Artsy publishes an article titled “Why Old Women Have Replaced Young Men as the Art World’s Darlings.”

Artsy discusses the increasing demand for work by older women artists

Demand for work by older women artists has risen in recent years. Artsy explores demand from collectors, sexism, and gaps in the art historical canon. In one example, Galerie Lelong’s president discusses the success of Etel Adnan, and says, “But she wasn’t discovered; the venue finally matched her achievements.”

Front-Page Femmes

Brightest Young Things calls Revival “dangerous, whip smart, and thought provoking.”

Hyperallergic examines three books by Surrealist artist Leonora Carrington.

Hyperallergic examines three books by Surrealist artist Leonora Carrington.

PBS News Hour recaps NMWA’s most recent Fresh Talk panel discussing the new superwomen of comics.

Juxtapoz interviews NMWA artist Amy Cutler.

“Born in 1799, Anna Atkins captured plants, shells and algae in ghostly wisps and ravishing blues,” writes the Guardian. “Why isn’t she famous?”

Patricia Phelps de Cisneros donates 119 works of colonial art to Latin American-focused museums.

Brigette Zeiger creates a series of “virtual and spatial 3D images.”

Photographer Zanele Muholi’s portraits deal with social justice, human rights, and contested representations of the black body.

Congresswoman Nydia M. Velázquez proposes the American Art Revival Act, which would offer loan forgiveness of up to $10,000 for arts students.

Artsy examines Katja Novitskova’s work

Katja Novitskova drastically enlarges images of bacteria for her sculptures in New York’s City Hall Park.

SaveArtSpace: The Future is Female will showcase work by women artists on advertising spaces across New York City.

Nasty Stitches explores how artists and curators use traditionally feminine craft forms to address feminist issues.

Ivana Bašić’s “unnerving” sculptures are inspired by Franz Kafka.

Mixed-media artist Sheba Chhachhi won the Prix Thun for Art and Ethics Award for her commitment to ecology and environmental issues.

NPR says Sofia Coppola’s new film, The Beguiled, “makes its watchers swoon.”

Shows We Want to See

Hyperallergic reviews Jenny Morgan’s exhibition

Jenny Morgan’s portraits, on view at the Museum of Contemporary Art Denver, explore the contradictory relationship between life and death.

Anicka Yi: Life Is Cheap contains three works as part of Yi’s 2016 Hugo Boss Prize, on view at the Guggenheim Museum.

Suspended Territories, on view at the Marta Herford Museum for Art, Architecture, Design, features work by women artists from the Arab world, Iran, and North Africa.

LACMA will showcase Sarah Charlesworth’s photographic meditations in Doubleworld, on view from August 20 to November 26, 2017.

NSFW: Female Gaze, a new exhibition at the Museum of Sex in New York, exhibits works by more than 20 women artists who tackle sexuality, desire, and the female gaze.

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

NPR calls the new Wonder Woman film “a triumph of scale.” The movie is the first superhero blockbuster to be both centered around and directed by a woman.

NPR reviews Wonder Woman

Director Patty Jenkins is only the second woman director to command a budget of more than $100 million. Slate writes that lead actress Gal Gadot “endows [the character of Wonder Woman] with a fierce compassion and burning moral clarity that renders all cries of ‘you go, girl’ superfluous.” The superhero origin story “cleverly combines genre elements into something reasonably fresh, touching, and fun,” writes the New York Times.

Front-Page Femmes

artnet includes NMWA’s exhibition Revival as one of their 10 exhibitions to see around the world this summer.

A study from CUNY Guttman College finds that 80.5% of all artists represented at the top 45 New York galleries during the 2016-17 season were white. The statistics also show that only 30% of the represented artists were women.

The Huffington Post discusses Zaha Hadid’s career

On May 31, a Google Doodle celebrated the late architect Zaha Hadid.

Nouf Semari reflects on her experience as one of three women artists from Saudi Arabia who received artist residencies in New York City through the Majlis Studio Residency program.

Samantha Bittman weaves complex textiles on a loom and paints selected portions of their surfaces, revealing new patterns.

Neak Sophal’s series of photographic portraits creatively plays with stereotypes of Cambodian women.

Alice Guy-Blaché (1873–1968) is recognized as the first woman filmmaker, but her career “remains unsung in the history of cinema.”

ARTnews shares Marie Cosindas’s obituary

Marie Cosindas, an early pioneer of color photography, died at the age of 93.

An exhibition in the U.K. features the detailed drawings of Susan Te Kahurangi King, an artist who stopped speaking at the age of four.

Actress and writer Zoe Lister-Jones hired an all-female crew for her indie comedy, Band Aid.

Jessica Chastain described the depiction of women on screen at this year’s Cannes Film Festival “disturbing.”

NPR remembers Gwendolyn Brooks, the first African American to be awarded a Pulitzer Prize, on the 100th anniversary of her birth.

The New Yorker writes that Arundhati Roy’s The Ministry of Utmost Happiness “is a book that people have been waiting 20 years for.”

Shows We Want to See

Hyperallergic highlights The Future Is Female

The Future Is Female, on view at 21C Museum and Hotel in Louisville, Kentucky, “[envisions] a female future that involves understanding the intersection of gender with all aspects of daily life, and womanhood as a multifaceted entity.”

Designer Judith Leiber’s whimsical, bejeweled handbags are the subject of an exhibition at the Museum of Art and Design.

The Washington Post describes Susan Middleton’s photographs of marine invertebrates in Spineless at the National Academy of Sciences “color studies, experiments in form and depth, and mini sci-fi movies all in one.”

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

Hyperallergic’s illustrated guide to Linda Nochlin’s 1971 essay

Hyperallergic publishes an illustrated guide to Linda Nochlin’s influential 1971 ARTnews essay, “Why Have There Been No Great Women Artists?”

One of the first major works of feminist art history, the essay suggests that “the feminist art historian should pick apart, analyze, and question the social and institutional structures that underpin artistic production, the art world, and art history.”

Front-Page Femmes

NYLON includes Revival in their list of 13 art exhibitions to see this summer.

The ArtCurious podcast shares NMWA’s #5WomenArtists social media campaign and discusses five artists who have been left out of the art historical canon.

Shirin Neshat conveys her identity as an Iranian woman in America through her film Roja.

Multimedia artist Paula Crown creates an installation with 150 ceramic Solo cups.

Hyperallergic examines Deborah Butterfield’s sculptures

Deborah Butterfield’s horse sculptures look like driftwood, although are actually cast in bronze.

The New Yorker discusses Leonora Carrington’s status within Surrealist circles. “The tendency for women artists to be overshadowed by their male partners is, sadly, a recurring one, and for women involved in the Surrealist circle, the situation was even more fraught.”

Women Photograph is an online database promoting 400 women photojournalists from 67 countries.

Artsy celebrates designer Florence Knoll Bassett on her 100th birthday.

Harmonia Rosales reimagined Michelangelo’s The Creation of Adam with women of color.

Anna Atkins Photographs of British Algae Cyanotype Impressions. Purchased with the support of BankGiro Lottery, the W. Cordia Family/Rijksmuseum Fund and the Paul Huf Fund/Rijksmuseum Fund.

The Rijksmuseum in Amsterdam acquired a handwritten botanical book illustrated with photographic images by the first woman photographer, Anna Atkins (1799–1871).

Laurie Anderson creates a new, virtual-reality work in a 10,000-square-foot studio at Mass MoCA.

“When I came to [New York City] I felt like my newly forming ego and sense of self was just torn to shreds,” says Kara Walker in an art21 interview.

The Guardian calls Ariel Levy’s memoir The Rules Do Not Apply “so stark and succinct it can be read in one afternoon, and Levy’s honesty is blistering.”

Star Wars screenwriter Gloria Katz discusses her experiences as a woman screenwriter in the male-dominated movie industry of the 1960s and ’70s.

Laleh Khadivi discusses her new novel A Good Country.

Rowan Hisayo Buchanan’s debut novel Harmless Like You tells two interconnected stories of a teenage girl in the 1960s who dreams of becoming an artist, and her son in present day traveling to find his absent mother.

Letters to a Young Artist by Anna Deavere Smith explores the paradox of procrastination.

Shows We Want to See

Shantell Martin at Albright-Knox Art Gallery

Shantell Martin’s work, on view at Albright-Knox Art Gallery, uses black ink lines on white surfaces to transform walls and found objects into a visual narrative.

Looking South: Photographs by Eudora Welty, on view at the North Carolina Museum of Art, contains 18 iconic images by the novelist and short story writer from the 1930s and early ’40s.

Lu Yang: Delusional Mandala, on view at MOCA Cleveland, explores links between aesthetics, coding, and bioart.

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