Marsha P. Johnson was one of the most prominent figures of the gay rights movement of the 1960s and 1970s in New York City. Always sporting a smile, Johnson was an important advocate for homeless LGBTQ+ youth, those effected by H.I.V. and AIDS, and gay and transgender rights.
One of the greatest tennis players of all time and a Presidential Medal of Freedom recipient for her advocacy for women in sports and LGBTQ rights, Billie Jean King won 39 Grand Slam titles in her tennis career and led the fight for equal pay in tennis.
Lani Ka’ahumanu, a leader of the bisexual rights movement in the U.S., has worked for greater visibility for bisexuals both within the LGBTQ movement as well as broader society. An author, community organizer, and health advocate, she has been a driving force behind the fight against biphobia since 1980.
From Opie’s subcultural roots working out on the margins of society, the photographer is now a well established artist and personality.
Most famously working through themes of love, gender, domesticity, and sexuality, Goldin used her personal experiences to visualise the political nature of these subjects, especially when subjugated by social taboos and expectations.
Roni Horn played a major role in developing the visual and material language of Minimalism. From the 1980s onwards, she began to create sculptures that picked up on the movement’s interest in materials, yet ventured into Post-Minimalism by emphasizing the centrality of the viewer’s mind and body to the work’s meaning.
Though not recognized as widely as she should be, Nell Blaine’s career stands as a microcosm of post-World War II stylistic tendencies – from gestural Abstract Expressionism to the geometries of pure abstraction and eventually to a lyrical realism that included still lifes, landscapes, and interior views.
Carrington never achieved fame as an artist during her lifetime. This can be attributed the fact that she rarely exhibited, or even signed, her work, along with the fact that she was not working in the most current styles.
Whilst Mehretu’s art is inspired by events taking place in Africa and the Middle East, she resists interpretations of her work that fail to see past her ethnicity. According to the artist, her work is not all about “blackness” or “otherness.” She believes that there is a failure to “simply accept and understand that a woman of African descent is making large, abstract paintings” and that this is a restrictive view of what artists of color can achieve.
In both her life and her art, Tamara de Lempicka offered a new image of the modern woman: part jazz-age femme fatale, libertine and social climber, and part canny self-promoter, self-styled experimental artist and astute cultural and historical prognosticator. In many ways, Lempicka’s artistic output has been assessed as inseparable from her larger-than-life character and, more significantly, her gender.