Art Fix Friday: April 24, 2020

Blog Category:  Art Fix Friday
A black-and-white photograph of a light-skinned adult woman holding a newspaper with news about World War II. She wears a coat and her short, curly hair is caught in the wind.

To commemorate the 50th anniversary of Earth Day, Jenny Holzer unveiled a new project that simultaneously addressees the COVID-19 pandemic and climate change. The artist’s gallery, Hauser & Wirth, sold 100 limited-edition prints of one of Holzer’s famous truisms, “ALL THINGS ARE DELICATELY INTERCONNECTED.”

A screenprint of the phrase “All things are delicately interconnected” drawn in thin cursive script. The script is white against a very pale blue background; both colors have a textured, threadbare quality. Loops, swashes and swirls from the ends of letters fill the print.
Jenny Holzer, delicately interconnected, 2020; © Jenny Holzer, Artists Rights Society (ARS), NY

Proceeds will go to the conservation group Art for Acres and the World Health Organization’s COVID-19 Solidarity Response Fund. Holzer said, “Artists are good at reflecting what’s around, and this is a time for reflection and reflecting if there ever was one.”

Front-Page Femmes

Judy Chicago, Jane Fonda, Hans Ulrich Obrist, and Swoon have launched Create Art For Eartha new project bolstered by NMWA and the Serpentine Galleries, a global effort to “flood the world with…images of healing, caring, repairing…to create a just and equitable world.”

Artnet publishes seven practical tips for engaging art lovers through social media, highlighting NMWA’s own #MuseumFromHome efforts.

The Observer profiles Mona Chalabi, whose data-driven illustrations are keeping people informed during COVID-19.

The Guardian reviews Fiona Apple’s “strange and exceptional” new album, Fetch the Bolt Cutters.

Ahead of Mother’s Day, Artnet rounds up depictions of mothers and children throughout art history, including works by Alice Neel, Elisabeth Louise Vigée-LeBrun, Amy Sherald, Carrie Mae Weems, and Mary Cassatt.

The New York Times profiles 10 women in jazz, including Valaida Snow, Lil Hardin Armstrong and Una Mae Carlisle, who never got their due.

Three black and white portraits of African American women jazz musicians. On the left, a woman is seated with her hands on her hips, wears a white halter top dress, and smiles at the camera. In the middle, a woman plays the piano surrounded by a jazz band. On the right, a woman sings into a recording studio microphone.
Valaida Snow, Lil Hardin Armstrong, and Una Mae Carlisle were three jazz instrumentalists who made a big impression in their day; Credit (left to right): Popperfoto/Getty Images; Gilles Petard/Redferns, via Getty Images; Afro Newspaper/Gado, via Getty Images

The New Yorker explores the “otherworldly women” in playwright Kathleen Collins’s works: “black women of a creative or intellectual bent…whose quotidian struggles with marriage, motherhood, and work take on cosmic proportions.”

Artnet interviews Miranda July, whose new film Kajillionaire will be released in June, about the creative obstacles and opportunities of quarantine.

Artforum interviews Petra Cortright on self-isolation, Zoom and FaceTime, and her early webcam works.

NPR profiles Katharina Fritsch, providing a virtual visit to her solo show at the Matthew Marks Gallery.

For the New Yorker, writer Rachel Cohen muses on what we miss without museums—and includes a nod to Berthe Morisot’s Woman in a Garden (1882–83).

The New York Times interviews writer Chimamanda Ngozi Adichie about what she reads while she works.

Shows We Want to See—Online Edition

Artnet provides a virtual look at Mira Lehr: High Water Mark, which was on view at the Mennello Museum of American Art in Orlando, Florida. As an eco-feminist artist from Miami whose career spans five decades, Lehr’s nature-based imagery encompasses painting, design, sculpture, and video installations.

Cloud-like motifs stretch across three vertical panels: a speckled dark blue pattern rises from the bottom, an organic gold pattern spans the middle, and a bleached pattern with red and burnt orange explodes at the top. Shapes of silhouetted birds mark the middle of each panel.
Mira Lehr, Creation, 2017; Courtesy of the artist

At the Gladstone Gallery, Guo Fengyi is now viewable online. The show focuses on a selection of the artist’s hyperdetailed and conceptually complex, large-scale scrolls. Created by employing a meditation system associated with tai chi, these works present an in-depth survey of the artist’s practice, which began during the latter portion of her life. Concurrent to this exhibition, The Drawing Center hosts Guo Fengyi: To See from a Distance.

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