Art Fix Friday: June 16, 2017

This year’s edition of Art Basel, Switzerland, opened on Thursday, June 15.

Art Basel features work by the Guerrilla Girls (left) and Claudia Comte (right)

Art Basel features work by the Guerrilla Girls (left) and Claudia Comte (right)

The art fair showcases posters by the Guerrilla Girls, a video installation by Cécile B. Evans with a Brutalist viewing booth, film programming by Maxa Zoller, and a “fun fair” installation by Claudia Comte, who says, “we are all taking ourselves too seriously.”

Front-Page Femmes

The National Museum of Women in the Arts made the news this week with a $9 million bequest from benefactor Madeleine Rast.

The film Wonder Woman smashed records, becoming the biggest-ever domestic opening for a woman director ever.

Pulitzer Prize-winning poet Tracy K. Smith was named the poet laureate of the United States by Librarian of Congress Carla Hayden.

Indian artist Astha Butail has been selected as the next BMW Art Journey winner with her project In the Absence of Writing.

Ramsay art prize winner Sarah Contos “boldly claims space on the gallery wall for female Australian artists.”

After nearly 300 years, Royal Collection Trust’s conservators discovered a lucky token hidden by Venetian artist Rosalba Carriera in the frame of one of her pastel works.

Cornelia Parker discusses her role as the first woman and conceptual artist to be chosen for the role of U.K.’s official election artist.

Coco Picard’s The Chronicles of Fortune is a story about learning how to grapple with the role of death in life.

Art collector and patron Agnes Gund sells Roy Lichtenstein’s Masterpiece for $150 million to create a fund “that supports criminal justice reform and seeks to reduce mass incarceration in the United States.”

AIGA presents 5 powerful projects designed by and for women to address the cultural stigma behind abortion.

Jenny Holzer’s new works “put unexpected things into unlikely places” to address tensions and inequality in contemporary society.

Merrill Wagner uses tape and Plexiglas to craft “measured, stark, ravishing” work.

Two-time Turner Prize nominee and Royal Academy member Alison Wilding discusses her most recent exhibition.

An Atlantic review of Anne Helen Petersen’s new book Too Fat, Too Slutty, Too Loud: The Rise and Reign of the Unruly Woman explores contemporary culture, which “claims to celebrate women but often, politically and culturally, puts them in a bind.”

Susan Silton stages an all-woman production of Olivier Messiaen’s “Quartet for the End of Time.”

Yoko Ono—after 46 years—is credited as co-writer of the song “Imagine.”

Shows We Want to See

Writer Zadie Smith profiles British-Ghanaian artist Yiadom-Boakye in honor of her recent exhibition at New York’s New Museum, Under-Song for a Cipher.

Lenka Clayton is “highly attuned to the rhythms of everyday life” in the exhibition Object Temporarily Removed at the Fabric Workshop and Museum, Philadelphia.

Araya Rasdjarmrearnsook’s Jaonua: The Nothingness, a five-channel video installation, is on view through July 28 at Tyler Rollins Fine Art, New York City.

Tate Modern prepares to exhibit work by the trailblazing Turkish artist Fahrelnissa Zeid.

A new survey of paintings by Lisa Yuskavage is on view at David Zwirner gallery, London.

—Emily Haight is the digital editorial assistant and Elizabeth Lynch is the editor at the National Museum of Women in the Arts.

Can Art Rouse the Spirit? Experience “Revival” this Summer!

On June 23, NMWA’s second floor will come alive with brilliant contemporary sculpture and photo-based art by 16 women artists in the summer exhibition Revival. The show explores the featured artists’ representations of the body, the child, and other creatures through a remarkable range of media, scale, and techniques.

Lalla Essaydi, Bullets Revisited #3, 2012; Three chromogenic prints mounted on aluminum, 66 x 150 in. overall; National Museum of Women in the Arts, Purchased with funds provided by Jacqueline Badger Mars, Sunny Scully Alsup and William Alsup, Mr. Sharad Tak and Mrs. Mahinder Tak, Marcia and Frank Carlucci, and Nancy Nelson Stevenson; © Lalla Essaydi

Lalla Essaydi, Bullets Revisited #3, 2012; Three chromogenic prints mounted on aluminum, 66 x 150 in. overall; National Museum of Women in the Arts, Purchased with funds provided by Jacqueline Badger Mars, Sunny Scully Alsup and William Alsup, Mr. Sharad Tak and Mrs. Mahinder Tak, Marcia and Frank Carlucci, and Nancy Nelson Stevenson; © Lalla Essaydi

Hanging sculptures, video projections, and large-scale photographs create immersive, mesmeric environments while smaller meticulous works draw the viewer close, beckoning toward sensations that spark memory and emotion. Each artist connects to the unconscious through highly allusive depictions of human and other animal bodies. The artists in Revival employ a wide range of materials in their works. Working with hair, yarn, velvet, wax, marble, found objects, taxidermied birds, and lens-based media, to name a few, these artists explore materiality in meaningful and impactful ways.

In the triptych from the series Bullets Revisited #3 (2012), Lalla Essaydi portrays a reclining woman with her face turned toward the viewer, confronting the historical Orientalism of Western artists, particularly sexualized depictions of women. Upon a closer look, the viewer will notice that the figure’s body is covered in henna calligraphy, challenging the tradition of calligraphy as a male-dominated art form. The woman’s dress and surroundings are elaborately decorated with silver and gold bullet casings. Essaydi explains her use of bullet casings as a commentary on violence against women in a new post-revolutionary era following the Arab Spring.

Sonya Clark, Cotton to Hair, 2012; Cotton and human hair, 14 1/2 x 12 1/2 x 5 in.; Tony Podesta Collection, Washington, D.C.; © Sonya Clark; Photo by Lee Stalsworth

Sonya Clark, Cotton to Hair, 2012; Cotton and human hair, 14 1/2 x 12 1/2 x 5 in.; Tony Podesta Collection, Washington, D.C.; © Sonya Clark; Photo by Lee Stalsworth

In Cotton to Hair (2012), Sonya Clark juxtaposes a boll of cotton with human hair to allude to the history of slavery in the U.S., acknowledging cotton as a key contributor to U.S. trade and wealth in the early 1800s. Clark combines cotton with a tuft of dark human hair, referencing African American slaves who worked in the fields to create this wealth.

The exhibition features powerful works by Louise Bourgeois, Petah Coyne, Alison Saar, Joana Vasconcelos, Patricia Piccinini, alongside other artists featured in NMWA’s collection. Revival illuminates women who regenerate sculpture and photo-based art to profound expressive effect. A survey of the museum’s collection in its 30th year inspired this exhibition, which is enriched by important loans from public and private collections as well as artists’ studios.

Visit the museum and see Revival, on view from June 23 to September 10, 2017.

—Roseline Odhiambo is the summer 2017 digital engagement intern at the National Museum of Women in the Arts.

Superwomen Assemble: Meet the Women Saving Comics

“Images play a crucial role in defining and controlling the political and social power to which individuals and marginalized groups have access,” stated filmmaker Pratibha Parmar. “The deeply ideological nature of imagery determines not only how other people think about us but how we think about ourselves.”

Ashley A Woods’s artwork for NIOBE: She is Life

Ashley A. Woods’s artwork for NIOBE: She is Life

FRESH TALK: Who are the new superwomen of the universe? on June 14 will show how comics, in particular, can highlight what a society values through the heroes they revere. The imagery surrounding heroes often reveals ingrained notions and perceptions of people. In the comics landscape, hulking, white male characters are often the ideals—if not the standards—for heroism. Often the imagery surrounding women, people of color, and other marginalized groups skews towards abusive imaginings or stereotypes. Recently, however, more people within the comics community are making strides to subvert that trend.

Meet the women changing the universe of comics at the final Fresh Talk program of the Women, Arts, and Social Change 2016–17 season. Guest speakers include ComicMix.com columnist Emily S. Whitten as the moderator and Carolyn Cocca, author of Superwomen: Gender, Power, and Representation. Young Adult author Gabby Rivera will discuss her role writing for the queer Latina superheroine of the Marvel universe, America Chavez. Fresh Talk also features Ariell Johnson, the first black woman to open a comic book shop on the East Coast. “There are a lot of black girl geeks in the world but we are not at the forefront,” noted Johnson. “This store is also kind of a statement—we’re here, we’ve been here and we’re going to keep being here.”

Ashley A Woods’s artwork for NIOBE: She is Life

Ashley A. Woods’s artwork for NIOBE: She is Life

Illustrator Ashley A. Woods will share her experiences drawing for the series NIOBE: She is Life, the first internationally distributed comic with a black woman author, artist, and central character. Woods imbues renderings of Niobe, the title character of the series, with an earthly quality that enhances her supernatural features, while not obscuring her humanity. The series, charting the adventures of the fantastical half-elf, half human warrior, explores issues ranging from racism to religion. Woods’s artwork for the series provides long overdue proof that black women in fantasy comics are not out of place. If anything, they are powerful voices that need to be heard.

Save your spot for Fresh Talk on June 14 to meet the new wave of superheroines entering the comic universe, leading the fight for justice and dispelling traditional stereotypes. Follow the conversation through #FreshTalk4Change.

—Kimberly Colbert is a summer 2017 intern in the Betty Boyd Dettre Library and Research Center at the National Museum of Women in the Arts.

Go Figure! Amy Sherald at NMWA

“These are my favorites,” said Amy Sherald, gesturing to two of her paintings on view in NMWA’s collection galleries. “It was a relief to walk in here and see these. There’s absolutely nothing that I would fix because I had all the time in the world.” After winning first prize in the 2016 Outwin Boochever Portrait Competition for the National Portrait Gallery, the Baltimore-based artist keeps a busy schedule. During an Artists in Conversation program at NMWA on May 9, Sherald shared her sources of inspiration and what she hopes viewers will take away from her work.

Amy Sherald at NMWA

Amy Sherald at NMWA; Photo: Emily Haight, NMWA

They Call Me Redbone but I’d Rather Be Strawberry Shortcake (2009) relates to Sherald’s life in Columbus, Georgia. “Once I moved to Baltimore I realized no one called me a ‘redbone,’” explained Sherald. “If you don’t know what a ‘redbone’ is…it refers to someone who is supposed to be of Native American, African, and European descent. So, in the South it was very race conscious. . . . My basketball coach called me ‘redbone,’ which I really didn’t mind. And then there were other people who I didn’t know who called me ‘redbone’…and I didn’t like it so much.”

Sherald explained her personal connection to the subject of It Made Sense…Mostly in Her Mind (2011), portraying a horseback rider holding a children’s toy unicorn. “I went to an equestrian riding camp when I was an adolescent,” said Sherald, who later developed the idea for the painting after seeing her friend’s mother do dressage. Sherald asked her friend, Christina, to model for the painting because she embodied the sophistication Sherald wanted to capture.

Both paintings are displayed on the same gallery wall as Frida Kahlo’s Self-Portrait Dedicated to Leon Trotsky (1937). “Frida Kahlo was one of my inspirations,” said Sherald. “When I changed my major from pre-med to painting, I had these ideas of painting a lot of the same things she did. I was talking to my art teacher Arturo Lindsay and he said, ‘look up Frida Kahlo.’” Sherald added, “I’m honored, to say the least.”

When discussing the impact of her paintings, Sherald told attendees, “I received emails from all kinds of people that see themselves in this work, and that’s really important too.” Sherald noted, “When you walk through a space like [the museum] you don’t always see this [gesturing to the figures in her paintings]. For me, this became really important, interjecting images of the underrepresented in the dominant circle narrative and making work that I felt would resonate in a way that art history can’t be told without it. . . . I consider myself an American Realist, maybe with a post-modern flare.”

Visit the museum to see Sherald’s paintings in person. Stay tuned about future programs through the online calendar and by signing up for e-news.

—Ashley Harris is assistant educator at the National Museum of Women in the Arts.

#5WomenArtists Goes Global

In honor of Women’s History Month, the museum launched the second year of its award-winning #5WomenArtists social media campaign, which asks, “Can you name five women artists?” The museum invited cultural organizations and individuals to share stories about women artists on social media throughout the month. The campaign inspired a discussion about gender imbalance in the art world in the U.S. and internationally—to great success! Check out a few highlights of the campaign:

One staff member dressed as Frida Kahlo brought the challenge to Washington, D.C. streets.

Overall, the month was filled with consciousness-raising digital initiatives. Forty-four participants edited 83 Wikipedia articles about women artists in the fifth annual Wikipedia edit-a-thon hosted at the museum. Part of the Art+Feminism initiative, edit-a-thon participants used the museum’s resources to improve entries about women artists. NMWA offered a daily scavenger hunt in the museum and hosted a before-hours InstaMeet for local photographers to explore and snap photos of the museum’s newly reinstalled collection galleries. NMWA staff shared their favorite works by women for International Women’s Day.

The museum also “took over” other institutions’ social media accounts to share the stories of women artists with a broader digital community, including sharing nature-themed works from @BalboaPark’s Instagram, collection highlights from the Brightest Young Things accounts, and the museum’s mission and history from the @52museums handle. NMWA’s collection works also anchored the all-women #ArtMadness “bracket,” the Albright-Knox Gallery’s NCAA March Madness-themed competition.

#5womenartists posts on Instagram

#5womenartists posts on Instagram

Many organizations included #5WomenArtists in their own Women’s History Month programming. The Halsey Institute of Contemporary Art invited five women artists to speak about their experiences and the Royal British Columbia Museum hosted a museum happy hour event highlighting contemporary First Nations artists. Manor View Elementary School even created a bulletin board dedicated to the campaign. Individual participants reflected on the campaign, including one tweet stating, “#5WomenArtists has been one of the more influential hashtags for me. I knew at least five when I first saw it, but can name many more now!” Another Twitter user said, “The #5WomenArtists challenge is one of my favorite times of the #MuseSocial year! Thanks, @WomenInTheArts.” The challenge also inspired other hashtags, including #5WomenScientists and #5ArtistasMujeres.

Explore campaign highlights on the museum’s Women’s History Month web page. Continue to advocate on behalf of women artists and celebrate their accomplishments all year. Every month is Women’s History Month at the museum!

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Down to a Science: #5WomenArtists Spark #5WomenScientists

For Women’s History Month, NMWA posed the question, “Can you name five women artists?” While social media users shared stories of women artists with #5WomenArtists, other science museums and cultural institutions expanded the challenge by posting content about #5WomenScientists.

Maria Merian, Plate 9 (from "Dissertation in Insect Generations and Metamorphosis in Surinam", second edition), 1719; Hand-colored engraving on paper, 20 1/4 x 14 1/2 in.; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay

Maria Merian, Plate 9 (from “Dissertation in Insect Generations and Metamorphosis in Surinam,” second edition), 1719; Hand-colored engraving on paper, 20 1/4 x 14 1/2 in.; National Museum of Women in the Arts, Gift of Wallace and Wilhelmina Holladay

Art and science are two fields which seamlessly overlap. Both encourage close observation, experimentation, and innovation. Women are often overlooked and underrepresented in both fields. NMWA features a collection of works by women artist-scientists.

Because of their purported keen powers of observation, women artists historically were encouraged to render the natural world. After studying dried specimens of plants and animals that were popular with European collectors, botanical illustrator Maria Sibylla Merian (1647–1717) decided to study them in their natural habitats. At the age of 52, Merian and her younger daughter embarked on a dangerous trip, without a male chaperone, to the Dutch colony of Surinam in South America. She spent two years studying indigenous flora and fauna. Her book, the lavishly illustrated Insects of Surinam, was published in 1705 and established Merian’s international reputation.

As tools for observation became more advanced, photography emerged as a new medium to explore, record, and interpret nature. Molecular biologist-turned-photographer Amy Lamb (b. 1944) continues the tradition of women artist-scientists by producing large-scale “portraits” of plants. For Lamb, observation is a vital part of her creative process. She grows most of the plants that she photographs, which allows her to become intimately familiar with their life cycles. Studying plant maturation repeatedly helps her anticipate when to have the camera ready.

Amy Lamb, “Magnolia,” 1998, Iris print, 13 1/4 in x 20 1/8 in; National Museum of Women in the Arts, Gift of Steven Scott, Baltimore, Maryland, in honor of the artist, ©1998 Amy Lamb, all rights reserved

Amy Lamb, Magnolia, 1998, Iris print, 13 1/4 in x 20 1/8 in; National Museum of Women in the Arts, Gift of Steven Scott, Baltimore, Maryland, in honor of the artist, ©1998 Amy Lamb, all rights reserved

The influence of science is a common thread in NMWA’s collection. Floral still-life paintings by Rachel Ruysch (1664–1750), cliché-verre prints by Maggie Foskett (1919–2014), and etchings by Monika E. de Vries Gohlke (b. 1940) engage with science and nature. Angela Strassheim (b. 1969), trained in forensic photography, lends a scientific eye to her oeuvre, while Michal Rovner (b. 1957) simulates the feeling of a laboratory through a video work involving petri dishes.

Continue exploring the stories of women artist-scientists. Browse a selection of #5WomenScientists posts from institutions ranging from the Field Museum, to the Biodiversity Heritage Library, the Franklin Institute, and the Science Museum, London.

—Madeline Barnes is the winter/spring 2017 digital engagement intern at the National Museum of Women in the Arts.

Opening Tomorrow: Prints by Polly Apfelbaum

Images that embody both precision and spontaneity are the focus of NMWA’s new exhibition Chromatic Scale: Prints by Polly Apfelbaum, on view March 10 to July 2, 2017.

Born in 1955 in Philadelphia, Polly Apfelbaum is best known for her large-scale installations and “fallen paintings,” compositions of dyed synthetic fabrics that she places directly on the floor. Apfelbaum studied painting and printmaking at the Tyler School of Art in Pennsylvania, receiving a BFA in 1978. She moved to New York City, where she was inspired by installation art and started experimenting with elements from two- and three-dimensional mediums. Despite studying printmaking as an art student, she didn’t revisit the medium until 2002.

Polly Apfelbaum, Little Dogwood 71, 2012; Woodblock print on handmade paper, 20 x 20 in.; Courtesy of Durham Press; © Durham Press and the artist; Printed and published by Durham Press

Polly Apfelbaum, Little Dogwood 71, 2012; Woodblock print on handmade paper, 20 x 20 in.; Courtesy of Durham Press; © Durham Press and the artist; Printed and published by Durham Press

Working primarily in woodblock printing, Apfelbaum intuitively positions inked wood blocks on thick, handmade paper, which is then pressed, transferring the inked design from the blocks to the paper. The blocks are carved from plywood according to Apfelbaum’s designs and are inked by hand in systematic spectrums of lush, saturated colors. Recently, she has experimented with more fluid coloring and shapes, using a “rainbow roll” technique, in which multiple colors are partially mixed to achieve continuous gradient tones.

Apfelbaum pursues a precise balance between color and shape to create sequences that elicit a particular feeling or sensation. She views color as both structural and emotional. In Little Dogwood 71 (2012) Apfelbaum achieves subtle variations among the circles by forming her blocks from slices of dogwood tree branches sourced from Bucks County, Pennsylvania, where she works with Durham Press. Apfelbaum’s exuberantly colored prints are meticulously handmade and her compositions are often improvisational.

Polly Apfelbaum, Emperor Twist, 2015; Woodblock print on handmade paper, 25 3/8 x 25 3/8 in.; Courtesy of Durham Press; © Durham Press and the artist; Printed and published by Durham Press

Polly Apfelbaum, Emperor Twist, 2015; Woodblock print on handmade paper, 25 3/8 x 25 3/8 in.; Courtesy of Durham Press; © Durham Press and the artist; Printed and published by Durham Press

Apfelbaum’s striking colors and bold abstract shapes reference Minimalist and Pop art. Her most recent prints, like Emperor Twist (2015), demonstrate her increasingly complex use of patterns and color. Inspired by medieval mosaic floors from Italy, she created this print using scores of small hand-inked blocks. The broad range of colors and alternating zigzag and diamond shapes create a dynamic visual rhythm.

This exhibition continues the museum’s exploration of innovations in printmaking, a medium in which women have worked since the 16th century. Featuring prints in NMWA’s collection along with complementary loans, Chromatic Scale takes a focused look at Apfelbaum’s print work—a part of her oeuvre that has not been extensively studied—and examines how the artist extends the conventional boundaries of color and technique.

Visit the museum and celebrate spring with these bright prints on view in the Teresa Lozano Long Gallery.

—Madeline Barnes is the winter/spring 2017 digital engagement intern at the National Museum of Women in the Arts.

Digging In: Vessels by Jami Porter Lara in “Border Crossing”

Now on view at the National Museum of Women in the Arts, Border Crossing: Jami Porter Lara presents recent work by Albuquerque-based artist Jami Porter Lara (b. 1969), who hand-builds and pit-fires clay sculptures resembling a ubiquitous icon of modern life—the plastic bottle.

Jami Porter Lara firing; © Jessamyn Lovell

Porter Lara was inspired to synthesize ancient pottery-making methods with the contemporary form of the plastic bottle after encountering the detritus of human cultures separated by time rather than geography. While near the U.S.–Mexico border, she was struck by the similarity in function of pots from ancient cultures, whose broken pieces had been cast into a trash heap, with discarded two-liter plastic bottles used by migrants to carry water through the harsh environment.

Noting that both types of objects were used by people for the same purpose—to carry water—and that both were cast off when no longer needed, Porter Lara began this series. She says, “In the beginning, for me, it was about the connection between the plastic bottles and the pot sherds and thinking about how they represented this unbroken lineage of people moving through the landscape. Initially, I wanted to create vessels akin to those that traditionally would have carried water across this landscape. The first plastic bottle form I made out of clay cracked during firing, because I didn’t really know what I was doing at the time. But that crack in the ceramic was what made me first think of these pieces as contemporary artifacts.”

In reframing the plastic bottle, Porter Lara questions the culturally defined categories of art and trash as well as common presumptions about the people who used, and discarded, both the ancient and contemporary vessels. She says, “I was thinking of the plastic bottle as the most iconic vessel of my time. I felt that that form needed to be engaged and represented as opposed to just rejected as trash.”

Jami Porter Lara, LDS-MHB-6SBR-0916CE-01, 2016; Pit-fired clay, 10 x 6 ½ in. diameter; Courtesy Central Features Contemporary Art; Photo by Addison Doty

Jami Porter Lara, LDS-MHB-6SBR-0916CE-01, 2016; Pit-fired clay, 10 x 6 ½ in. diameter; Courtesy Central Features Contemporary Art; Photo by Addison Doty

Porter Lara describes, “This is not a recycling awareness campaign. The message behind my work has much more to do with the continuity between the ancient pot sherds and the plastic bottle, between the person who passed through this land 2,000 years ago and the person who passes through now. It is not a diatribe about pollution and consumption. In many ways, it’s an attempt to humanize the vessel and humanize the people who carry it.”

Visit the museum to see Border Crossing: Jami Porter Lara, on view through May 14.

Adapted from text by Virginia Treanor, associate curator at the National Museum of Women in the Arts.

Challenge Accepted: Can You Name Five Women Artists?

Ask someone to name five artists and responses will likely include names such as Warhol, Picasso, van Gogh, Monet, da Vinci—all male artists. Ask someone to name five women artists, and the question poses more of a challenge.

Back by popular demand this March, the National Museum of Women in the Arts continues to ask, “Can you name five women artists?” This simple question calls attention to the inequity women artists face, inspires conversation, and brings awareness to a larger audience. Last year, the campaign struck a chord, and tens of thousands of posts were shared on social media. This year, more than 200 institutions from 50 states, 22 countries, and seven continents have already signed on to participate.

Join us throughout the month to share stories of women artists using the hashtag #5WomenArtists on Facebook, Twitter, and Instagram.

Here are some ideas to get you started:

  1. Challenge your family and friends.
  2. Share posts about your favorite women artists.
  3. Share a work by a woman artist at a museum or gallery near you.
  4. Explore NMWA’s artist profiles to discover artists you may not know.
  5. Get the facts about art world inequality and track campaign updates all month long.

To kick off the month, learn more about five influential women artists from the museum’s collection who defied expectations:

Left to right: Lavinia Fontana, Portrait of a Noblewoman (ca. 1580) and Maria Martinez and Julian Martinez, Jar (ca. 1939); NMWA; Gift of Wallace and Wilhelmina Holladay

Left to right: Lavinia Fontana, Portrait of a Noblewoman, ca. 1580 and Maria Martinez and Julian Martinez, Jar, ca. 1939; NMWA; Gift of Wallace and Wilhelmina Holladay

Renaissance painter Lavinia Fontana (1552–1614) is regarded as the first professional woman artist. For 20 years beginning in the 1580s, Fontana was the portraitist of choice among Bolognese noblewomen. Not only was Fontana the breadwinner of her family, she also gave birth to 11 children.

For more than eight decades, Maria Martinez (1887–1980) revived and continued the centuries-old black-on-black pottery traditions of San Ildefonso Pueblo in northern New Mexico. Through her creative vision and skill, Martinez influenced generations of artists.

Left to right: Clementine Hunter, Untitled, 1981; NMWA, Gift of Evelyn M. Shambaugh; Lola Álvarez Bravo, De generación en generación, ca. 1950; NMWA, Gift of the Artist; © 1995 University of Arizona Foundation, Center for Creative Photography

Entirely self-taught and immensely prolific, Clementine Hunter (ca. 1887–1988) earned critical acclaim for vibrant paintings depicting life in the Cane River region of central Louisiana. Hunter did not start painting until the 1940s, when she was already a grandmother.

Lola Álvarez Bravo (1907–1993) was one of Mexico’s first professional women photographers, documenting daily life and portraying prominent world leaders. Like her friend Frida Kahlo, Álvarez Bravo celebrated the traditional costumes and customs of her country’s varied regions. She cannily blended nationalist content with the expression of universal human emotions.

Lee Krasner, The Springs, 1964; NMWA, Gift of Wallace and Wilhelmina Holladay; © 2012 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York

Lee Krasner (1908–1984) was one of the first generation of Abstract Expressionist painters. Through six decades devoted to art, she explored innovative approaches to painting and collage. Often overshadowed by her husband, Krasner declared, “I’m always going to be Mrs. Jackson Pollock . . . but I painted before Pollock, during Pollock, after Pollock.”

Want to help advocate for women in the arts? Starting March 1, take the challenge and post about #5WomenArtists on Instagram, Twitter, and Facebook, and tag us @WomenInTheArts.

Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Opening Tomorrow: Border Crossing and New Ground

On Friday, February 17th, NMWA will open two exhibitions featuring women artists of the Southwest. In Border Crossing: Jami Porter Lara, Albuquerque-based artist Jami Porter Lara (b. 1969) uses a millennia-old process to make pottery resembling a ubiquitous icon of modern life—the plastic bottle. New Ground: The Southwest of Maria Martinez and Laura Gilpin explores the work of potter Maria Martinez (ca. 1887–1980) and photographer Laura Gilpin (1891–1979).

Jami Porter Lara, LDS-MHB-3SBR-0916CE-01, 2016; Pit-fired clay, 16 x 8 in. diameter; Courtesy Central Features Contemporary Art; Photo by Addison Doty

Jami Porter Lara, LDS-MHB-3SBR-0916CE-01, 2016; Pit-fired clay, 16 x 8 in. diameter; Courtesy Central Features Contemporary Art; Photo by Addison Doty

In Border Crossing, conceptual artist Jami Porter Lara explores connections between ideas that are typically set at odds: nature and artifice, art and trash, and past and present. Her works urge viewers to rethink these divisions by combining processes of the past with iconography of the present day. Her clay vessels, coil-built by hand, resemble the plastic bottle, an object that signifies recent human activity and material culture.

She takes inspiration from the remains of ancient pottery, which she has found scattered along the U.S.–Mexico border interspersed with the present-day detritus of 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.

New Ground: The Southwest of Maria Martinez and Laura Gilpin presents a perspective on the Southwest contrary to dominant 19th- and 20th-century narratives, which typically cast the American West as a masculine place of staged romance or rugged conquest. Pueblo potter Maria Martinez and photographer Laura Gilpin brought the American Southwest into focus as a culturally rich region that fostered artistic expression.

Laura Gilpin, Upper End of Canyon de Chelly, Arizona, ca. 1960s; Gelatin silver print, 10 ¾ x 13 ¾ in.; Eugene B. Adkins Collection at Philbrook Museum of Art, Tulsa, and Fred Jones Jr. Museum of Art, University of Oklahoma, Norman; © 1979 Amon Carter Museum of American Art, Fort Worth, Texas

Laura Gilpin, Upper End of Canyon de Chelly, Arizona, ca. 1960s; Gelatin silver print, 10 ¾ x 13 ¾ in.; Eugene B. Adkins Collection at Philbrook Museum of Art, Tulsa, and Fred Jones Jr. Museum of Art, University of Oklahoma, Norman

New Ground pairs 26 ceramic pieces by Martinez with more than 40 vintage photographs by Gilpin, offering documentary and physical connections between the land, the people, and their art-making traditions.

Maria Martinez and Julian Martinez, Storage jar, ca. 1940; Polished blackware pottery with matte paint, 16 x 22 ¼ in. diameter; Philbrook Museum of Art, Gift of Clark Field

Maria Martinez and Julian Martinez, Storage jar, ca. 1940; Polished blackware pottery with matte paint, 16 x 22 ¼ in. diameter; Philbrook Museum of Art, Gift of Clark Field

Martinez’s strikingly modern-looking vessels grew out of ancient Pueblo artistic traditions, which she and her husband, Julian, revived. Gilpin, hailed during her lifetime as the “grand dame of American photography,” is best known for her documentary prints, which include aerial landscapes and intimate portraits.

Works on view in both exhibitions transcend conventional ideas about Southwestern art and explore the region as a place where modernity reckons with the past.

Visit the museum and explore Border Crossing and New Ground, both on view through May 14, 2017.