Voices can be hushed, stifled, extinguished, ignored, persecuted, condemned, or falsified. Voices can also be liberating, therapeutic, powerful, paradigm shifting, life-saving, quieting.
This show is about the artistic voice, having a voice, finding a voice, specifically the voice of a group of female / femme artists the gallery has worked with or been deeply affected by over the past 35 years.
May this show be a tiny addition to the great push forward to a more equal representation of artistic voices, in this gallery, and worldwide.*
*According to a recent Art Market report, women artists sell for less than men in every continent on earth but none worse than in North America where on average men sell their art for almost 50% more than women.
“This show is dedicated to my mother, a single mom who showed me patience, perseverance, empathy and humor. She taught me it was good to laugh and okay to cry.”
“My parents always believed in equal rights for women - that’s the good news. The bad news is that they didn’t prepare me for the fact that most other people in the world didn’t agree with that.”
“Anger can fuel creativity. In my case, it did. I had a burning desire to make art. That was the most important thing to me in my life, I gave up everything for it, that was my goal.”
- Judy ChicagoJudy Chicago
What if Women Ruled the World, 2022
Inkjet print on fabric with digital embroidery 33 1/2 x 24” Edition of 15
“You’re manifesting things that have reference to the whole history of what has existed, and what you’ve learnt from what everyone else has done in the world, and then you have your own slice that makes you preoccupied by something, and very curious and tenacious about manifesting it physically.
Part of it is maybe psychological, and then the other part is like a divine gift I’ve been given. But I need to work every day—a lot. It’s not like I can just be blind in the dark, drawing and it comes out perfect. I make endless revisions and mistakes and corrections.”
- Kiki Smith Kiki SmithCome Away From Her (after Lewis Carroll), 2003
Etching , aquatint, drypoint, and sanding with watercolor additions on mod-made En Tout Cas paper
50 1/2 x 73 1/4”
Edition of 28
Helen Frankenthaler
Lilac
Sweep, 2006Lithograph
22 1/4 x 27 1/2”
Edition of 3
“My life is square and bourgeois. I like calm and continuity. I think as a person I’m very controlling, and I’m afraid of big risks.”
I’m not a skier or a mountain climber or a motorcyclist. And I’m not a safari girl - I never want to go on a safari. My safaris are all on the studio floor. That’s where I take my danger.”
- Helen FrankenthalerBroome Street at Night, 1987
Etching, aquatint, and drypoint
39 1/4 x 39 1/4”
Edition of 68
Helen Frankenthaler“I remember something that happened when I was three years old that was fundamental. I was at a nursery school and the teacher sat me down to color with him.
He took a big piece of paper and a big red crayon and he started to color, and I watched him go from the corner of the page coloring the whole page red, and I remember thinking, Wow, that is so incredible...
That was really intriguing to me, and I’ve often thought about that, a key fascination with the physicality of a surface being covered with a color. That transformation. There is no question that the physicality of the making is very intense for me.”
- Elizabeth Murray
Left: Elizabeth Murray
Dog Down, 1988
Lithograph in colors, on twelve sheets of collaged arches paper
49 1/2 x 37 1/2”
Edition of 65
Right: Elizabeth Murray
Up Down, 1988
Lithograph in colors on fourteen sheets of collaged arches paper
50 x 37 1/2”
Edition of 62
“We struggle into being and then are subject to a string of moments we sort and combine, trying to understand our condition with a somewhat medical curiosity.
Through paintings, drawings and sometimes installations, I analyze this behavior by scrutinizing these blips and pings of human nature like specimens.”
Suzanne Levesque Topple, 2023
Oil on hand-stitched canvas with polyester silk 15 3/4 x 23 3/4”
- Suzanne Levesque
Oil on hand-stitched canvas
15 3/4 x 15 3/4”
Suzanne Levesque
Sink, 2023
“Since much of my work addresses issues of female identity and often how as women we are seen as female bodies first, I sometimes depict my figure unclothed and exposed as to take ownership of our bodies and to defy the gaze.”
- Alison Saar Alison SaarBlack Bottom Stomp, 2017
Woodcut and linoleum cut on indigo dyed vintage quilt pieces
18 x 11 3/4”
Varied edition of 18
Woodcut and linoleum cut on indigo dyed vintage quilt pieces
18 x 11
Varied edition of 18
Alison Saar
Black Bottom Stomp, 2017
3/4”
“Creativity is something that is really within the subconscious, and mysterious. To invent something, it requires this period of time, of trial and error, and making mistakes so you can make a discovery.”
- Paula Scher Paula ScherU.S. Airline Routes, 2014
Acrylic on hand-pulled screenprint
37 x 54 1/4”
Paula Scher
Shock and Awe, 2005
Color pencil on paper
60 x 40”
Paula Scher
What They Said About the WMD’s, 2004
Ballpoint on newsprint 17 x 14”
“There are so many people in the world doing great work and who are going unrecognized. I think small stories should be celebrated because it can make us do more good.”
- Carole FreemanCarole Freeman
Hang Mike Pence, 2022
Oil on canvas
72 x 36”
“True community is based on upon equality, mutuality, and reciprocity. It affirms the richness of individual diversity as well as the common human ties that bind us together.”
Murray’s struggle with gender identity, at a time when there was no vocabulary for transgender, shaped her life as a lawyer/ legal scholar, civil rights pioneer, feminist, gender equality advocate, and the first African-American female Episcopal priest.
Carole Freeman
Pauli Murray, 2022
Oil on linen 12 x 9”
PAULI MURRAY (1910-1985)
Yoko Ono
War is Over, 1969
Offset lithograph
30 x 20”
“Reality can be elastic, and I want to see how elastic it can be, you know? I don’t know why I started to create … Well, I think one thing I know is that I didn’t want to repeat what was in the culture already. I wanted to go forward.”
- Yoko Ono“My early work had a lot to do with vulnerability, with being out of control—seeing and listening to the cancer patients; that’s what I felt I should do. They were powerful but fragile. They encompassed nature, but it was a nature that you never would have seen. They felt wild.”
Untitled, 1990-2000
Lithograph 56 x 44”
Edition of 20
Petah Coyne - Petah Coyne“My body of work as an artist comes through the doorway of the poetry of Emilie Dickinson. I have worked with her words, her extraordinary intense words. These words caused a flame to rise up in me and inspirations for artwork were literally born from her words.”
- Lesley DillPoetic Body: Ears, 1992
Lithograph and letterpress
18 x 13”
Edition of 20
Lesley Dill
“For many years, I have considered myself to be an artist among other artists. I wouldn’t call myself ‘conceptual’; on the other hand, I have a few ideas in my head.”
- Betty Woodman Betty WoodmanOn the Way to India, 1988
Color lithograph
28 x 53”
Edition of 65
Betye Saar
Blow Top Blues, The Fire Next Time, 1998
Color lithograph, hand coloring, photo electric collage
27 x 22 1/2”
Edition of 45
“To me the trick is to seduce the viewer. If you can get the viewer to look at a work of art, then you might be able to give them some sort of message.”
-Betye SaarLouise Bourgeois
Looking at Her Sideways (Version 2 of 2), 1990
Photogravure after soft ground etching and engraving
15 x 11”
Unpublished in any state
1 of three known impression in this state
Louise Bourgeois
Femme Maison (Woman House), 1984-1990
Photogravure
15 x 11”
Louise Bourgeois
Pregnant Caryatid, 2002
Color lithograph on vintage cloths
29 x 20 1/2”
Series of 9
“The artist has a privilege of being in touch with his or her unconscious. This is really a gift. It is the definition of sanity. It is the definition of self-realization.”
-Louise BourgeoisArt is the Guarantly of
Louise Bourgeois of Sanity (from the Series What is the Shape of this Problem?), 1998
Letterpress and etching 11 13/16 x 17” each
Edition of 25
“My work has always been about power and control and bodies and money and all that kind of stuff”
- Barbara Kruger
Alice Neel
Judith Solodkin, 1978
Lithograph 30-1/2 x 22-1/2
“In the process of painting someone, I reveal not only what shows but what doesn’t show, but what is also characteristic.”
- Alice Neel
Susan Schwalb
Harmonizations XVIII, 2023
Silver/gold/brass/copper/aluminum point, flashe Prussian Blue acrylic on wood panel
30 x 30 x 2”
Susan Schwalb
Harmonization #11, 2016
Silver, gold, aluminum, platinum point, carmine gesso on arches hot press watercolor paper
18 x 18”
“I have worked in the Renaissance technique of silverpoint and metalpoint drawing since the early 1970’s. The sensual quality of silverpoint built up slowly and meticulously with thousands of lines was particularly suited to my images. I found going back to a traditional technique was compatible with a personal desire to find my own identification as a woman artist.”
- Susan Schwalb“I created OY/YO thinking about the American promise of equality and fairness and our responsibilities to make the country a better place for all. With hate and division now on the rise, it is urgent to see our commonalities, what we share, and what brings us together.”
- Deborah KassDeborah Kass
OY/YO (Red), 2013
Powder coated aluminum on polished aluminum base
10 1/2 x 20 x 6”
Edition of 24
Jenna Pirello
Eat My Heart Out, 2019
Arcylic on wood panel
44 x 36”
Pirello describes her process as “a series of methodical excavations. Treating my body as a shapeshifter, I move rhythmically to change the pace, pressure and intention through various ways of touching the surface”
- Jenna Pirello
Jenna Pirello Shapeshifter, 2020 Arcylic on wood panel 24 x 18”
Duke, 2004
Photographs, photogravure with laser-incised peeled-paper, collage and hair pomade
5.7 x 3.9”
Edition of 20
“I didn’t want to make a picture of something that you already think you know. I’m not making a critique in this sense. I want to make a picture of something I feel like we are together making language for as we speak.”
- Ellen Gallagher Ellen Gallagher“I chose a manner of constructing a painting that allows for the huge carnival of emotions that I seek to represent, anger being only one of them, but also love and tenderness and humor, loneliness, self-deprecation, internalized misogyny, grief and joy... the whole banquet table. The manner in which I paint allows for this range.”
- Lisa YuskavageHippies in Tit Heaven, 2015
Lithograph
39 5/8 x 34 3/4”
Edition of 45
Lisa Yuskavage
“I love beauty and have been criticized for making works that are too beautiful.”
Howardena Pindell
Peters Squares Waterfall Johnson Vermont, 1986
Color woodcut with collage on various Asian papers
1/2 x 36”
Edition of 15
Unique proof outside Edition of 15
- Howardena PindellLiliana Porter
Tiger V, 2005
Digital embroidery and thread on paper
17 1/2 x 21 1/2”
Edition of 25
“The empty space is where things happen. When things are small but surrounded by a lot of space, you have to approach it.”
- Liliana Porter Louise Nevelson
The Night Sound, 1971
Lead Intaglio
25 1/2 x 16”
Edition of 150
“My work is the mirror of my consciousness. In my own work, I think there is a beyondness, some call it mystery. It contains the awareness of love, or sorrow, all the human emotions.”
- Louise Nevelson
MUSIC IN SENEGAL, 2017
Color lithograph
18 x 24”
Edition of 60
“I paint the way some people write their autobiography. The paintings, finished or not, are the pages of my journal, and as such they are valid. The future will choose the pages it prefers. It’s not up to me to make the choice.”
- Francoise Gilot Francoise Gilot
Marianne Garnier
All the New That’s Fit to Print, 2013
Collage, pencil, gouache, and watercolor on paper
6 x 8 3/4”
“My narrative pictures are most often initiated by texts. Juxtaposed with seemingly unrelated images of floating bodies, biological microstructures, or elements of domestic furnishing the words find themselves re-contextualized, they gain new references and become visual puns or feminist comments.”
- Marianne GarnierInsect Bite (la démangeaison), 2011
Collage, pencil, gouache, and watercolor on paper 6 1/2 x 4 1/4”
Marianne Garnier
Don’t Warp the Vellum, 2021
Watercolor on oil monoprint 28 x 33”
“Art school at University of Michigan instilled my love for printmaking. After school, I moved to NYC, made money by waiting tables while taking more print classes at NYU. My first internship in Maine, with Leon Golub and Nancy Spero, was the turning point for me to go into fine print publishing.”
Susan Oehme
- Susan Oehme
Color Etching with Brick Wall, 2023
7-color etching with aquatint
24 1/4 x 28 1/4”
Edition of 28
Cecily Brown“The place I’m interested in is where the mind goes when it’s trying to make up for what isn’t there.”
- Cecily Brown
Marianne Garnier and Christie Ann Reynolds
Exquisite Corpse
Unique artist book with collage, pencil, gouache, and watercolor
Jennifer Bartlett
Air: 24 Hours 5 A.M., 1993
Etching, aquatint, and drypoint
19 5/16 x 18”
Edition of 65
“I’d write out a list of ideas for work, and ists I felt owned them. Art at that time had next move. I did the things on my list that were conceptual, off base, not correct. Street for rubber plugs, plastic tiles, hanks would subject to various ordeals: baking, ing, et cetera.”
and beside them I’d put down the arthad to be new. One had to make the that other artists didn’t want to do. They They involved committed trips to Canal hanks of rope, red plastic teapots, which I baking, freezing, dropping, painting, smash-
Jennifer Bartlett Spring, 1993
Screenprint
33 3/8 x 34 5/8” Edition of 62
- Jennifer Bartlett
Shanlin Ye
Landscape 2, 2022
Acrylic on canvas
14 x 32”
“I am fascinated by the fluidity and ungoverned nature of watercolor. I enjoy watching the water and the color dancing on paper. It is like a poem. My work is not about realism or perfection; rather, it addresses the opposite: the coarse, imperfect and aberrant.”
- Shanlin Ye
Shanlin Ye Bird 2, 2022
Acrylic on canvas
31 1/2 x 31 1/2”
“For me, art represents home, in the sense that it’s my only constant.”
Eva PetricLast Sun, 2022
Recycled handmade lace assemblage on a net
- Eva Petric
First Sun, 2022
Recycled handmade lace assemblage on a net
Eva Petric
Jennifer Bartlett (b. 1941, Long Beach, CA - d. 2022, Amagansett, NY) was known for her room-sized installations ranging in medium, that explored her immediate environments including houses, mountains, trees, gardens, and the ocean. Inspired by Minimalism, she started working on square steel enameled plates in 1968 on which she went on to create her most notable works. Working in two dimensions and occasionally moving to three, her works often started in a controlled, mathematical abstraction and moved to more painterly realism. Bartlett’s works are in the collections of the Dallas Museum of Fine Arts, the Los Angeles County Museum of Art, the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art, the Philadelphia Museum of Art, the San Francisco Museum of Modern Art, the Tate Modern, and the Whitney Museum of American Art, among many others.
Louise Bourgeois (b. 1911, Paris - d. 2010, New York) was a French-American sculptor, painter, and printmaker who is best known for her sculptures and large-scale installation art. In her work, she explores themes such as domesticity and the family, sexuality and the body, death and the subconscious based on her fascination with psychoanalysis and her use of art as a therapeutic process. Her first retrospective was organized by the Museum of Modern Art in New York (1982-83). Today, Bourgeois’s works are held in the collections of the Art Institute of Chicago, the Whitney Museum of American Art in New York, the Tate Gallery in London, and the Kunstmuseum Basel, among others.
Cecily Brown (b. 1969, London) is a leading Contemporary painter, whose work embraces both representational and abstract elements in sensual depictions of figures and nudes. Brown was born in London, and attended the Slade School of Fine Art; she later studied printmaking and draftsmanship in addition to painting. She moved to New York in the early 1990s, quickly receiving critical acclaim for her painted works, which feature abstracted images of human forms, often engaging in sexual activity, in rich colors and animated brushstrokes. Her work belongs in the collections of the British Museum, the Museum of Modern Art, the Tate, the Whitney Museum of American Art, Guggenheim Museum, the Louisiana Museum, Denmark, the Foundation Louis Vuitton, Paris, among others.
Judy Chicago (b. 1939, Chicago, IL) helped pioneer the feminist art movement in the 1960s and ’70s; She created one of the most iconic works of the First Wave feminist art movement, The Dinner Party, 1974-79. This piece - in the permanent collection of the Brooklyn Museum of Art, NY - is an homage to 39 influential female figures from Eastern and Western mythology and civilization. For decades, she has made work that celebrates the multiplicity of female identity. Chicago’s practice spans painting, textile arts, sculpture, and installation. Chicago studied at the University of California and founded a groundbreaking and widely influential feminist art program while on staff at California State University, Fresno. Her work has been exhibited worldwide and is in major permanent museum collections such as the British Museum, Moderna Museet, the Metropolitan Museum of Art, the Los Angeles County Museum of Art, the Tate, the Art Institute of Chicago, and the National Gallery of Art in Washington, D.C.
Petah Coyne (b. 1953, Oklahoma City, OK) is a contemporary American sculptor and photographer. Since the 1980s, Coyne is renown for using unorthodox materials to create intricate, detailed sculptures that have a deep, complex emotional range. Coyne’s work is inspired by literature, film, art history and the intricacies of the individual soul. Her work resides in numerous permanent museum collections including the Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; San Francisco Museum of Modern Art, California; National Museum of Women in the Arts, Washington, D.C.; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Museum of Contemporary Art KIASMA, Finland.
Lesley Dill (b. 1950, Bronxville, NY) an American artist working at the intersection of language and fine art. Exploring the power of words to cloak and reveal the psyche, Dill invests new meaning in the human form and challenges the viewer to confront our linguistic relationships as well as perceptions of language itself. Dill received her Master of Arts from Smith College in 1974, and her Master of Fine Arts from Maryland Institute College of Art in 1980. She has received a John Simon Guggenheim fellowship in addition to the Joan Mitchell Foundation Grant, National Endowment for the Arts Fellowship, and Anonymous Was A Woman, among others. Dill’s artworks are in the collections of over fifty museums, including the Metropolitan Museum of Art, the Museum of Modern Art in New York, and the Whitney Museum of American Art. The artist lives and works in Brooklyn, New York.
Lin Emery (b. 1926, New York City - d. 2021, New Orleans) was an American sculptor based in New Orleans, LA and was best known for her aluminum kinetic sculptures in public spaces. Her work was inspired by the movement of trees, water, and other natural elements. She received the Louisiana Governor’s Arts Award in 2001, an honorary doctorate from Loyola University of New Orleans in 2004, and the City Award for Public Art in Osaka, Japan, and has been the subject of numerous solo exhibitions, including a retrospective at the New Orleans Museum of Art in 1996.
Helen Frankenthaler (b. 1928, New York City - d. 2011, Darien, CT) has long been recognized as one of the great American artists of the twentieth century. She expanded the possibilities of abstract painting through the invention of the soak-stain technique, which sometimes referenced figuration and landscape. During her lifetime, Frankenthaler showed extensively in cities including New York, Los Angeles, Paris, San Francisco, Chicago, and London, among others. Her work belongs in the collections of the Art Institute of Chicago, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art, the Tate, and the National Gallery of Art in Washington, D.C.
Carole Freeman (b. 1954, American / Canadian) is an American and Canadian contemporary figurative artist, is known for evocative portraits and narrative paintings of cultural, social, political, and personal significance. The subjects of her pictures are intensely rendered with a distinctive intimacy, whether they are celebrities, artists, historical or newsworthy figures, family, friends, or strangers. Freeman attended the Royal College of Art in London, UK (M.A., Painting). Her work is represented in corporate and private collections, along with commissions for business titans, art critics, filmmakers, gallerists, and royalty. Reviews and features have been in major media publications such as The Guardian, New York Magazine, and Artnet News.
Ellen Gallagher (b. 1965, Providence, RI) attended Oberlin College and the School of the Museum of Fine Arts, Boston and currently lives and works in New York and Rotterdam, Holland. Ellen Gallagher’s multimedia practice explores the history of beauty and images in our collective American history. Repetition and revision are central to Gallagher’s treatment of advertisements that she appropriates from popular magazines like Ebony, Our World, and Sepia. Gallagher’s work is included in many major international museum collections including MoMA, Albright Knox Art Gallery, The Metropolitan Museum of Art, The Art Institute of Chicago, MOCA, Philadelphia Museum of Art, Whitney Museum of Art, Tate, and Centre Pompidou.
Marianne Garnier (b. 1965, Brussels, BE) uses a wide array of techniques including collage, printing, painting, and drawing among others. She creates images that have appeared in many publications including Le Monde, Le Monde Diplomatique – Maniere de voir, Les Echos, and Le Nouvel Observateur. She has worked for Odile Jacob editions and Pocket, and collaborated with design firms and advertising agencies on different institutional projects for la Mairie de Paris, la RATP and The European Community.
Françoise Gilot (b. 1921, Neuilly-sur-Seine, FR) came of age as an artist in the early 1940s, a member of the School of Paris, and has been pursuing a bold, Modernist vision in her paintings and prints ever since. Throughout the 1980s and 1990s she designed costumes, stage sets, and masks for productions at the Guggenheim in New York. She was awarded a Chevalier de la Légion d’Honneur, in 1990. Ranging from representational and narrative to entirely abstract, her compositions evince influences from Cubism and Fauvism.
Deborah Kass (b. 1952, San Antonio, TX) works across media and disciplines and is notable for her pointed feminist critique. Through her use of appropriation, she often mimics the work and styles of male artists to comment on and rewrite the patriarchal narrative of art history. Her honors include a mid-career retrospective at The Andy Warhol Museum in Pittsburgh, inclusion in multiple Venice Biennales, and the position of senior critic at the Yale University painting program. Kass’ work is in the collections of the Brooklyn Museum, the Metropolitan Museum of Art, the Museum of Modern Art, the Guggenheim Museum, and the Whitney Museum of American Art.
Barbara Kruger (b. 1945, Newark, NJ) briefly attended Syracuse University, then Parsons School of Design in New York City, where she studied with artists and photographers Marvin Israel and Diane Arbus. Kruger worked in graphic design for Condé Nast Publications at Mademoiselle magazine and has described her time in graphic design as “the biggest influence on my work…[it] became, with a few adjustments, my ‘work’ as an artist.” Kruger has enjoyed solo exhibitions at some of the world’s most prestigious museums and created site-specific installations for the Whitney Museum of American Art, the Los Angeles County Museum of Art, and the Hirshhorn Museum and Sculpture Garden.
Suzanne Levesque (b. 1983, Luxembourg) is an American artist. She works in many media including drawings, paintings, objects and installations. Her work focuses on the ephemerality and vulnerability of human existence. “We struggle into being and then are subject to a string of moments we sort and combine, trying to understand our condition with a somewhat medical curiosity. Through paintings, drawings and sometimes installations I analyze this behavior by scrutinizing these blips and pings of human nature like specimens.” Levesque studied painting at the Maryland Institute College of Art (MICA) in Baltimore, Maryland (USA) on a DAAD scholarship (German Academic Exchange Service), with Mimi Gross and Raoul Middleman, among others. She lives and works in New York and Berlin.
Elizabeth Murray (b. 1940, Chicago, IL - d. 2007, New York) was a Neo-Expressionist painter particularly known for her unconventionally-shaped canvases, and significant role in revitalizing painting during an era dominated by Conceptual Art. Born in Chicago, IL, Murray spent much of her childhood sketching and drawing. In 1958, she entered the School of the Art Institute of Chicago to become a commercial artist, but her fascination with the Institute’s The Plate of Apples (1877) by Paul Cezanne inspired her to pursue painting instead. She went on to receive a MFA from Mills College in California in 1964. In the Post-Modern fashion, Murray’s work rejected Minimalism and attempted to revive concepts of narrative and identity in art.
Alice Neel (b. 1900, Gladwyne, PA - d. 1984, New York) was born in Merion Square, Pennsylvania, and studied at the Philadelphia School of Design for Women (now Moore College of Art) from 1921 to 1925. After living briefly in Havana, Cuba, she settled in New York City in 1927. During the 1930s she participated in the Federal Art Project. Although she painted landscapes, interiors, and still lifes, Neel was best known for her expressionistic portraits. In these “pictures of people,” as she preferred to call them, Neel sought to convey the inner essence of her subjects. Her distinctive style received belated recognition in 1974 with a retrospective exhibition at the Whitney Museum of American Art. In 1981 Neel became the first living American artist to have a major retrospective of her work in Moscow.
Louise Nevelson (b. 1899, Ukraine – d. 1988, New York) was an American sculptor known for her monumental, monochromatic, wooden wall pieces and outdoor sculptures. By the early 1930s she was attending art classes at the Art Students League of New York, and in 1941 she had her first solo exhibition. A student of Hans Hofmann and Chaim Gross, Nevelson experimented with early conceptual art using found objects, and dabbled in painting and printing before dedicating her lifework to sculpture. Usually created out of wood, her sculptures appear puzzle-like, with multiple intricately cut pieces placed into wall sculptures or independently standing pieces, often 3-D. The sculptures are typically painted in monochromatic black or white. A figure in the international art scene, Nevelson was showcased at the 31st Venice Biennale. Her work is seen in major collections in museums and corporations. Nevelson remains one of the most important figures in 20th-century American sculpture
Sue Oehme (b. 1959, American) Her recent body of work focuses on the use of color and shape to create structure and push visual space. She utilizes everyday recycled objects and etching plates that are prepared and inked to make complex, multiple-layered images that are reminiscent of hints of life in our super-charged, consumer-based, politicized culture. After years of collecting various recycled materials from past artist projects in the print studio, Oehme began using them in her new works. These consist of cut-offs from other artist’s stencils, miscellaneous flattened packaging materials, mesh produce bags, 6-pack plastic rings, textural wall papers, bits of acetate, coffee stir sticks, and various test plates with dry point, aquatint, hard ground and etching. Cast off strips of Solar plates which have been intentionally shattered to create random fractured patterns are a key structural element. Another main component, and sometimes the only one, is watercolor painted on vellum, which is then cut into various oddly shaped and not-quite-square pieces. All of the “plates” are inked with wiped or rolled oil color, and then the composition of the print takes place on the spot on the press bed. Almost every print is put through the press at least two times, to build up the density of color and trompe-l’oeil overlays. Once the printing is completed, the print is stapled to the flat wall in the studio, and then Sue spends up to 15 hours hand embellishing the final piece.
Yoko Ono (1933, b. Tokyo) has made profound contributions to visual art, performance, filmmaking, and experimental music since emerging onto the international art scene in the early 1960s. Born in Tokyo, she moved to New York in the mid-1950s and became a primary figure in the development of Fluxus and Conceptual art. Blurring the boundaries between art, politics, and society, her work promotes world peace through simple and direct messages on stamps, pins, billboards, banners, and posters.
Eva Petric (b. 1983, Kranj, Slovania) Lives and works between New York City, Vienna, and Ljubljana, creating works in photography, video, performance, installation and writing. In New York, Eva is presented by Galerie Mourlot – New York. She holds a BA in psychology and visual arts from Webster University Vienna, and an MFA in new media, from Transart Institute New York /Berlin. Her art has been shown in over 55 solo and 75 group exhibitions all over the world, receiving numerous recognitions and awards. She has had over 40 solo and 60 group exhibitions in Europe, USA and Asia.
Howardena Pindell (b. 1943, Philadelphia, PA) In her long and prolific career as an artist, activist, and arts worker, Howardena Pindell has drawn widespread acclaim for her stylistically diverse paintings and videos that frequently examine identity politics. Pindell is forthright about her experiences of racism and sexism as a Black woman and artist, as she recounted in her first and most famous video, “Free, White and 21” (1980). Almost 40 years later, in 2018, the MCA Chicago mounted her first major museum survey. Originally trained in figuration, Pindell turned to abstraction after receiving her MFA from Yale University. In 1968, she moved to New York City, took a job at the Museum of Modern Art, and began using a hole punch to create dizzying collages that grew larger and more abstract. Her work also became more personal and political after a near-fatal car accident in 1979, which motivated her “Autobiography” series addressing trauma and memory. Pindell was featured in The Artsy Vanguard 2019.
Jenna Pirello (b. 1988, Boston, MA) A Boston Native, Pirello received her BFA from Boston University then traveled to Yale University to earn her MFA in painting. She moved to Brooklyn, NY, before departing for Portland, Maine where she currently lives and works and enjoys a more balanced life.
Liliana Porter (b. 1941, Argentina) works across mediums with printmaking, painting, drawing, photography, video, installation, theater, and public art. Porter began showing her work in 1959 and has since been in over 450 exhibitions in 40 countries.
Christie Ann Reynolds is the author of Texts from My Mom (Big Lucks 2014), Revenge for Revenge (Coconut 2012), and idiot heart (New School Chapbook Contest 2009). She studied poetry at The New School and holds degrees in English literature and teaching from Hofstra University, Queens College, and Bank Street School of Education. She is the recipient of an Academy of American Poetry Award and the Poets & Writers Amy Award for emerging female writers. She was recently chosen as the first prize poetry winner by Fence Magazine and
Alison Saar (b. 1956, Los Angeles) Sculptor, mixed media, and installation artist. Celebrated artist in her how right, and her works are held in major museums worldwide, she is also the daughter of renowned artist Betye Saar. Both, mother and daughter, have received a Guggenheim Fellowship, amongst other of the most prestigious international arts awards.
Betye Saar (b. 1926, Los Angeles) an icon of the Black Arts Movement. She used a wide breadth of artistic medium in her work. She was a filmmaker, activist, printmaker, assemblage and installation artist. Her work is highly political. She began her adult life as a social worker then studied design. A printmaking class changed the direction of her life. She powerfully used printmaking and many other forms of art to challenge negative ideas about African Americans and to critique American racism towards Blacks.
Paula Scher (b. Washington, D.C., 1948) Scher is one of the most acclaimed graphic designers in the world. She has been a principal in the New York office of the distinguished international design consultancy Pentagram since 1991, where she has designed identity and branding systems, environmental graphics, packaging and publications for a wide range of clients that includes, among others, Citibank, Microsoft, the Museum of Modern Art, Tiffany & Co, and The Metropolitan Opera. In the 1990s, Paula Scher began painting colorful typographic maps. The paintings were a reaction against information overload and the constant stream of news, which, like the paintings, presented skewed versions of reality in a deceptively authoritative way. She has received innumerable awards, and her designs are in the permanent collection of the Museum of Modern Art, the Cooper Hewitt National Design Museum, the Library of Congress, the Victoria and Albert Museum and other institutions.
Susan Schwalb (b. 1944, New York City) is one of the foremost figures in the current silverpoint revival. She was born in New York City in 1944 and studied at Carnegie Mellon University. She has had over 50 solo exhibitions in galleries and museums worldwide, and her work is represented in most major public collections, including the Museum of Modern Art - NYC, the Metropolitan Museum of Art-NYC, the Kupferstichkabinett - Berlin, the Ashmolean Museum, Oxford, the Yale University Art Gallery - New Haven, CT and the British MuseumLondon. Schwalb was one of only three living artists included in the historical metalpoint exhibition Drawing in Silver and Gold: Leonardo to Jasper Johns (catalog # 102) at the National Gallery of Art, Washington DC in 2015. She lives in New York City.
Kiki Smith (American, b. 1954, Nuremberg, Germany) is a German-born sculptor known for her works that deal with bodily themes, abjection, and sexuality. Smith’s artwork branches across disciplines, depicting the female nude and the natural world through printmaking, sculpture, books, drawings, and textiles. Her powerful, imaginative compositions have been shown around the world, notably at the Venice Biennale five times throughout her four-decade career and in 2006 she was recognised by TIME Magazine as one of the ‘TIME 100: The People Who Shape Our World.’
Betty Woodman (American, b.1930) is an important and influential ceramic artist, known for her exuberantly colorful and inventive work. Woodman studied ceramics at The School for American Craftsmen in Alfred, New York from 1948-1950. Often working with a deconstructed version of the traditional ceramic vessel, her work has ranged from site-specific murals, fragmentary columns, and carpet-like floor pieces. Her work has been exhibited widely, and is represented in museum collections worldwide, including the Philadelphia Museum of Art, the Metropolitan Museum of Art in New York, the Brooklyn Museum of Art, the Stedelijk Museum in Amsterdam, and the World Ceramic Center in Korea, among several others. She is the recipient of a Fulbright-Hays Scholarship, two National Endowment for the Arts fellowships, and the Rockefeller Foundation Fellow, among other honors.
Shanlin Ye grew up in China and received her BFA and MFA from Tsinghua University in Beijing. Her work has been exhibited nationally and internationally and acquired by public and private collections all over the world.
Lisa Yuskavage (b. Philadelphia, PA, 1962) received her BFA in 1984 from The Stella Elkins Tyler School of Art at Temple University and her MFA from Yale University’s School of Art in 1986.
