黑料不打烊

Marking the 100th anniversary of women鈥檚 suffrage in 2020, this reinstallation鈥攐r 鈥渢akeover鈥濃�攐f the entire third floor of the MFA鈥檚 Art of the Americas Wing highlights approximately 250 works made by women artists over the last century. This exhibition and related programming challenge the dominant history of 20th-century art by highlighting the overlooked and underrepresented work and stories of women artists, while advocating for diversity, inclusion and gender equity. Primarily drawn from the MFA鈥檚 collection, Women Take the Floor is organized into seven thematic galleries. The central space, 鈥淭he Female Gaze: Women Depicting Women,鈥� represents the diversity of approaches women have taken in depicting one another and features celebrated paintings such as Frida Kahlo鈥檚 Dos Mujeres (Salvadora y Herminia) and Alice Neel鈥檚 Linda Nochlin and Daisy. 鈥淏eyond the Loom: Fiber as Sculpture鈥� highlights early pioneers of fiber art鈥�Lenore Tawney, Ruth Asawa, Sheila Hicks and Olga de Amaral鈥攚ho radically redefined textiles in the 1960s and 1970s as sculpture. A second rotation in the same gallery, 鈥淪ubversive Threads鈥� (opening May 2020), will focus on how contemporary artists have used textiles to challenge notions of identity, gender and politics. 鈥淣o Man鈥檚 Land鈥� is devoted to artists who reimagine the metaphoric possibilities of landscapes, often through the use of symbols that allude to female experiences. 鈥淲omen, Art, and Design in the 1920s and 30s鈥� features work made in a range of media by artists like Georgia O鈥橩eeffe, Lo茂s Mailou Jones, Ruth Reeves and Maria Martinez in the decades following the campaign for women鈥檚 suffrage. Building on recent scholarship, 鈥淲omen of Action鈥� recognizes the contributions of Joan Mitchell, Grace Hartigan, Helen Frankenthaler, Elaine de Kooning and others to the formation and expansion of action-style, or gestural painting of the mid-20th century, movements typically credited to their male counterparts. Presented in two rotations, 鈥淲omen Publish Women: The Print Boom鈥� celebrates three entrepreneurs who founded printmaking workshops in the late 1950s and 1960s and played an underappreciated role in the revitalization of American printmaking: Tatyana Grosman of Universal Limited Art Editions (ULAE), June Wayne of Tamarind Lithography and Kathan Brown of Crown Point Press. Finally, 鈥淲omen and Abstraction at Mid-Century鈥� takes an expansive look at abstraction, exploring how women artists reshaped the natural world for expressive purposes in a wide range of media including paintings, prints, textiles, ceramics, furniture and jewelry.