Art Fix Friday: September 27, 2019

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

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

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

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

Front-Page Femmes

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

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

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

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

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

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

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

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

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

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

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

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

Shows We Want to See

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

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

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

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

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

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

Art Fix Friday: August 30, 2019

Wangechi Mutu stands atop a ladder in her Brooklyn studio, next to a 7-foot tall sculpture, part African queen, part cyborg, which will be installed in one of the exterior niches of the Metropolitan Museum of Art.

Wangechi Mutu in her Brooklyn studio, with (from left) her works Flying Root I, 2017; Untitled, 2019; and Flying Root IV, 2017; Photograph by LaToya Ruby Frazier

On September 9, artist Wangechi Mutu will take over the Metropolitan Museum of Art. Four bronze female figures will be installed in the building’s exterior niches facing Fifth Avenue—space that has stood empty for more than 100 years.

The seven-foot-tall sculptures, part African queens, part cyborgs, are inspired by images of caryatids—women who appear, quite literally, in supporting roles in numerous classical art forms: holding up the roof of the Acropolis, or on African stools. Mutu sought to empower these figures. “They’re forever laboring under the weight of whatever these men have created. So I thought, well, release them from that,” the artist said.

 

Front-Page Femmes

The Guardian looks at how the graphic novel became an outlet for shame, allowing female illustrators to confront how they see their bodies.

Next month Margaret Atwood will release her anticipated follow-up to The Handmaid’s Tale; the New York Times rounds up everything to read and watch before getting your hands on The Testament.

Hyperallergic reviews Under Cover of Darkness, an exhibition at the Iziko Slave Lodge in Cape Town, South Africa, which gives voice to enslaved women who were largely written out of history.

Mexican artist Minerva Cuevas speaks to Art21 about how her artistic acts of sabotage inspired real activism.

The New York Times reviews Abstract Climates: Helen Frankenthaler in Provincetown, a show that presents Provincetown “as more of a psychic space, one of negotiation and self-discovery” for the artist.

Helen Frankenthaler in her Provincetown studio; the artist wears all white and crouches before a large canvas on the floor as she looks up at the camera with a slight smile.

Helen Frankenthaler in her Provincetown studio, 1968; Photo courtesy of the Frankenthaler Foundation, Inc./Artists Rights Society (ARS), New York; J. Paul Getty Trust; via Alexander Liberman Photography Archive; Getty Research Institute

Frieze lists five trailblazing galleries around the world that only show women artists—including NMWA.

Artist Claudia Comte installed permanent underwater sculptures off the coast of Jamaica to help revitalize the area’s coral reef.

Ningali Lawford-Wolf, one of Australia’s most noted Indigenous actors, has died at age 52 from complications of an asthma attack.

The New York Times remembers Clara Schumann, music’s unsung renaissance woman, ahead of her 200th birthday on September 13.

Hyperallergic interviews artist Gwen Shockey about her ongoing Address Project, which documents lesbian nightlife in New York City.

Shows We Want to See

Jenny Holzer: Things Indescribable is on view at Guggenheim Museum Bilbao in Spain. Hyperallergic reviews the retrospective—the largest survey of her work to date—which has been under-recognized. “Having 40 years of Holzer’s work in one place means it’s possible to trace lines of activity that are subtler and more poetic than the broad strokes she’s most known for.”

Installation view of Jenny Holzer's piece "Ram," which is a long digital block featuring all-caps text positioned next to bones and teeth scattered on the floor.

Jenny Holzer, Ram, 2016; Photo courtesy of the artist and Hauser & Wirth, © 2019 Jenny Holzer, member Artists Rights Society (ARS), NY / VEGAP; Photo by Collin LaFleche

Mary Frances Whitfield: Why? is on view in Birmingham, Alabama, at the University of Alabama’s Abroms-Engel Institute for the Visual Arts. The show presents the painter’s works about racial violence and includes her sobering paintings of lynchings. The Nation profiles the artist and discusses the role of art in our collective national reckoning.

Emily Mae Smith: Avalon is open at Perrotin Gallery in Tokyo. With a nod to distinct painting movements including Symbolism, Surrealism, and Pop art, Smith creates lively compositions that offer sly social and political commentary. Can’t make it to Tokyo? See her paintings on artnet.

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

Art Fix Friday: August 23, 2019

Artsy reports on the female art patrons who influenced art history. NMWA Associate Curator Virginia Treanor, who was interviewed for the piece, says that by developing world-class collections and creating major art museums, “women have shaped the course of art history.”

Edith Halpert at her Downtown Gallery, in a photograph for Life magazine in 1952; She is joined by some of the new artists she was promoting that year: Charles Oscar, Robert Knipschild, Jonah Kinigstein, Wallace Reiss, Carroll Cloar, and Herbert Katzman

Edith Halpert at her Downtown Gallery, in a photograph for Life magazine in 1952; She is joined by some of the new artists she was promoting that year: Charles Oscar, Robert Knipschild, Jonah Kinigstein, Wallace Reiss, Carroll Cloar, and Herbert Katzman; Photo © Estate of Louis Faurer, courtesy of the Jewish Museum

The piece includes profiles of Livia Drusilla, Empress of Rome circa 58 B.C.E., Isabella Stewart Gardner, Gertrude Stein, A’Lelia Walker, and Peggy Cooper Cafritz, among many others.

Front-Page Femmes

Starting September 13, Boston’s Museum of Fine Arts will dedicate the Art of the Americas wing to women artists in the installation Women Take the Floor.

artnet interviews Jessica Yu, head of the Google Doodle team, about the collaborative, creative process that brings the famous digital artworks to our screens.

Spanish feminist writer and cartoonist Anastasia Bengoechea was photographed holding up signs to protest sexual stereotyping at the Prado Museum in Madrid—and her images have gone viral.

A cartoon sketch by Malaka Gharib of her father drinking Nescafe at a small table on a balcony full of plants in Egypt; he reads the paper while Gharib herself looks on at him from a window behind him

Malaka Gharib draws to remember—she sketched this image of her father drinking Nescafe in Egypt; Sketching from memory is a way the artist gets out of creative ruts; Image courtesy of Malaka Gharib’s Instagram account

The New York Times interviews Malaka Gharib, graphic-memoirist, about her art ethos, do-it-yourself sensibility, and how to make your way out of a creative rut.

Historians raise concerns over the proposed addition of Sojourner Truth to Central Park’s forthcoming suffragist monument, stating that “it could obscure the substantial differences between white and black suffrage activists.”

Alice Guy-Blaché, history’s first female filmmaker, has been rescued from obscurity thanks to a new Jodie Foster-narrated documentary.

From their archives, Artforum features a 1984 conversation between John Bernard Myers and Lee Krasner.

The New York Times profiles writer Petina Gappah, whose forthcoming novel, Out of Darkness, Shining Light, will be released in September—twenty-one years in the making.

In Australia, the country’s first gallery dedicated to female artists will open in Melbourne next week; founder Lisa Fehily cites the low representation of women in the Australian art world as her motivation.

The San Jose Museum of Art has been celebrating the centennial of women’s suffrage with a “year of visionary women artists” in 2019.

The New York Times reports on the female producers who are migrating from nonprofit theater and the entertainment industry to bring new skills and values to Broadway.

Shows We Want to See

In Shana Hoehn: Hauntings, on view at Women & Their Work in Austin, the artist re-imagines vintage hood ornaments, ship figureheads, carnival portraiture, and more, as sculptures that expose the historically distorted treatment of women’s bodies.

Two haunting sculptures by Shana Hoehn feature in a sparse, darkly lit gallery

Installation view of Shana Hoehn: Hauntings

In Los Angeles, Susan Mogul presents a love letter to her mother in 72 photos at As Is L.A gallery. Less is Never More frames the artists relationship to her mother as a showroom, turning memory into product as she explores objects and the sentimentality we place on them.

At Brandeis University’s Kniznick Gallery, Root Shock presents work by Hannah Shalew, Daniela Rivera, and Corinne Spencer—three artists exploring social, economic, and environmental justice.

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

Art Fix Friday: August 16, 2019

The New York Times interviews artist Maria Qamar, whose bold Pop art speaks to the challenges of being a South Asian millennial.

A Pop Art painting by Maria Qamar featuring two Indian woman with their faces touching, and the comic text bubbles--one says "That's My Didi!" and the other says "From another Bibi!"

Maria Qamar, Didi from Another Bibi, 2019; Photo courtesy of Richard Taittinger Gallery

The artist’s new exhibition Fraaaandship!, at New York City’s Richard Taittinger Gallery, is colorful, politically engaged, and contemplates immigration, misogyny, gender stereotypes, and more. When asked about what she is trying to explore in her works, Qamar mused, “What part of our [South Asian] tradition is tradition and what part…is just patriarchy disguised as tradition? Why can’t we…ditch some of these traditions that are used to police women and convince women to police each other?”

Front-Page Femmes

Ms. magazine interviews former Handmaid’s Tale costume designer Ane Crabtree about her designs and the red dress and winged bonnet that has become an “instantly recognizable symbol of resistance.”

A new mural in Santa Fe calls attention to the disproportionately high rates of violence against Indigenous women in the United States.

Jacqueline Audry’s 1951 lesbian classic, Olivia, has been restored and re-released; Audrey directed a total of 13 features throughout her career—most had female protagonists and many were censored.

Meet the woman-led photography collective that is challenging the sexist and colonial portrayals of Latin America.

Anne Snitow, feminist teacher and activist, has died at age 76.

More than 100 miniature dolls, phallic amulets, necklace beads, and a tiny skull among other objects made of bone, bronze, glass, and amber were uncovered at Pompeii.

More than 100 miniature dolls, phallic amulets, necklace beads, and a tiny skull, among other objects made of bone, bronze, glass, and amber, were uncovered at Pompeii; the researchers determined that the amulets were likely used for adornment or protection in the years before Mount Vesuvius erupted in AD 79; Photo courtesy Cesare Abbate (ANSA)

Archaeologists in Pompeii have discovered a female sorcerer’s trove of amulets, gems, and charms that may have been used for good fortune, fertility, and to protect against bad luck.

Hyperallergic goes inside the years-long effort to bring the Hearts of Our People: Native Women Artists exhibition to fruition.

Nancy Reddin Kienholz, best known for elaborate and explosive installations she created with her husband Edward Kienholz, has died at age 75.

After public outcry, a forthcoming Central Park statue of white suffragettes Elizabeth Cady Stanton and Susan B. Anthony has been redesigned to include Sojourner Truth. The statue will be unveiled in 2020.

Hyperallergic reviews Lee Krasner: In Living Colour, currently on view at London’s Barbican Centre.

Shows We Want to See

At Jackson Fine Art in Atlanta, two exhibitions suggest that there can be a gendered way of visualizing the natural world. A contemporary series of technicolor Psychscapes by Terri Loewenthal is curated alongside the black-and-white landscapes of 20th-century photographer Ansel Adams, promoting the notion that the male versus female gaze has shaped their approaches, a century apart.

Two landscape photos by Terri Loewenthal,and Ansel Adams are placed side by side; Lowenthal's photo is of a mountain and edited in warm technicolor hues, Adams's photo is in black and white and includes a mountain in the bottom of the frame, but primarily focuses on the vast sky.

Left: Terri Loewenthal, Psychscape 87 (Coffee Pot Rock, AZ), 2018; Right: Ansel Adams, Sierra Nevada, Winter Evening, from the Owens Valley, 1962; Photos courtesy of Jackson Fine Art

At the Sainsbury Centre for Visual Arts in Norwich, England, Magdalene Odundo: The Journey of Things presents more than fifty of Odundo’s works with a large selection of objects chosen by the artist from across the globe, spanning 3,000 years.

Chaumet in Majesty: Jewels of Sovereigns Since 1780 is on view at Monaco’s Grimaldi Forum until August 28. The show examines jewelry’s role in the power games of the past through 250 pieces created by the longstanding, luxury French design house. “The principal focus of the show is women of power and the tiaras they wore as witnesses of their destinies,” said Jean-Marc Mansvelt, chief executive of Chaumet.

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

Art Fix Friday: August 9, 2019

Celebrated writer and revolutionary political thinker Toni Morrison has died at age 88. Her best-selling works explored black identity and the experience of black women in America.

A portrait of Toni Morrison wearing a black turtleneck and set against a mustard-yellow background; she smiles slightly at the camera.

Toni Morrison by Deborah Feingold; Courtesy of Corbis/Getty

Morrison became the first black woman to win the Nobel prize in literature in 1993 and was widely regarded as the greatest American novelist. Her death has prompted an outpouring of reflection and gratitude from people all over the world, including fellow women writers. Elizabeth Alexander said, “Morrison gives us a sterling example of how…sometimes great art also ennobles a people.” Artist Kara Walker pays tribute to Morrison with a portrait on the August 19, 2019 cover of the New Yorker.

Front-Page Femmes

The New York Times looks at how shifting cultural expectations have changed the way artists’ archives are handled; the piece profiles Judy Chicago, whose visual archive is held at NMWA.

Marina Abramović writes a personal letter to Serbia ahead of her upcoming September retrospective; the artist last exhibited in her home country 45 years ago.

A new study shows that while male artists still make up the bulk of the art market, women artists are coming out on top with auction resales.

The latest episode of The Art Newspaper podcast focuses on Artemisia Gentileschi and forgotten female Old Masters and features London’s National Gallery curator Letizia Treves, Patricia & Phillip Frost Art Museum director Jordana Pomeroy, and artist Helen Cammock.

A hyperrealist painting that features a deer standing in water; the legs of the deer transforms into coral, succulents, and tropical fish, rooting it into the ocean’s floor.

Lisa Ericson, Anchor, acrylic on panel

Colossal features hyperrealist paintings by Lisa Ericson depicting animals that evolve into islands teeming with coral, succulents, and tropical fish.

Artsy looks at why photography was important to radical lesbian communes of the 1970s.

An iconic photograph of Beyoncé, taken last year by Tyler Mitchell for Vogue, will become part of the National Portrait Gallery’s permanent collection.  

Continuing its commitment to rewriting the art-historical canon, the Baltimore Museum of Art has announced a year of exhibitions dedicated to female-identifying artists throughout 2020.

Artspace profiles seven women of minimalism, including Anne Truitt, Nasreen Mohamedi, and Agnes Martin.

Artsy goes inside Georgia O’Keeffe and Agnes Martin’s unexpected friendship.

Shows We Want to See

At the Arthur M. Sackler Gallery in Washington D.C., My Iran: Six Women Photographers presents works that encompass documentary snapshots of post-Islamic Revolution protests, digitally altered family photo albums, and anachronistic portraits that testify to the tension between tradition and modernity experienced by many young Iranians.

Eleven Irianian women sit on a long floral couch in the middle of the desert wearing all black and with their heads covered in hijab; their faces are drawn, several wear sunglasses, and a few are reading from books held in their hands.

Gohar Dashti, detail from the series Iran, Untitled, 2013; Ink-jet print; Courtesy of the artist © Gohar Dashti

Tutta la verità (The Whole Truth), a solo show of work by Jenny Holzer, is on view at the Palazzo della Ragione in Bergamo, Italy. The show surveys different mediums, from light projections of her signature text-based work to bench sculptures. The texts touch on important themes in Holzer’s work—identity, gender, and dialogue—and they also address the ongoing migrant crisis.

Mary Corse: A Survey in Light is on view at the Los Angeles County Museum of Art. It is the first survey of the artist’s career since she emerged in the mid-1960s as one of the few women associated with the West Coast Light and Space movement. Corse’s works seek to physically embody light within a painting, rather than merely representing it.

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

Art Fix Friday: August 2, 2019

In partnership with artist and activist Amanda D. King, Tamir Rice’s mother, Samaria Rice, will open a cultural center named after her son, which will feature artistic, cultural, and civic programming for Cleveland youth.

Samaria Rice stands in the future home of the Tamir Rice Afrocentric Cultural Center in Cleveland

Samaria Rice in the future home of the Tamir Rice Afrocentric Cultural Center in Cleveland; Photo by Lisa DeJong, courtesy of the Tamir Rice Foundation

Tamir was just 12 years old when he was killed by police in 2014. Samaria has repeatedly turned to art to help amplify her fight against police brutality and racial injustice. As artnet reports, “Rice says her belief in art as a catalyst for social change was solidified by her experience overseeing the transformation of the Cleveland gazebo where Tamir was killed into a gathering place.”

Front-Page Femmes

Tania Bruguera opened a school for multicultural cooking, crafting, and history at the Manchester Art Gallery, part of last month’s Manchester International Festival.

The Washington City Paper profiles photographer Beverly Price, who is supporting the city’s black artists with gatherings in an eclectic abode where Miles Davis, Chaka Khan, Duke Ellington, and Prince have all thrown parties.

The New York Times features Mickalene Thomas’s summer pool party for fellow members of a new collective of queer black women—it included margaritas and zip-lining.

Iranian photographer and film-maker Shirin Neshat will curate an exhibition in New York this fall of Iranian women artists in collaboration with the Centre for Human Rights in Iran.

Lady K Fever illegally “bombing” for a photo shoot in Vancouver, she holds her young daughter in one arm and a spray paint can in the other.

Lady K Fever illegally “bombing” for a photo shoot in Vancouver (with her first daughter), 2001; Today she runs the Bronx Graffiti Gallery, where she incorporates the work and stories of women into the larger narrative, and the graffiti HERSTORY Instagram account; Photo courtesy of Bronx Graffiti Gallery

Artsy profiles the boundary-breaking women of New York’s graffiti scene from the 1970s to today.

ABC News spotlights Maliha Abidi, author and artist behind the book Pakistan for Women, which features her vibrant portraits of notable Pakastani women, including activist Malala Yousafzai.

The Ford Foundation Gallery has opened Radical Love, an exhibition about “love as a social justice strategy”—the concept is inspired by bell hooks’s idea of love as a human right and shared responsibility.

The latest edition of Montreal’s Fantasia International Film Festival, dedicated to genre and Asian cinema, continued its trend of elevating female filmmakers.

Candid remarks by Frieze Sculpture curator Clare Lilley highlight the gender gap in public sculpture and gives a glimpse of broader biases in the field.

ARTnews profiles painter Pat Steir as she prepares for a major exhibition at the Hirshhorn Museum in Washington, D.C., opening this October.

Shows We Want to See

Mounira Al-Solh’s The Mother of David and Goliath is on view at the Sfeir-Semler Gallery in Beirut. The show addresses environmental, political, and feminist concerns and contains a new painting series informed by stories of women detained across the Arab world. Al-Solh also draws from works of women writers in the region and their voices can be heard over speakers reciting their works.

"The Mother of David and Goliath" by Mounira Al Solh, a large-scale canvas, its background washed in warm red and yellow ochre. Two women are visible in the background, one partially obscured. In the foreground is a jar of what look like makdous, a Levantine preserve made of pickled, stuffed baby eggplants. In this case, each indigo oval contains a roughly rendered fetus accented by crimson-violet paint that recalls blood. The painting is eerie and evocative. It is also electrically narrative, although the particulars of the story evade viewers. “It contains many things at the same time,” al-Solh says with a laugh. “It’s hard to talk about because sometimes it’s better to keep it open.”

Mounira Al Solh, The Mother of David and Goliath, 2019; Oil on canvas; Courtesy of the artist and Sfeir-Semler Gallery Beirut/Hamburg

At the Guggenheim Museum in New York City, Simone Leigh’s Loophole of Retreat, her exhibition in honor of winning the 2018 Hugo Boss Prize, is on view. In a suite of new sculptures, “Leigh merges the human body with domestic vessels or architectural elements that evoke unacknowledged acts of female labor and care.”

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

Art Fix Friday: July 26, 2019

Happy Birthday, Judy Chicago! On July 20 in her adopted town of Belen, New Mexico, the artist celebrated her 80th birthday with the opening of a new art space, Through the Flower, a multi-colored smoke show designed by the artist herself, and the launch of her own line of red wines.

Judy Chicago sits in a grey chair on NMWA's performance hall stage, smiling and holding a piece of paper as she engages in conversation with Alison Gass (not pictured), her interviewer.

Judy Chicago featured at a NMWA Fresh Talk in 2017; see her again on September 22 for a discussion about her upcoming exhibition at NMWA, The End: A Meditation on Death and Extinction, and the release of a brand new monograph, Judy Chicago: New Views, published by NMWA

Following the exhibition of her newest body of work at NMWA this fall, a retrospective of Chicago’s oeuvre will be held at the de Young Museum in San Francisco. Vice interviewed the artist, who has no plans to slow down on her “voyage of discovery.”

Front-Page Femmes

Italian artist Marisa Merz, who was the sole female artist in the influential Arte Povera movement, has died at age 93.

Photographer Ida Wyman has died at age 93; she worked for Life and Business Week capturing ordinary people in their everyday lives.

The Art Newspaper published a buyer’s guide to Louise Bourgeois, whose works became the most expensive by a woman artist when her monumental bronze Spider (1997) sold for $28 million this year.

The New York Times profiles the women who are changing New York’s D.J. scene—many have been part of a grassroots movement based in collaboration and empowerment.

The Guardian profiles the female video game designers who are challenging the conversation around reproductive rights through live-action role-playing games and interactive documentaries.

Hyperallergic interviews Canadian filmmaker Catherine Hébert on her new documentary about Ziva Postec, the editor of the epic Holocaust documentary Shoah, and how her work was downplayed by the film’s director.

A detail shot of Vanessa Barragão’s botanical tapestry which depicts the world via thread and yarn; this particular section includes the top of Africa, a bit of the Middle East, and southern Europe represented in vivid yellows with some flowers and many different stitches.

Detail of Vanessa Barragão’s botanical tapestry; the artist spent 520 hours on the piece, which is completely handcrafted and nearly 20 feet wide

Fiber artist Vanessa Barragão has created a massive textural tapestry of a map of the world; the work is on view at London’s Heathrow Airport and celebrates the airport’s partnership with the Royal Botanic Gardens at Kew.

The Drum has released its 2019 “50 Under 30” list, which celebrates the world’s highest achieving women in creative and digital arts under the age of 30.

The Met Costume Institute’s next major show comes from the private collection of prolific and undersung fashion historian Sandy Schreier.

The Baltimore Museum of Art has announced a year of exhibitions and programming around women artists in 2020, to mark the 100th anniversary of U.S. women gaining the right to vote.

Shows We Want to See

A black and white portrait photo of a black women wearing a large lion-esque headpiece and looking at the camera, with an intense side gaze.

Zanele Muholi, Somnyama Ngonyama II, Oslo, 2015; © Zanele Muholi, Courtesy of Stevenson, Cape Town / Johannesburg and Yancey Richardson, New York

Women’s Work: Art & Activism in the 21st Century is on view at Pen + Brush in New York City through August 2. The exhibition explores the familiar expression through the works of five artists/activists who present visions that reshape its definition.

Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is on view at the Seattle Art Museum through November 3. The photographic series features portraits taken in Europe, Asia, North America, and Africa between 2014 and 2017. Each is distinct and poses critical questions about social injustice, human rights, and contested representations of the black body.

Annabeth Rosen: Fired, Broken, Gathered, Heaped is on view at The Contemporary Jewish Museum in San Francisco. It chronicles more than 20 years of her work in ceramics.

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

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.