Barbara Bloemink
[29][30] In 2015, Bloemink was a fellow at the BAU Foundation in Otranto, Italy and in 2016 served as a director of their Artists and Writers Residency program in Apulia.
[43][44] The essays, written by Bloemink and Elisabeth Sussman for the exhibition catalogue, examined Stettheimer's career and the interwar years in New York City from a feminist perspective.
[45] The essays attempted to open the artist's work to explorations which not only reinstated her place in art history, but to broaden the context of its interpretation into postmodern relevance.
[35] Kass's retrospective held later that year, derided the male-dominated iconography of pop art, parodying Andy Warhol's style with feminist messaging.
Face jugs, hybrid animals, and found items in mixed-media attempted to address current events and explore traditions in new ways.
[39] His works use unusual media, such as skins, dirt, and resins to examine the environment, evolution, human nature, and cultural values.
One of these, British-Nigerian artist Shonibare,[54] selected for the 2005 to 2006 exhibition objects from the Cooper-Hewitt collection combining items from the Americas to Asia, spanning multiple centuries and continents to explore the idea of travel.
[42] Bloemink had introduced Lisa, an Argentine modernist and one of the first abstract artists in Latin America, with an exhibition at Hirschl & Adler Gallery in 2000.
For example, "A Natural Order: The Experience of Landscape in Contemporary Sculpture" appeared at the Hudson River Museum of Art, Yonkers, New York, in 1990.
[58] The exhibit, which included an array of international artists, explored the importance of art in preserving images of the natural environment through time, noting that future generations may not be able to see the same habitats.
For example, in the seventeenth century, black denoted conservatism and respectability, whereas from the 1960s, it came to represent subcultural rebellion, such as in the dress of beatniks, punks, and goths.
[66] The 2006 exhibition, "Frederic Church, Winslow Homer, and Thomas Moran: Tourism and the American Landscape" was hosted by the Smithsonian National Design Museum.
Though Church, Homer, and Moran were known for beautiful landscapes and character studies, each of them had images used in advertising, to illustrate newspaper and magazine articles, and for stereoscopes, solidifying American values and marketing them to a wider audience.
[76] By researching people who had been identified in other portraits and novels, and notes by art critic Henry McBride, and Stettheimer's sister, Ettie, Bloemink recreated the artist's circle of friends to give a clearer picture of the influences from notations in Settheimer's diaries and letters.
In 2021 she performed the role of Boyet in their production of William Shakespeare's Love's Labour's Lost with the Hudson Classical Theater Company in New York City and served on their Advisory Board.
[81] In December 2023, she performed the part of Martha in Edward Albee's Who's Afraid of Virginia Woolf at Seaview Playwrights Theater in Staten Island.
