Guerrilla Girls: Takeover

May 12, 2021 - October 25, 2021

Over 35 years ago, a group of anonymous women artists and activists began a campaign to spread information and create awareness around racial and gender iniquities in the art world. Calling themselves “Guerrilla Girls” after the style of warfare that uses military tactics like ambushes, sabotages, and hit-and-run gambits, the art collective armed themselves with facts and statistics to challenge the hegemony of the art establishment, taking aim at art museums and galleries, and the people who run and support them. Their art and activism took the form of wheatpaste posters, stickers, and other projects that papered New York City’s streets, subways, and the facades of its most famous art museums with information about the systematic exclusion of women artists and artists of color from collections, criticism, and exposure. Since 1985, the group has completed over 100 street projects, posters, and stickers all over the world, including New York, Los Angeles, Minneapolis, Mexico City, Istanbul, London, Bilbao, Rotterdam, and Shanghai. Their guerrilla approach to presenting information is disruptive, provocative, and at times, confrontational. The success of the Guerrilla Girls’ method is in the way they distill information down to easily digestible graphics and figures. A simple message, bold graphics, and hard facts and figures: this is how the Guerrilla Girls grab their viewers’ attention and create awareness around such critical issues as the number of women artists represented in the gallery system or artists of color in permanent collections.

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A thumbnail image showing a collage of Guerrilla Girls' posters with bold text stating the title of the exhibition, "Guerrilla Girls: Takeover"

Betye Saar: Call and Response

September 25, 2021 - January 2, 2022

One of the most significant assemblage artists working today, Betye Saar (born 1926, Los Angeles) addresses spirituality, gender, and race in her art. Part of the strong Southern California tradition of artists using found objects (including Edward Kienholz, John Outterbridge, and Noah Purifoy), she combines items typically discovered at flea markets and secondhand stores into conceptually and physically elaborate creations. Saar’s creative process, however, does more than reflect on the outside world; she ruminates on and plays with objects and ideas, making sketches inspired by specific items in her possession. These sketches form an essential part of what she considers the mysterious transformation of object into art.

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Betye Saar, I'll Bend But I Will Not Break, 1998

Carol Bove: Collage Sculptures

October 16, 2021 - January 9, 2022

In the first major museum presentation focused solely on Bove's formidable steel sculptures, Carol Bove: Collage Sculptures will bring together nine sculptures from the last five years, two of which have been made especially for the Nasher’s exhibition. Organized by Nasher Curator Dr. Catherine Craft, Carol Bove: Collage Sculptures will provide an in-depth consideration of one of the most consequential artists working today.

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Carol Bove, "Hylomorph 1" (detail), 2016. Steel, found steel and urethane paint. 71.5 x 42 x 51 in. (181.6 x 106.7 x 129.5 cm). Private Collection, courtesy David Zwirner.

Foundations: Carol Bove

October 16, 2021 - December 26, 2021

Working with the Nasher's Dr. Catherine Craft, Carol Bove has selected a group of small works—miniatures, maquettes, models, and experiments—by artists ranging from Alberto Giacometti and Pablo Picasso to Henry Moore and Tony Smith, that will delve into the mystery of scale: how large, or small, an object feels, relative to its actual size.

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Alberto Giacometti, "Two Figurines (Deux figurines sur socles)", ca.1945. Gold leaf over metal. Two pieces, 1 7/16 x 7/16 x 7/16 in. (3.7 x 1.1 x 1.1cm) each.
Nasher Sculpture Center
2001 Flora Street
Dallas, Texas 75201
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