5 Fast Facts: Kiki Smith

Impress your friends with five fast facts about Kiki Smith (b. 1954), whose work is on view in NMWA’s collection galleries.

Kiki Smith, Untitled (for David Wojnarowicz), 2000

Kiki Smith, Untitled (for David Wojnarowicz), 2000; Etching and engraving, with aquatint, spitbite, and sugarlift on Hahnemühle paper; National Museum of Women in the Arts, Gift of Steven Scott, Baltimore, in honor of the artist and her biographer, former NMWA Chief Curator Helaine Posner

Kiki Smith (b. 1954)

1. Spirited Away

Smith cites Catholicism’s focus on the human body as source material. “Catholicism is a body-fetishized religion. It’s always taking inanimate things and giving meaning to them.” Smith has based sculptures on Mary Magdalene and the Virgin Mary, but uprooted traditional expectations.

2. Proof is in the Print

Although she is best-known as a sculptor, Smith has also worked in printmaking since the late 1970s. The “endlessly fascinating” printmaking process allows Smith to examine proofs at various stages, offering the artist the flexibility to experiment and re-work an image until she is satisfied with the result.

3. Poetic License

Smith’s work on view at NMWA highlights her interest in the relationship between women and nature. She illustrated Sampler, a book of poetry by Emily Dickinson, and assembled the drawings into one hand-colored and gilded layout. Smith’s imagery was inspired by embroidered samplers from the 18th and 19th centuries.

A visitor studies Kiki Smith’s Sampler, 2007 on view in NMWA’s collection galleries

A visitor studies Kiki Smith’s Sampler (2007), on view in NMWA’s collection galleries

4. Life and Death

Smith lost her father in 1980 and her sister, Beatrice, to AIDS, in 1988. These deaths prompted Smith to explore themes of ephemerality and mortality. In this vein, she has created death masks in homage to her family and friends. She also cited Gray’s Anatomy as inspiration and studied cadavers.

5. Matter of Opinion

Friends fuel Smith’s creative process. She explains that “you get the benefit of everyone’s opinions and so it’s not just about you in your you-dom.” Welcoming other perspectives, Smith says, “I’d rather make something that’s very open-ended that can have a meaning to me, but then it also can have a meaning to somebody else.”

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.

Modern Makers: Sharlaine Anapu

Inspired by the Makers Mart at the National Museum of Women in the Arts (NMWA), the Modern Makers series highlights local women makers and their diverse companies.

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Sharlaine Anapu at work; Photo: Adriana Regalado and Malik Cherry, NMWA

Company: Sharlaine Anapu
Maker: Sharlaine Anapu

Sharlaine Anapu and her company are based in Washington, D.C. Anapu designs and produces handmade jewelry.

How did you get started?
I took a four-week fabrication class at the Art League. After taking that class I realized art making was something that I wanted to continue. I started taking classes at the Corcoran. They had recently started a jewelry program there, so I started taking those classes too.

What inspires you?
I think for me a lot of it is innate, what I like aesthetically. And in the past, I kind of gravitated more to very organic, natural pieces. But lately I’ve been trying to incorporate a lot of things that are important to me like my heritage. I’ve been trying to infuse some of the tattooing designs that are used in Samoan culture into my work.

What does the word “maker? mean to you?
To me it’s somebody that uses their hands to create something. . . an idea that they’ve thought up themselves. That’s how it comes across to me—being able to create my own work, to produce my own designs.

How do you see your company evolving?
I would love to be doing this full-time. Even though I do jewelry, I always think about other products, other things that I could make. I have always been interested in leather belts and leather bracelets. Maybe in the future I could incorporate my jewelry making skills into leather designs and leather goods.

Do you have any insights to share as a female business owner?
I think networking with people and the community is a really good way to find out about shows and come up with ideas. The other women that I share the studio with, we always try to brainstorm with other makers and artists in D.C.

What is your favorite work from NMWA’s collection?
Magdalena Abakanowicz’s 4 Seated Figures made me wonder what the artist was thinking when she created it. It’s a phenomenal work of art.

What inspired the limited-edition NMWA product?
I visited the She Who Tells a Story exhibition and those works really inspired me. I thought about using a dog tag as an object of identification and incorporating my heritage into that. I used tattooing—an important aspect of my culture—on the dog tag to make a great piece.

Browse the Modern Makers products on Museum Shop’s website, including the limited-edition etched dog tags by Sharlaine Anapu. Browse #NMWAMakers on Twitter to see more creations.

NO MAN’S LAND: Optical Illusions

Contemporary large-scale paintings and sculptural hybrids are on view in NO MAN’S LAND: Women Artists from the Rubell Family Collection. The exhibition imagines a visual conversation between 37 women artists from 15 countries exploring images of the female body and the physical process of making. Li Shurui, Karin Davie, and Kerstin Brätsch employ unconventional techniques to create optical illusions.

Li Shurui, I am not ready…, 2013; Acrylic on canvas; Rubell Family Collection, Miami

Li Shurui, I am not ready…, 2013; Acrylic on canvas; Rubell Family Collection, Miami

What’s On View?

Li Shurui’s I am not ready…, 2013

Li Shurui (b. 1981, Chongqing, China) uses an airbrush to add vibrant color to canvas to approximate the appearance of LED lighting popular in nightclubs and city settings. She says, “I try to use light and space to capture an atmosphere and state of mind in a way that leave people with a strong emotive impression rather than a concept or idea that must be dealt with logically.”

Working at a large scale, Li creates immersive works that induce hypnotic sensations in the viewer and capture the imagination. In I am not ready…, Li depicts an experience of morphing light that people typically experience only momentarily, when looking closely at the pixels of a digital image.

Karin Davie’s Oh Baby #1 and #2, from the series “Sidewalk,” 1992

“Someone once said to me, ‘Oh, you are that painter who makes the wavy stripe paintings of contorted eyes, lips, cheeks and butts’—they couldn’t have put it better,” says Karin Davie (b. 1965, Toronto). Inspired by postmodern dance, Davie redefines the modernist motif of the painted stripe by inserting references to the body. She says, “Conceptually I wanted to take this modernist ideal of purity, perfection, and dominance and turn it into an image of something more vulnerable, imperfect, and playful.”

Karin Davie, Oh Baby #1 and #2, from the series “Sidewalk,” 1992; Oil on canvas; Rubell Family Collection, Miami

Karin Davie, Oh Baby #1 and #2, from the series “Sidewalk,” 1992; Oil on canvas; Rubell Family Collection, Miami

Elements of Op art and Pop art can be seen in Davie’s diptych Oh Baby #1 and #2. Seemingly unbroken, two-dimensional lines create a curvilinear illusion, conjuring images of bellies, bottoms, breasts, or lobes. Distinct from the purely retinal or optical experience offered by Op art, Davie’s abstractions allow the viewer to both “see and feel” her painting process.

Kerstin Brätsch, I Want to be Wrong, from the series “Broadwaybratsch/Corporate Abstraction,” 2010; Oil on paper; Rubell Family Collection, Miami

Kerstin Brätsch, I Want to be Wrong, from the series “Broadwaybratsch/Corporate Abstraction,” 2010; Oil on paper; Rubell Family Collection, Miami

Kerstin Brätsch’s I Want to be Wrong, from the series “Broadwaybratsch/Corporate Abstraction,” 2010

Kerstin Brätsch (b. 1979, Hamburg, Germany) analyzes how paint strokes are simultaneously reflexive and allusive through her abstract paintings. In describing her approach, Brätsch says, “I’m trying to deal with abstract anxiety and to visualize something that is not visual, like radiation or heat.”

I Want to be Wrong contains arcing swaths of color that echo the sweeping motion of the artist’s hand. “The brushstroke becomes a stand-in for its physical process,” she says.

Unconventionally displayed, Brätsch’s paintings are created on pieces of paper that are attached by magnets. To “question the wall itself,” Brätsch leans her frames against the wall to give her art an ephemeral feel.

Visit the museum and explore NO MAN’S LAND, on view through January 8, 2017.

—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.

5 Fast Facts: Remedios Varo

Impress your friends with five fast facts about Surrealist painter Remedios Varo (1908–1963), whose work is on view in NMWA’s collection galleries.

varo the call

Remedios Varo, La llamada (The Call), 1961; Oil on masonite, 39 1/2 x 26 3/5 in.; NMWA, Gift from Private Collection

Remedios Varo (1908–1963)

1. Stranger in a Strange Land

Varo spent the majority of her adulthood as a political refugee. She left her native Spain for Paris during the Spanish Civil War and could not return due to her political ties. She then fled Paris after Germany’s 1940 occupation. She escaped to Mexico, where she lived for the rest of her life.

 2. Hanging with the In-Crowd

Varo’s relationship with French Surrealist poet Benjamin Péret introduced her to other Parisian Surrealists. While outwardly accepting, the male-dominated movement placed limitations on women artists by portraying them as innocent and child-like. This view often created obstacles for female Surrealists trying to gain credibility and develop their own creative identities.

3. Paying the Bills

After moving to Mexico, Varo supported herself through various odd jobs, including sewing, restoring ceramics, creating advertisements for pharmaceuticals, and creating technical drawings for the Ministry of Public Health. Although commercial, this work helped her develop a style that was uniquely her own.

varo weaving

Remedios Varo, Tejido espacio-tiempo (Weaving of Space and Time), 1954; Oil on masonite, 32 x 28 in.; NMWA, Gift from Private Collection

4. Fashionista

Although she is renowned as a painter, Varo also designed costumes for theatrical productions. She even made her own clothing, believing that tailors had no knowledge of a woman’s anatomy and figure. Her sewing machine held a place of honor at the 1983 retrospective of her work in Mexico City.

5. Best Friends Forever

Varo was close friends with fellow Surrealist Leonora Carrington. The two often discussed philosophy and collaborated on stories, games, and plays. One of their favorite pastimes was creating recipes that promised to chase away problems like, “inopportune dreams, insomnia, and deserts of quicksand under the bed.”

—Hannah Page was the 2016 summer education intern at the National Museum of Women in the Arts.

Dead Feminists Live Again

Bold Broadsides and Bitsy Books is on view in the Betty Boyd Dettre Library and Research Center (LRC). From the public nature of broadsides to the intimacy of a tiny handmade book, the LRC revels in contrasts of delightful collection items.

A visitor studies broadsides in the NMWA Library and Research Center; Photo: Francesca Rudolph, NMWA

A visitor studies broadsides in the NMWA Library and Research Center; Photo: Francesca Rudolph, NMWA

“Bitsy Books” refers to a charming selection of miniature artists’ books from the LRC’s collection. Miniature books, defined as books no larger than three inches in height, width, or thickness, communicate a sense of whimsy and intimacy from their size alone. The handcrafted quality of artists’ books enhances this sense, creating an intimate experience for the viewer. The “Bitsy Books” included in the exhibition vary in content, structure, and material.

The “Bold Broadsides” represent a 21st-century interpretation of a much older medium. Broadsides can be traced back to 17th-century Europe as precursors to modern-day posters and billboards. In the U.S., broadsides are perhaps most famous for their use as “Wanted” signs by 19th-century law enforcement agencies. The broadsides featured in this exhibition celebrate the lives of remarkable women from history. Called the “Dead Feminists,” these works are a collaboration between printmaker Jessica Spring and illustrator Chandler O’Leary. Each broadside highlights one woman’s achievements through an iconic quote paired with a corresponding illustration.

Peace Unfolds for Hiroshima survivor and pacifist Sadako Sasaki; © Chandler O’Leary and Jessica Spring

Peace Unfolds for Hiroshima survivor and pacifist Sadako Sasaki; © Chandler O’Leary and Jessica Spring

Spring describes their process as “a mix of traditional and contemporary letterpress processes…Our series is completely hand drawn by Chandler, using original illustrations and typography…then I print [the broadsides] by hand on a 1960s Vandercook Universal One printing press.” Spring selects women to feature and writes the colophon for each. O’Leary creates an illustration in pencil, refines it, and re-draws it in ink. At this stage, Spring creates the photopolymer plates needed for printing. Both artists sign and package the finished prints, and O’Leary launches the work online.

Sarojini Naidu sings her Nightsong; © Chandler O’Leary and Jessica Spring

Sarojini Naidu sings her Nightsong; © Chandler O’Leary and Jessica Spring

Not only stunning as visual works, each broadside highlights a relevant social justice issue. For example, the fight for marriage equality prompted Spring and O’Leary to create Love Nest, featuring a quote from activist Emma Goldman. Nightsong, honoring Indian heroine Sarojini Naidu, implores an end to domestic violence. Through the Dead Feminists Fund, Spring and O’Leary donate a portion of the series’ proceeds to nonprofits that align with the social issues they address.

In October 2016, Spring and O’Leary also released a letterpress book compilation of the series titled Dead Feminists: Historic Heroines in Living Color.

Visit NMWA’s Betty Boyd Dettre Library and Research Center through March 17, 2017 to see Bold Broadsides and Bitsy Books. Located on the museum’s fourth floor, the LRC is open Monday–Friday, 10 a.m.–12 p.m. and 1–5 p.m.

—Lydia Hejka is the fall 2016 intern in the Betty Boyd Dettre Library and Research Center at the National Museum of Women in the Arts

NO MAN’S LAND: Follow the Threads

Contemporary large-scale paintings and sculptural hybrids are on view in NO MAN’S LAND: Women Artists from the Rubell Family Collection. The exhibition imagines a visual conversation between 37 women artists from 15 countries exploring images of the female body and the physical process of making. Works by Shinique Smith, Sonia Gomes, and Rosemarie Trockel make innovative use of textiles.

Shinique Smith, Menagerie, 2007; Mixed media on canvas; Rubell Family Collection, Miami

Shinique Smith, Menagerie, 2007; Mixed media on canvas; Rubell Family Collection, Miami

What’s On View?

Shinique Smith’s Menagerie, 2007

“I like dancing between restraint and chaos,” says Shinique Smith (b. 1971, Baltimore), who collaged secondhand fabric and clothing into this large-scale work along with script-covered papers and photographs. Smith’s complex, yet spontaneous-seeming art is inspired by our culture’s cycle of acquiring and discarding: “I think my work is very American, and the way we consume and cast off is unique to us.” She also cites a New York Times Magazine article that discussed how discarded clothing is baled and traded worldwide.

Collecting textiles from friends, family, thrift stores, and other sources is part of Smith’s creative process. Smith, whose grandmother had a talent for interior design and whose mother is a former fashion editor, taps into her personal associations—popular culture, graffiti and calligraphy, her family, and her hometown of Baltimore—to create eclectic and energetic work.

Sonia Gomes’s Made in America, 2015

Like Smith’s works, expressive hanging sculptures by Sonia Gomes (b. 1948, Caetanópolis, Brazil), use textiles to explore identity and memory. Three of her works are on view—two from a series of pieces titled Made in America, and Tantas Estorias (Many Histories).

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Installation view of Sonia Gomes’s two works from a series titled Made in America (2015)

Gomes creates these sculptures by wrapping, twisting, and stitching found or gifted textiles over wire armatures. Organic shapes evoke organs, outlines, or sacred objects. Gomes’s works are inspired by her family—her father’s family worked in a textile factory, and she was influenced by the traditional dress and rituals of her maternal grandmother, an indigenous spiritual healer and midwife.

Rosemarie Trockel’s untitled wool work, 1990

Textile works by Rosemarie Trockel (b. 1952, Schwerte, West Germany) also reflect the close relationship between her medium and meaning.

Rosemarie Trockel, Untitled, 1990; Wool; Rubell Family Collection, Miami

Rosemarie Trockel, Untitled, 1990; Wool; Rubell Family Collection, Miami

Featuring repeated patterns stitched by machine, Trockel’s “knitted pictures” are attached to wood frames like those used to stretch paintings on canvas.

Trockel questions the gendered connotations of materials, as well as the distinction between “fine” arts, such as painting, and craft. “I tried to take wool, which was viewed as a woman’s material, out of that context and to rework it in a neutral process of production,” she says. NO MAN’S LAND includes three of her knitted pieces—one with a pattern of skulls, another with stripes, and one that is a large, dark field of color.

Visit the museum and explore NO MAN’S LAND, on view through January 8, 2017.

—Elizabeth Lynch is the editor 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.