Women Around Town, February 2026 by Karen Schifman
Oops, I forgot to press publish, so it’s a bit late.
Sending some love this February with this image by Tracey Emin whose work will be the subject of a significant exhibition at the Tate Modern in London this Spring.
IN THE GALLERIES
The CSUN Art Gallery presents A Stitch & Glitch in Time which brings together thirteen Los Angeles–based artists whose textile practices explore the intersections of technology, fashion, and collective histories. Through weaving, embroidery, dyeing, and material experimentation, the artists reveal how textiles hold memory, labor, and disruption—transforming glitches into spaces of possibility. A Stitch & Glitch in Time brings together thirteen Los Angeles-based artists who create textile works that explore technology, fashion, and collective histories. Los Angeles has a long history in textile production, both for industrial use and artistic expression. The artists’ processes and materials embody this long and multilayered history – highlighting how textiles simultaneously embody deeply personal stories while revealing the larger economic and social circumstances they were created within. Exhibition Artists: Fafnir Adamites, Ekta Aggarwal, Diane Briones Williams, Lavialle Campbell, Mimi Haddon, Lorenzo Hurtado Segovia, Ahree Lee, Aubrey Longley-Cook, Kayla Mattes, Minga Opazo, Aneesa Shami Zizzo, Irene Georgia Tsatsos, and Jenny Yurshansky. This exhibition was curated by Holly Jerger, CSUN Art Galleries Director. This exhibition is also part of Handwork 2026, Craft in America’s nationwide semiquincentennial collaboration showcasing the importance of the handmade and celebrating the diversity of craft that defines America. (CSUN) Thru March 12, 2026.
Veni, Vidi, Vici by Mexican American artist Griselda Rosas is the next exhibit at Luis de Jesus Gallery. This body of multidisciplinary works resists binaries, inviting viewers into layered allegories, histories, and personal experiences. Using a wide range of materials and methods—faux ostrich skin, recycled grain-sacks, embroidery, watercolor and large-scale, charcoal on paper drawings—she highlights the tensions between play, intimacy, “nurture v. nature,” and the narratives we inherit. Thru February 28, 2026.
Walter Maciel Gallery is currently exhibiting work by Lezley Saar, Color Me Baddd and Sóla Saar, 92 Tarot Collages and a Dollhouse. Thru March 26, 2026.
Attention and credit to female collectors is always a welcome topic and one I used to spend a bit of time on in the course I taught on the history of women in the visual arts. A wonderful example of a significant female collector can be found at Hauser & Wirth’s downtown location. Destiny is a Rose: The Eileen Harris Norton Collection. I had the privilege of visiting her home and collection several years ago and I never forgot that experience which demonstrated how people live with contemporary installation art. Renowned for her generosity to artists and institutions, Eileen Harris Norton has built a collection and philanthropy actively focused upon the work of women, artists of color and her native California. Marking fifty years since Harris Norton’s first acquisition—a print purchased directly from Los Angeles artist Ruth Waddy in 1976—Destiny Is a Rose (recreated here by Kerry James Marshall) presents more than 80 works that together reflect Harris Norton’s prescient vision and commitment to social justice and learning. The exhibit includes works by noted artists such as Kerry James Marshall, Mark Bradford, Felix Gonzalez-Torres, David Hammons, Glenn Ligon, Lorraine O’Grady, Adrian Piper, Betye Saar, Lorna Simpson, Kara Walker, Carrie Mae Weems and many others. February 24 thru August 16, 2026.
Additionally, the gallery will be exhibiting Christina Quarles: The Ground Grows Black. In February 2026, we will present Christina Quarles. “Created in the wake of the wildfires in Altadena, the artist’s latest body of work reflects an acute sense of displacement—geographical, emotional and corporeal.” February 24 thru May 3, 2026.
ICA is featuring work by Chilean artist, Sandra Vásquez de la Horra. Known primarily for her drawings, she explores the relationship between the human body and the physical, psychological, and political landscapes it inhabits. The exhibit titled The Awake Volcanoes features four decades of drawings alongside etchings, paintings, and accordion-like paper sculptures that reveal the manifold ways in which the artist has consistently challenged the limits and possibilities of what a drawing is and can be. Thru March 1, 2026.
Sandra Vásquez de la Horra
Track 16 presents As We Grind Our Teeth To Dust, a solo exhibition of new paintings by Molly Segal. In her artist statement Segal explains, “I don’t know how to make art about fascism, so I paint the flowers instead as I grind my teeth to dust,” The struggle of art’s relevance in dangerous times is ever present in Segal’s mind and paintings. In As We Grind Our Teeth To Dust, she presents works on paper centering on quiet, overlooked moments found in the recesses of city streets–all while asking “When does this moment call for more?” Her watercolors, made gritty by the use of salt, depict in loving detail weeds bursting from the concrete, a cigarette butt flattened into the ground with time, a dead bird in the gutter. Occasionally a reference to the tumultuous political moment emerges in the form of a zip tie or a rubber bullet. But the artist’s persistent, fixed attention to the literal ground begs the question of what the artist’s gaze is avoiding? Thru March 14, 2026.
Molly Segal
IN THE MUSEUMS
I am delighted to see yet another exhibition focused on a female collector’s contributions. Opening later this month at the Norton Simon Museum, Dear Little Friend: Impressions of Galka Scheyer. Scheyer, a German-born art dealer played a significant role in bringing European modernism to the United States. The exhibition will focus on her legacy through the personal relationships she forged with both artists and supporters. The exhibit features portraits and ephemera, and on her mission to promote the Blue Four: Alexei Jawlensky, Lyonel Feininger, Paul Klee and Vassily Kandinsky. Highlights include works from Scheyer’s collection, featuring such artists as Maynard Dixon, Peter Krasnow, Beatrice Wood and Edward Weston. The exhibition also shows gifts she received from the Blue Four artists. The title, which refers to an affectionate salutation Feininger adopted in his letters to Scheyer, encapsulates the personal relationships and collaborative spirit that defined her enterprise in Europe and California.February 20, 2026 – July 20, 2026.
Galka by Jawlensky
LACMA has a few interesting exhibits right now. Of special note is Deep Cuts: Block Printing Across Cultures. More than 150 works from Asia, Europe, and the Americas present the medium as both a means of creative expression and a vehicle for mass production that enabled images and ideas to circulate widely. Textiles, prints, and books offer intricate patterns and striking imagery that reveal block printing’s global history. The exhibition also includes a section developed with Los Angeles–based Block Shop, highlighting how contemporary makers continue to reinterpret this enduring art form. Thru September 13, 2026. (image below by Alison Saar)
A unique collaboration between MOCA and the Los Angeles Philharmonic, this presentation brings together the work of internationally acclaimed visual artist Haegue Yang (b. 1971, Seoul) and her interest in and engagement with the late composer Isang Yun (1917-1995). The institutional collaboration unfolds over two distinct presentations: an exhibition featuring a sprawling installation Star-Crossed Rendezvous after Yun. (MOCA)
February 2 through August 2, 2026.
How to be a Guerrilla Girl continues at the Getty Museum. Coinciding with the Guerrilla Girls’ 40th anniversary, the exhibition tells the story of their collaborative process and longstanding commitment to call for equity for women and artists of color in the art world. Thru April 12. 2026.
If you don’t feel like driving around the city, some wonderful exhibitions can be enjoyed online. Such as these at the National Museum of Women in the Arts in Washington D.C. First up is Jaune-Quick-to-see-Smith and one of my personal favorites, Hung Liu.
