We’wha, a Lhamana (Zuni Two Spirit) individual, took on both male and female tasks as a Zuni cultural ambassador and pottery and textile artist. Also a spiritual leader, We’wha endeavored to preserve the history, traditions, and knowledge of the Zuni people.
Selma Burke discovered her love for sculpture as a young child and followed her passion to Harlem Renaissance New York, Parisian art studios, and even the White House. The artist behind President Franklin Roosevelt’s image on the dime, she was a dedicated art teacher and one of the most notable sculptors of the twentieth century.
War internee and artist, Miné Okubo is well known for her representations of daily life and humanity. She is most famous for her drawings depicting Japanese and Japanese American internment during World War II.
Alviine-Johanna “Elvy” Kalep was an Estonian aviator and the country’s first female pilot, as well as an artist, toy designer and children’s author.
Kalep grew up in Estonia and Russia, and later moved to China due to the Russian Civil War, before settling in Paris to study art. In 1931, she qualified as a pilot in Germany, becoming the first Estonian female pilot. Befriending American aviator Amelia Earhart, she joined the Ninety-Nines, an international organisation for women pilots, and took up the cause of encouraging other women to take up aviation. She wrote and illustrated a children’s book about flying, Air Babies, first published in 1936. The book’s 1938 reprint included a foreword from Earhart, who embarked on her last flight three days after writing the piece in 1937.
After moving to the United States, Kalep founded a toy manufacturing business in New York in 1939, where she produced a doll she had designed – when thrown into the air, Patsie Parachute would fall down slowly as a parachutist would. Although she had to close the business in 1946 due to her poor health, she made a living through the 1950s by selling patents to toy designs to larger companies. This included the successful Scribbles Dolls, which had blank faces that could be individually decorated by children, inspired by the 50,000 doll heads she had left over from the closure of the Patsie Parachute factory. In the 1960s and 1970s, she created three-dimensional paintings made out of small pieces of coloured leather, which she sold to support herself and exhibited across the United States.
Sophia Al Maria is a Qatari-American artist, writer, and filmmaker whose work has been exhibited at the Gwangju Biennale, the New Museum in New York, and the Architectural Association School of Architecture in London. She coined the term Gulf Futurism to explain a phenomenon she has observed in architecture, urban planning, art, aesthetics and popular culture in the post-oil Persian Gulf. “The Arabian Gulf is a region that has been hyper-driven into a present made up of interior wastelands, municipal master plans and environmental collapse, thus making it a projection of a global future.” Her interest in these areas arises from her youth growing up in the Persian Gulf area during the 1980s and 1990s, which she describes in her 2012 memoir The Girl Who Fell To Earth. The themes and ideas of Gulf Futurism include the isolation of individuals via technology, wealth and reactionary Islam, the corrosive elements of consumerism on the soul and industry on the earth, the replacement of history with glorified heritage fantasy in the collective memory and in many cases, the erasure of existing physical surroundings. Gulf Futurism utilises imagery from Islamic eschatology, corporate ideology, posthumanism and the global mythos of Science Fiction.
After her studies at Goldsmiths, University of London, Al Maria returned to the Gulf, where she worked towards opening the contemporary and modern art museum, Mathaf, alongside curators Wassan Al-Khudhairi and Deena Chalabi. The museum opened in Doha in 2010. Al Maria calls the experience a formative one, where she was ‘tasked with meeting and interviewing artists like Hassan Sharif or Zineb Sedira—that was my real art education. Having that proximity was, in a weird way, how I got into artmaking.’
Rachel Ruysch was a Dutch still-life painter who specialized in flowers, creating her own style and earning international fame in her lifetime. With a long and successful career that spanned more than 60 years, she became the most well-documented woman painter of the Dutch Golden Age.
Virginie Bovie was a Belgian painter and arts patron, well-known in her time but later largely forgotten. Current whereabouts are only known for seven of her more than 200 works.
Dr Yvonne Sylvain was the first female doctor from Haiti and the first woman accepted into the University of Haiti Medical School, earning her medical degree in 1940. She played a vital role in providing improved medical access and tools for Haitian citizens and was a leading advocate for the physical, economical, social and political equality of Haitian women.
Louise Joséphine Bourgeois was a French-American artist, best known for her large-scale sculpture and installation art. Bourgeois was also a prolific painter and printmaker, and explored themes such as domesticity and the family, sexuality and the body, as well as death and the unconscious, as well as fear, vulnerability, and loss of control. She considered art therepeutic, and used her work to process difficult events from her childhood. Although Bourgeois exhibited with the Abstract Expressionists and her work has much in common with Surrealism and Feminist art, she was not officially affiliated with a particular artistic movement.
With the rise of feminism in the United States, her work found a wider audience. Although she rejected the idea that her art was feminist, Bourgeois’s subject was usually the feminine. Works such as Femme Maison (1946-1947), Torso self-portrait (1963-1964), and Arch of Hysteria (1993), all depict the female body. In the late 1960s, her imagery became more explicitly sexual, in works such as Janus Fleuri (1968), as she explored the relationship between men and women and the emotional impact of her troubled childhood. “My work deals with problems that are pre-gender,” she wrote. “For example, jealousy is not male or female.” Despite this assertion, Femme Maison was featured on the cover of Lucy Lippard’s 1976 book From the Center: Feminist Essays on Women’s Art and the sculpture became an icon of the feminist art movement
Ximena Cuevas is a Mexican video performance artist, whose work often explores the social and gender issues that lesbians face in Mexico. She is one of Mexico’s first video artists to be recognised by major American cultural institutions. Her videos and films have screened at the Sundance Film Festival, New York Film Festival, and the touring film series, Mexperimental Cinema, as well as New York’s Museum of Modern Art and the Guggenheim Museum, Berkeley Art Museum, Contemporary Art Museum of San Diego, and the Museo Universitario de Arte Contemporáneo de la Ciudad de México. In 2001, MoMA acquired nine of Cuevas’ videos for the museum’s permanent collection, which was the first time a Mexican video artist’s work had been included in MoMA’s collection; 24 of her videos are in now in the collection.
Cuevas has been recognized by the Mexican government as a significant contributor to videography. Many of her films offer social commentary on corruption and its impact on culture, society and politics, and explore from a feminist perspective the place of women in society, particularly lesbians.
After becoming disillusioned with traditional films being made in Mexico and internationally, Cuevas purchased a camera and began producing her own films in 1990. Her work is known for its subtle irony of evaluating contemporary society and exposing the disconnect between social customs and beliefs versus the reality of living using a combination of truth and fiction. She deconstructs myths of the “typical middle-class Mexican family”, heteronormative relationships and concepts of beauty, by parodying the ridiculousness of their traditional portrayal in popular culture. In her own words, her films reveal the “half lies” of the collective Mexican imagination. Among her noted works is the 1993 video clip entitled “Corazon Sangrante”.