Besides bronze, the contribution of women to the history of art in more physically demanding subjects, such as stone, should not be overlooked. In 2018, Evan Lobel dedicated an exhibition to one of these artists, Naomi Feinberg, who took up sculpture in the 1940s and was a member of Studio 725, a collective of female visual artists and sculptors who shared a workshop in Manhattan. “The exhibition was called A Woman Sculpting in a Man’s World, because if she had been a man, she would have been exhibited in many museums, and not only at the Smithsonian Institute ”, insists Evan Lobel, who indicates that the majority of the pieces in this exhibition have since been sold.
For her part, the Japanese-American artist Ruth Asawa has been enjoying a resurgence of popularity in the art world for some time. The last exhibition dedicated to him is that of the David Zwirner gallery, entitled “Ruth Asawa: All Is Possible”, organized by Helen Molesworth and open since November 4 in New York. “Formally, few artists can claim to have succeeded in creating sculptures that can objectively be seen as ‘drawings in space’, a concept often associated with the work of sculptor David Smith “, explains Jonathan Laib, director of the gallery. Using industrial wire, Ruth Asawa knocked down “The pedestal which encumbered a large part of the sculpture of the XXe century “ and produced fascinating structures.
Jeanne Greenberg Rohatyn, owner of the Salon 94 art gallery, also strives to make the voices of female artists heard, especially those who have been forgotten by history. In January 2022, her gallery will host an exhibition dedicated to avant-garde feminist and queer writer, artist and leader Kate Millett. Jeanne Greenberg Rohatyn also recommends two other multidisciplinary designers who have designed furniture as functional art: American artist Gloria Kisch and French artist Nicola L., whose interactive sculptures combine pop aesthetics with feminist messages from of the counter-culture.
The revolution of crafts and textile art
Charlotte Perriand “Was first rejected for a position at Le Corbusier by the unpleasant words: ‘We do not embroider cushions here, mademoiselle'”, recalls Maria McLintock, curator at the Design Museum in London, who this year organized an event exhibition on Charlotte Perriand
This rejection, resulting from a blatant sexism, reflects the received idea long anchored in the minds according to which the textile practices were reserved for the domestic and decorative sphere. While we know many women, like Charlotte Perriand, who have become legendary in furniture and architecture despite gender barriers, other women have decided to continue to believe that textile work can be big. art.