Art Fix Friday: May 19, 2017

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

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.”

Front-Page Femmes

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

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

“[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.

Art Fix Friday: May 12, 2017

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 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.

Front-Page Femmes

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

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.

Art Fix Friday: May 5, 2017

The four nominated artists for the 2017 Turner Prize are Andrea Büttner, Lubaina Himid, Rosalind Nashashibi, and Hurvin Anderson.

Hyperallergic calls this year’s shortlist “refreshingly diverse,” including three women, two artists of color, and two artists over the age of 50. British painter Hurvin Anderson and the Tanzania-born painter and sculptor Lubaina Himid were not eligible for a nomination last year, before the age restriction of 50 years old or under had been removed. artnet delves into the nominees’ works.

Front-Page Femmes

Artsy calls the exhibition We Wanted a Revolution: Black Radical Women, 1965–85 “the realization of a dream.”

Iranian artist Maryam Ashkanian embroiders individuals deep in sleep onto the surface of handmade pillows.

The Center for Women’s History at the New-York Historical Society opened on Saturday.

Cornelia Parker is the first woman to be named the official Election Artist for the U.K. general election.

The Washington Post profiles Hirshhorn director Melissa Chiu.

Hyperallergic features Swiss artist Sonja Sekula, whose work fell into obscurity after her death in 1963.

ARTnews presents an excerpt of Lowery Stokes Sims’s acceptance speech for the 2017 Distinguished Service to the Visual Arts.

Alexa Meade paints on her models and their surroundings to trick the viewer’s eye.

Action at a Distance features work by five contemporary Lebanese artists, including Rania Matar.

Emil Ferris’s debut graphic novel My Favorite Thing Is Monsters is “a rich tapestry full of hairpin turns in style and content.”

Paula Wilson’s exhibition pairs stained-glass-inspired works with her short video Salty + Fresh.

Kaari Upson discusses the relationships between the drawings, objects, and videos in her upcoming New Museum show.

The New York Times reviews the fourth episode of The Handmaid’s Tale on Hulu.

NPR interviews Salt Houses author Hala Alyan about her book, displacement, and her own family.

New Museum director Lisa Phillips initiated the first study to investigate the salary gap for museum directors.

The New York Times examines box office results to bust five myths about diversity in Hollywood.

Carol Rama’s solo exhibition presents viewers with 150 works portraying “the ecstatic horror of existing in a female body.”

Shows We Want to See

The Metropolitan Museum of Art’s Costume Institute hosts its first show devoted to a living designer (since Yves Saint Laurent in 1983) by honoring Rei Kawakubo, the designer and founder of Comme des Garçons.

Artist Olek created a 32-foot crocheted mural honoring Harriet Tubman at the Schweinfurth Art Center—one of 50 planned installations celebrating important women across the U.S.

The Guardian discusses Alice Neel’s exhibition on view at Victoria Miro, and shares highlighted works. An anonymous figure in one of Alice Neel’s portraits is identified.

The New Yorker and Hyperallergic explore Louise Lawler’s exhibition at MoMA.

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

Art Fix Friday: April 28, 2017

Margaret Atwood’s 1985 dystopian feminist novel The Handmaid’s Tale tops best-seller lists and is the subject of a recent Hulu adaption. An installation on New York’s High Line, designed by Paula Scher and Abbott Miller, offers 4,000 free copies of Atwood’s novel for visitors to read and take away.

The New Yorker delves into the Hulu adaptation, which sets Atwood’s novel closer to the present day. NPR states that the television drama offers a “very timely and very feminist message.” The New York Times shares a list of reviews, essays, and features to read before watching the episodes. Ane Crabtree, the show’s costume designer, spoke to Vanity Fair about her artistic approach.

Front-Page Femmes

Hyperallergic describes NMWA’s installation From the Desk of Simone de Beauvoir as a “uniquely brilliant exhibition.”

The Rubens House is searching for six paintings by Michaelina Wautier. The “Five Senses” series dates from 1650 and consists of five signed and dated works on canvas.

The National Endowment for the Arts released its latest data on the arts and cultural sector’s contributions to the U.S. economy.

Jeanine Michna-Bales photographed 100 sites along the Underground Railroad.

Artist Athena Papadopoulos lists her favorite works, including her impressions of the works, a descriptor taken from Richard Serra’s Verb List, and which cocktail should be had in the presence of each.

Pop artist Marisol left her estate to the Albright-Knox Art Gallery, including 100 sculptures, 150 works on paper, thousands of photographs, and her New York City apartment.

Vivian Maier’s photographs have become the subject of multiple lawsuits.

After a breakdown, Ida Applebroog created art grappling with her depression.

Laurie Simmons’s film My Art includes nods to the artist’s real life.

The Tate St Ives, opening in October, will host Rebecca Warren’s first major solo show in the United Kingdom.

Florine Stettheimer’s works are being celebrated by museums and collectors after years of obscurity.

The Musée Camille Claudel showcases 43 of the artist’s sculptures, the largest collection anywhere in the world.

Syrian-American performance poet Mona Haydar released her first rap song this month.

Beyoncé will help four women pay for their college education, including a student at Howard University in Washington, D.C.

Shows We Want to See

A Dangerous Woman: Subversion and Surrealism in the Art of Honoré Sharrer, on view at the Columbus Museum of Art, offers visitors an opportunity to respond to the question “Why do you think Honoré Sharrer was a dangerous woman?”

We Wanted a Revolution: Black Radical Women, 1965–85, on view at the Brooklyn Museum, honors black women artists who paved the way for today’s artists and activists.

The Guggenheim Bilbao and Tate Modern will host surveys of textile artist and printmaker Anni Albers’s works.

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

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 receives 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.