Katy Hessel’s new survey of women artists leaves out men, but also falls short of offering a new take on feminist art history.
We need more support for the women who have to balance an art practice with caregiving for their ailing parents.
Personal safety concerns have pushed some women and trans artists to forgo studio visits, further narrowing their access to opportunities in the art world.
Ruth Millington tells the story of the women (and nine men) who have been portrayed in various paintings considered “masterpieces.”
While Koons may be a man on the moon, he’s looking back at Earth, oblivious to the vastness behind him, if only he would turn around.
Dorothy Podber should at least be acknowledged as the co-author of Warhol’s multi-million dollar Shot Marilyns series.
Psychologically, the work of both Gertrude Abercrombie and Hughie Lee-Smith enhance the otherworldly isolation of “Nighthawks.”
This word expresses a passivity that obscures the reality of these women’s stories. I prefer the more accurate “erased.”
Greatness, in this new golden age of wealth and vanity collecting, is inextricably linked to money, selling prices, and auction results.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.
A 2013 study which analyzed the size of handprints accompanying animal drawings found that women were more likely to have made them.
Curatorial leadership with a focus on site and audience develops an inclusive art program without using quotas.