The 2019 Women’s World Cup brought deserved attention to the talents of the world’s best female footballers, and it also shone a light on the many female photographers who cover the game.
Artist, poet, and filmmaker Himali Singh Soin has won the 2019 Frieze Artist Award and will create a new commissioned work for Frieze London this fall.
PEN America interviews Native American writers Elissa Washuta and Theresa Warburton, editors of the new anthology Shapes of Native Nonfiction: Collected Essays by Contemporary Writers.
Yayoi Kusama will take over the New York Botanical Garden with a massive exhibition opening in spring 2020 billed as “the first-ever exploration of the artist’s profound engagement with nature.”
The New York Times publishes an op-ed on the dominance of the white male critic—and how our conversations about culture have the same blind spots as our political discourse.
Faith Ringgold will design a new set of stained-glass windows for a Yale University common room; her work will replace panels that commemorated the life of John C. Calhoun, an influential champion of slavery and white supremacy.
The Washington Post reports on the new wave of female museum leaders and the impact their posts could have on the longstanding gender pay gap.
ARTnews has published the transcript of a conversation between Joan E. Biren, Lola Flash, and Tiona Nekkia McClodden, participants in the panel “Picturing Herstory: Queer Artists on Lesbian Visibility.”
The Guardian profiles painter Lucy Jones, whose “cerebral palsy makes painting a huge physical effort, yet her unflinching self-portraits could rival any Hockney.”
Hyperallergic reviews Cristina Camacho’s recent show /ˈvʌlvə/, featuring multilayered, woven canvases that are a “gesture to name what has been expropriated from women…what male-dominated language concealed from the world: vulva.”
The New York Times reports on the new wave of transgender opera singers who are upending preconceptions about voice and gender.
Shows We Want to See
At the Tate Modern in London, Nan Goldin’s The Ballad of Sexual Dependency is a visual diary portraying the life of the artist and her friends through the 1970s and 1980s. Goldin described her work as capturing “the struggle in relationships between intimacy and autonomy… and what makes coupling so difficult.”
The Mennello Museum of American Art in Orlando presents Immersion into Compounded Time and the Paintings of Firelei Báez, which explores the visibility and construction of complex cultural identities within the Afro-Caribbean Diaspora.
Suzanne Jackson: Five Decades, the first full-career survey of the artist, is on view at Telfair Museums in Savannah. The show includes 42 signature works made between 1959 and 2018, as well as ephemera spotlighting her connections to dance, theater and costume design, poetry, and social activism.