HIGHLIGHT FEMINIST ART Like most artists, I own work by friends, mostly women. In recent years, I began to realize that altogether, these artworks represent a community at a certain moment in time. We were the first generation of American feminist artists, and as that period recedes, there is increased interest in our politics, collectives, dialogues and art. —Joyce Kozloff In 2016, SCMA solidified agreements with New York-based artists Joyce Kozloff and Nina Yankowitz to serve as stewards for their personal collections of works made by women. Including a range of media— ephemera, sculpture, paintings, ceramics, photographs, prints, books and drawings—these works capture a cross-section of multiple generations of women artists, from Kozloff and Yankowitz’s contemporaries from the 1960s and 1970s through their students, studio assistants and colleagues of more recent generations. Yankowitz donated 63 artworks to SCMA in 2016, and Kozloff will contribute works from her collection in 2018. Friends for more than 40 years, Kozloff and Yankowitz conceived of this initiative together, hoping that their gifts would inspire contributions from other artists as well as provide ample materials to spark inquiry, investigation and inspiration to current and future gen- erations of Smith artists and historians. These unique collections will deepen SCMA’s ability to present a rich history of American-made feminist art and support research into the work and lives of creative women in the latter part of the 20th century. ABOVE LEFT: Nina Yankowitz and Joyce Kozloff, 2017. Photograph by Barry Holden. TOP RIGHT: Ree Morton. American, 1936–1977. Tomato Flag for Nina from the installation Flagship, 1975. Acrylic, thread and metal grommets on nylon. The Nina Yankowitz Collection of Women’s Art 1970s Onward. BOTTOM RIGHT: Youngju Yoon. American, born South Korea, 1971. Untitled, 2008. Graphite and gouache on thick, moderately textured, beige paper. The Nina Yankowitz Collection of Women’s Art 1970s Onward 57