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Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine

by Aurelia Butler 15 April 2025, 16:00

“Megaera” (2023), bronze and velvet, 59 x 17 1/2 x 17 1/2 inches. All images courtesy of Marianna Simnett and SOCIÉTÉ, Berlin, shared with permission

Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine

April 15, 2025

Art

Kate Mothes

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For Marianna Simnett, sticking to one medium or theme defies her interpretation of what art can be. She fights the natural proclivity of galleries, collectors, and art enthusiasts to typecast her practice as one thing. “Trying to shed those expectations every time—trying to do something different—it’s exhausting but so worth it,” she says in an interview for Art Basel. “Now the signature is that people don’t know what to expect, and that’s the best outcome possible.”

Among myriad strains of her practice—which include filmmaking, sculpture, installation, painting, and performance—a collection of bronze crowns created between 2022 and 2024 command our attention. Situated on top of bespoke velvet cushions, Simnett’s Crowns are cast in an alloy that would make the elaborate headpieces burdensome or even painful to wear, yet the meticulously formed arches, band, and spikes manifest as delicate mammals and birds.

“Hydra” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches

“Simnett uses vivid and visceral means to explore the body as a site of transformation,” says a statement from SOCIÉTÉ, which represents the artist. “In psychologically charged works that challenge both herself and the viewer, Simnett imagines radical new worlds filled with untamed thoughts, strange tales, and desires.”

Named for powerful female figures from ancient lore like Discordia, the Greek goddess of strife, or Lilith, a she-demon in Jewish and Mesopotamian mythology, Simnett’s Crowns examine the power, ferocity, and sublimity of allegorical female figures. One can imagine that only supernatural beings could wear these pieces and feel comfortable.

Simnett’s sculptures were first shown in her exhibition OGRESS in 2022. “In fairy tales and folklore, the ogress is a voracious monster who deceives men and torments children in her quest to ravish them whole,” says an exhibition statement. Simnett wielded “the ogress’ insatiable hunger as a radical force,” illuminating the role of women in myth and legend, especially the symbolic tension between embracing and fearing those who are different.

Simnett’s solo exhibition Charades opens at SOCIÉTÉ on May 1, coinciding with Berlin Gallery Weekend. Explore a wide range of the artist’s multimedia work on her website and Instagram.

“Laverna” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches

Detail of “Laverna”

“Discordia” (2023), bronze and velvet, 17 1/2 x 17 1/2 x 16 inches

“Maniae” (2022), bronze and velvet, 17 1/2 x 17 1/2 x 16 inches

“Lilith” (2024), bronze and velvet, 57 1/2 x 17 1/2 x 17 1/2 inches

Detail of “Lilith”

“Astraea” (2023), bronze and velvet, 55 1/2 x 17 1/2 x 17 1/2 inches

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Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles
by Aurelia Butler 12 March 2025, 13:41
“Girl with Butterflies” (2024), silk and wool yarn on muslin warp, 50 x 40 inches. All images courtesy of the artist and Claire Oliver Gallery, shared with permission
Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles
March 12, 2025
ArtCraft
Kate Mothes
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Emblazoned with vibrant patterns and words like “TRUTH” and “LOVE,” Simone Elizabeth Saunders explores Black identity in relation to kinship, power, and survival. Her hand-tufted textiles (previously) merge cultural narratives and history with mythology, nostalgia, and personal experiences.
Saunders predominantly focuses on women, who she portrays in bold portraits and within fantastical, empowering scenarios. In recent works like “Girl with Butterflies” and “She Manifests Her Destiny,” figures embrace and commune with totem-like snakes, insects, and plants.
“She Reveals” (2022), hand-tufted velvet, acrylic, and wool yarn on rug warp, 65 x 60.5 x 1 inches
Rooted in the myriad histories of the global Black diaspora and rich textile traditions throughout countless cultures, Saunders employs a craft technique historically relegated to a role “beneath” fine art in order to turn the tables on how we comprehend influence, identity, and artistic expression.
Saunders is represented by Claire Oliver Gallery, and you can explore more work on the artist’s Instagram.
“(Be)Longing IV” (2023), hand-tufted acrylic, cotton, wool, and metallic yarn on cotton rug warp, 20 x 1 x 30 inches
“Girl with Hummingbirds” (2024), silk and wool yarn on muslin warp, 50 x 40 inches
“Internal Reflections” (2022), hand-tufted velvet, acrylic, and wool yarn on rug warp, 66 x 62.5 x 1 inches
“(Be)Longing VIII” (2024), hand-tufted acrylic, cotton, wool, and metallic yarn on cotton rug warp, 20 x 1 x 30 inches
“Release in Darkness” (2022), hand-tufted velvet and acrylic yarn on muslin warp, 66 x 55 inches
“She Manifests Her Destiny” (2024), silk and wool yarn on textile backing, 50 x 40 inches
“Break Away at Dawn” (2023), hand-tufted velvet, acrylic, and wool yarn on muslin warp, 66 x 56 x 1 inches
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Ruby Sky Stiler Reassesses Women’s Role in Art History in Geometric Portraits
by Aurelia Butler 27 February 2025, 15:44
“Artist with Green Palette” (2024), canvas, acrylic, pencil, and jade adhesive on panel, 44 x 34 inches. All images © Ruby Sky Stiler, courtesy of the artist and alexander Gray Associates, New York, shared with permission
Ruby Sky Stiler Reassesses Women’s Role in Art History in Geometric Portraits
February 27, 2025
Art
Kate Mothes
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Up close, the irregularly gridded, geometric backgrounds of Ruby Sky Stiler’s paintings evoke patchwork or the patterns of agricultural landscapes seen aerially. Intricate patterns intersect in each rectangle, hinting at floral or decorative motifs that, when viewed from further away, appear almost topographical. Merging with this groundwork are boldly delineated women who often directly return the viewer’s gaze.
Reassessing the history of Western art, Stiler positions women in what she has previously described as “the empowered role as The Artist.” Rather than muses or objectified subjects, she imbues her figures with qualities of control, liberty, and leisure.
“Woman with Children in Blue” (2024), canvas, acrylic, pencil, and jade adhesive on panel, 44 x 50 inches
Recently on view at Frieze LA with Alexander Gray Associates, Stiler’s paintings continue to reenvision 20th-century abstraction, especially the predominantly male Cubist movement that burgeoned around 1907 and 1908. She turns the tables on the historically gendered dichotomy in fine art, transferring the role of women as subjects of paintings to that of creator.
In works like “Women with Children in Blue,” Stiler portrays nude figures in repose or with children, emphasizing another potent definition of women as creators and caregivers. Through mosaic-like compositions, she challenges art historical tropes and reasserts more inclusive, contemporary definitions of gender roles in art.
Stiler employs a meticulous graphite transfer process to apply patterned outlines to her pieces, nodding to textile design—a craft tradition also historically trivialized in the art world as “women’s work.” Pastel acrylic hues fill out bodies and backgrounds, while bold outlines evocative of minimalist Bauhaus design clarify bodies and objects.
Stiler is currently preparing a solo exhibition with Alexander Gray Associates scheduled for November. Explore more on her website and Instagram.
“Two Women in Sienna and Umber, with Red Outline” (2024), canvas, acrylic, pencil, and jade adhesive on panel, 44 x 50 inches
“Blue Woman” (2024), canvas, acrylic, pencil, and jade adhesive on wood panel, 18 x 15 1/2 inches
“Seated Blue Figure (with turquoise and red outline)” (2024), canvas, acrylic, graphite, and jade adhesive on panel, 44 x 34 inches
The artist transfers graphite patterns onto canvas
Stiler displays preparatory sketches in her studio
Swatches are labeled for use in a painting
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From Remedios Varo to Laurie Simmons, a New Exhibition Forwards a Feminist View of the Uncanny
by Aurelia Butler 4 February 2025, 19:00
Remedios Varo, “Tejido espacio-tiempo (Weaving of Space and Time)” (1954), oil on Masonite, 32 1/2 x 28 inches. Photo by Lee Stalsworth. Artwork © 2023 Remedios Varo/Artists Rights Society, New York/VEGAP, Madrid. All images courtesy of the National Museum of Women in the Arts, shared with permission
From Remedios Varo to Laurie Simmons, a New Exhibition Forwards a Feminist View of the Uncanny
February 4, 2025
ArtHistoryPhotographySocial Issues
Kate Mothes
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In a 1906 essay, psychiatrist Ernst Jentsch coined the term “uncanny,” or unheimlich, meaning “unhomely” or “not home-like” in German. He defined the psychological phenomenon as the experience of something new or unknown that might initially be interpreted negatively.
Austrian neurologist and founder of psychoanalysis Sigmund Freud popularized the word with the publication of his book The Uncanny in 1919, which elaborated on the idea as not just the sensation of the unknown but also something capable of bringing out other hidden or repressed elements. He even went so far as to describe the uncanny as frightening.
Mary Ellen Mark, “Tashara and Tanesha Reese, Twins Days Festival, Twinsburg, Ohio” (1998; printed later), gelatin silver print, 20 x 24 inches. Photo by Lee Stalsworth. Image © Mary Ellen Mark/The Mary Ellen Mark Foundation
During the 20th century, the Surrealists often turned to the concept to build a sense of mystery or tension in their works. Meret Oppenheim, for instance, famously created a teacup lined with fur, simply titled “Object” (1936), widely regarded as an iconic example of the movement.
Oppenheim is one of more than two dozen artists whose work will appear in the National Museum of Women in the Arts’ forthcoming exhibition, Uncanny, featuring recent acquisitions and rarely shown pieces in NMWA’s collection, plus special loans.
More than 60 works by renowned figures of modern art history like Louise Bourgeois, Remedios Varo, and Leonora Carrington will be shown alongside the likes of contemporary artists like Shahzia Sikander, Laurie Simmons, and Gillian Wearing. The large-scale presentation is the first to approach the concept through a feminist lens, organizing works around themes of safety and surreal imaginings.
The show also plumbs the phenomenon of the “uncanny valley,” a term coined by robotics engineer Masahiro Mori in 1970 to describe the apprehension or discomfort one feels when confronted with something that is almost human but not quite, like video game characters that appear realistic yet still somehow seem “off.”
Laurie Simmons, “The Music of Regret IV” (1994), Cibachrome print, 19 1/2 x 19 1/2 inches. © 2019 Laurie Simmons
In Laurie Simmons’ “The Music of Regret IV” (1994), a female ventriloquist dummy sits in the center of a circle of six male dummy dolls, whose gazes are trained on her as she looked out into the distance. Tapping into a medium that has been used in the horror genre to instill a sense of creepiness or dread, Simmons’ central character is dramatically spotlit, her smile belying the reality that she is unsettlingly hemmed in.
Along the theme of safety, or specifically unsafe spaces, Fabiola Jean-Louis’s elaborately staged photographs tell two stories at once. The artist portrays “seemingly innocuous portraits of close acquaintances wearing elaborate period costumes typical of upper-class European women, while disturbing images of racial and sexual violence are hidden within the background or details of a dress, reminding the viewer of the lineage of violence,” says an exhibition statement.
Many works in the show address physical trauma or the body’s relationship to the unknown. Frida Orupabo’s photographic collages, for example, portray Black figures that evoke colonial histories, critiquing historical violence and injustices through a process of fragmenting, distorting, and multiplying body parts.
Orupabo’s compositions echo the surrealist collaborative practice of cadavre exquis, or exquisite corpse, in which participants add to elements others have drawn without being able to see their work, producing intuitive and peculiar drawings.
Frida Orupabo, “Two Heads (detail)” (2022), framed collage with paper pins, 58 1/4 x 41 1/2 inches. © Frida Orupabo, courtesy of the artist and Galerie Nordenhake Berlin/Stockholm/Mexico City
“The enigmatic, darkly humorous and psychologically tense artworks in Uncanny give form to women artists’ powerful expressions of existential unease,” said NMWA Associate Curator Orin Zahra, who organized the exhibition. She continues:
Rather than comfort and soothe, these ghostly and fantastical figures haunt the unconscious. Instead of picturesque images, artists offer disquieting spaces that unsettle the viewer. In focusing on the ambiguity between reality and fiction, artists explore increasingly blurred lines between the artificial and eerily human.
Uncanny opens February 28 and continues through August 10 in Washington, D.C., highlighting painting, sculpture, photography, works on paper, and video made between 1954 and 2022. Learn more and plan your visit on the museum’s website.
Fabiola Jean-Louis, “They’ll Say We Enjoyed It” from the series ‘Rewriting History’ (2017), archival pigment print, 33 x 26 inches. © Fabiola Jean-Louis, courtesy of the artist and Galerie Myrtis
Gillian Wearing, “Sleeping Mask (for Parkett, no. 70)” (2004), wax reinforced with polymer resin, paint, 8 1/4 x 5 5/8 inches. Photo by Lee Stalsworth. Artwork © Gillian Wearing/Artists Rights Society, New York/DACS, London
Julie Roberts, “Sigmund Freud Study” (1998), oil on acrylic ground on cotton duck, 84 x 72 inches. Photo by Lee Stalsworth. Artwork © Julie Roberts/DACS, London
Gillian Wearing, “Me as Mona Lisa” (2020), chromogenic print, 24 1/4 x 19 1/8 inches. © Gillian Wearing, courtesy of the artist, Maureen Paley, London, and Tanya Bonakdar Gallery, New York/Los Angeles
Leonora Carrington, “The Ship of Cranes” (2010), bronze, 26 x 14 x 42 1/2 inches. Photo by Lee Stalsworth. Artwork © Leonora Carrington/Artists Rights Society (ARS), New York
Remedios Varo, “Fenómeno de ingravidez (Phenomenon of Weightlessness)” (1963), oil on canvas, 29 1/2 x 19 5/8 inches. © 2023 Remedios Varo/Artists Rights Society, New York/VEGAP, Madrid
Polly Morgan, “Receiver” (2009), taxidermy quail chicks and Bakelite telephone handset, 9 x 2 1/2 x 3 1/2 inches. Photo by Lee Stalsworth. Artwork © Polly Morgan
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In Striking Assemblages, Portia Munson Elucidates Societal Constraints on Women
by Aurelia Butler 27 November 2024, 15:13
“Serving Tray #6” (2022), found figurines, string, rope, and serving tray, 29 x 17 1/2 x 18 inches. Photo by JSP Art Photography. All images © Portia Munson, courtesy of the artist and P·P·O·W, New York, shared with permission
In Striking Assemblages, Portia Munson Elucidates Societal Constraints on Women
November 27, 2024
ArtSocial Issues
Kate Mothes
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From a vast accumulation of found and readymade consumer products, Portia Munson has created elaborate sculptures and installations for more than three decades that explore the thinly veiled messages and codes embedded in mass-produced objects.
Based in Catskill, New York, the artist first began working with found consumer items like plastic figures and kitsch in 1989 when she presented an early version of a bright pink assemblage titled “Pink Project: Table” for her MFA thesis exhibition at Rutgers University.
“Pink Project: Bedroom” (2011-ongoing), found pink plastic and synthetic objects along with salvaged pink bedroom furnishings, 96 x 216 x 120 inches. Photo by JSP Art Photography
Munson had been collecting pink plastic objects to use as references for paintings, but over time, they began to overtake her studio. “I realized it was a piece unto itself,” she says. “If you have an idea and something you want to express, then you find the medium that’s best going to express those ideas.”
Pink emerged as a central interest for Munson as she began to interrogate why the color is associated with women, especially babies and young girls. For years, she collected anything that was pink, plastic, and manufactured on a mass scale, often rummaging through knick-knacks at garage sales, thrift stores, and flea markets.
Over time, Munson’s pieces expanded to include immersive environments constructed entirely from a single color, such as the fabric-draped interior of “Garden” or the Pink Project series that continues through works like “Pink Project: Bedroom.”
“Bound Angel” (2021), found figurines, lamps, candles, string and rope, wedding gowns as tablecloth, extension cords, and oval table, 192 x 68 x 66 inches. Photo by Lance Brewer
Tables and serving trays provide platforms for Munson’s seemingly jumbled compositions, bundling numerous figurines together with string and rope, like in her Serving Tray series or the large-scale “Bound Angel.”
“Serving Tray #6,” for example, presents a mix of ceramic and glass representations of women, tethered with string and perched on a silver platter. Munson describes the group of blindfolded, fettered figures as “sacrificial martyrs, inviting the contemplation of what we are being fed as a culture and who ultimately pays for it.”
Displayed across the entirety of a cloth-covered oval dining table, “Bound Angel” brings together dozens of found white statuettes and lamps, many of which depict angels. Munson has wrapped rope and string around their bodies and faces, emphasizing the constraints society places on women, illuminating struggles that may be hidden in plain sight.
Detail of “Bound Angel.” Photo by Lance Brewer
“This piece is one in a series of works that explore how femininity and the female body are portrayed in our culture,” Munson says in a statement. She adds:
“Bound Angel” reviles the insatiable, consumerist, sexist, and repressive value systems which degrade society. By bringing these objects together, this piece harnesses their collective power, transforming their original function to pacify, sexualize, and infantilize women into one of retaliation, confrontation, and strength.
“Bound Angel” will be on view at Art Basel Miami Beach in the Meridians area, a sector of the fair dedicated to large-scale installations, sculptures, and performances. The show runs from December 6 to 8, where Munson’s work will be presented by P·P·O·W. Find more on the artist’s website.
“Pink Project: Bedroom” (2011-ongoing), found pink plastic and synthetic objects along with salvaged pink bedroom furnishings, 96 x 216 x 120 inches. Photo by Daniel Salemi
Detail of “Pink Project: Bedroom.” Photo by JSP Art Photography
“Crescent Moon” (2024), found figurines, string, and thread, 26 x 30 x 8 inches. Photo by JSP Art Photography
“The Garden” (1996), found/recycled manufactured synthetic and plastic floral and garden-related objects with salvaged floral bedroom furnishings, dimensions variable
Detail of “The Garden”
“Nightstand” (2021), found figurines, lamps, string and rope, and bedside table, 51 1/2 x 34 x 27 inches. Photo by JSP Art Photography
“Pink Moon” (2024), found figurines, string, and thread, 18 x 18 x 7 inches. Photo by JSP Art Photography
Installation view of “Bound Angel” at P·P·O·W. Photo by Lance Brewer
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Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers
by Aurelia Butler 19 November 2024, 23:13
“Carré Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841” (2023), collage, hand-cut, Japanese paper, paper weaving, gold leaf, and acrylic painting, 26 x 26 inches
Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers
November 19, 2024
ArtCraft
Kate Mothes
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From found vintage newspapers and hand-painted designs, Myriam Dion composes remarkably detailed collages. Known for reimagining newspapers into sculptural, geometric works, the Montréal-based artist (previously) has recently begun experimenting with a range of found materials, like gouache-painted samples of antique textile patterns and pages from old garden books.
The stories Dion chooses to highlight often revolve around women and their accomplishments. “It is interesting to see how women are documented in the media,” she says, “especially at a time when newspapers were written by men for men and how this evolves and sometimes regresses depending on the subjects,” the artist says.
Detail of “Carré Fleuri, antique samples of hand-painted flower patterns for dress fabric, France, 1841”
Through a painstaking process of cutting and weaving tiny strips of material, Dion adheres gold leaf and adds drawing and painting details. “I also include folding techniques that allow me to create relief and a textile look to the paper,” she says. “Drawing allows me to develop patterns through repetition and is conducive to larger installations.”
The artist currently has work on view in Timelines, her solo exhibition at Arsenal Contemporary in New York City, which emphasizes her interest in milestones like women’s labor rights and suffrage throughout the 20th century, especially in the U.S.
“These themes are expressed through headlines in a dated language as evocative as the homespun crafts that Dion elevates,” says a gallery statement. “By exploiting the metaphoric potential of ephemera, she underscores the vulnerability of these rights while offering a timely reminder of their importance.”
“Miss Marion Cassidy, Daring Canadian Aviatrix, New Mexico, Wednesday, May 21, 1919” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 47 x 47 inches
Dion has recently become fascinated by darning samplers, which like other embroidery samplers, were historically used to showcase one’s knowledge and skills with different stitches. In terms of darning, a method of mending, the patterns often mimicked different weaves or knitting to show that the sampler’s maker was capable of mending a variety of fabrics.
“These are objects rich in know-how and history—they are magnificent and very inspiring for me, both formally and conceptually,” Dion says. “These objects evoke repair and care, which give a second life to damaged fabrics. They are linked to women, indeed: traditional crafts and artisanal virtuosity, elements to which I am sensitive and which greatly influence my creative process.”
Dion is particularly drawn to the samplers’ geometric characteristics, which she incorporates into her own compositions. Patterns and floral motifs intertwine in meticulously detailed pieces, often transforming into ornate framing devices for intimately scaled photographs of women snipped from the newspaper.
The artist recently won a commission for a large public artwork inspired by darning samplers, which will be installed in a new hospital in Vaudreuil-Soulanges, Québec, in 2027. Another public work will be installed at the Santa-Cabrini Hospital in Montréal next summer.
Timelines continues through December 14. Find more on Dion’s website and Instagram.
“Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922” (2024), collage of hand-cut newspaper and Japanese paper, drawing, painting, paper weaving, and gold leaf, 116.5 cm x 108.5 centimeters
Detail of “Girl in Knicks on the Links, Miss McMillan, The Brooklyn Daily Eagle, New York, Monday, May 8, 1922”
“Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, pencil drawing, and gold leaf, 40 x 40 inches
Detail of “Women Workers, Daily Republican Eagle, Red Wing, Minnesota, Friday, October 2, 1942”
“Marie Curie, Radium discoverer to visit America, February 10, 1921” (2024), collage and weaving of newspaper and hand-cut Japanese paper, acrylic paint, felt, and gold leaf, 42 1/2 x 43 inches
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‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists
by Aurelia Butler 16 October 2024, 10:00
Shirin Neshat, “Land of Dreams” (2019), film still. © Shirin Neshat, courtesy of the artist, Gladstone Gallery, and Goodman Gallery, Johannesburg, Cape Town, and London. All images courtesy of Laurence King Publishing, shared with permission
‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists
October 16, 2024
ArtBooksHistoryPhotography
Kate Mothes
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In 1929, sought-after New York fashion model Lee Miller moved to Paris to apprentice with surrealist photographer Man Ray, joining an influential circle of artists. She and Ray worked so closely together, in fact, that many of her photos have been erroneously attributed to him.
Like many women, Miller’s work was often overshadowed by her male counterparts. A new book, The Women Who Changed Photography: And How to Master Their Techniques, marks Miller’s contribution to photography among 49 more groundbreaking artists who incorporated unique techniques blazed a trail for future generations.
Cindy Sherman, “Untitled #577” (2016)
From Zanele Muholi’s bold black-and-white visages to masters of disguise, like French surrealist Claude Cahun (1894-1954) and contemporary artist Cindy Sherman, identity plays a vital role in many of the practices featured.
Iranian artist Shirin Neshat, for example, often delves into the complexities of womanhood within Islamic cultural and religious value systems. Pushpamala N. employs narrative and figuration in images that critique stereotypes of women in India.
Released by Laurence King Publishing last month, The Women Who Changed Photography chronicles the individuals, aesthetics, and approaches that have shaped the field. Grab your copy on Bookshop.
Pushpamala N., “Yogini F-24” (2000–2004) from Native Women of South India: Manners and Customs
Claude Cahun, “Self Portrait (Holding Mask)” (undated)
Julie Cockburn, “Feed the Birds (Women)” (2019)
Shirin Neshat, “Rebellious Silence” (1994)
Julia Margaret Cameron, portrait of Julia Jackson Duckworth (1846-1895)
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feminism

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Formidable Bronze Crowns by Marianna Simnett Conjure Myth and the Sublime Feminine

More stories

Regal Portraits Evoke Myth and Power in Simone Elizabeth Saunders’ Hand-Tufted Textiles

Ruby Sky Stiler Reassesses Women’s Role in Art History in Geometric Portraits

Myriam Dion Weaves Milestones of Women’s History from Vintage Newspapers

‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists

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