In 1966 the first retrospective exhibition of Lusk’s work took place at the Dunedin Public Art Gallery, and was well received. Half of the paintings on display were owned by public institutions, the most prominent of which were the Auckland City Art Gallery and the Hocken Library. The same year Lusk was appointed tutor in drawing at the University of Canterbury. As a teacher she encouraged and supported a subsequent generation of New Zealand artists.
Perhaps best remembered for her portrait paintings, Copeland had a particular interest in Māori subjects. In 1937 the Auckland Star art critic described her study of a girl, ‘Rita Hikiora’, as ‘one of the few portrait studies worthy of attention’ at the time. Another well-known work, ‘Marie’, was a delicate and sentimental portrait of a young Māori girl, who ‘looks tremulously out on life’.
Flora Landells was a leading Western Australian artist and art teacher. She made a substantial contribution to the artistic life of the nation as an exhibitor for some seventy years, as a teacher for over forty years, and, with her husband, as the pioneer in studio pottery in Western Australia.
Alma Woodsey Thomas was the first Black woman to have a show at the Whitney Museum of American Art. She was also the first Black woman to have work acquired by the White House.
Emily Kame Kngwarreye was a leading Indigenous Australian artist.
Cecilia May Gibbs was a leading painter, illustrator, cartoonist and author, usually known by her second name, May.
Yuskavage is part of a generation of conceptual, figurative painters that emerged in the 1990s. She is often compared with other so called “bad girl” painters who explore transgressive territory related to the human body including Jenny Saville, Cecily Brown, and Marlene Dumas.
Peyton has been credited with the revival of figurative painting in the 1990s.
Cecily Brown’s emergence as a female artist capable of challenging the gendered status quo not only of the art world but of what many regard as the hyper-masculinity of the Abstract Expressionist movement is perhaps her most lasting contribution.
Emin’s work as part of the Young British Artists movement placed her firmly within a key legacy that was to affect the development of art in Britain for years to come.