Women in the Arts Fall 2016

fall 2016

FOUNDER’S LETTER

Dear Members and Friends, Our spring and summer exhibition She Who Tells a Story: Women Artists from Iran and the Arab World was very popular and garnered wonderful reviews from the press.

We are proud to have brought this important exhibition to Washington during a time when, as the Washington Post wrote, it “could not be more immediate in its impact.”

In this issue, we introduce Cindy Jones, the wonderful new President of our Board of Trustees, whose talents will be a boon for the museum. Years ago Cindy heard what I was trying to do, had a party in New York at a friend’s beautiful apartment, and invited young men and women.

You will read about upcoming exhibitions and programs such as NO MAN’S LAND: Women Artists from the Rubell Family Collection, which opens September 30.

It includes contemporary art by some of today’s most exciting artists. Under Krystyna Wasserman’s knowledgeable direction, Wanderer/Wonderer: Pop-Ups by Colette Fu will continue the museum’s longstanding program of displaying artists’ books.

Our Shenson Chamber Music Concert Series continues to thrill music lovers. The production of The Story of Babar performed under the direction of Gilan Tocco Corn was truly outstanding.

As always, your friendship and support is greatly appreciated.

Warmest best,

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 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. Admission for special exhibitions may vary; for information check http://nmwa.org.

Women in the Arts Fall 2016 (Volume 34, 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

Wilhelmina Cole Holladay Chair of the Board

Editorial Intern | Kait Gilioli 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 © 2016 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 of the National Museum of Women in the Arts.

On the cover: Marlene Dumas, Oh, Oh, Oh, Not Again (detail), 1996; Ink and metallic acrylic on paper, 13 ¼ × 10 in.

FOUNDER’S PHOTO: © MICHELE MATTEI

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Cover Story

Features

Departments

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Arts News

NO MAN’S LAND: Women Artists from the Rubell Family Collection

Clara Peeters: The Woman who Inspired NMWA

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Culture Watch

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Education Report

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Dedicated Donor Cindy Jones

Thirty-seven prominent contemporary artists create large-scale paintings and sculptural hybrids. The exhibition centers on images of the female body— with innovative portraiture techniques and representations of the figure—and works that explore the physical process of making.

Kathryn Wat and Virginia Treanor

A still-life new to NMWA’s collection showcases the talents of Peeters, a seventeenth-century painter who prompted the museum’s founders to begin collecting art by women.

Virginia Treanor

20 Wanderer/Wonderer: Pop-Ups by Colette Fu Pop-up artist’s books by Colette Fu illuminate cultures and depict myths and legends, from Philadelphia to China’s Yunnan Province.

Krystyna Wasserman

16 Calendar 24

Museum News and Events Gilan Tocco Corn and the Shenson Chamber Music Concert Series

29 Supporting Roles 32 Museum Shop

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ARTS NEWS

Arts News

LEO AVERSA, COURTESY OF FAOU FOUNDATION

Women Artists of the Olympics On August 2, installation and multimedia artist Mariko Mori (b. 1967, Toyko) inaugurated Ring: One with Nature, a permanent sitespecific installation in Brazil, for the top of the fifty-eight-meter-high Véu da Noiva waterfall, in Muriqui, Mangaratiba, in Rio de Janeiro State. The work was a collaboration of Mori’s Faou Foundation and the Celebra Cultural Program of the Rio 2016 Olympic and Paralympic Games. “The five Olympic rings symbolize each continent and their ethnicities, a celebration of peace. I wanted to create a new ring to symbolize the union of humanity with nature,” said Mori.

Ring features a six-meter-high luminous acrylic circle above the waterfall. Pigments embedded within the sculpture make it appear blue or golden depending on the angle of the sunlight.

Another Olympic artwork also referred to the games’ international context. A blueand-white-tiled scrim by Brazilian artist Adriana Varejão (b. 1964, Rio de Janeiro) enveloped the Olympic Aquatics Stadium.

Varejão often creates work based on the legacy of colonialism. Her commissioned work for the stadium featured sixty-six plastic canvas panels, each nearly ninety feet high. The mural references azulejos, handpainted Baroque tiles that connect Brazil’s artistic heritage to the Islamic world, China, and Europe through trade and colonization.

Varejão described the complex seascape motif as “fragmented, reordered, and turbulent.”

ANDRÉ MOTTA/BRASIL2016.GOV.BR

Drawing Dissent and Freedom: Atena Farghadani

From top: Mariko Mori’s Ring: One with Nature; Adriana Varejão’s installation on the Olympic Aquatics Stadium

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In June, after serving eighteen months of a twelve-year sentence, Iranian artist Atena Farghadani was released from prison.

Farghadani was initially arrested in 2014 for drawing a cartoon depicting members of Iran’s parliament as monkeys and goats in protest of the government’s plans to restrict access to contraception and ban voluntary sterilization. Farghadani spent three months—including fifteen days of solitary confinement—before her release. However, her ordeal continued.

In January 2015, after she posted a YouTube video describing her incarceration and brutal treatment at the hands of the prison’s guards, Farghadani was arrested again and sentenced to twelve years and nine

Beginnings of a Blockbuster Ava DuVernay will direct a forthcoming Disney film adaptation of A Wrinkle in Time, becoming the first woman of color to direct a feature film with a budget over $100 million. The production of Madeleine L’Engle’s beloved 1962 young-adult novel also includes Oprah Winfrey, appearing as Mrs. Which. DuVernay,

U.S. EMBASSY BERLIN

months in prison. Later, she faced additional charges and an extended sentence for allegedly shaking her male lawyer’s hand.

Amnesty International obtained more than 33,000 signatures petitioning for her release.

The Cartoonists Rights Network International rallied cartoonists to publish hundreds of artworks online with #Draw4Atena. A successful appeal in May reduced Farghadani’s sentence to time already served. She was acquitted of the charges of participating in counter-revolutionary activity and compromising national security and received a three-year suspended sentence. Farghadani plans to continue creating political art from within Iran.

Ava DuVernay

the director of Selma and an advocate for women and people of color in the film industry, has said, “Film is a mirror. Everyone should see themselves.”

All the Glory Irish writer Lisa McInerney won the 2016 Bailey’s Women’s Prize for Fiction and the Desmond Elliott Prize for New Fiction for The Glorious Heresies. The novel describes an

accidental murder and its repercussions for characters on the fringes of society in Cork.

After McInerney was shortlisted for the prize, she said, “In celebrating women’s writing, the Bailey’s prize does something great. It gives us a roadmap for a space where books by women writers exist as part of a sweeping, chaotic, and beautiful literary landscape, where they are allowed to just be, and so its parameters are conversely but conclusively liberating.”

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THE FALKENSTEIN FOUNDATION, COURTESY OF MICHAEL ROSENFELD GALLERY, LLC, NEW YORK

Claire Falkenstein, Flora (Topology), 1973; On view at the Crocker Art Museum

One of America’s most experimental and productive twentieth-century artists, Claire Falkenstein explored diverse mediums, techniques, and processes. This retrospective exhibition traces the development of her work from the 1930s through the 1990s.

Florida Susan Te Kahurangi King ICA Miami Through October 30, 2016 Since her childhood, Susan Te Kahurangi King’s drawings have been characterized by bold colors and refined rendering. The self-taught New Zealand artist is known for her innovative, expressive approach to drawing and her singular worldview.

More than eighty small drawings, large-scale works, and sketchbooks shine a light on Cecily Brown’s practice of reworking subjects from her wide-reaching arsenal of source material.

Her drawings offer fragmentary motifs that build upon and undo each other.

Susan Te Kahurangi King, Untitled, n.d.; On view at the ICA Miami

Indiana Mariam Ghani + Erin Ellen Kelly: Water, Land, City Indianapolis Museum of Art Through November 6, 2016 Mariam Ghani and Erin Ellen Kelly, Like Water From a Stone, 2014; On view at the Indianapolis Museum of Art

A trilogy of video works examines specific sites through a process of research and collaboration, producing new narratives as performers interact with the land in novel ways. Incorporating original scores and sometimes spoken narration, they unravel complex memories and histories.

New York Cecily Brown: Rehearsal The Drawing Center, New York City October 7–December 18, 2016

COURTESY OF THE ARTIST; PHOTO GENEVIEVE HANSON

Claire Falkenstein: Beyond Sculpture Crocker Art Museum, Sacramento October 2–December 31, 2016

COURTESY INSTITUTE OF CONTEMPORARY ART, MIAMI

California

COURTESY OF THE ARTISTS AND RYAN LEE, NEW YORK

C U LT U R E WAT C H

Culture Watch | Exhibitions

Cecily Brown, Combing the Hair (Beach), 2015; On view at the Drawing Center

Carmen Herrera: Lines of Sight Whitney Museum of American Art, New York City Through January 2, 2017 Spanning three decades of Carmen Herrera’s remarkable career, this exhibition begins with early abstractions she made in Paris in the years following World War II. A rare gathering of her Blanco y Verde series and a selection of later works are also on view.

Books “I had a dream” repeats Yeong-hye, when her family questions her refusal to eat meat.

After experiencing blood-chilling nightmares of butchered bodies, the protagonist in Han Kang’s novel The Vegetarian (Hogarth, 2015) abstains from meat. Yeong-hye’s choice spirals into a rejection of social norms and a detachment from humanity that ultimately unravels her family. Readers witness Yeonghye’s descent into madness through the threepart story told from the perspectives of Yeong-hye’s husband, brother in-law, and sister. Before she “absorbed all her suffering inside her, deep into the marrow of her bones,” Yeong-hye’s brief, internal monologues reveal the trauma of her transformation. She asks herself, “Why are my edges all sharpening—what am I going to gouge?” Han Kang’s tale, translated from its original Korean into English by Deborah Smith, won the 2016 Man Booker International Prize. Haunting, tragic, beautiful, and cryptic, The Vegetarian leaves readers to meditate on life, twisting with questions and hungry for answers. A warning from Yeong-hye’s mother will continue to ring in readers’ minds: “Stop eating meat, and the world will devour you whole.”—Emily Haight 4

WOMEN IN THE ARTS | FALL 2016

In Shuqin Cui’s Gendered Bodies: Toward a Women’s Visual Art in Contemporary China (University of Hawai‘i Press, 2016), the author poses questions of rediscovery and revelation: “Where are the women artists, as contemporary Chinese art draws increasing global attention and with prominent figures and rising market values?” Cui discusses Chinese women artists using the female body—incorporating depictions of the pregnant nude in works by Yu Hong and Xing Danwen, women in landscapes, and symbols such as washboards associated with gendered labor—to express historical, political, and psychological perspectives. She frames these artists within their cultural context, stressing the distinctions between global or Western feminism and Chinese experience. This background illuminates works like the lurid floral photography of Xiaohui Wang, referring to female genitalia, through a description of traditional Chinese painting, which associated flowers with scholarly ideals. Other innovative artists use installation and sculpture to address issues such as birth control policy, the treatment of the disabled, and the growing economic marketplace.—Elizabeth Lynch

PRIVATE COLLECTION, © CARMEN HERRERA

Texas

Sonya Clark, Hair Craft Project Stories (detail), 2014–present; On view at the Taubman Museum of Art

Surveying art history as if it were a “murder scene,” Analia Saban peels back layers of material histories and subject matters.

Working across painting, drawing, sculpture, and photography, she explores the constituent parts of each medium.

PRIVATE COLLECTION, NEW YORK; PHOTO BRIAN FORREST

Analia Saban, Trough (Flesh), 2012; On view at the Blaffer Art Museum

Virginia Follicular: The Hair Stories of Sonya Clark Taubman Museum of Art, Roanoke October 1, 2016–May 14, 2017

COURTESY OF THE ARTIST

Analia Saban Blaffer Art Museum, University of Houston September 24, 2016–March 18, 2017

Alice Neel, Jackie Curtis and Ritta Redd, 1970; On view at the Gemeente Museum

CLEVELAND MUSEUM OF ART, LEONARD C. HANNA, JR. FUND 2009.345; © THE ESTATE OF ALICE NEEL

Using hair and combs as her medium, Sonya Clark explores the texture, styling, and politics of black hair. New works, site-specific installations, and performances examine issues of cultural heritage, gender, beauty standards, race, and identity.

Carmen Herrera, Amarillo “Dos”, 1971; On view at the Whitney Museum of American Art

Japan Mary Cassatt: Retrospective* National Museum of Modern Art, Kyoto September 27–December 4, 2016

International The Netherlands Alice Neel* Gemeente Museum, The Hague November 5, 2016–February 12, 2017 Alice Neel’s paintings capture her sitters’ external selves as well as their inner uncertainties, vanities, and psychological states. Intimate portraits depict friends, family, and members of the American art world in the artist’s first Dutch exhibition.

“A photograph is a secret about a secret.

The more it tells you the less you know,” said Diane Arbus (1923–1971), who obsessed about the secrets of others while carefully guarding her own. Six decades after she left commercial fashion photography and began her artistic career, many of Arbus’s previously unknown secrets and photographs have finally been published.

Created to accompany an exhibition at the Metropolitan Museum of Art’s new Breuer building, the catalogue diane arbus: in the beginning (Yale University Press/Metropolitan Museum of Art, 2016) showcases photographs from 1956 to 1962, providing a prelude to the monograph from Arbus’s 1972 retrospective. Featuring more than a hundred images, an essay by curator Jeff Rosenheim, and notes from her personal papers and negatives, the catalogue focuses on the first seven years of Arbus’s artistic work. Featuring children, society ladies, carnival performers, and eccentrics, these early photographs depict the development of her famously striking and evocative style.

Arthur Lubow’s meticulously researched and revealing new biography, Diane Arbus: Portrait of a Photographer (HarperCollins,

Known for her style and moving domestic scenes, Mary Cassatt is one of the most celebrated female Impressionists. Including oil paintings, prints, pastels, and drawings, this retrospective features works from throughout her career alongside influential paintings and Japanese ukiyo-e prints. * Visit these exhibitions to see works on loan from NMWA

2016), provides a similar look behind the curtain shrouding the artist’s mysterious life. In eighty-five short chapters based on interviews, archival research, and careful study of her work, Lubow describes Arbus’s personal history, philosophy, and approach to photography.

Arbus’s art centered on a profound desire to “not only see her subjects but to be seen by them.” She often talked for hours with people she found interesting before photographing them, charming them into revealing their secrets and waiting for the perfect shot that captured their personalities. Though she was plagued by illness, depression, and financial insecurity, her inventiveness and creativity made her, as a teacher once noted, “Totally original.”

“I do it because there are things that nobody would see unless I photographed them,” said Arbus in a 1968 interview.

Through the vivid detail of this biography and the catalogue of dozens of previously inaccessible early works, a new portrait of one of the most celebrated and provocative artists of the twentieth century is revealed.

—Kait Gilioli

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E D U C AT I O N R E P O R T

Education Report

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EMILY HAIGHT, NMWA

MARA KURLANDSKY, NMWA

The NMWA education team hosted its seventh annual Art, Books, and Creativity Teacher Institute July 18–22. This year, eighteen enthusiastic pre-K through twelfth-grade teachers gathered at the museum for an intense week of learning, creating, and reimagining their teaching practice and curricula.

This year’s cohort, the most geographically diverse in the program’s history, included public and private school educators from five states and Washington, D.C. Since 2014, NMWA has extended program admission to teachers from outside the area, hoping to reach a wider audience and to serve the growing demand for high-quality professional development programs for passionate teachers. To date, the institute has served teachers from our neighboring communities as well as from New York, North Carolina, Ohio, Pennsylvania, and West Virginia.

Together the participants explored the museum’s collection and exhibitions; studied the ABC curriculum; expressed themselves through writing and art-making; developed and shared lesson ideas; and practiced Visual Thinking Strategies, a teaching strategy aimed at fostering critical thinking skills and verbal acuity through facilitated conversations about artwork. Participants worked closely with NMWA’s education team; book artist Carol Barton; and subject-area specialists Kathleen Anderson (technology), Rosemary Fessinger (language arts/English), and Denise Rudd (visual art).

Evaluations and reflection sessions revealed our participants’ appreciation.

A participant described the institute as “Extremely organized, [offering] challenging projects with great instructors. I have learned so much . . . the course is extremely rich and well-designed and relevant. NMWA is a model for all D.C. museum education programs.”

Attendees especially enjoyed the opportunity to engage both their hands and minds—something rarely satisfied by other professional development programs.

One participant commented, “I loved the opportunity to learn new book formats, practice Visual Thinking Strategies in the galleries, share insights with peers, and spend time with your amazing collection of art! Your team took such wonderful care of us and

PHOTOS BY CASEY BETTS, NMWA

2016 ABC Institute

Top left and right: A group of enthusiastic educators participated in NMWA’s Art, Books, and Creativity Teacher Institute; Attendees learned and practiced activities including bookmaking techniques that they can use in their classrooms; Lower right and left: She Who Tells a Story artists Rania Matar (left) and Tanya Habjouqa (right) took part in “Artists in Conversation” gallery talks

showered us with supplies for our classrooms.

Thank you for what you do. It makes a big impact for this public school teacher.” Another said, “Thank you and I look forward to working with you and the NMWA team this upcoming school year!”

The feeling is mutual. The education team looks forward to fostering relationships with the newest ABC alumni and their students in the school year to come.

Artists in Conversation: She Who Tells a Story How can NMWA offer a distinctive type of artist talk program, one that engages attendees, activates artwork, and highlights the personalities of the guest speakers?

NMWA education staff has adopted a new model for presenting artists in the hope of accomplishing these goals. We proudly refer to the new program as “Artists in Conversation.”

The concept is simple and commonplace in museums worldwide—inviting artists to speak about their work. Yet our new format is literally “out of the box”: out of an impersonal lecture hall, out from behind a lectern that divides and defines “speaker” and “audience,” and

unburdened by slide reproductions. The artists who participate in our “Artists in Conversation” programs speak with small audiences in the galleries, in front of their work, during intimate group happy hour events. This change of scenery and format enriches how our visitors see art and artists.

Tanya Habjouqa and Rania Matar, two of the twelve artists featured in the special exhibition She Who Tells a Story, gamely agreed to help pilot this new model. The resulting programs served more than sixty attendees, who had special access to these two incredible photographers and storytellers.

During their gallery conversations, Matar and Habjouqa regaled the group with personal anecdotes, challenges, and successes; discussed their artistic processes and philosophies; fielded questions; and truly engaged with attendees.

Upcoming “Artists in Conversation” programs will feature Rozeal, Analia Saban, Mira Dancy, and Suzanne McClelland.

See the calendar starting on page 16 for details, and join us for conversation and connections.

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

Dedicated Donor | Cindy Jones, new NMWA Board President

MOHAMMED SANOON

As we move into our thirtieth anniversary, the mission of NMWA is as relevant today as when it was founded. I am honored to be the new board president and to help carry on this crucial work.

A

pril 2017 marks the thirtieth anniversary of the opening of the National Museum of Women in the Arts. Plans for the upcoming year already reflect the energy and talents of Cindy Jones, new president of the NMWA Board of Trustees.

Jones says, “From the time NMWA opened, I was very impressed with the museum’s mission and the determination and focus of Founder Wilhelmina Cole Holladay. At that time, women were barely represented in museums or respected textbooks on the history of art. NMWA has been an instrumental force in changing this by promoting the artistic achievements of women around the world and is internationally recognized for its vital role.” The art world has made progress, but Jones notes that women remain underrepresented. “It is shocking to think that more than half of visual artists working today are women, but their work comprises just 4–35% of the art on most U.S. museum walls. As we move into our thirtieth anniversary, the mission of NMWA is as relevant today as when it was founded. I am honored to be the new board president and to help carry on this crucial work.”

Jones’s involvement with NMWA started in the museum’s early years, as she supported and attended galas and events. “Early on, I hosted a reception in New York City to introduce Mrs. Holladay and NMWA to friends there. They found her passion to be contagious and continue to support the museum.” Jones, who has chaired or co-chaired more than twenty-five galas and events in the D.C. area, has volunteered on numerous occasions over the years to help the museum, often through her talent for planning events. She co-chaired NMWA’s Fall Benefit in 1999 with the British Ambassador and his wife, when the Joffrey Ballet performed, and she cochaired the sold-out and very successful 20th Anniversary Gala in 2007.

She enthusiastically joined NMWA’s board soon afterward.

“I have always had a strong desire to give back to the community,” says Jones. She has served on boards including the Foundation Board of Children’s National Medical Center, the Women’s Board of the American

Heart Association, the Washington Ballet, the Choral Arts Society of Washington, Dreamland Theater in Nantucket, and the Women’s Committee of the Washington National Opera. She says, “NMWA is fortunate to have such fabulous, dedicated board members, each of whom brings strengths, wisdom, and experience to the board. I feel honored to work with each of them.” In addition to her work on the board, she has supported the endowment, which generates muchneeded annual funding, by becoming a member of the Endowment Circle. She is also a member of the Director’s Circle, supporting Susan Fisher Sterling, the Alice West Director.

Jones is an architectural engineer by training and profession, and she has long fostered a passion for the arts through classes and volunteer work. She looks forward to channeling this range of experience and interests in her work for the museum. “My architectural engineering background has made me keenly aware of how important it is to preserve NMWA’s stunning 1907 Renaissance Revival building, which was so wonderfully renovated thirty years ago when the museum opened.”

Jones plans to promote the museum’s longstanding mission while focusing on its future. “I see this as a very exciting time at NMWA. We will always continue to honor the past accomplishments of women artists, but we are also forward-thinking with our Women to Watch programs throughout the world and our bold programmatic initiative that focuses on women and the arts as catalysts for positive change. We have so much to look forward to this year, with wonderful exhibitions including NO MAN’S LAND: Women Artists from the Rubell Family Collection and our big 30th Anniversary Gala in April.”

NMWA Founder Wilhelmina Cole Holladay says, “I am so glad to have Cindy Jones as the new president of our Board of Trustees. She continues to introduce the museum to a younger, broader group of new friends. Her efforts will ensure that our thirtieth anniversary celebration is a great success.”

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Women Artists from the Rubell Family Collection September 30, 2016–January 8, 2017

Kathryn Wat and Virginia Treanor

CONTEMPORARY ARTISTS CREATE BOLD FIGURES AND

abstractions in NO MAN’S LAND at NMWA. The museum is collaborating with the Rubell Family Collection (RFC) to realize a new vision for this exhibition, which opened at the RFC’s expansive public space in Miami in December 2015. The title suggests a number of meanings, but perhaps most pertinent to NMWA’s presentation is the medieval application of the phrase: a space free from the rule of any sovereign power.

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In Washington, NO MAN’S LAND centers on two themes: the process of making and images of the female body, both topics that extend from the feminist art movement of the 1960s and 1970s. Further, each of the thirty-seven artists featured at NMWA creates paintings or sculptures, traditionally the most revered forms of fine art. In the hands of NO MAN’S LAND artists, these time-honored themes and mediums are avenues for experimentation, play, and subversion.

Mira Dancy, Street Ofelia (neon blue), 2014; Neon, 60 x 48 in.

PROCESS Unlike photographs or videos, paintings and sculptures are most often fabricated through extensive handwork. Painters and sculptors in the Rubell Family Collection disrupt conventional ideas about women and handcraft. Their labor-intensive techniques—or bold statements about that type of process— yield objects that alter the notion of “women’s work,” a popular subject in earlier feminist art. Many sculptors and painters who focus on process also create abstract imagery, a mode conventionally associated with male artists.

Half-arch-shaped sculptures by Cristina Iglesias (b. 1956, San Sebastián, Spain) are built from rough-hewn concrete and slabs of iron and zinc. The sculptures appear simultaneously timeworn and industrial, as if they came from another realm. Leaning against the gallery wall and seeming to support it, Iglesias’s works dramatically transform the space they occupy.

Wool paintings by Rosemarie Trockel (b. 1952, Schwerte, West Germany) are knitted by machine and stretched on wood frames. They form an ironic commentary on stitchery as a 10

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feminine pastime as well as the historically limited place of women abstract painters. Similarly, Tauba Auerbach (b. 1981, San Francisco) upends the idea that a stretched canvas primarily supports layers of paint. Auerbach eschews pigment altogether, weaving strips of canvas over stretcher bars to form intricately patterned and highly textured surfaces.

In depicting what cannot be easily seen (space or eternity), “Infinity Net” paintings by Yayoi Kusama (b. 1929, Matsumoto, Japan) represent an intellectual construct. Yet the canvases, which Kusama covers with hundreds of arcs of pigment applied with a soft brush, are also products of her personal compulsions and transcriptions of her hallucinations, which she has experienced since childhood.

Assemblages and sculptures in NO MAN’S LAND, in particular, are characterized by a spirit of performance and play. A cloth collage by Shinique Smith (b. 1971, Baltimore) vividly conveys the way that fashion, speech, and writing define both our sense of self and public face. Colorful fragments of Smith’s friends’ clothing and household textiles are twisted, knotted, and draped over

Opposite left to right: Shinique Smith, Menagerie, 2007; Mixed media on canvas, 72 x 48 in.; Cristina Iglesias, Untitled (L-4), 1986; Iron and concrete, 86 x 35 ½ x 24 ½ in.; Above: Maria Nepomuceno, Untitled, 2010; Braided straw, ropes, and beads, 173 x 157 x 137 in.

a canvas support, with photographs, script-covered paper, and secret notes tucked into the fabric folds.

NMWA’s presentation includes several sculptures that link the exhibition’s two central themes. These large-scale works reflect the fecundity of craft and artistic processes and are also evocative metaphors for the body and sensual experience.

Maria Nepomuceno (b. 1976, Rio de Janeiro) seeks to visualize “the essential force that is in everything that lives.” She uses indigenous straw-weaving techniques to create biomorphic sculptures that sprawl across the gallery floor. With spiraling tubes, elliptical bulges, and cup-like forms, the sculptures suggest umbilical cords, trailing plant life, and even galaxies.

BODY Many artists in NO MAN’S LAND approach the female body more directly. Women’s bodies have long been the locus of contentious debate and struggle for control. In the traditional canon of Western art history, control over the representation and viewing of the female body was monopolized by male artists.

During the feminist art movement of the 1960s and ’70s, women artists decisively claimed the visualization of women’s bodies. Artists in the Rubell Family Collection stand at the forefront of the newest chapter on images of the female form.

Artist Mira Dancy (b. 1979, London) observes that her choice to depict the body is not a form of remediation but rather part of a vibrant narrative about womanhood: “Right now, there’s . . . all this language of reclaiming the female body. But for me, that’s a distant idea. . . . What I’m trying to do is generate an overall cinematic effect, from painting to painting to painting, where the women are moving from one to the next. It’s a continuous structure, not just a static subject.”

Dancy creates her highly expressive nude figures with oil paint or neon tube lights. Each figure’s flesh is rendered in hot pink, bright blue, silver, red, or green, reflecting the artist’s theatrical aims. She thinks of the figures as wearing “nude suits” rather than baring their skin. In her work as a DJ and a visual artist, Rozeal (b. 1966, Washington, D.C.) creates inventive music and paintings that sample, mix, and sync disparate aesthetic and FALL 2016 | WOMEN IN THE ARTS

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cultural elements. The antecedent for her painting It Has to Last is an 1888 Japanese woodblock print that portrays a dozing courtesan. Brown dramatically transcended her source image by revealing more of her figure’s body and applying design elements from hip-hop and contemporary fashion.

Cecily Brown (b. 1969, London) similarly alludes to historical art. Two large-scale canvases in NO MAN’S LAND extend the ubiquitous theme of the odalisque in Western art. In contrast to historical painters who romanticized and fetishized the reclining female body, Brown sometimes truncates the nude figure. She also renders it with vigorous brushstrokes and intense hues to express the energy of bodies in motion and the capriciousness of human folly, which she considers one of the “big subjects” in art.

The depiction of women’s bodies in popular culture is fertile territory for artists Isa Genzken (b. 1948, Bad Oldesloe, Germany) and Jennifer Rubell (b. 1970, New York City). Genzken fabricates her assemblage series “Schauspielers” (actors) from plastic mannequins, dressing them with garments but also everyday objects that echo the ready-made sculptures of Mar12

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cel Duchamp. Genzken adapts Dada’s language of the absurd to comment on social expectations of women and girls, particularly in regard to their appearance.

To similar ends—and with similar materials—conceptual artist Rubell applied her signature combination of food and humor to Lysa III (2014). Inspired by a gag nutcracker of Hillary Clinton, Rubell’s life-size and fully functional nutcracker sculpture made from a recumbent mannequin epitomizes the popular caricatures of women as sexualized objects or aggressively anti-male.

Mickalene Thomas (b. 1971, Camden, New Jersey) also engages with these stereotypes, using the visual language of 1970s Blaxploitation films to reconsider the sexualization of the black woman in popular culture. The women in her paintings express ease and self-assurance, staring assertively at the viewer and evoking the studio dynamic in which Thomas’s models gazed at her.

She finds this exchange more powerful and provocative than the conventional paradigm of the male painter and female model.

Media culture also underpins images of the female body by Marlene Dumas (b. 1953, Cape Town, South Africa), who fre-

Clockwise from left: Rozeal, Sacrifice #2: It Has to Last (after Yoshitoshi’s “Drowsy: the appearance of a harlot of the Meiji era”), 2007; Enamel, acrylic, and paper on panel, 52 x 38 in.; Isa Genzken, Schauspieler, 2013; Mixed media, 72 ¼ x 18 ½ x 10 ½ in.; Jennifer Rubell, Lysa III, 2014; Fiberglass, resin, and steel, 72 x 62 x 24 in.; Mickalene Thomas, Whatever You Want, 2004; Acrylic, rhinestone, and enamel on panel; 48 x 36 in.; Hayv Kahraman, Prelude, 2011; Oil on panel, 36 x 24 in.

quently finds inspiration in newspaper and magazine photos. In her haunting images, the figures are close to the picture plane, arranged for maximum drama against an empty background that provides no context (cover image). Dumas embraces a subdued and eerie palette. Grays are tinged with red and blue, and shapes blossom like bruises across the surface of the canvas or paper.

In the vein of earlier feminist artists, many contemporary painters use self-portraiture as a profound space for self-expression and the exploration of identity. Each figure in paintings by Hayv Kahraman (b. 1981, Baghdad) represents the artist acting out elements of the immigrant experience, a theme informed by her own peripatetic biography.

NO MAN’S LAND AT NMWA NO MAN’S LAND is drawn from one of the world’s largest and most diverse privately held contemporary collections. The Rubell family describes their process for developing exhibitions: “We always let the art we’re collecting at the moment lead us into the next show. Typically, we’ll fall in love with a young

artist who, for one reason or another, brings to mind a mature artist already in the collection. Over time, we connect more and more artists to this group, until there is some kind of ‘whole’ that feels right.”

To develop NO MAN’S LAND in Washington, D.C., NMWA’s curators partnered with the RFC to compose a highly focused group of works centered on two themes that resonate with many contemporary artists. As inventors, makers, and disruptors, the featured artists recast handcraft and women’s work and amplify presentations of the female body. They also distinguish “no man’s land” as an open, adaptable, and liberated space.

Kathryn Wat is the chief curator and Virginia Treanor is the associate curator at the National Museum of Women in the Arts.

NO MAN’S LAND is organized by the Rubell Family Collection, Miami.

Presentation of the exhibition at NMWA is made possible through the generous support of the Clara M. Lovett Emerging Artists Fund. Additional funding is provided by the Judith A. Finkelstein Exhibition Fund, Stephanie Sale, and Share Fund.

FALL 2016 | WOMEN IN THE ARTS

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The Woman who Inspired NMWA

Virginia Treanor

N

MWA often refers to founder Wilhelmina Cole Holladay as the museum’s inspiration and driving force. However, Holladay’s own inspiration as a collector and visionary was artist Clara Peeters.

Peeters (active between 1607 and the 1630s), an early seventeenth-century still-life painter from Flanders (today, the northern region of Belgium), prompted Holladay and her late husband, Wallace, to begin collecting art by women. As Holladay describes in her memoir, A Museum of Their Own, the couple saw works by Peeters during a European tour in the early 1970s. Upon their return to the United States, they attempted to research Peeters’s life and work, only to find that there was no information on the painter in any of the standard reference books of the day. In fact, the Holladays noticed a dearth of information on women artists in general, which ultimately focused their collecting practice. As Holladay has stated, “We would collect great art by women.”

Because of the lack of available information about Peeters, the Holladays could not have known that the artist who so inspired them was one of the most important still-life artists of the Golden Age of Dutch and Flemish painting. Even today, nothing concrete is known about Peeters’s early life and training, but scholars acknowledge that she was among the innovators of the emerging genre of still-life painting. Her earliest food and flower images date to within six years of the earliest known examples in Northern Europe, and Peeters was among the first artists of any gender to paint fish and game still lifes.¹

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The surname Peeters was common in the Flemish city of Antwerp during the sixteenth and seventeenth centuries, making it difficult to track the painter’s family in the sparse surviving historical record. As art historian Pamela Hibbs Decoteau has said, this lack of documentation forces art historians to glean information from the only evidence on hand: Peeters’s paintings.

Close inspection confirms Peeters’s significance as a pioneering still-life painter. Her earliest dated painting is from about 1607– 08, which means that she was approximately fourteen or nineteen years old (her birthdate was likely either 1594 or 1589/90).

Peeters’s work influenced a number of later, better-known male painters such as Ambrosius Bosschaert the Elder, Balthasar van der Ast, and Pieter Claesz. Peeters also popularized the practice of depicting her self-portrait in the reflective surfaces of shiny objects in many of her still lifes. This device was used in the fifteenth century by the painter Jan van Eyck, but it did not become popular until later in the seventeenth century, when many artists, inspired by Peeters’s example, adopted the practice.

Holladay recently donated to the museum A Still Life of Lilies, Roses, Iris, Pansies, Columbine, Love-in-a-Mist, Larkspur, and other Flowers in a Glass Vase on a Table Top, Flanked by a Rose and a Carnation (ca. 1610), bringing the number of paintings by Clara Peeters in NMWA’s collection to two. That number is particularly impressive because there are only about thirty known, extant works by the artist. The only institution in the world with more paintings by Peeters in its collection is the Museo del Prado in Madrid, with four.

LEE STALSWORTH

NMWA’s still life is one of the largest and most lavish of Peeters’s flower pieces. The bouquet is situated on a narrow ledge, characteristic of the artist’s attempts to fool viewers’ eyes into perceiving depth. It is replete with illusionistic overhanging rose leaves and shown against a dark background. Also typical of her floral still lifes, there are blooms lying on the ledge, as if fallen from the arrangement. These flowers, a rose on the left-hand side and a carnation on the right, provide balance to the composition.

However, one of Peeters’s innovations was to move away from the strict symmetry and simplicity of earlier flower paintings.

While older paintings often have one flower at the apex of the bouquet, Peeters created dynamism in this composition by including an unopened iris bud just above the open bloom at the apex. She also used color to move the viewer’s eye around the canvas; each bright bloom scattered throughout the composition vies for attention. Her skill in depicting flowers overlapping one another as they would in in actual bouquet, as well as her presentation of flowers from all angles, lends a novel visual interest to Peeters’s composition.

Still-life painting was a new genre in the early seventeenth century. Its origins can be traced to the marginalia of medieval manuscripts and religious paintings. These works often included elements such as flowers, mirrors, candles, and scales, which were imbued with symbolic overtones. Still-life paintings were especially popular in Northern Europe, where the Protestant Reformation had significantly reduced the demand for large-scale religious painting. Smaller, more intimate paintings were popular with burgeoning middle-class populations in cities such as Antwerp and Amsterdam. As still lifes were a new subject, perhaps it is not surprising that a woman painter was able to make significant contributions to a field that was gaining popularity just as her career was taking off.

Clara Peeters, A Still Life of Lilies, Roses, Iris, Pansies, Columbine, Love-in-a-Mist, Larkspur, and other Flowers in a Glass Vase on a Table Top, Flanked by a Rose and a Carnation, ca. 1610; Oil on panel, 19 ½ × 13 ¼ in.; Gift of Wallace and Wilhelmina Holladay

Note:

Virginia Treanor is the associate curator at the National Museum of Women in the Arts.

1. Pamela Hibbs Decoteau, Clara Peeters, 1594–ca. 1640, and the Development of Still-Life Painting in Northern Europe (Lingen, Luca, 1992).

NMWA on the Move

LEE STALSWORTH

Clara Peeters’s Still Life of Fish and Cat (after 1620) will be part of The Art of Clara Peeters, opening this fall at the Museo del Prado in Madrid (October 25, 2016–February 19, 2017).

This marks the first time the museum has devoted an exhibition to a woman artist since it opened in 1819. The Art of Clara Peeters was organized in conjunction with the Royal Museum of Fine Arts in Antwerp and the government of Flanders.

Clara Peeters, Still Life of Fish and Cat, after 1620; Oil on panel, 13 ½ × 18 ½ in.; Gift of Wallace and Wilhelmina Holladay.

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Most Days

NO MAN’S LAND: Women Artists from the Rubell Family Collection September 30, 2016–January 8, 2017 Alison Saar In Print Through October 2, 2016 Wanderer/Wonderer: Pop-Ups by Colette Fu October 14, 2016–February 26, 2017 Priya Pereira: Contemporary Artists’ Books from India Through November 18, 2016, in the Betty Boyd Dettre Library and Research Center; Open Monday–Friday, 10 a.m.–12 p.m. and 1–5 p.m.

Bold Broadsides and Bitsy Books November 21, 2016–March 17, 2017, in the Betty Boyd Dettre Library and Research Center; Open Monday–Friday, 10 a.m.–12 p.m. and 1–5 p.m.

GALLERY EXPERIENCE. Conversation Pieces. Join us for 30-minute “conversation pieces” most days at 2 p.m. These brief experiences spotlight two works on view. Check in at the Information Desk to join the conversation. Free with admission. No reservations required.

9 | 21–1 | 4

WED 12–12:30 P.M. Colette Fu, Dai Food, from the series “We are Tiger Dragon People,” 2008–13; On view in Wanderer/Wonderer

GALLERY TALK SERIES. Lunchtime Gallery Talks. These bitesize 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.

9|21 9|28 10|5 10|12 10|19

Hayv Kahraman, Prelude, 2011; On view in NO MAN’S LAND

DAKOTA FINE

9 | 24

9 | 25

2–2:30 P.M.

DAKOTA FINE

EXHIBITIONS

LEE STALSWORTH

CALENDAR

Calendar

Collection Selections Alison Saar In Print NO MAN’S LAND NO MAN’S LAND Wanderer/Wonderer

10|26 11|2 11|9 11|16 11|30

NO MAN’S LAND NO MAN’S LAND Wanderer/Wonderer NO MAN’S LAND NO MAN’S LAND

12|7 12|14 12|21 1|4

NO MAN’S LAND NO MAN’S LAND NO MAN’S LAND NO MAN’S LAND

SAT 10 A.M.–5 P.M. MUSEUM DAY LIVE! 12th Annual Museum Day. NMWA opens its doors free of charge as part of Smithsonian magazine’s 12th annual Museum Day Live!

This nationwide event offers free admission to ticket-holding visitors at a participating museum or cultural institution. Tickets required. Visitors gain free entrance for two at participating venues for one day only. One ticket per household, per email address. Reserve online.

SUN 3–5:30 P.M.

CULTURAL CAPITAL. Women in Film/Mujeres de Cine—Screening and Conversation. The award-winning film Rastros de Sándalo (Traces of Sandalwood), 2014 (95 min.) follows two separated sisters—one awash in the colorful melodrama of Bollywood, the other in the sterility of a Barcelona biology lab. Based on the novel by Asha Miró and Anna Soler-Pont, the film was directed by Maria Ripoll and produced by an all-female crew. Postscreening discussion with starring actress Aina Clotet.

Followed by a reception.

Presented in collaboration with SPAIN arts & culture.

Free. Reservations required.

Reserve online.

Still from Rastros de Sándalo

9 | 29

THURS 11 A.M.–2 P.M.

MEMBER PREVIEW DAY. NO MAN’S LAND. Be the first to experience a cutting-edge exhibition! The contemporary artists of NO MAN’S LAND address varied political and intellectual themes through aesthetically diverse work. Free admission for members (with a current membership card) and one guest. Enjoy staffled exhibition gallery talks throughout the day. Members receive double discounts (20%) in the Museum Shop and a 15% discount in the Mezzanine Café. Reservations recommended. Reserve online. Maria Nepomuceno, Untitled, 2010; On view in NO MAN’S LAND

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

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10 | 2, 11 | 6, 12 | 4, 1 | 8

THURS 7:30–10 P.M.

OPENING RECEPTION. Journey to NO MAN’S LAND. Join us to celebrate the opening of NO MAN’S LAND. Large-scale paintings and sculptural hybrids by thirty-seven contemporary artists from sixteen countries appear in this exhibition. Enjoy South Beachinspired bites, exhibition tours, and an open bar with beer, wine, and bubbles. Mingle with artists and collectors, and party to world music by DJ Elodie Maillot. $30 general; $20 members, seniors, students. Reservations required. Reserve online.

SUN 12–5 P.M. FREE COMMUNITY DAYS. First Sundays.

The first Sunday of every month, NMWA offers free admission to the public. Take this opportunity to explore current exhibitions as well as the museum’s collection. The museum is closed on New Year’s Day, so January’s Free Community Day takes place on January 8. For a complete schedule, visit the online calendar.

Free. No reservations required.

DANIEL SCHWARTZ PHOTOGRAPHY

9 | 29

10 | 2

SUN 1–3 P.M.

10 | 5

10 | 15

WED 5–7:30 P.M.

YASSINE EL MANSOURI

EMILY HAIGHT, NMWA

GALLERY EXPERIENCE. Choose Your Own ARTventure. Inspired by the Slow Art Movement, which asks museum visitors to slow down and look at art, this drop-in experience encourages visitors to choose from a selection of works in the galleries and spend time getting to know them through guided discovery adventures. If you like exploring museums but don’t know where to start, or leave wanting more, this program is for you! Check in at the Information Desk on arrival. Free. No reservations required.

SAT 9:30 A.M.–2:30 P.M.

MON 7–8:30 P.M.

BOOK ARTS LECTURE. Colette Fu. Book artist and photographer Colette Fu delivers NMWA’s second annual Book Arts Lecture in conjunction with Wanderer/Wonderer.

Fu traveled to China and India to explore and photograph the lives of minorities and tribal groups. Her work transports viewers to dance festivals, markets, and ceremonies in the Yunnan Province of China and in Orissa, India. Fu aims to preserve the magic and wonder of disappearing customs and ways of life. Free. Reservations required.

Reserve online.

Colette Fu, Ashima, Stone Mountain, from the series “We are Tiger Dragon People,” 2008–14; On view in Wanderer/Wonderer

LAURA HOFFMAN, NMWA

10 | 17

LEE STALSWORTH

LAURA HOFFMAN, NMWA

TEACHER PROGRAM. Crafty Happy Hour.

Join fellow educators for an informal, social evening at NMWA and design your own professional development experience! Explore NO MAN’S LAND; foster your creative side at hands-on making stations; participate in a Conversation Piece gallery experience; and engage with museum educators and colleagues. Enjoy light refreshments. Free for educators.

Reservations required. Reserve online.

FIRSTHAND EXPERIENCE WORKSHOP. Bookmaking with Colette Fu. Artist Colette Fu, whose large-scale pop-up books are on view in Wanderer/Wonderer, introduces basic elements of pop-up paper engineering. Participants will take home their pop-up creations and a “studio to go.”

All levels of experience are welcome. Designed to instruct and engage audiences thirteen and older. Materials and instruction provided. $25 general; $15 members, seniors, students. Reservations required. Reserve online.

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

FALL 2016 | WOMEN IN THE ARTS

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10 | 18

10 | 24

TUES 6:30–9 P.M.

MON 5:30–8:30 P.M.

ARTTABLE CONVERSATION. State of Art 3/DC. ArtTable presents the third installment of State of Art/DC, featuring an evening of inquiry and discussion about the future and sustenance of the region’s arts ecosystem.

Connect with fellow art lovers, art-world colleagues, and leaders of the creative economy. Presented Pecha Kucha–style, the fast and intellectually challenging evening allows time for mingling and discussion. $25 general; $20 ArtTable members; $12 students and artists. Proceeds benefit ArtTable.

Reservations required.

Reserve online at Eventbrite.com.

10 | 26

11 | 6

Left to right: Liz Ogbu and Swoon

11 | 11

SUN 1–2 P.M. DROP-IN TOUR. NO MAN’S LAND. Attend a free, docentled, drop-in tour of NO MAN’S LAND. During the November Community Day, tour NMWA’s special exhibition focusing on images of the female body and the physical process of making. Free. No reservations required.

Isa Genzken, Schauspieler, 2013; On view in NO MAN’S LAND

BRYAN WELCH

Rozeal, Sacrifice #2: It Has to Last (after Yoshitoshi’s “Drowsy: the appearance of a harlot of the Meiji era”), 2007; On view in NO MAN’S LAND

FRESH TALK. Liz Ogbu and Swoon—How can we build to better? Liz Ogbu, a designer, urbanist, and social innovator, participates in a conversation with artist Caledonia Curry (a.k.a. Swoon) about solving social problems through creative transformations of places, systems, and communities.

Moderated by Kriston Capps of The Atlantic’s CityLab. Conversation 7–8:30 p.m. followed by Catalyst, a cocktail hour with a topic and a twist, 8:30–9:30 p.m. $25 general; $20 members, seniors, students. Reservations required.

Reserve online.

RYAN LASH

ARTISTS IN CONVERSATION. NO MAN’S LAND with Rozeal.

Join artist Rozeal in conversation over light refreshments. She discusses her background, artistic process and philosophy, and work featured in NO MAN’S LAND during this informal and intimate in-gallery experience. Participants have ample time to explore the galleries, look closely at Rozeal’s work, enjoy food and drink, and engage in conversations with the artist and fellow attendees. $25 general; $15 members, seniors, students.

Reservations required. Reserve online.

WED 7–9:30 P.M.

FRI 6:30–9 P.M.

ARTISTS IN CONVERSATION. NO MAN’S LAND with Analia Saban. Join artist Analia Saban in conversation over light refreshments.

Saban discusses her background, artistic process and philosophy, and works featured in NO MAN’S LAND during this informal and intimate in-gallery experience. Ample time allows participants to explore the galleries, look closely at Saban’s work, enjoy food and drink, and engage in conversations with the artist and fellow attendees. $25 general; $15 members, seniors, students. Reservations required. Reserve online.

Analia Saban, Acrylic in Canvas, 2010; On view in NO MAN’S LAND

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

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SUN 4:30–8 P.M.

NAOMI WHITE

LYNN SAVARESE

DANIEL GOUDROUFFE

11 | 13

DAKOTA FINE

12 | 4

FRESH TALK: Righting the Balance—How can the arts advance body politics? Inspired by NO MAN’S LAND, the second annual “Righting the Balance” Fresh Talk focuses on the intersections of art and public discourse related to body politics. The conversation explores how artists— particularly those in performance art, film, and theater—address discrimination, sexism, and sexual violence to effect change. Joining the conversation are Katie Cappiello, writer and director of SLUT: The Play and Now That We’re Men; Aishah Shahidah Simmons, director of award-winning film NO! The Rape Documentary (2006); Emma Sulkowicz, artist/activist, recipient of National Organization for Women’s 2016 Woman of Courage Award; and moderator Tanya Selvaratnam, Emmy-nominated and Webby-winning producer, author of The Big Lie. Conversation 4:30–6 p.m., followed by Sunday Supper, 6–8 p.m. $25 general; $20 members, seniors, students. Reservations required. Reserve online.

Clockwise from top left: Emma Sulkowicz, Tanya Selvaratnam, Katie Cappiello, and Aishah Shahidah Simmons

12 | 13

SUN 1–3 P.M.

GALLERY EXPERIENCE. Choose Your Own ARTventure.

Inspired by the Slow Art Movement, which asks museum visitors to slow down and look at art, this drop-in experience encourages visitors to choose from a selection of works in the galleries and spend time getting to know them through guided discovery adventures. If you like exploring museums but don’t know where to start, or leave wanting more, this program is for you! Check in at the Information Desk on arrival. Free. No reservations required.

1|8

TUES 6:30–9 P.M.

ARTISTS IN CONVERSATION. NO MAN’S LAND with Mira Dancy and Suzanne McClelland. Join artists Mira Dancy and Suzanne McClelland in conversation over light refreshments.

The artists discuss their backgrounds, artistic processes and philosophies, and works featured in NO MAN’S LAND during this informal and intimate in-gallery experience. Ample time allows participants to explore the galleries, look closely at the artists’ works, enjoy food and drink, and engage in conversations with guest artists and fellow attendees. $25 general; $15 members, seniors, students. Reservations required. Reserve online.

Detail images of work by Mira Dancy, left, and Suzanne McClelland, right; On view in NO MAN’S LAND

SUN 1–2 P.M.

DROP-IN TOUR. NO MAN’S LAND. Attend a free, docent-led, drop-in tour of NO MAN’S LAND. During the January Community Day, tour NMWA’s special exhibition focusing on images of the female body and the physical process of making, featuring large-scale paintings and sculptural hybrids. Free. No reservations required.

Education programming is made possible by the Leo Rosner Foundation with additional support provided by the William Randolph Hearst Foundation; the Harriet E. McNamee Youth Education Fund; William and Christine Leahy; and the Junior League of Washington.

The Women, Arts, and Social Change public program initiative is made possible through leadership gifts from Denise Littlefield Sobel, Lorna Meyer Calas and Dennis Calas, the MLDauray Arts Initiative, and the Swartz Foundation. Additional support provided

by Deborah G. Carstens, Ray and Dagmar Dolby Family Fund, Stephanie Sale, and the Bernstein Family Foundation.

The Shenson Chamber Music Concert Series is made possible by Fred M. Levin and Nancy Livingston, The Shenson Foundation, in memory of Drs. Ben and A. Jess Shenson.

Mickalene Thomas, Whatever You Want, 2004; On view in NO MAN’S LAND

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

FALL 2016 | WOMEN IN THE ARTS

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Pop-Ups by Colette Fu

October 14, 2016 – February 26, 2017

Krystyna Wasserman

“As the storyteller kept up his tale . . .Who could forget? / Remembrance is a play of light and darkness” ¹ Colette Fu (b. 1969) creates sculptural pop-up books that illuminate cultures and depict myths and legends. Raised in New Jersey, Fu graduated college with a degree in French language and literature, but she changed course during a trip to China’s Yunnan province, where she stayed for three years. In Yunnan, Fu reconnected with her family’s roots and discovered her own passion for photography and storytelling.

Haunted Philadelphia After her three years in Yunnan, Fu returned to the United States and earned an MFA in photography from the Rochester Institute of Technology. She then moved to Philadelphia, where at first she lived and worked with a Thai family who owned a restaurant. “It was a spooky place,” she says. “The chef died, another broke his arm, and later the manager broke her neck.” The restaurant owners believed that the ghost of the dead chef lived in the kitchen. Fear compelled Fu to leave the restaurant, and anxiety about her future as an artist consumed her imagination.

As a way to embody universal feelings of anxiety or unease, Fu sometimes chooses subjects that are tragic, darkly humorous, or frankly frightening. She blends lore and history with her own imagination to develop her poignant themes. While exploring the city, she discovered that Philadelphia, known for historic American landmarks, is also rife with stories of ghosts and hauntings. Around the same time, her attention was caught by pop-up books, and she taught herself how to make them by deconstructing children’s pop-ups. Fu researched twenty haunted Philadelphia sites, which she photographed and transformed into gigantic pop-up book-sculptures.

Opposite: Dai Food, from the series “We are Tiger Dragon People,” 2008–13; Artist’s book with color prints, 25 x 24 x 11 in. (open); NMWA; Museum purchase with funds provided by the Book Arts Fellows; All photos: Lee Stalsworth

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WOMEN IN THE ARTS | FALL 2016

FALL 2016 | WOMEN IN THE ARTS

21

Rodin Museum: Lovers, from the series “Haunted Philadelphia,” 2005–06; Artist’s book with color prints, Chinese Joss paper, and Philadelphia newspapers, 72 x 54 x 22 in. (open); NMWA; Museum purchase with funds donated by Lynn Johnston and Julie Garcia

Among the haunted sites in Philadelphia that elicited a strong emotional response from Fu was the Rodin Museum. Fu’s Rodin Museum (2005–06) was inspired by a tragic story of Vietnam War-era young lovers, Rachel and Hank—she the daughter of a prominent doctor and he from a poor family—who secretly met at the museum’s garden and were separated by her parents.

After two years’ absence, Rachel learned that Hank had died in Vietnam. Devastated, she went alone to the museum, found it locked, and was killed by a car as she dashed across the busy Benjamin Franklin Parkway.

Fu associated their tragic story with the unhappy love affair of French sculptor Camille Claudel (1864–1943) and Auguste Rodin (1840–1917), her mentor and lover. Fu re-created pop-up versions of Rodin’s and Claudel’s sculptures in the museum’s garden. The book is a theater where human dramas unfold.

Fu ventured with her camera to other so-called “dark tourism” destinations for her “Haunted Philadelphia” series, including Fort Mifflin and Byberry Hospital. According to Margee Kerr, the author of Scream: Chilling Adventures in the Science of Fear, this type of institution is frightening yet intriguing—creating an ambivalent attraction/repulsion dynamic. These are the places that keep monsters and ghosts safely locked “behind the walls.”² Fort Mifflin dates to the 1770s—it attracts visitors interested in its history as well as the many ghosts said to inhabit the site.

The iconography of Fu’s Fort Mifflin, Casemate 5: Circuit of Fear (2012) refers to the area for confederate POWs, Union deserters, and other lawbreakers during the Civil War. Byberry Mental Hospital-Mortuary (Philadelphia State Hospital), opened in the early 1900s and closed in 1990 due to terrible conditions and mistreatment of patients. Fu visited the decrepit asylum and photographed the buildings and grounds for a 2005–06 pop-up. She introduced her own macabre iconography about Lizzie Borden (1860–1927), a woman from Fall River, Massachusetts, who was tried and acquitted for the axe murder of her father and stepmother. For the book, Fu photographed the 22

WOMEN IN THE ARTS | FALL 2016

ghost-themed Lizzie Borden Bed and Breakfast, the former home of the infamous heroine, since transformed into an inn whose owner maintains the spooky character of the place.

The Place South of the Clouds Fu’s first trip in 1994 to southwestern China’s Yunnan Province redirected her interests from dark subjects to the exploration of her roots and her identity. She repeated the journey in 2008, when she was awarded a Fulbright Fellowship to photograph, research, and create “We are Tiger Dragon People,” a series of pop-up books about minorities in Yunnan.

Yunnan is the part of China where Fu’s mother was born and where her great-grandfather Lung Yun was governor until 1945.

It is a province of stunning landscapes and great ethnic diversity, reflecting the influences of neighboring countries Vietnam, Laos, Tibet, and Burma. The province is home to twenty-five minorities, with distinct languages, customs, lifestyles, and religions. On Fu’s first visit she studied Chinese language (which she had not learned at home) and minority cultures. During her third year in Yunnan, she traveled to remote villages of the province, taking photographs of people in traditional clothing.

She attended folk festivals, watched ritual celebrations, enjoyed local cooking, and discovered her roots and identity.

Revisiting Yunnan Province in 2008 on her fellowship, Fu observed dramatic changes. Industrial development, tourism, and globalization had changed the culture of ethnic groups she photographed twelve years earlier. In rural areas, however, villagers still cultivated old traditions and lifestyles. Fu was driven by the desire to capture these cultures before they disappear.

Upon returning to Philadelphia in 2009, Fu began to create large-scale pop-up books featuring her Yunnan photography.

She introduces viewers to the cooking of the Dai people, with sour, spicy, salty, and sweet flavors, in Dai Food (2008–13). Fu took a picture of a young Dai woman wearing a long skirt and bodice. Her hair is decorated with flowers, and she is shown

with street-food specialties of the region: grilled chicken, fish, and various kebabs, pig tail, fermented eggs, beef with red pepper, snails, pork liver, spicy noodle salad, and more.

Fu photographed festivals of the largest Yunnan ethnic minority, Yi people, her and her mother’s ancestors. She explains that the headwear of Yi women in her pop-up Yi Costume Festival (2008–14) and a related scroll illustrates an old legend. In the story, a young couple escaped a jealous devil king by learning to crow like a rooster to call out the sun and drive the devil away. Villagers at the costume festival, usually held in May, wear colorful cockscomb-shaped hats for luck, safety, and happiness. The silver ornaments in their hats stand for stars and moon, and their richly embroidered costumes often represent Yi myths and legends.

Ashima, Stone Mountain (2008–14) depicts part of the Yunnan Province famous for its Stone Forest. Comprising exposed limestone formations, some as tall as one hundred feet, weathered and shaped into unusual sharp ridges, the rocks serve as the background for calligraphic inscriptions. Calligraphy by Fu’s great-grandfather, Lung Yun, is carved in red characters above the entrance, and another rock displays Mao’s favorite poem. Fu hand-embroidered the base of Ashima to pay tribute to the Sani people who inhabit the area and are known as exquisite crossstitch embroiderers.

Fu’s pop-up Axi Fire Festival (2008–14) honors the man who brought the Axi people fire. Legend has it that when the naked Axi were hunting, heavy rains forced them to shelter under an old tree. An old wizard, Mu Deng, appeared, rubbed dry wood together and started a fire. The Axi were no longer cold, and they learned how to cook food. The annual spring festival is a fire worship celebration. It features the sacrifice of a pig and a chicken, as well as a gathering of men who paint their bodies and create a fire.

Fu says, “A large part of the ‘We are Tiger Dragon People’ series was inspired by the oral tradition, tales passed on from various elders and experts. It’s research I’ve gathered from a variety

Yi Costume Festival, from the series “We are Tiger Dragon People,” 2008–14; Artist’s book with color prints, yarn, and Chinese brocade fabric, 32 x 31 x 9 in. (open); Courtesy of the artist

Ashima, Stone Mountain, from the series “We are Tiger Dragon People,” 2008–14; Artist’s book with color prints, Tyvek, and embroidery thread, 25 x 19 x 13 in. (open); NMWA; Museum purchase with funds donated by Margaret Johnston, Krystyna Wasserman, and Elizabeth Welles

of different places and put together. It’s a process that almost mirrors the way that myth and ritual percolate on the edge of the fact, blurring the line between the real and the imagined.”

Each of Fu’s pop-up books tells a story. She is a fearless wanderer who shares her wonders and helps us understand the mysteries and beauty of the world around us.

Krystyna Wasserman is the curator of book arts at the National Museum of Women in the Arts.

Wanderer/Wonderer: Pop-Ups by Colette Fu, 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 the Clara M. Lovett Emerging Artists Fund, with additional funding provided by the Judith A. Finkelstein Exhibition Fund and the members of NMWA. Notes 1. Jidi Majia, “Glowing Embers in the Fireplace,” in Rhapsody in Black: Poems, translated from Chinese by Denis Mair (Norman, University of Oklahoma Press, 2014), 147.

2. Margee Kerr, Scream: Chilling Adventures in the Science of Fear (New York, Public Affairs, 2015), 54.

Axi Fire Festival, from the series “We are Tiger Dragon People,” 2008–14; Artist’s book with color prints and Chinese brocade fabric, 34 x 31 x 12 in. (open); Courtesy of the artist

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Gilan Tocco Corn and the Shenson Chamber Music Concert Series

Tocco Corn, who is also the chairman of the board for the Young Concert Artists (YCA) of Washington, brings a formidable background as a concert pianist. As she describes, though, “When I realized that I no longer wanted a life as a performer, I decided to channel my energy and enthusiasm into helping young artists with their careers, because I know from my own experience how hard it is to make a career as a musician.”

Born in Iran, where she began studying piano at an early age, Tocco Corn continued her studies at the Vienna Academy of Music with Professor Grete Hinterhofer, graduating with honors in 1964. She subsequently received a French government scholarship to study in Paris with legendary pianist Magda Tagliaferro, under whose tutelage she remained while residing at the prestigious Cité des Arts.

Tocco Corn has performed recitals and chamber music with orchestras in Europe, North and South America, and the Middle East. She played command performances for Their Majesties, the Shah and Empress of Iran, and for notables such as the King and Queen of Thailand, King Hassan of Morocco, and President Ford at a White House state dinner. She has also performed at a gala concert at Wolf Trap with artists including Mstislav Rostropovich and Anna Moffo. In addition to her musical training, Tocco Corn has studied literature at the Paris-Sorbonne University and at the University of Cambridge. She is fluent in five languages.

Tocco Corn has now been involved with the YCA for more than thirty years.

She also is frequently asked to judge prestigious international competitions.

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CLARISSA VILLONDO PHOTOGRAPHY

NMWA’s Shenson Chamber Music Concert Series has thrilled audiences in the museum’s Performance Hall since its inception in 1998. Gilan Tocco Corn, co-founder and artistic director of the series, which is now approaching its nineteenth season, says, “The opportunity to put wonderful women musicians in the spotlight is priceless.”

Clockwise from top: Shenson Chamber Music Concert Series Artistic Director Gilan Tocco Corn with Rhoya Tocco Didden and James Tocco; NMWA Trustee Hon. Mary V. Mochary, NMWA Founder Wilhelmina Cole Holladay, Gilan Tocco Corn, and Board President Emerita and Endowment Chair Carol Lascaris; Rhoya Tocco Didden reciting Francis Poulenc’s The Story of Babar, accompanied by pianist James Tocco

Board President Emerita and Endowment Chair Carol Lascaris approached her when NMWA was interested in starting its music program in the late 1990s. Tocco Corn and her friend Linda Hohenfeld Slatkin, a soprano, agreed to run the series, and they worked together as co-directors for many years. “We had a very special working relationship, she as a singer, and I as a pianist. It was fun starting this series, and it was also a lot of work.”

“We’ve had so many fabulous performers over the years,” Tocco Corn says. The impressive musicians who perform in the series are often referred to her by friends in the music world, and she also discovers new talents through her work with YCA, booking exciting performers in both series. She brings to NMWA artists who are well-established as well as up-and-coming stars. A favorite moment for her was in the most recent season, when her daughter Rhoya Tocco Didden staged a family-friendly recitation of Francis Poulenc’s The Story of Babar.

Didden was accompanied by her father, internationally renowned concert pianist James Tocco. “It was thrilling and wonderful to have a full house of families with their kids, and I’m very proud,” Tocco Corn says.

Tocco Corn’s directorial talents have garnered admiration from the NMWA community, including NMWA Founder Wilhelmina Cole Holladay. Tocco Corn says of Holladay, “She frequently comes to the concerts, and her enthusiasm and support mean a lot and are an inspiration to me.” NMWA Director Susan Fisher Sterling says, “The Shenson Chamber Music Concert series is a fantastic way for the museum to champion women in the performing arts. We are grateful to Shenson Artistic Director Gilan Tocco Corn for all she has done to offer the highest quality classical music experiences in an intimate environment. She has brought so many great emerging talents to the Women’s Museum over the years, and we look forward to a great concert season yet again this spring.”

MUSEUM NEWS AND EVENTS

Museum News Save the Dates—Shenson Chamber Music Concerts Artistic Director Gilan Tocco Corn and NMWA announce the nineteenth season of Shenson Chamber Music Concerts at NMWA, featuring three exciting performances: • Catherine Manoukian, violin, Washington, D.C., debut on February 8, 2017 • Bolcom Cabaret with Lydia Brown, piano, and Cincinnati College-Conservatory Opera Singers, on April 19, 2017 • Susanna Phillips, Metropolitan Opera soprano, on May 24, 2017

NMWA’s Endowment Circle group visited the Cleveland Museum of Art

TONY BRIGGS

ZACHARY MAXWELL

Endowment Circle tours Cleveland

Left to right: Catherine Manoukian, Lydia Brown, and Susanna Phillips

NMWA at the United States–Spain Forum

Below left to right: NMWA Director Susan Fisher Sterling (center) and the panel on cultural institutions at the U.S.–Spain Forum; Sterling and NMWA Trustee Gina Adams.

JESÚS NIETO, UNITED STATES–SPAIN COUNCIL

Director Susan Fisher Sterling was asked by Virginia Senator Tim Kaine to participate in a roundtable discussion at the twenty-first United States–Spain Forum, held in June in Santiago de Compostela, Spain.

Sterling spoke in a session on the role of cultural institutions in social progress, global integration, and economic development. She described NMWA’s mission and discussed the importance of cause-driven museums in today’s world. The museum’s work

championing women in the arts and providing a forum for conversations on gender issues, Sterling said, “helps us remain relevant and allows us to have a value that goes beyond the intrinsic value of art.”

Sterling was joined in conversation by Miguel Zugaza Miranda, director of the Museo Nacional del Prado; Roger Brown, president of the Berklee College of Music; and Antonio Muñoz Molina, writer and member of the Spanish Royal Academy. The panel was moderated by Ángeles Gonzáles-Sinde Reig, former Spanish Minister of Culture.

In May, a group of NMWA’s Endowment Circle members went to Cleveland, Ohio, for an arts and culture tour, hosted by NMWA Trustee Hon. Mary V. Mochary and organized by the Ohio Advisory Group of NMWA. Attendees toured art destinations around the city, including the Cleveland Museum of Art, where they went on a curated gallery tour focused on women artists led by Associate Curator of European Art Cory Korkow and Curator of Contemporary Art and Interim Co-Chief Curator Reto Thüring. They also toured the Cleveland Clinic, which has an impressive collection of art with several site-specific installations by contemporary women artists, and visited the Rock and Roll Hall of Fame and Museum, which originated NMWA’s 2012 exhibition Women Who Rock.

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MUSEUM NEWS AND EVENTS

Committee News The U.K. Friends of NMWA continue to fundraise for Photography from the National Museum of Women in the Arts: Terrains of the Body, which will be shown at Whitechapel Gallery in London, January 17–April 23, 2017.

In celebration of the committee’s tenth anniversary and NMWA’s thirtieth, the committee is sponsoring this exhibition, showcasing contemporary women photographers in the museum’s collection from twenty-three countries who explore ideas surrounding the human body. Artists will include Candida Höfer, Justine Kurland, Nikki S. Lee, Shirin Neshat, and Hellen van Meene. The exhibition will celebrate women in the arts and spread the word about NMWA. Twenty members of the Massachusetts State Committee visited the intimate studio of Pakistani-American artist Ambreen Butt on May 21. The group learned about the work of Butt, who trained in traditional Persian miniature painting and developed as an artist after studying, and later teaching, at the Massachusetts College of Art and Design.

There, she began incorporating modern methods and subject matter into her evolving “repetitive mark-marking” technique. The committee also launched a campaign to raise funds to purchase Butt’s The Great Hunt 1 for NMWA’s collection, to celebrate the committee’s tenth anniversary and the museum’s thirtieth.

As a fundraising initiative for the next Women to Watch exhibition, members of Les Amis du NMWA took an art-focused trip from Paris to Lisbon, Portugal, May 24–27. Sofia Barroso, chair of the committee in Spain, helped organize the tour, which included

Left: Ambreen Butt in her studio during the Massachusetts State Committee’s visit Below: Members of Les Amis du NMWA in Portugal with artist Joana Vasconcelos

EMMI SPRAYBERRY

special access to private collections, galleries, and artists, as well as the VIP program for the inaugural Portugal expansion of the ARCO contemporary art fair.

The Mississippi State Committee held its Eighteenth Annual Honored Artists’ Luncheon on August 1 at the Mississippi Museum of Art in Jackson. More than eighty committee members gathered to recognize former first lady of Mississippi, philanthropist and author Elise Winter, as a Mississippi Treasure, and Julia Graber, a fiber artist, as an Honored Artist. The committee also awarded scholarships to three female fine arts students attending Mississippi universities.

On August 3, the Southern California Committee arranged a tour of Eau de Cologne at Sprüth Magers, a gallery with a strong

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history of supporting female artists, in Los Angeles. The show featured work from the late 1970s to the present by Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman, and Rosemarie Trockel.

On August 25, the Georgia Committee organized Coffee + Conversation with NMWA Advisory Board member and Savannah College of Art and Design Founder and President Paula Wallace. NMWA member Malinda Krantz hosted the gathering to discuss Wallace’s new memoir, The Bee and the Acorn, which details the journey to found SCAD. A committee is launching in Lima, Peru, with Veronica Diaz de Ferrero serving as president. The committee is exploring the possibility of participation in Women to Watch 2018 and is in the process of writing by-laws.

Left: Mississippi Treasure award recipient Elise Winter, NMWA Trustee Betty Boyd Dettre, Mississippi State Committee President Lillian Wade, and former Mississippi Governor William Winter at the 2016 Honored Artists’ Luncheon

Member News NO MAN’S LAND Member Preview Day On September 29, 11 a.m.–2 p.m., members enjoy a first look at NO MAN’S LAND: Women Artists from the Rubell Family Collection. Enjoy gallery talks, a 20% discount in the Museum Shop, and a 15% discount at the Mezzanine Café. Free admission for members and one guest.

SUMMER 2016

Join us for an opening celebration of NO MAN’S LAND before it opens to the public, September 29, 7:30–10 p.m. Enjoy curator-led tours, an open bar, and light refreshments. Tickets are $20 for members and $30 for general admission. Please visit http://nmwa.org/content/ journey-no-mans-land-opening-reception to purchase tickets!

Finish your Holiday Shopping early with NMWA Gift Memberships!

Need a gift for art-loving friends and family members? All membership benefits include a subscription to Women in the Arts magazine, free museum admission, special invitations to member previews and other events, and discounts in the Museum Shop. Give a membership at the Friend level, and your recipient will enjoy reciprocal benefits at more than 800 museums across the country.

Call 866-875-4627 or visit http://nmwa.org/ support/membership. To guarantee delivery

Museum Events

EMILY HAIGHT, NMWA

Journey to NO MAN’S LAND

Women in the Arts magazine; NMWA members attend an exhibition tour by NMWA Chief Curator Kathryn Wat at the Member Preview Day for She Who Tells a Story

Brightest Young Things & NMWA Present: Exclusively Inclusive

by December 25, orders must be received by December 5, 2016.

In May, NMWA partnered with Brightest Young Things to host the after-hours event Exclusively Inclusive! Presented in conjunction with She Who Tells a Story: Women Photographers from Iran and the Arab World, more than 500 people enjoyed special access to the exhibition, FotoTalks curated by FotoDC and Women Photojournalists of Washington, a DJ set by Bethany Cosentino of Best Coast, musical performances by exciting D.C.-area women, and creative cocktails and food inspired by art. Thank you to BYT and guests for an amazing event!

Help your gift go further with a Corporate Matching Gift Did you know that many companies match, double, or even triple employee contributions to the National Museum of Women in the Arts? Ask your human resources department for the proper matching form, fill in the requested information, and send it to the museum with your contribution. Many corporations match gifts from working and retire employees and their spouses!

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FRESH TALK: Women on Wheels

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CLARISSA VILLONDO PHOTOGRAPHY

1. On May 15, the museum’s program on women and bicycles began with a “Suffragist Social Bike Ride” stopping at women’s liberation landmark sites 2. Keynote speaker Sue Macy, author of Wheels of Change: How Women Rode the Bicycle to Freedom (with a few flat tires along the way) 3. Lorie Mertes, NMWA; Najeema Davis Washington, Black Women Bike; Nelle Pierson, Washington Area Bicycle Association and Women & Bicycles; Lia Seremetis, DC Bike Party; Lyne Sneige, Middle East Institute; and Renée Moore, Bicycling and the City 4. Attendees connected over Sunday Supper in the Great Hall

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MUSEUM NEWS AND EVENTS

Brightest Young Things and NMWA present: Exclusively Inclusive!

5–8. Attendees at the after-hours event on May 20 enjoyed a DJ set by Bethany Cosentino of Best Coast, FotoTalks curated by FotoDC and Women Photojournalists of Washington, refreshments, and tours of special exhibition She Who Tells a Story 5

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COURTESY OF BRIGHTEST YOUNG THINGS

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Cultural Capital: Star of the East— An Homage to Umm Kulthum 9. On July 10, the program included a conversation moderated by Lyne Sneige, Middle East Institute, with Hazami Sayed, Al-Bustan Seeds of Culture; Lubana Al Quntar, soprano; Huda Asfour, performer and composer; and Laura Lohman, associate professor in the School of Music, California State University, Fullerton 10–11. Attendees enjoyed performances in Arabic by Lubana Al Quntar and Huda Asfour from Umm Kulthum’s beloved repertoire 9

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CLARISSA VILLONDO PHOTOGRAPHY

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March on Washington Film Festival: One to One—Carmen de Lavallade in Conversation with Elizabeth Alexander 12

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KEVIN ALLEN

12. The speakers were introduced by Isisara Bey, artistic director of the 2016 festival 13. The March on Washington Film Festival program on July 20 featured poet and professor Elizabeth Alexander in conversation with renowned dancer and choreographer Carmen de Lavallade 14. NMWA Director Susan Fisher Sterling, Carmen de Lavallade, Elizabeth Alexander, and Isisara Bey

The National Museum of Women in the Arts is deeply grateful to the following donors who made contributions from July 1, 2015, to June 30, 2016.

Your support enables NMWA to develop groundbreaking exhibitions, expand its education, library, and outreach programs, and offer other special events to the public. Your contributions are critical to the museum’s success!

Although we can only list donations of $500 and above due to space limitations, NMWA is thankful for all of its members and friends. We also wish to acknowledge our Spring Gala sponsors. This year’s generous endowment gifts are listed separately on page 31. For more information, please contact the Development Office at 202-783-7989.

Individual Donors, $1,000,000+ Anonymous • Rose Benté Lee Ostapenko* $500,000–$999,999 Mildred Weissman $100,000–$499,999 Judith Ann Finkelstein* • Clara M. Lovett • Jacqueline Badger Mars • Cecil S. Richardson* • Denise Littlefield Sobel $50,000–$99,999 Marcia and Frank Carlucci • Betty B. and Rexford* Dettre • Lorna Meyer Calas and Dennis Calas • Susan and Jim Swartz • MaryRoss Taylor $25,000–$49,999 Ann C. Broder • Deborah G. Carstens • Sue J. Henry • Evan and Cindy Jones • Stephanie Sale • Geri Skirkanich • Marina M. Schwartz* • Mahinder and Sharad Tak $15,000–$24,999 Mary Ellen Edmondson* • Nancy Livingston and Fred M. Levin • Bella J. May* • The Honorable Mary V. Mochary • The Honorable Katherine D. Ortega $10,000–$14,999 Rose and Paul Carter • Paul T. Clark • Liz Cullen • Betty G. Edelson* • Elva Ferrari-Graham • Rosemarie Forsythe • Barbara R. and Larry Hayes • J.W. Kaempfer, Jr. • Heather and Robert Keane • W. Bruce Krebs • Dr. Sachiko Kuno • Dee Ann McIntyre • Kristine Morris • Elizabeth Robinson • Sheila and Richard Shaffer • Patti Amanda and Bruce Spivey • Cheryl S. Tague • John Tavss • Paula S. Wallace • Alice W. and Gordon T. West, Jr. $5,000–$9,999 Gail D. Bassin • Diane Casey-Landry and Brock Landry • John and Mai Cleary • Linda L. and John Comstock • Beverly Dale • Martha Dippell and Daniel Korengold • Ellen Drew • Nancy and Marc Duber • Geraldine E. Ehrlich • Lisa Garrison • Jamie S. Gorelick and Richard E. Waldhorn • Winton and Hap Holladay • Jan V. Jessup • Alice D. Kaplan • Arlene Fine Klepper and Martin Klepper • Nelleke Langhout-Nix • Leonard Leveen • Gladys K. and James W.* Lisanby • Marlene A. and Frederic V. Malek • Adrienne B. and John F. Mars • C. Raymond Marvin • Irene Natividad • Kay W. Olson • Jean Hall and Thomas D. Rutherfoord, Jr. • Jack and Dana Snyder • Susan and Scott Sterling • Carol Wardell • Patricia and George White $2,000–$4,999 Anonymous • Patty Abramson and Lester Silverman • Noreen M. Ackerman • Janice L. and Harold L. Adams • Sunny Scully Alsup and William Alsup • Jean T. and William B.* Astrop • Mr. and Mrs. John T. Beaty, Jr. • Susan G. and Lee Berk • Sue Ann and Ken Berlin • Catherine Bert and Arthur Bert, M.D. • Brenda Bertholf • Eva M. Borins • Susan Borkin • Nancy Anne Branton • M. A. Ruda and Peter J. P. Brickfield • Margaret C. Boyce Brown • Charlotte and Michael Buxton • Buffy Cafritz • Nicholas and Eleanor Chabraja • Mary and James Clark •

SUPPORTING ROLES

With Thanks Terry Collins • Lizette Corro • Byron Croker • Lynn Finesilver Crystal • Paula Ballo Dailey and Brian Dailey • Thomas J. Dillman • Elizabeth J. Doverman • Kenneth P. Dutter • Hanna G. Evans • Mimi Alpert Feldman • Roberta M. Feldman, Ph.D. • Jane Fortune • Marie J. Fouts • Barbara L. Francis and Robert Musser • Rita Diane Fuchsberg • Julie and Jon Garcia • Kay Gellert • Susan Goldberg • Carol and Henry Goldberg • Barbara S. Goldfarb • Jody Harrison Grass • Raymond Garcia and Fruzsina M. Harsanyi • Jean E. Hayward, M.D. • Michelle Howard • Mareen Hughes • Caroline Rose Hunt • Jane S. and E. Claiborne Irby • Sally and Christopher H. Jones • Ann Kaplan • Doris Kloster • Mary L. Kotz • Sandra W. and James Langdon, Jr. • Anne and Robert Larner • Carol M. and Climis G. Lascaris • Sarah H. Lisanby, M.D. • Dr. Kathleen A. Maloy and Ms. Heather L. Burns • Maria Teresa Martínez • Juliana and Richard E. May • Mr. and Mrs. Clyde S. McCall, Jr. • Debby McGinn • Cynthia McKee • Jacqui Michel • Claudia Pensotti Mosca • Nancy Ann Neal • Ruby Nock • Thomas O’Connor • Marjorie and Philip Odeen • Carol J. Olson • Nancy B. Parker • Barbara and John Phair • Jean Porto • Jacqueline L. Quillen • Elizabeth S. Ray • Drina Rendic • Barbara Richter • Andrea Roane and Michael Skehan • Dr. Markley Roberts • Elizabeth A. Sackler • Dasha Shenkman • Ann L. Simon • Kathern Ivous Sisk • Salwa J. Aboud Smith • Dot Snyder • Kathleen Elizabeth Springhorn • Dorothy W. Stapleton • Alice and Ken Starr • Sara Steinfeld • Audrey and Barry Sterling • Nancy N. and Roger Stevenson, Jr. • Josephine L. and Thomas D. Stribling • Joanne C. Stringer • William H. and Lucretia D. Tanner • Carol F. Tasca • Lisa Cannon and Charles Edison Taylor • Deborah Dunklin Tipton • Annie S. Totah • Sarah Bucknell Treco • Frances Usher • Harriet L. Warm • Amy Weiss • Tara Beauregard Whitbeck • Betty Bentsen Winn $1,000–$1,999 Anonymous • Mark and Kathe Albrecht • Abigail Arms • Jo Ann Barefoot • Joanne Barker • Jane L. Barwis • Manju Bewtra • Elizabeth S. Blake • Bertha Soto Braddock • Anne E. Branch • Randall Brooks • Jean B. Brown • Beth B. Buehlmann • Patricia A. Burke • Anna E. Burman • Catherine and William Cabaniss • Charlotte Anne Cameron • Dr. Mary A. Carnell and Dr. Agnes Guyon • Casey and Jack Carsten • Lisa Chadwick • Marilyn L. Charles • Ellen A. Cherniavsky • Meredith Childers and Dimitris C. Varlamis • Ann Clark and Timothy M. Price • Mary Clutter • Ellen and Steve Conley • Bethanne Kinsella Cople • Anne and Jimmy Crumpacker • Melisa Currey • Sara Jo Victors Dew • Eileen Duggan • Margaret P. and Peter Dzwilewski • Barbara L. Elky • Sarah G. Epstein and Donald A. Collins • Mary Evans • L. B. Ewing • Valerie Facey • Susan Fawcett • Patricia W. Fitzpatrick • Mary M. Free • Jonathan Ganter and Julie Roth • Reide Garnett • Michele Garside • Susan Glantz • Jim Goldschmidt • Gwendolyn Gowing • Sheila and Patrick Gross • Laurel A. Grotzinger • Pamela Gwaltney • Susan Hairston • Ruth* and Harlan Hansen • Carla Hay • Margaret Hayes • Marilyn J. and Philip Hayes • Pat and Fred Henning • Lilo A. Hester • Richard Ingham • Alexine C. and Aaron G.* Jackson • Pamela C. Johnson and Wesley King • Gretchen W. and James L. Johnson • Margaret M. Johnston • Keiko and Steven Kaplan • Julie Karcis • Sheldon and Audrey Katz • Cheryl L. Keamy • Sigrid Kendall • Katherine Kiehn and Alexis Lane Jensen • Susan W. Klaveness • Yvette Kraft • Bambi Kramer • Julia M. Ladner • Robin Rosa Laub • William R. and Christine M. Leahy • Ellen Lettvin and Peter Grant • Bryce Lingo • Harriett P. and Donlin Long • Maryann Lynch • Shahin Mafi • Ann L. Maguire • Susan A. Mars • Selwa Masri, Esq. • Pamela W. Massey • Owen McMahon • Dottie Mergner • Mary Mocas • Carolee C. Moore • Diane K. Morales • Patricia L. Mote • Lee Murphy • Melissa Nabors • Thuy Nguyen • Audrey Niffenegger • Susan O’Brien, M.D. • Mary B. Olch • Regina M. Oxley-Burley • John Paradiso and Tom Hill • Carol Parker • Cynthia Paschen • Norma J. Pearson • Sarah Perot • Susan Phifer • Dr. Michael and Mrs. Mahy Polymeropoulos • K. Shelly Porges and Rich Wilhelm • Regina and Herman Porten • Martha A. Prumers • Amrita Rai • Toni Ratner Miller • Lisenne and Winthrop* Rockefeller • Mary Anne Rogers • Penelope Rogerson • Karen L. Rogers • Bonnie and Thomas Rosse • Genevieve McSweeney and Frederick Ryan • Helen Salazar • Beatrice Schultz • George Schwarz • Margot L. Shott* • Diljeet Singh • Beryl Ramsay Smith •

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Virginia Smith • Judy W. Soley • Julia Sevilla Somoza • Dr. Marjorie L. Stein • Susan and Scott Sterling • Andrea Strawn • Sharen A. Thomas • Patt Trama • Micaela A. Trumbull • Sam Turner • Sarah Vradenburg • Caspar W. Weinberger, Jr. • Gwen Weiner • Candace King Weir • Susan Weiss • Elizabeth B. Welles • Marie Wilkie • Dorothy and Kenneth Woodcock • Soon-Young Yoon $500–$999 Anonymous (2) • Diane Abeloff • Deanna S. and Charles T. Akre • Ruth and Sam Alward • Marilyn C. Anderson • Mr. Joseph Asin and Ms. Beryl Gilmore • Sylvia A. Azoyan • Rita Balian • Linda C. Barclay • Kathleen Barclay • Celia Barteau • Karen Beardsley • Mary Ellen Bergeron • Frances and Daniel W. Blaylock • Elizabeth Board and Robert Hines • Elisabeth T. Bottler • Evelyn S. Bouden • Jill E. Braufman • Bobbe J. Bridge • Leonie M. and John R. Brinkema • Yolanda Bruno • Terri D. Bullock • Mary C. Bunting • Rosemarie Buntrock • Gretchen Butkus • Marie P. Carr • Brenda Daley Carr • Laura and Guy Cecala • Shirley S. Chewning • Barbara Christopher • Carolann Clynes • Myrna Colley-Lee • Elizabeth Colton • Elizabeth Concannon • Mr. and Mrs. Ralph F. Cox • Elizabeth Crane • Liz Cutler • Dr. Linda Daniel • Cynthia G. Daniels • Paul Davis • Doloras E. Davison • Louise de la Fuente • Millicent Demski • Barbara Denrich • Karen Detweiler • Gina Devito • Diane Divelbess • Barbara Douglas • Doug and Joyce Eagles • MaryLe Emmett • Heather Entrekin • Martha Eskew and Charles Tisdale • Jill Ferrera • Sandra Filippi and Barré Bull • Cecelia Fitzgibbon • Kathleen M. Flynn • Nancy M. Folger • Arlene S. Ford • Helen H. Ford • Sally Mott and John K. Freeman • Cornelia C. Friedman • Wendy Frieman and David Johnson • Cary Frieze • Karen L. Friss • Virginia Elkin Fuller • Virginia L. Fulton • Carol Funkhouser • Reba Gabel and Debra Reagan • Susan E. Garruto • Patricia Mast and Kenneth S. George • Lynn K. Gibbons • Mary C. Giglio • Marianne Ginsburg • Ruth Bader Ginsburg • Barbara M. and George Gleghorn • Barbara Glowacki • Marguerite F. Godbold • Paula K. Graham • Danielle Grall • Catherine A. Green • Alice Haddix • Mary and Robert Haft • Mary Margaret Wolf and Benton Raymond Hammond • Sandi and Larry Hammonds • Sonja Hansard-Weiner and Andrew D. Weiner • Patricia A. Harcarik and Carlton Nelson • Mary J. Hayden and Carla J. Tomaso • Delphine Hedtke • Janet Heestand • Molly K. Heines and Thomas J. Moloney • Lois Heiser • Janet R. Heller • Charles T. Hendrix • Connie Hershey • Gloria Hidalgo • Dr. and Mrs. Robert Hieronimus • Ellen Hill-Godfrey and John Godfrey • Michele Hilmes and Bruce Croushore • Rosalind Hinman • Jennefer A. Hirschberg • Olga Mary Hirshhorn* • Muna Hishmeh • Judith M. Hohman • Mr. and Mrs. Christopher Holt • Lynn Hunt and Margaret Jacob • Sheila Jefferson • Anne and Clay Johnson • Lynn M. Johnston • Rosalyn and Gary* Jonas • Dee A. Keip • Leslie J. Kenyon • Susan Ker-Seymer • Cookie Kerxton • Margery Kibby • Kathleen Kiernan • Paul Knight • Sue Kroll and Michael Desilets • M. Leanne Lachman • Carrie A. Langsam • Jacquelynne P. Lanham • Mary Lou Laprade • Joan O. Lautenberger • Emmanuelle and Brieuc Le Bigre • Susan Lee and Stephen Saltzburg • Ruth and Edward Legum • Dale Leibowitz and Amy Kaster • Claudette S. Leyden • David Lloyd • Carl M. Louck • Christine Loveland • Judy R. Loving • Carolyn Lussenhop • Anne H. Magoun • Adlai T. Mast, Jr. • Marsha Mateyka • Louise McCall • Ellen Mccormack • Agnes and Michael McGaha • Sandy McKenzie • Gloria Adams Mills • Catherine M. Mooney • Lola M. Muller • Linda Myers • Christie Neuger • Jeannette T. Nichols • Melanie and Larry Nussdorf • Bu Nygrens • Sharon and Lawrence Oeschger • Karen M Olanna • Llelanie Orcutt • Maureen A. Orth • Zoe H. Parker • Joanne H. Patton • Lois M. Pausch • Joanne Pekarik • Marta M. Pereyma • Sheryl A. Pesce • Beverly Peterkofsky • Anne Wallace Peterson • Edith and John Poertner • Kelly Theodore Proxmire • Marjorie B. Rachlin • Mary H. Railsback and Joel L. Ekstrom • P.C. Rajam • Miriam M. Rand and Ona Lara Porter • Susan Rappaport • Jorgen A. Rasmussen • Janis S. Reed • Mary Lynn Reese • Elaine Reuben • Anne Richardson • R. Lucia Riddle • Diane C. Robertson • Daria A. Rothe • Lenore Rubino and T. Patterson Clark • Constance M. Rush • Susan M. Ryan-Deaner • Josephine Sacabo • Donna Z. Saffir • Maria Sanchez-Carlo • Edwina Sandys • Rosel Schewel • Timothy P. Schoettle • Margaret E. Schumacher • Karen Schwartz • William R. Seabrook • Margaret H. Sedenquist • Mary Anne Severson • Jean Sheehan • Dianna Shomaker • Dennis Siegner • Jennifer L. Sigler • Sasha Silver • Doris G.

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Simonis • Kara Singh • Sarah S. Slocum • Donna Smith • Eleanor and Kenneth R. Smith • Ruth Karl Snyder • Michele Sperling • Richard E. Stafford • Sharon and William Stark • Mary L. Steptoe • Douglas K. Struck • Kim and Sarah Baldwin Swig • Alethea Taylor • Marta Kipfmueller and Bernard J. Theisen • Jean Tindel • Susan Tomasky • Nancy Vernon and Gail Hughes • Margaret S. Vining • Krystyna Wasserman • Linda Weber Kiousis • Carol A. Wehrheim • Carolyn L. Wheeler • Lisa Whitcomb and Madeleine M. Krick • Kathryn Williams • Arbe J. Williams • Karen Wilson • Tyrone V. Wilson and Gabrielle Wilson • Richard Winter • Susan Wittenberg and Harvey Wittenberg • Mary Lee Wood • Wanda C. Wood, Ret. • Ellen Wright and John Wright • Elisabeth Wright

Corporations and Foundations $50,000–$99,999 ML Dauray Arts Initiative • RBC Wealth Management $25,000–$49,999 The Morris and Gwendolyn Cafritz Foundation • Share Fund • The Walton Family Foundation, Inc. $15,000–$24,999 Bernstein Family Foundation • McDermott Will & Emery** • Leo Rosner Foundation, Inc. • Total Wine** $10,000–$14,999 The Georgia Committee of NMWA • LaVerna Hahn Charitable Trust • Milton and Dorothy Sarnoff Raymond Foundation • Muriel F. Siebert Foundation • The New Mexico State Committee of NMWA • Sachiko Kuno Foundation $5,000–$9,999 Bloomberg • J.Crew • Fannie and Stephen Kahn Charitable Foundation • The Louis J. Kuriansky Foundation, Inc. • Marshall B. Coyne Foundation, Inc. • The Mary Potishman Lard Trust • The Mill Foundation, LTD • Team Freiman at Morgan Stanley • Northern Trust • PECO Foundation $2,000–$4,999 Dimick Foundation • The Jane Henson Foundation • The NAMASTE Foundation • Nancy Peery Marriott Foundation • Paul and Emily Singer Family Foundation • United Way of the National Capital Area $500–$1,999 The Arkansas State Committee of NMWA • The Bajaj Family Foundation • Junior League of Washington, Inc. • McGregor Links Fund for the Greater Capital Region • The Pinkerton Foundation • United Way of Greater Philadelphia and Southern New Jersey • Woodward Family Foundation

Government Sponsors DC Commission on the Arts and Humanities • National Endowment for the Humanities • U.S. Commission of Fine Arts and the National Capital Arts and Cultural Affairs Program

* Deceased ** In-kind Gifts Listings include members who upgraded to the Benefactor level or above.

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 202-783-7989 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 to the endowment.

*Ex-Officio

NMWA Advisory Board Sarah Bucknell Treco—Chair, 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 , Nancy Anne Branton, Amy Sosland Brown, Margaret Boyce Brown, Deborah G. Carstens, Eleanor Chabraja, Paul T. Clark, John Comstock, Linda Comstock, Lynn Finesilver Crystal, Liz Cullen, Belinda de Gaudemar, Betty Dettre, Elizabeth J. Doverman, Ginni Dreier, Kenneth P. Dutter, Gerry E. Ehrlich, Patrice Emrie, Elva Ferrari-Graham, Rosemarie Forsythe, Jane Fortune, Robert Freeman, Claudia Fritsche, Lisa Garrison, Barbara S. Goldfarb, Jamie S. Gorelick, Jody Harrison Grass, Claudia Hauberg, Sue J. Henry, Anna Stapleton Henson, Caroline Rose Hunt, Jan Jessup, Alice D. Kaplan, Arlene Fine Klepper, 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, Geri Roper, Elizabeth A. Sackler, Stephanie Sale, Steven Scott, Marsha Brody Shiff, Ann L. Simon, Kathern Ivous Sisk, Geri Skirkanich, Salwa J. Aboud Smith, Dot Snyder, Denise Littlefield Sobel, Patti Amanda Spivey, Kathleen Elizabeth Springhorn, Sara Steinfeld, Jo Stribling, Susan Swartz, Cheryl S. Tague, Lisa Cannon Taylor, MaryRoss Taylor, Deborah Dunklin Tipton, Nancy W. Valentine, Paula S. Wallace, Harriet L. Warm, Island Weiss, Tara Beauregard Whitbeck, Patti White, Betty Bentsen Winn, Rhett D. Workman (all lists as of August 2016)

SUPPORTING ROLES

Board of Trustees Wilhelmina Cole Holladay—Chair of the Board, Winton S. Holladay—Vice Chair of the Board, Cindy Jones— President, Gina F. Adams—First Vice President, Susan Goldberg—Second Vice President (Community Relations), Joanne C. Stringer—Treasurer, Nancy Duber—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*— The Alice West Director, Janice Lindhurst Adams, Pamela G. Bailey, M. A. Ruda Brickfield, Charlotte Clay Buxton, Rose Carter, Diane Casey-Landry, Mary Clark*, Lizette Corro, Betty Boyd Dettre, Deborah I. Dingell, Martha Lyn Dippell, Karen Dixon Fuller, Sally L. Jones, Marlene McArthur Malek, Jacqueline Badger Mars, Juliana E. May, Bonnie McElveen-Hunter, Jacqui Michel, Marjorie Odeen, Jackie Quillen, Andrea Roane, Sheila Shaffer, Kathleen Elizabeth Springhorn, Jessica H. Sterchi, Mahinder Tak, Annie S. Totah, Sarah Bucknell Treco*, 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, Nancy O’Malley*, 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, 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 2016 | WOMEN IN THE ARTS

31

MUSEUM SHOP

Museum Shop

NO MAN’S LAND Exhibition Catalogue Large-scale paintings and sculptural hybrids appear in NO MAN’S LAND, which presents work by innovative contemporary artists from around the world. Softcover, 270 pages. $29.95/Member $26.95 (Item #70103)

Limited-Edition NMWA Poster by Typecase Industries In collaboration

ADRIANA REGALADO AND MALIK CHERRY, NMWA

Modern Makers: Q&A with Amina Ahmad, owner of Handmade Habitat

with NMWA, Typecase Industries artist Sahar Naderi created this colorful, 17-x-11-in., limitededition screen print for the museum. Typecase Industries is a design and letterpress print shop in Washington, D.C. $25/ Member $22.50 (Item #30490)

Amina Ahmad, Handmade Habitat

What is Handmade Habitat?

We are an all-natural soy-candle and beauty-goods company specializing in products that uplift and inspire the soul.

How did you get started?

My business started a few years ago. My background is very D.I.Y. In school I studied environmental science. I didn’t have a fine arts background, but I have always made things on my own. I could see a lot of the environmental problems with the products in our lives and thought about how my company could be different in helping to alleviate those.

NMWA Black Tote Made of cotton canvas, this roomy NMWA tote is so nice that you’ll reach it for every time you walk out of the door. 12 x 18 ½ in. $22/Member $19.80 (Item #304)

What inspires you and your products?

I am inspired by nature. I am really inspired by artists and a lot of the other work that I see in the world.

What is your favorite work in NMWA’s collection?

Je Suis Féminist Tray

Definitely Frida Kahlo’s self-portrait. I love that there is a Frida in D.C. . . . She provides a lot of power in her images. I think that the museum really shows that there is so much power in being a woman.

No apologies or holds barred, this porcelain-and-gold tray is a great gift for any strong woman.

Each tray comes in a gift box.

Hand washing recommended; do not microwave. 4 x 2 ¾ in. $15/Member $13.50 (Item #30512)

For more about Ahmad and a behind-the-scenes look at her studio, visit NMWA’s blog, broadstrokes.org.

Limited-Edition Frida Candle by Handmade Habitat Inspired by NMWA’s own Frida Kahlo painting, this candle is handcrafted by chandler Amina Ahmad and her local D.C. company Handmade Habitat.

Scent has hints of amber, geranium, rose, and lavender.

100% all-natural soy candle, burns 70 hours. $28/Member $25.20 (Item #30528)

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WOMEN IN THE ARTS | FALL 2016

Faux Leather Pouch These colorful pouches are a perfect gift for yourself or for someone who likes a little organization. Easily fits inside a purse; zippered opening secures makeup or other small items. 6 ¼ x 9 in. $25/Member $22.50 (Choose Geo Line Cubicle, Item #29431, or Classic Beautiful, Item #29432)

Save the Dates for Holiday Shopping!

Felted Wool Soap Silk, bamboo, and merino felt surround herbal olive-oil soaps. Order includes one. Colors vary. $15/Member $13.50 (Item #7640)

Celebrate the Season Visit the Museum Shop before the holidays to find unique jewelry, gifts, home décor, and more.

Strathmore Hall Museum Shop Around

Yayoi Kusama—Eyes of Mine Handkerchief This functional domestic art

In the D.C area? November 10–13, kick off your holiday shopping with more than a dozen museum shops under one roof.

Visit www.strathmore.org for details.

product is designed by Yayoi Kusama, whose work is featured in NO MAN’S LAND. Kusama creates fantastical art using patterns of polka dots and nets. Fine lawn cotton with hand-rolled edges.

15 ¾ x 15 ¾ in. $24/Member $21.60 (Item #26121)

Earrings by Claudia Bueno Choose from two pairs of limited-edition earrings created by Venezuelan light artist Claudia Bueno. Her wearable-art jewelry encompasses evocative design and modern vision. Made in the U.S. Choose Edge or Cascade designs.

Edge Earrings Stainless steel art plated in 0.999 silver with a tarnish-resistant coating. Other components solid sterling silver.

Nickel-free surface. Art size 1 ½ in. high. $39/Member $35.10 (Item #22261)

Watercolor Kit This beautiful, high-quality matte watercolor set comes with a unique variety of custom colors. Includes 36 watercolor paints, two paintbrushes, and a ten-sheet heavyweight watercolor paper pad. Just add water! $15/Member $13.50 (Item #29136)

Watercolor: Paintings

by Contemporary Artists Watercolor surveys the stunning work of more than twenty pioneering artists from around the globe. It showcases a range of styles and pays homage to the whimsy of the medium. Artist statements and profiles offer first-person context. Softcover, 176 pages. $27.50/Member $24.75 (Item #1001)

Cascade Earrings Stainless steel art available in 24K gold (1) or silver (2) plating. Other components 14K gold-filled or sterling silver plated in 24K gold. Nickel-free surface. Art size 2 ¾ and 2 in. high. $59/Member $53.10 (Item #22257)

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

COMING SOON

Border Crossing: Jami Porter Lara February 17–May 14, 2017

J

ami Porter Lara (b. 1969) creates sculptures resembling a ubiquitous icon of modern life—the plastic bottle. She takes inspiration from the remains of ancient pottery, which she has found scattered along the U.S.–Mexico border interspersed with present-day detritus left by migrants heading north. Porter Lara speaks of her work as a reverse archaeological process; she digs into issues of the present and the future by applying tools of the past. Using traditional methods to make contemporary vessels, Porter Lara recasts the throwaway plastic bottle and invites viewers to contemplate how time and place inform our interpretations of objects.

Border Crossing shares works by Jami Porter Lara that reconsider the concept of a border, not only between countries but also between nature and artifice, art and rubbish, and tradition and invention. Her sculptures transcend conventional ideas about Southwestern art and explore the region as a place where modernity reckons with the past.

Border Crossing is organized by the National Museum of Women in the Arts. The exhibition is supported by the Clara M. Lovett Emerging Artists Fund. Additional funding is provided by the Judith A. Finkelstein Exhibition Fund.

Jami Porter Lara, LDS-MHB-KABR-0316CE-01, 2016; Wood-fired clay, 14 x 9 ½ x 4 in.; On loan from the collection of Scott Allocco and Doug Clark; Photo by Geistlight Photography