From an early age she developed an interest in natural history. At 15 she discovered a new species of a noctuid moth on Mt Egmont, which was described in 1921 by the entomologist G. V. Hudson as Melanchra averilla in her honour. In 1923 Lysaght commenced studies at Victoria University College, Wellington. She graduated BSc in 1928 and MSc in 1929 with second-class honours in zoology; her thesis in entomology was on the biology of Eucolaspis.
For a long time, Mendieta’s highly publicized death eclipsed any attention being paid to her intensely important body of work. A recent surge of interest in her jolting performances, however, has turned a focus onto her work as being an important member of the displaced and abused women canon. Mendieta has inspired a book about her death written by Robert Katz, a feminist protest outside of the Dia Art Foundation’s retrospective of Carl Andre replete with chicken blood and guts, and many of her own postmortem retrospectives. She has also influenced numerous modern artists, such as Ana Teresa Fernández, Kate Gilmore, Simone Leigh, Gina Osterloh, Antonia Wright, Nancy Spero and Tania Bruguera.
Herrera’s legacy also lies in the example of her late-blooming career. Like other women artists such as Louise Bourgeois, her life has been dedicated to art, but she did not find an audience for her work until she was very old. Her legacy, then, is not just about her painting but about her tenacious creative perseverance in the face of an indifferent, oar biased, world.
Piper’s distinctly confrontational ability to address pertinent topics around racial segregation and stereotyping have established her voice as one which is fearless, powerful, and hugely influential.
Unlike many conservative supporters of sex-differentiated education, Boys-Smith saw the study of home science at university level as ‘a great force in the education of women’ – specifically, the higher education of women. She believed that because of changing social patterns domestic skills had increasingly come to be seen as menial. The educational programme set up by her for the School of Home Science sought to lift the status of the domestic arts by providing a strong scientific education, augmented with technical instruction. An emphasis on science, particularly chemistry, also served to silence those critics who believed that the School of Home Science belonged in a technical institute, not a university.
Margaret Preston was a leading painter, printmaker and designer.
Edmonia Lewis is considered the first professional BIPOC sculptor in the United States and the first to achieve international acclaim. Even though much of her work has not survived into the 21st century, Lewis used her art to depict the stories of women and Indigenous people with reverence and beauty.
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.