Sentences with phrase «feminist art space»

Also announced in the New York Times: «Jill Soloway, creator of the acclaimed Amazon television series «Transparent,» is... making an Amazon series based on Womanhouse, the 1972 feminist art space that Ms. Chicago organized with Miriam Schapiro.»

Jill Soloway, creator of the acclaimed Amazon television series «Transparent,» is also making an Amazon series based on Womanhouse, the 1972 feminist art space that Ms. Chicago organized with Miriam Schapiro.

Jazmin Jones Opening Reception Friday November 20, 2015 6 pm — 9 pm Exhibit Open November 20, 2015 — November 29, 2015 A homegrown, radical, feminist art space for San Francisco!

Housed within the confines of SOHO20, a historic feminist art space, Marcin continues to deflate the gendered hierarchies embedded within the film industry.

Quiet Lunch: The Untitled Space has developed a name for itself as a feminist arts space, and inherently political, was this always the goal?

Not exact matches

Artists from all over the country flocked to New York in the»70s to live in its cheap lofts and to show in its new breed of art spaces — from the Kitchen to the Clocktower Gallery to Artists Space to A.I.R., the first feminist art gallery.

Martha Wilson (Fellow in Performance / Multidisciplinary «01) is a pioneering feminist artist and art space director, who over the past four decades created innovative photographic and video works that explore her female subjectivity.

The transformation of a Hollywood house, previously scheduled to be demolished, allowed the artists to make traditionally female spaces, such as kitchens, into feminist works of art.

Martha Wilson is a pioneering feminist artist and art space director, who over the past four decades created innovative photographic and video works that explore her female subjectivity.

Since then she has held Senior Curator positions at the American Federation of Arts and Location One, both in New York City, and perhaps, most famously, was the Founding Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, where she conceived and launched the very first exhibition and public programming space in a U.S. museum devoted exclusively to feminist aArt at the Brooklyn Museum, where she conceived and launched the very first exhibition and public programming space in a U.S. museum devoted exclusively to feminist artart.

From the seminal performance work by Rachel Rosenthal, the early queer video work of EZTV, boundary breaking art installations by Barbara T. Smith, the pioneering media explorations by Electronic Café International, to the feminist media interventions of Suzanne Lacy and Leslie Labowitz - Starus, these five influential and often overlooked artists and collaborative arts groups were fundamental to charting the course for the artist space movement and its vision of egalitarian artistic production and reception.

One New York gallery in particular, Untitled Space, is currently inviting multidisciplinary women artists to submit work to an upcoming exhibition titled «Angry Women,» which will channel the feelings of election - related rage and anxiety into challenging and confrontational works of feminist art.

Cesarine, founder of Untitled Space and editor - in - chief of Untitled Magazine, uses her curatorial position to give platforms to female artists and feminist art.

Cesarine founded The Untitled Space in 2014, in part to «emphasize contemporary female artists and bring more awareness to feminist art,» putting up exhibitions like an «all - female, all - nude» art show and a group show of 21 woman artists creating self - portraits.

Radically revising the line between public and private, the exhibition space was domestic space, and conventional assumptions about suitable artistic subject matter were discarded; the bathroom and the dollhouse were appropriated as «appropriate» exhibition spaces for feminist art.

Be sure not to miss booths by Benrubi Gallery from New York, a leading gallery with a focus on 20th Century and contemporary photographs; Blindspot Gallery from Hong Kong, a gallery with a primary focus on contemporary image - based works; Bryce Wolkowitz Gallery from New York, a gallery with a major commitment to representing new media artists who are exploring the intersection of arts and technology; Dittrich & SCHLECHTRIEM & V1 from Berlin, a gallery representing emerging, mid-career and established artists from around the world; Fraenkel Gallery from San Francisco exploring photography and its relation to other arts; Gagosian Gallery from New York, Hong Kong, Beverly Hills, Athens and Rome; Hamiltons Gallery from London, one of the world's foremost galleries of photography; Galerie Lelong from Paris focusing on an international contemporary art and representing artists and estates from the United States, South America, Europe, and the Asia - Pacific Region; Magda Danysz from Paris, Shanghai and London dedicated to promoting and supporting emerging artists and favouring a larger access to contemporary art on an international level; Mai 36 from Zurich focusing on trading and presenting international contemporary art; Pace Prints / Mac Gill, a publisher of fine art prints and artist editions affiliated with the Pace Gallery; Richard Saltoun Gallery from London specialising in post-war and contemporary art with an interest in conceptual, feminist and performance artists; Roman Road from London; Rosegallery from Santa Monica, an internationally recognized gallery of 20th and 21st century works on paper; Taka Ishii Gallery from Paris, Tokyo, and New York devoted to exploring the conceptual foundations and implications of contemporary (photo) graphic practice; White Space from Beijing; and Yumiko Chiba Associates from Tokyo, among others.

How do you see the role of such a space in a renewed mainstream interest in feminist art?

Indira Cesarine: When I launched The Untitled Space gallery, one of my initiatives was to emphasize contemporary female artists and feminist art as a genre.

Shifting between art and public space, Holzer examines the role and position of feminist art within contemporary societies and its political implications.

opening night, spotlighting South Florida artists Deming King Harriman, Alex Zastera, Alejandro Franco, Erica Sheldon, Eurydice, Asser St. Val, Laundromat Art Space, Afrobeta, Miami - bred / Mexico City - based queer feminist electro - trop pop group K Pasa USA, Nice'N Easy, and Jen Clay as part of the Squatterpopup activation.

Alongside the exhibition is planned an intervention by Hélène Jayet with photo portraits shooting sessions on the theme of Afro hair open to the public, as well as an exciting programme of public events organised by Amal Alhaag, independent curator and co-founder of The Side Room, a space for intersectional feminist, queer and anti-colonial discourses and art.

, Frac des Pays de la Loire, Carquefou, France Projects 70 - Jim Hodges, Beatriz Milhazes, Faith Ringgold, Museum of Modern Art, New York, USA Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt, New York, USA Age of Influence: Reflections in the Mirror of American Culture, Museum of Contemporary Art, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt, Chicago, Illinois, USA Outbound: Passages from the 90's, Contemporary Arts Museum, Houston, Texas, USA ZONA F; An approach to the spaces inhabited by the feminist discourses in contemporary art, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, Burlingtart, EACC, Espai d'Art Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt Contemporani de Castelló, Spain The Trunk Show, Zoller Gallery, Penn State University, University Park, Pennsylvania, USA Vanitas: Meditations on Life and Death in Contemporary Art, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt, Virginia Museum of Fine Arts, Richmond, Virginia, USA Of the Moment: Contemporary Art from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt from the Permanent Collection, SFMOMA, San Francisco, California, USA 1999 1999 Drawings, Alexander and Bonin, New York, USA Regarding Beauty: A View of the Late 20th Century, Hirshhorn Museum and Sculpture Garden, Washington, D.C., USA The American Century: Art and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt and Culture, 1900 - 2000, Part II, The Whitney Museum of American Art, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt, New York, USA Natural Dependency, Jerwood Gallery, London, England Matter of Time, Dorsky Gallery, New York, USA Collectors Collect Contemporary: 1990 - 1999, The Institute of Contemporary Art, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt, Boston, Massachusetts, USA Fresh Flowers, Bellevue Art Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt Museum, Bellevue, Washington D.C., USA 1998 Let Freedom Ring, ICA / VITA BREVIS, Boston, Massachusets, USA Abstract Painting Once Removed, Contemporary Arts Museum, Houston, Texas, continues to Kempner Museum of Contemporary Art, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt, Kansas City, Missouri, USA Political Pictures: Confrontation and Commemoration in Recent Art, Robert Hull Fleming Museum, University of Vermont, BurlingtArt, Robert Hull Fleming Museum, University of Vermont, Burlington.

From 2003 to 2008, Reilly was the founding curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, the first exhibition space in a major U.S. museum devoted exclusively to feminist aArt at the Brooklyn Museum, the first exhibition space in a major U.S. museum devoted exclusively to feminist artart.

«The TFAP symposium will open space for a discussion of art and art history that sheds light on historical precedents and paths for feminist resistance, -LSB-...]

When I launched The Untitled Space gallery, one of my initiatives was to emphasize contemporary female artists and feminist art as a genre.

Perspectival Space and the Forbidden Desires of Artemisia G.), 1979, and, third, the deconstruction of art historical imagery from a feminist and psychoanalytical standpoint, exemplified by R.S.I. — Dürer, del Sarto, Parmigianino, 1983.

Taking it's title from the seminal early - feminist Virginia Woolf essay, «A Room of One's Own,» at Yancey Richardson Gallery through Aug. 21, 2015, plays off of that historical show, looking further inward not just at the process of experimenting in the studio, but at the space itself, as a muse and subject in the art of 12 contemporary photographers, including Anne Collier, Mickalene Thomas, and Laura Letinsky.

«I'm a full - blown feminist and I'm very conscious about taking up space in the art world,» Cain continued, addressing the warped way abstraction is often gendered as male.

The Center's 8,300 - square - foot space encompasses a gallery devoted to The Dinner Party (1974 — 79) by Judy Chicago, a biographical gallery to present exhibitions highlighting the women represented in The Dinner Party, a gallery space for a regular exhibition schedule of feminist art, a computerized study area, and additional space for the presentation of related public and educational programs.

September 21 to January 13, 2008 Georgia O'Keeffe and the Women of the Stieglitz Circle Georgia O'Keeffe Museum Santa Fe, N.M. November 1 to January 1, 2008 Claiming Space: The American Feminist Originators Katzen Arts Center at American University Museum Washington, D.C. Focuses on the art of the founders of the feminist art movement in the U.S. in the 1970s, including large - scale works not frequently exhibited because of space limitatSpace: The American Feminist Originators Katzen Arts Center at American University Museum Washington, D.C. Focuses on the art of the founders of the feminist art movement in the U.S. in the 1970s, including large - scale works not frequently exhibited because of space limitatspace limitations.

The panel will explore the impact that LA - London Lab had on subsequent feminist art practice, the evolution of performance work, and the role that artist - run and alternative spaces continue to play in the art world of today.

«The City of Dreams» has a long and rich history of feminist art practice and exhibition making, including LACMA's watershed attempt at inserting feminist art history into the museum with Women Artists: 1550 — 1950, curated by art historian Linda Nochlin and Ann Sutherland Harris in 1976, or, for example, Judy Chicago and Miriam Schapiro's inspiring installation and performance space Womanhouse (1972).

In Chicago in the early 1970s, we had our own third and best - known generation of alternative spaces (each city can claim its own artist - run history, probably with a fair share of boosterism thrown in), such as ARC, Artemisia (both were feminist galleries formed from West - East Bag, a nationwide network of women artists), and N.A.M.E., with the much - heralded Randolph Street Gallery opening in 1979.7 This is not to mention still - running artist - driven efforts such as the Hyde Park Art Center, founded in 1948, and the South Side Community Art Center, the only surviving Federal Arts Center from the WPA era and the oldest African American art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 19Art Center, founded in 1948, and the South Side Community Art Center, the only surviving Federal Arts Center from the WPA era and the oldest African American art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 19Art Center, the only surviving Federal Arts Center from the WPA era and the oldest African American art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 19art center in the country, famously dedicated by Eleanor Roosevelt on opening day in 1940.

The exhibition broadly considers the work of the artists in the context of significant artistic and cultural movements: mail art and artist correspondences; the rise of Chicano, gay, and feminist print media; the formation of alternative spaces; fashion culture; punk music and performance; and artist responses to the AIDS crisis.

«Wangechi Mutu's Afro - feminist works inaugurate Leonard Pearlstein Gallery's great new space at Drexel,» The Art Blog, March 4

With this adroit relationship to images, Tompkins is thus as much a Dadaist as she is a feminist; the two strands of her work commingle and produce heretofore - unexplored spaces for reflection upon identity, causing one to understand the true nuance of art informed by gender and sexuality.

New Fruit is a feminist - run art space and studio based in Portland.

After first establishing herself in New York as a highly regarded abstract painter in the midst of the heavily male New York School, Schapiro continued shaping feminist art, inviting Judy Chicago and the women artists of her Fresno Feminist Art Program to CalArts, and serving as a key player in bringing about the Feminist Art Program's legendary installation art project and performance space, Womanhouse, in 19art, inviting Judy Chicago and the women artists of her Fresno Feminist Art Program to CalArts, and serving as a key player in bringing about the Feminist Art Program's legendary installation art project and performance space, Womanhouse, in 19Art Program to CalArts, and serving as a key player in bringing about the Feminist Art Program's legendary installation art project and performance space, Womanhouse, in 19Art Program's legendary installation art project and performance space, Womanhouse, in 19art project and performance space, Womanhouse, in 1972.

By proposing a feminist land art retreat, yet perpetually suspending its manifestation, FLAR opens a space to consider the social and cultural paradigms that construct femininity, nature and solitude.

Schneemann's so - called «vulvic space» unified female art - making with sexual experience, and thus shifted it away from the dominant masculine art precedent toward a feminist exploration of the body.

In the curated gallery sections, Focus features presentations by galleries aged 12 years or younger; Live is a space for performance and participation works; and new for 2017, Sex Work: Feminist Art & Radical Politics showcases female artists working at the extreme edges of feminist practice since the 1970s.

The idea behind the Womanhouse was to form a space for feminist art, installation and performance.

Yet, these spaces also played a parallel role in the activities that defined feminist art and social practice in the city's scene.

2005» [prologue] Reclaiming Europe from a new feminist perspective», Cornerhouse, Manchester UK «Art out of Place», Norwich Castle Museum and Art gallery, Norwich, UK «Double Check Re-Framing Space in Photography: The other Parallel Histories», Camera Austria, Kunsthaus Graz, Austria 2004 «Your Heart is No Match for My Love», The Soap Factory, The Walker Art Center, Minneapolis, USA «Show Us What You're Made Of», The Premises, Johannesburg, SA «After Hours» and «In / Out», Hisk, Antwerp, Belgium 2003 «Something About Love», Casino, Luxembourg, Luxembourg «Intimate / Inanimate Moments», The Process Room, Irish Museum of Modern Art, Dublin, Ireland 2001 «Fluid», Wolverhampton Art Gallery, UK «Juncture», The Granary, Cape Town, South Africa; Studio Voltaire, London «Body: Rest and Motion», Oudtshoorn Festival, South Africa 2000 Two - person exhibition with Moshekwa Langa at the Goodman Gallery, Johannesburg, South Africa

It provides a space for feminist art to take its place in the stream of art history.