Urgent Museum Notice

Art Fix Friday: August 13, 2021

Blog Category:  Art Fix Friday
Hung Liu speaks to an audience about her paintings of Chinese women, which hang on the walls around her. Liu is a light-skinned adult woman with gray hair in a low ponytail, dressed in black with red jewelry and shoes. She stands, gesturing with one hand at a painting to her right.

Hung Liu (1948–2021), the groundbreaking Chinese American painter who centered women, immigrants, and the working class in her multilayered works, died on August 7 at age 73. Elevating the overlooked, Liu hoped “to wash my subjects of their ‘otherness’ and reveal them as dignified, even mythic figures on the grander scale of history painting,” the artist once stated.

A painting of a light skinned Chinese woman with dark brown hair sitting cross-legged on a stool gazing out at the viewer. The woman wears a light pink robe with coral flowers on the sleeves. She holds a gold fan with light pink flowers. Her hand rests on a square object with a rounded lid. On the left side of the painting a white and black crane with a red crown lifts its head to the sky.
Hung Liu, Untitled (from “Seven Poses” series), 2005; Digital print on paper, 14 x 14 in.; National Museum of Women in the Arts, Gift of the Greater Kansas City Area Committee of the National Museum of Women in the Arts; © Hung Liu

Liu’s distinctive painting style blended Western and Chinese artistic traditions. Often featuring multilayered brushstrokes and washes of linseed oil, her husband, critic Jeff Kelley, described Liu’s canvases as a kind of “weeping realism.” Liu’s paintings and prints were showcased in a solo exhibition at NMWA in 2018 and many of her works are in the museum’s collection. Her death comes ahead of her exhibition, Hung Liu: Portraits of Promised Lands, at the National Portrait Gallery in Washington, DC, which opens on August 27.  

Front-Page Femmes

Mónica Mayer, a pioneer of feminist art in Mexico, talks to Artforum about using satire to address gender-related issues and a new book of her collected writings.

Outside of the New York courthouse that presided over the bankruptcy proceedings of Purdue Pharma, activists and artists, including Nan Goldin, erected cardboard tombstones bearing the names of individuals who died from opioid-related overdoses and complications.

Artnet previews Marina Abramović’s upcoming installation, a London pop-up running September 10 through 12 that divulges the artist’s influences.

Yayoi Kusama’s iconic pumpkin sculpture on the Japanese island of Naoshima was dislodged during a typhoon. The sculpture has since been removed for restoration.

In a new 20-story mural, a monumental wildflower designed by artist Mona Caron blooms above the Jersey City skyline.

An aerial photograph of a city skyline on a clear day. The sun casts long shadows, suggesting that the photo was taken in the evening. Within the cityscape, one of the central buildings has a blackened facade over which is painted a wildflower with purple blooms, green leaves, and a long stem. The building towers over those that surround it.
Artist Mona Caron’s 20-foot high Jersey City, New Jersey, mural, commissioned as part of the Jersey City Mural Arts Program © Mona Caron

Painter Jadé Fadojutimi lands a spot on British Vogue’s 2021 list of 25 influential women. Since graduating from the Royal College of Art in London in 2017, Fadojutimi’s work has been displayed around the world.

Art in America profiles Shigeko Kubota ahead of her upcoming survey, opening August 21 at the Museum of Modern Art in New York.

The Art Newspaper’s podcast interviews emerging contemporary artist Alberta Whittle on her influences, which range from Hilma af Klint to poet Kamau Brathwaite.

Jennifer Packer “processes the horror of 2020 into elegiac mood studies,” writes Hyperallergic in a review of Packer’s show Every Shut Eye Ain’t Sleep.

Accessible arts programming has plummeted since pandemic restrictions loosened—particularly harming disabled people—explains journalist Brijana Prooker for the Observer.

Shows We Want to See

At Stanley’s, Los Angeles, New World Mall is Stephanie H. Shih’s homage to Asian diasporic cuisine. After asking her 20,000 social media followers what Western grocery items “felt” Asian to them, Shih produced 30 hand-painted, ceramic sculptures of those foods. Shih spoke to W magazine about the legacies of colonization in food, and the Los Angeles Times reviewed the exhibition. On view through September 3.

Six clay sculptures that look like grocery store products are arranged in a group. On the left, a can of condensed milk rests on top of a can of Spam. In the middle, a can of corned beef sits before a bottle of ketchup. On the right, a can of sweet corn is situated next to the ketchup bottle, while a package of Vienna sausages leans against the corned beef.
Stephanie Shih’s clay sculptures photographed by Myung J. Chun for the Los Angeles Times

At the Institute Library in New Haven, Connecticut, visual poet Monica Ong stages an astronomical exhibition. Unifying Chinese and Western constellation systems, Planetaria uses celestial imagery to explore motherhood, diaspora identity, and women in science. Hyperallergic reviewed the show. On view through September 8.

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