{"id":7827,"date":"2019-11-06T20:21:42","date_gmt":"2019-11-07T00:21:42","guid":{"rendered":"https:\/\/kerryhannon.com\/?p=7827"},"modified":"2019-11-06T20:21:52","modified_gmt":"2019-11-07T00:21:52","slug":"museums-celebrate-women-in-metoo-era","status":"publish","type":"post","link":"https:\/\/kerryhannon.com\/?p=7827","title":{"rendered":"Museums Celebrate Women In #MeToo Era"},"content":{"rendered":"<div class=\"css-jz6dyt\">\n<header class=\"css-1gsej0m euiyums4\">\n<div class=\"css-1vkm6nb ehdk2mb0\">\n<p id=\"link-1e7b88fd\" class=\"css-fnr6md e1h9rw200\">\n<\/div>\n<div class=\"css-79elbk\" data-testid=\"photoviewer-wrapper\">\n<div class=\"css-1a48zt4 ehw59r15\" data-testid=\"photoviewer-children\">\n<figure class=\"sizeMedium layoutVertical css-1ox9jel\" role=\"group\" aria-label=\"media\">\n<div class=\"css-bsn42l\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"css-11cwn6f alignleft\" src=\"https:\/\/i0.wp.com\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27spwomen1\/merlin_162441165_d8316201-38e4-4f36-8886-64884c329bb3-articleLarge.jpg?resize=640%2C772&#038;ssl=1\" sizes=\"auto, ((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27spwomen1\/merlin_162441165_d8316201-38e4-4f36-8886-64884c329bb3-articleLarge.jpg?quality=90&amp;auto=webp 600w, https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27spwomen1\/merlin_162441165_d8316201-38e4-4f36-8886-64884c329bb3-jumbo.jpg?quality=90&amp;auto=webp 663w, https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27spwomen1\/merlin_162441165_d8316201-38e4-4f36-8886-64884c329bb3-superJumbo.jpg?quality=90&amp;auto=webp 663w\" alt=\"Daguerreotype portrait of Lucy Stone by unidentified artist, circa 1855, part of the National Portrait Gallery\u2019s exhibition.\" width=\"640\" height=\"772\"><\/div><figcaption class=\"css-17ai7jg emkp2hg0\"><\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/header>\n<\/div>\n<div class=\"css-18e8msd epjyd6m0\"><\/div>\n<div><\/div>\n<div><\/div>\n<section class=\"meteredContent css-1r7ky0e\">\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-exrw3m evys1bk0\"><strong>WASHINGTON<\/strong> \u2014 Her somber gaze is direct, and in her lap, she firmly holds a book.The circa 1855&nbsp;daguerreotype&nbsp;portrait of&nbsp;<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/www.womenshistory.org\/education-resources\/biographies\/lucy-stone\" target=\"_blank\" rel=\"noopener noreferrer\">Lucy Stone<\/a>, the suffragist and abolitionist, is powerful in its simplicity. Not surprisingly, Ms. Stone\u2019s mission was incited by the inequality in a society that discouraged women from becoming educated.<\/p>\n<p class=\"css-exrw3m evys1bk0\">The image is part of&nbsp;\u201c<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/npg.si.edu\/exhibition\/women-progress-early-camera-portraits\" target=\"_blank\" rel=\"noopener noreferrer\">Women of Progress: Early Camera Portraits<\/a>,\u201d&nbsp;an exhibition at the&nbsp;National Portrait Gallery, one of several major exhibitions in the nation\u2019s capital that celebrate women \u2014 from the battle for voting rights, spurred by the 100th anniversary of the 19th Amendment, to artworks by feminist icons who embody the challenging issues of their epochs.<\/p>\n<p class=\"css-exrw3m evys1bk0\">\u201cConsidering the longstanding imbalance in museum prerogatives, a convergence of exhibitions addressing women \u2014 as artists, as activists, as historical figures \u2014 is notable,\u201d said&nbsp;Susan Fisher Sterling, the&nbsp;director&nbsp;of the&nbsp;<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/nmwa.org\/\" target=\"_blank\" rel=\"noopener noreferrer\">National Museum of Women in the Arts<\/a>.<\/p>\n<p class=\"css-exrw3m evys1bk0\">\u201cIn part, this is inspired by the news cycle or the centennial anniversary of women\u2019s suffrage. However, from the vantage of history, it hardly seems enough,\u201d Ms. Sterling said. \u201cIt is essential for cultural institutions to take substantial and systematic steps to address gender inequity and diversity in their programming, their collections, and their leadership, so that this conversation moves beyond a single moment.&#8221;<\/p>\n<\/div>\n<\/div>\n<div id=\"story-ad-1-wrapper\" class=\"css-1r07izm\">\n<div id=\"after-story-ad-1\"><\/div>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-exrw3m evys1bk0\">Following is a selection of current and upcoming exhibitions here addressing women\u2019s issues.<\/p>\n<h2 id=\"link-4d1b5289\" class=\"css-1320w4z eoo0vm40\">National Portrait Gallery<\/h2>\n<\/div>\n<\/div>\n<div class=\"css-79elbk\" data-testid=\"photoviewer-wrapper\">\n<div class=\"css-16g0bjq ehw59r12\">\n<div class=\"css-tux0zj ehw59r13\" data-testid=\"photoviewer-overlay\">\n<div class=\"css-1iuxb9g ehw59r14\"><\/div>\n<\/div>\n<\/div>\n<div class=\"css-1a48zt4 ehw59r15\" data-testid=\"photoviewer-children\">\n<figure class=\"css-i67pzw e1g7ppur0\" role=\"group\" aria-label=\"media\">\n<div class=\"css-1xdhyk6 erfvjey0\">\n<figure style=\"width: 662px\" class=\"wp-caption alignnone\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"css-1m50asq\" src=\"https:\/\/i0.wp.com\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women3\/merlin_161951733_a4614090-d784-409c-a42e-436943703186-articleLarge.jpg?resize=640%2C915&#038;ssl=1\" sizes=\"auto, ((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women3\/merlin_161951733_a4614090-d784-409c-a42e-436943703186-articleLarge.jpg?quality=90&amp;auto=webp 600w, https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women3\/merlin_161951733_a4614090-d784-409c-a42e-436943703186-jumbo.jpg?quality=90&amp;auto=webp 717w, https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women3\/merlin_161951733_a4614090-d784-409c-a42e-436943703186-superJumbo.jpg?quality=90&amp;auto=webp 1433w\" alt=\"\" width=\"640\" height=\"915\"><figcaption class=\"wp-caption-text\">B.M. Boye, \u201cVotes for Women,\u201d 1911.Credit&#8230;Schlesinger Library, Radcliffe Institute, Harvard University<\/figcaption><\/figure>\n<\/div>\n<\/figure>\n<\/div>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-exrw3m evys1bk0\">\u201c<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/npg.si.edu\/exhibition\/votes-for-women\" target=\"_blank\" rel=\"noopener noreferrer\">Votes for Women: A Portrait of Persistence<\/a>\u201d<strong class=\"css-8qgvsz ebyp5n10\"><a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/npg.si.edu\/exhibition\/votes-for-women\" target=\"_blank\" rel=\"noopener noreferrer\">&nbsp;<\/a><\/strong>commemorates the centennial of the ratification of the 19th Amendment. The exhibition runs the gamut from early photographs and paintings to newspapers and fliers, as well as original banners from the&nbsp;National Woman\u2019s Party. It\u2019s organized chronologically:&nbsp;\u201cRadical Women: 1832\u20131869,\u201d \u201cWomen Activists: 1870\u20131892,\u201d \u201cThe New Woman: 1893\u20131912,\u201d \u201cCompelling Tactics: 1913\u20131916,\u201d \u201cMilitancy in the American Suffragist Movement: 1917\u20131919\u201d and \u201cThe Nineteenth Amendment and Its Legacy.\u201d<\/p>\n<p class=\"css-exrw3m evys1bk0\">There are portraits of&nbsp;Susan B. Anthony&nbsp;and the abolitionist Sojourner Truth,&nbsp;Victoria Woodhull, the first woman to run for president;&nbsp;Alice Paul, who organized the first march on Washington\u2019s National Mall; and&nbsp;Lucy Burns, who served&nbsp;six&nbsp;different prison sentences for picketing the White House.<\/p>\n<p class=\"css-exrw3m evys1bk0\">\u201cIt\u2019s something that I\u2019ve been really committed to,\u201d said Kim Sajet, the director of the museum, who is the first woman to lead the Gallery. \u201cAs soon as I arrived in 2013, we made a policy that 50 percent of all the funds we would spend should go to a minority subject or artist, which means that well over 50 percent of the portraits we have collected are of women \u2014 now at 53 percent.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" aria-hidden=\"false\">\n<div id=\"c-col-editors-picks\" class=\"css-j64t31\">\n<article class=\"css-5raq8g\">\n<p class=\"css-1p08cbr\"><span style=\"font-size: 16px; color: #191e23;\">\u201cIt means, as we have been collecting more women, it gives us more opportunities to put them up on the walls and tell their stories and build exhibitions around them. So many of these stories are just unknown.\u201d<\/span><\/p>\n<\/article>\n<\/div>\n<\/aside>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-exrw3m evys1bk0\">\u201c<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/npg.si.edu\/exhibition\/one-life-marian-anderson\" target=\"_blank\" rel=\"noopener noreferrer\">One Life: Marian Anderson<\/a>\u201d explores the life of the renowned contralto and how she became an icon of the civil rights movement. Ms. Anderson sang for 75,000 people on the steps of the Lincoln Memorial in&nbsp;1939&nbsp;after segregationist policies barred her from performing at Washington\u2019s&nbsp;DAR Constitution Hall&nbsp;\u2014&nbsp;the largest auditorium in the city.<\/p>\n<p class=\"css-exrw3m evys1bk0\">The exhibition goes beyond that pivotal performance and examines her entire career, emphasizing her influence on other artists ranging from the&nbsp;Harlem Renaissance painter Beauford Delaney&nbsp;to the&nbsp;fashion photographer Irving Penn.<\/p>\n<p><strong>Read on<a href=\"https:\/\/www.nytimes.com\/2019\/10\/23\/arts\/design\/museums-celebrate-women-metoo.html\"> The New York Times<\/a><\/strong><\/p>\n<p class=\"css-exrw3m evys1bk0\">\u201cIt is still kind of shocking to me how few people know her name, or what she did in terms of civil rights,\u201d Ms. Sajet said. \u201cI think it is really important to keep innovating and keep updating our knowledge and our history of women\u2019s stories and their contributions to America. We know that representation matters.\u201d<\/p>\n<h2 id=\"link-592ce0dd\" class=\"css-1320w4z eoo0vm40\">National Archives Museum<\/h2>\n<\/div>\n<\/div>\n<div class=\"css-79elbk\" data-testid=\"photoviewer-wrapper\">\n<div class=\"css-1w9skfo ehw59r12\">\n<div class=\"css-tux0zj ehw59r13\" data-testid=\"photoviewer-overlay\">\n<div class=\"css-1h4k7d5 ehw59r11\" data-testid=\"photoviewer-captionblock\"><\/div>\n<div class=\"css-1t5fi96 ehw59r14\">\n<div>\n<div class=\"css-8h527k\">\n<div data-testid=\"lazyimage-container\"><picture class=\"css-1j5kxti\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women4\/merlin_161951544_dfbb0a17-d957-42d8-9f6e-eefc742aed07-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=600\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 3),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 3),(max-width: 599px) and (min-resolution: 3dppx),(max-width: 599px) and (min-resolution: 288dpi)\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women4\/merlin_161951544_dfbb0a17-d957-42d8-9f6e-eefc742aed07-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1200\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 2),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 2),(max-width: 599px) and (min-resolution: 2dppx),(max-width: 599px) and (min-resolution: 192dpi)\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women4\/merlin_161951544_dfbb0a17-d957-42d8-9f6e-eefc742aed07-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1800\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 1),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 1),(max-width: 599px) and (min-resolution: 1dppx),(max-width: 599px) and (min-resolution: 96dpi)\"><\/picture>\n<figure style=\"width: 662px\" class=\"wp-caption alignnone\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women4\/merlin_161951544_dfbb0a17-d957-42d8-9f6e-eefc742aed07-articleLarge.jpg?resize=640%2C432&#038;ssl=1\" sizes=\"auto, ((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women4\/merlin_161951544_dfbb0a17-d957-42d8-9f6e-eefc742aed07-articleLarge.jpg?quality=90&amp;auto=webp 600w, https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women4\/merlin_161951544_dfbb0a17-d957-42d8-9f6e-eefc742aed07-jumbo.jpg?quality=90&amp;auto=webp 1024w, https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women4\/merlin_161951544_dfbb0a17-d957-42d8-9f6e-eefc742aed07-superJumbo.jpg?quality=90&amp;auto=webp 1864w\" alt=\"\" width=\"640\" height=\"432\"><figcaption class=\"wp-caption-text\">A 1918 photograph of women suffragists with a bonfire and posters outside the White House, part of the National Archives Museum\u2019s exhibition \u201cRightfully Hers: American Women and the Vote.\u201dCredit&#8230;National Archives, Records of the War Department General and Special Staffs<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-exrw3m evys1bk0\">\u201c<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/museum.archives.gov\/rightfully-hers\" target=\"_blank\" rel=\"noopener noreferrer\">Rightfully Hers: American Women and the Vote<\/a>\u201d<strong class=\"css-8qgvsz ebyp5n10\">&nbsp;<\/strong>conveys the story of women\u2019s suffrage through items such as an image of women suffragettes with a bonfire and posters outside of the White House in 1918, a gendered \u201cvoting machine\u201d patent from Aug. 10, 1910, and a 1916 postcard from the Georgia Association Opposed to Woman\u2019s Suffrage.<\/p>\n<\/div>\n<\/div>\n<div id=\"story-ad-3-wrapper\" class=\"css-1r07izm\">\n<div id=\"after-story-ad-3\"><\/div>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<h2 id=\"link-76f5ba22\" class=\"css-1320w4z eoo0vm40\">Library of Congress<\/h2>\n<p class=\"css-exrw3m evys1bk0\">\u201c<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/www.loc.gov\/exhibitions\/women-fight-for-the-vote\/about-this-exhibition\/\" target=\"_blank\" rel=\"noopener noreferrer\">Shall Not Be Denied: Women Fight for the Vote<\/a>,\u201d&nbsp;displays items relating to significant leaders in the campaign for women\u2019s voting rights from Susan B. Anthony\u2019s own copy of&nbsp;Mary Wollstonecraft\u2019s \u201cA Vindication of the Rights of Woman\u201d to personal letters, rare film, photos and scrapbooks created by suffragists.<\/p>\n<h2 id=\"link-38dc7ce7\" class=\"css-1320w4z eoo0vm40\">National Museum of Women in the Arts<\/h2>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" aria-hidden=\"false\"><\/aside>\n<\/div>\n<div class=\"css-79elbk\" data-testid=\"photoviewer-wrapper\">\n<div class=\"css-z3e15g\" data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div class=\"css-1lsqllk ehw59r12\">\n<div class=\"css-tux0zj ehw59r13\" data-testid=\"photoviewer-overlay\">\n<div class=\"css-17sfvsg ehw59r11\" data-testid=\"photoviewer-captionblock\"><\/div>\n<div class=\"css-382lsv ehw59r14\">\n<div>\n<div class=\"css-8h527k\">\n<div data-testid=\"lazyimage-container\"><picture class=\"css-1j5kxti\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women5\/merlin_159800538_18584794-b7f7-425b-adf2-ebc9d79d4de6-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=600\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 3),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 3),(max-width: 599px) and (min-resolution: 3dppx),(max-width: 599px) and (min-resolution: 288dpi)\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women5\/merlin_159800538_18584794-b7f7-425b-adf2-ebc9d79d4de6-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1200\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 2),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 2),(max-width: 599px) and (min-resolution: 2dppx),(max-width: 599px) and (min-resolution: 192dpi)\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women5\/merlin_159800538_18584794-b7f7-425b-adf2-ebc9d79d4de6-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1800\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 1),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 1),(max-width: 599px) and (min-resolution: 1dppx),(max-width: 599px) and (min-resolution: 96dpi)\"><\/picture>\n<figure style=\"width: 662px\" class=\"wp-caption alignnone\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women5\/merlin_159800538_18584794-b7f7-425b-adf2-ebc9d79d4de6-articleLarge.jpg?resize=640%2C1106&#038;ssl=1\" sizes=\"auto, ((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women5\/merlin_159800538_18584794-b7f7-425b-adf2-ebc9d79d4de6-articleLarge.jpg?quality=90&amp;auto=webp 600w, https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women5\/merlin_159800538_18584794-b7f7-425b-adf2-ebc9d79d4de6-jumbo.jpg?quality=90&amp;auto=webp 593w, https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women5\/merlin_159800538_18584794-b7f7-425b-adf2-ebc9d79d4de6-superJumbo.jpg?quality=90&amp;auto=webp 1185w\" alt=\"\" width=\"640\" height=\"1106\"><figcaption class=\"wp-caption-text\">Judy Chicago, \u201cMortality Relief,\u201d from the National Museum of Women in the Arts exhibition \u201cJudy Chicago \u2014 The End: A Meditation on Death and Extinction,\u201d 2018.Credit&#8230;2019 Judy Chicago\/Artists Rights Society (ARS), New York, Salon 94, New York and Jessica Silverman Gallery, San Francisco; Photo: Donald Woodman\/ARS, NY<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-exrw3m evys1bk0\">\u201c<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/nmwa.org\/exhibitions\/judy-chicago-the-end\" target=\"_blank\" rel=\"noopener noreferrer\">Judy Chicago \u2014 The End: A Meditation on Death and Extinction<\/a>\u201dis a series of nearly 40 works of painted porcelain and glass, as well as two large bronze sculptures, that reflect the artist\u2019s views on her own mortality, compassion and justice. Ms. Chicago is one of the principal artists from the feminist art movement of the 1970s.<\/p>\n<p class=\"css-exrw3m evys1bk0\">\u201cFor decades, Judy Chicago has modeled for artists of all genders how to step up and speak out about inclusion and injustice,\u201d said&nbsp;Kathryn Wat, deputy director of arts, programs, and public engagement and the chief curator at the museum.<\/p>\n<p class=\"css-exrw3m evys1bk0\">\u201c\u2018The End,\u2019 which presents an unflinching reflection on individual mortality and our shared ecological fragility, demonstrates how she continues to fearlessly confront the subjects that many prefer to ignore or deny.\u201d<\/p>\n<p class=\"css-exrw3m evys1bk0\">\u201c<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/nmwa.org\/sites\/default\/files\/shared\/live_dangerously_final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Live Dangerously<\/a>\u201d spotlights the works of 12 photographers who defy predictable, passive images of the female form in nature. It includes works by Ana Mendieta, Louise Dahl-Wolfe, Anna Gaskell, Dana Hoey, Graciela Iturbide, Kirsten Justesen, Justine Kurland, Rania Matar, Laurie Simmons, Xaviera Simmons, and Janaina Tsch\u00e4pe.<\/p>\n<\/div>\n<\/div>\n<div id=\"story-ad-4-wrapper\" class=\"css-1r07izm\">\n<div id=\"after-story-ad-4\"><span style=\"color: #23282d; font-size: 1.6em; font-weight: 600;\">National Museum of African Art<\/span><\/div>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-exrw3m evys1bk0\">\u201c<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/www.si.edu\/exhibitions\/i-am-contemporary-women-artists-africa-event-exhib-6393\" target=\"_blank\" rel=\"noopener noreferrer\">I Am \u2026 Contemporary Women Artists of Africa<\/a>\u201d&nbsp;culls its selection of&nbsp;27&nbsp;featured artists \u2014 including those who are globally familiar, such as&nbsp;Ghada Amer,&nbsp;Zanele Muholi&nbsp;and&nbsp;Wangechi Mutu&nbsp;\u2014 from its permanent collection. The majority of the pieces were acquired in the past five years and have not previously been shown in Washington.<\/p>\n<p class=\"css-exrw3m evys1bk0\">On display are short videos, sculptures, textiles, ceramics, paintings and photography. Since 2014, the museum has been driven to procure more work by women, doubling its works by women artists to&nbsp;22 percent today.<\/p>\n<h2 id=\"link-6a543567\" class=\"css-1320w4z eoo0vm40\">Arthur M. Sackler Gallery<\/h2>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" aria-hidden=\"false\"><\/aside>\n<\/div>\n<div class=\"css-79elbk\" data-testid=\"photoviewer-wrapper\">\n<div class=\"css-z3e15g\" data-testid=\"photoviewer-wrapper-hidden\"><\/div>\n<div class=\"css-1obizcd ehw59r12\">\n<div class=\"css-tux0zj ehw59r13\" data-testid=\"photoviewer-overlay\">\n<div class=\"css-qced7i ehw59r11\" data-testid=\"photoviewer-captionblock\"><\/div>\n<\/div>\n<\/div>\n<div class=\"css-1a48zt4 ehw59r15\" data-testid=\"photoviewer-children\">\n<figure class=\"css-jcw7oy e1g7ppur0\" role=\"group\" aria-label=\"media\">\n<div class=\"css-1xdhyk6 erfvjey0\">\n<div class=\"css-8h527k\">\n<div data-testid=\"lazyimage-container\"><picture class=\"css-1j5kxti\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women-02\/27sp-women-02-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=600\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 3),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 3),(max-width: 599px) and (min-resolution: 3dppx),(max-width: 599px) and (min-resolution: 288dpi)\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women-02\/27sp-women-02-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1200\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 2),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 2),(max-width: 599px) and (min-resolution: 2dppx),(max-width: 599px) and (min-resolution: 192dpi)\"><source srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women-02\/27sp-women-02-mobileMasterAt3x.jpg?quality=75&amp;auto=webp&amp;disable=upscale&amp;width=1800\" media=\"(max-width: 599px) and (min-device-pixel-ratio: 1),(max-width: 599px) and (-webkit-min-device-pixel-ratio: 1),(max-width: 599px) and (min-resolution: 1dppx),(max-width: 599px) and (min-resolution: 96dpi)\"><\/picture>\n<figure style=\"width: 662px\" class=\"wp-caption alignnone\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"css-1m50asq\" src=\"https:\/\/i0.wp.com\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women-02\/27sp-women-02-articleLarge.jpg?resize=640%2C428&#038;ssl=1\" sizes=\"auto, ((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women-02\/27sp-women-02-articleLarge.jpg?quality=90&amp;auto=webp 600w, https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women-02\/27sp-women-02-jumbo.jpg?quality=90&amp;auto=webp 1024w, https:\/\/static01.nyt.com\/images\/2019\/10\/27\/multimedia\/27sp-women-02\/27sp-women-02-superJumbo.jpg?quality=90&amp;auto=webp 2048w\" alt=\"A detail from the Gohar Dashti photograph \u201cUntitled,\u201d from the series \u201cIran,\u201d 2013.\" width=\"640\" height=\"428\"><figcaption class=\"wp-caption-text\">A detail from the Gohar Dashti photograph \u201cUntitled,\u201d from the series \u201cIran,\u201d Credit:Smithsonian Museum<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n<\/figure>\n<\/div>\n<\/div>\n<div class=\"css-1fanzo5 StoryBodyCompanionColumn\">\n<div class=\"css-53u6y8\">\n<p class=\"css-exrw3m evys1bk0\">\u201c<a class=\"css-1g7m0tk\" title=\"\" href=\"https:\/\/www.si.edu\/exhibitions\/my-iran-six-women-photographers-event-event-exhib-6455\" target=\"_blank\" rel=\"noopener noreferrer\">My Iran: Six Women Photographers<\/a>\u201d&nbsp;investigates the difficulties of life within and outside Iran.&nbsp;Hengameh Golestan\u2019s shots of women demonstrating in the streets of Tehran in the aftermath of the 1979 Revolution, for instance, seize the spirit of a social and political movement that still echoes.<\/p>\n<\/div>\n<aside class=\"css-ew4tgv\" aria-label=\"companion column\" aria-hidden=\"false\"><\/aside>\n<\/div>\n<\/section>\n<div class=\"bottom-of-article\">\n<div class=\"css-1ubp8k9\">By&nbsp;<a href=\"https:\/\/kerryhannon.com\"><span class=\"css-1baulvz last-byline\">Kerry Hannon<\/span><\/a><\/div>\n<div class=\"css-wg1cha\"><\/div>\n<div class=\"css-13ldwoe\">A version of this article appears in print on&nbsp;<time class=\"css-10rvbm3\" datetime=\"2019-10-27T04:00:00.000Z\">Oct. 27, 2019<\/time>, Section&nbsp;F, Page&nbsp;14&nbsp;of the New York edition&nbsp;with the headline:&nbsp;Celebrating Women.&nbsp;<a href=\"http:\/\/www.nytreprints.com\/\">Order Reprints<\/a>&nbsp;|&nbsp;<a href=\"https:\/\/www.nytimes.com\/section\/todayspaper\">Today\u2019s Paper<\/a>&nbsp;|&nbsp;<a href=\"https:\/\/www.nytimes.com\/subscriptions\/Multiproduct\/lp8HYKU.html?campaignId=48JQY\">Subscribe<\/a><\/div>\n<div class=\"css-i29ckm\"><\/div>\n<\/div>\n<div style=\"padding-bottom:20px; padding-top:10px;\" class=\"hupso-share-buttons\"><!-- Hupso Share Buttons - http:\/\/www.hupso.com\/share\/ --><a class=\"hupso_toolbar\" href=\"http:\/\/www.hupso.com\/share\/\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/static.hupso.com\/share\/buttons\/share-small.png?w=640&#038;ssl=1\" style=\"border:0px; padding-top:5px; float:left;\" alt=\"Share Button\"\/><\/a><script type=\"text\/javascript\">var hupso_services_t=new Array(\"Twitter\",\"Facebook\",\"Google Plus\",\"Pinterest\",\"Linkedin\",\"StumbleUpon\",\"Digg\",\"Reddit\",\"Bebo\",\"Delicious\");var hupso_background_t=\"#EAF4FF\";var hupso_border_t=\"#66CCFF\";var hupso_toolbar_size_t=\"small\";var hupso_image_folder_url = \"\";var hupso_url_t=\"\";var hupso_title_t=\"Museums Celebrate Women In #MeToo Era\";<\/script><script type=\"text\/javascript\" src=\"https:\/\/static.hupso.com\/share\/js\/share_toolbar.js\"><\/script><!-- Hupso Share Buttons --><\/div>","protected":false},"excerpt":{"rendered":"<p> Several major exhibitions in the nation\u2019s capital are celebrating women \u2014 from the battle for voting rights, spurred by the 100th anniversary of the 19th Amendment, to artworks by feminist icons who embody the challenging issues of their epochs.<\/p>\n<div style=\"padding-bottom:20px; 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