Art Fix Friday: June 25, 2021

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.

On June 21, Yoko Ono, the Getty Research Institute, and the Feminist Center for Creative Work invited more than 50 museums around the world to livestream videos of the sky in celebration of the summer solstice and strawberry moon. The collaboration––called T.V. to See the Sky––was inspired by Ono’s Sky T.V. (1966), a T.V. that Ono set up in London’s Lisson Gallery to play a live video feed of the sky above the building.

A screenshot of nine rectangular video screens, each of which displays an image of the sky. Two skies are purple and stormy, two skies are gray and overcast, and five skies are blue and sunny with varied patterns of clouds.
T.V. to See the Sky, 2021; Screenshot by Elisa Wouk Almino for Hyperallergic

For Ono, the sky has long been a comforting presence. As the artist once stated, “Even when everything was falling apart around me, the sky was always there for me.” T.V. to See the Sky draws on “Ono’s invocation of the sky as a space of generative possibility and renewal as well as a territory beyond the reach of capital and ownership,” writes the Getty.

Front-Page Femmes

Cultural anthropologist Paulette Young shares anthropological and personal reflections on hair as she explores NMWA’s current Sonya Clark exhibition.

The Getty Museum purchased Adélaïde Labille-Guiard’s Portrait of Madame Charles Mitoire with Her Children (1783) for a record-setting $764,000 at Christie’s “Women in Art” auction, the house’s first-ever sale dedicated solely to women artists.

Angela Su will represent Hong Kong at the 2022 Venice Biennale, marking the first time a Hong Kong-based woman artist will have a solo presentation at the exhibition.

New York’s Morgan Library and Museum acquired the collages and drawings that Ashley Bryan made for Sail Away, her illustrated children’s book of Langston Hughes’s poems.

Hyperallergic traces the radical history of Gidra, a graphic political magazine created in 1969 by UCLA students Dinora Gil, Laura Ho, Tracy Okida, Colin Watanabe, and Mike Murase.

A newsprint magazine page with black-and-white photographs of Asian women arranged within the block outline of a large female glyph. A red male glyph is superimposed on one woman’s eye. At the bottom of the page, red block letters read “liberation,” with the cross of the female glyph forming the letter “T.” A logo at the top reads “GIDRA,” and type below that reads “Monthly of the Asian American Community.”
Liberation from Gidra Vol. III, No. 1, 1971; © Gidra; Courtesy the artist and Densho Digital Archives, Seattle

Art in America discusses artist Aya Brown’s COVID-19-era portrait series, which honors front-line workers without romanticizing their sacrifices.

The early ballerinas of the historic Dance Theatre of Harlem examine the legacies of Black dancers via the New York Times.

Artnet profiles Sarah Bahbah, the photographer whose practice involves DMing famous people and asking them to collaborate.

The Guardian reviews Use Hearing Protection, on view at the Science and Industry Museum in Manchester, England, and shines light on women who helped turn Factory Records, home to bands like Joy Division and New Order, into a recording powerhouse.

For the New York Times, 25 musicians discuss Joni Mitchell’s Blue on the occasion of the LP’s 50th anniversary.

Shows We Want to See

At Gavlak Gallery in Los Angeles, Some Sex, Lots Of Talking presents new and early works from feminist painter Betty Tompkins. Since the 1970s, Tompkins has used her work to interrogate the rules for representing women’s bodies––whether by creating nearly photorealistic representations of sexual intercourse or, more recently, by overlaying images of women’s bodies with testimonies from #MeToo. On view through August 14.

An installation photograph of abstract sculptures in a gallery. White, orange, and gray-toned wooden planks, metal offcuts, and industrial scrap are propped against the white gallery walls and lie on the concrete floor. Multi-colored orange, blue-green, and red tapestries hang on the walls and from the ceiling.
Installation view of Sarah Entwistle: The Knots of Tender Love Are Firmly Tied at Galerie Barbara Thumm, Berlin, Germany, 2021; Courtesy of HERO Gallery, Amsterdam, Etage Projects, Copenhagen, Signs and Symbols, New York, and Galerie Barbara Thumm, Berlin; Photo by Jens Ziehe

At Galerie Barbara Thumm in Berlin, artist Sarah Entwistle draws inspiration from the life of her late grandfather, a man described as “a manipulative figure whose numerous female lovers were drawn into often masochistic dynamics.” In The Knots of Tender Love Are Firmly Tied, Entwistle’s sculptures and assemblages reclaim women as erotic muses. On view through August 28.

Related Posts