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The National Museum of Women in the Arts is the only museum in the world dedicated exclusively to recognizing the contributions of women artists.


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Humanly Possible? This sculpture depicts #PatriciaPiccinini’s imagining of transgenic beings—organisms into which genetic material from an unrelated organism has been artificially introduced. The work is inspired by the expectation that human organs will eventually be grown in host species. .
The artist notes that the mother in "The You g Family" (2002) expresses the same concern for her offspring that any human parent might. Piccinini’s exceptionally realistic-looking sculptures elicit a range of emotional responses, repulsion among them. .
The artist worries that humankind cannot learn to accept new creatures as quickly as science can create them. #NMWARevival
🌑 Ready for the #eclipse today? 	Celebrate with #ElisabettaGut's artist book "Bicicletta della Luna (Moon Bicycle)" (2000).
🐉 "Dracarys"— 📷 @corrineturke
Someone is ready for #GameOfThrones tonight! One visitor compares a rubber tire sculpture by #ChakaiaBooker to the scales of #DaenerysTargaryen's dragons. 😝
"I have often found it fascinating that two people can stand in front of one of my images and travel to two very contrasting destinations."—#DeborahPaauwe // #NMWARevival
Happy #FridaFriday! 😧#FridaTheDoll is bugging out over #ClaraSaldarriaga's "Escarabajo Goliath (Goliathus cacicus)" (1999). See this bronze bug in NMWA's #GalleryReboot.
#DeborahPaauwe turns her young models’ backs to the camera. Only evocative gestures remain: fingertips brushing a hand & theatrical embraces. Printed at large scale so that every freckle & goose bump is vividly rendered, her images facilely evoke the pleasures of play-acting & whispered secrets. #NMWARevival
#DeborahPaauwe re-creates clandestine spaces of adolescence in “Tender Locks” (2004). By concealing her models’ faces so that we cannot read their facial expressions, she implies narratives that are deliberately confusing. 🤔 Do the girls grip each other’s braids tightly in affection, or is there tension brewing? Do they hold each other tenderly in friendship, or is there a more sensual connection between them? See this work in #NMWARevival!
😌☀️ It's #NationalRelaxationDay & we wish we were soaking up rays like the subject in this #LouiseDahlWolfe photograph.
📞🐣 Call of the Wild: Using only found remains for her taxidermy, #PollyMorgan reimagines the energy that drives people. With their beaks agape, these #quail chicks are a visualization of the prattling sound transmitted through a phone receiver. @pollymorganartist’s punning title suggests that the chicks wish to be receivers too—of food.
Many of #AlisonSaar’s sculptures speak to the fragility of natural & social environments—and to the strength of women. This carved figure in "Tippy Toes" (2007) is suspended within a seemingly delicate crinoline, but one built from thorny branches. The cage-like structure elevates @alison_saar’s figure, yet she appears immobilized. Still, she projects a sense of openness and calm. Her outstretched hands seem to beckon us closer. #NMWARevival
Sharper Focus: Visit the "Other Creatures" in #NMWARevival, including #SoniaGomes's fabric sculptures and #JoanaVasconcelos's crochet-covered snail: "Senator."
#NMWAontheMove: Can’t visit DC? Look out for #NMWA collection favorites on loan to other museums! Loïs Mailou Jones’s “Ode to Kinshasa” (1972) is currently on loan from NMWA to @brooklynmuseum for "We Wanted a Revolution: Black Radical Women, 1965–85." Named for the capital of Congo (formerly Zaire), this work contains touches of shiny gold foil & creamy Japanese rice paper are pasted on amid the painted forms. This surface richness lends additional visual interest to Jones's mysterious, shield like form.