Art Fix Friday: January 6, 2023

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.

Artist Dorothy Iannone, known for her works about female pleasure, has died at age 89. Iannone, whose art is part of NMWA’s collection, worked in painting, drawing, collage, video, sculpture, and artist’s books. She blended the styles of Indian erotica, Japanese woodcuts, Byzantine mosaics, Egyptian frescoes, and American comic books to explore female sexuality, desire, power, and liberation.

A woman with a light skin tone, black hair, and thick, red glasses sits by a table next to a work of art. She leans towards the painting on the side of the table which depicts a man and a woman surrounded by hearts and writings.
Dorothy Iannone, 2002; Photo © Rolf Walter

Throughout her career Iannone experienced censorship due to the explicitness of her works. Institutional appreciation of her six decade career increased in the 2000s. In 2009 New York’s New Museum hosted her first solo show in the U.S.

Front-Page Femmes

The Guardian rounds up seven upcoming women-centered exhibitions in the U.S.—artists include Gio Swaby, Alma Thomas, Jaune Quick-to-See Smith, Sarah Sze, and more.

A new biography about artist Maria Lassnig explores her ambivalence toward marriage and motherhood and how she dealt with it through art.

Hyperallergic reviews Close Enough: New Perspectives from 12 Women Photographers at Magnum, currently on view at New York‘s International Center of Photography.

The New Yorker interviews Elizabeth Colomba, illustrator of the forthcoming graphic novel Queenie: Godmother of Harlem, which tells the story of Stephanie St. Clair, a Black female mob boss of the Harlem Renaissance.

ARTnews features women artists who have reimagined canonical artworks by men, including Linda Nochlin, Tirtzah Bassel, Sylvia Sleigh, and Mickalene Thomas.

Several people wearing extravagant dresses and costumes are standing in a room looking toward the viewer. A girl in the center of the painting is wearing a bright red dress and hood, holding a protractor in one hand, and holding another girl’s hand in the other. In the background, a female painter is holding a paint palette and brush and is painting the scene in front of her.
Tirtzah Bassel, La Menarquia (After Diego Velázquez); Oil on canvas, 84 x 72 in.; Photo by Barry Rosenthal

The Art Newspaper reviews Meret Oppenheim’s Mein Album/My Album, the first English translation of artist’s album From Childhood to 1943 and a previously unpublished autobiographical text.

The Guardian interviews Jenny Holzer, the recipient of this year’s Art Icon award from London’s Whitechapel Gallery. “I want my art to get better. That’s a sincere wish.“

Artnet dives into the Burns Halperin report, examining why women artists are still undervalued at auctions. They make up just 3.3% of all fine-art auction sales since 2008.

Artists including Deborah Kass, Bisa Butler, Jenny Holzer, and Laurie Simmons respond to the Burns Halperin report’s findings.

Painter Somaya Critchlow curates works by Lucian Freud, presenting the works of an older male master painter through the eyes of a young woman artist at the start of her career.

The New York Times interviews artists Lita Albuquerque and her daughters, Isabelle and Jasmine, whose works explores female-centered rituals and myths.

Hyperallergic reviews Helen Escobedo: Ambientes totales (Total Environments), recently on view at Mexico’s Contemporary Art Museum of Monterry.

Jenny Colgan remembers fellow writer Fay Weldon, author of The Life and Loves of a She-Devil (1983), who has died at age 91.

Shows We Want to See

At the Museum of Contemporary Art in Los Angeles, Simone Forti explores the monumental career of the artist. Featuring work from the 1960s through the present day, the exhibition is an homage to an artist who has reframed the dialogue between visual art and contemporary dance. On view through April 2.

A chain made out of oversized plastic daisies hangs from a ceiling before a white wall. The dark green and yellow of the daisies stand in stark contrast to the clinical white walls and concrete floor.
Kathleen Ryan, Daisy Chain, 2021; Courtesy of the artist and Karma, New York

The Aldrich Contemporary Art Museum in Ridgefield, Connecticut, presents Kathleen Ryan: Head and Heart, an exhibition of two monumental works, Daisy Chain (2021) and Pearls (2017). Ryan’s artworks range from body-size to larger-than-life sculptures that cite seventeenth-century vanitas paintings, Americana, kitsch, and Pop art. On view through May 14.

Related Posts