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While women make up only 13 percent of directors in film, the number of Black women behind the camera is even smaller. Though the media has been stingy with granting Black women opportunities to helm projects, there have still been a number of women who have made a seat at the table and paved a way for the women behind them.
By Julia Jacobs in The New York Times
Over the past decade, there has been a sense in the art world that gender equity was on the horizon: Emerging female artists were landing high-profile solo shows, museums were staging women-themed exhibitions, grants were being awarded to boost female artists, and long-neglected artists were being given overdue recognition.
The artworks, collected by the open-access Biodiversity Heritage Library, range from animal sketches to historical diagrams and botanical studies.
By Hakim Bishara February 3, 2020
“As veterans of the Gulf War and the ‘Global War on Terror,’ as well as working artists ourselves, this issue is very important to us,” the group wrote in its letter urging for a “realignment of values at MoMA.”
Jesse Beecher’s short film exploring the focus, exhilaration, beauty, and joy of creating in the studio. It speaks to the special character of workshop education at places like Penland.
Shot on the Penland campus during the summer of 2018.
By Jim Murphy in The Laurel of Asheville 2016
In the early 1970s, John Cram visited Asheville and says, “I fell in love with the place.” He moved here and found that Asheville was sitting squarely between the mountains and the doldrums. Beyond the town’s natural attractions, there was not a lot to love. And there was not a lot of demand for a 25-year-old holding a communications degree with a concentration in film. (John calls it “a bachelor’s degree in nothing.”) But just beneath that liberal arts background lurked the soul of an entrepreneur.
By Meilan Solly in Smithsonian.com
Harriet Tubman’s first act as a free woman was poignantly simple. As she later told biographer Sarah Bradford, after crossing the Pennsylvania state boundary line in September 1849, “I looked at my hands to see if I was the same person. There was such a glory over everything; the sun came like gold through the trees, and over the fields, and I felt like I was in Heaven.”
Penland is a national center for craft education dedicated to helping people live creative lives. Located in the Blue Ridge Mountains of North Carolina, Penland offers one-, two-, and eight-week workshops in books & paper, clay, drawing, glass, iron, metals, photography, printmaking and letterpress, textiles, and wood.
A look at three paintings from the cusp of the 20th century that make a powerful argument for beauty.
When in 2014 the Getty Museum acquired Édouard Manet’s “Jeanne (Spring)” (1881), it commissioned a three-lecture series and invited the art historian Richard Brettell to be the first speaker. He, in turn, has now expanded his published version of those discussions to deal also with two other late 19th-century paintings in the Getty collection, Paul Gauguin’s still life “Arii matamoe (La fin royale)” (1892) and Paul Cézanne’s “Young Italian Woman at a Table” (1895-1900).
As Brettell notes at the start of his book, On Modern Beauty: Three Paintings by Manet, Gauguin and Cézanne, both ‘modern’ and ‘beauty’ have become highly problematic concepts, in part because of the legitimate concerns of feminists and scholars dealing with gender and colonialism. Click here to continue
WOMEN’S HISTORY MONTH AT UNC Asheville to Feature Documentary on Film-Making Pioneer Alice Guy-Blaché and Talks on the Southern Women’s Rights Movements
To mark Women’s History Month 2020, in March, UNC Asheville will present a documentary narrated by Jodie Foster about one of cinema’s pioneers, Alice Guy-Blaché, and a series of talks about suffrage and feminism in different times and places in the South. All Women’s History Month events are free and open to everyone.
By The Representation Project
Last year, the Baltimore Museum of Art made a major announcement that was met with both criticism and applause: they decided in 2020 they would only be purchasing art made by women. In an interview with AFP, Museum Director Christopher Bedford said that of the museum’s 95,000 works, only 4% were made by female artists. This inequality in artist representation spans beyond the Baltimore Museum of Art – it’s a nationwide norm. An article published by the New York Times revealed that between 2008 and 2018, only 11% of work acquired by America’s top art museums were created by women. To put these percentages into numbers, that’s only 29,247 pieces out of the 260,470 total acquired works. CLICK HERE TO CONTINUE
By Angela N. Carroll in Hyperallergic
Delita Martin’s latest exhibition, Calling Down the Spirits, seeks to visualize the incorporeal and genetic strands that tether generations of Black women to each other and to the spiritual world.
By Justine Smith in Hyperallergic
As the Cinémathèque Québécoise pays homage to some of the notable women who have stepped behind the camera and “painted with light,” critic Justine Smith considers why their work is often underrecognized.
Unfortunately, little of her work survives
Augusta Savage started sculpting as a child in the 1900s using what she could get her hands on: the clay that was part of the natural landscape in her hometown of Green Cove Springs, Florida. Eventually her talents took her far from the clay pits of the South. She joined the burgeoning arts scene of the Harlem Renaissancewhen her talents led her to New York.
Quilts tell the stories of our lives through their shapes, colors and textures. They hold a history of their makers as well as the people who care for them. They become sacred treasures.
A Viral List of Hundreds of Opportunities for Artists, Compiled by One Person to Encourage Community
By Sarah Rose Sharp in Hyperallergic
Everest Pipkin has made public their “Big Artist Opportunities List” — a collection of over 400 opportunities for artists across the globe.
With the overwhelming reality that artists are expected to somehow maintain a practice, store and ship work, support their scene, self-promote, manage open accounts with galleries — all generally on spec, at least starting out — plus do whatever it takes to pay their bills, who has the time or bandwidth to keep track of opportunities to further one’s practice?
n 1971, pioneering feminist art historian Linda Nochlin penned the now-iconic essay “Why Have There Been No Great Women Artists?” – a powerful critique on the ways in which women had been excluded from art history. Nearly 50 years later, the stories of the remarkable women who did break boundaries to achieve artistic acclaim are just beginning to be told. This January, Sotheby’s celebrates trailblazing female artists from the 16th through the 19th centuries with The Female Triumphant, a group of exceptional works of art that will be offered in our Masters Week sales. In spite of extraordinary obstacles, talented artists such as Elisabeth-Louise Vigée Le Brun, Fede Galizia, Michaelina Wautier and Elizabeth Gardner Bouguereau paved the way for future generations of artists everywhere. Below, four expert voices discuss how these artists changed painting forever. Click to continue
OUR VISION To transform lives through art.
OUR MISSION To engage, enlighten, and inspire individuals and enrich community through dynamic experiences in American art of the 20th and 21st centuries.
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