Vice has published never-before-seen photos of New York City’s 1977 Pride March by photographer Meryl Meisler.
Shortly after coming out, Meisler attended and shot the march, developed the film, and didn’t look at the images again for 42 years. The black-and-white photos depict the joy, creativity, and inclusivity of the event. Other works by Meisler are included in the New-York Historical Society’s current exhibition Letting Loose and Fighting Back: LGBTQ Nightlife Before and After Stonewall.
Buzzfeed rounds up 12 books by—and about—lesbian and bisexual women to read this Pride Month.
artnet profiles Helen Cammock, a social worker turned Turner Prize nominee who believes all art is political.
The San Francisco Museum of Modern Art recently deaccessioned a Mark Rothko painting for $50.1 million in an effort to diversify its collection; this week the museum announced the acquisition of works by 10 artists including Alma Thomas, Kay Sage, Leonora Carrington, Mickalene Thomas, and Rebecca Belmore.
Creative Time has named Natasha Logan its next deputy director; Logan succeeds Jean Cooney and most recently worked as director of programming at the organization.
A six-story mural by Amy Sherald has been completed in Philadelphia’s Center City; it depicts a local resident, 19-year-old Najee Spencer-Young.
Dazed interviews three Iranian women artists who are addressing their country’s complicated history of women’s rights in their work.
Vogue declares that the most exciting new menswear designers are…young women. This new generation of talent is “changing the sensibility of men’s fashion.”
Vox goes inside Felicity House, a New York social club for women with autism, which includes an art studio.
Animation filmmaker Suzan Pitt, who addressed women’s sexuality, depression, mortality, and miracles, has died at age 75.
ArtNews reviews Susan Te Kahurangi King’s drawings, currently on view in a major survey at Chicago’s Center for Intuitive and Outsider Art.
artnet profiles Jamian Juliano-Villani, “the jokester painter who appropriates, provokes, and doesn’t apologize.”
A recent exhibition in Paris featured photography by six female refugee artists from Afghanistan and Iran to highlight the subjugation of women.
Shows We Want to See
Life: Six Women Photographers opens today at the New-York Historical Society and features more than 70 images by the women who worked at Life magazine between the 1930s and 1970s—a time when female photojournalists were a rarity.
A major survey of Surrealist artist Dora Maar’s work is on view at Paris’s Centre Pompidou and will travel to the Tate Modern in London and the Getty Center in Los Angeles later this year and in 2020. The show presents more than 500 works and documents, liberating her from her lover Picasso’s shadow.
Liz Johnson Artur’s first solo show, Dusha, is on view through August 18 at the Brooklyn Museum. The exhibition showcases the Russian Ghanaian artist’s “Black Balloon Archive,” which is a “vibrant chronicle” of the global African diaspora.
At Hauser & Wirth in New York, Lorna Simpson. Darkening presents a suite of new large-scale glacial paintings that explore identity, gender, race, and history.