Clasped Hands of Robert and Elizabeth Barrett Browning, by Harriet Hosmer (1853)

I wanted to share this informative little comic for International (Working) Women's Day:

Roses, Lilacs and White Blossom Branches (date unknown) by Margaretha Roosenboom (1843-1896).

Oil on panel.

christies.com via Wikimedia.

The doors to science for too long were shut to women—and the struggle continues—yet women still have managed to contribute invaluable work. Here are 5 open collections on JSTOR that feature the work of important women botanists and botanical artists.

"I didn't have time to be anybody's muse; I was too busy rebelling against my parents and learning to be an artist."

Surrealist painter Leonora Carrington

The Forgotten Surrealist Painter Who ‘Didn’t Have Time to Be Anyone’s Muse’

Leonora Carrington (1917-2011), The Meal of Lord Candlestick, 1938, oil on canvas, 46 x 61 cm (18.12 x 24.02 in).

text: Tee Corinne at 40. Photo © 1984 by Caroline Overman.

I ran away from home. I ran away from St. Louis, and then I ran away from the U.S.A because of that terror of discrimination, that horrible beast which paralyzes one's very soul and body.

-Josephine Baker, entertainer, French Resistance agent, civil rights activist ♀️

Daphne Todd, Landscape Between Legs, 2004

Daphne Todd OBE

Born: March 27, 1947, York, United Kingdom

an English artist who was the first female President of the Royal Society of Portrait Painters from 1994–2000, and who won the BP Portrait Award 2010 with a painting of her 100-year-old mother's corpse. She attended the Simon Langton Grammar School for Girls in Canterbury, Kent. via Wikipedia

#DaphneTodd #womensart #EnglishPainter #ArtHerstory #PalianShow #artbywomen #Contemporarypainer

can’t stop thinking about this bell hooks coziness manifesto

anytime anyone asks me where i am on a writing deadline it’s gonna be a “i have always been a girl for fibers” from me

Link

toilet photographs by sarah lucas: human toilet ii, 1996; is suicide genetic?, 1996 and human toilet revisited, 1998.

Waterfall, Mama Babies & Self-Portrait with Casper, Justine Kurland, 2006

Rebecca Horn, Cockatoo Mask, 1973 (stills from Cockfeather Mask Perfomance II)

Horn described using this mask in a performance exploring ideas of sexual availability and intimacy: ‘My face is covered by two intertwined, closed feather wings. The person standing before me touches the feathers delicately, then separates and opens the wings. The spread wings stretch like long bird wings, and softly enclose around [both] our heads. The feather-enclosure isolates our heads from the surrounding environment, and forces us to remain intimately alone, together.’ The use of the mask is deliberately ambiguous and the performance implies a tension between tenderness and aggression. (Text Via)

La servante paresseuse (1810s) By Constance Marie Charpentier, French

‘Jardin Exotique’ (1938) by Stella Bowen (1893 - 1947).

Wikimedia.

Mary Miss, Greenwood Pond: Double Site, Des Moines, IA. Photo © Judith Eastburn, 2014

an anatomically accurate human brain knitted by psychiatrist Dr Karen Norberg