Miriam Schapiro

(Canada, 15/11/1923 - 20/06/2015)

As a pioneering force in contemporary art, Schapiro’s work reshaped the boundaries of painting, feminist art and collaborative practice and forged a radical visual language that united Modernist Abstraction with materials and techniques traditionally associated with women’s domestic labour.

Born in Toronto and raised in New York City, Schapiro demonstrated early artistic promise and studied at Hunter College in New York City beginning in 1943 before transferring to the State University of Iowa, where she was eventually awarded one of the first doctoral degrees in studio art.

Her early work engaged with Abstract Expressionism, yet she soon distinguished herself through her interest in geometry, architecture and the spatial complexities of Modernist form. By the late 1960s, Schapiro was living in California, where exposure to emerging computer technologies and new theories of space deeply influenced the development of her signature ‘shaped canvases’. These works allowed her to break away from the rectilinear conventions of painting, introducing rhythmic, symbolically charged forms that pushed the medium forward.

A transformative chapter of Schapiro’s career began in 1970 when she joined Judy Chicago in founding the Feminist Art Program at the California Institute of the Arts (CalArts). Together they spearheaded Womanhouse (1972), a landmark collaborative installation that presented women’s experiences through immersive, often provocative environments. The project became a touchstone for feminist practice, and Schapiro’s contributions as both an organiser of the project and a contributing artist, outlined her lifelong commitment to collective creativity and the empowerment of women artists.

It was during this period that she developed what would become her most celebrated body of work, Femmage. Combining ‘female’ and ‘collage’, Femmage referred to her method of integrating fabrics, lace, quilting, needlework and other craft traditions into the compositional logic of fine art. By elevating these materials from their dismissed status of decorative or domestic, Schapiro made a powerful statement about the cultural value of women’s labour. Her vibrant, layered compositions often honoured historical women artists, from Victorian needleworkers to avant-garde performers, creating a lineage of female creativity that had long been overlooked.

Schapiro’s later decades were marked by sustained productivity and international recognition. Large-scale works such as her fan-shaped constructions, monumental hearts and patterned assemblages merged personal symbolism with references to art history, mythology, politics and global craft practices. Throughout, she remained a dedicated teacher and advocate for equity in the arts, shaping generations of young artists who were inspired by her vision and example.

Today, Schapiro is celebrated as a foundational figure of feminist art whose work continues to influence contemporary conversations about identity, materiality, gender and cultural memory. Her bold fusion of craft and Modernism, coupled with her unwavering commitment to visibility for women’s creative work, ensures her place as one of the most significant and innovative artists of the twentieth century. Such innovative practice not only expanded the possibilities of mixed-media art but also challenged entrenched hierarchies in the art world, placing women’s creative histories at the centre of cultural discourse.

Image: Miriam Schapiro, Interview (1959). Oil on canvas, 151.1 x 137.1 cm. Private collection.