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A Future We Begin to Feel

Women Artists 1921–1971

June 5–August 20, 2021

Sonja Sekula, Air, 1956

Sonja Sekula, Air, 1956

Courtesy Peter Blum Gallery, New York

Alice Trumbull Mason, Paradox #10 Chiaroscuro, 1968

Alice Trumbull Mason, Paradox #10 Chiaroscuro, 1968

Courtesy Washburn Gallery

Marie Laurencin, Femmes d'équitation

Marie Laurencin, Femmes d'équitation

Eileen Agar, Untitled (Still Life), 1966

Eileen Agar, Untitled (Still Life), 1966

Courtesy of Alon Zakaim Fine Art, London (UK)

Alice Rahon, Byblos, 1963

Alice Rahon, Byblos, 1963

Natalia Goncharova, The Village in Brown and Black: Rayonist Composition, c. 1950

Natalia Goncharova, The Village in Brown and Black: Rayonist Composition, c. 1950

Courtesy of Alon Zakaim Fine Art, London (UK)

Marie Laurencin, Groupe de femmes et un cheval, 1927

Marie Laurencin, Groupe de femmes et un cheval, 1927

Hilla Rebay, Horizontal

Hilla Rebay, Horizontal

Isabel Bishop, Seated Woman, 1924

Isabel Bishop, Seated Woman, 1924

Courtesy William Chambers Art, Catskill, New York

Marie Laurencin, Deux Sirèns

Marie Laurencin, Deux Sirèns

Blanche Lazzell, June Roses, 1926

Blanche Lazzell, June Roses, 1926

Courtesy William Chambers Art, Catskill, New York

Blanche Lazzell, Petunias, 1926

Blanche Lazzell, Petunias, 1926

Courtesy William Chambers Art, Catskill, New York

Irene Rice-Pereira, Spirit of Mercurius, c. 1958

Irene Rice-Pereira, Spirit of Mercurius, c. 1958

Courtesy Vallarino Fine Art, New York

Esphyr Slobodkina, Untitled, 1943–83

Esphyr Slobodkina, Untitled, 1943–83

Courtesy Vallarino Fine Art, New York

Perle Fine, Study for Fireworks, 1945

Perle Fine, Study for Fireworks, 1945

Courtesy Vallarino Fine Art, New York

Anne Ryan, Untitled (No. 232) group C, c. 1948–1954

Anne Ryan, Untitled (No. 232) group C, c. 1948–1954

Courtesy Washburn Gallery

Anne Ryan, Untitled No. 324, c. 1948–1954

Anne Ryan, Untitled No. 324, c. 1948–1954

Courtesy Washburn Gallery

Marguerite Louppe, Telephone, Newspaper, and Vase, c. 1940

Marguerite Louppe, Telephone, Newspaper, and Vase, c. 1940

Marguerite Louppe, Le Buis, c. 1960

Marguerite Louppe, Le Buis, c. 1960

Barbara Hepworth, Crouching Figure, 1948

Barbara Hepworth, Crouching Figure, 1948
 

Man & Woman, Dorothy Dehner, 1950

Man & Woman, Dorothy Dehner, 1950

Fahrelnissa Zeid, Composition, c. 1953

Fahrelnissa Zeid, Composition, c. 1953

Fahrelnissa Zeid, Composition​, c. 1953

Fahrelnissa Zeid, Composition​, c. 1953

Sonja Sekula, A Word, A Name, A Gift, 1952

Sonja Sekula, A Word, A Name, A Gift, 1952

Courtesy Peter Blum Gallery, New York

Sonja Sekula, Untitled (Bottle), 1958

Sonja Sekula, Untitled (Bottle), 1958

Courtesy Peter Blum Gallery, New York

Janice Biala, Blue Interior, 1956

Janice Biala, Blue Interior, 1956

Courtesy Vallarino Fine Art, New York

Yvonne Thomas, Collage, 1958

Yvonne Thomas, Collage, 1958

Courtesy Berry Campbell, New York

Charlotte Park, Untitled (Black and Gray IV), c. 1950

Charlotte Park, Untitled (Black and Gray IV), c. 1950

Courtesy Berry Campbell, New York

Charlotte Park, Untitled, c. 1960

Charlotte Park, Untitled, c. 1960

Courtesy Berry Campbell, New York

Alma Thomas, Untitled, c. 1960

Alma Thomas, Untitled, c. 1960

Courtesy Vallarino Fine Art, New York

Press Release

In celebration of the fiftieth anniversary of Linda Nochlin’s foundational essay “Why Have There Been No Great Women Artists?,” Rosenberg & Co. is organizing a summer exhibition of modernist women artists working from Cubism to Abstract Expressionism, as the city of cultural fame and capital shifted from Paris to New York. The Swiss painter and interwar American émigré Sonja Sekula said, “I think of all the contemporary American poets and artists who represent their outlook on this strange country and I find myself beginning to realize that I shall be one of them. I shall begin to speak of…a future that we begin to feel underneath the current of war and strife and uncertainty.”

 

Beginning with the work of Marie Laurencin, and Paul Rosenberg’s historic choice to represent her in 1921, the exhibition will survey the innovations and varying institutional access of artists such Isabel Bishop, Eileen Agar, and Natalia Goncharova, as well as Abstract Expressionist artists such as Charlotte Park, Perle Fine, and Alma Thomas.

 

Exhibitions of women artists have always been problematic—Georgia O’Keeffe famously refused to participate in Peggy Guggenheim’s Exhibition by 31 Women in 1943. Yet before the Feminist Art Movement, an exhibition showed either no women, a tokenized woman, or only women. All of these are fraught formulations, and as issue-ridden as the all-women show was and is, it has historically given crucial exposure to otherwise undervalued artists. It is with this framing that we pay homage to an imperfect form of great impact. A Future We Begin to Feel will highlight work made before the 1971 publication of Linda Nochlin’s essay, which changed art historical discourses irrevocably.


Nochlin wrote, “using as a vantage point their situation as underdogs in the realm of grandeur, and outsiders in that of ideology, women can reveal institutional and intellectual weaknesses in general, and...take part in the creation of institutions in which clear thought—and true greatness—are challenges open to anyone.”

 

As artists, galleries, and museums continue to remake aesthetic tradition, Rosenberg & Co. is excited to contribute to a more feminist, nuanced representation of modernist history.

Artists include:

Eileen Agar, Janice Biala, Isabel Bishop, Dorothy Dehner, Perle Fine, Natalia Goncharova, Barbara Hepworth, Marie Laurencin, Blanche Lazzell, Marguerite Louppe, Beatrice Mandelman, Alice Trumbull Mason, Charlotte Park, Alice Rahon, Hilla Rebay, Judith Rothschild, Anne Ryan, Sonja Sekula, Esphyr Slobodkina, Alma Thomas, Yvonne Thomas, and Fahrelnissa Zeid