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DTSTART;TZID=America/Chicago:20260320T080000
DTEND;TZID=America/Chicago:20260418T233000
DTSTAMP:20260418T162925
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SUMMARY:Call for Art: Body Sovereignty
DESCRIPTION:Call for Art: Body Sovereignty \nCurator: Danni O’Brien \nApplication Deadline: Saturday\, April 18\, 2026 \nThe body has always been contested territory. Legislated\, pathologized\, fetishized\, disciplined — the body and its desires have rarely been left in peace\, let alone in the control of the people who inhabit them.\nBody Sovereignty is an exhibition about who owns our body\, its expression and its sexuality.\nARC Gallery invites artists working across all media to submit work that claims for itself a radical ownership over sexuality\, desire\, and bodily identity. We are interested in art that refuses to be tamed — work that finds the erotic in the accidental\, the absurd\, the domestic\, and the discarded. Work that borrows the visual language of instruction and mechanism only to subvert it. Work that is bold in its irreverence\, polymorphic in its affect\, and unafraid to blur lines between innocence and perversion\, function and fantasy\, the handmade and the found.\nWe are drawn to art that treats the body not as subject matter but as site of survival — art assembled from cultural cast-offs\, scavenged and repurposed into something fantastical and alive. Art that is cheeky and meditative in equal measure. That takes months to resolve what was gathered intuitively. That arrives slowly at something unsettling and true.\nBody Sovereignty is not about shock. It is about depth of feeling — about understanding\, as Audre Lorde wrote\, that the erotic is a measure of our most expansive sense of self. \nWe Welcome Work That: \n\n\nClaims ownership over desire\, sexuality\, and gender on one’s own terms \n\n\nPlays at the intersection of the bodily\, the mechanical\, and the domestic \n\n\nTransforms everyday materials into something visceral and alive \n\n\nExplores queer identity\, conspicuous consumption\, and bodily survival through a fantastical or absurdist lens \n\n\nEngages the erotic through abstraction\, humor\, tenderness\, or the uncanny — not necessarily through explicit imagery \n\n\nRefuses easy categorization and sits comfortably at the edge of innocence and perversion\, play and politics \n\n\nMedia \n\n\nAll media welcome\, including sculpture\, assemblage\, ceramics\, collage\, painting\, drawing\, fiber arts\, printmaking\, papermaking\, video\, and installation. We are especially excited by hybrid works and interdisciplinary practices. \n\n\nDeadline for Submission of Applications: Saturday\, April 18 2026 at 11:59pm CST \n\n\nNotification of Acceptance: By email on May 6\, 2026 \n\n\nDelivery of work to ARC: Thursday & Friday May 28 & May 29\, 2026\, 2-6pm; Saturday\, May 30\, 12-4pm \n\n\nPick-Up Work at Gallery: Saturday\, June 27\, 2026\, 2:30-4pm \n\n\nShipped Work Return Date: First two weeks of July (determined by the delivery method) \n\n\n*Pre-Paid FedEx or UPS return label is required \n\n\n*Do not use the U.S. Postal Service \n\n\nAbout the Curator: Danni O’Brien \nDanni O’Brien (she/they) is a queer\, interdisciplinary artist based outside Baltimore\, MD. Through scavenging and collecting\, O’Brien builds enigmatic sculptures and reliefs from found objects\, vintage patent diagrams\, handmade paper pulp\, ceramics\, and the cast-offs of consumer culture. Her work grapples with queer identity\, dystopian survival\, and conspicuous consumption — playful and absurd on the surface\, deeply meditative underneath. O’Brien has exhibited at the Museum of Contemporary Art Arlington\, Asya Geisberg Gallery\, Hamiltonian Gallery\, and the Virginia Museum of Contemporary Art\, and has held residencies with The Wassaic Project\, Baltimore Clayworks\, the Elizabeth Murray Artist Residency\, Byrdcliffe Colony\, and Stove Works\, among others. She is the recipient of Individual Artist Grants from the Belle Foundation for Cultural Development and the Maryland State Arts Council. \nVisit Dani @ www.danielleobrienart.com \nOpening Reception\, Friday\, June 5th\, 5:00-8:00pm\n\n\nExhibition dates: June 5-26\, 2026 \n\n\nGallery hours: Thurs – Fri 2-6pm\, Sat – Sun 12-4 pm \n\n\nThis program is partially supported by a grant from the Illinois Arts Council Agency.
URL:https://thefeministartproject.org/event/call-for-art-body-sovereignty/
LOCATION:ARC Gallery\, 1463 W Chicago Ave\, Chicago\, IL\, 60642\, United States
CATEGORIES:Call for Applications/Residency,Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2026/03/1.png
ORGANIZER;CN="ARC Gallery":MAILTO:info@arcgallery.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260221T110000
DTEND;TZID=America/New_York:20260221T123000
DTSTAMP:20260418T162925
CREATED:20251206T155253Z
LAST-MODIFIED:20260217T143132Z
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SUMMARY:TFAP@CAA 2026 Special Session | OUTCRY: ALCHEMISTS OF RAGE
DESCRIPTION:TFAP@CAA 2026 Special Session\nOUTCRY: Alchemists of Rage\nShort documentary film screening & conversation with the film subject\, producer\, and creator of OUTCRY\, Whitney Bradshaw\nChair: Kathleen Wentrack\, The City University of New York\, Queensborough CC\nModerator: Rachel Middleman\, California State University\, Chico\n \nSaturday\, February 21\, 2026\, 11:00am-12:30pm\nBoulevard A/B (2nd Floor)\, Hilton Chicago\n*Free and open to the public. \nCollege Art Association 114th Annual Conference | New York City\, February 18–21\, 2026 \nThe Feminist Art Project is thrilled to host a special screening of OUTCRY: Alchemists of Rage\, an impactful short documentary film that highlights the power of art to drive social change. On Saturday\, February 21\, TFAP will host an in-person screening of the 30-minute film during the 2026 CAA conference followed by a conversation with the film subject\, producer\, and creator of OUTCRY\, Whitney Bradshaw and Kathleen Wentrack\, TFAP Managing Committee member. \nOUTCRY: Alchemists of Rage follows artist and former social worker Whitney Bradshaw as she photographs women\, non-binary\, and genderqueer people mid-scream in cathartic group sessions where long-silenced stories conjure rage\, sorrow\, and joy. The film offers a visceral rallying cry for the revolutionary power of women and non-binary people’s voices. \nThe film is directed by Clare Major and produced by Whitney Bradshaw and Frankly Speaking Films. The score was composed by Paris Hurley of Object as Subject. Paris Hurley also did the score for Kristen Stewart’s new film The Chronology of Water. An adaptation of Lidia Yuknovitch’s acclaimed memoir. Out in theaters now. OUTCRY: Alchemists of Rage made the International Documentary Association (IDA) 2024 Shortlist for Best Short Documentary Film. \nJoin us to watch and discuss this powerful film! \n______________\nWhitney Bradshaw (she/her) is an artist\, activist\, educator\, curator\, former social worker and the subject and producer of OUTCRY: Alchemists of Rage (2024). Her work has been shown widely across the United States including solo shows at Atlanta Contemporary\, the Berkeley Art Museum and Pacific Film Archive\, the DePaul Art Museum\, Wave Pool Contemporary Art Fulfillment Center\, and the 21c Museum Hotel Louisville. The Museum of Contemporary Photography\, the DePaul Art Museum\, Northwestern University Pritzker School of Law\, Hall Art and Technology Foundation\, and Sara M. and Michelle Vance Waddell collect her work\, which has been published in Ms. Magazine\, the New York Times\, the Chicago Tribune\, and Vogue. In 2023\, Bradshaw was named one of NewCity Magazine’s 50 Chicago Artists’ Artists. She is currently the curator at the Lubeznik Center for the Arts in Michigan City\, Indiana.
URL:https://thefeministartproject.org/event/tfapcaa-2026-special-session-outcry-alchemists-of-rage/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session,Film Screening
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/12/CAA-2026.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260220T163000
DTEND;TZID=America/New_York:20260220T180000
DTSTAMP:20260418T162925
CREATED:20251206T152856Z
LAST-MODIFIED:20260216T224948Z
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SUMMARY:TFAP@CAA 2026 Affiliated Society Session | FEMINIST\, QUEER\, AND TRANS ART ACTIVISTS IN ACTION!
DESCRIPTION:TFAP@CAA 2026 Affiliated Society Session\nFeminist\, Queer\, and Trans Art Activists in Action!\nChairs:\nConnie Tell\, The Feminist Art Project\nJoanna Gardner-Huggett\, DePaul University\n \nFriday\, February 20\, 2026\, 4:30-6:00pm\nWilliford C (3rd Floor)\, Hilton Chicago\n*CAA Conference Registration Required. \nCollege Art Association 114th Annual Conference | Chicago\, February 18–21\, 2026 \nFor nearly twenty years\, The Feminist Art Project has supported intersectional and intergenerational conversations regarding feminist\, queer and trans activist art practices. Understanding the rich history of these collective tactics remains instrumental for continued organizing against political oppression and providing essential services to female-identifying individuals. For instance\, in the 1970s\, the arpilleristas produced embroidered narratives denouncing Chile’s totalitarian regime\, while in the 1980s the Greenham Commons Women’s Peace Camp demanded an end to nuclear proliferation. In the 1990s\, Chicago’s Sister Serpents engaged in guerrilla sticker and poster campaigns calling out misogyny and sexual violence and the Dyke Action Machine focused on lesbian agitprop in New York City. In 1999\, the Dutch organization Women on Waves was founded to provide reproductive health services in regions where it is not safe or available\, and in 2001\, LaGender Inc. was established to support the trans health of women of color in the metro Atlanta area. As the voices of feminist\, queer\, and trans artists\, activists\, and scholars are being silenced in this political moment globally\, this session seeks presentations by artists and scholars examining current or historical examples of activist art practices that offer models of protest and mutual aid\, especially work overlooked in current art historical scholarship. \nPanelists:\n“Queer Archives from South Bend: Archiving as Protest and Preservation”\nJason Daniels and Grace Hamilton\nIn 1971\, Gloria Frankel\, a cab driver from New York City\, established South Bend’s first drag bar\, the Seahorse Cabaret. Her visionary leadership and mentorship profoundly shaped the growth of queer and drag spaces throughout the Michiana region. Exploration of drag history\, both locally and internationally\, reveals its socio-cultural significance and the urgent need to preserve the narratives of drag performers.\nRecognizing the impact of drag performers on queer communities\, archival work serves to safeguard and celebrate this vibrant cultural heritage. The archive functions as both a visual and narrative repository\, capturing the evolution of drag and its broader implications for community identity\, resilience\, and visibility.\nBeyond the glittering façade of sequins and performance\, spaces such as the Seahorse have operated as stages where political activism and social resistance converge. Frankel created inclusive environments that enabled community members to engage safely and creatively\, fostering a sense of belonging often absent in small-town contexts. Her story represents a necessary pillar of South Bend’s history\, and preserving it counters the erasure of queer memory\, particularly amid political attacks and cultural neglect targeting LGBTQ+ archives.\nThrough oral histories\, artifact collection\, and storytelling\, this project positions archiving as both preservation and protest\, emphasizing that queer memory is essential for sustaining future generations and supporting ongoing acts of cultural and political resilience. \n“A Model of Mutual Aid within Protest: Betsy Damon\, Alison Knowles and The Lesbian Art Show”\nChristine A. Filippone\, Millersville University\nLesbian\, feminist artist Betsy Damon was among the eighteen artists included in The Lesbian Show (1978)\, one of the first exhibitions of lesbian art curated by Harmony Hammond at White Columns on Greene Street\, New York City. Damon’s sculptural installation for the show was titled Ancestors\, which\, like her famed street performance 7\,000 Year Old Woman\, honored all the women who had come before her. Ancestors was comprised of a set of life-sized plaster body casts of her collaborators\, her community\, seated together on a bed of sand around a ring of colored bags filled with flour. Carrying the giant body casts into the gallery\, Damon explained\, was a process of “bringing the ancestors back.” In a performance organized for the show\, Damon’s flesh and blood community performed in various poses amidst the plaster casts\, among them her friend\, Fluxus artist Alison Knowles. Enamoured with Betsy’s bags\, Knowles proceeded to borrow them for years or her own works including Bean Bag\, Printed Editions\, 1978. This small act of mutual aid set within a groundbreaking activist exhibition organized\, as Hammond wrote\, to make “lesbian artists visible to each other as well as to the women’s community”\, is a microcosm of the commitment to community Damon’s life and work has evidenced to this day. To honor this act and Knowles’s and Damon’s lifelong friendship\, I will present this paper in collaboration with my friend art historian Hannah Higgins\, the daughter of Alison Knowles. \n“Text\, Textile\, and Action: Collective Strategies in Latin American Art”\nJacqueline R. Witkowski\, Western Washington University\nTextility\, or the relationship of materials and the forces they embody\, is a term useful for thinking about how textiles intersect with systems of thought (Ingold 2010). In its contemporary resurgence\, fiber art has been increasingly understood in connection with “text\,” highlighting its communicative force and operation as a form of language. Textiles\, like writing\, transmit meaning through material processes\, embodied gestures\, and collective memory.\nThe focus of this paper is on the practices of two artist collectives: Pontos de Luta from Belo Horizonte\, Brazil\, and Cooperativa Gráfica La Voz de la Mujer from Buenos Aires\, Argentina. Both employ the interplay of fiber and writing to confront persistent restrictions on political\, gendered\, and identity-based freedoms in their national contexts. Their practices foreground marginalized and disappeared populations\, positioning fiber and craft as central to struggles over visibility\, testimony\, and resistance. These initiatives engage with historical genealogies of clandestine and gendered media in the region\, from the arpilleristas in Chile who denounced the dictatorship through their embroidery\, and the early feminist print collective in Argentina\, La Voz de la Mujer.\nBy situating these two collectives within a transnational history of politically engaged fiber and print\, this paper asks: How might text and textile operate together as resistant forms of language? And how do women-centered collectives mobilize these mediums to generate shared vocabularies of protest and survival? \n“The Aravani Art Project: Transgender Awareness Through Art in India”\nAnindita Sengupta\nThe Aravani Art Project is a trans-women and cis-women led art collective that works on creating awareness about the transgender community and changing the way Indian society views the LGBTQIA+ community. In India\, “transgender” often refers to the Hijra community\, a traditional “third gender” group recognized by the government since 2014. The community faces severe and traumatic social stigma\, discrimination\, and marginalization. Many live in self-formed communities\, excluded from mainstream occupations and society. This will be an extremely enlightening addition to discuss trans rights in the global south and how people there are addressing them through art.
URL:https://thefeministartproject.org/event/tfapcaa-2026-affiliated-society-session-feminist-queer-and-trans-art-activists-in-action/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/12/CAA-2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260220T130000
DTEND;TZID=America/New_York:20260220T140000
DTSTAMP:20260418T162925
CREATED:20260123T164310Z
LAST-MODIFIED:20260123T164310Z
UID:10000826-1771592400-1771596000@thefeministartproject.org
SUMMARY:TFAP@CAA 2026 Business Meeting and Mixer
DESCRIPTION:TFAP@CAA 2026 Business Meeting and Mixer\nFriday\, February 20 | 1:00pm – 2:00pm\nLower Level\, Salon C-5\, Hilton Chicago\nFree and open to the public \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-2026-business-meeting-and-mixer/
LOCATION:Hilton Chicago\, 720 South Michigan Avenue Chicago\, IL 60605\, Chicago\, IL\, 60605\, United States
CATEGORIES:Conference Session
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/12/CAA-2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260117
DTEND;VALUE=DATE:20260405
DTSTAMP:20260418T162925
CREATED:20260119T131327Z
LAST-MODIFIED:20260119T131633Z
UID:10000825-1768608000-1775347199@thefeministartproject.org
SUMMARY:Bailey Doogan: Ways of Seeing
DESCRIPTION:The University of Arizona Museum of Art presents “Bailey Doogan: Ways of Seeing\,” the first comprehensive survey to showcase selections from every phase of the late artist’s prolific career. A celebrated painter\, graphic designer\, and Professor Emerita\, Bailey Doogan (1941–2022) was a pivotal figure in the feminist art movement\, using her work to interrogate traditional conventions of female beauty and the politics of the aging body.\nThis exhibition features 80 works that span Doogan’s evolution from surrealist experimentation to her monumental\, unflinching figurative paintings. Central to her practice was the belief that “our bodies are diaries of our experience”. By centering wrinkles\, scars\, and the physical realities of the female form—subjects historically marginalized in Western art—Doogan’s work opens vital conversations about representation\, self-examination\, and the power of the female gaze.\n\nFeatured Feminist Programming\n\nExhibition Reception: Thursday\, January 22\, 2026 | 5:00 PM – 7:00 PM\nPanel Discussion: Friday\, January 23\, 2026 | 4:30 PM – 5:30 PM. Featuring Terry Etherton\, Doug Nielsen\, Cynthia Miller\, and Ann Simmons-Myers; moderated by curator Violet Rose Arma.\nVirtual Talk: “Horror and Humor: Bailey Doogan and the Feminist Revolution”Thursday\, February 5\, 2026 | 5:00 PM – 6:00 PM. Art critic Eleanor Heartney examines how 1980s feminist thinking shaped Doogan’s strikingly original outlook on gender\, power\, and the body.\n\nCurators: Violet Rose Arma and Olivia Miller\, in close consultation with Moira Doogan.
URL:https://thefeministartproject.org/event/bailey-doogan-ways-of-seeing/
LOCATION:University of Arizona Museum of Art\, 1031 North Olive Road\, Tuscon\, AZ\, 85719\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2026/01/Bailey-Doogan.-Mea-Corpa-1992-Oil-on-linen-72-x-48.-Courtesy-of-the-Estate-of-Bailey-Doogan-2-e1768828578847.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251126T000000
DTEND;TZID=America/New_York:20260115T000000
DTSTAMP:20260418T162925
CREATED:20251202T215457Z
LAST-MODIFIED:20251202T215457Z
UID:10000822-1764115200-1768435200@thefeministartproject.org
SUMMARY:Rejoinder Open Call
DESCRIPTION:Rejoinder Open Call: Issue 11\nDEADLINE: January 15\, 2026 \nRitual\, Healing\, and World-Making \n\nHow do we mark transitions\, generate transformational visions\, and model alternate ways of being in a world imploding around us? How do we find joy while surrounded by brokenness?  How do we heal when systems are structured against us? What rituals or practices can restore us\, even speak to our souls? The next issue of Rejoinder explores the theme of ritual\, healing\, and world-making. Submissions (including essays\, commentary\, criticism\, fiction\, poetry\, and artwork) should address this theme from feminist\, queer\, and social justice-inspired perspectives. We particularly welcome contributions at the intersection of scholarship and activism. For manuscript preparation details\, please see our website at: http://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 January 15\, 2026.
URL:https://thefeministartproject.org/event/rejoinder-open-call-2/
LOCATION:IL
CATEGORIES:Call for Papers/Presentations,Open Call/Exhibitions
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/12/IRW-2026-rejoinder.png
ORGANIZER;CN="Institute for Research on Women at Rutgers University":MAILTO:irw@sas.rutgers.edu
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Mexico_City:20251121T180000
DTEND;TZID=America/Mexico_City:20251121T210000
DTSTAMP:20260418T162925
CREATED:20251122T145728Z
LAST-MODIFIED:20251122T145728Z
UID:10000817-1763748000-1763758800@thefeministartproject.org
SUMMARY:Ecoarte: South Geopoetics: Art\, Gender and Biocultural Transformation in a Contemporary Latin American Context
DESCRIPTION:EcoArte Exhibition: South Geopoetics\nCollective exhibition\nCURATORIA Lilian Amaral\nArtists Participants: Brazil + Colombia + Costa Rica\nAna Akaui – Ana Cristina Mendes – Cecília Calaça – Clarisse Tarran – Ivonne Villamil (Colombia/Spain) – Laurita Salles\, Lilian Amaral & Bia Santos – Lucia Madriz (Costa Rica/Germany) – Luisa Giraldo Murillo (Colombia) – Lynn Carone Marina Jerusalinsly & Ana Basaglia – Nivalda Assunção & Armando Queiroz – Susan Campos-Fonseca (Costa Rica) Suzete Venturelli – Studio Urubu – Tania Fraga – Val Sampaio Ligia Oviedo Zúñiga MAP. \n“Ecoarte: South Geopoetics: Art\, Gender and Biocultural Transformation in a Contemporary Latin American Context”\nCured by Prof. Dr. Lilian Amaral | DIVERSITAS USP \nWe live in a constantly changing world that pushes us forward\, forgetting the past and those who came before us. Public institutions and museums\, in particular\, as places that host the memory of collective heritage\, have the social\, cultural and ecological responsibility to preserve this memory on the basis of equality\, equity\, sustainability and interculturality. \nThe Nomadic Chair of Research-Creation | Diversitas USP has as perspective the research\, reflection and the poetic-political action around the active presence of women in art\, science and education\, from the artivist curatorship and the collaboration of artists-researchers from different parts of the world\, as promoters of artistic practices located horizontally\, breaking hierarchies\, with special focus in the Global South. \n“Ecoarte: South Geopoetics: Art\, gender and biocultural transformation in a contemporary Latin American context”\, derives from the project of art\, ecology and technology EcoArte: Terra em Trânsito\, carried out throughout the year 2024 in Brazil and Spain. It proposes to expand and deepen the experiences\, processes\, methods and links between artists\, researchers\, artists\, environmentalists and teachers\, through processes of creation and economic research\, directly involving issues that articulate the body\, ecology\, memory and technodiversity\, putting in dialogue different cosmoperceptions and forms of care\, highlighting the interdependence between different forms of human and non-human existence. \nConsidering the geopoetics\, polyphony and transdisciplinarity of artistic and socio-environmental contexts focused on South and Central America\, the works presented are shared in the Virtual Exhibition and analyzed in hybrid and face-to-face encounters\, pointing to the intrinsic relationship between human being\, nature and culture in their deep connections\, awakening understanding and awareness about the ecological\, biopolitical and interspecific dimensions involved in the global environmental/climatic agenda. \nArt\, as a catalyst for awareness and critical reflection on territories in emergency situations\, has the unique ability to go beyond scientific data\, appealing to the sensitive and emotional experience to generate deeper and more transformative involvement. In this scenario of biocultural and geopolitical mutations\, geopoetics emerges as a fundamental perspective. It is not just a static representation of geography\, but a dynamic way of inhabiting and understanding territories in emergency\, activating urgent dialogues about our responsibility and our deep connection with the planet. In this context\, poetic action becomes a powerful “artivism”\, a practice that goes beyond contemplation to transform scientific knowledge and complex data into experiences capable of mobilizing consciousness and action\, awakening “states of presence”. \nIt is a call for a culture of care\, where art not only reflects the global climate crisis\, but also invites us to actively inhabit it and reinvent our relationships with the environment and with others. It is a call for a technical invention that\, as Simondon and Yuk Hui teach us\, is aware of its impact and fosters the diversity of technological and poetic approaches\, seeking true sustainability and mutual flourishing. \nEcoArte thus presents a geopoetic and technodiverse panorama through sound and visual works that expand the contours and materialities of the making and point out the profound transformations of the present\, crossing languages\, media and contexts: photographs\, embroidery\, painting\, performance\, videoperformance\, animation with use of AI\, video art\, created by 20 female artists | collectives of different Latin American origins\, integrating a program activated by Exhibition \n________________\n“EcoArte: Geopoéticas del Sur. Arte\, género y medio ambiente” \n\n\nEn el marco de la exhibición online “EcoArte: Geopoéticas del Sur. Arte\, género y medio ambiente”\, que se inaugura el 22 de noviembre en el Museo de las Mujeres\, se celebra el IV Festival de VideoArte Museo de las Mujeres “Ecoarte y comunidades 2025” una muestra audiovisual que reúne las voces de artistas mujeres de Brasil\, España y Costa Rica se unen a comunidades en Honduras\, la costa pacífica de Costa Rica\, y un Colegio Nocturno del caso urbano de Costa Rica para poner sobre la mesa la necesidad de ampliar el espacio para los discursos de cuidado\, preservación\, convivencia pacífica con el medio ambiente como un acto político. \nA través de tres bloques curatoriales\, el festival propone un espacio para reflexionar sobre diversas perspectivas críticas y poéticas: cuerpo\, territorio\, memoria\, extractivismo\, biodiversidad y prácticas de cuidado. \nAdemás de la proyección de obras\, se realizarán breves conversatorios con artistas y colectivos participantes\, por un diálogo directo sobre los procesos de creación\, y las luchas ambientales que atraviesan sus prácticas. \nDesde la denuncia hasta la celebración de lo natural\, esta edición del festival busca visibilizar las miradas ecofeministas\, interseccionales y comunitarias que emergen desde el arte contemporáneo en América Latina y España \nEsta actividad forma parte del Art City Tour y es posible gracias al apoyo de la Cátedra Diversitas de la Universidad de São Paulo\, el Museo de las Mujeres de Costa Rica y nuestro anfitrión el Centro Cultural de España en Costa Rica. \nPrograma\n6pm. Recepción\, bienvenida y presentación curatorial\n6:25pm. Bloque 1\n1. Arriskua\, 4’28»\, por Ivonne Villamil \nArriskua es un diálogo desde la escucha meteorológica\, la navegación\, las fronteras invisibles\, las predicciones del tiempo. Reúne sonidos de la tierra y del cosmos\, voces de cuerpos y materias que vibran entre sí\, y lecturas (en euskera) de reportes meteorológicos. Una suma de fenómenos\, fuerzas y seres que coexisten de un modo casi aleatorio e impredecible. La pieza sonora es creada en colaboración con Jimmy Solórzano y Alba Fernández. \n2. Mulheres na Luz\, 2’01»\, por LiIlian Amaral y Bia Santos \nMulheres na Luz es un acto poético-político de videoarte y arte público creado por Lilian Amaral y Bia Santos en São Paulo. Visibiliza la lucha de mujeres trabajadoras y en prostitución mediante una procesión performática colectiva\, inscribiendo sus cuerpos\, voces e historias en el espacio urbano como gesto de resistencia. \n3. EntreMundos: Videoperformance\, ecologia\, subjetivação na criação de uma heterotopia\, 5’04»\, por Lynn Carone \nEntreMundos es una videoperformance que explora desplazamientos y metáforas del lugar mediante el cuerpo en acción y la tecnología. Combina espacios reales y utópicos\, creando una ecología interior y heterotopía\, donde lo humano y no humano dialogan a través de imagen\, animación y sonido en un espacio simbólico y sensorial. \n4. Flores\, Memoráveis Momentos na Mente de um Demiurgo?\, 5’04»\, por Tania Fraga \nEl ensayo reflexiona sobre la poesía como acto de creación en arte computacional. Presenta imágenes donde las flores simbolizan la vida y la tensión entre caos y orden. Estas obras invitan a experimentar y deleitarse\, revelando la unión de opuestos y la evolución poética del demiurgo creador \n5. Cavalo – Banano – Coco\, 4’01»\, por Suzete Venturelli \nTrabaja en arte computacional\, realidad virtual\, inteligencia artificial e interactividad\, integrando ciencia\, tecnología y creación artística. Coordina el grupo de investigación Arte Computacional Bioinspirada (CNPq) y desarrolla proyectos\, exposiciones y publicaciones que exploran la relación entre arte\, tecnología y naturaleza desde una perspectiva innovadora y multidisciplinaria. \n6:55pm. Breve conversatorio con artistas creadoras\n7:10pm. Bloque 2\n6. No mar do céu\, 4’04» por Arte coletivo \nEn el mar del cielo es consecuencia de la inmersión «danza y mar» con Beth Bastos y Mnrena Nascimento\, en el Studio Urubu\, en Picinguaba – Ubatuba\, SP. Se trata de una investigación sobre el movimiento en espiral y su relación con el mar. Las imágenes fueron captadas durante una tarde de descanso entre las actividades de la inmersión. \n7. Aguas de àl-mar\, 4’04»\, por Laurita Salles \nÁguas de al-mar es una obra de videoarte que explora el movimiento del agua como metáfora emocional. A través de montaje y sonido electroacústico\, crea un flujo audiovisual sin horizonte ni paisaje\, articulando cine expandido con ritmos visuales y sonoros que invitan a una experiencia sensorial libre y poética. \n8. The End\, 1’44»\, por Lucía Madriz \nLa obra de Lucía Madriz aborda el biocolonialismo y la lucha indígena por la autodeterminación frente a la apropiación de recursos genéticos. Su arte denuncia la mercantilización de la vida y plantea la sostenibilidad como única vía posible hacia el futuro\, tanto del arte como de la humanidad. \n9. Quebrada Amarilla Video Arte\, 4’19»\, por Susan Fonseca Campos \nEsta obra\, parte del “Extended Quijongo Project”\, es un videoclip que simboliza la simbiosis entre plantas y terrenos industriales abandonados. Dirigido por Julián de la Chica y Rafael Chinchilla\, es una canción de resistencia contra la destrucción de la Tierra causada por intereses humanos y transnacionales. \n10. Une danse teintée violet / La creación de la maternidad\, 2’02»\, por Colectivo a.capello.gva \nUne danse teintée violet / La creación de la maternidad es una danza colectiva de mujeres de diversas nacionalidades\, incluyendo costarricenses\, que usan el método Dalcroze. Sus cuerpos son instrumentos que resuenan la vida y la maternidad\, explorando la creación desde el ser vivo hasta la experiencia femenina. \n7:45pm. Breve conversatorio con artistas creadoras\n8pm. Bloque 3\n11. El eco del fuego: San Juancito pinta voces con alas\, 5»\, por Kelvyn RehMar \nKelvyn RehMar rescata trozos quemados de árboles del Parque Nacional San Juancito\, Honduras\, para crear tintas orgánicas con las que pinta aves que representan a los animales víctimas de incendios forestales. Su instalación\, junto a un importante río que abastece Tegucigalpa\, recuerda y honra a estas especies invisibilizadas durante las grandes tragedias forestales. \n12. Aulas urbanas\, problemas de la costa: más voces para Gandoca\, 15»\, por el Colegio Nocturno de Desamparados \nEstudiantes del Colegio Nocturno de Desamparados crean un video y podcast crítico sobre La Loca de Gandoca de Ana Cristina Rossi. Esta experiencia reflexiona sobre la convivencia con la naturaleza desde un barrio urbano de San José\, fomentando sensibilidad literaria y nuevos vínculos entre lo urbano y rural. \n13. Manos de mujeres cuidan el Pacífico\, 12»\, por Mariposas del golfo \nLa Asociación de Mujeres Mariposas presenta su experiencia con el extractivismo\, mostrando la realidad y esperanza de que convivir con los recursos costeros\, en armonía con el medio ambiente y sin explotación\, es posible donde exista respeto y cuidado ecológico y social. \n8:30pm. Conversatorio breve con creadores gestores de honduras\, mujeres pescadoras y estudiantes creadores de contenido del Colegio Nocturno de Desamparados\n8:45pm Cierre del festival y palabras finales\n  \nSobre las entidades organizadoras\nEl Museo de las Mujeres de Costa Rica\, fundado en 2009\, es una institución pionera en Centroamérica dedicada a la visibilización de las mujeres en el arte\, la historia y los movimientos sociales. Es una filial activa de la Red Internacional de Museos de Mujeres (IAWM por sus siglas en inglés)\, lo que le permite conectar su trabajo local con agendas globales por la igualdad de género\, los derechos humanos y la justicia ambiental. Desde su espacio físico en San José y sus plataformas digitales\, el museo desarrolla exposiciones\, archivos\, investigaciones y actividades educativas con perspectiva feminista e inclusiva. \nLa Cátedra Diversitas: Disidencias Sexuales\, Género y Derechos Humanos de la Universidad de São Paulo (USP) es un espacio académico y de articulación social que promueve la investigación\, formación y divulgación en torno a temas de género\, sexualidad\, derechos humanos\, interseccionalidad y justicia social. Vinculada a la Facultad de Filosofía\, Letras y Ciencias Humanas\, impulsa proyectos interdisciplinarios con impacto regional y latinoamericano\, fortaleciendo redes entre universidades\, colectivos\, artistas y comunidades. Desde un enfoque crítico y descolonial\, la cátedra busca ampliar los marcos de comprensión sobre las disidencias y luchas por equidad\, posicionando el conocimiento como herramienta de transformación social.
URL:https://thefeministartproject.org/event/ecoarte-south-geopoetics-art-gender-and-biocultural-transformation-in-a-contemporary-latin-american-context/
LOCATION:IL
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251118T080000
DTEND;TZID=America/New_York:20260216T170000
DTSTAMP:20260418T162925
CREATED:20251115T163438Z
LAST-MODIFIED:20251115T163438Z
UID:10000815-1763452800-1771261200@thefeministartproject.org
SUMMARY:Diasporic Worldings: Gabriela Aceves Sepúlveda
DESCRIPTION:Diasporic Worldings is an experimental video by Gabriela Aceves Sepúlveda that explores the experiences of people in the diaspora as they form and imagine relationships with land\, place\, territories\, and ecosystems. It uses the term “diasporic” as an adjective to describe those who belong to a diaspora due to either forced or voluntary migration and “worlding” as a creative process where “worlds” develop through ongoing engagement and interconnections with humans and more-than-humans. Inspired by Martinican philosopher Édouard Glissant’s distinction between archipelagic thinking as fragmentary and intuitive and continental thinking as all-encompassing and systematic\, and Mexican writer Cristina Rivera Garza’s use of frottage drawing as a mnemonic technique to recover an embodied connection to place\, the video features actions performed on camera and images involving different approaches to map-making.
URL:https://thefeministartproject.org/event/diasporic-worldings-gabriela-aceves-sepulveda/
LOCATION:Urban Screen at Libby Lesghold Gallery\, ECUAD\, 520 East 1st Avenue\, Vancouver\, British Columbia\, V5T 0 H2\, Canada
CATEGORIES:Lecture
ATTACH;FMTTYPE=image/jpeg:https://thefeministartproject.org/wp-content/uploads/2025/11/DW_tierramapa_aceves2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20251115T170000
DTEND;TZID=America/New_York:20251115T190000
DTSTAMP:20260418T162925
CREATED:20251115T165000Z
LAST-MODIFIED:20251115T165000Z
UID:10000816-1763226000-1763233200@thefeministartproject.org
SUMMARY:Strength and Visibility: Curating Women Artists between Past and Present
DESCRIPTION:Museum of Art Brașov\, Romania and  4Culture Association invites you to the conference “Strength and Visibility: Curating Women Artists between Past and Present”\, a dialogue between Andreea Căpitanescu and Olivia Nițiș. The discussion offers a framework for reflection on visibility\, continuity\, and critical positioning\, bringing to the forefront the need to recover and integrate the contributions of women artists into the broader narrative of Romanian art. Andreea Căpitănescu is a cultural producer\, independent curator and artistic director\, active since 2005. Founder of the 4Culture Association\, she initiated eXplore Festival – the first contemporary dance and performance festival in Romania – and created the independent space WASP – Working Art Space and Production in Bucharest. Her activity is carried out within European networks and platforms\, through programs that support contemporary artistic creation\, international collaboration\, artistic research\, education and support for emerging artists. She holds a PhD in Visual Arts (UNARTE\, 2024)\, a Master in Project Management in English (SNSPA\, 2022)\, a Master in Contemporary Performance Direction (UNATC\, 2005–2006) and a Bachelor’s degree in Choreography (UNATC\, 2004). She was a danceWEB 2006 scholarship holder at ImPulsTanz Vienna. He curated the performing arts program of Europalia Romania (Brussels\, 2019–2020) and coordinates projects such as Life Long Burning\, Jardin d’Europe\, Emerging Towards (Future) and Exploring Plurealities. Olivia Nițiș is a researcher at the “G. Oprescu” Institute of Art History of the Romanian Academy\, coordinator of the Modern and Contemporary Visual Arts and Architecture department\, independent curator\, art historian. She is the vice-president of the Experimental Project Association\, member of the International Association of Art Critics since 2009. She is interested in the various aspects of gender discourse in the historiography of Romanian art and in Eastern Europe\, with contributions related to women artists and gender representation in modern and contemporary art\, the relationship between art and politics\, the relationship between art and science. She is the author\, editor and co-editor of several articles and publications on contemporary art. She is the author of the volume “Marginal Histories of Feminist Art”\, Vellant\, Bucharest\, 2014 and co-editor of a volume dedicated to the conceptual artist Decebal Scriba (Kettler\, Germany 2017). She was co-curator (with Martina Munivrana) of the solo exhibition of Croatian artist Sandra Sterle at the Museum of Contemporary Art in Zagreb (MSU) in 2023\, and in 2024 she was the initiator and curator of the Romanian-Czech conceptual art project A Spring of Hope a Winter of Despair (Faber\, Timișoara and Pragovka\, Prague). The event is part of the project “Virtual Museum of Art under Communism. Perspectives on a Controversial Heritage”\, carried out by the Brașov Art Museum and co-financed by the National Cultural Fund Administration\, which aims to open the artistic heritage of the communist period to critical and current interpretations. In this context\, the discussion brings to attention the presence and contribution of women artists in the history of Romanian art\, analyzing the way in which their works were collected\, contextualized and viewed in relation to the dominant discourses of the era. The conference anticipates the opening of the “Tower of Strength” exhibition\, which will be inaugurated at the Brașov Art Museum on December 5\, 2025\, and proposes an open dialogue between history\, research and current artistic practice\, within the Compulser Lab project initiated by the 4Culture Association and co-financed by the National Cultural Fund Administration.
URL:https://thefeministartproject.org/event/strength-and-visibility-curating-women-artists-between-past-and-present/
LOCATION:Brasov Art Museum\, Bulevardul Eroilor 21\, Brașov 500030\, Romania
CATEGORIES:Conference Session
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251115
DTEND;VALUE=DATE:20251201
DTSTAMP:20260418T162925
CREATED:20251122T153855Z
LAST-MODIFIED:20251122T154430Z
UID:10000819-1763164800-1764547199@thefeministartproject.org
SUMMARY:FALL OF FREEDOM: Freedom of Expression
DESCRIPTION:The “FALL OF FREEDOM: Freedom of Expression” exhibit is a Women’s Caucus for Art (WCA) national\, pop-up\, online art exhibition spearheaded by the WCA Art Activism Pod. The exhibit was inspired by the recent New York Times article\, “Artists Respond to the Fall of Freedom” (October 14\, 2025). The call invited WCA members to reflect on the theme\, “Freedom of Expression”.\nThe Fall of Freedom project is an urgent call to action—asking the arts community to unite in defiance of the authoritarian forces sweeping the nation. On November 21 and 22\, galleries\, museums\, libraries\, comedy clubs\, theaters\, and concert halls across the country will host exhibitions\, performances\, and public events that channel the urgency of this moment. To join in\, WCA Art Activism Pod is hosting an online Artist Reception and Gallery Tour. \nTo learn more about Fall of Freedom Project\, visit falloffreedom.com. \nThe exhibit is on view November 15-30\, 2026.
URL:https://thefeministartproject.org/event/fall-of-freedom-freedom-of-expression/
LOCATION:IL
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://thefeministartproject.org/wp-content/uploads/2025/11/Screenshot-2025-11-22-at-10-37-30-Instagram.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250829T180000
DTEND;TZID=America/New_York:20250829T200000
DTSTAMP:20260418T162925
CREATED:20250829T172808Z
LAST-MODIFIED:20250829T172808Z
UID:10000813-1756490400-1756497600@thefeministartproject.org
SUMMARY:Women Artists of the DMV
DESCRIPTION:The Joan Hisaoka Healing Arts Gallery at the Smith Center for Healing and the Arts is pleased to be a participating gallery in Women Artists of the DMV. This exhibition will open on Friday\, August 29th\, with an Opening Reception from 6-8 pm. This event is free and open to the public\, with light refreshments served. \nWomen Artists of the DMV\nThe Greater Washington\, DC\, capital region (the DMV) is not only home to some of the best art museums in the world\, dozens of commercial art galleries\, non-profit art spaces\, alternative art venues\, and art organizations\, but it also supports and fertilizes some of the best and most creative visual art scenes in the nation. \nIn 2023\, local DC-area curator\, artist\, and arts activist Florencio Lennox Campello proposed an ambitious exhibition celebrating the vibrant and diverse art scene across the three culturally rich areas which make up the DMV. The show would feature 100–150 works by an equal number of women artists\, including both established figures and emerging talent. We’re thrilled to see this powerful vision come to life\, honoring the depth\, breadth\, and brilliance of women artists in our community. \nThis exhibition is co-hosted by nine separate art spaces starting in late August 2025 for 6-12 weeks.  More information here. \n1632 U St. NW Washington\, DC 20009. \nGallery open by appointment only.
URL:https://thefeministartproject.org/event/women-artists-of-the-dmv/
LOCATION:The Joan Hisaoka Healing Arts Gallery\, 1632 U St. NW\, Washington\, DC\, 20009\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250806
DTEND;VALUE=DATE:20250830
DTSTAMP:20260418T162925
CREATED:20250808T211114Z
LAST-MODIFIED:20250808T211114Z
UID:10000812-1754438400-1756511999@thefeministartproject.org
SUMMARY:CFP: "Language and Text in Feminist Art Part III: East\, South-East\, and Central Asia\, Asian Diasporas" / CAA 2026 Annual Conference
DESCRIPTION:Seeking presentation proposals from art historians\, writers\, and artists. The CAA 114th Annual Conference will take place on February 18-21\, 2026 in Chicago. In order to allow and encourage participation of scholars and artists from Asia\, without the need to travel at great personal and ecological cost\, our session will convene remotely. On the CAA CFP page you can find the session abstract (also pasted in below)\, watch instructional video\, and click to upload your proposal: a 250-words-long abstract and a short bio. You can also include images. The deadline to apply is August 29. \nTHE SESSION ABSTRACT: \nLanguage and Text in Feminist Art Part III: East\, South-East\, and Central Asia\, Asian Diasporas \nThis session examines artworks exploring language from a gendered perspective—a subject that has lacked comprehensive treatment—to inspire new research in feminist art. It will analyze ways in which women (cis or queer) employ text and language as a means of feminist critique\, across art mediums. \nThere is a stubborn belief that feminist art focuses on the image of the body. Meanwhile\, the core of feminist art is conceptual and social practice; art that is designed not just to be looked at\, but also to be acted upon. Text- or language-based art—including what Hélène Cixous called écriture feminine—has been its crucial component as women probe their erasure from historical texts\, objectification in law\, the experience of speaking a language as racialized and sexualized subjects\, or the male-centrism of language\, including AI and the internet. \nThe session is the last in the series of three; part of broader research that seeks to fill a gap in literature about feminist language-based art by privileging transnational\, multigenerational\, and intersectional comparisons\, globally. The first session in 2024 provided a comparative perspective on the Middle East and North Africa; part II—on Latin America and the Caribbean. Part III in 2026 seeks scholarly analyses and artists’ presentations with a focus on the Far East\, Central Asia\, and Asian diasporas. Of equal interest are proposals regarding artists representing cultures where oral expression and poetry dominate the written\, and those engaging with ancient traditions of calligraphy and secret languages of women; both sound-based and text-based projects. \nChair: Monika Fabijanska
URL:https://thefeministartproject.org/event/cfp-language-and-text-in-feminist-art-part-iii-east-south-east-and-central-asia-asian-diasporas-caa-2026-annual-conference/
LOCATION:IL
CATEGORIES:Call for Papers/Presentations
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250801T080000
DTEND;TZID=America/New_York:20250829T170000
DTSTAMP:20260418T162925
CREATED:20250803T151624Z
LAST-MODIFIED:20250803T153626Z
UID:10000811-1754035200-1756486800@thefeministartproject.org
SUMMARY:Call for Proposals | TFAP@CAA 2026 Affiliated Society Session
DESCRIPTION:TFAP@CAA Call for Proposals\nCAA 114th Annual Conference\, Chicago\, February 18–21\, 2026 \nThe Feminist Art Project Affiliated Society Session\nDeadline: August 29\, 2025\nFeminist\, Queer\, and Trans Art Activists in Action! \nChairs:\nJoanna P. Gardner-Huggett\, DePaul University\nConnie Tell\, The Feminist Art Project \nPLEASE FOLLOW THESE INSTRUCTIONS TO SUBMIT YOUR PROPOSAL FOR THIS IN-PERSON PANEL.\nCAA MEMBERSHIP & CONFERENCE REGISTRATION REQUIRED FOR ACCEPTED PRESENTERS. \nImportant dates:\nAugust 29th\, deadline for proposal submissions\nSeptember 16th\, notification of accepted proposals \nFor nearly twenty years\, The Feminist Art Project has supported intersectional and inter-generational conversations regarding feminist\, queer and trans activist art practices. Understanding the rich history of these collective tactics remains instrumental for continued organizing against political oppression and providing essential services to female-identifying individuals. For instance\, in the 1970s\, the arpilleristas produced embroidered narratives denouncing Chile’s totalitarian regime\, while in the 1980s the Greenham Commons Women’s Peace Camp demanded an end to nuclear proliferation. In the 1990s\, Chicago’s Sister Serpents engaged in guerrilla sticker and poster campaigns calling out misogyny and sexual violence and the Dyke Action Machine focused on lesbian agitprop in New York City. In 1999\, the Dutch organization Women on Waves was founded to provide reproductive health services in regions where it is not safe or available\, and in 2001\, LaGender Inc. was established to support the trans health of women of color in the metro Atlanta area. As the voices of feminist\, queer\, and trans artists\, activists\, and scholars are being silenced in this political moment globally\, this session seeks presentations by artists and scholars examining current or historical examples of activist art practices that offer models of protest and mutual aid\, especially work overlooked in current art historical scholarship. \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 114th Annual Conference will take place in Chicago Hilton February 18–21\, 2026.
URL:https://thefeministartproject.org/event/call-for-proposals-tfapcaa-2026-affiliated-society-session/
LOCATION:IL
CATEGORIES:Call for Papers/Presentations
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250708T160000
DTEND;TZID=America/New_York:20250906T180000
DTSTAMP:20260418T162925
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:20260418T162925
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:20260418T162925
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:20260418T162925
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:20260418T162925
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:20260418T162925
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:20260418T162925
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:20260418T162925
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:20260418T162925
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/
LOCATION:IL
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:20260418T162925
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:20260418T162925
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:20260418T162925
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:20260418T162925
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:20260418T162925
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:20260418T162925
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:20260418T162925
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
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DTSTART;TZID=America/New_York:20250214T130000
DTEND;TZID=America/New_York:20250214T140000
DTSTAMP:20260418T162925
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
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