The War on Women: Susan Grabel on Art as Resistance

Susan Grabel is a New York sculptor, feminist and social activist who explores the human dimension of social issues in her figurative sculptures in handmade cast paper, clay and mixed media, and her prints, collages and sculpture. WAI had the pleasure of speaking with her about her inspirations, pieces, and most recently, exhibitions that tie together women’s advocacy and art.

Image: Susan Grabel, Confluence [DF-CFL109], 2016

When did your interest in art begin?
I’ve always been creative, but it wasn't until a summer session at the University of Wisconsin after my sophomore year at Brooklyn College that I truly discovered art. Initially, I enrolled in a course on Analytic Geometry and Calculus, trying to decide between a major in Mathematics or English Literature. After just three days of calculus, I pivoted to English Literature and enrolled in a sculpture course instead. That decision changed everything—I fell in love with the artistic process and spent all my time in the studio. Although I wasn’t ready to declare an art major, I took afternoon classes at the Brooklyn Museum Art School, studying sculpture with Joe Konzal and Tom Doyle, and ceramics with Jolyon Hofsted.

How would you describe your style of art? What materials do you tend to use?
I identify as a feminist, figurative, narrative sculptor and printmaker. My work addresses the human dimensions of social issues, inspired by the tradition of Käthe Kollwitz. It has evolved from early clay urban vignettes to clay and wood installations exploring themes like consumerism, war, homelessness, and alienation. I’ve created handmade paper sculptures and collagraph prints reflecting on aging women, paper litho prints addressing domestic abuse, and digital fabrications in wood and steel envisioning a hopeful future, as seen in works like Confluence and Forward Together. My recent project, Pandemic Reflections, combines cast paper with digital fabrications and discarded molded cardboard.

Can you describe your artistic process when creating a piece?
I typically don’t start with a complete vision; instead, I react to the social and political landscape around me. I begin with a concern and, in the studio, I aim for an emotional resonance rather than a didactic message. My goal is to raise awareness and encourage viewers to see these issues in a new light.

What is your biggest motivator in creating your works?
I have strong feelings about the world around me and a deep desire to take concrete action. My love for making art—through its various processes, problem-solving, and materials—serves as my medium of communication. My work reflects my desire to share these feelings and to take people out of their everyday experiences. I aim to help them see and feel things differently, engaging and inspiring them to create positive change in our society and contribute to making it a better place

Is there anything we haven't had a chance to cover that you'd like to add?
As much as I love working in the studio—engaging with my hands and embracing that sense of discovery—I also need to be part of something larger than myself. While I value quiet, alone time, I’m not the kind of artist who can remain in the studio all the time.

I take to heart Alice Walker’s statement that “activism is my rent for living on the planet.” This belief has shaped my artwork and driven my community involvement, particularly through curatorial projects like Women Under Siege (2017) at Ceres Gallery in NYC and Don’t Shut Up (2021) at Snug Harbor Cultural Center on Staten Island.

I’ve discovered that some of the issues I care about are too vast for me to address alone; they require a broader impact to be effective. Thus, I’ve curated several exhibitions, recognizing the power in numbers.

In 2013, I learned about the criminalization of pregnant women from Lynn Paltrow of the National Advocates for Pregnant Women (now known as Pregnancy Justice). As I delved into their casework and further researched these issues, I became aware of the criminalization of survivors of domestic violence.

I was shocked and outraged by the sexism and misogyny embedded in laws across many states that are wielded against pregnant and abused women. I felt compelled to bring these stories to public attention, so we could witness these miscarriages of justice happening right here in the “exceptional” USA. I chose the stories of 25 women and invited artists I knew to select a woman whose story resonated with them and create art in response. The result was presented at Ceres Gallery in 2017 as Women Under Siege: It’s Happening Right Here. Over ten years later, the situation has only worsened, with women being denied basic maternal healthcare and facing dire consequences.

In March 2018, I did a presentation at Ceres Gallery and the Art Lab on Staten Island about the silencing of women and the amplification of their voices in an event called Don’t Shut Up. This exploration included panel discussions and a PowerPoint presentation featuring over 60 artists’ works gathered through an open call to women nationwide.

Every day, women face interruptions, censorship, violence, and threatening behavior, both in person and online. I felt it was essential to ensure that women’s voices are heard and valued.

In 2021, I had the opportunity to expand these ideas into a physical exhibition at the Newhouse Center for Contemporary Art at Snug Harbor Cultural Center on Staten Island. I co-curated Don’t Shut Up 2021 with Stefany Benson, showcasing the work of 47 woman-identifying artists from the US and Canada who challenge and disrupt the status quo through their art. This exhibition aimed to provide a platform for those voices, to create awareness about the silencing of women and to ensure that they are heard and valued. You can learn more at dontshutup2021.com. In 2022, I co-curated a show at the Carter Burden Gallery with Cynthia Mailman and Vernita Nemec, titled The Difference We’ve Made: Women Artists Active in the NYC Art World in the 1970s and Still Making Art. This exhibition advocated for older women artists who were influential in the NYC art scene during the 1970s and continue to create today.

The 23 artists featured in the exhibition work in a diverse range of styles, techniques, and materials, significantly expanding the scope of contemporary art. They were integral to the feminist art movement, which opened the art world to new subject matter and brought traditional forms of female expression into the mainstream. Additionally, they were pioneers in performance art, installation art, and public art. Their contributions have made a lasting impact and continue to resonate in today’s art landscape.

I was active in the figurative co-op movement of 1970s Soho, an early member of Women in the Arts, and later served as president of the NYC chapter of the Women’s Caucus for Art. I’ve been involved at the national level to help create opportunities for women artists through exhibitions, panel discussions, retreats, and national conferences. Currently, I serve as president of Ceres Gallery, a feminist gallery in NYC, where I’ve organized numerous exhibitions and programs around women’s issues.

My latest project is an exhibition I curated with Stefany Benson and Elizabeth Downer Riker titled The War on Women, running at Ceres Gallery from October 1 to 26. We aimed to highlight women's loss of bodily agency before the upcoming election and remind people of what’s at stake for women's rights. Additionally, we are hosting an Action Fair on October 19, inviting people to take selfies and create videos with the artwork and our posters to share on social media and amplify these crucial voices.

Our sincerest thanks to Susan for taking the time to speak with us and explaining her incredible work and exhibitions that bring together art and activism. WAI will be covering The War on Women exhibition at the Ceres Gallery, running from October 1st to the 26th, as well as the interactive Action Fair on October 19th. We urge all who can to attend; the exhibition is not solely for art fans, but for anyone who feels anger and fear at the systemic, government-sanctioned violence against women.

Susan’s work is available for purchase on Artsy and at the Ceres Gallery, and you can view and learn more about her past collections below and on her website, susangrabel.com.