Art Fix Friday: April 5, 2019

A black and white photo of artist Anni Albers at work in her studio. She wears a polka dot bandanna on her head and a plain white sweater. The photo is taken from the side of a loom, her hands are working the wood sections as she weaves.

Anni Albers in her weaving studio at Black Mountain College, 1937; Photo by Helen M. Post Modley; Courtesy of Western Regional Archives, State Archives of North Carolina

As the Bauhaus turns 100, female members of the influential design school are finally getting their due with long belated attention paid to their important—and historically overlooked—contributions.

Curbed celebrates six trailblazing Bauhaus women, noting, “Now weaver Anni Albers can have a solo retrospective at the Tate Modern. Now Lucia Moholy’s photographs can be treated as works of art in themselves, not, as documentation of other people’s genius, as some of her more famous colleagues thought. But it took so long, and these stories remain so frustrating.”

Front-Page Femmes

Harper’s Bazaar interviews Judy Chicago on feminism, fame, and the renewed appreciation for her decades of work.

Washington, D.C.’s National Portrait Gallery has opened the exhibition Votes for Women: A Portrait of Persistence, the most comprehensive show ever on the fight for women’s suffrage in the U.S.

Hyperallergic remembers Agnès Varda and her rich body of work, which “begs for deep and continual consideration.”

artnet looks at Brazil’s surprisingly feminist art world, where women artists enjoy equal recognition and market value with their male peers.

The Washington Post reviews NMWA’s current Ursula von Rydingsvard exhibition, The Contour of Feeling, hailing the artist’s “remarkable body of work and courageous honesty.”

A photograph of sculptor Ursula von Rydingsvard, center, who is surrounded by her four studio assistants--one woman, three men--as they stand in a large studio/warehouse space in front of her massive "Bowl With Folds" sculpture. The artist and her assistants all wear protective white jumpsuits, which are tarnished with graphite and two assistants have masks hanging around their necks.

Ursula von Rydingsvard, center, surrounded by studio assistants in front of Bowl With Folds (1998–99) in Detroit in 2017; Photo courtesy of Kevin Silary/Galerie Lelong & Co.

The Library of Congress has acquired 157 handwritten letters from Georgia O’Keeffe and her husband, Alfred Stieglitz.

Brandi Cheyenne Harper pens an essay for Design*Sponge on what it means to be a black artist in the design community.

Hyperallergic reviews Simone Fattal’s first U.S. retrospective, Works and Days, on view at MoMA PS1, “a feminist expression of pure modernity from an ever-conflicted Beirut.”

The life story of renowned poet and writer Maya Angelou is being developed into a one-woman Broadway show, set to debut in 2021.

Not long before the election of Chicago’s first black woman mayor, The Cut interviewed Eve Ewing, poet, playwright, scholar, sociologist, and “Chicago’s true mayor: a young, charismatic guardian of the city’s possibility and spirit.”

Shows We Want to See

A painting of a black woman who is positioned in the center, wearing a white head scarf and dress, with a subtle pink sky behind her, palm trees, a sun, and the words "Lua Cheia" painted in black over the sun. Her expression is forlorn and in the lower half of the painting there is a yellow bandanna, red goggles or a bikini, and blue shorts.

Cassi Namoda, Moon Bather, 2019; Photo: Ian Byers-Gamber, courtesy of the artist and François Ghebaly

At the Fabric Workshop and Museum in Philadelphia, Sonya Clark: Monumental Cloth, The Flag We Should Know spotlights the Confederate Flag of Truce—a cloth that brokered peace and represented the promise of reconciliation—and proposes it as a monumental alternative to the divisive Confederate Battle Flag. For the exhibition, Clark created 101 replicas of the Truce Flag, along with a massive replica ten times the size of the original.

Cassi Namoda’s first solo exhibition in Los Angeles, The Day a Monkey is Destined to Die All Trees Become Slippery, is on view at François Ghebaly Gallery. “Like the exhibition’s title, a folk saying in Namoda’s birth country of Mozambique, the works in the show explore the mythologies and proverbs of daily life in East Africa from the perspective of a vibrant young storyteller.”

 

—Alicia Gregory is the assistant editor at the National Museum of Women in the Arts.

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