Women in the Arts Fall 2015 by Women in the Arts

FALL 2015

DIRECTOR’S LETTER

Dear Members and Friends, It is a pleasure to introduce you to two new directions we are pursuing in our exhibitions and public programs through the articles in this Women in the Arts magazine. The exhibition Pathmakers: Women in Art, Craft, and Design, Midcentury and Today explores the lasting impact of women artists and designers on midcentury Modernism. This is the museum’s first exhibition to examine design in the U.S., and, to do this, we have had the good fortune of partnering with the Museum of Arts and Design in New York. Pathmakers is a first for both institutions and includes visionaries such as Ruth Asawa, Sheila Hicks, Dorothy Liebes, Lenore Tawney, and Eva Zeisel. It ambitiously stakes out new territory by highlighting contemporary artists whose work is influenced by the example of midcentury taste-makers—new pathmakers like Polly Apfelbaum, Michelle Grabner, Gabriel Maher, and Magdalene Odundo, among others. This fall, NMWA also will launch Women, Arts, and Social Change, a major, new public programs initiative. Our goal has been to take the three core principles on which the museum was founded—arts, women, and social action—and create programs that can help make a difference today. Our museum is the ideal place to present this kind of socially relevant programming, which explicitly champions women and the arts as catalysts of change, here and now. Read about the fascinating participants and events beginning on page 14 and on the calendar beginning on page 16. Just as important, all programs will be recorded and available on the museum’s website. So, no matter where you live, as supporters of NMWA you will be able to participate in Women, Arts, and Social Change, engaging with artists, innovators, and creative philanthropists who are among today’s brightest thought leaders. As we move into new realms of art, design, and relevancy at NMWA, I invite you to join in and share your thoughts. We love hearing from you, and as always, we appreciate your engagement with us in the cause of women in the arts.

Susan Fisher Sterling Alice West Director, NMWA

The National Museum of Women in the Arts brings recognition to the achievements of women artists of all periods and nationalities by exhibiting, preserving, acquiring, and researching art by women and by teaching the public about their accomplishments. MUSEUM INFORMATION Location: 1250 New York Avenue, NW, Washington, DC 20005 Public transportation: Take metrorail to Metro Center station, 13th Street exit; walk two blocks north to corner of New York Avenue and 13th Street Website: http://nmwa.org Blog: broadstrokes.org Main: 202-783-5000 Toll free: 800-222-7270 Member Services: 866-875-4627 Shop: 877-226-5294 Tours: 202-783-7996 Mezzanine Café: 202-628-1068 Library and Research Center: 202-783-7365 Magazine subscriptions: 866-875-4627 Hours: Monday–Saturday, 10 a.m.–5 p.m.; Sunday, noon–5 p.m. Closed Thanksgiving Day, Christmas Day, and New Year’s Day Admission: NMWA Members free, Adults $10, Visitors over 65 $8, Students $8, Youth under 18 free. Free Community Day is the first Sunday of every month.

Women in the Arts Fall 2015 (Volume 33, no. 3) Women in the Arts is a publication of the NATIONAL MUSEUM of WOMEN in the ARTS® Director | Susan Fisher Sterling Editor | Elizabeth Lynch Digital Editorial Assistant | Emily Haight Editorial Intern | Christy Slobogin Design | Studio A, Alexandria, Virginia For advertising rates and information, call 202-266-2814 or email elynch@nmwa.org.

Women in the Arts is published three times a year as a benefit for museum members by the National Museum of Women in the Arts, 1250 New York Avenue, NW, Washington, D.C. 20005-3970. Copyright © 2015 National Museum of Women in the Arts. National Museum of Women in the Arts®, The Women’s Museum®, and Women in the Arts® are registered trademarks.

On the cover: Sheila Hicks, Untitled (study for Ford Foundation murals) (detail), 1967; Silk, synthetic thread, and linen (hand-woven), 28 x 28 in.; Museum of Arts and Design; gift of the artist, through the American Craft Council, 1969; Photograph by Ed Watkins DIRECTOR’S PHOTOGRAPH © MICHELLE MATTEI

Cover Story

Features

Departments

Arts News

Pathmakers: Women in Art, Craft, and Design, Midcentury and Today

Champions of Change

Culture Watch

Summer Report

Dedicated Donor Martha Lyn Dippell

Women made vital contributions to midcentury visual culture, often using craft materials—especially clay, fiber, and metals—to explore concepts of Modernism. Through more than eighty works, Pathmakers focuses on these women as well as contemporary artists whose work reflects the influence of their predecessors. Jennifer Scanlan

NMWA announces Women, Arts, and Social Change, a new programming initiative focusing on women and the arts as catalysts for change. Lorie Mertes

20 Esther Bubley Up Front Bubley’s photographs captured American life—beauty pageants, boarding houses, and pediatricians’ offices—during and after World War II. Stephanie Midon

16 Calendar 26 Museum News and Events 29 Supporting Roles 32 Museum Shop

24 Who’s Afraid of Vanessa Bell? Bell designed book jackets and illustrations for a publishing house cofounded by her sister, author Virginia Woolf. Heather Slania

FALL 2015 | WOMEN IN THE ARTS

ARTS NEWS

Arts News

Miriam Schapiro, Mechano/Flower Fan, 1979; Acrylic and fabric collage on paper, 30 x 44 in.; NMWA, Gift of MaryRoss Taylor in honor of her mother, Betty S. Abbott

In Memoriam Miriam Schapiro, a pioneer of feminist art, died June 20 at age ninety-one. Schapiro was an influential painter, sculptor, teacher, writer, and self-defined “femmagist.” Together with artist and educator Judy Chicago, Schapiro helped found the Feminist Art Program at the California Institute of the Arts. Schapiro emerged as a leader of the feminist art movement in 1972 when she collaborated with Chicago and twenty-one of their students to create Womanhouse. Contained in a derelict mansion, the installation transformed traditionally feminine spaces into works of art in an effort to explore the history of gender construction and link women’s cultural heritage with progressive feminist expression. A leader in the Pattern and Decoration movement, Schapiro introduced craft art forms to “high” art ranks. When the art world was engrossed in minimalism, Schapiro instead employed traditionally “female” art 2

WOMEN IN THE ARTS | FALL 2015

techniques such as quilting, embroidery, and appliqué in her work. She referred to her multimedia collages as “femmage.” She received numerous awards for her work, including an honors award from the Women’s Caucus for Art in 1988 and a lifetime achievement award from the Polk Museum of Art in 2002. Her work was shown in the acclaimed 2007 exhibition WACK! Art and the Feminist Revolution, which was organized by the Museum of Contemporary Art, Los Angeles, and also appeared at NMWA. Schapiro dedicated her life and career to redefining the role of women in the arts and inspired generations of artists.

You Ought to Be in Pictures In the 700 top-grossing films from 2007 to 2014, only 30.2% of characters with speaking roles were female, according to analysis by the Media, Diversity, and Social Change Initiative of the University of Southern California’s Annenberg School for Communication and Journalism. In one hundred films from 2014,

just twenty-one films featured a female lead or a “roughly equal” co-lead. This lack of parity appears on-screen as well as behind the cameras: the report’s key findings also showed that “Women only accounted for 1.9% of directors, 11.2% of writers, and 18.9% of producers.” The report, produced annually since 2007, also tracks the continued lack of racial diversity and representation of LGBT characters in popular films.

ARTnews on Sexism in the Art World The magazine ARTnews devoted its June issue to women in the art world, compiling current statistics on sexism in museums, the market, and the press. Essays by artists such as Cindy Sherman, Wangechi Mutu, Lynda Benglis, Shahzia Sikander, and the Guerrilla Girls provided

exhibition of her work, Picture This, was on view through September 27 on Governor’s Island in New York, and an online presentation is on view indefinitely at money.cnn.com/ katrina. The black-and-white photographs capture a diverse city and its response to tragedy; they also showcase the work of a passionate and celebrated photographer.

In Memoriam Jackie Brookner, environmental artist and educator, died May 15 at age sixty-nine. Through her public art, she aimed to connect people to water-based ecosystems—her site-specific projects included parks and “biosculptures” that restore wildlife habitats

NORA AARON, CREATIVE COMMONS

perspectives across a range of generational and cultural identities. Maura Reilly, who served as guest contributing editor for the issue, authored the central article, based on current data showing a continued gender disparity: at five large contemporary museums in New York and Los Angeles from 2007 to 2014, just 14–29% of solo exhibitions featured women artists. She found similar imbalances at European and U.K. institutions and in press coverage. She concluded with a call to action and a continued determination to count and publicize disparities: “If we cannot help others to see the structural problems, we can’t begin to fix them.”

and function as part of water treatment systems. Born in Rhode Island, Brookner received a BA from Wellesley College and completed all but a dissertation toward a PhD at Harvard University in fine art. She was a dedicated educator, working from 1980 until her death at Parsons The New School for Design, advocating a “whole-systems approach . . . where social, cultural, and ecological revitalization meet.”

In June, Misty Copeland was named the first African-American principal ballerina in the American Ballet Theater’s seventy-five-year history. Beginning ballet at age thirteen, Copeland was told it was too late for her to start a professional dance career and was repeatedly criticized for her body type. The thirty-twoyear-old trailblazer has become one of the most famous ballerinas in the United States. Copeland is no stranger to breaking barriers. In 2007, she became the American Ballet Theater’s second-ever black soloist. During Copeland’s fourteen years with the prestigious company, she has starred in coveted roles in Romeo and Juliet, The Sleeping Beauty, and Swan Lake. In 2012, she became the first black ballerina to perform the title role in Stravinsky’s Firebird for a major company, but suffered a serious injury. Offstage, Copeland starred in a viral Under Armour advertisement, graced the cover of TIME magazine, toured with Prince, and served as a guest judge on the talent show So You Think You Can Dance. Her achievements are the subject of the Tribeca Film Festival documentary A Ballerina’s Tale. Copeland’s memoir, Life in Motion: An Unlikely Ballerina, details her journey, which has sparked conversations about the underrepresentation of women of color in major dance companies.

NAIM CHIDIAC

A Pioneering Principal

Misty Copeland in Coppélia

In Mary Ellen Mark’s last assignment before her death in May at age seventy-five, the renowned photographer was commissioned by CNN Money to travel to New Orleans and document the city ten years after its devastation by Hurricane Katrina. An

CNN MONEY

Mary Ellen Mark and New Orleans

Mary Ellen Mark’s photography captures New Orleans ten years after Hurricane Katrina

FALL 2015 | WOMEN IN THE ARTS

C U LT U R E WAT C H

Culture Watch | Exhibitions Colorado

Georgia Iris van Herpen: Transforming Fashion High Museum of Art, Atlanta November 7, 2015–May 15, 2016 Van Herpen uses both traditional and innovative techniques to create acclaimed fashion pieces. This exhibition features forty-five outfits from the designer’s collections between 2008 and 2015, including works made with 3-D printing and unconventional materials such as magnets and synthetic boat rigging.

Iris van Herpen, Refinery Smoke, 2008; On view at the High Museum of Art

Missouri Sheila Hicks Contemporary Art Museum, St. Louis September 11–December 27, 2015

COURTESY OF THE ARTIST AND KATZMAN CONTEMPORARY

This exhibition traces the progression of Minter’s career in painting and photography. Many of her provocative pieces contrast the flashy and alluring with the grungy and disconcerting, showcasing her ability to critically evaluate “bling” culture and human desire.

PHOTO BY BART OOMES, NO 6 STUDIOS. © IRIS VAN HERPEN

Marilyn Minter, Glazed, 2006; On view at the Museum of Contemporary Art Denver

created abstract works with traditional and experimental textile techniques, examining the relationships among painting, sculpture, and textiles.

COURTESY SAINT LOUIS ART MUSEUM

COLLECTION OF JEANNE GREENBERG ROHATYN AND NICOLAS ROHATYN, NEW YORK

Marilyn Minter: Pretty/Dirty Museum of Contemporary Art Denver September 18, 2015–January 31, 2016

Meryl McMaster, Meryl 2, 2010; On view at the National Museum of the American Indian

New York

Sheila Hicks, Voyage of Serpentina, 1985; On view at the Contemporary Art Museum

Natural fibers, synthetic blends, and even everyday office supplies have featured in the art of Paris-based American fiber artist Hicks. Over her fifty-year career, she has

Meryl McMaster: Second Self National Museum of the American Indian June 12–December 11, 2015 McMaster’s “Second Self” series of large-scale portraits playfully challenges the ways that viewers perceive and depict constructed personal identities through lineage, history, and culture. The artist uses props and sculptural garments to explore ideas of individuality and identity within her photography.

Books “Very early on I decided to become a heroine . . .” said Niki de Saint Phalle (1930–2002). “What did it matter who I would be? The main thing was that it had to be difficult, grandiose, exciting.” That quote, which adorns the back cover of Niki de Saint Phalle (La Fábrica / Guggenheim Museum Bilbao, 2015), captures the ambition and bravado of the French-American artist, best known for her exuberant mosaic sculptures. The lush catalogue was published for a retrospective of Saint Phalle’s work at the Guggenheim Museum Bilbao and the RMN-Grand Palais in Paris. Saint Phalle’s work is presented in four sections—“The Beginnings,” on her formative work; “Shooting, Performances, and Commitment,” which traces her public persona and action-based Shooting Paintings; “Feminine Imagery,” highlighting her vibrant and sometimes aggressive portrayals of women; and “Sculpture and Public Art.” Numerous contributors include Bloum Cardenas, the artist’s granddaughter and trustee of the Niki Charitable Art Foundation, and Camille Morineau, lead exhibition curator. Morineau’s introductory essay asserts Saint Phalle’s status as a feminist and risk-taker with a “mixture of coherence, complexity, and courage which distinguishes great artists.”—Elizabeth Lynch 4

WOMEN IN THE ARTS | FALL 2015

Mae G. Henderson’s Speaking in Tongues & Dancing Diaspora: Black Women Writing & Performing (Oxford University Press, 2014) explores voice and narration in literary works and performance through sixteen essays divided into two sections. The author uses two tropes as a means to critically approach African American women’s writing and performance. Henderson reconstructs the idea of “speaking in tongues” as a concept that has special spiritual and cultural significance in black women’s literary and oral traditions. “Dancing diaspora” serves as a metaphor based on the rituals and practices of “performing testimony” and “critical witnessing.” Juxtaposing written works with performance, this book investigates iconic works of fiction by trailblazing writers including Alice Walker, Toni Morrison, and Zora Neale Hurston. Through comparing the historical performances of Josephine Baker to women in contemporary hiphop video culture, Henderson examines the tendency of audiences to sexualize and commodify the black female body. Deeply analytical and thought-provoking, Henderson’s book offers new models of literary criticism in which reflections on race and gender are essential to the understanding of these works.—Emily Haight

Ohio

COURTESY OF GREG KUCERA GALLERY

This Mexican-born artist transforms images of detritus from the urban landscape into aesthetically pleasing, abstracted textile art. This exhibition—Camil’s first solo museum show in the U.S.—features a series of paintings that interact with the CAC’s architectural space.

Pennsylvania Ellen Harvey: Metal Painting Barnes Foundation, Philadelphia September 19, 2015–January 4, 2016

Steffani Jemison, Personal, 2014; On view at RISD Museum

ETIENNE FROSSARD

Oregon

Ellen Harvey, Metal Painting (studio view, unfinished), 2015; On view at the Barnes Foundation

The exhibition catalogue Louise Bourgeois. Structures of Existence: The Cells (Prestel Publishing / Haus der Kunst, 2015) showcases the artist’s work creating Cells, a series of architectural sculptures that she worked on from 1986 through 2008. These embody the belief of Bourgeois (1911–2010) that “space does not exist, it is just a metaphor for the structure of our existences.” The Cells are enclosures or cage forms, often incorporating mirrors, dummy-like figures, or staircases leading nowhere—nuanced and provocative spatial metaphors for her own personal history. The book compiles essays and conversations revealing Bourgeois’s influences and the way that her childhood experiences, coupled with recondite concepts from her early works, form the Cells series. Texts include conversations with Bourgeois’s longtime assistant Jerry Gorovoy, essays by renowned scholars, a short biography, and selected statements and quotations from the artist herself. Several essays focus on a single Cell, such as the elaborate and cage-like Passage Dangereux (1997), and explain how the piece relates to Bourgeois’s oeuvre

Jemison’s video pieces explore urban spaces, the chase genre, and the disorientation of time and place. She created the films using static camera shots and nuanced ambient sounds, producing metaphors for the black American experience and for perceived and actual social progress.

and biography. Other contributors focus on the abstract meanings behind the emotion-laden sculptural constructions. These complex emotions are rooted in Bourgeois’s difficult childhood, her aggression toward her philandering father, and the constant tension between her desires to remember the past and to forget it. Gorovoy states, “The Cells tell stories and are definitely autobiographical, but the emotions are universal.” In a short section among the artfully arranged images of Cells, a 1991 statement by the artist articulates the pain, pleasure, isolation, and unity that she encapsulated within her pieces. In addition to her words, the contributing authors spare no detail of Bourgeois’s painful personal life, allowing readers to delve into Bourgeois’s memories and to understand more fully the impetus behind the creation of Cells.—Christy Slobogin

Louise Bourgeois, Cell (The Last Climb), 2008; On view at the Garage Museum of Contemporary Art in Moscow, September 25, 2015–January 7, 2016, and at the Guggenheim Museum Bilbao, March–September 2016

PHOTO CHRISTOPHER BURKE © THE EASTON FOUNDATION / VG BILD-KUNST, BONN 2015

COURTESY OF BLUM AND POE GALLERY

Rhode Island Steffani Jemison: Maniac Chase, Escaped Lunatic, and Personal RISD Museum, Providence May 15–November 8, 2015

reminiscent of human skin. Her pieces explore paint as both subject and object—stretching, piling, and leaning with surprising physicality.

Pia Camil, The Little Dog Laughed, 2014; On view at the Contemporary Arts Center

APEX: Margie Livingston Portland Art Museum July 25–November 15, 2015 Livingston uses acrylic paint as a threedimensional sculptural tool that can be cut into planks or form abstract shapes

Harvey has created conceptual work in a variety of mediums, including painting, video, and sculpture. Her new site-specific piece was commissioned to thematically link the foundation’s collection of paintings with its exhibition of American and European wrought-iron objects.

Margie Livingston, Draped Painting #14, 2014; On view at the Portland Art Museum

Pia Camil Contemporary Arts Center, Cincinnati November 6, 2015–March 13, 2016

FALL 2015 | WOMEN IN THE ARTS

SUMMER REPORT

Summer Report School and Teacher Outreach— Quite the Trip Educators in schools and museums alike embody the mantra, “Meet your students where they are.” In May 2015, Assistant Educator Ashley W. Harris and Associate Educator Adrienne L. Gayoso did just that. They traveled to northeastern Ohio to bring book arts to Lorain City School students and their teachers. During this whirlwind four-day trip, NMWA’s educators reached more than three hundred K–12 students in their classrooms. Students learned about the important contributions of women artists to our cultural heritage, participated in close looking at and active discussions about art, and created their own artists’ books. This trip concluded a yearlong partnership with the district, which was designed to introduce the Art, Books, and Creativity (ABC) curriculum to a national audience. A grant from the Martha Holden Jennings Foundation and the shepherding of Race to the Top Facilitator Cara M. Gomez made this program a reality.

Summer Institutes

Interpretation and Engagement— Conversation Pieces Starting in June 2015, NMWA educators piloted a daily drop-in experience called Conversation Pieces. Inspired by the Slow Art Day movement and the museum’s long-standing Gallery Talk series, Conversation Pieces are thirtyminute facilitated discussions designed to give visitors a chance to closely consider two artworks on view. The related conversations ask visitors to take an active role in their museum-going experience, encouraging them to wonder about the pieces; question and draw connections between them; and share thoughts, memories, and ideas. A recent Conversation Piece participant enjoyed the group meaning-making that develops during these experiences, saying, “I loved the informal ‘conversation’ with museum staff that helped us better process and understand the era and compositions of the work, and hearing what other patrons thought made the art come alive.” Conversation Pieces are offered most days at 2 p.m. and are free with museum admission. Reservations are not required. Meet at the Information Desk and join the conversation!

LAURA HOFFMAN

In July 2015, NMWA welcomed thirty-three K–12 teachers to the museum for intensive week long institutes. One cohort of twenty-one teachers participated in the sixth annual ABC

Teacher Institute. The second cohort, comprising twelve eager ABC Institute alums, took part in the museum’s second biennial ABC Advanced Institute. In addition to a solid core of D.C., Maryland, and Virginia teachers, other participants traveled from as far as North Carolina, Ohio, Pennsylvania, and West Virginia to take part. Institute participants spent an intensive week learning how to incorporate the ABC curriculum into their classrooms. They engaged with museum educators; art, literacy, science, and technology specialists; and Carol Barton, a noted book artist. With the support of this instructional team, teachers were able to grapple with the challenges and opportunities of integrating art across disciplines. The participants appreciated the fellowship that developed throughout the week and the quality and methods of the instruction. One teacher said, “You all modeled the highest level of teaching excellence. It was a pleasure to take this course. A+.” These programs remain free to all participants thanks to the support of the Leo Rosner Foundation, Newman’s Own Foundation, and Wells Fargo. Additional funding is provided by the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts.

Participants in NMWA’s 2015 ABC Teacher Institute and ABC Advanced Institute learned how to incorporate the ABC curriculum into their classrooms through gallery-based discussions and book arts activities and techniques

WOMEN IN THE ARTS | FALL 2015

D E D I C AT E D D O N O R

Dedicated Donor | Martha Lyn Dippell

My interest in promoting women and their accomplishments is broad. It’s artistic as well as educational.

Martha Lyn Dippell

artha Lyn Dippell, longtime trustee and supporter of the National Museum of Women in the Arts, continues to be inspired by the museum’s unique mission. “The fact that we exist is so important—the museum draws attention to the valuable contributions of women throughout the centuries, as well as in the present. It shines a light and provides a needed perspective on the innovative artistic creations of women.” Her support has taken many forms—including serving as a docent and on the board’s executive committee, working on fundraising galas, and giving to the endowment— beginning in the museum’s earliest days. Dippell and her husband, Daniel Korengold, have long been friends of Hap Holladay, son of NMWA’s founders, and his wife Winton Holladay, vice chair of the museum’s board of trustees. Through them, Dippell heard about the museum years before it became a reality. She recalls, “Winton said that her mother-in-law and father-in-law had been collecting works of art by women and were starting to think about creating a museum. I told her that if those plans went forward, I wanted to be involved in any way I could.” As plans progressed, Dippell received a call and lunch invitation from NMWA Founder Wilhelmina Cole Holladay, and the two discussed ways that Dippell might become involved. As Dippell describes, “I was flattered that she went to this effort for me. It was a personal touch and meant a lot.” She became a founding member, and her involvement continued to grow. Of Holladay, Dippell says, “She was, and is, a passionate, smart, and tenacious leader. Her strength and singleness of purpose were truly inspirational.” Dippell chaired the museum’s opening gala, meeting regularly to coordinate efforts with Ruthanna Weber—the coordinating chair of opening events—and others who chaired celebratory events such as the building’s opening and the public ribbon-cutting. Dippell’s memories of the opening are inextricably linked with memories of her family—the oldest of her four children was born less than two months beforehand.

She vividly remembers a phone call she made while in labor to discuss the gala, as well as caring for her new baby amid the preparations. In fall 1987, Dippell began serving as a docent, which she continued through the mid-1990s. “The docent training course was like a college class—and I wanted to take the course, because I had no idea where else I could learn so much about women artists.” She joined the board in spring 1988, and has remained a trustee ever since, serving on committees for membership and works of art. She has witnessed the museum grow and thrive: “To the Holladays’ credit, we always stayed within our means. That caused growing pains, but it has enabled us to get through the early years, and, with the initiation of the endowment campaign, to secure the museum for the future.” She particularly relished Camille Claudel: 1864–1943, on view in 1988, which was the first solo exhibition of Claudel’s work in the U.S. “It demonstrated how influential she was. People had always known about her relationship with Rodin, but I don’t think they realized that much of what we think of as being typical of Rodin’s work—that very tactile aspect of his sculpture—she was creating in her sculpture before she met him.” An alumna of women’s educational institutions, the Holton-Arms School, in Bethesda, Maryland, and Smith College, in Northampton, Massachusetts, Dippell says, “My interest in promoting women and their accomplishments is broad. It’s artistic as well as educational.” Dippell is also chair of the board of trustees and trustee emerita at the Holton-Arms School, and has been involved with a number of other boards, including the Decorative Arts Trust, an organization focused on the study of American decorative arts. Wilhelmina Cole Holladay says, “Martha Dippell’s enthusiastic involvement from the museum’s beginning has been meaningful. She is so wonderfully honest. I have appreciated her long-standing presence on the board of trustees, her gracious help with many achievements, and her dedication to the museum’s mission. Thank you, Martha.”

FALL 2015 | WOMEN IN THE ARTS

Pathmakers

Jennifer Scanlan

Women in Art, Craft, and Design, Midcentury and Today

October 30, 2015â&#x20AC;&#x201C; February 28, 2016

History books and exhibitions have often told the story of midcentury art and design through male protagonists, who dominated the fields of painting, sculpture, architecture, and industrial design during that period. Women, when mentioned at all, are exceptions: the lone painter in a group of men, or the textile designer whose fabric provides a backdrop for the furniture on display. Pathmakers: Women in Art, Craft, and Design, Midcentury and Today puts women at the center of the narrative by focusing on materials such as textiles, ceramics, and fine metals. During a period of rigidly defined gender roles, women achieved success and prestige in these more marginalized fields, assuming professional roles as teachers, designers, and artists. Many of these professional opportunities grew from the resurgence of interest in craft materials and techniques in the period following World War II. University enrollment rapidly increased, due to returning veterans using the GI Bill and the expanding middle class, and institutions created new academic departments, many in ceramics and fiber. The dire need for teachers meant that many women were hired right after they graduated from these departments. From these academic positions, women such as Maija Grotell, Marianne Strengell, and Toshiko Takaezu developed their craft while influencing future generations of artists and designers. Teaching positions outside of more traditional craft materials were not nearly as open to women. The Yale School of Art, for example, was the first school at Yale to offer co-educational instruction beginning in 1869, but it had no women professors of painting or sculpture during the entire period of 1940â&#x20AC;&#x201C;70. The only women on the faculty, aside from art history professors, were a few visiting lecturers in graphic design and urban planning, and one architecture instructor.

Eva Zeisel (manufactured by Manifattura Mancioli), Belly Button Room Divider Prototype, 1957; Ceramic with metal rods, 60 x 36 in.; Courtesy of Eva Zeisel Archive; Photo by Brent Brolin

FALL 2015 | WOMEN IN THE ARTS

Left to Right: Margaret Tafoya, Jar, ca. 1965; Ceramic, 17 x 13 in.; NMWA, Gift of Wallace and Wilhelmina Holladay; Photo by Lee Stalsworth Karen Karnes, Covered Casserole, 1967; Glazed stoneware (wheel thrown and built), 9 ½ x 13 x 11 in.; Museum of Arts and Design; Gift of G.F. Holmquist, through the American Craft Council, 1967; Photo by Ed Watkins Magdalene Odundo, Untitled #10, 1995; Earthenware, 21 ¼ x 12 x 12 in.; Courtesy of the Newark Museum, Purchase 1996, Louis Bamberger Bequest Fund 96.29; Photo by Richard Goodbody

the design world, craft materials and aesthetics became an integral part of postwar Modernism, in part through design philosophies brought to the United States by European immigrants fleeing the war. The international Modernist movement, which developed at avantgarde centers such as the Bauhaus school in Germany, promoted the study and use of craft to convey modern ideals and aesthetics. Artists and designers who studied at the Bauhaus, such as Anni Albers and Marguerite Wildenhain, carried these ideas with them to the United States, integrated them into their objects, and passed them on to their many students. In the United States, Black Mountain College in North Carolina and Cranbrook Academy in Michigan became centers that spread these Modernist ideals to the next generations of artists and designers. Cranbrook in particular had enormous influence on postwar design. Some of the most famous designers and architects of the postwar period were associated with the school: Ray and Charles Eames, Harry Bertoia, Florence Knoll, Jack Lenor Larsen, and Eero Saarinen. These influential figures not only promoted the use of craft within a postwar Modernist interior, but provided networks and commissions for many of the women in the exhibition who were students and teachers at the academy. Sheila Hicks, Untitled (study for Ford Foundation murals), 1967; Silk, synthetic thread, and linen (hand-woven), 28 x 28 in.; Museum of Arts and Design; Gift of the artist, through the American Craft Council, 1969; Photo by Ed Watkins

WOMEN IN THE ARTS | FALL 2015

Thus, many of the women who studied and worked in ceramics, textiles, and metals were able to find work not only as teachers, but as designers. Design for the domestic interior became a lucrative field during the postwar period as soldiers returned home to start new families. Edith Heath started her own ceramics company in San Francisco, continually expanding through the 1950s and ’60s as her durable, casual, yet elegantly modern forms became increasingly prominent. Heath Ceramics were popular wedding gifts, particularly on the West Coast. Perhaps the best-known designer in Pathmakers, Eva Zeisel, was a prolific designer of household goods, especially tableware, with her signature curved forms that invited the human touch. Women designers—perhaps because of their association with craft and domesticity—were sometimes hired to help firms transition from military production to household goods. By the end of World War II, Dorothy Liebes had such success with her designs for furnishing and clothing fabrics that she was commissioned to design textiles for the Delegates’ Dining Lounge in the United Nations Headquarters, built in 1952 in New York City. Because of her prominence, she was hired by the chemical company DuPont to develop and help market textiles for the home that were made from their new synthetic fibers, many of which had first been developed for wartime production contracts. Alcoa (Aluminum Company of America) commissioned Marianne Strengell to design a rug handwoven from aluminum fiber. Used primarily as a marketing tool, this rug shifted the public image of aluminum away from its association with wartime technology and into the domestic environment. Not all of the designers in the exhibition worked with industry. A number of women capitalized on a growing interest in one-of-kind objects that offered an alternative to mass production, which grew increasingly relevant as the 1960s progressed. In Stony Point, New York, Karen Karnes established a studio and became well-known for her handmade casserole dishes, sold at high-end stores such as Bonnier’s in New York City. Alice Parrott opened the first crafts

FALL 2015 | WOMEN IN THE ARTS

PHOTO BY BUTCHER WALSH, COURTESY OF THE MUSEUM OF ARTS AND DESIGN

Polly Apfelbaum, A Handweaver’s Pattern Book (installation view at the Museum of Arts and Design), 2014; Marker on rayon silk velvet and ceramic beads on embroidery thread; Courtesy of the artist and Clifton Benevento Opposite: Gabriel A. Maher, DE SIGN, 2014; Video: directed by Gabriel A. Maher and Kimon Kodossos; Performers: Naomi Jansen, Floraine Misslin, Gabriel A. Maher, Olle Lunden; Courtesy of the artist

A number of women capitalized on growing interest in one-of-a-kind objects that offered an alternative to mass production, which grew increasingly relevant as the 1960s progressed. shop in Santa Fe, New Mexico, and worked with local weavers on housewares, decorative objects, and commissions. Betty Cooke opened a similar store in Baltimore, Maryland, in which she sold (and continues to sell) her own one-of-a-kind jewelry designs, as well as those of many colleagues. Pathmakers also features women whose interest in crafts stemmed from their own heritage. Margaret Tafoya was one of a group of Native American women from the Pueblo region (also including Maria Martinez and Lucy Lewis) who were responsible for reviving pottery traditions. These matriarchs’ successful ceramic practices influenced generations in their own families and, as their fame grew, other ceramic artists. Both Toshiko Takaezu and Edith Heath were significantly influenced by the Pueblo pottery they saw in the Southwest. While Pathmakers focuses mainly on women working in the United States, it includes a few important designers from Scandinavia whose work demonstrates the exchanges and cultural parallels between the two. Countries such as Sweden and Finland shared with the U.S. an interest in the integration of craft in modern design, an expansion of schools that trained in craft techniques, and economies that had not been damaged by World War II as significantly as their neighbors in Europe. This led to expanded opportunities for women, seen in the work of Vuokko Eskolin-Nurmesniemi, who designed for Merimekko before opening her own textile and clothing firm, and Vivianna Torun Bülow-Hübe, who found international fame as a jewelry designer. 12

WOMEN IN THE ARTS | FALL 2015

In the art world, the postwar period was a time of great experimentation. Many women chose textiles, ceramics, or metal as a means of personal expression. Artists such as Ruth Asawa and Lenore Tawney explored many of the same ideas as contemporary painters and sculptors, developing modern concepts in alternative materials. Asawa’s hanging wire sculptures were “drawings in the air,” nodding at the biomorphism of early Modernists such as Jean Arp while rethinking the materials and techniques associated with sculpture. However, the use of a textile technique, crochet, and the similarity with baskets meant that critics often categorized her work as craft, and therefore not as important as art. Tawney also used fiber techniques, deconstructing the woven grid to create textiles that were solid enough to stand away from the wall as sculptures, or diaphanous enough to dissolve into space. Her work never became as well-known as that of her friend Agnes Martin, who investigated the grid on the more traditional fine art format of the canvas. While craft materials gave women opportunities to innovate and form their own networks outside of the “boys clubs” of postwar painters and sculptors, they often relegated these women to a lesser category, keeping them out of museums and major galleries. This issue—the different status given to art and craft, and often by extension, men’s work and women’s work—continues to resonate today. It is explored in the exhibition through contemporary artists and designers who build on the works of the midcentury pioneers. Polly Apfelbaum often plays with the notion of hierarchy, exposing its artificiality. Her installation A Handweaver’s Pattern Book (2014) is based on a book of weaving patterns from the 1950s. Inspired by the many variations on the grid, Apfelbaum created her own set of grid patterns, using brightly colored markers on inexpensive fabric. Michelle Grabner’s work explores ideas of labor and time, in particular as they relate to her identity as a suburban Midwesterner, through her reworking of simple paper weavings and found domestic textiles. Through the works of contemporary women, Pathmakers investigates the growth of opportunities for creative expression.

Pathmakers: Women in Art, Craft, and Design, Midcentury and Today presents an expanded version of postwar visual culture, in which women played central roles. By focusing on materials largely marginalized in mainstream narratives, Pathmakers questions the hierarchies of art, craft, and design. It considers the association of women with certain materials and techniques, and how that expanded and limited opportunities. Finally, the exhibition looks at the impact of the pathmakers of the midcentury by exploring the work of contemporary artists and designers, celebrating great achievements of the past, and considering how far we have come and how far we have to go. Jennifer Scanlan, co-curator of Pathmakers: Women in Art, Craft, and Design, Midcentury and Today, is a New York-based independent curator. For this exhibition, she was guest curator with the Museum of Arts and Design.

Pathmakers: Women in Art, Craft, and Design, Midcentury and Today is organized by the Museum of Arts and Design, with lead support from The Frances Alexander Foundation, Ann Kaplan, the Reba Judith Sandler Foundation, Rago Arts and Auction Center, Sarah Peter, Hans and Jayne Hufschmid, the Coby Foundation, and Suzanne Jaffe. Its presentation at the National Museum of Women in the Arts is generously sponsored by Share Fund with assistance from the Louis J. Kuriansky Foundation, Inc., Jacqueline Badger Mars, the New Mexico State Committee of NMWA, and the Honorable Katherine D. Ortega

FRANK OUDEMAN

Magdalene Odundo and Christine McHorse were both influenced by Pueblo blackware potters such as Margaret Tafoya, but also by other global sources. Using the inspiration of the (largely female) potters who came before them, they have pushed their ceramic sculpture in entirely new directions. Anne Wilson was inspired by Richard Serra’s Verb List (1967–68), a written list of actions that became a guide for his artistic practice over the next several years. Wilson’s 2010 installation features textile tools made out of glass to become “ghosts.” Its title, to weave to wind to knot to knit to twist to push to pack to press, lists actions associated with textile techniques, which the artist notes would not have been considered “art practice” in the 1960s, but could be now. The contemporary design world also offers expanded opportunities for women in comparison to the midcentury. Front design, a trio of women who represent contemporary Scandinavian design in the exhibition, collaborated with the Hansgrohe plumbing fixture company (only the second time that the firm had worked with women) to rethink the shower experience. Vivian Beer flouts gender stereotypes about “feminine” and “masculine” techniques, welding her furniture in aluminum and steel, and finishing it in automotive paint. While midcentury women such as Dorothy Liebes provided elements of the UN interiors, contemporary designer Hella Jongerius led the team that redesigned the UN Delegates’ Lounge in 2013 and she designed much of its furniture. The association of gender with certain kinds of materials and techniques significantly shaped the opportunities open to women designers in the midcentury period. Designer Gabriel A. Maher looks at the ways in which social expectations around gender continue to affect, and be affected by, design, examining the ways in which gender is constructed by the clothes we wear, our posture, and the way we sit in a chair. Maher identifies as transgender, or “gender queer,” and prefers not to be categorized as male or female. Not only does their work call into question the concepts of “masculine” or “feminine” in designed objects, it rethinks the ways in which we assign identities to people through gender.

Hella Jongerius (manufactured by Vitra), Polder Sofa XL, 2005; Wood, polyurethane foam, polyester, and textile, 30 ½ x 115 ¼ x 39 ½ in.; Courtesy of Vitra

FALL 2015 | WOMEN IN THE ARTS

Champions of Change Lorie Mertes

t its best, art urges audiences to see from new perspectives—how can art encourage new ways of thinking about social issues? Can a museum be a space for talking about social change? Launching this fall, NMWA’s new Women, Arts, and Social Change initiative builds on the museum’s mission of advocacy for women in the arts, bringing people together for face-to-face conversations on issues of significance in today’s world. NMWA Director Susan Fisher Sterling says, “As we approach our thirtieth year, we embrace the idea that the museum can be a valuable public forum for talking about issues and ideas, reflecting our commitment to be champions of women through the arts. As a cause-related museum, we are curating our new public programs to deliver content that is relevant and important to our diverse audiences.”

WOMEN IN THE ARTS | FALL 2015

Why here? Why now? Plans for Women, Arts, and Social Change were already underway when Sterling spoke at the 2014 World Economic Forum’s Annual Meeting of the New Champions in Tianjin, China. During her talk, she spoke about the art world’s relatively recent focus on socially engaged art, in which an artist’s practice involves creating work that addresses a social or political issue and aspires to empower or incite change in a community. Sterling’s invitation to Tianjin reveals world leaders’ growing recognition that art has the potential to effect social change. While conversations about socially engaged art may be a fairly recent phenomenon, many may not realize that women in the arts have long been catalysts for social progress. In the 1960s, during the feminist and Civil Rights movements, women in the visual arts

Featured 2015–16 speakers Opposite, left to right, top to bottom: Guerrilla Girl Alma Thomas with Devon Jones, a young feminist, 2009, photo by Annette O. Jones, courtesy Alma Thomas | Author, curator, and critic Maura Reilly, photo by Andrew Watson | Netherlands-based designer Gabriel Maher, photo by Alwin Poiana | Artist Ghada Amer, photo by Brian Buckley, courtesy Cheim & Read, New York | Sotheby’s Senior Vice President and Senior Specialist for contemporary art Gabriela Palmieri, photo courtesy Sotheby’s | International New York Times design critic Alice Rawsthorn, photo courtesy the New York Times Company | Hyperallergic Senior Editor Jillian Steinhauer, photo courtesy Jillian Steinhauer | Artist Simone Leigh, photo by Paul Sepuya | ARTnews Editorin-Chief Sarah Douglas, photo courtesy Sarah Douglas | Artist Carrie Mae Weems, photo courtesy the John D. & Catherine T. MacArthur Foundation | Activist and storyteller Jamia Wilson, photo courtesy Fresh Speakers | Galerie Lelong, NY, Vice President/Partner Mary Sabbatino, photo courtesy Galerie Lelong

in particular embraced art’s potential for social influence. Today, they continue to be a major force, engaging with a broad range of increasingly urgent topics affecting women and girls around the world, from social justice and environmental awareness to systemic racial divides. Women, Arts, and Social Change was inspired by this legacy and artists’ current practices, as well as the profusion of stories on women’s issues infiltrating popular culture and consciousness via the internet and social media. An aspect of this could be called the “Beyoncé Effect,” referring to the artist’s performance at the MTV Music Video Awards in August 2014 and the subsequent media flurry—she ended her show with the word “feminist” in all-caps glowing brightly behind her. Taylor Swift, Patricia Arquette, and Emma Watson are just a few of the other celebrities who have been talking about gender-based social justice in a highly public way. On a daily basis, it’s the subject of Facebook feeds, Tweets, online news postings, and blogs. In launching Women, Arts, and Social Change, Sterling says, “Our goal is to take the three core principles on which the museum was founded—arts, women, and social action—and create programs that could begin to make a difference. We also are capitalizing on our location in Washington, D.C., home to so many think tanks, NGOs, and policy-making institutions. This museum is the ideal place to present this steady drumbeat of socially relevant programming that explicitly champions women and the arts as catalysts of change.”

FRESH TALK at NMWA FRESH TALK, the signature program of Women, Arts, and Social Change, poses the question: Can we change it? Artists, architects, authors, curators, designers, filmmakers, musicians, playwrights, and scholars convene with citizen advocates, business leaders, philanthropists, policy-makers, scientists, and social entrepreneurs for creative conversations on conflict resolution, equity, education, the environment, health, race, and more. Programs kick off on October 18 with art-world professionals and gender activists discussing the state of women in the arts today—addressing NMWA’s core advocacy mission. On November 15, Carrie Mae Weems, an artist who had her first major solo show at NMWA in 1993, takes the stage to talk about an artist’s social

Image by Cara Despain for Micol Hebron’s Gallery Tally, depicting the overall percentage of women artists represented in New York and Los Angeles galleries

responsibility. January begins a year of FRESH TALK programs under the theme of “Change by Design” featuring conversations on genderless design, art and environmental remediation, bicycles as agents of change, women pioneers in the film industry, architects as community builders, and fashion as a visual manifesto. Programs will be live-streamed as well as recorded and available online shortly after each presentation. Audiences at NMWA and beyond will be invited to add their voices via social media using #freshtalk4change. To keep the conversation going after each program, NMWA invites attendees to stay for social gatherings such as Sunday Supper, served family-style, and Catalyst, a cocktail hour with a topic and a twist. Read more about upcoming Women, Arts, and Social Change events on the calendar starting on the next page or visit http://nmwa.org/women-arts-and-social-change. Lorie Mertes is the National Museum of Women in the Arts’ new director of public programs. The Women, Arts, and Social Change public program initiative is made possible through leadership gifts from Lorna Meyer Calas and Dennis Calas, the MLDauray Arts Initiative, Denise Littlefield Sobel, and the Swartz Foundation.

FALL 2015 | WOMEN IN THE ARTS

10 | 2, 10 | 3, 10 | 4, 10 | 10 & 10 | 11

EXHIBITIONS Pathmakers: Women in Art, Craft, and Design, Midcentury and Today October 30, 2015–February 28, 2016 Esther Bubley Up Front September 4, 2015–January 17, 2016 Vanessa Bell’s Hogarth Press Designs May 11–November 13, 2015, in the Betty Boyd Dettre Library and Research Center; Open Monday–Friday, 10 a.m.–12 p.m. and 1–5 p.m. Womanimal: Zine Art by Caroline Paquita November 16, 2015–May 13, 2016, in the Betty Boyd Dettre Library and Research Center; Open Monday–Friday, 10 a.m.–12 p.m. and 1–5 p.m. Front design, Axor WaterDream/Axor Shower System, 2014; On view in Pathmakers

FRI 7:30–8:30 P.M., SAT & SUN 2–3 P.M.

WOMEN’S VOICES THEATER FESTIVAL. Guillotine Theatre performance: Hootenanny. NMWA and the Women’s Voices Theater Festival present five performances, 10/2–10/11. About the play: Backstage at the smash hit Hootenanny—a bluegrass musical version of Macbeth—Samantha and Chip wait for their cues, wrestle with desire for each other, and test the limits of their ambition. Written by Monique LaForce; Directed by Catherine Aselford; Music by Dead Men’s Hollow. Proceeds benefit Guillotine Theatre. Friday, October 2, 7:30–8:30 p.m.; Saturday, October 3 and 10, 2–3 p.m.; Sunday, October 4 and 11, 2–3 p.m. $25 at the door or online at http://nmwa.org/hootenanny.

10 | 5

MON 8–9:30 P.M.

WOMEN’S VOICES THEATER FESTIVAL. Mosaic Theater Company of DC staged reading: Hkeelee (Talk to Me). NMWA and the Women’s Voices Theater Festival present a staged reading. About the play: A probing portrait of a cosmopolitan Lebanese matriarch as remembered by her LebaneseAmerican granddaughter, who attempts to piece together her beloved Teta’s story. Moving between voices, faiths, times and spaces, Hkeelee invites audiences to explore what it means to be(come) American. Written and performed by Leila Buck. Free. Event is sold out. Leila Buck, author of Hkeelee

LISA-MARIE MAZZUCCO

10 | 7

WED 7:30–9:30 P.M.

SHENSON CHAMBER MUSIC CONCERT. Bella Hristova, violin. Artistic Director Gilan Tocco Corn welcomes Bulgarian-born violinist Bella Hristova. Acclaimed for her passionate, powerful performances, beautiful sound, and compelling command of her instrument, Hristova has a growing international career as a soloist and recording artist. She is recipient of the 2013 Avery Fisher Career Grant and 2009 Young Concert Artists First Prize, among others. Free. Registration required. Visit http://nmwa.org/ bella-hristova.

10 | 12

10 | 7–2 | 24

WED 12–12:30 P.M.

GALLERY TALK SERIES. Lunchtime Gallery Talks. These bite-size lunchtime talks are offered most Wednesdays. Museum staff members facilitate interactive conversations, encouraging visitors to look closely and investigate the mediums, techniques, and overarching themes of special exhibitions and works from the museum’s collection. Free. No reservations required. Esther Bubley, At the well-baby clinic, 1953; On view in Esther Bubley Up Front

11 | 18 12 | 2 12 | 9 12 | 16 1 | 6 1 | 13

Pathmakers Womanimal Pathmakers Pathmakers Womanimal Pathmakers

1 | 20 1 | 27 2 | 3 2 | 10 2 | 17 2 | 24

Pathmakers Pathmakers Pathmakers Pathmakers Pathmakers Pathmakers

MON 7:30–9:30 P.M. WOMEN’S VOICES THEATER FESTIVAL. Mosaic Theater Company of DC staged reading: Run Home. NMWA and the Women’s Voices Theater Festival present a staged reading. About the play: The year is 1862, and Obadiah and Lilah are like siblings, growing up together on the same expansive farm just east of Washington. But the two are thrown a curveball and soon must come together to fight for freedom. Written by Jennifer L. Nelson; Commissioned by Ford’s Theatre for the Women’s Voices Theater Festival. Free. Event is sold out. Jennifer L. Nelson, author of Run Home

Visit http://nmwa.org for more information and a complete calendar of events and programs.

WOMEN IN THE ARTS | FALL 2015

MEREDITH ZIMMERMAN

CALENDAR

Calendar

10 | 18

10 | 19

SUN 3–8 P.M.

• The Issue: Jillian Steinhauer, senior editor, Hyperallergic, and Sarah Douglas, editor-in-chief, ARTnews; • The Market: Mary Sabbatino, vice president/partner, Galerie LeLong, NY, and Gabriela Palmieri, Sotheby's senior vice president and senior specialist for contemporary art;

JOEL MARSH GARLAND

FRESH TALK. Righting the Balance—Can there be gender parity in the art world? This program launches Women, Arts, and Social Change, NMWA’s new public programs initiative. Conversations consider the inequality that persists for women artists and question what can be done about it. Introduction by Maura Reilly, author, curator, critic, and event co-organizer. Conversations include:

Image by Cara Despain for Micol Hebron’s Gallery Tally

10 | 30

Sarah Gancher, author of The Place We Built

THU 10 A.M.–3 P.M.

MEMBER PREVIEW DAY. Pathmakers: Women in Art, Craft, and Design, Midcentury and Today. Join us for a special preview of Pathmakers, which illuminates the contributions of women to midcentury visual culture and their use of craft materials—especially clay, fiber, and metals—to explore concepts of Modernism. Free admission for members (with a current membership card) and one guest. Enjoy tours with guest curator Jennifer Scanlan and NWMA staff. Members receive a 20% discount in the Museum Shop and a 15% discount in the Mezzanine Café. ANDRES RAMIREZ

$25 general admission; $15 members, seniors, students. Followed by Sunday Supper at 6 p.m. Reservations required. Reserve online at http://nmwa.org/rightingbalance.

WOMEN’S VOICES THEATER FESTIVAL. Mosaic Theater Company of DC staged reading: The Place We Built. NMWA and the Women’s Voices Theater Festival present a staged reading. About the play: In a post-communist Budapest, young bohemians reclaim the Jewish identity their parents abandoned after the Holocaust. They create a vibrant new subculture combining big ideas with wild parties. When authoritarianism and anti-Semitism make a surprise comeback, will the place they built survive? Written by Sarah Gancher. Free. Event is sold out.

10 | 29

• The Artist’s Voice: Ghada Amer, Micol Hebron, Simone Leigh, and Guerrilla Girl Alma Thomas.

MON 7:30–9:30 P.M.

Polly Apfelbaum, A Handweaver’s Pattern Book, 2014; On view in Pathmakers

FRI 8–11:30 P.M.

11 | 1

11 | 5

SUN 12–5 P.M.

Pathmakers artist Vivian Beer in her studio, 2014

THU 6:30 P.M.

FALL BENEFIT. A Salute to Cole Porter. Join NMWA for a delightful evening of music to support the Shenson Chamber Music Concert series and the museum’s education programs. The evening’s festivities include cocktails, dinner, and a performance by Amy Burton, soprano, and John Musto, piano. For ticket and table pricing and reservations, contact Development Events Manager Gabrielle Kaufman at gkaufman@ nmwa.org or 202-266-2815. R. BLINKOFF

COURTESY OF THE ARTIST; PHOTO BY MARIANA ROSAS-GARCIA

FREE COMMUNITY DAY. Makerspace: Practicing Creativity. Celebrate the imaginative and innovative spirit explored in Pathmakers by tapping into and practicing your own creativity. NMWA’s first pop-up makerspace provides various craft/art materials, tools, and ideas, as well as the time and space to play. Like processes? Explore and experiment! Want a product? Make and take! Open to all ages. Free. No reservations required.

LAURA HOFFMAN

NMWA LATE NIGHT. Mod Women (and Men). Start your Halloween celebrations early with a special opening night for Pathmakers. Enjoy a retro glam evening of cocktails, refreshments, dancing, and exhibition tours. Come dressed as your favorite “mod-ster” if you dare! The best costume will be awarded a special prize. $55 general admission with advance reservation; $65 non-members at the door; $45 members. Event is 21+. Reservations recommended. Reserve online at http://nmwa.org/late-nights.

John Musto and Amy Burton

Visit http://nmwa.org for more information and a complete calendar of events and programs.

FALL 2015 | WOMEN IN THE ARTS

CALENDAR

11 | 9

11 | 15

MON 7–8:30 P.M.

FRESH TALK. Carrie Mae Weems—Can an artist inspire social change? Over the past twenty-five years, Weems has developed a complex body of art that investigates family relationships, gender roles, and the histories of racism, sexism, class, and various political systems. $25 general admission; $15 members, seniors, students. Includes refreshments and admission to Sunday Supper. Reservations required. Reserve online at http://nmwa.org/ carrie-mae-weems. COURTESY OF THE JOHN D. & CATHERINE T. MACARTHUR FOUNDATION

BOOK ARTS LECTURE. Where Books and Sculpture Meet: Carol Barton’s Artist’s Books. Book artist Carol Barton talks about her process in creating her sculptural books, her research on historic movable books, and her background as a painter. She will also present her new book, Land Forms and Air Currents, which combines painted images with layered pop-ups and poems. This program inaugurates a series of annual lectures devoted to artists’ books and their creators. Free. No reservations required.

SUN 5–8 P.M.

Carol June Barton, Five Luminous Towers: A Book to be Read in the Dark, 2001

11 | 21

SAT 10 A.M.–3 P.M.

WORKSHOP. Firsthand Experience: Textiles. Join us for a hands-on workshop inspired by Pathmakers. Guest instructor and textile artist Jessica Beels introduces wire weaving to a multigenerational audience. Participants will have ample time to learn, use specialized materials and tools, and explore the exhibition. This workshop instructs and engages audiences 13 and older. Materials and instruction provided. $15 general; $13 members, seniors, students. Reservations required. Reserve online at http://nmwa.org/november-textiles. Pathmakers artist Ruth Asawa holding a “form-within-form” sculpture, 1952; © 2015 Imogen Cunningham Trust; Photo by Imogen Cunningham; © Estate of Ruth Asawa

1|3

SAT 10 A.M.–3 P.M.

WORKSHOP. Firsthand Experience: Clay. Join us for a hands-on workshop inspired by Pathmakers. Guest instructor and ceramicist Elizabeth Vorlicek introduces the techniques and forms of clay slab building to a multigenerational audience. Participants will have ample time to learn, use specialized materials and tools, and explore the exhibition. This workshop instructs and engages audiences 13 and older. Materials and instruction provided. $15 general; $13 members, seniors, students. Reservations required. Reserve online at http://nmwa.org/ december-clay.

SUN 12–5 P.M.

Karen Karnes, Covered Casserole, 1967; On view in Pathmakers

1 | 13

PHOTO BY DAVID ATTIE; COURTESY OF THE LENORE G. TAWNEY FOUNDATION

12 | 12

Pathmakers artist Lenore Tawney in her Coenties Slip studio, New York, 1958

WED 5–7:30 P.M.

TEACHER PROGRAM. Crafty Happy Hour. Join fellow educators for an informal, social evening at the museum and design your own professional development experience! Explore Pathmakers; foster your creative side at hands-on making stations; participate in a Conversation Piece gallery experience; and engage with museum educators and colleagues. Light refreshments. Free for educators. Reservations required. Reserve online at http://nmwa.org/teacher-happy-hour.

Visit http://nmwa.org for more information and a complete calendar of events and programs.

WOMEN IN THE ARTS | FALL 2015

SAT 10 A.M.–3 P.M.

1 | 27

WED 7–9:30 P.M.

FRESH TALK. Change by Design—Can design be genderless? In conjunction with the Pathmakers exhibition, designer Gabriel Ann Maher and Alice Rawsthorn, design critic for the international edition of the New York Times, question design practices through queer and feminist frameworks. $25 general; $15 members, seniors, and students. Includes admission to Catalyst—cocktail hour with a topic and a twist. Reservations required. Reserve online at http://nmwa. org/change-by-design.

Margaret Tafoya, Jar, ca. 1965; On view in Pathmakers

Alice Rawsthorn

2 | 27

COURTESY OF THE NEW YORK TIMES COMPANY

1 | 16

SAT 10 A.M.–3 P.M.

Marianne Strengell, Forecast Rug for Alcoa, 1957; On view in Pathmakers

Education programming is made possible by the Leo Rosner Foundation; Newman’s Own Foundation; and Wells Fargo. Additional support is provided by the William Randolph Hearst Foundation, the D.C. Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts, the Harriet E. McNamee Youth Education Fund; William and Christine Leahy; Washington Marriott at Metro Center; Sofitel Washington D.C. Lafayette Square; and the Junior League of Washington. FRESH TALK, the signature program of Women, Arts, and Social Change, is made possible through leadership gifts from Lorna Meyer Calas and Dennis Calas, the MLDauray Arts Initiative, Denise Littlefield Sobel, and the Swartz Foundation. RBC Wealth Management is the presenting sponsor of FRESH TALK: Carrie Mae Weems. Funding for NMWA Late Night: Mod Women (and Men) is made possible by the Bernstein Family Foundation.

Visit http://nmwa.org for more information and a complete calendar of events and programs.

FALL 2015 | WOMEN IN THE ARTS

September 4, 2015 –January 17, 2016

ESTHER BUBLEY UP FRONT Stephanie Midon

sther Bubley (1921–1998) achieved distinction in photography, a field dominated by men, in the 1940s, ’50s, and ’60s. Her compelling and candid images document America through its recovery after World War II, while the country was on the cusp of dramatic social change. Drawn from a group of photographs recently donated to the museum, Esther Bubley Up Front brings into focus a photographer who created extraordinary images from ordinary moments.

WOMEN IN THE ARTS | FALL 2015

orn in Phillips, Wisconsin, Bubley was the fourth of five children born to Russian Jewish immigrant parents. She became interested in photography as a teenager while serving as her high school’s yearbook editor. She promoted using candid photographs like those she had seen in Life magazine. Bubley worked in a photo-finishing lab while attending a teachers’ college, and with the money she saved, she enrolled at the Minneapolis School of Art, where she learned photography techniques. In 1940, Bubley ventured to New York City to pursue her dream of becoming a professional photographer. Her student portfolio won praise from distinguished photographers including Edward Steichen, and she worked briefly for Vogue magazine. She relocated to Washington, D.C., where two of her sisters lived, and found a job at the National Archives. Quickly bored with her task of microfilming rare books, Bubley found her niche when she met Roy Stryker, head of the photographic unit of the government-funded Office of War Information (OWI), formerly the Farm Security Administration (FSA). Stryker hired Bubley as a darkroom assistant in 1942, and encouraged her to take pictures in her spare time. Bubley did not drive a car, and at first she primarily photographed subjects around Washington. She documented the boarding house where her sister lived, patriotic parades, grocery stores, church services, and other aspects of city life. During the 1930s, images created by Dorothea Lange, Margaret Bourke-White, and others made clear to government agencies and commercial clients that women could excel as photographers. In 1943, Stryker promoted Bubley to the position of field photographer for OWI. She contributed more than 2,000 images to the OWI file over the course of the next year. In these early photo-essays, Bubley’s ability to capture people in natural, unaffected poses is evident. She immersed herself in her assignments, touring on buses for weeks to document American bus travel and profiling a serviceman’s family at home. In late 1943, Stryker left the government to build a photography library for the Standard Oil Company, bringing a number of OWI photographers, including Bubley, to take pictures for the project. One of Bubley’s first and best-known assignments for Standard Oil depicted life in Tomball, Texas, an oil boom town. Living in the town for six weeks, Bubley took more than 600 pictures documenting the town’s commerce, industry, schools, churches, and recreation. Although Stryker discouraged the use of 35mm cameras, he acknowledged that Bubley was very adept with these and other small handheld cameras. Their portability enabled her to develop a dynamic point-and-shoot style and let her photograph from unusual angles. She exercised great patience, spending time with her subjects to put them at ease and photographing them only after they stopped focusing on her camera. Bubley continued working for Standard Oil through the 1950s, while also developing a thriving freelance practice with other

WOMEN IN THE ARTS | FALL 2015

PREVIOUS LEFT AND ABOVE BOTTOM: Rockefeller Center—New York, New York, 1950; Gelatin silver print, 14 x 11 in.; Gift of Kenneth and Lori Polin and Family; © Jean B. Bubley; PREVIOUS RIGHT Untitled (Washington, D.C.) (detail), 1943; Gelatin silver print, 9 x 8 in.; Gift of Jill and Jeffrey Stern; © Jean B. Bubley; ABOVE TOP Children waiting for their mother to finish shopping, 1945; Gelatin silver print, 11 x 14 in.; Gift of Robert and Kathi Steinke; © Standard Oil (New Jersey) Collection #26162; Photographic Archives, University of Louisville; OPPOSITE TOP: Wahoo, Nebraska, 1948; Gelatin silver print, 8 ¾ x 9 ¾ in.; Gift of Diana and Gabriel Wisdom; © Jean B. Bubley; OPPOSITE BOTTOM: Homemaker, Children’s Aid Society—New York, New York, 1952; Gelatin silver print, 13 ½ x 9 ¼ in.; Gift of Kenneth and Lori Polin and Family; © Jean B. Bubley

corporate clients and publications. The U.S. government stopped underwriting social documentation in the 1950s, but with television still a recent invention, photo-essays about everyday people provided a window into the world. Magazines featuring these popular “picture-stories” created high demand for photojournalists like Bubley. Bubley, who had been inspired by Life magazine as a teenager, was eager to earn commissions from the renowned magazine. In 1951, she won third place in Life’s annual Young Photographers Contest, and a photograph from her first assignment for the magazine was selected for its cover. Despite the otherwise scant representation of women on Life’s roster of photographers, Bubley became a regular contributor to the magazine, producing forty photo-essays, including a story on the 1957 Miss America pageant. Bubley also regularly contributed to Ladies’ Home Journal, the leading women’s magazine in the United States. Her best-known assignments for the Journal were published in the series “How America Lives,” a feature about families from different regions and income levels. One of Bubley’s profiles for this series focused on the Rood family of Wahoo, Nebraska, who had paid off the forty-year mortgage on their farm in only six years. Living with the family for a number of weeks, Bubley documented the Roods tending to their farmland, attending school, working at household chores, and cooking meals. Although centered on everyday activities, Bubley’s images are often slyly humorous. People gesticulate wildly, wear awkward expressions, and occasionally stare dully at Bubley’s camera. She incisively communicated the traditions and routines that shaped American life in the mid-twentieth century. Her images also form a subtle critique of the rigid and unequal aspects of this culture, which was on the precipice of momentous social change brought by the Cold War and Civil Rights movement. Edward Steichen, then director of the photography department at the Museum of Modern Art, included Bubley’s work in three exhibitions there in the 1950s. Most notably, her work was presented in the museum’s exhibition The Family of Man, which traveled to thirty-seven countries. Commissions for photo-essays waned in the 1960s as television became more widespread, but particularly since the 1980s, historians, collectors, and museums have rediscovered Bubley’s contributions to photography. Finding art in everyday life, Esther Bubley created candid, compelling photographs that have endured beyond their time.

Bubley exercised great patience, spending time with her subjects to put them at ease and photographing them only after they stopped focusing on her camera.

Stephanie Midon is the curatorial assistant at the National Museum of Women in the Arts. ALL IMAGES BY LEE STALSWORTH

Esther Bubley Up Front, presented in the Teresa Lozano Long Gallery of the National Museum of Women in the Arts, is organized by the museum and generously supported by its members.

FALL 2015 | WOMEN IN THE ARTS

ON VIEW

Who’s Afraid of Vanessa Bell? Vanessa Bell’s Hogarth Press Designs On view through November 13 Heather Slania

ithout artist Vanessa Bell, there would be no Bloomsbury Group, the influential web of artists, writers, and intellectuals in early twentieth-century London who helped shape modern art, literature, philosophy, and even economics. Bell was at its heart physically and spiritually. While her younger sister, Virginia Woolf, has often been the face of the Bloomsbury Group as its breakout star, Bell fully lived the group’s ideals of freedom and truth in both her work and her life. Vanessa (1879–1961) and Virginia (1882–1941) grew up in a traditional Victorian home in London. Despite their intelligence and wit, their father, Sir Leslie Stephen, author of The History of English Thought in the Eighteenth Century, did not allow the sisters a formal education while young; they were given lessons by their parents at home. However, the two talented sisters carved out their sections of the artistic map early in their childhoods. Virginia was a voracious reader and followed the family tradition of writing, while Vanessa took up drawing and painting. This choice made Vanessa feel like an outsider in her family, though Virginia later wrote, “Do you think we have the same pair of eyes, only different spectacles?” After their mother’s death in 1895, Vanessa attended Sir Arthur Cope’s art school

Jacket design for Virginia Woolf’s The Waves, The Hogarth Press, 1931; NMWA, Betty Boyd Dettre Library and Research Center

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for five years before gaining admission to the Painting School of the Royal Academy in 1901—one of only twenty students to do so. There, she studied with American artist John Singer Sargent, and her challenging and inspirational artistic education was a welcome relief from her home life. Vanessa shouldered many of the household responsibilities and demands of her distraught, and then ill, father. When he died of cancer in 1904, Vanessa found great freedom leading her life the way she wanted. Soon after, Vanessa, Virginia, and brothers Thoby and Adrian sold their family home and moved to 46 Gordon Square, also in London. In 1905, Thoby began a conversation club at their house for writers and intellectuals, “Thursday Evenings,” while Vanessa created “Friday Club” for artists. When Thoby died the following year, Vanessa melded the groups into what is now known as the Bloomsbury Group. Members shared unconventional and anti-Victorian philosophical, political, and aesthetic ideas that bound them as friends, lovers, and, occasionally, spouses. Both Vanessa and Virginia became involved with Bloomsbury Group members. Each had an open marriage, Vanessa with art critic Clive Bell and Virginia with author Leonard Woolf. However, Woolf had a much more conventional marriage despite her other well-known relationships (such as the one with Vita Sackville-West, who inspired the book Orlando). While the Woolfs’ marriage was supportive, loving, and strong, if chaotic, the Bells’ marriage did little more than produce two children. Vanessa’s relationships with curator and art critic Roger Fry and fellow artist Duncan Grant were much more significant to her artistic and personal development. Fry was curator of paintings at the Metropolitan Museum of Art and arranged

the first Post-Impressionism exhibition in London in 1910. Even though many of the artists involved, such as Paul Cézanne, were well-known and nearly passé in continental Europe, the show caused an uproar in England due to the radical difference between the works on view and contemporary British painting. Vanessa had been familiar with these painters for several years, but it was not until seeing the exhibition that she became one of the first British artists to (for a time) attempt abstract painting. In 1913, Fry founded the Omega Workshops—a design studio that sought a total integration of art with life—with Vanessa Bell and Duncan Grant as co-directors. Illustrating her belief that there was no distinction between decorative and fine arts, Vanessa designed many items for Omega. In 1917, Virginia and Leonard Woolf founded Hogarth Press, which served as a sanctuary for Bloomsbury authors and their friends, a haven from established publishers and potential censorship. At this time the sisters were living apart, but Hogarth Press granted the two important roles in shaping each other’s work. Bell designed many jackets and covers for Hogarth Press books and developed their house style. She often created covers without reading the texts, instead working from

only a synopsis and minimal direction from Woolf. They include many motifs that Bell employed in her painting, such as organic shapes like flowers and circular patterns. While her designs were sometimes criticized in newspapers, Woolf praised her sister’s work: “Your style is unique: because so truthful; and therefore it upsets one completely.” Vanessa became enraptured with Grant, with whom she found artistic and emotional unity. Although Grant was otherwise exclusively homosexual, he fathered one of her children and was her life partner and artistic collaborator for forty years, until her death. Together they settled at and elaborately decorated Charleston, an estate in East Sussex that is now open to the public. Vanessa Bell died in Charleston in 1961 at age eighty-one, almost exactly twenty years after her sister’s death by suicide. Vanessa’s mark on art history has not been as studied as her life with her more famous sister and associates, but her exceptional life should not overshadow her important contributions to British art, modern art, and decorative arts. Heather Slania is director of the Betty Boyd Dettre Library and Research Center at the National Museum of Women in the Arts.

Right: Jacket design for Virginia Woolf’s A Haunted House and Other Stories, The Hogarth Press, 1943; NMWA, Betty Boyd Dettre Library and Research Center Far right: Jacket design for Virginia Woolf’s Three Guineas, The Hogarth Press, 1938; NMWA, Betty Boyd Dettre Library and Research Center

FALL 2015 | WOMEN IN THE ARTS

MUSEUM NEWS AND EVENTS

Committee News Leaders from NMWA’s national and international committees convened in D.C. for the 2015 Committee Conference in June. Twenty-five women representing fourteen committees attended the three-day conference, with meetings, seminars, and tours at the museum and around the city. Committees support NMWA’s mission by advocating for the museum as well as the women artists in their diverse communities. There are currently ten national and eight international groups, and the conference provided the opportunity for leaders to gain insight on how to ensure that their committees continue to grow and thrive. The conference began with a welcome dinner at NMWA Trustee Nancy Duber’s home, where committee leaders mingled with each other and NMWA’s Executive Board, including Founder Wilhelmina Cole Holladay. The following two days were filled with discussions and workshops led by members of the museum’s membership, public programs, education, digital engagement, communications and marketing, and curatorial departments. Attendees brainstormed and networked together, enabling them to leave the conference with fresh ideas and insights. The conference also coincided with the opening of the committee-sourced exhibition Organic Matters—Women to Watch 2015. Thirteen of the selected artists and several curators attended the opening as well as conference events. Artists, curators, and committee leaders attended a lunch reception at the Embassy of the Principality of Liechtenstein hosted by NMWA Advisory Board member Her Excellency Ambassador Claudia Fritsche as well as a private tour of

TOP AND BOTTOM LEFT: LAURA HOFFMAN

Committee Conference 2015

Top: Organic Matters artists Mimi Kato, Sara Goldschmied, Eleonora Chiari, Lara Shipley, Dawn Holder, Rachel Sussman, Rebecca Hutchinson, Jennifer Celio, Françoise Pétrovitch, Mary Tsiongas, Polly Morgan, and Jiha Moon; Bottom Left: Committee members at NMWA’s conference; Bottom right: Women to Watch artists with Her Excellency Ambassador Claudia Fritsche at the Embassy of the Principality of Liechtenstein

Shirin Neshat: Facing History at the Hirshhorn Museum and Sculpture Garden with exhibition co-curator Melissa Ho. Committee attendees and the public were also treated to a concert by soprano Yaritza Veliz, winner of the Chile Committee-organized “Women to Listen To” lyrical singing contest, held in Santiago, Chile.

U.K. Friends of NMWA at the Royal Norwegian Embassy The U.K. Friends of NMWA hosted a panel

discussion and reception on June 17 at the Royal Norwegian Embassy in London. The discussion explored questions raised in NMWA’s 1995 exhibition At Century’s End: Norwegian Artists and the Figurative Tradition, focusing on the representation of contemporary women artists in Norway and Scandinavia in comparison with their late nineteenth-century predecessors. The panel was moderated by committee member Kitty Corbet Milward and included experts from the commercial and academic art world.

Member News Save the date! Member Preview Day for Pathmakers On October 29, members will be the first to experience the exciting new exhibition Pathmakers: Women in Art, Craft, and Design, Midcentury and Today, which illuminates the vital contributions of women to midcentury visual culture and their use of craft materials—especially clay, fiber, and 26

WOMEN IN THE ARTS | FALL 2015

metals—to explore concepts of Modernism. Members and a guest will enjoy behindthe-scenes tours with guest curator Jennifer Scanlan and NWMA staff. The Museum Shop offers double discounts of 20% off to members, and the Mezzanine Café offers 15% off lunch! Please visit http://nmwa.org/ visit/calendar for more information and the tour schedule.

American Fine Craft Show Washington to Benefit NMWA On October 23–25, at the DC Armory, the redeveloped American Fine Craft Show Washington will showcase hundreds of artists with a broad range of work and price points. NMWA members receive discounted admission of $15 to the opening day on Friday, October 23. Ticket sales and 10% of purchases that day will benefit NMWA. For more information on the show and purchasing tickets, visit http://www. americanfinecraftshowwashington.com.

NMWA Late Night: Mod Women (and Men) On Friday, October 30, 8 p.m.–11:30 p.m., start your Halloween celebrations early

with a special opening night of Pathmakers. Enjoy a retro-glam evening of cocktails, refreshments, dancing, and exhibition tours. Come dressed as your favorite “mod-ster” . . . if you dare! The best costume will be awarded a special prize. Tickets for members are $45, and for non-members $55 in advance and $65 at the door. This event is 21+. IDs will be checked. Purchase tickets at http://nmwa. org/late-nights.

Women in the Arts goes Digital NMWA’s award-winning Women in the Arts magazine is now available to members online! Members receive special access to the online magazine—look for a link to the current issue in your monthly member enews, and enjoy your magazine from your computer

or take it on the go with your tablet or iPad. To sign up for member enews, visit http:// nmwa.org. For questions, contact member@ nmwa.org.

MANY THANKS to our generous members who responded to the spring 2015 recognition appeal with a contribution of $100 or more. You help the museum champion women artists through exhibitions such as Organic Matters— Women to Watch 2015 and Super Natural, education programs, and outreach. We can’t do it without you!

Ms. Nina D. Abrams Ms. Carmen Acosta Ms. Lenore Bandler Ms. Ghada Batrouni Ms. Barbara-lyn Belcher Mrs. William Bell Miss Lesley A. Benedusi Ms. Peggy W. Berg Ms. Beth J. Berg Neist Mr. Michael Berger Dr. Murray Boles Ms. Hanna Burruss Ms. Carol Collins Ms. Janice Cronin Ms. Piyali Sen Dasgupta Mrs. Krystyna Dollison Ms. Debbie Dooling Mrs. Ruth M. Duff Mrs. Donald R. Dunner Ms. Barbara Dunsmore Ms. M. C. Dwyer Dr. and Mrs. Jerry M. Earll Ms. Joanne Edwards Ms. Cynthia Feldman General and Mrs. Joseph P. Franklin Mr. Raymond K. Fudge

Ms. Mimi Gallo Ms. Lillian Garbrick Ms. Barbara Garvey-Jackson Ms. Carolyn B. Geer Ms. Priscilla Glenn Ms. Ann Goette Ms. Lynne Gold-Bikin Mrs. Toby E. Goldschneider Mrs. Caroline Goodman Ms. Denise S. Graffeo Ms. Patricia D. Granados Ms. Elisabeth Griffith Dr. Alan L. Gropman Ms. Lorraine Gyauch Ms. Margaret Hannay Ms. Kathy Herman Mrs. Margaret Hiett Ms. Lily Grace M. Hudson Ms. Carol Johnson and Mr. Gregory Sultan Ms. Marlene Johnson and Mr. Peter Frankel Dr. and Mrs. William Keefe Dr. Kathryn Knudson and Dr. Gregory Knudson Ms. Barbara Krakow Ms. Linda L. Kramer

Mrs. Laura T. Krieger Ms. Dawn Laguens Ms. Karen Lee Mrs. Harry R. Locke Dr. Wolfgang M.L. Maier and Ms. Barbara G. Ruecker Mrs. John D. Mayfield, III Ms. Jane McAllister Ms. Deborah McKinnon Mr. Owen McMahon, Jr. Mrs. Iris B. McWilliams and Mr. Jack McWilliams Ms. Laura Miles Ms. Helen Mitchell Dr. Roberta W. Nauman Mrs. Nancy B. Neild Ms. Susan Niedenfuhr Mr. Robert M. Nottke Ms. Joanne Nuss Mrs. Diane P. Ofner Ms. Abigail Ogilvy Ms. Florine Olmert Mr. Torkel Patterson Dr. Margaret R. Polson Ms. Anne Richardson Ms. Rosette M. Roat-Malone Jane Sullivan Roberts

Ms. Kathi Rotella Ms. Margaret Routon Dr. Richard L. Samsel Ms. Patricia A. Sarcone Ms. Charlotte Scherer Ms. Cynthia J. Schumacher Marsha Scialdo Dr. Thomas P. Sculco Mr. William R. Seabrook Ms. Marybeth Senkewicz Ms. Elizabeth Simoncini Ms. Elizabeth C. Sluder Ms. Susan Smapson Ms. June Smith Ms. Patricia G. Staub Dr. Kathryn E. Stein Ms. Tove Stimson Ms. Donna L. Stohl Anita C. Stowe Dr. David Stuart Ms. Mary L. Swicklik Ms. Alice M. Taylor Ms. Frances M. Ziccardi Louise and Earl Ziebell

FALL 2015 | WOMEN IN THE ARTS

MUSEUM NEWS AND EVENTS

Museum Events Opening reception for Organic Matters—Women to Watch 2015 and Super Natural 1. Attendees were welcomed and introduced to the exhibitions by NMWA Board President Sheila Shaffer, Chief Curator Kathryn Wat, and Associate Curator Virginia Treanor 2. Brian Holcombe, Sara Steinfeld, NMWA Board Vice Chair Winton Holladay, and Belinda Massafra 3. Organic Matters artists Jiha Moon and Mimi Kato 4. NMWA Director Susan Fisher Sterling, Organic Matters artist Françoise Pétrovich, and Tara Beauregard Whitbeck 5. Betsy Ritz, Sarah Treco, Organic Matters artist Rebecca Hutchinson, and Sharon Lewis

NMWA Nights: Earthly Delights 6–7. At the June 11 after-hours event, revelers sampled snacks and cocktails, toured the summer exhibitions, and got crafty

WOMEN IN THE ARTS | FALL 2015

LAURA HOFFMAN KEVIN ALLEN

8. Isabel Wilkerson, Pulitzer Prize-winning author of The Warmth of Other Suns, spoke as part of the March on Washington Film Festival at NMWA on June 21; the program also featured visual artist Joyce J. Scott, dancer Adaku Utah, and violinist Juliette Jones 9. Isabel Wilkerson, Jean-Michelle Lopez of The Raben Group, Joyce Scott, and March on Washington Film Festival Executive Director Isisara Bey

YASSINE EL MANSOURI

Migration Stories and the Civil Rights Movement: Conversation with Joyce J. Scott and Isabel Wilkerson

The National Museum of Women in the Arts is deeply grateful to the following donors who made contributions from July 1, 2014, to June 30, 2015. Your support enables NMWA to develop groundbreaking exhibitions, expand its education, library, and outreach programs, and offer other special events to the public. Although we can only list donations of $500 and above due to space limitations, NMWA is thankful for all of its members and friends. Your contributions are critical to the museum’s success! We also wish to acknowledge our Spring Gala and Fall Benefit sponsors. This year’s generous endowment gifts are listed separately on page 31. For more information, please contact the Development Office at 202-266-2805.

Individual Donors $50,000–$1 million Anonymous • Jacqueline Badger Mars • Madeleine Rast • Alejandra and Enrique Segura • Denise Littlefield Sobel • Mildred Weissman $25,000–$49,999 Ann C. Broder • Marcia and Frank Carlucci • Belinda de Gaudemar • Betty B. and Rexford* Dettre • Sue J. Henry • Kappaz Family • Gladys K. and James W.* Lisanby • Marlene A. and Frederic V. Malek • Marjorie and Philip Odeen • John D. Reilly* • Shirley and Patrick Ryan • Stephanie Sale • Mr. and Mrs. B. Francis Saul II • Sheila and Richard Shaffer • K. Alex Stewart $15,000–$24,999 Gina and Eugene Adams • Diane Casey-Landry and Brock Landry • Mary Ellen Edmondson* • Lorraine G. Grace • Nancy Livingston and Fred M. Levin • Clara M. Lovett • Bonnie McElveen-Hunter and Bynum Hunter • Dee Ann McIntyre • The Honorable Mary V. Mochary • Clarice R. and Robert H.* Smith $10,000–$14,999 Janice L. and Harold L. Adams • Bertha Soto Braddock • Buffy Cafritz • Deborah G. Carstens • Rose and Paul Carter • Geraldine E. Ehrlich • Elva Ferrari-Graham • Rosemarie Forsythe • Catherine Britton and Robert Giaimo • Medda Gudelsky and Joseph D. Moss • Albert Halprin and Janice Obuchowski • Barbara R. and Larry Hayes • Caroline Rose Hunt • W. Bruce Krebs • Susan Carmel Lehrman • Juliana and Richard E. May • Ruth C. Putter* • Elizabeth Robinson • Geri Skirkanich • Patti Amanda and Bruce Spivey • Kathleen Elizabeth Springhorn • MaryRoss Taylor • Paula S. Wallace • Krystyna Wasserman $5,000–$9,999 Noreen M. Ackerman • Catherine Bert and Arthur Bert, M.D. • Sandra and Thomas Brushart • Renee Chodur • Linda L. and John Comstock • Martha Dippell and Daniel Korengold • Nancy and Marc Duber • Gabriela Febres-Cordero • Maria Elena and Larry Fisher • Patricia Mast and Kenneth S. George • Jamie S. Gorelick and Richard E. Waldhorn • Lois Lehrman Grass • Linda D. Hallman • June D. Heffernan • Winton and Hap Holladay • Evan and Cindy Jones • Sally and Christopher H. Jones • Alice D. Kaplan • Martha M. and Harry A. Kettmer • Arlene Fine Klepper and Martin Klepper • Albert Baker Knoll • Leonard Leveen • Adrienne B. and John F. Mars • Linda Shoff McCausland • Christopher Murphy, III • Irene Natividad • Kay W. Olson • Maureen A. Orth • Margaret H. and Jim Perkins • Dede and Tom Petri • Heather Miller Podesta • Patti Pyle • Andrea Roane and Michael Skehan • Lisenne and Winthrop* Rockefeller • Mary and T. Christopher Roth • Jean Hall and Thomas D. Rutherfoord, Jr. • Jack and Dana Snyder • Sara Steinfeld • Josephine L. and Thomas D. Stribling • Christy A. Vezolles • Alice W. and Gordon T. West, Jr. • Patricia and George White • Barbara H. and Michael W. Wynne $2,000–$4,999 Patty Abramson and Lester Silverman • Sunny Scully Alsup and William Alsup • Marilyn C. Anderson • Jean T. and William B.* Astrop • Pamela G. and William W.

SUPPORTING ROLES

With Thanks Bailey • Jo Ann Barefoot • Gail D. Bassin • Mr. and Mrs. John T. Beaty, Jr. • Susan G. and Lee Berk • Sue Ann and Ken Berlin • Brenda Bertholf • Eva M. Borins • Susan Borkin • Caroline Boutté • Margaret C. Boyce Brown • Beth B. Buehlmann • Terri D. Bullock • Charlotte and Michael Buxton • Nicholas and Eleanor Chabraja • Paul T. Clark • Alisann A. Collins • Jo Ann Crow, Ph.D. • Lynn Finesilver Crystal • Paula Ballo Dailey and Brian Dailey • Elizabeth J. Doverman • Kenneth P. Dutter • Hanna G. Evans • Susan Fawcett • Sara Beck Fein • Mimi Alpert Feldman • Suzy Finesilver* • Elizabeth Flanagan • Jane Fortune • Katherine F. Fouts • Barbara L. Francis and Robert Musser • Robert Freeman • Sally Mott and John K. Freeman • Julie and Jon Garcia • Lisa Garrison • Carol and Henry Goldberg • Susan Goldberg • Barbara S. Goldfarb • Jody Harrison Grass • Raymond Garcia and Fruzsina M. Harsanyi • Claudia and Robert E. Hauberg, Jr. • Anna Stapleton Henson • Michelle Howard • Mareen Hughes • Jane S. and E. Claiborne Irby • Jan V. Jessup • Lynn M. Johnston • Margaret M. Johnston • Susan W. Klaveness • Doris Kloster • Mrs. Thomas S. Knight, Jr. • Sandra W. and James Langdon, Jr. • Nelleke Langhout-Nix • Anne and Robert Larner • Carol M. and Climis G. Lascaris • John Leubsdorf and Lynn B. Montz • Dr. Kathleen A. Maloy and Ms. Heather L. Burns • Tamar and Milton Maltz • C. Raymond Marvin • Maria Teresa Martínez • Selwa Masri, Esq. • Mr. and Mrs. Clyde S. McCall, Jr. • Debby McGinn • Eileen and Paul* McGrath • Cynthia McKee • Dottie Mergner • Eleanor Smith Morris • Claudia Pensotti Mosca • Thomas O’Connor • Carol J. Olson • Llelanie Orcutt • The Honorable Katherine D. Ortega • Ginger N. and Stuart Pape • Jean Porto • Drina Rendic • Barbara Richter • Elizabeth A. Sackler • Dasha Shenkman • Marsha Brody Shiff • Kathern Ivous Sisk • Salwa J. Aboud Smith • Dot Snyder • Dorothy W. Stapleton • Sharon and William Stark • Alice and Ken Starr • Audrey and Barry Sterling • Susan and Scott Sterling • Nancy N. and Roger Stevenson, Jr. • Joanne C. Stringer • Mahinder and Sharad Tak • Carol F. Tasca • Lisa Cannon and Charles Edison Taylor • Deborah Dunklin Tipton • Annie S. Totah • Sarah Bucknell Treco • Frances Usher • Nancy W. Valentine • Harriet L. Warm • Amy Weiss • Tara Beauregard Whitbeck • Betty Bentsen Winn $1,000–$1,999 Anonymous (2) • Marcia A. Abbo • Mark and Kathe Albrecht • Rita Balian • Kathleen Barclay • Joanne Barker • William Barr • Lona Barrick • Joanne Barter and Donald G. West • Jane L. Barwis • Mary Ellen Bork • Anne E. Branch • Nancy Anne Branton • Jean B. Brown • Katherine and Richard Bruch • Carol Byrne • Charlotte Anne Cameron • Kanti R. Campagna • Dr. Mary A. Carnell and Dr. Agnes Guyon • Marilyn L. Charles • Melodie K. Chenevert • Luba Cherbakov • Vicki E. Chessin • Mary Anne and George P. Clancy • Mary and James Clark • Mary Clutter • Myrna Colley-Lee • Ellen and Steve Conley • Bethanne Kinsella Cople • Lizette Corro • Mr. and Mrs. Ralph F. Cox • Byron Croker • Beverly Dale • Gabriela Dellosso • Mr. and Mrs. Scott E. Dreyer • Daniel C. Edelson • Sarah G. Epstein and Donald A. Collins • Mary Evans • Priscilla Fernandez • Nancy M. Folger • Marie J. Fouts • Constance S. and Joseph P. Franklin • Mary M. Free • Sara A. and Michael Friedman • Rita Diane Fuchsberg • Jennifer Fuqua • Audrey Gaelen • Gwendolyn Gowing • Laurel A. Grotzinger • Susan Hairston • Carla Hay • Pat and Fred Henning • Lilo A. Hester • Ann Maxwell and John Meredith Hill • J. Douglas Holladay • Susan Hoskins • Catherine S. and Richard C. Hotvedt • Indu Jindia • Gretchen W. and James L. Johnson • Deborah A. Kahn and Harris N. Miller • Keiko and Steven Kaplan • Julie Karcis • Sheldon and Audrey Katz • Ellen Kay • Cheryl L. Keamy • Sigrid Kendall • Kathleen Kiernan • Yvette Kraft • Julia M. Ladner • Lori Laitman • Michele Ruth Landa-Brooker • Barbara F. Lee • Nancy and George Leitmann • Lori Leveen and Laura E. Gidley • Linda J. Levine • Christine Loveland • Judy R. Loving • Ann Marie Lynch • Maryann Lynch • Catherine and David Lyons • Harry Mach • Cynthia Madden Leitner and Walter Leitner • Ann L. Maguire • Susan A. Mars • Pamela W. Massey • Marcia V. Mayo • Meredith McEver • Ann McGraw • J. Thomas McGreer • Jacqui Michel • Brette and John Monagle • Robert* and Evelyn Moore • Mr. and Mrs. Raymond F. Murphy, Jr. • Nancy Ann Neal • Harriet L. Newbill • Jennifer Newell • Heidi Nitze • Ruby Nock • Jules Oaklander • Susan O’Brien, M.D. • Ozden O. Ochoa and Henry Geneczko • Mary B. Olch • Karen Ross and John O. Oswalt • Regina M. Oxley-Burley • William T. Pappert • John Paradiso and Tom Hill • Nellie Partow • Diane and Nicholas Patronas • Sarah Perot • Dr. Michael and Mrs. Mahy Polymeropoulos • K. Shelly Porges and Rich Wilhelm • Timothy M. Price • Martha A.

FALL 2015 | WOMEN IN THE ARTS

Prumers • Amrita Rai • P.C. Rajam • Anne B. Rector • Irma Reshefsky • Dr. Markley Roberts • Penelope Rogerson • Bonnie and Thomas Rosse • Lenore Rubino and T. Patterson Clark • Susan M. Ryan-Deaner • Christopher M. Sargent • Joyce E. Scafe • Beatrice Schultz • Jane L. and William W. Scott • Mr. and Mrs. Harvey Sherber • Esther Simplot • Kara Singh • Ann H. Slattery • Mr. and Mrs. Albert H. Small • Judy W. Soley • Linda Watkins Sorkin • Dr. Marjorie L. Stein • William H. and Lucretia D. Tanner • Joanna H. Terry • Susan Tomasky • Micaela A. Trumbull • Betty L. Ustun • Margaret S. Vining • Mary E. Walker • Caspar W. Weinberger, Jr. • Gwen Weiner • Candace King Weir • Elizabeth B. Welles • Marie Wilkie • Dorothy and Kenneth Woodcock

Jennifer L. Sigler • Dr. Omega L. Silva • Jane Simanis • Virginia Smith • Richard E. Stafford • Susanne Stager • Mary L. Steptoe • A. Stevens • Gaye Stevick and Gary Foutch • Faith Fayman Strong • Douglas K. Struck • Nancy E. Tate • Abigail B. Test • Sharen A. Thomas • Linda J. Thompson • Jean Tindel • Bernice G. Toliver • Caroline Turner • Diana Twining • Patricia A. Vaughan • Sarah Vradenburg • Barbara S. Weiss • Dr. Virginia F. Pate Wetter • Karen J. Wilkinson • Kathryn Williams • Jane Wilson • Karen Wilson • Richard Winter • Roger A. Wissman • Donald M. Wolf • Mary Lee Wood • Custis Wright • Susan Zawel • Anne B. Zill • Donald Zucker

$500–$999 Anonymous (3) • Diane Abeloff • Carmen Acosta • Deanna S. and Charles T. Akre • Ruth and Sam Alward • Robin Andrews • Abigail Arms • Joseph Asin • Sylvia A. Azoyan • Celia Barteau • Ghada Batrouni • Richard C. Bauer • Earlene BaumunkCancilla • Kyle Z. Bell • Cathy Bernard • Dianne Barbee Bernhard • Sandra J. Blake • Deborah and Mario H. Boiardi • Nancy Boszhardt • Margo A.Brinton, Ph.D. and Eldon Park • Victoria T. Broadie • Randall Brooks • Margaret C. Brown • Doris Burd • Patricia A. Burke • Karen A. Macedo Cambra • Mary K. Campbell • Nora E. Carbine • Ann Sanders Cargill • Meredith Childers and Dimitris C. Varlamis • Alice and John W. Clay • Douglas M. and Kathryn Cochrane • Elizabeth Colton • Amy and Larry Corey • Linda and Brad Crosby • Edith L. Cummins • Dr. Linda Daniel • Mildred A. Davis • Doloras E. Davison • Diane De Grazia • Sylvia A. de Leon • Princess Beatriz de OrleansBorbon • Millicent Demski • Barbara Denrich • Gina Devito • Marilena Disilvio • Barbara Douglas • Gay H. Durward • Anne B. Dutcher • Doug and Joyce Eagles • Dr. and Mrs. Jerry M. Earll • Barbara L. Elky • Donna L. Elliott • George M. Ellis • MaryLe Emmett • Eleanor Emmons • Mr. and Mrs. Irwin Engelman • Valerie Facey • Tutty Fairbanks • Jill Ferrera • Danielle Feuillan • Sandra Filippi and Barré Bull • Evelyn Foote • Helen H. Ford • Jan French • Cornelia C. Friedman • Wendy Frieman and David Johnson • Raymond K. Fudge • Virginia Elkin Fuller • Virginia L. Fulton • Lois C. Gallagher • Reide Garnett • Joseph L. Gastwirth • Lynn K. Gibbons • Ruth Bader Ginsburg • Susan Glantz • Suzanne and Bruce Glassman • Patricia B. Glenn • Marguerite F. Godbold • Sandy Gold • Lynne Gold-Bikin • Jim Goldschmidt • Sarita Gopal • Catherine A. Green • Elisabeth Griffith • Alan L. Gropman • Diane M. Gulseth • Ilene S. and Jeffrey S. Gutman • Lorraine Gyauch • Sandi and Larry Hammonds • Patricia A. Harcarik and Carlton Nelson • Sallyanne Harper • Charlotte P. Harrell • Sharon Hartshorn • Curtis Heaston • Delphine Hedtke • Janet R. Heller • Rosalie Heller • Charles T. Hendrix • Connie Hershey • Yolanda R. Hicks • Gloria Hidalgo • Jennefer A. Hirschberg • Muna Hishmeh • Liselotte and Peter Hof • Judith M. Hohman • F. Lynn Holec • Margaret H. and Charles Hubbert • Linda M. Ingersoll • Diane M. Jacobs • Carolee and J. Michael Jakes • Sheila Jefferson • H. Martha Johns • Viola G. Johnson • Rosalyn and Gary* Jonas • Anita Kahn • Carol Kain • William and Nancy Keefe • Patricia A. Kenney • Leslie J. Kenyon • Margery Kibby • Sarah J. Kilpatrick • Joan Kishel, M.D. • Brantley and Peter C. Knowles, II • Charlotte Koenigsaecker • Mary L. Kotz • Catherine S. Kozlowski • M. Leanne Lachman • Diana Lager • Samuel E. Landrum • Carrie A. Langsam • Lydia S. Langston • Jacquelynne P. Lanham • Mary Lou Laprade • William R. and Christine M. Leahy • Dale Leibowitz and Amy Kaster • Claudette S. Leyden • David Lloyd • Tamera Luzzatto • Maureen Macfadden • Anne H. Magoun • Joan L. Malin • Pamela Marron • Marsha Mateyka • Jane McAllister • John and Betsy McAuliffe • Sandy McKenzie • Nina McLemore and Donald I. Baker • Owen McMahon • Iris McWilliams • Patricia Mechael • Cynthia Medeiros • Lorie Mertes • Nancy Michel • Patricia H. Miller • Gloria Adams Mills • Jerrine E. Mitchell • Dorothy Moss • Patricia L. Mote • Lola M. Muller • Toni Muller • Linda Myers • Melissa Nabors • Carolann and K. George Najarian • Christie Neuger • Audrey Niffenegger • Melanie and Larry Nussdorf • Robert Oaks • Frances M. O’Brien • Lilla Ohrstrom • Josephine R. Paine • Zoe H. Parker • Cynthia Paschen • Torkel Patterson • Joanne H. Patton • Norma J. Pearson • Joanne Pekarik • Amy Pennington • Nicole Perry and Andrew Stiffler • Sheryl A. Pesce • Phillips Peter • Beverly Peterkofsky • Ann Marie Pinto • Holli I. Ploog • Edith and John Poertner • Margaret R. Polson • Rosa Pronesti • Mary H. Railsback and Joel L. Ekstrom • Mary Rapczynski • Hedy M. Ratner • Ambassador Lucia Renart • H. F. Richardson • Deborah and Ed Roach • Jean W. Roach • Diane C. Robertson • Karen L. Rogers • Dorothy E. Romaine • Donna Z. Saffir • Irene and Lawrence S. Schaffner • Julie Schauer • Rosel Schewel • Nancy Schultz • Cynthia J. Schumacher • Karen Schwartz • Dennis Siegner •

Corporations and Foundations

WOMEN IN THE ARTS | FALL 2015

$50,000+ FedEx Corporation • McDermott Will & Emery** • Swartz Foundation • TTR Sotheby’s International Realty • The Walton Family Foundation, Inc. $25,000–$49,999 Bernstein Family Foundation • Clark-Winchcole Foundation • J. Christopher and Anne N. Reyes Foundation • The Morris and Gwendolyn Cafritz Foundation • Newman’s Own Foundation • Share Fund • Wells Fargo $15,000–$24,999 The Georgia Committee of NMWA • Leo Rosner Foundation, Inc. • The Texas State Committee of NMWA $10,000–$14,999 Anonymous • Andreas Foundation • The Annenberg Foundation • The Bernstein Companies • Dior • Janney Montgomery Scott, LLC • The John D. and Catherine T. MacArthur Foundation • The LaVerna Hahn Charitable Foundation • The Mississippi State Committee of NMWA • Mutual of America • The Richard H. Driehaus Charitable Lead Trust • SunTrust Foundation • Total Wine** $5,000–$9,999 Clark Charitable Foundation • IBM • J.Crew • Journeys to the East • The Louis J. Kuriansky Foundation, Inc. • Marshall B. Coyne Foundation, Inc. • The Mary Potishman Lard Trust • MetLife Foundation • The Mill Foundation, LTD • Morgan Stanley • The New Mexico State Committee of NMWA • PECO Foundation • The Pinkerton Foundation • Sodexo $2,000–$4,999 Bloomberg • Cardinal Health • Fannie and Stephen Kahn Charitable Foundation • Gannett Foundation, Inc. • The Jane Henson Foundation • The Massachusetts State Committee of NMWA • Nancy Peery Marriott Foundation • Paul and Emily Singer Family Foundation • United Way of the National Capital Area • Washington Art Library $500–$1,999 Anonymous • District Hospital Partners, L.P. • EOS Foundation Trust • Junior League of Washington, Inc. • Matan Family Foundation • McGregor Links Foundation • The NAMASTE Foundation • The Prince of Wales Foundation • Princeton Area Community Foundation • The Rosenstiel Foundation • The Thomas S. Kenan Foundation • United Way of Greater Philadelphia and Southern New Jersey • Woodward Family Foundation

Government Sponsors DC Commission on the Arts and Humanities • U.S. Commission of Fine Arts

* Deceased ** In-kind Gifts NMWA strives to ensure the accuracy of donor information. We apologize for any errors or omissions. Please note that event ticket purchases are not included in the donation amounts provided in this list. Contact 202-266-2805 with changes or questions.

Legacy of Women in the Arts Endowment Campaign We wish to thank all of the supporters of the Legacy of Women in the Arts Endowment Campaign, whose generosity guarantees that NMWA will endure and forever inspire for generations to come. Although we can only list donations of $10,000 and above due to space limitations, NMWA is grateful to all donors of the endowment.

*Ex-Officio

NMWA Advisory Board Sarah Bucknell Treco—Chair, Patty Abramson, Noreen M. Ackerman, Sunny Scully Alsup, Jean Astrop, Jo Ann Barefoot, Gail Bassin, Susan G. Berk, Sue Ann Berlin, Catherine Little Bert, Brenda Bertholf, Eva M. Borins , Caroline Boutté, Nancy Anne Branton, Amy Sosland Brown, Margaret Boyce Brown, Deborah Carstens, Eleanor Chabraja, Paul T. Clark, John Comstock, Linda Comstock, Lynn Finesilver Crystal, Belinda de Gaudemar, Betty Dettre, Elizabeth J. Doverman, Ginni Dreier, Kenneth P. Dutter, Gerry E. Ehrlich, Patrice Emrie, Elva B. Ferrari-Graham, Rosemarie Forsythe, Jane Fortune, Robert Freeman, Claudia Fritsche, Lisa Garrison, Barbara S. Goldfarb, Jamie S. Gorelick, Lorraine G. Grace, Jody Harrison Grass, Claudia Hauberg, Sue J. Henry, Anna Stapleton Henson, Caroline Rose Hunt, Jan Jessup, Alice D. Kaplan, Doris Kloster, Nelleke Langhout-Nix, Fred M. Levin, Gladys Kemp Lisanby, Sarah H. Lisanby, M.D., Nancy Livingston, Maria Teresa Martínez, C. Raymond Marvin, Pat McCall, Debby McGinn, Dee Ann McIntyre, Cynthia McKee, Suzanne Mellor, Eleanor Smith Morris, Claudia Pensotti Mosca, Deborah E. Myers, Jeannette T. Nichols, Kay W. Olson, Katherine D. Ortega, Margaret Perkins, Patti Pyle, Madeleine Rast, Drina Rendic, Barbara Richter, Elizabeth Robinson, Elizabeth A. Sackler, Stephanie Sale, Steven Scott, Marsha Brody Shiff, Kathern Ivous Sisk, Geri Skirkanich, Salwa J. Aboud Smith, Dot Snyder, Patti Amanda Spivey, Kathleen Elizabeth Springhorn, Bonnie Staley, Sara Steinfeld, Jo Stribling, Susan Swartz, Cheryl S. Tague, Lisa Cannon Taylor, MaryRoss Taylor, Deborah Dunklin Tipton, Nancy W. Valentine, Christy A. Vezolles, Paula S. Wallace, Harriet L. Warm, Island Weiss, Tara Beauregard Whitbeck, Patti White, Betty Bentsen Winn, Rhett D. Workman (all lists as of August 15, 2015)

SUPPORTING ROLES

Board of Trustees Wilhelmina Cole Holladay—Chair of the Board, Winton S. Holladay—Vice Chair of the Board, Sheila Shaffer—President, Gina F. Adams—First Vice President, Heather Miller Podesta—Second Vice President (Community Relations), Arlene Fine Klepper—Treasurer, Juliana E. May—Secretary, Mary V. Mochary—Finance Chair, Amy Weiss—Nominations Chair, Nancy Nelson Stevenson—Works of Art Chair, Marcia Myers Carlucci—Building Chair, Carol Matthews Lascaris— President Emerita and Endowment Chair, Dana J. Snyder—At Large, Susan Fisher Sterling*—Alice West Director, Janice Lindhurst Adams, Pamela G. Bailey, M. A. Ruda Brickfield, Charlotte Clay Buxton, Rose Carter, Diane Casey-Landry, Lizette Corro, Deborah I. Dingell, Martha Lyn Dippell, Nancy Duber, Karen Dixon Fuller, Susan Goldberg, Cindy Jones, Sally L. Jones, Marlene McArthur Malek, Jacqueline Badger Mars, Bonnie McElveen-Hunter, Jacqui Michel*, Marjorie Odeen, Jackie Quillen, Andrea Roane, Clarice Smith, Kathleen Elizabeth Springhorn, Jessica H. Sterchi, Joanne C. Stringer, Mahinder Tak, Annie S. Totah, Frances Usher, Ruthanna Maxwell Weber, Alice West

Endowment Foundation Trustee ($1 million+) Anonymous, Betty B. and Rexford* Dettre, Estate of Grace A. George, Wilhelmina C. and Wallace F.* Holladay, Sr., Carol and Climis Lascaris, Estate of Evelyn B. Metzger, The Honorable Mary V. Mochary, Rose Benté Lee Ostapenko*, Madeleine Rast, The Walton Family Foundation Endowment Foundation Governor ($500,000–$999,999) Noreen M. Ackerman, P. Frederick Albee and Barbara E. Albee*, Catherine L. and Arthur A. Bert, M.D., J.W. Kaempfer, Nelleke Langhout-Nix, Joe R. and Teresa L. Long, James R. and Suzanne S. Mellor, National Endowment for the Humanities, Drs. A. Jess and Ben Shenson*, MaryRoss Taylor, Alice W. and Gordon T. West, Jr. Endowment Foundation Fellow ($200,000–$499,999) Catharina B. and Livingston L. Biddle, Jr.*, Marcia Myers and Frank Carlucci, Costa del Sol Cruise, Kenneth P. Dutter, Estate of E. Louise Gaudet, Lorraine G. Grace*, William Randolph Hearst Foundation, Estate of Eleanor Heller, Fred M. Levin and Nancy Livingston/The Shenson Foundation, in memory of Drs. Ben and A. Jess Shenson, Dorothy S. Lyddon*/Seven Springs Foundation, Marlene McArthur and Frederic V. Malek, Victoria J. Mastrobuono*, Sea Goddess I and II Trips, Alejandra and Enrique Segura, Sheila and Richard Shaffer, Clarice Smith Endowment Foundation Counselor ($100,000–$199,999) Janice L. and Harold L. Adams, Nunda and Prakash Ambegaonkar, Carol C. Ballard, Baltic Cruise, Eleanor and Nicholas D. Chabraja, Clark Charitable Foundation, Hilda and William B. Clayman, Julia B. and Michael M. Connors, Martha Lyn Dippell and Daniel Lynn Korengold, Gerry E. and S. Paul* Ehrlich, Jr., Enterprise Rent-A-Car, FedEx Corporation, Barbara A. Gurwitz and William D. Hall, Caroline Rose Hunt/The Sands Foundation, Alice D. Kaplan, Dorothy and Raymond LeBlanc, Lucia Woods Lindley, Gladys K. and James W.* Lisanby, Lockheed Martin Corporation, Adrienne B. and John F. Mars, Juliana and Richard E. May, Bonnie McElveen-Hunter, Irene Natividad, Jeannette T. Nichols, Lady Pearman, Reinsch Pierce Family Foundation by Lola C. Reinsch and J. Almont Pierce, Julia Sevilla Somoza, Marsha Brody Shiff, June Speight*, Kathleen Elizabeth Springhorn, Mahinder K. and Sharad Tak, Sami and Annie Totah Family Foundation Endowment Circle ($50,000–$99,999) Linda Able Choice*, George* and Ursula Andreas, Arkansas Fifty, Lulu H. Auger*, Virginia Mitchell Bailey*, Sondra D.* and Howard M. Bender/The Bender Foundation, Inc., Patti Cadby Birch*, Laura Lee and Jack S. Blanton, Sr.*/ Scurlock Foundation, Anne R. Bord*, Caroline Boutté, BP Foundation Inc., M. A. Ruda and Peter J. P. Brickfield, Margaret C. Boyce Brown, Martha Buchanan, Charlotte Clay Buxton, Sandra and Miles Childers, Mary and Armeane Choksi, Margaret and David Cole/The Cole Family Foundation, Holland H. Coors*, Porter and Lisa Dawson, Courtenay Eversole, Suzy Finesilver*/The Hertzel and Suzy Finesilver Charitable Foundation, Karen Dixon Fuller, Alan Glen Family Trust, Peter and Wendy Gowdey, Laura L. Guarisco, Jolynda H. and David M. Halinski, Janie Hathoot, Hap and Winton Holladay, Evan and Cindy Jones Foundation, I. Michael and Beth Kasser, William R. and Christine M. Leahy, Louise C. Mino Trust, Zoe H. and James H. Moshovitis, Joan and Lucio A. Noto, Marjorie H. and Philip Odeen, Nancy Bradford Ordway, Katherine D. Ortega, Margaret H. and Jim Perkins, Ramsay D. Potts*, in honor of Veronica R. Potts, Elizabeth Pruet*, Edward Rawson, Jane S. Schwartz Trust, Jack and Dana Snyder, Judith Zee Steinberg and Paul J. Hoenmans, Susan and Scott Sterling, Nancy N. and Roger Stevenson, Jr., Jo and Thomas Stribling, Susan and Jim Swartz, Elizabeth Stafford Hutchinson Endowed Internship—Texas State Committee of the National Museum of Women in the Arts , William and Frances Usher, Elzbieta Chlopecka Vande Sande, Betty Bentsen Winn and Susan Winn Lowry, Yeni Wong Endowment Patron ($25,000–$49,999) Micheline and Sean Connery, Sheila ffolliott, Georgia State Committee of NMWA, New York Trip, Nancy O’Malley, Mississippi State Committee of NMWA, Northern Trust, Estate of Mary Marvin Breckinridge Patterson, Chris Petteys*, Lisa and Robert Pumphrey*, Elizabeth A. Sackler, Estate of Madoline W. Shreve, Patti Amanda and Bruce Spivey, Sahil Tak/ST Paper, LLC, In Honor of Alice West, Jean and Donald M. Wolf, The Women’s Committee of the National Museum of Women in the Arts Endowment Sponsor ($15,000–$24,999) Deborah G. Carstens, Stephanie Fein, Martha and Homer Gudelsky*, Sally L. Jones, Louise H. Matthews Fund, Lily Y. Tanaka, Liz and Jim Underhill, Elizabeth Welles, Dian Woodner Endowment Friend ($10,000–$14,999) Carol A. Anderson, Julia and George L. Argyros, Mrs. Joseph T. Beardwood, III, Catherine Bennett and Fred Frailey, Susan G. Berk, Mary Kay Blake, Booz Allen Hamilton, Lynne V. and Richard Cheney, Esther Coopersmith, Darby Foundation, Jack J. Dreyfus, Jr.*, Patricia M. and Clifford J. Ehrlich, Mary Page and Thomas B. Evans, Lois Lehrman Grass, Anna Stapleton Henson, Alexine C. and Aaron G.* Jackson, Jan Jessup, Pamela Johnson and Wesley King, Helga and Peter-Hans Keilbach, Howard and Michelle Kessler, Ellen U. and Alfred A. King*, Jacqueline Badger Mars, C. Raymond Marvin, Clyde and Pat Dean McCall, Edwina H. and Charles P. Milner, Evelyn V. and Robert M.* Moore, Harriet Newbill, Estate of Edythe Bates Old, PepsiCo., Inc., Anne and Chris Reyes, Savannah Trip, Mary Anne B. Stewart, Paula Wallace/Savannah College of Art and Design, Marjorie Nohowel Wasilewski, Jean S. and Gordon T. Wells * Deceased

FALL 2015 | WOMEN IN THE ARTS

MUSEUM SHOP

Museum Shop Holiday Bath Salts: Spiced Cider Soothe your soul and soften

Totem Stag This stag is a symbol

your skin. Send holiday cares down the drain with holiday bath salts. Each beautifully packaged box holds 6 ounces of sea salts, blended with pure essential oils. $8.50/Member $7.65 (Item #4808)

of strength and speed. An inspiring 3-D object, as well as a piece of art for your interior. Made from recycled cardboard. 18 in. high when assembled. $30/Member $27 (Item #50017)

Christmas Tree on a Spring Deck your halls with this truly unique decoration. With 50 multicolored, smooth wooden beads, thread an artfully coiled spring in your own style for a fancy holiday trimming. 12 in. high. $45/Member $40.50 (Item #7124)

Mid-Century Modern Patterns Coloring Book Who doesn’t love to color? Mid-Century Modern Patterns includes 30 original designs from artist and illustrator Jenn Ski. Each book contains 64 perforated pages so you can share and frame your artwork. $12.99/Member $11.69 (Item #29209)

Happy Hollydays Rectangle Tray Wave Box Turn your fingertips into paintbrushes with the Wave Box. Each box contains 4 Fingermax brushes and 4 paint tubes. The wave-shaped box can be used as a palette for mixing colors or for storage. $25/ Member $22.50 (Item #29336)

Celebrate the “Hollydays” with this small rectangle tray measuring 4 x 5.75 in. $20/Member $18 (Item #50020)

Holiday Mugs Drink cocoa

Holiday Cards Boxed Sets Send your love and a laugh with a holiday card. Smooth, sturdy recycled paper with greetings in copper text and coordinating white envelopes. $15/Member $13.50 (Choose Cool Yule, Item #50000, or Fab Yule Us, Item #50001)

and be merry with a classic porcelain holiday mug that holds 12 liquid ounces. Mugs are individually gift boxed for easy gift-giving. $16.95/Member $15.26 (Choose Hello Hanukkah, Item #50018, or All Jolly, Item #50019)

Save the Dates for Holiday Shopping! Strathmore Hall Museum Shop Around November 12–15. In the D.C. area? Kick off your holiday shopping with more than twenty museum shops under one roof. Visit www.strathmore.org for details.

Shaped Crayons Steer your coloring in a whole new direction with delightful Car Crayons, or enjoy a Crayon Necklace—wearable art (not edible) that you can draw with. $11/Member $9.90 (Choose Crayon Necklace, Item #29121, or Crayon Cars, Item #2108)

Celebrate the Season Holiday Handcrafted Soap Wrapped by hand and

Visit NMWA’s Museum Shop during the holiday season to find unique jewelry, gifts, home décor, and more.

presented with a hand-dyed silk ribbon, these rich, indulgent bars make perfect gifts for a teacher, hostess, or friend. Shea butter, honey, and oatmeal gently cleanse and replenish. $8.95/ Member $8.06 Item #50005, choose Winter Song Malay or Let It Snow Classic Almond)

Linda Nochlin on Women Artists The first comprehensive

The Day the Crayons Quit Crayons have

anthology of art historian Linda Nochlin’s work, including landmark essays on women artists, two new essays, and an interview with Nochlin on women artists today. $50/Member $45 (Item #4004)

feelings, too. When Duncan opens his box of crayons, he finds only letters saying, We quit! Beige is tired of playing second fiddle to Brown. Blue needs a break, and Orange and Yellow are no longer speaking to each other. What to do? $18/Member $16.20 (Item #3123)

Playable Art Ball Create instant designs using 20 interconnected wooden balls in 10 colors. Special connectors enable the balls to be easily turned and twisted into artistic creations. $38.50/Member $34.65 (Item #30167)

Festive Tidings Holiday Boxed Cards

Festive Tidings Holiday Candle

This set of 20 holiday cards is packaged in a beautiful keepsake box. Box interior: The things that count most in life usually cannot be counted—Bernard Melter. Card Sentiment: Deck the halls with holiday cheer! 18.95/Member $17.06 (Item #50003)

Fill your surroundings with the scent of Siberian fir with mistletoe and clean citrus. The fragrance of a crisp, fresh-cut forest that delivers the harmony of the outdoors when you have to be inside. $29.95/Member $26.96 (Item #50004)

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Fall 2015

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NATIONAL MUSEUM of WOMEN in the ARTS 1250 New York Avenue, NW, Washington, DC 20005-3970

COMING SOON

Mark your calendar for upcoming exhibitions! Womanimal: Zine Art by Caroline Paquita November 16, 2015–May 13, 2016 This exhibition in the Betty Boyd Dettre Library and Research Center showcases Brooklyn-based Caroline Paquita’s punk-art zine-making over the past eighteen years.

Salon Style: Portraits from the Collection January 29–May 22, 2016 Presenting works at the salon marked success for artists in 18th-century France, and famed artist Élisabeth Louise Vigée-LeBrun was among the first women to exhibit at the event. This focus exhibition is drawn from the museum’s collection of 18th-century portraits.

She Who Tells a Story: Women Photographers from Iran and the Arab World April 8–July 31, 2016 In Arabic, the word rawiya means “she who tells a story.” The idea of a woman storyteller is a fitting premise for these photographs made by pioneering women with roots in Iran and the Arab world. Each image tells a poignant story, and each artist provides a vision of the world she has witnessed. This exhibition was organized by the Museum of Fine Arts, Boston.

On view in She Who Tells a Story: Tanya Habjouqa, Untitled (#3) from the series “Women of Gaza,” 2009; Pigment print photograph, 20 x 30 in.; Museum of Fine Arts, Boston; Museum purchase with general funds and the Horace W. Goldsmith Fund for Photography; Photograph © 2015 Museum of Fine Arts, Boston