Tattoo, black and white digital photograph, copyright © Linda Kessler, NAWA member since 1988

“The unexpected. . .” has been my response to photography in Paris. This photograph was no different, captured while strolling the hills of Montmartre with a writer friend. As we were talking, we came upon this French, modern-day version of Carmen Miranda—large vintage glasses, headdress with a bow and fruit, red hair, red lipstick, pineapple earrings, sleeveless yellow vintage dress on a sunny, warm day at a busy café. What caught my attention were the tattoos—up to her chin, neck, arms, chest adorned with detailed pictures—and a huge smile. Irresistible.

I had been living and working in Paris for three months in the spring of 2017, having exchanged apartments with a Parisian artist friend. I spent my time painting in his studio, formerly a horse stable, and photographing the unexpected daily. Every place has a certain sensibility. Paris possessed sensuality, which was evocative in its architecture, language and people. This was all embodied in the image of the tattoo woman on this hill of Montmartre.

At the moment, I am living in Barcelona for six months and photographing the unexpected in this vibrant city of Gaudi, Miro, Dali and Picasso. All the places I visit or inhabit have their own faces, and I am captivated, intrigued and curious by the differences and commonalities of what it means to be human.

A New York City native, I have lived in Brazil for two years, Mexico, Brittany, Italy and France for several months. Currently, I am working on a project of images I photographed of Auschwitz and the city of Krakow.

https://www.instagram.com/lindakessler_/

Jill Cliffer Baratta

March is Women’s History Month. We are so popular in March! The Riverside Library in New York City, the Harlem School of the Arts, County College of Morris—all so interested in women artists in March! That’s a good thing. Let’s celebrate that! It has made us all very busy, organizing prospectuses, painting, printing, delivering, having receptions, and running here and there. I sincerely hope those of you reading NAWA News have gotten a chance to see at least one of the March exhibitions, Ev(e)olution VIII—Migration, SHELTER, and Open Horizons are a feast of wonderful artwork. And in the NAWA Gallery, a group of six members mounted their own show, “Celebrating Women!” Every one of these is a show to be very proud of!

This flurry of activity will be followed in April in the NAWA Gallery by “Painting the Corners- Three Women Artists Step Up to the Plate.” Marisol Ross, Susan Miller-Havens and I, are showing baseball-themed artwork, celebrating the players, the action, the national pastime that continues to captivate the American spring and summer gamers across the country. We are Boston Red Sox, New York Yankees, and New York Mets fans assembled in one Gallery! How ecumenical! I am personally very excited about this show, a wholly different theme for our gallery. You may ask, “Why?” Please come to the show and I’ll explain it to you.

Our Annual Luncheon will follow in May, and we are very proud to present the artist Joanne Mattera as our keynote speaker. Ms. Mattera is well known for her chromatic work in encaustic. She is a painter, writer, blogger, and author of The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax. I always look forward to the luncheon event as it is a fine opportunity to dine and share social time with the members. I hope you will all plan to come and bring a guest!

Yours in creativity,

Jill Cliffer Baratta, MFA, NAWA
NAWA President

Edith Mitchill Prellwitz, Triptych, circa 1898, oil on canvas

Susan G. Hammond:

In the late nineteenth century, women gained acceptance and received recognition for
their craftwork—stenciling, needlework, embroidery, cards, crocheting, making patterns
and clothing, making pillows and ornaments—but not for fine art. It was believed by
many that serious consideration of the work of women artists could only be recognized
when it was shown in significant quantity to demonstrate that creative achievement
need carry no sex distinction.

On January 31, 1889, five women artists (Anita C. Ashley, Adele Frances Bedell,
Elizabeth S. Cheever, Grace Fitz-Randolph and Edith Mitchill Prellwitz), met in
Fitz-Randolph’s studio and established the Woman’s Art Club. It was not a social club
but rather a group that provided women the opportunity to display their artwork.

The Women’s Art Club set out to invite all professional women fine artists to join the
group. They formed a jury to choose work for their first annual exhibition.

In 1890, the first annual exhibition took place at the Berkeley Athletic Club in New York,
the second at 9 East 17 th Street, NYC. The third and most acclaimed show was held at
9 West 10th Street, NYC. This 10 th Street location was down the street from the famous
Tenth Street Studio Building, the heart of the New York art world at the time.

This exhibition included the artwork of nearly 300 women artists in a wide range of
media including: oil painting, watercolor, pastel, etching and crayon drawing. This show
was not exclusively for members nor only for women artists in NYC. It included work by
national and international artists. The catalogue includes Mary Cassatt, who lived in
Paris at the time, a “Miss Bertha, Art of Brussels,” and Louise Bresleau of Paris.
Each successive Annual Exhibition drew praise and important reviews.

The Woman’s Art Club closed the 1890s with its ninth annual exhibition at the National
Arts Club on 37 West 34 th Street, NYC. Membership had doubled, and women artists
started to receive awards and recognition for their fine art work.

Portrait of Edith Mitchill Prellwitz

Edith Mitchill Prellwitz, Young Woman with a Rose, 1895, oil on canvas

Louise Cox, Woman Holding Flowers, 1893, oil on canvas

BriAnna Olson

BriAnna Olson is a film and video artist, director and producer currently residing in New York City. Inducted into NAWA in November, 2017, she is a busy innovator having created and directed live video art projections and music videos for chamber-pop band Gem Club and performing with them at the Museum of Fine Arts, Boston. In collaboration with filmmaker Michael Pope, she co-wrote and directed a one-man show that had a month-long run at the Edinburgh Fringe Festival. Her media projects have included works for Girl Scouts of America, Sony BMG, Children’s Hospital Boston and a film commission for the Boston Symphony Orchestra. Her independent creative studies have taken her to Iceland, Mexico, Berlin, Egypt and Tehran.

Q & A with BriAnna Olson:

Q. How did your passion for art begin taking shape for you—at home, school, a mentor? What other artists inspired you? Is there a personal experience that started the fermenting process?

A. Warner Brother’s Merrie Melodies was certainly a big inspiration for me in terms of the study of color, motion and rhythm, as well as Disney’s animated feature films. And seeing the visual command of Michelangelo Antonioni opened a new world of possibilities for me.

Q. How would you describe your artwork in terms of materials or mediums? Has it changed or evolved since formal training, and what are your goals for it?

A. I would say I am a video artist first. Second, I am an assemblage artist, and third I am what I call a circuitous found object. That’s a good way to sum what I am doing at any given time. I’m very inspired by the philosophy of Gilles Deleuze. I plan to keep experimenting and hope to continue to project my work in big spaces.

Q. Has being a woman affected your work and others’ perception of it? How do you feel about being part of a woman’s art organization?

A. I think my looking is decidedly a woman’s, and people see this. My work is haunting and enchanting in a feminine way. I’m honored to be a part of National Association of Women Artists.

CAROL NIPOMNICH DIXON

Carol Nipomnich Dixon has been creating art since she was a child — painting, photographing and assembling her most distinctive embroidered collages. The embroideries that incorporate found objects, fabrics, or fragments of her photos combine traditional and experimental techniques with contemporary items. Her solo exhibition entitled “Near and Far” at the Byram Shubert Library (April 4-28) will feature embroidered collages and oil paintings of magnified gem crystals as seen through a microscope, the cosmos as viewed through a telescope, and images inspired by scenes as close as her hometown in Old Greenwich and as far away as Japan. Her influences go back to her Russian paternal grandparents — her grandmother who taught her to embroider and her grandfather who gave her fabric remnants from his tailor shop. Her most influential teachers were Reuben Tam and Leo Manso. She most recently (March, 2018) received an award for her fiber art at the Greenwich Art Society’s 101st Annual Juried Exhibition, where the judge was Randall R.Gruiffey, Curator of Contemporary Art at the Metropolitan Museum.

Diane Esther Halley

Diane Esther Halley is a 2018 recipient of the Albert Nelson Marquis Lifetime Achievement Award by Marquis Who’s Who. Among her many exhibitions, Ms. Halley has been featured in the NAWA exhibit at the Armory Center in West Palm Beach as well as a portrait exhibit in Washington, DC in 2015. As a portrait artist, she believes the wrinkled faces of the elderly are as interesting and beautiful as the smooth faces of youth. “Life has a way of etching its story on one’s face, and I hope to convey some of this in the faces I paint.”

Janet Indick

Congratulations to Janet Indick for her 2017 Marquis Lifetime Achievement Award. Ms. Indick is a contemporary sculptor who explores the expressive possibilities of steel, other metals, wood, and clay in abstract sculpture for indoor and outdoor sites. Her exhibits include many solo, juried and invitational exhibitions in New York, New Jersey, and other states. Internationally, her metallic sculpture has been on exhibit in museums in Germany, Paris, Poland Finland, Canada, and Scotland. President of NAWA in 1997-1998, her vision was to give the artists more opportunities to show their work by offering both juried and non-juried exhibits in museums, colleges, and corporations all over the country. She added that “it is always important for NAWA to grow and adapt to new challenges in technology.” As an artist and a woman, she reacts to nature, art, architecture, music, history, and current events to create her metal sculptures. She transforms rigid raw materials by manipulation of simple geometric shapes. “Like a choreographer, I connect these parts into a fluid whole that exhibits movement, energy, symmetry and balance. Themes of creation, nature and biblical stories, as well as heroism, humor and the holocaust are recurrent in my works.”

Loretta Ana Kaufman, Three of a Kind, Series HR

Loretta Ana Kaufman

Loretta Kaufman’s oil painting Three Of A Kind: Series HR is to be included in a limited edition book of poetry by Peter Waldor, entitled “Gate Posts With No Gate-The Leg Paint Project” with a special endorsement by Sean Hemingway. With a mid-2018 release date, readings and exhibits throughout the U.S., Canada, and abroad are planned in 2018-2019. In 2017 Loretta received the Albert Nelson Marquis Lifetime Achievement Award. This award is given to less than 5% of Who’s Who listees. In 2018 her bio is listed in Who’s Who In America.

Joanne Mattera

Joanne Mattera

Joanne Mattera paints in a style that is chromatically resonant and compositionally reductive. She has had solo shows in New York City at the Stephen Haller Gallery (1995) and OK Harris Works of Art (1996 and 2007). In recent years, she has participated in exhibitions at DM Contemporary, the Elizabeth Harris Gallery, and Margaret Thatcher Projects. Her 30th career solo, Silk Road, took place in 2015 at Kenise Barnes Fine Art in Larchmont, New York. I Always Return to Hue followed the next year at Arden Gallery, Boston. Mattera’s paintings and works on paper are in the collections of the New Britain Museum of American Art, Connecticut; Montclair Art Museum, New Jersey; University Collections, State University at Albany; Connecticut College Print Collection; the U.S. State Department; and institutional and private collections.

Mattera also writes and curates regularly. Her popular Joanne Mattera Art Blog offers a visual look at exhibitions and art fairs in New York City and elsewhere. Her most recent curatorial efforts include Depth Perception, a 19-artist exhibition that considered dimension in physical or implied space for the Cape Cod Museum of Art, 2017 and A Few Conversations About Color, a visual discourse among seven artists, for DM Contemporary in New York City, 2015.

Mattera divides her time between Manhattan and Massachusetts. She is a member of American Abstract Artists and exhibits regularly with them.

www.jmresume.blogspot.com
www.joannemattera.com
www.joannematteraartblog.blogspot.com

Lea Weinberg

Congratulations go out to Ms. Weinberg for sharing this important and moving exhibition. Lea Weinberg’s solo exhibit MOTHER-SURVIVOR: Personal History was presented with the theme of Holocaust in Contemporary Art at the Arthur M. Berger Art Gallery at Manhattanville College in Purchase, New York, January 23-February 24, 2018, with a special talk by the artist-sculptor. Her description for this artwork was “My Mother’s personal story, intertwined with the tragedy of human history, wrapped with her optimistic spirit and hope for a better future.” The candle imagery consists of electric wires covered with red plastic emerging from the red wax swirling in shapes of the names of her mother’s family members who did not survive: Her sisters Eti & Tzipi, mother Leah, father Arie and brothers Eli & Moshe. The shadows on the wall are creating more names of many other innocent victims.

Lucinda Abra

Listen to the Song, collage

Lucinda Abra was recently featured in two publications as a participant in the “Flying Glue Project.” Her artwork appeared in the December 2017 issue of Chronogram Magazine (Kingston, NY) and Kolaj Magazine (Montreal, Quebec) in the March 2018 issue, including an interview with the artists. The juried project involved the selection of eighteen artists out of hundreds of submissions for a two-page spread, with many small books shared internationally.

Carole P. Kunstadt

Carole P. Kunstadt was featured in the November 15, 2017 copy of ARTS, published by The Society for the Arts in Religious and Theological Studies (SARTS). In the words of John Shorb, her Portfolio: Carole P. Kunstadt shows how she “creates exquisite, tactile works, most often from religious materials such as the Bible and related texts…her careful way with materials demonstrates the respect and awe of the life of these objects and books.” To view the online edition go to:

http://www.societyarts.org/portfolio-carole-p-kunstadt.html

Anika Ellison Savage

Depths

Anika Ellison Savage’s article on her abstract work was published in Newburyport Daily News (2/14/18). Here’s a sample of her philosophy: “While painting abstractly, inspiration emerges from within based on an integration of my visual, emotional and spiritual reality. I find that my visual sources derive primarily from a close observation of nature. The work of other artists, past and present, encountered in museums, at shows, online and in print, is also inspirational. Emotional sources derive from experience and my perception of events in my life. The configuration of shapes on the canvas along with line and space must create a satisfying composition. I love to use materials to add texture, complexity, and interest. I start, usually, with oil on canvas, often including cold wax, and I might integrate fabric, paper, glass, buttons, beads, ribbon, and other found objects. I often paint thinly in areas, adding thickness with paint or other materials for contrast and emphasis. All of these factors have to work together synchronistically to create the magic.”

Shipping Dos and Don’ts

You may have heard stories about artwork shipping disasters—sculptures getting lost in the mail, frames breaking or falling apart etc. When having an artwork shipped, you can avoid the most common mishaps by following the recommendations below.

Pack work with adequate padding. Use a box slightly larger than the artwork, so there is not much room for movement. DO NOT USE PEANUTS. Use enough bubble wrap to secure the art. Bubble wrap is great for padding your art, but it should not touch the actual paint, especially if varnished.

Use a box no more than 3” inches larger than your piece on all sides. Add a thicker, stiffer layer of protective cardboard if possible. This inner layer of cardboard is going to create a second layer that will greatly diminish the possibility of having a foreign object pierce or scuff your artwork. The second cardboard layer will also help absorb shock if the package is dropped. NAWA does not have much space to store boxes, so larger ones than necessary present a problem for us.

Shipping watercolors, photography, prints, or anything else behind a panel of glass is another challenge. Artwork behind glass is almost infinitely more difficult than shipping anything else. Glass is so susceptible to cracking in transit that some carriers refuse to insure anything that involves it. Use extra bubble wrap.

Prepare a good, sturdy box. Even a brand new box is going to show signs of wear and tear when it arrives at a gallery. But using an old box is inviting trouble. You are also sending a gallery a message if you show them that you feel the artwork isn’t worth the cost of a reliable box.

We’re all on budgets, but do not skimp on packing tape for your art. Packing tape is important. Buy the best you can afford. Use large “fragile” stickers on every shipment. The freight company might not pay much attention to them, but they will make you feel better.

Just like any other shipment, use the tracking number to monitor your artwork in transit and estimate its arrival time. Though it happens rarely, you’ll be glad to have this information if your artwork shipment is delayed or headed to the wrong address. Always include a return shipping label. If it is not addressed to you, please write your name on the box with a marker. This helps identify into which box to return the artwork.

It is standard practice to buy insurance when shipping artworks or any other high-value item. The costs vary depending on the artwork’s worth, weight, and size. Insurance is an added but necessary expense. It ensures that you will be reimbursed if something happens while your artwork is in transit.

Shipping artwork can be a challenge and a frustration, but it has actually never been easier to ship. With the right tools, supplies and shipping procedures, you can ship your artwork safely and efficiently.

Compiled by Susan B. Phillips
NAWA Gallery Coordinator, 2018

Kimberley Alemian

I am proud to be leading NAWA’s Massachusetts Chapter into its fifth year. NAWA’s history, mission and longevity impress me deeply. I was thrilled to be accepted to this historical organization of women artists in March 2014. The NAWA chapters are an important way to extend the organization’s reach as it allows members outside of NY to participate more frequently in exhibiting their works and supporting our mission. I work with an incredible board of dedicated, hard working, and talented women who assure the success of the chapter.

In reflecting on the beginnings of the Massachusetts Chapter, Nella Lush was instrumental in bringing it alive with founder Liliana Moonie in 2013. She worked tirelessly in building a hard-working board of directors and cultivating members.

As a new member, I worked with the exhibitions committee. A curated exhibition was proposed and accepted at South Shore Art Center. Shortly thereafter, I was invited to join the board of NAWA MA. The show was reviewed in Artscope magazine and received good local publicity.

One of the pivotal exhibitions that included NAWA MA members was Strokes of Genius: Women in the Arts, Past and Present at Rockport Art Association and Museum. It included past artists such as Cecilia Beaux, Emma Fordyce MacRae, Marie Danforth Page and Elizabeth Wentworth Roberts, founder of ConcordArt. American Art Review magazine covered the show, and a catalog was published.

Successful exhibitions gave the MA Chapter greater visibility. We forged a relationship with Artscope magazine which enabled us to advertise our exhibitions, our members, and call for artists to apply to the chapter.

At the time, the calls for entry, images and list of works were all being kept by hand, which was labor intensive. Through my work experience at South Shore Art Center, I was using Smarter Entry to handle calls for entry, Constant Contact to keep in touch with our membership, and Paypal to collect various fees. Research on implementing these applications to streamline our own process was set forth to the board. We had meager funds to work with, but after thoughtful discussion, we took a leap of faith and signed up with Smarter Entry and Constant Contact. This has eased the record keeping and allowed us to move forward with more exhibition opportunities. It was a big step for us as it allows more members to easily participate in the local shows.

Our roster of exhibitions in 2018 has already included Thompson Gallery, Weston, Wedeman Gallery, Lasell College, Galatea Fine Arts, @artlery160, Boston. Future exhibitions include @artlery160 at Harrison-Lobdell Gallery in Saratoga Springs, NY; Trustman Art Gallery, at Simmons College and Hess Gallery at Pine Manor College, Chestnut Hill. We continue to explore more venues.

This spring, we will offer our first scholarship awards! We continue to cultivate relationships with artists in the community, arts organizations, educational institutions, and galleries. This has been rewarding in so many ways, and we have met amazing people who support the organization as a result.

The Massachusetts chapter has grown to over 125 members and our “Social” events are an opportunity for members to meet, share ideas and network with one another. We are optimistic and excited for what the future will bring.

From left to right: Susan G. Hammond, Nancy Coleman Dann, Sandra Bertrand, Carole Richard Kaufmann, Leah Raab and Natalia Koren Kropf

Women’s History Month
Celebrating Women!

NAWA Gallery
March 3 – 31, 2018

Women’s History Month celebrates the character, courage, and commitment of women throughout history. NAWA was founded in 1889 to support those ideas and this March six members artists, Sandra Bertrand, Nancy Coleman Dann, Susan G. Hammond, Natalia Koren Kropf, Leah Raab, and Carole Richard Kaufmann have brought their combined talents to the challenge. Through expressionistic paintings, collage and printmaking, black and white photography, sculpture and pencil studies from journeys on the Silk Road, they interpret women’s invaluable place in the world.

SHELTER

Harlem School  of the Arts
March 1 –  31, 2018

Shelter is a main concern for all living beings, especially for refugees, immigrants, the homeless, those concerned about climate change, drug addiction and victims of domestic violence. A juried NAWA exhibition open to members and non-members alike, adds light to this ongoing problem. For the second year, NAWA has joined forces with the Harlem School of the Arts to address this vital issue.

Student performances at opening reception

EV(e)OLUTION VIII: MIGRATION

Riverside Branch of the New York Public Library
March 3-31, 2018

Migration—the world on the move, species of all varieties seeking survival itself. In celebration of Women’s History Month, a juried exhibition at the Riverside Library, in New York City’s prime Upper West Side Lincoln Center area has chosen a timely theme. This is the eighth year NAWA has had this important exhibit at the library. This year, there were thirty NAWA member participants.

OPEN HORIZONS

County College of Morris (CCM) Art & Design Gallery, New Jersey
January 29-March 30, 2018

The artist members of the National Association of Women Artists (NAWA) have often set their sights on a shared vision of expanded horizons. The County College of Morris (CCM) Art & Design Gallery in Randolph, NJ is hosting NAWA’s Open Horizons, a unique exhibition that allows each artist to go as far as her own perspective will take her. This can mean an openness of spirit, or of physical passage through limitless space. It can also mean the line where the earth and sky meet, or the limits of a person’s perspective. An exciting challenge for these artists.

PAINTING THE CORNERS
Three Women Artists Step Up to the Plate

NAWA Gallery
Opening Reception: April 12, 5-7 pm

Traditionally, more men have painted women as a subject matter than the male figure. Jill Cliffer Baratta, Susan Miller-Havens and Marisol Rose have thrown their own curve ball on that idea, choosing to paint male baseball players and the trappings of the game. Baseball is a timeless sport, and this exhibit gives visitors the opportunity to feel the game, the crowd, the parks and the players through the eyes of women.

Top left: Three Balls, No Strike, Susan Miller-Havens, Top right: Nine Rips, Jill Cliffer Baratta, Bottom: Home, Marisol ross

PENNIE BRANTLEY, solo exhibition
Paths to Knowledge

NAWA Gallery
May 2 – 30
Opening Reception: May 3, 5-7pm

Path to Knowledge (Palacio Nacional de Sintra, Portugal)

A native of Caruthersville, Missouri, Pennie Brantley now lives and works in Boston and the Taconic Mountains of New York with her artist husband, Robert Morgan, following a three-year sojourn in Buenos Aires, Argentina. An art-study tour in the Soviet Union almost 40 years ago initiated her ongoing explorations of the world at large. She has worked as a graphic artist, illustrator, philosophy tutor, and gallery director. In organizing ARTcetera ’98, Boston’s AIDS Action Committee’s major exhibition and auction, she was instrumental in raising $600,000 for AIDS patients. Her work has been featured in over 70 articles and reviews in newspapers and magazines. She is also represented in numerous exhibition catalogs and has been interviewed for educational television. Brantley and her husband were featured in a 2010 documentary on Boston artists.

EYENGA BOKAMBA, solo exhibition
What Will I Do With All This Freedom?

NAWA GALLERY
June 6 – July 5
Opening Reception: Thursday, June 7, 5-7:30pm

Point of Brightness

Eyenga Bokamba is an artist who is most drawn to abstraction as a means of expressing her perceptions of complex realities. Her work has been widely collected by public libraries, universities, and private buyers who value the spacious expansiveness and luminosity of her creations. Her large-scale paintings utilize acrylic, calligrapher’s ink, and mixed media to create layers of translucence. In her latest body of work, the abstracted figure emerges, giving rise to a new visual language of gesture and movement. Eyenga holds an undergraduate degree from the University of Minnesota and a graduate degree from Harvard University. As a recent member of NAWA, she will be featured in a solo show at NAWA’s Gallery in June.

1970 Andy Warhol, oil on Canvas, Whitney Museum of American Art, New York.

Alice Neel

Alice Neel (1900-1984) is rightly considered one of the most daring and forthright American portraitists of the late 20th century.  In her uncompromising way, she was able to translate the art of portrait painting into a distinctive and modernist style all her own. She said, “I have tried to paint the people of my day…” And so she did.  A highlight for Neel would have been her retrospective at the Whitney Museum of American Art in 1974. She declared “There is new freedom for women to be themselves, to find out what they totally are.” She was an honorary vice president of NAWA and was in the Centennial catalog published in 1988.

Love Letters

NAWA member Anita Pearl has initiated an exciting new program at the Mulberry Street Branch of the New York Public Library. Along with Natalia Koren-Kropf, NAWA’s Exhibition Chair, 2-hour art workshops are being presented once a month from January-June 2018. February’s theme was “Love Letters.” Natalia presents a selection of materials to the class and demonstrates techniques for their use. We wish Anita and Natalia our best wishes for the continued success of this program.

Sylvia Palacios Whitman, Passing Through, Sonnablend Gallery, 1977. Photographer: Babette Mangolte © 1977

Radical Women: Latin American Art, 1960-1985 at the Brooklyn Museum (Elizabeth A. Sackler Center for Feminist Art and the Morris A. and Meyer Schapiro Wing)

Something very significant “south of the border” is brewing at the Brooklyn Museum and we think you should know about it.  It is the first exhibition to explore the groundbreaking contributions to contemporary art of Latin American and Latina women artists during a period of extraordinary conceptual and aesthetic experimentation. Radical Women: Latin American Art, 1960–1985, on view from April 13 to July 22, focuses on their use of the female body, ranging from painting and sculpture to photography, video, performance, and other new mediums. Many works were realized under harsh political and social conditions under which these artists prevailed.

Organized by the Hammer Museum in Los Angeles and in Brooklyn by Catherine J. Morris, the Sackler Senior Curator and Assistant Curator Carmen Hermo, the exhibition features more than 120 artists from 15 countries, including such innovative artists as Lygia Pape, Ana Mendieta, Marta Minujin and many others, who should be at last out from under the radar and in the spotlight.

It’s been a real pleasure to see the emails we’ve received from our inaugural quarterly newsletter requests—you’re an inspiration to all our NAWA membership. We’ve received a flood of responses for your solo and two-person exhibits, as well as other news you wanted to share. If we missed you in our scheduled listings of recent, current, and future shows, you may email us again and we’ll do our best to feature you in a forthcoming issue. Please feel free to send us jpeg images along with your show listings for possible inclusion. Publication of photos is at the discretion of your co-editors and space considerations. As always, we welcome your news and insights. Though show listings are only open to members, feel free to share your newsletter with friends and art associates. Happy Spring!

Emails should be sent to: Mimi Herrera-Pease, Sandra Bertrand

Correction

Apologies go out to Lucinda Abra, who was mistakenly listed as “Aubrey” in our inaugural January newsletter. We encourage our readers to take a look at Lucinda’s informative Tools of the Trade article, Sculpture and Its Tools and Techniques.