Art Fix Friday: October 26, 2018

The New Yorker profiles photographer Martine Gutierrez, who compiled her latest collection of self-portraits into a 146-page fictional fashion magazine called “Indigenous Woman.”

Gutierrez’s witty publication plays with concepts drawn from art history and pop culture, resulting in “a critique of colonialism that’s ready to party.”

Front-Page Femmes

The queer women artists collective fierce pussy has published a free downloadable poster compelling people to vote in the upcoming election. “TIME SENSITIVE: DISSEMINATE!!!” their website urges.

Hyperallergic discusses Rockhaven: A History of Interiors, an artful anthology of essays themed around the first feminist psychiatric institution in the US.

Artsy presents a short film highlighting the work and influence of artist Carrie Mae Weems.

Julia Louis-Dreyfus became the sixth woman to win the Mark Twain Prize, considered the highest honor in comedy.

The National Gallery in London released a video interview with the writers of It’s True, It’s True, It’s True, a new play inspired by Renaissance artist Artemisia Gentileschi, whose Lucretia was auctioned at a record-breaking $2.1 million sale on Tuesday.

NPR interviews Jill Soloway about their hit show Transparent and their new memoir She Wants It: Desire, Power and Toppling the Patriarchy.

MOCA Los Angeles has reinstalled Barbara Kruger’s famed mural Untitled (Questions), originally commissioned in 1989.

Feeling nostalgic? Photographer Janette Beckman worked with today’s most influential graffiti artists to reimagine her archival images of iconic hip-hop stars.

The podcast In Other Words chats with curators Cecilia Alemani and Ingrid Schaffner about their work in the art world.

Shows We Want to See

Now on view at the New Orleans Museum of Art, Mildred Thompson: Against the Grain is the first solo showing of the artist’s work in more than 30 years.

IMMA in Dublin opens a major retrospective on Mary Swanzy, a historically under-recognized painter whom they hope to “reinstate as a Modern Irish Master.”

Paintings from the Future, a retrospective of the spiritual and abstract work of Hilma af Klint, is on view at the Guggenheim Museum. Ben Davis of Artnet News dubs af Klint “the perfect artist for our technologically disrupted time,” claiming that her colorful canvases will make you “rethink what it means to be modern.”

Four decades of work by photographer Laurie Simmons is on view at the Modern Art Museum of Fort Worth in Texas in Big Camera/Little Camera. Critic Linda Yablonsky says, “This game-changing year feels exactly right for Simmons as a feminist, social commentator, and above all, a colourist.”

—Becca Gross is the fall 2018 publications and marketing/communications intern at the National Museum of Women in the Arts.