The Feminist Art Project

Beyond Smiles: Tackling Dental Health Care Access When Facing Intimate Partner Violence (IPV)
2025-03-19 08:30 - 2025-03-30 18:00 (America/New_York) | OCAD U, 100 Mccaul Street, Toronto, ON, M5T 1W1, Canada
We are proud to support the “Beyond Smiles” project and art exhibition.

Eventbrite link: https://www.eventbrite.ca/…/beyond-smiles-tackling…

Art workshop facilitated by Feminist Art Collective residency artist Hemangi Shroff & research exhibition curated by Feminist Art Collective founder Ilene Sova.

Beyond Smiles: Tackling Dental Health Care Access When Facing Intimate Partner Violence (IPV)

This event is all about addressing the challenges of accessing dental health care when dealing with intimate partner violence.
Intimate 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.

Join 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!

The art exhibit is opened from March 19th-March30th 2025 at the OCADU Ada Slaight Gallery.
MCA Gallery Hours:
Monday to Friday: 7:30 AM to 12:00 AM (Card swipe from 8pm to Midnight)
Saturday: 8:30 AM to 6:00 PM
Sunday: 12:00PM to12:00AM (Card swipe from 8pm to Midnight)

CALL AND RESPONSE: "As a woman artist, I..."
2025-03-19 - 2025-05-24 | The Stacy C. Sherwood Center, 3740 Blenheim Blvd, Fairfax, VA, 22030
All women artists are encouraged to answer the question, “As a woman artist, I…”
Responses 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.
This call and response prompt can be found online at:
https://www.debrawrightstudio.com/as-a-woman-artist-i

Divergence of Three: Exhibiting Artists Marcie Gill-Kinast, Kelly Nicola Chiovitti, and Priscilla Roggenkamp
2025-03-14 10:30 - 2025-04-29 18:00 (America/New_York) | Cyrus Custom Framing, 2645 Cleveland Avenue NW, Canton, OH, 44709, United States
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.
Marcie 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.
Kelly 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.
Priscilla 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.
Join us to look closely at this intricate exhibit.
Monday – Friday 10am ish – 6pm
Saturday 11am – 3pm
Closed first Saturday of the month
Closed on Sundays

(UN)censored
2025-03-12 13:00 - 2025-03-22 16:00 (America/New_York) | 630 Flushing Ave, Brooklyn, NY, 630 Flushing Ave., Brooklyn, 11206, United States
ARTISTS FIGHT BACK AFTER CANCELLATION OF ART EXHIBIT AT UN HEADQUARTERS
Community rallies around women’s rights exhibition; now open in Brooklyn as a symbol of resistance
Exhibition title: “(UN)censored”
630 Flushing Ave, Brooklyn, NY
Opening hours – RSVP required: artefleur@gmail.com
March 12, 1-3:30pm
March 13, 1-3:30pm
March 19, 1-4pm
March 20, 1-4pm
March 22, 11am-4pm (before the public reception)
CLOSING RECEPTION: March 22, 4-8pm
New 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.
With 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.
The 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.’
“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.”
“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?”
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The Bigger Picture: Art, Politics, and Free Expression
The 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.
These developments highlight a troubling trend: the narrowing of creative spaces where freedom of speech and artistic expression can thrive.
“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.”
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How You Can Help
Press & Media: Journalists interested in covering this story can contact us for interviews, images, and additional details.
Advocacy & Outreach: If you work with a museum, nonprofit, or advocacy group that supports artistic freedom, we’d love to connect.
For all inquiries, contact:
sawyer@sawyerrose.com | 415-806-2458
More information: artforwomensequity.com

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About the Team
Fleur 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.
Sawyer 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.
Karen 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.

SUNY New Paltz Art Lecture Series - Jaz Graf
2025-02-19 11:00 - 12:00 (America/New_York) | SUNY New Paltz, 1 Hawk Drive - Lecture Center 104, New Paltz, NY, 12561, United States
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.
Wednesday, February 19th, 2025 from 11-12 noon at SUNY NEW PALTZ –
Location – Lecture Center 104 (Wheelchair accessible entrance and parking lot)
Parking info: Visitors can use campus vending machines to purchase a parking permit to park on campus.
*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
Campus map – https://www.newpaltz.edu/map/
About the artist:

Jaz 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.

Her 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.

Website: www.jazgraf.com
Instagram: @jazgraf
Artsy: https://www.artsy.net/artist/jaz-graf

TFAP@CAA 2025 Day of Panels | MAKING TROUBLE: WOMEN, ART & SCIENCE
2025-02-15 09:00 - 16:30 (America/New_York) | Hilton Midtown, NYC, 1335 6th Avenue, New York, NY, 10019, United States
TFAP@CAA Day of Panels 2025
MAKING TROUBLE: WOMEN, ART & SCIENCE
Saturday, February 15, 2025
9:00am – 4:30pm
Hilton Midtown, NYC (in-person)
Concourse G
Chair: Anonda Bell, Rutgers University
Free and open to the public.
College Art Association 113th Annual Conference | New York City, February 12–15, 2025
Art 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).
MAKING TROUBLE: WOMEN, ART & SCIENCE
Schedule
9:00am – 10:30am
Introductions and Keynote
Connie Tell, The Feminist Art Project, Welcome
Anonda Bell, Rutgers University, Science & Art Introduction
Anne Swartz, Savannah College of Art & Design, Unnatural Sciences
Suzanne Anker, School of Visual Arts, KEYNOTE ADDRESS
11:00am – 12:40pm
Panel #1: PEOPLE
Stephanie Dinkins, Stony Brook University
Heather Dewey-Hagborg, Independent Artist
Magdalena Dukiewicz, Independent Artist
1:30pm – 2:30pm
Panel #2: EXPERIENCE
Laura Splan, Independent Artist
Eva Lee, Independent Artist
2:45pm – 3:25pm
Panel #3: PLACE
Michele Oka Doner, Independent Artist
Natalie Waldburger, OCAD University
3:25pm – 4:30pm
CLOSING SPEAKER
Crochet Coral Reef: Crafting Against Patriarchy in Science and Art
Margaret Wertheim, The Institute for Figuring

TFAP@CAA 2025 Affiliated Society Session | GODDESS REDUX: FEMINISM AND SPIRITUALITY IN CONTEMPORARY ART
2025-02-14 16:30 - 18:00 (America/New_York) | Hilton Midtown, NYC, 1335 6th Avenue, New York, NY, 10019, United States
TFAP@CAA 2025 Affiliated Society Session
Goddess Redux: Feminism and Spirituality in Contemporary Art
Chairs
Connie Tell, The Feminist Art Project
Kathleen Wentrack, The City University of New York, Queensborough CC
Friday, February 14, 2025, 4:30-6:00pm
Regent, 2nd floor
*CAA Conference Registration Required*

College Art Association 113th Annual Conference | New York City, February 12–15, 2025
In 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.
Panelists:
“Roots of Resistance: The Woman-Tree, Political Artivism, and Feminist Spirituality in Ibero-American Art”
Diana Angoso De Guzmán, Universidad Complutense de Madrid
This 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.
Focusing 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.
Additionally, 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.
“Gaia’s Return: Earth-Goddesses in Contemporary Indigenous Eco-Activism”
Jordan Troeller, Leuphana University Lüneburg
This 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.
“Contemporary Goddesses in Irish art: the work of Jesse Jones and Breda Lynch”
Fionna Barber, Manchester Metropolitan University
This 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.
“African Matrilineal Models of Empowerment in the Art of Tabita Rezaire and Josèfa Ntjam”
Monique Kerman, Western Washington University
French 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.

TFAP@CAA 2025 | SOCIAL MIXER
2025-02-14 13:00 - 14:00 (America/New_York) | Hilton Midtown, NYC, 1335 6th Avenue, New York, NY, 10019, United States
TFAP@CAA 2025 Social Mixer
Friday, February 14, 2025
1:00pm – 2:00pm
Hilton Midtown, NYC (in-person)
2nd Floor, Morgan Suite
*CAA Conference Registration Required*

College Art Association 113th Annual Conference | New York City, February 12–15, 2025
Join 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!

No Reservation
2025-02-06 20:00 - 2025-02-23 20:55 (America/New_York) | LA MAMA, 66 East 4th Street, New York, NY, 10003, United States
TFAP NYC invites you to No Reservation.
NO 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.
These 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.
Will you join us at the table?
FEBRUARY 6 – 23, 2025
Running Time: 55 minutes
Thursdays to Saturdays: Starts at 8:00pm
Sundays: Starts at 4:00pm
LA MAMA: DOWNSTAIRS THEATER
66 EAST 4TH STREET, BASEMENT LEVEL, New York, NY 10003
Tickets:
Adults: $30
Students/Seniors: $25
First 10 tickets are $10 (limit 2 per person)
Ticket prices are inclusive of all fees.

Tacit Knowledge: Paper as Practice in the Dieu Donné West Bay View Foundation Fellowship Program
2025-01-23 18:00 - 2025-03-07 17:00 (America/New_York) | Elizabeth Foundation for the Arts, EFA Studios - 323 West 39th St., 3rd Floor, New York, NY, 10018, United States
Tacit Knowledge:
Paper as Practice in the Dieu Donné West Bay View Foundation Fellowship Program
January 23 – March 7, 2025
EFA Studios
323 West 39th St., New York, NY, 3rd Floor
Hours: Tue–Fri, 12–5 pm
Anna Hendrick Karpatkin Benjamin
Katharine L. DeLamater
Candy Alexandra González
Jaz Graf
Lauren Krukowski
SR Lejeune
Anela Ming-Yue Oh
Curated by Eliana Blechman
Contemporary 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.
Tacit 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.
For all press inquiries, please contact Emma Hill at ehill@dieudonne.org.
For more info please visit: https://www.studios-efanyc.org/exhibitions

Mitochondrial Ontologies: Deep Time and the Digital at Mónica Reyes Gallery
2024-11-24 18:00 - 2024-11-30 06:00 (America/Vancouver) | Monica Reyes Gallery, 2895 W 33rd Avenue, Vancouver, BC, British Columbia, V6N 2G3, Canada
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.

The 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,

Opening: Sunday, November 24, 6 pm to 8 pm.
Artist Talk: Saturday, November 30,12 pm to 1 pm.
https://www.monicareyesgallery.com/gabriela-aceves.html

Mitochondrial 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.
Mitochondrial 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.
The 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.
Over 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.
The 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.
Mitochondrial 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.

Thanks to the support of the Canada Council for the Arts.
Image: “Gabriela Aceves Sepúlveda, Mitochondrial Ontologies: Deep Time and the Digital. 2024. 15-minute one-channel video with sound. Video Still”

From the summit the clouds
2024-11-22 18:00 - 2025-02-17 20:00 (America/Mexico_City) | Jardín Borda Cultural Center,, Av. Morelos 271, Cuernavaca Centro, Centro, 62000 Cuernavaca, Morelos, Mexico
This is a multisensorial installation by Mexican artist and curator Elizabeth Ross.
The 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.
The 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.

2024 Anonymous Was A Woman Awards
2024-11-21 08:00 - 2024-12-30 17:00 (America/New_York) | OH
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.
The 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.
Each 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.
For 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.
2024 Recipients:
Erica 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.

Mary 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.

Mary 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).
Natalie 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.
Rashida 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.
Mary 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.
Robin 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.
Joyce 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.
Jen 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.
Gladys 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
Liz 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).
Liliana 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”
Shirley 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.
Takako 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.
Constantina 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.

Rejoinder Open Call
2024-11-19 08:00 - 2024-12-15 17:00 (America/New_York) | OH
Rejoinder Open Call: Issue 10
DEADLINE: December 15, 2024

Dissenting Feminisms

From 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.

We 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.

Perfectly Imperfect. International Group Show | Opening Reception
2024-11-09 17:00 - 19:00 (America/Los_Angeles) | imperfecta, 117 6th street, Oregon City, OR, 97045, United States
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.
On 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.
Artists 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.
Participating 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.
Ceramist 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.”
Art 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.”
Multimedia 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.”
In 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.”
The 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.”
The show debuts on November 9 with an Opening Reception from 5 to 7pm and runs through November 31.
About Imperfecta Art & Design Gallery
imperfecta is an art & design gallery focused on elevating the work and voices of women artists and minority creatives.
location: 117 6th street, Oregon City OR 97045 USA
web: http://www.imperfecta.xyz

DOMESTIC. video art exhibition
2024-10-31 18:00 - 2024-12-01 17:00 (America/New_York) | Artep Gallery, Soseaua Sararie nr. 15, IASI, Romania
”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.
This 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)

DIVERSE. Poetics of Nature.
2024-10-17 19:00 - 2025-03-15 17:00 (America/Puerto_Rico) | Universidad Ana G. Méndez – Recinto de Gurabo, 6XRV+Q6H, Rio Grande Road, Juncos, Gurabo 00777, Puerto Rico, Gurabo, Puerto Rico
“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.”
Jeannette Betancourt

Black, Femme, Queer, Here
2024-09-27 08:00 - 2024-11-06 17:00 (America/New_York) | Lexington, KY
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.
Some 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.
This 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.

Llegaremos todas al mar / We will all reach the sea
2024-09-17 12:00 - 2024-10-13 19:00 (America/New_York) | AGUAFUERTE Galería, Guanajuato 118, Roma Nte., Cuauhtémoc, 06700 Ciudad de México, CDMX, Mexico, Mexico City, Mexico
Paintings by Pamela Zubillaga

Pamela 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.

From September 17th to October 13th

venue and organizer: AGUAFUERTE Galería
México City

aguafuertegaleria.com

Por favor, considérame un sueño / Please, consider me a dream
2024-08-15 10:00 - 2024-10-15 18:00 (America/New_York) | Jardín Borda Cultural Center,, Av. Morelos 271, Cuernavaca Centro, Centro, 62000 Cuernavaca, Morelos, Mexico
Por favor, considérame un sueño / Please, consider me a dream, a painting exhibition by Mexican artist Itziar Giner.

This 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.

Organizer: Centro Cultural Jardín Borda Cuernavaca, Morelos, México.

https://www.facebook.com/CentroCulturalJardinBorda

TFAP@CAA 2025 | DOP Call for Proposals
2024-05-22 08:00 - 2024-07-31 23:59 (America/New_York) | OH
TFAP@CAA DAY OF PANELS 2025 | CALL FOR PROPOSALS
DEADLINE: July 31, 2024
Send proposals to: tfap@nationalwca.org
The 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.
Since 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.
________________________________
The 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).
TOPIC
SCIENCE AND ART: AN EXPANSIVE FEMINIST VIEW OF THE BODY, THE MIND, AND THE PHYSICAL WORLD
Chair: Anonda Bell (Rutgers, The State University of New Jersey)
This 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.
The Feminist Art Project seeks proposals for presentations that investigate these topics. Please include images that may be considered with your paper.
*Participants should be available to attend the CAA conference in-person NYC in February.*
Please submit the following to tfap@nationalwca.org by July 31, 2024:
1. 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)
2. Image examples to accompany your proposal (3-5)
3. Resume or cv

Rejoinder Issue 9: The Archival is Political
2024-05-08 09:00 - 2024-12-08 17:00 (America/New_York) | Online
The theme of Rejoinder Issue 9 is “The Archival is Political.” Guest edited by Alexandra Southgate (Temple). Contributors include: Joshua G. Adair, Christoffer Koch Andersen, Victoria Bailey, Linda Bond, Vero Carchedi, Farrah Cato, Kim Hoeckele, Georgia-Taygeti Katakou, Apala Kundu, Christina Maraboutaki, Janée Moses, Christine Stoddard, Lisa Lampert-Weissig, and Cinnamon Williams. Rejoinder is an online journal featuring work at the intersection of scholarship and activism that reflects feminist/queer and social justice perspectives. Rejoinder is currently published once a year, each spring. Rejoinder is a publication of the Institute for Research on Women (IRW) at Rutgers University in partnership with The Feminist Art Project.

CONNECT
2024-04-20 10:00 - 2024-05-12 21:00 (America/New_York) | Studio 180 Theatre, 19 Madison Ave, Third Floor, Toronto, ON, Canada
Initially inspired by the online connections formed during the pandemic lockdown, Stephanie Camille’s art delves into the intersections of digital and physical existence. Rooted in the introspections from her journal during the initial lonely months, she explores those realities through metaphorical ‘windows’ using recognizable digital interfaces. Blending traditional mediums like oil and gouache, Connect is a journey of self-discovery, unraveling the complexities of isolation, loneliness, and routine. On one end, screens trap us, but on the other end, we can fall in love with our only connection to the people we yearn to be physically near.
Presented by Studio 180 Theatre and the Feminist Art Collective. Stephanie Camille is an artist currently residing in the GTA and is currently finishing up her MFA at OCAD University. Oil paint, being Stephanie’s preferred medium, has a ‘timeless,’ adaptable-yet-ridged, and romantic quality that Stephanie loves juxtaposing with her modern, vibrant aesthetic. She has previously experimented with digital collage and interventions during the pandemic when everything was online-focused. Inspired by bright, saturated colours, Stephanie paints technicolour portraits that connect to her current topic of focus for her thesis: hyperfemininity and girly-girl aesthetics. Learn more about Stephanie’s work here.
Presented in conjunction the Canadian Premiere of FOUR MINUTES TWELVE SECONDS by James Fritz and directed by Mark McGrinder.

Fuego: Women set their world on fire
2024-04-05 16:00 - 18:30 (America/New_York) | mosaicARTs Gallery, 2931-B Eskridge Road, Fairfax, VA, 22031, United States
On view 4/1/24 – 5/5/24 with opening reception and artist talks Friday, April 5, 2024 from 4:00 p.m. to 6:30 p.m.
mosaicARTs and Debra Wright Studio have joined forces to commemorate the feminist art movement. These women artists ignited a spark that inspired them to create, build, and establish a supportive art community for others. The collaboration aims to acknowledge the significant contributions of female artists while promoting gender equality and empowerment for women.
In the United States, 51% of living visual artists are women, yet only 13.7% of them are represented in galleries. On average, they earn 81 cents for every dollar made by their male contemporaries.
Apropos to the exhibition title as well as the feminist art movement, Fuego is the Spanish word for “fire.” Women artists have to kick down doors otherwise held wide open for men and, when we do, there is often backlash. Yet these misogynistic efforts aimed at undermining us catalyze our solidarity, instead.
Curator Debra Wright incurred such wrath when an enraged male artist doused her artwork with lighter fluid and set it ablaze in retribution. These actions intended to derail her backfired, generating an outpouring of support from women artists everywhere that compelled Wright to focus her future efforts furthering feminist art initiatives. Fuego is a continuation of this commitment.
As we acknowledge feminist artists of today, we also pay testament to the perseverance of those who came before us. These actions ensure our place in history. We cannot allow ourselves to be absent from the cultural record.
Lighting the torch for each other, we find our way together and inspiration ignites in each of us.
Women set the world on fire.
Image: Debra Wright, Moneyshot, undergarment and currency, 6 x 6 x 4 inches

The 6000 Circles Project
2024-04-05 08:00 - 2024-11-30 17:00 (America/New_York) | OH
We are The Calling. Our latest collaboration, The 6000 Circles Project, focuses on the circle as a symbol of balance and unity, a never ending container of feminine energy and light. We are envisioning 6000 circles; created by a multitude of artists, of all genders, from around the globe, both groups and individuals, gathering and making for a series of interactive public and digital installations.
The initial inspiration came from the Obliteration Room created by Yayoi Kusama, where people were invited to place circle stickers spontaneously throughout the exhibition space, thereby creating an interactive and evolving installation. We would like to build upon this concept based on The Calling’s previous interactive installation as part of the Feminine Journey exhibition at the Beseder Gallery in Prague 2022. The intention is to expand its scope and reach to be a fully inclusive collaboration that honors all aspects of the feminine.

The State We’re In
2024-03-28 18:00 - 2024-05-04 18:00 (America/New_York) | OH
Solo exhibition at Kathryn Markel Fine Arts:
Nancy Cohen’s unconventional drawings, drawn with paper pulp and fritted glass, find their origin in her move to Jersey City in the 1980s. Along the shore and waterways, the evergreen vegetation thriving amid industrial waste sparked Cohen’s environmental awareness. Waterways, as subject and imagery, draw from personal experience and recur in her work as symbols of nature’s ability to endure adversity. In “The State We’re In,” Cohen pursues the theme of survival, environmentally and personally. Cohen describes her process as “thinking with her hands.” Concerns outside the studio and challenges within are explored through physically pushing the boundaries of paper and glass. The materials serve as collaborators and provocateurs, where fused glass objects or a handmade paper are repurposed as source material and inspiration for later works. Cohen’s choices of materials and processes challenge notions of fragility and resilience. Like fritted glass undergoing transformation in a kiln, Cohen’s work focuses on strength and beauty in the struggle for survival.
Image: Nancy Cohen, Breathing Under Water, 2023 (detail)

Open Call: Vote for Democracy
2024-03-18 08:00 - 2024-05-13 23:59 (America/New_York) | Milwaukee, Wisconsin
SaveArtSpace has partnered with Michele Pred to bring more public art to Milwaukee, WI during the Republican National Convention, starting June 24, 2024.
Curated by Michele Pred, this billboard art exhibition featuring five billboards in Milwaukee, Wisconsin, coinciding with the Republican National Convention, which is scheduled for July 15th to 18th. The billboards will be installed prior to the convention on June 24th and remain until July 22nd, a few days after its close.
The overarching theme of the exhibit is the “preservation of democracy.” Autocracy and the reactionary, racist ideas that go with it are on the march in the US and across the globe. They are given voice almost daily by the leader of the Republican Party and his minions, even as the majority of Americans oppose their policies. To stop this surge of fear and hate, we must make sure that our system does not devolve further. Only then can we continue the fight for an expanded democracy. Inviting persuadable voters to this conversation on one of the largest media stages of the year is a huge opportunity to do just that.
The selection process will focus not only on the artistic merits of the work but also on the clarity of the message and its potential to influence moderately conservative voters to support candidates and issues that expand reproductive rights. To this end, incorporating text is encouraged but not required.
We invite artists of all ages and talents to submit their artwork between March 18 and May 13, 2024. This is an opportunity to have your work placed on billboard ad space in Milwaukee, WI. Three artists will be chosen from the open call, they will join Michele Pred, and Lena Wolff on billboards throughout Milwaukee, WI.
Open call for art ends May 13, 2024. There is a $10 donation per image submission to participate, each donation is tax deductible and goes to producing the public art. Selected artists will be announced after May 27, 2024. Public art will be installed June 24, 2024 in New York City.

STRETCHING TIME, AND YOU CAN'T CALL ME OLD LADY!
2024-03-08 09:00 - 2024-06-16 21:00 (America/Costa_Rica) | Centro Cultural de España en Costa Rica, De la Iglesia Santa Teresita 200 metros al este y 200 metros al norte. Frente a la Rotonda del Farolito. Barrio Escalante, San José, San José, 10101, Costa Rica
This is a project that has been developing since 2018 in México,where it has been shown in different museums around the country, to think and create around the feelings, emotions, fears and joys of getting old. To make art focusing on Age is always challenging and empowering not only the ones who are ageing but the young. This year the exhibition is hosted by the Centro Cultural de España en Costa Rica and features local artists as well as some well known, as Martha Wilson or the Brit Sue Williams.
The opening was on March 8, turning into a huge celebration with performance, music, poetry and yes, art.

TFAP@CAA Day of Panels 2024 | A NEW ERA: ART, ACTIVISM, AND ABORTION IN POST ROE AMERICA
2024-02-17 09:00 - 15:00 (America/Chicago) | Hilton Chicago, 720 South Michigan Avenue Chicago, IL 60605, Chicago, IL, 60605, United States
A New Era: Art, Activism and Abortion in Post Roe America
TFAP@CAA Day of Panels 2024
February 17, 2024, 9am – 3pm
Hilton Chicago – 3rd Floor – Waldorf Room
A New Era: Art, Activism and Abortion in Post Roe America
Symposium Chair: Luciana McClure, Southern Connecticut State University
In 2022, Dobbs v. Jackson overturned the right to abortion in the U.S., undermining bodily autonomy and privacy. The Feminist Art Project (TFAP) looks at the way praxis as a feminist pedagogical project has changed and been transformed post Roe V. Wade. Artists have returned to the question of the role of feminist art and practice in times of crisis and violence, particularly around issues of bodily autonomy. As a result, we have seen a rise of collective solidarity between cis, queer and trans women artists and collectives leading to the surge of a new wave of feminism.
TFAP@CAA Day of Panels looks at feminist collective projects that remind us that the personal is political and that feminism is intersectional. TFAP will look critically at how artists, scholars and organizers respond to this attack on human rights and the patriarchal rhetoric about abortion and its relationship to bodily autonomy.
PROGRAM:
9am – 9:30am
Welcome – Connie Tell, Chair, Feminist Art Project National Committee
Introduction – Luciana McClure, Symposium Chair, (Southern Connecticut State University)
9:30am – 10:30am
Keynote talk – Whitney Bradshaw (Independent Artist)
11:00am – 12:00pm
Advocacy to Action: The Power of Activism, Abortion and Community Engagement
Panelists: Lydia Nobles (Independent Artist) and Michele Pred (Independent Artist)
12:30pm – 1:30pm
The Politics of Identity & the Body as Medium in Feminist Practice
Panelists: Corey Loftus (The Institute of Fine Arts, NYU), Martha Poggioli (Colorado College), and Sarah Beth Woods (Independent Artist)
2:00pm – 3:00pm
Closing Keynote & Call to Action Christen Clifford (The New School)
Videos of the 2024 Day of Panels will be available on the TFAP website soon!
TFAP is a Caucus Member of the National Women’s Caucus for Art.

TFAP@CAA Affiliated Society Session | CHOICE TACTICS: ART, ABORTION, AND BODILY AUTONOMY TODAY
2024-02-16 14:30 - 16:00 (America/New_York) | Hilton Chicago, 720 South Michigan Avenue Chicago, IL 60605, Chicago, IL, 60605, United States
TFAP@CAA Affiliated Society Session
CAA 112th Annual Conference
Friday, February 16, 2024, 2:30pm – 4pm
Chicago Hilton | 8th Floor – Lake Erie
Conference Registration required for this event!
CHOICE TACTICS: Art, Abortion, and Bodily Autonomy Today
Chairs: Miriam Kienle (University of Kentucky) and Connie Tell (The Feminist Art Project)
How do contemporary feminist artists, art historians, critics, and curators address current legal restrictions to abortion access? How do they draw from or push against historical precedents for art about reproductive choice and bodily autonomy? Although acknowledging the tremendous historical harm done, much present-day art about abortion draws on old visual tropes of clothes hangers and irrevocably marred bodies that has little resonance to the risks posed by the criminalization of abortion today. This imagery not only ignores how ending pregnancy is far safer than it was 50 years ago due to widely accessible medications for menstrual management after abortion became legal, but it also inadvertently echoes anti-choice propaganda that emphasizes self-harm as integral to abortion. Therefore, one must ask: How do feminist artists today visualize bodily autonomy, self-managed menstruation, and abortion in ways that refuse inaccurate, outdated, and punishing representations in favor of ones that are accurate, informative, and supportive (perhaps even playful, joyous, frustrated, outraged, or irreverent)? How might they forge intergenerational solidarities by re-activating historical modes of resistance that avoid nostalgia? How do they educate both menstruating and non-menstruating publics to transform political discourse on abortion? How can they help empower abortion seekers to have their physical, emotional, spiritual, financial, and/or legal needs met? This panel seeks presentations that investigate the visual and material tactics of feminist art that tackles abortion, particularly those that attend to the complex gender, sexual, racial, ethnic, geographic, historical, medical, legal, and/or economic implications of abortion today.
Panelists:
Beau Green (Artist + Full Spectrum Careworker)
breadbox: promoting access to high quality abortion care throughpeer-to-peer education and art
Basia Sliwinska (Universidade Nova de Lisboa)
My body (but not) my choice: feminist arts activism towards bodily autonomy
Erin L. McCutcheon (University of Rhode Island)
Performing the Politics of Voluntary Motherhood in Mexico City
Louisa Lee (Buckinghamshire New University)
‘What you want to do is make people look’: Visibility, or lack of visibility, for reproductive rights
