In Your Region

Photo credit: Daniel Schwartz

Culture Watch: NMWA highlights selected exhibitions by women artists around the country and internationally.

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MAR 06–MAY 24 2015

The Orlanda Series: Photographs by Anne Reichardt

Fort Smith Regional Art Museum

This exhibition features a series of highly provocative Cibachrome prints by Fort Smith native Anne Reichardt. These rich and sensual works explore psychology, the unconscious, and the far reaches of the human imagination. Work on this project began in 1999 with the artist designing and sewing the costumes. Over a three-year period, she made the series that has won awards in several well-respected juried competitions in the U.S.


MAR 28–AUG 04 2015

Lalla Essaydi: Photographs

The San Diego Museum of Art

Moroccan-born, New York-based photographer Lalla Essaydi (born 1956) explores issues surrounding the role of women in Arab culture and their representation in the western European artistic tradition. Her large-scale photographs are based on 19th-century Orientalist paintings but work to subvert those stereotyped and sexualized representations. Behind each of her images is weeks of preparation, as the text is composed, the fabrics are dyed to match the setting in which they will appear, and the architectural backdrops are carefully constructed. The exhibition includes ten works from three different series presented in spaces throughout the museum.


FEB 21–JUL 15 2015

Chipping the Block, Painting the Silk: The Color Prints of Norma Bassett Hall

Wichita Art Museum

Born in Oregon, Norma Bassett Hall studied at the Portland Art Association and the Art Institute of Chicago. In 1922, she married Arthur Hall, who had been a fellow student at the Art Institute, and the couple settled in El Dorado, Kansas. It was during these early years in Kansas that Bassett Hall explored the artistic possibilities of woodblock printing. 1930 marked the launch of the Prairie Print Makers, with Bassett Hall as the only female founding member. In her work, Hall employed line, color, and pattern with delicate skill, using up to seven blocks for each print.


FEB 20–MAY 17 2015

Gee’s Bend: From Quilts to Prints

Sheldon Museum of Art

In 2002, the widely acclaimed touring exhibition, The Quilts of Gee’s Bend, brought to the attention of the art world the bold, improvisational quilts made by generations of women from the rural community of Gee’s Bend, Alabama. Less well known are a series of limited-edition prints made by four Gee’s Bend artists between 2005 and 2014. These prints capture the distinctive design aesthetic of the individual quiltmakers, a connection that can be appreciated only when the prints and quilts are viewed together.


JAN 25–APR 12 2015

Interventions in Printmaking: Three Generations of African-American Women

Allentown Art Museum of the Lehigh Valley

In conjunction with Black History Month, this exhibition includes artists from throughout the U.S. and African diaspora who have brokered new technologies and approaches to printmaking while addressing issues pertaining to history, identity, and politics. In works ranging from the representational to the abstract, this diverse group of women has enriched the print medium with their brilliantly drafted lithographs, colorful etchings and silk-screens, and conceptually rich photographs.


FEB 20–AUG 02 2015

Concentrations 58: Chosil Kil

Dallas Museum of Art

In her first U.S. museum solo show, London-based artist Chosil Kil continues her exploration of the liminal space between interior and exterior; material and immaterial; object and performance. These binaries are considered through references to the artist’s own body, with works such as helium-filled balloons or canvases made of leather/lambskin purposefully hung at the artist’s height. These floating objects and wall works double as bodies in space that beckon to the viewer, insisting their presence be acknowledged.


MAR 01–JUN 07 2015

Eloquent Objects: Georgia O’Keeffe and Still-Life Art in New Mexico

Tacoma Art Museum

The dramatic landscapes and rich cultures of the American Southwest fueled the imaginations of many early 20th-century artists, including Georgia O’Keeffe. Their evocative still-life paintings illuminate art’s capacity to reveal the essence of a place and time. The exhibition features 22 works by O’Keeffe and 42 by her contemporaries, sharing their impressions of the richness and diversity of New Mexico. It is the first major exhibition to focus on the role of still life as a means of exploring the region.


AUG 01 2014–JUL 26 2015

Charlotte Kruk: Consumer Couture—The Politics of Having

Racine Art Museum

With her own special twist on the idea of “eye candy,” Charlotte Kruk uses recognizable consumer packaging—such as gum and candy wrappers, sugar and coffee bags, and food tins—to create garments and sculptures that reflect our material culture. Visually compelling and conceptually provocative, Kruk’s work questions the relationship between dress, power, gender, and consumerism with both humor and serious intent.

International: Canada

FEB 19–MAY 10 2015

1950: Québec Through the Eyes of American Photojournalist Lida Moser

Musée national des beaux-arts du Québec

In 1950, American photojournalist Lida Moser does two stories for the famous American magazines Vogue and Look, crisscrossing the province from Montréal to Québec City, Charlevoix to the Gaspésie, the Côte du-Sud to Montérégie. Alternating between urban and rural landscapes, she captured the province’s inhabitants with tenderness and fascination alike. Made up of some 190 photographs, this exhibition is a splendid visual document of Québec culture and of the profound changes taking place during the post-war years.


MAY 12 2014–JUN 04 2015

Paula Modersohn-Becker

Louisiana Museum of Modern Art

The first major exhibition in Scandinavia of the German painter Paula Modersohn-Becker (1876–1907) is comprised about 100 paintings and 40 drawings. An artist with the status of one of the radical innovators of German modernism, she is known as one of the first to introduce the modern French impulses into German painting, as well as for her new view of the female figure in particular.