Art Fix Friday: February 24, 2017

Yayoi Kusama: Infinity Mirrors, on view at Smithsonian’s Hirshhorn Museum and Sculpture Garden, dominated art news headlines this week. Featuring 70 years of the iconic Japanese artist’s work, the Infinity Rooms “delight as much as they disorient,” writes Hyperallergic. The museum also created a virtual reality simulation of the exhibition to make it accessible to all visitors.

The Huffington Post calls the exhibition “majestic” and describes Kusama as “an artist whose grasp of the world is profoundly prophetic.” Juxtapoz interviews Hirshhorn Assistant Curator Mika Yoshitake. The Washington Post publishes an interview with Kusama and ARTnews shares a 1959 review from the artist’s first New York solo show.

Front-Page Femmes

The Huffington Post features black women artists whose contributions to art history have been overlooked.

Artsy includes Border Crossing artist Jami Porter Lara in their list of 20 artists who are shaping the future of ceramics.

Deborah Kass discusses her accomplishments and the importance of representing Jewish culture in the art world.

Zoë Buckman and Natalie Frank created a “painful, yet necessary” mural titled We Hold These Truths To Be Self-Evident, incorporating statements politicians have made about women.

Sara Ouhaddou chronicles her journey across the U.S. in search of a symbol that is significant to both Arab and American cultures.

Hyperallergic interviews curator Jamillah James about her background, recent projects, and new role as head curator at the Institute of Contemporary Art, Los Angeles.

Emil Ferris’s debut graphic novel My Favorite Thing Is Monsters draws on her own childhood and on the experiences of Holocaust survivors.

Naima J. Keith was awarded the David C. Driskell Prize for her major contribution to African American art history.

Painter Beverly Fishman’s abstract works address technology and the pharmaceutical industry.

NPR interviews Argentine writer Mariana Enriquez about her new collection of stories, Things We Lost in the Fire.

BBC asks, “Is it still a man’s world behind the camera?

Women in the World reports that the number of women film protagonists reached an all-time high in 2016.

Shows We Want to See

artnet highlights Dutch designer Iris van Herpen’s 2008 dress Refinery Smoke, on view in her solo exhibition at the Carnegie Museum of Art.

Senga Nengudi: Improvisational Gestures, on view at the Contemporary Arts Center New Orleans, displays sculptures made of everyday materials—such as pantyhose and sand—that are stretched and twisted to occupy space.

Five decades’ worth of Alice Neel’s paintings and drawings of people of color are on view in an exhibition at David Zwirner gallery.

Paste spotlights three of the nine Australian Aboriginal women artists whose works are featured in Marking the Infinite.

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

Art Fix Friday: February 17, 2017

Art by Anicka Yi “provokes intense desire; one wants to touch it and smell it,” writes the New York Times. The conceptual artist, whose work was on view in NO MAN’S LAND, employs science and scent and integrates unusual materials like tempura-fried flowers, or snails injected with oxytocin, in her works. As the award recipient of the 2016 Hugo Boss Prize, Yi will host a solo exhibition at the Guggenheim Museum in New York.

Another NMWA exhibitor, Women to Watch artist Rachel Sussman, fills cracks in the marble floor of the Des Moines Art Center with gold, similar to the Japanese ceramic repair practice kintsugi. NMWA book artist Kerry Miller assembles her mesmerizing cut parchment sculptures in a new video.

Front-Page Femmes

In a diary letter to Diego Rivera. Frida Kahlo wrote, “I’d like to paint you, but there are no colors, because there are so many, in my confusion, the tangible form of my great love.”

After an earthquake destroyed New Zealand’s Lyttelton Museum, artist Julia Holden revived the histories of 23 figures from the port town.

Judit Reigl, a 93-year-old painter, and Laetitia Badaut Haussmann, a 36-year-old photographer and sculptor, receive the inaugural AWARE art prize.

Madrid unveils plaques around the city to commemorate a lost generation of women writers, artists, scientists, and thinkers.

Art in America writes that the theatrical production The Town Hall Affair “reads as a warning about deadly masculinity.”

Artist Joan Linder makes panoramic drawings of toxic and radioactive sites in the U.S.

A new biography seeks to “unearth who exactly Louise Nevelson was in all her contradictory poses.”

In Identity Unknown: Rediscovering Seven American Women Artists, author Donna Seaman chronicles the lives of seven mostly forgotten artists.

Bustle features six women artists who confront anti-feminist statements to create empowering works of art.

Morgan Parker releases her second collection of poetry, There Are More Beautiful Things Than Beyoncé.

Ten female solo artists have collected the Album of the Year Grammy Award since 1990, compared to seven male solo artists.

Only 22.3 percent of the 206 songs in Billboard’s Top 40 list in 2016 were sung by women.

Finding Kukan, by Chinese-American filmmaker Robin Lung, pieces together the story of a lost Oscar-winning film.

Shows We Want to See

French architect Emmanuelle Moureaux creates an immersive installation of 60,000 rainbow-colored numbers.

NO MAN’S LAND artist Nina Chanel Abney opens her first museum show at Duke University’s Nasher Museum of Art.

Entangled: Threads and Making examines the idea of textiles as women’s work and highlights the influence of different generations of women artists.

Tracing the Remains, on view at the Mütter Museum of the College of Physicians of Philadelphia, explores the life and decay of the human body—through sculptural fiber art.

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

Art Fix Friday: February 10, 2017

In an article examining gender bias in the art world, the Guardian writes, “The imbalance is systemic, and exists not just in the enormous gaps that are evident in the collections of publicly funded institutions.”

Front-Page Femmes

The Creators Project shares photography from NMWA’s collection on view at Whitechapel Gallery in London for Terrains of the Body.

The Art of Beatrix Potter chronicles Potter’s evolution from a naturalist to an expert artist and wildly successful author of children’s books.

Ann Carrington arranges hundreds of spoons, knives, and forks to re-create elegant bouquets.

Art historian and critic Dore Ashton passed away at the age of 88. The New York Times, Wall Street Journal, and Hyperallergic reflect on her life and career.

Augusta Savage (1892–1962) used sculpting “as a vehicle for challenging racial discrimination.”

The Dia Art Foundation acquired six works by Anne Truitt.

Hyperallergic writes that Eleanore Mikus “seems to have thoroughly vanished” from art history texts.

In Radical Love: Female Lust women artists interpret ancient Arabic poetry through “visualizing desire and worship in a dizzying array of manifestations.”

British artist Tracey Emin is funding a four-year scholarship for a refugee student at Bard College Berlin.

Art in America features Nicole Macdonald’s Detroit murals.

The Museum of Modern Art joins the Art+Feminism Wikipedia Edit-a-Thon.

Kara Walker painted a monumental work, alluding to Emanuel Leutze’s Washington Crossing the Delaware (1851).

A new website features work by more than 400 women photojournalists from 67 countries. The site’s creator discusses the “very paternalistic thread that exists within the news photography community” as well as a “growing empathy gap.”

The Metropolitan Opera recently presented the second of only two operas composed by women in the venue’s history.

Maira Kalman narrates a morning workout at the Metropolitan Museum of Art.

The New York Times highlights the women working behind the scenes of Star Wars.

Margaret Atwood’s 1985 novel The Handmaid’s Tale tops Amazon’s bestseller lists.

Shows We Want to See

The Guardian shares highlights from an exhibition of Hannah Gluckstein, or “Gluck,” who was known for her “emotive, humanistic paintings.”

Yayoi Kusama: Infinity Mirrors will open at the Smithsonian’s Hirshhorn Museum and Sculpture Garden on February 23rd. The Huffington Post and The Wall Street Journal discuss the exhibition and Kusama’s successes.

IWM Contemporary: Mahwish Chishty, on view at The Imperial War Museum, combines military drone imagery with Pakistan’s folk art traditions.

Mierle Laderman Ukeles has been an artist in residence at New York City’s Department of Sanitation for the last 39 years. The Queens Museum hosts the artist’s first retrospective.

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

Art Fix Friday: February 3, 2017

For the first day of Black History Month, Google celebrated 19th-century sculptor Edmonia Lewis with a doodle by artist Sophie Diao. Google writes, “Today, we celebrate her and what she stands for—self-expression through art, even in the face of adversity.

Diao depicted Lewis working on her iconic sculpture The Death of Cleopatra, which is now housed in the Smithsonian American Art Museum’s collection.

Front-Page Femmes

The Guardian explores Nan Goldin’s photograph Self-Portrait In Kimono With Brian from NMWA’s collection.

PAPER magazine highlights Kate Hush’s “towering creations made of neon.”

Deana Haggag, the former executive director of the Contemporary in Baltimore, was named the new President and CEO of United States Artists.

The Art Newspaper announces new works by emerging Saudi women artists at an arts festival in Jeddah.

The Art Newspaper reports, “The Uffizi Galleries in Florence will show more work by female artists.”

Hyperallergic explores crimson holograms by Louise Bourgeois.

The first exhibition of 17th-century artist Michaelina Wautier will be held at the Rubens House in Antwerp in 2018.

The New York Times explores the life and work of 17th-century naturalist artist Maria Sibylla Merian.

Lebanese artist Saloua Raouda Choucair, who was known for her abstract paintings and organically shaped sculptures, died at the age of 100.

Fresh Talk speaker Ann Hamilton’s latest photo-based project is an “experiment in interpersonal connections.”

Siobhan O’Loughlin’s one-woman performance in a stranger’s bathtub is “compelling theater and a cathartic group experience.”

Hyperallergic reviews Julia Gfrörer’s graphic novella about the Black Death, Laid Waste, and describes it as “Edward Gorey meets Chantal Akerman.”

Lucinda Childs is the recipient of the American Dance Festival’s award for lifetime achievement.

Artist Paulina Olowska and choreographer Katy Pyle create dances based on a series of prints depicting Slavic deities.

No women directors were nominated for the 2017 Academy Awards.

The Frame Blog discusses the role of women in picture framing in England since the 1620s.

Boston’s Museum of Fine Arts awarded Annette Lemieux its $10,000 Maud Morgan Prize.

Abigail Gray Swartz’s painting of Rosie the Riveter graces the cover of the New Yorker.

Madonna and Marilyn Minter discuss art and protest at a panel discussion at the Brooklyn Museum.

Shows We Want to See

First Ladies: Portraits by Michele Mattei, on view through February at Cross MacKenzie Gallery, features portraits of pioneering women, including Betye Saar, Louise Bourgeois, and NMWA founder Wilhelmina Cole Holladay. Mattei’s works were exhibited at NMWA in the 2012 exhibition Fabulous! Portraits by Michele Mattei.

Doris Salcedo: The Materiality of Mourning, on view at the Harvard Art Museums, examines “the indefinite, affective qualities of mourning.

Helen Johnson’s paintings “bring the crimes of Australia’s colonizers back to their place of origin.”

Uprise / Angry Women is an “exhibit of women in America today.”

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

Art Fix Friday: January 20, 2017

Women artists made headlines this week through a series of projects responding to the Presidential Inauguration. The Nasty Women Art Exhibition, which was held at the Knockdown Center in Queens, New York, raised more than $42,000 in proceeds for Planned Parenthood. The Guardian and the Huffington Post explore how the exhibition came together. Mutual Art shares stories of the famous “nasty women” of art history and their pivotal works. Artemisia Gentileschi, Faith Ringgold, and Yoko Ono make the list.

Françoise Mouly, art director of The New Yorker, and her daughter, Nadja Spiegelman, received more than 1,000 submissions for RESIST!. The 40-page tabloid newspaper of comics and cartoons will be available around the country.

The We Make America group prepares for the Women’s Marches on Washington and New York by making signs, props, and banners to carry. War on Women, a self-described “feminist hardcore punk band,” inspires a series of protest postersArtist Coralina Meyer asks for contributions of used women’s underwear to make a quilt to fly at the Women’s March on Washington. Hyperallergic calls the project a “welcoming beacon for those hoping to air the nation’s dirty laundry.”

Front-Page Femmes

NO MAN’S LAND artist Jennifer Rubell created a five-foot-tall orange cookie jar resembling one of Hillary Clinton’s iconic pantsuits. The sculpture, Vessel, will be filled with cookies made using Clinton’s oatmeal chocolate chip cookie recipe.

Mickalene Thomas discusses her portraits of Michelle Obama and Solange Knowles.

In a tribute to President Obama, artist Emily Spivack opens the retail store “Medium White Tee”—a one-month installation at the Honolulu Museum of Art.

artnet shares a list of women artists whose works top the auction charts.

Hyperallergic says works by Elizabeth Murray “are so alive they leap off the wall.”

The Creators Project explores Pat Steir’s “Waterfall” series.

The documentary film Girl Power explores the lives of more than 25 women graffiti writers.

The Center for the Study of Women in Television and Film shows that only 7% of all directors working on the 250 highest-grossing domestic releases last year were women—2% less than the year before.

The New Yorker delves into Zadie Smith’s fifth novel, Swing Time.

Shows We Want to See

A focused exhibition featuring the work of American artist Barbara Kruger closes this Sunday at the National Gallery of Art in Washington, D.C.

Georgia O’Keeffe: Living Modern, opening March 3, 2017 at the Brooklyn Museum, will examine O’Keeffe’s “enduring influence.”

In advance of her retrospective, Lubaina Himid discusses how black British art evolved over the past three decades. Himid says, “I was trying to place black people into historical events, to make the invisible more visible.”

Terrains of the Body, on view at London’s Whitechapel Gallery, consists of photographs and a video work on loan from the National Museum of Women in the Arts. The Telegraphs calls the exhibition a “quiet, intelligent protest.”

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

Art Fix Friday: January 13, 2017

As the Women’s March on Washington approaches, The Huffington Post highlights NMWA’s Free Community Weekend and special “Nasty Women” tour on Sunday, January 22nd.

ARTnews shares a list of museum statements, closures, and admissions policy changes for January 20th and the following weekend.

Artists Jayna Zweiman and Krista Suh organized the Pussy Hat Project for the Women’s March on Washington, offering free patterns to knit hats.

Out of more than 5,000 art submissions by women, the Amplifier Foundation selects the eight poster designs for the march. Five of the posters are available for free online.

Front-Page Femmes

The Tate plans to appoint Maria Balshaw as its first female director since the museum’s founding in 1897.

The Isabella Stewart Gardner Museum installs an enlarged version of a miniature painting titled I Need a Hero by Pakistani artist Ambreen Butt.

Brain Pickings examines Simone de Beauvoir’s perspective on the role of chance and choice in life.

Genevieve Gaignard “fearlessly examines America’s heart” through exploring different personas.

A crowdfunding campaign is underway to create a memorial for Fanny Cornforth’s unmarked grave. Cornforth was best known as one of Pre-Raphaelite painter Dante Gabriel Rossetti’s favorite models.

Juxtapoz features LaToya Ruby Frazier’s award-winning first book, The Notion of Family, exploring the economic decline of her hometown of Braddock, Pennsylvania.

Women Who Draw, a new website, showcases the work of women illustrators and allows the artists to highlight different aspects of their identity.

The Guardian shares ten books by “wild women” who transgressed social, personal, and literary boundaries, including works by Leonora Carrington, Margaret Cavendish, and Audre Lorde.

Daliyah Marie Arana, the four-year-old girl who has read more than 1,000 books, shadows Librarian of Congress Carla Hayden as “librarian for the day.”

Tracee Ellis Ross won a Golden Globe for her role in the television series Black-ish and dedicated her award to women of color.

La Medea, a new production by Brooklyn-based artist Yara Travieso, “combines dance, interactive theater, live music, film, and live broadcasting, creating a genre of art all its own.”

Artsy explores the importance of feminist art that transcends boundaries race, gender, and class.

Hyperallergic explores recent documentaries about well-known painters Elizabeth Murray and Carmen Herrera.

Shows We Want to See

The exhibition Room showcases 15 private, emotionally charged spaces created by women artists, including works by Nan Godin, Louise Bourgeois, and Francesca Woodman.

The Whitechapel Gallery commissioned the Guerrilla Girls to conduct a survey on gender and racial inequality in European art institutions. The resulting exhibition shows that little has changed since their 1986 campaign “It’s Even Worse in Europe.”

Hyperallergic reflects on Kara Walker’s “tumultuous charcoal drawings” featured in a recent exhibition at the Cleveland Museum of Art.

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

Art Fix Friday: January 6, 2017

Carmen Herrera, now 101 years old, discusses her career with the Guardian. Herrera recalls the obstacles she faced as a woman artist in the mid-20th century. She explains, “Because everything was controlled by men, not just art.”

Herrera famously sold her first painting at age 89. The Huffington Post discusses her solo show Lines of Sight at the Whitney Museum of American Art, on view through January 9, 2017.

Front-Page Femmes

The Women’s March on Washington, in collaboration with the Amplifier Foundation, asks for art submissions to be used on posters and banners during the march. The deadline is 2 p.m. on Sunday, January 8, 2017.

She Who Tells a Story artist Shirin Neshat describes her photograph Speechless from the series “Women of Allah.” Neshat says, “It’s usually printed larger than life—so that when someone stands in front of it, the gun is pointing straight at their stomach.”

Barbara Jatta is the first woman to direct the Vatican Museums.

The Guardian features vivid, abstract paintings by Sandra Blow.

Leila Abdelrazaq draws comics representing the experiences of Palestinian refugees and immigrants.

Wiebke Maurer sculpts place settings in gold and silver filigree.

Artsy highlights eight women who turned food into feminist art.

Bustle reviews the film Hidden Figures, based on Margot Shetterly’s book about the black women mathematicians who helped make space flight possible.

The New York Times interviews Ruth Negga about her leading role in the film Loving.

Alexis Arnold poses discarded books and covers them in borax crystals.

New York’s Second Avenue Subway features expansive public art installations by Sarah Sze and Jean Shin.

NPR remembers Debbie Reynolds and Carrie Fisher.

Beyoncé will be the first black woman to headline the music festival Coachella.

Actress Marlene Dietrich accumulated a massive collection of books and left handwritten notes in many of them.

NPR records Angel Olsen performing her song “Give It Up” in a church in the Bronx.

“Horror creeps into the most ordinary lines” in the novel Fever Dream by Argentinian author Samanta Schweblin.

In her new short story collection, Difficult Women, Roxanne Gay explores “stories of women who go to impossible places but are fighting to find their way back.”

Shows We Want to See

Nina Chanel Abney: Royal Flush, opening next month at the Nasher Museum of Art, features around 30 of Abney’s paintings. “Through her monumental paintings, Abney gives us the chance to have a meaningful conversation about issues of racial violence and social justice.”

The Creators Project interviews the co-directors of the crowd-sourced NASTY WOMEN Exhibition. The Huffington Post shares a small selection of the featured works submitted by 694 artists.

The Georgia Museum of Art features kinetic sculptures by New Orleans-based artist Lin Emery. “Executed in either polished or brushed aluminum, the sculptures take their cue from music, dance, and natural forms.”

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

Art Fix Friday: December 16, 2016

NPR explores 17th-century Italian painter Artemisia Gentileschi’s status as a feminist icon.

She is a phenomenon in terms of the history of art, because we really understood her life far earlier than we cared, really, about her painting,” says Judith Mann, a curator of Rome’s exhibition Artemisia Gentileschi and Her Times.

Front-Page Femmes

NMWA Director Susan Fisher Sterling joined the “Why is Gender Still an Issue?” panel at Art Basel Miami.

Several artists offer free, downloadable, anti-Trump protest images.

ARTnews highlights exciting U.S.-based artists, including NO MAN’S LAND artist Jennifer Rubell.

Artist Nina Katchadourian spent two years exploring MoMA for her new “Dust Gathering” audio guide.

Wendy Red Star explores the intersections of Native American ideologies and colonialist structures.

Annette Messager employs icons of anti-patriarchal anger in her drawings, paintings, sculptures, and installations.

Greek illustrator Meni Chatzipanagiotou creates a series of woodcut vignettes of animals and mountain ranges.

In her “Back to the Future” series Irina Werning re-creates childhood photos with painstaking detail.

Marina Abramović celebrated her 70th birthday at the Guggenheim Museum in New York.

Andrea Fraser talks about the “growing gap between art discourse and the social and political and actual lived reality of what we’re doing.”

“It’s harder to be taken seriously as a woman,” says artist Zoë Buckman.

New York Magazine interviewed Tschabalala Self, Chloe Wise, and Ayana Evans about the “shifting balance of power at Art Basel.”

Images of Irish artist Eileen Gray and Canadian activist Viola Desmond will appear on new currency.

“There is something both disturbing and inadvertently enthralling about the doughy fleshed out pencil drawings” by Ingrid Maillard in her “Contortion” series.

The Guardian reviews Siri Hustvedt’s A Woman Looking at Men Looking at Women and writes, “The novelist’s smart essays on science and the arts bridge the gap between the disciplines, inviting us to look at the world anew.”

Hyperallergic raves about Muriel Leung’s poems in Bone Confetti.

German painter Paula Modersohn-Becker is the subject of a new film.

Shows We Want to See

The Museum of Fine Arts in Boston displays more than 100 works by artist and writer Frances Stark in UH-OH.

Sonya Clark uses hair and combs to explore themes of cultural heritage, gender, beauty standards, race, and identity. Follicular: The Hair Stories of Sonya Clark at the Taubman Museum of Art includes new work and site-specific installations and performances.

The Metropolitan Museum of Art and the Hammer Museum announced a jointly-organized retrospective of Italian Arte Povera artist Marisa Merz, focusing on the artist’s half-century career.

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

Art Fix Friday: December 9, 2016

NO MAN’S LAND artist Helen Marten wins the 2016 Turner Prize. Marten also won the inaugural Hepworth Prize for Sculpture this month.

The Guardian and ARTnews discuss Marten’s successes. The London-based sculptor vowed to split the money from both prizes with her fellow nominees. Tate Britain director Alex Farquharson says that Marten’s work “reflects the condition of the world and particularly the condition of the visual world, one that is always accelerating, especially under the influence of the internet.”

Front-Page Femmes

Two-person art collective Soda_Jerk receives the $100,000 Ian Potter Moving Image Commission.

Lorraine O’Grady lip-syncs to Anohni’s “Marrow” in a new music video.

Faith Ringgold says, “You can’t have art of any kind without freedom of speech.”

Palestinian artist Inas Halabi’s award-winning video Mnemosyne features 17 members of her family telling the story of her grandfather’s scar.

A new study finds that “women are consistently earning less than men in the arts.

Dorothea Lange’s censored photographs of Japanese internment camps were largely unseen and unpublished until 2006.

Lydia Polgreen is named editor-in-chief of The Huffington Post.

FKA twigs documents dance workshops she held with 400 dancers from the Baltimore area.

Natalie Frank and Zoe Buckman use politicians’ sexist statements from the last 20 years to make a mural.

A towering cedar sculpture by Ursula von Rydingsvard was blamed for the hospitalization of over a dozen FBI employees, though there is no known evidence to link the two.

Becca Klaver‘s collection of poetry, Empire Wasted, “taps into the current zeitgeist.”

The Creators Project highlights works by women photographers at Art Basel Miami.

The New Yorker highlights Zora Neale Hurston’s life and work.

Emily Dickinson wrote on “scavenged paper: the flap of a manila envelope, the backs of letters, chocolate wrappers, bits of newspaper.”

New works by writers Dava Sobel and Siri Hustvedt “examine how women have succeeded in the arts and sciences, often through channels men weren’t interested in taking.”

Nina Collins publishes a book of short stories written by her late mother, filmmaker Kathleen Collins, titled Whatever Happened to Interracial Love?

Beyoncé is the woman artist with the most Grammy nominations of all time.

Shows We Want to See

The exhibition Beyond Mammy, Jezebel, & Sapphire: Reclaiming Images of Black Women “deconstructs the limiting categorizations mainstream culture allows black women.”

“Sophistical symbol user” Betye Saar showcases assemblages from her 50-year career in Betye Saar: Uneasy Dancer.

The Museum of Contemporary Art in Denver features more than 60 works by Kim Dickey, including biomorphic objects and ceramic representations of garden mazes. The exhibition “subtly and surprisingly highlights the influence that objects and architecture have in shaping perception,” writes Hyperallergic.

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

Art Fix Friday: December 2, 2016

Artsy writes, “Women working across arts professions make almost $20,000 less per year than men, before controlling for other factors.”

Artsy delves into the study published in the December 2016 issue of Social Currents. The survey of more than 33,000 people found that the “motherhood penalty” is not as prevalent in arts fields.

Front-Page Femmes

Elle interviews Fresh Talk speaker Emma Sulkowicz about her protest and performance art.

NO MAN’S LAND artist Helen Marten received the first Hepworth sculpture prize and is in the running for the Turner prize.

NPR highlights the Prado’s first solo exhibition dedicated to a female artist—17th century Flemish painter Clara Peeters.

Hyperallergic shares Cecily Brown’s works on paper and sketchbooks.

At the age of 83, artist Rose Wylieis having something of an art world moment.”

Guerrilla Girl Käthe Kollwitz says, “We are creative complainers, and our complaining has made a difference…we decided to give everyone a chance to complain.”

In her first solo exhibition in Hong Kong, Mickalene Thomas says, “I wondered how I could…attack an art history that has never deemed black women important enough to put forth.”

Shirin Neshat and Vivian Beer are among the selected artists for the 2016 United States Artists fellows.

Bridget Riley designed a semi-transparent painting-drawing for a first-floor window in The Hague’s Gemeentemuseum.

Kimsooja creates an immersive, shimmering installation that “harnesses pure color and light as essential materials.”

Two Native American artists, Rebecca Nagle and Graci Horne, traveled to Standing Rock, North Dakota, to create a healing tent and address issues of sexual violence.

The Huffington Post shares Angela Fraleigh’s work transforming the passive female muses of art history into subversive female characters.

The first art fair at Miami Art Week is Conception Art Fair—owned and produced exclusively by women.

artnet explores PULSE Miami Beach and writes, “Strong feminist statements are to be found at every turn.”

Multidisciplinary artist Susan Goethel Campbell documented a year of weather in Detroit.

Justine Kurland publishes Highway Kind, a semi-autobiographical book that “pushes the limits of storytelling.”

One Google Doodle celebrated Little Women author Louise May Alcott.

Shows We Want to See

Kara Walker’s exhibition The Ecstasy of St. Kara at the Cleveland Museum of Art “shakes even the heartiest of souls.”

“How is it possible that I have never heard of this person?” asks one Hyperallergic writer when seeing photographer Kati Horna’s retrospective at the Americas Society.

Frida Kahlo at The Dali features 15 paintings, seven drawings, and numerous personal photographs.

The Moscow Museum of Modern Art and the School of Contemporary Art showcases Sasha Biryulin’s solo exhibition Just Love, Love, exploring the correlation between attractiveness and the significance of a man in today’s world.

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