Woman Around Town’s Editor Charlene Giannetti and writers for the website talk with the women and men making news in New York, Washington, D.C., and other cities around the world. Thanks to Ian Herman for his wonderful piano introduction.

Art Institute of Chicago

Making Space for Women Artists and Remembering My Mother, Joan Sommers


No woman wants to be a “woman artist.” If you are a woman and an artist, you want to be judged on your work. Period. As Georgia O’Keefe said, “The men liked to put me down as the best woman painter. I think I’m one of the best painters.”

Gender qualification in the art world carries the stink of second-class value or exception-to-the-rule accomplishment.  We shouldn’t need to gender qualify “women artists” but, of course, we do and MoMA’s revelatory new exhibit, “Making Space: Women Artists and Postwar Abstraction,” on view through August 13th, proves why.

Drawing exclusively from the museum’s archives, curators Starr Figura and Sara Meister, assisted by Hillary Reder, have put together a show of art by women created in that slippery pocket of time between the end of World War II and the emergence late-60s, second-wave feminism. Networks of support for women artists had yet to coalesce, and entrenched thinking in the art world was dismissive of women artists. While some women achieved exception-to-the-rule status, among them familiar names like Lee Krassner, Helen Frankenthaler, Joan Mitchell, and Elaine De Kooning, all brilliant and all either lovers, disciples, or wives of the period’s male art stars, those outside the “macho mystique” orbit had little choice but to forge their own paths, make their own space.

With nearly 100 works presented by 50-plus women artists – some recent acquisitions to collection, others pulled from storage to be displayed on MoMA’s walls for the first time – “Making Space” reroutes the exclusivity of the white-men only narrative of modern abstraction with work by women that collectively amplifies the gender and geographic bandwidth of abstraction in late-20th art in profound ways.

Grace Hartigan, Shinnecock Canal, 1957

Opening the exhibit with a work by Grace Hartigan, an Abstract Expressionist from the New York School, positions us with a familiar reference point. Her Shinnecock Canal (1957) is a powerhouse painting, where brushstrokes collide with such combustible energy the canvas feels ready to burst.  And that is what “Making Space” does. It bursts with thrilling work that spans nearly 30 years and multiple evolutions of abstraction. By the end of “Making Space,” LIFE Magazine’s 1958 accolade of Hartigan as one of the “most celebrated of the young American Women painters” feels even more onerous in its exception-to-the rule implications.

(Ironically, Grace Hartigan’s “Shinnecock Canal,” originally featured as the opening painting for “Making Space,” was removed to make space for an exhibition on architects, despite the fact that “Making Space” runs through August 13th.)

Walking through the galleries, I was overcome with a vicarious, albeit bittersweet sense of vindication. My mother, Joan Sommers, a 1948 graduate of the School of the Art Institute of Chicago, like many of the women in this show, spent a lifetime fighting to assert her primary identity as an artist in a world that worked hard to subordinate that identity to her roles as wife and mother.  In the mid-50s, one reviewer wrote of her, “For most wives and mothers, the multiple duties and responsibilities of rearing children present challenge enough.  But not so for painter Joan Sommers…” No wonder my mother abhorred interviews.

MoMA’s exhibit illuminates what the curators call “the stunning achievements” of these artists, but read between the lines and the stories of how these women willed their art into existence emerge. Their art lives independently but, given the gender prejudice, their stories matter too and are inextricably linked to the passions that drove them.

Joan Mitchell, Ladybug, 1957

It was wonderful to take in Mitchell’s Ladybug (1957), but even more exciting to discover, directly across from Ladybug, Janet Sobel’s little-known gem, Untitled, (1946). In this small but stunning work, Sobel is the first to experiment with drip painting.  A self-taught artist and mother of five, who passed through Ellis Island from the Ukraine in 1908, it should be noted that Pollock, the epitome of Abstract Expressionism’s heroic male art star, discovered his signature innovation through her work.

Nearby is a piece by Alma Woodsey Thomas, an African American junior high art school teacher from Washington, DC whose retirement in 1960, at the age of 68, unleashed an outpouring of creativity. Working out of her kitchen, she created her most important work. In Untitled, (1968), strips of paper, filled with multiple splashes of color, build into columns and, at a distance, the work hints of flowers cascading down a wall. Get closer and you’ll discover the meticulous application of paint obliterates any reality-based reference. What remains is a sublime distillation of color. Michelle Obama had the vision to hang Thomas’s work in the White House.

Alma Woodsey Thomas, Untitled, 1968

The extensive inclusion of Latin American women signals the exhibits’ international scope. Most of these artists are unfamiliar. A series of recently acquired of photographs (1952) by Brazilian artist Gertrudes Altschul, alluring in their organic sensibility, turn shape, light and shadow into sensual abstractions. Uruguayan painter and sculptor Maria Freire, a leading figure in her country’s art concrete movement, is represented by Untitled (1954), a flat work, devoid of the emotionalism of the New York School but strangely soothing to contemplate. A major work by Brazilian artist Lygia Pape, Orange (1955), on view for the first time at MoMA, is yet another revelation. As the exhibit notes explain, women in South America, especially Brazil, had an easier time of it. Why that was so is not exactly clear.

Gertrudes Altschub, Untitled, photograph, c. 1952

Agnes Martin and Ann Truitt are but two of the talents that anchor the minimalist gallery, or as the curators call it reductive abstractionism. Faint influences from the east shadow their work. Truitt’s Sumi drawings, created in Japan in 1966, pit the austerity of vertical stripes against the softness of Sumi-e ink, resulting in a yin-yang effect of cold and warmth, while Martin’s The Tree (1964), with its painstakingly contoured grid, unifies, as you step back, into a transcendent oneness.

Other works to pay special attention to are Bridget Riley’s Current (1964); its synthetic polymer painted lines magically ripple across the canvas in real time. And Yayoi Kusuma’s two works, Infinity Nets (1951) and No. F (1959), along with Jo Baer’s Primary Light Group: Red, Blue, Green (1964-65), make irrefutable the case that women were key players in the divergence from gestural abstraction to minimalism.

Ruth Asawa, Untitled, 1955

By the mid-sixties, a conscious feminist intent to elevate marginalized women’s disciplines, like weaving and crafting, took hold and yarn and wire became materials of choice. Among the works to look for are Shelia Hicks Prayer Rug (1965), Magdalena Abakanowicz’s hefty Yellow Abakan (1967-68), and Ruth Asawa’s hanging wire sculpture Untitled (1955). Of course, Anni Albers, Lygia Pape and Yayoi Kusuma had been creating textiles since the forties and fifties and those presented in the exhibit are stunning.


I left the exhibit with mixed emotions. Exhilarated by the work, amazed at the paths these women travelled, and deflated that 40-years after the rise of second-wave feminism, shows like this are still necessary.  Of course, I applaud MoMA’s efforts to rethink the deficiencies in their representation of women artists but am impatient with the pace. As with so many narratives of inequality, the reality, especially when it comes to women, is that turning the corner is a process that never ends.

Anne Ryan, Collage 585, 1949

There were two artists I couldn’t stop thinking about. One was Anne Ryan.  For me, she was the standout discovery.  So was her story. Born in 1889 in New Jersey, she was a printmaker/poet and first-generation Abstract Expressionist. In 1948, at the age of 57, she came across Kurt Schwitters’ collage work and saw the potential to visualize her poetry through this new medium. For the last six years of her life, she focused exclusively on collage, producing around 400 pieces with magnificent effect.  Mastering a new medium at that stage in her career is reminiscent of Matisse conjuring cutouts during his final years.

The other artist I couldn’t stop thinking about was my mother, Joan Sommers. Like so many of the women in “Making Space,” she forged her own artistic path, but did so by taking a dramatically different turn. A classmate of Joan Mitchell, my mother was a full scholarship student at the School of the Art Institute of Chicago, graduating a year after Mitchell. Although friends, they were not close. Both mid-western girls, they shared a talent for ice-skating. Mitchell won the Midwest Junior Pairs Championship; my mother toured professionally with Shipstead & Johnson’s Ice Follies. They both embraced Abstract Expressionism. But that’s where the similarities ended. Mitchell was a Chicago debutante and steel-heiress with a combative personality, well suited for New York. My mother, the daughter of a machine engineer in Duluth, was averse to confrontation but her graceful countenance masked steely resolve.

First row, far right: Joan Sommers, Art Institute of Chicago, 1947

For most of the 50s, she remained in the Midwest, balancing her art with marriage and motherhood. However, both my parents bristled under the constraints of suburban life. My father, a poet and town manager, sought a bigger stage. My mother, straightjacketed by the conformity of American domesticity, longed to escape. When, in the early 60s, an opportunity arose for them to move to Southeast Asia, they jumped at the chance and never looked back.

Joan Sommers, Untitled, oil on canvas,1954

For someone who had never been abroad before, the move to Thailand was simultaneously a journey into the unknown and, unexpectedly, the start of a harmonizing of her artistic identity. The eastern aesthetic held deep resonance for her and offered a kind of artistic rebirth. She traveled extensively – Burma, Cambodia, Laos, Taiwan, Indonesia, and eventually China – but it was her encounter with Chinese calligraphy and painting that redefined her evolution as an artist.  Through Bangkok’s Chinese community, she found a revered master willing to teach her the ancient techniques of calligraphy, and so began a life-long practice.

In retrospect, her embrace of calligraphy seems destined. Whether carving the ice of frozen Duluth lakes with her skates or letting her “chi” flow from hand to brush, her innate sense of line was intrinsic to her physical being. And in Chinese calligraphy’s abstract quality and gestural capacity, she saw possibilities for innovation that would move her beyond the conventions of western abstraction.  Her experimentation resulted in black ink paintings that balanced ideas of western abstraction with the spontaneity and controlled brushwork at the heart of Chinese calligraphy.

Joan Sommers, Cat’s Cradle, ink on rice paper with undercoat, c. 1990s

As she remarked years later, “It is that tension between East and West that has been my inspiration; the desire to blend and balance ideas of contrast and similarity, continuity and disruption.” Overtime, she applied these ideas to black ink, collage, landscapes, oil, and even the hot-wax techniques of batik.

Joan Sommers, Indonesian Night, hot wax batik technique, 1976

As an adult, I spent hours with her in her studio, watching her work and dissecting her process.  By nature, she was not a particularly verbal person, but I pushed and over time our discussions went deep. A bond formed between us, one that transcended the vicissitudes of our mother-daughter relationship. I like to think that our friendship during those later years took the edge off her feelings of isolation. She was fully confident in her vision, extremely self-critical and experimented endlessly. Having grown up in Asia myself, her trajectory felt natural to me. But discussing her art with others was exhausting, filled as it was with unexpected twists and turns.

Joan Sommers, Bamboo with Enso, ink on rice paper and collage, c. 1990s

A gifted ice skater, she quit the Ice Follies in favor of art school. A fervent Abstract Expressionist, she turned her back on New York in favor of the East. A graduate of the Art Institute of Chicago, she thrived most while studying at the China National Academy of Fine Arts in Hangzhou, China. Her identity as an artist was paramount but she was the mother of six and her marriage a love story that lasted a lifetime. She worked simultaneously in multiple mediums but Chinese calligraphy was her sustenance, her daily practice. Hers was a contradictory narrative, with so many moving parts, that explaining it to others left me at a loss.  Predictably, my mother had no interest in explaining anything to anyone.

Joan Sommers, Sudden Landscape, ink on rice paper, 2002

In December 2013, a mere three weeks after she passed away on Thanksgiving Day, a show opened at the Metropolitan Museum in New York that struck me like a lightning bolt.  “Ink Art: Past as Present in Contemporary China,” was a landmark exhibit by contemporary Chinese artists who used their artistic heritage to create contemporary, non-western, global art.  Lingering in the galleries, I could feel my mother’s ideas echo throughout the exhibit. And my jaw dropped when I saw work by two of the show’s major artists: Wang Dongling and Wenda Gu.  These were her friends. Artists she had painted alongside and shared ideas with, artists she had learned from and bonded with. How often and passionately she had spoken to me about their work.  Before that moment, their names were just that, names, lodged in my memory with no visual reference, no larger context.  Now, here they were, the full glory of their work on display in a show that was one of the most exciting art experiences of my life.  Finally, I had a context for my mother’s work and journey as an artist.

Second from left: Wang Dongling, Joan Sommers, and William Sommers

Later, I learned from my father that before my mother passed away, they made a final trip to Hangzhou and paid a surprise visit to Wang Dongling, universally revered as China’s greatest living calligrapher and an art star on the contemporary global stage.  His joy upon seeing my mother was immediate and a feast was quickly arranged. Their last photograph together is one I treasure and symbolizes the wholeness of her journey.  My mother, the ultimate outsider, had been welcomed back to Hangzhou as an insider and shown respect by an artist who mattered most to her.

Photos of Joan Sommers and images of Joan Sommers’ work courtesy of Daria Sommers; All other images courtesy of Museum of Modern Art.

Making Space: Women Artists and Postwar Abstraction
Museum of Modern Art
Now thru August 13, 2017

Go Guerrilla Girls! Feminism Writ Large


“Do Women Have to Be Naked to Get Into the Met. Museum?”  According to the Guerrilla Girls, yeah, kind of. Their supersized billboard goes on to state that less than 4% of the artists in the Modern Art sections are women, but 76% of the nudes are females. They gathered the statistics in 2011, in a response to a work done decades ago where they counted less than 3% female artists and 83% of the nudes.  So, has much changed? Also, yeah, kind of.

Just over thirty years ago, the Guerrilla Girls broke conceptual ground, pointing out glaring inequities in the global art market. It all started with a 1984 exhibition at MoMA claiming to be an overview of contemporary art. When it turned out that fewer than 10% of the artists included were women or people of color, the first generation of Guerrilla Girls was born. They claimed that art cannot represent society if it excludes the majority of that society. They woke some people up and scared the hell out of others.  They’re still doing it today.  “Not Ready to Make Nice,” an exhibition of these provocative, political, activist feminist artists just concluded at the Paul W. Zuccaire Gallery at the State University of New York at Stony Brook.


The Guerrilla Girls presciently suggested dropping an “Estrogen Bomb” on Washington back in the Bush administration.

The Guerrilla Girls are a group of anonymous women artists who, rather than being frustrated and angry about how white males dominate the canon of art history, decided to take action. They started with facts. Just how widespread and deeply rooted the inequality in the art world is and has been is the basis of all their work. They’ve pasted stickers, hung posters, carried signs, projected messages onto the sides of museums and given talks, all while wearing rubber gorilla masks. They’re out to redefine the “F” word to Feminism, through searing commentary couched in humor.


The Guerrilla Girls tout their own heroes in “The Birth of Feminism”

These masked crusaders are contemporary art’s superheroes, fighting for truth, justice and the American way. They vary in number, but over their thirty-plus years,  more than 55 women have donned Guerrilla gear to fight for equal representation and compensation for women and minority artists, to rail against economic inequality, and to raise awareness of environmental dangers like fracking. Some Guerrilla Girls were active for years, some for weeks or months, but all remained anonymous, using the names of great  women artists like Frida Kahlo or Käthe Kollwitz.  It’s both an homage and a defense mechanism. The Guerrilla Girls have all been artists who are trying to make a living in the same system they’re debunking, so they’re courage is as real as the consequences could be to their careers.


“Not Ready to Make Nice” includes the Guerrilla Girls’ “Anatomically Correct Oscar” that predated the “Oscars So White” movement by more than 10 years.

Zuccaire Gallery director and curator, Karen Levitov, who, herself, has been shaking up the art world in a quiet corner of Long Island, mounted an extraordinary exhibition, bringing major examples of the Guerrilla Girls’ work together. The show gives an idea of the international scope of their activities, including billboards about women’s representation in art institutions from Ireland to Italy and Turkey.  Years before the “Oscars So White” movement emerged, the Guerrilla Girls billboarded Hollywood with their “Anatomically Correct Oscar” on view in the exhibition. It says “He’s white and male, just like the guys who win!  92.8% of the Writing awards have gone to men.  Only 5% of the Acting Awards have gone to people of color.”

Levitov invited the public – which includes, naturally, many of the university’s students – to become part of the discussion with a huge blackboard inviting responses to the Guerrilla Girls or the values they represent. Visitors even got to take home their own Guerrilla Girl work.  Pink erasers marked “Erase Discrimination  – Guerrilla Girls” were given out.


The Guerrilla Girls started rattling some big cages thirty years ago; the effects are being seen today.

For decades, like many women who work in the art world, I’ve silently uttered, “Thank you, Guerrilla Girls.”  Now I can say it publicly.

Thank you, all Guerilla Girls, past, present and future, for kicking hornets’ nests and fighting for rights. Your efforts have been fruitful.  Today, there are women directors leading the Cooper-Hewitt museum, the Queens Museum, the Brooklyn Museum, the Studio Museum in Harlem, the Hirshhorn in Washington and the Tate Modern in London, to name a few. The Met Breuer opened its new space with a solo show of a woman, Nasreen Mohamedi, and followed it with another solo show of a woman, Diane Arbus, and when the Whitney Museum reopened, its inaugural show gave women artists pride of place.  The Guerrilla Girls, are part of that, and their works are now eagerly collected by the very institutions they’ve criticized.


Listed on the Guerrilla Girls’ “The Advantages of Being a Woman Artist are “Working without the pressure of success” and “Being assured that whatever kind of art you make it will be labeled feminine.”

Though the exhibition started in Chicago in 2012, where it was curated by Neysa Page-Lieberman, and the Zuccaire Gallery show has ended, the good news is that the Guerrilla Girls are far from done.  Their artists’ talk at Stony Brook can be viewed online.  You can learn about them at their website,  and find out where they’ll be showing next, book an appearance, or buy one of their works like “Bitches, Bimbos and Ballbreakers: The Guerrilla Girls’ Illustrated Guide to Female Stereotypes.” You’ll be in good company, the Guerilla Girls have shown at and been collected by the Brooklyn Museum; the Art Institute of Chicago; MoMA; the National Gallery of Art in Washington; Centre Pompidou, Paris; the Art Gallery NSW, Sydney, Australia; and the Istanbul Museum of Modern Art, Turkey, to name a few. It’s overdue but appropriate appreciation for these rebels with a cause.

All Photos by Adel Gorgy

Jerusalem 1000-1400: Every People Under Heaven


Jerusalem 1000–1400: Every People Under Heaven, a landmark exhibition at the Metropolitan Museum of Art, co-curated by Barbara Drake Boehm, the Paul and Jill Ruddock Senior Curator for The Met Cloisters, and Melanie Holcomb, Curator, Department of Medieval Art and The Cloisters, runs through January 8th. The stunning works in the exhibition give voice to the various religious and cultural traditions that have defined Jerusalem through the ages. There are some 200 spectacular works of art from 60 international collections included.  What follow are some of my visions, responses and reflections. To fully experience the glory of these works, visit the exhibition and form your own.

The exhibition begins with the quote “Jerusalem has been chosen and sanctified by God, trodden by His feet, honored by angels and frequented by every people under heaven.” Jacques de Vitry (ca. 1160/70–1240), bishop of Acre in the Holy Land.

All texts are from the Metropolitan Museum of Art.

The Stavelot Triptych (Top Photo)

Gilded copper with champlevé and cloisonné enamel, silver, émail brun, and semiprecious stones Ca. 1156–58, Meuse River valley, Morgan Library and Museum, New York

Gold and enamel here ennoble the most precious of relics, wood from the Cross of Jesus. The medallions on the left wing stress the importance of the Cross to the history of Christian Europe. They tell of the conversion of Constantine (ca. 273–337), the first Christian emperor, a consequence of his success in battle under the standard of the Cross. The medallions at right detail his mother Helena’s successful search for the Cross in Jerusalem. The triptych was created in northern Europe, a realm that feared correctly that it was on the verge of losing the hard-won prize of Jerusalem. The churchman generally considered the patron of the triptych, Wibald (1098–1153), abbot of Stavelot, played a key role within a network of Crusader leaders.

02_gorgy_jersalemBottle with Christian Scenes

Glass, gold, and enamel paint, Mid-13th century, Syria, Furusiyya Art Foundation

Using lively line and color, the artist of this spectacular bottle brings a local Christian community to life. Imposing buildings, clearly designated with crosses, alternate with charming details of agricultural activities, from harvesting dates and picking grapes to plowing fields.


Virgin and Child Enthroned and the Crucifixion

Tempera and gold on wood panels with gilded plaster, Ca. 1275–85, Acre

Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection

Pilgrims to the Holy Land could buy icons and other devotional objects at both holy sites and special shops in major cities. The purchaser of this icon, who is pictured to the left of the Virgin’s throne, likely bought the diptych in Acre, the last Crusader outpost in the Holy Land. Workshops there specialized in providing holy images, modeled on Byzantine paintings, to European Christians.


Mosque Lamp of Sultan al-Zahir Baybars

Brass, inlaid with silver and black compound, Probably 1277 (a.h. 676), Damascus

Museum of Islamic Art, Doha

The light that emanated from this pierced metal lamp was surely more suited to creating an atmosphere of mystery and reverence than to reading. Indeed, the inscription reveals that it was made for the tomb of Sultan Baybars (reigned 1260–1277), who played a significant role in expelling the Franks from the Holy Land.


Mosque Lamps of Sultan Barquq

Glass with gold and enamel, 1382–99, Egypt or Syria

Victoria and Albert Museum, London; The Metropolitan Museum of Art, New York, Gift of J. Pierpont Morgan, 1917

For reasons both practical and symbolic, hanging glass oil lamps were an integral component of mosques and Islamic schools. At the Dome of the Rock and Aqsa Mosque, they numbered in the hundreds. In an Islamic context, they often include words from the Qur’an: “God is the light of the heavens and the earth.” Each of these lamps also bears the name of their donor, Sultan Barquq (died 1399), an active patron of architecture in his capital, Cairo, and in Jerusalem.


Icon with Saint George and the Young Boy of Mytilene

Tempera and gold leaf on gesso and woven textile (linen?) over wood support

Mid-13th century, Holy Land, British Museum, London

Protector of the weak, Saint George is a legendary warrior. European and Eastern Christians as well as Muslims looked to his example and visited his shrine. Crusaders rebuilt a cathedral dedicated to him at Lydda (Lod), near Jerusalem. This icon places the saint in a partisan Christian role: he rescues a boy from the Greek city of Mytilene who had been taken captive and forced to serve as a cupbearer to a local emir.


Goblet of Charlemagne

Goblet: glass with gold and enamel; mount: gilded silver

Glass: second half of the 12th century, Syria; mount: 13th–14th century, Paris(?), Musée des Beaux-Arts, Chartres

According to a richly embroidered legend, Charlemagne, crowned by the Pope and revered as a saint, brought this goblet back from the Holy Land. In fact, it was created some 400 years after his death in 814. A souvenir from a foreign culture, it was prized enough that its French owner had it set on a gilded silver foot.


The Book of Divine Service

From the Mishneh Torah, Tempera, gold leaf, and ink on parchment

Written by Maimonides (1135–1204), illumination attributed to the Master of the Barbo Missal, and copied by Nehemiah for Moshe Anauv be Yitzchak Ca. 1457, Venetian region or Lombardy

Jointly owned by the Israel Museum, Jerusalem, and The Metropolitan Museum of Art, New York

Priests perform sacrifices in the Temple courtyard, introducing the eighth book of the Mishneh Torah, Maimonides’s monumental codification of Jewish law. The text explicates the construction of and worship in the Temple, including detailed descriptions of its rituals and vessels. This intense study was vital to a community that was not only studying the historic Temple but also forever readying itself for the future one. Law books were rarely illustrated so sumptuously, attesting to the high esteem in which Maimonides’s work was held.

All photographs by Adel Gorgy