Artwork by Varo.
PHOTO BY AUTHOR
“What if women ruled the world?” reads a neon-yellow, lit-up installation within the National Museum of Women in the Arts, located in Washington, D.C. “When Kamala lost the presidential election, this museum was the first place I visited with my little girl,” says my local acquaintance, Rita. While that may sound ironic, she explains, “I found hope here.”
As I step into this one-of-a-kind museum in downtown D.C., I begin to understand what Rita means. The museum resides within an imposing classical revival-style building that dates back to 1908. Originally, it served as a temple for the Masons, a fraternity that did not admit women.
Today, the historic structure has come full circle, transformed into a space exclusively dedicated to showcasing the work of women artists. The museum’s collection spans various visual art forms from different eras, ranging from the 16th century to contemporary works. The mediums are just as diverse: paintings, photographs, metal sculptures, marble works, ceramics, artist books, and more. Altogether, the collection houses over 6,000 works created by more than 1,500 women artists.
As I walk through the galleries, I’m captivated by a larger-than-life modern sculpture. Pregnant Nana, created by artist Niki de Saint Phalle, stands tall, carved from marble with select areas, like the belly, painted in bright, cheerful colours. On the one hand, the sculpture exudes a welcoming warmth, with arms wide open, as if the mama-to-be is embracing the world. But on the other hand, the concentric circles on her belly resemble an archery target, making the figure seem less inviting and more defiant. She appears ready to face any challenge, to protect and shape the next generation.
I’m also drawn to a painting by Remedios Varo, titled La llamada (“The Call”). The woman in the painting seems to be transitioning, fading into an apparition. The painting evokes the question: Do you see us? This piece of art was created in 1961 and predates the museum’s existence by decades. Yet, the work’s enduring relevance lies in its exploration of the struggles faced by women across generations and its call for continued advocacy for gender equality in art and society. This artwork serves as a reminder of past injustices and a catalyst for future change, prompting viewers to actively consider and address the ongoing need for representation and equity in both the arts and society.
The museum guides share sobering facts backed by data. Since 2008, works by Picasso alone have generated $6.23 billion in auction sales. In comparison, works by all women artists combined — across all genres — totalled $6.2 billion (Burns Halperin Report, 2022). A study of 1.9 million auction transactions across 49 countries revealed that paintings by female artists sell at an unconditional discount of 42.1% (Adams et al., 2021). The National Endowment for the Arts found that as US women artists age, they earn progressively less than their male counterparts. Women aged 55-64 earn only 66 cents for every dollar earned by men.
Just as I process this, I overhear a conversation between two women. One challenges the other to name five women artists within a minute. She fails. I fail too. The names of male artists come to mind more easily, a stark reminder of how women’s contributions have often been erased from the art world.
Among the museum’s many highlights is a charcoal drawing by Georgia O’Keeffe, Alligator Pears in a Basket. The drawing captures a basket of avocados, devoid of colour and rendered in ambiguous forms. The simplicity leaves room for the viewer’s imagination. In 2022, the top auction result for a male artist’s work — Andy Warhol’s Shot Sage Blue Marilyn (1964) — was more than seven times the auction result for O’Keeffe’s White Rose with Larkspur No. 1 (1972), which was the highest-selling piece by a female artist that year.
The museum’s commitment to inclusivity extends beyond Western art, showcasing works from the Global South. Indian artists have collaborated with the museum, and the works of Mumbai-based artist Priya Pereira were displayed in 2016 as part of a temporary exhibit. The museum also boasts national and international committees, including one focused on India. In 2023, the India committee presented Losing All Taste, an exhibition by Pune-born artist Rajyashri Goody. Through ceramic installations, such as recipes from Dalit literature, Goody’s work shines a light on the caste system. Displaying such works in the US serves as a reminder that feminism is multi-layered, intersecting with issues of region, caste, colour, and economic status.
April 15, World Art Day, was chosen to honour Leonardo da Vinci’s birthday. Some art historians even describe him as a feminist. His depictions of women reveal strong, self-assured figures, often lost in deep thought. William Varvel, an American art lover, argues in his thesis that the Mona Lisa symbolises the fight for gender equality, with hidden symbols inspired by the Book of Zechariah. He suggests that the painting represents the theological rights of women.
Perhaps, beginning this year, it’s time to honour Da Vinci by recognising the true meaning behind his most famous work.