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 New Yorker shares Emmy news

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.

The New Yorker shares Iris van Herpen’s designs

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

The Guardian highlights prints by Louise Bourgeois

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.

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

The New York Times remembers Kate Millett

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 features Ana Pellicer’s work

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.

The Guardian spotlights An Incomplete History of Protest

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.

The Telegraph announces a new exhibition about Frida Kahlo’s wardrobe

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.

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.”

The Pacific Standard discusses gender bias in book reviews

“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.”

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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.

Juxtapoz shares Zaria Forman’s work

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

The Los Angeles Times reviews Radical Women: Latin American Art, 1960-1985

“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.

Recent articles from Forbes and Variety rank the highest salaries among Hollywood actors and actresses, revealing that white men earn far more for their roles than women and people of color. Emma Stone, the highest-earning actress, only earns 38.2% of Mark Wahlberg’s salary.

The Guardian asks, “What can we learn about Hollywood salaries in 2017?”

The earning gap has decreased for television actresses over the age of 40, perhaps due, in part, to the rise in women-driven shows. The prevalence of male-dominated franchises offers actors more space for salary negotiations than their female counterparts.

Front-Page Femmes

Hyperallergic raves about Magnetic Fields, the first major exhibition in the U.S. of work by women of color working in the field of abstraction, on view at the Kemper Museum of Contemporary Art. Magnetic Fields opens at NMWA on October 13, 2017.

A recent biography by Marie Darrieussecq examines the life of Paula Modersohn-Becker, whose unapologetic depictions of the female body subverted voyeuristic male interpretations of femininity.

The Guardian features Rinko Kawauchi’s work

Japanese photographer Rinko Kawauchi’s use of soft colors and mysterious settings exposes the mystery within the mundane, conveying profound wonder at nature’s beauty.

artnet suggests 11 women who they think would excel as the next director of the Metropolitan Museum of Art.

“Unless women can see themselves represented, they won’t think they can do the same,” argues all-women music collectives.

Crafting embroidery designs based on old family photos, Anastasia Zhenunk delves into the past, celebrating her matriarchal line’s creative ingenuity while also honoring her deceased father.

Hyperallergic highlights Nashra Balagamwala’s board game

Nashra Balagamwala’s new board game offers a critique of arranged marriage in Pakistan.

In an interview with Art in America, Elizabeth Jaeger discusses her new sculptures and her effort to “instill the female form with a more dangerous meaning.”

Julie Cockburn tries to capture the spirits of the unknown through hand embroidery on found photographs.

In celebration of an ongoing exhibition at the New-York Historical Society, Artsy profiles Editta Sherman, whose “bohemian spirit and unbounded tenacity” helped her in her efforts to photograph celebrities.

Elia Alba draws on Afrofuturist aesthetics to transform her subjects into fantasy icons, reclaiming a narrative of power for marginalized groups.

Shows We Want to See

Jessica Warboys at Tate St. Ives

New landscape-inspired works that delve into memory and mythology by British artist Jessica Warboys are on view at Tate St. Ives. For Sea Painting, Zennor 2015, Warboys worked on a beach near St. Ives, casting mineral pigments onto a damp, folded canvas, which she then submerged under the sea.

The Jewish Historical Museum in Amsterdam will showcase the work of Charlotte Salomon, whose intimate paintings blended the fantasy and reality of her tumultuous life.

DePaul Art Museum presents Senga Nengudi: Improvisational Gestures, featuring sculptural works that serve as an exploration of the socialized body.

Appropriating militaristic aesthetics, Pouran Jinchi’s The Line of March examines the intersection of art and language as methods of communication.

Women in Colour, on view at the Rubber Factory, provides a scholarly context highlighting women and color photography.

—Xiaoxiao Meng is the summer 2017 publications and marketing/communications intern at the National Museum of Women in the Arts.

According to the National Park Service, only 2% of all historical monuments in the United States are dedicated to women. In recent news, Kanishka Karunaratne, an aide for San Francisco’s Board of Supervisors, introduced legislation to break through the “bronze ceiling” by aiming to raise city-wide representation to 30% by 2020.

CNN discusses monuments to honor women

“By having women missing, it sends the message to young girls and young boys that women did not play a prominent role in the building and the growing of our nation,” says Karunaratne in an interview with Time. “It’s as though women did not participate and they do not deserve the respect that men do who are portrayed across the country.” The project joins other ongoing advocacy efforts and initiatives to honor women in public monuments. 

Front-Page Femmes

The Guardian questions the macho definition of heroism in movies—particularly evident with films featuring comic-book superheroes. The article encourages “quiet moral fortitude and patient hard work” in lieu of violence.

Artist duo JF. Pierets unveil plans for a project to host a wedding in every country where same-sex marriage is legal.

Hyperallergic features corpse flower paintings by Megan Marrin

Megan Marrin’s large-scale paintings depict the glory and repugnance of the corpse flower’s life cycle.

Street artist Girl Mobb launched an all-girls graffiti camp to protest the gender imbalance in street art.

For her upcoming solo exhibition in New York, Kara Walker caused a stir with a press release that criticizes celebrity culture.

Colombian artist Doris Salcedo’s memorial for drowned migrants will go on display in Madrid’s Palacio de Cristal in the Parque del Retiro.

Hyperallergic features multimedia artist Mary Nohl, who bucked the trend of “narrative-centric” women creators and embraced the artistic mythmaking process.

Martha Rosler is interested in “delineating the physical space that a traveler inhabits” in her ongoing airport photography series.

The “bizarre images and aesthetic genius” of pop culture classics are the inspiration for Nuria Riaza’s highly detailed ballpoint pen pieces.

The Guardian discusses women gaining ground in virtual reality

Women creators and producers step up to counter the male gaze in virtual reality with innovative women-centric storytelling.

Artsy highlights eight Dada artists who made significant contributions to the movement.

Using found materials as frameworks, Agnes Herczeg spins together intricate lace sculptures depicting feminine forms and nature.

Carolee Schneemann talks about her early career, the sexism she faced in the art world, and how she created groundbreaking performance pieces.

Shows We Want to See

Valeska Soares: Any Moment Now at the Santa Barbara Museum of Art

Valeska Soares: Any Moment Now, on view at the Santa Barbara Museum of Art, will feature 49 works by the Soares, revealing the artist’s fascination with re-purposing objects and shuffling established narratives.

Sheela Gowda’s installations at Ikon Gallery draw on craft techniques to explore the evolving nature of labor on the Indian subcontinent.

The New-York Historical Society’s Eloise at the Museum celebrates the picture book icon’s history and legacy. Art Daily reports that the exhibition explores the collaboration between cabaret star Kay Thompson and illustrator Hilary Knight.

—Xiaoxiao Meng is the summer 2017 publications and communications/marketing intern at the National Museum of Women in the Arts.

According to a new USC study, women remain underrepresented in film, both on screen and behind the camera.

The New York Times discusses recent findings about women in film

The Los Angeles Times and the New York Times shared key findings from the analysis of 1,000 scripts:

• 4,900 male characters to 2,000 female characters
• Men spoke in 37,000 dialogues, while only 15,000 conversations included women
• Seven times as many male screenwriters as female
• Almost 12 times as many male directors

Front-Page Femmes

Artsy profiles Isabella Stewart Gardner and celebrates her “irrepressible personality.”

Justine Varga, winner of the 2017 Olive Cotton Award, uses traditional photographic processes without a physical camera.

Sheila Hicks discusses her public installation at the High Line.

It’s Nice That highlights paintings by Patricia Renee’ Thomas

Patricia Renee’ Thomas’s paintings probe the historical exploitation of the black body.

The Washington Post’s The Lilly interviews the leaders of social media for Smithsonian’s National Museum of African American History, Lanae Spruce and Ravon Ruffin.

Julie Mehretu, a MacArthur Foundation “genius,” is executing a monumental new commission for the San Francisco Museum of Modern Art.

NMWA announces creation of a Judy Chicago Visual Archive at the Betty Boyd Dettre Library and Research Center.

The social media initiative #VisibleWomen helps women in the comics world gain visibility.

Australian painter Barbara Blackman reflects on her life in a new documentary.

Cindy Sherman made her Instagram public.

Aphra Behn (1640–1689), one of the first English women to make a living writing, was also a translator and Royalist spy.

Barbara Hammer, a pioneer of queer experimental film, talks about her experimental multi-media work exploring the female experience.

ArtAsiaPacific shares news of a new museum dedicated to Yayoi Kusama

A museum dedicated to Yayoi Kusama will open in Tokyo this October.

The Women’s Suffrage and the Media online site helps users explore how various forms of media messaging shaped the suffrage crusade.

Ava DuVernay will produce a television series based on Octavia Butler’s Dawn.

AIGA discusses the prevalence of the gender gap in design fields, according to AIGA’s 2016 survey.

Shows We Want to See

ArtInfo shares Making Space at MoMA

Making Space: Women Artists and Postwar Abstraction, a new exhibition at the MoMA, brings together more than a hundred works by women artists working in abstraction.

Between the Lines is the first retrospective of Chiharu Shiota in the Netherlands, provoking dialogues about universal experiences and our personal relationships.

Smithsonian’s National Portrait Gallery showcases poet Sylvia Plath’s visual art in One Life, ranging from watercolors to collages.

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

News outlets buzzed about the status of women in the music industry this week. The Guardian explores why it is so difficult for women artists to reach the same level of super-stardom in the pop music industry as their male counterparts.

The Guardian explores the challenges faced by women in pop music

NPR releases their list of the 150 greatest albums by women in an effort to start a conversation and help rewrite the history of popular music.

Front-Page Femmes

The Washington Post features Equilibrium: Fanny Sanín, on view at NMWA.

art21 shares a video of Liz Larner discussing color distortion and Minimalist Tony Smith’s influence on her work.

Artsy discusses the significance of Judy Chicago’s smoke art

In reaction to destructive art by men, Judy Chicago created colorful smoke art. “There was a moment when the smoke began to clear, but a haze lingered. And the whole world was feminized—if only for a moment,” recalls Chicago.

Elizabeth Peyton referenced photographs of Angela Merkel from the last 30 years to craft a portrayal of the chancellor.

Marguerite Humeau’s latest series, “RIDDLES,” explores surveillance in the modern age.

Jung Lee installs a series of neon light sculptures on foggy snowbanks and reflective beaches.

Marrie Bot talks about her best photograph, which depicts bath-time on an ancient pilgrimage through Andalucía.

Shaina Kasztelan’s “candy flip gone wrong” aesthetic exposes commercialized femininity.

Wallpaper shares the first monograph of Chiharu Shiota

Under The Skin traces the trajectory of Chiharu Shiota’s career of making large, ephemeral-looking installations incorporating performance and symbolic items.

Pussy Riot plans a new theatrical production exploring “the intersections of art, social justice, and prison reform.”

Faith Ringgold stars in Cecile Emeke’s new short film When The Ancestors Came.

Studies of recent box office successes of women-led films suggest a shift in representation is possible.

Photographer Scarlett O’Flaherty focuses on a “social documentary practice and slow-journalism through an anthropological approach.”

The New Yorker explores science-fiction writer Octavia Butler’s tenth novel, Parable of the Sower, and considers the dystopian classic’s relevance to today’s society.

The Katzen Arts Center of American University will host I AM

Shows We Want to See

Katzen Arts Center of American University will host I AM, an exhibition showcasing the work of 31 women artists from Iran, Jordan, Saudi Arabia, Yemen, Lebanon, Egypt, Iraq, Morocco, and more.

MoMA will highlight Tarsila do Amaral’s modernist paintings celebrating Brazil’s mixed culture, which laid the foundation for the Brazilian Neo-Concretists and abstract artists of the 1960s.

The Interference Archive features Take Back The Fight: Resisting Sexual Violence from the Ground Up, an exhibition of responses to gender and sexual violence through printed ephemera.

Revolution & Ritual: Three Mexican Women Artists at the Ruth Chandler Williamson Gallery at Scripps College presents work by Graciela Iturbide, Sara Castrejón, and Tatiana Parcero. The Los Angeles Times interviews Graciela Iturbide.

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

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.