Faith Wilding (b. 1943, Paraguay) has nurtured an art and activist practice to address the deterioration of the natural world, spiritual exuberance, and biopolitics. Her experience of growing up in a pacifist commune in Paraguay (as part of the Bruderhof Anabaptists) with little contact with the outside world had a tremendous impact on her. Ecstatic childhood experiences of wild nature, studying the South American jungle forests and waterways planted early seeds that would inform her work upon arriving in the U.S. at age 18. She quickly combined these experiences with her research into connections between women and nature, examining the ecological, in-spirited philosophies of ecofeminism to bring old truths back into new vision.
An avowed ecofeminist, Wilding emerged at the forefront of Feminist Art in Los Angeles during the late 1960s and 1970s. As a student at Fresno State, Wilding and fellow artist-activist Suzanne Lacy organized consciousness raising groups and participated in the formation of the first Feminist Art Program. She subsequently attended CalArts where she was the graduate teaching assistant for the Feminist Art Program and gained recognition through her oft-cited contributions to Womanhouse (1972): both the performance Waiting, a 15-minute scripted monologue condensing a woman’s entire life into a monotonous, repetitive cycle of “waiting for life to begin” while serving and maintaining the lives of others, and the installation Crocheted Environment, referred to popularly as “Womb Room,” a web-like fiber installation that now resides at the Institute for Contemporary Art / Boston, brought into the collection in 1995 by then Chief Curator, Helen Molesworth and was recently installed at Haus der Kunst, Munich for the exhibition Inside Other Spaces. Environments by Women Artists 1956-1976.
Wilding has exhibited extensively since the late 1960s including museums such as The Whitney Museum of American Art, the Hammer Museum, The Drawing Center, Documenta X, Kassel, the Institute of Contemporary Art/Boston, the Singapore Art Museum, the Reina Sofia Museum, and the Centre for Contemporary Arts, Glasgow. A retrospective, Fearful Symmetries, traveled to five venues across the United States. Her work was also included in the seminal survey WACK! Art and the Feminist Revolution, organized by Cornelia Butler, which traveled from the Museum of Contemporary Art (Los Angeles) to the National Museum of Women (Washington DC), PS1 Contemporary Art Center (Long Island), and the Vancouver Art Gallery.
Her work is in the collections of the Hammer Museum, The Art Institute of Chicago, Institute of Contemporary Art / Boston, Minneapolis Institute of Art, RISD Museum, University Club of Chicago, Institute of Contemporary Art Miami, Los Angeles County Museum of Art and her papers were acquired by the Getty Research Institute Library.
Wilding is Professor Emerita of Performance Art at the School of the Art Institute of Chicago and taught at Cooper Union, New York University, the Woman’s Building in Los Angeles, the San Francisco Art Institute, and Carnegie Mellon University where she was a co-founder of the cyberfeminist collective, subRosa.
Wilding’s book By Our Own Hands, catalogs this important era of experimentation and collaboration that defined west coast Feminist art during the early 1970s. Wilding was awarded a Guggenheim Fellowship in 2009 and has been the recipient of numerous grants for the past five decades. In 2014, she was awarded the prestigious Women’s Caucus for Art Lifetime Achievement Award. Wilding lives and works in Massachusetts.
Faith Wilding Natural Parables 4, 1982
Watercolor, pencil, and ink on paper, framed / Oil on Masonite Shaped Panel
48 x 39 inches / 121.92 x 99.06 cm; Framed 39.75 x 51.5 inches / 101 x 130.8 cm
Making Moves: A Collection of Feminisms at the Crocker Art Museum
"... Faith Wilding’s Firebrush Cactus, do highlight the artist’s own definition of her favored branch - ecofeminism. With its vibrant stained-glass coloration and use of gold leaf, the large work on paper inspires religious connotations, even as it blends elegant vegetal and genital forms and typifies the “Reclaiming Erotic” theme. A complex composition with a mandala-like effect, involving extensive geometric patterning, it invites continual contemplation." – Sarah Poisner
" The pungent interplay between image and thought animates Wilding’s multifarious approach to the lived experiences of historical women through the connective tissue of shared embodiment and cultural resistance." - Daniel Belasco
Together the works present a fuller picture of Wilding’s continued engagement with biopolitics, spiritual exuberance, and the strength of bare emotion. —Art Viewer
Ecofeminist Interleaving: Faith Wilding at Anat Ebgi
Faith Wilding’s work suits a New York winter at its peak, even if, in the celestial glare of gallery lights, it's hard to think about the violent mess of sex, decay, and rebirth that are her perennial subjects. —Nicole Kaack
Her current show at Anat Ebgi gallery in New York, “Faith Wilding: Inside, Outside, Alive in the Shell,” surveys 50 years of her art, spanning everything from difficult work confronting feminist issues, as in Raped Dress (Battle Dresses), 1993–94, to more decorative pieces inspiring viewers to appreciate natural marvels. —Emily Watlington
Together, these works trace Wilding’s artistic evolution, offering a fresh view of her continued engagement with biopolitics, life’s cycles, and spiritual exuberance. —Sahir Ahmed
Upcoming Faith Wilding exhibition in NYC at Anat Ebgi
This retrospective-style exhibition will be the first career-spanning exhibition in New York to trace developments in Wilding’s prolific output. —Chadd Scott
Faith Wilding and Jordan Nassar in “Grace Under Fire” at the Shepherd
The meticulously patterned, symmetrical and multicolored watercolors of eco-feminist Faith Wilding fit comfortably into several of the church’s gilded recesses. Her carefully crafted mandalas provoke dreamlike thoughts of dualities, suggesting esoteric narratives and illustrating Wilding’s belief in nature’s regenerative powers. —K.A. Letts
The 10 Best Booths at Art Basel in Miami Beach 2023
After exhibiting other sections of Art Basel prior, Anat Ebgi’s first foray into the main gallery sector of the fair showcases its stunning roster of artists. The gallery’s booth spans Faith Wilding’s Leaf Series: Red Tongue (1976–78), to Krzysztof Strzelecki’s Gods on the Beach (2023), presenting a diverse and compelling mix of historical significance and contemporary innovation. —Maxwell Rabb
Miami Art Week 2023: The Best Events, Parties, Exhibitions, Artists and Dinners During Art Basel
L.A.’s Anat Ebgi Gallery showed works by Greg Ito and Faith Wilding at Art Basel Miami Beach last year in the Nova section; these artists and more will be represented in its 2023 booth. —Melinda Sheckells
Anat Ebgi’s solo presentation of works by Faith Wilding stuns. Embracing her role as a dedicated eco-feminist, Wilding reflects both the beauty and decline of nature, drawing deeply from the artistic traditions of her home country, Paraguay, and South America more broadly. Her pieces radiate a sense of spiritual vitality, enhanced by the vibrant colors and vivid detail of her work. By juxtaposing older creations from the ’70s with new works from 2023, the L.A. gallery offers attendees a comprehensive journey through Wilding’s expansive body of work. —Maxwell Rabb
The Art Show Highlights Masters — and Artists Under the Radar
Faith Wilding is also a well-known artist, but this solo exhibition on paper at the Los Angeles gallery Anat Ebgi is worth mentioning. An important contributor in 1970s feminist initiatives like “Womanhouse” (1972) at CalArts, Wilding has gone on to become a noted eco-feminist. The works here are mostly watercolors, but with sly titles like “The Vulva That Got Away” (2022). —Martha Schwendener
This year will see presentations by Faith Wilding with Anat Ebgi Gallery, Tom Wesselmann with Almine Rech, Roy Lichtenstein with Castelli Gallery, and so much more. —
The ADAA Art Show Returns for a Milestone 35th Edition With A Slate of Special Programming to Celebrate
In addition to returning favorites, such as Kasmin and Sperone Westwater, a number of new ADAA members will make their the Art Show debut, including Anat Ebgi Gallery, Eric Firestone Gallery, and Catharine Clark Gallery.
Inside Other Spaces, Haus der Kunst Review | Female Pioneers of Installation Art Finally Get Their Due
While some environments trap, repel and squeeze out, others cocoon, cradle and shelter. Faith Wilding creates a space for reflection in an enclosure of loosely knitted threads that recalls both female anatomy and delicate spider webs (“Crocheted Environment (Womb Room)”, 1972). Fragile and poetic, the work formed part of the 1972 Womanhouse exhibition in Los Angeles, a landmark feminist art installation led by Miriam Schapiro and Judy Chicago. —Roula Khalaf
The work of pioneering ecofeminist painter, sculptor, and activist Faith Wilding addresses the psychic and sociopolitical history of the body. — Hans Ulrich Obrist
Looking at this history of nascent West Coast feminist art, at what these women made because of the communities that they had with each other, offers an important lesson: personal and political self-formation is collaborative labor, it is difficult and tender, and it is a lifelong process. — Ashton Cooper
“Revisiting the Famed Feminist Exhibition Womanhouse with an Intersectional Lens”
Fifty years later, “Womanhouse” is back. Anat Ebgi is celebrating the West Coast’s defining blueprint for feminist art while reflecting and expanding upon it. What was once subversive can seem quaint against our current cultural landscape, but this show extols the 1972 exhibition for its triumphs as it coaxes it into the present context. — Neyat Yohannes
Di Paola’s curatorial approach is brave and impactful. By bringing together a selection of work made before, during and after the 1972 exhibition—including work by some of the core CalArts students as well as their collaborators—Di Paola engages and connects early feminist practices and strategies more broadly, emphasizing the collaborative and profound legacy of “Womanhouse” and the Feminist Art Program. — Lauren Guilford
WOMANHOUSE | Anat Ebgi Celebrates Forerunners of West Coast Feminist Art
Faith Wilding, Judy Chicago, and Mira Schor's works hang alongside one another for Anat Ebgi's celebration of the 50th anniversary of Womanhouse—the first female-centred art presentation in 1972, which paved the way for the experimental spirit of west coast feminist art. — Rory Mitchell
WOMANHOUSE | Greater LA: Check out new art exhibits
Back for its 50th anniversary, the exhibition focuses on a feminist perspective and highlights paintings, drawings, photographs, and sculptures from several key artists who were part of the original 1972 installation. — Lindsay Preston Zappas
WOMANHOUSE | 16 Standout Gallery Exhibitions to See in L.A.
An exhibition exploring the spirit of experimentation and collaboration that fueled West Coast Feminist art in the first half of the ’70s, with ephemera and photographs from the original “Womanhouse,” as well as other work from the period. — Sarah Cascone
WOMANHOUSE | Your Concise Los Angeles Art Guide for March 2022
Anat Ebgi and LAND are revisiting WOMANHOUSE, tracing a history of feminist art in the West Coast and how it continues to reverberate today. — Matt Stromberg and Elisa Wouk Almino
With her larger body of work in mind, Fossils feels like an X-ray, revealing Wilding’s five-decade drumbeat in irreducible terms: gestation, birth, growth, survival, death, repeat. — Rachel Elizabeth Jones
Faith Wilding, foremother of feminist art, draws on activist history in new shows at Brown, Tufts
“Performance and community were such an important part of the way feminist artists made their way through the world,” said Kate Kraczon, director of exhibitions and chief curator of the Bell Gallery. “Faith’s work — her decades of activism, getting arrested, doing performances with entrails — it just doesn’t make it into the historical record the way objects do.” —Cate McQuaid
"Teaching has played a huge role in my life... I learned from my students, which is the best part. A student taught me how to use gold leaf." —Faith Wilding
Artists to follow if You Like Georgia O’Keefe: Faith Wilding
A fierce eco-feminist activist, Wilding aims to encourage her viewers to reflect on their own relationship with nature. The sinuous forms in her watercolors make reference to both the female form and the greater natural world, and address notions of the aging body and the decline of nature over her lifetime, especially in her native Paraguay. —Juliana Lopez
"Things were kind of exciting and scary... you know you had to kind of take sides at that time. I didn't know I was going to sitting there with seventy women talking about how to have an orgasm. A lot of us were delicate flowers that had been reared in New York or some other nice city... We crafted all these performances around experiences of domesticity and living in the house." —Faith Wilding
Faith Wilding, “In the Beginning, Everything Was Green: Embodiment, Ritual, and Cyberfeminism
In this rumination, inspired by Donna Huanca’s exhibition at the Marciano Art Foundation, Faith Wilding spins a thought-web that connects nodes of feminist and cyberfeminist thinking and making and links Huanca, Donna Haraway, Hildegard von Bingen, and Wilding herself in a process of making with. —artillery
The sensual and the spiritual collide in the paintings of Faith Wilding
Several of the newer pieces invoke illuminated letters and stained-glass windows. The intimate landscape of the female body becomes pure visual rhythm. Tree roots spread into veins. The differences between sensual and spiritual collapse, as all becomes beauty. —Leah Ollman
Shannon Stratton: On Feminism, Faith Wilding and CAA
"Across 4 decades the work maintained these themes about the body and emergence and recombination: cocoons, moths, mermaids and other hybrid creatures, wombs, leaves/pods, etc. They occur again and again. And they form an interesting trajectory away from Womb Room and Waiting, Faith’s iconic early work. Faith’s material handling and use of color is quite consistent throughout her lifetime. She is a fabulous colorist." —Shannon Stratton
Feminism is a philosophy of justice and an everyday socio-political practice. Different cultural and political moments demand and give birth to new tactics and practices, but the desires are basically the same, I think. Due to networked internet and media cultures, change seems to happen more quickly these days; but if you look closely, the issues, desires, and goals are still the same. —Faith Wilding
Faith Wilding: Fearful Symmetries at the Miller Gallery
This big exhibit’s centerpiece might well be the series of six larger-than-life shaped-canvas oil paintings of leaves, hung in the high-ceilinged third-floor gallery. The leaves, more brown than green, are detached from any tree, and dance across the wall, their crisped edges sinuous, alive even in death. —Bill O'Driscoll
Although made three and a half decades after the “Natural Parables,” the recent works employ similar conceptual strategies and iconography, raising questions about the relevance of the gendered tropes she invokes in this present political moment. —Lauren DeLand
The feminist energies of William Blake and Faith Wilding take over Chicago
Where Blake wrote about the messes between nature and humankind on the cusp of the Industrial Revolution, Wilding currently explores what she calls “cyborg feminism.” She believes we are on the edge of our own kind of gendered industrial revolution, if not already living in it. —KT Hawbaker
When Indigenous Politics and Environmental Catastrophe Collide: A Review of Faith Wilding at Western Exhibitions
Grounded in her unusual upbringing in the Paraguayan Bruderhof Anabaptist commune, these pieces blend memoir and myth, art and activism. This two-part show pairs a group of drawings and paintings made during the 1980s with a set of mixed-media works made more recently in response to similar concerns. —Luke Fidler
The radical nature of Faith Wilding’s fantastical watercolors
"I use beauty as a terrorist tactic, to make people look, to suck them in. Then they look closer and they will see my message and my content.” —Faith Wilding
Wilding’s creative work addresses the recombinant, reproductive, and distributed bio-tech and war body in 2D media, audio, video, digital media, installations, and performances. —Brainard Carey
As Wilding conjectured in Where is the Feminism in Cyberfeminism, “But if grrrl energy and invention were to be coupled with engaged political theory and practice... Imagine!” —Isabella Scott
Faith Wilding: Fearful Symmetries at UHCL Art Gallery
Her idiosyncratic versions of natural objects like this are some of the most visually pleasing pieces in the show, including the wall of shaped paintings of mammoth leaves. —Robert Boyd
SmartMom Rebooted: A Cyberfeminist Art Collective [subRosa] Reflects on its Earliest Work of Art
As activist feminist artists, subRosa is committed to continue to research and comment on new developments in feminist health and reproductive technologies, as well as to find ways to represent them critically, accurately, and artistically. We despair that hard-won policies of reproductive “choice” for women, gay and transgender people are still embattled nationally, and that reproduction still demands great sacrifices and struggle in the lives and dreams of so many. —Faith Wilding & Hyla Willis
A feminist artist, revisited: Faith Wilding at Armory Center for the Arts
...Wilding’s career, which has spanned 40 years and also includes drawing, painting and performance, has been largely ignored. But a gorgeous retrospective, originally organized by Chicago art space Threewalls and now on view at Pasadena’s Armory Center for the Arts, does much to rectify that lapse. —Sharon Mizota
The longstanding institutional mistrust of art like Wilding’s, and the millennial generation’s occasionally amnesiac relationship to early feminist history, suggest that there is critical work left to be done. —Benjamin Lord
Rather than “waiting for him to pay attention to me”—“him” being the male-dominated art world—Wilding instead formed her own circle, taking part in Judy Chicago’s Feminist Art Program and the program’s creation of Womanhouse in Los Angeles. Though her retrospective in 2015 is long overdue, it presents a practice not of waiting but of gradual, insistent growth. —Travis Diehl
My personal and collective work focuses on physical/psychic states of the contemporary body violently cobbled together from natural, cultural, and technological fragments; recombinants with monstrous possibilities. My art uses beauty as a transformational tactic. —Faith Wilding
Faith Wilding wants us to remember that we have bodies and that those bodies can feel joy and pain and terror. And so she makes drawings. “We search for signs of the body,” she wrote in a recent essay. “We need constant affirmation …” —Eileen Townsend
It is ironic and yet by now, completely expected, that much more attention has been showered upon a generation of young men. For veteran feminists like Wilding, it continues to be a literal waiting game. —Jenni Sorkin
A polymath learned in subjects from antiquity to William Blake, Wilding infuses her watercolor abstractions with intellectual fervor. The artist's recent collaborative works with subRosa and Critical Art Ensemble extend her activism to topics like reproductive rights and genetics. —Modern Painters
Known for her groundbreaking oeuvre as a second-wave feminist artist, this retrospective of Faith Wilding's pseudo-scientific imagery is punctuated by found material and poetic, handwritten text. —Robin Dluzen
"I want to be a mentor and a resource. That’s really why we did all that work in the ’60s and ’70s: so future generations of young women and men wouldn’t have to; so we’d have a different world. Perhaps we have only done a bit, but that’s my bit." —Faith Wilding
Inevitably, Wilding’s renowned feminist background coats the show with political and historical overtones. However, her artwork also stands tall on a separate stage: that of Faith Wilding’s impassioned journey through life. Bodies, plants, moths and horses memorialize loss, catharsis, transformation and renewal. —Faith Wilding
Wilding’s work may have been made during feminism’s second wave, but it is increasingly becoming absorbed into the fourth through recreations like these that are scattered across YouTube, Vimeo, and Tumblr. —Alicia Eler
The emphasis on physical experience and gender is shown here in the continuity of the works as an open question... Wilding refers to these works as 'Recombinants' because they combine traditional and newer media and also because they deal with the current psychological state of physicality. —Monika Vykoukal
Interview with Faith Wilding by Amy Jin Johnson on “Womanhouse”
"We spent quite a few weeks all of the students running around in these different neighborhoods in LA looking for a place. We found a mansion in Hollywood, researched the deeds, found the owner and CalArts rented it for a dollar for the year... The first four weeks at least was actually spent learning building skills." —Faith Wilding
I'm interested in an imminent, radical art that uses convulsive beauty as a transformational tactic. My work addresses the psyche-somatic states of the contemporary body: a recombinant war body violently cobbled together from nomadic social, cultural, and political fragments. —Faith Wilding
"That [the internet] is the place where many people first encounter feminism and any kind of knowledge of it. It's incredibly important to have critical, political, and activist feminism represented on the net and actively happening on the net." —Faith Wilding
Substantial Disturbance: An Interview with Faith Wilding
"In my own case I experienced it something like this: Feminist art (and the Feminist Art Program which produced Womanhouse) was cutting-edge and hot in the 70s; condemned and silenced as essentialist and non-theoretical in the 80s; rediscovered, imitated, and historicized in the 90s; and food for dissertations, publications, exhibitions, and new formations–especially cyberfeminist formations in the 21st Century." —Faith Wilding
Contemporary Feminism: Practice, Theory, and Activism—An Intergenerational Perspective
"My own artistic beginnings were concurrent with my committed participation in the "second wave" feminist movement in the United States... I still use interdisciplinary research, real life experiences, and feminist analysis of sociopolitical issues to make work that isn't media-specific but situational." —Faith Wilding
Examining the visualizing and communications technologies that extend but also subtend us, Wilding's fabulous, recombinant, monstrous bodies and viscous, puckered vulvae acknowledge but also productively negotiate the effects of the flesh machine on our contemporary existence. —Amelia Jones
Perspectives on a Brave New World and Some Familiar Ones
Blending science fiction with science fact, nightmarish surrealism with the marvels of modern medicine, Faith Wilding has constructed an elaborate, thought-provoking meditation on reproductive technology. —Helen A. Harrison
The viewer feels enveloped in an organic space -- eerily, disconcertingly in utero. Or that was how I felt watching Ms. Wilding, swathed in a flea-market muffler not of her own knitting, assemble the structure in the unheated museum a week before the show's opening. —M.G. Lord
The erotic allure of an armored body continues in our current fashion world of corsets, leather, steel studs, and chains. The elegant artifice of clothing (armor) attracts us (amour). And releasing the body from its confinement in an act of love reveals to us what we ardently desire and fear—the real body. —Faith Wilding
I think we've seen a rise in the careers of women artists—some but not a lot. Many of these post-feminist artists are getting a lot of attention now, really riding in on all of the work that we did, which historically happens, but my generation of feminist artists has still been really invisible." —Faith Wilding
"For me, it's very difficult to separate that imagery from myself. It's a very unfashionable way to think about your art; maybe much too personal." —Faith Wilding
...Feminist artists must continue to seek new voices for the unheard, the suppressed, and the silenced, and to find ways to enter and change the art system so that their work may be seen more widely and have a greater influence. They must continue to create an interventionist art that poses uncomfortable questions, disrupts unity, and interrupts received notions about female being. —Faith Wilding and Miriam Shapiro
Faith Wilding Talks to Louise Moore | The Core of My Life
"A lot of the images and concerns in my work come from years of research into female mythology and spiritualism, and goddess iconology, but I don't like to generalize. In order to make these images, I have to bring those concerns back to myself, I have to connect it with my own personal history which is an unusual one." —Faith Wilding
Seed Work was designed as an international piece for the United Nations Conference on Women in Copenhagen. The seeds and flyer (reproduced here) were presented to the conference by Betsy Damon. My intention was to design a simple, strongly symbolic action which could be carried out by women anywhere in the world, and which reflected the life-sustaining heritage of female work. —Faith Wilding
"I want my leaves to express all the human emotions and experiences of the body and spirit... Nature totally wiped me out as a child. I spent hours making garments out of leaves, collecting them, talking to them. Images from childhood are the strongest. Everything that happens after gets translated through those images." —Faith Wilding
"Judy and I share similarities in our visual images. There's lots of vagina in our work, but it's not about vaginas. Rather, we are inventing a new form language radiating a female power which cannot be conveyed in any other way at this time... these images are universal, for they are are about being a human body in the world... a holy body: which knows, thinks, pains, remembers, works, imagines, dreams, yearns, aspires, and which may not be violated." —Faith Wilding
"Subject matter is of prime importance," Wilding noted. "It speaks to all aspects of women's lives and experience." However, these artists are not satisfied to merely depict problems; they want to involve audiences in seeking solutions, thus going beyond the objectives of early feminist art-education pieces. —Jacqueline Skiles
By Our Own Hands | The Women Artists Movement | Faith Wilding
It is impossible to read Faith Wilding's By Our Own Hands and not compare where you were and what you were doing during the last seven years in California while the Feminist Art Movement was making its impact through all our consciousnesses—raised or otherwise. The book is good... Any one of the chapters could make an in-depth study: Future historians, take note. —Ruth Askey
WOMANHOUSE was conceived as an homage to all those women who have thrown their creative energies into decorating a home, feathering a nest. For tickets, reservations and information you may call WOMANHOUSE at 666-9313." —EVERYWOMAN
In our work in the studio we have found that this is the image that we want to work with most. Again and again we make cunts, cunts and more cunts. This isn where we end again and it will probably be with us for a long time, for as Helen Diner says, "Woman is there abyss, sensing everything." —Faith Wilding
Arrows of Desire: Harry Gould Harvey IV and Faith Wilding, Bell Gallery, Brown University, Providence, RI
Recovery, P.P.O.W., New York, NY
Staying with the Trouble, Tufts University Art Gallery, Medford, MA
Host, Edel Assanti, London, UK (online exhibition)
2020
Good Company: Pt. 1, Anat Ebgi, Los Angeles, CA
Garden of Time: Textiles as Nature Poem, Galeria Jaqueline Martins, São Paulo, BR
I Want to Feel Alive Again, Lyles & King, New York, NY
2019
Where Art Might Happen: The Early Years of CalArts, Kestner Gesellschaft, Hanover
2018
Still I Rise: Feminisms, Gender, Resistance, Nottingham Contemporary, Nottingham, UK; also traveled to De La Warr Pavillion, Bexhill-on-Sea, UK (catalog)
Axis Mundo: Queer Networks in Chicano L.A., Hunter College, New York, NY (catalog)
2017
Axis Mundo: Queer Networks in Chicano L.A., Museum of Contemporary Art, Los Angeles, CA (catalog)
2018
Mystic Body: Elizabeth Mputu and Faith Wilding, Res., London, UK
The House Project (Installation), Museum of Contemporary Art, LA.
Next of Kin (Drawings), Bronwyn Keenan Gallery, NYC..
1994
Six Artists (Drawings/Collages), Bronwyn Keenan Gallery, NYC.
Women’s Work (Collages), Roger Smith Gallery, NYC.
A Decade of Women’s Performance Art, Los Angeles, CA.
1993
Immanent Domain (Collages), The Drawing Center, New York.
Cadavre Exquis (Collage), The Drawing Center, New York, and traveled to the Corcoran Gallery of Art, The Foundation for Contemporary Art (Mexico City), The Santa Monica Museum, and the Forum (St. Louis, MO).
The Abject in American Art (video), Whitney Museum of Art, NY.
Things to make our eyes happy (Collages), Muranushi Lederman Gallery, NY.
Slaughterhouse, (Performance/Film) with Judy Chicago, Fresno, CA.
Performances
2009
Re-Act Feminism, (performance) Akademie der Künste, Berlin
Cell-Track: DIY Cell Lab, (performance) Vitoria, Spain, sR
Miss-Placed Women, (performance) PSi conference, Zagreb, sR
2008
Gestations, New York University at Skopje, Macedonia (performances)
U-GEN-A-Chix Performance, City of Women Festival, Ljubljana, Slovenia, sR
2007
Artist Body, Centre d’Art Contemporaine, Geneva, Switzerland
Encore, Gallery 4000, Chicago, IL , ("Wait-With” performance)
2005
International Markets of Flesh 2, (Performance), Arte Nuevo InteractivA’05, Merida, Mexico. (sR)
2004
Infecting the Sick Society: Performance as Virus and Mapping Biopower: a guided walk with subRosa, (Performances), Crossroads in Cultural Studies Conference, University of Illinois, Urbana-Champaign, IL.
2003
YOUGenics: Exploring the Social Implications of Genetic Technologies, (Performance), Southwest Missouri State University, Art and Design Gallery, Springfield, Missouri.
International Markets of Flesh, (Performance), Ex Teresa Arte, Mexico City. sR
Cloning Cultures, (Performance), La Salle, SIA School of Art, Singapore. sR
2002
Biopower Unlimited!, (Performance) with subRosa, Bowling Green State University, Ohio. sR
Sex and Gender in the Biotech Century, (Performance) with subRosa, St. Mary’s College, Maryland. sR
US Premium Grade AAA Eggs, (Performance) with subRosa, Bowling Green State University, Ohio. sR
Virtual Maintenance, (Internet and Live Performance) with Marion von Osten, Institut fuer Buechkunst und Grafik, Leipzig, Germany.
2001
Expo EmmaGenics, (Commissioned Performance) with subRosa, Intermediale, Mainz, Germany. sR
Double/Shift, (Commissioned Performance), Custom House, Singapore. (Performance with Marge Yun)
Duration/Maintenance, (Performance), Art and Design Institute, Zurich. (Solo performance)
2000
Cult of the New Eve (Performance) with CAE, Museum of Contemporary Art, Toulouse, France; Expo 2000, Brussels; Steirischer Herbst, Graz, Austria.
Sex and Gender Ed in the Biotech Century, (Commissioned Performance), Digital Secrets Think Tank, Arizona State University, Tempe, AZ. sR
1999
Duration Performance, Rensselear Institute of Technology, NY.
Cult of the New Eve, (Performance) with CAE, Zentrum fuer Kunst und Medien, Karlsruhe, Germany; and at Festival Atlantico, Portugal.
1998
Duration Performance: The Art of Data Maintenance, (solo Performance/Lecture), Ars Electronica Center, Linz, Austria.
1987
Flux Performance, (Performance), Academy of Art, Warsaw, Poland. (assist Joan Jonas)
1981
The Incredible Shrinking Lunch, (Performance), LACE gallery, LA, CA.
Virginia and Emma: A Vision of Art and Politics, (Performance), Orange County Contemporary Arts Center, Los Angeles, CA.
Haunted Womanhouse, (Environment/Performance), Los Angeles.
1980
Invitation to a Burning, (Installation / Performance), Woman’s Building, Los Angeles, CA.
Seedworks, (Performance), United Nations Conference on Women, Copenhagen, Denmark.
HungerStrike, (Performance), Contemporary Arts Center, New Orleans, Louisiana.
1972
Waiting, (Performance), Womanhouse, Los Angeles, CA.
1971-1972
Collaborative Performances with Feminist Art Program at UC Berkeley, Oakland Art Museum, and California State University at Fullerton.
Grants, Commissions, and Awards
2015
Art Matters Grant (individual)
2014
Life-Time Achievement Award, Women’s Caucus for Art, CAA
2009
Guggenheim Fellow
2008
Grainger Research Grant, SAIC (individual)
2006
Faculty Enrichment Grant, SAIC (individual)
2005
Pennsylvania Council for the Arts grant, Performance, (subRosa).
Screenings of “Vulva de/ReConstructa” at Akademie der Bildenden Kuenste, Vienna; and Nevada State University, Reno.
2000
“Vulva De/Re Constructa,” Video ( with Christina Hung), Taxispalais, Innsbruck, Austria.
“SmartMom” WEB Page and Installation with Hyla Willis, MICA, Baltimore; and University of Montana (Billings, Bozeman, Missoula).
“Sex and Gender Ed Show” WEB page, Digital Secrets, ASU, Tempe.
1999
Video (with OBN) “What is Cyberfeminism?” ZKM, Karlsruhe
1998
“Duration Performance,” (Computer Animation) Work & Culture show, Landesmuseum, Linz, and at Ars Electronica Center, Linz.
“Society for Reproductive Anachronisms”, Web page, CD-ROM and performance with Critical Art Ensemble.
1997
“WomEnhouse: Domesticity for the 90’s” WWW pages in collaboration with Los Angeles Women in Architecture.
“Let’s Make A Baby” electronic children’s book on the new reproductive technologies. Produced in collaboration with Critical Art Ensemble and published on CD-ROM by mute. Exhibited at Documenta X, and on the Web.
“Waiting” performance included in “Not for Sale” a video on the history of feminist art by Laura Cottingham. Premiered at MOMA, NY, and distributed nationally by Hawkeye Productions.
1996
Writer/Producer: “Drift(hers): A Radio Romance”, 45 minute original radio drama. Broadcast nationally on NPR and Pacifica Radio.
“WomEnhouse” collaborative WWWEB work with women artists and critics. Exhibited in “Sexual Politics” show, Armand Hammer Museum, Los Angeles, CA.
1989-1991
Co-producer, SOUNDPLAY, a 26-part series of international radio dramas. Broadcast on National Public Radio and in Europe.
1984-1988
Associate Producer, THE BECKETT FESTIVAL OF RADIO PLAYS. Broadcast nationally in the US, and in Britain, Germany, and Austria.
1989
Writer/Producer, “Hildegard and I,” Original radio drama, broadcast on National Public Radio and Pacifica Radio.
1987
Writer/Co-Producer, “Hildegard und Ich,” Original radio drama commissioned, produced, and broadcast by RIAS Berlin, and WDR Cologne.
1984
Producer for original radio works commissioned from Elizabeth Swados and Susan Griffin. Broadcast on National Public Radio.
1976
“Imago Femina,” Soundpiece commissioned by Douglass College; broadcast on Pacifica Radio (l978).
1973
“Waiting,” performed for documentary of Womanhouse by KCET-TV, Los Angeles, and for 45 minute color film Womanhouse by Johanna Demetrakos. Has been distributed and screened worldwide.
Performs and appears in “Judy Chicago and the California Girls,” film by Judith Dancoff.
Performs and appears in “Atmosphere,” a color film by Judy Chicago.
Performed “Waiting” on a one-hour special on women artists on Channel 68, Los Angeles, CA.
Publications, Books
2022
Watch Faith Wilding's Performance of "Waiting" from her 1974 Film Womanhouse, Autre, Hans Ulrich Obrist
2021
Art in California, Jenni Sorkin, Thames & Hudson
2018
Faith Wilding’s Fearful Symmetries, University of Chicago Press, illustrated monograph with essays by Shannon Stratton, Amelia Jones, Jenni Sorkin, et al.
2005
Yes Species, subRosa and James Pei-Mun Tsang, (Spanish/English edition), EACC, Castellon, Spain.
Yes Species, subRosa and James Pei-Mun Tsang, (German/English edition) Sabrosa Books, Chicago/Pittsburgh.
2003
Domain Errors: Cyberfeminist Practices, Eds. M. Fernandez, M.M. Wright, F. Wilding. A subRosa Project. (Autonomedia: New York, 2003).
1998
READ ME: Asci Culture and The Revenge of Knowledge, Autonomedia Books, Eds. G. Lovinck, F. Wilding, D. McCarty, P. Schultz, et al.
1977
By Our Own Hands: The History of the Women Artists' Movement in Southern California 1970-77. Los Angeles: Double X.
Teaching Experiences
2011-2017
Visiting Scholar at the Pembroke Center, Brown University
2002-2011
Professor Emerita of Performance Art/Critical Studies at School of the Art Institute of Chicago
1999-2002
Associate Professor of Art/Director of Art Dept. Carlow College, PGH
1999
Guest Professor, Akademie der Bildenden Kuenste, Nuernberg, Germany
1995-1998
Visiting Assistant Professor of Art, School of Art, Carnegie Mellon
2008-2023
Graduate Faculty, MFA Visual Art, Vermont College of the Union Institute and University
1989-1990
Adjunct Prof. of Art at Parson’s School of Design; and at New York University, Tisch School of the Arts
1988-1995
Asst. Prof. of Art (Adjunct) Cooper Union School of Art, NYC
1980-1982
Visiting Assistant Professor of Art, Scripps College, and Claremont Graduate School, Claremont, CA
1976-1980
Assistant Professor of Art, Immaculate Heart College, Los Angeles, CA
1973-1976
Instructor (various courses) San Francisco Art Institute; California State University, Fresno, and CSUF, Fullerton
1971-1973
Teaching Assistant, California Institute of the Arts: Feminist Art, Figure Drawing
Articles in Books
2009
“Gestations in a Studio of Their Own: The Feminist Art Program in Fresno, CA, 1970-71” A Studio of Their Own: The Legacy of the Fresno Feminist Experiment, Ed. Laura Meyer, CSU Fresno Press, 2009
2008
“Common Knowledge and Political Love, Tactical BioPolitics: Eds. Beatriz da Costa and Kavita Philip (Boston: MIT Press, 2007)
2004
“Sex and Gender in the Biotech Century,” BioMediale: Contemporary Society and Genomic Culture, Ed. Dmitry Bulatov, National Center for Contemporary Arts, Kaliningrad.
2003
“Duration Maintenance,” Norm Der Abweichung, Ed. Marion Von Osten (Institut für Theorie der Gestaltung und Kunst). Zurich: Edition Voldemeer.
“Stolen Rhetoric: The Appropriation of Choice by ART Industries.” Sarai Reader 03: Shaping Technologies, Delhi: Sarai/CSDS.
2002
“Becoming Autonomous,” technics of cyber<>feminisim, Ed. Claudia Reiche and Andrea Sick. Bremen: thealit Frauen.Kultur.Labor.
2001-2002
“Stolen Rhetoric: The Appropriation of Choice by ART Industries.” Klone und Mutanten. Ed. Dr. Birgit Richard and Sven Druehl, KunstForum Books, Frankfurt, Germany.
2000-2001
“Monstrous Domesticity,” M/E/A/N/I/N/G: An Anthology of Artists’ Writings, Theory, and Criticism. Ed. Susan Bee, Mira Schor (Duke University Press: Durham, NC, 2000).
“Next Body,” Feminism and Visual Culture: A Reader .Ed. Amelia Jones. (Routledge, NY. 2001).
“Waiting” and “Where is Feminism in Cyberfeminism” Feminist Art Theory . Ed. Hillary Robinson. (Blackwells: UK, 2001)
“Virtually Embodied,” The Multiple Mutable Subject. St. Norberts Contemporary Art Center, Winnipeg, Canada.
“Die Vulva mit Einem Kleinen Unterschied” Politiken des Sexuellen Ed. Doris Guth, et al (Turia & Kant, Vienna, Austria. 2000).
1998
“Work at Home/Home at Work,” READ ME, Autonomedia Books.
1997
“As Above, So Below.” (with CAE) Flesh Machine, (Critical Art Ensemble), NY: Autonomedia Books.
1994
“The Feminist Art Programs at Fresno and CalArts, 1970-75.” The Power of Feminist Art, Ed. Norma Broude and Mary Garrard. New York: Harry N. Abrams.
1989
“The Feminist Art Movement Southern California Style, 1970-80.” Yesterday and Tomorrow: California Women Artists. New York: MidMarch Arts Press.
1975
“Waiting.” (Performance Script) Judy Chicago, Through the Flower. NY: Doubleday.
Articles in Journals
2011
“Bodies Unlimited: A decade of subRosa’s Art Practice,” Vol 28, n.paradoxa: International feminist art journal, July 2011.
2004
“Donde esta el Feminismo en el Ciberfeminismo?” in Lectora: Journal of Women and Textuality, Barcelona, vol 10.
2002
“Situating Cyberfeminisms,” (with Maria Fernandez) Debats, 2002, Valencia, Spain (illustrated profile of Wilding and subRosa work).
“Gestohlene Rhetorik: Die Aneignung der Wahl durch die Art Industrien,” Kunstforum International, January-March 2002, Volume 158.
2001
“Economies of ART (Assisted Reproductive Technologies),” nparadoxa #8, London, Summer, 2001 (6 page text/image).
1999-2000
“Don’t Tell Anyone We Did It,” Documents, Summer 1999.
“Roundtable on the State of Feminism,” Art Journal, Winter, 2000.
“Notes Toward the Political Condition of Cyberfeminism” (with Critical Art Ensemble) CAA, Art Journal, NY, Summer, l998, The Cyberfeminist Reader
“Where is the Feminism in Cyberfeminism?”, nparadoxa N.3 , London, Summer issue on Women in New Media.
“Duration Performance: The Art of Feminized Maintenance Work,” on-line publication for Intertwinedness II at Ars Electronica Center, Linz, Austria.
1997
“As Above, So Below.” Left Curve. No.21. San Francisco.
“Material Realities.” Catalog essay for “Between the Acts,” New York: Art in General.
1995
“Monstrous Domesticity.” M/E/A/N/I/N/G. #18. New York.
“(Teaching) Painting in the Age of Virtuality.” Painting. Cooper Union School of Art publication.
1989
“Silence.” Contribution to “Forum on Art Discourses.” M/E/A/N/I/N/G #5. New York.
“Blood and Milk: Musings on the Wound and the Breast.” M/E/A/N/I/N/G #6. New York.
“Remembering Gran.” Heresies #23 (Coming of Age). New York.
1984
“Female Role Models in Education.” Art and Artist. New York.
1981
“Seed Works.” Heresies #13 (Feminism and Ecology). New York.
1980
“How the West Was Won.” Women Artists News. New York.
1976
“A Needle in the Ass: Feminist Programs at Cal Arts.” CalArts Alumni Publication, CA.
1974
“Waiting.” (Performance Script) Ms. New York.
Selected Bibliography (Articles, Catalogs, Reviews, and Reproductions of Artwork)
2026
Graver, David "A Century of Esoteric and Occult Artistry in “A Queer Arcana” at Palm Springs Art Museum," Surface Magazine, April 08, 2026
2025
Belasco, Daniel "Faith Wilding," Artforum, May, 2025.
"Faith Wilding at Anat Ebgi, New York," Art Viewer, March, 2025.
Kaack, Nicole "Ecofeminist Interleaving: Faith Wilding at Anat Ebgi," Impulse Magazine, February 10, 2025.
"MUST SEE | Faith Wilding: Inside, outside, alive in the shell," Artforum, February 2025.
Watlington, Emily "Faith Wilding on “Beauty as a Terrorist Tactic,”" Art in America, February 4, 2025.
Ahmed, Sahir "Wait No More | Faith Wilding at Anat Ebgi," Family Style, January 20, 2025.
2024
Scott, Chadd "Eco-feminist artist Faith Wilding New York gallery exhibition," See Great Art, December 29, 2024.
Letts, K.A."Faith Wilding and Jordan Nassar in “Grace Under Fire” at the Shepherd," Newcity Art, October 30, 2024.
2023
Rabb, Maxwell "The 10 Best Booths at Art Basel in Miami Beach 2023," Artsy, December 7, 2023.
Sheckells, Melinda "Miami Art Week 2023: The Best Events, Parties, Exhibitions, Artists and Dinners During Art Basel," The Hollywood Reporter, December 1, 2023.
Rabb, Maxwell "The 10 Best Booths at ADAA: The Art Show 2023," Artsy, November 2, 2023.
Schwendener, Martha "The Art Show Highlights Masters — and Artists Under the Radar," The New York Times, November 2, 2023.
"Previewing ADAA’s The Art Show 2023," Cool Hunting, October 30, 2023.
"The ADAA Art Show Returns for a Milestone 35th Edition With A Slate of Special Programming to Celebrate," Artnet News, October 18, 2023.
Khalaf, Roula "Inside Other Spaces, Haus der Kunst Review — Female Pioneers of Installation Art Finally Get Their Due," Financial Times, October 11, 2023.
2022
"Bortolami opens an exhibition of works by Faith Wilding," Art Daily, September 9, 2022.
Cooper, Ashton "In Formation: How Early SoCal Feminist Artists Forged Their Identities through Collaborative Practice," Carla, May 18, 2022.
Yohannes, Neyat "Revisiting the Famed Feminist Exhibition “Womanhouse” with an Intersectional Lens," March 24, 2022.
Guilford, Lauren "Pick of the Week: WOMANHOUSE 1972/2022," Artillery, March 16, 2022.
Mitchell, Rory "WOMANHOUSE | Anat Ebgi Celebrates Forerunners of West Coast Feminist Art," Ocula, March 09, 2022.
Chiotakis, Steve "WOMANHOUSE | Greater LA: Check out new art exhibits," KCRW, March 02, 2022.
Finkel, Jori "Womanhouse—the original matrix for feminist art—turns 50," The Art Newspaper, February 17, 2022.
Cascone, Sarah "16 Standout Gallery Exhibitions to See in L.A. During Frieze Week," Artnet News, February 15, 2022.
Stromberg, Matt and Wouk Almino, Elisa "WOMANHOUSE | Your Concise Los Angeles Art Guide for March 2022," Hypallergic, February 28, 2022
2021
Jones, Elizabeth Rachel "Faith Wilding at Anat Ebgi," Carla, October 27, 2021.
McQuaid, Cate "Faith Wilding, foremother of feminist art, draws on activist history in new shows at Brown, Tufts," The Boston Globe, September 30, 2021.
2020
Lopez, Juliana "Artists to follow if You Like Georgia O’Keefe: Faith Wilding," Artsy, October 14, 2020.
2019
Faith Wilding, “In the Beginning, Everything Was Green: Embodiment, Ritual, and Cyberfeminism", Artillery, August, 2019.
Leah Ollman, "The sensual and the spiritual collide in the paintings of Faith Wilding." Los Angeles Times, February 26, 2019.
Hawbaker, KT, "The feminist energies of William Blake and Faith Wilding take over Chicago," Chicago Tribune, December 20, 2017.
Fidler, Luke, "When Indigenous Politics and Environmental Catastrophe Collide: A Review of Faith Wilding at Western Exhibitions," New City Art, December 4, 2017.
Cardoza, Kerry, "The radical nature of Faith Wilding’s fantastical watercolors," Chicago Reader, November 15, 2017.
2015
Lord, Benjamin, "Faith Wilding at The Armory Center for the Arts and LOUDHAILER," Contemporary Art Review Los Angeles, Issue 3, 2015.
Guertin, Carolyn, “From Cyborgs to Hactivists: Postfeminist Disobedience and Virtual Communities” on www.electronicbookreview.com
Cotter, Holland, “Hometown of Utopia and Dissent,” NYTimes, July 23, 2004.
Blocker, Jane. What the Body Cost: Desire, History, and Performance, Minneapolis, University of Minnesota Press.
Thompson, Nato and Gregory Sholette, eds., The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life, MASS MoCa, North Adams, MA, 121-126.
2003
Ault, Julie, Alternative Art New York 1965-1985. (Full Page Photo of “Womb Room”).
Anker, Suzanne and Dorothy Nelkin, The Molecular Gaze: Art in the Genetic Age, New York, Cold Spring Harbor Laboratory, (Images from “Embryoworld”).
Blocker, Jane, Bodies Sought and Doubted: Historiography and Performance Art, Minnesota, University of Minnesota Press, (Photos and Texts of “Waiting”).
Chicago, Judy. Through the Flower: My Struggle as A Woman Artist.. New York: Doubleday. (photos and text of “Waiting”).
Woman as Viewer. (Catalog) Winnipeg: Winnipeg Art Museum.
1972
Womanhouse. (Catalog). Los Angeles: California Institute of the Arts.
Time Magazine. Article on Womanhouse.
Collections
Los Angeles County Museum of Art
Getty Institute Research Library
The Art Institute, Chicago
Institute of Contemporary Art/Boston
The Morgan Library and Museum, New York, NY
Crocker Art Museum, Sacramento, CA
RISD Museum
The Hammer Museum
Institute of Contemporary Art Miami
Minneapolis Institute of Art
The University Club of Chicago
Olivia Foundation, CDMX, Mexico
Marciano Collection, Los Angeles, CA
Videos
Faith Wilding: Fossils
Faith Wilding in conversation with Art Historian Jenni Sorkin.
October 2021
Sisters of the Sun: Faith Wilding and Sarah Ann Weber
Faith Wilding and Sarah Ann Weber in conversation with George William Price, Director of Collections, University Club of Chicago. On the occasion of Anat Ebgi’s presentation for Frieze Viewing Room, Chicago Tribute section.
May 2020
Faith Wilding and Lucy Lippard: Then & Now at the University of Michigan
In this conversation with Faith Wilding—multidisciplinary artist; recognized authority on feminist art theory and cyber feminism; and founding member of the Feminist Art Program at CalArts—Lucy Lippard discusses her work and the current creative-political climate in the US.
Co-presented by the Penny Stamps Speaker Series and Stamps Gallery, with support from American Culture, History of Art, and the University of Michigan Museum of Art (UMMA).
![This image depicts an artwork by Faith Wilding titled "Natural Parables." This artwork was created in 1982 and measures Installed 186" x 396" [HxW] (472.44 x 1,005.84 cm)
Shaped panels dimensions variable
Each frame 39 ³⁄₄" x 51 ¹⁄₂" [HxW] (100.97 x 130.81 cm). Its medium is Watercolor, pencil, and ink on paper, framed/ Oil on Masonite.](https://anatebgi.com/wp-content/uploads/2025/06/Faith-Wilding_FW1966_1750123077.jpg)
![This image depicts an artwork by Faith Wilding titled "Flesh petals." This artwork was created in 1971 and measures 42" x 27 ³⁄₄" [HxW] (106.68 x 70.49 cm). Its medium is Graphite on paper, framed.](https://anatebgi.com/wp-content/uploads/2022/09/Faith-Wilding_FW1047_1663196805.jpg)
![This image depicts an artwork by Faith Wilding titled "Sacrifice (Installation at the Feminist Art Program Studio in Fresno)." This artwork was created in 1971 and measures 18 ¹⁄₂" x 12 ¹⁄₂" x 1" [HxWxD] (46.99 x 31.75 x 2.54 cm). Its medium is not known.](https://anatebgi.com/wp-content/uploads/2024/11/Faith-Wilding_FW1206_1731612377.jpg)
![This image depicts an artwork by Faith Wilding titled "In My Mother's House." This artwork was created in 1973 and measures Unframed 16" x 12" [HxW] (40.64 x 30.48 cm). Its medium is Watercolor on paper.](https://anatebgi.com/wp-content/uploads/2024/11/Faith-Wilding_FW1804_1731612225.jpg)
![This image depicts an artwork by Faith Wilding titled "Eggs in Landscape." This artwork was created in 1973 and measures Unframed 8 ¹⁄₂" x 11" [HxW] (21.59 x 27.94 cm). Its medium is Graphite on paper.](https://anatebgi.com/wp-content/uploads/2024/11/Faith-Wilding_FW1849_1731612214.jpg)
![This image depicts an artwork by Faith Wilding titled "Openings II." This artwork was created in 1974 and measures 30 x 22.5" [HxW] (76.2 x 57.15 cm). Its medium is Watercolor, graphite, and gold leaf on paper in vintage frame.](https://anatebgi.com/wp-content/uploads/2023/10/Faith-Wilding_FW1060_1696454718.jpg)
![This image depicts an artwork by Faith Wilding titled "Longbarrow." This artwork was created in 1975 and measures 76 x 44.5" [HxW] (193.04 x 113.03 cm). Its medium is Graphite on paper, framed.](https://anatebgi.com/wp-content/uploads/2023/11/Faith-Wilding_FW1005_1699664632.jpg)
![This image depicts an artwork by Faith Wilding titled "Leaf Series: Hingham Leaves." This artwork was created in 1976-78 and measures 84" x 48" [HxW] (213.36 x 121.92 cm). Its medium is Oil on canvas.](https://anatebgi.com/wp-content/uploads/2024/11/Faith-Wilding_FW1106_1731612400.jpg)
![This image depicts an artwork by Faith Wilding titled "Imago Femina "My Heart-Shell Breaks Open ..." for H.D.." This artwork was created in 1978 and measures 20 ¹⁄₂" x 16 ¹⁄₂" [HxW] (52.07 x 41.91 cm). Its medium is Watercolor on paper, framed.](https://anatebgi.com/wp-content/uploads/2023/10/Faith-Wilding_FW1110_1696449589.jpg)
![This image depicts an artwork by Faith Wilding titled "Anatolian Egg Temple." This artwork was created in 1978 and measures Framed 20 ¹⁄₂" x 16 ¹⁄₂" x ¹⁄₂" [HxWxD] (52.07 x 41.91 x 1.27 cm) Artwork 11 ³⁄₄" x 10" [HxW] (29.85 x 25.4 cm). Its medium is Watercolor on paper, framed.](https://anatebgi.com/wp-content/uploads/2026/06/faithwilding-fw1343-ana-1782337644-2000x2383.jpg)
![This image depicts an artwork by Faith Wilding titled "Bird of Paradise: Virgin Goddess." This artwork was created in 1978 and measures 50" x 70" [HxW] (127 x 177.8 cm). Its medium is Colored pencil, graphite, and gold leaf on paper, mounted on silk.](https://anatebgi.com/wp-content/uploads/2023/11/Faith-Wilding_FW1013_1699663700.jpg)
![This image depicts an artwork by Faith Wilding titled "Euronyme & Ophion." This artwork was created in 1977-78 and measures 85" x 100" [HxW] (215.9 x 254 cm). Its medium is Prisma color, graphite, and gold leaf.](https://anatebgi.com/wp-content/uploads/2024/11/Faith-Wilding_FW1086_1731612408.jpg)
![This image depicts an artwork by Faith Wilding titled "The Rising." This artwork was created in 1979 and measures 30" x 22" [HxW] (76.2 x 55.88 cm). Its medium is Watercolor, graphite, and gold leaf on paper, framed.](https://anatebgi.com/wp-content/uploads/2023/10/Faith-Wilding_FW1103_1696449593.jpg)
![This image depicts an artwork by Faith Wilding titled "To My One Desire." This artwork was created in 1980 and measures Framed 32 ¹⁄₂" x 24 ¹⁄₂" x 1 ¹⁄₂" [HxWxD] (82.55 x 62.23 x 3.81 cm). Its medium is Watercolor, colored pencil, and gold leaf on paper.](https://anatebgi.com/wp-content/uploads/2024/11/Faith-Wilding_FW1342_1731612350.jpg)
![This image depicts an artwork by Faith Wilding titled "Natural Parables 4." This artwork was created in 1982 and measures Shaped Panel 48 x 39" [HxW] (121.92 x 99.06 cm); Framed 39.75 x 51.5" [HxW] (100.97 x 130.81 cm). Its medium is Watercolor, pencil, and ink on paper, framed / Oil on Masonite.](https://anatebgi.com/wp-content/uploads/2023/11/Faith-Wilding_FW1137_1699664567.jpg)
![This image depicts an artwork by Faith Wilding titled "Natural Parables 6." This artwork was created in 1982 and measures Shaped Panel 67 x 22" [HxW] (170.18 x 55.88 cm); Framed 39.75 x 51.5" [HxW] (100.97 x 130.81 cm). Its medium is Watercolor, pencil, and ink on paper, framed/ Oil on Masonite.](https://anatebgi.com/wp-content/uploads/2023/11/Faith-Wilding_FW1139_1699664560.jpg)
![This image depicts an artwork by Faith Wilding titled "Daily Text Panel." This artwork was created in 1987 and measures 34" x 72" [HxW] (86.36 x 182.88 cm). Its medium is not known.](https://anatebgi.com/wp-content/uploads/2023/10/Faith-Wilding_FW1294_1696449512.jpg)
![This image depicts an artwork by Faith Wilding titled "Untitled (the parents)." This artwork was created in 1990 and measures Framed 87" x 57" x 1" [HxWxD] (220.98 x 144.78 x 2.54 cm). Its medium is Watercolor and ink on paper.](https://anatebgi.com/wp-content/uploads/2023/11/Faith-Wilding_FW1100_1699664596.jpg)
![This image depicts an artwork by Faith Wilding titled "Untitled (Mermaid with Male Attired Figure)." This artwork was created in 1990 and measures Framed 87" x 57" [HxW] (220.98 x 144.78 cm). Its medium is not known.](https://anatebgi.com/wp-content/uploads/2023/11/Faith-Wilding_FW1292_1699664499.jpg)
![This image depicts an artwork by Faith Wilding titled "Rorschach Watercolors with Armored Dress." This artwork was created in 1992 and measures 11" x 7" [HxW] (27.94 x 17.78 cm). Its medium is Watercolor and collage on vellum.](https://anatebgi.com/wp-content/uploads/2024/11/Faith-Wilding_FW1412.01_1731612315.jpg)
![This image depicts an artwork by Faith Wilding titled "Serpent." This artwork was created in 2017 and measures 12" x 4 ¹⁄₂" [HxW] (30.48 x 11.43 cm). Its medium is Papier mache and papyrus, illuminated in gouache, gold leaf, and ink.](https://anatebgi.com/wp-content/uploads/2022/09/Faith-Wilding_FW1142_1663196759.jpg)
![This image depicts an artwork by Faith Wilding titled "Passionflower." This artwork was created in 2019 and measures 54" x 27" [HxW] (137.16 x 68.58 cm). Its medium is Watercolor, gold leaf, ink, and collage on papyrus.](https://anatebgi.com/wp-content/uploads/2023/11/Faith-Wilding_FW1119_1699664578.jpg)
![This image depicts an artwork by Faith Wilding titled "Red-beaked Leafbearer." This artwork was created in 2022 and measures 46" x 5" [HxW] (116.84 x 12.7 cm). Its medium is Papier-mâché, papyrus, watercolor, ink, and acrylic.](https://anatebgi.com/wp-content/uploads/2023/10/Faith-Wilding_FW1249_1696449547.jpg)
![This image depicts an artwork by Faith Wilding titled "Singing Pupa." This artwork was created in 2021 and measures 18" x 4" x 4" [HxWxD] (45.72 x 10.16 x 10.16 cm). Its medium is Papier-mâché, papyrus, watercolor, ink, and acrylic.](https://anatebgi.com/wp-content/uploads/2023/10/Faith-Wilding_FW1245_1696449555.jpg)
![This image depicts an artwork by Faith Wilding titled "Spike-backed Slitherer." This artwork was created in 2022 and measures 36" x 5" x 4" [HxWxD] (91.44 x 12.7 x 10.16 cm). Its medium is Papier-mâché, papyrus, watercolor, ink, and acrylic.](https://anatebgi.com/wp-content/uploads/2023/10/Faith-Wilding_FW1248_1696449554.jpg)
![This image depicts an artwork by Faith Wilding titled "Gold Leaf Kite." This artwork was created in 2021 and measures 30" x 22" [HxW] (76.2 x 55.88 cm). Its medium is Watercolor, graphite, and gold leaf on paper.](https://anatebgi.com/wp-content/uploads/2022/09/Faith-Wilding_FW1223_1663196713.jpg)
![This image depicts an artwork by Faith Wilding titled "Energies." This artwork was created in 2023 and measures Framed 28 ³⁄₄" x 23" x 1 ¹⁄₂" [HxWxD] (73.03 x 58.42 x 3.81 cm); Unframed 26" x 20 ¹⁄₂" [HxW] (66.04 x 52.07 cm). Its medium is Watercolor, colored pencil, and gold leaf on paper.](https://anatebgi.com/wp-content/uploads/2023/11/Faith-Wilding_FW1271_1699663601.jpg)
![This image depicts an artwork by Faith Wilding titled "Virginia's Moth." This artwork was created in 2023 and measures Framed 32 ¹⁄₂" x 25" x 1 ¹⁄₂" [HxWxD] (82.55 x 63.5 x 3.81 cm); Unframed 30" x 22 ¹⁄₂" [HxW] (76.2 x 57.15 cm). Its medium is Watercolor, colored pencil, and gold leaf on paper.](https://anatebgi.com/wp-content/uploads/2023/11/Faith-Wilding_FW1269_1699663440.jpg)
![This image depicts an artwork by Faith Wilding titled "Ancient Patterns." This artwork was created in 2024 and measures Framed 24 ⁵⁄₃₂" x 17 ⁹⁄₁₆" [HxW] (61.37 x 44.6 cm) Artwork 21 ¹⁄₂" x 15" [HxW] (54.61 x 38.1 cm). Its medium is Watercolor and colored pencil on paper.](https://anatebgi.com/wp-content/uploads/2026/06/faithwilding-fw1945-1782337685-2000x2625.jpg)
