Women in the Arts Fall 2018

Fall 2018

CHAMPION WOMEN THROUGH THE ARTS dear members and friends, Our thirtieth anniversary was a milestone achievement marked with many successes. I wish to thank each of you for all you have done to help NMWA thrive as a museum that champions women in the arts.

Over the summer, the remarkable exhibition Heavy Metal— Women to Watch 2018 brought wonderful contemporary artists to our attention while highlighting the commitment of our national and international committees. We are grateful to these volunteer groups, which generously support the museum while they heighten awareness of women artists working in their regions of the U.S. and abroad.

This fall, as with Heavy Metal, we are striking out into new territory. We are pleased to debut Rodarte, the first exhibition of fashion organized by the museum and the first major survey of the celebrated luxury fashion house created by sisters Kate and Laura Mulleavy. Since its beginnings in 2005, Rodarte’s unique blend of high fashion and modern femininity has drawn critical acclaim from both the art and fashion worlds. I know you will enjoy reading more about this duo in the article beginning on page 8.

Also this fall, the New York Avenue Sculpture Project begins an exciting new chapter. In this fifth outdoor sculpture installation, the Sculpture Project features the work of renowned Mexican artist Betsabeé Romero. Her works, which will be on view for the next two years, were specially created for NMWA—our first-ever public commissions for the Sculpture Project.

Thank you, as always, for your support of these and so many other women in the arts. warmest best wishes,

MUSEUM INFORMATION

WOMEN IN THE ARTS

1250 New York Avenue, NW Washington, DC 20005

Fall 2018 Volume 36, no. 3

PUBLIC TRANSIT

Women in the Arts is a publication of the National Museum of Women in the Arts®

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Nana Gongadze

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Women in the Arts is published three times a year as a benefit for museum members by the National Museum of Women in the Arts, 1250 New York Avenue, NW, Washington, D.C. 20005-3970.

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On the cover: Agyness Deyn wearing Rodarte Spring/Summer 2009; Photo © Sølve Sundsbø Limited Founder’s photo: © Michele Mattei

Contents

“Entirely self-taught, the Mulleavys have always set their own terms in developing their label.”

PAGE 8

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New York Avenue Sculpture Project: Betsabeé Romero

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FEATURES

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Rodarte

The celebrated American luxury fashion house Rodarte, founded by sisters Kate and Laura Mulleavy, is featured in the first fashion exhibition organized by NMWA. jill d’alessandro

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Full Bleed: A Decade of Photobooks and Photo Zines by Women In the Library and Research Center, photobooks and photo zines embody essential truths told through eclectic visual vocabularies. alison baitz

In an outdoor installation, artist Betsabeé Romero explores human migration through newly commissioned sculptures. kathryn wat 24

Connect and Celebrate: National and International Outreach Committees The recent exhibition Heavy Metal—Women to Watch 2018 and the Committee Conference highlighted the strength of NMWA’s committees. dana sherman marine

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2 Arts News 4 Culture Watch 6 Education Report 7 Dedicated Donor: In Remembrance of Susan Wisherd 16 Calendar 26 Mellor Book Prize: Jo Applin’s Lee Lozano: Not Working 27 Museum News and Events 29 Supporting Roles 32 Museum Shop

Arts News

PHOTO COURTESY OF MAWA

PHOTO COURTESY OF THE GORD DOWNIE & CHANIE WENJACK FUND

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It’s a Sign Billboards across Canada featured work by fifty First Nations, Inuit, and Métis women artists over the summer as part of the Resilience project. Curated by Lee-Ann Martin and produced by the Winnipeg-based organization Mentoring Artists for Women’s Art, Resilience aimed to reclaim large-scale public-realm art for Indigenous women, combatting their historical erasure. The organizers used eighty-one billboards across the country—from urban centers to rural highways— because of the billboards’ “unrivalled visibility.” The project celebrated the diversity of art

by Indigenous women, showcasing works in varied mediums on

myriad topics. Martin wrote of the artists, “They approach their practices with individual intents but share notions of resilience, strength, and focus in the face of racism and sexism.”

Women comprise only thirty-two percent of film reviewers in 2018.

Thumbs Down: Film Critics and Gender There are far fewer women than men working as film critics, and this imbalance in representation has a measurable influence on films’ ratings

and reception, according to researcher Martha M. Lauzen.

Her study, sponsored by the Center for the Study of Women in Television and Film at San Diego State University (SDSU), found that women comprise only thirty-two percent of film reviewers working for media outlets in 2018. However, women reviewers were significantly more likely to review—and to rate more highly—films with female directors and films with female protagonists. SDSU has been tracking this data since 2007, and found some progress: over the last six years, the percentage of women regarded as “top critics” increased by twelve percentage points. The study also looked at racial diversity and observed an even starker imbalance, finding that more than eighty percent of film reviewers in 2018 are white.

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All Aboard A historic fireboat in New York Harbor commemorates the

Tauba Auerbach, Flow Separation, 2018; Commissioned by Public Art Fund and 14-18 NOW, presented on Fireboat John J. Harvey in New York COURTESY OF PAULA COOPER GALLERY; PHOTO BY NICHOLAS KNIGHT, COURTESY OF PUBLIC ART FUND, NY HARBOR

Left to right: Resilience billboards in Dundas Square, Toronto, featuring White Swan, 2013, by Jeneen Frei Njootli, and in Winnipeg, featuring Warrior Woman: Stop the Silence!, 2017 revisions of 2014 version, by Mary Longman

November 11 centennial of the end of World War I with a swirling, abstract paint design by artist Tauba Auerbach. Her work builds on the surprising camouflage patterns that were painted on ships crossing the Atlantic during World War I. These bold, high-contrast designs—inspired by animal camouflage as well as avantgarde movements such as Cubism—would seemingly distort the ships, protecting them from tracking by enemy submarines. Auerbach’s contemporary design, Flow Separation, is painted on the 1931 fireboat John J. Harvey.

Auerbach created an intricate pattern inspired by the process of marbling paper, visualizing the physics of fluid dynamics. The boat hosted public boat rides and visitors through mid-October, and it will be on view through May 12, 2019, spending the winter months at Hudson River Park’s Pier 66a in Chelsea.

PHOTO BY CLAUDIA ROHRAUER

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“As long as God has a beard, I will be a feminist.” austere construction net. At its site, atop one of Europe’s leading art schools, academy leaders said that they were proud to help Cibulka raise awareness of gender disparities in the arts. The work is part of “Solange” (“as long as” in German), Cibulka’s series of

text installations about feminism. Another new work in the series, on a construction scrim outside of Austria’s Innsbruck Cathedral, says, “Solange Gott einen Bart hat, bin ich Feminist,” or, “As long as God has a beard, I will be a feminist.”

Do I Hear a Bid? Of the one hundred artists whose works sold at auction for the highest amounts during 2017, just thirteen were women, according to the Art

Above: Katharina Cibulka’s installation on the Academy of Fine Arts in Vienna

Newspaper. Sales of art by women accounted for slightly more than seven percent of the year’s total tracked auction sales. Researchers say that although there are signs of progress in the art market, overall there remains a sharp inequity in the perception and resulting sales of work by women artists.

Champion women through the arts with NMWA membership

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Colossal Cross-Stitching While it undergoes renovations through 2020, the Academy of Fine Arts in Vienna features the city’s largest feminist installation on the protective netting outside its scaffolds.

Artist Katharina Cibulka’s work reads, “As long as the art market is a boys’ club, I will be a feminist.” Each letter, stitched in pink tulle, is more than a meter in height. It contrasts the traditional cross-stitch technique with an otherwise

Culture Watch //

EXHIBITIONS

CALIFORNIA

Zoe Leonard: Survey Museum of Contemporary Art, Los Angeles RM November 11, 2018– March 25, 2019 This large-scale retrospective highlights Leonard’s photography, sculpture, and installation works, which closely observe daily life and the politics surrounding art.

FLORIDA

Augusta Savage: Renaissance Woman Cummer Museum, Jacksonville RM October 12, 2018–April 7, 2019 Sculptures, paintings, and works on paper examine the work of Savage, an influential twentiethcentury sculptor and Harlem

Renaissance figure who elevated images of black culture.

COURTESY OF THE HILMA AF KLINT FOUNDATION, STOCKHOLM; PHOTO BY ALBIN DAHLSTRÖM, MODERNA MUSEET, STOCKHOLM

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MASSACHUSETTS

Cecilia Vicuña: Disappeared Quipu Museum of Fine Arts, Boston October 20, 2018– January 21, 2019 This exhibition pairs ancient Andean knotted-cord quipus with a monumental installation

by Vicuña exploring the nature of memory, record-keeping, and resilience to colonial repression.

NEW YORK

Hilma af Klint: Paintings for the Future

NEW YORK // Hilma af Klint, Group IV, The Ten Largest, No. 7, Adulthood

Solomon R. Guggenheim Museum, New York City October 12, 2018– February 3, 2019

(Grupp IV, De tio största, nr 7, Mannaåldern), 1907; On view at the Solomon R. Guggenheim Museum

© JESSICA STOCKHOLDER; COURTESY OF THE ARTIST AND K AVI GUPTA GALLERY, CHICAGO ; PHOTO BY EVAN JENKINS

Radical abstractionist af Klint created long-unseen paintings and drawings with colorful biomorphic and geometric forms that represent spiritual and mystical ideas.

PENNSYLVANIA

Rina Banerjee: Make Me a Summary of the World

COURTESY OF THE MUSEUM OF FINE ARTS, BOSTON

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Pennsylvania Academy of the Fine Arts, Philadelphia RM October 27, 2018– March 31, 2019

FLORIDA // Augusta Savage, Portrait Head of John Henry, ca. 1940; On view

at the Cummer Museum

Banerjee’s lively installations and sculptures—made from materials sourced throughout the world—explore multifaceted identity, inclusive conceptions of the self, and culture in diasporic communities.

TEXAS

Jessica Stockholder: Relational Aesthetics The Contemporary Austin September 15, 2018– March 3, 2019

RM

TEXAS // Jessica Stockholder,

A Freezer, 2015; On view at The Contemporary Austin

Stockholder creates hybridized, site-specific installations that blend architecture, interior design, painting, and assemblage to create singular experiences with color and abstraction.

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BOOKS

International

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CANADA

Guo Pei: Couture Beyond

This midcareer survey exhibition features couture designer Guo Pei, who combines contemporary aesthetics with Chinese history and tradition in theatrical runway looks.

PHOTO COURTESY OF SCAD

Renoir’s Dancer: the Secret Life of Suzanne Valadon

CANADA // Guo Pei, One Thousand

and Two Nights, 2010; On view at the Vancouver Art Gallery

FRANCE

The cruel stories of Paula Rego Musée d’Orsay, Paris October 17, 2018– January 14, 2019 Rego’s large, dark pastel works combine nineteenthcentury cultural references with contemporary and autobiographical issues in distorted, dreamlike scenes.

GERMANY

Lotte Laserstein: Face to Face Städel Museum, Frankfurt September 19, 2018– March 17, 2019

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This exhibition aims to illuminate the oeuvre and artistic development of Laserstein, who painted athletic, fashion-conscious women in Weimar Germany.

RM North American Reciprocal Museum

benefits for NMWA members at the Friend level and above □ See works from NMWA’s collection

A delightfully written narrative, Catherine Hewitt’s Renoir’s Dancer: the Secret Life of Suzanne Valadon (Saint Martin’s Press, 2018) is a biography of the French artist.

Valadon (1865–1938) found fame near the turn of the century modeling for painters including Pierre-Auguste Renoir, Henri de Toulouse-Lautrec, and Edgar Degas, who became her artistic mentor. The title references Renoir, but he is merely a bit player in Valadon’s fascinating story. Born in poverty to a laundress, Valadon grew up in the bohemian neighborhood of Montmartre, known for its cafés, dance halls, and artistic residents. An independent and vivacious character, she used her natural talent and what she learned from fellow artists like Degas to build a successful artistic career, despite a lack of formal art education. “I can’t flatter a subject,” Valadon declared once, of her honest, bright paintings, which often feature the female nude in firm black outlines and expressive brushwork. Hewitt smoothly and empathetically tells Valadon’s often chaotic life story (involving single motherhood, marriages and divorces, and oscillating financial situations), highlighted by vivid descriptions of the world of nineteenth-century Paris. // NANA

GONGADZE

Circe

Old in Art School

The Greek goddess Circe is just a supporting character in Homer’s Odyssey, but in Madeline Miller’s novel Circe (Little, Brown, 2018), she takes center stage. By telling Circe’s life story, Miller provides a fresh perspective on the legendary enchantress and her brief appearance in the Odyssey.

In Miller’s narrative, Circe is a minor nymph, overlooked by her family until she discovers her natural gift for witchcraft. While testing her newfound talent, Circe makes a devastating mistake and is exiled to a remote island for eternity.

She has few visitors aside from crews of ships that run aground on her shores, whom she transforms into pigs to protect herself from assault.

Despite cursing crew after crew of greedy men, Circe is fascinated by humans. When the hero Odysseus lands on her island, their encounter leaves her questioning the value of her immortality and the limits of her compassion for mankind.

Miller’s lyrical prose immerses the reader in the world of Greek mythology as she creates a portrait of an empathetic, conflicted, and independent goddess—a far cry from Homer’s malicious sorceress.

Why reinvent yourself? In the memoir Old in Art School (Counterpoint, 2018), historian Nell Painter—emerita professor at Princeton University and author of the bestseller The History of White People— describes the ambition and restlessness fueling her return to school in her sixties for a BFA and MFA in painting. Art school for her, at Rutgers and RISD, features “intense seeing” and “exhilarating freedom,” but also derisive teachers who provoke an “Escher loop of insecurity and self-pity.” Always curious and reflective, she discovers work by captivating artists and sees others with fresh eyes: Faith Ringgold’s and Alice Neel’s figurative paintings, Romare Bearden’s collages, Mary Lovelace O’Neal’s abstractions, and W. G. Sebald’s juxtaposition of text and image. “Here came inspiration,” she writes. She struggles meanwhile with the declines of her elderly parents, distractions by her back-burner academic career, and—as an older black woman entering a field that seeks the new and trendy—difficulty finding peers.

From friends, she says, “I heard what I needed to hear, essential advice every art student needs to hear: Keep on. Keep making art. Keep making your art.”

// ALLISON

BURNS

// ELIZABETH

LYNCH

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Vancouver Art Gallery October 13, 2018– January 20, 2019

Education Report 6

PHOTO BY ADRIENNE L. GAYOSO

Participants in the annual ABC Teacher Institute and the inaugural ABC Intensive explored NMWA’s arts-integration curriculum through art-making activities and in-gallery experiences

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PHOTO BY ADRIENNE L. GAYOSO

childhood educators. In 2017, NMWA began providing these tours for families free of charge on selected weekends.

ABC Teacher Institutes: Tried and True, Sparkling New July was a busy month for educators at NMWA. The museum hosted its ninth annual Art, Books, and Creativity (ABC) Teacher Institute—the signature program of the ABC Initiative— and its first ABC Intensive.

The ABC Institute is a five-day program for pre-kindergarten through twelfth-grade educators.

During this week, attendees learned about the mission and collection of the museum while exploring the ABC artsintegration curriculum.

Participants were treated to private time in the galleries as well as art-making and writing activities. They also learned from subject-area specialists, book artist Carol Barton, and NMWA educators. One teacher commented afterward, “What did I like best? Where do I start?

The reminder that an artist lives in everyone; clear, high-quality

instructions; applicable projects for my classroom.”

Growing to Reach Little Learners NMWA educators developed the inaugural ABC Intensive in response to ABC alumni who were eager for additional offerings. As part three of the ABC Initiative professional development triad (part two, the Advanced Institute, is offered on odd years), the ABC Intensive will be offered during even years, serving a different targeted audience each time.

This summer, it catered to early childhood educators, because the museum has served an increasing number of prekindergarten and kindergarten students and teachers over the last few years. Since 2016, the museum has offered three themed school tours for young learners, which were designed in consultation with local early

“It was wonderful— well balanced, just the right amount of making, listening, collaborating.” //An

ABC Intensive participant

The ABC Intensive reimagined what the terms “art,” “books,” and “creativity” mean to our youngest learners. It introduced participants to the tenets and practicalities of the Reggio Emilia Approach—a student-centered, constructivist pedagogy that encourages little ones to discover “languages” (often visual art forms) that help them express ideas. Reggio Emilia at its core is about arts integration. Students are encouraged to experiment with art materials throughout each day, not just in art class. Area Reggio Emilia practitioners joined the teaching team for this program and immersed our attendees in this way of thinking. Our participants

also learned about the Whole Book Approach—a children’s book story-time methodology that invites students to make meaning of a book by considering its text, illustration, and overall design—from an educator based at the Eric Carle Museum of Picture Book Art. By the Numbers In total, thirty-four teachers attended this summer’s offerings.

We welcomed our first international attendee this year, from Nigeria, as well as others from California, Maryland, New York, Pennsylvania, Virginia, and Washington, D.C. The greenest teacher had one year of experience under her belt; the most seasoned had thirty-six years.

The cohort teaches and inspires approximately 7,050 students each year—more than 200 students per educator! Ten teachers took the ABC Teacher Institute for graduate credit through the museum’s partnership with Trinity Washington University.

One participant said, “I just love you guys and if I could spend a dozen more summers with you learning, I would.”

The NMWA education team feels the same about our amazing attendees!

Dedicated Donor

Susan Wisherd, professor emerita and the former chair of the Department of Art Education at SUNY New Paltz, donated MUSEUM SUPPORTER

during her lifetime to many nonprofit organizations around the U.S. and near her home in New York’s Hudson Valley.

She began giving to NMWA in

1985—before the museum had even opened—and continued her support every year. Her engagement with NMWA was fostered by her strong belief in the museum’s mission of bringing recognition to underrecognized women artists.

She generously remembered NMWA in her estate plans, and through this long-term vision and planning, she left a greater legacy than even she had ever imagined possible.

NMWA Director Susan Fisher Sterling attended Wisherd’s “celebration of life” event in New Paltz on July 14, 2018. Sterling recalls that Wisherd’s university colleagues remembered her as a charming and demanding professor of art education. She was well-liked by her students, maintained her own studio practice, and always had a positive, can-do attitude.

During her lifetime, she kept a low profile concerning her philanthropy, but in her will,

her donations were intended to have a substantial impact on the organizations she cared about deeply. In addition to NMWA, these included the Samuel Dorsky Museum of Art and the Sojourner Truth Library at SUNY New Paltz, the Elting Memorial Library, the Mohonk Preserve, the Omega Institute, the Unison Arts Center, the Women’s Studio Workshop, and WNET Public Television. Her bequests will sustain these institutions—with missions focusing on the arts as well as nature and education—into the future.

NMWA Founder Wilhelmina Cole Holladay says, “Susan Wisherd’s well-considered planned gift will continue to sustain the museum, supporting its operations and the arts and education programs that were important to her. We are grateful for her vision and generosity.”

you can achieve much more than you may have thought possible and help NMWA to continue its important work on behalf of women in the arts.

NMWA’s Legacy Society recognizes and honors those who have made planned gifts to the museum. If you have included NMWA in your will or estate plans, please let us know so that we may personally thank you for your support

and, with your consent, recognize you as a member of the Legacy Society. For more information, please visit https://nmwa.org/legacy, or contact Advancement Officer Alexa Kaye at 202-266-2813 or plannedgiving@nmwa.org.

PLANNED GIVING AT NMWA

can help provide for the future of NMWA while offering financial and tax benefits to you and your family. There are many ways to remember NMWA in your estate, including bequests, gifts of art or other assets, making NMWA the beneficiary of a life insurance or retirement plan, or funding a charitable gift annuity.

Through your planned gift, PLANNED GIFTS

Through your planned gift, you can achieve much more than you may have thought possible to help NMWA

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IN REMEMBRANCE OF SUSAN WISHERD

PHOTO BY CAROLINE DAVIES

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Rodarte, Spring/Summer 2018 runway; Courtesy of Rodarte PHOTO © GREG KESSLER/KESSLER STUDIO

Jill D’Alessandro

PHOTO © GREG KESSLER/KESSLER STUDIO

November 10, 2018 through February 10, 2019 Rodarte, the innovative American luxury fashion house founded by sisters Kate and Laura Mulleavy, burst onto the scene in 2005, taking the fashion and art worlds by surprise with their deeply personal and conceptual approach to fashion design.

Rodarte, the first fashion exhibition organized by NMWA, explores the distinctive design principles, material concerns, and reoccurring themes that position the Mulleavys’ work within the landscape of contemporary art and fashion. Spanning the first twelve years of Rodarte, the exhibition showcases ninety complete looks from their archive as they were shown on the runway.

Highlighting selections from their most pivotal collections, Rodarte examines the designers’ visionary concepts, provocative interpretations of modern femininity, meticulous couture techniques, and profound impact on the fashion industry.

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About the Mulleavys Kate and Laura Mulleavy were raised in Northern California and later moved to Los Angeles. They both received liberal arts degrees from the University of California at Berkeley in 2001. Kate (b. 1979) studied art history with an emphasis on the nineteenth and twentieth centuries. Laura (b. 1980) focused her studies on literature and the Modernist novel.

Following their graduation, both Kate and Laura returned to their home in the Los Angeles area, where they launched their brand, Rodarte—chosen after their mother’s maiden name.

The first Rodarte collection, comprised of ten hand-finished pieces, appeared on the February 3, 2005, cover of Women’s Wear Daily within days of Kate and Laura’s inaugural trip to New York. Shortly thereafter, in September 2005, Rodarte

PHOTO © DAN & CORINA LECCA

PHOTO © DAN & CORINA LECCA

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presented its first complete runway collection during New York Fashion Week. Entirely self-taught, the Mulleavys have always set their own terms in developing their label.

Early Rodarte collections drew critical acclaim for their use of unconventional methods and materials that fused dressmaking and art-making processes. Together, these collections reveal a rapid command of their métier—the Mulleavys mastered one technique after another, skillfully combining them in subsequent collections.

Rodarte explores the Mulleavys’ pioneering approach to fashion design, which incorporates the use of narrative to convey complex thoughts that are informed by a wide range of subjects such as film, literature, art history, and nature, particularly the California landscape. The sisters meld these disparate

Layers of Inspiration Nature is a primary source of inspiration for the Mulleavys.

This influence is deeply rooted in their childhood, which was spent outdoors, exploring the redwoods and beautiful beaches that surrounded their home in Aptos, California, a coastal town between San Francisco and Monterey. They maintain their connection to nature today with frequent trips to California’s myriad state and national parks. Kate says, “I think that that closeness to the beauty of the natural world really defines our collections, and there is probably a little bit of California’s natural beauty in every one of our

collections.”¹ Laura elaborates, “Nature inspires our choice of colors and the way that we build garments—with a layering of fabrics that reference growth patterns of flowers and our use of textural materials reminiscent of the details found in nature.”² Such influences frequently take the form of floral and garden motifs. Yet, in their work a garden is not just a garden, but a symbol of a specific memory, touch, or scent; a subject as seemingly serene as a flower garden has deeper implications. For the Spring 2017 Collection, inspired by the poetic Opposite, left to right: Rodarte, Fall/ Winter 2008 runway; Spring/Summer 2009 runway; Both: courtesy of Rodarte

Above, left to right: Rodarte, Fall/ Winter 2013 runway; Spring/Summer 2018 runway; Both: courtesy of Rodarte

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sources into multi-layered narratives that they make manifest in the complex construction and material of their garments.

PHOTO © GREG KESSLER/KESSLER STUDIO

PHOTO © GREG KESSLER/KESSLER STUDIO

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Spanish film El espíritu de la colmena (The Spirit of the Beehive) (1973), models were sent down the runway in yellow, white and black-hued layers of ruffled lace and dotted tulle reminiscent of a honeycomb. That same spring, the North American rusty patched bumblebee was added to the endangered species list for the first time.

For their Spring 2012 Collection, the Mulleavys were influenced by Vincent van Gogh. The collection references the painterly details of The Starry Night (1889) and van Gogh’s iconic sunflowers. Their initial ideas, however, grew out of a visit to the Mount Wilson Observatory. It was there, not far from the Mulleavys’ Pasadena home, that Edwin Hubble discovered that the universe was expanding. Throughout the collection, digitally printed images of space and sunspots are intermixed with details from van Gogh’s paintings. The Mulleavys’ seamless blending of scientific imagery and van Gogh’s art, which share surprising aesthetic similarities, illuminates their contemplation about truths revealed by art and science.

Film and cinematography also play a central role within the Mulleavys’ oeuvre. The sisters describe early memories of visiting the locations of iconic films such as Vertigo and Star Wars. Kate says, “The tension between the real landscape of California and the one projected by Hollywood has profoundly affected our perspective on creating.” 3 These concepts are exemplified by their Fall 2014 Collection gowns inspired by Star Wars, with digitally printed imagery including Yoda, C-3PO, Luke Skywalker, and the Death Star. As the Mulleavys wrote, this collection “was inspired by our nostalgia for our childhood, delving into the ephemeral space of our imagination, highlighting our fascination with storytelling and cinema, culminating with the inclusion of artwork from Star Wars in the five couture gowns ending the collection. More than anything, this collection is about the limitless possibilities of youth and how our imagination transformed our backyard into a great adventure.”4 Recognizing the ability of fashion and costume design to be an effective tool in storytelling, the Mulleavys have

PHOTO © AUTUMN DE WILDE

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Left: Rodarte, Fall/Winter 2008 backstage

Opposite: Rodarte, Black Swan costume, 2010; Courtesy of Rodarte

“The tension between the real landscape of California and the one projected

by Hollywood has profoundly affected our perspective on creating.” k at e m u l l e av y

PHOTO © AUTUMN DE WILDE

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Dunst and premiered at the 74th Venice Film Festival. The exhibition showcases several of the costumes that Dunst wore in the hypnotic film, which explores loss, grief, and psychotropic substances.

Rodarte at NMWA For the Mulleavys, Rodarte is about creating a dream-like realm inspired by their imagination. To enhance this visionary experience within the exhibition, NMWA has partnered with New York-based design firm Rafael de Cárdenas / Architecture at Large (RDC/AAL) to create an immersive environment that transports viewers into the designers’ world.

Jill D’Alessandro, curator in charge of costume and textile arts at the Fine Arts Museums of San Francisco, is the guest curator of Rodarte.

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Notes: 1. Kate Mulleavy, phone interview with author, April 15, 2018 2. Laura Mulleavy, phone interview with author, April 15, 2018 3. Kate Mulleavy, phone interview with author, April 15, 2018 4. Kate Mulleavy and Laura Mulleavy, “Fashion and the Force: Rodarte’s Star Wars Gowns,” StarWars.com, March 14, 2014 5. Maurizio Cattelan, “Rodarte: A material world,” Flash Art, Feature 277, March–April 2011 Rodarte is organized by the National Museum of Women in the Arts. The exhibition is made possible by Christine Suppes, with additional funding provided by Denise Littlefield Sobel and Northern Trust. Further support is provided by the Sue J. Henry and Carter G. Phillips Exhibition Fund, Swarovski, and NMWA’s Couture Circle. In-kind support is provided by KnollTextiles.

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designed costumes for opera and film productions. In 2010, they designed and created the ballet costumes for the Academy Award–winning film Black Swan, receiving a Critics’ Choice nomination for their work. Natalie Portman, the film’s star, recommended them to director Darren Aronofsky, recognizing the synergy between the psychological horror film and the elegant yet visceral balletic designs of Rodarte’s Fall/ Winter 2008 Collection. Both this collection and two of the tutus from the film are on view in the exhibition. In preparation for Black Swan, the Mulleavys conducted extensive research into the history of ballet and sociopolitical developments surrounding ballet and the female body. As Kate explained, “The story of ‘Swan Lake’ unfolds as a tale of the transformation of the maiden into a swan and then mutates again into a tale of mistaken identity. The dark and extremely beautiful transformation in ‘Swan Lake’ mirrors the physical transformation that the ballerina goes through in order to perform. We were inspired by the idea of transformation, specifically the dichotomy between perfection and decay.”5 In the creation of these dramatic costumes, they used a rich combination of materials—silk chiffon, net, and woven organza, overlaid with vinyl, hand-applied feathers, and Swarovski crystals. In contrast to the delicate and downy White Swan tutu, made of angora and feathers, the Black Swan costume was designed to look menacing, perfect yet ruined, with layers of black tulle and a multitude of shiny dark and pointed feathers and a distressed tiara made of burned cast copper. In 2017, the Mulleavys wrote and directed their first feature film, Woodshock, which starred Kirsten

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Full Bleed A Decade of Photobooks and Photo Zines by Women On view through November 30, 2018

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Alison Baitz

Despite the availability of image-editing software, photography has an aura of truth.

It implies evidence or proof, a window into another person’s lived experience. Full Bleed: A Decade of Photobooks and Photo Zines by Women, on view in the Betty Boyd Dettre Library and Research Center (LRC), showcases seventeen examples of contemporary women artists creating photo-focused publications.

The arrangement of simple saddle-stitched, self-published zines next to cloth-bound monographs by big-name publishers is a reminder of the spectrum of publishing today—these publications feature engaging photography in both high-fi and lo-fi formats.

The exhibition, organized by Sarah Osborne Bender, the former director of the LRC, displays some of the most compelling examples of contemporary photography by women artists from the library’s collection. These are documents of intimate observation and artistic experimentation, though their subjects range widely: Zanele Muholi’s stark, blackand-white Faces and Phases (2010) features striking portraits of too-long-invisible black lesbians of South Africa, Alison Rossiter’s Expired Paper (2017) reveals exquisite effects achieved using expired photo paper, and Josie Keefe and Phyllis Ma’s self-published zine Lazy Mom (2016) riffs on the idea of a bored family matriarch who would rather play with food than lovingly prepare it for her kin. But these works don’t all solely show original images. Laia Abril’s engrossing Epilogue (2014) combines original photography, found photography, and interview transcripts to paint a portrait of a woman who died from bulimia, as well as the family she left behind. Abril heightens her message through the unexpected medium.

Opposite: Sharon Core, Melon and Pitcher, from the series “Early American”

Right: LaToya Ruby Frazier, a photograph from the series “The Notion of Family”

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These are documents of intimate observation and artistic experimentation, though their subjects range widely.

Taryn Simon, An American Index of the Hidden and Unfamiliar, 2012

The Notion of Family by LaToya Ruby Frazier; New York: Aperture, 2014 LaToya Ruby Frazier (b. 1982) hails from Braddock, Pennsylvania, a Pittsburgh suburb whose steel industry sharply declined in the 1960s and ’70s, leaving a marginalized working-class black community. Frazier began photographing the people and spaces around her—her mother, herself, a city block of empty storefronts—when she was nineteen years old. Frazier’s crisp black-and-white imagery chronicles the lives of people around her, including deeply moving familial portraits. The artist depicts the relationships and themes that shaped her life, while exploring the effects of environmental racism and generational poverty. Frazier’s stark, poetic captions both describe her photographs and illuminate her point of view.

An American Index of the Hidden and Unfamiliar by Taryn Simon; Ostfildern: Hatje Cantz, 2012 If a “do not enter” sign only serves to make a space more intriguing, then Taryn Simon’s 2012 book An American Index of the Hidden and Unfamiliar will appeal. Simon (b. 1975) infiltrated some of the most off-limits spaces in America, gathering the images in this extremely straightforward presentation—the book’s library-like binding and the identical, geometrical layout of the images inside—that seems to catalogue them dispassionately. The places that Simon visits are often sinister (a Ku Klux Klan headquarters in rural Western Maryland) and sometimes innocuous (the Bureau of Engraving and Printing). Simon points an objective lens at these spaces; fact-filled descriptions accompany the images, giving the viewer few clues from the artist about how to interpret the scenes. A sense of dread feels almost palpable throughout the book—I wasn’t sure I wanted access to the Republic of Texas Interim Government Capitol Building, but now that I have it, I can’t look away. Can you? // Alison Baitz is a Full Bleed zine artist and volunteer in the Betty

Boyd Dettre Library and Research Center at the National Museum of Women in the Arts.

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Early American by Sharon Core; Santa Fe: Radius Books, 2012 Many artists have interpreted the genre of still life. While it’s a delight to see a photographic reinterpretation of centuries-old still-life paintings, Sharon Core (b. 1965) goes many steps beyond superficial imitation. In Early American, Core pays homage to American artist Raphaelle Peale (1774–1825), considered by many to be the first American professional still-life painter. Core not only achieved the lighting and look of Peale’s works, she grew all the heirloom fruits and baked all the goods depicted—even collecting period tableware for use in the display. The stories behind these images highlight the invisible work behind seemingly simple domestic scenes.

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EXHIBITIONS

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Daily / Weekly / Monthly

KEY

Gallery Experience: Conversation Pieces Rodarte November 10, 2018– February 10, 2019 New York Avenue Sculpture Project: Betsabeé Romero On view through September 20, 2020

MOST DAYS 2–2:30 P.M. // M A O

F Free M

Free for members



Free for members and one guest

Join us for thirty-minute conversations that spotlight two works on view. Check in at the Information Desk.

A

Free with admission

Gallery Talks: Lunchtime Series

O

No reservations required

WEDNESDAYS 12–12:30 P.M. // F M O

R

Reservation required at https://nmwa.org

Bite-sized lunchtime talks led by museum staff members encourage visitors to look closely and discuss works in exhibitions and the museum’s collection.

E Exhibition-related program

Free Community Days

Bound to Amaze: Inside a Book-Collecting Career On view through November 25, 2018

FIRST SUNDAYS 12–5 P.M. // F M O

The first Sunday of each month, NMWA offers free admission to the public. Enjoy current exhibitions and the collection galleries.

Ambreen Butt— Mark My Words December 7, 2018– April 14, 2019 Full Bleed: A Decade of Photobooks and Photo Zines

by Women On view through November 30, 2018, in the Betty Boyd Dettre Library and Research Center; Open Monday–Friday, 10 a.m.– 12 p.m. and 1 p.m.–5 p.m.

October

10 / 3

Gallery Talk: Collection Sampler

WED 12–12:30 P.M. // F M O

10 / 5

Teacher Program: Back to School Night

FRI 5–7:30 P.M. // R

At this after-hours event for teachers, make connections with colleagues and NMWA’s collection. $10 general.

Below: Rodarte, Spring/Summer 2018 runway; Courtesy of Rodarte; On view in Rodarte

10 / 7

SUN

10 / 7

Free Community Day 12–5 P.M. // F M O

Drop-In Tour: Fierce Women

SUN 1–2 P.M. // F M O

Discover fierce women who blazed trails as artists, activists, and innovators. Limited space—check in at the Information Desk.

10 / 9 Cultural Capital: Mujeres de Cine/ Films across Borders

TUES 6:30–8:30 P.M. // F M R

Celebrate women in Spain’s film industry with a screening of Ana Asensio’s Most Beautiful Island (80 min.). The film portrays a young woman struggling to begin a new life in New York City.

PHOTO © GREG KESSLER/KESSLER STUDIO

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10 / 10

Gallery Talk: Collection Sampler

WED 12–12:30 P.M. // F M O

10 / 17

Gallery Talk: Collection Sampler

WED 12–12:30 P.M. // F M O

10 / 21

Shenson Chamber Music Concert: Bernstein at 100

SUN 3–5:30 P.M. // F M R

Artistic Director Gilan Tocco Corn welcomes attendees to the 2018–19 concert season with the complete solo piano works of Leonard Bernstein, performed by faculty, alumni, and students of The Catholic University of America Piano Division.

Visit https://nmwa.org for reservations, a complete calendar of events, and more information.

11 / 7

Shenson Chamber Music Concert: Jenny Lin

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WED 7:30–9:30 P.M. // F M R

Artistic Director Gilan Tocco Corn welcomes Jenny Lin, one of the most respected young pianists today.

11 / 9

FRI

Member Preview Day: Rodarte 11 A.M.–2 P.M. // M + O E

Attend a special preview of Rodarte, featuring the celebrated American luxury fashion house founded by sisters Kate and Laura Mulleavy.

11 / 9

FRI

Exhibition Opening Party: Rodarte 8–11 P.M. // R E

You’re invited! Join us to celebrate the opening of Rodarte, which showcases the designers’ conceptual blend of high fashion and modern femininity.

Ticket includes exhibition entry, music, and open bar. $50 general, $40 members.

PHOTO BY DAKOTA FINE

11 / 14

Gallery Talk: Bound to Amaze

WED 12–12:30 P.M. // F M O E

11 / 14

WED

Book Arts Lecture: Audrey Niffenegger 3:30–5 P.M. // F M O

Book artist, painter, and author Audrey Niffenegger presents NMWA’s fourth annual Book Arts Lecture, exploring the influence of libraries on her art and writing.

10 / 24

Gallery Talk: Bound to Amaze Gallery Talk: Collection Sampler

WED 12–12:30 P.M. // F M O

November

11 / 4

SUN

11 / 4

11 / 18

SUN

Fresh Talk: Sarah Lewis—Vision & Justice 4:30–8 P.M. // R

Join us to explore photography as a catalyst for social change during an evening featuring Sarah Lewis, who illuminates the relationship between what we see (vision) and what we fix (justice). Ticket includes museum admission and Sunday Supper. $25 general; $20 members, seniors, students.

WED 12–12:30 P.M. // F M O E

10 / 31

Free Community Day 12–5 P.M. // F M O

Drop-In Tour: Fierce Women

SUN 1–2 P.M. // F M O

Discover fierce women who blazed trails as artists, activists, and innovators. Limited space—check in at the Information Desk.

11 / 4 Cultural Capital: Inocente— Screening & Conversation SUN 3–5:30 P.M. // F M R

11 / 7

Gallery Talk: Bound to Amaze

WED 12–12:30 P.M. // F M O E

PHOTO BY MARGOT SCHULMAN

The inspiring film Inocente (42 min.) tells the story of a homeless teenage girl who dreams of becoming an artist. Presented in collaboration with the DC Alliance of Youth Advocates, the screening is followed by a panel discussion on efforts to end youth homelessness in D.C.

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PHOTO BY YASSINE EL MANSOURI

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KEY

F Free

O No reservations required

M Free for members

R Reservation required at



Free for members and one guest

A

Free with admission

https://nmwa.org

E Exhibition-related program

11 / 21

Gallery Talk: Rodarte

WED 12–12:30 P.M. // F M O E

11 / 28

12 / 2

SUN

12 / 2

12 / 12

12 / 19

12–5 P.M. // F M O

Drop-In Tour: Fierce Women

SUN 1–2 P.M. // F M O

January

1 / 2

WED 12–12:30 P.M. // F M O E

12 / 2 Film:

Black Swan

SUN 2:15–4:15 P.M. // F M O E

Watch Black Swan (2010, 110 min.), a psychological thriller featuring costumes by the Mulleavy sisters of fashion house Rodarte.

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12 / 5

1 / 6

Free Community Day

SUN

12–5 P.M. // F M O

1 / 6

Drop-In Tour: Fierce Women 2.0

SUN 1–2 P.M. // F M O

With a fresh installation of the collection, discover new fierce women who blazed trails as artists, activists, and innovators. Limited space—check in at the Information Desk.

1 / 6 Film:

SUN 2:15–4 P.M. // F M O E

Woodshock

Watch Woodshock (2017, 100 min.), a hypnotic exploration of isolation, paranoia, and grief. It is the feature film debut of Kate and Laura Mulleavy, fashion designers and founders of Rodarte.

Gallery Talk: Rodarte

WED 12–12:30 P.M. // F M O E

Gallery Talk: Rodarte

Discover fierce women who blazed trails as artists, activists, and innovators. Limited space—check in at the Information Desk.

Gallery Talk: Ambreen Butt

WED 12–12:30 P.M. // F M O E

Gallery Talk: Rodarte

Free Community Day

Gallery Talk: Rodarte

WED 12–12:30 P.M. // F M O E

WED 12–12:30 P.M. // F M O E

December

NMWA Nights: Fashion Forward

TUES 6–8:30 P.M. // R E

Get crafty for a cause! Try your hand at crafts inspired by fashion in Rodarte, enjoy drinks and snacks, and explore the museum’s galleries. All proceeds benefit program partner Dress for Success, Washington, D.C.

12 / 11

1 / 9

WED 12–12:30 P.M. // F M O E

Gallery Talk: Rodarte

Visit https://nmwa.org for reservations, a complete calendar of events, and more information.

1 / 12 Firsthand Experience Workshop: Fashion Illustration

Self-portrait by Delphine Lee, who leads the fashion illustration workshop on January 12; Courtesy of the artist

SAT 9:30 A.M.–2:30 P.M. // R E

D.C.-area illustrator Delphine Lee leads students through the fundamentals of fashion illustration.

With inspiration from Rodarte and the museum’s collection, students will explore and experiment. $25 general; $15 members, seniors, students.

1 / 16

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Gallery Talk: Rodarte

WED 12–12:30 P.M. // F M O E

1 / 23

Gallery Talk: Ambreen Butt

WED 12–12:30 P.M. // F M O E

1 / 30

Gallery Talk: Rodarte

WED 12–12:30 P.M. // F M O E

February

2 / 2 Firsthand Experience Workshop: Sewing Machine 101

SAT 9:30 A.M.–2:30 P.M. // R E

D.C. Public Library Fab Lab workshop instructor Molly Stratton guides participants through the basics of using a sewing machine. Inspired by Rodarte, and created for absolute beginners. $25 general; $15 members, seniors, students.

2 / 3

Free Community Day

SUN

12–5 P.M. // F M O

2 / 3

Drop-In Tour: Fierce Women 2.0

SUN 1–2 P.M. // F M O

With a fresh installation of the collection, discover new fierce women who blazed trails as artists, activists, and innovators. Limited space—check in at the Information Desk.

2 / 6

WED 12–12:30 P.M. // F M O E

2 / 13

WED

Gallery Talk: Rodarte Gallery Talk: Collection Sampler 12–12:30 P.M. // F M O

// Education programming is made possible by Mrs. Marjorie Rachlin,

The Women, Arts, and Social Change public programs initiative is made possible through leadership gifts from Denise Littlefield Sobel, the Davis/Dauray Family Fund, and the Susan and Jim Swartz Public Programs Fund. Additional support is provided by the Bernstein Family Foundation, The Reva and David Logan Foundation, and the DC Commission on the Arts and Humanities, which receives support from the National Endowment for the Arts.

The Shenson Chamber Music Concert Series is made possible by support from Fred M. Levin and Nancy Livingston, The Shenson Foundation in memory of Drs. Ben and A. Jess Shenson, and The Honorable Mary V. Mochary.

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PHOTO BY EMILY HAIGHT, NMWA

the Leo Rosner Foundation, SunTrust, the William Randolph Hearst Foundation, and the DC Commission on the Arts and Humanities, which receives support from the National Endowment for the Arts.

Additional support is provided by Wells Fargo, the Harriet E. McNamee Youth Education Fund, William and Christine Leahy, and the Junior League of Washington.

Betsabeé Romero

New York Avenue Sculpture Project installation rendering; Courtesy Betsabeé Romero Art Studio

new york avenue sculpture project September 28, 2018–September 20, 2020

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Kathryn Wat

The dynamic works of Mexico City-based BetsabeÊ Romero (b. 1963) form the next chapter in NMWA’s evolving public art program, the New York Avenue Sculpture Project, established in 2010. To create her four sculptures developed expressly for this installation, Romero carved and painted tires and assembled them into totemic structures that speak to themes of human migration and the natural environment.

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Betsabeé Romero, En cautiverio (In captivity) (rendering, detail), 2018; Two tractor tires with engraving, gold leaf, and silver leaf and steel support, each approx.

78 ¾ x 51 ¼ x 19 ⁵/₈ in.; Courtesy Betsabeé Romero Art Studio

all works featured to date in the Sculpture Project have

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Signals of a Long Road Together Romero’s group of sculptures, which she collectively titles Signals of a Long Road Together, symbolize humankind’s profound connection to cultural traditions as well as our yearning to keep families safe and thriving. Common experiences related to migration inform Romero’s art directly, but she sees her work as emblematic of humanity’s broader impulse toward mobility: “All of us are migrants between life and death. It is a migration that is inevitable and real.” Signals of a Long Road Together speaks poetically to this universal condition.

A sixteen-foot-tall sculpture in the installation, Huellas y cicatricez (Traces and scars), comprises four tires stacked vertically, their sidewalls engraved with repeating figures of mothers and children running hand-in-hand, symbols of families trying to survive together. They move “away from their history and their ancestral culture,” the artist says.

Theirs is an experience shared by families in peril or despair around the world. Although Romero grounds her work in Mexican history and culture, she invites a contemporary and global interpretation of her imagery.

Central to Romero’s artistic practice is her embrace of materials and techniques relating to popular culture. She transforms cars and automotive components because cars have especially broad cultural appeal. In her tire sculptures, she works in a method similar to body tattooing, carving figures and intricate patterns into tires’ sidewalls and treads and then filling in the motifs with metallic paint. “I engrave tires slowly, artisanally,” Romero says. “This way, the tire becomes a tool that doesn’t work for speed but instead for memory.”

Romero develops motifs that derive from pre-Columbian or medieval Spanish art. A second sixteen-foot-tall sculpture in the Sculpture Project titled Movilidad y tensión (Mobility and

PHOTO CREDIT

been illuminated at night, increasing their visibility within the site’s busy urban setting on New York Avenue between 12th and 13th Streets NW. Romero’s sculptures are the first to incorporate interior lighting. Lights arranged inside many of the tires give each sculpture an otherworldly glow and emphasize their circular shapes. For Romero, light also signifies the power of ancestral customs and principles to illuminate the path forward.

tension) comprises eight half-tires engraved with intricate symbols that resemble Mudéjar designs. The Mudéjar style developed in medieval Spain as a synthesis of Islamic artistic traditions and various contemporary European styles, particularly the Gothic.

Also in homage to Mexican cultural heritage, Romero created En cautiverio (In captivity). In this work, two tractor tires, held aloft by slim steel columns, seem to hover above the ground. The knobby tread of each tire is painted with intertwined silver and gold serpent-like forms, which allude to Mexican and other global mythologies describing the stealth and power of the snake.

Romero created the final sculpture in the installation, Movilidad en suspenso (Mobility in suspense), by threading four tractor tires across a horizontal bar, a format she nicknames the “rolling pin.” The imposing form alludes to farm work and the cycles of cultivation. Romero used previous versions of her “rolling pin” sculptures to create outsize working stamps that she rolled across paper, sand, and fabric to make immense prints. In the rolling pin sculpture made for NMWA’s site, the tread of each tire is painted with bold decorative bands that derive from traditional patterns in Mexican decorative art and architecture. “These are print matrixes that have been unceasingly transferring the wealth of a history full of tradition and languages,” the artist observes.

The Newest Chapter in NMWA’s Sculpture Project Inaugurated in 2010, the Sculpture Project has presented sculptures by Niki de Saint Phalle (1930–2002), Chakaia Booker (b. 1953), and Magdalena Abakanowicz (1930–2017).

Romero’s sculptures are the first works created expressly for the Sculpture Project and its urban site. The artist observes Above: New York Avenue Sculpture Project installation rendering; Courtesy Betsabeé Romero Art Studio Left: Betsabeé Romero; Photo courtesy of the artist

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that the hum of traffic and activity in the museum’s neighborhood resonates with her car-based imagery and themes of migration and movement.

With its unique placement in the center of a busy thoroughfare, the Sculpture Project brings art into the streets and stimulates conversation and inquiry. Since the beginning of her career, Romero has worked with non-conventional mediums— rubber, textiles, plastics, and even chewing gum—because she sees painting and sculptures made from precious materials as objects intended for the enclosed spaces of art galleries.

For her, art does not belong in a world situated behind closed doors—it must play an active role in the human community.

There is a great deal of traditional public sculpture in Washington, D.C., but little of it is modern or contemporary, and there are few works by women. The New York Avenue Sculpture Project redresses this imbalance, and Romero’s works demonstrate anew women artists’ inspiring creative vision and technical innovations in the medium of sculpture.

Kathryn Wat is the chief curator at the National Museum of Women in the Arts.

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Note: 1. All quotes from the artist are drawn from correspondence with the author or CGTN, “Urban Voices: Betsabeé Romero up-cycles everyday objects into art” (video), posted March 5, 2017, updated May 1, 2017, https://america.cgtn.com/2017/03/05/urban-voices-bestabee-romero.

New York Avenue Sculpture Project: Betsabeé Romero is made possible with funding provided by the DC Commission on the Arts and Humanities, Public Art Building Communities Program, and the National Museum of Women in the Arts, with support provided by the Sue J. Henry and Carter G. Phillips Exhibition Fund. The exhibition is organized by the museum in partnership with the DowntownDC Business Improvement District (BID) and with assistance from the Embassy of Mexico’s Cultural Institute.

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Tires’ essential component—rubber—is a rain forest resource converted into commercial products since the nineteenth century. Rubber grown in Central and South America was often harvested through low-paid or forced labor, and the ecological and human toll exacted by this process left “a territory of scars,” according to Romero. Through her art, she seeks to invert the impulse in modern societies to gather natural elements such as rubber or salts (used in mobile phone batteries, for example) to make goods that offer everfaster means of movement and communication.

In addition to reflecting on rubber’s history in the Americas, Romero chooses to work with tires to represent Earth’s endangered environment: “My tire sculptures are about recycling the item but also upcycling the tire’s role as one of the world’s biggest pollutants.” Each of the sculptures created for the Sculpture Project features designs colored with gold or silver metallic pigment, creating a striking juxtaposition between the recycled tires and their materially valuable decoration.

“The wheel is as the footprint, repeating along the traveled path, the crossed path, the changed path,” notes Romero.

Through her inventive installation in the New York Avenue Sculpture Project, she powerfully reminds visitors to NMWA that humankind moves along many paths, some practiced and familiar, and others unexpected and uncertain.

PHOTO BY SARAH BAKER

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Connect and Celebrate: National and International Outreach Committees

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Dana Sherman Marine

NMWA’s recent exhibition Heavy Metal, June 28 to September 16, 2018, featured artists whose works in metal were by turns intricate, dazzling, and thought-provoking. It was the fifth in the museum’s Women to Watch series, in collaboration with its network of national and international committees. Many committee members came to Washington, D.C., to attend opening festivities and see Heavy Metal in person. The Committee Conference was organized to coincide, so that members could enjoy the opening while also building ideas and connections to help their groups flourish.

2018 National and International Committee Conference

At the conference, June 26 to 27, eighty committee members gathered in their common passion to champion women in the arts, connect with NMWA staff, share ideas for the future.

Attendees met with members of the museum’s membership, public programs, education, digital engagement, and curatorial departments. They also brainstormed and networked, leaving with fresh ideas and insights.

Conference attendees were treated to a wonderful series of celebratory events: On their first evening in D.C., committee members, along with Heavy Metal artists and regional curators, attended a panel discussion hosted by the Embassy of Spain, featuring Spanish artist Blanca Muñoz. On June 28, they were invited to a private lunch reception with the

Opposite: Committee Conference attendees at NMWA with Director Susan Fisher Sterling and Deputy Director for National and International Outreach Ilene Gutman

At the committee conference luncheon at the Italian Ambassador’s residence, left to right: Liz Cullen, Brenda Bertholf, Megan Rook-Koepsel, Sue Henry, Elva Ferrari-Graham, Liz Robinson, Susie Ganch, Clara Lovett, and Stefanie Fedor

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have generously contributed general support, funding for specific exhibitions including Revival, She Who Tells a Story, and Picturing Mary, and funding for other museum needs, such as much-needed gallery benches. Some committees have donated significant works of art to NMWA’s collection: In the past three years, the Massachusetts State Committee purchased Ambreen Butt’s Great Hunt I (2008) for NMWA, the U.K. Friends of NMWA donated Cornelia Parker’s Thirty Pieces of Silver (exhale) Sugar Bowl (2003), and the Georgia Committee donated Mildred Thompson’s Magnetic Fields (1990).

The Evolution of Women to Watch The Women to Watch exhibition series began in 2008, with an exhibition of contemporary photography curated by Susan Fisher Sterling, who was then a curator and is now the museum’s director. With ten participating committees (six national and four international) the show featured thirtytwo works of art in one gallery. Over the years, the series has been organized around different artistic mediums or themes, including figurative works, works in fiber, works inspired by nature, and—in 2018—works in metal.

Over the past decade, Women to Watch has evolved into a dynamic collaboration between NMWA and its committees.

Curators in each region create shortlists of artists working with the specified medium or topic, and NMWA curators select the final artists from these lists. The twenty Heavy Metal artists explored the expressive and technical possibilities of metal as a medium, in forms as varied as jewelry, sculpture, and large-scale installations.

The committee conference and celebrations culminated in the exhibition’s opening reception. The size and scope of Heavy Metal—the largest Women to Watch presentation to date—demonstrated the program’s success and paid tribute to NMWA’s thirtieth anniversary. The museum welcomed four hundred guests, including the artists representing thirteen national and seven international committees. This show, made possible by the extraordinary members of the national and international outreach committees, is a new cornerstone in their achievement for NMWA and for women in the arts.

Dana Sherman Marine is the national and international programs manager at the National Museum of Women in the Arts.

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PHOTO BY SARAH BAKER

Committee Origins and Activities NMWA’s national and international committees champion women artists in their regions, extending the museum’s reach far beyond its walls. It was part of the vision of NMWA Founder Wilhelmina Cole Holladay to promote the museum’s mission on a national scale—she worked with supporters to create the first committees in Arkansas and Texas in 1986. The committee outreach initiative has been directed by Ilene Gutman since 1998, and in 2003, the museum established its first international committee, in France. There are now twenty-one active committees in the U.S., Europe, and South America.

The committees have created substantive arts programming in their regions, raising the museum’s profile and creating local opportunities for women artists. In the last three years, more than 100,000 people have attended committee-organized exhibitions, panel discussions, and visits to artists’ studios and museums. Committees have established partnerships with other cultural institutions, supported young artists and students through scholarships and internship programs, and staged local exhibitions featuring their nominated Women to Watch artists. At the museum, in addition to the Women to Watch series, the committees

PHOTO BY SARAH BAKER

Ambassador of Italy and Mrs. Armando Varricchio, with special guest Maria Elisabetta Alberti Casellati, President of the Senate of the Republic of Italy. They paid tribute to NMWA’s mission and the emerging women artists whose work was on view. The following day, the Embassy of Chile hosted a lunch for attendees, and that evening, Ambassador Carlos Pareja and Consuelo Salinas de Pareja opened their embassy gallery for an exhibition of works by contemporary Peruvian artists. Support from the diplomatic community helped NMWA to create and celebrate this exhibition featuring women artists from around the world.

At the opening reception for Heavy Metal— Women to Watch 2018, members of the U.K. Friends of NMWA and artist Rana Begum in front of her work

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MELLOR BOOK PRIZE

Jo Applin’s Lee Lozano: Not Working the series of outrageous drawings of body parts and tools she made in the early 1960s, which made me laugh out loud.

I only then began to research her in earnest. I began to look into her conceptual “art-life” activities that included Dialogue Piece (1969) and her infamous Dropout Piece (1970). Lozano then dropped out of the art world for good, shortly after announcing her subsequent “boycott of women” that she maintained—more or less—until her death in 1999.

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Elizabeth Lynch

NMWA’s Suzanne & James Mellor Prize supports scholarly work on women artists. The second book to be published with its sponsorship is Lee Lozano: Not Working (Yale University Press, 2018), by Jo Applin.

Applin, a professor of modern and contemporary art at the Courtauld Institute of Art, London, specializes in art of the 1960s. Her book is the culmination of years of research on the short career of Lozano (1930–1999), an enigmatic artist who created visual and conceptual work, then carried out a piece of performance art that entailed abandoning art entirely.

“I am extraordinarily grateful to the museum and the Mellors for their support.”

Editor Elizabeth Lynch spoke with Applin about the book: EL: How did Lee Lozano first come to interest you as a research subject?

JA: It was Lozano’s paintings that first grabbed my attention, rather than her later radical politics. I knew nothing about Lozano when I first encountered her large, minimalist abstract paintings. I decided to look her up in the library, only to discover

EL: How does her early work— particularly her figurative art depicting tools—illuminate her career?

JA: For me, the thread connecting her drawings, paintings, conceptual “art-life” practices, and final “dropout” decision was Lozano’s ongoing investigation, and actual encounter with, the problem of work and failure.

In particular I wanted to think about Lozano’s fascination with the ways in which people, as well as tools, objects, and systems, appear to be working but also not working.

EL: Can you describe her rejection of feminism, and how she came to boycott women?

JA: One of my aims with this book was to claim Lozano for feminism, which is something of a conundrum given Lozano’s own, outspoken refusal to join the women’s movement.

I wanted to focus on her fierce determination to think seriously about sexuality and gender.

Of course, Lozano wasn’t the only artist—or woman—who expressed unease with the women’s movement in the late sixties and early seventies. Why Lozano ultimately decided to

boycott other women altogether remains largely unanswered, although I attempt to make sense of this as a political position, on Lozano’s part: she initially planned the “boycott” as a short-lived experiment. She hoped things would be “better” afterward, although in the end she elected to maintain her silence and to leave the art world instead.

EL: What do you think makes Lozano’s work most interesting today?

JA: I certainly see Lozano as a figure who fascinates younger feminists—they are thrilled by Lozano’s audacity, her ambitions for her work and herself. I think Lozano’s refusal to follow rules, to abide by a specific set of guidelines, or to align herself straightforwardly with any one political line, excites, and even emboldens us to think—like Lozano—seriously, and idiosyncratically, about ourselves, the world, and our place within that world.

EL: What was the significance of the Mellor Prize in bringing your book to fruition?

JA: The research, writing, and beautiful illustration of the book—including many images that have not been published before—could not, quite simply, have happened were it not for the incredible generosity of the Suzanne & James Mellor Book Prize. I am extraordinarily grateful to the museum and the Mellors for not only their support of my work on Lee Lozano, but also for their ongoing contribution to the study, exhibition, and visibility of art by women artists.

Elizabeth Lynch is the editor at the National Museum of Women in the Arts.

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Member News Three Ways to Boost Your Impact!

With the end of 2018 approaching, you can boost your support of women in the arts through a year-end gift to NMWA. • Donating appreciated stocks, bonds, or mutual funds is quick and simple and may provide you with significant tax benefits.

• If you are 70 ½ or older, you can make cash gifts totaling up to $100,000 from your traditional or Roth IRA to NMWA. • Many companies offer a matching gift program to current employees and retirees that could double— or even triple—your generous contribution to NMWA.

and receive a third Supporterlevel gift membership for free.

Membership includes: • A subscription to Women in the Arts magazine and monthly e-news; • Free museum admission and special invitations to previews and events; • Discounts on program registration and in the Museum Shop and Mezzanine Café; and • A convenient card holder that adheres to a mobile phone.

December 25, please order

by December 14, by calling the membership office at 202-783-7983.

See Rodarte First!

Join us Friday, November 9, to preview Rodarte, featuring the celebrated American luxury fashion house founded

by sisters Kate and Laura Mulleavy. The member preview, free for members and a guest, takes place 11 a.m. to 2 p.m.

Tickets to the opening party, featuring music and open bar from 8 to 11 p.m., are $40 for members and $50 for general admission. Visit https://nmwa.org for more information.

for NMWA and a passionate advocate for women artists.”

Nakamoto applied to the museum’s docent program in September 1986 as a way to learn more about women’s contributions to society, and she began leading tours at the residence of Founders Wallace and Wilhelmina Holladay in the months before the museum officially opened.

From that time through May 2018, she volunteered an average of 50 hours per month—approximately 1,500 hours in all—most often staffing the Information Desk

and leading tours of NMWA’s collection and exhibitions.

Outside of NMWA, she was dedicated to her profession as a social worker, and she volunteered at several other institutions. As Nakamoto described in 2009, “Learning about so many distinctive women artists in recent years has made the museum a constant treasure.” As a testament to Nakamoto’s impact on NMWA’s volunteer program, a group of docents are contributing to the Harriet E. McNamee Youth Education Fund in her memory.

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Visit https://nmwa.org/support or call 866-875-4627 for more information.

Offer applies to memberships at the $50 Supporter level or higher that are ordered by December 14, 2018. To ensure that your gift arrives before

YASSINE EL MANSOURI

Gift Memberships: Artful Holiday Giving Help women in the arts gain new champions by sharing the gift of NMWA membership.

Buy two gift memberships

In Remembrance of Docent Laurie Trusty Nakamoto NMWA’s longest-serving docent, Laurie Trusty Nakamoto, died on May 20, 2018. NMWA Director of Education and Digital Engagement Deborah Gaston says, “During her 31 years of dedicated volunteer service, Laurie tirelessly shared her time, passion, and expertise with museum staff and visitors in ways that made a real difference in many lives. She was a remarkable ambassador Laurie Trusty Nakamoto at the 2016 Volunteer Appreciation Party

WO M E N I N T H E A RTS

EMILY HAIGHT, NMWA

Museum News

Museum Events Opening Celebrations for Heavy Metal—Women to Watch 2018 1. Heavy Metal artists Carolina Sardi, Rana Begum, Paula Castillo, Katherine Vetne, Blanca Muñoz, Venetia Dale, Petronella Eriksson, Kelsey Wishik, Carolina Rieckhof Brommer, Leila Khoury, Serena Porrati, Cheryl Eve Acosta, Susie Ganch, Beverly Penn, Holly Laws, Kerianne Quick, Charlotte Charbonnel, Lola Brooks, and Alejandra Prieto 2. Regina Bilotta, NMWA Deputy Director for National and International Outreach Ilene Gutman, Geri Skirkanich, Bruce Glassman, Suzanne Glassman, Sophie Glassman, and Jeffrey Gutman 3. Board Vice Chair Winton Holladay welcomes attendees 4. Paul T. Clark and Deborah E. Myers 5. Iolanda Ratti, Claudia Pensotti Mosca, Ambassador of Italy Armando Varricchio, Serena Porrati, and President of the Italian Senate Maria Elisabetta Alberti Casellati at a celebratory luncheon at the Italian Ambassador’s Residence 6. Mary Mocas, Robin Laub, Catharine Clark, Lorna Meyer Calas, Lucy Buchanan, Carol Parker, Ellen Drew, Tara Rudman, and Katherine Vetne

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PHOTOS 1-7 BY SARAH BAKER

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7. Poets Nikki Giovanni, Emi Mahmoud, and Elizabeth Acevedo discuss their work 8. NMWA Director of Public Programs Melani N. Douglass greets members of the sold-out audience 9. Nikki Giovanni reads and reflects on her poetry 10. Melani N. Douglass, NMWA Director Susan Fisher Sterling, Elizabeth Acevedo, Nikki Giovanni, Emi Mahmoud, and NMWA Public Programs Manager Alicia Gregory

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PHOTOS 8-11 BY KEVIN ALLEN

Fresh Talk: Out Loud

BOARD OF TRUSTEES

Wilhelmina Cole Holladay—Chair, Winton S. Holladay—Vice-Chair, Martha Lyn Dippell—President, Gina F. Adams— First Vice President, Susan Goldberg— Second Vice President (Community Relations), Joanne C. Stringer— Treasurer, Nancy Duber—Secretary, Mary V. Mochary—Finance Chair, Amy Weiss—Nominations Chair, Nancy Nelson Stevenson—Works of Art Chair, Marcia Myers Carlucci— Building Chair, Carol Matthews Lascaris—President Emerita and Endowment Chair, Dana J. Snyder— At Large, Cindy Jones—At Large (Immediate Past President), Susan Fisher Sterling—The Alice West Director**, Janice Lindhurst Adams, Pamela G. Bailey, M. A. Ruda Brickfield, Charlotte Clay Buxton, Rose Carter, Diane Casey-Landry, Lizette Corro, Ashley Davis, Betty Boyd Dettre, Deborah I. Dingell, Karen Dixon Fuller, Marian Hopkins, Sally L. Jones, Marlene Malek, Jacqueline Badger Mars, Juliana E.May, Bonnie McElveen-Hunter, Pamela Parizek, Jackie Quillen, Julie Sapone**, Sheila Shaffer, Kathleen Elizabeth Springhorn, Jessica H. Sterchi, Mahinder Tak, Annie S. Totah, Sarah Bucknell Treco**, Frances Luessenhop Usher, Ruthanna Maxwell Weber, Alice West, Patti White **Ex-Officio NMWA ADVISORY BOARD

Sarah Bucknell Treco—Chair, Noreen M. Ackerman, Sunny Scully Alsup, Kathe Hicks Albrecht, Jo Ann Barefoot, Gail D. Bassin, Arlene Begelman, Sue Ann Berlin, Catherine Bert, Brenda Bertholf, Nancy Anne Branton, Margaret C. Boyce Brown, Deborah G. Carstens, Paul T. Clark, Rebecca Chang, Donna Paolino Coia, John Comstock, Linda L. Comstock, Byron Croker, Lynn Finesilver Crystal, Liz Cullen, Verónica de Ferrero, Belinda de Gaudemar, Katy Graham Debost, Betty Boyd Dettre, Alexis Deutsch-Adler, Kenneth P. Dutter, Geraldine E. Ehrlich, Elva Ferrari-Graham, Lisa Claudy Fleischman, Rosemarie Forsythe, Jane Fortune, Anita Friedt, Claudia Fritsche, Julie Garcia, Lisa Garrison, Nancy Gillespie de La Selle, Barbara S. Goldfarb, Anjali Gupta, Sue J. Henry, Anna Stapleton Henson, Caroline Rose Hunt, Kitty de Isola, Jan V. Jessup, Alice D. Kaplan, Janece Smoot Kleban, Arlene Fine Klepper, Doris Kloster, Nelleke Langhout-Nix, Cynthia Madden Leitner, Fred M. Levin, Gladys K. Lisanby, Sarah H. Lisanby, M.D., Nancy Livingston, Clara M. Lovett, Joanne Ludovici, Patricia Macintyre, Maria Teresa

Martínez, C. Raymond Marvin, Pat D. McCall, Dee Ann McIntyre, Cynthia McKee, Constance C. McPhee, Suzanne S. Mellor, Milica Mitrovich, Claudia Pensotti Mosca, Deborah E. Myers, Jeannette T. Nichols, Kay W. Olson, Katherine D. Ortega, Margaret H. Perkins, Patti Pyle, Drina Rendic, Barbara Richter, Elizabeth Robinson, Elizabeth A. Sackler, Stephanie Sale, Consuelo Salinas de Pareja, Steven Scott, Marsha Brody Shiff, Kathy Sierra, Ann L. Simon, Kathern Ivous Sisk, Geri Skirkanich, Dot Snyder, Denise Littlefield Sobel, Patti Amanda Spivey, Sara Steinfeld, Josephine L. Stribling, Susan Swartz, Cheryl S. Tague, Lisa Cannon Taylor, MaryRoss Taylor, Debra Therit, Deborah Dunklin Tipton, Marichu Valencia, Nancy W. Valentine, Sara M. Vance Waddell, Paula S. Wallace, Harriet L. Warm, Krystyna Wasserman, Island Weiss, Tara Beauregard Whitbeck, Linda White, Patti White, Betty Bentsen Winn, Rhett D. Workman LEGACY OF WOMEN IN THE ARTS ENDOWMENT CAMPAIGN

We wish to thank all of the supporters of the Legacy of Women in the Arts Endowment Campaign, whose generosity guarantees that NMWA will endure and forever inspire for generations to come. Although we can only list donations of $10,000 and above due to space limitations, NMWA is grateful to all donors to the endowment.

Endowment Foundation Trustee ($1 million+) Anonymous, Betty B. and Rexford* Dettre, Estate of Grace A. George, Wilhelmina C. and Wallace F.* Holladay, Sr., Carol and Climis Lascaris, Estate of Evelyn B. Metzger*, The Honorable Mary V. Mochary, Rose Benté Lee Ostapenko*, The Madeleine Rast Charitable Remainder Trust*, The Walton Family Foundation Endowment Foundation Governor ($500,000–$999,999) Noreen M. Ackerman, P. Frederick Albee and Barbara E. Albee*, Catherine L. and Arthur A. Bert, M.D., J.W. Kaempfer, Jr., Nelleke Langhout-Nix, Joe R. and Teresa L. Long, James R. and Suzanne S. Mellor, National Endowment for the Humanities, Drs. A. Jess and Ben Shenson*, MaryRoss Taylor, Alice W. and Gordon T. West, Jr. Endowment Foundation Fellow ($200,000–$499,999) Catharina B. and Livingston L. Biddle, Jr.*, Marcia Myers and Frank* Carlucci, Costa del Sol Cruise, Kenneth P. Dutter, Estate of E. Louise Gaudet, Lorraine G. Grace*, William

Randolph Hearst Foundation, Estate of Eleanor Heller*, Fred M. Levin and Nancy Livingston/The Shenson Foundation, in memory of Drs. Ben and A. Jess Shenson, Dorothy S. Lyddon*/Seven Springs Foundation, Marlene McArthur and Frederic V. Malek, Victoria J. Mastrobuono*, Sea Goddess I and II Trips, Alejandra and Enrique Segura, Sheila and Richard Shaffer, Clarice Smith Endowment Foundation Counselor ($100,000–$199,999) Gina and Eugene Adams, Janice L. and Harold L. Adams, Nunda and Prakash Ambegaonkar, Carol C. Ballard, Baltic Cruise, Eleanor and Nicholas D. Chabraja, Clark Charitable Foundation, Hilda and William B. Clayman, Julia B. and Michael M. Connors, Martha Lyn Dippell and Daniel Lynn Korengold, Gerry E. and S. Paul* Ehrlich, Jr., Enterprise Rent-A-Car, FedEx Corporation, The Geiger Family Foundation, Barbara A. Gurwitz and William D. Hall, Caroline Rose Hunt/ The Sands Foundation, Cindy and Evan Jones, Alice D. Kaplan, Dorothy and Raymond LeBlanc, Lucia Woods Lindley, Gladys K. and James W.* Lisanby, Lockheed Martin Corporation, Adrienne B. and John F. Mars, Juliana and Richard E.* May, Bonnie McElveenHunter, Irene Natividad, The Miller and Jeanette Nichols Foundation/ Jeannette T. Nichols, Nancy O’Malley*, Lady Pearman, Reinsch Pierce Family Foundation/Lola C. Reinsch and J. Almont Pierce, Julia Sevilla Somoza, Marsha Brody Shiff, June Speight*, Kathleen Elizabeth Springhorn, Mahinder K. and Sharad Tak, Sami and Annie Totah Family Foundation, Elzbieta Chlopecka Vande Sande Endowment Circle ($50,000–$99,999) Linda Able Choice*, George* and Ursula Andreas, Arkansas Fifty, Lulu H. Auger*, Virginia Mitchell Bailey*, Sondra D. and Howard M. Bender*/The Bender Foundation, Inc., Patti Cadby Birch*, Laura Lee and Jack S. Blanton, Sr.*/ Scurlock Foundation, Anne R. Bord*, Caroline Boutté, BP Foundation, Inc., M. A. Ruda and Peter J. P. Brickfield, Margaret C. Boyce Brown, Martha Buchanan, Charlotte Clay Buxton, Sandra and Miles Childers, Mary and Armeane Choksi, Donna Paolino Coia and Arthur Coia, Margaret and David Cole/The Cole Family Foundation, Holland H. Coors*, Porter and Lisa Dawson, Courtenay Eversole, Suzy Finesilver*/The Hertzel and Suzy Finesilver Charitable Foundation, Karen Dixon Fuller, Alan Glen Family Trust, Peter and Wendy Gowdey, Laura L. Guarisco, Jolynda H. and David M. Halinski, Janie Hathoot, Hap and Winton Holladay, I. Michael and Beth Kasser, William R. and Christine M. Leahy, Louise C. Mino Trust, Zoe H. and James H. Moshovitis,

Joan and Lucio A. Noto, Marjorie H. and Philip Odeen, Nancy Bradford Ordway, Katherine D. Ortega, Margaret H. and Jim Perkins, Ramsay D. Potts*, in honor of Veronica R. Potts, Elizabeth Pruet*, Edward Rawson, Jane S. Schwartz Trust, Jack and Dana Snyder, Judith Zee Steinberg and Paul J. Hoenmans, Susan and Scott Sterling, Nancy N. and Roger Stevenson, Jr., Jo and Thomas Stribling, Susan and Jim Swartz, Elizabeth Stafford Hutchinson Endowed Internship—Texas State Committee of the National Museum of Women in the Arts, William and Frances Usher, Stuart and Chancy West, Betty Bentsen Winn and Susan Winn Lowry, Yeni Wong

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Endowment Patron ($25,000–$49,999) Micheline and Sean Connery, Sheila ffolliott, Georgia State Committee of NMWA, New York Trip, Mississippi State Committee of NMWA, Northern Trust, Estate of Mary Marvin Breckinridge Patterson, Chris Petteys*, Lisa and Robert Pumphrey*, Elizabeth A. Sackler, Estate of Madoline W. Shreve*, Patti Amanda and Bruce Spivey, Sahil Tak/ ST Paper, LLC, In honor of Alice West, Jean and Donald M. Wolf, The Women’s Committee of the National Museum of Women in the Arts Endowment Sponsor ($15,000–$24,999) Deborah G. Carstens, Stephanie Fein, Martha and Homer Gudelsky*, Sally L. Jones, Louise H. Matthews Fund, Lily Y. Tanaka, Liz and Jim Underhill, Elizabeth Welles, Dian Woodner Endowment Friend ($10,000–$14,999) Carol A. Anderson, Julia and George L. Argyros, Mrs. Joseph T. Beardwood, III, Catherine Bennett and Fred Frailey, Susan G. Berk, Mary Kay Blake, Booz Allen Hamilton, Lynne V. and Richard Cheney, Esther Coopersmith, Darby Foundation, Jack J. Dreyfus, Jr.*, Patricia M. and Clifford J. Ehrlich, Mary Page and Thomas B. Evans, Lois Lehrman Grass, Anna Stapleton Henson, Alexine C. and Aaron G.* Jackson, Jan Jessup, Pamela Johnson and Wesley King, Helga and Peter-Hans Keilbach, Howard and Michelle Kessler, Ellen U. and Alfred A. King*, Jacqueline Badger Mars, C. Raymond Marvin, Clyde and Pat Dean McCall, Edwina H. and Charles P. Milner, Evelyn V. and Robert M.* Moore, Harriet Newbill, Estate of Edythe Bates Old, PepsiCo., Inc., Anne and Chris Reyes, Savannah Trip, Mary Anne B. Stewart, Paula Wallace/Savannah College of Art and Design, Marjorie Nohowel Wasilewski, Jean S. and Gordon T. Wells * Deceased (all lists as of August 31, 2018)

WO M E N I N T H E A RTS

Supporting Roles

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WITH THANKS

The National Museum of Women in the Arts is deeply grateful to the following donors who made contributions from July 1, 2017, to June 30, 2018. Your support enables NMWA to develop groundbreaking exhibitions, expand its education, library, and outreach programs, and offer other special events to the public. Your contributions are critical to the museum’s success!

Although we can only list donations of $500 and above due to space limitations, NMWA is thankful for all of its members and friends.

This year’s generous endowment gifts are listed separately on page 29. For more information, please contact the Development Office at 202-783-7989.

Individuals 1,000,000+ Winton and Hap Holladay, Susan Wisherd* $500,000–$999,999 Madeleine Rast*, Rose Bente Lee Ostapenko*, Mildred Weissman $100,000–$499,999 Marjorie B. Rachlin, Denise Littlefield Sobel, Susan and Jim Swartz $50,000–$99,999 Anonymous, Betty Boyd and Rexford* Dettre, Clara M. Lovett, Jacqueline Badger Mars, Betty Standiford*, MaryRoss Taylor $25,000–$49,999 Gina and Eugene Adams, Susan and Robert Beckman, Marcia Myers Carlucci, Belinda de Gaudemar, Elva Ferrari-Graham, Suzanne, Bruce Sophie, and Ella Glassman, The Honorable Mary V. Mochary, Stephanie Sale, Geri Skirkanich, Sarah D. Toney*

FA L L 2 0 1 8

$15,000–$24,999 Gail D. Bassin, Ashley Davis, Martha Dippell and Daniel Korengold, Jamie S. Gorelick and Richard E. Waldhorn, Nancy Livingston and Fred M. Levin, Marlene A. and Frederic V. Malek, Dee Ann McIntyre, The Honorable Katherine D. Ortega $10,000–$14,999 Anonymous (2), Lucy Buchanan, Charlotte and Michael Buxton, Deborah G. Carstens, Paul T. Clark, Drs. Bonnie and Todd* Jefferis, Liz Cullen, Alexis Deutsch-Adler, Nancy and Marc Duber, Faye C. Edwards, Lisa Claudy Fleischman, Rosemarie Forsythe, Lee Anne F. Geiger, Larry Hayes, Cindy and Evan Jones, Alice D. Kaplan, Selma M. King*, Marcia MacArthur, Lorna Meyer Calas and Dennis Calas, Kristine Morris, Kay W. Olson, Elizabeth Robinson, Sheila and

Richard Shaffer, Dasha Shenkman OBE, Jack and Dana Snyder, Patti Amanda and Bruce Spivey, Susan and Scott Sterling, Jane Swicegood, Cheryl S. Tague, Marichu Valencia, Betsy Vobach, Paula S. Wallace, Patricia and George White, Linda L. and Douglas C. White $5,000–$9,999 Noreen M. Ackerman, Tracy and Adam Bernstein, Catherine Bert and Arthur Bert, M.D., Margaret C. Boyce Brown, Rose and Paul Carter, Diane Casey-Landry and Brock Landry, Renee Chodur, John and Mai Cleary, Linda L. and John Comstock, Paula Ballo Dailey* and Brian Dailey, Sara Fagen, Elizabeth and Michael Galvin, Julie and Jon Garcia, Narges Gheissari, JoAnne and Benjamin Ginsberg, Susan Goldberg, Sheila and Patrick Gross, Sue J. Henry, W. Bruce Krebs, Carol M. and Climis G. Lascaris, Robin Rosa Laub, Sandy Liotta, Dr. Kathleen A. Maloy and Ms. Heather L. Burns, Adrienne B. Mars, Honey McGrath, Constance C. McPhee, Claudia Pensotti Mosca, Nancy Ann Neal, Jeannette T. Nichols, Marjorie and Philip Odeen, Pamela J. Parizek, Carol Parker, Nellie Partow, Burnley T. Perrin*, Dr. Michael and Mrs. Mahy Polymeropoulos, Christine P. Rales, Dr. Cynthia M. Shewan, Kathy Sierra, Jessica Silverman, Beverly Hall and Kurt Smith, Kimberly Stanley, Sara Steinfeld, Christine Suppes, Kim and Sarah Baldwin Swig, Debra Therit, Deborah Dunklin Tipton, Annie S. Totah, Krystyna Wasserman, Alice W. and Gordon T. West, Jr. $2,000–$4,999 Janice L. and Harold L. Adams, Mark and Kathe Albrecht, Sunny Scully Alsup and William Alsup, Jo Ann Barefoot, June C. Bashkin*, Arlene Begelman, Sue Ann and Ken Berlin, Brenda Bertholf, Susan Borkin, M. A. Ruda and Peter J. P. Brickfield, Jane Lipton and Calvin Cafritz, Charlotte Anne Cameron, Rebecca Chang, Mary and James Clark, Barbara L. Cohen, Donna Paolino Coia and Arthur Coia, Tammie Collins, Lizette Corro, Byron Croker, Lynn Finesilver Crystal, Kitty de Isola and Max Cambana, Katy Graham Debost, Mr. and Mrs. Scott E. Dreyer, Kenneth P. Dutter, Geraldine E. Ehrlich, Sally and Mark Ein, Barbara L. Elky, Hanna G. Evans, Mimi Alpert Feldman, Barbara L. Francis and Robert Musser, Sally Mott and John K. Freeman, Anita Friedt, Lisa Garrison, Nancy Gillespie and Sebastian de La Salle, Carol and Henry Goldberg, Barbara S. Goldfarb, Anjali Gupta, Ilene S. and Jeffrey S. Gutman, Fruzsina M. Harsanyi and

Raymond Garcia, Lilo A. Hester, Caroline Rose Hunt, Jan V. Jessup, Sally and Christopher H. Jones, Cheryl L. Keamy, Rita Marie Kepner, Ph.D., Janece S. Kleban, Arlene Fine Klepper and Martin Klepper, Doris Kloster, Anne and Robert Larner, Elissa Leonard, Gladys K. and James W.* Lisanby, Joanne Ludovici, Esq., Cynthia Madden Leitner and Walter Leitner, Maria Teresa Martínez, C. Raymond Marvin, Juliana and Richard E. May, Mr. and Mrs. Clyde S. McCall, Jr., Cynthia McKee, Melanie and Larry Nussdorf, Carol J. Olson, Monica T. O’Neill, Llelanie Orcutt, Lisa Painter*, Anna Marie Parisi and Robert L. Trone, Margaret H. and Jim Perkins, Robin Phillips, Mr. David H. Pincus, Jean Porto, Maddie L. Preston, Jacqueline L. Quillen, Elizabeth S. Ray, Drina Rendic, Dr. Markley Roberts, Jean Hall and Thomas D. Rutherfoord, Jr., Kara Singh, Dot Snyder, Judy W. Soley, Karen and William Sonneborn, Kathleen Elizabeth Springhorn, Nancy N. and Roger Stevenson, Jr., Joanne C. Stringer, Deborah and Diane Szekely, Linda Talbert, Lisa Cannon and Charles Edison Taylor, Patt Trama, Sarah Bucknell Treco, Frances Usher, Sara and Michelle Vance Waddell, Harriet L. Warm, Amy Weiss, Elizabeth B. Welles, Tara Beauregard Whitbeck, Betty Bentsen Winn, Rhett D. Workman $1,000–$1,999 Anonymous (4) , Ruth and Sam Alward, Ellen Wren Anderson, Richard Andrus, Joanne Barker, Jane L. Barwis, James and Ginger Bowen, Bertha Soto Braddock, Diana T. and Colin H.* Brown, Jean B. Brown, Katherine and Richard Bruch, Yolanda Bruno, Nancy and Alan Bubes, Melissa and Jason Burnett, Carol Byrne, Susan Carmel, Dr. Mary A. Carnell and Dr. Agnes Guyon, Lisa Chadwick, Meredith Childers and Dimitris C. Varlamis, Kittie B. Clarke, Mary Clutter, Robyn D. Collins, Wylene R. Commander, Ellen and Steve Conley, Amy and Larry Corey, Mr. and Mrs. Ralph F. Cox, Nancy G. Crain, Elizabeth Crane, The Honorable Edith Crutcher, Dr. Linda Daniel, Joan Danziger, Amy and Tripp Donnelly, Christopher J. Donnelly, Ellen Drew, Lindsay and LeRoy Eakin, III, Elizabeth and Anthony Enders, Sarah G. Epstein and Donald A. Collins, L. B. Ewing, Samia and A. Huda Farouki, Mary M. Free, Tracy Freedman, Sara A. and Michael Friedman, Wendy Frieman and David Johnson, Joyce and Roy Gamse, Reide Garnett, Yolanda S. George, Leslie Gold, Emily B. Grigsby, Pamela Gwaltney, Nancy Hackerman, Susan Hairston, Jay and Robin Hammer, Patricia A. Harcarik and Carlton

Nelson, Carla Hay, Marilyn J. and Philip Hayes, Jean E. Hayward, M.D., Pat and Fred Henning, Anna Stapleton Henson, Shelley and Allan Holt, Toney Hopkins, Michelle Howard, Susan M. Hyatt, Margot and Deepak Jain, Dr. Allan Jaworski and Dr. Deborah M. Winn, Madelyn Jennings, Margaret M. Johnston, Rosalyn and Gary* Jonas, Susan and Lawrence Kadish, Keiko and Steven Kaplan, Dolores Karp, Sheldon and Audrey Katz, Ellen Kay, Susan W. Klaveness, Barbara J. Kraft and Peter Winkler, Cynthia M. Krus, Suzanne S. La Pierre, Julia M. Ladner, Mary Lou Laprade, Emmanuelle and Brieuc Le Bigre, Barbara F. Lee, Christina Gungoll Lepore, John Leubsdorf and Lynn Montz, Finlay and Willee Lewis, Claudette S. Leyden, Barbara Liotta, Judy R. Loving, Kristen and George Lund, Joanne Lyman, Maryann Lynch, Cora Sue Mach, Jane C. Mallonee, Pamela W. Massey, Tracy B. McGillivary, Owen McMahon, Jr., Helen McNiell and Antonio Alcalá, Dottie Mergner, Joyce Henderson Mims, Mary Mocas, Sharon Moody and Kenneth Kent, Helen Mulkeen, Deborah E. Myers, Melissa Nabors, Heidi Nitze, Mary B. Olch, Kristen and Nels Olson, John Paradiso and Tom Hill, Susan Parish, Cynthia Paschen, Sarah Perot, Barbara and John Phair, Ginger and Kirby Pickle, Yvonne Pine, Olwen and Don Pongrace, K. Shelly Porges and Rich Wilhelm, Timothy M. Price, Sarah M. Pritchard, Martha A. Prumers, Toni Ratner Miller, Irma and Marc Reshefsky, Jean W. Roach, Bonnie and Thomas Rosse, Irene Roth and Vicken Poochikian, Susan M. Ryan-Deaner, Christopher M. Sargent, Joyce E. Scafe, Mary Schmidt and Russell Libby, Sarah C. Shoaf, D.D.S., Dennis Siegner, Joan Simon, Andrea Roane and Michael Skehan, Sarah S. Slocum, Virginia Smith, Dr. Lera and Steven Smith, Dorothy W. Stapleton, Alice and Ken Starr, Dr. Marjorie L. Stein, Jan W. Stevenson, Andrea Strawn, Micaela A. Trumbull, Jeanne Vander Ploeg, Margaret S. Vining, Sarah Vradenburg, Valaree Wahler, Candace King Weir, Karen Wilson, Dorothy and Kenneth Woodcock, Dr. Suzanne J. Yoon and Dr. Walter S. von Pechmann II $500–$999 Anonymous, Diane Abeloff, Rachel Abraham, Dharini Agganwal, Shirley Aidekman-Kaye and Ben Kaye, Rob Akins and Mark Berry, Ms. Margery Al-Chalabi, Ruth Altheim, Priscilla Andre-Colton, Robin M. Andrews, Claire Arnold, Mr. Joseph Asin and Ms. Beryl Gilmore, Sylvia A. Azoyan, Diane Azzolin, Jeff and Beverly Backerman, Patricia Baig, Sharon

Kenyon, Mary S. and Stephen E. Kitchen, Kathleen Knepper, Paul Knight, Lee Kobayashi, Susan A. Kowalski, Lynne S. Kraus, Patricia M. Langan and James Figetakis, Carrie A. Langsam, Julia Lanigan, Kay Larrieu, Joan O. Lautenberger, Dale Leibowitz and Amy Kaster, Rosalie F. Leigh, Nancy and George Leitmann, Mary K. Leskovac, Ronnie Levin, Bari D. and Keith D. Levingston, Sharon I. Lewis, Sandra Lotterman, Carl M. Louck, Anne H. Magoun, Pamela Marron, Marsha Mateyka, Sally Mayer, Janice Mays, Lorraine M. McDonnell and Stephen Weatherford, Dagmar E. McGill, Margaret Tafoya McLaughlin and Wilma Conley Tafoya, Dr. Diane A. Mitchell, Dorothy Kerper Monnelly, Sherrill A. Mulhern, Lola M. Muller, Linda Myers, Ginny and Hartley Neel, Laurel M. Nett, Christie Neuger, Beth Ann and Robert Newton, Bu Nygrens, Jane Olin, Carol and Thomas Olmstead, Madeline and Allan Olson, Lida Orzeck, Ilga I. Ozolins, Rebecca J. Parsons, Lois M. Pausch, Ellen and Anson Peckham, Marta M. Pereyma, Meredith and Burnett Peters, Dede and Tom Petri, Mrs. Leonard Pfeiffer, IV, Nedra Pickler, Carol T. and William Pollak, Amelia Preece, Diana Query, Mary H. Railsback and Joel L. Ekstrom, Jorgen A. Rasmussen, Janis S. Reed, Mary Lynn Reese, Carlyn Ring, Jim Ritter, Diane C. Robertson, Jane Rostov, Daria A. Rothe, Amy Russo, Donna Z. Saffir, Louise S. Sams, Sandra Sanabria and Alexandre Coimbra, Julie and Captain David Sapone, Meghan Scharbauer, Julie Schauer, Timothy P. Schoettle, Karen Schwartz, Jocelyn S. Selig, Mary A. Severson, Shirley Shapiro, Peggy K. Shiffrin, Nancy and Simon Sidamon-Eristoff, Doris G. Simonis, Rae L. Siporin, Linda Skare, Karen and Michael Smith, Lisa Smith, Wayne and F. Louise Smith, Ruth Karl Snyder, Ann M. Soderquist, Marian S. Sofaer, Linda Watkins Sorkin, Susan Kahn Sovel, Richard E. Stafford, Marsha Steed, Pegge McGuire Steele, Margaret H. Stone, Linda Stonerock, Carol A. S. Straumanis, Douglas K. Struck, M. Elizabeth Swope, Judy Takács, Gail Talbott, Helen Tapper, Marta Kipfmueller and Bernard J. Theisen, Sharen A. Thomas, Linda J. Thompson, Debra Tillery, Irene TrowellHarris, Patricia A. Vaughan, Rosa Ines Vera and Joseph Carey, Anne L. Von Rosenberg, Olivia Weese, Carolyn L. Wheeler, Valerie and John Wheeler, Karen and James Whitman, Kathryn Williams, Lucy and Scott Wilson, Jane Wilson, Richard Winter, Wanda C. Wood, Ret., Mary Lee Wood, Joyce Zaitlin

Corporations and Foundations $100,000+ GRoW @ Annenberg $50,000–$99,999 FedEx, Davis/Dauray Family Fund, Walton Family Foundation, Inc. $25,000–$49,999 Bernstein Family Foundation, ClarkWinchcole Foundation, The Ray and Dagmar Dolby Family Fund, Reva and David Logan Foundation, Mississippi State Committee of NMWA, The Morris and Gwendolyn Cafritz Foundation, Northern Trust, Share Fund, SunTrust Foundation, Texas State Committee of NMWA, McDermott Will & Emery** $15,000–$24,999 Milton and Dorothy Sarnoff Raymond Foundation, Leo Rosner Foundation, Inc. $10,000–$14,999 Black Women’s Agenda, Inc., Carl M. Freeman Foundation, FACE Foundation, Les Amis du NMWA, Geiger Family Foundation, LaVerna Hahn Charitable Trust, Lucas Kaempfer Foundation, Inc., Peru Committee of NMWA, Sachiko Kuno Foundation, Southern California State Committee of NMWA

Lemon Foundation, The NAMASTE Foundation, Richard & Peggy Greenfield Foundation, The Roach Foundation, Inc., United Way of Greater Philadelphia and Southern New Jersey, United Way of the National Capital Area, Women’s Committee of the Corcoran Gallery of Art

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Government Supporters D.C. Commission on the Arts and Humanities, National Endowment for the Arts, U.S. Commission of Fine Arts and the National Capital Arts and Cultural Affairs Program * Deceased **In-kind Gifts NMWA strives to ensure the accuracy of donor information. We apologize for any errors or omissions. Contact 202-783-7989 with changes or questions.

$5,000–$9,999 The American Institute of Architects, Arkansas State Committee of NMWA, Bloomberg Philanthropies, Florida Committee of NMWA, Georgia Committee of NMWA, Greater Kansas City Area Committee of NMWA, Museum Education Trust of the Jewish Communal Fund, Marshall B. Coyne Foundation, Inc., Mary Potishman Lard Trust, Massachusetts State Committee of NMWA, The Mill Foundation, LTD, Nancy Peery Marriott Foundation, New Mexico State Committee of NMWA, Ohio Advisory Group of NMWA, PECO Foundation, Wells Fargo Foundation $2,000–$4,999 Chile Committee of NMWA, Dimick Foundation, Gli Amici del NMWA, Louis J. Kuriansky Foundation, Inc., Max Mara, The Rosenstiel Foundation, Spain Committee of NMWA, UK Friends of NMWA $500–$1,999 Anonymous, The Coca-Cola Company, McGregor Links Charitable Gift Fund for the Greater Capital Region, DonateWell, Field Holdings, Greater Kansas City Community Foundation, Greater New York Committee of NMWA, Guild of Professional Tour Guides of Washington, DC, The Edward and Ruth Legum Family Fund, James R. Meadows, Jr. Foundation, The Jane Henson Foundation, Junior League of Washington, Inc., The

WO M E N I N T H E A RTS

Balzer, Rosamond A. Barber, Rebecca A. Barclay, Kathleen Barclay, Linda C. Barclay, G. Bauer, Danielle C. Beach, Esq., Mary Ellen Bergeron, Dianne Berman, Barbara E. Berner and Rev. Milton T. Berner, Sharon K. Bigot, Regina Bilotta, Frances and Daniel W. Blaylock, Gaylyn N. Boone and James Dorcy, Eva M. Borins, Mary Boylan, Anne E. Branch, Nancy Anne Branton, Bobbe J. Bridge, Margo A. Brinton, Ph.D. and Eldon Park, Barbara and Russell Brown, Beth B. Buehlmann, Rosemarie Buntrock, Abigail S. Burke and Veronica Mallory Stubbs, Hanna Burruss, Catherine and William Cabaniss, Casey and Jack Carsten, Laura and Guy Cecala, Vicki E. Chessin, Karen M. Clewell, Kathryn and Douglas Cochrane, Elinor Coleman and David Sparkman, Myrna Colley-Lee, Ana and Paul Collins, Elizabeth Colton, Susan Combs, Marilue Cook, Molly Cotton, Susan Crippin, Cynthia G. Daniels, Paul Davis, Sara and Philip Davis, Doloras E. Davison, Claudia De Colstoun, Barbara Denrich, Karen Detweiler, Sara Jo Victors Dew, Deborah J. Dorshimer, Barbara Douglas, Cynthia A. Downes, Barbara Dunsmore, Margaret P. and Peter Dzwilewski, Doug and Joyce Eagles, Anne and Augustus Edwards, Margaret M. Ellis, Mary Evans, Loretta Fabricant, Valerie Facey, Shirley B. Familian, Jill Ferrera, Joyce Itkin Figel and Brad Figel, Sandra Filippi and Barré Bull, Denise J. Fiore, Anne-Marie Fitzgerald, Nancy M. Folger, Albert L. Folsom, Helen H. Ford, Constance S. and Joseph P. Franklin, Cary Frieze, Karen L. Friss, Virginia Elkin Fuller, Mary C. Giglio, Sara E. Gillis, Kay and Ian Glenday, Merry Glosband, Marguerite F. Godbold, Jennifer Golden, Jim Goldschmidt, Barbara B. Goodman, Lois Lehrman Grass, Catherine A. Green, Diane M. Gulseth, Lorraine Gyauch, June Hajjar, Alan and Bonnie Hammerschlag, Sandi and Larry Hammonds, Charlotte P. Harrell, Kathy Hart, Mary J. Hayden and Carla J. Tomaso, Dr. Irene W. D. Hecht and Mr. Jerome R. Saroff, Delphine Hedtke, Jo M. Hendrickson, Connie Hershey, Michael H. Hetzner, Ellen Hill-Godfrey and John Godfrey, Nancy Hirshbein and Robert Roche, Jennefer A. Hirschberg, Muna Hishmeh, Steven B. Hopping, M.D., Larry Hothem, Nancy Insprucker, Sarah Cary Iselin, Diane M. Jacobs, Elayne Janiak and Karl C. Voiles, Shirley J. Jenkins, H. Martha Johns, Anne and Clay Johnson, Gretchen W. and James L. Johnson, Sheila C. Johnson, Shaunna Jones, Julie Karcis, Helen J. Kattan, Kay Kendall and Jack Davies, Patricia A. Kenney, Leslie J.

Museum Shop

Shop NMWA online at https://shop.nmwa.org or call 202-783-7994

Louise Bourgeois Mug Set A beautiful gift idea, this set of delicate porcelain mugs depicts Bourgeois’s striking work 10 am is When You Come to Me (2006). 4 mugs. $70/Member $63 (Item #29725)

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“Willow” Mailable Paper Doll This paper doll comes with a blank card and a matching #11 envelope to inspire your inner pen pal. Doll approx. 12 in. high.

Made in the U.S. Ages 8 and up. $16/Member $14.40 (Item #29754)

Lee Lozano: Not Working Jo Applin’s Lee Lozano: Not Working is the newest publication sponsored

by NMWA’s Suzanne & James Mellor Prize and the first in‑depth study of Lee Lozano’s ten‑year career in 1960s New York. Hardcover, 192 pages. $45/Member $40.50 (Item #1265)

FA L L 2 0 18

Free the Tipple Celebrating women? Cheers to that! These cocktail recipes are inspired by sixty of the world’s most amazing ladies, from The Gloria Steinem, which uses a complex liquor with a radical twist, to The Beyoncé, made, of course, with lemonade. Hardcover, 144 pages. $14.95/Member $13.46 (Item #3063)

Odeme Nail Polish Odeme’s best-selling nail polishes, made with fewer potentially harmful chemicals, have a smooth, long-lasting formula and vibrant signature shades. Featured colors Majorette (cerulean blue), Los Feliz (yellow), Grenadine (red). $12/Member $10.80 (Item #27093)

Red Rose Artisan Soap Bar Infused with red rose petals and rose water for a subtle rose aroma, this beautiful soap bar is effective in refreshing, moisturizing, and soothing the skin. Free of parabens, sulfates, dyes, and petrochemicals. $10/Member $9 (Item #30851) Woman Power Mug This bone-china mug reads “Woman Power” in retro pink on a purple mug with white handle. Packaged in a matching gift box. $15/Member $13.50 (Item #29762)

Persistent Sisters Women’s History Trading Cards These illustrated trading cards tell the stories of trailblazing women to inspire and empower.

The 30-part gift box includes portrait/biography cards, fact cards, quote cards, Trailblazers, a sticker, and a temporary tattoo. $22/Member $19.80 (Item #29711)

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MODERN MAKERS

Bosom Buddies Featuring 25 remarkable and inspiring female friendships throughout history and winsome illustrations, Bosom Buddies is a tribute to gal pals everywhere.

From author Violet Zhang and illustrator Sally Nixon. Hardcover, 160 pages. $16.95/Member $15.26 (Item #4194)

PHOTO BY MICHAEL REICH

through my scribbles. Recently I have branched out to working in more diverse areas of entertainment, fashion, and editorial, but am still a big record nerd at heart.

Q&A with illustrator Jess Rotter, who is collaborating with Kate and Laura Mulleavy of Rodarte, NMWA, and Third Drawer Down to create a set of paper dolls featuring Rodarte fashions. Check https://shop.nmwa.org soon for their launch!

Can you describe yourself and your work?

I am an L.A.-based illustrator/artist (originally from New York) who is best known for paying homage to music of the 1960s and ’70s (Grateful Dead, Yusuf/Cat Stevens, Harry Nilsson, Judee Sill)

Didion Tote Spend your days dreaming in Joan Didion with this ultimateon-the-go bag. Classic tote + bold art = bag made just for you.

Refined yet substantial cotton.

Made in the U.S. 14 ½ x 13 ½ in. $25/Member $22.50 (Item #27097)

How did you get started?

I have always been an artist, and studied painting at Syracuse University. When abroad for a semester in London, I got my first job designing graphics, for a streetwear label for girls called Birdie, and that was my first foray into the world of merchandise and fashion. Primarily inspired by album covers and comics, I realized how much I loved the down-to-earth nature of illustration and followed that path.

I then started a t-shirt line called “Rotter and Friends” in 2007, and that shepherded my work into more exposure.

Can you describe a typical work day?

I love being home in the quiet morning, making a chemex’d pot of coffee, taking in the news, and having daydreams, before

reality strikes and it’s time to get to work! I usually put a record on or listen to an old ’70s radio show while I draw or paint. The projects change every day. I’m grateful to have a freelance routine, as it has taken me many years to get to this place.

Tell us about this collaboration with Rodarte—how did it begin?

I’ve been close friends with Kate and Laura for over a decade and we always look for projects we can work on together. It’s hard to find friends who you can belly laugh and philosophize with at the same time, and those two have been very important souls to me. I have followed their work closely all these years, and their collections forever inspire. The process was pretty natural, just them calling me asking to draw their amazing dresses. The answer was immediately, “Duh!”

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1250 New York Avenue NW Washington, DC 20005-3970

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COMING SOON

Ursula von Rydingsvard The Contour of Feeling March 22–July 28, 2019

including leather, silk, and hair, these works present a window into the emotional fragility and imposing scale that define von Rydingsvard’s art. // Ursula von Rydingsvard: The Contour

of Feeling is organized by The Fabric Workshop and Museum, Philadelphia, and guest curator Mark Rosenthal.

Ursula von Rydingsvard, COŚ, 2017; Cedar, 110 x 52 x 35 in.; Courtesy Galerie Lelong & Co

© URSULA VON RYDINGSVARD

Monumental wood sculptures

by Ursula von Rydingsvard (b.

1942, Deensen, Germany) evoke the grandeur and power of nature. They likewise bear evidence of the artist’s meticulous process of cutting, shaping, and assembling thousands of cedar blocks. The Contour of Feeling focuses on von Rydingsvard’s artistic development since 2000 and her continued commitment to experimentation. The presentation includes many sculptures that have not previously been exhibited in the United States. Made from wood or other organic materials,