Art Fix Friday: December 6, 2019

Cecilia Vicuña: About to Happen is open at the Museum of Contemporary Art in North Miami. The retrospective traces Vicuña’s career-long commitment to exploring discarded and displaced materials, peoples, and landscapes in a time of global climate change.

Cecilia Vicuña at the Museum of Contemporary Art in Miami, where her solo environmental show runs through March; Photo by Angel Valentin for the New York Times

In an interview with the Art Newspaper, the 71-year-old Chilean-born artist says the exhibition’s organizers “read my work from a new perspective and sought to present it as an ecological, feminist and participatory practice.”

Front Page Femmes

The Washington Post reviews NMWA’s current exhibition Live Dangerously, noting that the photographs invite viewers “to contemplate the immense variety of female bodies and experiences they chronicle.”

BmoreArt interviews 27 women in the Baltimore arts scene about The Baltimore Museum of Art’s recent announcement that it would only acquire art made by women in 2020.

Hyperallergic revisits the 11 women abstract expressionists who participated in the 1951 Ninth Street Show; they are currently featured in a new exhibition at the at the Katonah Museum of Art, Sparkling Amazons: Abstract Expressionist Women of the 9th St. Show.

The BBC’s annual “greatest films” poll focuses solely on female directors this year; Jane Campion, Agnès Varda, Chantal Akerman, and Ava DuVernay all made the cut.

The Vienna State Opera presents the first opera by a woman in its 150-year history: Olga Neuwirth’s adaptation of Virginia Woolf’s Orlando, which deals with duality and trans identity.

Charlotte Nebres is the first black Marie, the young heroine of George Balanchine’s The Nutcracker, at New York City Ballet; Photo by Heather Sten for the New York Times

This year, the New York City Ballet has cast Charlotte Nebres as the first black Marie, the young heroine of the Nutcracker, making strides towards representation and diversity.

The Los Angeles Times profiles playwright Aleshea Harris, “part of a vanguard of young, African American playwrights boring into questions of race and history through humor, drama, absurdity and tragedy.”

Feminist artist and activist Silvianna Goldsmith, co-founder of Women Artists in Revolution, has died at age 90.

In Mexico City, a group of women protested at the city’s Museum of Modern Art after a patron was expelled for breastfeeding; the museum has since changed its policy.

The Lily reviews A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana, currently on view at the Museo del Prado in Madrid.

Artnet News interviews artist Delphine Diallo about how she is “creating space for a language of photography that presents black women the way they see themselves.”

The New York Times profiles mixed-media artist Manal AlDowayan whose solo presentation at Art Basel uses text to explore the shift of Saudi Arabian women’s lives from private to public.

Exhibitions We Want to See

Kudzanai-Violet Hwami: (15,952km) via Trans-Sahara Hwy N1 is open at Gasworks in London. It is the first solo exhibition by the Zimbabwean-born artist and features intensely pigmented paintings that examine “the diasporic experience of being foreign in both places you call home.”

Kudzanai-Violet Hwami, Medicine Man, 2019; Oil on canvas; Commissioned by Gasworks; Courtesy of the artist and Tyburn Gallery; Photo by Andy Keate

At New York City’s Museum of Arts and Design, Vera Paints a Scarf celebrates the work of artist Vera Neumann, one of the most successful female design entrepreneurs of the 20th century, and her contributions to the field of American design.

—Hannah Southern is the fall 2019 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: November 22, 2019

Clockwise from left, Mickalene Thomas (in sunglasses) included the artists Zoë Charlton, Theresa Chromati, and Devin N. Morris in her show at the Baltimore Museum of Art; Photo by Andrew Mangum for the New York Times

Clockwise from left, Mickalene Thomas (in sunglasses) included the artists Zoë Charlton, Theresa Chromati, and Devin N. Morris in her show at the Baltimore Museum of Art; Photo by Andrew Mangum for the New York Times

The Baltimore Museum of Art (BMA) has announced that it will acquire only artwork by female-identifying artists for its permanent collection in 2020. This new policy will help correct the gender imbalance at the institution—only 4% of the BMA’s collection is by women artists.

The commitment runs parallel to a series of upcoming exhibits at the museum celebrating female-identifying artists. One of those artists is Mickalene Thomas, who will open Mickalene Thomas: A Moment’s Pleasure, at the BMA on Sunday. The immersive two-story installation transforms the museum’s east lobby into a living room for Baltimore reflective of Thomas’s signature aesthetic. The artist has also included works by artists with ties to Baltimore in the exhibition.

Front-Page Femmes

Artnet interviews legendary gallerist and artist Suzanne Jackson ahead of her first New York solo show.

A Frida Kahlo painting of an unknown “lady in white” sold for $5.8 million at Christie’s Latin American art sale; it is the second-highest price ever achieved for the artist at auction.

Singer-songwriter and artist Solange recently debuted a new interdisciplinary performance, Bridge-s, at the Getty Center.

NPR profiles 19, a new musical about women’s suffrage set to premiere at NMWA on November 25 for a three-night run.

Artnet interviews Shirin Neshat about the artists who inspire her most, including Frida Kahlo and Cindy Sherman.

The New Yorker profiles Alicia Rodriguez Alvisa’s “You Are There, Are you there?, There You Are,” her new self-portrait series that doubles the artist through composite image.

An upcoming exhibition at Beijing’s UCCA Center for Contemporary Art by Chinese American artist Hung Liu was canceled after local authorities declined to issue necessary import permits; Liu’s work contains strong social and historical themes.

Hung Liu, Untitled (from the series “Seven Poses”), 2005; Digital print on paper, 14 x 14 in.; NMWA, Gift of the Greater Kansas City Area Committee of NMWA; © Hung Liu; NMWA holds multiple works by the artist in the museum’s collection

Hung Liu, Untitled (from the series “Seven Poses”), 2005; Digital print on paper, 14 x 14 in.; NMWA, Gift of the Greater Kansas City Area Committee of NMWA; © Hung Liu; NMWA holds multiple works by the artist in the museum’s collection

Anonymous Was a Woman, an organization that supports the careers of women artists over 40, announced the 2019 grantees.

Artnet interviews sculptor Andra Ursuţa, who transforms throwaway horror movie props into eerie totems.

Sculptor and Washington Color School patron Helen Stern died at age 89.

Author Susan Choi won the National Book Award for her novel Trust Exercise.

NPR profiles Rose McAdoo—a pastry chef who uses cakes to make scientific ideas (literally) digestible.

Hyperallergic profiles Sylvia Fein, one of the last living Surrealist painters, on her 100th birthday.

The New York Times interviews Waad al-Kateab, director of the documentary For Sama, on her life as a refugee in England.

Cecilia Vicuña won the 2019 Premio Velázquez de Artes Plásticas, Spain’s most prestigious art award.

Marina Abramovic’s The Life will be the first mixed-reality artwork auctioned by Christie’s.

Shows We Want to See

Dora Maar is now open at the Tate Modern. The Guardian reviews the comprehensive retrospective, calling it a “meticulously mapped-out reappraisal of Maar’s long and restlessly inventive creative journey.”

Haegue Yang, Strange Fruit, 2012–13; Six light sculptures; Museum of Contemporary Art, Los Angeles; Purchased with funds provided by the Acquisition and Collection Committee Installation

Haegue Yang, Strange Fruit, 2012–13; Six light sculptures; Museum of Contemporary Art, Los Angeles; Purchased with funds provided by the Acquisition and Collection Committee Installation

Haegue Yang: In the Cone of Uncertainty is on view at The Bass in Miami. The exhibition includes multisensory installations, light sculptures, and a commissioned piece that explores Miami Beach’s relationship to the climate crisis.

—Hannah Southern is the fall 2019 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: November 15, 2019

The Spanish advocacy group Mujeres en las Artes Visuales will release a digital-analysis service in 2020 that will evaluate the gender breakdown of museum collections and offer recommendations for improvement. The service will track the amount of money museums spend on artworks by female artists compared to male artists, how much space is dedicated to these pieces in the galleries, and how often they are on view.

Visitors enjoy a Free Community Day at NMWA, where the galleries are fully dedicated to women artists year round

Visitors enjoy a Free Community Day at NMWA, where the galleries are fully dedicated to women artists year round; Photo by Kevin Allen

In an interview with El Pais, Mujeres en las Artes Visuales president María José Magaña said the group’s goal is not “to carry out audits that denounce [a museum’s] methods as erroneous, but to learn together to improve.”

Front-Page Femmes

The Getty Center has launched a new podcast, hosted by curator Helen Molesworth, called “Recording Artists: Radical Woman.” Each of the six episodes focus on 20th-century artists: Alice Neel, Lee Krasner, Betye Saar, Helen Frankenthaler, Yoko Ono, and Eva Hesse.

Slate published an author-editor conversation between Jenny Slate and Jean Garnett about the genesis of Slate’s new essay collection Little Weirds.

Artsy interviews Judy Chicago and discusses some of her bodies of work that have been overshadowed by The Dinner Party.

The Guardian reviews Diane Watt’s new book, Women, Writing and Religion in England and Beyond, 650–1100, which presents evidence of women’s writing centuries earlier than scholars previously understood.

Gillian Jagger in New York, 1964; The artist crouches above a white canvas and sculptural piece in process

Gillian Jagger in New York, 1964; Courtesy of David Lewis Gallery

Land art sculptor Gillian Jagger has died at age 88. “Her work is attuned to and profoundly sensitive of the natural world as it is,” wrote the David Lewis Gallery.

Betye Saar won the $110,000 Wolfgang Hahn Prize from the Museum Ludwig in Cologne, Germany.

The Wall Street Journal reviewed NMWA’s current exhibition Women Artists of the Dutch Golden Age, calling the show “thoughtfully selected, informative and sometimes surprising.”

Maya Lin’s planned June 2020 installation, Ghost Forest, in Madison Square Park, will replant cedar trees from a forest destroyed by Hurricane Sandy as a response to climate change.

The LA Philharmonic debuted Mexican composer Gabriela Ortiz’s new work Yanga.

The Guerrilla Girls have launched a new ad campaign targeted at the Museum of Modern Art; the group urges the museum to cut alleged ties to Jeffrey Epstein.

Zadie Smith reviews painter Celia Paul’s memoir Self-Portrait.

The New Yorker presents Amy Bench’s animated short A Line Birds Cannot See, the story of a woman’s perilous journey to the U.S. from Guatemala. “I wanted to tell an immigration story from a female perspective,” Bench said.

Exhibitions We Want to See

Anila Quayyum Agha: Between Light and Shadow is on view at the Toledo Museum of Art. Agha creates intricate patterns using light and shadow. “This exhibition will offer… visitors an immersive, sensory experience,” curator Diane Wright said. “[Visitors’] movements will modify the projected light and patterned shadows, creating a unique interaction with each visit.”

People experience Anila Quayyum Agha's installation Intersections, 2013; Site-specific installation at Rice University Art Gallery, 2015

Anila Quayyum Agha, Intersections, 2013; Site-specific installation at Rice University Art Gallery, 2015; Photo by Nash Baker

Berthe Morisot: Impressionist Original is open at the Museum of Fine Arts Houston. The Houston Chronicle writes, “what’s great about Morisot is her expression of everything Impressionism is about: the fleeting nature of time, light and life.”

—Hannah Southern is the fall 2019 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: November 8, 2019

A collage image of a young girl wearing a crown and boxing glove, facing the left of the page. She wears a striped dress with two bows and has no legs.

Deborah Roberts, Glass Castles, 2017; On view at the Tang Teaching Museum at Skidmore College as part of the Feminist Art Coalition project

The Feminist Art Coalition has coordinated with more than 50 museums and institutions across the U.S. to feature feminist art in anticipation of the 2020 presidential election. The programming includes retrospectives, surveys, symposiums, and performances focused on feminist perspectives and concerns.

“The whole project is an attempt to be strategic and collaborative and collective in our institutional attempts to create a strong cultural network…in order to inspire civic engagement and critical discourse and participation in the fall of 2020,” said Apsara DiQuinzio, curator of modern and contemporary art at the UC Berkeley Art Museum.

Front Page Femmes

A traveling Yayoi Kusama retrospective in Europe will open in September 2020 at the Gropius Bau in Berlin.

The New York Times Magazine questions whether gender will always be an inherent part of the artist-genius trope in an article examining the lives and careers of Celia Paul and Cecily Brown.

The Dallas Opera and the Dallas Symphony are hosting networking gatherings for women in classical music to challenge the male-dominated world of composers and conductors.

Hyperallergic reviews At the still point of the turning world, there is the dance at the Sursock Museum in Beirut, Lebanon, which presents Helen Khal’s influence on the Beirut art scene in the 1960s and ’70s.

The Guardian reviews Radical Women: Jessica Dismorr and Her Contemporaries at the Pallant House Gallery in Chichester, U.K., which traces the career of the suffragist and artist.

A black and white self-portrait of Abigail Heyman, her face visible in a bathroom mirror against a dirty concrete wall, the counter littered with various bottles and makeup.

Abigail Heyman, Self-Portrait, 1971

The New Yorker examines Abigail Heyman’s feminist photographs of women’s lives. “Heyman’s work is the perfect illustration of ‘the personal is political,’” says photo historian and curator Clara Bouveresse.

The Art Newspaper discusses the need for museums to engage with Indigenous peoples: “Decolonisation is not simply a question of returning bodies that have been stolen, but also restoring the Native communities that continue to survive settler invasion.”

LACMA’s ninth annual Art + Film gala celebrated renowned artist Betye Saar in conjunction with the museum’s current exhibition Betye Saar: Call and Response.

Artnet News interviews art dealer Kate Shin and artist Sun K. Kwak about their non-traditional journeys into the art world.

Painter Monika Baer was awarded Berlin’s prestigious Hannah Höch Award, and Natascha Sadr Haghighian won the Hannah Höch Förderpreis.

Exhibitions We Want to See

Bridget Riley, a retrospective of the 88-year-old abstract painter’s career, is open at the Hayward Gallery in London. The Guardian called the show “seductive, erotic, piercing, tense” and noted that “the edginess of the early works gives way to calmer, richer, more contemplative works, a blaze of red gathering speed in a multi-panel painting, the delight of the great outdoors lassoed in whiplash curves.”

Artist Bridget Riley stands smiling, in a navy jumpsuit, in front of one of her vibrant abstract works.

Bridget Riley at the Hayward Gallery with her 2012 work Rajasthan; Photograph: Guy Bell/Rex/Shutterstock

At the Institute of Contemporary Art, Boston, Vivian Suter presents the artist’s layered and suspended canvases. Suter works closely with the natural environment surrounding her home and studio in Panajachel, Guatemala, often moving her vividly painted canvases between the indoors and outdoors and exposing them to the climate.

—Hannah Southern is the fall 2019 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: November 1, 2019

Female Old Masters are finally receiving their due. An Artsy feature summarizes the recent wave of exhibitions, initiatives, and auction popularity of 16th- to 18th-century women artists.

A composite of two self portraits from female Old Masters. On the left is Lavinia Fontana's Self-Portrait at the Spinet in which the artist wears a regal purple dress and sits at the piano, behind her in another room an easel stands, she stares directly at the viewer. On the right is Sofonisba Anguissola's Self-Portrait at the Easel in which the artist is pictured from the waist up wearing black, with paintbrushes in hand, staring straight at the viewer. The painting she is working on pictures a woman and a naked small child.

Left to right: Lavinia Fontana, Self-Portrait at the Spinet, 1577; Sofonisba Anguissola, Self-Portrait at the Easel, ca. 1556–57; Courtesy of the Museo del Prado

Women Artists of the Dutch Golden Age is now on view at NMWA. In Madrid, A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana opened at the Museo del Prado as part of the institution’s 200th-anniversary programing (featuring a work on loan from NMWA). At the National Gallery in London, an exhibition on Artemisia Gentileschi opens in April 2020.

Front Page Femmes

A Fantastic Sunset (1970) by Alma Thomas will be sold at auction on November 13. Christie’s estimates the circular rainbow burst will sell between $2.2 and $2.8 million, more than double Thomas’s current auction record.

ArtForum interviewed Kiki Smith as she prepared to travel to France for a survey of her works at the Monnaie de Paris, on view until February 9, 2020.

The Royal New Zealand Ballet’s 2020 season will only feature work by women choreographers. “It is important that artistic directors give talent the platform and opportunities, regardless of gender,” said director Patricia Barker.

Artsy profiled five of Yoko Ono’s most iconic works, including Cut Piece (1964) and Museum of Modern [F]art (1971).

Hyperallergic interviewed femme and non-binary artists to learn about their experiences in the male-dominated world of street art.

A photograph of South African artist Faith XVVII’s mural "Salus Populi Suprema Lex Esto" (2018) painted on a building on Skid Row in Los Angeles. It is a grayscale rendering of hands folded across a chest overlaid with geometric shapes.

South African artist Faith XVVII’s installation Salus Populi Suprema Lex Esto (2018) on Skid Row in Los Angeles; The artist established herself in street art in her boyfriend’s graffiti crew while waitressing and working as a graphic designer

In an interview on the Kojo Nnamdi Show, Lynora Williams, director of NMWA’s Betty Boyd Dettre Library and Research Center, and artists Malaka Gharib and Carolyn Toye spoke about NMWA’s upcoming exhibition DMV Color.

Doris Salcedo won the first annual Nomura Award, the world’s largest prize for contemporary art. She will use the $1 million prize to continue her “Acts of Mourning” installations, memorializing those murdered in Colombia’s civil war.

In solidarity with the Kurdish people, German artist Hito Steyerl demanded that Germany stop showing her work as part of cultural diplomacy; the artist condemns her home country’s complicity with Turkey’s military offensive.

The New Yorker examines the erasure of women from the early history of Hollywood. “By the 1930s, we find a powerful case of…forgetting that so many women had even held the posts of director and producer,” says historian Antonia Lant.

Colossal profiles the wax sculptures of Rebecca Stevenson, featuring “classical busts and seemingly deceased animals…surrounded by ribboning cascades of plants.”

Shows We Want to See

Betsabeé Romero unveiled her new site-specific installation An Altar in Their Memory/Un Altar en Su Memoria at the Latino Arts Project in Dallas, Texas, on October 29.

Artist Berenice Bing lays on the wooden floor of her studio in the late 1950s, resting her head in her hands; in the background some of her paintings are visible, as well as a rocking chair

Berenice Bing in her studio, late 1950s; Photo by Charles Snyder

At the Sonoma Valley Museum of Art through January 5, 2020, BINGO: The Life and Art of Bernice Bing is the first retrospective of the San Francisco native, community activist, and artist. Bing, a Chinese American, reclaimed Abstract Expressionism, redefining its connections to non-Western philosophies and aesthetics.

Julie Mehretu, the artist’s most comprehensive retrospective, opens November 3 at the Los Angeles County Museum of Art. The Wall Street Journal Magazine profiled Mehretu last month in preparation.

—Hannah Southern is the fall 2019 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: October 25, 2019

In a New York Times feature, NMWA is profiled along with five other museums that are addressing gender inequality and diversity through programming, collections, and leadership. Current exhibitions at NMWA, the National Portrait Gallery, the National Archives Museum, the Library of Congress, the National Museum of African Art, and the Arthur M. Sackler Gallery all highlight women or work by women artists.

Rania Matar, Rayven, Miami Beach, Florida, from the series “SHE,” 2019; Courtesy of the artist and Robert Klein Gallery; © Rania Matar; On view at NMWA in Live Dangerously

“It is essential for cultural institutions to take substantial and systematic steps to address gender inequity and diversity…so that this conversation moves beyond a single moment,” says NMWA Director Susan Fisher Sterling.

Front Page Femmes

Yayoi Kusama has collaborated with balloon specialists on Love Flies up to the Sky, a balloon for this year’s Macy’s Thanksgiving Day Parade.

Americans for the Arts has honored Luchita Hurtado with a Lifetime Achievement Award at the National Arts Awards.

Hyperallergic reviews Ahree Lee’s exhibition Pattern : Code, on view at Women’s Center for Creative Work, which explores the connection between weaving and computer programming.

Artsy profiles glass artist Deborah Czeresko, who won Netflix’s reality show Blown Away creating feminist glass artworks.

The oldest existing Last Supper painting by a woman is on public view for the first time at the Santa Maria Novella Museum in Florence; Plautilla Nelli, a Renaissance-era nun, painted the scene 450 years ago for the Santa Caterina da Siena convent.

South African singer Brown Lindiwe Mkhize in the role of Rafiki in Julie Taymor’s production of The Lion King; Photograph by Brinkoff and Mogenburg

The Guardian interviews Julie Taymor, director and designer of the musical The Lion King. “Everybody acknowledged that the film’s story should be fleshed out. There were no good female roles…I knew that Rafiki, the storyteller, should be female,” Taymor said.

The Los Angeles Times interviews Shirin Neshat about her career and new solo show, I Will Greet the Sun Again, at the Broad Museum.

The New York Times interviews choreographer Twyla Tharp about her new book Keep it Moving: Lessons for the Rest of Your Life. “After we terrorize ourselves with self-doubt, our only relief is to get moving again,” says Tharp.

The Art Matters podcast examines the history of witches in art, tracing the shifting narrative from old hag to beautiful temptress.

Shows We Want to See

Betye Saar, Black Girl’s Window, 1969; Saar’s deeply autobiographical picture alludes to her African American heritage along with her interest in mysticism and astrology; Photo: Museum of Modern Art

Betye Saar: The Legends of Black Girl’s Window is on view at the newly renovated Museum of Modern Art in New York. The exhibition explores the relationship between her experimental print practice and the artistic language Saar debuted in her famous 1969 work Black Girl’s Window. The New York Times reviewed the “scholarly study of a specific period, anchored by MoMA’s recent acquisition of a group of 42 of her works on paper.”

A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana is on view at the Museo Nacional del Prado in Madrid. Hyperallergic dives into the history of Bologna to examine why women artists like Lavinia Fontana thrived in the region during the 17th century.

At the Pérez Art Museum in Miami Teresita Fernández: Elemental is a comprehensive survey of the artist’s work. Fernández uses landscape to unpack colonial histories and binaries.

—Hannah Southern is the fall 2019 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: October 18, 2019

Opening tomorrow at the Broad Museum, Shirin Neshat: I Will Greet the Sun Again is the largest exhibition to date of the acclaimed artist’s 30-year career. Taking its title from a poem by Iranian poet Forugh Farrokhzad, the exhibition presents more than 230 photographs and eight immersive video installations. It offers a rare glimpse into Neshat’s artistic journey, exploring topics of exile, displacement, and identity with beauty, dynamic formal invention, and poetic grace.

Shirin Neshat, Land of Dreams video still, 2019; Photo courtesy of the Broad Museum

Shirin Neshat, Land of Dreams video still, 2019; Photo courtesy of the Broad Museum

The Art Newspaper interviews Neshat about the power of political satire and the similarities she has observed between Iran and the U.S.

Front Page Femmes

For the first time in almost 30 years, Booker Prize judges broke their own rules and awarded the literary prize to two recipients: Margaret Atwood and Bernardine Evaristo.

Artsy remembers British Surrealist artist Ithell Colquhoun, who used themes of the occult to explore gender within her artwork.

The New Yorker reviews Rosine Mbakam’s first documentary feature, The Two Faces of a Bamiléké Woman, which “reveal[s] Mbakam to be one of the foremost filmmakers of creative nonfiction.”

Artnet News interviews Turner Prize nominee Tai Shani about the prohibitive costs and inaccessibility of performance art.

Joanna Wells, Study of Fanny Eaton, 1861; On view in Pre-Raphaelite Sisters at the National Portrait Gallery, London; Yale Center for British Art, Paul Mellon Fund

Joanna Wells, Study of Fanny Eaton, 1861; On view in Pre-Raphaelite Sisters at the National Portrait Gallery, London; Yale Center for British Art, Paul Mellon Fund

London’s National Portrait Gallery has opened Pre-Raphaelite Sisters, which highlights the contributions of women associated with the movement as artists, models, and family. “I would like to re-write the narrative of the Pre-Raphaelite women being exploited,” said curator Jan Marsh in an Artnet News interview.

The New York Times remembers pioneering animator Lotte Reiniger, who, during her 60-year career, made more than 70 films out of hand-cut paper silhouettes.

Hyperallergic profiles 98-year-old artist Luchita Hurtado and looks closely at her solo exhibition I Live I Die I Will Be Reborn, currently on view at London’s Serpentine Gallery.

The Guardian profiles the Museum of Modern Art’s $450 million renovation and collection reinstallation ahead of its October 21 reopening; the new installation spotlights artworks by women and artists of color.

The New Yorker profiles Joni Mitchell and her new book, Morning Glory on the Vine, a collection of early poems and drawings.

Feminist icon Gloria Steinem honored Judy Chicago at the Hammer Museum’s Gala in the Garden.

ARTnews interviews Seoul-based multimedia artist Minouk Lim about censorship and marginalization in the art world.

Shows We Want to See

Opening today at the Monnaie de Paris, Kiki Smith features more than 100 of the artist’s works. The exhibition reflects major themes, such as the female figure, that have reoccurred in Smith’s practice and the wide variety of mediums she has explored.

Kiki Smith, Rapture, 2011; Photo by Richard Max-Tremblay; © Kiki Smith, courtesy of Pace Gallery

Kiki Smith, Rapture, 2011; Photo by Richard Max-Tremblay; © Kiki Smith, courtesy of Pace Gallery

Pat Steir: Color Wheel opens October 24 at the Hirshhorn Museum and Sculpture Garden. The installation of new paintings will create an immersive color wheel around the perimeter of the museum’s second-floor galleries. ARTnews interviewed Steir in July while she prepared for the exhibition.

Adriana Corral: Unearthed/Desenterrado is open at the Boulder Museum of Contemporary Art. Corral’s minimalist sculptural work explores the concept of human rights through work that addresses current and historic rights violations.

—Hannah Southern is the fall 2019 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: October 11, 2019

Clockwise from top: Lorna Simpson, Simone Leigh, and Amy Sherald; Photo by Adrienne Raquel for the New York Times

Simone Leigh, Amy Sherald, and Lorna Simpson discuss the growing institutional visibility of black women artists in a New York Times interview. The three artists talk about experience, audience, and representation in the visual art world.

“In order to think about the artists working today, you also have to think about the work of [those] who came before. Yes, this is an important moment, but it reflects the previous changes that were made within institutions,” Simpson said. “We have to also see this not just as a moment of visibility for black artists but also one of historically white institutions finally dragging themselves into the 21st century.”


Front-Page Femmes

The Washington Post closely examines five artworks from Judy Chicago’s The End: A Meditation on Death and Extinction, currently on view at NMWA.

A sculpture by Elizabeth Catlett recently sold for $389,000, breaking the late artist’s previous auction records; Catlett’s work is currently featured in the acclaimed traveling exhibition Soul of a Nation: Art in the Age of Black Power.

Slate profiles Lauren Gunderson, “the most popular playwright in America,” before her first New York City premiere, The Half-Life of Marie Curie.

Artsy compiles three lessons on how to be an artist from archived interviews with Lee Krasner.

Jill Freedman in 2015; Photo by Maureen Cavanagh, New York Times

Documentary photographer Jill Freedman died on October 9, at the age of 79. The New York Times remembers the “adventurous photographer who immersed herself for months at a time in the lives of street cops, firefighters, circus performers and other tribes she felt were misunderstood.”

Polish author Olga Tokarczuk has been awarded the 2018 Nobel Prize in literature; the Nobel Committee postponed the ceremony due to a scandal. Tokarczuk is only the 15th woman to win the Nobel for literature, out of 116 laureates.

The Chicago Tribune highlights the Art Institute of Chicago’s feminist moment: this fall, nearly every temporary exhibition space in the Modern Wing will feature work by women artists.

Frieze reviews Carmen Maria Machado’s memoir In the Dream House, which “tries to account for the vast chasm between the fantasy of a queer life, the reality of the one she once lived, and how this might play out in the reality of the normative, heterosexual imagination.”

Artsy investigates the devastating effects of the student debt crisis on young artists.

Simone Biles won her 22nd world championship medal, breaking the world record for women’s gymnastics; Biles is one medal away from tying the men’s record.

Meleko Mokgosi: Bread, Butter, and Power, 2018, Installation view, Fowler Museum at UCLA; Courtesy of the artist and Honor Fraser, Los Angeles; Photo © Monica Nouwens


Shows We Want to See

Meleko Mokgosi: Bread, Butter, and Power will open on October 19 at the University of Chicago’s Smart Museum of Art. The 20-panel installation explores the effects of democracy, gender, and labor in the context of southern Africa.

Natalie Ball: Twinkle, Twinkle, Little Snake, now on view at the Seattle Art Museum, challenges the dominant misrepresentations of Native American identity. Art & Object reviews the exhibition that “points out the absurdity of our assumptions [about Native Americans].”

—Hannah Southern is the fall 2019 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: October 4, 2019

Kara Walker, Fons Americanus; Photo by: Charlotte Hadden for the New York Times

Kara Walker has unveiled her new commission for Tate Modern: a towering counterpart to Buckingham Palace’s Victoria Memorial. The classically inspired fountain, Fons Americanus, turns the traditional monument to empire on its head by exploring the interconnected and violent histories of Africa, Europe, and America.

In a New York Times article, Walker discussed how her art responds to imperialism beyond the United States: “I’m talking about power dynamics…universally, and also in the New World, or in the world that was created by the imperial project.”

Front-Page Femmes

Washingtonian Magazine named NMWA director Susan Fisher Sterling one of the city’s most powerful women.

Artist Stephanie Syjuco speaks to Art21 about how textiles can conjure up America’s unsettling past.

The Gallery at Windsor in Florida will host an exhibition of Rose Wylie’s artwork in collaboration with the U.K.’s Royal Academy. This will be the partnership’s first exhibition of work by a woman artist.

Juxtapoz examines the vivid paintings, prints, and ceramics of Anna Valdez before the opening of her new exhibition at New York City’s Hashimoto Contemporary.

The Getty Museum has acquired artwork by photographer Laura Aguilar following her career retrospective.

The New York Times remembers Abstract Expressionist Mary Abbott who died in late August at age 98.

Mary Abbott in her New York studio in about 1950; Photo credit: McCormick Gallery

Hyperallergic reviews Sara VanDerBeek’s new print series, Women & Museums, which examines how women occupy institutional spaces.

The Art Newspaper interviews painter Elizabeth Peyton on her new solo show at London’s National Portrait Gallery; she is the first artist to have the works in her show interspersed throughout the gallery’s historical collections.

ArtNews reviews artist Nicole Eisenman’s sculpture Procession at the 2019 Whitney Biennial.

Jenny Holzer’s upcoming collaboration with Creative Time, a public light projection on Rockefeller Center titled VIGIL, will address the gun violence epidemic.

Hyperallergic profiles Vietnamese-American artist Cindy Trinh, whose documentary photography captures the Asian and Asian-American experience through food, labor, and culture.

Great Women Artists, a new anthology from Phaidon, presents five centuries of female creativity through more than 400 compelling artworks.

Shows We Want to See

Agnes Denes: Absolutes and Intermediates opens October 9 at The Shed in New York City. The exhibition will include three newly commissioned works including an architectural model that aspires to turn a Queens landfill into a forest of trees to address the area’s public health problems. Artforum profiled the conceptual artist in preparation for the retrospective.  

Agnes Denes, The Living Pyramid, 2015; Grasses, flowers, vegetables, earth, wood; Installation view, Kassel, 2017; From Documenta 14; Photo by: Mathias Voelzke

Caitlin McCormack’s Granny opens October 5 at Hashimoto Contemporary in San Francisco. The exhibition explores “the intersection between crochet, gender, and age, viewed through the prism of remembrance.” Juxtapoz interviewed the artist about her distancing from the term “crochet artist.”

The Modern Art Museum of Fort Worth will open Robyn O’Neil: WE, THE MASSES on October 18. The survey spans the past 20 years of O’Neil’s career and includes multi-paneled drawings, graphite on paper, collages, and the animated film WE, THE MASSES (2011).

—Hannah Southern is the fall 2019 publications and communications/marketing intern at the National Museum of Women in the Arts.

Art Fix Friday: September 27, 2019

A joint investigation by artnet News and In Other Words found artwork by women artists constitutes only 11 percent of acquisitions and 14 percent of exhibitions at 26 major American museums. While museums outwardly project a narrative of inclusion and diversity, these numbers reflect a troubling status quo and a declining acquisition rate of work by women artists to permanent collections.

The classic Guerrilla Girls poster work which features a reclined nude woman reminiscent of art historical depictions, wearing a Guerrilla Mask with the text "Do Women Have to be Naked to Get into the Met. Museum?"

Guerrilla Girls, Do Women Have to be Naked to Get into the Met. Museum?, ca. 1989; Courtesy of Cooper Hewitt

The growing series of articles explore mechanisms of institutional misogyny and strategies to increase representation. In a response published by artnet, artist Adrian Piper challenged the media outlet to examine its own role, and that of journalists elsewhere, in perpetuating this dynamic.

Front-Page Femmes

Judy Chicago will not slow down: adding environmental activism to her feminist oeuvre, and pursuing what the Washington Post termed “a courageous countercurrent to the mainstream art world,” Chicago has opened three exhibitions since her 80th birthday in July—including The End: A Meditation on Death & Extinction at NMWA.

Kara Walker speaks with the Guardian about her upcoming Turbine Hall commission at Tate Modern.

MoMA PS1 has announced it will host the first major U.S. survey of French feminist artist Niki de Saint Phalle this spring.

Marina Abramović speaks with the New York Times about her first exhibition in her home of Belgrade, Serbia, in almost 50 years.

Hugette Caland, the Lebanese feminist artist known for abstract interpretations of liberated women, has died at age 88.

Ms. Magazine reviews NMWA’s current photography exhibition Live Dangerously, which explores the relationship between women and nature.

A dreamy underwater photo in which a blonde women wrapped in white sinks/floats surrounded by the immersive blue of the ocean.

Janaina Tschäpe, Naiad 2, 2004; Cibachrome print; On loan from Gaspar Muniz; On view at NMWA in Live Dangerously

Hyperallergic reviews Caroline Hancock’s new book about postwar curator Joanna Drew in the male-dominated art world of Great Britain.

The Met Breuer’s new exhibition Home is a Foreign Place features artwork from Latin America, Asia, and North Africa alongside postwar American Art, considering modern art in a global context of decolonization and displacement.

The Dallas Morning News visits Lucia Hierro’s solo show Objectos Específicos, which explores themes of minimalism, identity politics, and consumer culture.

Vahit Tuna memorializes the 440 Turkish women murdered in 2018 in domestic or sexual violence.

Shows We Want to See

A work from Betye Saar's sketchbook that features the four stages of the moon at the top, each with a face, followed by, in the center of the page, a large face in the middle of a seven-point star atop a blue and black imperfect circle and reddish background.

Betye Saar, Sketchbook, 1970–72; Courtesy of the artist and Roberts Projects, Los Angeles, © Betye Saar; Photo © Museum Associates/LACMA

Amy Sherald. the heart of the matter… is open at Hauser & Wirth in New York City. The New Yorker reviews the eight new portraits that all bear Sherald’s signature pops of color juxtaposed with the intense gaze of her subjects. Sherald tackles issues of representation for the Black diaspora in art.

Betye Saar: Call and Response opened this week at the Los Angeles County Museum of Art. Hyperallergic and the Washington Post praised the juxtaposition of Saar’s never-before-seen sketchbooks with her completed artworks.

Grace Hartigan and Helene Herzbrun: Reframing Abstract Expressionism is on view in Washington, D.C., at the American University Museum at Katzen Arts Center. Curated by Norma Broude, the exhibition explores Hartigan and Herzbrun’s deviations from the New York Abstract Expressionist School. Hyperallergic profiles the artists and examines the addition of personal sentiment to the genre.

—Hannah Southern is the fall 2019 publications and communications/marketing intern at the National Museum of Women in the Arts.