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Tarsila do Amaral, Antropofagia (Anthropophagy), 1929, 126 x 142 cm, oil on canvas 

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Tarsila do Amaral, Antropofagia (Anthropophagy), 1929, 126 x 142 cm, oil on canvas 

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Tarsila do Amaral is referred to as the mother of Brazilian modernism. She paints a bright and bold artwork of the female body with exaggerated features. She often uses the female body to approach European modernism and recreate it into her own style in a surrealist environment. She explores the sexual and political dynamics of the abstracted female body and male body in a stylized setting. She differentiates the bodies by exaggerating the size of the breast. I consider this as a feminist painting because it does embrace female nudity and the artist has used women as the main subjects in her artwork. It informs Latin American history because the artist is part of the reason why Brazilian modernism was introduced.

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Frida Kahlo, Self-Portrait with Thorn Necklace and Hummingbird, 1940, 24 x 18 in, oil on canvas

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Frida Kahlo, Self-Portrait with Thorn Necklace and Hummingbird, 1940, 24 x 18 in, oil on canvas

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Frida Kahlo has produced about 50 self-portraits in her lifetime, and most of her works express themes of her Mexican heritage and femininity. The reason why this is an impactful feminist painting is because she embraces her indigenous roots as she exaggerates the features of her face. She adds a unibrow and mustache, which defies the typical beauty standards of women. She has also depicted her suffering after her divorce from Diego Rivera and the failure of conceiving children.

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Frida Kahlo, Henry Ford Hospital, 1932, 305 x 350 mm, oil on metal panel

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Frida Kahlo, Henry Ford Hospital, 1932, 305 x 350 mm, oil on metal panel

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Frida Kahlo has dealt with a lot of pain throughout her life, getting involved in a bus accident and suffering miscarriages and abortions. The reason why she is labeled as a feminist artist is because she illustrates those realistic female experiences such as miscarriage, pregnancy, menstruation, breastfeeding, infertility, or sexual organs. In this painting, she portrays herself on the bed after losing her baby with six elements floating around her. Her work is interpreted as the strong desire to have a child and become a mother.

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Frida Kahlo, The Two Fridas, 1939, 68.3 in × 68 in, oil on canvas

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Frida Kahlo, The Two Fridas, 1939, 68.3 in × 68 in, oil on canvas

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While this painting suggests the duel between her two heritages, she also portrays the emotional struggle with herself. The second Frida alludes to her imaginary childhood friend, which expresses her loneliness with the separation from Rivera. She also had to deal with pain after learning about Rivera’s affairs with other women. Kahlo was always honest about being a woman and embraced the feminine life. She also explored her gender and identity as a Mexican woman.

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Marisol, Women and Dog, 1963-64, 73 9/16 x 76 5/8 x 26 3/4 in, wood, plaster, synthetic polymer, and taxidermied dog head

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Marisol, Women and Dog, 1963-64, 73 9/16 x 76 5/8 x 26 3/4 in, wood, plaster, synthetic polymer, and taxidermied dog head

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Maria Sol Escobar--also known as Marisol--was born to a Venezuelan family in Paris and spent time studying art in Los Angeles, Paris, and New York. She was one of the few women included in the Pop Art movement in the early 1960s. Her three-dimensional portraits include themes of femininity and the concept of social roles. She became interested in the social norms of women and their conventions in society. Their clothing is colorful and they appear boxed in their garments. The expressions on their faces are stoic and neutral, and they are self-portraits. The multiple faces on the figures suggest different female roles and identities.

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Zilia Sánchez, Troyanas (Trojan Women), 1984, 54 × 95 3/8 × 11 in, acrylic on stretched canvas 

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Zilia Sánchez, Troyanas (Trojan Women), 1984, 54 × 95 3/8 × 11 in, acrylic on stretched canvas 

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Cuban artist Zilia Sánchez takes a minimalist approach to create sensual and erotic works of the female anatomy. She has explored the juxtapositions of many concepts, mainly femininity and masculinity. She constructed a piece with conical breasts lined up like soldiers, making smooth curves, and erected tips in the center of the mounds. The rest of her works in her series “Soy Isla (I Am an Island)” at El Museo del Barrio were filled with allusions to women’s bodies.

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Mónica Mayer, El Tendedero (The Clothesline), 2017, postcards and clothesline

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Mónica Mayer, El Tendedero (The Clothesline), 2017, postcards and clothesline

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Mónica Mayer is a Mexican artist who creates feminist art. For this project, she distributed hundreds of pink postcards to women of different economic classes, ages, and professions, asking them different questions that relate to being a woman. The postcards are hung on the clothesline--a traditionally feminine object--to showcase women’s experiences with violence like sexual harassment, domestic violence, and human trafficking. It also brings attention to the untold stories of women who suffer in silence. The title of the installation refers to the domestic labor that is described as women’s work in Mexican society.

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Teresa Burga, Perfil de la Mujer Peruana - Perfil Antropométrico y fisiológico, 2017, 74.8h x 39.4w x 39.4d in, mannequin and glass cube

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Teresa Burga, Perfil de la Mujer Peruana - Perfil Antropométrico y fisiológico, 2017, 74.8h x 39.4w x 39.4d in, mannequin and glass cube

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Teresa Burga is a Peruvian-born artist who held an exhibition based on the study of young women called Perfil de la Mujer Peruana (Profile of the Peruvian Woman) at Banco Continental, Lima, Peru. They surveyed about 290 middle-class women about various aspects of their social and physical identities, height, weight, religion, and other categories. They displayed their statistical findings through a mannequin, jigsaw puzzle, and several anatomical drawings. One of her works shows a mannequin displayed in a glass cube with a diagram of the female body. The ideal measurements of a woman are drawn on the glass, and the mannequin suggests the beauty standards that women try so hard to achieve. Her motive was to raise awareness, envision chance, and bring her work closer to a feminist social practice.

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Paz Errázuriz, Adam’s Apple, 1983, 295 × 459 mm, photograph, gelatin silver print on paper

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Paz Errázuriz, Adam’s Apple, 1983, 295 × 459 mm, photograph, gelatin silver print on paper

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Paz Errázuriz is a Chilean photographer who put out a series of black and white photos on the groups of society that live on the outskirts like queers, trans prostitutes, or people who work in the brothels, circus, or psychiatric hospitals. She took intimate portraits of a cross-dresser and transgender sex workers in Santiago, Chile, as well as their homes or the streets in their neighborhoods. Feminism isn’t always about women, but more about how you feel inside and how you identify as. It is made up of different shapes and forms. Errázuriz is making sure their existences are known outside of the underground communities.

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Paz Errázuriz, Adam’s Apple, 1983, 295 × 459 mm, photograph, gelatin silver print on paper

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Paz Errázuriz, Adam’s Apple, 1983, 295 × 459 mm, photograph, gelatin silver print on paper

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Paz Errázuriz did a lot of research on female prostitution and learned a lot since it’s always seen as taboo. She has been interested in exploring identity in the context of a homogenized society. With this project, she even learned about her own identity. She lived with these sex workers to learn about their daily lives and their struggles with the traditional notions of gender in society. The direct gaze towards the viewer in the photograph represents a bold act of political defiance.