Art Fix Friday: February 17, 2017

Art by Anicka Yi “provokes intense desire; one wants to touch it and smell it,” writes the New York Times. The conceptual artist, whose work was on view in NO MAN’S LAND, employs science and scent and integrates unusual materials like tempura-fried flowers, or snails injected with oxytocin, in her works. As the award recipient of the 2016 Hugo Boss Prize, Yi will host a solo exhibition at the Guggenheim Museum in New York.

Another NMWA exhibitor, Women to Watch artist Rachel Sussman, fills cracks in the marble floor of the Des Moines Art Center with gold, similar to the Japanese ceramic repair practice kintsugi. NMWA book artist Kerry Miller assembles her mesmerizing cut parchment sculptures in a new video.

Front-Page Femmes

In a diary letter to Diego Rivera. Frida Kahlo wrote, “I’d like to paint you, but there are no colors, because there are so many, in my confusion, the tangible form of my great love.”

After an earthquake destroyed New Zealand’s Lyttelton Museum, artist Julia Holden revived the histories of 23 figures from the port town.

Judit Reigl, a 93-year-old painter, and Laetitia Badaut Haussmann, a 36-year-old photographer and sculptor, receive the inaugural AWARE art prize.

Madrid unveils plaques around the city to commemorate a lost generation of women writers, artists, scientists, and thinkers.

Art in America writes that the theatrical production The Town Hall Affair “reads as a warning about deadly masculinity.”

Artist Joan Linder makes panoramic drawings of toxic and radioactive sites in the U.S.

A new biography seeks to “unearth who exactly Louise Nevelson was in all her contradictory poses.”

In Identity Unknown: Rediscovering Seven American Women Artists, author Donna Seaman chronicles the lives of seven mostly forgotten artists.

Bustle features six women artists who confront anti-feminist statements to create empowering works of art.

Morgan Parker releases her second collection of poetry, There Are More Beautiful Things Than Beyoncé.

Ten female solo artists have collected the Album of the Year Grammy Award since 1990, compared to seven male solo artists.

Only 22.3 percent of the 206 songs in Billboard’s Top 40 list in 2016 were sung by women.

Finding Kukan, by Chinese-American filmmaker Robin Lung, pieces together the story of a lost Oscar-winning film.

Shows We Want to See

French architect Emmanuelle Moureaux creates an immersive installation of 60,000 rainbow-colored numbers.

NO MAN’S LAND artist Nina Chanel Abney opens her first museum show at Duke University’s Nasher Museum of Art.

Entangled: Threads and Making examines the idea of textiles as women’s work and highlights the influence of different generations of women artists.

Tracing the Remains, on view at the Mütter Museum of the College of Physicians of Philadelphia, explores the life and decay of the human body—through sculptural fiber art.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Opening Tomorrow: Border Crossing and New Ground

On Friday, February 17th, NMWA will open two exhibitions featuring women artists of the Southwest. In Border Crossing: Jami Porter Lara, Albuquerque-based artist Jami Porter Lara (b. 1969) uses a millennia-old process to make pottery resembling a ubiquitous icon of modern life—the plastic bottle. New Ground: The Southwest of Maria Martinez and Laura Gilpin explores the work of potter Maria Martinez (ca. 1887–1980) and photographer Laura Gilpin (1891–1979).

Jami Porter Lara, LDS-MHB-3SBR-0916CE-01, 2016; Pit-fired clay, 16 x 8 in. diameter; Courtesy Central Features Contemporary Art; Photo by Addison Doty

Jami Porter Lara, LDS-MHB-3SBR-0916CE-01, 2016; Pit-fired clay, 16 x 8 in. diameter; Courtesy Central Features Contemporary Art; Photo by Addison Doty

In Border Crossing, conceptual artist Jami Porter Lara explores connections between ideas that are typically set at odds: nature and artifice, art and trash, and past and present. Her works urge viewers to rethink these divisions by combining processes of the past with iconography of the present day. Her clay vessels, coil-built by hand, resemble the plastic bottle, an object that signifies recent human activity and material culture.

She takes inspiration from the remains of ancient pottery, which she has found scattered along the U.S.–Mexico border interspersed with the present-day detritus of migrants heading north. Porter Lara speaks of her work as a reverse archaeological process; she digs into issues of the present and the future by applying tools of the past. Using traditional methods to make contemporary vessels, Porter Lara recasts the throwaway plastic bottle and invites viewers to contemplate how time and place inform our interpretations of objects.

New Ground: The Southwest of Maria Martinez and Laura Gilpin presents a perspective on the Southwest contrary to dominant 19th- and 20th-century narratives, which typically cast the American West as a masculine place of staged romance or rugged conquest. Pueblo potter Maria Martinez and photographer Laura Gilpin brought the American Southwest into focus as a culturally rich region that fostered artistic expression.

Laura Gilpin, Upper End of Canyon de Chelly, Arizona, ca. 1960s; Gelatin silver print, 10 ¾ x 13 ¾ in.; Eugene B. Adkins Collection at Philbrook Museum of Art, Tulsa, and Fred Jones Jr. Museum of Art, University of Oklahoma, Norman; © 1979 Amon Carter Museum of American Art, Fort Worth, Texas

Laura Gilpin, Upper End of Canyon de Chelly, Arizona, ca. 1960s; Gelatin silver print, 10 ¾ x 13 ¾ in.; Eugene B. Adkins Collection at Philbrook Museum of Art, Tulsa, and Fred Jones Jr. Museum of Art, University of Oklahoma, Norman

New Ground pairs 26 ceramic pieces by Martinez with more than 40 vintage photographs by Gilpin, offering documentary and physical connections between the land, the people, and their art-making traditions.

Maria Martinez and Julian Martinez, Storage jar, ca. 1940; Polished blackware pottery with matte paint, 16 x 22 ¼ in. diameter; Philbrook Museum of Art, Gift of Clark Field

Maria Martinez and Julian Martinez, Storage jar, ca. 1940; Polished blackware pottery with matte paint, 16 x 22 ¼ in. diameter; Philbrook Museum of Art, Gift of Clark Field

Martinez’s strikingly modern-looking vessels grew out of ancient Pueblo artistic traditions, which she and her husband, Julian, revived. Gilpin, hailed during her lifetime as the “grand dame of American photography,” is best known for her documentary prints, which include aerial landscapes and intimate portraits.

Works on view in both exhibitions transcend conventional ideas about Southwestern art and explore the region as a place where modernity reckons with the past.

Visit the museum and explore Border Crossing and New Ground, both on view through May 14, 2017.

Art Fix Friday: February 10, 2017

In an article examining gender bias in the art world, the Guardian writes, “The imbalance is systemic, and exists not just in the enormous gaps that are evident in the collections of publicly funded institutions.”

Front-Page Femmes

The Creators Project shares photography from NMWA’s collection on view at Whitechapel Gallery in London for Terrains of the Body.

The Art of Beatrix Potter chronicles Potter’s evolution from a naturalist to an expert artist and wildly successful author of children’s books.

Ann Carrington arranges hundreds of spoons, knives, and forks to re-create elegant bouquets.

Art historian and critic Dore Ashton passed away at the age of 88. The New York Times, Wall Street Journal, and Hyperallergic reflect on her life and career.

Augusta Savage (1892–1962) used sculpting “as a vehicle for challenging racial discrimination.”

The Dia Art Foundation acquired six works by Anne Truitt.

Hyperallergic writes that Eleanore Mikus “seems to have thoroughly vanished” from art history texts.

In Radical Love: Female Lust women artists interpret ancient Arabic poetry through “visualizing desire and worship in a dizzying array of manifestations.”

British artist Tracey Emin is funding a four-year scholarship for a refugee student at Bard College Berlin.

Art in America features Nicole Macdonald’s Detroit murals.

The Museum of Modern Art joins the Art+Feminism Wikipedia Edit-a-Thon.

Kara Walker painted a monumental work, alluding to Emanuel Leutze’s Washington Crossing the Delaware (1851).

A new website features work by more than 400 women photojournalists from 67 countries. The site’s creator discusses the “very paternalistic thread that exists within the news photography community” as well as a “growing empathy gap.”

The Metropolitan Opera recently presented the second of only two operas composed by women in the venue’s history.

Maira Kalman narrates a morning workout at the Metropolitan Museum of Art.

The New York Times highlights the women working behind the scenes of Star Wars.

Margaret Atwood’s 1985 novel The Handmaid’s Tale tops Amazon’s bestseller lists.

Shows We Want to See

The Guardian shares highlights from an exhibition of Hannah Gluckstein, or “Gluck,” who was known for her “emotive, humanistic paintings.”

Yayoi Kusama: Infinity Mirrors will open at the Smithsonian’s Hirshhorn Museum and Sculpture Garden on February 23rd. The Huffington Post and The Wall Street Journal discuss the exhibition and Kusama’s successes.

IWM Contemporary: Mahwish Chishty, on view at The Imperial War Museum, combines military drone imagery with Pakistan’s folk art traditions.

Mierle Laderman Ukeles has been an artist in residence at New York City’s Department of Sanitation for the last 39 years. The Queens Museum hosts the artist’s first retrospective.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Pillar Perfect: Louise Nevelson and Anne Truitt

Visitors exploring NMWA’s third-floor galleries may find themselves near two similarly shaped sculptures. Artists Louise Nevelson (1899–1988) and Anne Truitt (1921–2004) worked within different art movements but employed a similar column structure in their sculptures. Viewers can compare and contrast elements of the artists’ respective styles. While both works are abstract, it is interesting to investigate the progression from Louise Nevelson’s 1959 Abstract Expressionist work White Column (from Dawn’s Wedding Feast) to Anne Truitt’s 1971 Minimalist take on the column in Summer Dryad.

Louise Nevelson, White Column (from Dawn’s Wedding Feast), 1959; Painted wood, 110 x 15 1/2 x 12 1/2 in.; Gift of an anonymous donor; © 2012 Estate of Louise Nevelson / Artists Rights Society (ARS), New York

Louise Nevelson, White Column (from Dawn’s Wedding Feast), 1959; Painted wood, 110 x 15 1/2 x 12 1/2 in.; Gift of an anonymous donor; © 2012 Estate of Louise Nevelson / Artists Rights Society (ARS), New York

Both artists’ works set them apart in primarily male-dominated art movements. Nevelson (b. 1899, Kiev) rose to prominence as an Abstract Expressionist sculptor whose works also included a strong Cubist element. Nevelson developed her signature style of large, monochromatic assemblages to rival the scale of the canvases that many male Abstract Expressionists painted.

As Nevelson began to gain recognition, she was deemed unworthy of the attention by one critic, who stated, “We learned the artist is a woman, in time to check our enthusiasm…otherwise we might have hailed these sculptural expressions as by surely a great figure among moderns.” Nevelson continued to develop her practice, and as the scale of her sculptures grew, so did the respect of critics.

In a response to Abstract Expressionism, the 1960s saw the rise of Minimalism. Abstraction was pushed further into flatness and non-representation. Truitt (b. 1921, Maryland) created her sculptures with the geometric simplicity that characterized Minimalism.

Truitt made the style her own and separated herself from male artists through her use of expressive titles. Unlike most Minimalists, Truitt’s titles reference some level of iconography in her work, but she denies any direct representation, unlike Nevelson’s abstracted wedding figures.

Anne Truitt, Summer Dryad, 1971; Acrylic on wood; 76 x 13 x 8 inches; National Museum of Women in the Arts, Gift of the Holladay Foundation; © Anne Truitt

Anne Truitt, Summer Dryad, 1971; Acrylic on wood; 76 x 13 x 8 in.; National Museum of Women in the Arts, Gift of the Holladay Foundation; © Anne Truitt

Color plays a key role in each artist’s process. Both Nevelson and Truitt use color to evoke emotion and draw in viewers. However, the artists employ different palettes. Truitt’s works contain bright hues while Nevelson chose to envelop her works in matte shades of white or black.

Before coating Dawn’s Wedding Feast in a serene white, Nevelson primarily worked with black paint to communicate a feeling of enormity. White Column was created as one many sculptures meant to immerse the visitor in a white “wedding” in her installation Dawn’s Wedding Feast, part of the Museum of Modern Art’s 1959 exhibition 16 Americans.

Truitt applies multiple layers of paint to her geometric sculptures, creating clean, smooth surfaces. While her works vary in color, Summer Dryad’s bright green hue calls to mind elements of nature in the warmer seasons.

Visit NMWA and see these sculptures in the museum’s newly reinstalled collection galleries!

—Meghan Masius is the winter/spring 2017 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: February 3, 2017

For the first day of Black History Month, Google celebrated 19th-century sculptor Edmonia Lewis with a doodle by artist Sophie Diao. Google writes, “Today, we celebrate her and what she stands for—self-expression through art, even in the face of adversity.

Diao depicted Lewis working on her iconic sculpture The Death of Cleopatra, which is now housed in the Smithsonian American Art Museum’s collection.

Front-Page Femmes

The Guardian explores Nan Goldin’s photograph Self-Portrait In Kimono With Brian from NMWA’s collection.

PAPER magazine highlights Kate Hush’s “towering creations made of neon.”

Deana Haggag, the former executive director of the Contemporary in Baltimore, was named the new President and CEO of United States Artists.

The Art Newspaper announces new works by emerging Saudi women artists at an arts festival in Jeddah.

The Art Newspaper reports, “The Uffizi Galleries in Florence will show more work by female artists.”

Hyperallergic explores crimson holograms by Louise Bourgeois.

The first exhibition of 17th-century artist Michaelina Wautier will be held at the Rubens House in Antwerp in 2018.

The New York Times explores the life and work of 17th-century naturalist artist Maria Sibylla Merian.

Lebanese artist Saloua Raouda Choucair, who was known for her abstract paintings and organically shaped sculptures, died at the age of 100.

Fresh Talk speaker Ann Hamilton’s latest photo-based project is an “experiment in interpersonal connections.”

Siobhan O’Loughlin’s one-woman performance in a stranger’s bathtub is “compelling theater and a cathartic group experience.”

Hyperallergic reviews Julia Gfrörer’s graphic novella about the Black Death, Laid Waste, and describes it as “Edward Gorey meets Chantal Akerman.”

Lucinda Childs is the recipient of the American Dance Festival’s award for lifetime achievement.

Artist Paulina Olowska and choreographer Katy Pyle create dances based on a series of prints depicting Slavic deities.

No women directors were nominated for the 2017 Academy Awards.

The Frame Blog discusses the role of women in picture framing in England since the 1620s.

Boston’s Museum of Fine Arts awarded Annette Lemieux its $10,000 Maud Morgan Prize.

Abigail Gray Swartz’s painting of Rosie the Riveter graces the cover of the New Yorker.

Madonna and Marilyn Minter discuss art and protest at a panel discussion at the Brooklyn Museum.

Shows We Want to See

First Ladies: Portraits by Michele Mattei, on view through February at Cross MacKenzie Gallery, features portraits of pioneering women, including Betye Saar, Louise Bourgeois, and NMWA founder Wilhelmina Cole Holladay. Mattei’s works were exhibited at NMWA in the 2012 exhibition Fabulous! Portraits by Michele Mattei.

Doris Salcedo: The Materiality of Mourning, on view at the Harvard Art Museums, examines “the indefinite, affective qualities of mourning.

Helen Johnson’s paintings “bring the crimes of Australia’s colonizers back to their place of origin.”

Uprise / Angry Women is an “exhibit of women in America today.”

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

5 Fast Facts: Colette Fu

Impress your friends with five fast facts about Colette Fu (b. 1965), whose work is on view in Wanderer/Wonderer: Pop-Ups by Colette Fu through February 26, 2017.

Colette Fu (b. 1965)

1. Game Plan

When Fu began her career, she perused bookstores for inspiration. Fu says, “Originally, I wanted to make something like the game of Life but with photos.” Next to a shelf of games at one store, she noticed a stack of Robert Sabuda’s detailed pop-up books. The discovery inspired Fu to engineer her own sculptural books.

2. The Inside Story

Fu taught herself pop-up techniques by deconstructing children’s pop-up books. Later, artist-in-residence programs gave her the opportunity to develop projects. In 2008 the artist received a Fulbright Fellowship to create the pop-up series “We are Tiger Dragon People,” depicting ethnic minorities of China’s Yunnan Province.

3. Mix and Match

Fu combines her photography skills with the precise paper engineering. Fu often combines up to 20 photos in her scenes. Through her use of mixed media and sculptural engineering, Fu achieves a unique collection of works.

4. Large and in Charge

During her six-month artist residency in Shanghai, Fu created China’s largest single spread pop-up book, measuring 8.2 x 16.4 x 5.6 feet. The artwork explored ethnic minority groups of China as an extension of her “We are Tiger Dragon People” series.

Installation view of Colette Fu’s Academy of Music, Imaginary Audience, from the series “Haunted Philadelphia,” on view in Wanderer/Wonderer; Photo: Emily Haight, NMWA

5. Phantom of the Opera

Academy of Music, Imaginary Audience, from the series “Haunted Philadelphia,” depicts America’s oldest grand opera house and centers on the theater’s infamous phantom that reportedly pulls theatregoers’ hair and pinches them. Fu’s “imaginary audience” references concerns about being watched by others.

Stop by the museum to see Wanderer/Wonderer: Pop-Ups by Colette Fuon view in the Teresa Lozano Long Gallery through February 26, 2017.

—Olivia Lussi was the fall 2016 education intern at the National Museum of Women in the Arts.

Art Fix Friday: January 20, 2017

Women artists made headlines this week through a series of projects responding to the Presidential Inauguration. The Nasty Women Art Exhibition, which was held at the Knockdown Center in Queens, New York, raised more than $42,000 in proceeds for Planned Parenthood. The Guardian and the Huffington Post explore how the exhibition came together. Mutual Art shares stories of the famous “nasty women” of art history and their pivotal works. Artemisia Gentileschi, Faith Ringgold, and Yoko Ono make the list.

Françoise Mouly, art director of The New Yorker, and her daughter, Nadja Spiegelman, received more than 1,000 submissions for RESIST!. The 40-page tabloid newspaper of comics and cartoons will be available around the country.

The We Make America group prepares for the Women’s Marches on Washington and New York by making signs, props, and banners to carry. War on Women, a self-described “feminist hardcore punk band,” inspires a series of protest postersArtist Coralina Meyer asks for contributions of used women’s underwear to make a quilt to fly at the Women’s March on Washington. Hyperallergic calls the project a “welcoming beacon for those hoping to air the nation’s dirty laundry.”

Front-Page Femmes

NO MAN’S LAND artist Jennifer Rubell created a five-foot-tall orange cookie jar resembling one of Hillary Clinton’s iconic pantsuits. The sculpture, Vessel, will be filled with cookies made using Clinton’s oatmeal chocolate chip cookie recipe.

Mickalene Thomas discusses her portraits of Michelle Obama and Solange Knowles.

In a tribute to President Obama, artist Emily Spivack opens the retail store “Medium White Tee”—a one-month installation at the Honolulu Museum of Art.

artnet shares a list of women artists whose works top the auction charts.

Hyperallergic says works by Elizabeth Murray “are so alive they leap off the wall.”

The Creators Project explores Pat Steir’s “Waterfall” series.

The documentary film Girl Power explores the lives of more than 25 women graffiti writers.

The Center for the Study of Women in Television and Film shows that only 7% of all directors working on the 250 highest-grossing domestic releases last year were women—2% less than the year before.

The New Yorker delves into Zadie Smith’s fifth novel, Swing Time.

Shows We Want to See

A focused exhibition featuring the work of American artist Barbara Kruger closes this Sunday at the National Gallery of Art in Washington, D.C.

Georgia O’Keeffe: Living Modern, opening March 3, 2017 at the Brooklyn Museum, will examine O’Keeffe’s “enduring influence.”

In advance of her retrospective, Lubaina Himid discusses how black British art evolved over the past three decades. Himid says, “I was trying to place black people into historical events, to make the invisible more visible.”

Terrains of the Body, on view at London’s Whitechapel Gallery, consists of photographs and a video work on loan from the National Museum of Women in the Arts. The Telegraphs calls the exhibition a “quiet, intelligent protest.”

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

5 Fast Facts: Kiki Smith

Impress your friends with five fast facts about Kiki Smith (b. 1954), whose work is on view in NMWA’s collection galleries.

Kiki Smith, Untitled (for David Wojnarowicz), 2000

Kiki Smith, Untitled (for David Wojnarowicz), 2000; Etching and engraving, with aquatint, spitbite, and sugarlift on Hahnemühle paper; National Museum of Women in the Arts, Gift of Steven Scott, Baltimore, in honor of the artist and her biographer, former NMWA Chief Curator Helaine Posner

Kiki Smith (b. 1954)

1. Spirited Away

Smith cites Catholicism’s focus on the human body as source material. “Catholicism is a body-fetishized religion. It’s always taking inanimate things and giving meaning to them.” Smith has based sculptures on Mary Magdalene and the Virgin Mary, but uprooted traditional expectations.

2. Proof is in the Print

Although she is best-known as a sculptor, Smith has also worked in printmaking since the late 1970s. The “endlessly fascinating” printmaking process allows Smith to examine proofs at various stages, offering the artist the flexibility to experiment and re-work an image until she is satisfied with the result.

3. Poetic License

Smith’s work on view at NMWA highlights her interest in the relationship between women and nature. She illustrated Sampler, a book of poetry by Emily Dickinson, and assembled the drawings into one hand-colored and gilded layout. Smith’s imagery was inspired by embroidered samplers from the 18th and 19th centuries.

A visitor studies Kiki Smith’s Sampler, 2007 on view in NMWA’s collection galleries

A visitor studies Kiki Smith’s Sampler (2007), on view in NMWA’s collection galleries

4. Life and Death

Smith lost her father in 1980 and her sister, Beatrice, to AIDS, in 1988. These deaths prompted Smith to explore themes of ephemerality and mortality. In this vein, she has created death masks in homage to her family and friends. She also cited Gray’s Anatomy as inspiration and studied cadavers.

5. Matter of Opinion

Friends fuel Smith’s creative process. She explains that “you get the benefit of everyone’s opinions and so it’s not just about you in your you-dom.” Welcoming other perspectives, Smith says, “I’d rather make something that’s very open-ended that can have a meaning to me, but then it also can have a meaning to somebody else.”

Art Fix Friday: January 13, 2017

As the Women’s March on Washington approaches, The Huffington Post highlights NMWA’s Free Community Weekend and special “Nasty Women” tour on Sunday, January 22nd.

ARTnews shares a list of museum statements, closures, and admissions policy changes for January 20th and the following weekend.

Artists Jayna Zweiman and Krista Suh organized the Pussy Hat Project for the Women’s March on Washington, offering free patterns to knit hats.

Out of more than 5,000 art submissions by women, the Amplifier Foundation selects the eight poster designs for the march. Five of the posters are available for free online.

Front-Page Femmes

The Tate plans to appoint Maria Balshaw as its first female director since the museum’s founding in 1897.

The Isabella Stewart Gardner Museum installs an enlarged version of a miniature painting titled I Need a Hero by Pakistani artist Ambreen Butt.

Brain Pickings examines Simone de Beauvoir’s perspective on the role of chance and choice in life.

Genevieve Gaignard “fearlessly examines America’s heart” through exploring different personas.

A crowdfunding campaign is underway to create a memorial for Fanny Cornforth’s unmarked grave. Cornforth was best known as one of Pre-Raphaelite painter Dante Gabriel Rossetti’s favorite models.

Juxtapoz features LaToya Ruby Frazier’s award-winning first book, The Notion of Family, exploring the economic decline of her hometown of Braddock, Pennsylvania.

Women Who Draw, a new website, showcases the work of women illustrators and allows the artists to highlight different aspects of their identity.

The Guardian shares ten books by “wild women” who transgressed social, personal, and literary boundaries, including works by Leonora Carrington, Margaret Cavendish, and Audre Lorde.

Daliyah Marie Arana, the four-year-old girl who has read more than 1,000 books, shadows Librarian of Congress Carla Hayden as “librarian for the day.”

Tracee Ellis Ross won a Golden Globe for her role in the television series Black-ish and dedicated her award to women of color.

La Medea, a new production by Brooklyn-based artist Yara Travieso, “combines dance, interactive theater, live music, film, and live broadcasting, creating a genre of art all its own.”

Artsy explores the importance of feminist art that transcends boundaries race, gender, and class.

Hyperallergic explores recent documentaries about well-known painters Elizabeth Murray and Carmen Herrera.

Shows We Want to See

The exhibition Room showcases 15 private, emotionally charged spaces created by women artists, including works by Nan Godin, Louise Bourgeois, and Francesca Woodman.

The Whitechapel Gallery commissioned the Guerrilla Girls to conduct a survey on gender and racial inequality in European art institutions. The resulting exhibition shows that little has changed since their 1986 campaign “It’s Even Worse in Europe.”

Hyperallergic reflects on Kara Walker’s “tumultuous charcoal drawings” featured in a recent exhibition at the Cleveland Museum of Art.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Art Fix Friday: January 6, 2017

Carmen Herrera, now 101 years old, discusses her career with the Guardian. Herrera recalls the obstacles she faced as a woman artist in the mid-20th century. She explains, “Because everything was controlled by men, not just art.”

Herrera famously sold her first painting at age 89. The Huffington Post discusses her solo show Lines of Sight at the Whitney Museum of American Art, on view through January 9, 2017.

Front-Page Femmes

The Women’s March on Washington, in collaboration with the Amplifier Foundation, asks for art submissions to be used on posters and banners during the march. The deadline is 2 p.m. on Sunday, January 8, 2017.

She Who Tells a Story artist Shirin Neshat describes her photograph Speechless from the series “Women of Allah.” Neshat says, “It’s usually printed larger than life—so that when someone stands in front of it, the gun is pointing straight at their stomach.”

Barbara Jatta is the first woman to direct the Vatican Museums.

The Guardian features vivid, abstract paintings by Sandra Blow.

Leila Abdelrazaq draws comics representing the experiences of Palestinian refugees and immigrants.

Wiebke Maurer sculpts place settings in gold and silver filigree.

Artsy highlights eight women who turned food into feminist art.

Bustle reviews the film Hidden Figures, based on Margot Shetterly’s book about the black women mathematicians who helped make space flight possible.

The New York Times interviews Ruth Negga about her leading role in the film Loving.

Alexis Arnold poses discarded books and covers them in borax crystals.

New York’s Second Avenue Subway features expansive public art installations by Sarah Sze and Jean Shin.

NPR remembers Debbie Reynolds and Carrie Fisher.

Beyoncé will be the first black woman to headline the music festival Coachella.

Actress Marlene Dietrich accumulated a massive collection of books and left handwritten notes in many of them.

NPR records Angel Olsen performing her song “Give It Up” in a church in the Bronx.

“Horror creeps into the most ordinary lines” in the novel Fever Dream by Argentinian author Samanta Schweblin.

In her new short story collection, Difficult Women, Roxanne Gay explores “stories of women who go to impossible places but are fighting to find their way back.”

Shows We Want to See

Nina Chanel Abney: Royal Flush, opening next month at the Nasher Museum of Art, features around 30 of Abney’s paintings. “Through her monumental paintings, Abney gives us the chance to have a meaningful conversation about issues of racial violence and social justice.”

The Creators Project interviews the co-directors of the crowd-sourced NASTY WOMEN Exhibition. The Huffington Post shares a small selection of the featured works submitted by 694 artists.

The Georgia Museum of Art features kinetic sculptures by New Orleans-based artist Lin Emery. “Executed in either polished or brushed aluminum, the sculptures take their cue from music, dance, and natural forms.”

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.