Changing Direction: National Association of Women Artists

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DateJanuary 6 - January 26

Location 10091 McGregor Blvd.
Fort Myers, FL 33919 United States

PriceAdmission to the gallery is free, but a $5 suggested donation keeps programming affordable and accessible


Event details

Opening Reception: Friday, January 6, 5-7 p.m.  • See it first. See it free. This event is open to the public. Come meet your neighbors at this free event!

The National Association of Women Artists was founded in 1889. It is the oldest professional women’s fine arts organization in the United States. It serves professional women artists of all backgrounds and traditions. It is a not-for-profit, tax-exempt organization. The purpose of the National Association of Women Artists [NAWA] is to foster public awareness and interest in the visual arts created by women in the United States. It encourages contemporary and emerging artists while continuing to honor the long and important contribution of women to the history of American culture and art.

Founded in 1995, the NAWA Florida Chapter extends the mission of the National Association by providing highly visible Florida venues, designing art education opportunities for its members and promoting art education to Florida communities.

The exhibition’s juror will host a panel discussion with several artists on January 21 from 11 a.m. to 12 p.m. This discussion is free and open to the public, but an RSVP is recommended.

In the Theatre Lobby Gallery: “Just a Peek, Please?” by Ameena Khan

“Just a Peek, Please? #30”, Ameena Khan, acrylic and fabric on stretched canvas

Stories about Muslim women have historically been limited to one of two stereotypes: the victim, or the siren. This oversimplification dehumanizes the complex lives of individuals, and invents a vast separation between nonMuslim and Muslim women. It creates a sense of “us versus them” and relegates Muslim women to being “an OTHER” instead of “another.” “Just a Peek, Please?” expands the narrative by telling the stories of a collection of American Muslim women who have agreed to share their experiences anonymously through Khan’s paintings. These stories range in sentiment and complexity from faithful to faithless, fearful to fearless, embraced to isolated. Certain pieces are concealed using a scarf previously worn by the muse, carrying with it something of the woman’s identity and essence. In an act that is typically unacceptable or taboo, the viewer is required to lift the woman’s article of clothing to see the art underneath. This voyeuristic act creates the sense of a fleeting, intimate conversation between the viewer, muse, and artist.

In the Member Gallery: Work by the students of Terry Lynn Spry