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Feminist Art in the Trump Era

juried by Lucy R. Lippard


September 11 - November 3, 2020


Feminist Art in the Trump Era is an exhibition of works by 27 New Mexico based artists that explore various feminist realities and rants. Works chosen for this exhibition from an open call to New Mexico based artists resonate with the hopefully soon- to-be-extinct Trump era. The exhibition takes place on the occasion of the 100 year anniversary of the 19th Amendment to the US Constitution and the 10 year anniversary of the founding of the Axle Contemporary mobile artspace.

The original artworks are for sale. Sizes and prices are listed in the image captions. To purchase or for more information,  contact us at or call 505-670-5854 or 505-670-7612


Sally Blakemore
Michael Darmody
Kaylee Dunnigan
Nika Feldman
Alex Fischer
The Furies: Kristin Barendsen, Patti Levey, Lauren Ayer
Lisa Freeman
Alexis Graff
Miranda Gray
Cheri Ibes
Isolde Kille
Shirley Klinghoffer
Rica Maestas
Kathleen McCloud
Ashley Miller
Dana Newmann
Ravenna Osgood
Liz Paterson
Susie Protiva
Nicole Sullivan
Charlotte Thurman
Isabel Winson-Sagan
Greta Young
Bette Yozell
Jasmin Zorlu

To purchase works from this exhibition, contact us at or phone 505-670-5854

About the juror

Celebrated for her deeply influential and interwoven work—as author, activist, and curator—Lucy R. Lippard is recognized as one of contemporary art’s most significant critics and as a founder of Conceptual art. Born in New York in 1937, Lippard began her career as a writer in 1962 and subsequently produced numerous groundbreaking exhibitions and 25 books .She was a cofounder of the Ad Hoc Women Artists Committee, Printed Matter, Political Art Documentation/Distribution (PADD), the Heresies Collective and journal, and Artists Call Against US Intervention in Central America. She has received nine honorary degrees and many awards including a Guggenheim Fellowship, a Lannan Literary award, and a lifetime achievement award from the College Art Association.

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Related Programming

Panel Discussion: Women Curate Women

at 516 ARTS
Friday, October 9, 2020 6pm – 8pm

Online via Zoom (possibly in person at 516 ARTS pending pandemic status at that time) 
Free, pre-registration required:

516 ARTS presents Women Curate Women, a panel discussion between four New Mexico women curators in conjunction with the exhibition Feminisms (September 26, 2020–January 2, 2021). Within the span of one year, New Mexico is home to four woman-centered art exhibitions across the state: Feminisms, 516 ARTS, Albuquerque (guest curated by Andrea R. Hanley, curator at the Wheelwright Museum of the American Indian); Indelible Ink: Native Women, Printmaking, Collaboration, UNM Art Museum, Albuquerque (curated by Mary Statzer); Labor: Motherhood in Art in 2020, NMSU Art Museum, Las Cruces (curated by Marisa Sage); and Feminist Art in the Age of Trump, Axle Contemporary, Santa Fe (curated by noted art writer and activist Lucy Lippard).

On October 9 (to take place in person if possible, but planned to be online for now), these four curators will be joined by moderator Lauren Tresp, publisher and editor, Southwest Contemporary, Santa Fe, in a discussion around curating femme and femme-identifying artwork. The discussion will span multiple themes around and between these curators’ recent exhibitions exploring feminist themes including: the value of gender-based art exhibitions, the cultural and economic circumstances negotiated by female artists and curators, how feminist exhibitions serve as platforms that ground conversations about equality, misogyny, and art world bias, and how art can serve as a departure point for the cause of social justice.


Feminist Art Coalition

Feminist Art in the Trump Era is one of a large group of projects being promoted by the Feminist Art Coalition, a national effort seeking to inspire a broad variety of exhibitions and programs across the country to centralize feminist perspectives and concerns in the cultural consciousness leading into and the year following the 2020 election. This endeavor takes feminist thought and practice as its point of departure and considers art as a catalyst for civic engagement. Learn more about the wide array of projects, exhibitions and institutions participating here:

Artists' Statements

Feminist Art in the Trump Era

Sally Blakemore

After a trip to Kenya to work to STOP Female Genital Mutilation, funded by the Pond Foundation and Mothering Magazine in 2005 and 2007, I came back with a totally new view of the patriarchal mind. Agnes Parieyo, a Maasai leader, eradicated the practice after 35 years of work in Kenya. Eve Ensler adopted her program of EDUCATION FIRST. The reinforcers of the patriarchal-privilege are women who have ambition to serve and receive tribal respect through institutionalizing women. Women in Africa are the castrators and mutilators of the other women. Aunts, mothers and grandmothers mutilate their nieces, daughters and grandchildren. By researching and taking raw material from the Internet to illustrate how American Female Mutilation is supported by women, like in Africa, where women mutilate each other for male acceptance, I created this shadowbox book. Americans practice "life-style" surgeries, hormonal treatments, silicone implants in breasts and buttocks, bulimia, genital reconstruction of the hymen for male re-pleasure, botox, genital puncturing and infibulation and other products and body changes that sacrifice women for a “look” or a “submission” to the patriarchal expectations of what a woman really is expected to be.GURLS is an interactive, shadowbox journey through not only African genital cutting and infibulation, but focuses on the aberrance of women who comply, who live by Playboy expectations. Farrah Fawcett, Monica Lowensky and other dynamic images of female posing, little girl beauty pageants, and cutting that support the concept of American mutilation as an anti-feminist act. Beauty is found in human character not in measurements or additional inches here and there. Gender is fluid. Patriarchal expectations erode when they are recognized for what they really are—control. 

Kaylee Dunnigan

In my work I want to represent the moments of peace and love found in being surrounded by nature, allowing for a break and for the mind to rest.

Nika Feldman

The work Protest Patch submitted for exhibition in Feminist Art in the Trump Era at Axle Contemporary Gallery was originally designed to be pinned or sewn on the back of a jacket for the Women’s March of 2016, the day after Trump’s inauguration. The design was created on the spur of the moment before the march (as I could not bring myself to wear a pink pussy hat). My intention in creating the design was to use an image of a badass female figure from history, this I found in the silhouette of Petra Herrera. Additionally, I was looking for words to accompany the image which would match in sentiment the feeling of determination and empowerment. The text I chose to accompany Herrera’s image, having no known original author, has been recognized as being used in protests over the decades both in English and Spanish. One hundred or so patches were printed on recycled t-shirt fabric and distributed to people attending the Boston and Washington D.C. Women’s March. Since which time, the interest in the patch has remained and many more batches have been printed over the past few years. The artist’s share from the sale of this extra-special hand-stitched and appliqúed patch will be donated to Santa Fe Dreamers Project.

The Furies: Kristin Barendsen, Patti Levey, Lauren Ayer

On Election Night 2016, friends gathered to watch the returns and beat our Trump piñata in victory. In- stead, we ended up smashing it in bewilderment and rage. Seeing its remains, we felt we were look- ing at the future of women’s bodies, brown bodies, and queer bodies—as well as the body of Mother Earth—under the Trump administration. As women, our bodies have been a battleground for sexual assault and self-hate. Two of us are queer; one is Jewish. All three of us feel more vulnerable under this aggressive and violent adminis- tration, and we feel a strong imperative to fight back and use the power of our voices. Our collective was galvanized. We became The Furies. A trio of Greek goddesses of the underworld, the Furies were born from the blood of the castrated Uranus. They swore eternal vengeance against lying men. We made a series of raw, unaltered images that evoke a crime sc