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.

Art Fix Friday: February 23, 2018

Although the three most popular movies in 2017 were female-driven, a study from San Diego State University discovered that “women accounted for 24 percent of protagonists in the 100 top-grossing domestic films of 2017, a decrease of five percentage points from the year before.”

However, women had more speaking roles in those movies, up two percentage points from 2016. Representation of women of color also improved slightly.

In other news, a recent survey of 850 women in the film industry found that 94% of respondents experienced sexual harassment or assault.

Front-Page Femmes

Peggy Cooper Cafritz, an arts patron, civil rights activist, educator and saloniste in Washington, D.C. passed away on February 18 at the age of 70.

NPR highlights Feel Free, Zadie Smith’s new essay collection.

Janet Echelman suspends a seemingly-weightless net sculpture made of 600,000 knots and 77 miles of twine for the 400th anniversary of Madrid’s Plaza Mayor.

The Katastwóf Karavan by Kara Walker will be on view this weekend in New Orleans on a site where African slaves were quarantined in the 18th century.

“As women in the art world rise up against abuse from collectors and others, will the culture that’s protected predators shift?” asks the Guardian.

Princeton University Press released an expanded edition of Anni Albers’s On Weaving.

Sofia Campoamor is the first woman ever selected for Yale University’s Whiffenpoofs, the oldest a cappella group in the country.

“Art history taught me I have no place in history,” says stand-up comedian Hannah Gadsby. “Women didn’t have time to think thoughts; they were too busy taking naps naked in the forest.”

Paula Rego discusses her path and approach to life-drawing.

The Harvard Library digitized Virginia Woolf’s photo albums, which are now available to the public.

Takako Yamaguchi’s hyperrealistic portraits of her subjects’ clothing “emphasize the elusiveness of identity.”

Actress Danai Gurira discusses the cultural impact of Marvel’s Black Panther.

Nezhat Amiri, Iran’s first-and-only female conductor, led a 71-member orchestra performing at Tehran’s most prestigious concert hall last month.

Pollock, a play by Fabrice Melquiot, “obscures [Lee] Krasner’s own story.”

Jennifer Crupi’s carefully constructed jewelry displays “non-verbal behavior, posture, and gesture.”

Shows We Want to See

Kenyatta A.C. Hinkle’s paper-and-ink portraits at the San Francisco Arts Commission raise awareness about black girls and women who have gone missing due to human trafficking.

Jayne County: Paranoia Paradise features more than 80 of County’s works, spanning 1982 to 2017. County was “punk rock’s first openly transgender performer. . . . but never quite got credit for her widespread influence.”

Women Look at Women, the inaugural exhibition at Richard Saltoun Gallery in Westminster, England, explores sexuality and the female body through a feminist lens.

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

Art Fix Friday: February 16, 2018

The New York Times, Hyperallergic, and NPR share the unveiling of the official portraits of former President Barack Obama and former first lady Michelle Obama on February 12 at the Smithsonian National Portrait Gallery.

NMWA artist Amy Sherald painted the former first lady’s portrait while Kehinde Wiley painted the former president. The New Yorker writes that Sherald “wondrously troubles assumptions about blackness and representation in portraiture.” The Washington Post discusses Sherald’s life battling a heart condition and her recent recognition. The Lily praises both Sherald and Wiley for creating “compelling likenesses without sacrificing key aspects of their signature styles.”

In a Quartzy article, NMWA Chief Curator Kathryn Wat says, “[Sherald’s] work offers a much livelier take on portraiture. It suggests that people are never of a singular personality and much more complex than we might ever imagine.”

Front-Page Femmes

Vogue highlights Lorna Simpson and her 30-plus-year career and her recent paintings.

“In recent months, three museum directors have stepped down from their jobs at major art institutions across the United States. All three resigned amid social justice crises or after championing programming with a political edge. All three are women,” writes Hyperallergic.

Artist Jennifer Rubell allowed visitors to pie her in the face after signing a detailed consent form, bringing to mind issues of gender, power, and sexual misconduct. The Art Newspaper shares the “fraught experience” of throwing a pie at someone.

Former American Ballet Theatre principal dancer Ruth Ann Koesun passed away on February 1, 2018 at the age of 89.

Broadly interviews artist-friends Precious Okoyomon and Phoebe Collings-James about their experiences as immigrant black women and how their identities inform their respective works.

Embroidery artist Cayce Zavaglia creates intricate portraits using cotton and wool thread.

President and CEO of the New York Philharmonic Deborah Borda is committed to programming music by women for the 2018-19 season.

The Bossy collective campaign to buy the Theatre Royal Haymarket in London “with the aim of making it a venue that showcases female-led work.”

In the Atlantic, memoirist Terese Marie Mailhot shares how Maggie Nelson’s Bluets taught her to “explode the parameters of what a book is supposed to be.”

Shows We Want to See

MoMA features more than 100 works by Tarsila do Amaral, a pioneer of modern art in Brazil.

Figuring History, a group exhibition at the Seattle Art Museum, includes rhinestone encrusted works by Mickalene Thomas. The show features three new paintings by Thomas, inspired by sociopolitical issues of the 1960s and today.

In Detroit, Lucy Cahill’s NOW I WANNA… features “surreal, personal, and feminist” drawings, paintings, posters, and T-shirts.

Johanna Breading’s The Rebel Body at Angels Gate Cultural Center revisits the life of the last European woman to be executed for witchcraft.

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

Art Fix Friday: February 9, 2018

Acclaimed portraitist Amy Sherald received the $25,000 David C. Driskell Prize from the High Museum Art in Atlanta for her contribution to the conversation about work by black artists.

The director of the High Museum says, “Sherald is a remarkable talent who in recent years has gained the recognition she so thoroughly deserves as a unique force in contemporary art.” Sherald’s portrait of Michelle Obama will be unveiled on February 12 at the National Portrait Gallery in Washington, D.C.

Front-Page Femmes

Ariell R. Johnson, founder of Amalgam Comics & Coffeehouse, discusses diversity in comics and the upcoming Black Panther Marvel movie.

The New York Times profiles Judy Chicago.

NMWA’s upcoming exhibition Women House makes the Washington City Paper’s 2018 Spring Arts and Entertainment Guide.

The Los Angeles Times and the Atlantic discuss a recent study by the USC Annenberg Inclusion Initiative. In a gender breakdown of Grammy Award nominees, the study found and found that 90.7% of nominees between 2013 and 2018 were male.

“I think it would have been nicer to have not felt marginalized and invisible,” says Barbara Kruger. “Invisibility hurts. It hurts subcultures. It hurts your everyday, material life—whether you can get health care, a job, whether you are held in some degree of respect.”

The Cut interviews designer Laura Mulleavy on behalf of Rodarte, the fashion line run by sisters Kate and Laura Mulleavy.

The New Yorker spotlights African American composer Florence Price.

Artsy features Shigeko Kubota as a pioneer in video art.

LaToya Ruby Frazier’s series documenting the Flint, Michigan water crisis is currently on view in New York.

Documentary photographer Susan Meiselas chronicles the lives “of ordinary people caught in the turbulent tide of history.”

Artsy shares that POWarts, the Professional Organization for Women in the Arts, launched a new salary survey to bring transparency and data to the industry.

Artsy reviews Baya: Woman of Algiers

Shows We Want to See

Baya: Woman of Algiers is the first U.S. solo exhibition of work by 19th-century Algerian painter and sculptor Baya Mahieddine. The exhibition celebrates the artist’s “multidimensional and brazenly expressive” female subjects.

The Whitney Museum of American Art hosts Too Much Future—an exhibition featuring a new body of work by Christine Sun Kim.

The Colorado Springs Fine Arts Center at Colorado College hosts exhibitions featuring the works of Baseera Khan and Chiho Aoshima.

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

Art Fix Friday: January 26, 2018

Ursula K. Le Guin, award-winning science fiction and fantasy author, died at the age of 88. The New Yorker writes that Le Guin “never stopped insisting on the beauty and subversive power of the imagination. Fantasy and speculation weren’t only about invention; they were about challenging the established order.”

NPR reflects on her career and influence on other writers. The Guardian shares some of Le Guin’s essential novels. The New York Times remembers the author for her “tough-minded feminist sensibility to science fiction and fantasy.”

Margaret Atwood, in an article for the Washington Post, writes, “We can’t call Ursula K. Le Guin back from the land of the unchanging stars, but happily she left us her multifaceted work, her hard-earned wisdom and her fundamental optimism.”

Front-Page Femmes

“Money talks. Whose values?” says Barbara Kruger in an art21 video.

Elizabeth A. Sackler supports artist Nan Goldin’s campaign against another branch of the Sackler family that has profited from the opioid epidemic.

Photographer Lauren Greenfield discusses Generation Wealth, her new documentary capturing the lifestyles of the incredibly wealthy.

Andrea Geyer’s project “Revolt, They Said” represents the accomplishments of over 850 women, each of whom influenced the early and mid-1900s American cultural landscape—but who have since been overlooked.

“You have to learn to do what the picture tells you,” says 90-year-old Australian artist Helen Maudsley.

Conceptual artist Jill Magid wins the seventh edition of the Calder Prize.

Wallpaper interviews South African dancer Londiwe Khoza.

Hyperallergic shares creative signs from the Women’s March last weekend.

The New Yorker explores Alison Saar’s statue of Harriet Tubman, recently adorned with a pussy hat during the Women’s March.

Mickalene Thomas, Shinique Smith, and others create art for Los Angeles’s new metro line.

The Lily shares excerpts from the graphic novel Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu.

Faces Places, a documentary collaboration between director Agnès Varda and street photographer JR, earns an Oscar nomination.

Mudbound’s Rachel Morrison is the first woman to be nominated for an Academy Award for cinematography.

Shows We Want to See

In Her Image: Photographs by Rania Matar, on view at the Amon Carter Museum of American Art, trace the development of female identity through portraiture.

ARTnews shares reviews of abstract artist Howardena Pindell’s work from their archives in advance of her exhibition at the Museum of Contemporary Art, Chicago.

Women’s Point of View at the Saudi Embassy in Washington, D.C. features photography, drawings, motion graphics designs, and clothing by 11 women artists from Dar al-Hekma University.

Renée Cox’s exhibition Soul Culture at the Columbia Museum of Art transmits “a message of oneness and unity through the meshing and interconnection of human bodies.”

The New York Botanical Garden will host Georgia O’Keeffe: Visions of Hawai’i.

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