Women Artists Everywhere!

Celebrate the 100th Anniversary of International Women’s Day and Women’s History Month by visiting one of these exciting exhibitions featuring extraordinary work by talented women artists!


Robin Holder, Map of Nubia VI, 1989


An American Consciousness: Robin Holder’s Mid-Career Retrospective: Mobile Museum of Art through April 17, 2011

An American Consciousness features sixty-five works from the career of this important New York–based artist. Holder (American, b. 1952) draws from myriad ethnic, sociopolitical, and spiritual influences. Holder’s prints yield an engaging perspective on the struggles of life and acceptance in America.


A Place Where They Cried: Crystal Bridge Museum of Art, Bentonville, on view

Crystal Bridges commissioned Arkansas sculptor Pat Musick to create A Place Where They Cried, a tribute to the Cherokee, Chickasaw, Choctaw, Muscogee (Creek), and Seminole people who traveled through Arkansas as part of the forced migration from 1831 to 1838 that became known as the Trail of Tears. Musick has been creating sculptures that reflect American Indian culture and history and the tensions between man and nature for nearly six decades.


Rivane Neuenschwander: A Day Like Any Other: Scottsdale Museum of Contemporary Art through June 5, 2011

This is the first comprehensive survey exhibition of the artist’s work. Neuenschwander has made a significant contribution to the narrative of Brazilian conceptualism and the larger field of contemporary art. Working in a variety of media—painting, photography, film, sculpture, installation, and participatory actions—the artist is involved in a uniquely humanist project in which the specific and the universal reside in close harmony.

Eva Hesse, Untitled (S-105), 1968


Eva Hesse: Studiowork: University of California Berkeley Art Museum and Pacific Film Archive through April 10, 2011

This solo exhibition of work by German-born American artist Eva Hesse (1936–1970) is curated by Hesse scholar Professor Briony Fer and Director of the Estate of Eva Hesse Barry Rosen. Featuring many of Hesse’s small, experimental sculptures—which Fer renamed “studioworks”—the exhibition reveals new insight into Hesse’s art.


“into the light of things”: Rebecca Salter works, 1981–2010: Yale Center for British Art, New Haven through May 1, 2011

Featuring approximately 150 paintings, drawings, prints, sketchbooks, sculptures, and items of documentary material by British abstract artist Rebecca Salter (b. 1955), the artist’s first solo museum exhibition presents a penetrating investigation of a dialogue between Eastern and Western aesthetics, artistic practice, and architecture.


Battle of the Sexes: Delaware Art Museum, Wilmington, through May 22, 2011

Organized as a participatory experience by The Philadelphia Women’s Caucus for Art, Battle of the Sexes presents works by women artists, each of whom has invited a male artist to exhibit with her. Artists’ names will not appear on labels identifying the works. Visitors will receive ballots, on which they may vote on whether each work was created by a female or male artist.

Jeanne Quinn, Everything is Not as it Seems, 2009


Place: Contemporary Ceramics by Jennifer Forsberg, Sarah Lindley, and Jeanne Quinn: Museum of Fine Arts, St. Petersburg, through April 24, 2011

This dramatic exhibition brings together three large-scale ceramic installations by Forsberg of Malmö, Sweden, Lindley of Plainwell, Michigan, and Quinn of Boulder, Colorado, for the first time. The striking objects created for Place in the last three years express and interpret notions of space with three complementary approaches: form, structure, and air.


IngridMwangiRobertHutter: Constant Triumph: Spelman College Museum of Fine Art, Atlanta, through May 14, 2011

Ingrid Mwangi, born in Nairobi of Kenyan and German parentage, and Robert Hutter, a German native, explore the notion of race, gender, and cultural heritage through photography, performance, video, and installation. In 2005, Mwangi and Hutter merged their names and biographies, began working as one artistic identity. IngridMwangiRobertHutter creates engaging, provocative, physically demanding, and at times, unsettling works.


Susan Philipsz: We Shall Be All: Museum of Contemporary Art Chicago through June 12, 2011

Philipsz’s sound installations draw on history, literature, and popular and folk music. Philipsz (Scottish, b. 1965), who recently won the Turner Prize, selects pieces of music to reinterpret vocally then separates the multiple audio tracks, playing them through strategically placed audio speakers so that “viewers” moving through a space experience many different voices.

Lil Picard, 9 Wigs, c. 1970


Lil Picard and Counterculture New York: University of Iowa Museum of Art, Iowa City, through May 27, 2011

This exhibition is the first American museum retrospective of artist and critic Lil Picard, an important 20th century feminist artist who played varied and vital—yet under-appreciated—roles in the New York art world during the 1950s, 60s, and 70s. An early practitioner of socio-political performance and installation, Picard was several generations older than groundbreaking female performance artists such as Schneemann and Hannah Wilke.


Louise Nevelson: Farnsworth Art Museum, Rockland, through December 31, 2011

Nevelson is one of America’s most important sculptors of the twentieth century and one of the most significant women artists, but few people know that she grew up in the small coastal village of Rockland. Nevelson and her family donated more than eighty paintings, prints, drawings, sculptures, and pieces of jewelry to the museum, helping to build the Farnsworth’s collection of the artist’s work into the second largest in the world.

Martha Rosler, Vacuuming Pop-Art, 1966–72


Seductive Subversion: Women Pop Artists, 1958–1968: Tufts University Art Gallery, Medford through April 3, 2011

Seductive Subversion examines the impact of women artists on the traditionally male-dominated field of Pop art. The show expands the canon to reflect more accurately the women working during the decade who experimented with industrial materials, subverted domestic skills they had learned as young girls, and appropriated from mass culture.


Video Villa: New Paintings by Barbara Grad: Kemper Museum of Contemporary Art, Kansas City, through May 28, 2011

The paintings in Video Villa take as their inspiration the dynamic intersection of the built and natural worlds. Grad (American, b. 1950) shows her stunning command of painterly abstraction. She moves us from a belief that we are in a recognizable place into an even more convincing reality of a painterly space.

Joan Snyder, Madrigal X, 2001


Dancing with the Dark: Prints by Joan Snyder 1963–2010: Jane Voorhees Zimmerli Art Museum, New Brunswick through May 29, 2011

This first retrospective of the artist’s prints displays the extraordinary range of Snyder’s distinctive graphic achievement. A pioneering feminist artist, Snyder (American, b. 1940) has developed a powerful body of work that explores nature, humanity, and identity, using physical energy and vibrant color to express personal experiences.


The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973–1991: Neuberger Museum of Art, Purchase, through April 3, 2011

This survey of leading women artists examines the crucial feminist contribution to the development of deconstructivism in the 1970s and ’80s. Deconstructivism involved taking apart and examining source material borrowed from the mass media to expose the ways commercial images reveal the mechanisms of power. Women had a particularly high stake in this kind of examination and were disproportionately represented among artists who practiced it.

Teresita Fernández, Borrowdale (Drawn Waters), 2009


Teresita Fernández: Blind Landscape: Museum of Contemporary Art Cleveland, through May, 2011

Fernández is internationally known for immersive installations and evocative large-scale sculptures that address space, light, and perception. Made with polished stainless steel, glass, and other materials including plastic and graphite, Fernández’s abstract sculptures incorporate reflection, light, and shadow in poetic, sometimes luminous formations that suggest natural phenomena.


Anne Tyng: Inhabiting Geometry and Shary Boyle & Emily Duke: The Illuminations Project: Institute of Contemporary Art, Philadelphia, through March 27, 2011

Tyng has designed a gallery-scale model that embodies her thinking about geometry over the last half century. This installation realizes the ambition of all her work: to inhabit geometry. Looking for an alternative to the convention in which images illustrate texts and texts explicate images, Boyle and Duke developed a looser, more associative method of combining words and pictures. The exhibition is a series of drawings and text pairs generated between 2003 and 2010.


ARTMATTERS 14: Sandy Skoglund: The Cocktail Party: McNay Art Museum, San Antonio, through May 8, 2011

For her surreal sculptural installation and accompanying photograph, Skoglund (American, b. 1946) utilizes Cheez Doodle snack food to compose a cocktail-party scene that is typical of American suburbia. The artist transforms reality into a garish dreamworld in which mass-produced food products threaten to consume.

Helen Levitt, Untitled (man with binoculars and child on stoop), 1938


Helen Levitt Photographs: Utah Museum of Fine Arts through June 12, 2011

One of the great photographers of the twentieth century, Levitt took the activity of city streets as her primary subject, paying special attention to the children for whom the street served as a playground. This presentation includes representative works from the late 1930s and early 1940s—when Levitt emerged as a key member of the New York School photographers—as well as later photographs from her long and accomplished career.


Hollis Sigler: The Breast Cancer Diaries: Taubman Museum of Art, Roanoke through April 24, 2011

These selected works speak of the pain and grim reality of living with cancer, but also highlight the tenacity of the human spirit. Sigler was diagnosed with breast cancer in 1985 and its effects on her mind, body and psyche are honestly channeled into her prints and paintings.


Rineke Dijkstra: Ruth Drawing Picasso, Tate Liverpool: Seattle Art Museum, through April 24, 2011

Dutch photographer Rineke Dijkstra’s recent film Ruth Drawing Picasso, Tate Liverpool, 2009, brings to light the artist’s uncanny ability of capturing the nuances of human behavior on film. Characteristic of her larger body of photographic work to date, Dijkstra’s film focuses on a single subject—a young school girl seated in a gallery at the Tate Museum in Liverpool, England.