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Faith Ringgold, American People Series #20: Die, 1967. Oil on canvas, two panels, 72 x 144 in (182.9 x 365.8 cm). The Museum of Modern Art, New York, Purchase; and gift of The Modern Women's Fund.

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Faith Ringgold, American People Series #20: Die, 1967. Oil on canvas, two panels, 72 x 144 in (182.9 x 365.8 cm). The Museum of Modern Art, New York, Purchase; and gift of The Modern Women's Fund.

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Pablo Picasso, Guernica, 1937, Oil on canvas, 349,3 x 776,6 cm, Museo Nacional Centro de Arte Reina Sofía.

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As an African-American woman, Ringgold hints at the composition Picasso's Guernica to highlight the tragedies of conflict by depicting the race wars occurring in the 1960s in the U.S.. By showcasing a variety of different people coming from different races, genders, and ages but of similar dress, Ringgold signifies that racism at the hands of the upper-class impacts everyone, especially the children of future generations. 

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As an African-American woman, Ringgold hints at the composition Picasso's Guernica to highlight the tragedies of conflict by depicting the race wars occurring in the 1960s in the U.S.. By showcasing a variety of different people coming from different races, genders, and ages but of similar dress, Ringgold signifies that racism at the hands of the upper-class impacts everyone, especially the children of future generations. 

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Hannah Höch, Dada-Ernst, 1920, Collage on paper, 18.6 x 16.6 cm, The Israel Museum, Jerusalem.

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Hannah Höch, Dada-Ernst, 1920, Collage on paper, 18.6 x 16.6 cm, The Israel Museum, Jerusalem.

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As one of the few female Dadaist, Höch was in a unique position to use the themes of Dadaism, such as challenging the norms of society by shocking or confusing viewers, in her art. Höch was able to collage together different media snippets by juxtaposing aspects of the “new woman” with conservative female values; a conversation on the politics of women in society emerges from the paper. 

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As one of the few female Dadaist, Höch was in a unique position to use the themes of Dadaism, such as challenging the norms of society by shocking or confusing viewers, in her art. Höch was able to collage together different media snippets by juxtaposing aspects of the “new woman” with conservative female values; a conversation on the politics of women in society emerges from the paper. 

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As you digitally walk through the gallery, keep this question in the back of your mind: Why were women kept out of the canon of art?

1. Art is a way of storytelling that often can be uncomfortable; but that discomfort is necessary to showcase the full narrative.

2. Throughout time, women are able to create figurative imagery to reflect their actual emotions and feelings while men are allowed to depict reality freely.

3. Often, radical female art depicts stories that are often not seen within the canon because of the normalization of white, heteronormative narratives of violence.

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Artemisia Gentileschi, Judith Slaying Holofernes, ca.1614–1620. Oil on canvas, 6’ 6 1/3”x 5’ 4", The Uffizi Gallery.

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Artemisia Gentileschi, Judith Slaying Holofernes, ca.1614–1620. Oil on canvas, 6’ 6 1/3”x 5’ 4", The Uffizi Gallery.

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Mary Cassatt, In the Loge At the Opera, 1878, Oil on canvas, 81.28 x 66.04 cm, Museum of Fine Arts Boston, The Hayden Collection—Charles Henry Hayden Fund. 

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Mary Cassatt, In the Loge At the Opera, 1878, Oil on canvas, 81.28 x 66.04 cm, Museum of Fine Arts Boston, The Hayden Collection—Charles Henry Hayden Fund. 