The Atlantic writes that women are writing the best crime novels and that their “awareness of that inside-out sort of violence” and their “more psychologically acute” stories sets them apart.
Iranian-born artist Bahar Behbahani finds inspiration in Persian gardens.
Los Angeles–based artist Njideka Akunyili Crosby was awarded the Prix Canson award, which includes a solo exhibition, an artist residency, and about $11,300 worth of Canson paper.
Anna Gibb’s detailed architectural drawings of cities span Hong Kong to Glasgow.
Mirror, Mirror … Portraits of Frida Kahlo features 57 photographs of the painter at different stages of her life.
Agnes Martin’s works create an “intimate vibration,” convey feelings of “weightlessness,” and represent the artist’s “inner visions.”
One Hyperallergic essayist follows French photographer Sophie Calle and logs her experience.
Tate Modern’s Switch House extension adds 60% more gallery space to the museum, increasing the number of works on view by women artists from 17% to 36%.
For 30 years, photographer Elaine Ling has captured mystical forms carved from stones.
Hyperallergic raves about Joanne Greenbaum’s abstract paintings and ceramic sculptures.
Jenny Holzer creates a site-specific work in Ibiza.
Artistic Noise, a program created by artist Lauren Adelman and juvenile defender Francine Sherman, offers workshops to incarcerated young people.
The Kilroys, a group of female and trans playwrights, draw attention to otherwise overlooked plays.
Rachel Whiteread’s site-specific, concrete cabin on New York’s Governors Island alludes to Henry Thoreau and “the grimmer, darker underbelly of America.”
Georgian musician Salio discusses the music industry and women artists.
Billboard interviews singer-songwriter Victoria “La Mala” Ortiz.
Actress Ellie Kemper discusses how the television show Unbreakable Kimmy Schmidt was written for her.
NPR explores Terry McMillan’s latest novel, I Almost Forgot About You.
Five of the six artists on the shortlist for the Jarman film-art prize award are women.
Shows We Want to See
Mai-Thu Perret’s “small yet powerful exhibition” at Nasher Sculpture Center in Dallas features life-size female fighters, a ceramic dog, two large eye sculptures, and a glass wall smeared with petroleum jelly. Perret’s works question “the divide between human and artwork, reality and fantasy.”
—Emily Haight is the digital editorial assistant at the National Museum of Women in the Arts.