The Getty Research Institute has received a grant to digitize the archives of the historical Woman’s Building in Los Angeles.

The influential feminist art center was founded in 1973 by Judy Chicago, Sheila de Bretteville, and Arlene Raven. It gave women a space to experiment and learn, housing the first independent school for women artists.

Read more and hear from some of the artists involved in the project in this Hyperallergic feature.

Front-Page Femmes

Turner Prize-winning artist Lubaina Himid investigates how the prominent British newspaper The Guardian portrays black people.

Artsy calls attention to 7 Female Impressionists Every Art History Lover Should Know.

Lilian Rice, an important early 20th-century architect, is spotlighted in the New York Times’ Overlooked No More series.

Betty Tompkins has (literally) made her mark on art history by painting the apologies of #MeToo offenders onto images of famous artworks.

A proposed Judy Chicago museum in the artist’s hometown of Belen, New Mexico, has been vetoed due to dissent from some of the local religious community.

Daria Martin wins the 2018 Film London Jarman Award.

According to Frieze, although many historical female artists have recently gained recognition through an increase in temporary exhibitions, museums are failing to take steps toward achieving gender parity in their permanent collections.

American Theatre highlights 10 plays by women of color currently running Off-Broadway.

Hyperallergic profiles Tamara Pertamina, a multidisciplinary artist seeking to “reclaim Indonesia’s pre-colonial acceptance of non-binary genders.”

Apollo and Artsy come to differing conclusions in their reviews of Sarah Lucas’s current New Museum retrospective.

The Met is receiving intense criticism for including only one woman in its upcoming exhibition Play It Loud: Instruments of Rock & Roll.

Kelsey Wishik, who was a part of NMWA’s recent exhibition Heavy Metal, created a mural for the city of Hattiesburg, Mississippi.

Shows We Want to See

Now on view at the Museo Textil de Oaxaca in Mexico, Emilia Sandoval’s solo show Buscas Aún, Nos Buscas Lugar (You Are Searching Still, Searching for a Place for Us) explores themes of death and loss. The exhibition is made up of “ghostly echoes” fashioned from the belongings of Sandoval’s late mother, which serve to bring an otherworldly spirit to those objects normally dismissed as commonplace.

The Eternal Thread, Louise Bourgeois’s first major exhibition in China, is on view at the Long Museum in Shanghai. The show weaves together seven decades of the artist’s diverse body of work, highlighting her incredible ability to “investigate the power of materials…to connect the present and the past.”

Sara Cwynar’s first museum show, Image Model Muse, is at the Minneapolis Institute of Art. Cwynar’s work often deals with issues related to capitalism, prompting ARTnews to tout her as an artist who is “attuned to the rush of advertising and persuasion that now flows through screens and feeds.”