Urgent Museum Notice

Art Fix Friday: May 13, 2022

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.

Photographer Deana Lawson has won the 2022 Deutsche Börse prize, one of the most prestigious awards in photography, for her works that reframe and reclaim the Black experience.  

An older, dark-skinned woman sits on the end of a couch draped in red fabric. Her left hand reaches down to cup her calf, her right is positioned behind a young girl, who stands on the cushion next to her wearing a sparkly costume skirt, gold tube top, and a crown with beaded detail that obscures her face. The girl also holds a regal, antique mirror in her left hand. The room they are in has sparse, bright blue walls that are marked with stains and wear and a tiled floor.
Deana Lawson, An Ode to Yemaya, 2019; Courtesy of the artist, Sikkema Jenkins & Co., New York, and David Kordansky Gallery, Los Angeles

Anne-Marie Beckmann, director of the Deutsche Börse Photography Foundation said, “Interrogating the position of the black body in visual culture and playing with tropes such as family portraiture, artifice and nature, [Lawson] takes the personal and makes it political, forcing an often unsettling contemplation of how and what we see.”

Front-Page Femmes:

Barbara Kruger created the cover for the latest issue of New York magazine, which reimagines her iconic 1989 silk-screen portrait in support of abortion rights.

The New York Times details how Maria Alyokhina, founder of the punk band and performance art group Pussy Riot, recently fled Russia.

The National Portrait Gallery has announced a new, commissioned, in-person performance by artist Maren Hassinger, to premiere at the gallery on June 25.

Artnet profiles Chelsea Ryoko Wong, whose friendly paintings of everyday joys act as gestures of warmth and solidarity in our current times of division, violence, and unrest.

A colorful, illustrated painting shows a scene at a butcher shop, featuring a pink back wall with a row of bright, geometric tiles. A smiling man wearing a hat and apron reaches towards the bodies of three brown ducks hanging for sale, next to two turkeys. Below him, at a high counter painted in alternating stripes of yellow, blue, and white, are three customers: a smiling woman, an older smiling man, and a smiling elderly woman. The man holds a pink box wrapped in white string. The woman points up at one of the birds. The elderly woman faces away from them, seemingly walking out of frame.
Chelsea Ryoko Wong, After the Dentist with Dad, 2022. Photo by Glen Cheriton, Impart Photography; Courtesy of the artist and Jessica Silverman, San Francisco

Artnet looks at Margaret and Christine Wertheim’s expansive crochet coral reef project, currently on view at the Museum Frieder Burda in Germany, which was made in collaboration with nearly 5,000 locals.

The Guardian interviews Cornelia Parker ahead of her new exhibition, opening May 19, at Tate Britain.

Literary Hub examines how Sylvia Sleigh’s nude male portraits subverted the muse narrative.

Artsy profiles Tsedaye Makonnen, a participating artist in NMWA’s Reclamation project, whose work addresses reproductive healthcare inequities affecting Black women.

The Atlantic reviews Julie Phillips’s new book on “mother-artists,” including Alice Neel, Ursula K Le Guin, and Mierle Laderman Ukeles, as she attempts to answer the question, “What does a great artist who is also a mother look like?”

Women in Animation has announced the delegates for Stories x Women, a new program designed to boost the diversity of voices in animation around the world.

Shows We Want to See:

At the Yale Center for British Art in New Haven, Connecticut, Bridget Riley: Perceptual Abstraction is the largest survey of Riley’s work in the U.S. in 20 years. Assembling the artist’s most iconic paintings alongside rarely seen works, the exhibition traces the evolution of her deep engagement with the fundamentals of visual perception. On view through July 24, 2022.

A colorful, staged photograph features a light-skinned woman with long dark hair reclined on a luxurious day bed covered in textiles featuring patterns from the Arab world. Her head is propped up on two, yellow patterned silk pillows and she looks straight at the camera. Her skin is marked with black writing, unreadable at the distance the phot is taken. She is draped in colorful, patterned robe that is different from, but in the same color scheme of, the patterns behind her on the wall and those on the bed.
Lalla Essaydi, Harem Revisited #45, edition 3/15, 2013; Chromogenic print, 24 x 30 in.; Gift of Steven E. and Phyllis Gross, FIU 2021.13.4; © Lalla Essaydi, Courtesy of the artist and Edwynn Houk Gallery, New York

At Florida International University’s Frost Art Museum in Miami, Florida, Lalla Essaydi: Image and Text presents the museum’s collection of the artist’s staged photographs that deconstruct and reimagine stereotypes of Arab women. On view through August 7, 2022.

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