Art Fix Friday: April 21, 2017

Polish sculptor and fiber artist Magdalena Abakanowicz passed away today at the age of 86. Abakanowicz was best known for her monumental woven forms referred to as “Abakans.”

The New York Times delves into the beginning of the artist’s career, her life during World War II, and her most memorable works. Her work 4 Seated Figures (2002) in NMWA’s collection blends her personal memories with her broader vision of a modern world shaped by war and political upheaval. In her description of the figures, Abakanowicz said, “They are naked, exposed, and vulnerable, just as we all are.”

Front-Page Femmes

University of New Mexico College of Fine Arts interviewed Border Crossing artist Jami Porter Lara.

The Atlantic explores the incentives and funding for women in STEM. The article asks, “Has the push toward STEM inadvertently stymied women in the arts and humanities?”

Kara Walker discusses working in the public eye, her oeuvre, and persisting issues surrounding racism.

Carolee Schneemann recieves the 57th Venice Biennale’s Golden Lion for Lifetime Achievement award.

Keltie Ferris covered herself in oil and pigment and repeatedly imprinted her body on paper.

Judith F. Baca’s mural The History of California presents history from the perspectives of the state’s underrepresented residents.

Allie Wist’s fictional photo essay features a dinner party menu at a time when climate change has altered diets.

More than 6,500 women artists are featured in new or expanded Wikipedia pages after the Art + Feminism Edit-a-Thons last month.

Ivette Cabrera explores the discrepancies in the ways society views and portrays women.

Broad Strokes: 15 Women Who Made Art and Made History (in That Order) celebrates women artists who have previously been omitted from art history texts.

Sharon Lockhart collaborated with teen girls from Poland in translating youth-focused newspapers produced by orphans between 1926 and 1939.

Diane Arbus’s early works depicting city life in the mid-1950s through early 1960s capture youth and entertainment through the eyes of a spectator.

American soprano and Shenson performer Nadine Sierra won the prestigious 2017 Richard Tucker Award, which comes with a cash prize of $50,000 and a gala concert.

Shows We Want to See

Hyperallergic writes that the exhibition Marisa Merz: The Sky Is a Great Space is “as captivating and shrewd as the artist’s tiny scarpetta.” artnet explores one of Merz’s works on view at Met Breur, Bea, made in honor of Merz’s eight-year-old daughter Beatrice.

The inaugural exhibition at the Institute of Arab and Islamic Art features work by Dana Awartani, Monir Shahroudy Farmanfarmaian, Zarina Hashmi, and Nasreen Mohamedi.

Making Space: Women Artists and Postwar Abstraction at MoMA offers an alternate history of abstraction through work by women artists, including Alma Thomas, Lee Krasner, Anni Albers, Agnes Martin, and Joan Mitchell.

Liz Nurenberg’s exhibition encourages audiences to directly interact with her work, creating a tactile experience that allows the imagination to take over.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Art Fix Friday: April 14, 2017

The Guardian reports that artist Gillian Wearing will be first woman to create a statue for London’s Parliament Square. Wearing will create a monument of suffragist Millicent Fawcett.

“Millicent Fawcett was an incredible woman and by honoring her in Parliament Square I believe she will continue to inspire generations to come,” said Wearing.

Front-Page Femmes

Hyperallergic reviews Border Crossing and applauds Jami Porter Lara’s ability to transform the idea of the water bottle into something culturally significant and deeply symbolic.

This year, for the first time Pulitzer Prize for Music’s 74-year history, all three finalists were women.

Malika Favre’s animated cover illustration for The New Yorker sparked a challenge for women surgeons to replicate the image in real life.

Artsy celebrates ten women Bauhaus members as the school’s 100th anniversary approaches.

“I’m interested in the experiential quality of a large painting,” says Mary Weatherford. “Gigantic paintings that one can relate to with one’s body rather than with one’s eyes or mind.”

“As an artist [Anicka Yi] is distinguished by sculpting in scents,” writes Cultured Magazine.

Ekin Onat’s project for the Venice Biennale sensationally exposes police brutality and political revolt in Turkey.

Tracey Emin helped the U.K.’s National Portrait Gallery purchase her 2002 “death mask.”

Sarah Lucas plans weekend events with titles including “One Thousand Eggs” and “Bunny Action Painting.”

The Washington Post explores how many Bollywood films tackle gender inequality and women’s experiences, but only few do so in women’s voices.

Artist Rachel Owens spent months casting different parts of the Alley Pond Giant, the oldest living organism in New York City.

Shannon May Mackenzie’s documentary Rotatio shows the artist processing her rape through a work she created and destroyed.

The Hello Girls: America’s First Women Soldiers details what was asked of women during World War I.

Hyperallergic discusses the remarkable films of Anne Marie Miéville.

Dinner with Georgia O’Keeffe: Recipes, Art, and Landscape gives readers new insight into the famed artist’s world and a chance to see the ways in which O’Keeffe connected food and art.

Shows We Want to See

In her first solo exhibition in the U.S., conceptual artist Martine Syms will immerse MoMA visitors in her works, which explore notions of blackness, feminism, queer theory, and language.

Power, a group show of 37 African American female artists at Sprüth Magers in Los Angeles, unites generations of artists across mediums through their stories and subject matter.

A retrospective of Alice Neel’s work at David Zwirner Gallery reveals the artist’s ability to portray the depth and humanity of each of her subjects.

Hans Ulrich Obrist reveals the late Maria Lassnig’s fascination with mythology and antiquity in a new exhibition of never-before-shown watercolors.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Art Fix Friday: March 31, 2017

For the last week of Women’s History Month, museums and arts organization shared content for NMWA’s #5WomenArtists campaign with renewed vigor.

Many institutions, including the Phillips Collection, the Jewish Museum, Des Moines Art Center, the Barrick Museum, and Albright-Knox Art Gallery featured women artists through blog posts. The Halsey Institute of Contemporary Art at the College of Charleston even hosted a discussion with five local South Carolina-based artists.

PBS News Hour shared the #5WomenArtists challenge. Museum professionals Melissa Mohr and Claire Kovacs started a half-hour Gallery Gap podcast focusing on underrepresented populations in art institutions around the world, including a discussion of #5WomenArtists.

Front-Page Femmes

Smithsonian Magazine delves into the life and career of French sculptor Camille Claudel and the new museum in France dedicated to her influence as an artist.

Zoe Buckman’s exhibition Imprison Her Soft Hand challenges the ways that society views and treats women’s bodies.

Olfactory artist Anicka Yi says her heightened sense of smell “comes from a will and desire to develop my perception.”

Leonora Carrington’s cousin recounts her meetings with the artist during the last years of Carrington’s life.

Artist Kenyatta A.C. Hinkle drew 100 drawings “un-portraits,” which evoke black women who have gone missing.

Vogue interviews Lynette Yiadom-Boakye.

Scarlett Hooft Graafland travels to remote locations and creates photographs “full of droll humor and surrealist flourishes.”

Tate Modern’s Switch House features a new installation by 83-year-old Japanese fog-sculptor Fujiko Nakaya.

Arleene Correa discusses her art school experience as an undocumented immigrant, and the effect her immigration status has on her work.

Indonesia-based watercolor artist Elicia Edijanto depicts children and wildlife against black watercolor backdrops.

In her illustrious of women immersed almost completely underwater, Spanish artist Sonia Alins creates “a haunting tension.”

Zehra Doğan has been sentenced to two years and ten months in prison for her painting depicting Turkish flags on buildings destroyed in a military attack.

Designer Helga Dögg reflects on the gender imbalance in Iceland’s graphic design industry.

#ThanksForTyping started a conversation online about the uncredited women in academia.

Artsy charts the progress of the Art+Feminism initiative over the last few years.

NPR interviews Chicago-based illustrator Emil Ferris about first graphic novel, My Favorite Thing Is Monsters.

Shows We Want to See

We Wanted a Revolution: Black Radical Women, 1965–85 will open at the Brooklyn Museum on April 21. The exhibition examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism.

Through “warping the perceived roles and aesthetics of everyday objects, Jes Fan makes space for marginalized identities and conversations,” writes Hyperallergic. No Clearance in the Niche is on view at the Museum of Arts and Design through April 30.

Lynn Hershman Leeson’s work in performance, new media, and film from the last 50 years gains recognition in shows around the country.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Art Fix Friday: March 24, 2017

The Association of Art Museum Directors (AAMD) released the Gender Gap Report 2017, revealing some incremental improvements since the 2013 survey, as well as persisting inequities.

For example, the report found that “less than half of directorships at art museums were held by women, and that their salaries were lower, especially at the largest museums.” There has been slight improvement, in that women at larger museums, previously earning 70 cents to the male dollar, now earn 75.

Front-Page Femmes

Inspired by NMWA’s #5WomenArtists campaign, the Huffington Post discusses the gender gap with women artists working in various creative fields.

New York Magazine’s The Cut asks women in the arts about which artists have had the greatest impact on their lives. Read part one and part two.

Artsy features eight women art historians who have played an important role in the field.

Lalla Essaydi appropriates the imagery and style of Orientalist painters to break stereotypes.

Rachel Sussman’s Cosmic Microwave Mandala “required two weeks to create—and seconds to destroy.”

Sculptor Dineo Seshee Bopape received the 2017 Future Generation Art Prize.

Hyperallergic writes that “reduce, reuse, recycle” is a “fitting motto” for Agnès Varda’s work.

Girl Power Meetups and NMWA’s series of Fresh Talks provide space and opportunities for women to share their projects and feel empowered.

Tatyana Fazlalizadeh asks followers to expand on her anti-street harassment series “Stop Telling Women to Smile.”

Tracey Moffatt says, “My work is often based on fact or personal family history but it never stays there.”

The Center for Women’s History opens to the public in New York City on April 29.

Dana Schutz’s painting Open Casket causes controversy at the 2017 Whitney Biennial.

Abigail Reynolds traveled to 16 locations along the Silk Road to document sites of libraries, which have since been destroyed or abandoned over the centuries.

The Guardian shares Camille Claudel’s poignant sculptures.

A 25-year-long project involving Sophie Calle will invite Green-Wood cemetery visitors to write down their confessions, knowing that every few years the secrets will be cremated.

Poet Adjua Greaves makes impromptu revisions as part of her performance process.

Comedian Negin Farsad performs “social justice comedy.”

Choreographer Trisha Brown died at the age of 80.

Khadijah Queen’s new collection of poems gathers her firsthand accounts of run-ins with male celebrities.

Bustle shares nine recently published books by Latinx authors.

Shows We Want to See

Works by Colombian artist Adriana Martínez, on display at the Museum of Contemporary Art Detroit, deal with topical issues including “information trading, garbage, globalization, and the end of the world.”

The Baltimore Museum of Art showcases five sculptural towers by Anne Truitt.

Dorothea Lange: Politics of Seeing, on view at the Oakland Museum of California, features about 100 photographs by Lange, including vintage prints and proof sheets.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Art Fix Friday: March 10, 2017

International Women’s Day and #ADayWithoutAWoman made headlines in the art world this week. In advance of March 8, sculptor Kristen Visbal’s Fearless Girl was placed in front of the Wall Street Bull to call on the financial industry to include more women in leadership positions.

Several outlets, including the Art Newspaper and the Art League, discussed NMWA’s #5WomenArtists social media campaign on International Women’s Day. Apollo magazine cites the campaign and asks, “Are things looking up for women in the arts?The Huffington Post also commemorated the day by publishing a list of 201 women artists to know.

On March 8, a Google Doodle featured 13 pioneering women. Actress Emma Watson hid feminist books at statues of iconic women in New York City and a Cleveland bookstore celebrated by turning every fiction book written by a man backward on its shelf.

Front-Page Femmes

NMWA Director Susan Fisher Sterling discusses the “Old Mistresses” of art history.

NMWA Library and Research Center Director Sarah Osborne Bender discusses this weekend’s Wikipedia Edit-a-thon.

Hyperallergic raves about Jordan Kasey’s “compellingly odd paintings” of thick figures and mysterious light.

Conceptual artist Sophie Calle is on the shortlist for the 2017 Deutsche Börse photography prize.

Amy Jorgensen creates cyanotype prints of British suffragists on vintage handkerchiefs.

Turkish painter and journalist Zehra Dogan was sentenced to two years and ten months in prison for her painting depicting the destruction of the city of Nusaybin.

Chimamanda Ngozi Adichie discusses conflicting opinions about feminism today and her new book.

The children’s book Good Night Stories for Rebel Girls shares stories about 100 inspirational women from across the globe.

Paula Rego’s son creates “a brutally honest BBC film” about Rego’s depression and “the self-portraits she made to survive.”

Artsy features 16 women excelling in the design world, including NMWA artist Sonya Clark, and Fresh Talk speaker Liz Ogbu.

artnet shares 14 exhibitions around the country featuring women artists.

Bustle reflects on Viola Davis’s speech about the power of acting.

IMDB adds an “F” classification to highlight films by or about women, following three criteria.

Known as the “grandmother of the French New Wave,” 88-year-old artist Agnès Varda discusses her career.

Shows We Want to See

Mari Katayama: On the Way Home is on view at the Museum of Modern Art in Gunma, Japan. Japanese artist Mari Katayama, who was born with tibial hemimelia, uses her body in her dazzling work.

Gillian Wearing imagines herself as a 70-year-old in a new series of images unveiled as part of the exhibition Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask.

Lynn Hershman Leeson’s retrospective Civic Radar, on view at Yerba Buena Center for the Arts, explores identity, surveillance, and culture through female personas.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Art Fix Friday: March 3, 2017

The National Museum of Women in the Arts launched the second year of the #5WomenArtists social media campaign, which asks the question, “Can you name five women artists?” More than 2,000 people have shared the challenge in the last three days, using the hashtag in more than 4,000 tweets and more than 700 Instagram posts. The Huffington Post and USA Today also reported on the campaign. Keep sharing the stories of women artists using #5WomenArtists!

Front-Page Femmes

Washington City Paper writes that Jami Porter Lara’s works are “beautifully made and give viewers the surreal feeling that they are looking at something new, yet also familiar.”

New media artist Lorna Mills says, “Everything I do has the smell of digital wafting into the air around it.”

The Camille Claudel Museum, dedicated to recognizing the talent of the 19th-century sculptor, will open in France on March 26.

Twelve-year-old Gwendolyn McNamara won Doodle 4 Google’s contest for her climate-conscious drawing.

The New York Times publishes an article titled “Why the Met Should Appoint a Female Director.”

The Washington Post shares portraits of celebrities in the 1920s that launched photographer Berenice Abbott’s career.

Jennifer Bolande’s billboards advertise surrounding California landscapes.

Hyperallergic writes, “It’s so refreshing to visit an art fair dominated by women artists.”

London-based collector Valeria Napoleone discusses the importance of acquiring works by women artists.

A pumpkin sculpture by Japanese artist Yayoi Kusama was damaged by an art fan who fell over while taking a photo.

French graphic designer and photographer Marilyn Mugot photographs city streets in China illuminated by neon.

“I think landscape is as much about what you don’t see as what you do see,” says Teresita Fernández.

Artist and curator Ingrid LaFleur is running in the upcoming Detroit mayoral race.

Zadie Smith reads “Crazy They Call Me” aloud for the New Yorker.

Nina McNeely’s choreography is “animated by a tension between agency and constraint.”

Charlotte Sleigh’s book The Paper Zoo explores 500 years of scientific animal illustration from the British Library.

Bridget Quinn’s book Broad Strokes: 15 Women Who Made Art and History (in That Order) contains illustrations of iconic women artists by Lisa Congdon.

Shows We Want to See

Georgia O’Keeffe: Living Modern at the Brooklyn Museum features more than 60 items of the iconic artist’s wardrobe, including dozens of garments she made herself.

Liz Glynn installed 26 cast concrete sculptures in New York’s Central Park. The exhibition, Open House, portrays an “open-air ruin,” based on a now-demolished Fifth Avenue ballroom.

Fascinated by boundaries, Diana Al-Hadid questions use of space with her incredible room-sized sculptures in Liquid City, on view at the San Jose Museum of Art.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Art Fix Friday: February 24, 2017

Yayoi Kusama: Infinity Mirrors, on view at Smithsonian’s Hirshhorn Museum and Sculpture Garden, dominated art news headlines this week. Featuring 70 years of the iconic Japanese artist’s work, the Infinity Rooms “delight as much as they disorient,” writes Hyperallergic. The museum also created a virtual reality simulation of the exhibition to make it accessible to all visitors.

The Huffington Post calls the exhibition “majestic” and describes Kusama as “an artist whose grasp of the world is profoundly prophetic.” Juxtapoz interviews Hirshhorn Assistant Curator Mika Yoshitake. The Washington Post publishes an interview with Kusama and ARTnews shares a 1959 review from the artist’s first New York solo show.

Front-Page Femmes

The Huffington Post features black women artists whose contributions to art history have been overlooked.

Artsy includes Border Crossing artist Jami Porter Lara in their list of 20 artists who are shaping the future of ceramics.

Deborah Kass discusses her accomplishments and the importance of representing Jewish culture in the art world.

Zoë Buckman and Natalie Frank created a “painful, yet necessary” mural titled We Hold These Truths To Be Self-Evident, incorporating statements politicians have made about women.

Sara Ouhaddou chronicles her journey across the U.S. in search of a symbol that is significant to both Arab and American cultures.

Hyperallergic interviews curator Jamillah James about her background, recent projects, and new role as head curator at the Institute of Contemporary Art, Los Angeles.

Emil Ferris’s debut graphic novel My Favorite Thing Is Monsters draws on her own childhood and on the experiences of Holocaust survivors.

Naima J. Keith was awarded the David C. Driskell Prize for her major contribution to African American art history.

Painter Beverly Fishman’s abstract works address technology and the pharmaceutical industry.

NPR interviews Argentine writer Mariana Enriquez about her new collection of stories, Things We Lost in the Fire.

BBC asks, “Is it still a man’s world behind the camera?

Women in the World reports that the number of women film protagonists reached an all-time high in 2016.

Shows We Want to See

artnet highlights Dutch designer Iris van Herpen’s 2008 dress Refinery Smoke, on view in her solo exhibition at the Carnegie Museum of Art.

Senga Nengudi: Improvisational Gestures, on view at the Contemporary Arts Center New Orleans, displays sculptures made of everyday materials—such as pantyhose and sand—that are stretched and twisted to occupy space.

Five decades’ worth of Alice Neel’s paintings and drawings of people of color are on view in an exhibition at David Zwirner gallery.

Paste spotlights three of the nine Australian Aboriginal women artists whose works are featured in Marking the Infinite.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Art Fix Friday: February 17, 2017

Art by Anicka Yi “provokes intense desire; one wants to touch it and smell it,” writes the New York Times. The conceptual artist, whose work was on view in NO MAN’S LAND, employs science and scent and integrates unusual materials like tempura-fried flowers, or snails injected with oxytocin, in her works. As the award recipient of the 2016 Hugo Boss Prize, Yi will host a solo exhibition at the Guggenheim Museum in New York.

Another NMWA exhibitor, Women to Watch artist Rachel Sussman, fills cracks in the marble floor of the Des Moines Art Center with gold, similar to the Japanese ceramic repair practice kintsugi. NMWA book artist Kerry Miller assembles her mesmerizing cut parchment sculptures in a new video.

Front-Page Femmes

In a diary letter to Diego Rivera. Frida Kahlo wrote, “I’d like to paint you, but there are no colors, because there are so many, in my confusion, the tangible form of my great love.”

After an earthquake destroyed New Zealand’s Lyttelton Museum, artist Julia Holden revived the histories of 23 figures from the port town.

Judit Reigl, a 93-year-old painter, and Laetitia Badaut Haussmann, a 36-year-old photographer and sculptor, receive the inaugural AWARE art prize.

Madrid unveils plaques around the city to commemorate a lost generation of women writers, artists, scientists, and thinkers.

Art in America writes that the theatrical production The Town Hall Affair “reads as a warning about deadly masculinity.”

Artist Joan Linder makes panoramic drawings of toxic and radioactive sites in the U.S.

A new biography seeks to “unearth who exactly Louise Nevelson was in all her contradictory poses.”

In Identity Unknown: Rediscovering Seven American Women Artists, author Donna Seaman chronicles the lives of seven mostly forgotten artists.

Bustle features six women artists who confront anti-feminist statements to create empowering works of art.

Morgan Parker releases her second collection of poetry, There Are More Beautiful Things Than Beyoncé.

Ten female solo artists have collected the Album of the Year Grammy Award since 1990, compared to seven male solo artists.

Only 22.3 percent of the 206 songs in Billboard’s Top 40 list in 2016 were sung by women.

Finding Kukan, by Chinese-American filmmaker Robin Lung, pieces together the story of a lost Oscar-winning film.

Shows We Want to See

French architect Emmanuelle Moureaux creates an immersive installation of 60,000 rainbow-colored numbers.

NO MAN’S LAND artist Nina Chanel Abney opens her first museum show at Duke University’s Nasher Museum of Art.

Entangled: Threads and Making examines the idea of textiles as women’s work and highlights the influence of different generations of women artists.

Tracing the Remains, on view at the Mütter Museum of the College of Physicians of Philadelphia, explores the life and decay of the human body—through sculptural fiber art.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Art Fix Friday: February 10, 2017

In an article examining gender bias in the art world, the Guardian writes, “The imbalance is systemic, and exists not just in the enormous gaps that are evident in the collections of publicly funded institutions.”

Front-Page Femmes

The Creators Project shares photography from NMWA’s collection on view at Whitechapel Gallery in London for Terrains of the Body.

The Art of Beatrix Potter chronicles Potter’s evolution from a naturalist to an expert artist and wildly successful author of children’s books.

Ann Carrington arranges hundreds of spoons, knives, and forks to re-create elegant bouquets.

Art historian and critic Dore Ashton passed away at the age of 88. The New York Times, Wall Street Journal, and Hyperallergic reflect on her life and career.

Augusta Savage (1892–1962) used sculpting “as a vehicle for challenging racial discrimination.”

The Dia Art Foundation acquired six works by Anne Truitt.

Hyperallergic writes that Eleanore Mikus “seems to have thoroughly vanished” from art history texts.

In Radical Love: Female Lust women artists interpret ancient Arabic poetry through “visualizing desire and worship in a dizzying array of manifestations.”

British artist Tracey Emin is funding a four-year scholarship for a refugee student at Bard College Berlin.

Art in America features Nicole Macdonald’s Detroit murals.

The Museum of Modern Art joins the Art+Feminism Wikipedia Edit-a-Thon.

Kara Walker painted a monumental work, alluding to Emanuel Leutze’s Washington Crossing the Delaware (1851).

A new website features work by more than 400 women photojournalists from 67 countries. The site’s creator discusses the “very paternalistic thread that exists within the news photography community” as well as a “growing empathy gap.”

The Metropolitan Opera recently presented the second of only two operas composed by women in the venue’s history.

Maira Kalman narrates a morning workout at the Metropolitan Museum of Art.

The New York Times highlights the women working behind the scenes of Star Wars.

Margaret Atwood’s 1985 novel The Handmaid’s Tale tops Amazon’s bestseller lists.

Shows We Want to See

The Guardian shares highlights from an exhibition of Hannah Gluckstein, or “Gluck,” who was known for her “emotive, humanistic paintings.”

Yayoi Kusama: Infinity Mirrors will open at the Smithsonian’s Hirshhorn Museum and Sculpture Garden on February 23rd. The Huffington Post and The Wall Street Journal discuss the exhibition and Kusama’s successes.

IWM Contemporary: Mahwish Chishty, on view at The Imperial War Museum, combines military drone imagery with Pakistan’s folk art traditions.

Mierle Laderman Ukeles has been an artist in residence at New York City’s Department of Sanitation for the last 39 years. The Queens Museum hosts the artist’s first retrospective.

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.

Art Fix Friday: February 3, 2017

For the first day of Black History Month, Google celebrated 19th-century sculptor Edmonia Lewis with a doodle by artist Sophie Diao. Google writes, “Today, we celebrate her and what she stands for—self-expression through art, even in the face of adversity.

Diao depicted Lewis working on her iconic sculpture The Death of Cleopatra, which is now housed in the Smithsonian American Art Museum’s collection.

Front-Page Femmes

The Guardian explores Nan Goldin’s photograph Self-Portrait In Kimono With Brian from NMWA’s collection.

PAPER magazine highlights Kate Hush’s “towering creations made of neon.”

Deana Haggag, the former executive director of the Contemporary in Baltimore, was named the new President and CEO of United States Artists.

The Art Newspaper announces new works by emerging Saudi women artists at an arts festival in Jeddah.

The Art Newspaper reports, “The Uffizi Galleries in Florence will show more work by female artists.”

Hyperallergic explores crimson holograms by Louise Bourgeois.

The first exhibition of 17th-century artist Michaelina Wautier will be held at the Rubens House in Antwerp in 2018.

The New York Times explores the life and work of 17th-century naturalist artist Maria Sibylla Merian.

Lebanese artist Saloua Raouda Choucair, who was known for her abstract paintings and organically shaped sculptures, died at the age of 100.

Fresh Talk speaker Ann Hamilton’s latest photo-based project is an “experiment in interpersonal connections.”

Siobhan O’Loughlin’s one-woman performance in a stranger’s bathtub is “compelling theater and a cathartic group experience.”

Hyperallergic reviews Julia Gfrörer’s graphic novella about the Black Death, Laid Waste, and describes it as “Edward Gorey meets Chantal Akerman.”

Lucinda Childs is the recipient of the American Dance Festival’s award for lifetime achievement.

Artist Paulina Olowska and choreographer Katy Pyle create dances based on a series of prints depicting Slavic deities.

No women directors were nominated for the 2017 Academy Awards.

The Frame Blog discusses the role of women in picture framing in England since the 1620s.

Boston’s Museum of Fine Arts awarded Annette Lemieux its $10,000 Maud Morgan Prize.

Abigail Gray Swartz’s painting of Rosie the Riveter graces the cover of the New Yorker.

Madonna and Marilyn Minter discuss art and protest at a panel discussion at the Brooklyn Museum.

Shows We Want to See

First Ladies: Portraits by Michele Mattei, on view through February at Cross MacKenzie Gallery, features portraits of pioneering women, including Betye Saar, Louise Bourgeois, and NMWA founder Wilhelmina Cole Holladay. Mattei’s works were exhibited at NMWA in the 2012 exhibition Fabulous! Portraits by Michele Mattei.

Doris Salcedo: The Materiality of Mourning, on view at the Harvard Art Museums, examines “the indefinite, affective qualities of mourning.

Helen Johnson’s paintings “bring the crimes of Australia’s colonizers back to their place of origin.”

Uprise / Angry Women is an “exhibit of women in America today.”

—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.