Speciwomen has a dedicated publishing platform for writing that falls beyond the scope of our printed matter.
We welcome submissions for reviews, interviews, profiles, criticism, experimental art writing, and more. For all pitches, please email info@speciwomen.org
To access our 2016-2023 digital archive, click here.
Jasmine Gregory, If you can’t have it, no one can at CAPC, Bordeaux, France
For her first solo exhibition in France, curated by Claire Hoffman and Marion Vasseur Raluy, Jasmine Gregory presents the exhibition If you can’t have it, no one can at the CAPC in Bordeaux.
Tina Modotti: The Eye of Revolution
Tina Modotti’s life was lived through the lens of revolution. Her political beliefs fueled her photography, and her photographs are what remains. They are tender and they are strong. They capture the fraught and symbiotic relationship between art and politics, between everyday life and systems of rebellion.
Rosemary Mayer’s Image-Text Works
Rosemary Mayer: Words in Art are Signs Returned, an exhibition at the Wallach Art Gallery at Columbia University, turns to Mayer’s lesser-known body of work with the written word, reconsidering the artist’s legacy in relation to feminist and conceptual practices. Curated by Farren Fei Yuan, the exhibition presents a range of Mayer’s image-text work, from large-scale artist’s books and literary magazines to a wall-mounted mixed-media series, displayed for the first time in its entirety.
Seeing Without Light by Nadia Kaabi-Linke – An exhibition in the flesh
The trace is probably the point at which everything converges in Nadia Kaabi-Linke's work. The trace of violence—of the many different forms of violence inflicted upon our cities, our bodies, our minds, our memories, and even upon our dreams.
In Solidarity with Palestine: On Empire, Continuity, and Interruption
“In Solidarity with Palestine”, an exhibition featured at Darat al Funun in Amman, Jordan, was conceived as a spontaneous reaction to the intensification of the perpetual brutality inflicted upon the Palestinian people. The exhibition honors the unremitting relevance of the archive of the Khalid Shoman Foundation.
Hannah Black’s “Politics” (2022) and “Broken Windows” (2022)
Based in Marseille [France], Hannah Black’s creative approach harmoniously integrates thought and emotion, through written texts, prints, videos, sculptural installations, or performances. She is most notably recognized for co-authoring alongside writer Ciarán Finlayson and critic Tobi Haslett, The Tear Gas Biennial an impactful open letter in which they critiqued, the co-chair of the Whitney Museum's board Warren Kanders, for his controversial philanthropic initiatives funded by the sale of tear gas and various weaponry through the American equipment company Safariland.
![Vous les Entendez? [Do You Hear Them?]: Laura Lamiel’s Solo Exhibition at Palais de Tokyo ](https://images.squarespace-cdn.com/content/v1/5fff5aabf9f4e55d12aff082/1694446181964-JBVDNUEWZ66R8SDBLHQ7/PdT-2023-Laura-Lamiel-016.jpg)
Vous les Entendez? [Do You Hear Them?]: Laura Lamiel’s Solo Exhibition at Palais de Tokyo
For more than four decades, Laura Lamiel has been crafting a body of work characterized by a unique formal consistency, delving into various states of perception, cognition, and emotion. Through the artful arrangement and juxtaposition of found objects, raw materials, colors, and lights, her creations unveil spaces that straddle both the tangible and the psychological.
Senga Nengudi: Spirit Crossing at Sprüth Magers, New York
Nengudi’s work has historically existed at the periphery of the art world - deemed too specific for the white women of the conceptual art movement to relate to, and too conceptual to be considered among other Black artists of her generation. (2) Nengudi’s remarkable body of work has resisted the confines of categorization. Consequently, its influence has spanned several decades, defying space and time - allowing itself to have applicability on varying scales - global, local, modern, and historic.
Kenturah Davis: Dark Illumination at OXY ARTS
Kenturah Davis' practice is often situated in obscure and shadowy spaces such as these, in twilight zones that evade omniscient thinking, turning our flimsy blueprint constructions of perception into slippery jello. Davis makes us sensitive to the emergent vibrations that echo in the pit of a shadow, in the shadow beneath another shadow's shadow, rippling and cascading outward and falling back in on itself.
Kazuko Miyamoto at Japan Society
Dorothea Lange: an image activist
Image Reborn: a review of Carmen Winant's "My Birth" at the MoMA
Zoe Leonard's Survey at the Whitney of American Art
Leonard’s message reminds us that America was never great. None of these issues are new, but merely more visible to those who had previously chosen to not see them.
Radical Women: Latin American Art, 1960-1985 at Brooklyn Museum
As I reread my notes from last Thursday’s visit to the Radical Women: Latin American Art, 1960-1985 show at the Brooklyn Museum, I slowly slip into the skin of the woman I was before entering the first room of the exhibition. I try to remember, what were my hopes like? How did I think of the world? And how many women do I still need to know about?