"Colored Fungus, Orchids, Bamboo, and Rocks" (1604). This is my favorite Ma Shouzhen painting. The splashes of blue give these plants a little character.

Chinese culture is the bomb dot com. Everything about it intrigues me. The Chinese are family-oriented and place a lot of emphasis on nature and wellness. Much of the art from this corner of the globe reflects such values. The creations from Ma Shouzhen are no different. Don’t let the dainty photos fool you though. Ma had a life that was fit for a segment on “The Secret Life of Women.”

"Narcissus." Ma stuck to her Chinese roots and often painted items from nature.

Ma Shouzhen was born in Jinling, China in 1548. No, her birth name wasn’t Ma. Her legal name was Xianglan, but she also went by Xuan’er and Yuejiao. Growing up in pre-modern China was difficult for Ma. The iron fist of the Ming Dynasty was banging hard upon China. The art scene was male dominated and ladies got no respect. Some women took matters into their own hands and made a way out of no way. Since art by women wasn’t respected during the duration of Ma’s life, they got exposure by not disclosing their gender or by working as courtesans who served the male artists of the time. Ma chose the latter.

"Orchid and Rock" (1572). The simplicity and monochromatic color theme are characteristics of Ma's signature style. This painting also features Ma's favorite thing to paint, an orchid.

Ma was considered a romantic figure who offered her poetry and painting to her clients in addition to a happy ending. Although her line of work was taboo, she stayed true to Chinese culture by dedicating her talent to depicting scenes from nature. Her favorite things to paint were orchids. Ma’s style consisted of painting in delicate ink monochrome. Orchids were extremely popular with courtesan painters because they were fragrant plants that blossomed in seclusion. The courtesans could identify.

"Landscapes and Flowers." In this painting Ma chose not to feature the orchid, instead she focuses on bamboo and the actual landscape.

Although Ma didn’t get the respect that was owed to her, she made amazing art. She didn’t let her lower class status or the side eyes of society keep her in the shadows. Her dirt was done in the dark, but her art shined light on her inner peace, confidence, and beauty. To Ma Shouzhen I bow in respect. She gave society the middle finger and made things happen. No matter what.

"Orchids, Bamboo, Lingzhi, and Rocks." I like the horizontal direction of this trilogy. I could definitely see these framed on my wall!

I am not an animal lover. They stink, make noise, and some have pea shaped poo. The zoo is my worst nightmare and I’ve never had a pet. Guess that doesn’t even make me an animal liker. Marie-Rosalie Bonheur made a living, and quite a name for herself, by being around animals. No, she wasn’t a zookeeper. She was a widely acclaimed animalière, or animal artist. She was a prominent artist in the 19^th century who kicked the asses of her male counterparts with ease. Few females from this period are recognized for their artistic abilities, but Rosa established herself as one of the most original artists of the Realist tradition.

"Sheep in the Highlands" (1856). This painting is so flawless it looks like a photograph. The shadows and sky detail are executed perfectly.

Marie-Rosalie Bonheur made her grand entrance on March 16, 1822 in Bordeaux, France. She was one of four artistically inclined children. Her brother, Isidore Jules Bonheur, was an important animalière sculptor of the 19^th century. Their father, Oscar-Raymond Bonheur, was a trained artist and devout socialist. Oscar was a major influence on Rosa, both socially and artistically. When Rosa was a child, Oscar-Raymond was involved with Saint-Simonians, a political group that advocated a form of socialism which pushed for equality between the sexes and the abolishment of class distinctions. Her father’s association with this group allowed Rosa to grow up liberated and free of gender norms. She was the only girl in an all boys’ private school and she dressed like a boy. Her usual attire as an adult was a short haircut accompanied by a waistcoat and trousers. On one occasion she wore a dress and was arrested by an officer who mistook her for a man dressed in women’s clothing.

“To [my father’s] doctrines I owe my great and glorious ambition for the sex to which I proudly belong and whose independence I shall defend until my dying day.”

Rosa’s appearance wasn’t the only man-ish thing about her. Her fascination with animals and the disgusting added to her tomboy nature. She found pleasure in dissecting animals to learn about their muscle and bone structure. She even enjoyed visiting slaughterhouses in Paris to observe the animals in their various states of processing.

"Monarchs of the Forest" (1879). Boy do I have a fear of deer! This dynamic duo will definitely haunt me. Its interesting how Rosa can make a painting look overcast. I can feel the chill in the air.

Rosa began her official artistic training at the age of 13. She attempted boarding school and dress making before she finally decided to study under her father. Rosa got her start by copying engravings and plaster casts, drawing still-lifes, and later copying paintings of the masters in the Louvre. She submitted her first work to the Salon in 1841 at the age of 19.

"Study of a Cow" (1840). I see how the title matches the image. Most of the time when I see cows, this is how I see them.

In 1842, the Bonheurs moved to the Rue Rumford, an agricultural area of Paris that was close to farms, fields, and animals. Oscar deemed the copying the children were doing in Bordeaux insufficient. He wanted them to develop their talent through realistic drawing and painting. Rosa submitted her first sculpture, a terra-cotta of a Shorn Sheep Grazing, the same year the family relocated. Rosa’s relationship with the Salon was continuous throughout her career. By the age of 23, she had exhibited eighteen works at the Paris Salon. In 1848 she was given her first gold metal from the Salon for a sculpture. Sadly, Rosa rarely submitted sculptures after that because she did not want to overshadow the word of her brother.

"The Horse Fair" (1852). Rosa's most well known work. Critics and art lovers alike raved on and on about this painting. The detail, size, and brilliance are what kept people in awe.

In 1851 Rosa began to create works for the house of Goupil in Paris. It was during this same year that Rosa reached her peak as a painter. “The Horse Fair” took 18 months to complete. Rosa was 31 when she completed her most famous piece. People were impressed at its brilliance. No woman had ever created a work as beautiful, or an animal painting as large.

"Chamois Mother and Baby" (1888). I am mesmerized by the landscape in this painting. The shadows on the mountains, the clearness of the sky, the froth in the river, and the moss on the rocks. *sigh* I think this one is my fav!

Although Rosa had immense fame in the United States, England, and the United Kingdom, she never gained respect in France. In 1859 she moved near the Forest of Fontainebleu. This location would be her final place of residence. Rosa continued to work on sketches, paintings, and commissions during her 40 year stay by the forest. She died May 25, 1899.

"Lion at Rest" (1880). This sucker looks like he JUST ate a gazelle. Rawr!

Throughout her life, Rosa defied all norms. She dressed as a man, entered the male dominated field or art, and was even thought to be romantically linked to Buffalo Bill Cody. This badass girl needed a badass guy! Marie-Rosalie Bonheur will not only be remembered for her independent character, but also her list of international honors. Her accolades, usually reserved only for men are:

-Honorary member of the Pennsylvania Academy of Fine Arts and of the Société des Artistes Belges (1863)

-Chevalier de la Légion d’Honneur, the first woman artist to receive this honor (1865)

-The Cross of San Carlos of Mexico, awarded to her by Emperor Maximilian and Empress Carlotta (1865)

-Membership in the Académie des Beaux-Arts of Antwerp, Belgium (1868)

-Commander’s Cross of the Royal Order of Isabella by Spain’s Alphonso XII (1880)

-Catholic Cross and the Leopold Cross presented by Leopold of Belgium (1880)

-Honorary member of the Royal Academy of Watercolorists of London and Mérite des Beaux-Arts de Saxe-Coburg-Gotha (1885)

-Officier de la Légion d’Honneur, the first woman to be honored in this position (1894).

"Virgen de la Macarena" (1680). This weeping statue of the Virgin Mary, also known as "La Esperanza (The Hope), is currently housed in the Basilica de la Macarena. During the Easter celebrations held in this church, La Esperanza has the place of honor.

As long as recorded time can document, Spain has been one of the most prominent locations when it comes to the arts. The Spanish language and our beloved Manolo Blahnik both originated there. Luisa Ignacia Roldán is another culture altering force from in the European country. La Roldána, as she is called in Spain, was born in1652 in Seville, Spain. Luisa was exposed to artistry from day one. Her father, Pedro Roldán, is recognized as one of Spain’s finest Baroque sculptors. Luisa learned all she knew from her father. The entire family was employed by Pedro’s workshop. Luisa and 3 siblings helped sculpt Pedro’s creations while another sibling painted them. Cue Sly & the Family Stone’s “Family Affair” now.

"Madonna and Child with Saint John the Baptist" (1692). Luisa definitely took her time on this piece. The details on the baby and the faces under the Madonna's feet are precise. The painting on this sculpture must have taken forever!

Once she became a budding, young beauty, Luisa married an artist in her father’s workshop. The union between Lusia and Luis Antonio Navarro de los Arcos was frowned upon by the Roldán family. Pedro Roldán must have been extremely upset; he didn’t attend his daughter’s wedding. Although unintentional, Luisa’s decision to marry Luis ripped her family apart. Soon after Mrs. was placed in front if her name, Lusia moved out. She and her husband relocated to the San Vicente parish of Seville. Once settled in, the newlyweds got to work. No, not on paintings. The first few years of their marriage are when the majority or their children were born: Luisa Andrea, Fernando Maximo, Fabiana Sebastiana, and Maria Petronila Gertrudis. In addition to the listed 4, the couple had two other children who didn’t live long enough to receive names.

"The Mystical Marriage of Saint Catherine." Saint Catherine can be identified by the wheel upon which she was tortured laying at her feet. The marriage the title of the piece refers to a dream she had in which Jesus placed a ring on her finger in a "mystic marriage."

Luisa and her husband had to sculpt like mad to keep their large family with the basic essentials. Their pieces were selling and they were making a name for themselves. In 1680, the family decided to move to a more upscale area. The house was rented, but was still a sign of the success Luisa and her family gained and planned on maintaining. Few pieces from Luisa’s time in Seville have survived, but some stood the test of time. Among the remaining are four wooden angels and two thieves made in 1863 and 1864. The most important of the Seville works, and maybe the most recognizable piece made by Luisa’s hands, the “Virgen de la Macarena” made it out as well.

"Pieta at the Foot of the Cross" (1704). I'm sure its very moving to see this piece in person. There are a few details this picture cannot capture. For one, the scroll at the top of of the cross isnt clear enough to read. Ugh! I want to know what it says!

At the time of Luisa’s upgrade, Spain was in an economic depression. This depression didn’t seem to impact Luisa because of new home and success. Seeming wasn’t enough. Tragedy knocked on Luisa’s door in 1863 when two of her daughters died within a month of each other. The cause of death of the two girls was unknown at the time, but due to the close timing of the deaths many assume the illnesses of the depression are to blame. Less than a year after the deaths of Luisa Andrea and Fabiana Sebastiana, Lusia gave birth to her final child, Rosa Maria Josepha.

"Death of Mary Magdalene." This is my favorite piece by Lusia. The vivd colors she uses makes this sculpture absoluteley breathtaking!

Sometime in 1864, Lusia moved her family to Cádiz. Here she received her first independent project for a work called Ecce Homo for the Regina Angelorum Convent. A year later Luisa was requested to be an artist for several wooden sculptures what would be placed in the city’s cathedral. Another commission from the city came in 1867.

"The Education of the Virgin." Again, Luisa's attention to detail plays a part. She even put words in the book the Virgin is reading from.

After Luisa completed all the work in Cádiz, she moved to Madrid to apply for the position of Escultora de Cáma, or Sculptor of the Chamber, at King Charles II’s court. She was appointed the position of Court Sculptor in 1692. Despite her high position, Luisa and her family struggled. Records reveal that Lusia continuously petitioned for the pay promised to her along with a place for her family to live. By 1968 things were improving. From the point of her appointment to the end of her career, Luisa signed all her works with her name followed by the title “Escultora de Cáma.”

"Saint Joseph and the Child." The ripples in Saint Joseph's cloak make it look like he is in motion. Did you notice the pattern on his socks? The detail looks like it is individually painted.

A few years after Phillip V rose to the phone, Luisa’s health began to fade. Her death date isn’t definite, but sources place it either 1704 or 1706. The only date supported by documentation is January 10, 1706 (Luisa’s will was dated only a few days before). Although Luisa had much success throughout her life and her husband has been fairly well off at the time of her death, Luisa stated in her will that she was a pauper and had nothing to leave to her children. In turn, Lusia was buried in a pauper’s grave in Madrid.

"The Virgin and Child with Saint Diego of Alacala" (1690-5). I am not sure what scene in history this piece is depicting, but the woman on the far left sure looks shocked. The little heads are again around the base of the piece. I wonder what they mean.

Luisa would be proud to know that her struggles weren’t in vain. Her sculptures directly influenced the Spanish artists of the eighteenth century.  Luisa’s figured are noted for their “strong, clear profiles; thick, often curling hair; dreamy-looking faces with furrowed brows and parted lips; and flowing garments.” She was the first woman sculptor documented in Spain, and her works are still praised, recognized, and even worshiped to this day.

Image Layouts: Feesh

Yes, it’s true. Capricorns are the best. The Mountain Goats of the zodiac tend to be methodical, logical, analytical, and most of all persistent. The go-getter attitude of Capricorns is the reason behind their success and achievements. Dame Jocelyn Barbara Hepworth was no exception. Her persistence and diligent work earned her a place in the Most Excellent Order of the British Empire and the title of one of the most significant artists of the 20^th century.

"Two Figures" (1954-5)

This young doeling was born on January 10, 1903 as the eldest of four. Her father was a civil engineer who worked in Wakefield, West Yorkshire where he raised his family. Her first love was math. It brought her closer to her father, and watching him work introduced her to the idea of technical drawing. She attended Wakefield Girls’ High School where her work received much praise and encouragement. Eventually, she won a scholarship to Leeds School of Art in 1920 where she began to study sculpture.

"Infant" (1929)

While at LSA she met fellow sculptor Henry Moore. The duo’s time together continued outside of LSA. The following year both Hepworth and Moore went to Royal College of Art. Hepworth finished the two year program at Leeds School of Art in a single year and earned a county scholarship to Royal College of Art. A true Capricorn woman!

"Conoid, Sphere and Hollow II" (1937)

Hepworth’s early sculptures at Leeds were quasi-naturalistic and were similar to the work of Moore. Despite the similarities, Hepworth’s work showed a tendency to add detail to simple pieces. She remained enrolled in the School of Sculpture at the Royal College of Art until 1924. The same year Hepworth was awarded another scholarship which provided the opportunity to study in Italy with other scholarship recipients. One of the other travelers was sculptor John Skeaping, her future husband.

"Theme on Electronics (Orpheus)" (1956)

Hepworth was married to Moore until 1931. The same year she met Ben Nicholson, who became her second husband a year later. Ben brought contemporary European developments in art to Hepworth’s attention. In 1933 the couple joined the artists’ group Abstraction-Création and British modern art group Unit One. During the 1930s Hepworth, Nicholson, and Moore were a dominating force in modern art. They were recognized as ‘the nucleus of the abstract movement in England.’

"Mother and Child" (1934)

The art movement in London became less and less important during 1938. Hepworth and Nicholson decided to leave the city and relocate to St. Ives in Cornwall. Their travel began five days before the declaration of World War II. The Cornish landscape became inspiration for her work.

"Sculpture with Colour (Eos)" (1946)

The late 30s and 40s also brought about Hepworth’s use of ‘the hole.’ The idea of putting a hollow in her sculptures came from the mathematical and logical side of Hepburn shining through. She was toying with the idea of mass and space.

"Tides" (1946)

In 1949 Hepworth acquired Trewyn Studio where she worked on her carving. In 1961 she moved her work to the Palais de Danse where she worked on her large scale sculptures. In this studio Hepworth created Single Form which was placed outside the United Nations building in New York in 1964. The following year she was recognized for her contributions to modern art by the Royal Family. She was a guest on the Queen’s Birthday Honour’s List and made a Dame of the British Empire.

Barbara Hepworth hard at work on a new, and intricate, work of art!

Dame Jocelyn Barbara Hepworth died on May 20, 1975 when her studio home caught on fire. Withing a year after her death, Trewyn was to be opened as a museum and sculpture garden dedicated to her life’s work and is now a part of the Tate St. Ives. Her home and studio are now open as the Barbara Hepworth Museum. Outside of the museum, Hepworth’s work will be on display at The Hepworth Wakefield, a museum currently under construction in Wakefield. The museum is scheduled to open this year.

The signature of Barbara Hepworth on a piece of her art.

Jigga Man said it best: “Everyday a star is born.” My position as one of the new 2009 members of the MISS Crew allowed me to shine my own beacon of light on the artistic stars of the past. Through lenses and film, paints and canvas, or needles and thread these ladies have made a mark on the world that should not be forgotten, and thanks to MISS they wont be.

These past few months at MISS forced me to dig into the back of America’s storage space and finally bring the works of these amazing women to the masses. Some of these women are still here with us, others have passed away. Either way it goes they have made it through the sexism of this country’s history and prevailed. Their contributions are timeless and should be appreciated.  These ladies kicked ass, looked good doing it, and made moolah in the process! We’re talking dolla dolla bills y’all!

I chose these ladies because I see a bit of myself in all of them. True inspiration to make me bust my tush and make my dreams come true.

Work of Lorraine O'Grady(1934 - present), an African-American conceptual artist who is known for her perfomance art, photography, texts, and video installations.

Lorraine O’ Grady : The Rebel. I love her “F U society” attitude. Its what made me feature her. Shes up front and doesn’t sugar coat anything for the sake of society’s expectations. Her work addresses the issues of racism, black female subjectivity, and the African diaspora. Lorraine is a multifaceted artist and definitely someone worth learning more about.

Ellen Auerbach (1906-2004)is a German-born American photographer who was one half of the Ringl+Pit studio.

Grete Stern (1904-1999) was a German photographer born into a wealthy family. She is the other half of Ringl+Pit studio and perfected her craft under the guidance of Walter Peterhans.

Ellen Auerbach and Grete Stern: The Tomboys. We all know of the social expectations that have been placed upon women throughout history. Although Ellen and Grete were born in Germany, the same expectations applied to them. These ladies did the opposite of what was expected of them and their photography showed it. Their photographs were subtle criticisms of societal expectations placed on women. I chose these ladies not only for their accomplishments, but also for their love of doing “man things.” They moved to Berlin together because it wasn’t uncommon for women to smoke, wear pants, and cut their hair as short as they liked.

Adrian Margaret Smith Piper (1948-present) is a conceptual artist and analytic professor native to New York City.

Adrian Margaret Smith Piper: The Proud Minority. This woman faced racism head on. Her works are in-your-face exposures about the taboo topic. Adrian was aware of the odds against her from the beginning and still made a HELL of a name for herself. She has a PhD from Harvard for Pete’s sake! She is noted as the  first tenured African-American woman professor in the field of Philosophy.

Remedios Varo (1908-1963) was una mezcla of Spanish and Mexican. Her paintings resemble a demented Disney movie and I LOVE it. The paintings all have a mysterious aspect. Creepy!

Remedios Varo: La Mamacita. I HAD to feature this woman. Her work is the coolest thing I’ve ever seen and shes absolutely beautiful. Although she was forced into exile by Nazis, María de los Remedios Varo Uranga still made it happen. She speaks Spanish, shes talented, shes driven, and shes hot.

Elsa Schiaparelli (1890-1973) is an Italian fashion designer known for her world famous Skeleton Dress. This dress was an Elsa Schiaparelli x Salvador Dali collaboration and is to DIE for.

Elsa Schiaparelli: The Risk Taker. Elsa was born in a palace…literally. With such extravagant beginnings she was destined to do something fab. Shes the Risk Taker because she was the first designer to use shoulder pads, hot pink, animal print, and zippers the same color as the garments. To top it all off, she was designing the same time as Chanel and still gained recognition. She is a BEAST!

Jackie Ormes (1911-1985/1986) was the first African-American Cartoonist. This Pittsburgh native accomplished tons in her lifetime and even has a doll modeled after one of her characters.

Jackie Ormes: The Fashionista. Jackie had a love for the female body and a passion for fashion. The birth of two fashionable Black cartoon characters came from her ink pen. Nobody expected a toon about an outspoken, pin-up looking girl to make such am impact.

Lilly Daché (1898-1989) was a French milliner and fashion designer known for her hats. Thanks to her we have brims, snoods, and visors.

Lilly Daché: The Dreamer. We all have dream, but we all dont have the drive to make them come true. Lilly left France for New York City  at the age of 16 with only $13 in her pocket. By the end of her career, Lilly’s designs were on the heads of actresses like Audrey Hepburn.

Nan Goldin (1953-present) is a DOPE photographer. NYC is her backdrop and the GLBT community and party scene were her stomping grounds. She was surrounded by drugs, sex, and violence and made sure to document it all on camera. She shared her personal photo album with the world.

Nan Goldin: The Party Girl. Although the sleepless nights spent on the NYC party scene may not have ended in the most healthy relationships, Nan found the beauty in them. She took everyday occurences (both good and bad) and documented them via photo. The result is a shocking yet realistic photo album on Nan’s life.

Madame Adrienne was a 1950s fashion designer who specialized in female unmentionables.

Madame Adrienne: The Mysterious One. There isnt much information out there about this lady. All I know is that she designed undies in the 1950s and that her designs are AMAZING! I wish I had one of those corsets to decorate my chesticles.

These ladies are definitely some inspirational women who are proof that we, as women, can make it happen cap’n. Oh behalf of myself and the entire MISS Crew I thank these ladies for their contributions to the art world and for leading by example. As I always say, dream chasers can never stop running and these ladies sprinted towards their dreams.

Photograph of Remedios Varo

Imagine this: a Hellz Bellz model + crazy imagination + painter + (Disney x  Rob Zombie) – a few decades = Remedios Varo

"Vampiros Vegetarianos" (1962)

María de los Remedios Varo Uranga was a Spanish-Mexican mamacita with a classic look and artistic creations that look like demented Disney settings and characters. She was born December 16, 1908 in Anglés, Girona, Spain. She had a financially comfy childhood because her father was a hydraulic engineer (and no, I don’t mean Snoop Dogg and Dr. Dre hydraulics, we’re taking water flow hydraulics). Thanks to Papa’s job, Varo had the opportunity to travel to Spain and South Africa quite often. Taking trips to places most will never see sparked a lifelong interest in math, mechanical drawing, and locomotor vehicles in young María.

"Fenomeno" (1962)

In her early years Varo attended convent schools and eventually entered Real Academia de Bellas Artes de San Fernando in Madrid to complete her collegiate studies. While in college she was briefly married to a fellow student. After her time at RABASF, Varo decided to move to Barcelona to be a part of a more avant-garde art scene. While there she met and married the French surrealist poet Benjamin Péret. Unfortunately, the couple was going through economic hard ships and had to abort their first child. The abortion resulted in Varo becoming barren.

"Cazador de Estrellas" (undated)

On top of the loss of their first child, the couple was forced to flee to Paris when the Spanish Civil War broke out. The war devastated the country and the couple was unable to handle any other struggle. While in Paris, Varo came face-to-face with Surrealism. Influenced by Surrealism, Vero became an active artist in the Surrealist circle in Paris from 1937 to 1939.

"Los Amantes" (1963)

Once again Varo and Péret had to relocate. They were forced into exile from Paris when Nazi’s occupied France during the span of World War II. Afraid of being captured and killed, the pair chose Mexico City as their next destination. They arrived in 1941.

"Armonia" (1956)

In Mexico she met artistic heavyweights like Frida Kahlo and Diego Rivera. She had to be star struck!  She didn’t spend all of her time with her artsy pals though. Varo grew close to other exiles and expatriates, specifically the English painter Leonora Carrington and French pilot Jean Nicolle. In dire need of a change, Varo and Co. attempted to make a move to NYC. Her husband’s political affiliations posed a problem for all in their party and they were denied visas. The reason given: you don’t have the right papers. What a crappy cover-up.

"Encuento" (1959)

The couple was stranded, broke, and defeated. Varo sold her white sheets to make money for their trip back to Mexico City. She remembered the Muslim dead must be wrapped in white for their final meeting with God. Quick thinking got the couple enough money to eventually made the trip via steamer.

"Energia Cosmica"

Varo and Péret split upon return and Vero’s last major relationship was with Austrian born Walter Gruen. Gruen was a concentration camp survivor and living proof that persistence, patience, and faith pays off.  He believed in Varo and gave her the encouragement to focus on painting full time. His push paid off as he knew it would. In 1956, Vero became the first one-woman exhibition at the Galeria Diana in Mexico City. People described her work as ‘post-modernism allegory.’ This chick definitely had the ability to relay a message via oil-based paints and canvas. On top of being dream-like extended metaphors, the paintings of Varo also reflect Irrealist beliefs. Irrealism focuses on the modes of unreality and the problems with defining reality. This parallel is obvious in the mood of her paintings. They are a mix realistic and unrealistic characteristics.

"Invocacion"

Sadly, Varo’s work wasn’t as respected as it should have been during her lifetime. She passed away on October 8, 1963 from a heart attack. To honor her memory the Museo de Arte Moderno had a retrospective in 1971. The display of her work in the museum drew the largest audience in Mexican history.

"Naturaleza Muerta Resucitando" (1963)

Lorraine O'Grady

October 29, 1929 is known as Black Tuesday for a reason. It was the last day of light America saw for over a decade. The candle of hope was blown out. The glitter of pocket change disappeared. The illumination of enlightenment began to dim. The 1930s and the financial hardships the Great Depression brought made Americans question their morals, values, and ethics. This internal conflict was consistent regardless of race, class, or gender. Growing up in the racist and poor society of the 1930s caused the same conflict in a young Lorraine O’Grady. Born to Jamaican parents in 1934, Lorraine immediately took notice of the contrasting values present in American society. At a young age she knew she wanted to think outside of the opaque box placed around her creativity. She rebelled. She had no idea the mess she would eventually make would be meaningful and beautiful.

A newspaper poem from the collection "Cutting Out the New York Times" (1977)

“It was never meant to be ‘art work.’ It was something that I was doing and the distance of it becoming art was something strange and exotic to me.”

Photo from "The Black and White Show" (1983)

Inspired by the works and performances of Eleanor Antin as her alter ego Eleanora Antinova, O’Grady created a Sasha Fierce of her own. Mademoiselle Bourgeoisie Noire made her debut in June1980. O’Grady crashed an art party in Tribeca in protest of the “African-American Abstraction” exhibit.

O'Grady as her alter ego Mademoiselle Bourgeoisie Noire (1980)

Miss Black Bourgeoisie’s uniform consisted of a gown and cape made of 180 white gloves and a cat-of-nine-tail whip. The whip, used on plantations during the days of slavery, was made of macramé and freckled with chrysanthemums.

Mademoiselle Bourgeoisie Noire's costume

“The whip was basically a metaphor for external oppression and the gloves were a metaphor for internal repression. Her point in doing these performances was to protest the still very segregated nature of the art world at that time.”

Photos from "Flowers of Good and Evil" (1998)

Part of her protest included her giving the flowers away one by one while asking party guests to help her “lighten her heavy bouquet.” When the whip was rid of blossoms, O’Grady would proceed to beat herself with the whip while shouting poems.

The poem recited at Mademoiselle Bourgeoisie Noire’s debut was:

THAT’S ENOUGH!

No more boot licking

No more ass kissing.

No more buttering up.

No more pos…turing

Of super ass…imilates.

BLACK ART MUST TAKE MORE RISKS!

O'Grady speaking at the Geffen Contemporary at MOCA Gallery on March 22, 2007.

This lady definitely has some serious cojones!

Photo from "Miscegenated Family Album" (1980)

MBN was later put to rest as O’Grady relied on her academic background in art, literature, history, and social science to inspire the rest of her career. Her next endeavor, titled Miscegneated Family Album, connected O’Grady’s family background and the history of the ancient Egyptians. She chose to display this parallel via photographs. Black and white photos of her family members were placed side-by-side with photographs of the statues of powerful ancient Egyptian royalty. It was an exhibition of Black power and beauty from the past and present.

Photos from "Miscegenated Family Album" (1980)

All of O’Grady’s work from that point on explored the black female’s role in various settings. 1982’s Rivers, First Draft was a performance that explored the tug-o-war African-American women endured regarding identity. The constant masks Black women wore were exposed and explained. Art Is…dissected the relationship between unconventional African-American art and the norms in the Black art world.

O'Grady speaking at a press event

“Entertaining the audience was not a primary concern. After all, wasn’t it about contributing to the dialogue of art and not about building a career?”

Photo from "Art Is..." (1983)

Lorraine O’Grady is still active in the art community today. She has expanded her creative abilities to combine photography and videography. She insists this fusion of artistic mediums is “better than sex” and debuted her masterpiece, Persistent, in 2007.

Still frame from "Persistent" (2007)

Persistent is the result of the closing of Davenport Lounge, a multi-ethnic club in San Antonio, Texas. The landlord of the building claimed the club was “attracting the wrong crowd.” O’Grady heard of the club’s closing and decided to commemorate the owners, operators, dancers, and clubgoers by video recording 12 of the club’s dancers on green screen. She then projected the emotional movements of the dancers on the walls of the renovated club. It was her way of allowing the spirits of the dancers to live on. She made them ghosts in artistic motion.

A video of the Persistent project is available for view

Throughout her life Lorraine O’Grady has walked in many pairs of shoes. She had been a college student, rock critic, government employee, cocktail waitress, and translator familiar with 8 languages before the found her calling in art. I’m sure she never thought she would go from volunteering for Jesse Jackson’s PUSH Coalition and translating Playboy into Spanish to becoming an influential African-American jack-of-all-artistic-trades.

Lorraine O’Grady’s website

"Another Herspective"
April 7th – April 29th, 2007

Artists:
Lady Pink and Toofly (NY)
Myla and Sear (Australia)
EGR (Canada)
Sherm, Neila, Julie Koh, Emi, Claudia Galvan,
Ritzy Periwinkle, Luna One, Alonys*Art (L.A.)

An exhibition showcasing the diverse talents of some of today’s
top young female artists. These multi-cultural artists have learned
how to communicate with a finicky underground audience through
their own unique expressions. Be it graffiti, photography, design,
painting, or hip hop these women are making their voices heard.
Collectively their art is strong, political, beautiful, and conscious.

Details after the jump . . .
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