Art Fix Friday: July 19, 2019

The 2019 Honolulu Biennial achieved a level of diversity that is rare among international art events. Almost half of the 47 featured artists were women and a majority were of indigenous descent.

A Hawaiian woman wearing indigenous dress, necklaces, and a flower crown stands with one hand on her hip and another held out holding a polished wooden stick in a wheat grass field; behind her the sky is golden and also a moody grey filled with storm clouds.

Photo by Pake Salmon, part of the 2019 Honolulu Biennial

Curator Nina Tonga kept diversity at the forefront of her planning and sought to create a new biennial model. Harper’s Bazaar describes the result as “an inclusive, engaging event that spread over more than ten sites throughout Honolulu, including public spaces, and which had more than 90 free programs.”

Front-Page Femmes

Baton Rouge activist and curator Sadie Roberts-Joseph was found dead on July 12; she founded the city’s nonprofit Odell S. Williams Now & Then Museum of African American History in 2001.

Solange Knowles has partnered with art institutions worldwide to host free screenings of her performance art film When I Get Home—a “dreamy film [that] pays homage to the legacy of Black cowboys and Afrofuturism.”

The Atlantic profiles writer-director Lulu Wang and her new film The Farewell, highlighting her struggles to find support for the project, and how she stayed true to her story, culture, and self.

An abstract, surrealist painting by Ithell Colquhoun

A work by Ithell Colquhoun from the Tate’s 5,000-item archive; Photograph by Oli Cowling/© Tate

Tate has announced the acquisition of the vast archive of little-known British surrealist Ithell Colquhoun, whom they hope “will finally get the credit and recognition she deserves.”

Clara Wieck Schumann was regarded as one of the leading keyboard celebrities of the early 19th century—but even on the bicentennial of her birth, she remains overlooked.

artnet*news interviews Ecuador-born graffiti artist Lady Pink who successfully made a space for herself in the male-dominated scene; her work is currently on view in Beyond the Streets.

NPR profiles sculptor Augusta Savage, whose work is on view in a retrospective at the New-York Historical Society through July 28.

Hyperallergic looks at how artist Mari Katayama uses self-portraiture to dismantle expected notions of beauty and sexuality.

The New Yorker tells the story of Françoise Gilot, Picasso’s lover and pupil—and a master painter herself.

Serpentine Galleries curator Lucia Pietroiusti emerges as a poignant voice in challenging the art world to acknowledge and tackle climate change.

Shows We Want to See

A self portrait by Linda McCartney: she looks into a mirror staring slightly upward and her camera is in the foreground and blurry.

Linda McCartney, Self Portrait, Sussex, 1992; © Paul McCartney

The Linda McCartney Retrospective is on view at the Kelvingrove Art Gallery in Glasgow, Scotland. This first major retrospective of the late photographer’s work is curated by Paul McCartney and their two daughters, Mary and Stella. It features dozens of photographs and archival material shown to the public for the first time. McCartney was a successful photographer and worked regularly for Rolling Stone, becoming the first woman to land a photograph on the coveted cover slot.

At the Smithsonian National Museum of African Art, I Am…Contemporary Women Artists of Africa explores the contributions of women to numerous issues including the environment, identity, politics, race, and more. The show is part of the museum’s Women’s Initiative Fund, an effort to increase its representation of female artists. An assessment seven years ago found that just 11 percent of the attributed works in its collections were by women artists.

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

Art Fix Friday: July 12, 2019

The 2019 Women’s World Cup brought deserved attention to the talents of the world’s best female footballers, and it also shone a light on the many female photographers who cover the game.

Megan Rapinoe, captain and star of the U.S. Women’s National Team, celebrates with her arms up in the air after scoring the opening goal in the World Cup final

Megan Rapinoe, captain and star of the U.S. Women’s National Team, celebrates after scoring the opening goal in the World Cup final; Photograph by Maja Hitij/Getty Images

The Guardian rounds up pictures by six female photographers who captured joy and despair on the field.

Front-Page Femmes

Artist, poet, and filmmaker Himali Singh Soin has won the 2019 Frieze Artist Award and will create a new commissioned work for Frieze London this fall.

PEN America interviews Native American writers Elissa Washuta and Theresa Warburton, editors of the new anthology Shapes of Native Nonfiction: Collected Essays by Contemporary Writers.

Yayoi Kusama will take over the New York Botanical Garden with a massive exhibition opening in spring 2020 billed as “the first-ever exploration of the artist’s profound engagement with nature.”

The New York Times publishes an op-ed on the dominance of the white male critic—and how our conversations about culture have the same blind spots as our political discourse.

Faith Ringgold will design a new set of stained-glass windows for a Yale University common room; her work will replace panels that commemorated the life of John C. Calhoun, an influential champion of slavery and white supremacy.

The Washington Post reports on the new wave of female museum leaders and the impact their posts could have on the longstanding gender pay gap.

An infographic detailing the gender pay gap for male and female chief curators from the 2017 National Museum Salary Survey; the stats are typed in two ornate, gold frames: one reads "Male Chief Curators $71,050 median salary, the other reads "Female Chief Curators $55,550 median salary

The longstanding and systemic gender pay gap among museum leaders is highlighted in the 2017 National Museum Salary Survey; Photo courtesy of the Washington Post

ARTnews has published the transcript of a conversation between Joan E. Biren, Lola Flash, and Tiona Nekkia McClodden, participants in the panel “Picturing Herstory: Queer Artists on Lesbian Visibility.”

The Guardian profiles painter Lucy Jones, whose “cerebral palsy makes painting a huge physical effort, yet her unflinching self-portraits could rival any Hockney.”

Hyperallergic reviews Cristina Camacho’s recent show /ˈvʌlvə/, featuring multilayered, woven canvases that are a “gesture to name what has been expropriated from women…what male-dominated language concealed from the world: vulva.”

The New York Times reports on the new wave of transgender opera singers who are upending preconceptions about voice and gender.

Shows We Want to See

Suzanne Jackson's sculpture "Her Empty Vanity" made from acrylic, mixed papers, canvas, panel, lace, mirror with shells

Suzanne Jackson, Her Empty Vanity, 2017; Acrylic, mixed papers, canvas, panel, lace, mirror with shells; Photo by Dana Melaver, © Suzanne Jackson

At the Tate Modern in London, Nan Goldin’s The Ballad of Sexual Dependency is a visual diary portraying the life of the artist and her friends through the 1970s and 1980s. Goldin described her work as capturing “the struggle in relationships between intimacy and autonomy… and what makes coupling so difficult.”

The Mennello Museum of American Art in Orlando presents Immersion into Compounded Time and the Paintings of Firelei Báez, which explores the visibility and construction of complex cultural identities within the Afro-Caribbean Diaspora.

Suzanne Jackson: Five Decades, the first full-career survey of the artist, is on view at Telfair Museums in Savannah. The show includes 42 signature works made between 1959 and 2018, as well as ephemera spotlighting her connections to dance, theater and costume design, poetry, and social activism.

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

Art Fix Friday: July 5, 2019

In an op-ed for The Art Newspaper, artist Xaviera Simmons responds to art critics who thought the 2019 Whitney Biennial was “not radical enough.”

Xaviera Simmons

As the critiques were written by white critics, Simmons calls for a “white radicality in contemporary art,” where the burden of response over this country’s systemic maladies is not solely placed on people of color. “If radical change is truly desired in such a place, then those who have the bounty of privilege should shoulder the greater risk.”

Front-Page Femmes

Douriean Fletcher, the jewelry designer for Black Panther, recently featured in NMWA’s Fresh Talk series; she spoke to The Art Newspaper and NPR about her work and the power of adornment.

Curbed reports on the efforts to save Nina Simone’s childhood home led by a group of artists including filmmaker Ellen Gallagher and painter Julie Mehretu.

At the Phillips’s summer sale in London, paintings by Lynette Yiadom-Boakye and Marlene Dumas brought in double their estimates.

A black model walks the Dior runway in a wearable golden doll house; the background in lush greenery.

Feminist artist Penny Slinger was tapped to help create a wearable golden doll house dress for Dior’s autumn/winter 2019 couture collection

Vogue UK interviews Penny Slinger, the feminist artist who helped create a golden doll house dress for Dior’s autumn/winter 2019 couture collection.

Artsy profiles six women artists who are furthering Cindy Sherman’s vision.

The New Yorker looks at “the imperfect, unfinished work of women’s suffrage” a century later and why it’s important to remember why suffragists fought so hard—and who was fighting against them.

Meet the art stars of Entre Nous, a dinner series for women of color in the art world.

Luchita Hurtado, named one of TIME’s “100 Most Influential People” this year at age 98, speaks to Art21 about motherhood, creativity, and finding balance.

ArtNews looks at how Harmony Hammond’s art and activism has championed Queer women over the past 50 years.

Forbes profiles 29-year-old Amar Singh, the male art entrepreneur who is championing women artists with his London-based Amar Gallery.

Laura Raicovich interviews Maia Chao and Josephine Devanbu, the founders of Look at Art. Get Paid., about their innovative program and vision for the future of museums.

Vogue UK publishes an essay by Florence Welch, of the band Florence and the Machine, on her internal battles and path to happiness: “To self-crucify in the name of art always means that the art stops, and another voice is lost.”

The Asian Journal interviews Malaka Gharib, author of the graphic memoir I Was Their American Dream, on identity, the intimacy of sharing art, and why first generation Americans need their own dreams.

Shows We Want to See

At the Whitney Museum of American Art, Julie Mehretu presents a mid-career survey of the artist’s examination of painting, history, geopolitics, and displacement.

Julie Mehretu's Retopistics: A Renegade Evacuation painting, which features a variety of precise abstract shaped atop a cream background.

Julie Mehretu, Retopistics: A Renegade Evacuation, 2001; Ink and acrylic on canvas, 102 × 216 in.; Crystal Bridges Museum of American Art, Bentonville, AR; Photograph by Edward C Robinson III

At the Smithsonian’s National Portrait Gallery, One Life: Marian Anderson explores the life of the famed singer, her achievements, and how she became a symbol of the civil rights movement.

Menesunda Reloaded, the recreation of Argentine artist Marta Minujín’s seminal installation La Menesunda, is now open at the New Museum. The show is described as “a distinguished precursor to today’s rage for immersive experiences.”

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

Art Fix Friday: June 28, 2019

Vice has published never-before-seen photos of New York City’s 1977 Pride March by photographer Meryl Meisler.

Three women at the 1977 New York City Pride Parade stand smiling in a black and white photo; the woman in the middle wears a white tank top with the word "Fem" across the front, the two women on either side of her wear identical black t-shirts that say "Butch"; Photo by Meryl Meisler

Three women at the 1977 New York City Pride Parade; Photo by Meryl Meisler

Shortly after coming out, Meisler attended and shot the march, developed the film, and didn’t look at the images again for 42 years. The black-and-white photos depict the joy, creativity, and inclusivity of the event. Other works by Meisler are included in the New-York Historical Society’s current exhibition Letting Loose and Fighting Back: LGBTQ Nightlife Before and After Stonewall.

Front-Page Femmes

Buzzfeed rounds up 12 books by—and about—lesbian and bisexual women to read this Pride Month.

artnet profiles Helen Cammock, a social worker turned Turner Prize nominee who believes all art is political.

The San Francisco Museum of Modern Art recently deaccessioned a Mark Rothko painting for $50.1 million in an effort to diversify its collection; this week the museum announced the acquisition of works by 10 artists including Alma Thomas, Kay Sage, Leonora Carrington, Mickalene Thomas, and Rebecca Belmore.

Creative Time has named Natasha Logan its next deputy director; Logan succeeds Jean Cooney and most recently worked as director of programming at the organization.

A six-story mural by Amy Sherald has been completed in Philadelphia’s Center City; it depicts a local resident, 19-year-old Najee Spencer-Young.

Amy Sherald’s new mural in Philadelphia, depicting local Najee Spencer-Young wearing a white coat with black flowers, a yellow hat, on a bright blue background; the figure is painted in Sherald's signature grey-scale skin tone.

Amy Sherald’s new mural in Philadelphia, depicting local Najee Spencer-Young; Photo by Steve Weinik

Dazed interviews three Iranian women artists who are addressing their country’s complicated history of women’s rights in their work.

Vogue declares that the most exciting new menswear designers are…young women. This new generation of talent is “changing the sensibility of men’s fashion.”

Vox goes inside Felicity House, a New York social club for women with autism, which includes an art studio.

Animation filmmaker Suzan Pitt, who addressed women’s sexuality, depression, mortality, and miracles, has died at age 75.

ArtNews reviews Susan Te Kahurangi King’s drawings, currently on view in a major survey at Chicago’s Center for Intuitive and Outsider Art.

artnet profiles Jamian Juliano-Villani, “the jokester painter who appropriates, provokes, and doesn’t apologize.”

A recent exhibition in Paris featured photography by six female refugee artists from Afghanistan and Iran to highlight the subjugation of women.

Shows We Want to See

A surrealist painting by Dora Marr featuring a strange, bird-human hybrid wearing a purple nightgown and purple socks seated on a white bench in a long hallway that extends and warps to the left.

Dora Maar, 29 Rue D’astorg, 1936; © Centre Pompidou

Life: Six Women Photographers opens today at the New-York Historical Society and features more than 70 images by the women who worked at Life magazine between the 1930s and 1970s—a time when female photojournalists were a rarity.

A major survey of Surrealist artist Dora Maar’s work is on view at Paris’s Centre Pompidou and will travel to the Tate Modern in London and the Getty Center in Los Angeles later this year and in 2020. The show presents more than 500 works and documents,  liberating her from her lover Picasso’s shadow.

Liz Johnson Artur’s first solo show, Dusha, is on view through August 18 at the Brooklyn Museum. The exhibition showcases the Russian Ghanaian artist’s “Black Balloon Archive,” which is a “vibrant chronicle” of the global African diaspora.

At Hauser & Wirth in New York, Lorna Simpson. Darkening presents a suite of new large-scale glacial paintings that explore identity, gender, race, and history.

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

Art Fix Friday: June 21, 2019

Poet, writer, and musician Joy Harjo has been named the new U.S. poet laureate—she is the first Native American to serve in the position.

A headshot of Joy Harjo for the Library of Congress; the writer wears her black hair parted in the middle with some wispy bangs, a slight smile with red lipstick, and long intricately beaded earrings.

Joy Harjo; Photo by Shawn Miller for the Library of Congress

Harjo is the author of eight books of poetry, a memoir, and a number of children’s books. She will represent both her Indigenous culture and all those of the U.S. when she succeeds Tracy K. Smith this fall. About the appointment, Harjo said, “I bear the honor on behalf of the people and my ancestors…It’s such an honoring for Native people in this country.”

Front-Page Femmes

Elizabeth Acevedo is the first writer of color to win the Carnegie medal, the U.K.’s most prestigious children’s book award, in its 83-year history.

The New York Times profiles the re-emergence of female surrealists, reviewing two current shows featuring work by Leonora Carrington and Remedios Varo.

Painter Joyce Pensato, whose work addressed the sinister side of cartoon iconography, has died at age 78.

A new survey revealed that only a quarter of solo museum shows in Switzerland have been dedicated to women over the past decade.

A woman stands in the middle of Yayoi Kusamas LOVE IS CALLING Infinity Room, which is full of neon pink, green, and yellow sculptures with black polka dots that rise from the floor like tentacles, but are also reflected on all of the mirrored surfaces to create a fully immersive environment.

Exhibition employees admire Kusama’s installation LOVE IS CALLING, which will be on view at ICA Boston in September 2019; Photo by Hendrik Schmidt/picture alliance via Getty Images

Yayoi Kusama will debut a new Infinity Mirror Room at David Zwirner Gallery in New York this fall; the ICA Boston will also open its recently acquired Infinity Room—the largest owned by a museum in North America—around the same time.

According to new research, more women are directing independent films than ever—and when there’s a female director, there are more women writers, editors, and cinematographers hired.

Marin Alsop, head of the Baltimore Symphony Orchestra and the first women to lead a major American orchestra, has started a fellowship for women conductors.

The Art Newspaper looks at the life of U.K. sculptor Mary Spencer Watson (1913–2006), whose 16th-century farmhouse is now open year-round and includes reproductions and a permanent exhibition.

Vanity Fair features an exclusive first look at Greta Gerwig and Saoirse Ronan’s remake of the classic Little Women, which will hit theaters in December 2019.

Shows We Want to See

MOOD: Studio Museum Artists in Residence 2018–19 is on view MoMA PS1. It features the work of Allison Janae Hamilton, Tschabalala Self, and Sable Elyse Smith and resituates the often-trending social media hashtag #mood that describes moments both profound and banal.

Five textile sculptures by Mrinalini Mukherjee hang from the ceiling in a row. They are different shades of muted purple, orange, and yellow and are larger than a person. Each sculpture resembles a creature in the way the fabric has been constructed to look like it is around a body, but also is unfolding in ways that resemble otherworldly costumes or deities.

Left to right: Mrinalini Mukherjee’s Basanti (She of Spring), 1984; Yakshi (Female Forest Deity), 1984; Pakshi (Bird), 1985; Rudra (Deity of Terror), 1982; and Devi (Goddess), 1982; Photo by Ben Davis

Mrinalini Mukherjee’s Phenomenal Nature is on view at the Met Breuer in New York City. It is the first comprehensive presentation of the artist’s work in the U.S. and explores her work with fiber, along with her forays into ceramic and bronze. Throughout her career, Mukherjee “[did] the labor of staking out new terrain, navigating the psychic dilemmas of art-making in post-colonial India.”

On June 27, Cindy Sherman opens at the National Portrait Gallery in London. This is the first major U.K. retrospective of the artist’s work and includes 150 works from the mid-1970s to the present day. It will explore the artist’s manipulation of her own appearance and the tension between façade and identity—including the influence of Alfred Hitchcock’s Rear Window.

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

Art Fix Friday: June 14, 2019

Judy Chicago's painting on porcelain "Acceptance," in it a naked figure holds her outstretched arms up to the sky with a yellow glow around them, and her face, which also looks up and euphoric.

Judy Chicago, Stages of Dying 6/6: Acceptance, from The End: A Meditation on Death and Extinction, 2015; China paint on porcelain, 16 x 12 in.; Courtesy of the artist; Salon 94, New York; and Jessica Silverman Gallery, San Francisco; © Judy Chicago/Artists Rights Society (ARS), New York; Photo © Donald Woodman/ARS, NY

artnet interviews Judy Chicago in advance of her 80th birthday and the release of her new body of work on mortality and extinction, which will debut at NMWA this fall.

The End: A Meditation on Death and Extinction opens on September 19 and will feature nearly 40 visually striking works in painted porcelain and glass, as well as two large bronze sculptures. Confronting the tough subject matter was “unbearable,” the artist said.

Front-Page Femmes

The New Yorker looks at Peggy Parish’s Amelia Bedelia children’s book series, calling the character “a figure of rebellion: against the work that women do in the home…that lower-class women do for upper-class women.”

The National Sound Library of Mexico has released what is believed to be the only known surviving audio recording of Frida Kahlo

Mickalene Thomas will open a major installation, Better Nights, at Miami’s Bass Museum in December 2019.

A new report looks at the representation of women artists in the U.K. visual arts sector and shows that while representation in public institutions has increased, commercial galleries still lag behind.

The Atlantic reflects on the “grueling fight for suffrage” in a series about women and political power.

To market season three of the The Handmaid’s Tale, Hulu staged a one-day public art show featuring 140 mirrored statues of female figures in New York City.

Artist Farah Al Qasimi sits in her studio in Williamsburg, Brooklyn, surrounded by her photographs from her home country, the United Arab Emirates. The photos are vibrant and colorful.

Farah Al Qasimi in her studio in Williamsburg, Brooklyn, surrounded by her photographs; Credit: Gabriela Herman for the New York Times

The New York Times profiles Farah Al Qasimi, whose colorful works examine gender roles and the place of women in her home country, the United Arab Emirates.

At the 2019 Tony Awards, Hadestown made history as the first production written and directed by women to win best musical.

Art Basel has removed part of Andrea Bowers’s Open Secret installation, which looks at recent sexual harassment claims at the fair, after a survivor says she did not give permission for her images to be included in the piece.

The Atlantic reviews Lee Krasner’s Barbican Centre exhibition, calling it a “spectacular retrospective that exposes the fullness of her career for the first time.”

Shows We Want to See

Paula Rego: Obedience and Defiance—“a monumental show of sex, anger, and pain”—opens on June 15 at London’s MK Gallery. It is the first major retrospective of the artist’s work in over 20 years and spans her entire career. The exhibition includes previously unseen works on loan from the artist’s family and close friends, which reflect Rego’s perspective as a woman immersed in urgent social issues, specifically women’s rights and abortion. Rego has released a limited-edition print in association with MK Gallery, Untitled Abortion (2000), which she hopes will draw attention to the dangers of making abortion illegal.

A triptych of paintings by Paula Rego which depict three women who are in the process of having an abortion--one sits curled on a bed with a bucket nearby, another sits with her legs up and spread, and a third sits over a bucket and towel.

Paula Rego, Abortion Protest…Triptych, 1997–98, which helped change public opinion in Portugal; Photograph: Paula Rego, courtesy Marlborough International Fine Art

Nancy Spero: Paper Mirror is on view at MoMA PS1 through June 23. The show traces the full arc of the artist’s “radical body of work that confronted oppression and inequality while challenging the aesthetic orthodoxies of contemporary art.” It is the first major museum exhibition of her work in the U.S. since the artist’s death in 2009.

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

Art Fix Friday: June 7, 2019

At the Serpentine Galleries in London, artist and activist Faith Ringgold has just opened her first solo show at a European institution.

Faith Ringgold's painting American People Series #20: Die was made in 1967, the year of widespread race riots across the U.S. It is Ringgold’s response to Picasso’s Guernica and features a 15 figures--both black and white people--with arms and legs akimbo and shocked looks on their faces, some covered in blood, some holding knifes and guns, some running, and some protecting one another.

Ringgold’s painting American People Series #20: Die was made in 1967, the year of widespread race riots across the U.S. It is Ringgold’s response to Picasso’s Guernica. “I just wanted the riots, the hate, the violence to end,” she said. Courtesy of Museum of Modern Art, New York © 2018 Faith Ringgold/Artists Rights Society (ARS), New York

Featuring works from the past 50 years, the survey includes paintings, story quilts and political posters made during the Black Power movement, including one advocating to free activist Angela Davis. In an interview with The Art Newspaper, Ringgold said, “My paintings are about the American story, and it needs to be told.”

Front-Page Femmes

Hyperallergic looks at a recent study that shows that artists in 18 major U.S. museums are 85% white and 87% male; artist Mona Chalabi illustrates the data in her Who Are You Here to See? series.

Verna Hart, whose paintings were moving visual tributes to jazz music, has died at age 58.

Camille Billops, whose pioneering documentary films fearlessly and powerfully addressed difficult histories, has died at age 85.

Dazed highlights eight female artists who should be as celebrated as their artist partners—including Lee Krasner, Jo Hopper, Ana Mendieta, and Lola Álvarez Bravo, among others.

For the 50th anniversary of the Stonewall uprising in Manhattan, photographer Collier Schorr will present a new commission in partnership with the Stonewall Forever project.

Leah Chase, the “Queen of Creole Cuisine” and collector of African American art, has died at age 96. She showed works by Elizabeth Catlett and Jacob Lawrence at her legendary New Orleans restaurant Dooky Chase and served on the board of the New Orleans Museum of Art.

A portrait of Leah Chase from Brian Lanker's 1988 photo series I Dream a World, in which she stands smiling in her chef coat and apron in the middle of a French Quarter street with her hands posed on her hips. The shot is taken from close to ground level.

Leah Chase, in an image from Brian Lanker’s 1988 photo series I Dream a World, in the collection of the New Orleans Museum of Art; © Brian Lanker Archive

artnet published an excerpt of an interview with Jenny Holzer about language, part of Hauser & Wirth’s new publication for Art Basel 2019, Conversations With Contemporary Artists.

The world’s first permanent public artwork dedicated to transgender women will be dedicated to two pioneers of the gay liberation movement—Marsha P. Johnson and Sylvia Rivera.

Hyperallergic interviews Shu Lea Cheang about her solo exhibition at the Venice Biennale, which questions the legal and visual regimes that shape gender and sexual norms; she is the first woman artist to represent Taiwan at the Biennale.

The Art Newspaper interviews Dominique Levy, co-founder of the Lévy Gorvy gallery, about her path to success and the art world’s current focus on women artists.

Show We Want to See

At the Newark Museum in New Jersey, Wendy Red Star: A Scratch on the Earth is the museum’s first solo exhibition featuring a Native American artist. The “impressively tight and consistent show” of just 40 works highlights the Crow Nation artist’s “timeless lesson that matters of government policy are also matters of people’s lives.” The exhibition closes on June 16.

Wendy Red Star’s Um-basax-bilua, ‘Where They Make the Noise’ 1904–2016 is a timeline of historical images of Native Americans and the artist’s personal photographs, arranged in a 130-foot-long installation and annotated by the artist in pencil.

Wendy Red Star’s Um-basax-bilua, ‘Where They Make the Noise’ 1904–2016 is a timeline of historical images and the artist’s personal photographs, arranged in a 130-foot-long installation and annotated by the artist in pencil; Photo courtesy of The Newark Museum

At the Hammer Museum in Los Angeles, Sarah Lucas: Au Naturel will open on June 9. Alongside new sculptural works created for the exhibition, Au Naturel features some of Lucas’s most important projects, including early sculptures from the 1990s that substitute domestic furniture for human body parts and enlarged tabloid spreads from the same period that reflect objectified representations of the female body.

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

Art Fix Friday: May 31, 2019

At the Barbican Art Gallery in London, Lee Krasner: Living Colour has opened. The Guardian calls it a “thrilling major retrospective” that includes nearly 100 works—early self-portraits, Krasner’s “Little Image” paintings from the 1940s, collages created from torn-up earlier works, and her most impressive large-scale abstract paintings.

Left: Lee Krasner ca. 1938; Photographer unknown; Right: Lee Krasner, Prophecy, 1956; Photo courtesy of The Jewish Museum

Krasner shines in this exhibition, outside of the shadow of her husband Jackson Pollock and the battles she faced throughout her career. “It was…tough to be a woman artist amid the first generation of abstract expressionists…but Krasner kept going, still finding her way.”

Front-Page Femmes

Shirin Neshat will debut a new film on cultural identity at the Broad Museum in October; it will complement her survey at the museum, Shirin Neshat: I Will Greet the Sun Again.

Claire Bessède has been appointed director of Paris’s Eugène Delacroix National Museum.

The Brooklyn Museum has acquired Constance P. Beaty’s portrait of Supreme Court Justice Ruth Bader Ginsburg.

Hyperallergic profiles the FEMMEBIT Festival in Los Angeles, which features innovative tech art from at least 75 women artists, as well as talks, screenings, and performances.

Lincoln Center Theater and the Metropolitan Opera will develop a new chamber opera based on Lynn Nottage’s popular play Intimate Apparel, opening February 2020.

Portrait of Mary Sully; © Collection of Philip J. Deloria

The Art Newspaper reviews Hearts of Our People: Native Women Artists at the Minneapolis Museum of Art, which includes three triptychs from Dakota Sioux artist Mary Sully on display for the first time—possibly ever.

The Getty Research Institute has named Naoko Takahatake as its new curator of prints and drawings.

Frieze profiles Eleanor Antin, whose monographic exhibition at LACMA confronts aging and grief in a re-enactment of her groundbreaking 1972 project CARVING: A Traditional Sculpture.

Architect Liz Diller and architectural photographer Hélène Binet have been awarded the 2019 Jane Drew and Ada Louise Huxtable Prizes, respectively.

Colossal profiles painter Laura Berger, who has grown her presence as a fine artist and fostered creative partnerships for products like greeting cards, calendars, and wallpaper.

Shows We Want to See

Suzanne Lacy: We Are Here is the first major retrospective of the artist’s 50-year career and is on view at two San Francisco-based arts institutions simultaneously: the San Francisco Museum of Modern Art (SFMOMA) and the Yerba Buena Center for the Arts. The SFMOMA presentation tells a broad and rich history of her feminist art, while the YBCA showcases her community organizing projects. Lacy has “worked tirelessly to address social issues such as feminism, violence against women, racism and labor rights for nearly five decades.”

Judy Chicago, Birth Trinity, 1985; © Judy Chicago/Artists Rights Society, NY

Judy Chicago: The Birth Project from New Mexico Collections opens at the Harwood Museum of Art on June 2. The exhibition includes large-scale needle works, drawings, and prints that all celebrate the birth process, from the painful to the mythical. “This is a moment when the world is belatedly recognizing Chicago’s art and when the debate on women’s control over their own bodies is current, again,” said art writer and activist Lucy Lippard.

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

Art Fix Friday: May 24, 2019

Artsy reports that at last week’s Christie’s, Sotheby’s, and Phillips day sales, “a total of 58 works by living female artists outperformed their high estimates—setting auction records for 13 of the artists, four of whom had never had works sell at auction before.”

Pre-show estimates placed French artist Julie Curtis’s Princess (2006) in the $6,000–$8,000 range, but it sold for a whopping $85,000; Amy Sherald’s Innocent You, Innocent Me (2016) sold for $280,000—more than double its $120,000 estimate

Pre-show estimates placed French artist Julie Curtis’s Princess (2006) in the $6,000–$8,000 range, but it sold for a whopping $85,000; Amy Sherald’s Innocent You, Innocent Me (2016) sold for $280,000—more than double its $120,000 estimate

Rather than attribute the positive performances to a trend, Rebekah Bowling of Phillips points out that these women are great contemporary artists who are pushing the boundaries of their mediums, and who have plenty of support from institutions and collectors.

Front-Page Femmes

Contemporary Indian artist Nalini Malani has won the 2019 Joan Miró Prize, which comes with $77,000 and a solo exhibition that will open at the Fundació Joan Miró in Barcelona in 2020.

French-Senegalese filmmaker Mati Diop is making history as the first black women to compete at the Cannes Film Festival with her feature Atlantics.

Beibei Fan joins Sotheby’s as the new managing director of China.

Landscape architect Kathryn Gustafson has been selected to create a new park surrounding the Eiffel Tower ahead of the 2024 Olympic Games in Paris.

Aïda Muluneh, The Departure; Photo courtesy of The Atlantic

Aïda Muluneh, The Departure; Photo courtesy of The Atlantic

The Atlantic profiles Ethiopian photographer Aïda Muluneh, her vibrant images that resist the visual clichés of Africa, and her new photo festival that “aspires to shape a new vision of the continent.”

Vogue India celebrates the women who are taking center stage at the Venice Biennale—including 17 women curator-and-artist teams representing their countries in the national pavilions.

The Washington Post looks at how the National Cartoonist Society Festival, one of the biggest events in comic arts, aims to better represent women.

National Book Award winner Elizabeth Acevedo speaks to The Atlantic about her new novel and the diverse writers who are broadening the young-adult fiction genre—which is changing slowly, but surely.

Hyperallergic reviews States of Focus at Poland’s Wrocław Contemporary Museum, calling it “a powerful testimony to contemporary women artists who have endured and continue to endure assaults on their self-determination.”

Shows We Want to See

Huguette Caland, Bribes de corps, 1973; Photo courtesy of Huguette Caland

Huguette Caland, Bribes de corps, 1973; Photo courtesy of Huguette Caland

Lebanese artist Huguette Caland’s first U.K. solo exhibition opens today at Tate St Ives. Caland’s colorful, large-scale paintings and detailed drawings from the 1970s and 1980s “offer a delicate balance between the suggestive and the explicit.” Overlooked for most of her career, the 88-year-old artist has enjoyed recent recognition.

Actress Tilda Swinton has organized her first exhibition at New York City’s Aperture Foundation. Opening today, Orlando features work by 11 photographers that explore the themes of identity and transformation in Virginia Woolf’s 1928 novel of the same name and the 1992 film adaptation that starred Swinton.

At the Phillips Collection in Washington, D.C., Ranjani Shettar: Earth Songs for a Night Sky features hand-carved wood sculptures and a multi-part piece that wraps up the gallery walls. The project was conceived in dialogue with Wassily Kandinsky’s artist’s book Klänge (Sounds) and Paul Klee’s late paintings that are part of the Phillips’s collection.

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

Art Fix Friday: May 17, 2019

Ten years after her death—and after years of copyright limbo—more than 100 of Vivian Maier’s photographs will be available to British collectors for the first time at Photo London, May 16–19.

Vivian Maier’s Chicago (1962) posthumously printed, will go on sale at Photo London; Photo © Estate of Vivian Maier; Courtesy Maloof Collection and Howard Greenberg Gallery

Vivian Maier’s Chicago (1962) posthumously printed, will go on sale at Photo London; Photo © Estate of Vivian Maier; Courtesy Maloof Collection and Howard Greenberg Gallery

Maier’s body of work was discovered at a Chicago auction in 2007 when a local historian bought the contents of a repossessed storage locker and found a treasure trove of Maier’s photographs from the 1950s to 1970s. There is no evidence she showed her images to anyone. At Photo London, Maier’s photographs—printed posthumously from original negatives—are priced from $5,000 to $6,500.

Front-Page Femmes

A new report reveals that women now dominate Canada’s most powerful visual arts jobs, including four of the five director positions in major art galleries from Vancouver to Halifax.

On May 14, the elusive pseudonymous artist Lutz Bacher died of a heart attack in New York City. Her conceptual work explored “sexuality, power, and violence through politically charged juxtapositions of text and image.”

artnet examines how three North American museums are deaccessioning works to diversify their collections.

The National Gallery of London’s new Artemisia Gentileschi masterpiece began its unconventional tour of the U.K., where it will appear in doctor’s offices, schools, and offices.

Muslim Sisterhood co-founders Lamisa Khan, Zeinab Saleh, and Sara Gulamali; Photo courtesy of Muslim Sisterhood

Muslim Sisterhood co-founders Lamisa Khan, Zeinab Saleh, and Sara Gulamali; Photo courtesy of Muslim Sisterhood

A new documentary by artist Prune Nourry detailing her battle with breast cancer is co-produced by Angelina Jolie and Darren Aronofsky.

Artsy explores why, and how, female artists have used the self-portrait to demand their place in art history.

The London-based art collective Muslim Sisterhood seeks to “represent ‘normal’ Muslim girls who aren’t bloggers, fashionistas or Bake Off winners.”

Nan Goldin teams up with Catherine Deneuve and Isabelle Huppert for a photography show—Versailles-Visible/Invisible—at the famed French palace.

Dia Art Foundation Director Jessica Morgan is breaking open the (male) canon of post-war art and leading the organization into a diverse future.

A scholar claims to have cracked the code of a mysterious Medieval manuscript, which describes women struggling to bathe unruly children. The academic believes that Dominican nuns compiled the manuscript as a source of reference for Maria of Castile, Queen of Aragon.

Shows We Want to See

Rina Banerjee, Take me, take me, take the Palace of love, 2003; Plastic, antique Anglo-Indian Bombay dark wood chair, steel and copper framework, floral picks, foam balls, cowry shells, quilting pins, red colored moss, antique stone globe, glass, synthetic fabric, shells, fake birds; 13 x 13 x 18 ft.; Courtesy of artist, RB Storage, NYC

Rina Banerjee, Take me, take me, take me…to the Palace of love, 2003; Plastic, antique Anglo-Indian Bombay dark wood chair, steel and copper framework, floral picks, foam balls, cowry shells, quilting pins, red colored moss, antique stone globe, glass, synthetic fabric, shells, fake birds; 13 x 13 x 18 ft.; Courtesy of artist, RB Storage, NYC

At the San Jose Museum of Art, Rina Banerjee: Make Me a Summary of the World presents almost 20 years of the artist’s large-scale installations, sculptures, and paintings. Banerjee tackles important issues of our time including immigration and identity; the lasting effects of colonialism and its relationship to globalization; feminism; and climate change.

At the Andy Warhol Museum in Pittsburgh, Kim Gordon: Lo-Fi Glamour is the artist’s first North American museum solo exhibition, featuring painting, sculpture, a new series of figure drawings, and a commissioned score for Andy Warhol’s 1963–64 silent film Kiss.

Opening May 18 at the Honolulu Museum of Art, Constellation—drawing in space by Marian Bijlenga presents the Dutch artist’s unique constructions. Approaching mark-making with material instead of drawing, the artist uses thread, fabric, and horsehair to create sculptures that play on positive and negative space.

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