Last Sunday’s Emmy Awards celebrated female-driven stories. HBO’s Big Little Lies won multiple awards, as did Hulu’s The Handmaid’s Tale.

The New Yorker shares Emmy news

The Washington Post writes, “The winning drama series and limited series…focused on issues of women—rather than defaulting to the male point of view—as a vivid way to explore the human condition.” Julia Louis Dreyfus also won her sixth consecutive Emmy for her role in Veep.

Lena Waithe became the first black woman to win for comedy writing for Master of None. The Lily celebrates Waithe’s success and reflects on the black women previously nominated for Emmys.

Vulture and the New Yorker also discuss the triumph of women in television, while the Los Angeles Times points out that an imbalance remains. Only 18% of the 114 nominated writers were women and three of the 25 nominated directors were women.

Front-Page Femmes         

Gillian Wearing reveals her design for the likeness of suffragist Millicent Fawcett for London’s Parliament Square.

Murals by street artist Hyuro delve into social and political controversies.

The New Yorker shares Iris van Herpen’s designs

Dutch fashion designer Iris van Herpen draws inspiration from science for her “strangely gorgeous garments,” incorporating unusual materials and 3-D printing.

Recent studies suggest that women may become more creative after having kids.

In her documentary The Town I Live In, artist Guadalupe Rosales speaks out about gentrification in Boyle Heights.

New York-based artist and educator Imani Shanklin Roberts created a street mural inspired by South African artist Esther Mahlangu.

Nikon chose 32 male photographers to promote their new camera, claiming that no women photographers responded to the casting calls.

Actress Nadine Malouf plays an unnamed Syrian-American who tells stories of Syria’s civil war in Oh My Sweet Land.

London’s Frieze Art Fair will feature nine radical feminist artists whose work was considered too graphic during the 1970s and ’80s.

Amaka Osakwe has become West Africa’s most celebrated designer.

NPR interviews Danielle Allen about her memoir, centered on her cousin, who was sentenced to a long prison term for carjacking and was shot three years after his release.

Shows We Want to See

The Guardian highlights prints by Louise Bourgeois

MoMA showcases nearly 300 works by Louise Bourgeois, including 265 prints, to show the central role printmaking played in Bourgeois’s practice. The Guardian highlights several prints focusing on issues of patriarchy, sexuality, and womanhood.

Carolyn Case’s paintings in Homemade Tattoo involve abstraction through dots, lace, and mark-making.

The Pre-Vinylette Society at the Chicago Art Department contains a “vibrant display of over 60 women sign painters from nine countries around the world.”

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

Groundbreaking feminist writer Kate Millet passed away Wednesday at the age of 82.

The New York Times remembers Kate Millett

The New Yorker praises Millett’s work, particularly her publication Sexual Politics as a “thrilling and damning critique of the patriarchy and its structural effects.” Smithsonian Magazine and the New York Times reflect on Millett’s role in the second-wave feminist movement. The New Republic offers, “What we might take from Millett and her comrades is their bold, unapologetic utopianism.”

Front-Page Femmes

Agnès Varda will receive an Honorary Award from the Academy of Motion Picture Arts and Sciences this year.

Photographer Melanie Barboni, who is also an assistant researcher at UCLA’s Earth, Planetary and Space Science Program, takes photos of hummingbirds at a feeder outside her office window.

Hyperallergic features Ana Pellicer’s work

Hyperallergic explores Ana Pellicer’s series of “gigantic pieces of jewelry made for the Statue of Liberty” and a series of posthumous costumes for actress Nahuí Ollin.

Guadalupe Rosales brings images of her community to LACMA’s Instagram.

Sadie Barnette and Carrie Hott are the winners of Artadia’s San Francisco Awards.

The Guardian spotlights An Incomplete History of Protest

An Incomplete History of Protest, on view at the Whitney Museum of Art, features art from the 1940s to today, including work by the Guerrilla Girls, May Stevens, and Carol Summers.

The Hollywood Reporter spoke to artist Shirin Neshat in Venice about the importance of making space for women behind the camera.

The New York Times discusses the importance of statues and monuments dedicated to women. “Why does this matter? Because history is skewed. Because women have been rendered invisible and irrelevant for centuries.”

Atlas Obscura highlights the career of sculptor Caroline Shawk Brooks (1840–1913), also known as the “Butter Woman.”

Pop musician Wafia releases a new song about the Syrian refugee crisis.

Art in America interviews Philadelphia-based artist E. Jane (recording as alter ego Mhysa) about their art and music.

The Telegraph announces a new exhibition about Frida Kahlo’s wardrobe

Shows We Want to See

The Victoria and Albert Museum announced a 2018 fashion exhibition dedicated to Frida Kahlo’s wardrobe. The show will include items discovered in the Blue House in 2004, after its cupboards and storerooms were opened after 50 years of being sealed.

The Atlantic explores Carol Rama: Antibodies at the New Museum. “Rama used womanhood as a lens for investigating anything from cultural norms and desire to illness and hysteria.”

Sheila Pepe: Hot Mess Formalism, opening soon at the Phoenix Art Museum, examines how the artist plays with feminist and craft traditions to counter patriarchal notions of art making.

Guggenheim Bilbao’s Anni Albers: Touching Vision is an in-depth survey of the pioneering textile artist’s most important series between 1925 and the late 1970s.

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

A new analysis of 10,000 reviews in the New York Times Book Review shows that “two-thirds of reviewed books were written by men, and the reviewed books tended to reflect gender stereotypes.”

The Pacific Standard discusses gender bias in book reviews

“According to one analysis, women’s books that get reviewed tend to be fiction with themes of romance, gender, and family, whereas reviewed books by men tend to be non-fiction, focused on traditionally masculine topics like war and sports, or scholarly topics like science and economics.”

Front-Page Femmes

Lucy Lippard, Nancy Holt, and others reflect on Eva Hesse’s sculptures in an exclusive clip from the documentary Eva Hesse.

Women writers and editors won all 12 of the individual awards at the 2017 Hugo Awards ceremony.

Swiss artist Clio Newton creates towering portraits of women—solely with compressed charcoal.

Juxtapoz shares Zaria Forman’s work

Zaria Forman’s large-scale soft pastel drawings of glaciers in Antarctica raise awareness about the effects of climate change.

Karen Anderson creates miniature door installations under tunnels and nestled in public parks in Atlanta to “bring a bit of curiosity and wonder to the city’s inhabitants.”

Julie Taymor will helm a revival of M. Butterfly on Broadway.

Tate Modern published a multimedia collaboration between Solange Knowles Ferguson and artist Carlota Guerrero, titled Seventy States (2017).

NPR features Jesmyn Ward and her works discussing race and class and her experiences in Mississippi.

Tiffany Hsiung’s The Space We Hold is an interactive documentary on “comfort women.” The projects shares the stories of three women held in sexual slavery by the Japanese Imperial Army during World War II.

Roya Amigh uses “thread and configurations of the hybridized paper” to reveal how simple materials can transform into a story.

Renee Gladman’s collection of drawings in Prose Architectures “resemble not-quite-legible script, registering somewhere on the visual spectrum between image and language.”

NPR describes The Burning Girl as a “subversive commentary on the stories we tell about women and the ways those stories circumscribe our lives.”

Carrie Mae Weems, Wangechi Mutu, and other women artists create protest slogans.

The New York Times publishes a series of interviews in an article titled “Rock’s Not Dead, It’s Ruled By Women: The Round-Table Conversation.”

Shows We Want to See

The Los Angeles Times reviews Radical Women: Latin American Art, 1960-1985

“These were women dealing with power,” says the co-curator of the Hammer Museum’s Radical Women: Latin American Art, 1960-1985. “They are women fighting power.”

More than 50 women artists featured in Dreamers Awake in London “harness and expand upon the Surrealist legacy.” Apollo Magazine says, “Surrealism’s women found new forms of protest and expression in the reappropriation of symbols traditionally associated with male desire.”

Amie Siegel: Interiors, on view at Frye Art Museum in Seattle, presents video, photographic, and installation work.

Up/Rooted. Four Women Artists in Exile, on view at Museum der Moderne Salzburg, presents 200 works by four Jewish artists who had to rebuild their lives and careers after fleeing Germany during the World War.

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