Art Fix Friday: December 7, 2018

Artsy looks at the history of fierce pussy’s bold poster campaigns in New York City.

fierce pussy façade installation, Leslie-Lohman Museum. Photo © Kristine Eudey, 2018.

fierce pussy facade installation, Leslie-Lohman Museum. Photo © Kristine Eudey, 2018.

The queer women artist collective launched a provocative project in 1991, peppering the city with posters reclaiming the offensive language often used towards the LGBTQ+ community. Recently, the group has revamped that initiative, showcasing an updated version of their early works in the windows of the Leslie-Lohman Museum of Gay and Lesbian Art in SoHo.

Front-Page Femmes

16 of the 21 awardees of the Andy Warhol Foundation’s 2018 Arts Writers Grant are women.

artnet News ventures into the studio of Cj Hendry, whose photorealistic drawings have earned her an impressive Instagram following.

Frieze interviews curator Julia Peyton-Jones for their Women in the Arts series.

“Please buy me these artworks.” Andrew Russeth, executive editor of ARTnews highlights 20 impressive women artists in his annual roundup of Art Basel Miami’s best offerings.

The Art Gallery of Ontario acquires one of Yayoi Kusama’s “Infinity Rooms” for their permanent collection.

Filmmaker Charlotte Prodger wins the prestigious 2018 Turner Prize.

Judy Chicago EU-69 Mother India (1985). Image courtesy of the artist and Salon 94, New York.

Judy Chicago, EU-69 Mother India (1985). Image courtesy of the artist and Salon 94, New York.

“It’s Judy time.” Artnet and the New York Times feature iconic feminist artist Judy Chicago, who has upcoming shows at the Institute of Contemporary Art in Miami and here at NMWA in 2019.

Artsy profiles Lina Iris Viktor, who hopes her paintings can “counter the negative associations of blackness.”

Meet the film industry’s pioneering female directors in this new home video box set from Kino Classics.

“Radio Juxtapoz” podcast debuts with an interview with textile artist Lucy Sparrow.

The Dia Art Foundation acquires 155 sculptures by Minimalist artist Charlotte Posenenske.

In Chicago? Check out the events for Where the Future Came From, a collective research project on the history of Chicago’s feminist and women-run art activities.

Iranian artist Shirin Neshat discusses her experience creating political art—and when it can cross a line.

Shows We Want to See

A preeminent figure in art activism, sculptor and teacher Augusta Savage is regarded as one of the most significant artists of the Harlem Renaissance. Her work influenced countless African American artists and successfully “elevat[ed] images of black culture into mainstream America.” Augusta Savage: Renaissance Woman is on view at the Cummer Museum in Jacksonville, Florida.

Akunnittinni: A Kinngait Family Portrait, currently at Pasadena’s Armory Center for the Arts, showcases the work of three generations of women from a single Inuit family. The exhibition “weaves together more than a century of personal, political, and cultural life in the Arctic,” presenting the experiences of these women in an “indigenous feminist context.”

Family Sleeping in a Tent, 2003-04, by Annie Pootoogook. (Eduardo J. Guarino Collection)

Family Sleeping in a Tent, 2003-04, by Annie Pootoogook. (Eduardo J. Guarino Collection)

Robilant + Voena gallery in London presents The Gentileschi Effect, a show highlighting Renaissance master Artemisia Gentileschi’s “influence over the centuries.” The exhibition includes several exquisite examples of Gentileschi’s work alongside those of her followers, both historical and contemporary.

—Becca Gross is the fall 2018 publications and marketing/communications intern at the National Museum of Women in the Arts.

Art Fix Friday: November 30, 2018

The Getty Research Institute has received a grant to digitize the archives of the historical Woman’s Building in Los Angeles.

The influential feminist art center was founded in 1973 by Judy Chicago, Sheila de Bretteville, and Arlene Raven. It gave women a space to experiment and learn, housing the first independent school for women artists.

Read more and hear from some of the artists involved in the project in this Hyperallergic feature.

Front-Page Femmes

Turner Prize-winning artist Lubaina Himid investigates how the prominent British newspaper The Guardian portrays black people.

Artsy calls attention to 7 Female Impressionists Every Art History Lover Should Know.

Lilian Rice, an important early 20th-century architect, is spotlighted in the New York TimesOverlooked No More series.

Betty Tompkins has (literally) made her mark on art history by painting the apologies of #MeToo offenders onto images of famous artworks.

A proposed Judy Chicago museum in the artist’s hometown of Belen, New Mexico, has been vetoed due to dissent from some of the local religious community.

Daria Martin wins the 2018 Film London Jarman Award.

According to Frieze, although many historical female artists have recently gained recognition through an increase in temporary exhibitions, museums are failing to take steps toward achieving gender parity in their permanent collections.

American Theatre highlights 10 plays by women of color currently running Off-Broadway.

Hyperallergic profiles Tamara Pertamina, a multidisciplinary artist seeking to “reclaim Indonesia’s pre-colonial acceptance of non-binary genders.”

Apollo and Artsy come to differing conclusions in their reviews of Sarah Lucas’s current New Museum retrospective.

The Met is receiving intense criticism for including only one woman in its upcoming exhibition Play It Loud: Instruments of Rock & Roll.

Kelsey Wishik, who was a part of NMWA’s recent exhibition Heavy Metal, created a mural for the city of Hattiesburg, Mississippi.

Shows We Want to See

Now on view at the Museo Textil de Oaxaca in Mexico, Emilia Sandoval’s solo show Buscas Aún, Nos Buscas Lugar (You Are Searching Still, Searching for a Place for Us) explores themes of death and loss. The exhibition is made up of “ghostly echoes” fashioned from the belongings of Sandoval’s late mother, which serve to bring an otherworldly spirit to those objects normally dismissed as commonplace.

The Eternal Thread, Louise Bourgeois’s first major exhibition in China, is on view at the Long Museum in Shanghai. The show weaves together seven decades of the artist’s diverse body of work, highlighting her incredible ability to “investigate the power of materials…to connect the present and the past.”

Sara Cwynar’s first museum show, Image Model Muse, is at the Minneapolis Institute of Art. Cwynar’s work often deals with issues related to capitalism, prompting ARTnews to tout her as an artist who is “attuned to the rush of advertising and persuasion that now flows through screens and feeds.”

—Becca Gross is the fall 2018 publications and marketing/communications intern at the National Museum of Women in the Arts.

Art Fix Friday: November 16, 2018

In light of a new book on her color photography, The New Yorker and Artsy highlight little-known street photographer Vivian Maier.

The artist was prolific in the 1960s and ’70s but never showed her photos, instead working as a nanny for most of her life. “I’m sort of a spy,” Maier once claimed.

Maier’s color photography is also the subject of an exhibition on view at New York’s Howard Greenberg Gallery.

Front-Page Femmes

Video artist and sculptor Sondra Perry receives the 2018 Nam June Paik Award, her second major award this year.

Alison Rossiter, whose photo book Expired Paper is on view in NMWA’s Library and Research Center in Full Bleed, wins the 2018 Shpilman International Prize for Excellence in Photography.

Hyperallergic spotlights Escape to Berlin, the new memoir of conceptual artist and philosopher Adrian Piper.

Jenny Holzer has created a mobile art exhibition “illuminating the words of activists, poets, artists, educators and people living with H.I.V. and AIDS,” which will tour New York City on World AIDS Day, December 1.

A group of 31 female musicians performed Ragnar Kjartansson’s Romantic Songs of the Patriarchy, an arrangement of 26 popular songs demonstrating the “fine threads in our culture that are demeaning to women.”

Artsy profiles painter Lisa Yuskavage.

The Manhattan-based collective Assembly Room is “invested in representing the female curatorial vision,” says Hyperallergic.

Nijla Mu’min’s new film, Jinn, is called “a remarkably honest portrait of black Muslim girlhood.”

Sigrid Nunez, Elizabeth Acevedo, and Isabel Allende were among the women honored at this year’s National Book Awards.

In examining Tate Modern’s Anni Albers retrospective, Frieze concludes that “the artificial divide between fine art and textiles is a gendered issue.”

Natalie White, Carrie Mae Weems, and Shirin Neshat are among several artists creating work for Planned Parenthood’s UNSTOPPABLE campaign.

Shows We Want to See

Disrupting Craft: Renwick Invitational 2018, on view in Washington, D.C., features the work of two women artists whose socially engaged craft responds to the current sociopolitical landscape. Tanya Aguiñiga creates work related to gender and nationality. “Craftivist” Stephanie Syiuco deals with concepts of authenticity, consumerism, and digital culture. In a recent interview with Art21, Syiuco discusses her attempts to process the world using a combination of craft and digital platforms.

Paula Rego, Dancing Ostriches from Disney’s Fantasia (left panel of triptych; 1995); On view at Musée de l’Orangerie; Courtesy Marlborough Fine Art; © Paula Rego

Paula Rego, Dancing Ostriches from Disney’s Fantasia (left panel of triptych; 1995); On view at Musée de l’Orangerie; Courtesy Marlborough Fine Art; © Paula Rego

U.K.-based Portuguese artist Paula Rego is the subject of an exhibition at the Musee de l’Orangerie in Paris. Apollo Magazine describes the show’s “narrative twists that transform the everyday into the fantastic.”

The Jewish Museum presents Martha Rosler: Irrespective, which illuminates more than five decades of work by the artist and activist. As curator Darsie Alexander told Art Daily, Rosler’s art continues to be “a call to action.”

—Becca Gross is the fall 2018 publications and marketing/communications intern at the National Museum of Women in the Arts.

Art Fix Friday: November 9, 2018

The Art Newspaper delves into the art and lives of Dorothea Tanning and Leonor Fini.

Left to right: Dorothea Tanning, Birthday, 1942; On view in Dorothea Tanning: Behind the Door, Another Invisible Door at the Museo Nacional Centro de Arte Reina Sofía (Madrid); Leonor Fini in Arcachon, France, in 1940; Art Newspaper; Courtesy of the Leonor Fini Estate

Left to right: Dorothea Tanning, Birthday, 1942; On view in Dorothea Tanning: Behind the Door, Another Invisible Door at the Museo Nacional Centro de Arte Reina Sofía (Madrid); Leonor Fini in Arcachon, France, in 1940; Art Newspaper; Courtesy of the Leonor Fini Estate

Both artists, who are often considered female Surrealists, were actually quite resistant to such labels. Tanning famously said, “Women artists. There is no such thing… It’s just as much a contradiction in terms as ‘man artist’ or ‘elephant artist.’” Similarly, Fini, was a vocal critic of Surrealism’s misogynistic tendencies.

Two major exhibitions on view in Madrid and New York City explore the complex relationship that these women had with Surrealism, gender, and sexuality. Learn more about the artists and in this week’s The Art Newspaper Podcast and the New York Times.

Front-Page Femmes

Hyperallergic highlights Biennale Bitch, a humorous collection of short stories by veteran arts journalist Nadja Sayej.

The U.K.-based initiative Her Stories is hosting their second annual art auction. The event features donated art from women and non-binary artists to raise money for female refugees.

Artsy expresses concern over the recent upswing in the women’s art market.

Prominent feminist artists used their work to encourage voting at last weekend’s We Vote parade in New York City.

Sotheby’s gives a brief history of the all-female exhibition committee for the 1978 Hayward Annual.

Hyperallergic profiles influential filmmaker Margarethe von Trotta, whose new documentary, Searching for Ingmar Bergman, is now on view as a part of her Quad Cinema retrospective.

NPR’s What’s Good with Stretch & Bobbito interviews curator and art activist Kimberly Drew.

The Boston Ballet has begun its new ChoreograpHER Initiative, which aims to “support and develop female choreographers” in the historically male-dominated field.

Shows We Want to See

In an effort to “combat stereotypes and dominant narratives,” the Brooklyn Museum presents Half the Picture: A Feminist Look at the Collection. The exhibition displays more than 100 of the museum’s artworks through an intersectional feminist lens. Aesthetica Magazine calls the show “a direct response to the crucial social and political issues that have dominated the global conversation in the past year.”

A retrospective of photographs by Martine Franck is on view at the newly opened Fondation Henri Cartier-Bresson (Paris). Franck’s images documented the political and the social, capturing life during her travels in the latter half of the 20th century.

Firelei Báez, magnitude and bond (detail), 2018; On view at the Schomburg Center for Research in Black Culture (Harlem)

Firelei Báez, magnitude and bond (detail), 2018; On view at the Schomburg Center for Research in Black Culture (Harlem)

Firelei Báez: Joy Out of Fire at Harlem’s Schomburg Center for Research in Black Culture vibrantly highlights the accomplishments of “women activists, writers, artists, and politicians of color.”

The Modernist, on view at Lehmann Maupin gallery (NYC), includes Catherine Opie’s first work of film accompanied by a series of photographs chronicling the exploits of a fictional arsonist named Pig Pen. The queer figure fearlessly burns down “structures that reflect such exclusive [white male] privilege.”

—Becca Gross is the fall 2018 publications and marketing/communications intern at the National Museum of Women in the Arts.

Art Fix Friday: November 2, 2018

NMWA Assistant Curator Orin Zahra contributed to an Art and Object feature on Impressionist Marie Bracquemond.

Researcher Sarah Bochicchio points out that while female Impressionists Mary Cassatt and Berthe Morisot have had major solo shows in 2018, Bracquemond continues to remain relatively unknown. The article sheds needed light on this under-recognized member of the “three great ladies of Impressionism.”

Front-Page Femmes

German Chancellor Angela Merkel has urged her country to “improve the standing of women in the arts [by ensuring] balanced award-giving juries and grant bodies.”

Researchers at Indiana University Bloomington are creating a comprehensive online database of female artists active in the U.S. and Europe from the 15th to 19th centuries.

Though only three are women, the four-person curatorial team for the 2020 Berlin Biennale has stated, “we identify as female because we feel the rule of everything by overconfident-macho voices must end.”

Hilma af Klint, Group X, No. 1, Altarpiece (Grupp X, nr 1, Altarbild), 1915; from Altarpieces (Altarbilder); Oil and metal leaf on canvas, 237.5 x 179.5 cm; The Hilma af Klint Foundation, Stockholm; Photo by Albin Dahlström, the Moderna Museet, Stockholm

Hilma af Klint, Group X, No. 1, Altarpiece, 1915; On view at the Guggenheim Museum

Priscilla Frank of The Huffington Post  discusses the sometimes troubling associations drawn between female creativity and the occult. In her investigation, she examines Amazon’s recent remake of the 1977 horror film Suspiria and Hilma af Klint’s current Guggenheim retrospective Paintings for the Future.

German video artist Hito Steyerl wins the 2019 Käthe Kollwitz Prize.

Mickalene Thomas discusses the way photography became the “center of her practice” at a luncheon honoring the accomplishments of women in film and photography.

Nan Goldin and Catherine Opie are among several artists selling signed prints in a five-day sale organized by Magnum Photos. Proceeds from Goldin’s sales will go to her activist group P.A.I.N. (Prescription Addiction Intervention Now).

BAMcinématek in Brooklyn is presenting a film series highlighting the “overlooked work of women in the domestic space.”

Shows We Want to See

Betye Saar, Extreme Times Call for Extreme Heroines, 2017, Mixed media and wood figure on vintage washboard, clock, Courtesy of the artist and Roberts Projects, Los Angeles, California

Betye Saar, Extreme Times Call for Extreme Heroines, 2017; On view at the New-York Historical Society

Betye Saar: Keepin’ It Clean goes on view at the New-York Historical Society today. The 92-year-old black feminist icon hopes the exhibition will convince America to “clean up its act” regarding politics and actions.

The Guardian profiles a new exhibition on view at England’s Nottingham Contemporary. Still I Rise: Feminisms, Gender, Resistance features 40 women and non-binary artists whose work examines the ways in which women combat oppression. In an effort to present a fresh perspective on the topic, the curators of the show have “ditched typical exhibiting systems and hierarchies to allow feminist and intersectional queer thought to direct everything from the ground up.”

Patricia Cronin, Aphrodite, and the Lure of Antiquity reimagines classical mythology through a distinctly feminist lens. Part of the Tampa Museum of Art’s Conversations with the Collection series, the show is based around artist Patricia Cronin’s encounters with museum’s holdings of ancient Aphrodite imagery. The result is an exhibition that “erases the bias of the original myth and replaces it with an icon absolutely appropriate for contemporary women.”

—Becca Gross is the fall 2018 publications and marketing/communications intern at the National Museum of Women in the Arts.

Art Fix Friday: October 26, 2018

The New Yorker profiles photographer Martine Gutierrez, who compiled her latest collection of self-portraits into a 146-page fictional fashion magazine called “Indigenous Woman.”

Gutierrez’s witty publication plays with concepts drawn from art history and pop culture, resulting in “a critique of colonialism that’s ready to party.”

Front-Page Femmes

The queer women artists collective fierce pussy has published a free downloadable poster compelling people to vote in the upcoming election. “TIME SENSITIVE: DISSEMINATE!!!” their website urges.

Hyperallergic discusses Rockhaven: A History of Interiors, an artful anthology of essays themed around the first feminist psychiatric institution in the US.

Artsy presents a short film highlighting the work and influence of artist Carrie Mae Weems.

Julia Louis-Dreyfus became the sixth woman to win the Mark Twain Prize, considered the highest honor in comedy.

The National Gallery in London released a video interview with the writers of It’s True, It’s True, It’s True, a new play inspired by Renaissance artist Artemisia Gentileschi, whose Lucretia was auctioned at a record-breaking $2.1 million sale on Tuesday.

NPR interviews Jill Soloway about their hit show Transparent and their new memoir She Wants It: Desire, Power and Toppling the Patriarchy.

MOCA Los Angeles has reinstalled Barbara Kruger’s famed mural Untitled (Questions), originally commissioned in 1989.

Feeling nostalgic? Photographer Janette Beckman worked with today’s most influential graffiti artists to reimagine her archival images of iconic hip-hop stars.

The podcast In Other Words chats with curators Cecilia Alemani and Ingrid Schaffner about their work in the art world.

Shows We Want to See

Now on view at the New Orleans Museum of Art, Mildred Thompson: Against the Grain is the first solo showing of the artist’s work in more than 30 years.

IMMA in Dublin opens a major retrospective on Mary Swanzy, a historically under-recognized painter whom they hope to “reinstate as a Modern Irish Master.”

Paintings from the Future, a retrospective of the spiritual and abstract work of Hilma af Klint, is on view at the Guggenheim Museum. Ben Davis of Artnet News dubs af Klint “the perfect artist for our technologically disrupted time,” claiming that her colorful canvases will make you “rethink what it means to be modern.”

Four decades of work by photographer Laurie Simmons is on view at the Modern Art Museum of Fort Worth in Texas in Big Camera/Little Camera. Critic Linda Yablonsky says, “This game-changing year feels exactly right for Simmons as a feminist, social commentator, and above all, a colourist.”

—Becca Gross is the fall 2018 publications and marketing/communications intern at the National Museum of Women in the Arts.

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.