Art Fix Friday: March 27, 2020

Artsy profiles Williabell Clayton and Dr. Constance Clayton, a mother-daughter duo who has collected a trove of African American art; the pair spent 50 years buying works by Black artists from auctions, galleries, and thrift shops.

A black and white photograph of an older woman sitting down and staring up at, seemingly, her daughter. They lock hands and the daughter has her other hand on the mother's shoulder.

Portrait of Dr. Constance Clayton and her mother Williabell Clayton; Courtesy of Pennsylvania Academy of the Fine Arts, Philadelphia

Williabell passed away in 2004, and Constance has continued their legacy, establishing committees and curatorial fellowships aimed at promoting African American artists and young professionals of color pursuing museum roles—in addition to gifting artworks to public institutions. “[She’s] filling gaps in mainstream museum collections that are now looking to add diversity,” said Tammi Lawson, a curator at the New York Public Library’s Schomburg Center for Research in Black Culture.

Front-Page Femmes

Artforum reports on the permanent closure of Munich’s Barbara Gross Galerie in May; over the past three decades, Gross championed female artists including Silvia Bächli, Miriam Cahn, and VALIE EXPORT.

Artnet interviews doctor and artist Sharon Madanes about how her experiences with art and medicine inform one another.

The New Yorker reviews Emily St. John Mandel’s new novel The Glass Motel, declaring it “a profound study on responsibility in the times of crisis.”

Paper interviews Mimi Zhu, a Chinese Australian writer and artist whose Instagram text was reposted by Britney Spears. Zhu describes her writing as a way to heal from trauma, and says her goal is “centering in on the ethic of love, and the practice of love, and in creating better worlds for all of us.”

An Instagram post featuring a bright orange background and black text that says: "During this time of isolation, we need connection now more than ever. Call your loved ones, write virtual love letters. Technologies like virtual communication, streaming and broadcasting are part of our community collaboration. We will learn to kiss and hold each other through the waves of the web. We wil feed each other, re-distribute wealth, strike. We will understand our own importance from the places we must stay. Communion moves beyond walls. We can still be together." It is signed "Mimi Zhu."

Artist Mimi Zhu’s Instagram post advocating for connection and compassion

Juxtapoz interviews artist Erin M. Riley about her self-care practices during quarantine.

Frieze profiles painter Jutta Koether, the German artist who turned her name into a transitive verb for her latest exhibition.

Artsy profiles seven female photographers redefining Surrealism in contemporary art.

Maria Fernanda Cardoso has been named the recipient of the 2019–20 New Dimensions Fellowship for established visual artists.

Artsy explores Frida Kahlo and Georgia O’Keeffe’s formative friendship.

Colossal reviews Samantha Moore’s animated short film Bloomers, which recounts the history behind an undergarment business.

Shows We Want To See—Online Edition

Artnet offers a virtual look at two shows by women artists:

Per(Sister): Incarcerated Women of Louisiana, which was on view at the Ford Foundation Gallery in New York City, highlights the stories of 30 incarcerated women to “explore the root causes of female incarceration, the impact of incarcerating mothers, the physical and behavior toll of incarceration, and the challenges of and opportunities for reentry for formerly incarcerated women.”

A black and white photo of a naked woman holding what looks to be the bones of a broken umbrella and staring surprised at the camera.

Carolee Schneemann, from the series “Eye Body: 36 Transformative Actions for Camera,” 1963; Courtesy of the estate of Carolee Schneemann, Galerie Lelong & Co., Hales Gallery, PPOW New York

Up to and Including Limits: After Carolee Schneemann, which was on view at Museum Susch in Switzerland, features the work of the pioneering artist situated in conversation and contention with works by other body-based performance and visual artists. “This exhibition is driven by limits, both in media and society: how they can be overcome, transformed, and transgressed through time” says curator Sabine Breitweiser.

Google Arts & Culture has teamed up with 33 museums to host an epic digital exhibition of Frida Kahlo’s work—including Self-Portrait Dedicated to Leon Trotsky, part of NMWA’s collection. Faces of Frida features more than 200 works in addition to editorial features that discuss aspects of the artist’s work and life and archival materials.

—Alexa Kasner is the spring 2020 publications and communications/marketing intern at the National Museum of Women in the Arts; Alicia Gregory is the assistant editor at the National Museum of Women in the Arts.