at. \nChinese\, Hispanic and Latin American cultures\, although geographically distant\, share profound social and historical parallels. However\, their paths differ significantly. Bringing these artists together in our festival allows us to perceive the existing convergences that unite us as women artists and strengthen both our creative and human paths. \nThe thematic axes we present arose naturally from the interests and concerns of the artists themselves: their own identity in ¿Qué es eso de ser yo? (What is this about being me?); the embrace of what has been in El asedio a la memoria (The siege to Memory)\, the relationship with the Earth in Éramos árboles (We were trees)\, the ambivalent mother/earth in Donde crece la hierba (Where the grass grows)\, and the exploration within uncertainty in El futuro fue ayer (Future was yesterday). As a curator\, I never cease to be surprised by the different\, yet complementary\, approaches of all the proposals presented. The works reflect not only different perspectives on life and society\, but also the technological resources and aesthetic education available to them. The Hispanic-Latin American artists tend to create raw and politically charged works that speak of resilience\, denunciation and resistance\, while the Chinese artists take advantage of cutting-edge technology to explore futuristic and immersive narratives\, while drawing on their particular observation of the world and the memory of their ancestral traditions. \nOur aim is to bridge understanding and friendship between our peoples through the artistic vision of their women\, to foster dialogue and collaboration\, and to inspire a new generation of artists to explore the intersections between tradition and modernity\, local and global\, past and future. This festival\, therefore\, is not only a celebration of women’s video art but a call to action: the world is already interconnected\, let’s act for life. Art is the creative version of love.\nElizabeth Ross \n  URL:https://thefeministartproject.org/event/mirarnos-desde-el-este-looking-ourselves-from-the-east-v-chinese-female-videoartists-festival/ LOCATION:Cine Morelos\, Cuernavaca\, México\, Av. Morelos 188\, Cuernavaca\, Morelos\, 62000\, Mexico CATEGORIES:Film Screening ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/05/2025-cine-morelos.jpg ORGANIZER;CN="5c%C3%A9lula arte y comunidad a.c.":MAILTO:5celula@gmail.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250508T173000 DTEND;TZID=America/New_York:20250508T200000 DTSTAMP:20260418T144836 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:20250414T090000 DTEND;TZID=America/New_York:20250414T130000 DTSTAMP:20260418T144836 CREATED:20250405T125257Z LAST-MODIFIED:20250406T151925Z UID:10000800-1744621200-1744635600@thefeministartproject.org SUMMARY:ArtViews: Gender and Cultural Norms DESCRIPTION:ArtViews: Gender and Cultural Norms\nMonday\, April 14\n9:00 AM- 1:00 PM \n\n\n\n\n\nBRIC\n647 Fulton St\, Brooklyn\, NY\nPresented in collaboration with A.I.R. Gallery\nREGISTER \nThe American Federation of Arts (AFA) is excited to present ArtViews: Gender and Cultural Norms\, a thought-provoking symposium exploring gender\, identity\, and equity in the arts. This event\, part of AFA’s ArtViews series\, will bring together artists\, curators\, scholars\, and arts professionals to discuss the evolving landscape of representation in the art world. \nThrough engaging panels and networking opportunities\, participants will have the chance to rethink the historical label of “woman artist” in today’s intersectional landscape\, examine the impact of American culture and policies on art careers\, and address barriers to gallery representation and access to the art mark. \nThis symposium is free and open to the public with registration. \nFor questions and additional information\, please contact events@amfedarts.org. \n\nAbout the panelists: \nRoxana Fabius\nRoxana Fabius (Uruguay) is a curator and art administrator. She currently lives and works in New York City. Between 2016 and 2022 she was Executive Director at A.I.R. Gallery\, the first artist-run feminist cooperative space in the U.S. During her tenure at A.I.R. she organized programs and exhibitions with artists and thinkers such as Gordon Hall\, Elizabeth Povinelli\, Jack Halberstam\, Che Gosset\, Regina José Galindo\, Lex Brown\, Kazuko\, Zarina\, Mindy Seu\, Naama Tzabar and Howardena Pindell among many others. These exhibitions\, programs and special commissions were made in collaboration with international institutions such as the Whitney Museum (New York) Google Arts and Culture and The Feminist Institute and Frieze Art Fair in New York and London. She is currently curating the 2024 exhibition series “Cantando Bajito” at the Ford Foundation Gallery in New York\, and is the Director of Programs and Curator at The Neighborhood. \nMolly Gochman\nMolly Gochman\, an artist and activist deeply engaged in social practice\, focuses on activating spaces for profound collective experiences. Her practice encompasses a diverse range of mediums including photography\, sound\, installation\, and sculpture. Through these mediums\, she often challenges and subverts conventional material boundaries to foster interaction\, play\, exploration\, and meaningful dialogue. Gochman frequently explores concepts encompassing human connection\, environment\, and community\, rooted in the belief that life’s experiences shape us. Guided by the concept that “life leathers us\,” her works not only aim to aesthetize but also reflect the passage of time through weather\, wear\, and change. Her practice continues to evolve with a desire to actively engage participants\, inspire meaningful dialogues\, find commonality\, and discover shared human experiences. She has exhibited her work at The Ukrainian Museum\, New York; NYC Parks Art in the Parks; NADA House\, New York; Lincoln Center\, New York; Deborah Colton Gallery\, Houston; Diverse Works\, Houston; Chashama\, New York; Sara Roney Gallery\, Sydney; Grace Farms\, New Canaan; Barbara Davis Gallery\, Houston; Zilkha Hall\, Houston; Elsewhere\, Greensboro and other traditional and non-traditional exhibition spaces. She received a Bachelor of Fine Arts in Sculpture from Guilford College. Originally from Texas\, Molly is currently based in New York. \nFlorence Lynch\nFlorence Lynch is a New York-based art dealer and the Senior Director at Jenkins Johnson Gallery\, which has locations in both San Francisco and New York. In her role\, she liaises with the gallery’s roster of both emerging and established artists and introduces new talents to the program. Lynch represents the gallery at relevant global events and travels regularly to support institutional and client development while maximizing business opportunities in new markets. Lynch previously served as the Director of Sales and Public Relations at Elizabeth Dee in New York; followed by the position of Senior Director at Marc Straus Gallery. She was co-owner of Lynch Tham\, a contemporary art gallery established in 2013 on the Lower East Side. Furthermore\, Lynch is the founder of the Florence Lynch Gallery\, an internationally recognized contemporary art gallery that was formerly located in New York’s Chelsea gallery district. With over 20 years of experience in the art world\, she has also worked as an independent curator\, critic\, and lecturer. Lynch has conducted interviews and authored essays on notable figures including Quentin Tarantino\, David Lynch\, Jenny Holzer\, David Hammons\, Nan Goldin\, and Robert Longo. She has held adjunct positions at Teachers College\, Columbia University in the ARAD Master’s Program teaching Principles and Practices in the Visual Arts\, as well as in the School of Graduate Studies at the Fashion Institute of Technology\, State University of New York\, in the Art Market Department. Her memberships and community involvements include Arts Council Member for Madison Square Park Conservancy\, being a member of the A.I.R Advisory Board\, participating in the Advisory Council of the Alumni Association of the NY Studio School\, and being a member of ARTTABLE\, The Leadership Organization for Professional Women in the Visual Arts. \nLisa Kim\nLisa Kim is the inaugural director of the Ford Foundation Gallery\, an exhibition space within the Ford Foundation Center for Social Justice in New York City. Since 2018\, she has led the development of the gallery’s exhibitions and public engagement programs to advance the mission and values of the Ford Foundation. Prior to her appointment at the Ford Foundation\, she was director of cultural affairs at Two Trees Management Company\, a real estate development firm in Brooklyn\, NY. There she fostered artistic and creative community development through overseeing the company’s arts philanthropy and public art initiatives\, producing the annual DUMBO Arts Festival from 2011 to 2014\, and managing the Sharpe-Walentas Studio Program. Lisa served as the director of the New York City Percent for Art Program from 2006 to 2008\, supporting the commissioning and installation of public artworks\, and for 12 years she oversaw the exhibitions\, collections\, construction\, and expansion for Gagosian Gallery in New York. Lisa holds a Bachelor of Arts in Art History with a concentration in Visual Arts from Barnard College and a Master of Industrial Design from Pratt Institute. She serves on the advisory board of A.I.R. Gallery and is a member of the board of directors of ICOM-US. \nAlison Croney Moses\nAlison Croney Moses (b. 1983) is a Boston based artist primarily working in wood\, investigating craft\, community\, identity\, and motherhood. Her work is in the collections of the Detroit Institute of the Arts\, Museum of Fine Arts Boston\, the Rose Art Museums\, and the Smithsonian American Art Museum in Washington\, D.C. She is a recipient of the 2022 USA Fellowship in Craft\, and 2023 Boston Artadia Award\, a finalist of the 2024 LOEWE FOUNDATION Craft Prize and the recipient of the 2024 Black Mountain College International Artist Prize. She was named one of the 2023 WBUR 10 Makers and is currently one of the Triennial Accelerator Artists for the 2025 Boston Public Art Triennial. Alison holds an MA in Sustainable Business & Communities from Goddard College\, and a BFA in Furniture Design from Rhode Island School of Design. \nDr. Ksenia M. Soboleva\nDr. Ksenia M. Soboleva is a New York based writer and art historian specializing in queer art and culture. She holds a PhD from the Institute of Fine Arts\, NYU. Her writings have appeared in The Brooklyn Rail\, BOMB\, Ursula Magazine\, Artforum\, frieze\, and Hyperallergic. She has contributed to numerous artist monographs and exhibition catalogues\, including Chitra Ganesh (2024)\,Robert Indiana: The Sweet Mystery (2024)\, and Fire Island: A Century of Art (forthcoming). Previously\, Soboleva was a Vilcek Curatorial Fellow at the Solomon R. Guggenheim Museum in New York\, and an Andrew W. Mellon Postdoctoral Fellow in Gender and LGBTQ+ History at the New-York Historical. She is the recipient of the 2022 Baxter St. Camera Club’s Guest Curatorial Initiative\, and the 2025 Dora Maar House Fellowship. She is currently completing her book manuscript “What Happens After: Art\, AIDS\, and Lesbian Histories” and co-editing the first monograph on TRIAL BALLOON\, a lesbian-run gallery and project space active in the early 1990s\, forthcoming with Karma. \nDr. Deborah Willis\nDeborah Willis\, Ph.D. is University Professor and Chair of the Department of Photography & Imaging at Tisch School of the Arts at New York University. She has affiliated appointments with the College of Arts and Sciences\, the Department of Social & Cultural Analysis\, and the Institute of Fine Arts\, where she teaches courses on Photography & Imaging\, iconicity\, and cultural histories visualizing the black body\, women\, and gender. She is the director of NYU’s Center for Black Visual Culture/Institute of African American Affairs. Her research examines photography’s multifaceted histories\, visual culture\, the photographic history of Slavery and Emancipation\, contemporary women photographers\, and beauty. She is the author of Kamala: Her Historic\, Joyful\, And Auspicious Sprint to the White House (co-authored with Kevin Merida)\, The Black Civil War Soldier: A Visual History of Conflict and Citizenship\, Posing Beauty: African American Images from the 1890s to the Present\, among others. Dr. Willis’ curated exhibitions include: “Framing Moments in the KIA” at Kalamazoo Institute of the Arts\, and “Free as they want to be: Artists Committed to Memory” at FotoFocus. Dr. Willis was awarded the John D. and Catherine T. MacArthur Fellowship and was a Richard D. Cohen Fellow in African and African American Art\, Hutchins Center\, Harvard University; a John Simon Guggenheim Fellow\, and an Alphonse Fletcher\, Jr. Fellow. She was the Robert Mapplethorpe Photographer in Residence of the American Academy in Rome and is a member of the American Academy of Arts and Sciences. She is a recipient of the Don Tyson Prize for the Advancement of American Art by the Crystal Bridges Museum in 2022; was named the Mary Lucille Dauray Artist-in-Residence by the Norton Museum of Art and taught her a Master Class titled Home\, Reimagining Interiority at Anderson Ranch in 2023. In 2024\, Dr. Willis was appointed Board Chair of the Andy Warhol Foundation and elected to the American Philosophical Society. \nDr. Katharine J. Wright\nKatharine J. Wright is a curator and scholar of modern and contemporary art based in New York City. She specializes in pre- and post-war American art\, with a focus on design\, alternative media\, public art\, and photography. For more than twenty years\, Katharine has conducted research\, organized educational programs\, and held curatorial roles at major art museums including the Morgan Library and Museum\, the Museum of Modern Art\, the Whitney Museum of American Art\, and the Metropolitan Museum of Art. She has curated exhibitions across the United States\, Europe\, and Latin America\, featuring artists such as Felix Gonzalez-Torres\, Marta Chilindron\, George Lois\, Sol LeWitt\, Dan Flavin and many more. Dr. Wright received her BA from Williams College and her MA and PhD from The Institute of Fine Arts\, New York University. Her research and writing has been published by the Metropolitan Museum of Art\, Thames & Hudson\, Yale University Press\, caa.reviews\, and Ridiculosa. \n________________________________________________________________________________________________________________________\nPublic programs are made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. These programs are also supported\, in part\, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. We are also grateful for the generous support of Berkley Asset Protection\, Huntington Block\, Arthur F. and Alice E. Adams Charitable Foundation\, and the American Chai Trust.\nThe Feminist Art Project is a proud resource partner for this event. URL:https://thefeministartproject.org/event/artviews-gender-and-cultural-norms/ LOCATION:BRIC\, 647 Fulton Street\, Brooklyn\, NY\, 11217\, United States CATEGORIES:Symposium ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/04/1-e1743857721141.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250412T100000 DTEND;TZID=America/New_York:20250928T170000 DTSTAMP:20260418T144836 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:20260418T144836 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:20250328T100000 DTEND;TZID=America/New_York:20250328T110000 DTSTAMP:20260418T144836 CREATED:20250308T151203Z LAST-MODIFIED:20250308T151356Z UID:10000793-1743156000-1743159600@thefeministartproject.org SUMMARY:Virtual Program: Affrilachian Freedom Dreaming: Honoring Dr. Ancella Bickley DESCRIPTION:West Virginia University (WVU) Art in the Libraries’ Inaugural WVU Feminist Activist Artist Residency program presents artist Catron Booker and her project\, “Affrilachian Freedom Dreaming: Honoring Dr. Ancella Bickley.”\nJoin Art in the Libraries and WVU Libraries on Friday\, March 28 at 10 a.m. via zoom to hear from Booker about her experience as the first WVU Feminist Activist Artist Resident\, her process and inspiration for exploring the Dr. Ancella Bickley archives in the West Virginia & Regional History Center and her resulting artistic product\, a short film honoring Bickley.\nCatron Booker\, a Black feminist experimental filmmaker and performance artist\, uses Afrofuturism to envision Black liberation. During the Feminist Activist Collection Artist in Residency (FAIR)\, she will create Affrilachian Freedom Dreaming\, a short experimental film exploring Black resistance through the Dr. Ancella Bickley archival collection of the West Virginia and Regional History Center Feminist Activist Collection. Dr. Ancella Bickley (born 1930\, Huntington\, WV) is a historian\, educator\, and author known for preserving and documenting the history of Black communities in West Virginia\, with a focus on oral histories\, genealogy\, and the contributions of overlooked Black scholars and activists. Inspired by Bickley’s focus on overlooked “community builders\,” Booker will interweave archival materials with footage of the Ohio River\, a historically significant landmark in Louisville. The project examines the river as both a visual metaphor and a site of historical continuity. As part of the residency\, she plans a film screening and community discussion\, potentially including a conversation on Bickley’s work.\nTo register: https://wvu.libcal.com/calendar/events/FAIR\nMore on the event: Art in the Libraries to host feminist activist artist to wrap inaugural residency program | Ex Libris Magazine | West Virginia University\nMore on Catron Booker: https://catronbooker.tumblr.com/\nMore on the Feminist Activist Artist in Residency Program: https://exhibits.lib.wvu.edu/special-projects/artist-in-residency\n\nQuestions: Email WVU Libraries Curator Sally Brown\, sally.brown1@mail.wvu.edu. URL:https://thefeministartproject.org/event/virtual-program-affrilachian-freedom-dreaming-honoring-dr-ancella-bickley/ CATEGORIES:Artist Talk,Film Screening ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/03/FAIR-Resident-Pres_8-x-11-in-e1741446704325.png ORGANIZER;CN="west virginia university libraries":MAILTO:sally.brown1@mail.wvu.edu END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250319T083000 DTEND;TZID=America/New_York:20250330T180000 DTSTAMP:20260418T144836 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;VALUE=DATE:20250319 DTEND;VALUE=DATE:20250525 DTSTAMP:20260418T144836 CREATED:20250321T120126Z LAST-MODIFIED:20250321T120126Z UID:10000796-1742342400-1748131199@thefeministartproject.org SUMMARY:CALL AND RESPONSE: "As a woman artist\, I..." DESCRIPTION:All women artists are encouraged to answer the question\, “As a woman artist\, I…”\nResponses will be displayed at Legendary: An Exhibition of Women Artists\, at The Stacy C. Sherwood Center\, Fairfax\, Virginia\, from May 25\, 2025\, until August 30\, 2025. \nThis call and response prompt can be found online at:\nhttps://www.debrawrightstudio.com/as-a-woman-artist-i URL:https://thefeministartproject.org/event/call-and-response-as-a-woman-artist-i/ LOCATION:The Stacy C. Sherwood Center\, 3740 Blenheim Blvd\, Fairfax\, VA\, 22030 CATEGORIES:Symposium ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/03/As-a-woman-artist-I-e1742558473456.png ORGANIZER;CN="Debra Wright%2C The Rogue Art Project":MAILTO:info@debrawrightstudio.com END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250314T103000 DTEND;TZID=America/New_York:20250429T180000 DTSTAMP:20260418T144836 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:20260418T144836 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:20250219T110000 DTEND;TZID=America/New_York:20250219T120000 DTSTAMP:20260418T144836 CREATED:20250203T142622Z LAST-MODIFIED:20250203T143016Z UID:10000791-1739962800-1739966400@thefeministartproject.org SUMMARY:SUNY New Paltz Art Lecture Series - Jaz Graf DESCRIPTION:JAZ GRAF will give a FREE public lecture on her research in hand papermaking\, including a recent trip to Thailand\, living at a monastery and making paper from worn Buddhist monk robes. Graf’s presentation will also feature creative and community projects of her transdiciplinary art practice incorporating printmaking\, book arts and installation. All are welcome.  \nWednesday\, February 19th\, 2025 from 11-12 noon at SUNY NEW PALTZ  – \nLocation – Lecture Center 104 (Wheelchair accessible entrance and parking lot) \nParking info: Visitors can use campus vending machines to purchase a parking permit to park on campus. \n*Parking by the Hopfer Admissions Center is recommended\, as it has a big lot and is a short walking distance to the Lecture Center and nearby Dorsky Museum.  https://www.newpaltz.edu/parking/lots.html  \nCampus map –  https://www.newpaltz.edu/map/  \nAbout the artist: \n\nJaz Graf delves through the meaning of familial roots\, reimagining humanity’s relationship to earth. Graf juxtaposes representations of the actual and the virtual\, as she ruminates on our connection to place\, the location of identity\, and the paradox of presence. Graf’s projects and collaborations include pulping Buddhist monk robes into books\, advocating for transboundary rivers through photography\, and publicizing voices of neuro-divergent BIPOC artists. She celebrates hybrid modes of being and alterity by contemporizing cross-cultural narratives.\n\nHer work has appeared at The Newark Museum of Art\, in AM New York News and on PBS TV. Graf is a recipient of the NJ State Council of the Arts Fellowship\, Newark Creative Catalyst\, Dieu Donné West Bay View Fellowship\, Salzberg Book Arts Residency and Civil Society Institute Fellowship. Graf holds a MA from the University of Notre Dame and a MFA in Printmaking from the University of Iowa.\n\nWebsite: www.jazgraf.com \nInstagram: @jazgraf\nArtsy: https://www.artsy.net/artist/jaz-graf URL:https://thefeministartproject.org/event/suny-new-paltz-art-lecture-series-jaz-graf/ LOCATION:SUNY New Paltz\, 1 Hawk Drive - Lecture Center 104\, New Paltz\, NY\, 12561\, United States CATEGORIES:Lecture ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/02/JAZGRAF-PR-scaled-e1738593008367.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250215T090000 DTEND;TZID=America/New_York:20250215T163000 DTSTAMP:20260418T144836 CREATED:20241012T122658Z LAST-MODIFIED:20250126T185113Z UID:10000390-1739610000-1739637000@thefeministartproject.org SUMMARY:TFAP@CAA 2025 Day of Panels | MAKING TROUBLE: WOMEN\, ART & SCIENCE DESCRIPTION:TFAP@CAA Day of Panels 2025\nMAKING TROUBLE: WOMEN\, ART & SCIENCE\nSaturday\, February 15\, 2025\n9:00am – 4:30pm\nHilton Midtown\, NYC (in-person)\nConcourse G\nChair: Anonda Bell\, Rutgers University\nFree and open to the public. \nCollege Art Association 113th Annual Conference | New York City\, February 12–15\, 2025 \nArt Historian Linda Nochlin stated that\, “feminist art history is there to make trouble\, to call into question\, to ruffle feathers in the patriarchal dovecotes.” This event is dedicated to women who are troublemakers\, and whose creative practice references science as a source of inspiration for writing\, research\, curating and art making.  Through their work they question underlying assumptions about the world\, how standard scientific processes and methodology which aspire to objectivity may instead be steeped in bias and discrimination\, leading to flawed and inaccurate\, entirely subjective data outcomes.  Some have adopted science-based art making techniques\, materials and concepts\, to explore ideas about humanity.  Women\, for many years\, were not able to aspire to formal careers as scientists as they were excluded from places of higher education. The same could be said of the visual arts – women were not seen in museums but they were still making art.  In both cases\, it was incorrectly assumed that women lacked certain physical and mental capacities\, thus justifying their exclusion. This event will focus on both the physical sciences (including artificial intelligence\, trans-species organ transplants\, DNA\, ecology and natural history) and the social sciences (including psychiatry\, hysteria\, and mysticism). \nMAKING TROUBLE: WOMEN\, ART & SCIENCE\nSchedule \n9:00am – 10:30am\nIntroductions and Keynote\nConnie Tell\, The Feminist Art Project\, Welcome\nAnonda Bell\, Rutgers University\, Science & Art Introduction\nAnne Swartz\, Savannah College of Art & Design\, Unnatural Sciences\nSuzanne Anker\, School of Visual Arts\, KEYNOTE ADDRESS \n11:00am – 12:40pm\nPanel #1: PEOPLE\nStephanie Dinkins\, Stony Brook University\nHeather Dewey-Hagborg\, Independent Artist\nMagdalena Dukiewicz\, Independent Artist \n1:30pm – 2:30pm\nPanel #2: EXPERIENCE\nLaura Splan\, Independent Artist\nEva Lee\, Independent Artist \n2:45pm – 3:25pm\nPanel #3: PLACE\nMichele Oka Doner\, Independent Artist\nNatalie Waldburger\, OCAD University \n3:25pm – 4:30pm\nCLOSING SPEAKER\nCrochet Coral Reef: Crafting Against Patriarchy in Science and Art\nMargaret Wertheim\, The Institute for Figuring URL:https://thefeministartproject.org/event/tfapcaa-day-of-panels-2025-making-trouble-women-art-science/ LOCATION:Hilton Midtown\, NYC\, 1335 6th Avenue\, New York\, NY\, 10019\, United States CATEGORIES:Symposium ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/10/CAA-113-logo-e1729340357565.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250214T163000 DTEND;TZID=America/New_York:20250214T180000 DTSTAMP:20260418T144836 CREATED:20241005T162711Z LAST-MODIFIED:20250126T185155Z UID:10000386-1739550600-1739556000@thefeministartproject.org SUMMARY:TFAP@CAA 2025 Affiliated Society Session | GODDESS REDUX: FEMINISM AND SPIRITUALITY IN CONTEMPORARY ART DESCRIPTION:TFAP@CAA 2025 Affiliated Society Session\nGoddess Redux: Feminism and Spirituality in Contemporary Art\nChairs\nConnie Tell\, The Feminist Art Project\nKathleen Wentrack\, The City University of New York\, Queensborough CC\nFriday\, February 14\, 2025\, 4:30-6:00pm\nRegent\, 2nd floor\n*CAA Conference Registration Required*\n \nCollege Art Association 113th Annual Conference | New York City\, February 12–15\, 2025 \nIn a 1988 lecture\, Mary Beth Edelson stated\, “Goddess was always a metaphor for me for radical change and change of consciousness and for challenging the daily experience of what is thought of as acceptable social codes while opening other realms of experience.” Edelson was indicative of 1960s and 1970s feminist artists who looked to ancient matriarchal cultures and goddess imagery as alternative symbols and mythological frameworks to challenge and undermine patriarchal systems of oppression. By the 1980s this work was denounced and labeled essentialist. The aughts began a series of survey exhibitions on feminist art which included a renewed appreciation and deeper analysis of the complexity of this work and exposed these artists to a younger generation who took the concept of the goddess and spirituality in new directions. This is evidenced in several recent exhibitions such as The Female Side of God (Frankfurt\, 2020)\, Feminine Power: The Divine to the Demonic (London\, 2022)\, and The Goddess\, the Deity\, the Cyborg (Cambridge\, 2024). What is striking about this newer work is the breadth of examination of ideas of spirituality in artistic expression that includes a diversity of goddess references\, transcultural goddesses\, figures of power both benevolent and destructive\, gender fluid deities\, and transformational rituals of pleasure and healing. This panel will investigate new manifestations of goddesses and spirituality in contemporary art with a special consideration given to strategies that subvert constructs of power. \nPanelists:\n“Roots of Resistance: The Woman-Tree\, Political Artivism\, and Feminist Spirituality in Ibero-American Art”\nDiana Angoso De Guzmán\, Universidad Complutense de Madrid\nThis study explores the resurgence of the Woman-Tree archetype in contemporary Ibero-American art through the lens of ecofeminism\, tracing its evolution from ancient symbols to modern artistic expressions. E.O. James identifies the Tree of Life as an embodiment of the Great Goddess\, symbolizing fertility\, regeneration\, and the feminine principle across various religious traditions. This archetype reappears in the work of Ibero-American artists such as Fina Miralles\, Ana Mendieta\, Cecilia Vicuña\, and more recently\, Lucía Loren.\nFocusing on performances from the 1970s\, Miralles’s “Dona Arbre\,” Mendieta’s “Tree of Life\,” and Vicuña’s works\, which integrate indigenous knowledge and ecological wisdom\, illustrate how these artists use the Woman-Tree theme to challenge patriarchal structures and advocate for ecological and feminist ideals. Vicuña’s art\, deeply informed by indigenous cosmologies\, addresses themes of nature and spiritual interconnectedness\, reinforcing the archetype’s role in contemporary feminist and environmental discourse. Their works are contextualized within the political landscapes of Franco’s Spain and Pinochet’s Chile.\nAdditionally\, the research highlights the growing body of Spanish-language ecofeminist scholarship\, featuring contributions from Alicia Puleo\, Angélica Velasco Sesma\, and Marisol de la Cadena. Their work advocates for a more nuanced understanding of ecofeminism in the Global South\, offering perspectives beyond those prevalent in Anglo-American contexts. This study aims to provide a comprehensive and inclusive view of how feminist spirituality and goddess imagery are reinterpreted in contemporary art. \n“Gaia’s Return: Earth-Goddesses in Contemporary Indigenous Eco-Activism”\nJordan Troeller\, Leuphana University Lüneburg\nThis paper considers the invocation of the Earth-Goddess Gaia in recent artworks addressing indigenous appeals to ecological justice. The most ancient of Goddess figures\, Gaia has taken multiple guises in contemporary art\, from the costumes of rainforest animals worn by anti-Bolsonaro protesters in Rivane Neuenschwander and Mariana Lacerda’s Eu sou uma arara [I am a Macaw] (2022) to the alliance between land rights and gender in the figure of Lakota activist Tokato Iron Eyes\, who features in Andrea Bowers’s video installation My Name Means Future (2020) addressing indigenous resistance to the Dakota Access Pipeline. In such works\, figures of the Earth Goddess are marshalled as part of a highly politicized appeal that yokes futurity and ancient wisdom—as spelled out in one of the protest banners created by Neuenschwander and Lacerda which reads “The Future is Ancestral.” I examine the horizon of meaning invoked by Gaia in such interventions by tracing a feminist reception of the figure Gaia\, which emerged in the 1980s\, but which has been marginalized in mainstream feminist movements. Particularly appealing for climate activists today\, I propose\, is how the Gaia figure supersedes the anthropomorphic in her multiple alliances with animal and plant life (Buffy Johnson’s Lady of the Beasts: The Goddess and Her Sacred Animals\, published in 1988\, is here emblematic). In doing so\, such a hybrid figure allows for emergent cosmologies that combine both secular critique and ancient knowledge with the potential to dismantle capitalist and patriarchal exploitation. \n“Contemporary Goddesses in Irish art: the work of Jesse Jones and Breda Lynch”\nFionna Barber\, Manchester Metropolitan University\nThis paper looks at the work of two artists\, Jesse Jones and Breda Lynch\, that in very different ways evidences the significance of Goddess-related themes and imagery in contemporary Irish feminist practice. Goddesses have survived in Irish culture through their incorporation into Christianity as saints\, and a continued recognition of the locations associated with earlier female deities such as holy wells. Drawing on 1980s precedents of the use of Goddess imagery as an imaginative feminist resistance to political crisis (unlike elsewhere)\, Jones’ multimedia installation Mirror Martyr Mirror Moon (Ikon Gallery Birmingham 2024) invokes both the triple Goddess and water rituals in an engagement with feminist art history. This work’s encounter with Artemisia Gentileschi’s Self Portrait as St. Catherine of Alexandria (c.1615-1617) powerfully undoes the silencing of women through the institutional power of church and state. Similar to Jones\, Lynch’s recent work is also contextualised within the political struggles around female embodiment culminating in the repeal of the Eighth Amendment outlawing abortion in 2018. Yet the difference in their practice also works against reductive readings of Goddess imagery. In Lynch’s archival work goddess figures (eg Goat Woman 2016) interweave with other invocations of the pagan frequently as indicative of a queer eroticism. Her playful appropriation of ephemeral sources also distances the production of lesbian identities from the archetypal womyn-centred imagery in the remaking of fluid bodies and desires in a significantly changed Ireland and beyond. \n“African Matrilineal Models of Empowerment in the Art of Tabita Rezaire and Josèfa Ntjam”\nMonique Kerman\, Western Washington University\nFrench artists Tabita Rezaire and Josèfa Ntjam create futuristic visions from ancient African history and mythology\, drawing upon African matrilineal ontologies to resist patriarchal paradigms. Combining these with cutting-edge science and technology\, their works challenge male supremacist ideology both culturally and biologically. Rezaire was born in 1989 to a French-Guianese father and Danish mother. Working in digital media online as well as in installation\, her early works expressed rage and suffering due to colonial trauma and patriarchy. Eventually\, she began envisioning herself as a spiritual healer\, addressing the harms of colonialism\, racism\, and sexism within both body and spirit through her artistic practice. She takes inspiration from African matrilineal beliefs as well as gynecological metaphors of the womb and pregnancy. Ntjam was born in Metz in 1992 to a French-German mother and Cameroonian father. Created from found imagery combined with sound and storytelling\, Ntjam’s works debunk European narratives of race and history using ancient African cultural models and her own family archives as well as science fiction. Her creative strategies range from the reclamation of figures like Nefertiti or Mami Wata to the introduction of the avatar “Persona\,” who endeavors to reclaim her lost African origins by searching for them in cyberspace. Both Rezaire and Ntjam visually plumb ocean depths for the primordial source of life\, literally conceptualizing its divine power as “gender-fluid\,” in opposition to toxic masculinity. They honor the potentiality of such power to restore our relationship with the natural world\, facing climate crisis and ongoing environmental degradation. URL:https://thefeministartproject.org/event/tfapcaa-2025-affiliated-society-session-goddess-redux-feminism-and-spirituality-in-contemporary-art/ LOCATION:Hilton Midtown\, NYC\, 1335 6th Avenue\, New York\, NY\, 10019\, United States CATEGORIES:Panel Discussion ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/10/CAA-113-logo-e1729340357565.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250214T130000 DTEND;TZID=America/New_York:20250214T140000 DTSTAMP:20260418T144836 CREATED:20241221T194355Z LAST-MODIFIED:20241221T200015Z UID:10000405-1739538000-1739541600@thefeministartproject.org SUMMARY:TFAP@CAA 2025 | SOCIAL MIXER DESCRIPTION:TFAP@CAA 2025 Social Mixer\nFriday\, February 14\, 2025\n1:00pm – 2:00pm\nHilton Midtown\, NYC (in-person)\n2nd Floor\, Morgan Suite\n*CAA Conference Registration Required*\n \nCollege Art Association 113th Annual Conference | New York City\, February 12–15\, 2025 \nJoin the WCA TFAP caucus during our Affiliated Society business meeting slot for a social mixer. Connect with friends and colleagues\, meet new people\, and learn about TFAP! URL:https://thefeministartproject.org/event/tfapcaa-2025-social-mixer/ LOCATION:Hilton Midtown\, NYC\, 1335 6th Avenue\, New York\, NY\, 10019\, United States CATEGORIES:Meeting ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/10/CAA-113-logo-e1729340357565.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250206T200000 DTEND;TZID=America/New_York:20250223T205500 DTSTAMP:20260418T144836 CREATED:20250116T211816Z LAST-MODIFIED:20250117T190434Z UID:10000789-1738872000-1740344100@thefeministartproject.org SUMMARY:No Reservation DESCRIPTION:TFAP NYC invites you to No Reservation. \nNO RESERVATION covers the journey of diverse global goddesses – African\, Asian\, Indigenous\, and Middle Eastern – who crash a dinner party in celebration of false gods of present-day power and persuasion.\nThese goddesses have been underground for centuries but now rise up\, sensing the urgency of their presence ‘at the table.’ This multidisciplinary performance piece was co-created with diverse women artists and moves forward from second wave feminist artists who took on the patriarchy through works like The Dinner Party\, by Judy Chicago\, Some Living American Women Artists/Last Supper by Mary Beth Edelson and the dinner scene in Top Girls by Caryl Churchill. \nWill you join us at the table?\nFEBRUARY 6 – 23\, 2025\nRunning Time: 55 minutes\nThursdays to Saturdays: Starts at 8:00pm\nSundays: Starts at 4:00pm \nLA MAMA: DOWNSTAIRS THEATER\n66 EAST 4TH STREET\, BASEMENT LEVEL\, New York\, NY 10003 \nTickets:\nAdults: $30\nStudents/Seniors: $25\nFirst 10 tickets are $10 (limit 2 per person)\nTicket prices are inclusive of all fees. URL:https://thefeministartproject.org/event/no-reservation/ LOCATION:LA MAMA\, 66 East 4th Street\, New York\, NY\, 10003\, United States CATEGORIES:Performance ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/01/No-Reservation.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250123T180000 DTEND;TZID=America/New_York:20250307T170000 DTSTAMP:20260418T144836 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:20260418T144836 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:20260418T144836 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/New_York:20241121T080000 DTEND;TZID=America/New_York:20241230T170000 DTSTAMP:20260418T144836 CREATED:20241122T143851Z LAST-MODIFIED:20241122T152414Z UID:10000402-1732176000-1735578000@thefeministartproject.org SUMMARY:2024 Anonymous Was A Woman Awards DESCRIPTION:Anonymous Was A Woman is an unrestricted grant that enables women artists\, over 40 years of age and at a significant juncture in their lives or careers\, to continue to grow and pursue their work. The Award is given in recognition of an artist’s accomplishments\, artistic growth\, originality and potential.  It is not need-based. The Award is by nomination only. \nThe name of the grant program\, Anonymous Was A Woman\, refers to a line in Virginia Woolf’s A Room of One’s Own. As the name implies\, nominators and those associated with the program are unnamed. The award was begun in 1996 in response to the decision of the National Endowment of the Arts to cease support of individual artists. \nEach year\, an outstanding group of distinguished women – art historians\, curators\, writers and previous winners from across the country – serve as nominators.  To date\, over 600 have participated. \nFor the first time\, awardees will receive $50\,000.  Two of the 2024 awards were made possible by Fotene Demoulas\, a Boston-based philanthropist who is a collector and patron of women artists\, and who values AWAW’s work. Another anonymous donor also contributed funds toward an additional award. \n2024 Recipients: \nErica Baum (b. 1961\, New York\, NY) is well known for her varied photographic series capturing text and image in found printed material\, from paperback books to library indexes and sewing patterns and magazines. She received her MFA from Yale University School of Art in 1994 and her BA in Anthropology from Barnard in 1984. Her work is held in numerous collections including the Whitney Museum of American Art\, New York; Solomon R. Guggenheim Museum\, New York; The Metropolitan Museum of Art\, New York; The Museum of Modern Art\, New York\, SFMoMA\, San Francisco\, National Museum of Women in the Arts\, CNAP Centre National des Arts Plastiques\, Paris\, frac-île-de france\, Paris and MAMCO\, Geneva among others. In addition\, she received a 2008 NYFA fellowship in Photography. She lives and works in New York. \n\n\nMary Enoch Elizabeth Baxter (b. 1981) is an award-winning multidisciplinary artist\, writer\, pedagogue\, and cultural worker based in Philadelphia\, PA. As a visionary thought leader creating socially conscious music\, film\, performance and visual art\, her practice embodies resilience\, care\, and community-centeredness while working at the intersections of reproductive justice\, black feminist thought and transformative change. She is an inaugural 2017 Right of Return fellow\, 2018 and 2019 Mural Arts Philadelphia Reimagining Reentry fellow\, 2019 Leeway Foundation Transformation fellow\, 2021 Ed Trust Justice fellow\, 2021 Frieze Impact Prize award winner\, 2022 S.O.U.R.C.E Studio Corrina Mehiel Fellow\, 2022 Art 4 Justice grantee partner\, 2022 Pratt Forward fellow\, 2022 Artist2Artist Art Matters Foundation grantee and grantor\, and 2023 Soros Justice fellow. Her work has been exhibited both nationally and internationally at venues including MoMA PS1\, the African American Museum of Philadelphia\, Frieze LA\, Eastern State Penitentiary\, Martos Gallery\, the National Underground Railroad Freedom Center\, Brown University\, the Schomburg\, Yale Art Gallery\, the National Museum of World Cultures Leiden\, Two Rivers Gallery\, and the Brooklyn Museum\, where she had a solo exhibition in 2023. \n\n\n\nMary Lee Bendolph (b. 1935\, Boykin\, AL) is an American contemporary artist renowned for her quilts\, which marry her creative flair for improvisation with traditional quilting techniques. One of the best-known and most revered Gee’s Bend quiltmakers\, Bendolph transforms worn and discarded clothing into highly refined geometric abstractions inspired by her personal experiences and the world around her. Highlights of her artistic career include having her 1998 Housetop variation quilt featured on a U.S. postage stamp as part of the American Treasures series in 2006 and\, in 2015\, receiving a National Heritage Fellowship from the National Endowment for the Arts\, the highest honor for folk and traditional arts in the U.S. Bendolph’s work is held in the permanent collections of numerous art museums\, including the National Gallery of Art (Washington\, D.C.)\, Tate Modern (London\, UK)\, and the Philadelphia Museum of Art (Philadelphia\, PA). \nNatalie Bookchin\, (b. 1962\, New York\, NY) is an interdisciplinary artist widely recognized for her innovative media artworks. Over the last four decades\, her practice has encompassed photography\, video\, sound\, CD-ROMs\, installation\, film\, performance\, net art\, computer games\, embroidery\, drawing\, hacktivist interventions\, site-specific projects\, creative writing and more. Bookchin’s artwork has been exhibited and screened widely including at MoMA\, LACMA\, PS1\, Mass MOCA\, the Tate\, the Pompidou Centre\, MOCA LA\, the Whitney Museum\, the ICP Museum\, the Kitchen\, and La Virreina Center for the Image\, Barcelona. She has received awards and fellowships from California Arts Council\, the Guggenheim\, the Center for Cultural Innovation\, the Durfee Foundation\, the Rockefeller Foundation\, California Community Foundation\, the Jerome Foundation\, the Daniel Langlois Foundation\, a COLA Artist Fellowship the MacArthur Foundation\, a NYSCA Individual Artist Fellowship\, a NYSCA/MAAF award\, a Bellagio Arts Fellowship\, Yaddo\, and McDowell Foundation\, among others. Her artwork has been commissioned by the Tate\, Creative Time\, LACMA\, and the Walker Art Center among others.  Bookchin received her BA at SUNY Purchase\, her MFA at the School of the Art institute of Chicago and attended the Whitney Independent Study Program. She is a professor at Mason Gross School of the Arts\, Rutgers University\, and lives in Brooklyn. \nRashida Bumbray (b. 1978) Rashida Bumbray is a curator and choreographer. Her work in performance and video draws from Black vernacular and folk forms\, including ring shouts\, work songs\, hoofing\, and the blues—accessed through research\, a lineage of Black women dancers\, teachers\, and ethnographers\, and the architectures of improvisation\, surrender\, and possession. In pursuit of functional responses to displacement\, erasure\, and social forgetting\, Bumbray creates intimate performances and restagings of sacred and secular underground rituals in the interest of transformation and liberation. She  regularly collaborates with other artists\, performers\, and musicians\, bringing forward personal and collective embodied archives and exploring the spaces between levity and groundedness. Bumbray is a United States Artist Fellow (2019) and was an Inaugural Civic Practice Artist-in-Residence at the Metropolitan Museum of Art (2017-2021). She recently received a Ruby’s Artist Grant and a Tate Infinities Commission R&D Awards. Her film “How High the Moon” is featured in Flight Into Egypt! at the Metropolitan Museum of Art\, and her new performance work\, “Way Down\,” opened the exhibition’s Performance Pyramid series. Her works have been presented by the Metropolitan Museum of Art\, Black Star Film Festival\, Project Row Houses\, Dancing While Black\, SummerStage\, The Park Avenue Armory\, Dia: Chelsea (with Leslie Hewitt)\, Tate Exchange (with Simone Leigh)\, The New Museum (with Simone Leigh)\, Whitney Museum of American Art (with Jason Moran & Alicia Hall Moran)\, and The 2015 Venice Biennale: All The World’s Futures (with Jason Moran & Alicia Hall Moran). Bumbray was nominated for the prestigious Bessie Award for “Outstanding Emerging Choreographer” (2014). Her performance RUN MARY RUN in collaboration with Jason Moran and Dance Diaspora Collective was named among “Best Concerts of 2012\,” by the New York Times’ Ben Ratliff. \nMary Ellen Carroll (b. 1961 Danville\, IL) is a conceptual artist who occupies the disciplines of architecture\, art\, public policy\, film/media\, and technology and notably in the ongoing durational works — the opus prototype 180\, PUBLIC UTILITY 2.0\, and indestructible language on climate and migration. Carroll / MEC\, studios’ experimentation and oeuvre spans over four decades in a range of media that transcend genres and is dedicated to a social/political critique that explores the interactions of subjectivity\, language\, and power/knowledge. A recipient of numerous awards and honors including the Guggenheim Foundation\, Pollock-Krasner Foundation\, American Academy in Berlin\, Rockefeller Foundation\, and Graham Foundation\, and in 2022 a Prix de Rome Fellow among others. Teaching\, lecturing and public presentations on the built environment\, art\, and public policy are an important part of Carroll’s work. She has lectured or taught at institutions including the Dia Art Foundation\, Columbia University\, American Academy in Berlin\, Rice University\, and Yale University\, among others. Carroll’s work is in numerous public and private collections in the US and abroad. A major museum survey of her work curated by Rebecca Matalon for the Contemporary Arts Museum Houston will open in October 2025. \nRobin Hill (b. 1955\, Houston\, TX) is an interdisciplinary artist whose work explores the intersections of sculpture\, drawing\, and photography\, employing a vast array of materials including tumbleweeds\, dryer lint\, industrial washtubs\, mica washers\, linen fire hose\, forest-fire charred wood\, sunflowers\, hand-made needlework\, sheep wool\, beach detritus\, sun-worn pool flags\, tree trunks felled by atmospheric rivers\, bird nests\, and oak galls. Her work strives to transform seemingly inconsequential matter into meaningful statements about matter itself\, to give shape to nuance and to relocate familiar things in an unfamiliar order.  While not overtly political\, her attention to the emergent behaviors and materiality of the human and the non-human world attests to a form of eco-feminism\, where her actions through/upon/with matter seek to serve as provocations for others to consider the role that wonder and attention play in repair and restoration\, of the self\, of the community\, of the planet. Her work has been exhibited widely\, nationally and internationally. Hill is the recipient of two Pollock-Krasner Foundation Awards\, two New York Foundation for the Arts Fellowships in Sculpture\, and a National Endowment for the Arts Sculpture Fellowship. Hill received her BFA from the Kansas City Art Institute. Her work is in the permanent collections of the Fine Arts Collection of the Jan Shrem and Maria Manetti Shrem Museum\, the UCLA Hammer Museum\, the Fogg Art Museum\, the Kramlich Collection\, the Crocker Museum\, the Achenbach Collection-Fine Art Museums of San Francisco\, and the Yale University Art Gallery among others. She is on the faculty of the Maria Manetti Shrem Art Studio Program in the Department of Art and Art History at the University of California-Davis and divides her time between California’s Sacramento Valley\, New York\, and Cape Breton Island\, Nova Scotia. \nJoyce Kozloff (b. 1942\, Somerville\, NJ) has been an activist in the feminist art movement since 1970\, when she was a pioneer of the Pattern and Decoration movement and a founding member of the feminist collective Heresies. After a sustained commitment to public art throughout the 1980s and 1990s\, completing 15 projects\, she returned to a studio practice that encompasses painting\, sculpture\, installations\, printmaking\, collage\, and photography. In recent years\, she executed two new public works in glass mosaic and ceramic tile: “Parkside Portals\,” at the 86th Street and Central Park West subway station in New York\, 2018 for the MTA Art and Design Program and ”Memory and Time” for the new federal courthouse in Greenville\, South Caroline\, through the GSA’s Art in Architecture program\, 2021. Kozloff’s work is included in numerous public collections such as the Brooklyn Museum of Art\, NY; Los Angeles County Museum of Art\, CA; Metropolitan Museum of Art\, NY; Museum of Modern Art\, NY; National Gallery of Art\, Washington\, D.C.; and Whitney Museum of American Art\, NY. She has received numerous awards\, including a Rockefeller Bellagio grant\, 1992; Rome Prize\, American Academy\, 1999; Guggenheim Foundation grant\, 2004 and an honorary doctorate from Carnegie Mellon University\, her alma mater\, 2015. She has been represented by the DC Moore Gallery in New York for 30 years. \nJen Liu (b. 1976\, Smithtown\, NY) is a New York-based visual artist working in video\, painting\, performance\, and sculpture\, on diasporic Asian identities\, postcolonial economies\, techno-/bio-politics\, and the re-motivating of archival artifacts. In her most recent work\, she’s used genetic engineering and dark encryption to reframe firsthand accounts of electronics workers\, and created semi-speculative scripts combining corporate brochures and industrial manuals with firsthand accounts of industrial workers and labor activists in Asia.  Liu is a recipient of the Hewlett 50 Arts Commission\, Creative Capital Grant\, LACMA Art + Technology Lab\, Guggenheim Fellowship in Film/Video\, and the Cornell Tech \Art Award\, among others. She has presented work at MoMA\, The Whitney Museum\, The New Museum\, Sculpture Center\, Kunsthaus Zurich\, Kunsthalle Wien\, MUSAC Leon\, KW Berlin\, multiple Berlinale exhibitions at AdK\, Royal Academy and ICA in London\, and was included in the 2015 Shanghai Biennial\, 2019 Singapore Biennial\, 2023 Future of Today Biennial (Beijing)\, and the 2023 Taipei Biennial. She has also received multiple grants and residencies\, including Akademie Schloss Solitude\, Stuttgart; Para Site\, Hong Kong; Pioneer Works and LMCC in New York; and de ateliers\, Amsterdam\, NL. \nGladys Nilsson (b. 1940\, Chicago) studied painting at the School of the Art Institute of Chicago. She first came to prominence in 1966\, when she joined five other recent Art Institute graduates (Jim Falconer\, Art Green\, Jim Nutt\, Suellen Rocca\, and Karl Wirsum) for the first of a series of group exhibitions called the Hairy Who. In 1973\, she became one of the first women to have a solo-exhibition at the Whitney Museum of American Art. Nilsson is known for her densely layered and meticulously constructed watercolors and collages. Like many of the Hairy Who artists\, Nilsson employed a type of horror vacui; many of her works feel filled to the brim with winding\, playful imagery. Her work\, centered on the figure\, often focuses on aspects of human sexuality and its inherent contradictions. Since 1966\, Nilsson’s work has been the subject of over 50 solo exhibitions\, and is featured in the collections of major museums\, including: the Art Institute of Chicago; the Los Angeles County Museum of Art; the Museum of Modern Art; the Philadelphia Museum of Art; the S \nLiz Phillips (b. 1951\, Jersey City\, NJ) is one of the pioneers of sound art and interactive installation. She first exhibited her interactive sound sculptures using radio frequency capacitance fields in 1969 at Bennington College. In 1970\, at the age of nineteen\, Phillips presented her Electronic Banquet at the Eighth Annual Avant Garde Festival of New York. These dinners traveled to many venues\,including the Kitchen (1971\, 1981\, 1999)\, and are still considered a part of her practice. In the 1980s Phillips began developing a series of site-specific wind pieces for the Bronx Frontier Development Corporation and Creative Time(1981)\, The Walker Art Center (1984) the Whitney Biennial (1985) . In 1974 at ArtPark she did her first field recording installation at the Niagara Gorge\, many water-based installations followed including\, “Fluid Sound” Kala Art Institute 1988\, “Mersonic Illuminations” Ars Electronica (1991)\, The World Financial Center (1992)\, Echo Evolution “Wave Crossings\,” Harvestworks on Governors Island\, (2017\, a collaboration with Annea Lockwood \,“The River Feeds Back” (2022) in Philadelphia and “Dyning in the Dovecote” at Caramoor (2022–present). In 1986 she began a series of dry rock gardens with an installation for Capps Street Project and the Whitney Museum\, “Graphite Ground” with natural copper conductors. Phillip’s most recent garden installation was a collaboration with her daughter\, the painter Heidi Howard\, for the Queens Museum (2018–2020). \nLiliana Porter (born 1941\, Buenos Aires\, Argentina) is an artist whose work includes printmaking\, painting\, photography\, video\, installations\, and theater. She has lived and worked in New York since 1964. Porter was awarded the Guggenheim Fellowship in 1980\, the Tomas Francisco Prieto Award from the Real Casa de la Moneda in Madrid in 2023\, and Premio Universitario de Cultura “400  Años” from the  Universidad Nacional de Cordoba\, Argentina\, 2016. Among other collections her work is included in Dia Foundation\, New York; Bibliothèque Nationale\, Paris\, France ; British Museum and Tate Modern in London\, England; Guggenheim Museum\, Metropolitan Museum\, Whitney Museum and The Museum of Modern Art in New York\, USA; Museo Tamayo in México City; Museo de Bellas Artes\, Museo de Arte Latinoamericano (MALBA); Museo de Arte Moderno and Museo del Grabado in Buenos Aires\, Argentina  and Museo Nacional Centro de Arte Reina Sofía in  Madrid\, Spain.Image: ALL THAT JAZZ (KNIFE EDGE/PLACES)\, 2023. Gallon glass jars\, distilled water\, imitation calfskin\, thread\, birch plywood\, Wet and Wild Blush (BED OF ROSES) 36”X 108” X 24” \nShirley Tse (b. 1968\, Hong Kong) lives and works in California. She has created sculptural interventions that interrogate notions of place\, politics\, and ecology. Her work has been exhibited widely in the United States and internationally. At the 58th Venice Biennale\, Tse was the first female artist to represent Hong Kong in a solo exhibition. Her works are in the permanent collections of M+\, Hong Kong\, Hong Kong Heritage Museum\, New Museum\, New York\, Vancouver Art Gallery\, Rhode Island School of Design Museum. She has been the recipient of numerous awards including the John Simon Guggenheim Memorial Foundation Fellowship (2009)\, City of Los Angeles Individual Artists Fellowship (2009)\, California Community Foundation Fellowship for Visual Artists Mid- Career Award (2012)\, International Sculpture Center Outstanding Educator Award (2023). Tse received her B. A. from Chinese University of Hong Kong and her M.F.A. from ArtCenter College of Design\, Pasadena. \nTakako Yamaguchi (b. 1952\, Okayama\, Japan) is a long-time resident of Los Angeles who was born and raised in Japan. She is known for her paintings that combine abstraction\, representation and decoration\, drawing on tropes of both Asian painting and Western modernism. She was featured in the 2024 Whitney Biennial\, and solo exhibitions of her work have been held in Japan\, Berlin\, and Mexico City. She is a recipient of artist grants including the Foundation for Contemporary Arts Grant to Artists (2024)\, Tree of Life Individual Artist Grant (2018)\, California Community Foundation / Getty Fellowship Grant (2008)\, Gottlieb Foundation Grant (2006) and a City of Los Angeles Individual Artist Fellowship (2004). Her work is in the collections of Musee d’art Moderne\, Paris; Hammer Museum\, Los Angeles; Nevada Museum\, Reno; Nora Eccles Harrison Museum\, Logan\, Utah and The Buck Collection of the University of California\, Irvine. Yamaguchi received her BA from Bates College\, Lewiston\, Maine and her MFA from the University of California\, Santa Barbara. \nConstantina Zavitsanos (b. 1977\, Reading\, PA) works in sculpture\, performance\, text\, and sound and deals in debt\, dependency\, and other shared resources. They use the material processes and concepts of superposition\, interference\, occlusion\, and transduction to blur sensing and feeling\, knowing and seeing\, contiguous and noncontiguous touch. They have exhibited at New Museum\, Brooklyn Museum\, Whitney Museum of American Art\, The Kitchen\, Artists Space\, Participant Inc.\, and Performance Space New York\, and at Arika UK\, Glasgow; If I Can’t Dance\, Amsterdam; and Galerie Max Mayer\, Düsseldorf. With Park McArthur\, they wrote “Other Forms of Conviviality” in the journal\, Women & Performance\, (Routledge\, 2013) and “The Guild of the Brave Poor Things” in Trap Door: Trans Cultural Production and the Politics of Visibility (MIT Press\, 2017). They co-organize the cross-disability arts events I Wanna Be With You Everywhere\, and have received a Roy Lichtenstein Award in Visual Arts from the Foundation for Contemporary Arts and a Keith Haring Fellowship in Art and Activism from the Center for Curatorial Studies at Bard College. Zavitsanos lives and works in New York. URL:https://thefeministartproject.org/event/2024-anonymous-was-a-woman-awards/ CATEGORIES:Award ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2024/11/2024-AWAW-e1732289041695.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241119T080000 DTEND;TZID=America/New_York:20241215T170000 DTSTAMP:20260418T144836 CREATED:20241122T145244Z LAST-MODIFIED:20241122T145244Z UID:10000403-1732003200-1734282000@thefeministartproject.org SUMMARY:Rejoinder Open Call DESCRIPTION:Rejoinder Open Call: Issue 10\nDEADLINE: December 15\, 2024\n \nDissenting Feminisms \n\nFrom campaigns against disenfranchisement to protests against sexual and gender-based violence\, feminism has historically combined dissent—against exclusion\, subordination\, and prevailing power structures—with a focus on the imperative for social and political transformation. This issue of Rejoinder explores the history of feminist dissent and how it has shifted through the decades\, both for activists and academics. In addition to a historical focus\, we seek to address contemporary manifestations of dissent within feminism\, exploring who successfully forges narratives that challenge feminism’s dominant iteration(s)—and what accounts for their success. We ask whose feminist voices are excluded from\, or marginalized in\, prevailing feminist discourse and consider what this implies about feminism’s future. \n\nWe encourage contributions that explore feminism(s) from a wide range of positionalities\, contexts\, and geographical regions. Submissions may include essays\, commentary\, criticism\, fiction\, poetry\, and artwork. We particularly welcome contributions at the intersection of scholarship and activism. For details on manuscript preparation\, please see our website at https://irw.rutgers.edu/about-rejoinder. Rejoinder is published by the Institute for Research on Women at Rutgers University in partnership with The Feminist Art Project. Please send completed written work (2\,000-2\,500 words max — MS Word)\, jpegs of artwork\, and short bios to  irw@sas.rutgers.edu with “Rejoinder Submission” in the subject line by December 15\, 2024. URL:https://thefeministartproject.org/event/rejoinder-open-call/ ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2024/11/Rejoinder-2024-Open-call-image.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Los_Angeles:20241109T170000 DTEND;TZID=America/Los_Angeles:20241109T190000 DTSTAMP:20260418T144836 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:20260418T144836 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:20260418T144836 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:20260418T144836 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:20260418T144836 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:20260418T144836 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:20240522T080000 DTEND;TZID=America/New_York:20240731T235900 DTSTAMP:20260418T144836 CREATED:20240523T192455Z LAST-MODIFIED:20240531T164402Z UID:10000381-1716364800-1722470340@thefeministartproject.org SUMMARY:TFAP@CAA 2025 | DOP Call for Proposals DESCRIPTION:TFAP@CAA DAY OF PANELS 2025 | CALL FOR PROPOSALS\nDEADLINE: July 31\, 2024\nSend proposals to: tfap@nationalwca.org \nThe CAA Annual Conference is the largest convening of art historians\, artists\, designers\, curators\, and visual arts professionals. Each year CAA offer sessions submitted by members\, committees\, and affiliated societies that deliver a wide range of program content. The CAA 113th Annual Conference will take place at the New York Hilton Midtown\, New York City\, February 12–15\, 2025.\nSince 2007\, the TFAP@CAA Day of Panels has brought together exceptional groups of artists\, art historians\, curators\, and critics for a free and open to the public symposium during the annual College Art Association (CAA) Conferences. The general public\, emerging and seasoned art professionals gain access to cutting edge work and ideas of artists\, curators\, performers and scholars\, up close and through a feminist lens.\n________________________________ \nThe Feminist Art Project is now accepting proposals for the 2025 Day of Panels in NYC. The Day of Panels will take place on Saturday\, February 15\, 2025 at the Hilton Midtown\, NYC (in-person).\nTOPIC\nSCIENCE AND ART: AN EXPANSIVE FEMINIST VIEW OF THE BODY\, THE MIND\, AND THE PHYSICAL WORLD\nChair: Anonda Bell (Rutgers\, The State University of New Jersey) \nThis Day of Panels is dedicated to feminist artists utilizing science-based art making techniques\, materials\, and concepts\, to explore ideas about humanity. Sci-artists have explored the physical sciences in topics such as health and disease\, motherhood\, robotics\, technology\, and AI\, as well as the social sciences with psychological topics including the women’s temperament\, and hysteria. Sci-artists have examined how humans exist within the greater environment\, exploring eco-art practices\, and imagining the natural world as a site for both resistance and inspiration. Feminist sci-artists have cross-examined stereotypical ideas about gendered sensibilities of care and nurturing\, whether within the family\, cultural and societal realms\, and the exploration of the body as a representation of humanity and identity\, including the dissection of tropes that accompany it. The connection between art and science is not strictly one of art being subjugated as a tool to merely illustrate scientific concepts (didactic representation of data). In this important Day of Panels\, artists will demonstrate how art may be used to visualize the unseen\, wrangle with the philosophy of science\, and how art may be used to explore and communicate transcendent ideas which may defy more conventional forms of articulation. \nThe Feminist Art Project seeks proposals for presentations that investigate these topics. Please include images that may be considered with your paper.\n*Participants should be available to attend the CAA conference in-person NYC in February.* \nPlease submit the following to tfap@nationalwca.org by July 31\, 2024:\n1. A clearly worded abstract no longer than 250 words. Please include your full name\, all contact information (phone\, email\, address\, etc)\, and affiliation. Subject line: “DOP Proposal – ____(last name)\n2. Image examples to accompany your proposal (3-5)\n3. Resume or cv URL:https://thefeministartproject.org/event/tfapcaa-2025-call-for-proposals/ CATEGORIES:Call for Papers/Presentations ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2024/05/TFAP-DOP-CFP-2025-e1716495538821.png END:VEVENT END:VCALENDAR