Seven-Gallery “Takeover” of Art by Women Artists at MFA Boston Marks 100th Anniversary of U.S. Women’s Suffrage Amendment

Now On View Through May 3, 2021 in the Art of the Americas Wing, Level 3, Exhibition Includes Works Across Media by more than 100 Women Artists

Ubi Girl from Tai Region Loïs Mailou Jones (American, 1905–1998) 1972 Acrylic on canvas * The Hayden Collection—Charles Henry Hayden Fund © Lois Mailou Jones Pierre-Noel Trust * Photograph © Museum of Fine Arts, Boston

For centuries, women-identified artists have struggled to receive recognition for their accomplishments. Despite more than a century of feminist activism and great strides towards social, professional and political equality, women remain dramatically underrepresented and undervalued in the art world today. In response, the Museum of Fine Arts, Boston (MFA), has reinstalled the entire third floor of its Art of the Americas Wing with approximately 200 artworks made by women over the last 100 years—a “takeover” that aims to challenge the dominant history of art from 1920 to 2020 and shine a light on some of the many talented and determined women artists who deserve attention. The thematic exhibition coincides with the 100th anniversary of the ratification of the 19th Amendment, which gave women the right to vote, as well as the MFA’s 150th anniversary—a yearlong celebration focused on enhancing the power of art and artists, honoring the past and re-imagining the future.

Linda Nochlin and Daisy Alice Neel (American, 1900–1984) 1973 Oil on canvas * Seth K. Sweetser Fund © The Estate of Alice Neel Courtesy David Zwirner, New York/London * Photograph © Museum of Fine Arts, Boston
Trans Liberation: Building a Movement (Cece McDonald) Andrea Bowers (American, founded in 1965) 2016 Archival pigment print * Towles Contemporary Art Fund © Andrea Bowers * Photograph © Museum of Fine Arts, Boston

Women Take the Floor seeks to acknowledge and remedy the systemic gender discrimination found in museums, galleries, the academy and the marketplace, including the MFA’s inconsistent history in supporting women artists. The exhibition also explores art and suffrage—emphasizing that both could give women a voice in their community and the world. At the same time, it recognizes that past feminist movements, including the campaign for the right to vote, were not inclusive or immune from systemic racism. By looking at 20th-century American art through the lens of modern-day feminism—which advocates for equity and intersectionality (the way an individual’s race, class, gender and other identities combine and overlap)—MFA curators hope to broaden the stories that are told during the yearlong commemoration of women’s suffrage in 2020.

Primarily drawn from the MFA’s collection, the works featured in Women Take the Floor include paintings, sculpture, prints, photographs, jewelry, textiles, ceramics and furniture. The central gallery, dedicated to portraits of women created by women, provides a large convening space where visitors are invited to share perspectives and participate in a wide range of programs scheduled to take place throughout the run of the exhibition. Women Take the Floor is on view through May 3, 2021. Sponsored by Bank of America. Generously supported by the Carl and Ruth Shapiro Family Foundation. Additional support from the Jean S. and Frederic A. Sharf Exhibition Fund, and the Eugenie Prendergast Memorial Fund.

Dos Mujeres (Salvadora y Herminia) Frida Kahlo (Mexican, 1907–1954) 1928 Oil on canvas * Charles H. Bayley Picture and Paintings Fund, William Francis Warden Fund, Sophie M. Friedman Fund, Ernest Wadsworth Longfellow Fund, Tompkins Collection—Arthur Gordon Tompkins Fund, Gift of Jessie H. Wilkinson—Jessie H. Wilkinson Fund, and Robert M. Rosenberg Family Fund © 2018 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York * Photograph © Museum of Fine Arts, Boston
The Hair Craft Project: Hairstyles on Canvas Sonya Clark (American, born in 1967) 2013 Silk threads, beads, shells, and yarn on eleven canvases; 3 of 11 * The Heritage Fund for a Diverse Collection, Frederick Brown Fund, Samuel Putnam Avery Fund, and Helen and Alice Colburn Fund Sonya Y.S. Clark * Photograph © Museum of Fine Arts, Boston

Our goals are to celebrate the strength and diversity of work by women artists while also shining a light on the ongoing struggle that many continue to face today. We see these efforts of recognition and empowerment to mark a first step to redress the systematic discrimination against women at the MFA, and within the art world,” said Nonie Gadsden, Katharine Lane Weems Senior Curator of American Decorative Arts and Sculpture, who led a cross-departmental team of curators in organizing Women Take the Floor.

Gadsden coordinated a cross-departmental curatorial team for the exhibition, including Reto Thüring, Beal Family Chair, Department of Contemporary Art; Erica Hirshler, Croll Senior Curator of American Paintings; Lauren Whitley, Senior Curator of Textiles and Fashion Arts; Patrick Murphy, Lia and William Poorvu Assistant Curator of Prints and Drawings and Supervisor, Morse Study Room; Karen Haas, Lane Senior Curator of Photographs; and former MFA Curatorial Research Associates Caroline Kipp, Emelie Gevalt and Zoë Samels.

To ensure the exhibition represented a broad range of perspectives, the MFA convened a roundtable discussion with local women community leaders to inform interpretation and give feedback on the project, particularly on the Women Depicting Women gallery. As a result, outside voices are a key feature of the central space, and informed interpretation throughout the exhibition. Porsha Olayiwola, the current poet laureate for the city of Boston, will write a new poem and perform it on video, and the local feminist collective The Cauldron has identified quotes from feminist voices, which will be featured in the entry space.

Striding Amazon Katharine Lane Weems (American, 1899–1989) Modeled in 1926 and 1980; cast in 1981 Bronze, brown patina, lost wax cast * Gift of Katharine Lane Weems Reproduced with permission. * Photograph © Museum of Fine Arts, Boston

The core space of the exhibition focuses on Women Depicting Women: Her Vision, Her Voice. The works on view range across time and place, as well as social, political and cultural contexts, yet all represent a highly individual interpretation of female portraiture. Highlights throughout the run of the exhibition will include celebrated paintings by Frida Kahlo, Alice Neel and Loïs Mailou Jones; photographs by Andrea Bowers, Maria Magdalena Campos-Pons, Laura McPhee and Cindy Sherman; and the recently acquired portrait of feminist activist Rosemary Mayer by Sylvia Sleigh.

In the decades following the campaign for women’s suffrage, a greater number of women successfully pursued careers as professional artists and designers. Yet the road was not easy—nor was it open to all. Women on the Move: Art and Design in the 1920s and 30s in the John Axelrod Gallery considers the contributions of pioneering artists like painters Georgia O’Keeffe and Loïs Mailou Jones and ceramicists Maria Martinez (San Ildefonso Pueblo) and Maija Grotell. At the same time, the gallery highlights works by important women artists who have garnered less recognition, including sculptor Meta Warrick Fuller, painter Helen Torr and potter Nampeyo (Hopi-Tewa).

Deer’s Skull with Pedernal Georgia O’Keeffe (American, 1887–1986) 1936 Oil on canvas * Gift of the William H. Lane Foundation © Georgia O’Keeffe Museum / Artist Rights Society (ARS), New York * Photograph © Museum of Fine Arts, Boston

No Man’s Land, on view in the Melvin Blake and Frank Purnell Gallery, is devoted to six artists who have each reimagined the representation of landscape, creating personal interpretations of the world around them. Working across decades, geographies and media, Luchita Hurtado, Doris Lindo Lewis, Loren MacIver, Georgia O’Keeffe, Beverly Pepper and Kay Sage explored the metaphoric possibilities of both real and imagined landscapes, often through the use of symbols that allude to female experiences.

She, Lorna Simpson (American, born in 1960) 1992 Photograph, dye-diffusion photographs (Polaroid prints), and plaque * Ellen Kelleran Gardner Fund Reproduced with permission. * Photograph © Museum of Fine Arts, Boston

Presented in the Saundra B. and William H. Lane Galleries, Beyond the Loom: Fiber as Sculpture highlights pioneering artists who radically redefined textiles as modern art in the 1960s and 1970s: Anni Albers, Olga de Amaral, Ruth Asawa, Sheila Hicks, Kay Sekimachi and Lenore Tawney. Co-opting a medium traditionally associated with women’s work and domesticity, they boldly broke free from the constraints of the loom to create large-scale, sculptural weavings that engaged with contemporary art movements such as Minimalism. A second rotation in the same space, Subversive Threads, will open late spring 2020, focusing on contemporary artists who have used textiles to challenge notions of identity, gender and politics.

Women of Action, on view in the Saundra B. and William H. Lane Galleries, builds on recent scholarship and recognizes the contributions of Joan Mitchell, Grace Hartigan, Helen Frankenthaler, Elaine de Kooning, Lee Krasner and ceramicist Toshiko Takaezu to the formation and expansion of action painting in the mid-20th century, a movement typically credited to their male counterparts.

Bowl Maria Montoya Martinez (Poveka or Water Pond Lily) (Native American, 1887–1980) about 1919–20 Earthenware with polished slip * Museum purchase with funds donated by Independence Investment Associates, Inc. Reproduced with permission. * Photograph © Museum of Fine Arts, Boston

Women Publish Women: The Print Boom celebrates three entrepreneurs who founded printmaking workshops in the late 1950s and 1960s and played an underappreciated role in the revitalization of American printmaking: Tatyana Grosman of Universal Limited Art Editions (New York), June Wayne of Tamarind Lithography (Los Angeles) and Kathan Brown of Crown Point Press (San Francisco). These will be presented in two rotations in the Robert and Jane Burke Gallery. The third rotation, Personal to Political: Women Photographers, 1965–1985, will feature work by more than 35 photographers active during these pivotal decades when women were making major inroads into the fields of photojournalism, fashion, social documentary and fine art photography.

Blanco y Verde (#1) Carmen Herrera (Cuban, born in 1915) 1962 Acrylic on canvas * Museum purchase with funds donated by Barbara L. and Theodore B. Alfond through The Heritage Fund for a Diverse Collection © Carmen Herrera. Courtesy Lisson Gallery * Photograph © Museum of Fine Arts, Boston

Women and Abstraction at Midcentury takes an expansive look at abstraction, exploring how women artists reshaped the natural world for expressive purposes in a wide range of media including paintings, prints, textiles, ceramics, furniture and jewelry. Among the artists featured in this space are painters Carmen Herrera, Esphyr Slobodkina and Maud Morgan; designers Greta Magnusson-Grossman and Olga Lee; and Clare Falkenstein, Laura Andreson, Margaret de Patta and others who contributed to the development of the studio craft movement.

The exhibition will also include a space for reflection and feedback. In addition to a video of Olayiwola performing her newly commissioned poem, a curated bookshelf—including texts on feminist history and women artists—and a seating area will be available for visitors. Additionally, curators will select responses left by the public in an open feedback area to add to the in-gallery interpretation in Women Depicting Women—creating a dynamic “living label” that will grow throughout the installation’s 18-month run.

A selection of speeches will be available in conjunction with Amalia Pica’s Now Speak! (2011)—a cast concrete lectern that encourages visitors to make spontaneous declarations or deliver a performance of a historical speech. The texts were chosen by C. Payal Sharma, an independent racial equity and justice consultant based in Boston. A “living artwork,” Now Speak! will also serve as the centerpiece of various public programs taking place in the gallery.

Public Programming

Public programming in the space will include a Creative Residency with ImprovBoston in October, as well as Artist Demonstrations with painter Joann Rothschild (September 15), weaver Nathalie Miebach (October 13 and 16) and printmaker Carolyn Muskat (November 10 and 13). On October 9, violinist Ceren Turkmenoglu will perform a program of works by Ottoman-Turkish women composers of Turkish classical music, spanning form past to recent times. Public tours of the exhibition include an hour-long “Curated Conversation” with exhibition curator Nonie Gadsden on September 29, and 15-minute Spotlight Talks on October 9.

Feminist Art Coalition

With Women Take the Floor, the MFA is participating in the Feminist Art Coalition (FAC), working collectively with various art museums and nonprofit institutions across the U.S. to present a series of concurrent events in the fall of 2020—during the run-up to the next presidential election—that take feminist thought and practice as their point of departure. Fellow participants include Art21; CCA Wattis Institute of Contemporary Art; Center for Curatorial Studies, Hessel Museum of Art, Bard College; The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC), RPI; Fine Arts Museums of San Francisco; Los Angeles County Museum of Art; MIT List Visual Arts Center; The Renaissance Society, Art Institute of Chicago; UC Berkeley Art Museum and Pacific Film Archive (BAMPFA); and the Yerba Buena Center for the Arts (YBCA).

Art of the Americas at the MFA

Since the Museum’s founding in 1870, it has been committed to collecting art of North, Central and South America from all time periods. Its diverse holdings rank among the most significant in the nation and feature masterpieces ranging from gold of the Ancient Americas, Maya ceramics, and Native American (prehistoric to contemporary) objects, to one of the finest collections of art of the United States from colonial through modern times. Additionally, the MFA’s Art the Americas collection contains more than 13,000 examples of American decorative arts (furniture, silver, ceramics, glass and metalwork) and sculpture made across the Americas from the 17th century to the present––embracing masterworks of artisan and artist alike. More than 5,000 objects from the Museum’s collection of works from the Americas are on view in the 49 galleries of the Art of the Americas Wing, as well as in the Sargent Rotunda and Colonnade. Also displayed in these galleries are works from the Americas drawn from the Museum’s Prints and Drawings; Photography; Textile and Fashion Arts; and Musical Instruments collections.

“Hearts of Our People: Native Women Artists,” On View Now through January 12, 2020 at The Frist Art Museum

Dorothy Grant with Robert Davidson. Hummingbird Dress, 1995. Wool, 42 x 58 in. Denver Art Museum Collection: Native Arts acquisition fund, 2010.490. Photograph © Denver Art Museum. © 1989 Dorothy Grant and Robert Davidson

Women have long been the creative force behind Native American art; however, Hearts of Our People is the first major exhibition devoted solely to their work. This groundbreaking and comprehensive project features more than 115 objects—including traditional textiles, baskets, beadwork, and pottery, as well as painting, sculpture, video, and installation art—made by artists working in the United States and Canada from ancient times to the present day. Hearts of Our People is meant to be a tribute to all Native women artists, their families, and their nations, past and present. It is their minds, hearts, and hands that have birthed their worlds, and this exhibition, into being.

Christi Belcourt (Métis). The Wisdom of the Universe, 2014. Acrylic on canvas. Art Gallery of Ontario, Toronto; Purchased with funds donated by Greg Latremoile, 2014, 2014/6. © Christi Belcourt
Jamie Okuma, Luiseno/Shoshone-Bannock. Adaptation II, 2012. Shoes designed by Christian Louboutin. Leather, glass beads, porcupine quills, sterling silver cones, brass sequins, chicken feathers, cloth, deer rawhide, and buckskin. Minneapolis Institute of Art, Bequest of Virginia Doneghy, by exchange, 2012.68.1A,B. © 2012 Jamie Okuma
Sisíthuŋwaŋ Dakhóta artist. Tablecloth, 1900–1910. Wool, glass beads, brass beads, cotton thread. Collection of the National Museum of the American Indian, Smithsonian Institution 12/0814. Photo by NMAI Photo Services

The exhibition planning process began with a question: Why do Native women make art? Organizers chose to respond within three core themes: Legacy, Relationships, and Power. Legacy examines the ways in which Native women artists acknowledge their lineage, making works that simultaneously embody the experience of previous generations, address the present moment, and speak to the future. Relationships explores the concept of bonds existing beyond the human world that include animals, nature, and other entities the non-Native world does not often recognize as having volition and agency. Power encompasses works created for diplomacy and influence, to empower others, and for the empowerment of oneself.

Elizabeth Hickox. Container, 1924. Plant fibers and dyed porcupine quills, 5 1/2 x 6 in. Denver Art Museum Collection: Purchase from Grace Nicholson, 1946.388. Photograph © Denver Art Museum

You will see similarities across cultures and communities, but you will also see many differences. Native Americans are not a single monolithic group, and each tribe, nation, or community has its own unique culture, history, and present moment. Perhaps most important, each Native artist, like artists the world over, brings her own life experience, skill, and individual style to her art.

The co-curators of this exhibition are Jill Ahlberg Yohe, associate curator of Native American art at Minneapolis Institute of Art, and Teri Greeves, Kiowa artist and scholar. Special recognition goes to Dakota Hoska, Lakȟóta, research assistant. During each step of the curatorial process, they worked closely with an Exhibition Advisory Board to develop the major themes of the exhibition and advise on object selection. The board was also instrumental in determining the structure and content of the exhibition catalogue and related programming.

Innu (Naskapi) artist. Hunting Coat, ca. 1750. Caribou hide and pigment, 39 x 59 in. Minneapolis Institute of Art, The Robert J. Ulrich Works of Art Purchase, 2012.27
Lucy Martin Lewis (Acoma Pueblo). Ceramic seed jar, 1968. Clay and pigment. Minneapolis Institute of Art, The Patricia and Peter Frechette Endowment for Art Acquisition and gift of funds from Constance Kunin, 2018.5

The Hearts of Our People Exhibition Advisory Board members include: heather ahtone, Choctaw/Chickasaw, senior curator, American Indian Cultural Center and Museum, Oklahoma City; D. Y. Begay, Navajo artist, Santa Fe; Janet Berlo, professor of art history and visual and cultural studies, University of Rochester; Susan Billy, Pomo artist, Ukiah, California; Katie Bunn-Marcuse, director and managing editor, Bill Holm Center for the Study of Northwest Coast Art, Burke Museum, Seattle; Christina Burke, curator, Native American and non-Western art, Philbrook Museum of Art, Tulsa; Kelly Church, Anishinaabe artist and educator, Michigan; Heid Erdrich, Ojibwe writer and curator, Minneapolis; Anita Fields, Osage artist, Tulsa; Adriana Greci Green, curator, Indigenous arts of the Americas, The Fralin Museum of Art at the University of Virginia; Carla Hemlock, Mohawk artist, Kahnewake; Graci Horne, Dakȟóta, independent curator, Minneapolis; Nadia Jackinsky, Alutiiq art historian, Anchorage; America Meredith, Cherokee, publishing editor of First American Art Magazine, Oklahoma City; Nora Naranjo Morse, Santa Clara artist, Española; Cherish Parrish, Anishinaabe artist and educator, University of Michigan; Ruth Phillips, Canada Research Professor and professor of art history, Carleton University; Jolene K. Rickard, Tuscarora, artist and associate professor of the history of art and visual studies, Cornell University; Lisa Telford, Haida artist, Seattle; and Dyani White Hawk, Sičháŋğu Lakȟóta (Brulé) artist and curator, Minneapolis.

Ramona Sakiestewa, Hopi. Nebula 22 & 23, 2009. Tapestry, wool warp, and dyed wool weft, diptych: 32 1/2 x 33 in. each. Collection of Carl and Marilynn Thoma. © 2009 Ramona L. Sakiestewa. Image courtesy of Tai Modern Gallery, Santa Fe, NM

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