Art Fix Friday: May 29, 2020

The New York Times profiles Sandra Benites, the first Indigenous curator to be hired by a museum in Brazil. Her exhibition Indigenous Stories is scheduled to open at the Museum of Art of São Paulo Assis Chateaubriand in 2021.

Sandra Benites stands in front of Facões, part of Sallisa Rosa’s photo series “Resistance”; Photo by Gabriela Portilho for the New York Times

The article discusses Benites’s career and mission, as well a long history of anti-Indigenous violence in Brazil. Through re-examining the voices of Indigenous artists, particularly women, Benites hopes Indigenous Stories will spark discussion, action, and change.

Front-Page Femmes:

Frieze features an op-ed by Kara Walker about lockdown, trauma, and racial justice.

Hyperallergic celebrates Carmen Herrera, whose 105th birthday is on May 30.

Artist and writer Etel Adnan has won the 2020 Griffin Poetry Prize.

Art in America reviews two recently published volumes on Frida Kahlo that highlight the importance of her wardrobe and her time in America to her work.

Artnet’s podcast, The Art Angle, examines the rise and fall of Anne Geddes’s empire of baby photography.

Virtual Design Festival profiles Simone de Gale Architects, whose founder won Architect of the Year at the 2017 Women in Construction Awards.

Hyperallergic interviews painter Judy Pfaff on her childhood in postwar London, her creation process, and everything in between.

Judy Pfaff, Tivolià ->Tisbury (A Romance), 2017; Messums Wiltshire, Tisbury, England; Photo courtesy Judy Pfaff Studio

LA Weekly features the #CreateArtForEarth campaign, launched by Judy Chicago, Jane Fonda, Swoon, NMWA, Serpentine Galleries, and Greenpeace.

Iconic Women of Country, a new PBS program airing on June 1, will pay tribute to 14 women musicians who have shaped country music.

See Black Women, a two-part discussion about the inclusion of black women artists in the Census and society, aired this week as part of the Come to Your Census campaign.

Art in America features Bernice Olmedo, who transforms orthotics, board games, and other secondhand objects into sculpture.

The Art Newspaper profiles Ginny Williams’s collection of pioneering women modernist artists, including Louise Bourgeois, Lee Krasner, and Joan Mitchell; Sotheby’s will sell more than 450 works from the collection next month.

Art in America examines the principle of ecofeminism through the work of Mierle Laderman Ukeles, Agnes Denes, Helen and Newton Harrison, Aviva Rahmani, and Betsy Damon.

Molly Donovan, curator at the National Gallery of Art, will direct a virtual Q&A session with sculptor Ursula von Rydingsvard and Daniel Traub, director of the film Ursula von Rydingsvard: Into Her Own, today at 5 p.m. Eastern time. The film also premieres online today.

Shows We Want to See—Online Edition

+Archive: Dorothy Mead, a free iPhone app launched by Ana-Maria Herman and London South Bank University, seeks to increase the visibility and accessibility of women artists—starting with the British painter Dorothy Mead. The Globe and Mail features the app, which includes “a biography, a critical text about Mead’s work and reproductions of 18 of her paintings.”

+Archive: Dorothy Mead app interface, featuring a selection of paintings and a biography of the artist; Screenshot courtesy App Store/Apple Inc.

The de Young Museum has published Ruth Asawa, A Working Life on Google Arts & Culture. The exhibition provides an overview of Asawa’s life, art, and commitment to public service on behalf of artists and arts education. My Modern Met recently profiled Asawa.

—Emma Weiss is the summer 2020 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: May 22, 2020

The Nevada Museum of Art (NMA) has acquired Judy Chicago’s archive of materials related to her site-specific Atmospheres works, performances staged with dry ice and fireworks. A sampling of the archive will be featured in the exhibition On Fire: Judy Chicago’s Atmospheres Archive, which will be on view at NMA from October 16, 2021, through April 17, 2022.

Judy Chicago, Immolation from Women and Smoke, 1972; Photo courtesy of Through the Flower Archives, Judy Chicago, Salon 94, and Jessica Silverman Gallery; © Judy Chicago/Artists Rights Society (ARS), New York

The archive includes thousands of photographs, films, preparatory works, and maps that date back to 1967, when Chicago began the series. By adding the colorful, smoke-based works to their collection, the NMA hopes to challenge the predominantly straight, white, and male art historical recollection of Land Art.

Front-Page Femmes:

Five renowned women artists died this week: painter Emma Amos at age 83; photographer Astrid Kirchherr at age 81; dancer Nancy Stark Smith at age 68; designer and architect Nanda Vigo at age 83; and painter Susan Rothenberg at age 75.

The New Yorker and Artsy revisit the importance of photographers Anne Brigman and Germaine Krull.

Artforum interviews Patrisse Cullors, artist and co-founder of Black Lives Matter.

ARTnews spotlights Louise Bourgeois’s spider sculptures and the lesser-known works in Yayoi Kusama’s oeuvre.

Artnet profiles Elsa Peretti, the designer of Tiffany & Co.’s famous bone cuff.

The Guardian highlights Corie Mattie, who helped launch a campaign to create 1,000 murals across the U.S. to promote hope during the COVID-19 pandemic.

Women painters past and present turn their brushes to the walls of their homes during periods of isolation.

Every inch of the walls, floors, and ceilings of artist Afia Zecharia’s Palestinian home is covered in painted Yemenite embroidery patterns; Photo by Asia Dublin

Artsy interviews Kylie Ying, a Shanghai-based art collector who primarily supports emerging female artists.

Forbes features Abiola Ogunbiyi, a coach for young women artists who works to help them change the way they approach creativity.

Praxis Gallery will interview Colombian artist Cristina Camacho on Instagram Live on Friday, May 22 at 4 p.m. Eastern time.

Hyperallergic interviews Emily Barker, an artist and advocate who is designing thoughtful, beautiful living spaces for disabled people.

The Women’s Center for Creative Work will host an online zine workshop on Tuesday, May 26 at 6 p.m. Pacific time.

ArtActivistBarbie—a feminist icon—is taking to Twitter to challenge gender gaps in art collections around the world.

Hyperallergic and the New York Times review The Equivalents by Maggie Doherty.

The Conversation publishes new findings that may rectify years of prejudiced art historical judgment against Marthe Bonnard, the wife of Pierre Bonnard and subject of hundreds of paintings and drawings.

Shows We Want to See—Online Edition

Naomi Safran-Hon’s fourth solo show ALL MY LOVERS is viewable online at Slag Gallery. The New York Times discusses the importance of her new works, which feature combinations of photography, cement, and textile.

Naomi Safran-Hon’s Mirror Ceiling: A Room with a Mattress and a Chair (2017–2020) suggests that constructing a home is an act of excavation; Photo credit: Naomi Safran-Hon and Slag Gallery

Ozla Art, a virtual Saudi Arabian gallery showing artists’ takes on the theme of isolation, displays the work of Fatimah Al Nemer. AboutHer discusses the artist’s intricately patterned, mixed-media portraits of Arab women.

The Far is Always Here, curated by Rachel Monosov & Catinca Tabacaru, comprises five short video works by artists reflecting on the pandemic. Hyperallergic highlights the video Abandoned by artist Sanja Latinović.

—Emma Weiss is the summer 2020 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: May 15, 2020

Marabar, a million-pound granite sculpture by artist Elyn Zimmerman that has been installed in the courtyard of National Geographic Society headquarters in Washington, D.C., for almost 40 years, is scheduled for removal in favor of a new entrance pavilion.

Granite elements of the Marabar installation are seamlessly integrated into the courtyard of the National Geographic Society in Washington, D.C.; Courtesy Elyn Zimmerman; © Elyn Zimmerman

The plan has met with strong protest from industry and community members. Penny Balkin Bach, executive director of the Association for Public Art, calls Zimmerman “a pioneer and one of the earliest contemporary female artists to work at such a monumental scale.”

Front-Page Femmes:

Latela Curatorial founder Marta Staudinger has launched the GLB Memorial Fund, which will support woman-identifying artists and curators who reside in Washington D.C., Maryland, or Virginia to further advance women-led contemporary art initiatives.

The Creative Review interviews Lisa Sorgini, who is photographing mothers and children in isolation for her new series “Behind Glass.”

Carolyn Reidy, President and CEO of Simon & Schuster, has died at age 71.

Alexandra Bell and Joiri Minaya have won the 2020 New York Artadia Awards; Bell featured in Fresh Talk: Art, Power, and the Vote in November 2019.

Hyperallergic reviews Concordance, a new poetry collection by artist and writer Susan Howe, which confronts the plight of the female writer in a masculine literary culture.

For the first time ever, four black female solo artists top the Billboard Hot 100.

The New York Public Library has acquired the archive of dancer and choreographer Martha Graham.

Art in America profiles Lenore Tawney, an artist who created dynamic multi-format weavings throughout the 20th century.

Lenore Tawney, Cloud Labyrinth (detail), 1983; Courtesy Lenore G. Tawney Foundation; © Lenore Tawney

Hyperallergic reviews Inappropriate Bodies: Art, Design, and Maternity, an essay collection exploring labor and motherhood.

An oil painting of birds and other wildlife by 17th-century nun Orsola Maddalena Caccia was a surprise hit at a recent Sotheby’s auction, far exceeding the previous auction record for the artist’s work.

NPR reviews Funny Weather: Art in an Emergency, a new collection of essays by Olivia Laing that consider the purpose of art in times of crisis.

Artnet speaks to Zanele Muholi about their mobile studio and influential portraits of the LGBTI community in South Africa.

The Los Angeles Review of Books examines the influence of female artists on Céline Sciamma’s 2019 film Portrait of a Lady on Fire.

Gagosian sold Cecily Brown’s painting Figures in a Landscape for $5.5 million via its online viewing platform.

ARTnews highlights Swiss Neoclassical painter Angelica Kauffman.

Writer Mieko Kawakami, whose influential novel Breast and Eggs was recently translated into English, shares her current playlist.

Shows We Want to See—Online Edition

Varsity interviews the curator of WE ARE HERE, an exhibition at the University of Cambridge’s Heong Gallery examining the presence of women artists in colleges. Exhibition images, interviews, and activities are available at the Heong Gallery’s blog.

Emilia Galotti’s Colouring Book of Feelings, a work comprising two garments that take on meaning only when worn by the performer, is performed by artist Sophie Seita; Courtesy Heong Gallery; © Sophie Seita

Hollis Taggart gallery in New York City opens Michael West: We Come Alive and Dream, viewable online until May 23. The exhibition features West’s abstract expressionist paintings, writings, and poems. Artsy profiles West, who until recently has been overlooked in art history.

She Marches On, an exhibition recently opened online at Massachusetts’s Falmouth Art Center, displays the work of four artists reflecting on the women’s suffrage movement.

—Emma Weiss is the summer 2020 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: May 8, 2020

The Spanish documentary Mallorca, previously labeled in the archives of the Filmoteca Española as a 1926 male-directed silent film, was re-attributed this week to female director María Forteza. Dated between 1932 and 1934, Mallorca is now likely the first female-directed film in Spain.

Credits of the film Mallorca now list the director as María Forteza; Courtesy Filmoteca Española

Inspired by the music of Isaac Albeñiz, Forteza captures life on the Spanish island in eight brief minutes. Mallorca has resided in the collection of the Filmoteca, misidentified, since 1982. The film can be viewed online through May 8.

Front-Page Femmes

The New York Times reports on Howardena Pindell’s lawsuit against gallerist George N’Namdi, which touches on “issues of race, loyalty, and a lack of transparency in the art world.”

Millie Small, the Jamaican singer of the 1964 global hit “My Boy Lollipop,” has passed away at age 73.

Hyperallergic reviews The Women of Atelier 17: Modernist Printmaking in Midcentury New York.

Artnet’s podcast, The Art Angle, explores how Marina Abramović became the center of a satanic conspiracy theory.

The New Yorker profiles playwright Lorraine Hansberry’s life’s work.

The Metropolitan Museum of Art has published a Virginia Woolf reading list that accompanies their upcoming exhibition About Time: Fashion and Duration.

Artnet interviews Cybele Maylone, director of the Aldrich Museum, about working from home.

Aliza Nisenbaum, known for her colorful and intimate portraits of Mexican and Central American immigrants, features in the Hirshhorn’s video series “Artist Diaries,” which captures artists’ responses to COVID-19.

Aliza Nisenbaum, My Yoga, 2019; Oil on linen, 24 x 22 in; Courtesy Anton Kern Gallery; © Aliza Nisenbaum

Artnet features an excerpt on Lee Krasner from the new book More Than a Muse: Creative Partnerships that Sold Talented Women Short.

“The Bathroom Sessions,” a concert series performed and streamed by artists in the smallest rooms of their homes, launched on May 7 with an all-female lineup.

Hyperallergic reviews Marilyn Chase’s new biography on Ruth Asawa, Everything She Touched: The Life of Ruth Asawa.

Zebra shares how Alexandria, VA-based artist Kathryn Coneway has transformed her intricate exhibition works into public art.

Forbes spotlights women artists in Bangladesh who are forming campaigns to support themselves both financially and creatively.

Liza Lou meets with other artists over Instagram Live for virtual studio visits during quarantine; On Saturday, May 9, at 4 p.m. EDT, Lou will enter the studio of Carrie Mae Weems.

Reese Witherspoon, a woman of many talents, has turned to watercolor painting during quarantine.

Shows We Want to See—Online Edition

Sean Kelly Gallery in New York presents Shahzia Sikander’s short film Parallax as part of its #FilmFridays series. It is viewable on their Vimeo channel for 24 hours, beginning today, Friday, May 8, at 9 a.m. EDT. The gallery also recently featured a tour of Janaina Tschäpe’s studio in Brazil.

A still from Shahzia Sikander’s film Parallax; Courtesy Sean Kelly Gallery; © Shahzia Sikander

Revisit Kara Walker’s groundbreaking 2014 installation, A Subtlety, at Brooklyn’s historic Domino Sugar Factory. The Google Arts & Culture exhibition includes Walker’s studies and in-process documentation.

Sous Les Etoiles Gallery in New York presents Sophie Delaporte: Fragile Landscapes. Informed by her background in fashion and practice in cutouts, Delaporte’s work combines graceful surrealism and playful abstraction. Viewable online until June 5, 2020.

—Emma Weiss is the summer 2020 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: May 1, 2020

The Art Newspaper reports on how COVID-19 threatens the indigenous Yanomami community that Brazilian photographer Claudia Andujar has devoted her career to protecting.

Claudia Andujar, Journey by pirogue, Catrimani, Roraima, 1974; © Claudia Andujar; Courtesy Instituto Moreira Salles and Fondation Cartier pour l’Art Contemporain

Andujar uses her photography to raise awareness of the Yanomami plight as industry and urban development encroach on their territory and the spread of disease worsens due to contact with industrialized society. The 88-year-old artist’s retrospective, Claudia Andujar: The Yanomami Struggle, at Fondation Cartier pour l’art Contemporain in Paris, is now viewable online.

Front-Page Femmes

Zarina has died at 83; the artist’s prints explored the traumas of forced displacement and the concept of home.

Gillian Wise has died of coronavirus-related causes at 84; the abstract artist was a key member of the British constructivists group.

The New York Times reflects on the life and work of Alice Trumbull Mason ahead of the publication of the first monograph on the artist—nearly a half-century after her death.

The National Gallery of Art celebrates Sally Mann’s May 1 birthday, revisiting their 2018 exhibition and a slideshow, documentary, and symposium about history, photography, and race in the South.

Joy Harjo, the nation’s first Native American poet laureate, has been appointed for a second term; Kojo Nnamdi recently interviewed Harjo.

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Artnet profiles Meriem Bennani, whose popular videos about two artist-reptiles in lockdown underscore her longstanding interest in social borders and virtuality.

The New Yorker interviews Kim Gordon on her visual art and music, politics, ambition, and more.

The Guardian reports on a forthcoming novel by Simone de Beauvoir, which was deemed “too intimate” to release in her lifetime.

The New York Times profiles director Alice Wu and describes her influence on a generation of Asian American actresses and directors.

The Modern Art Notes podcast features a conversation between museum directors Sabine Eckmann (Kemper Art Museum, Saint Louis) and Rebecca Rabinow (Menil Collection, Houston).

The Guardian profiles pioneering designer Eileen Gray on the occasion of a new exhibition at the Bard Graduate Center Gallery, which is now viewable online.

A watercolor by Hilma af Klint not publicly seen since 1988 is now for sale.

Shows We Want to See—Online Edition

Jordan Casteel’s exhibition Within Reach, which was on view at the New Museum, is now viewable online via a virtual tour narrated by the artist. The New York Times reviewed the show, writing, “the [COVID-19] situation is somewhat paradoxical, given that the show’s most prominent theme is closeness…Yet that also makes it a good time to look at Ms. Casteel’s work however we can…and think about the vision of community it offers.” BOMB magazine recently interviewed the artist.

Jordan Casteel: Within Reach, 2020; Exhibition view: New Museum, New York; Photo by Dario Lasagni

The new online exhibition Women in Comics: Looking Forward and Back celebrates the work of 50 women cartoonists and illustrators from the late 19th century to the present day. Organized by the Society of Illustrators, the exhibition features plus-size superheroes, queer graphic novels, wartime romances, and flapper-era cartoons, all of which break out of the conventional superhero format. The Guardian profiles the show and its artists.

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

Art Fix Friday: April 24, 2020

To commemorate the 50th anniversary of Earth Day, Jenny Holzer unveiled a new project that simultaneously addressees the COVID-19 pandemic and climate change. The artist’s gallery, Hauser & Wirth, sold 100 limited-edition prints of one of Holzer’s famous truisms, “ALL THINGS ARE DELICATELY INTERCONNECTED.”

Jenny Holzer, delicately interconnected, 2020; © Jenny Holzer, Artists Rights Society (ARS), NY

Proceeds will go to the conservation group Art for Acres and the World Health Organization’s COVID-19 Solidarity Response Fund. Holzer said, “Artists are good at reflecting what’s around, and this is a time for reflection and reflecting if there ever was one.”

Front-Page Femmes

Judy Chicago, Jane Fonda, Hans Ulrich Obrist, and Swoon have launched Create Art For Earth, a new project bolstered by NMWA and the Serpentine Galleries, a global effort to “flood the world with…images of healing, caring, repairing…to create a just and equitable world.”

Artnet publishes seven practical tips for engaging art lovers through social media, highlighting NMWA’s own #MuseumFromHome efforts.

The Observer profiles Mona Chalabi, whose data-driven illustrations are keeping people informed during COVID-19.

The Guardian reviews Fiona Apple’s “strange and exceptional” new album, Fetch the Bolt Cutters.

Ahead of Mother’s Day, Artnet rounds up depictions of mothers and children throughout art history, including works by Alice Neel, Elisabeth Louise Vigée-LeBrun, Amy Sherald, Carrie Mae Weems, and Mary Cassatt.

The New York Times profiles 10 women in jazz, including Valaida Snow, Lil Hardin Armstrong and Una Mae Carlisle, who never got their due.

Valaida Snow, Lil Hardin Armstrong, and Una Mae Carlisle were three jazz instrumentalists who made a big impression in their day; Credit (left to right): Popperfoto/Getty Images; Gilles Petard/Redferns, via Getty Images; Afro Newspaper/Gado, via Getty Images

The New Yorker explores the “otherworldly women” in playwright Kathleen Collins’s works: “black women of a creative or intellectual bent…whose quotidian struggles with marriage, motherhood, and work take on cosmic proportions.”

Artnet interviews Miranda July, whose new film Kajillionaire will be released in June, about the creative obstacles and opportunities of quarantine.

Artforum interviews Petra Cortright on self-isolation, Zoom and FaceTime, and her early webcam works.

NPR profiles Katharina Fritsch, providing a virtual visit to her solo show at the Matthew Marks Gallery.

For the New Yorker, writer Rachel Cohen muses on what we miss without museums—and includes a nod to Berthe Morisot’s Woman in a Garden (1882–83).

The New York Times interviews writer Chimamanda Ngozi Adichie about what she reads while she works.

Shows We Want to See—Online Edition

Artnet provides a virtual look at Mira Lehr: High Water Mark, which was on view at the Mennello Museum of American Art in Orlando, Florida. As an eco-feminist artist from Miami whose career spans five decades, Lehr’s nature-based imagery encompasses painting, design, sculpture, and video installations.

Mira Lehr, Creation, 2017; Courtesy of the artist

At the Gladstone Gallery, Guo Fengyi is now viewable online. The show focuses on a selection of the artist’s hyperdetailed and conceptually complex, large-scale scrolls. Created by employing a meditation system associated with tai chi, these works present an in-depth survey of the artist’s practice, which began during the latter portion of her life. Concurrent to this exhibition, The Drawing Center hosts Guo Fengyi: To See from a Distance.

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

Art Fix Friday: April 17, 2020

Artnet reports on the famed quilters of Gee’s Bend, Alabama, who are making face masks for every citizen in their small town.

Mary Margaret Pettway, the board chair of the Souls Grown Deep Foundation, making masks; Photo: Kyle Pettway

“Because this is an elderly community, we’re trying to keep them safe,” says Mary Margaret Pettway, a leader of the initiative and chair of the Souls Grown Deep Foundation, which promotes and preserves the work of artists in the American South. The foundation is paying the artists to create the masks, distributing materials, and delivering the finished products.

Front-Page Femmes

Washington D.C.’s City Paper profiles muralist CHELOVE, who, despite the COVID-19 pandemic, recently completed a seven-story ode to women of color on the façade of a hotel scheduled to open this summer.

Yayoi Kusama shares a poem of hope and defiance in response to the COVID-19 pandemic: “In the midst of this historic menace, a brief burst of light points to the future…”

The New Yorker discusses how to co-work in small spaces, turning to the strategies of artists including Elaine and Willem de Kooning, Judy Chicago, and more.

Turkey has selected 83-year-old Füsun Onur to represent the country at the 2021 Venice Biennale.

The National profiles 83-year-old Palestinian painter Samia Halaby, who discusses her pioneering digital works, which she started making in the 1980s.

Samia Halaby in her New York City studio; Photo credit: Ayyam Gallery

Artnet reports on director Halina Dyrschka’s new Hilma af Klint documentary, released today in virtual screening rooms.

Slate’s Working podcast interviews painter, writer, illustrator, and dancer Maira Kalman on her creative evolution.

The 2020 Guggenheim Fellowship winners have been announced; Recipients include photographer Zoe Leonard, filmmaker Stephanie Wang-Breal, poets Ada Limón and Aimee Nezhukumatathil, choreographer Gabrielle Lamb, artist Helen Mirra, and more.

Vulture reviews Mrs. America, the limited series that tells the story of the movement to ratify the Equal Rights Amendment—and the unexpected backlash.

Painter Mamie Tinkler talks to Artforum about the strange interiors of domestic life, jokes about femininity, and more.

Shows We Want to See—Online Edition

At CONNERSMITH, ACCESS | Maria Friberg: essential is viewable online. Friberg’s work “builds on the theme of Man’s ruthless exploitation of Planet Earth and can be interpreted as a criticism on superabundance. But it is also a picture that proposes the notion that Mankind has the possibility to create something beautiful from chaos,” writes curator Michelle Marie Roy.

Hope Gangloff, Future Skies Over Bozeman, Montana Reprise, 2019; Photo credit: the artist and Timothy Taylor Gallery

At the Timothy Taylor Gallery, the new online exhibition Dwelling is the Light is on view. Curated by Katy Hessel, the show is inspired by the effects of the current global lockdown on our attitudes toward nature versus domestic living. Hessel writes, “Women—who for many centuries were simultaneously at home within but also confined to domestic spaces—retain a unique perspective on the interplay between interiors and the unbridled freedom of the natural world.”

Also at the Timothy Taylor Gallery, Josephine Meckseper: Pellea[s] is viewable online. The 42-minute film examines the performance of gender both in cultural production and in contemporary political terms. Set in Washington D.C., it includes footage of the 45th American Presidential Inauguration and concurrent protests filmed by the artist.

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

Art Fix Friday: April 10, 2020

Hyperallergic reports on the efforts to decorate hospital ICUs with encouraging posters. Led by artist Elizabeth Jaeger and Cady Chaplin, a nurse at Manhattan’s Lenox Hill Hospital, the campaign invites artists to submit their uplifting works via Google drive. So far, more than 70 artists have participated.

A poster by Harriet Salmon pays tribute to healthcare workers on the frontlines of the COVID-19 pandemic; Photo credit: the artist and Elizabeth Jaeger

The illustrations, paintings, and digital edits are installed in hospital breakrooms by Chaplin, who has been able to print large adhesive copies with the help of Wallpaper Projects, a Brooklyn design studio volunteering their services. Jaeger said, “I know for Cady it’s a welcomed distraction for the overwhelming fear that accompanies her job right now.”

Front-Page Femmes

Artist and writer Helène Aylon has died at age 89 from COVID-19; Aylon’s work focused on the intersection of feminism, Judaism, pacifism, and environmental justice.

The New Yorker interviews writer Fran Lebowitz on growing old, life in quarantine, and the sadness of seeing her city shut down.

Marlo Pascual has died at age 48 from cancer; she used found images and objects in “playful and menacing theatrical displays that mix photography and sculpture.”

Vanity Fair profiles writer, director, and producer Issa Rae ahead of the upcoming season of her HBO hit show Insecure.

Artnet reports on the miniature clay dream homes made by artists, architects, and designers in response to Eny Lee Parker’s Clay Play contest.

The Los Angeles Times profiles five artists who are working under quarantine, including Tanya Aguiñiga, Monica Majoli, and Sandy Rodriguez.

With access to her studio restricted, Tanya Aguiniga, a fiber artist who is originally from Tijuana, has been working out of a Volkswagen camper parked in her East L.A. yard—while homeschooling her daughter, Io; Photo by Jay L. Clendenin for the Los Angeles Time

The Washington Post features­ Lee Krasner and her painting Celebration (1960) in its series “Great Works, In Focus.”

Laura Raicovich has been named interim director of the Leslie-Lohman Museum of Art, which is devoted to queer art, in New York City.

The Art Newspaper interviews Zoe Whitley, the new director of London’s Chisenhale Gallery.

Hyperallergic profiles Viola Frey, rounding up a collection of interviews, archival materials, and video on the artist.

Slate interviews author Veronica Roth on feedback, antagonists, and moving away from YA fiction.

Colossal explores Frances Priest’s meticulous ceramics; the artist also created a free coloring book for download.

Shows We Want To See—Online Edition

Zoya Cherkassky’s exhibition Lost Time is on view at the Fort Gansevoort gallery’s website. The artist, in quarantine at her home in Tel Aviv, has created a new series of melancholic paintings on paper that evoke pre-World War II Jewish life—but feel “simultaneously contemporary.” The New York Times published excerpts of a conversation between Cherkassky and the show’s curator, Alison Gingeras.

Zoya Cherkassky’s An Open Air Minyan (2020) depicts men gathered for prayer with the requisite social distancing; Photo credit: Zoya Cherkassky and Fort Gansevoort

Shirin Neshat’s latest exhibition, Land of Dreams, is on view at the Goodman Gallery London website. The exhibition comprises photographic portraits and two video installations that converge to present a portrait of contemporary America under the Trump administration.

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

Art Fix Friday: April 3, 2020

In response to the COVID-19 crisis, Anonymous Was a Woman, in partnership with the New York Foundation for the Arts (NYFA), will distribute emergency grants totaling $250,000 to at least 100 woman-identifying artists over 40 years old. The application will go live on Monday, April 6, and close on Wednesday, April 8.

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The grants—up to $2,500 apiece—aim to assist artists who are experiencing financial hardship as a result of COVID-19 and the subsequent economic shock. “This fund will not only provide much needed financial support for artists, but…it will be an incredible source of hope,” said NYFA Executive Director Michael Royce.

Front-Page Femmes

The Helen Frankenthaler Foundation will offer $5 million in COVID-19 relief funding for artists over the next three years.

Artforum publishes artist Whitney Claflin’s first-person account of surviving an economic shock.

The Chicago Tribune interviews Ling Ma, author of the critically acclaimed zombie pandemic novel Severance, who has won the 2020 Whiting Award for fiction.

As she prepares to close her 32-year-old gallery dedicated to women artists, veteran art dealer Barbara Gross reflects on how the market has, and hasn’t, changed.

Frieze profiles artist Pati Hill, whose unique artistic practice employs the use of a photocopier.

The New Yorker profiles the late cartoonist Tove Jansson, who produced ­paintings, novels, children’s books, and more—best known as the creator of Moomins.

Hyperallergic profiles Akiko Stehrenberger, known for her film posters, including Portrait of a Lady on Fire, The Last Black Man in San Francisco, and Her.

Akiko Stehrenberger’s posters for Portrait of a Lady on Fire (2019) and Colossal (2017)

Suellen Rocca, a leading Chicago Imagist whose hieroglyphic paintings and drawings addressed themes of domesticity, sexuality, and consumer and popular culture, has died at age 76.

Artnet’s podcast, The Art Angle, delves into the unbelievable true story of mystical painter Agnes Pelton.

Amarie Gibson of Arts.Black meditates on themes of resistance and care in Ja’tovia Gary’s work.

The New Yorker profiles poet Carolyn Forché and revisits her politically and emotionally charged prose.

Artnet profiles Heather Phillipson, whose whipped cream sculpture was scheduled to be unveiled this week in London on Trafalgar Square’s fourth plinth.­­­

Shows We Want To See—Online Edition

The Broad Museum is bringing Yayoi Kusama’s Infinity Mirrored Room—The Souls of Millions of Light Years Away to devices everywhere via Instagram TV. The “Infinite Drone” series pairs footage of Kusama’s starry universe with musical selections by Los Angeles-based sound artists and musicians. The first video features the sounds of artist and composer Geneva Skeen.

Anna Breit, Untitled, from the series »Girls«, 2018; OstLicht Gallery for Photography

Artsy features a virtual look at five gallery exhibitions featuring emerging artists. This week includes a selection of works by artists from Miami to Vienna, including Sara Bichao, Anna Breit and Luisa Hübner, Lucia Hierro, and Petra Cortright.

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

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.