Probudi se određena doza feminizma na spomen ovakvih vijesti, priznajem. Naime, u Washingtonu se prije koji dan ponovno otvorio Nacionalni muzej žena u umjetnosti (National Museum od Women in the Arts – NMWA).

Nakon dvije godine koliko je trajala sveobuhvatna obnova i gotovo 70 milijuna dolara napokon je ponovno otvorio svoja vrata, a umjetnička scena je prilično uzbuđena zbog ove vijesti. Kada je ovaj muzej otvoren 1987. godine, bio je prvi u svijetu posvećen isključivo umjetninama koje su izradile žene. I danas ostaje ključna točka za promociju žena u umjetnosti s čime se slaže vodstvo Muzeja na čijem čelu trenutno stoji ravnateljica Susan Fisher Sterling. Na pitanje, jesu li nam i dalje potrebni ovakvi muzeji, odgovara „Itekako, imamo još puno posla kao zajednica. Iako smo oduševljeni što druge umjetničke institucije sada preuzimaju ulogu s nama, mi svi se trebamo nastaviti truditi.“

Alison Saar Undone (2012), Photo by Jennifer Hughes, courtesy of NMWA
Joana Vasconcelos, Rubra, 2016; Murano glass, hand-crocheted wool, ornaments, LED lighting, polyester, and iron, 69 1/4 x 43 in. diameter; National Museum of Women in the Arts, Gift of Christine Suppes; © Atelier Joana Vasconcelos; Photo by Francesco Allegretto

Otvaranje muzeja kao neovisne, neprofitne organizacije bila je vizija jedna žene Wilhelmine Cole Holladay, filantropkinje i kolekcionarke iz Washingtona. Studirala je povijest umjetnosti i jako ju je zanimao koncept ljepote o kojem je stalno govorila. Bilo je to na putovanju Europom 1970-ih sa suprugom Wallaceom, kada je Holladay fascinirao rad flamanske slikarice iz 16. stoljeća Clare Peeters. Nakon povratka kući u Washington, poželjela je o njoj saznati više, no nigdje nije uspijevala pronaći informacije. Također, tada je shvatila da u tom udžbeniku povijesti koji se koristio na svim sveučilištima u SAD-u u to vrijeme nije bilo niti jedne žene umjetnice. Tako su ona i suprug počeli skupljati radove koje su izradile žene, da bi se na kraju udružili s drugim entuzijastima istomišljenicima kako bi kupili napuštenu zgradu koja je nekoć bila sjedište masona u DC-u (gdje, ironično, ženama nije bilo dopušteno ući niti boraviti). Muzej od samih početaka bio kontroverzan, navodi Sterling. “Zato što se muškim kritičarima nije sviđala činjenica da postoji takav muzej, a isto se može reći za mnoge muške umjetnike. Ali također, bio je kontroverzan jer ponekad, žene su smatrale da ne žele biti odvojene u muzeju samo za žene. Mislim da smo u biti pobijedili taj jaz.“

Beatriz Milhazes; Photo by Jennifer Hughes, courtesy of NMWA

Muzej, koji u svojoj zbirci ima oko 6000 predmeta, prvi je muzej u svijetu posvećen isključivo promicanju žena kroz umjetnost. Danas je prepun radova žena koje su stekle međunarodni ugled, uključujući djela fotografkinje Berenice Abbott i Mary Ellen Mark, slikarice Georgije O’Keeffe i Amy Sherald, keramičarke Marie Martinez te multimedijske umjetnice Judy Chicago i Niki de Saint Phalle. Svojim zbirkama, izložbama, programima i internetskim sadržajem muzej nastoji potaknuti dinamičnu razmjenu umjetnosti i ideja. NMWA se zalaže za bolju zastupljenost žena umjetnica i služi kao vitalno središte za misaono vodstvo, angažman zajednice i društvene promjene. Muzej se bavi rodnom neravnotežom u prezentaciji umjetnosti iznošenjem na vidjelo važnih umjetnica iz prošlosti, istovremeno promovirajući velike umjetnice koje rade danas.

Frida Kahlo, Self-Portrait Dedicated to Leon Trotsky, 1937; Oil on Masonite, 30 x 24 in.; National Museum of Women in the Arts, Gift of the Honorable Clare Boothe Luce; © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York; Image by GoogleFor Press ONLY
Frida Kahlo, Self-Portrait Dedicated to Leon Trotsky, 1937; Oil on Masonite, 30 x 24 in.; National Museum of Women in the Arts, Gift of the Honorable Clare Boothe Luce; © Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York; Image by Google For Press ONLY
Mariah Robertson 9 (2011), Photo by Jennifer Hughes, courtesy of NMWA

Muzej je osnovan još u studenom 1981. kao privatni, neprofitni muzej. Pet godina prije službenog otvaranja, NMWA je djelovao iz rezidencije Holladay, u kojoj se nalazio privremeni ured i obilasci zbirke pod vodstvom docenta. Godine 1983. muzej je kupio svoju zgradu na adresi 1250 New York Avenue, NW — znamenitost Washingtona u blizini Bijele kuće koja je izgrađena 1908. kao masonski hram. Obnovljena je i proširena u skladu s najvišim projektantskim, muzejskim i sigurnosnim standardima te je osvojila brojne arhitektonske nagrade.

U travnju 1987. NMWA je otvorio vrata stalne lokacije s inauguracijskom izložbom američke umjetnice, 1830. – 1930., istraživanjem koje je kurirala jedna od najistaknutijih feminističkih povjesničarki umjetnosti u zemlji, dr. Eleanor Tufts. Početkom 2021. muzej je započeo svoju prvu potpunu obnovu od 1987., dodavši gotovo 2500 četvornih metara galerijskog prostora, novi Learning Commons i poboljšanu dostupnost posjetiteljima.

Njegovo ponovno otvaranje itekako je značajno za svijet umjetnosti, a više o izložbama saznajte ovdje.

Zanele Muholi, Katlego Mashiloane and Nosipho Lavuta, Ext. 2, Lakeside, Johannesburg, 2007; Chromogenic color print, 30 x 30 in.; National Museum of Women in the Arts, Museum purchase: The Paul and Emily Singer Family Foundation with additional support from Nancy Nelson Stevenson; © Zanele Muholi; Courtesy of the artist and Yancey Richardson, New York
Zanele Muholi, Katlego Mashiloane and Nosipho Lavuta, Ext. 2, Lakeside, Johannesburg, 2007; Chromogenic color print, 30 x 30 in.; National Museum of Women in the Arts, Museum purchase: The Paul and Emily Singer Family Foundation with additional support from Nancy Nelson Stevenson; © Zanele Muholi; Courtesy of the artist and Yancey Richardson, New York
Niki de Saint Phalle, Pregnant Nana, 1995; © Niki Charitable Art Foundation/Artists Rights Society (ARS), New York/ADAGP, Paris; Photo by Lee Stalsworth
Davina Semo, Hummingbird, 2020; Cast bronze bell, UV-protected two-stage catalyzed urethane automotive finish, whipped nylon line, patinated solid bronze clapper, leather cord, powder-coated chain, and hardware; 20 x 9 ½ in. diameter; National Museum of Women in the Arts, Museum Purchase: Funds provided by the San Francisco Advocacy for the National Museum of Women in the Arts and Fred Levin in Honor of Nancy Livingston; © Davina Semo; Courtesy of the artist and Jessica Silverman, San Francisco; Photo by John Wilson White
Davina Semo, Hummingbird, 2020; Cast bronze bell, UV-protected two-stage catalyzed urethane automotive finish, whipped nylon line, patinated solid bronze clapper, leather cord, powder-coated chain, and hardware; 20 x 9 ½ in. diameter; National Museum of Women in the Arts, Museum Purchase: Funds provided by the San Francisco Advocacy for the National Museum of Women in the Arts and Fred Levin in Honor of Nancy Livingston; © Davina Semo; Courtesy of the artist and Jessica Silverman, San Francisco; Photo by John Wilson White
Davina Semo, Fetish, 2022; Patinated cast bronze bell, PolyJet 3D-printed opaque VeroWhite resin, leather wrapped solid bronze clapper, hemp shibari rope, powder-coated stainless steel hardware, and powder-coated galvanized steel chain, 18 x 19 in. diamter; Collection of Kaitlyn and Mike Krieger, San Francisco; © Davina Semo; Image courtesy of the artist and Jessica Silverman, San Francisco; Photo by Ed Mumford
Davina Semo, Fetish, 2022; Patinated cast bronze bell, PolyJet 3D-printed opaque VeroWhite resin, leather wrapped solid bronze clapper, hemp shibari rope, powder-coated stainless steel hardware, and powder-coated galvanized steel chain, 18 x 19 in. diamter; Collection of Kaitlyn and Mike Krieger, San Francisco; © Davina Semo; Image courtesy of the artist and Jessica Silverman, San Francisco; Photo by Ed Mumford
Rina Banerjee, Lady of Commerce, 2012; Hand-painted, leaded glass chandelier, wood figurine, vintage glass bottles, chandelier ornaments, birdcage, steel, wood pedestal, lace, cowry shells, taxidermy deer paws, Indian marriage jewelry, ostrich eggshells, porcelain doll hands, silver leaf, gold leaf, wire, linen cord, and marble baby doll hands, 120 x 48 in. diameter; Courtesy of the artist; © Rina Banerjee; Image courtesy of the artist and Perrotin; Photo by Guillaume Ziccarelli
Rina Banerjee, Lady of Commerce, 2012; Hand-painted, leaded glass chandelier, wood figurine, vintage glass bottles, chandelier ornaments, birdcage, steel, wood pedestal, lace, cowry shells, taxidermy deer paws, Indian marriage jewelry, ostrich eggshells, porcelain doll hands, silver leaf, gold leaf, wire, linen cord, and marble baby doll hands, 120 x 48 in. diameter; Courtesy of the artist; © Rina Banerjee; Image courtesy of the artist and Perrotin; Photo by Guillaume Ziccarelli
Beatriz Milhazes, Marola, 2015; Acrylic, hand-painted enamel on aluminum, stainless steel, and polyester flowers, 100 x 72 x 56 in.; Gift of Tony Podesta Collection; © Beatriz Milhazes Studio; Image courtesy of White Cube Gallery; Photo by Ben Westoby
Beatriz Milhazes, Marola, 2015; Acrylic, hand-painted enamel on aluminum, stainless steel, and polyester flowers, 100 x 72 x 56 in.; Gift of Tony Podesta Collection; © Beatriz Milhazes Studio; Image courtesy of White Cube Gallery; Photo by Ben Westoby
Installation view of works by Ursula von Rydingsvard in The Sky's the Limit at the National Museum of Women in the Arts; Photo by Jennifer Hughes, courtesy of NMWA
Installation view of works by Ursula von Rydingsvard in The Sky’s the Limit at the National Museum of Women in the Arts; Photo by Jennifer Hughes, courtesy of NMWA
Petah Coyne, Untitled #1458 (Marguerite Duras) (detail), 2019-20; Glass globes, acrylic polymer, paint, chicken-wire fencing, wire, steel, cable, cable nuts, quick-link shackles, jaw-to-jaw swivel, 3/8 in. grade 30-proof coil chain, silk/rayon velvet, Velcro, thread, and plastic, 93 1/2 x 32 x 31 1/2 in.; Courtesy of the artist and Galerie Lelong & Co., New York; © Petah Coyne; Photo by Christopher Burke StudioPhotographer: Christopher Burke Studio
Petah Coyne, Untitled #1458 (Marguerite Duras) (detail), 2019-20; Glass globes, acrylic polymer, paint, chicken-wire fencing, wire, steel, cable, cable nuts, quick-link shackles, jaw-to-jaw swivel, 3/8 in. grade 30-proof coil chain, silk/rayon velvet, Velcro, thread, and plastic, 93 1/2 x 32 x 31 1/2 in.; Courtesy of the artist and Galerie Lelong & Co., New York; © Petah Coyne; Photo by Christopher Burke Studio Photographer: Christopher Burke Studio
Mariah Robertson, 9, 2011; Unique photographic print on metallic paper, 1,968 x 50 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Mariah Robertson; Image courtesy of M+B and the artist
Mariah Robertson, 9, 2011; Unique photographic print on metallic paper, 1,968 x 50 in.; National Museum of Women in the Arts, Gift of Heather and Tony Podesta Collection; © Mariah Robertson; Image courtesy of M+B and the artist
Yuriko Yamaguchi, Whisper #2, 2023; Hand-cast resin, stainless steel wire, and kozo paper pulp, 96 x 60 x 36 in.; Courtesy of the artist and Barbara Davis Gallery, Houston; © Yuriko Yamaguchi, Photo by Walter Larrimore
Photographer: Walter Larrimore
Cornelia Parker, Thirty Pieces of Silver (exhaled) Sugar Bowl, 2003; Thirty silver-plated items crushed by 250-ton industrial press, and metal wire, dimensions variable; Gift of the UK Friends of NMWA; © Cornelia Parker; Image courtesy of Compton Verney; Photo by Jamie Woodley

Foto: NMWA