Veiled Meaning: Deborah Paauwe

In celebration of NMWA’s 30th anniversary, and inspired by the museum’s focus on contemporary women artists as catalysts for change, Revival illuminates how women working in sculpture, photography, and video use spectacle and scale for expressive effect.

Deborah Paauwe (b. 1972, West Chester, Pennsylvania)

Deborah Paauwe, Night Swimming, 2002; Chromogenic color print, 47 1/4 x 47 1/4 in.; NMWA, Gift of The Heather and Tony Podesta Collection

Deborah Paauwe’s interest in photography began when she took a series of self-portraits in her youth, delighting in the potential for self-revelation through tightly focused images. This fascination takes a seemingly paradoxical form in her work. Her subjects expose their bodies to the lens even as their faces remain hidden. By concealing their expressions and identities from the viewer’s gaze, Paauwe’s subjects seem both innocent and sensual.

Paauwe cites late Victorian figure painting and the tradition of concealing feelings through blank facial expressions among her sources of inspiration. The artist’s concealment of her subjects’ faces only heightens the ambiguous tension present in her work, exploring the space between friendship and hostility, innocence and sensuality, childhood and adulthood.

The Artist’s Voice:

“This sense of floating between stages is what fascinates me. As children we live in the moment but also look forward into the unknown. As adults we can drift back and forth between memory and the present…childhood always exists for us in memory. It is this state of ambiguity that surrounds identity that intrigues me.”

“I have at times both disturbed and delighted people with my images. Most of my works are constructed out of quite innocent and child-like experiences that some viewers have chosen to interpret in particularly dark and sexual ways. Though I quite readily acknowledge the validity of those interpretations it has never been my aim to create just overtly sexual imagery, it is the duality of the situations within my photographs that compels alternate readings.”—Deborah Paauwe, in an interview with Photofile

Deborah Paauwe, Tangled Whisper, 2004; Chromogenic print, 70 7/8 x 70 7/8 in.; NMWA, Gift of The Heather and Tony Podesta Collection; ; © 2017 Artists Rights Society (ARS), New York / VISCOPY, Australia; Photo by Lee Stalsworth

Revival Highlight:

Paauwe’s works Night Swimming (2002) and Lime Dream (2002) hone in on two pairs of legs, veiled by gauzy fabric. Rather than portraying her subjects as idealized, smooth-skinned objects of desire, Pauuwe often shows goosebumps dotting the girls’ legs and hangnails and blemishes on their hands. The girls portrayed are beautiful, but ultimately human. Pauuwe rejects any uncomfortable idealization or even fetishization of her subjects by embracing their imperfections.

Paauwe evokes the performative nature of social interactions between teenage girls in Tangled Whisper (2004) and Tender Locks (2004). The photographs portray two girls in what might be friendly, sensual, or tense situations. Contrast between the dark background and brightly lit subjects imbues the images with sinister undertones. Paauwe uses the body as a venue for possibilities and ambiguities, suggesting raw elegance in a state of liminality.

Visit the museum and explore Revival, on view through September 10, 2017.

—Xiaoxiao Meng is the summer 2017 publications and communications/marketing intern at the National Museum of Women in the Arts.

Growing Pains: Maria Marshall

In celebration of NMWA’s 30th anniversary, and inspired by the museum’s focus on contemporary women artists as catalysts for change, Revival illuminates how women working in sculpture, photography, and video use spectacle and scale for expressive effect.

Maria Marshall (b. 1966, Bombay, India)

Although Maria Marshall began her career as a sculptor, her fascination with film led her to explore the short video as an art form. Marshall credits filmmakers with inspiring the lean visual narratives she so adeptly maneuvers. Despite frequently featuring her own children in fantasies inspired by parental fear, her video works and photography never quite fall into the category of autobiography. They straddle the division between personal and universal, serving as “concise metaphors” for the fear lurking in each viewer’s subconscious. Marshall’s surreal images promise narrative but deliver further intrigue. The often dreamlike atmosphere of her photos and video works hint at a setting where the imaginary blends with reality, and assumptions clash with truth.

Maria Marshall, Future Perfect, 1998; Iris print, 56 x 39 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection, Washington, D.C.

The Artist’s Voice:

“My work is very constructed, and I have learned a great deal from filmmakers in this regard. . . . I also look for clean visual information. The language of film is full to the brim of seduction. I like beauty and I like to draw in the viewer, so I get very moved by certain sequences.”

“I purposefully try to create confusion, to muddle the boundaries. . . . I try to make films that go directly to the psyche, that probe it and manipulate it.”—Maria Marshall, in an interview published in Maria Marshall (modo Verlag, 2002)

Revival Highlight:

According to Marshall, her oeuvre stems from fear. Her works featured in Revival are no exception. Striking images of a toddler smoking, a boy in a fur coat, and a rat standing on a child’s head not only catch the viewer’s eye, but may also elicit outrage or concern. Through the portrayal of her own children in apparent moments of endangerment, Marshall plays on traditional conceptions of children as innocent or passive, asserting their personhood with unconventional tactics. Even as she plays on the audience’s expectations, however, she admits her own concerns as a mother unable to protect her children from the harsh realities of the outside world.

Future Perfect (1998) further reflects these complex feelings about growing children. While an adult might scrutinize rats due to the fraught associations they summon, the boy seems accepting of the live rat standing on his head. Whether this reveals his trusting, childish innocence, or a mature acceptance beyond what adults expect, Marshall reveals an incongruity between children and their parents, a dissonance that forms the core of her work in expressing anxiety while acknowledging a parent’s tendency to project. The title of the work alludes to the grammatical tense for a completed future action, hinting at an ambiguous but foregone conclusion.

Visit the museum and explore Revival, on view through September 10, 2017.

—Xiaoxiao Meng is the summer 2017 publications and communications/marketing intern at the National Museum of Women in the Arts.

Call of the Wild: Polly Morgan

In celebration of NMWA’s 30th anniversary, and inspired by the museum’s focus on contemporary women artists as catalysts for change, Revival illuminates how women working in sculpture, photography, and video use spectacle and scale for expressive effect.

Installation view of Polly Morgan's Receiver in Revival

Installation view of Polly Morgan’s Receiver in Revival

Polly Morgan (b. 1980, Banbury, Oxfordshire, England)

Growing up in the countryside, Polly Morgan always had a pack of unusual pets keeping her company, forcing her to learn about living with animals. Only after she moved to London did she realize how fascinating their bodies became in death. Today, Morgan makes a career out of crafting haunting sculptures from taxidermy animal carcasses.

Morgan’s work straddles scientific and artistic disciplines. Although she follows in the footsteps of scientific convention, she endows even this process a meaning beyond preservation. Her work forces viewers to contemplate death even as she incorporates taxidermy animals into vibrant sculptures, marking a simultaneous rejection and acceptance of death’s place in life.

The Artist’s Voice:

“I’m not a morbid person, I’m actually really optimistic. I hate the fact that death hangs over us all our lives. I see [the aesthetic of the body] as a raw material to work with; with no soul left, the body becomes a beautiful ornament.”—Polly Morgan, interview in The Independent

“Taxidermy is an ultimately futile effort to harness nature, it allows us to manipulate and control the body of an animal in a way we would struggle, or in my case would not wish, to in life. . . . Most objects can be art; a urinal, a bed, etc. A dead animal presents a problem in that it decays and can therefore only exist a finite amount of time before being altered irrevocably. Taxidermy has thus allowed me to incorporate animals in my work the way other sculptors use ‘found objects.’”—Polly Morgan, interview in Broad Strokes

Polly Morgan, Receiver, 2009; Taxidermy quail chicks and Bakelite telephone handset, 9 x 2 1/2 x 3 1/2 in.; National Museum of Women in the Arts, Gift of Ilene Gutman; © Polly Morgan; Photo by Lee Stalsworth

Polly Morgan, Receiver, 2009; Taxidermy quail chicks and Bakelite telephone handset, 9 x 2 1/2 x 3 1/2 in.; NMWA, Gift of Ilene Gutman; © Polly Morgan; Photo by Lee Stalsworth

Revival Highlight:

Receiver (2009), featured in Revival, illustrates Morgan’s capacity for duality in her work. In this piece seven chicks poke their heads from the receiver end of a telephone, beaks agape. Though their tiny heads and nestled bodies imply a tender helplessness in youth, the mere sight of their open beaks evokes a grating shrill in the viewer’s mind.

Morgan incorporates the natural into the artificial, drawing revealing parallels between the chicks and their unexpected nest. Despite representing the possibility of tender interpersonal connection, too often technology like the telephone becomes an outlet for aggression rather than affection, replacing compassion with confrontation. Even as the chicks evoke nurturing tenderness in the viewer, their implied proximity to the listener’s ear makes their pleas a confrontational disruption to gentler discourse. By combining the natural and artificial Morgan draws discomfort from what should represent convenience, calling into question the intention and functional use behind communicative technology such as the phone through deliberate visual dissonance. 

Visit the museum and explore Revival, on view through September 10, 2017.

—Xiaoxiao Meng is the summer 2017 publications and communications/marketing intern at the National Museum of Women in the Arts.

Falling into Place: Charlotte Gyllenhammar

In celebration of NMWA’s 30th anniversary, and inspired by the museum’s focus on contemporary women artists as catalysts for change, Revival illuminates how women working in sculpture, photography, and video use spectacle and scale for expressive effect.

Charlotte Gyllenhammar (b. 1963, Gothenburg, Sweden)

Although Charlotte Gyllenhammar studied painting in art school, her work consists primarily of film and three-dimensional installations. Even after this shift in medium, a painterly sensibility continues to inform her work. Gyllenhammar often incorporates projections and sculptures to create spatial complexity. Her work invites the viewer into an emotionally charged dialogue through intense contrast between images. By employing the surreal, she masks the familiar in an unfamiliar guise, calling the viewer’s concepts of normalcy into question. Her pieces frequently engage with themes such as inversion, sight, and loss of innocence.

The Artist’s Voice: 

“My sculptures are sort of falling, and falling forward, or throwing themselves, and hanging, and hovering, and falling, so I think I have that kind of dynamic—these poles of the more passive, implicit and the more active, explicit.”

“I’m fascinated by that sort of living, sleeping, breathing, resting, and the sort of ultimate point, death. . . . And you don’t know when, you don’t know how, but we know that. But I find it very hard to accept that we are going to die. That’s kind of an unbearable thought that I tried to get used to.”—Charlotte Gyllenhammar, interview in The Parlor

Revival Highlight:

Unrest and repose become bedfellows in Charlotte Gyllenhammar’s Fall (1999), a two-screen video installation featured in Revival. Projected on the ceiling, the video shows a woman hanging upside down, her extravagant dress billowing around her. On the floor another projection shows two men sleeping in a narrow bed. Their occasional movement seems less like an acknowledgement of her frustrated struggles and more like a mundane nighttime reflex.

Charlotte Gyllenhammar, Fall, 1999; Video installation, dimensions variable; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Charlotte Gyllenhammar; Installation photos by Stefan Bohlin

Charlotte Gyllenhammar, Fall, 1999; Video installation, dimensions variable; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Charlotte Gyllenhammar; Installation photos by Stefan Bohlin

Rather than employ traditional narratives, Gyllenhammar seeks meaning in contradiction and contrasting visions. While the woman appears trapped by her suspension, the unconventional angle makes it seems as though she is floating freely. Her solitary struggle contrasts with the men’s peaceful companionship, lending a sense of complicity to their rest. Yet even as this unawareness becomes an accomplice in her discomfort, their innocence shields them from even acknowledging her.

Gyllenhammar’s fascination with sight and seeing comes into play as well. The screens function as windows, allowing viewers to observe the characters like voyeurs. What visitors see reverses the dynamics of vulnerability. Although the hanging woman appears vulnerable through the unwilling exposure of her body, she retains agency in the camera’s concealment of that exposure. The men slumber in a safer environment, yet suffer complete exposure to the audience, completely open and vulnerable in their lack of awareness. Attentive to the unseen as well as the seen, Gyllenhammar crafts a scene that leaves viewers hanging, unsettled but ultimately intrigued.

Visit the museum and explore Revival, on view through September 10, 2017.

—Xiaoxiao Meng is the summer 2017 publications and communications/marketing intern at the National Museum of Women in the Arts.

Fabric of History: Sonia Gomes

In celebration of NMWA’s 30th anniversary, and inspired by the museum’s focus on contemporary women artists as catalysts for change, Revival illuminates how women working in sculpture, photography, and video use spectacle and scale for expressive effect.

Sonia Gomes, Untitled, from the “Torção” series, 2015; Fabric, wire, thread, and beads, 80 x 123 x 14 in.; Rubell Family Collection, Miami; Courtesy of Rubell Family Collection, Miami

Sonia Gomes (b. 1948, Caetanópolis, Brazil)

After beginning her career at the age of 45, Sonia Gomes quickly gained recognition in the global art scene, participating in exhibitions around the world and influencing a younger generation of Brazilian artists. Gomes uses a range of fabrics, thread, and rope—often gifted or found—to create multi-dimensional sculptures. These structures twist, spiral, converge, and taper in organic and graceful ways that recall biological forms and sacred objects. Her use of fabrics carries collective and personal stories embedding the idea that something passed could be brought back to life again. Gomes’s works are inspired by her family, including her maternal grandmother, whose traditional dress and rituals as an indigenous spiritual healer and midwife influenced her, and her father’s family that worked in a textile factory.

The Artist’s Voice:

“Sometimes I think my work might look like my insides because it’s extremely visceral. . . . And I make art by necessity. I think if I haven’t been doing what I do, I would have gone crazy or I might have been in trouble because I can’t live without it…so I discovered life through art.”

“For me, art is about truth. I don’t get politically involved in Afro-Brazilian movements. I participate through my work and now that I’m starting to receive recognition I think it’s important to give my contribution.”—Sonia Gomes, in a video interview with Arterial

Sonia Gomes, Untitled from the series “Torção,” 2015; Fabric, wire, thread, and beads, 95 x 42 x 12 in.; Courtesy of Rubell Family Collection, Miami

Revival Highlight:

Courtesy of the Rubell Family Collection, four sculptures by Gomes are on display in Revival. These sculptures project from the wall, hang from the ceiling, and, in some cases, wander onto the floor. In an untitled work from 2015 from her series “Torção,” Gomes uses fabric, wire, thread, and beads. She binds, knots, and sews together opaque and shear fabrics that evoke the domestic realm while simultaneously forming symbolic re-creations of the body.

Gomes explores issues of identity and memory. Historically, black women have been at the bottom of Brazil’s social strata experiencing limited visibility. Addressing this subject figuratively, Gomes’s sculpture hangs from the ceiling, hovering before the viewer as an insistent placeholder for the absent or unseen body.

Visit the museum and explore Revival, on view through September 10, 2017.

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

Wonder and Whimsy: Anna Gaskell

In celebration of NMWA’s 30th anniversary, and inspired by the museum’s focus on contemporary women artists as catalysts for change, Revival illuminates how women working in sculpture, photography, and video use spectacle and scale for expressive effect.

Anna Gaskell (b. 1969, Des Moines, Iowa)

Installation view of three of Anna Gaskell’s photographs next to a Louise Bourgeois sculpture

Installation view of three of Anna Gaskell’s photographs next to a Louise Bourgeois sculpture; Photo: Lee Stalsworth

Anna Gaskell studied at Bennington College for two years before attending the Art Institute of Chicago, where she received a BFA in 1992, and later earned an MFA from Yale University in 1995. Gaskell is renowned for her work referencing mythology, Lewis Carroll’s Alice’s Adventures in Wonderland, and Brothers Grimm fairy tales. Her carefully staged photographs contain ambiguous narratives with no clear beginning or end. Viewers may detect a sense of anxiety, pleasure, or mischief in her works. Gaskell’s background in filmmaking and performance are evident in her use of dramatic lighting, awkward body distortions, and severe camera angles.

The Artist’s Voice:

“Trying to combine fiction, fact and my own personal mishmash of life into something new is how I make my work. . . . I try to insert a degree of mystery that ensures that the dots may not connect in the same way every time.”—Anna Gaskell, in NMWA’s See for Yourself card

“My muses have always been characters from novels or films or iconic figures from the past. I was drawn to these people for different reasons—because of their wisdom, intelligence, sense of humor or sense of adventure. . . . Over time I gathered them for inspiration, sometimes conjuring them back to life again for companionship.”—Anna Gaskell, letter in This Is Tomorrow

Anna Gaskell, untitled #26 (override), 1997; Chromogenic print print mounted on Plexiglas, 15 1/4 x 23 5/8 in.; NMWA, Gift of The Heather and Tony Podesta Collection; © Anna Gaskell

Revival Highlight:

Five chromogenic prints, drawn from her series “override” (1997) and “wonder” (1996-97), as well as untitled #104 (A Short Story of Happenstance) (2003) are on view in Revival. In “override,” the scenarios are drawn from Gaskell’s own imagination and portray several manifestations of Alice. In untitled #26 (override), the model pictured in her blue pinafore and yellow cotton dress appears to plot a revenge or escape, seeming both innocent and spiteful, a duality that mirrors the emotional confusion often experienced by adolescents.

Visit the museum and explore Revival, on view through September 10, 2017.

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

Returning the Gaze: Lalla Essaydi

In celebration of NMWA’s 30th anniversary, and inspired by the museum’s focus on contemporary women artists as catalysts for change, Revival illuminates how women working in sculpture, photography, and video use spectacle and scale for expressive effect.

Lalla Essaydi, Bullets Revisited #20, 2014; Chromogenic print mounted on aluminum, 30 x 40 in.; Courtesy Miller Yezerski Gallery © Lalla Essaydi

Lalla Essaydi, Bullets Revisited #20, 2014; Chromogenic print mounted on aluminum, 30 x 40 in.; Courtesy Miller Yezerski Gallery © Lalla Essaydi

Lalla Essaydi (b. 1956, Marrakesh, Morocco)

Born and raised in Morocco, Lalla Essaydi now lives and works in New York. She received her MFA from the School of the Museum of Fine Arts at Tufts University in 2003 and has since participated in several major exhibitions around the world.

Essaydi’s intricately staged photographs not only draw the viewer in with their scale and beauty, but go further to challenge 19th century Orientalist mythology, which portrayed Arab women as sexual objects for male fantasy. While she often imitates the poses of Orientalist painters, she controls the gaze. Essaydi portrays her subjects clothed and covered in henna calligraphy. This stylistic choice challenges the tradition of calligraphy as a male-dominated art form.

The Artist’s Voice:

“In my art, I wish to present myself through multiple lenses—as artist, as Moroccan, as traditionalist, as Liberal, as Muslim. In short, I invite viewers to resist stereotypes.”—Lalla Essaydi, artist’s website

“There are so many layers to my work, and some of them are just for me. If the viewer does not discover it on their own, I’m not going to talk about it because I have always been told how to behave, what to say, how to see things, how to think, and I don’t want to impose that on the viewers by stating everything. I do what I do for myself, before anything else. ”—Lalla Essaydi, interview in Africa is a Country

Lalla Essaydi, Bullets Revisited #3, 2012; Triptych, chromogenic prints on aluminum, 150 x 66 in.; Courtesy of the artist, Miller Yezerski Gallery, Boston, and Edwynn Houk Gallery, NYC

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

Revival Highlight:

Two of Essaydi’s photographs from her “Bullets Revisited” series are on view. A recent acquisition into NMWA’s permanent collection, the triptych Bullets Revisited #3 (2012) portrays a reclining woman, whose skin and garments are covered in henna calligraphy, against a background embellished in silver and gold bullet casings. By presenting this photograph in a triptych format, the fragmentation of the body denies a voyeuristic view of the figure. In Bullets Revisited #20 (2014), she cocooned her seated model with a cape encrusted with similar casings. Essaydi explains her use of bullets as a commentary on violence against women in a new post-revolutionary era following the Arab Spring.

Visit the museum and explore Revival, on view through September 10, 2017.

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

Delicate & Dangerous: Cathy de Monchaux

In celebration of NMWA’s 30th anniversary, and inspired by the museum’s focus on contemporary women artists as catalysts for change, Revival illuminates how women working in sculpture, photography, and video use spectacle and scale for expressive effect.

Cathy de Monchaux, Clearing the Tracks Before They Appear, 1994; Mixed media, 33 x 33 x 3 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Cathy de Monchaux; Photo by Lee Stalsworth

Cathy de Monchaux, Clearing the Tracks Before They Appear, 1994; Mixed media, 33 x 33 x 3 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Cathy de Monchaux; Photo by Lee Stalsworth

Cathy de Monchaux (b. 1960, London, England)

Although at first glance Cathy de Monchaux’s work seems to mimic bodily forms, closer inspection reveals an act of fusion at work. With obsessive attention to detail, de Monchaux joins soft, vulnerable, seemingly organic components with sharp metallic points or hooks. The marriage of paradoxical materials elicits contradictory feelings from her audience. While the flesh-like material evokes an uncomfortable recognition, the cruel, protruding metals inspire an awed fear; if the soft, voluptuous shapes summon lust, the jutting spikes repulse empathy. 

The Artist’s Voice:

“I use the erotic as a metaphor for angst. A lot of people’s angst comes from how they relate to other human beings, and a lot of that is to do with attraction and repulsion. Every relationship becomes fraught after the first burst of enthusiasm, and I suppose I use the whole erotic thing as a metaphor for that fraught-ness.”—Cathy de Monchaux, in an interview with The Telegraph

Revival Highlight:

Rather than rely on representation, de Monchaux uses the power of suggestion to draw in her viewer, promising manifold possibilities within a singular form. Her luxurious wall pieces Don’t Touch My Waist (1998) and Clearing the Tracks Before They Appear (1994) lure the viewer in with appearances evocative of sumptuous, feminine clothing. But the former’s jagged hooks and the latter’s subtle metal teeth keep any would-be-wearers at bay, promising pain in place of any decorative pleasure that might otherwise be derived. Blending pain and pleasure, distance and proximity, injury and protection, de Monchaux simultaneously evokes the joys and the fears of femininity, revealing how eroticism encompasses the whole spectrum of danger and safety.

Cathy de Monchaux, Red, 1999; Brass, copper, velvet, leather, canvas, steel, graphite, and thread, 14 x 46 x 34 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Cathy de Monchaux; Photo by Lee Stalsworth

Cathy de Monchaux, Red, 1999; Brass, copper, velvet, leather, canvas, steel, graphite, and thread, 14 x 46 x 34 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Cathy de Monchaux; Photo by Lee Stalsworth

A floor sculpture featured in Revival, Red (1999), contains fewer elements of dangerous elegance, opting instead for a more subtle approach. It appears less threatening and direct than both hanging works, lacking sharp blades or hooks. Instead the work contains a cascading center that blossoms into tender, fleshy velvet folds. But for all its sumptuousness, the central structure seems contained within the base, suggesting constriction that the surrounding belts only complement. Red’s foreboding presence underscores de Monchaux’s capacity for creating disquieting work in all shapes and forms.

Visit the museum and explore Revival, on view through September 10, 2017.

—Xiaoxiao Meng is the 2017 publications and communications/marketing intern at the National Museum of Women in the Arts.

Reading Between the Lines: Fanny Sanín

The exhibition Equilibrium: Fanny Sanín, on view through October 29, 2017, presents studies and finished paintings by abstract artist Fanny Sanín (b. 1938, Bogotá, Colombia). The exhibition features compositions on paper and canvas spanning 56 years of the artist’s career.

Installation view of Equilibrium: Fanny Sanín

Installation view of Equilibrium: Fanny Sanín

Sanín began her artistic practice at the University of the Andes before attending the University of Illinois, and the Chelsea School of Art and the Central School of Art in London. She moved to the U.S. in 1971 and currently lives in New York and travels regularly to Bogotá.

Sanín’s practice focuses on geometric structure, color, order, and harmony; all elements she executes meticulously on both small and large surfaces. After her exposure to abstract art during her final years in school, she chose to pursue abstraction as a way to focus on color and form.

Fanny Sanín , Composition No. 1, 2016; Acrylic and pencil on paper, 25 1/2 x 40 in.

Fanny Sanín, Composition No. 1, 2016; Acrylic and pencil on paper, 25 1/2 x 40 in.; Courtesy of the artist

Through the range of works featured in the exhibition, viewers gain insight into Sanín’s artistic process—just as remarkable as her finished products. Creating between four and eighteen studies before working on a final composition, Sanín refines her color choices and structure, altering minute details to convey her intended meaning.

Fanny Sanín, Small Study No. 4, 1973; Gouache on paper; Courtesy of the artist

Fanny Sanín, Small Study No. 4, 1973; Gouache on paper; Courtesy of the artist

In a series of four small studies from 1973, Sanín primarily paints vertical lines of different weights and colors, stimulating visual interest through the juxtaposition of complementary and contrasting colors. These studies mark a pivotal transition in Sanín’s art toward her signature color-blocking technique. Her more recent studies and finished paintings demonstrate the maturity of her color palette and her eye for symmetry, order, and balance. The exhibition also displays some of the artist’s early works in watercolor from 1960, 1961, and 1968, in which she worked in a more gestural abstract style before turning to geometric abstraction.

These non-objective abstract works by Sanín demonstrate her intellectual creativity and curiosity. Historically, women artists were judged to be most skilled at copying the natural world rather than inventing original compositions. Even in the field of abstract art, they have been seen as imitators or followers of their male peers. The significant and dynamic contributions of women such as  Sanín to abstraction have only recently begun to be fully recognized.

This exhibition explores abstraction from the preliminary stages of the artist’s process to the final works. Equilibrium: Fanny Sanín is on view in the Teresa Lozano Long Gallery of the National Museum of Women in the Arts. Visit the museum to see Sanín’s works in person!

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

Wonder Women in the NMWA Library

This summer the blockbuster film Wonder Woman has already earned more than $724 million. The NMWA Library and Research Center staff could not resist swinging their own golden lasso by presenting Wonder Women!, a celebration of women who are fearless, adventurous, and larger than life. Drawn from the wide-ranging holdings of the library’s special collections, this exhibition features women of both fact and fiction demonstrating great bravery and taking action against the wrongs of the world.

The Wonder Women! exhibition was inspired by the NMWA Library’s recent acquisition of the first regular monthly issue of the feminist Ms. magazine, founded by Gloria Steinem and Dorothy Pittman Hughes, which hit newsstands in July 1972. In an effort to visually differentiate Ms. from other women’s magazines, the staff selected an image of Wonder Woman for the cover, fighting for “peace and justice in ’72.”

Cover of the first regular monthly issue of Ms. magazine

The illustration was by Murphy Anderson, a longtime artist for DC Comics. The banner “Wonder Woman for President” likely references Congresswoman Shirley Chisholm’s bid for the Democratic Party’s nomination for president that year. Anderson also reflects the country’s anxiety about the war in Vietnam as a giant Wonder Woman strides with urgency down a main street in America, rescuing part of the town with her golden lasso, while shielding the street from a raging jungle battlefield placed uncomfortably close behind the shop fronts.

The cover was also timely as a reboot of the Wonder Woman comic book was due to be published in 1973—this time with its first woman editor, Dorothy Woolfolk. Ms. magazine featured Wonder Woman on the cover again for its 40th anniversary issue in 2012. The 2012 issue featured Wonder Woman bounding down Pennsylvania Avenue, the site of famous women’s rights marches for more than a century.

The article inside, “Wonder Woman Revisited” by Joanne Edgar, quotes the character’s originator, Charles Moulton: “Wonder Woman has force bound by love and, with her strength, represents what every woman should be and really is. She corrects evil and brings happiness. Wonder Woman proves that women are superior to men because they have love in addition to force.” The combination of strength and love is apparent in the materials featured in Wonder Woman!, from Judy Chicago shedding the patriarchy of her given name, to lighthouse keeper Grace Darling who risked her life on a night in 1838 to save victims of a shipwreck.

Visit NMWA’s Betty Boyd Dettre Library and Research Center to celebrate the legacy of wonder women!

—Sarah Osborne Bender is the director of the Betty Boyd Dettre Library and Research Center at the National Museum of Women in the Arts.