In early 2024, the New Mexico Committee of The National Museum of Women in the Arts met with Turner Carroll Gallery to explore possibilities for a bold new initiative–a world class, biennial exhibition of the women artists who are the hidden gems of New Mexico’s contemporary art engine While the National Museum of Women in the Arts in Washington, D.C., hosts a national juried exhibition of women artists every three years, there has not been a consistent exhibition platform exclusively celebrating New Mexico women artists. Now, there is! Turner Carroll Gallery and the NM Committee of the National Museum of Women in the Arts have established the New City of Ladies exhibition, which will occur every two years in perpetuity, at Turner Carroll Gallery.
The contemporary art world tends to be quite proprietary, so this collaboration between Turner Carroll and NMWA NMC is groundbreaking. The exhibition title, The New City of Ladies, has two important references The first is The Book of the City of Ladies, by Christine de Pizan and published in 1405. This tome is regarded as the first feminist work of literature, describing a city built on the virtues of Reason, Rectitude, and Justice. Every female resident of the City of Ladies was to set a positive example for society
The second reference for The New City of Ladies has everything to do with women in New Mexico A little known fact, New Mexico’s capital city Santa Fe was known as “The City of Ladies” long before it became “The City Different”. The moniker came from the intrepid leadership provided by nonconformist women who settled in Santa Fe to escape expectations of upper class society in the American Northeast. Women like the White sisters (who founded what would become the American Society of Archaeology), Mabel Dodge Lujan, Willa Cather, Georgia O’Keeffe, Mary Austin, Mary Cabot Wheelwright, Agnes Martin, Judy Chicago, Harmony Hammond, Lucy Lippard, Susan Rothenburg, Linda Benglis, and numerous others, made New Mexico a new type of society that was full of possibility and purpose for women. In adding the word “New” in front of both “City of Ladies” references, we create a specifically New platform of opportunity and expression for the finest women artists of New Mexico.
For this premiere edition of The New City of Ladies, jurors Marisa Sage (Director, NMSU Art Museum), Dr. Barbara M. Stafford (art historian, University of Chicago), and Tonya Turner Carroll (independent curator, art historian, and gallerist) reviewed and selected only 33 works of art from 516 submissions. The jurors were not provided with names nor did they know the identities of the women whose works they reviewed. The sole criteria for the selection process was excellence. No artworks were disallowed due to size, medium, or creation year The resulting exhibition is extraordinarily fresh, celebrating the skillful creativity of women artists.
Eclipse #19 2022
flashe paint with copper leaf on
18 x 18 x 2"
Zen says, “…the ideas of the poet should be noble and simple.” So it is that my paintings are noticeably influenced by these concepts. Beyond this I am happily entrenched in the formal properties of the painting process—color, edge, space, form and composition. Paint and painting delight me. The colors shine in magical ways transfusing the surface and each other. I layer them on until I capture just the right note, or rather the music between the notes.
My lush surfaces try to capture the elegance I seek and hold the viewer long enough where he/she will probe further. Like poetry, deep listening is fundamental for the viewer of my reductive multimedia art.
Eclipse #18 2022
flashe paint with copper leaf on panel
18 x 18 x 2"
$2600
There is an ancient Eastern tradition of poetry as an idea of minimal surface texture, with it’s complexities hidden at the bottom of the pool, under the bank, a dark old lurking, no fancy flavor. There is a complexity deep within that context for the reader to ferret out. One must allow to be absorbed by the work not straining to fathom it. This is best done with silent contemplation.
Zen says, “…the ideas of the poet should be noble and simple.” So it is that my paintings are noticeably influenced by these concepts. Beyond this I am happily entrenched in the formal properties of the painting process—color, edge, space, form and composition. Paint and painting delight me. The colors shine in magical ways transfusing the surface and each other. I layer them on until I capture just the right note, or rather the music between the notes.
I was influenced growing up among family members who worked with their hands. Along with my studies at U.W. Milwaukee, I had classes with Professor Ruth Gao who introduced me to visiting fiber artists Elizabeth Tuttle, John McQueen and Diane Itter, whom have had a huge impact on my work.
Travel, along with interaction with people from many cultures, has broadened my world and affected my work. Small details in nature from seed pods, to nests are always subconsciously an influence.
I like to experiment with color, texture and form. The variations in color and pattern are a product of the slow, intricate, process of construction. The intimate, personal, handmade nature of my work is what I hope people respond to.
Elizabeth Buckley
Molten Beneath the Strata 2017
hand-woven tapestry
84 x 28"
$23700
33605
Elizabeth J. Buckley’s approach to the art of hand woven tapestry involves working in multiple layers and dimensions to create visual poems of blended colors and light. She designs and weaves her large and small format tapestries with weft bundle blends of crewel weight wools, perlé cotton, and silk into imagery that often incorporates illusions of transparency, three-dimensional forms, and tromp l’oeil effects. She utilizes many techniques found in French Gothic and Renaissance tapestries, mindfully creating contemporary heirlooms for generations to come.
Elizabeth Buckley draws inspiration from her observations of the natural world, what is both seen and invisible. Her work articulates the textures of earth memory and the undercurrent of time in terms of millennia; time of the forces which molded earth’s canyons and mesas, oceans and mountains; time filled with the spirits of those who have come before.
Kate Rivers
Buffalo #2
2023
clothing tags, book pages, and misc items glued to paper and stitched - mounted on canvas
59 x 49" framed
$16000 framed
My work is about memory: We save mementos of events we want to remember and attempt to document these memories we fear we might lose. When my mother, was suffering from cancer, she taped photos, cards, newspaper articles, and other ephemera on the walls of her condo. She began with one wall behind her favorite chair. During her treatment, she created wallscapes that calmed her and gave her pleasure. She was able to hold fast to memories that were quickly fading. By the time she died, there was ephemera attached from floor to ceiling on all of her walls. After she passed, I walked through those spaces and what I experienced transformed my work.
My figures have some environmental context. In the early days, these were complex rooms that morphed into simple geometric shapes. Those shapes are now being softened and becoming shapes that are holding the figures.
Glass has been my chosen medium primarily because of its amazing seductive color. Metal, including bronze, has always been a strong component of my work, sometimes in a supporting role, but occasionally as a principal element. I am particularly drawn to the solidity of a bronze figure nestled in the glass.
My art is a conversation between the natural world and the human experience. I’m drawn to how materials and people evolve when faced with pressure and time, revealing layers of complexity that aren’t immediately visible. Working with metals allows me to explore this dynamic in a very hands-on way, where the transformation of the material becomes a metaphor for the resilience and beauty that life’s challenges can uncover.
The process I use—carefully oxidizing metals with acids—is intentional and thoughtful. It’s about more than just changing the surface; it’s about uncovering what lies beneath. This transformation reflects how we, too, can discover hidden strengths in ourselves when we go through difficult experiences. Through my work, I aim to capture this tension between decay and renewal and to remind viewers that even in adversity, there’s potential for something beautiful to emerge.
I have always been drawn to objects whose history is written upon their surface: The river rock worn smooth from centuries of tumult; the bleached, chewed bone found on the desert floor; the bare-bones landscape of the American southwest. These things speak to me of timelessness and mystery and rouse a thousand questions that will never find an answer. It is all that I don’t know, that deepens my viewing experience. The influence of such objects and landscapes seeps into every piece I make.
I approach the construction of each of my vessels as a sculpture-- working to create rhythm, flow, reverberation and quiet within each one. Intrigued by contrasts, I move from slow, sweeping curves to staccato points and ridges; from enclosed space to open passage; from deeply textured surface to river-rock smoothness. I hope the finished piece will bring the viewer a sense of calm and quietness.
I have always been drawn to objects whose history is written upon their surface: The river rock worn smooth from centuries of tumult; the bleached, chewed bone found on the desert floor; the bare-bones landscape of the American southwest. These things speak to me of timelessness and mystery and rouse a thousand questions that will never find an answer. It is all that I don’t know, that deepens my viewing experience. The influence of such objects and landscapes seeps into every piece I make.
I approach the construction of each of my vessels as a sculpture-- working to create rhythm, flow, reverberation and quiet within each one. Intrigued by contrasts, I move from slow, sweeping curves to staccato points and ridges; from enclosed space to open passage; from deeply textured surface to river-rock smoothness. I hope the finished piece will bring the viewer a sense of calm and quietness.
In my creative process today, I take a playful approach in combining labyrinthine geometric designs with organic forms and outbursts of vivid color to depict my own paradoxical nature of conformity and rebellion. The medium I use, dip pen and acrylic ink, makes my process meticulous and ritualistic and allows my painting to become a form of meditative psychoanalysis. I recently started incorporating paper clay into my paintings in an attempt to make them come alive.
Pichaida
7 x 16 x 16"
For the love, passion and joy of working with clay. For the never-ending inspiration of nature and the human soul. For the love of life. My art is inspired by my life journey as a woman who grew up without a voice during dictatorship in my native Chile; and by the strong love of nature, filled with beautiful shapes, forms, lines, patterns, texture, colors and movement. These inspirations combined work as one with my hands and ideas in a constant dialog that invites me to create suggestive pieces that aim to speak a universal language, letting emotions emerge within each person.
Through my art I am able to let me inner voices, the ones that didn’t have words for so many years, come out to the world and with these objects I want to remind everybody the importance to look inside, to cherish their own existence. My clay pieces can relate to vessels and are a metaphor for a women’s world filled with stories that talk about life, and places of peace.
Janet O'Neal Minerva 2024
mixed media assemblage on wood with painting and found objects
40 x 16 x 2"
$1800
33637
My most current work revolves around photography, traditional digital photographs, and mixed-media works where photography is the dominant media and historical women are my focus. The new series of mixed-media assemblages delve into the timeless essence of ancient muses, goddesses, and heroines. Through layered textures, found objects, and vibrant color palettes, I seek to evoke their strength, wisdom, and inspiration. Each piece reflects a dialogue between the past and present, honoring the mythic feminine power while inviting contemporary reflection.
My continuing desire to experiment fuels an excitement about my future work. Experimentation has been the reason my work continues to evolve. My work as an artist is intrinsically connected with my life and spiritual growth.
I have been painting for over fifty years. My first shown work was when I was a student at the HS of Music and Art in NYC, and a painting was on a poster in the subway. I then went on to Cooper Union Arts School and have a Masters in Art from UC Berkeley. But through all the various stages of my life, PAINTING HAS BEEN MY CONSTANT. It was oil painting of the figure and the Landscape through the years in CA, you can see many in a book that shows the collection of my work by Dr. Jack Leissring called Ellen Koment: "The Internal Becomes the External". Then about 25 years ago, someone gave me some Wax, and I began to explore the ancient world of Encaustic, first landscapes and figures, but now probably best known for what has become to be called "Paper Pours", paintings which require an absolute presence to what you are doing.
My paintings offer a vision of a spiritual path, the importance of connection with the natural world to face life’s sorrows and suffering, to awaken in our hearts compassion for all life. In 2017 Lucy Lippard wrote,“Sorrow is not denied, but acknowledged and transcended by earth, water, sky. Marsh’s work is a plea for understanding, a personal and unifying need or desire that is offered to the viewer as a gift.”
Midnight Flower Moon 2024 coil built oxidation fired ceramic with terra sigalatta oxides and glaze
17 x 21 x 6"
$4400
My art is a reflection of my interaction with the visual world, and the deep emotional connection I have to it. The sculptures are inspired by my love and deference for nature and my intuitive connection to past cultures.
My current work straddles a conversation between geometry and fluidity. My pieces are an exploration of multidimensional shape, color, and surface. It speaks of graphic fragmentation, reassembly, and balance redefined.
The abstract shapes and painted surfaces are influenced by my music and painting backgrounds. Pattern and form are rhythm, palette is harmony, and lines and shapes are lyrical. It's all about listening to what I see.
Hall-Strauss
My artwork explores the natural world's rhythms, tensions, and harmonies, reflecting my sensory perception of patterns, energies, atmospheres, and relationships.
I work with the interplay of color and movement, form and texture, and the idea of above and below, seen and unseen, with multiple layering in my paintings. The Southwestern landscape permeates my awareness of color and shape. The cycling of the New Mexico seasons, flights of birds, native flora, the Río Grande, and other rivers and arroyos continually visit my paintings. Travel intensifies my appreciation of the many forms and feelings in the world of nature. Asian aesthetics in crafts and painting also continue to be a great influence. I work with negative space by adding and subtracting shapes while building the surface to create an overall glow.
I have always loved story telling and that is my goal with this work. Utilizing my photographic imagery I incorporate the figures into a new landscape and story using glass and other materials. I invite the viewer to see and interpret the stories through their own experience.
media 20 x 16 x 1'
The one-hundredth meridian historically marked the beginning of the West. The point where the frontier began and society ended. This invisible line signified the start of the endless landscape one filled with unlimited possibilities, resources, and opportunities. In this series of works, I examine the European exploration of the West through a female perspective and in doing so create a fictional narrative. Objects found in historical institutions are reexamined and reinterpreted. Landscape paintings once used to romanticize and politicize notions of manifest destiny, are now recreated. The landscape images are created through the use of various locations combined to become idealized vistas. They are moments in time captured for posterity. In time of climate crises, these idealized landscapes may present to future viewers a skewed version of past environments.
Kathleen McCloud Nightlight 2024
monotype and woodcut on mulberry paper
32 x 25 x 1.5" framed $4000 framed
My fabric and paper constructions, collages and paintings are open-ended narratives where current events, history, mythology and place converge.
During a water rights-themed residency at the Santa Fe Art Institute, I focused on the lower Santa Fe River which flows by my home in La Cieneguilla, southwest of Santa Fe. Agua es Vida—water is life—is a popular saying here. It was then that I realized that the river, cottonwood trees and the layered history of the place I call home is a microcosm of the beauty and complexity of life on planet earth at this time.
Mae Tratechaud
x 6"
For the past dozen years, I’ve made Figureless Garments exploring female roles and Domestic Feminism. I build work with an emphasis on the human essence that is left behind in inanimate objects, a worn slipper, a dress, a chair, a bed.
In my current evocative work I investigate how society values or devalues people they see as “other”. I tell the story of the powerless, vulnerable, and marginalized. I ask the viewer to examine their humanity through shared common items, memories, and personal experiences. I explore social isolation and suffering suggested by a head-print left behind in a pillow, the empty space under an abandoned blanket, a crib made of thorny branches, a play-pen lined with barbed wire.
The Earth is Soft, Part IV
Through photography, textiles, installation, and communal experiences, I share the physical, psychological, and poetic qualities of matter and space. Projects often incorporate hundreds of collaged photographs, painted surfaces, soft and found objects, and communal gatherings that conjure a felt, lived experience. My work straddles 2D and 3D, a space between woven textiles, the illusionary qualities of painting, a soft sculptural sensibility, and the values of land art.
Many of my projects explore the site of the bed and the legacy of sleep. The liminal resting body acts as a portal into an intermediary, horizontal state; this is a fluid place, characterized by the innate sensual movement of cloth. The bed is a rich, contemplative site to consider materials, relationships, and the experience of rest in a swiftly-paced 21st century.
O'Sullivan The Messenger oil and 24kt gold leaf on panel 12 x 12"
Resurrection is the title of my current body of work. The resurrection of the divine feminine, the goddess, the witch, the wise one that lives in all of us. The resurrection of our voice, our truth, our freedom, our soul. Those aspects of ourselves that have been silenced, trivialized, denied, buried. The paintings are the newest exploration in my resurrection series. Rising out of sacred waters, the feminine soul is awakening from her deep sleep, reconnecting with nature and her ancient wisdom. Created with oil paints and 24kt gold leaf they are starting out on their quest to discover their true divine nature.
Jan Marie Sessler
27.25 x 21.75"
I have been creating visual art in Taos, New Mexico since 1993. Through the years my choice of medium has varied between painting, sculpture, printmaking and collage, as well as photography. I consider myself a creative explorer and continue to explore each medium according to inspiration and series, often incorporating paper, paint, found object and ephemera into the work. In my sculptural work, I often incorporate found objects combining these with poured cement, earth and sand. Elements from repurposed materials used to form the mold become revealed through their cast negative space.
I deeply appreciate the softening and transforming effects of nature over time on things left behind and am greatly inspired by the dialogue between human culture throughout the world and nature. The element of discovery along the way allows me to enter a meditative space where the unconscious and thought meet.
Nicole Merkens
As far back as I can remember, I was never alone. I heard them , I saw them, I dreamt of them.
My work is about spiritual guardians, rebirth, the soul and its energies. I draw on metaphysical as well as catholic iconography to portray my spiritual journey.
I feel through my work I am able to document my mystical path which is too emotional and profound to put into words. Sometimes the work gets dark but its always with a sense of humor...if I give into fear; I lose my insight and become a beacon of restless energy.
Rosemary Meza-DesPlas
Marching Across Your Lawn
The Grass is On Fire 2020
hand-sewn human gray hair on black twill
32” x 37” x 2.25” framed
$6000 framed
33600
Rosemary Meza-DesPlas is a multidisciplinary artist who works in drawing, painting, installation, fiber art, performance, and video. Meza-DesPlas explores sociocultural issues through an intersectional feminist lens. Her artwork, centered upon the human figure, reflects the female experience within a patriarchal society and serves to amplify the voices of women. Hand-stitched hair works, one focus in her studio practice, serve as an archive of her body and reflect her aging process. The materiality of hair coincides with feminism and ethnicity at the point it speaks to issues of body image, femininity, and identity. Rosemary Meza-DesPlas examines how resilient women navigate and overcome obstacles, including political, economic, social, and cultural, to advance a future wherein gender parity is the norm.
Rosemary Meza-DesPlas What You Whispered, Should Be Screamed 2018
hand-sewn human gray hair and specialty fabric, thread on black twill fabric, gallery-wrapped, no glass
35 x 33 x 2.25” framed
$6000 framed
Rosemary Meza-DesPlas is a multidisciplinary artist who works in drawing, painting, installation, fiber art, performance, and video. Meza-DesPlas explores sociocultural issues through an intersectional feminist lens. Her artwork, centered upon the human figure, reflects the female experience within a patriarchal society and serves to amplify the voices of women. Hand-stitched hair works, one focus in her studio practice, serve as an archive of her body and reflect her aging process. The materiality of hair coincides with feminism and ethnicity at the point it speaks to issues of body image, femininity, and identity. Rosemary Meza-DesPlas examines how resilient women navigate and overcome obstacles, including political, economic, social, and cultural, to advance a future wherein gender parity is the norm.
Marianne Hall
Don't Let Them See You Cry 2024
wall hung sculpture - borosilicate glass, metal chain, vintage linen thread, hooks
45 x 11 x 7.5"
$2800
Each artwork, marked by my experiences and materials I’ve collected over the years, narrates a unique story. This balance of materials and intentions results in an expression of organic elegance, celebrating beauty in imperfection. My piece, Don’t Let Them See You Cry, will be included in the inaugural exhibition ‘The New City of Ladies’ at the Turner Carroll Gallery in Santa Fe. It is part of a series of work that delves into the intricate responses to loss and survival. By using the sensual quality of borosilicate glass, metal chain and vintage linen thread, the work conveys the delicate process of navigating emotions while emphasizing the importance of coping mechanisms and self-care.
I began painting 25 years ago and have worked with watercolor, acrylic and mixed media. I detoured to work with textiles five years ago, and that's where I've been ever since. I guess you could say I am a maker at heart!
33.5 x 33.5"
Composition, design, color, value, texture.... all of the elements of making art apply no matter which medium is used. One of my life's lessons, which applies when making art, is to trust my instincts and sense of design, and respond to my compulsion to ask 'what if?'.
My improvisational pieces are inspired by the materials I use, rather than any particular vision. I begin by selecting fabrics that appeal to me. Those choices frequently change as the piece develops.
Kelly Eckel
Art has the power to transcend boundaries and evoke emotions. In a world burdened by environmental challenges, I have chosen to embark on a creative journey that explores the delicate balance between the beauty of life on our planet and the urgent need for its preservation. The rapid decline of species in our time due to habitat loss, pollution, invasive species, overpopulation, and overhunting is daunting. I am approaching the subject by learning about working ecosystems and what is needed to bring them back into balance. It is vital to understand the systems in our environment so that we don’t degrade them. My work is an expression of joy that engages me to move through the world in a respectful manner.
My artwork speaks to a primal, archetypal power that emerges from the landscape of my dreaming mind, where my inner, nocturnal scenery has been translated into hundreds of small artist’s books and large-scale modular sculptural installations. My Aesclepian Temple of Dreams contains hundreds of handcrafted totems, tokens and talismans fabricated in response to my dreams. Over three hundred eight-foot tall painted Spirit Poles rise out of my urban forest and garden in everchanging installations. My artist books are written, illustrated and bound in weekly workshops in my DreamingArts Studio. All of my work is inspired by my dreams of the night.
Swenson Showtime 2024 encaustic on panel
31.5 x 31.5" framed
$3800 framed
Living in a rural desert environment gives us an opportunity to see wild animals in their native habitat. We are witness to the hard realities of life and death, as well as peaceful and playful moments. As a painter, one must go past what one sees and find something more. Capitalizing on our ability to anthropomorphize animals, I hope to convey the sense of wonder felt each time I encounter a wild creature. When painting the desert animals, I find in them their tenacity to survive not just their harsh desert environment, but the destructive force of humanity. Maybe if I can help people see wildlife in a new way, others will feel a connection with the creatures we share this planet with.
When I first moved to Las Cruces New Mexico 25 years ago, I didn’t think much of the desert. It seemed like a great expanse of khaki wasteland. The beauty of the desert slowly revealed itself to me. and I’m now proud to say that my work is inspired by the Chihuahua Desert. This landscape can often appear inhospitable, yet it is full of weird and wonderful growing things that look delicate from a distance but are tough and wicked up close. The sculptural plants I make are informed by this vegetation that endures and survives despite a harsh climate. I build my pieces by blending welded steel with mid-fire stoneware, embracing a metaphor that is about resilience, persistence, toughness, durability, tenacity, and adaptability.
Kimberly Reed-Deemer Student, Sculptor, Artist (IRON TRIBE)
The art foundry sculptors call themselves a tribe, and I consider my series of oil paintings depicting them an ethnography in paint. The iron artists truly are a community, or 'tribe', and it has been a fascinating experience becoming acquainted with their world. Foundry sculptors are extremely ‘process’ oriented, and the pour is a powerful social ritual that requires the cooperation and trust of the group. Artists making art is an endlessly fascinating subject for my work. During iron pours there are stretches of time between bursts of activity, and I find these down times where the sculptors relax and interact, regroup and recharge, or lose themselves in contemplation of their art, as interesting as the action. I believe it’s essential to depict women as the multi-dimensional and proactive human beings that we are. My Iron Tribe series allows me to portray women of every age active in a very demanding process that requires strength and responsibility as well as intellect and creativity.
I am intrigued by the history, human connection, and value of fiber art in all aspects of everyday life. Weaving is one of the most ancient art forms spanning across cultures, not only bringing beauty into the world but keeping us warm, sheltered, and comfortable. Growing up in Montana, my mother was a weaver who used wheat stalks as her material. Our sinks and bathtub were always full of wheat soaking so it could be pliable enough to create sculptures and wall hangings. Weaving has always been relegated to “women’s work”, and downplayed as a craft. I truly believe that tapestry weaving is not only craft, but fine art.
28 x 25 x 24"
$1589 33644
3
My paintings are abstract and also grounded by reference to the observable world as well as nonphysical realms. I live in the Southwest on an expansive mesa with few trees and wide-ranging views. The surrounding mountains, storms, and open skies are theatrical and majestic. Figures and natural landmarks appear as flattened silhouettes against burning sunsets. A sunset is an end of today, but also a promise of tomorrow, it holds within it a realm of possibilities. These elements deeply influence my compositions, which convey alternating negative and positive spaces: at times either a dark or light flat shape recedes into a void, a nothingness; at other times, it emerges to become the subject and gradients of colors become the background. Some shapes come close to touching; tension and longing are in the sliver of in-between space. The colorful gradients are a gradual dawning or dimming light source, an expansion, and a fleeting moment of time.
Kim Eubank
Lost in Translation 2024 cold wax and oil paint on tar paper, mounted to wood, collage paper and gold leaf, aluminum frame.
50 x 38 x 2" framed
$5500 framed 33643
For the last 35 years, Kim Eubank has continued to evolve as a multimedia artist. She works in copper and vitreous glass enamel while also exploring printmaking (linocut and intaglio) and painting in acrylic, cold wax medium and oils. Kim’s current body of work is large-scale figurative painting. She focuses on human connection and disconnection illustrated in a gritty pop art style, using flat figures and bright colors with bits of collage to tell a story and convey emotion.
A word about investing in artworks by women artists and the impact you can have by purchasing artworks from this exhibition:.
While art is a record of human accomplishment and a source of joy, it is also a tangible asset with undeniable investment potential. Given the historical undervaluation of women ’ s art, those who recognize its worth and actively support it—through gallery purchases and museum acquisition support stand to benefit not only in the realm of personal satisfaction, but also financially. Furthermore, it’s incredibly fulfilling to know you are actively correcting the historical record by collecting works by women artists of genius.
Facts about Collecting Works by Women Artists
1) Works by women artists have been historically undervalued due to less visibility in the international art market, presenting the opportunity for collectors to purchase artworks by women artists at prices far beneath works of equal or lesser quality produced by male artists Collectors of work by women artists enjoy personal as well as financial satisfaction.
2) Sotheby’s Mei Moses Art Index found that works by women purchased in 2012 and sold in 2018 appreciated by 72.9% substantially outperforming works by male artists
3) Appreciation = Future Appreciation: By collecting artworks by women artists now, you not only help them continue to create artwork, but you accelerate value parity between artwork made by women and artwork made by men.