We all seem to be scrolling these days, through electronic information layered in a fluid lists much like the old-fashioned scrolls people used before books. Around the world, in archives, vaults, libraries, and hidden compartments, ancient scrolls are kept meticulously for future reference or for secretive safety. When we think of scrolls, especially in Britian, we probably think of monks and politicians. History tells us these were nearly always men. It’s likely that in many other cultures, the male scribe has the share of celebrity among historians where-as the women are probably seen as caregivers and homemakers. It’s how things were a lot of the time. Feminism, then, is the cultural and political process of realigning the balance. It’s not about taking anything away from men, who many are and were rightfully remarked on, it’s about making space for women to flourish and be highlighted for their achievements too. Making sure that women have not only the opportunity to get involved but the tools and education to succeed has been a process that began at various times in different cultures. In some places women are seen as secondary to men even to this day. 
 
Blending feminism with scroll making is something unusual yet hindsightedly vital for the art world. The cultural imagination is strongly weighted towards the masculine when thinking of scrolls, from the Bayeaux Tapestry with its knights and kings, the scribes of religion with their priests and literati, the scribes of kings with their scratchy feathers and candlelit tabletops, where are the women? Here is one. Citra Sasmita, a Balinese artist, reimagines her heritage with an anti-patriarchal reflection. The mirror universe to the traditional artistry of her culture, vibrant feminine figures present themselves as mythical and luminous beings who bring the myths and folklore to life.  
 
Citra Sasmita is able to recreate the same atmosphere and aesthetic from the historical pieces with her contemporary ideas. With today’s enlightened mindset, seeing female images in the style of Balinese mythology might be seen as normal however for the style, it’s actually controversial and unusual. Unapologetically putting women in their rightful place as equals in the story of humanity, even in the fantastical stories that put people in the guise of the gods, if a man can do it then so can the girls. Using the natural magic of rebirth, transformation, and new life, Sasmita’s artistry depicts iconic and metaphorical fascination pieces that brighten our dreams. 
 
Currently on display at London’s Barbican Centre, the venue’s 90m Curve Gallery is hosting a host of scrolls that revitalise the meaning of feminism in today’s world. Her first UK showing, the beautifully presented scrolls hang from the walls and ceiling in a three-part journey that explores the culture of Bali and the rejection of Dutch colonialism. Citra Sasmita: Into Eternal Land is open until 21st April.

​Via CNN

​When we re asked to think about the origins of modern art, our minds are often drawn to names such as Picasso and Matisse. Talented male artists are rightfully taught and talked about as instrumental figures in the evolution of today’s flourishing art scene. With big characters such as Vincent Van Gogh and Salvador Dali strutting their works in the major consciousness, the women of the time are often over-looked. A historical chauvinism and male-centred storytelling style has caused the imbalance in our understanding of the history behind our favourite movements and collections.
 
“Matisse, Derain, and Friends” is a new exhibition that aims to disrupt this half-blind public image. The Fauvist art style was made popular in the early 20th Century and involved the use of vivid colour and emotionally charged, expressive images. Often obscure, and with a casual twist of the abstract, fauvist images are easy to remember and usually become amplified talking points. On display at the Kunstmuseum in Basel, Switzerland, the exhibition opened on September 2nd and will remain open until January next year.
 
Women painters and female subjects often made their mark on this movement at the time, and many were highly influential on the style. The public memory is being challenged with the show as the display concentrates on these elements rather than the more famous male works. What is also sometimes misunderstood is that the artists often employed sex workers to be the model in their paintings. These people had stories of their own and brought a darker and more dangerous side to the culture.
 
Emilie Charmy is perhaps the most well-known example of a female fauvist. Her tumultuous upbringing saw the orphaned child taken in and given lessons in art. She was a headstrong individual and shunned many of the socially expected learning on offer for young women of the day. Choosing to take up an occupation normally associated with men, her contributions to the style gave a unique and priceless aspect to the larger body of work.
 
Also on display are works by the mythologically inspired Marie Laurencin. She moved in the same circles as greats such as Georges Braques and Guillaume Apollinaire. Having studied her craft at the world-renowned Academie Humbert, Laurencin quickly gained the nickname, “The doe among the wild beasts”. Like her stylistic counterpart, Emilie Charmy, her works were often compared to her male compatriots of the scene. Charmy was once described as “The woman who paints like a man”.
 
Making it clear that these female artists held as much talent and were just as instrumental in the evolution of the style is the aim of this latest exhibition. The celebration of female fauvists is clearly necessary as their works were highly influential in the progression of trends that led to today’s eclectic and varied market. The public consciousness is rich with images of the style and when we look at works made by these lesser-known heroes we can quickly see how much of their influence we already recognise. Rebalancing the books and putting women artists of the past in their rightful place next to the men on equal footing is a noble and necessary activity, and with the quality and adventurousness of the works on offer, it’s also a rewarding one.