The selection is drawn from the museum’s international collection of artwork by women and nonbinary artists from across time, mediums, and backgrounds. On view in the Great Hall, the installation is an extension of the museum’s thematically organized collection galleries. The presentation also complements the museum’s month-long series of programs celebrating Women’s History Month, which kicks off on Sunday, March 1, and includes talks, workshops, and opportunities for advocacy around gender equity in the arts.

\ 1 of 7 \ 2 of 7 \ 3 of 7 \ 4 of 7 \ 5 of 7 \ 6 of 7 \ 7 of 7

Museum programming coinciding with America’s 250th anniversary will continue with an exhibition of Pueblo pottery from the American Southwest, drawn from the museum’s collection, on view from May 8 through September 27, 2026. A schedule of diverse solo exhibitions by additional American artists are on view throughout the year, featuring the works of Ruth Orkin, Tawny Chatmon, Shirley Gorelick, Marlo Pasqual, and others. This fall, the museum will present Routed West: Twentieth-Century African American Quilts in California, on view September 18, 2026, to January 17, 2027.

Learn more about the artists featured in Ms. Americana:

• In addition to being an acclaimed painter, designer, etcher, commercial artist, and illustrator, Jennie Augusta Brownscombe (1850 to 1936) was a founding member, student, and teacher at the influential Art Students League of New York.
• In 1933, first lady Eleanor Roosevelt presented Cecilia Beaux (1855 to 1942) with the Chi Omega fraternity’s gold medal, honoring her as “the American woman who had made the greatest contribution to the culture of the world.”
• Ellen Day Hale (1855 to 1940) came from a family of notable figures, from her great-great-uncle, Revolutionary War hero Nathan Hale, to her great-aunt, abolitionist author Harriet Beecher Stowe. She was known for Impressionist-style landscapes, religious murals and figure studies.
• Self-taught artist Clementine Hunter (1886 or 1887 to 1988) earned critical acclaim for her prolific output. She created thousands of vibrant paintings, though she only began painting in her late 50s. Hunter labored on the Melrose plantation in central Louisiana, and most of her works chronicle her memories and experiences of daily life, such as harvests, baptisms, and funerals.
• Over the course of her career, Impressionist and Expressionist painter Jane Peterson (1876 to 1965) gained widespread recognition, presenting her work in more than 80 solo exhibitions.
• Lilla Cabot Perry (1848 to 1933), who successfully advocated to raise the profile of Impressionist art in the U.S., exhibited her works at the Paris Salon and the 1893 World’s Columbian Exposition in Chicago. She also earned medals for her paintings at important exhibitions in Boston, St. Louis, and San Francisco.
• Sisters Sarah Miriam Peale (1800 to 1885) and Anna Claypoole Peale (1791 to 1878) became the first two female members of the Pennsylvania Academy of Fine Arts.
• Lilly Martin Spencer (1822 to 1902), best known for paintings of family and domestic life in the mid-19th century, exhibited her work in Europe and America, including at the Women’s Pavilion of the 1876 Philadelphia Centennial Exhibition. She was also the principal breadwinner of her family; she gave birth to 13 children, seven of whom survived to adulthood.

Since its opening in 1987, NMWA has been steadfast in its commitment to celebrating women artists for their important contributions to art and culture. Recognizing women in the story of America, from cultural expression to global influence, remains central to our mission.

The post “Ms. Americana” and America250 at NMWA appeared first on National Museum of Women in the Arts.

While #5WomenArtists began on social media, its impact extends beyond digital platforms and into lasting conversations, collaborations, and practices within cultural institutions. As #5WomenArtists turns 10, let’s revisit some highlights and consider how its message continues to shape the work ahead.

Global Collaborations 

Using the hashtag #5WomenArtists, museums, galleries, and individuals around the world began to share names, stories, and resources. Museums pledged to increase their collections of women and nonbinary artists, hosted events highlighting the achievements of women artists, and shared their stories on social media, reaching 61 million users. What started in Washington, D.C., quickly grew into a global movement with more than 1,800 participating cultural organizations across the country and internationally, including museums such as Tate (United Kingdom), the Whitney Museum (New York City), the Uffizi Gallery (Italy), the National Gallery of Australia, the Guggenheim Museum Bilbao (Spain), and many more.

Knowledge Is Power

#5WomenArtists also asks: Who decides whose work is included in archives, books, and institutions? Why have we not heard of many of the world’s great women artists? To address this question, NMWA has made efforts beyond the digital sphere to educate people and rewrite the canon. One of those efforts is the annual Wikipedia edit-a-thon, bringing together researchers, students, and community members to add and refine the biographies of women and nonbinary artists. The Wikipedia edit-a-thons are part of a global initiative, and over the past 10 years participants at NMWA have contributed and edited hundreds of entries. For example, the 2024 edit-a-thon focused on disability activism and advocacy, and attendees added entries for artists Sarah Biffen (1784 to 1850), Mariam Paré (b. 1975), Ángela de la Cruz (b. 1965), Judith Scott (1943 to 2005), and Jaklin Romine (b. 1985).

2026: Looking Ahead

As we celebrate 10 years of #5WomenArtists, the message is as urgent as ever. While women artists have achieved more recognition in museums, galleries, and the art market, there is still work to do. Here are a few ways to participate in 2026:

• Spread the word and take the pledge with friends and family. Post on social media with the hashtag #5WomenArtists and tag us @WomenInTheArts.
• Attend a #5WomenArtists program onsite at the museum such as NMWA Unframed, the 2026 Wikipedia Edit-a-thon, and our themed #5WomenArtists tours.
• Attend a #5WomenArtists program online such as NMWA Advocates: Righting the Balance or our upcoming Art Chats (March 13 and March 27).
• Check out In Your Region to find exhibitions and events near you.

To keep up to date on our 2026 #5WomenArtists offerings, follow NMWA on social media (Instagram, Facebook, TikTok, and YouTube) and check out our related events as we celebrate the campaign’s past achievements and, in collaboration with you, think of new ways to achieve lasting change together.

The post 10 Years of #5WomenArtists appeared first on National Museum of Women in the Arts.

1. Maria Faydherbe

Maria Faydherbe (1587-after 1633) didn’t suffer from imposter syndrome. She recognized her own talent and signed her sculptures so that others would too. Faydherbe ruffled feathers of male peers, who described her pride as brazen and boastful. Today her skill is cherished. Two of Faydherbe’s works are considered official Flemish Masterpieces.

2. Johanna Helena Herolt

The elder daughter of renowned artist-scientist Maria Sibylla Merian (1647-1717), Johanna Helena Herolt (1668-after 1723) achieved fame as a natural history illustrator in her own right. She contributed distinctively bold three-dimensional compositions to landmark compendiums such as the florilegium, compiled by patron and amateur botanist Agnes Block (1629–1704), and the Moninckx Atlas. Alida Withoos (featured below) also contributed illustrations to these projects.

3. Joanna Koerten

Joanna Koerten (1650-1715) explored various techniques but is perhaps best known for her remarkable paper cuttings. From afar, these works resemble drawings or prints. Close up, viewers discover that every compositional line is actually a minute incision. For good reason Koerten was called “Scissors Minerva,” referring to the Roman goddess of craft.

4. Anna Maria van Schurman

Multitalented artist Anna Maria van Schurman (1607-1678) also advocated for women’s education. She became the Dutch Republic’s first “coed”—attending university lectures concealed by a curtain lest her presence perturb male students. Three centuries later, Judy Chicago (b. 1939) gave this trailblazer a seat at the table in The Dinner Party (1974-79).

5. Alida Withoos

Alida Withoos (1660/62-1730) painted dramatic, dynamic still lifes in the Italian style of sottobosco (“forest floor” or “undergrowth”). A fusion of fact and fiction, Withoos’s works depict realistic flora and fauna thriving in imagined settings. Similarly inspired, contemporary artist Maggie Foskett (1919-2014) foraged and arranged natural elements in her images.

The post 5 Fast Facts: Women Artists from Antwerp to Amsterdam appeared first on National Museum of Women in the Arts.

Powering the Art Market

Women were crucial to the artistic economy of the Low Countries, and their labor was a significant factor in the unprecedented expansion of trade and the thriving market for art and luxury goods in this era. In an essay for the exhibition’s catalogue, research assistant Katie Altizer Takata writes, “Women were involved in nearly every aspect of these luxury markets, making some of the most expensive and sought-after objects of the time, including paintings (Rachel Ruysch), paper cuttings (Johanna Koerten), botanical volumes (Maria Sibylla Merian), and lace, as well as more common items such as prints, books, and ceramics.”

Local Networks, Global Reach

Women painters and printmakers catered to the art market just as their male counterparts did, innovating and adapting along the way. Painting for the first open art market in Antwerp, where buyers could procure finished paintings (instead of having them commissioned), Clara Peeters (ca. 1587-after 1636) relied on skill and technique to reproduce her popular imagery quickly. She strategically repeated motifs across works, such as the carp in the center of Still Life of Fish and Cat (after 1620). Collectors would have appreciated the verisimilitude with which Peeters depicted varied textures in her still lifes, a genre in which she was a pioneer. 

One of the visitors Johanna Koerten (1650-1715) welcomed to view examples of her work was Tsar Peter the Great of Russia, an indication of her international reputation. Koerten created his portrait, as she did with many other illustrious people of the time, including King William III of England. In her portrait of the Russian Tsar, Koerten skillfully uses shading cuts to render different materials, such as his soft ermine stole and rigid armor.

\ 1 of 3 \ 2 of 3 \ 3 of 3

The Dutch edition of a book on the life cycle of caterpillars by Maria Sibylla Merian (1647-1717) indicates the popularity of her scientifically exacting work in the Dutch Republic, her adopted home (the volume was first published in German in 1679 while she was living in Nürberg). Merian’s documentation of the metamorphoses of butterflies and moths, both written and illustrated, were observed from specimens that she raised for study. While living in Amsterdam, Merian was part of a wide network of artists, collectors, and scientists interested in studying the natural world.

The rapidly expanding colonization of the Americas also affected the work of women: There was greater demand for lace, specifically for export to the to the Spanish colonies, where the upper classes were eager to replicate the luxuries of home. Vast quantities of lace were shipped from Flanders (and France), traveling overseas via the port of Cádiz. This example is typical of the style of lace that was produced in Flanders by women specifically for export to Spanish colonies.

Leaving Their Mark

Works in this section demonstrate that women artists were connected to each other and to their wider artistic communities. They made technical and stylistic innovations, and patrons bought their work through the open market as well as through important commissions.

Want to learn more? Visit Women Artists from Antwerp to Amsterdam, 1600-1750, through January 11, 2026, and buy the exhibition catalogue from NMWA’s museum shop.

The post Women Artists from Antwerp to Amsterdam: Networks appeared first on National Museum of Women in the Arts.

Choices

The options available to women artists in this period, whether to marry, pursue specialized training, and much more, depended largely on their social class and family connections. While painters tended to come from the middle and upper classes, lower-class women comprised the majority of lacemakers and embroiderers. Middle- and upper-class women could study with professionals to hone their skills. Lower-class girls and women usually had no choice but to work, and many produced textiles, often as domestic workers, in orphanages, or in correctional institutions.

Marriage and childbearing also shaped the course of women’s lives, though its effects, again, were dependent on social class: those with the means to hire domestic help were more likely to continue their work, while others found that domestic responsibilities left little time for their art. Some women who joined religious orders or remained unmarried found independence to continue their artistic pursuits.

Learning by Necessity

A 17th-century painting from the Maagdenhuis (Maiden’s House), a home for impoverished or orphaned girls in Antwerp, depicts the benefactor and his wife in the foreground, while behind them are scores of girls busy embroidering and making lace. Charitable institutions such as this one provided homes for lower-class and orphaned girls as well as training in skills for work. Lace was a highly expensive commodity, and Flanders was known for producing some of the best.

\ 1 of 2 \ 2 of 2

Another painting, by Quiringh van Brekelenkam (after 1622-after 1669), shows a smaller operation: an older woman teaching three girls how to make lace. All women, regardless of social class, were expected to be proficient in the domestic tasks of spinning, sewing, and embroidery. This training could also extend to lacemaking, which was a much more complex process. The girls here might have used their skills for their own purposes, for supplemental income, or as domestic workers in wealthy homes. 

On Their Own Terms

Upper-class women had access to a wider array of training opportunities. For instance, Louise Hollandine, Princess of the Palatinate (1622-1709), studied painting with one of the most renowned teachers of the day, Gerard van Honthorst (1592-1656). She left her courtly life in The Hague in 1657 and went to France, where she converted to Catholicism and became prioress of Maubuisson Abbey in 1664. She continued to paint there, as she, like many other women, found more freedom to pursue her art within a convent, without the demands that marriage and motherhood might have brought.

Maria van Oosterwijck (1630-1693), who remained unmarried throughout her life, was trained and supported by a strong family network. Van Oosterwijck’s father, who was not an artist himself, but a minister, encouraged her talent for painting. Through extended family, she was in contact with other artists, and she apprenticed with still-life painter Jan Davidsz de Heem (1606-1684) in Utrecht before moving to Amsterdam. There, Van Oosterwijck lived and worked as a respected and sought-after painter.

Lasting Legacies

Taken together, these examples underscore the structural limitations placed on women, as well as the opportunities, and the resourcefulness with which they navigated them. Each left a legacy of artistic labor that was diverse, resilient, and deeply embedded in the social fabric of their time.

Want to learn more? Visit Women Artists from Antwerp to Amsterdam, 1600-1750, through January 11, 2026, and buy the exhibition catalogue from NMWA’s museum shop.

The post Women Artists from Antwerp to Amsterdam: Choices appeared first on National Museum of Women in the Arts.

Ruth Orkin: Women on the Move, drawn from the museum’s collection of works by Orkin, explores the experience of women in public spaces, the artist’s own life, and her artful inversion of the “male gaze.” Featured photographs range from glamour shots of Hollywood celebrities to scenes from everyday life. Collectively, they convey a rich and engaging vision of women’s experiences during midcentury America.

Women in Public Spaces

Orkin possessed unwavering confidence, which she also depicted in her female subjects. American Girl in Italy (1951) depicts Ninalee Craig, an American art student whom Orkin met while traveling in Florence. The two bonded over their experiences as women travelers, so Orkin proposed that they explore the city and document the day. In this image, Craig pulls her shawl over her shoulders and holds her head high, exuding strength despite harassment from the men around her. Orkin pitched the photograph, along with others, to Cosmopolitan magazine, where they were used for an article that encouraged young women to set aside their fears and embark on solo journeys.

\ 1 of 2 \ 2 of 2

In the image Actress Jane Russell at NY Recording Studio (1950), the film star and model oozes confidence as she stands with her hands on her hips, her gaze toward another figure who is barely in frame. This off-screen depiction of Russell—at the time one of the most famous women in Hollywood—illuminates the self-assurance that led to her success.

The Artist’s Story

In her teenage years, Orkin was eager to see the world. At 17, she embarked on a solo cross-country trip to photograph the 1939 World’s Fair in New York City. With just a camera, $25, and her bicycle, Orkin spent three months exploring cities across the U.S., garnering the attention of numerous newspapers along the way.

Throughout her extensive travels, she documented those around her. Photographs such as WAAC Platoon, Monticello, Arkansas (1943) reflect her time in the Women’s Army Auxiliary Corps, while other bodies of work document the several months she spent in Israel on assignment from Life magazine or her five-month trip across Europe capturing outstanding landscapes and architecture. Later in life, she lived in New York City, where candid shots including Couple in Central Park West, NYC (ca. late 1970s) offer insight into her years as a New Yorker.

\ 1 of 2 \ 2 of 2

The Female Gaze

The “male gaze,” a term popularized by feminist film theorist Laura Mulvey, refers to the objectifying lens through which women are often depicted in media. Orkin believed that identity—and in particular her identity as a woman photographer—shapes perceptions.

Many of Orkin’s works originate from the female gaze. Her photographs offer a perspective on womanhood that is fueled by admiration and empathy instead of objectification. Mother and Baby (1950s) is an intimate image of a woman breastfeeding her child, an act rarely depicted in media during its time. Other photographs by Orkin depict moments within female relationships and families, illuminating experiences long ignored. During a time when gender roles were strict and women lacked certain rights and privileges, many worked to break down barriers and challenge norms. Ruth Orkin’s legacy in photography underscores her own independence and provides a fresh look into the lives of midcentury women.

Ruth Orkin: Women on the Move is on view through March 29, 2026.

The post Ruth Orkin: Women on the Move appeared first on National Museum of Women in the Arts.

Presence

Portraits of women artists, their signatures, and existing works in a wide range of mediums and genres attest to their presence during the 17th and early 18th centuries. Whether they depicted themselves with the tools of their trade or conspicuously and proudly placed their signatures on their work, women were not hesitant to declare their roles as creators. Portraits of them by others indicate the respect and renown they enjoyed in society. Some were immortalized in paint by peers or family members, and others enshrined within the pages of published biographies, which ostensibly ensured their legacies far and wide.

Judith Leyster (1609-1660) and Maria Schalcken (ca. 1645/50-ca. 1700) both depicted themselves at work in front of their easels, their hands holding paintbrushes and palettes. Neither is dressed in clothing appropriate for the messy work of painting; rather, they present themselves as well-dressed women with wealth and social standing. This type of self-presentation hews to a tradition begun in the Italian Renaissance, as artists sought to distance themselves from the overtones of manual labor that was associated with painting in earlier eras. Maria van Oosterwijck (1630-1693) was a highly admired and successful still-life artist whose likeness was captured in a portrait by Wallerant Vaillant (1623-1677). Like Leyster and Schalcken, she is clearly identified as a painter.

\ 1 of 4 \ 2 of 4 \ 3 of 4 \

Many women artists asserted their authorship through signatures or initials. Maria Faydherbe (1587-after 1633) carved the Latin words “MARIA FAYDHERBE ME FECIT” on the base of her sculpture Virgin and Child (ca. 1632). Translated as “Maria Faydherbe made me,” this signature is remarkable not just for its unapologetic declaration of authorship, but also because it was rare for any sculptor in the city of Mechelen at the time to sign their work. The unknown maker of an embroidered darning sampler (1761) proudly stitched her initials, “GM,” into the work itself. The border, embellished with an embroidered vine of flowers, is typical of the decoration found on high-quality clothing of the period. This type of delicate textile only rarely survives; its maker and her family likely took great pride and care in its preservation. 

Other women were written about in published and widely read sources. For instance, Arnold Houbraken’s De groote schouburgh der Nederlantsche konstschilders en schil-deressen (The Great Theatre of Dutch Painters and Paintresses) (first edition, 1715) records the names of women working in a variety of artistic fields. This multivolume tome was also illustrated with artists’ portraits, including those of Anna Maria van Schurman (1607-1678), Johanna Koerten (1650-1715), and Maria Sibylla Merian (1647-1717).

\ 1 of 3 \ 2 of 3 \ 3 of 3

Testament

In an essay for the exhibition’s catalogue, co-curator Virginia Treanor writes that examples such as the works above “…reveal that far from being dismissed, overlooked, [or] working in obscurity during their lifetimes, many women were acknowledged for their talents and contributions. [They] consistently appear in records throughout the period, attesting to their undeniable presence.”

Want to learn more? Visit Women Artists from Antwerp to Amsterdam, 1600-1750, through January 11, 2026, and buy the exhibition catalogue from NMWA’s museum shop.

The post Women Artists from Antwerp to Amsterdam: Presence appeared first on National Museum of Women in the Arts.

Shop Terratorie stickers and prints in NMWA’s Museum Shop.

How did the map art project start?

The project began with Washington, D.C.’s Petworth neighborhood. Back in 2012, my very first design studio commission was a mural for Annie’s Ace Hardware in Petworth. After it was installed, so many people from the neighborhood asked if it would be available as a print that I decided to create one. That single print led to requests for surrounding neighborhoods. Thirteen years later, I’ve illustrated more than 70 of D.C.’s 140 neighborhoods, and the collection continues to grow.

I’ve also illustrated neighborhoods in cities all over the country. Today, we offer more than 130 neighborhood and city map designs as art prints, greeting cards, and stickers. Our work is carried in more than 200 stores nationwide, from Smithsonian Museums and design museums to local D.C. boutiques, all the way to San Francisco and Seattle. At the heart of it is the mission to celebrate neighborhood culture, local pride, and help people feel connected to the places they call home.

Can you describe your process?

We start by studying the city’s boundaries, then cross reference multiple data sources to understand where each neighborhood begins and ends. That includes real estate data, city planning documents, university research, and even community council resources. Our goal is always to make sure the final map reflects how people experience and move through their city. From there, the entire map is created by hand: every illustration, every piece of lettering, every bit of color. It’s all done manually, with a focus on craftsmanship and accuracy.

How do you choose the color palette for each map?

I use color as a way to express the energy and character of a neighborhood or city. I build a palette that reflects that personality. Some color choices are very referential. Our New Orleans map incorporates the traditional Mardi Gras colors; the D.C. Chinatown map is inspired by the vibrant hues of the iconic Chinatown arch; and the D.C. Anacostia map features lush greens to honor its incredible parkland, paired with deep reds from the famous Big Chair. Miami gets bold neon shades that echo South Beach’s vintage signs. Each map is different and intentionally distinct. The palette becomes part of the story of the place.

What sustainable practices do you incorporate into your process?

All of our prints are produced on EcoSilk partially recycled paper, and our packaging uses recycled mat board. We also ship every order carbon-neutral. Our longtime print partner uses soy-based inks, which are gentler on the environment, and their production is powered by wind energy. Across the board, we’re intentional about reducing plastic and choosing the most sustainable materials we can.

Does climate change or other environmental issues impact your work?

One of our strongest defenses in the face of climate uncertainty is community: knowing your neighbors, feeling connected to the people around you, and being part of a supportive network. Modern life pulls us toward isolation and online spaces that aren’t rooted in where we actually live. My work is, in many ways, a response to that. It’s a celebration of place, belonging, and the idea that being part of a neighborhood really matters. I often say that “neighborhoods will save the world,” and I genuinely believe it. When we feel connected to our block, our town, our city, we’re more likely to care for each other, share resources, and build resilience together. My hope is that these maps remind people that they’re part of a real, living community. Strong, interconnected neighborhoods make us better equipped to face the challenges ahead, including those brought by the climate crisis.

What five women artists inspire you?

My favorite artist working right now is MarSha Robinson (@strangedirt), whose work is mystical and full of the wonder of plants. I’ve loved Hilma af Klint’s work ever since I stumbled into her show at the Guggenheim in 2018. Her visionary paintings feel so timeless and rich. I’ve got a deep and abiding love for watercolor illustration work, and Stacey Rozich (@staceyrozich) and Rithika Merchant (@rithikamerchant) are illustrators whose art I’m constantly in awe of. I’m also obsessed with the nature-focused digital illustration work of Halsey Berryman (@halseyberryman)!

The post #5WomenArtists: Terratorie appeared first on National Museum of Women in the Arts.

Golden

Chatmon finds inspiration in a wide variety of sources, including early Byzantine mosaics, opulent gilded portraits by Gustav Klimt (1862–1918), and 17th-century Dutch painting. Works from her series “Remnants” (2021–23), “The Redemption” (2018–19), and “Iconography” (2023–present) include gold-hued acrylic paint as well as 24-karat gold leaf. For Chatmon, the material symbolizes importance, value, and preciousness. Peace and Joy Are the Birthrights of All Beings (2021–22) depicts a young Black girl surrounded by lavish gold patterns. The background features spirals and birds, two recurring symbols in Chatmon’s work that indicate a connection to the heavens.

\ 1 of 3 \ 2 of 3 \

Through her photography, Chatmon centers her Black subjects, conveying their magnificence and beauty. Her own children often appear as sitters. We Are the Ones We’ve Been Waiting For (2024–25) features Chatmon’s son. He wears a hoodie, rendered in mosaic-inspired collaged paper and denim. The garment, which has been stereotyped and vilified when worn by Black boys and men, acts as a symbol of visibility and vulnerability in Chatmon’s tender portrait.

In Chatmon’s art, process holds equal importance to subject and material. Each layered work starts with a portrait session with her sitter. She then digitally alters the resulting image, often elongating the subject’s limbs, amplifying their hair, and emphasizing their eyes. Next, she painstakingly collages, stitches, and adorns her prints with additional materials, embellishing her subjects’ clothing, accessories, and surroundings. These three-dimensional elements are some of the most visually striking aspects of her work, dignifying and elevating her subjects.

Reclaiming History

Chatmon’s portraits stand as antidotes to harmful misconceptions often perpetuated in politics and media about Black style, culinary traditions, and history. Her new series “The Reconciliation” (2024–present) examines foods of the African diaspora, honoring the meals that have nourished Black families for centuries. Her subjects hold foods such as watermelon and black-eyed peas, which have rich historical contexts and personal associations but have also been linked to racist stereotypes. In That Which is Planted, Shall Become the Harvest (2025), a woman—Chatmon’s mother—gazes at a billowing head of collard greens, a food at the center of many of Chatmon’s family meals. Enclosed in a golden floral appliqué frame, she appears regal and serene.

\ 1 of 2 \ 2 of 2

“The Restoration” (2024–present) was born out of a desire to remove antique racist dolls and figurines from circulation. Many of the works feature children holding these objects, which the artist has lovingly repainted and reclothed. In Unstitching the Past, Becoming the Future (2023–25), Chatmon replaced the doll’s racialized features with a delicately painted face and garment sewn by the artist’s mother. This re-dressing restores dignity to the object, mirroring the noble expression of the sitter.

Honoring Legacy

Tawny Chatmon: Sanctuaries of Truth, Dissolution of Lies evokes both ancestry and descendants. The artist considers narratives that shift over time and how the stories children hear can shape who they become. Chatmon uses her camera to recenter our focus on people and histories that have been overlooked and misjudged. Her work contributes to a larger, vital narrative about value, truth, and legacy.

The post Tawny Chatmon: Sanctuaries of Truth, Dissolution of Lies appeared first on National Museum of Women in the Arts.

Saint Phalle conceptualized Tarot Garden as “my own Garden of Joy. A little corner of Paradise. A meeting place between man and nature.” She and her team designed and constructed the park, which features monumental sculp­tural depictions of the 22 Major Arcana, the named cards in a tarot deck. NMWA’s exhibition features a range of prints that relate to the garden’s exuberant structures.

From Life

As a child and as a young self-taught artist, Saint Phalle experienced mistreatment and repression. She subsequently forged installations, sculptures, and performances that emphasize direct action and fearlessness. Her voluptuous female figures, called Nanas (“sassy young women” in French slang), subvert conventional ideals for women’s bodies and capabilities. These powerful figures are a cornerstone of the artist’s critique of patriarchal power.

In What Do You Like the Most About Me? (1970), Saint Phalle’s drawings of colorful lips, breasts, and hips, and eyes frame inscriptions such as, “Do you like my brain?” and “Do you like my tears?” These plaintive messages point to the range of emotions—both pleasant and painful—that define close human relationships.

To the Letter

Saint Phalle often reflected on her memories and observations through texts in the form of letters or journal entries. Many prints in this exhibition incorporate her free-flowing, unfil­tered style of writing. Handwritten notes in both English and French curl around her drawings of figures, which she repre­sented with her characteristic looping lines and bright colors.

On view are large silkscreens from a series that composes a visual diary of Saint Phalle’s life and work during her first year living in Southern California. Californian Diary (Shamu! Killer Whale) (1993), her depiction of an orca leaping above water, includes bands of text recounting the mammal’s fearsome power and innate ability to overcome its human trainer.

In 2001, shortly before her death, Saint Phalle created a series of prints centered on the socially conscious move­ments that she embraced. The exhibition also draws from this group of works, which assert the need for reproductive rights and a protected natural environment.

A Model Muse

NMWA developed this exhibition from an expansive gift of prints donated to the museum in 2023 by the Niki Charitable Art Foundation in honor of the building’s reopening after renovation. Saint Phalle established the foundation to share her work more broadly, and her renown now extends far beyond the fine arts sphere. Through Niki de Saint Phalle In Print, NMWA heralds this artist’s boundless and enduring inspirational force.

Niki de Saint Phalle In Print is on view at NMWA through November 30, 2025.

The post Niki de Saint Phalle In Print appeared first on National Museum of Women in the Arts.