Art Fix Friday: June 8, 2018

Artsy shares, “What You Need to Know about Baroque Master Artemisia Gentileschi.” Gentileschi managed to build a reputation as a sought-after artist against all odds. However, after her death, scholars omitted her from art historical texts.

Artsy staff writer Alexxa Gotthardt outlines Gentileschi’s life and career from asserting her artistic voice and assault, to painting powerful women, and her complicated legacy.

Front-Page Femmes

Colossal celebrates the Guerrilla Girls as one of the most influential art activist groups of the last 50 years.

Artforum and artnet interview Lynda Benglis about humor, nature, and feminism.

“Design and architecture have been, and remain, professions dominated by men,” writes architecture critic Alexandra Lange.

Culture Type spotlights Magnetic Fields artist Maren Hassinger.

Warsaw-based curator and writer Anda Rottenberg discusses her experiences in Poland’s art world.

Fates and Furies author Lauren Groff publishes a short-story collection titled Florida. The New Yorker calls her work “a chaotic blurring or collapsing of the real and the imaginary.” NPR interviews Groff.

Artist Lindsey French’s work is a “multi-faceted collaboration with the natural world, giving voice to the photosynthetic, and openly conspiring with the notorious poison ivy.”

ArtCurious Podcast explores why Lee Krasner and Elaine de Kooning continue to have their posthumous careers and stories marked and shaped by their husbands.

A week after turning 40, the American Ballet Theater principal dancer Stella Abrera will dance the lead in “Romeo and Juliet.”

Half Gods, Akil Kumarasamy’s début collection of interconnected stories, “doubles as a chilling history lesson for readers unfamiliar with the bloody conflict between Sri Lanka’s Tamils, a northern minority, and its Sinhalese majority.”

Shows We Want to See

Below the Horizon: Kiki Smith at Eldridge is the first site-specific exhibition to use all three floors of the Eldridge Street Synagogue.

Women Photograph Dalí features works by women artists who were well-known photojournalists, as well as artists who were known as patrons, art dealers, or supporters of their better-known husbands. The exhibition is on view at the Gala–Salvador Dalí Foundation’s Púbol Castle in Catalonia, Spain.

Carmen Winant’s My Birth (2018) is on view as part of Being: New Photography 2018 at the Museum of Modern Art (MoMA). Hyperallergic writes, “Winant directly addresses our general discomfort with the physical aspect of childbirth, forcing viewers to look directly at it, the universal starting point.”

Dressing for Dystopia, on view at the SCAD FASH Museum of Fashion + Film features costume designer Ane Crabtree’s creations for the Hulu show The Handmaid’s Tale.

—Emily Haight is the digital editorial associate at the National Museum of Women in the Arts.

Art Fix Friday: June 1, 2018

The exhibition Georgia O’Keeffe: Visions of Hawai’i did not include O’Keeffe’s painting Hibiscus (1939), one of 20 works that O’Keeffe painted while in Hawaii. The painting has since resurfaced, selling for $4.8 million at auction.

Artsy shares news about Georgia O’Keeffe’s Hibiscus; Left: Georgia O’Keeffe, Hibiscus, 1939; Courtesy of Christie’s; right: Yousuf Karsh, Georgia O’Keeffe, 1956; Huxley-Parlour

The New York Botanical Garden planted a “Hawai’ian Paradise Garden” as part of the exhibition chronicling O’Keeffe’s 1939 trip to Hawaii to create art for the Hawaiian Pineapple Company.

Front-Page Femmes

Of the top 100 artists whose works sold for the highest amounts at auction in 2017, only 13 were women. Yayoi Kusama was the only living woman artist in the top 50 artists.

Camille Claudel’s Torso of a Crouching Woman

The J. Paul Getty Museum acquired two French bronzes: Camille Claudel’s Torso of a Crouching Woman and Auguste Rodin’s Bust of John the Baptist.

Sherrie Silver, the choreographer behind Childish Gambino’s dance in “This is America,” says her goal is to “take Afro dance and Afro culture to the world and then take the world to Africa.”

“Films directed by women constituted only 3% of all the screenings that occurred around the world,” writes the Guardian.

Barbara Kasten reflects on the significance of her 1970s cyanotypes in an art21 video profile.

Journalist Masih Alinejad discusses her new memoir and her campaign against a law requiring that Iranian women and girls to cover their heads and necks with a hijab.

PAPER Magazine explores Lorna Simpson’s enduring influence and her work exploring the intersection of race and gender identity.

Mimi Cherono Ng’ok describes her best photograph.

Artsy delves into the history of women photographers in Victorian England.

The search for Frida Kahlo’s long-lost paintingLa Mesa Herida (The Wounded Table) has been revived in Mexico.

Taryn Simon’s new performance and installation at the Massachusetts Museum of Contemporary Art (Mass Moca) will involve plunging museum visitors into icy water.

The Brooklyn Museum recently acquired 96 works by women in conjunction with its program A Year of Yes: Reimagining Feminism.

National Geographic spotlights several women artists’ self-portraits and how their works sparked meaningful dialogue.

Shows We Want to See

Amy Sherald’s solo show at the Contemporary Art Museum St. Louis is on view through August 19. In an interview with Hyperallergic, Sherald reflects on her work and says, “…it’s nice to come into a space and see yourself expressed gently and just being able to sit with that.”

Carissa Rodriguez: The Maid presents two video works and a series of photo-based works, on view at MIT List Visual Arts Center in Massachusetts.

Berthe Morisot: Woman Impressionist at the Musée national des beaux-arts du Québec will feature more than 50 paintings. The exhibition includes a painting by Morisot from NMWA’s collection.

—Emily Haight is the digital editorial associate at the National Museum of Women in the Arts.

Art Fix Friday: May 11, 2018

On Tuesday, after nearly nine decades, Zora Neale Hurston’s story of a former slave was finally published.

When Hurston interviewed Cudjo Lewis in 1927, he was the last known living person who could recount first-hand the experience of having been taken captive in Africa and transported on a slave ship to the U.S.

Author Tayari Jones describes Hurston’s Barracoon: The Story of the Last ‘Black Cargo as a “recovered masterpiece.” The Washington Post explores how Hurston’s story was blocked from publication by copyright protections. “Copyright laws rewritten by major corporations to preserve income from nearly century-old creations have all but erased a generation of less famous writers and unknown works by well-known writers.”

Front-Page Femmes

VICE highlights Cuban-born artist Ana Mendieta.

Yvette Coppersmith won the $100,000 Archibald prize for her self-portrait.

Diana Al-Hadid’s first major public art project, Delirious Matter, will be installed in Madison Square Park.

Artists and curators comment on the Baltimore Museum of Art’s decision to diversify its collection through recent acquisitions of works by women and artists of color and by deaccessioning repetitive works.

art21 films Valeska Soares working on her “Doubleface” series, in which the artist reworks 19th- and 20th-century portraits of women.

An early painting by Yayoi Kusama is expected to sell for between ten and seven million dollars—which would set a new record.

Ghada Amer’s work is “an iron fist in a velvet glove,” writes Hyperallergic.

Elizabeth Murray combines comic-book symbolism and domestic imagery in her crazily shaped canvases.

The privately owned Käthe Kollwitz Museum Berlin will move to a new site in west Berlin.

artnet highlights artists with ties to New York in the Brooklyn Museum’s display of the exhibition Radical Women: Latin American Art, 1960–1985.

Nancy Baker Cahill’s virtual works “feel like her shrapnel-like graphite drawings come to life.”

The American Ballet Theater announced a new initiative that supports women choreographers.

Transgender actress Daniela Vega discusses her role as a Chilean opera singer in the movie A Fantastic Woman.

Shows We Want to See

Louise Bourgeois: To Unravel a Torment, on view at Glenstone, features nearly 30 works. An accompanying catalogue includes previously unpublished diary entries by Bourgeois.  

Susan Meiselas: Meditations surveys the photographer’s work documenting life in conflict zones. Meiselas says, “I am directed by where I want to go, where I want to stay, where I want to go back to.”

Hyperallergic explores Dora De Larios’s clay sculptures, ceramic works, and art installations.

NO MAN’S LAND artist Marlene Dumas explores eroticism, the human condition, and love in her exhibition Myths & Mortals.

—Emily Haight is the digital editorial associate at the National Museum of Women in the Arts.

Art Fix Friday: May 4, 2018

The New York Times profiles Women House artist Laurie Simmons about her body of work, and how her children (including her daughter, Lena Dunham) have influenced her.

“I’m way more influenced by my children than I was by my parents,” says Simmons. “At the risk of sounding like a big fat cliché, they’re my teachers now. They’re my conduit to the 21st century.” Simmons’s work is currently on view in the NMWA exhibition Women House.

Front-Page Femmes

Zadie Smith profiles Deana Lawson through a close examination of her powerful photographs.

Iranian photographer Fatemeh Behboudi documents Iranian life and culture while fighting “the patriarchal views of the media.”

Ali Wong tackles family life, childbirth, and gender stereotypes in her comedy routines.

Primahood: Magenta chronicles author Tyler Cohen’s efforts to raise her daughter as a feminist.

Self-taught artist Charlotte Amelia Poe received the Spectrum Art Prize for her short film How To Be Autistic.

Director Haifaa Al Mansour’s films focus on recent cultural and social reforms in Saudi Arabia.

An upcoming art fair in Brooklyn and a Johannesburg residency provide African women with opportunities to break into the art world.

How Pippa Became the Queen of the Ocean, illustrated by Chervelle Fryer, is the first children’s book made from recycled ocean waste.

Betty: They Say I’m Different explores Betty Davis’s short career, her disappearance from the music scene in the 1980s, and her lasting influence.

RBG, a new documentary, reflects on the life and achievements of Supreme Court Justice Ruth Bader Ginsburg.

The We Have Voices Collective, a group of female and non-binary jazz musicians, released a Code of Conduct to promote workplace equity.

artnet highlights five women artists who dominated Berlin’s Gallery Weekend.

Shows We Want to See

Alison Saar draws from the artistic conventions of various cultures to explore the African American experience and current political climate. Alison Saar: Topsy Turvy is on view at LA Louver.

Dancing on the Edge of the Abys, on view at the Columbus Museum, features abstract works by African American women artists, including Alma Thomas and Howardena Pindell.

Moon Dancers: Yup’ik Masks and the Surrealists at New York’s Di Donna Galleries sheds light on now Native Alaskan culture influenced well-known Surrealists.

In June, the Clark Art Institute opens two new exhibitions featuring women artists. Women Artists in Paris, 1850–1900 showcases work by well-known artists, including Berthe Morisot and Mary Cassatt, alongside artists less recognizable to US audiences, such as Louise Breslau and Anna Ancher. The museum will also showcase six immersive projections by Los Angeles-based media and installation artist Jennifer Steinkamp.

—Emily Haight is the digital editorial associate at the National Museum of Women in the Arts.

Art Fix Friday: April 27, 2018

Turner Prize-winning artist Gillian Wearing created a memorial to suffragist Millicent Fawcett, making it the first statue of a woman in London’s Parliament Square.

The Guardian writes, “The sculptures that adorn our public spaces matter. It is time for women—and not just the semi-naked women who are sculpted as allegories for Justice or Peace—to become part of the grammar of our streets.” The BBC explains that less than 3% of statues in the United Kingdom are of women.

Front-Page Femmes

Turner Prize-winning artist Lubaina Himid requests that galleries showing her work reach out to black artists nearby to include in programs alongside her exhibitions.

New York Magazine’s The Cut explores questions surrounding the nude female form as a subject for male artists in an article titled “Who’s Afraid of the Female Nude?

Chicana photographer Laura Aguilar died at the age of 58.

The Museum of Contemporary Art Chicago announced the first ever winner of the Dunya Contemporary Art Prize, which aims to increase exposure for Middle Eastern artists. The winner, Qatari-American artist Sophia Al-Maria, received $100,000 and a new MCA commission.

What do Queen Elizabeth I and Frida Kahlo have in common? The Art Newspaper shares parallels in their lives by looking at portraits of the two figures.

Anicka Yi shares challenges she’s faced as a woman artist. “I could be the President of the United States, and still half the people in the room would question my authority,” she says.

Smithsonian interviews Amy Sherald about painting Michelle Obama’s portrait in a new podcast episode.

Artist Hope Gangloff captures the personalities of her friends and family in brightly colored large-scale portraits.

A new Barbie inspired by Frida Kahlo has been banned from sale in Mexico.

Rachel Kushner explored life inside a California prison for her third novel, The Mars Room.

SNL actress Aidy Bryant will star in a comedy series based on Lindy West’s book Shrill.

Published in 1983 but recently reprinted, How to Suppress Women’s Writing outlines the obstacles women in literature have faced throughout history.

Hulu begins the second season of the dystopian series The Handmaid’s Tale, adapted from the Margaret Atwood novel.

Shows We Want to See

Ethiopian artist Aïda Muluneh subverts stereotypes of Africa perpetuated by Western media. “I’m trying to share my heritage but also to show the universality of people around the world,” says Muluneh. Her photography is currently on view at the Museum of Modern Art.

In an interview with Apollo Magazine, artist Huma Bhabha discusses her large-scale bronze sculptures installed on the Metropolitan Museum of Art’s Cantor Roof.

Corita Kent: Get With The Action is on display at Ditchling Museum of Art + Craft in England. “We live in a time when popular action seems complicated and confusing; and Kent’s simple, heartfelt message rings down the decades,” writes the Guardian.

—Emily Haight is the digital editorial associate at the National Museum of Women in the Arts.

Art Fix Friday: April 20, 2018

Time released its annual “Time 100” list, which highlights a group of the most influential artists, leaders, and pioneers. This year’s list included feminist artist Judy Chicago.

Emmy-winning television director Jill Soloway writes a tribute to Chicago, saying, “Her moment is finally here again, and everyone can see she is our legacy, our great, our modern Frida, the should-have-been Jackson Pollock and Andy Warhol or whatever men got credited with inventing everything.”

Actresses Nicole Kidman, Gal Gadot, Millie Bobby Brown, Lena Waithe, and Deepika Padukone are among the included artists. Issa Rae, Jesmyn Ward, Tiffany Haddish, and Cardi B. are also featured in the 45 women chosen.

Front-Page Femmes

Hyperallergic explores the relationship and artistic legacies of Anna Klumpke and Rosa Bonheur.

Mary Frances Dondelinger creates bowls, vases, and statues that tell an alternative history of ancient art—suggesting a more gender-equal society.

Photographer Laura Aguilar “portrays her subjects with a tenderness that makes them seem like friends, and with the attention of someone who really sees them.”

Mandy Barker documents plastic debris collected from the world’s oceans and beaches.

The podcast What Artists Listen To asks women artists about how music impacts their work and their lives outside the studio.

Cambodian artist Tith Kanitha weaves together steel wire to create “endlessly suggestive” sculptures.

Singer and civil rights activist Marian Anderson will appear on the new $5 bill in 2020.

Beyoncé became the first black woman to headline Coachella. The New Yorker calls her performance “an education in black expression.”

New York Times Magazine profiles Janelle Monáe in advance of the release of her new album, Dirty Computer.

Tracy K. Smith and Jacqueline Woodson talk about reading, poetry, race, and the importance of literature.

In cartoonist Eleanor Davis’s book Why Art?, the audience is “allowed, for an instant, to linger in the liminal space between created and creator.”

BreakBeat Poets Vol. 2: Black Girl Magic is a poetry anthology featuring more than 60 writers who “challenge ideals modeled in the image of white supremacy.”

The live-action remake of the Disney film Mulan will feature all-Asian cast.

Artforum highlights Barbara Hammer, a 78-year-old pioneer of experimental queer cinema who has produced nearly 90 films.

Shows We Want to See

Shinique Smith brings awareness to the global epidemic of poverty and homelessness by incorporating found clothing and discarded objects into her sculptures and installations. Refuge is on view at the California African American Museum (CAAM).

Faith Ringgold discusses social justice and the inspiration behind her works in Faith Ringgold: Paintings and Story Quilts, 1964-2017, on display at Pippy Houldsworth Gallery in London.

Glenstone Museum will present the first public exhibition of Louise Bourgeois’s previously unpublished diary entries.

Adrian Piper: A Synthesis of Intuitions, 1965–2016, on view at MoMA, “seeks to expose the public’s passive acceptance of racism, sexism, and xenophobia.”

—Emily Haight is the digital editorial associate at the National Museum of Women in the Arts.

Art Fix Friday: April 13, 2018

Artsy explores why San Antonio-based patrons Steven Alan Bennett and Dr. Elaine Melotti Schmidt founded the Bennett Prize, a biannual grant that will award funding to emerging women painters who live in the U.S. and work in a figurative realist style. Applications are due in September and the winner will receive $50,000 in unrestricted funds.

Figurative painter Natalie Frank discusses the prize and says, “Establishing new names, new routes, new protections [for women artists] feels more important than ever.”

Front-Page Femmes

The Observer explores how digital platforms are becoming instrumental in the fight for gender parity in art museums, including the example of NMWA’s #5womenartists campaign.

Sebastian Smee writes an article for the Washington Post titled “These women are some of America’s greatest artists. Why don’t they get the respect they deserve?

“Throughout history women have been routinely devalued and overlooked, or relegated to a historical footnote,” says NMWA Director Susan Fisher Sterling in regards to the Smithsonian Women’s History Museum Act.

Brightest Young Things interviews Asha Elana Casey in her studio.

The New York Academy of Art honored artist Mickalene Thomas with a one-night-only all-women exhibition at the 23rd annual Tribeca Ball.

When she started working for National Geographic, Annie Griffiths was one of the institution’s only female photographers.

“A poem of the right shape will hold a thousand truths. But it doesn’t say any of them,” said science fiction writer Ursula K. Le Guin.

Once dismissed as “women’s work,” quilts made by women from Gee’s Bend, now hang in major museums and “feel right at home next to great works of modern art.”

Saxophonist and composer Roxy Coss talks about facing sexism as a woman in jazz.

The New Yorker calls Cardi B’s debut album daring, provocative, and surprisingly traditional.

Twins Lisa-Kaindé Diaz and Naomi Diaz, known as the group Ibeyi, sing in French, English, Spanish, and Yoruba.

The Los Angeles Times profiles Glory Edim, founder of Well-Read Black Girl.

Actress Molly Ringwald revisits John Hughes’s films and addresses how they reflect normalized sexism, racism, and sexual assault.

Shows We Want to See

Hyperallergic writes, “Over the past 40 years Michele Oka Doner has been developing her own ‘personal hieroglyphics’ shaped out of clay to illustrate how language comes from nature.” Doner’s exhibition, Fluent in the Language of Dreams, is on view at Wasserman Projects in Detroit.

Standing Out, an annual exhibition organized by SMO Contemporary Arts, will feature the work of nine women artists who each explore women’s mental health issues.

Hyperallergic characterizes the atmosphere of Nicole Eisenman’s portraits of angry white men as “poisoned by a toxic masculinity that is not merely self-destructive but threatens to take us all down.” Nicole Eisenman: Dark Light is on view at Susanne Vielmetter Los Angeles Projects.

—Emily Haight is the digital editorial associate at the National Museum of Women in the Arts.

Art Fix Friday: April 6, 2018

Using 20th-century documentary photography from a helicopter, LaToya Ruby Frazier captures the city landscapes of Memphis, Chicago, and Baltimore to explore Martin Luther King Jr.’s legacy.

The Atlantic released special coverage for the 50th anniversary of King’s death, including highlights from Frazier’s project. Although King was assassinated in Memphis, Frazier explores how his death also influenced the way the cities of Chicago and Baltimore are physically structured.

Front-Page Femmes

Feminist artist Judy Chicago will release a limited edition collection of plates inspired by The Dinner Party.

The documentary Grace Jones: Bloodlight and Bami “traces nearly five years in the life of the singular vocalist, unparalleled stage goddess, fashion renegade and general paragon of the fabulous life, who will be 70 in May.”

Joy McCullough’s book Blood Water Paint uses 400-year-old court transcripts to re-create Baroque artist Artemisia Gentileschi’s rape trial.

Meg Wolitzer’s book The Female Persuasion “asks how women (and the men they love) should navigate their lives.”

The Art Newspaper explores Asia’s male-dominated art scenes.

artnet highlights the gender pay gap in the U.K.’s auction houses and museums.

Katherine Sherwood reimagines famous nude paintings by replacing the figures of white odalisques with disabled women of color.

A statue of Mary Thomas called I Am Queen Mary is the first public monument to a black woman in Denmark.

“I wanted to paint in the air,” says Rebecca Louise Law about her suspended, large-scale flower installations.

Sharmeen Obaid-Chinoy’s films document women’s lives in Pakistan through exposing patriarchal structures and advocating for women’s education.

In an interview with the New York Times, actress Evan Rachel Wood discusses how playing the role of Dolores on Westworld has helped her deal with her trauma as a survivor of sexual assault.

Iranian artist Shirin Neshat’s new film explores the life of Egyptian singer Oum Kulthum.

Shows We Want to See

A survey of Zoe Leonard’s “strangely beautiful, unpretentiously intimate, and adamantly political work” is on view at the Whitney Museum of American Art. Divided into seven sections, the exhibition includes a college of vintage postcards, dye-transferred captures of mom-and-pop shops, and photos of 1930s black lesbian actress Fae Richards. The show also includes Leonard’s I Want a President.

A survey at the Museum of Contemporary Art Chicago showcases the evolution of Howardena Pindell’s work over the past five decades.

Through site-specific installations, Renée Green creates a dialogue with museum institutions and architecture. Green’s exhibition Within Living Memory, the final installment of her two-year residency, is on view at Harvard University’s Carpenter Center for the Visual Arts.

—Emily Haight is the digital editorial associate at the National Museum of Women in the Arts.

Art Fix Friday: March 16, 2018

Activists organized a display of more than 7,000 pairs of shoes on the U.S. Capitol lawn on March 13 to commemorate the victims of school shootings, and to push for stricter gun laws. Hyperallergic recalls other works that use clothing to raise awareness around violence.

Artists and museums have similarly used clothes and personal belongings to illuminate the bodies that society systematically ignores and abuses,” writes Eva Recinos for Hyperallergic. The United States Holocaust Memorial Museum, Teresita de la Torre’s 365 Days in an Immigrant’s Shirt, Patricia Cronin’s Shrine for Girls, and Margarita Cabrera’s Space in Between—Agave all “humanize and capture events that are sometimes too horrific to process.”

Front-Page Femmes

The Los Angeles art community reacts to the firing of MOCA Chief Curator Helen Molesworth.

A group of 79 art world figures published an open letter in support of Maria Inés Rodriguez, the director of Bordeaux’s Contemporary Art Museum who was recently fired from her position.

The Broad Museum in Los Angeles acquired a new Yayoi Kusama Infinity Mirror Room.

Mattel announces the creation of a Frida Kahlo Barbie as part of their “Inspiring Women” line.

Music icon Joan Baez announced that her new album, Whistle Down the Wind, will be her last.

Phyllida Barlow will install a 30-foot-high sculpture titled Prop as her first public commission in the U.S.

Netflix paid The Crown actress Claire Foy less than supporting actor Matt Smith, despite her critical acclaim.

Animator Romane Granger uses modeled clay to suggest the complex ecosystem of life on the ocean’s floor.

Instead of focusing on the likenesses of the presidential portraits of Barack and Michelle Obama, Hyperallergic writes that “these pictures represent the former first couple both as individuals and as archetypes of African Americans.”

Art21 creates a video profile about Abigail DeVille’s The New Migration.

Shows We Want to See

On view at the Riverside Art Museum, Wendy Maruyama’s work explores the impact President Roosevelt’s Executive Order 9066 had on her family and Japanese-Americans.

Faith Ringgold: An American Artist, on view at the Crocker Art Museum, displays more than 40 examples of Ringgold’s varied works spanning four decades. The exhibition includes story quilts, tankas, prints, oil paintings, drawings, masks, soft sculptures, and original illustrations from the book Tar Beach.

Tate Modern’s Joan Jonas retrospective spans over 50 years of the artist’s career and includes six days of live performances.

Laura Owens’s work on display at the Dallas Museum of Art challenges assumptions about figuration and abstraction, as well as the relationships among avant-garde art, craft, pop culture, and technology.

—Emily Haight is the digital editorial associate at the National Museum of Women in the Arts.

Art Fix Friday: March 9, 2018

The New York Times created an online interactive to address the previous omission of obituaries for 15 remarkable women. “Obituary writing is more about life than death: the last word, a testament to a human contribution,” writes the Times. “Yet who gets remembered—and how—inherently involves judgment.”

The previously overlooked figures include author Charlotte Brontë, journalist Ida B. Wells, photographer Diane Arbus, poet Sylvia Plath, and Bollywood legend Madhubala.

Front-Page Femmes

NMWA’s latest exhibition Women House receives rave reviews from the Washington Post Express, Brightest Young Things, and WTOP.

NMWA writes an article for Hyperallergic about the challenges in collecting data about women artists of color.

Facebook censored an image of 30,000 year-old nude statue known as the Venus of Willendorf.

Laurence des Cars, director of the Musée d’Orsay, discusses gender imbalance in museum leadership positions.

A new book, Firecrackers: Female Photographers Now, features work by 33 contemporary artists exploring various aspects of identity, politics, and history.

Janelle Monáe has taken the concept album to complex heights,” writes the New Yorker.

Google Doodle team leader Jessica Yu says, “A moderate dose of imposter syndrome plus a strong work ethic can actually be quite helpful.”

Google featured 12 women artists to celebrate International Women’s Day. The Standard shares their list of ten artists.

The New York Times profiles Celia Paul

After four decades in the shadows as Lucian Freud’s partner, painter Celia Paul gains recognition for her “soulful and melancholy portraits.”

“[Sally] Mann’s fascinating clinical distance adds another eerie layer to [her] pictures,” says The New Yorker.

Oscar-nominated films with a woman in the starring role are more profitable that those with male protagonists.

NPR defines “inclusion rider” and its relevance in actress Frances McDormand’s Oscar acceptance speech.

Tayari Jones’s latest novel, An American Marriage, “upends all expectations, flipping the reader’s perceptions and offering unexpected moments of clarity.”

Atlantic staff writer Ed Yong writes an article titled “I Spent Two Years Trying to Fix the Gender Imbalance in My Stories.

The Guardian explores the ways in which the male gaze “is ruining our ability to see good art.”

New York Times critics chose 15 remarkable books by women embodying “unexplored possibilities in form, feeling and knowledge” in the 21st century.

Shows We Want to See

Frida Kahlo: Making Herself Up, opening in June at the Victoria and Albert Museum in London, will showcase more than 200 objects, including the artist’s makeup, clothes, jewelry, and prosthetic leg.

The Main Museum in Los Angeles highlights the work of L.A. native and ceramist Dora De Larios, one the city’s most vital, yet under-recognized artists.

The exhibition Women Artists—1st International Biennial of Macao features works by 132 female artists from 23 countries and regions.

Howardena Pindell’s first major solo exhibition is on view at the Museum of Contemporary Art Chicago.

—Emily Haight is the digital editorial associate at the National Museum of Women in the Arts.