A new £10 of Jane Austen was revealed on the 200th anniversary of her death.

The Los Angeles Times reports on the new £10 note featuring Jane Austen

The Los Angeles Times reports that the note also features images of Queen Elizabeth II, Austen’s writing desk, her brother’s house, Godmersham Park, and Elizabeth Bennet. The Guardian comments on the note’s featured quote, an ironic line from Pride and Prejudice attributed to the character Caroline Bingley.

Front-Page Femmes

The Pennsylvania Academy of the Fine Arts acquired 32 works of art, including work by Joan Semmel and Elizabeth Okie Paxton.

Artsy shares Karen Okonkwo’s website

Karen Okonkwo founded a new stock photography website to combat negative portrayals of black culture.

The University of Chicago Library receives a gift of nearly 500 never-before-shown Vivian Maier photographs.

Frances Gabe, known as the inventor of the self-cleaning home, died at the age of 101.

artnet explores the controversy surrounding Käthe Kollwitz’s socially engaged artwork.

Artsy celebrates Niki de Saint Phalle’s Tarot Garden, a 14-acre park populated by mystical goddess sculptures in Tuscany.

The New Yorker highlights Charlotte Salomon’s life and work

The New Yorker discusses the work of German painter Charlotte Salomon, killed in the Holocaust, whose art has been overshadowed by her life and times.

Following news of the first woman cast as the lead in the BBC television show Doctor Who, the Huffington Post applauds the increased representation of strong women in the sci-fi genre.

Nontsikelelo Mutiti’s books designs explore African identity, police brutality, and the aesthetics of hair braiding.

Maia Evrona, a recipient of a 2016 NEA grant for poetry translation, discusses how eliminating NEA grants would have a detrimental impact on the arts.

The Huffington Post interviews Broad City actress Abi Jacobson about hosting A Piece of Work, a podcast collaboration between WNYC studios and MoMA.

Artsy highlights ten women artists who helped pioneer the Land Art movement, although they never reached the same level of fame as their male counterparts.

“We live in a ‘post-truth’ world, and the truth remains difficult to find,” says Maja Bajevic.

Shows We Want to See

Sarah Lucas responds to Auguste Rodin

Sarah Lucas challenges conventions of representation in Auguste Rodin’s works with a contemporary female perspective, on view at the Legion of Honor Museum.

Teresa Burga’s exhibition at SculptureCenter “reminds viewers how narrow the contemporary art canon is, how male-driven, and how predominately focused on American and European artists.”

“Outsider artist” Beverly Buchanan’s sculpted houses are at home in Detroit, representing a longing for and connection destroyed or abandoned landscapes.

ARTnews describes Carol Rama: Antibodies at the New Museum “a show about unspeakable desires and screwed-up psychologies—everything that can’t be talked about.”

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

MoMA and WNYC Studios released the first episodes of the podcast A Piece of Work, hosted by Broad City star Abbi Jacobson. The podcast features Jacobson in conversation with museum curators and artists, as well as celebrity guests like Questlove, RuPaul, and Tavi Gevinson.

EW celebrates A Piece of Work

Focusing on a different theme in each episode, the down-to-earth podcast delves into some of the most frequently asked questions about modern art, highlighting the ways in which the works discussed are remarkable. New episodes are available every Monday and Wednesday.

Front-Page Femmes

Google Doodle celebrates Japanese designer Eiko Ishioka on her 79th birthday.

The Los Angeles Times describes Analia Saban’s work as a “delicious, delirious, mind-bending experience.”

Morgan O’Hara hand copied the U.S. Constitution as her own personal form of artistic protest.

Colette Fu’s pop-up project

Colette Fu will build the biggest pop-up book in the world inside the Philadelphia Photo Arts Center.

Filmmaker Leanne Anderson worked with Google and the National Film Board of Canada to make Bear 71 VR, an interactive documentary tracking the life of one grizzly bear.

A letter written by Jane Austen in 1812, in which she criticizes another novelist, sold for more than $200,000 at auction.

Zanele Muholi’s series of 365 self-portraits express her personal experiences as well as media reports dealing with hate crimes and oppression.

The New Yorker reflects on Talking to Women, a short book of the edited transcripts of conversations that novelist and screenwriter Nell Dunn had with nine of her friends, published in 1965.

Creative Boom highlights Tove Jansson

Illustrator Tove Jansson’s retrospective showcases 150 works that trace her career, from surrealist-inspired paintings to satirical cartoons.

Marion Belanger investigates landscapes along the San Andreas Fault and the Mid-Atlantic Rift.

Director Reed Morano discusses the aesthetic and direction of The Handmaid’s Tale TV series, which was recently nominated for 13 Emmy awards.

The Atlantic explores the geological term roche moutonnée to describe glacial mountains. The article illustrates the term—often translated as “sheepback”—by using Rosa Bonheur’s painting Sheep by the Sea, in NMWA’s collection.

Dancer and choreographer Okwui Okpokwasili discusses a documentary about her breakout solo performance.

Shows We Want to See

Whitechapel Gallery features Emma Hart’s work

Whitechapel Gallery features Max Mara Art Prize winner Emma Hart’s new large-scale installation. The exhibition is the result of the artist’s time in Italy studying family psychology and the tradition of maiolica, tin-glazed pottery made in Faenza since the 14th century.

Bustle shares its takeaways from NSFW: Female Gaze, an exhibition at the Museum of Sex in New York City. The show features work by 20 women artists who interpret the female gaze.

Promises to Keep features self-portraiture and performance art by 12 Pakistani women artists.

The exhibition Black Women Artists for Black Lives Matter explores the visibility and camouflage of the black female experience.

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

Artsy features women Surrealists, including Hayv Kahraman

In celebration of the all-women exhibition at White Cube Bermondsey, Dreamers Awake, Artsy explores the pivotal role that women have played in Surrealism.

“As the female body became the ultimate Surrealist object, it was mystified, fetishized, and othered,” writes Artsy. The exhibition features artists who confronted the perception of women as muses or seductresses and includes women Surrealists working today.

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The Association of Art Museum Directors (AAMD) released a survey for 2017, including findings that show that although “the museum field has outpaced national salary growth rates, it also shows the vast disparities in compensation between different sectors of the museum industry.”

Hundreds of people congregated at the Dallas Museum of Art in an attempt to set a record for the largest gathering of people dressed like Frida Kahlo.

In anticipation of Yael Bartana’s upcoming film and performance project, What if Women Ruled the World, the Guardian asks women artists, writers, and leaders to envision a woman-led future.

Sophal Neak explores Cambodian culture and traditions through her photographic portraits.

A Boston mural by Ann Lewis amplifies the voices of incarcerated women.

Sydney-based artist Niharika Hukku translates finely detailed illustrations into painted ceramics.

The Guardian showcases Diane Tuft’s photos

Photographer Diane Tuft captures haunting images of the disappearing Arctic landscape.

Artsy features Surrealist Dora Maar, whose career was overshadowed by her lover Picasso.

Hyperallergic interviews Françoise Mouly and Nadja Spiegelman, the creators of the comics newspaper RESIST!.

A Boston mural by Ann Lewis amplifies the voices of incarcerated women.

Artsy highlights the women who helped establish iconic New York museums and galleries, yet whose contributions have been largely forgotten.

Iranian-born artist Sanam Khatibi re-imagines Renaissance paintings with women embracing power, violence, and sensuality.

A series of plates depicting famous women, part of a dinner service by Vanessa Bell and Duncan Grant, is up for sale.

Artsy features Surrealist Dora Maar, whose career was overshadowed by her lover Picasso.

Costume designer Stacey Battat discusses her costume choices, design, and research for Sophia Coppola’s latest film, The Beguiled.

Shows We Want to See

Lynette Yiadom-Boakye: Under-Song For A Cipher, on view at the New Museum

In Lynette Yiadom-Boakye: Under-Song for a Cipher, on view at the New Museum, the artist “updates art’s oldest medium with an expert hand and a bracingly new message.”

The city of Wroclaw stages a retrospective of recently deceased artist Magdalena Abakanowicz, whose work is also currently on view at NMWA.

O’Keeffe, Preston, Cossington Smith: making modernism is on view at the Art Gallery of New South Wales, featuring more than 90 works by the 20th-century trailblazers. “These three in their own way had the courage to trust their convictions, understand the past but not be restrained by it. That’s a rebellious act,” says the Georgia O’Keeffe Museum’s senior director.

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

Novelist Zadie Smith writes an article titled “Getting In and Out” for Harper’s Magazine, asking the question “Who owns black pain?” Smith explores Jordan Peele’s film Get Out and Dana Schutz’s painting Open Casket.

Zadie Smith ponders the question “Who owns black pain?” and reflects on her own experience with Dana Schutz’s Open Casket.

Smith reflects on her experience with Schutz’s controversial painting of Emmett Till, recently on view at the Whitney Biennial. Smith asks, “If I were an artist, and if I could paint—could the subject matter be mine?” She ponders who should portray racially charged subject matter and what approach to take. In the end, Smith writes, “The truth is that this painting and I are simply not in profound communication.” She goes on to say “This is always a risk in art. The solution remains as it has always been: Get out (of the gallery) or go deeper in (to the argument).”

Front-Page Femmes

MoMA and WNYC collaborate with comedian and Broad City star Abbi Jacobson to host a new podcast discussing contemporary art.

In a review of Revival East City Art writes, “Embrace that emotional quicksand, these artists seem to say, and jump deeply into the world that surrounds you with your third eye fully engaged.”

Hyperallergic explores Alia Farid’s conceptual art installation, which “probes a selection of material and documentation found in storage of the never-completed Kuwait National Museum.”

The Huffington Post explores indie comic publishers’ efforts toward a revolution in representation.

The New York Times shares a 360° video of Jenny Sabin’s installation for MoMA PS1’s courtyard in Queens.

The Atlantic experiences Anicka Yi’s work

The Atlantic delves into Anicka Yi’s olfactory experiments in Life Is Cheap at the Guggenheim.

Whitechapel Gallery director Iwona Blazwick shares her favorite cultural highlights, ranging from exhibitions to television.

Annie Leibovitz photographs Serena Williams for the cover of Vanity Fair.

NPR raves about Maudie, a new film about Canadian folk artist Maud Lewis.

Oscar-winning filmmaker Sharmeen Obaid-Chinoy makes a new documentary about people whose lives have been ruined by the partition of India.

“I Love Dick is a show about how women are discouraged from having ideas and what happens when one woman lets her fantasies drive her art,” writes Hyperallergic.

Whip is a new zine featuring political cartoons illustrated by women.

Shows We Want to See

Firelei Báez: Vessels of Genealogies

Large-scale paintings, drawings, and textiles by Dominican-American artist Firelei Báez are on view at the DePaul Art Museum in Illinois. Báez explores her own divine being signifying a wide range of imagery that attests to the artist’s own hybrid racial background.

We Wanted a Revolution: Black Radical Women, 1965-85 at the Brooklyn Museum features work by more than 40 black women artists, seeking to excavate intersectional feminism from the past.

Dreamers Awake presents a “sublime” survey of work by more than 50 women artists, on view at White Cube Bermondsey in London. The Guardian says that the exhibition “riffs artfully around what it means to live inside rather than gaze upon a female form.”

Animating the Archives: The Woman’s Building showcases new works inspired by the history and legacy of the Woman’s Building, a downtown Los Angeles powerhouse of feminist activity that operated from 1975 to 1991.

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

Artsy publishes an article titled “Why Old Women Have Replaced Young Men as the Art World’s Darlings.”

Artsy discusses the increasing demand for work by older women artists

Demand for work by older women artists has risen in recent years. Artsy explores demand from collectors, sexism, and gaps in the art historical canon. In one example, Galerie Lelong’s president discusses the success of Etel Adnan, and says, “But she wasn’t discovered; the venue finally matched her achievements.”

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Brightest Young Things calls Revival “dangerous, whip smart, and thought provoking.”

Hyperallergic examines three books by Surrealist artist Leonora Carrington.

Hyperallergic examines three books by Surrealist artist Leonora Carrington.

PBS News Hour recaps NMWA’s most recent Fresh Talk panel discussing the new superwomen of comics.

Juxtapoz interviews NMWA artist Amy Cutler.

“Born in 1799, Anna Atkins captured plants, shells and algae in ghostly wisps and ravishing blues,” writes the Guardian. “Why isn’t she famous?”

Patricia Phelps de Cisneros donates 119 works of colonial art to Latin American-focused museums.

Brigette Zeiger creates a series of “virtual and spatial 3D images.”

Photographer Zanele Muholi’s portraits deal with social justice, human rights, and contested representations of the black body.

Congresswoman Nydia M. Velázquez proposes the American Art Revival Act, which would offer loan forgiveness of up to $10,000 for arts students.

Artsy examines Katja Novitskova’s work

Katja Novitskova drastically enlarges images of bacteria for her sculptures in New York’s City Hall Park.

SaveArtSpace: The Future is Female will showcase work by women artists on advertising spaces across New York City.

Nasty Stitches explores how artists and curators use traditionally feminine craft forms to address feminist issues.

Ivana Bašić’s “unnerving” sculptures are inspired by Franz Kafka.

Mixed-media artist Sheba Chhachhi won the Prix Thun for Art and Ethics Award for her commitment to ecology and environmental issues.

NPR says Sofia Coppola’s new film, The Beguiled, “makes its watchers swoon.”

Shows We Want to See

Hyperallergic reviews Jenny Morgan’s exhibition

Jenny Morgan’s portraits, on view at the Museum of Contemporary Art Denver, explore the contradictory relationship between life and death.

Anicka Yi: Life Is Cheap contains three works as part of Yi’s 2016 Hugo Boss Prize, on view at the Guggenheim Museum.

Suspended Territories, on view at the Marta Herford Museum for Art, Architecture, Design, features work by women artists from the Arab world, Iran, and North Africa.

LACMA will showcase Sarah Charlesworth’s photographic meditations in Doubleworld, on view from August 20 to November 26, 2017.

NSFW: Female Gaze, a new exhibition at the Museum of Sex in New York, exhibits works by more than 20 women artists who tackle sexuality, desire, and the female gaze.

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

NPR calls the new Wonder Woman film “a triumph of scale.” The movie is the first superhero blockbuster to be both centered around and directed by a woman.

NPR reviews Wonder Woman

Director Patty Jenkins is only the second woman director to command a budget of more than $100 million. Slate writes that lead actress Gal Gadot “endows [the character of Wonder Woman] with a fierce compassion and burning moral clarity that renders all cries of ‘you go, girl’ superfluous.” The superhero origin story “cleverly combines genre elements into something reasonably fresh, touching, and fun,” writes the New York Times.

Front-Page Femmes

artnet includes NMWA’s exhibition Revival as one of their 10 exhibitions to see around the world this summer.

A study from CUNY Guttman College finds that 80.5% of all artists represented at the top 45 New York galleries during the 2016-17 season were white. The statistics also show that only 30% of the represented artists were women.

The Huffington Post discusses Zaha Hadid’s career

On May 31, a Google Doodle celebrated the late architect Zaha Hadid.

Nouf Semari reflects on her experience as one of three women artists from Saudi Arabia who received artist residencies in New York City through the Majlis Studio Residency program.

Samantha Bittman weaves complex textiles on a loom and paints selected portions of their surfaces, revealing new patterns.

Neak Sophal’s series of photographic portraits creatively plays with stereotypes of Cambodian women.

Alice Guy-Blaché (1873–1968) is recognized as the first woman filmmaker, but her career “remains unsung in the history of cinema.”

ARTnews shares Marie Cosindas’s obituary

Marie Cosindas, an early pioneer of color photography, died at the age of 93.

An exhibition in the U.K. features the detailed drawings of Susan Te Kahurangi King, an artist who stopped speaking at the age of four.

Actress and writer Zoe Lister-Jones hired an all-female crew for her indie comedy, Band Aid.

Jessica Chastain described the depiction of women on screen at this year’s Cannes Film Festival “disturbing.”

NPR remembers Gwendolyn Brooks, the first African American to be awarded a Pulitzer Prize, on the 100th anniversary of her birth.

The New Yorker writes that Arundhati Roy’s The Ministry of Utmost Happiness “is a book that people have been waiting 20 years for.”

Shows We Want to See

Hyperallergic highlights The Future Is Female

The Future Is Female, on view at 21C Museum and Hotel in Louisville, Kentucky, “[envisions] a female future that involves understanding the intersection of gender with all aspects of daily life, and womanhood as a multifaceted entity.”

Designer Judith Leiber’s whimsical, bejeweled handbags are the subject of an exhibition at the Museum of Art and Design.

The Washington Post describes Susan Middleton’s photographs of marine invertebrates in Spineless at the National Academy of Sciences “color studies, experiments in form and depth, and mini sci-fi movies all in one.”

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

Hyperallergic’s illustrated guide to Linda Nochlin’s 1971 essay

Hyperallergic publishes an illustrated guide to Linda Nochlin’s influential 1971 ARTnews essay, “Why Have There Been No Great Women Artists?”

One of the first major works of feminist art history, the essay suggests that “the feminist art historian should pick apart, analyze, and question the social and institutional structures that underpin artistic production, the art world, and art history.”

Front-Page Femmes

NYLON includes Revival in their list of 13 art exhibitions to see this summer.

The ArtCurious podcast shares NMWA’s #5WomenArtists social media campaign and discusses five artists who have been left out of the art historical canon.

Shirin Neshat conveys her identity as an Iranian woman in America through her film Roja.

Multimedia artist Paula Crown creates an installation with 150 ceramic Solo cups.

Hyperallergic examines Deborah Butterfield’s sculptures

Deborah Butterfield’s horse sculptures look like driftwood, although are actually cast in bronze.

The New Yorker discusses Leonora Carrington’s status within Surrealist circles. “The tendency for women artists to be overshadowed by their male partners is, sadly, a recurring one, and for women involved in the Surrealist circle, the situation was even more fraught.”

Women Photograph is an online database promoting 400 women photojournalists from 67 countries.

Artsy celebrates designer Florence Knoll Bassett on her 100th birthday.

Harmonia Rosales reimagined Michelangelo’s The Creation of Adam with women of color.

Anna Atkins Photographs of British Algae Cyanotype Impressions. Purchased with the support of BankGiro Lottery, the W. Cordia Family/Rijksmuseum Fund and the Paul Huf Fund/Rijksmuseum Fund.

The Rijksmuseum in Amsterdam acquired a handwritten botanical book illustrated with photographic images by the first woman photographer, Anna Atkins (1799–1871).

Laurie Anderson creates a new, virtual-reality work in a 10,000-square-foot studio at Mass MoCA.

“When I came to [New York City] I felt like my newly forming ego and sense of self was just torn to shreds,” says Kara Walker in an art21 interview.

The Guardian calls Ariel Levy’s memoir The Rules Do Not Apply “so stark and succinct it can be read in one afternoon, and Levy’s honesty is blistering.”

Star Wars screenwriter Gloria Katz discusses her experiences as a woman screenwriter in the male-dominated movie industry of the 1960s and ’70s.

Laleh Khadivi discusses her new novel A Good Country.

Rowan Hisayo Buchanan’s debut novel Harmless Like You tells two interconnected stories of a teenage girl in the 1960s who dreams of becoming an artist, and her son in present day traveling to find his absent mother.

Letters to a Young Artist by Anna Deavere Smith explores the paradox of procrastination.

Shows We Want to See

Shantell Martin at Albright-Knox Art Gallery

Shantell Martin’s work, on view at Albright-Knox Art Gallery, uses black ink lines on white surfaces to transform walls and found objects into a visual narrative.

Looking South: Photographs by Eudora Welty, on view at the North Carolina Museum of Art, contains 18 iconic images by the novelist and short story writer from the 1930s and early ’40s.

Lu Yang: Delusional Mandala, on view at MOCA Cleveland, explores links between aesthetics, coding, and bioart.

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

Bustle asks, “Why are there so many female art students, and so few female artists being exhibited?”

Bustle explores gender imbalance in the art world.

Bustle delves into art world gender statistics and includes the views of prominent curators, writers, and activists. “We live in a society ruled by males in every sector, not just art,” says curator and writer Maura Reilly. Artist and activist Micol Hebron says, “We have a culture that kind of generally supports and prepares men for this sort of autonomy and independence and entrepreneurship, but not women.”

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NPR interviews NMWA’s Betty Boyd Dettre Library and Research Center director about the Simone de Beauvoir installation at the museum.

Colossal shares Claudia Fontes’s work.

The Horse Problem by Claudia Fontes is on display at the Venice Biennale’s Argentinian Pavilion. The immersive sculptural work portrays a girl touching a white horse frozen in mid-air.

The Hirshhorn’s Yayoi Kusama exhibition increased the museum’s membership by more than six thousand percent and brought in half a million visitors.

The Guardian explores why it took so long for British sculptor Phyllida Barlow to be “discovered.”

ARTnews writes that “The London art world was having a feminist moment last fall.”

Period., a multimedia exhibition, challenges common misconceptions about menstruation and women’s bodies.

Rachel Rose is the inaugural recipient of the Future Fields Commission in Time-Based Media from the Philadelphia Museum of Art.

Serbian artist Jovana Mladenovic photographs monuments from the former Yugoslavia.

Icelandic artist Björk decided to release the sheet music for 34 of her compositions.

Octavia Bürgel writes about growing up with her mother, Kara Walker.

Wu Tsang created a platform for a performance inspired the poetry of Chinese warrior Qiu Jin.

Former inmate Susan Burton discusses her memoir Becoming Ms. Burton and her efforts to help incarcerated women rebuild their lives.

Artsy shares works by six women artists exploring motherhood through portraiture.

Shows We Want to See

The New York Times reviews Florine Stettheimer: Painting Poetry

“[Florine] Stettheimer’s singular paintings are among the most spellbinding and enduring in the history of art,” writes The New York Times. The exhibition Florine Stettheimer: Painting Poetry is on view at the Jewish Museum.

In a review of Gillian Wearing and Claude Cahun: Behind the Mask, Another Mask, Hyperallergic writes, “The two artists are separated by two generations, their backgrounds and technologies worlds apart, but they approached personal identity in the same way.”

Manal Abu-Shaheen’s photographs in the exhibition Beta World City explore the impact of capitalism and Western advertisements on the ever-changing landscape of Beirut.

Lauren Greenfield’s Generation Wealth explores “the evolution of celebrity culture, the out-of-control growth of the 1%, and the disintegration of the American dream.”

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

Women artists exhibiting at the Venice Biennale made news this week. artnet highlights five must-see pavilions, including Carol Bove for Switzerland, Phyllida Barlow for Britain, and Geta Brătescu for Romania.

The Guardian explores Phyllida Barlow’s work at the Venice Biennale.

The Guardian profiles the 72-year-old Barlow, who was unrecognized for most of her career. ARTnews reviews Anne Imhof’s performance Faust, a seven-month “scenario” of five-hour performances over the duration of the Biennale. Rachel Rose’s video work on view at the Central Pavilion, Lake Valley, explores themes of abandonment and loneliness through thousands of images from children’s books. Rachel Maclean’s film Spite Your Face captures “the sense of an above world and a below world.”

However, Artsy finds that women and artists of color are still vastly underrepresented at the Venice Biennale. Women artists make up only 35% of the participants, including only one black woman artist, Senga Nengudi.

Hyperallergic discusses Lezley Saar’s work

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Lezley Saar portrays gender fluidity through paintings inspired by her son’s transition.

In a new documentary, Lynn Hershman Leeson explores the psychological effects of artist Tania Bruguera’s detention.

Sotheby’s S|2 Gallery attempts to address the gender imbalance in the art world by launching a series of exhibitions featuring undervalued women artists.

Illustrator Marina Esmeraldo creates graphics in support of the women’s movement.

Hyperallergic writes, “The versions of feminism on display in the [2017 Whitney Biennial] are incredibly rich and varied.”

Elle features 10 contemporary women artists to watch.

NPR interviews Mary Gaitskill about her new collection of personal essays titled Somebody with a Little Hammer.

The New York Times features two West African artists, Ojih Odutola and Yaa Gyasi, as “poignant observers of race in America.”

The Guardian highlights Alice Neel’s painting Benjamin (1976).

Shows We Want to See

Hyperallergic reviews the Morgan Library & Museum’s exhibition

I’m Nobody! Who are you? The Life and Poetry of Emily Dickinson at the Morgan Library & Museum “reveals a far more socially engaged Emily Dickinson than the recluse we’ve believed her to be.”

As in Nature: Helen Frankenthaler Paintings, on view beginning this July at the Clark Art Institute, focuses on nature as a long-standing inspiration for the artist.

Dorothea Lange: Politics of Seeing at the Oakland Museum of Art includes 25,000 negatives and 6,000 prints.

Lynette Yiadom-Boakye: Under-Song For A Cipher, on view at the New Museum, debuts a new body of work by the British artist.

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