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The Future is Female: Women’s Solidarity Through Art Exhibition at Teaching Museum Lehigh University


“Its man’s world”, James Brown sang in 1966 but this announcement has been faded in the winds over the past year time. Women are now prominent and appeared as iconic role models of the society. Women’s liberation, women’s rights, and women’s stories in US and all over the world are up front.

The #MeToo, #BringBackOurGirls, #YesAllWomen, #WomensReality, #NoMore, #IAmWithHer, #ToTheGirls and #TimesUp movements featuring feminism are not they enabled women to keep talking up about issues of sexual harassment and assault.

There are a record number of women running political and Government offices in the world. However, women are being commended in every field and department of life, still there is much work remains to be done. 

“The Future is female” misunderstood largely. It does not mean female over male, nor is it trans-misogynist. Future is female implies that we will never again experience that hierarchy and zero-sum games are the only viable types of social association.

If you are looking for cheap report writing about women, then you’re on the right article. It rather provides the alternate option that every individual has something extraordinary to add to the society, and, consequently, our job as an interconnected is to make space for every individual to be their best and most credible self with the goal that they can contribute their blessing.

The motto recommends that circular associations of leadership may serve every one of us superior then progressive ones.

As to trans-misogyny, while past feminisms have for quite long time been condemned for barring trans-women in the battle to end mistreatment, future women’s liberation looks to adopt an intersectional strategy and actually learns profoundly from our trans-sisters – trans women’s ability and courage to live as the specific sexual orientation character they seem to be.

In addition, in a future that is female, we perceive that the world is a superior place when every individual is provided with the environment they need to embody, whatever look and identity they opt to be.

In a future that is female, we believe that we have just as much to learn from the contributions of women and non-gender conforming identities as much as we need to learn from men. But for a really long time, we worked in a framework that embraces toxic masculinity system in which we build false hierarchies that benefit some and hurt others.

For instance, in 2016, the United States chose President Donald Trump, whose brute force, apathetic, and coldhearted style of leadership has prevented him and therefore our country from listening more in order to arrive at the most secure, most beneficial and cleverest decisions.

The individual who shouts the most intense ought not be the person to lead. Rather, the individual with the sensibility to realize that listening to each viewpoint will empower them to land at the best choice is the person fit to lead. At last, decisions should become from the decision makers directly affected by those decisions.

We say “Future is female” as an invitation to take action to recall that we have such a long way to go from those who have been regularly underestimated in a cis, heteronormative, Caucasian-led, male-centric society.

We say “Future is female” as an individual suggestion to ourselves that every one of us has a voice, and that we should own it. We have heard opponents of the Black Lives Matter movement say “All lives matter”.

This is stupid, as all lives are not under attack in this country the way in which the blacks live have been for centuries. So the trademark “Black lives matter” exists because we need to remind you.

When we say, “Save the dolphins”, we don’t mean “Slaughter the whales”. When we say, “Future is female”, we say it to serve as a reminder that alternative and conceivably more grounded forms of leadership lie in undiscovered resources.

That hope lies in looking to those voices that have been typically unheard. That hope lies in passing the mic to the individuals who have never had a mic, and having the fortitude, regard and ingenuity not to talk over them.

In current history, there has been a couple of examples of female leadership. We don’t have the foggiest idea about its power, its breadth, and its diversity.

In printmaking, The Future Is female, however so is the past. With or without the perceivability they deserve, women artists have drawn in the specialty of printmaking from the earliest starting point.

Requiring specialized mastery, physical strength, and stamina, printmaking – or the specialty of delivering various pictures or impressions from a single plate or matrix – has its inceptions in 8th century where Japan designs were rubbed onto paper from wooden blocks.

By the fifteenth century in Europe, the accessibility of modest paper and the creation of the printing press prompted an expansion of printed pictures in a variety of techniques.

In the twentieth century, Indeed prints may now be sold on market slows down, from vending machines or over the internet. Look carefully at your paper coffee cup, for it may be a public piece of art.

As stickers, magazine additions, flyers and postcards, prints can be gained at practically no expense. Indeed, even those guests who were not able manage the cost of anything on the walls of the 2003 Frieze Art Fair may have took a duplicate of the re-issued London Underground map printed with Emma Kay’s specially designed target mtif, and carried home a catalogue in a bag designed by Turner-Prize victor Jeremy Deller.

There have also been chances to team up with a craftsman on-line, as in Peter Halley’s project (on the web of the Museum of Modern Art, New York) to deliver a print from a progression of picture alternatives which anybody can colour to their very own particular, and print out at home.

The second half of the twentieth century observed a blast of enthusiasm for the creative potential of printmaking strategies, for example, drawing, etching, lithography, woodcut, and silkscreen among others. Today, ladies craftsmen keep on utilizing these different strategies to share their stories, exploring themes, for example, gender, sexuality, race, ethnicity and/or economic class.

The exhibition at The Teaching Museum at Lehigh University, features contemporary women artists in the LUAG Teaching Museum permanent collection, including Faith Ringgold, Janet Fish, Maud Morgan, Matsubara Naoko, Françoise Gilot, Nancy Spero, Marisol Escobar, Bridget Riley, Carmen Herrera, Belkis Ayón, and Käthe Kollwitz.

Exhibition hours are Monday – Friday 8 am – 10 pm and Saturday 8 am – 5 pm.