Art Fix Friday: November 17, 2017

Reports of women speaking out publicly about harassment and assault are gaining traction in the news.

The Washington Post and the Guardian discuss NMWA’s latest exhibition El Tendedero/The Clothesline Project—a collaborative installation by artist Mónica Mayer designed to spark conversation about women’s experiences with harassment and violence.

Following recent reports of sexual harassment in the art world, Artsy interviewed women who came up in the art world in the ’60s, ’70s, and ’80s—including artist Betty Tompkins—about their experiences with sexism and harassment over the course of their careers. Artist Natalie Frank wrote an ARTnews article titled “For Women Artists, the Art World Can Be a Minefield.”

NPR interviewed Tippi Hedren, Melanie Griffith, and Dakota Johnson—three generations of actresses—about their experiences with harassment in Hollywood.

“This recent calling out of sexual assault has been a long time coming,” says comedian Sarah Silverman in a monologue for her Hulu show. “It’s good. . . . it’s complicated and it is gonna hurt, but it’s necessary and we’ll all be healthier for it.”

Front-Page Femmes

Three women were among the 2017 National Book Award winners, including Jesmyn Ward, Masha Gessen, and Robin Benway. Ward is the first woman to ever receive the award twice.

Kerstin Brätsch wins the Munch Museum’s Edvard Munch Art Award.

Emily Kame Kngwarreye’s painting Earth’s Creation 1 broke its own auction record, selling for $2.1 million.

Art Basel Miami Beach will include an all-woman art fair, titled “Fair.

Painter Jordan Casteel reflects on the complex dynamic between herself and her subjects.

Dominique Fung’s paintings have a “magical, slick glazed feel.”

Kelly Reemtsen paints images of anonymous women in thick impasto, juxtaposing high fashion with construction equipment.

Carrie Mae Weems will present a gathering of artists and activists to examine histories of violence and how they have impacted American society.

art21 explores Tala Madani’s sketchbooks.

The Art for Justice Fund, founded by Agnes Gund, hopes to reduce prison populations by 20% over the next five years.

NPR interviews actress Greta Gerwig about her directorial debut, Lady Bird.

Khadijah Queen’s latest book of poetry is “an investigation of celebrity culture and toxic masculinity that moves at a lyrical sprint.”

A new biography of Paula Modersohn-Becker “sparkles with details of Becker’s close friendships and artistic training.”

Shows We Want to See

Sable Elyse Smith’s solo exhibition at the Queens Museum, Ordinary Violence, is “marked by her father’s 19-year incarceration—the majority of her life—which has left an indelible absence.”

Del Kathryn Barton’s exhibition The Highway is a Disco explores themes of childhood, womanhood, and nature.

Nan Goldin: Family History, on view at the Portland Museum of Art, “offers audiences a kaleidoscopic narrative of the breadth of the human experience.”

Dana Awartani uses mathematical principles and traditional Islamic patterning in her works on view at the Museum of Contemporary Art Detroit.

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

Art Fix Friday: November 3, 2017

Art historian Linda Nochlin passed away at the age of 86. ARTnews remembers her pivotal role in developing the field of feminist art history, beginning with her 1971 landmark essay, “Why Have There Been No Great Women Artists?”

Hyperallergic says Nochlin’s essay “triggered a nuclear chain reaction that reconfigured not just the art world, but seemingly all areas of culture.” Jerry Saltz writes, “[Nochlin] looked at the institution of art history and demonstrated how it was intellectually, semiotically, and psychoanalytically corrupt. And she blew it down.”

The Los Angeles Times reflects on Nochlin’s work, saying, “Art…doesn’t exist in a vacuum. It exists within the power structures of society—structures dominated by men.” Artsy shares the perspectives and memories of Nochlin’s students.

Front-Page Femmes

The Washington Post writes that NMWA’s latest exhibition, Magnetic Fields,confronts two false assumptions embedded in the art world.”

The New York Times reports, “Laurie Anderson, Cindy Sherman, Lynn Nottage, and hundreds of other artists, writers, curators, and directors have signed an open letter condemning the publisher of Artforum, Knight Landesman, and pledging to fight against sexism and sexual harassment in the art world.”

The Cut interviews La Monnaie de Paris Director Camile Morineau about the exhibition Women House, opening at NMWA next March.

“Gray makes the paintings work. But it’s also a way for me to subversively comment about race without feeling as though I’m excluding the viewer,” says NMWA artist Amy Sherald about her large gray-scale portraits.

The New York Times Style Magazine spotlights feminist artists making provocative art about sex, including Carolee Schneemann, Betty Tompkins, and Juanita McNeely—among others.

The Studio Museum awarded sculptor and installation artist Simone Leigh this year’s $50,000 Joyce Alexander Wein Artist Prize.

The Hatchet features a video from NMWA’s recent Makers Mart.

Barbara Kruger’s installation Untitled (Skate) offers a cutting critique of consumerism and capitalism.

Natasha Caruana uses VR technology to invite viewers to watch her ailing mother’s daily activities.

The Guardian explores the history of Frida Kahlo as a feminist, icon, and style muse.

Beyoncé will voice Nala in Disney’s remake of The Lion King.

Shows We Want to See

Artist Judith Bernstein opens up about her new exhibition Cabinet of Horrors, on view at The Drawing Center. Bernstein discusses the juxtaposition of humor and critique in her work.

Design Week explores a new exhibition at the London Transport Museum shows the graphics and prints of women designers who have been “criminally neglected.”

Fired Up: Contemporary Glass by Women Artists, on display at the Toledo Museum of Art in Ohio, “documents almost six decades of dedication shown by women starting from the Studio Glass Movement of the 1960s to 21st-century innovations.”

Her Paris: Women Artists in the Age of Impressionism, on view at the Denver Art Museum, features 80 paintings from 1850–1900 by 37 women artists who came from Europe and America to build their careers in the Paris art community.

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

Art Fix Friday: October 27, 2017

The National Museum of Women in the Arts welcomed 465 artists to the museum on Wednesday, October 25 for a historic group photo.

Now Be Here #4, DC/MD/VA; Photo by Kim Johnson; Courtesy of Kim Schoenstadt, Linn Meyers and the National Museum of Women in the Arts, Washington, D.C.

Conceived by Kim Schoenstadt in collaboration with Linn Meyers, Now Be Here #4 alerts the public to the number of women artists in their community. The Washington Post, Washington City Paper, and WAMU 88.5 featured the story.

Front-Page Femmes

“It was the prevailing attitude in the 1960s that women had no history,” says Judy ChicagoARTnews features Judy Chicago’s Pussies, on view at Jessica Silverman Gallery in San Francisco. Dazed Digital interviews Chicago, W magazine explores The Dinner Party, and Art Slant highlights the artist’s exhibitions this year.

Ursula Johnson, a performance and installation artist of Mi’kmaw First Nation ancestry, is the winner of Canada’s prestigious Sobey Award.

The New Yorker explores radical paintings by Laura Owens.

Photographic Treatment by Laurence Aëgerter encourages dementia patients to make their own connections by pairing unrelated images.

To streamline the flow of visitors, Yayoi Kusama decided to limit standing time to 30 seconds in her latest exhibition, Yayoi Kusama: Infinity Mirrors.

Hyperallergic explores the impact graffiti had on the paintings Elizabeth Murray made during the 1980s.

Mexican textile artist Victoria Villasana employs whimsical embroidery on vintage photographs of artists, musicians, and politicians.

Lotte Geeven hopes to recreate the sound of shifting desert sands with circular drums and rotating blades.

Dutch designer Hella Jongerius created a kaleidoscopic and immersive installation titled Breathing Colour.

Cleopatra Coleman reads Heather Burtman’s essay about life before the male gaze in NPR’s Modern Love podcast.

Annie Clark, better known as St. Vincent, “challenges long-held conventions around female queerness and glam rock” in her new album.

Choreographer Julia K. Gleich and visual artist Elana Herzog present the premier of their new collaborative project, a full-length ballet titled Martha (The Searchers).

NPR interviews comedian Zahra Noorbakhsh about performing live during a rise in anti-Muslim hate crimes.

The Whitney Museum of American Art recently acquired Florine Stehttheimer’s painting New York–Liberty (1919).

Lauren Gunderson, at 35, has had more than 20 works produced, and is currently the most produced playwright in the U.S.

Shows We Want to See

Nigerian-born artist Toyin Ojih Odutola’s exhibition To Wander Determined presents a corrective to a Eurocentric art history.

Misty Keasler explored and photographed 13 haunted houses across the U.S., on view in the exhibition Haunt at the Modern Art Museum of Fort Worth.

Works on view in Ana Mendieta: Thinking About Children’s Thinking, showcase Mendieta’s “misuse” of children’s activities as conceptual art. On view at Sugar Hill Children’s Museum of Art & Storytelling, the exhibition attempts to “re-orient people’s minds about what is possible when we privilege the perspective of children.”

The Guardian explores the first major U.K. retrospective of Finnish artist Tove Jansson.

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

Art Fix Friday: October 20, 2017

artnet reviews NMWA’s latest exhibition, Magnetic Fields: Expanding American Abstraction, 1960s to Today, highlighting abstract art by black women artists.

“The show’s most satisfying achievement is the duty it does in bringing representatives of several older generations of exiles in from the cold,” writes artnet. “We need to clear up the noise of art-historical stereotypes so that we can perceive the actual voices of these figures—their actual, individual passions and concerns—more clearly.”

Front-Page Femmes

Amy Sherald has been selected to paint Michelle Obama’s official portrait for Smithsonian’s National Portrait Gallery. “Representation matters a great deal, especially in times like these,” says Sherald.

NO MAN’S LAND artist Hayv Kahraman discusses her work, violence, and the male gaze.

“Dead Feminists” series creators Jessica Spring and Chandler O’Leary release a new broadside based on Frida Kahlo.

Artsy shares findings the 2017 Culture Track Report, the seventh iteration of the national tracking survey of cultural audiences. The report found that 51% of respondents viewed a night of “food and drink” to be a cultural experience, but 37% did not think art museums were a cultural experience.

Sarah Meyohas transformed 100,000 rose petals into a critique of big data. “Yes, roses are a super symbol of love and beauty, but they are also a big business product,” says Meyohas.

“I felt like I needed to do it myself because I just couldn’t see it getting done,” says actress and playwright Danai Gurira about her desire to tell the stories of black women on stage and on screen.

Lego’s “Women of NASA” set features four essential women who made space science history.

Mikiko Hara’s photographs of everyday life on the streets of Tokyo evoke an “unusually poignant feeling.”

Artsy highlights transgender and genderqueer artists who are reversing those so-called “soft” stereotypes of queerness.

Hyperallergic profiles Kazuko Miyamoto, one of the founding members of A.I.R. (Artists in Resistance), the first all-woman artist collective in New York.

Artsy shares six lesser-known facts about photographer Dorothea Lange.

A Google doodle celebrates Mexican-American singer and icon Selena Quintanilla.

Where the Past Begins by Amy Tan shares the artist’s deeply personal reflections about her traumatic childhood, family history, and creative struggles.

Mexican author Valeria Luiselli chronicles her experience interpreting for child refugees in Tell Me How It Ends: An Essay in Forty Questions.

Shows We Want to See

Heather Hart’s The Oracle of Lacuna, on display at Storm King Art Center, creates a physical space to celebrate and contemplate often overlooked oral histories.

After Jaye Schlesinger donated, recycled, and sold the majority of her belongings, she painted the remaining 380 items. Possession, on view at the University of Michigan’s Institute for the Humanities Common Room, highlights the complicated relationship between consumption and purging in America.

Lin Tianmiao’s installation at Galerie Lelong invites visitors to walk over dozens of antique carpets embroidered with more than 2,000 phrases used to describe women—ranging from obscure sexual slang to terms of endearment.

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

Art Fix Friday: October 13, 2017

The MacArthur Foundation announced the 24 recipients of the 2017 “Genius Grants.” The list includes playwright Annie Baker, painter Njideka Akunyili Crosby, journalist Nikole Hannah-Jones, singer-songwriter Rhiannon Giddens, landscape architect Kate Orff, and fiction writer Jesmyn Ward.

Front-Page Femmes

DCist features Magnetic Fields: Expanding American Abstraction, 1960s to Today, NMWA’s new exhibition featuring abstract art by black women artists.

The Art Newspaper interviews feminist artist Judy Chicago as three exhibitions open showcasing her work—including Inside the Dinner Party Studio at NMWA.

Poet Sonia Sanchez pens a new foreword to the re-release of Audre Lorde’s essay collection.

New York Times Magazine profiles actress Frances McDormand about her career and unconventional stardom.

British-Liberian artist Lina Iris Viktor uses digital enhancement and age-old gilding techniques to make large-scale paintings.

The Smithsonian National Portrait Gallery commissions Amy Sherald and Kehinde Wiley to paint Barack and Michelle Obama’s portraits, respectively.

Artsy publishes “What You Need to Know about Bauhaus Master Anni Albers.”

Kate and Laura Mulleavy, the founders of Rodarte, discuss the fashion industry and movie-making in Refinery29’s UnStyled podcast.

Queens Museum Executive Director Laura Raicovich says, “To be a responsible citizen in a democracy, one has to be involved in a kind of civic engagement. . . . And museums have a huge role to play in that.”

“What is it to stare and be stared at?” asks photographer Catherine Opie.

“As difficult and divisive as [Kara Walker’s] images are, they point to a reckoning that we can no longer afford to ignore,” writes Hyperallergic.

Science fiction writer Nnedi Okorafor has “emerged as one of the genre’s most innovative and visionary writers.”

The installation My Bed by Tracey Emin will return to the artist’s hometown 20 years after its unveiling.

Sanne de Wilde’s photographs in The Island of the Colorblind investigate a small Pacific community where a high percentage of the population has total color blindness.

The Netflix documentary Joan Didion: The Center Will Not Hold features archival footage as well as in-depth interviews.

In honor of World Mental Health Day, BUST highlights 12 women of color and Native women writers who reflect on their experiences with mental illness.

The Guardian visits Patricia Piccinini’s Melbourne studio.

Bodleian Libraries digitized more than 100 photographs by 19th-century photographer Julia Margaret Cameron.

The New Latin Wave festival in Brooklyn celebrates contemporary Latinx creativity.

Shows We Want to See

Paintings and works on paper by 83-year-old British artist Rose Wylie are on view at the Serpentine Sackler Gallery.

Hyperallergic interviews Julie Mehretu about her mural HOWL, eon (I, II), at the San Francisco Museum of Modern Art (SFMOMA).

Diane Tuft’s large-scale photographs—on view at the National Academy of Sciences—show the rapid dissolution of the Arctic landscape.

David Zwirner’s first exhibition dedicated to the work of Ruth Asawa is a “crucial re-contextualization of Asawa’s work which belatedly reassesses her legacy within 20th-century art.”

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

Art Fix Friday: September 29, 2017

Hyperallergic discusses Ruth Asawa’s woven wire sculptures and calls the artist “a pioneer out of necessity.”

Asawa, whose works are featured in an exhibition at David Zwirner gallery, is the “latest postwar American artist to be rediscovered by an establishment still waking up to its racist and sexist biases,” writes Hyperallergic.

Front-Page Femmes

Hyperallergic discusses the importance of protest art in today’s world, including Fresh Talk speaker Emma Sulkowicz’s acclaimed Mattress Performance (Carry That Weight).

Pat Steir, best known for her Waterfall series, broke her auction record three times this year.

Fashion designer sisters Kate and Laura Mulleavy, known for their acclaimed fashion line, Rodarte, wrote and directed Woodshock—their first feature film. “The parallel between fashion and film reveals itself in Woodshock’s rich tactility,” writes W magazine.

Linda Nochlin’s landmark essay “Why Have There Been No Great Women Artists?” inspires Dior’s new collection.

artnet interviews Tedi Asher, the neuroscience researcher at the Peabody Essex Museum.

“The skin in the drawings I create was initially an investigation into what skin felt like…how it creates parameters for movement and possibility,” says painter Toyin Ojih Odutola.

The Sixth Annual Feminist Art History Conference, which will be hosted at American University in 2018, is accepting proposals.

NASA dedicates a new research facility after Katherine Johnson, NASA engineer and subject of Hidden Figures.

Illustrator Ellen Weinstein teamed up with (MoMA) for the first children’s book on Japanese artist Yayoi Kusama.

An outdoor sculpture in Germany by Nicole Eisenman was vandalized for the second time.

The New Yorker explores how Nebraska’s landscape influenced Willa Cather.

At the age of 90, Rosalyn Drexler reflects on her career, creativity, and stint as a professional wrestler.

McSweeney’s lists stereotypes for female characters in romantic films and TV shows written by men.

Julie Taymor will direct a film adaptation of Gloria Steinem’s memoir My Life on the Road.

Journalist and Shanghai resident Lenora Chu discusses her book Little Soldiers.

Shows We Want to See

Jenny Holzer’s solo exhibition SOFTER at Blenheim Palace, explores power, conflict, and the aftermath of war.

Njideka Akunyili Crosby “establishes painting as a medium with the capacity for new and multi-dimensional life” with her works on view at the Contemporary Arts Center in Cincinnati.

Annabeth Rosen: Fired, Broken, Gathered, Heaped is the artist’s first major survey and chronicles over 20 years of her work in ceramics—on view at the Contemporary Arts Museum Houston.

Katharina Grosse’s exhibition This Drove My Mother Up the Wall is “an effective takeover of the environment, it torpedoes, one by one, the assumed limits of painting.”

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

Art Fix Friday: September 22, 2017

Last Sunday’s Emmy Awards celebrated female-driven stories. HBO’s Big Little Lies won multiple awards, as did Hulu’s The Handmaid’s Tale.

The Washington Post writes, “The winning drama series and limited series…focused on issues of women—rather than defaulting to the male point of view—as a vivid way to explore the human condition.” Julia Louis Dreyfus also won her sixth consecutive Emmy for her role in Veep.

Lena Waithe became the first black woman to win for comedy writing for Master of None. The Lily celebrates Waithe’s success and reflects on the black women previously nominated for Emmys.

Vulture and the New Yorker also discuss the triumph of women in television, while the Los Angeles Times points out that an imbalance remains. Only 18% of the 114 nominated writers were women and three of the 25 nominated directors were women.

Front-Page Femmes         

Gillian Wearing reveals her design for the likeness of suffragist Millicent Fawcett for London’s Parliament Square.

Murals by street artist Hyuro delve into social and political controversies.

Dutch fashion designer Iris van Herpen draws inspiration from science for her “strangely gorgeous garments,” incorporating unusual materials and 3-D printing.

Recent studies suggest that women may become more creative after having kids.

In her documentary The Town I Live In, artist Guadalupe Rosales speaks out about gentrification in Boyle Heights.

New York-based artist and educator Imani Shanklin Roberts created a street mural inspired by South African artist Esther Mahlangu.

Nikon chose 32 male photographers to promote their new camera, claiming that no women photographers responded to the casting calls.

Actress Nadine Malouf plays an unnamed Syrian-American who tells stories of Syria’s civil war in Oh My Sweet Land.

London’s Frieze Art Fair will feature nine radical feminist artists whose work was considered too graphic during the 1970s and ’80s.

Amaka Osakwe has become West Africa’s most celebrated designer.

NPR interviews Danielle Allen about her memoir, centered on her cousin, who was sentenced to a long prison term for carjacking and was shot three years after his release.

Shows We Want to See

MoMA showcases nearly 300 works by Louise Bourgeois, including 265 prints, to show the central role printmaking played in Bourgeois’s practice. The Guardian highlights several prints focusing on issues of patriarchy, sexuality, and womanhood.

Carolyn Case’s paintings in Homemade Tattoo involve abstraction through dots, lace, and mark-making.

The Pre-Vinylette Society at the Chicago Art Department contains a “vibrant display of over 60 women sign painters from nine countries around the world.”

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

Art Fix Friday: September 15, 2017

DCist interviews Judy Chicago about her new exhibition at the National Museum of Women in the Arts, her visual archive, and the renewed interest in her work and in the feminist art movement.

“It’s really challenging now for young artists, I think it’s really hard to have the long sustained career I have,” says Chicago. “But if my career demonstrates anything, it’s the importance of not giving up.”

Tune in to Judy Chicago’s Fresh Talk livestream at the museum at 4:30 p.m. on September 17, 2017.

Front-Page Femmes 

Shirin Neshat is among the five winners of this year’s Praemium Imperiale award.

New York Times Magazine draws parallels between Marie Cosindas’s early color photography and Rachel Ruysch’s 17th-century Dutch still-life paintings.

“The art world definitely has its own set of issues, and in my opinion there is a tonality in certain of the spaces and institutions that as a black artist you should just be happy to be here,” says Solange.

Alice Walton reveals her plans for a new foundation that will loan works to exhibitions of American art and help shows travel.

Colette Fu crafts the largest pop-up photobook in the world.

Yale University acquired artist and filmmaker Barbara Hammer’s archives.

Kory Stamper, a lexicographer for Merriam-Webster, publishes Word by Word: the Secret Life of Dictionaries.

Rachel Shteir describes her interview with Kate Millett, conducted five days before the writer’s death.

Hyperallergic reflects on the importance of Faith Ringgold’s eight-by-eight-feet mural, For the Women’s House (1971).

Spencer Merolla opened a pop-up bakery serving goods made from coal ash in an effort to spark conversation about climate change.

Tatiana Huezo’s documentary about human trafficking is Mexico’s submission for this year’s Academy Awards.

Arleene Correa, an undocumented art student attending California College of the Arts, discusses the end of DACA and the obstacles she faces.

Patty Jenkins will direct the Wonder Woman sequel.

Author Attica Locke discusses her novel Bluebird, Texas, and the current political climate.

Elizabeth Rosner shares her book Survivor Cafe: The Legacy of Trauma and the Labyrinth of Memory, inspired by an event to commemorate the 70th anniversary of her father’s liberation from Buchenwald.

Shows We Want to See

Work in Rachel Whiteread’s exhibition at Tate Britain is “as much psychological as it is physical.”

Julie Mehretu creates two large-scale paintings commissioned for SFMoMA’s renovated atrium. “There is no such thing as just landscape,” says Mehretu. “The actual landscape is politicized through the events that take place on it.”

Karen LaMonte: Floating World, on view at the Chazen Museum of Art in Wisconsin, explores clothing as a metaphor—and as a way to explore the body without depicting it.

Magnetic Fields artist Barbara Chase-Riboud’s series of steles in tribute to Malcolm X are on view at Michael Rosenfeld Gallery.

The Guardian shares a new exhibition of Käthe Kollwitz’s powerful works.

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

Art Fix Friday: September 8, 2017

Groundbreaking feminist writer Kate Millet passed away Wednesday at the age of 82.

The New Yorker praises Millett’s work, particularly her publication Sexual Politics as a “thrilling and damning critique of the patriarchy and its structural effects.” Smithsonian Magazine and the New York Times reflect on Millett’s role in the second-wave feminist movement. The New Republic offers, “What we might take from Millett and her comrades is their bold, unapologetic utopianism.”

Front-Page Femmes

Agnès Varda will receive an Honorary Award from the Academy of Motion Picture Arts and Sciences this year.

Photographer Melanie Barboni, who is also an assistant researcher at UCLA’s Earth, Planetary and Space Science Program, takes photos of hummingbirds at a feeder outside her office window.

Hyperallergic explores Ana Pellicer’s series of “gigantic pieces of jewelry made for the Statue of Liberty” and a series of posthumous costumes for actress Nahuí Ollin.

Guadalupe Rosales brings images of her community to LACMA’s Instagram.

Sadie Barnette and Carrie Hott are the winners of Artadia’s San Francisco Awards.

An Incomplete History of Protest, on view at the Whitney Museum of Art, features art from the 1940s to today, including work by the Guerrilla Girls, May Stevens, and Carol Summers.

The Hollywood Reporter spoke to artist Shirin Neshat in Venice about the importance of making space for women behind the camera.

The New York Times discusses the importance of statues and monuments dedicated to women. “Why does this matter? Because history is skewed. Because women have been rendered invisible and irrelevant for centuries.”

Atlas Obscura highlights the career of sculptor Caroline Shawk Brooks (1840–1913), also known as the “Butter Woman.”

Pop musician Wafia releases a new song about the Syrian refugee crisis.

Art in America interviews Philadelphia-based artist E. Jane (recording as alter ego Mhysa) about their art and music.

Shows We Want to See

The Victoria and Albert Museum announced a 2018 fashion exhibition dedicated to Frida Kahlo’s wardrobe. The show will include items discovered in the Blue House in 2004, after its cupboards and storerooms were opened after 50 years of being sealed.

The Atlantic explores Carol Rama: Antibodies at the New Museum. “Rama used womanhood as a lens for investigating anything from cultural norms and desire to illness and hysteria.”

Sheila Pepe: Hot Mess Formalism, opening soon at the Phoenix Art Museum, examines how the artist plays with feminist and craft traditions to counter patriarchal notions of art making.

Guggenheim Bilbao’s Anni Albers: Touching Vision is an in-depth survey of the pioneering textile artist’s most important series between 1925 and the late 1970s.

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

Art Fix Friday: September 1, 2017

A new analysis of 10,000 reviews in the New York Times Book Review shows that “two-thirds of reviewed books were written by men, and the reviewed books tended to reflect gender stereotypes.”

“According to one analysis, women’s books that get reviewed tend to be fiction with themes of romance, gender, and family, whereas reviewed books by men tend to be non-fiction, focused on traditionally masculine topics like war and sports, or scholarly topics like science and economics.”

Front-Page Femmes

Lucy Lippard, Nancy Holt, and others reflect on Eva Hesse’s sculptures in an exclusive clip from the documentary Eva Hesse.

Women writers and editors won all 12 of the individual awards at the 2017 Hugo Awards ceremony.

Swiss artist Clio Newton creates towering portraits of women—solely with compressed charcoal.

Zaria Forman’s large-scale soft pastel drawings of glaciers in Antarctica raise awareness about the effects of climate change.

Karen Anderson creates miniature door installations under tunnels and nestled in public parks in Atlanta to “bring a bit of curiosity and wonder to the city’s inhabitants.”

Julie Taymor will helm a revival of M. Butterfly on Broadway.

Tate Modern published a multimedia collaboration between Solange Knowles Ferguson and artist Carlota Guerrero, titled Seventy States (2017).

NPR features Jesmyn Ward and her works discussing race and class and her experiences in Mississippi.


Tiffany Hsiung’s The Space We Hold is an interactive documentary on “comfort women.” The projects shares the stories of three women held in sexual slavery by the Japanese Imperial Army during World War II.

Roya Amigh uses “thread and configurations of the hybridized paper” to reveal how simple materials can transform into a story.

Renee Gladman’s collection of drawings in Prose Architectures “resemble not-quite-legible script, registering somewhere on the visual spectrum between image and language.”

NPR describes The Burning Girl as a “subversive commentary on the stories we tell about women and the ways those stories circumscribe our lives.”

Carrie Mae Weems, Wangechi Mutu, and other women artists create protest slogans.

The New York Times publishes a series of interviews in an article titled “Rock’s Not Dead, It’s Ruled By Women: The Round-Table Conversation.”

Shows We Want to See

“These were women dealing with power,” says the co-curator of the Hammer Museum’s Radical Women: Latin American Art, 1960-1985. “They are women fighting power.”

More than 50 women artists featured in Dreamers Awake in London “harness and expand upon the Surrealist legacy.” Apollo Magazine says, “Surrealism’s women found new forms of protest and expression in the reappropriation of symbols traditionally associated with male desire.”

Amie Siegel: Interiors, on view at Frye Art Museum in Seattle, presents video, photographic, and installation work.

Up/Rooted. Four Women Artists in Exile, on view at Museum der Moderne Salzburg, presents 200 works by four Jewish artists who had to rebuild their lives and careers after fleeing Germany during the World War.

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