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The mission of the Women's Caucus for Art is to create community through art, education, and social activism

2019 Lifetime Achievement Awards

Announces the 2019 Awards Recipients

The Women’s Caucus for Art Announces the 2019 Lifetime Achievement and President’s Art & Activism Award Recipients and plans for the celebration in New York City.

The Women’s Caucus for Art (WCA) is pleased to announce the recipients for the 2019 WCA Lifetime Achievement (LTA) Awards: Olga de Amaral, Mary Beth Edelson, Gladys Barker Grauer, and Mira Schor. The recipient for the 2019 President’s Art & Activism Award Recipients are L.J. Roberts and Aruna D'Souza.

Please join us for the LTA Awards celebration on Saturday, February 16, 2019 at the New York Institute for Technology, NYC.

The celebration kicks off with a ticketed cocktail reception from 5:30-7:00pm. Guests purchasing reception tickets will be treated to three food stations, butlered treats, an open bar, and the opportunity to congratulate the awardees. Tickets will be available for purchase beginning September 15, 2018.
Immediately following the reception at 7:00pm, doors will open for attendees for the Awards ceremony in the NYIT Auditorium. The LTA Awards ceremony from 7:30-9:00pm is free and open to the public.

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2019 Lifetime Achievement Award Recipients

Olga de Amaral
, was born in Bogotá, Colombia. She studied textiles at the Cranbrook Academy of Arts in Michigan. Amaral is a renowned artist whose technique, which incorporates fiber, paint, gesso and precious metals, transforms the two-dimensional textile structure into sculptural presences that seamlessly blend art, craft, and design. In their engagement with materials and processes, her works become essentially unclassifiable and self-reflexively authentic.
Amaral is an important figure in the development of post-war Latin American abstraction. Understanding and being understood is an important part of her work. Through a complex system based on artisanal technique, she finds answers to inner questions. As a result, Amaral’s work is deeply driven by her exploration of Colombian culture and threads of her own identity.

Throughout her career, Amaral has gathered myriad accolades. In 1965, she established and directed the Textile Department at the Universidad de los Andes (University of the Andes) in Bogotá. She was awarded a Guggenheim Fellowship in 1973, and in 2005 was named “Artist Visionary” by the Museum of Art and Design in New York. In 2008, she served as honorary co-chair for the benefit of the Multicultural Audience Development Initiative, Metropolitan Museum of Art, New York.

Galleries and institutions worldwide have exhibited Amaral’s work, the full range of which is represented in the collections of over forty museums, including the Musée d’Art Moderne de la Ville de Paris, the Museum of Modern Art, New York, the Museum of Modern Art, Kyoto, Japan, San Francisco’s De Young Museum, and the Museum Bellerive in Zürich. Amaral currently lives and works in Bogotá, Colombia.

Mary Beth Edelson
is a celebrated American artist, activist, and pioneer of the first-generation Feminist art movement. For the past 50 years she has created iconic artworks—ranging from photography, painting, sculpture and drawing to performance, book/print making, collages and murals— often using her own body as canvas and subject matter.
Edelson was a founder of Heresies Magazine and a formative early member of A.I.R. Gallery, the first all-women's gallery in the United State which opened in 1972.

Edelson was the subject of a celebrated retrospective mounted by Malmö Kunstmuseum, Sweden, which traveled to Migros Museum, Zurich (2006), as well as the traveling retrospective Shape Shifter: the Art of Mary Beth Edelson (1988–1990).

Edelson has had numerous solo shows internationally and was included in important survey exhibitions including Painting 2.0, Museum Brandhorst, Munich; WACK! Art of the Feminist Revolution, MOCA, Los Angeles; Pictures by Women: A History of Modern Photography, MoMA; Mothers of Invention, Mumok Museum of Contemporary Art, Vienna; and most recently Feminist Avant-Garde of the 1970s: Works from the Verbund Collection, the Photographers' Gallery, London. Edelson’s work is included in the permanent collections of the Museum of Modern Art, NY; Tate Modern, London; Whitney Museum of American Art, NY; Solomon R. Guggenheim Museum, NY; Walker Art Center, MN; Smithsonian American Art Museum, Washington DC; Brooklyn Museum, NY; Corcoran Gallery of Art, Washington, DC;  Museum of Contemporary Art, Chicago, IL; Detroit Institute of Art, Detroit, MI; Indianapolis Museum of Art, Indianapolis, IN; Seattle Art Museum, Seattle, WA; Malmö Kunstmuseum, Sweden; and Sammlung Verbund, Vienna, among others.

Gladys Barker Grauer
has been an exhibiting visual artist since 1946. Born in Cincinnati, she studied at the Art Institute of Chicago, Loyola University and Rutgers, and came to Newark from Chicago in 1957. She is best known for her tapestries and corrugated constructions made from discarded and repurposed materials. The materials are allegorical to the people and subjects that the artist-activist champion.

Grauer has been a teacher, a mentor and an inspiration for artists in greater-Newark community for generations. After raising four children, she opened the first African American art gallery in Newark, NJ in 1971. Grauer has been called the "Mother" of Newark's African American art community. She also taught art at the Essex County Vocational School until retiring.

Her works are on permanent display in the Victoria and Albert Museum in London, the National Museum of American Art; the Noyes Museum of Art in Oceanville, NJ, The Newark Museum, the Jane Voorhees Zimmerli Art Museum at Rutgers-New Brunswick, and the Morris Museum, among others. She also has shown her work at numerous college galleries, libraries, and corporate art galleries of London, New York, Washington, DC, and Maryland.

Mira Schor
is a New York–based painter with deep roots and engagement—as artist, writer, educator, and activist—with feminism and art history, particularly the practice of painting in a post-medium culture. Schor’s paintings operate at the intersection of political and theoretical concerns and formalist and material passions. The central theme in recent paintings is the experience of living in a dangerous moment of radical inequality, austerity, accelerated time, and incipient fascism, set against the powerful pull of older notions of time, craft, and visual pleasure.

Schor was educated at New York University and received her MFA from CalArts where she was a member of the CalArts Feminist Art Program and a participant in the historic feminist art installation Womanhouse.

Schor has been the recipient of awards in painting from the Guggenheim, Rockefeller, Marie Walsh Sharpe, and Pollock-Krasner Foundations, as well as the College Art Association's Frank Jewett Mather Award for Art Criticism, a Creative Capital/ Warhol Foundation Arts Writers Grant, and an AICA–USA award for her blog A Year of Positive Thinking.

Schor is the author of two books of collected essays, Wet: On Painting, Feminism, and Art Culture and A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life. Schor is also co-editor of the journal M/E/A/N/I/N/G and editor of The Extreme of the Middle: Writings of Jack Tworkov. She is Associate Teaching Professor at Parsons Fine Arts. Schor was elected to the National Academy of Design in 2017. Schor is represented by Lyles & King Gallery in New York City.

2019 President’s Art & Activism Award Recipients

Aruna D'Souza
writes about modern and contemporary art, intersectional feminisms, and other forms of politics; and how museums shape our views of each other and the world.
Her work appears regularly in 4Columns.org, where she is a member of the editorial advisory board, and has been published as well in The Wall Street Journal, CNN.com, Art News, Garage, Bookforum, Momus, Art in America, and Art Practical, among other places.

Her book, Whitewalling: Art, Race, and Protest in 3 Acts was published by Badlands Unlimited in May 2018. She currently is editing two forthcoming volumes, Making It Modern: A Linda Nochlin Reader, which will be published by Thames & Hudson, and A Presence Which Signals Absence: Lorraine O'Grady Collected Writings 1977–2018.

L.J. Roberts is a visual artist based in Brooklyn who creates large-scale textile installations, intricately detailed embroideries, screen prints, artist books, and collages. Their work investigates overlaps of queer and trans politics, activism, protest, and craft. LJ’s work has been shown at the Victoria and Albert Museum, the Brooklyn Museum, Yerba Buena Center of the Arts, the 8th Floor, Museum of Arts and Design, Vox Populi, the Orange County Museum of Art, the Leslie-Lohman Museum of Gay and Lesbian Art, Powerhouse Museum, the Oakland Museum of California, the DePaul Art Museum, the ONE National Gay and Lesbian Archives at University of Southern California, the Bowdoin College Museum of Art, and the Smithsonian Museum of American Art where their work is in the permanent collection.

LJ’s work has been written about in The New York Times, American Craft, Artforum, The New Yorker, Los Angeles Times, Art in America, Hyperallergic, San Francisco Chronicle, Transgender Studies Quarterly and Journal of Modern Craft, among other publications. LJ has been the recipient of a MacDowell Colony Fellowship, the Fountainhead Fellowship at Virginia Commonwealth University, and residencies at Ox-Bow School of Art, ACRE, The Textile Arts Center, and The Bag Factory in Johannesburg, South Africa.

In fall 2018, LJ will be in residence at the International Artists Studio Program in Sweden (IASPIS, Stockholm). In 2015, LJ was one of nine recipients of The White House Champions of Change Award for LGBTQI Artists.

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