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DTSTART;TZID=America/New_York:20250314T103000
DTEND;TZID=America/New_York:20250429T180000
DTSTAMP:20260421T080205
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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
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DTSTART;VALUE=DATE:20250319
DTEND;VALUE=DATE:20250525
DTSTAMP:20260421T080205
CREATED:20250321T120126Z
LAST-MODIFIED:20250321T120126Z
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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
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ORGANIZER;CN="Debra Wright%2C The Rogue Art Project":MAILTO:info@debrawrightstudio.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250401T110000
DTEND;TZID=America/New_York:20250719T170000
DTSTAMP:20260421T080205
CREATED:20250406T145942Z
LAST-MODIFIED:20250406T151827Z
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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
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DTSTART;TZID=America/New_York:20250412T100000
DTEND;TZID=America/New_York:20250928T170000
DTSTAMP:20260421T080205
CREATED:20250406T151558Z
LAST-MODIFIED:20250406T151718Z
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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
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DTSTART;TZID=America/New_York:20250414T090000
DTEND;TZID=America/New_York:20250414T130000
DTSTAMP:20260421T080205
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
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