Art Fix Friday: March 16, 2018

Activists organized a display of more than 7,000 pairs of shoes on the U.S. Capitol lawn on March 13 to commemorate the victims of school shootings, and to push for stricter gun laws. Hyperallergic recalls other works that use clothing to raise awareness around violence.

Artists and museums have similarly used clothes and personal belongings to illuminate the bodies that society systematically ignores and abuses,” writes Eva Recinos for Hyperallergic. The United States Holocaust Memorial Museum, Teresita de la Torre’s 365 Days in an Immigrant’s Shirt, Patricia Cronin’s Shrine for Girls, and Margarita Cabrera’s Space in Between—Agave all “humanize and capture events that are sometimes too horrific to process.”

Front-Page Femmes

The Los Angeles art community reacts to the firing of MOCA Chief Curator Helen Molesworth.

A group of 79 art world figures published an open letter in support of Maria Inés Rodriguez, the director of Bordeaux’s Contemporary Art Museum who was recently fired from her position.

The Broad Museum in Los Angeles acquired a new Yayoi Kusama Infinity Mirror Room.

Mattel announces the creation of a Frida Kahlo Barbie as part of their “Inspiring Women” line.

Music icon Joan Baez announced that her new album, Whistle Down the Wind, will be her last.

Phyllida Barlow will install a 30-foot-high sculpture titled Prop as her first public commission in the U.S.

Netflix paid The Crown actress Claire Foy less than supporting actor Matt Smith, despite her critical acclaim.

Animator Romane Granger uses modeled clay to suggest the complex ecosystem of life on the ocean’s floor.

Instead of focusing on the likenesses of the presidential portraits of Barack and Michelle Obama, Hyperallergic writes that “these pictures represent the former first couple both as individuals and as archetypes of African Americans.”

Art21 creates a video profile about Abigail DeVille’s The New Migration.

Shows We Want to See

On view at the Riverside Art Museum, Wendy Maruyama’s work explores the impact President Roosevelt’s Executive Order 9066 had on her family and Japanese-Americans.

Faith Ringgold: An American Artist, on view at the Crocker Art Museum, displays more than 40 examples of Ringgold’s varied works spanning four decades. The exhibition includes story quilts, tankas, prints, oil paintings, drawings, masks, soft sculptures, and original illustrations from the book Tar Beach.

Tate Modern’s Joan Jonas retrospective spans over 50 years of the artist’s career and includes six days of live performances.

Laura Owens’s work on display at the Dallas Museum of Art challenges assumptions about figuration and abstraction, as well as the relationships among avant-garde art, craft, pop culture, and technology.

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

Art Fix Friday: March 9, 2018

The New York Times created an online interactive to address the previous omission of obituaries for 15 remarkable women. “Obituary writing is more about life than death: the last word, a testament to a human contribution,” writes the Times. “Yet who gets remembered—and how—inherently involves judgment.”

The previously overlooked figures include author Charlotte Brontë, journalist Ida B. Wells, photographer Diane Arbus, poet Sylvia Plath, and Bollywood legend Madhubala.

Front-Page Femmes

NMWA’s latest exhibition Women House receives rave reviews from the Washington Post Express, Brightest Young Things, and WTOP.

NMWA writes an article for Hyperallergic about the challenges in collecting data about women artists of color.

Facebook censored an image of 30,000 year-old nude statue known as the Venus of Willendorf.

Laurence des Cars, director of the Musée d’Orsay, discusses gender imbalance in museum leadership positions.

A new book, Firecrackers: Female Photographers Now, features work by 33 contemporary artists exploring various aspects of identity, politics, and history.

Janelle Monáe has taken the concept album to complex heights,” writes the New Yorker.

Google Doodle team leader Jessica Yu says, “A moderate dose of imposter syndrome plus a strong work ethic can actually be quite helpful.”

Google featured 12 women artists to celebrate International Women’s Day. The Standard shares their list of ten artists.

The New York Times profiles Celia Paul

After four decades in the shadows as Lucian Freud’s partner, painter Celia Paul gains recognition for her “soulful and melancholy portraits.”

“[Sally] Mann’s fascinating clinical distance adds another eerie layer to [her] pictures,” says The New Yorker.

Oscar-nominated films with a woman in the starring role are more profitable that those with male protagonists.

NPR defines “inclusion rider” and its relevance in actress Frances McDormand’s Oscar acceptance speech.

Tayari Jones’s latest novel, An American Marriage, “upends all expectations, flipping the reader’s perceptions and offering unexpected moments of clarity.”

Atlantic staff writer Ed Yong writes an article titled “I Spent Two Years Trying to Fix the Gender Imbalance in My Stories.

The Guardian explores the ways in which the male gaze “is ruining our ability to see good art.”

New York Times critics chose 15 remarkable books by women embodying “unexplored possibilities in form, feeling and knowledge” in the 21st century.

Shows We Want to See

Frida Kahlo: Making Herself Up, opening in June at the Victoria and Albert Museum in London, will showcase more than 200 objects, including the artist’s makeup, clothes, jewelry, and prosthetic leg.

The Main Museum in Los Angeles highlights the work of L.A. native and ceramist Dora De Larios, one the city’s most vital, yet under-recognized artists.

The exhibition Women Artists—1st International Biennial of Macao features works by 132 female artists from 23 countries and regions.

Howardena Pindell’s first major solo exhibition is on view at the Museum of Contemporary Art Chicago.

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

Art Fix Friday: February 23, 2018

Although the three most popular movies in 2017 were female-driven, a study from San Diego State University discovered that “women accounted for 24 percent of protagonists in the 100 top-grossing domestic films of 2017, a decrease of five percentage points from the year before.”

However, women had more speaking roles in those movies, up two percentage points from 2016. Representation of women of color also improved slightly.

In other news, a recent survey of 850 women in the film industry found that 94% of respondents experienced sexual harassment or assault.

Front-Page Femmes

Peggy Cooper Cafritz, an arts patron, civil rights activist, educator and saloniste in Washington, D.C. passed away on February 18 at the age of 70.

NPR highlights Feel Free, Zadie Smith’s new essay collection.

Janet Echelman suspends a seemingly-weightless net sculpture made of 600,000 knots and 77 miles of twine for the 400th anniversary of Madrid’s Plaza Mayor.

The Katastwóf Karavan by Kara Walker will be on view this weekend in New Orleans on a site where African slaves were quarantined in the 18th century.

“As women in the art world rise up against abuse from collectors and others, will the culture that’s protected predators shift?” asks the Guardian.

Princeton University Press released an expanded edition of Anni Albers’s On Weaving.

Sofia Campoamor is the first woman ever selected for Yale University’s Whiffenpoofs, the oldest a cappella group in the country.

“Art history taught me I have no place in history,” says stand-up comedian Hannah Gadsby. “Women didn’t have time to think thoughts; they were too busy taking naps naked in the forest.”

Paula Rego discusses her path and approach to life-drawing.

The Harvard Library digitized Virginia Woolf’s photo albums, which are now available to the public.

Takako Yamaguchi’s hyperrealistic portraits of her subjects’ clothing “emphasize the elusiveness of identity.”

Actress Danai Gurira discusses the cultural impact of Marvel’s Black Panther.

Nezhat Amiri, Iran’s first-and-only female conductor, led a 71-member orchestra performing at Tehran’s most prestigious concert hall last month.

Pollock, a play by Fabrice Melquiot, “obscures [Lee] Krasner’s own story.”

Jennifer Crupi’s carefully constructed jewelry displays “non-verbal behavior, posture, and gesture.”

Shows We Want to See

Kenyatta A.C. Hinkle’s paper-and-ink portraits at the San Francisco Arts Commission raise awareness about black girls and women who have gone missing due to human trafficking.

Jayne County: Paranoia Paradise features more than 80 of County’s works, spanning 1982 to 2017. County was “punk rock’s first openly transgender performer. . . . but never quite got credit for her widespread influence.”

Women Look at Women, the inaugural exhibition at Richard Saltoun Gallery in Westminster, England, explores sexuality and the female body through a feminist lens.

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

Art Fix Friday: February 16, 2018

The New York Times, Hyperallergic, and NPR share the unveiling of the official portraits of former President Barack Obama and former first lady Michelle Obama on February 12 at the Smithsonian National Portrait Gallery.

NMWA artist Amy Sherald painted the former first lady’s portrait while Kehinde Wiley painted the former president. The New Yorker writes that Sherald “wondrously troubles assumptions about blackness and representation in portraiture.” The Washington Post discusses Sherald’s life battling a heart condition and her recent recognition. The Lily praises both Sherald and Wiley for creating “compelling likenesses without sacrificing key aspects of their signature styles.”

In a Quartzy article, NMWA Chief Curator Kathryn Wat says, “[Sherald’s] work offers a much livelier take on portraiture. It suggests that people are never of a singular personality and much more complex than we might ever imagine.”

Front-Page Femmes

Vogue highlights Lorna Simpson and her 30-plus-year career and her recent paintings.

“In recent months, three museum directors have stepped down from their jobs at major art institutions across the United States. All three resigned amid social justice crises or after championing programming with a political edge. All three are women,” writes Hyperallergic.

Artist Jennifer Rubell allowed visitors to pie her in the face after signing a detailed consent form, bringing to mind issues of gender, power, and sexual misconduct. The Art Newspaper shares the “fraught experience” of throwing a pie at someone.

Former American Ballet Theatre principal dancer Ruth Ann Koesun passed away on February 1, 2018 at the age of 89.

Broadly interviews artist-friends Precious Okoyomon and Phoebe Collings-James about their experiences as immigrant black women and how their identities inform their respective works.

Embroidery artist Cayce Zavaglia creates intricate portraits using cotton and wool thread.

President and CEO of the New York Philharmonic Deborah Borda is committed to programming music by women for the 2018-19 season.

The Bossy collective campaign to buy the Theatre Royal Haymarket in London “with the aim of making it a venue that showcases female-led work.”

In the Atlantic, memoirist Terese Marie Mailhot shares how Maggie Nelson’s Bluets taught her to “explode the parameters of what a book is supposed to be.”

Shows We Want to See

MoMA features more than 100 works by Tarsila do Amaral, a pioneer of modern art in Brazil.

Figuring History, a group exhibition at the Seattle Art Museum, includes rhinestone encrusted works by Mickalene Thomas. The show features three new paintings by Thomas, inspired by sociopolitical issues of the 1960s and today.

In Detroit, Lucy Cahill’s NOW I WANNA… features “surreal, personal, and feminist” drawings, paintings, posters, and T-shirts.

Johanna Breading’s The Rebel Body at Angels Gate Cultural Center revisits the life of the last European woman to be executed for witchcraft.

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

Art Fix Friday: February 9, 2018

Acclaimed portraitist Amy Sherald received the $25,000 David C. Driskell Prize from the High Museum Art in Atlanta for her contribution to the conversation about work by black artists.

The director of the High Museum says, “Sherald is a remarkable talent who in recent years has gained the recognition she so thoroughly deserves as a unique force in contemporary art.” Sherald’s portrait of Michelle Obama will be unveiled on February 12 at the National Portrait Gallery in Washington, D.C.

Front-Page Femmes

Ariell R. Johnson, founder of Amalgam Comics & Coffeehouse, discusses diversity in comics and the upcoming Black Panther Marvel movie.

The New York Times profiles Judy Chicago.

NMWA’s upcoming exhibition Women House makes the Washington City Paper’s 2018 Spring Arts and Entertainment Guide.

The Los Angeles Times and the Atlantic discuss a recent study by the USC Annenberg Inclusion Initiative. In a gender breakdown of Grammy Award nominees, the study found and found that 90.7% of nominees between 2013 and 2018 were male.

“I think it would have been nicer to have not felt marginalized and invisible,” says Barbara Kruger. “Invisibility hurts. It hurts subcultures. It hurts your everyday, material life—whether you can get health care, a job, whether you are held in some degree of respect.”

The Cut interviews designer Laura Mulleavy on behalf of Rodarte, the fashion line run by sisters Kate and Laura Mulleavy.

The New Yorker spotlights African American composer Florence Price.

Artsy features Shigeko Kubota as a pioneer in video art.

LaToya Ruby Frazier’s series documenting the Flint, Michigan water crisis is currently on view in New York.

Documentary photographer Susan Meiselas chronicles the lives “of ordinary people caught in the turbulent tide of history.”

Artsy shares that POWarts, the Professional Organization for Women in the Arts, launched a new salary survey to bring transparency and data to the industry.

Artsy reviews Baya: Woman of Algiers

Shows We Want to See

Baya: Woman of Algiers is the first U.S. solo exhibition of work by 19th-century Algerian painter and sculptor Baya Mahieddine. The exhibition celebrates the artist’s “multidimensional and brazenly expressive” female subjects.

The Whitney Museum of American Art hosts Too Much Future—an exhibition featuring a new body of work by Christine Sun Kim.

The Colorado Springs Fine Arts Center at Colorado College hosts exhibitions featuring the works of Baseera Khan and Chiho Aoshima.

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

Art Fix Friday: January 26, 2018

Ursula K. Le Guin, award-winning science fiction and fantasy author, died at the age of 88. The New Yorker writes that Le Guin “never stopped insisting on the beauty and subversive power of the imagination. Fantasy and speculation weren’t only about invention; they were about challenging the established order.”

NPR reflects on her career and influence on other writers. The Guardian shares some of Le Guin’s essential novels. The New York Times remembers the author for her “tough-minded feminist sensibility to science fiction and fantasy.”

Margaret Atwood, in an article for the Washington Post, writes, “We can’t call Ursula K. Le Guin back from the land of the unchanging stars, but happily she left us her multifaceted work, her hard-earned wisdom and her fundamental optimism.”

Front-Page Femmes

“Money talks. Whose values?” says Barbara Kruger in an art21 video.

Elizabeth A. Sackler supports artist Nan Goldin’s campaign against another branch of the Sackler family that has profited from the opioid epidemic.

Photographer Lauren Greenfield discusses Generation Wealth, her new documentary capturing the lifestyles of the incredibly wealthy.

Andrea Geyer’s project “Revolt, They Said” represents the accomplishments of over 850 women, each of whom influenced the early and mid-1900s American cultural landscape—but who have since been overlooked.

“You have to learn to do what the picture tells you,” says 90-year-old Australian artist Helen Maudsley.

Conceptual artist Jill Magid wins the seventh edition of the Calder Prize.

Wallpaper interviews South African dancer Londiwe Khoza.

Hyperallergic shares creative signs from the Women’s March last weekend.

The New Yorker explores Alison Saar’s statue of Harriet Tubman, recently adorned with a pussy hat during the Women’s March.

Mickalene Thomas, Shinique Smith, and others create art for Los Angeles’s new metro line.

The Lily shares excerpts from the graphic novel Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu.

Faces Places, a documentary collaboration between director Agnès Varda and street photographer JR, earns an Oscar nomination.

Mudbound’s Rachel Morrison is the first woman to be nominated for an Academy Award for cinematography.

Shows We Want to See

In Her Image: Photographs by Rania Matar, on view at the Amon Carter Museum of American Art, trace the development of female identity through portraiture.

ARTnews shares reviews of abstract artist Howardena Pindell’s work from their archives in advance of her exhibition at the Museum of Contemporary Art, Chicago.

Women’s Point of View at the Saudi Embassy in Washington, D.C. features photography, drawings, motion graphics designs, and clothing by 11 women artists from Dar al-Hekma University.

Renée Cox’s exhibition Soul Culture at the Columbia Museum of Art transmits “a message of oneness and unity through the meshing and interconnection of human bodies.”

The New York Botanical Garden will host Georgia O’Keeffe: Visions of Hawai’i.

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

Art Fix Friday: January 12, 2018

The 2018 Golden Globe Awards celebrated women, awarding top prizes to women-centric films and shows including Three Billboards, Lady Bird, and Big Little Lies. Eight actresses invited activists from a range of fields as their plus-ones to direct attention to the Time’s Up initiative. Oprah Winfrey made history as the first black woman to receive the Cecil B. Demille Award.

Among these many achievements, however, are more sobering statistics from San Diego State University’s “Celluloid Ceiling” report. The analysis found that of the top 250 films of 2017, 88% had no women directors, 83% had no women writers, and 96% had no women cinematographers. The Atlantic delves into the report, #MeToo, and Time’s Up in an article titled “The Brutal Math of Gender Inequality in Hollywood.”

Front-Page Femmes

Amy Sherald’s portrait of former first lady Michelle Obama will be unveiled on February 12 at the National Portrait Gallery in Washington, D.C.

Four Salvadoran women artists discuss their work amidst recent immigration news that could affect over 200,000 Salvadorans living in the U.S.

“The American People” paintings by Faith Ringgold are searing portraits of a racially divided America.

Venezuelan collector Patricia Phelps de Cisneros announced that her foundation will donate more than 200 artworks, by 91 artists from 22 countries, to six museums across the U.S., Latin America, and Europe.

Elizabeth Murray’s canvases “bulge and ripple from the walls, fold over themselves at the corners, or comprise fractured and imperfectly interlocking shapes.”

Cheryl Dunn’s photographs of New York capture “aggression, freedom, protest, humor, resilience, the streets.”

ARTnews features Brazilian artist Rosângela Rennó’s symbolic works.

Mary Shelley’s novel Frankenstein turns 100 years old.

A new wall sculpture by Rachel Whiteread—modeled on a suburban U.S. house—will be on view at the new U.S. Embassy in London.

Beijing-based artist Peng Wei paints Classical Chinese motifs on rice paper to create contemporary sculptures of human legs, shoes, and torsos.

The book Yayoi Kusama: From Here to Infinity focuses on Kusama’s artwork, rather than her biography, to “expand children’s perspectives on art and its role in our lives. ”

The New Yorker explores whether or not the English-language translation of The Vegetarian is faithful to Korean writer Han Kang’s original text.

Mary Beard’s book Women & Power unpacks the way people think about female speech and power. NPR examines Beard’s book, along with a fiction work by Naomi Alderman, to discuss when and how women have influence in public and private spheres.

Shows We Want to See

Seattle-based, Pakistan-born artist Humaira Abid’s first solo exhibition is on view at the Bellevue Arts Museum. Searching for Home premieres never-before seen works, created following months of research and interviews with refugee women who have been resettled in both the Pacific Northwest and Pakistan.

Liz Glynn’s Archaeology of Another Possible Future at MASS MoCA is a sculptural experience of sight, sensation, sound, and scent—stretching nearly the length of a football field.

The solo exhibition Elizabeth Catlett: Wake Up in Glory presents work from the artist’s seven-decade career.

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

Art Fix Friday: January 5, 2018

The Art Newspaper reports that ceramicist Betty Woodman, who in 2006 became the first living woman artist to have a retrospective at the Metropolitan Museum of Art, died at the age of 87.

Woodman distinguished herself as an avant-garde sculptor when “the world of ceramics, where it intersected with ‘high art,’ was totally dominated by the macho.” Hyperallergic and artnet remember the groundbreaking artist.

Front-Page Femmes

“You feel you are not alone,” writes Hyperallergic about Mónica Mayer’s multifaceted El Tendedero/The Clothesline Project at NMWA.

Large-scale paintings by Njideka Akunyili Crosby reflect her life in both Nigeria and the United States.

Tatyana Fazlalizadeh discusses her anti-street harassment series “Stop Telling Women To Smile” series and her work in the 2017 Netflix series reboot of the 1986 film She’s Gotta Have It.

Romanian-born artist Adela Andea’s futuristic light installations appear “as lit explosions. . . . springing outwards in a blend of chaos and control.”

Hyperallergic and the Art Newspaper explore a new study which found that respondents consistently ranked works they believed to have been made by male artists higher than those believed to be by women artists.

The Foundation for Contemporary Arts grants $40,000 to three experimental poets, including Lisa Robertson, Anne Boyer, and Fred Moten.

Using thick layers of vibrant vinyl paint, Icelandic artist Katrin Fridriks depicts the fire, ice, volcanoes, and geysers.

Sofia Bonati uses pencils, watercolors, inks, gouache, and markers to portray “the intricacy of the female mind and women’s role in society.”

Maysaloun Hamoud’s film In Between is a “bold, brassy and beautiful first feature about living while Arab and female in Israel.”

Dick Van Dyke Show actress Rose Marie died at the age of 94.

Some of Hollywood’s most powerful women have teamed up to launch the Time’s Up campaign, an initiative aimed at combating sexual harassment inside and outside the industry.

For the first time since 1958 the top three highest-grossing films of the year starred women.

Shows We Want to See

Harriet Tubman and Other Truths, on view at Grounds for Sculpture in New Jersey, explores decades of Joyce J. Scott’s work—including her jewelry and figurative work, along with an homage to Harriet Tubman.

Marking the Infinite at the Scottsdale Museum of Contemporary Art features 70 works by nine contemporary women artists hailing from remote regions of Australia.

Hooked on Patty Yoder surveys the 13-year career of American rug hooker Patty Yoder, who set a new standard within the field of American textile arts with her attention to color, composition, and technique.

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

Art Fix Friday: December 8, 2017

Lubaina Himid becomes the first woman of color to win the Turner Prize since it was established in 1984, reports Hyperallergic. At the age of 63, Himid is also the oldest artist to win the U.K.’s prestigious award. Until this year, only artists under the age of 50 were eligible.

Himid told BBC, “I think it will get people talking, which is the point of my work.” Himid’s artwork addresses racial politics and the legacy of slavery. The prize judges praised her “uncompromising tackling of issues including colonial history and how racism persists today.” The Art Newspaper, the Guardian, and the Telegraph explore Himid’s work and Turner Prize history.

Front-Page Femmes

artnet explores NMWA artist Amy Sherald’s art-market success.

NPR discusses Time’s Person of the Year for 2017, the #MeToo social media movement, and the silence breakers who have helped raise awareness about sexual harassment and assault.

Think Progress shares El Tendedero/The Clothesline Project, the bilingual installation on violence against women at the National Museum of Women in the Arts.

NMWA Associate Curator Ginny Treanor and Magnetic Fields artist Lilian Thomas Burwell discuss the exhibition on the Kojo Nnamdi Show on WAMU 88.5.

Through an analysis of the 199 galleries showing at this year’s Art Basel, Artsy find that dealers who are women are 28% more likely to show artists who are women.

Liza Dracup reflects on her best work, a photograph of a barn owl.

Nicola L.’s works are “forceful and appealing, with their bright colors, stylized representations of the human body, and humorous applications of faux fur, perspex, and vinyl.”

German photographer Alma Haser prints photographs of twins onto a 500 or 1,000-piece puzzles and switches every other piece to create two works that are an equal combination of each sibling.

Caitlin McCormack’s fiber sculptures investigate the warping of memory over time through the breakdown of physical material.

Netflix will film eight more episodes of House of Cards for a final season that will feature the show’s female lead, Robin Wright.

The New Yorker delves into Anna Kavan’s novel, Ice, a “fantasia about predatory male sexual behavior that takes place during an apocalyptic climate catastrophe.”

Shows We Want to See

Aliza Nisenbaum: A Place We Share at the Minneapolis Institute of Art upends class and status structures through majestic group portraits.

Hyperallergic interviews Cecilia Fajardo-Hill, a curator of the Radical Women exhibition at the Hammer Museum, about how the show fills historical gaps with the contributions of Latin American women.

Trigger: Gender as a Tool and a Weapon at the New Museum “seeks a space beyond that taxonomic obsession.”

Photographer and filmmaker Laura Aguilar’s self-portraits shot in the Mojave Desert, ephemera from her college years and early career, family snapshots, and a few short films are on view at the Vincent Price Art Museum.

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

Art Fix Friday: December 1, 2017

artnet writes, “The myth of the starving artist is anything but a myth.”

artnet reports that a recent Artfinder survey found that “In the US, a full three quarters of artists made $10,000 or less per year from their art. Close to half (48.7 percent) made no more than $5,000.” The study also found that it is worse for women—83.6% of the female artists surveyed earned less than $10,000 from their art, compared with 77% of male artists.

Front-Page Femmes

Mónica Mayer’s El Tendedero/The Clothesline Project at NMWA inspires women to share their experiences with domestic and sexual violence.

In her new Netflix film Mudbound, Mary J. Blige’s character, Florence Jackson, delves into themes of “racism, war, friendship, and struggles for success” in the deep South.

artnet explores the history of the Cyberfeminism movement.

Sheila Klein’s 1993 public art installation Vermonica was quietly removed from Santa Monica Boulevard without her knowledge. The work consisted of 25 examples of street poles and fixtures that have been part of the city’s history.

Hyperallergic calls Ellen Harvey’s exhibition “bedazzling and entrancing.”

The Art Newspaper asks “How long do you really need in Yayoi Kusama’s Infinity Mirrored Rooms?”

May Wilson, an artist whose “rebellious appropriation of the objects and images of women as homemakers, wives, mothers, and sex objects” helped fan the flames of women’s lib.

Romanian conceptualist Greta Brătescu views art as “serious play” that highlights disorder, happiness, and freedom.

The Divine Order examines that fight for women’s suffrage in Switzerland.

Playwright Sarah DeLappe’s production The Wolves charts an elite girls soccer team as it goes through a season.

Shows We Want to See

Murder Is Her Hobby, on view at the Smithsonian American Art Museum’s Renwick Gallery, showcases 19 dioramas by Frances Glessner Lee. Both a master craftswoman and a pioneer in the field of forensic crime scene investigation, Lee crafted tiny replica crime scenes.

The Guardian writes, “The freedom and courage of Rose Wylie shows a way forward for painting in this century.” Rose Wylie: Quack Quack is on view at Serpentine Sackler Gallery in London.

DESHECHAS: Pía Camil | Ofelia Rofríguez, on view at Instituto de Visión in Bogotá, Colombia, explores two generations of work from Latin American women artists.

Annie Albers: Touching Vision at the Guggenheim Bilboa showcases the textile artist’s “eye for balance and harmony.”

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