Women, Surrealism, and Abstraction
August 25, 2020 - July 9, 2022
Drawn exclusively from the Museum collection, Women, Surrealism, and Abstraction endeavors to look beyond typical art historical boundaries and to begin to lay claim
to a more holistic and complex view of art history—one that includes parties left
out because of aesthetic biases based on a system of privileged white male patrimony.
During the 20th century, art made by women was often overlooked or dismissed by museums,
collectors, and art historians. An ironic side effect of this absence of attention
was that it lessened the constraints and dictates of the marketplace for women, allowing
for increased experimentation and the pursuit of a personal vision in ways often less
available for their male counterparts.
Until more recently, women of color—especially Native American women—have rarely been
included in art historical studies focusing on Surrealism and abstraction. In addition,
artists who work in ceramics, fiber arts, photography, and printmaking, rather than
painting and sculpture, are often left out of these studies as well. However, Surrealism
and abstraction offered women a glimpse of a world in which creative activity and
liberation from societal expectations co-existed, allowing them to embark on the difficult
path to artistic freedom.
Explore the Exhibition
You can also see the objects in Women, Surrealism, and Abstraction in our Collections page.
This exhibition and programming have been made possible through the support of the
Utah Division of Arts & Museums, with funding from the State of Utah.
This virtual tour is made possible by Engel & Völkers Logan and Johnny Perez. Thank you!
Women, Surrealism, and Abstraction: Poetry Project
Poetry has a long tradition of drawing inspiration from the visual arts. In that spirit—and
in the spirit of an exhibition celebrating women’s talent and creativity—we invited
women from the local poetry community to choose an artwork from the exhibition and
write a poem inspired by it. These Surrealist and abstract artworks provoke us to
wonder and see in new ways. The same is true of the poems, which offer glimpses into
the poets’ personal responses to the art. In this way, the pairings of words and imagery
bring the women in conversation with each other, a dialogue that reaches across art
forms and across time.
Thank you to the following poets for participating: Brittney Allen, Shanan Ballam, Terysa
Dyer, Taylor Fang, Jordan Forest, Mary Ellen Greenwood, Lauren McKinnon, Jannell Schroder,
and Anne Shifrer.
To hear readings of selected poems from the project, click the button below.
Related Video
Artists:
Laura Anderson
Ruth Armer
Ruth Asawa
Lynda Benglis
Anna Campbell Bliss
Pamela Boden
Dorr Bothwell
Karen Carson
Jane Catlin
Adele Chase
Judy Chicago
Max Cole
Carlotta Corpron
Rachel Curley
Margaret De Patta
Jay DeFeo
Jacci Den Hartog
Ruth Duckworth
Lillian Elliott
Clarie Falkenstein
Sonia Gechtoff
Mary George
Joanne Hayakawa
Mary Henry
Channa Horwitz
Ynez Johnston
Helmi Dagmar Juvonen
Edith Kallman
Suzanne Klotz
Madge Knight
Joyce Kozloff
Eva Kwong
Amy Freeman Lee
Helen Lundeberg
Kathryn Metz
Barbara Morgan
Fannie Nampeyo
Gertrud Natzler
Joy Navasie
Maud Oakes
Susan Peterson
Pauline Stella Sanchez
Elise Seeds
Dorothea Tanning
Margaret Tomkins
June Wayne

Pamela Boden
The Magician's Castle, ca. 1950
Glued wood and modeling paste
39.5 x 52.25 x 34.25 inches
Gift of the Kathryn C. Wanlass Foundation

Anna Campbell Bliss, Spectrum Squared, 1973, Screenprint, 40.75 x 40 inches, Museum Purchase with the Charter Member Endowment Fund

Gertrude Barrer, Untitled, 1949, Graphite and ink on paper, 10.75 x 14 inches, Gift of the Marie Eccles Caine Foundation

Susan Peterson, Vessel, c. 1970s, Stoneware, 10.25 x 5.125 x 5.125 inches, Gift of the artist

Margaret Tomkins, Untitled, 1951, Tempera on paper, 11.5 x 18 inches, Gift of the Marie Eccles Caine Foundation

Barbara Morgan, Samadhi, 1940, Gelatin silver print, 17 x 14.25 inches, Museum Permanent Collection

Amy Freeman Lee, Private Life of Plant Series: Mystical Geometry, 1960, Graphite, crayon, and watercolor on paper, 34 x 28 inches, Gift of the Marie Eccles Caine Foundation

Joanne Hayakawa, Fragile Composition, 1995, 24 x 17 x 4.5 inches, Gift of the Nora Eccles Treadwell Foundation

Judy Chicago, Study for "Reincarnation Triptych," from the series "Great Ladies," 1973, Graphite and pastel on paper, 23.25 x 23.25 inches, Museum Purchase with the Dorothy Wanlass Endowment Fund

Ruth Armer, Untitled, 1950, Ink and gouache on paper, 20 x 23 inches, Gift of the Marie Eccles Caine Foundation








