Art Fix Friday: March 29, 2019

In 2020, the first major survey of Lynette Yiadom-Boakye’s work will open at Tate; Lynette Yiadom-Boakye, Amber and Jasmine (2018), oil on linen, 59 1/4x 55 1/8 inches (Courtesy the artist, Jack Shainman Gallery, New York, and Corvi-Mora, London © Lynette Yiadom-Boayke)

In 2020, the first major survey of Lynette Yiadom-Boakye’s work will open at Tate Britain; Lynette Yiadom-Boakye, Amber and Jasmine (2018); Oil on linen, 59 1/4 x 55 1/8 in.; Courtesy the artist, Jack Shainman Gallery, New York, and Corvi-Mora, London, © Lynette Yiadom-Boayke

Our #5WomenArtists campaign wraps up this Sunday, and there is still time to participate! Join the conversation, carry the movement forward with campaign merchandise, and continue your support of women artists throughout the year.

This week we interviewed Nell Burnham, digital marketing production officer at Tate, about the strides her institution is making to better represent women artists, including a schedule of five major solo shows by women artists throughout 2019–2020.

Front-Page Femmes

Washington, D.C.’s Hirshhorn Museum has acquired Yayoi Kusama’s reconfiguration of Phalli’s Field, her very first Infinity Mirror, which will go on view in 2020.

Vice interviews Bangladeshi photographer Habiba Nowrose about her “Concealed” series and the “sacrifice women make to fit society’s standards of beauty.”

The Gender Equity in Museums Movement recently published Museums as a Pink-Collar Profession, a report that looks at the woman-dominated field and states that “equal demographics don’t mean workplace equity.”

French New Wave filmmaker Agnès Varda has died at age 90.

In Kansas City, 50 local women artists exhibit their work in Who Does She Think She Is?, an exploration of the “unique experiences and challenges women artists face in America.”

Broadly profiles five Muslim women artists who are “creating, growing, and inspiring others.”

In the current exhibition Black Models: From Géricault to Matisse, the Musée d’Orsay has temporarily renamed Manet’s Olympia and other iconic works to honor the black subjects depicted in them.

Édouard Manet, “Laure” (1863), oil on canvas, 130 x 190 cm (via Wikimedia Commons, Musée d’Orsay, Paris)

Édouard Manet, “Laure” (1863); Oil on canvas, 130 x 190 cm (via Wikimedia Commons, Musée d’Orsay, Paris)

Museum Hue co-founder Stephanie Cunningham talks about racial diversity in cultural institutions on the latest episode of the Museum Archipelago podcast.

The City of New York has revealed five proposals for the forthcoming Shirley Chisholm monument created by artists Firelei Báez, La Vaughn Belle, Tanda Francis, Mickalene Thomas, and Amanda Williams and Olalekan Jeyifou.

At the Pasadena Museum of History, Something Revealed: California Women Artists Emerge, 1860–1960, presents nearly 300 works by 132 overlooked women artists.

Show We Want to See

The Remai Modern in Saskatoon, Canada, presents a survey of Rebecca Belmore’s 30-year career in Rebecca Belmore: Facing the Monumental. A member of Lac Seul First Nation (Anishinaabe), Belmore’s work is rooted in the political and social realities of Indigenous communities. The sculptures, installations, photographs, and performance-based works in this survey address water and land rights, women’s lives and dignity, police and state violence against Indigenous people, and the role of the artist in contemporary life. On view through May 5.

Rebecca Belmore, sister, 2010, colour inkjet on transparencies, 213.4 x 365.8 cm (overall). Courtesy of the artist. © Rebecca Belmore

Rebecca Belmore, sister, 2010; Color inkjet on transparencies; Courtesy of the artist; © Rebecca Belmore

At the Nelson-Atkins Museum of Art in Kansas City, Missouri, Saya Woolfalk: Expedition to the ChimaCloud “transports visitors into a fantastical world where they encounter a fictional race of women called the Empathics.” The immersive, multimedia work was designed specifically for the Nelson-Atkins and was inspired by the museum’s permanent collection. The experience incorporates themes of “cultural hybridization, technology, identity, ceremonial rituals, and science fiction.”

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

Art Fix Friday: March 22, 2019

Lincoln, Nebraska’s Sheldon Museum of Art participates in #5WomenArtists and #InternationalWomensDay with a snap of their collection galleries

Week three of #5WomenArtists wraps up with almost 700 institutional participants since March 1. Have you joined the conversation, taken a pledge, or shared #5WomenArtists graphics?

This week we interviewed Dr. Valerie Paley, director of the Center for Women’s History at the New-York Historical Society Museum & Library. She highlights the important work of Augusta Savage, Betye Saar, and Clara Driscoll—the head designer of the Tiffany lamp, who managed a team of 30 women glasscutters. Read the full interview.

Front-Page Femmes

The Washington Post goes inside Kaywin Feldman’s first week as the new director of the National Gallery of Art.

Culling details from the new book Daily Rituals: Women at Work, Artsy highlights the daily routines of 10 women artists, from Marisol to Joan Mitchell and more.

Watch Judy Chicago send the Miami Design District up in smoke with A Purple Poem for Miami, an extension of her current exhibition at the Institute of Contemporary Art, Miami.

TL mag features the work of women artists in France, post-war to present, curated by AWARE: Archives of Women Artists, Research and Exhibitions.

Hyperallergic remembers Barbara Hammer, the prolific filmmaker who “opened up a space for women to be themselves.” Hammer passed away on Saturday at the age of 79.

The Chicago Tribune takes a look at the city’s “new wealth of black female comic book talent.”

Chicago-based author Eve Ewing, at right, and the cover art of the first issue of the series “Ms. Marvel and Spider-Man,” written by Ewing; Photos courtesy of Marvel/Stefano Caselli/Nolis/CTMG

The artists behind the iconic mural on San Francisco’s Women’s Building are planning to release a book to honor the mural’s 25th anniversary—it will feature an introduction by Angela Davis.

Yoko Ono will be celebrated by 75 musicians and artists in the show “BreatheWatchListenTouch,” in collaboration with Girlschool, a festival for women-identified artists and leaders.

Brainpickings sheds light on the life and work of Misuzu Kaneko, who died at 26 and was rediscovered half a century later as Japan’s most beloved children’s poet.

Wanda de Guebriant, the leading specialist on artist Henri Matisse, has died at age 69.

ABC News profiles the 2nd annual Women’s Day on Broadway, where attendees engaged in open conversation about gender equality in the theater industry.

Shows We Want to See

Opening tomorrow at the Honolulu Museum of Art, Hayv Kahraman’s Superfluous Bodies explores themes of identity, memory, gender, and exile in paintings and sculptures that present and re-present the “colonized” female figure. “She weaves, tears, patches, and reworks materials to create exquisite artworks that nod to a breadth of artistic traditions found in Europe and Asia.” The Iraqi-born Kahraman fled to Sweden with her family after the Persian Gulf War and later moved to the United States.

Hayv Kahraman, Untitled, 2017; Oil on wood panel; Photo courtesy of the artist

Christien Meindertsma: Everything Connects is now open at the Art Institute of Chicago. The exhibition showcases two of the artist’s recent projects that explore the potential of raw materials—like flax and wool—and reveals processes that have become obsolete due to industrialization. “By exploring the often hidden lives of products within their social, political, and material contexts, Meindertsma invites us to reconsider the value of objects, especially the potential of undervalued resources.”

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

Art Fix Friday: March 15, 2019

A screen-print image depicting four women farm workers wearing bandannas over their nose and mouth, hats, and work gloves; they are juxtaposed with a slightly more transparent image of activist Dolores Huerta holding up a protest sign over her head. Horizontal text at the bottom center reads: "Women's Work is Never Done," vertical text on the right reads: "California Broccoli Harvest: 1995," and vertical text on the left reads "Homenaje a Dolores Huerta: 1965" or, "Tribute to Dolores Huerta: 1965."

The Brooklyn Museum highlights artist-activist Yolanda Lopez on International Women’s Day with her visual tribute to activist Dolores Huerta and the United Farm Workers

#5WomenArtists continues this week with over 590 institutional participants since March began! Check out Twitter highlights from International Women’s Day and watch our Instagram takeovers from week one and week two.

We also interviewed JiaJia Fei, director of digital at the Jewish Museum, about her museum’s long history of supporting women artists, as well as their current activities—including a Martha Rosler exhibition, an Art+Feminism Wikipedia Edit-a-thon, and an upcoming exhibition on Edith Halpert, the first female gallerist in the U.S. Read the full interview.

Front-Page Femmes

The Art Newspaper reports on the just-released 2019 Art Basel and UBS Global Art Market Report, which highlights the stark gender imbalance in galleries as well as new efforts to fix it.

Amsterdam’s Stedelijk Museum has announced two special acquisition funds to help the institution increase its holdings of art by women.

Tate Modern has selected Kara Walker to create the next commission in the museum’s Turbine Hall.

Multidisciplinary artist Michele Oka Doner was announced as the 2019 artist-in-residence at the New York Botanical Garden.

Artsy spotlights Angela Deane and her playful series of painted found pictures, “Ghost Photographs,” in advance of the April publication of her first artist book, The Ghosts Within.

Chicago’s La Femme Dance Festival, which celebrates black women choreographers, kicked off this week.

A black woman dancer stands in a studio with her arms outstretched, eyes closed, and big smile on her face

Dancer Talia Koylass works on contemporary dance titled “Open” for La Femme Dance Festival; Photo courtesy of Zbigniew Bzdak / Chicago Tribune

United States Artists named Kristy Edmunds the inaugural winner of the Berresford Prize, a new award for the “non-artists [who] make great art possible.”

Hyperallergic reviews The Medea Insurrection at the Albertinum Museum in Dresden, calling it “a cumulative roar against the curtain of silence…that renders invisible the works and lives of women artists everywhere.”

Vietnamese women artists are challenging the country’s conservative gender norms in their work, which, experts say, could lead to a transformation of “broader gender equations in Vietnamese society.”

Saatchi Art and Society6 have teamed up to highlight work by the best-selling women artists in their Refuse to be the Muse campaign.

Check out 25 exciting female graphic designers and illustrators to follow in 2019.

Shows We Want to See

On view at the Armory Center for the Arts in Pasadena, California, Sara Kathryn Arledge: Serene for the Moment seeks to restore the artist’s place in history. A prolific painter and innovator of mid-20th century experimental cinema, Arledge’s work was ahead of its time. That, coupled with her struggles with mental illness and the era’s sexism, meant that her work was generally undervalued. The exhibition includes more than 60 of Arledge’s vivid works on paper, seven short films, and a selection of hand-painted glass transparencies.

Seven expressive paintings hang in a white-walled gallery, the shapes of all abstract and energetic, done primarily in yellows, reds, oranges, black, and some blues.

Exhibition view of Sara Kathryn Arledge: Serene for the Moment; Photo courtesy of the Armory Center for the Arts

Opening today at the Smithsonian American Art Museum in Washington, D.C., Tiffany Chung: Vietnam, Past is Prologue explores “the legacies of the Vietnam War and its aftermath through maps, videos, and paintings that highlight the voice and stories of former Vietnamese refugees.” The artist’s commitment to addressing conflict, migration, and political and natural upheavals is evident as she includes stories that have largely been omitted from official documentation of the period. Chung’s work offers an “alternative story of the war’s ideology and effects.”

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

Art Fix Friday: March 8, 2019

A #5WomenArtists graphic with a quote that says: "My teachers always said, 'You're very talented, but don't set your heart on art. You're only a girl." - Carolee Schneeman

Download and share #5WomenArtists quotes, facts, and pledge graphics

We’re wrapping up our first week of #5WomenArtists with over 450 institutional participants sharing their commitments to advancing gender equity in the arts, along with countless stories of women artists throughout history. Check out a profile of the campaign in Forbes.

This week we interviewed North Carolina Museum of Art Director Dr. Valerie Hillings on her museum’s commitments, and we shared 5 Fast Facts about the life and work of Magdalena Abakanowicz. Join the conversation: #5WomenArtists, @WomenInTheArts.

Front-Page Femmes

New York City has announced it will honor Billie Holiday, Helen Rodríguez Trías, Elizabeth Jennings Graham, and Katherine Walker with statues in their home boroughs—an effort to right the “glaring” gender imbalance in the city’s public memorials.

Get to know 5 female artists from Hong Kong who are shaking up the art scene with their “bold, boundary-breaking work.”

Koyo Kouoh has been named executive director and chief curator of the Zeitz Museum of Contemporary Art Africa, following the resignation of Mark Coetzee after claims of misconduct.

Pioneering painter, performance artist, and filmmaker Carolee Schneemann, who reimagined the body as an artistic medium, has died at the age of 79.

A photograph of Carolee Schneemann at age 78, staring candidly at the camera in front of one of her works--slightly blurred in the background, a topless woman seemingly holding something at waist level.

Carolee Schneemann at the opening of her exhibition in Frankfurt Germany in 2017; © dpa picture alliance / Alamy Stock Photo

Hyperallergic reviews the Armory Show 2019, noting the “uptick in artworks by women and people of color,” including Stephanie Syjuco and Caitlin Cherry.

Inked magazine profiles 10 female tattoo artists who changed the industry—starting with “the OG artist” Maud Wagner who worked in the 1900s.

The New York Times “Overlooked” series profiles Julia Morgan, the pioneering female architect who was a prolific designer of hundreds of buildings, including Hearst Castle.

The Guardian interviews Betty Tompkins, whose explicit paintings inspired by pornography are finally being celebrated. They are “taking an abusive history and repurposing it.”

Femmes Film Festival Dubai kicks off this month with a focus on female directors and an international photography exhibition by women artists.

Rapper, actor, and Crazy Rich Asians star Awkwafina has a new show coming to Comedy Central—and her writer’s room will be all women.

Shows We Want to See

A painting by Alicia McCarthy, comprising of countless rainbow lines in square shapes inside of one another.

Alicia McCarthy, Untitled, 2016, gouache, latex paint, and spray paint on wood panel; Image courtesy of the artist and Jack Hanley Gallery

In Columbus, Alicia McCarthy: No Straight Lines is on view at the Wexner Center for the Arts, featuring the artist’s abstract works influenced by punk and queer subcultures, graffiti, and folk art. McCarthy has said, “I want my work to reflect all the beauty and pain of everyday life. All woven together and interconnecting to create [images] based in line and color.” McCarthy used surplus paint from leftover Wexner exhibits to create the works, emphasizing her commitment to using recycled materials. On view through
August 1.

Lisa Reihana’s video installation in Pursuit of Venus [infected] comes to the Honolulu Museum of Art where it reinterprets the 19th-century decorative wallpaper Les Sauvages de la Mer Pacifique, which is in the museum’s collection. Reihana’s “animated encounters between European visitors and Pacific people play out against the wallpaper’s picturesque backdrop, disrupting historical narratives and challenging stereotypes that originated in the myths of empire.” On view through July 14.

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

Art Fix Friday: March 1, 2019

Happy Women’s History Month! NMWA’s annual #5WomenArtists campaign kicks off today, challenging individuals and cultural institutions to take action toward achieving gender equity in the art world.

A woman stares at a gallery wall of blank white frames, above her head the question "Can you name five women artists?" is written in bold green type. At the bottom of the image the statement "Most people we asked could not." is written in white text, followed by the #5WomenArtists hashtag.

The #5WomenArtists campaign is back for a fourth year, this time with a new call for action

Now in its fourth year, the campaign has engaged 11,000 people and 1,000 organizations in highlighting the fact that women artists remain underrepresented—and their work undervalued—in the art world. Learn and share some shocking facts and figures, and join us all month long: you can publicly pledge to support women artists, and share stories about your favorite women artists by using #5WomenArtists and tagging @WomenIntheArts.

Front-Page Femmes

United Airlines launches HerArtHere, a new contest for female artists to design the exterior of a Boeing 757 airplane. Two winners will be selected and mentored by artist Shantell Martin.

Apollo magazine looks at why “the disadvantages of being a woman artist haven’t yet disappeared.”

Artsy explores the role of jewelry in women’s portraiture, calling it a “complex signifier” of wealth, refinement, authority, and politics.

At this year’s Park Avenue Armory Art Fair, “uncompromising female artists dominate in the top booths,” including Judith Linhares, Annabeth Rosen, and Alice Neel.

Christie’s profiles 82-year-old artist Arpita Singh, “the next really big thing for Indian art.”

A photo of artist Arpita Singh painting in her studio. She holds a pallet of mixed blues and has her brush raised to the canvas.

Arpita Singh at work in her studio; Photo courtesy of the artist and Vadehra Art Gallery

The Art Newspaper podcast talks to Alyce Mahon, curator of the Tate Modern’s new Dorothea Tanning exhibition.

Turkish artist and journalist Zehra Doğa is released from prison after serving 25 months for posting a picture of an anti-war painting to social media.

Jordan Casteel speaks to Art21 about how her paintings are changing the narrative about black men.

Hyperallergic reviews Flying High: Women Artists of Art Brut, now on view in Vienna, Austria, comprising more than 300 works from 93 self-taught women artists.

Essence profiles architectural designer Tiffany Brown, who has helped over 400 black women become licensed architects, and is looking to support 400 more.

The New York City Ballet announced new leadership, including former ballerina Wendy Whelan as associate artistic director, after an institutional reckoning last year with sex-based misconduct.

Shows We Want to See

A circle that contains different patterned and shaped cuts from various quilts.

Adia Millett, quilt from Breaking Patterns; Photo courtesy of the artist

The multimedia works of Oakland-based artist Adia Millett are on view at the California African American Museum in Adia Millett: Breaking Patterns. Millet explores themes of identity, personal memory, and collective history—specifically that of African American women—in collage, assemblage, photography, textiles, and painting. Millett’s process of repurposing materials adds “layers of meaning to her work’s distorted spaces and skewed perspectives.” On view through August 25, 2019.

At the Plains Art Museum in North Dakota, Waasamoo-Beshizi (Power-Lines) features the work of 25 contemporary Native American women artists, recognizing them as “central contributors, shapers, and culture bearers within Native communities…and the narrative of contemporary art.” The exhibition’s title alludes to the shapes of power lines and transmission towers, which resemble dresses. Many of the participating artists “engage with weaving, clothing, and textile traditions while reflecting on culture and identity,” a process that embodies celebration, honor, and remembrance. On view through July 31, 2019.

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

Art Fix Friday: February 22, 2019

A portrait of a woman wearing a head scarf and red sweater, holding up a mask of, seemingly, her own face, made from plaster or clay. This is a promotional photo for the Doc Fortnight 2019 feature, Serendipity, directed by Prune Nourry.

Promotion photo from Serendipity, directed by Prune Nourry, the opening film for Doc Fortnight 2019; Photo courtesy of Léa Crespi

Doc Fortnight, the annual showcase of documentary films at the Museum of Modern Art (MoMA) kicked off last night. Notable this year? Most of the 17 features are directed by female filmmakers.

Many of the 2019 films “bring unique perspectives to major global issues, including a range of stories from the Middle East, Latin America, and Asia.” MoMA also recently completed the second of four seasons of The Future of Film is Female, an initiative to champion contemporary films directed by emerging women filmmakers.

Front-Page Femmes

NMWA Associate Curator Virginia Treanor appeared on the Kojo Nnamdi show—along with artist Ambreen Butt, whose work is currently featured at the museum, and Ximena Varela, Director of the Arts Management program at American University—to discuss diversity at major art museums in Washington, D.C.

Museum Hue interviews Dr. Andrea Myers Achi, Assistant Curator of Medieval Art at the Met, the first black women to hold the position and the second black curator in the Met’s almost 150-year history.

Sotheby’s announced an all-women artist’s auction taking place on March 1 on New York City, “By Women, For Tomorrow’s Women,” organized in partnership with Miss Porter’s School.

Artsy profiles women artists who are transforming gallery walls with murals. “You give women the opportunity to go large-scale, they will do it.”

For the country’s debut at the Venice Biennale, Pakistan will present work by multidisciplinary artist Naiza Khan.

Artist Naiza Kahn wears a navy blue blouse and holds a paintbruch with orange paint on it over a canvas in her studio.

Pakistani artist Naiza Khan will represent the country at the Venice Biennale; © Carlotta Cardana

The Guardian spotlights current exhibitions featuring “some of Latin America’s finest talents,” including Mariana Castillo Deball, Graciela Iturbide, and Beatriz Cortez.

Hyperallergic reviews the new anthology New Media Futures: The Rise of Women in the Digital Arts, deeming it “a valuable tool for those interested in the intersection [of] art, women artists, and technology.”

Artsy explores what the different depictions of Queen Nefertiti say about the way society views gender and race.

Women lead the L.A. Times Book Prize nominations, with Michelle Obama, Susan Orlean, Rebecca Makkai, Tayari Jones, Elizabeth Acevedo, and others up for awards.

Shows We Want to See

Yukultji Napangati’s first U.S. solo exhibition is on view through March 2 at Salon 94 in New York City. A leading figure in Australia’s contemporary Aboriginal painting movement, Napangati’s formally abstract works evoke the vast Western Desert where she was born. “She translates her…intimate knowledge of the desert landscape into hypnotising cartographic compositions of lines and dots in acrylic paint.” For Napangati, the landscape is “charged with layers of mythology and history—carrying The Dreaming of all her ancestors.”

Three of Guo Fengyi's intricate drawings hang on the white walls of the Gladstone Gallery--they are very tall, possibly 7 or 8 feet, and done in earthy, warm color tones. The figures resemble hybrids between animals, monsters, and/or humans.

Installation view of Guo Fengyi at Gladstone Gallery; Photo: Philippe De Gobert; Courtesy of Gladstone Gallery, New York, Brussels

The works of the late Chinese-born artist Guo Fengyi are on view at the Gladstone Gallery in Brussels through March 9. Guo was a self-trained artist who suffered from arthritis and turned to the ancient practice of qi-gong to cope with her ailments. Through qi-gong, she reached varying states of consciousness that she translated into drawings and paintings. Over the years, her work depicted varied subjects: unseen objects such as human organs and energy channels, fantastical or invented subjects, and “vibrant and deeply personal portraits.”

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

Art Fix Friday: February 15, 2019

A portrait of curator Helen Molesworth, who wears a silk bomber jacket and holds her black and white pug in her arms, both staring straight at the camera.

Helen Molesworth and Phoebe, her terrier, 2019; Photo by Catherine Opie

Curator Helen Molesworth speaks about her firing from MOCA LA last year and her current work: a series of podcasts about postwar women artists for the Getty Research Institute, as well as a memoir.

In the piece, author Sarah Thornton describes Molesworth’s history of “curating ambitious shows that disrupted the grand narratives of art history.” Since the early 2000s, Molesworth has tackled forgotten women artists, race, and AIDS.

Front-Page Femmes

Vulture speaks with filmmaker Nikyatu Jusu about “why the future of horror is black and female.”

Time interviews artists—poets Elizabeth Alexander and Kinsale Hueston, visual artist Jenny Holzer, designer Aurora James, and others—about what keeps their creative spirits alive.

Virgin compiled a list of the must-watch emerging black women artists in the UK.

For more than 25 years, architect Zena Howard has addressed “decades of community marginalization, posing design as a collaborative tool for change.”

British-Iranian artist Sarah Maple’s first U.S. solo show, Thoughts and Prayers, presented her “unapologetically feminist work” on religion, politics, immigration, and gender.

Three works by Sarah Maples, one is a white woman standing in front of a pink background holding a sign that says "The opposite of feminist is arsehole." The middle image is a portrait of a woman in a white hijab smoking a cigarette, and the third is a portrait of a woman wearing a black burqa with only her eyes exposed and the words "Read My Lips" in white font over the burqa.

Sarah Maple, The Opposite to a Feminist, Fighting Fire with Fire, and Read My Lips; Photo courtesy of the Untitled Space, New York

Playwright Krista Knight asked for equal pay from the New York Film Academy—then she was fired. The incident highlights “a culture in which artists are made to feel grateful for any opportunities that come their way.”

Washington, D.C., neighborhood blog Bygone Brookland profiles former resident Loïs Mailou Jones and the historic building at 1220 Quincy Street that served as her studio and home.

HowlRound reviews La Ruta, a powerful new play at Chicago’s Steppenwolf Theater that grapples with the ongoing femicide in Mexico’s Ciudad Juarez.

The University of Cambridge Library will exhibit a collection of women’s suffrage posters that have not been on view in 100 years. The one-of-a-kind works showcase “the role of graphic design in early activist art.”

Hyperallergic reviews cartoonist Julie Delporte’s This Woman’s Work, a forthcoming autobiographical comic that explores womanhood and the assumptions we make about gender.

Shows We Want to See

Zilia Sánchez, Lunar con Tatuaje (Moon with Tattoo); Photograph: collection of the artist, courtesy Galerie Lelong & Co, New York

Opening February 16 at the Phillips Collection in Washington, D.C., Zilia Sánchez’s Soy Isla (I Am an Island) is the 92-year-old Cuban artist’s first museum retrospective. The exhibition spans 70 years and features more than 60 works including paintings, works on paper, sculpture, design sketches, and ephemera. A trailblazer of erotic art in the 1960s and ’70s, Sánchez created works depicting lunar shapes, erotic topologies, and tattoo drawings, as well as female warriors and heroines from ancient mythology. “The perseverance and inner strength of a woman is the core message of this work,” says curator Vesela Sretenović.

diane arbus: in the beginning is on view at London’s Hayward Gallery. The exhibition is an “in-depth look at the formative first half of Arbus’s career, during which the photographer developed [her] direct, psychologically acute style.” It features 100 of her photographs of eccentrics, children, couples, circus performers, strippers, and more; the images are “among the most intimate, surprising, and haunting works of art of the 20th century.” On view through May 6.

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

Art Fix Friday: February 8, 2019

The Washington Post profiles Ambreen Butt and Shahzia Sikander, two Pakistani American women artists “reinvent[ing] traditional art with unconventional subjects.”

Ambreen Butt's etching depicts a dragon hovering above a woman wearing a hijab with her head arched back, chest up to the sky. The pale yellow background is patterned with the sketches of hand guns.

Ambreen Butt, Untitled (Woman/Dragon) (from the series “Daughters of the East”) (detail), 2008; Etching, aquatint, spit bite aquatint, drypoint, and hand coloring on paper, 25 x 19 in.; Courtesy of the artist; Photo by Stephen Petegorsky

NMWA hosts Butt’s first solo exhibition in D.C, Ambreen Butt—Mark My Words, in which she uses her training in classical Indo-Persian miniature painting to explore contemporary political narratives. Similarly, Sikander’s work is highlighted at the National Portrait Gallery, where she is the first artist from Pakistan to have her work acquired and displayed by the museum. “As these remarkable artists prove, making one’s mark sometimes means rewriting the rules.”

Front-Page Femmes

Metropolitan Museum of Art curator Carmen Bambach wins the inaugural Vilcek Prize to Support Immigrant Achievement.

Vogue spotlights three female directors who did not receive Oscar nominations this year, but whose work is “on the frontier of changing the face of Hollywood.”

Ivanka Vacuuming, a new performance piece from Jennifer Rubell, opened at Washington D.C.’s Flashpoint Gallery this week to much debate.

A portrait of United States Artists CEO Deana Haggag wearing a hot pink suit and jeweled, chunky soled Gucci sneakers.

Deana Haggag, CEO of United States Artists, in a Rachel Comey suit and Gucci sneakers; Photo by Gabriela Herman

The Cut profiles Deana Haggag, CEO of United States Artists, tireless arts advocate, cancer survivor, and owner of some very fly shoes.

Mexican American writer Sandra Cisneros has won the 2019 PEN/Nabokov Award for Achievement in International Literature. Cisneros’s celebrated body of work is credited with “inspiring a new era of Latinx writers we see emerging today.”

Artsy takes a look at the pioneering work of the women who designed car interiors at General Motors in the 1950s.

The Museum of Modern Art has announced plans to close in the Summer/Fall of 2019 for renovations, a collection rehang, and a renewed focus on women artists, Latin American, and African American art—their exhibition on reopening will feature Betye Saar.

Five female artists talk about the way Los Angeles has influenced their art.

After Sotheby’s Masters Week, artnet asks: Are female old masters an untapped market, or a marketing ploy?

Vice interviews eight black women artists and entrepreneurs about their representation in pop culture and how they are changing the narrative.

Marina Abramović’s new piece, The Life, will be the first large-scale performance presented in the Mixed Reality form, a new technology that merges real and virtual worlds.

Shows We Want to See

A charcoal and colored pencil self portrait sketch by Frida Kahlo titled Appearances Can Be Deceiving. The artist is depicted with her signature braids piled atop her head, the dress she wears is transparant so the viewer can see under she wears her corrective corset. Her sprin is depicted as a steel rod and there are blue butterfly tattoos on her right leg.

Frida Kahlo, Appearances Can Be Deceiving, n.d.; Charcoal and colored pencil on paper; Collection of Museo Frida Kahlo; © Banco de Mexico Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York

Frida Kahlo: Appearances Can Be Deceiving opens today at the Brooklyn Museum—the largest U.S. exhibition of the artist’s work in a decade. The show is the first to include many personal items from Casa Azul, her home-turned-museum in Mexico City, that were rediscovered in 2004. “The objects shed new light on how Kahlo crafted her appearance and shaped her personal and public identity to reflect her cultural heritage and political beliefs, while also addressing and incorporating her physical disabilities.”

Tracy Emin’s new exhibition, A Fortnight of Tears, opened at London’s White Cube gallery this week. An expansive show that includes sculpture, neon, painting, film, photography, and drawing, her works “cover the whole spectrum from loss and pathos to anger, and love.” Emin talked candidly to the Art Newspaper Weekly podcast about the difficult events that inspired the material. “I’ve never been so honest,” she said.

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

Art Fix Friday: February 1, 2019

At 98 years old, Venezuelan-born artist Luchita Hurtado is finally getting her due with her first major retrospective and a string of solo exhibitions this year and in 2020.

Luchita Hurtado stands in her home studio, surrounded by her paintings, many depicting scenes of nature.

Luchita Hurtado in her Los Angeles home studio; Photo by Laure Joliet for the New York Times

The pioneering artist has been “at the forefront of not just spiritual surrealism, but also the environmental and feminist art movements.” Hans Ulrich Obrist, organizer of Hurtado’s upcoming retrospective in London, notes that “she navigated a century of different contexts and played an important role in all of those.”

Front-Page Femmes:

The 2014 recipient of NMWA’s Mellor Prize for distinguished scholarship on women artists, Carole Blumenfeld, has published her book on the 18th- and 19th-century French painter Marguerite Gérard.

Artist Naima Green seeks to update Catherine Opie’s “Dyke Deck,” a set of playing cards that “represented a 1990s West Coast corner of the lesbian scene.” Green wants to include a wider spectrum of queerness.

Patricia McBride Lousada, a founding member of the New York City Ballet and noted cookbook author, has died at the age of 89.

Élisabeth Louise Vigée-LeBrun’s painting Portrait of Muhammad Dervish Khan has sold for $7.2 million at Sotheby’s “The Female Triumphant” sale.

Victoria Beckham stands in a white jumpsuit with a red belt, in front of Élisabeth Louise Vigée Le Brun's Portrait of Muhammad Dervish Khan. Khan holds a sword, wears white, and looks powefully off into the distance.Beckham mimicks his pose.

Victoria Beckham with Élisabeth Louise Vigée Le Brun’s Portrait of Muhammad Dervish Khan at the exhibition for “The Female Triumphant” at Sotheby’s New York; Photo courtesy of Tom Newton

Artsy explores how nuns have shaped the course of art history.

Starting February 24, the Museum of Contemporary Art in Chicago will offer discounted admission for visitors who believe the gender pay gap has negatively affected their earnings. The move coincides with a Laurie Simmons retrospective.

The Mellon Foundation has released the second iteration of their 2015 survey on museum diversity, finding that more people of color were hired in 2018, and more women stepped into leadership positions.

Heather Harmon has been named deputy director of the forthcoming Las Vegas branch of the Nevada Art Museum.

Influential artist and designer Florence Knoll Bassett has died at age 101.

Hyperallergic reviews Yes, and the body has memory, a group show of women photographers who explore trauma, family, ancestry, and the female body.

At the recent Talking Galleries symposium, economist Clare McAndrew reported her findings that the more established a woman artist becomes, the less likely she is to find gallery representation.

The Guardian reports on the upsurge in exhibitions of work by women artists, but asks: will they stay on the walls once the trend for representation has passed?

Polish art collector Grażyna Kulczyk has created a haven for women artists in a tiny Swiss village, Muzeum Susch.

Shows We Want to See:

At the Art Gallery of Ontario, Mickalene Thomas: Femmes Noires is on view until March 24. The expansive exhibition—Thomas’s first solo showing in Canada—includes her vibrant paintings, silkscreens, photographs, time-based media, and site-specific installations—all exploring how Black women are represented in art and pop culture.

Mickalene Thomas's piece Diahann Carroll #2, a closeup of a black woman's face in grey-scale.

Mickalene Thomas, Diahann Carroll #2, 2018, Silkscreen ink on acrylic on mirrored mounted on wood panel; Courtesy of the artist and Galerie Nathalie Obadia, Paris/Brussels; © Mickalene Thomas / SOCAN (2018)

Annabeth Rosen: Fired, Broken, Gathered, Heaped, the first major museum survey of the critically acclaimed ceramicist, is on view until March 10 at the Cranbrook Art Museum in Michigan. The exhibition includes more than 20 years of her work and demonstrates Rosen’s ability to “push the medium beyond spectacle and into dialogues about feminist thought, labor, and endurance.”

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

Art Fix Friday: January 25, 2019

Musician Brenda Navarrete; Photo: Rose Marie Cromwell

Cuban jazz artist Brenda Navarrete; Photo: Rose Marie Cromwell

The New Yorker profiles five female jazz musicians emerging from Havana and reshaping the scene.

While Cuban women have always made their mark on jazz music, they have predominantly been singers or limited to all-female dance bands. The new vanguard includes, among others, multi-instrumentalist Brenda Navarrete, who has mastered at least twelve instruments, including the traditional batá drum, which women are often prohibited from playing.

Front-Page Femmes

Forbes profiles NMWA’s newly reinstalled collection. “The goal was not just to show ‘new’ art, but to highlight women artists’ exceptional range of approaches and mediums,” explained Deputy Director for Art, Programs, and Public Engagement/Chief Curator Kathryn Wat.

The Atlantic examines the ways that the three female actresses in the Oscar-nominated film The Favourite use their bodies to “rage against expectations of courtly decorum…as they navigate the halls of power.”

The celebrated poet Mary Oliver, renowned for her meditations on the natural world, has passed away at the age of 83.

While SheBuiltNYC succeeded in getting approval for its plan to build a permanent statue of Shirley Chisolm in Brooklyn’s Prospect Park, their original proposal intended to shift the masculine paradigm of singular statues by honoring the collaborative efforts of women with a group statue.

Black Girl Nerds lists all of the films at the 2019 Sundance Film Festival directed by women. This comes on the heels of the Oscar nominations, which did not include any nominations for women directors.

Jenny Holzer, from Inflammatory Essays, 1979–82; Courtesy of the artist; Image © Jenny Holzer, member Artists Rights Society (ARS)

Jenny Holzer, from Inflammatory Essays, 1979–82; Courtesy of the artist; Image © Jenny Holzer, member Artists Rights Society (ARS)

Artsy looks at Jenny Holzer’s “Inflammatory Essays” (1979–82), seemingly timeless and re-contextualized in America’s current political climate.

The Art Newspaper Podcast discusses the growing movement to bring female Old Masters to prominence, and the signature faking that kept 17th-century artist Judith Leyster out of the spotlight.

Actress and comedian Jessy Yates is the first recipient of the Yale School of Drama’s scholarship for actors with disabilities.

United States Artists announced its 2019 winners, including Simone Leigh, Juliana Huxtable, Wu Tsang, Cecilia Vicuña, and more. Winners receive $50,000 in unrestricted funding.

Shows We Want to See

At Tulane University’s Newcomb Art Museum, formerly incarcerated women team up with more than 30 artists to portray the challenges women in the prison system face. Per(Sister): Incarcerated Women in Louisiana, features artwork that highlights the lasting impact of long-term incarceration on women and their families. “The show…comes at a time when our nation, states, and local communities are grappling with how to have collective and constructive conversations about the issue of mass incarceration,” says museum spokeswoman Miriam Taylor.

From She Persists: A Century of Women Artists in New York at Gracie Mansion: left, Betty Parsons, “Brick in the Sky” (1968); center, Simone Leigh, “The Village Series #7” (2019), stoneware; right, Alice Neel, “Ginny and Elizabeth” (1975); Photo: Tawni Bannister for the New York Times

From She Persists: A Century of Women Artists in New York at Gracie Mansion: left, Betty Parsons, “Brick in the Sky” (1968); center, Simone Leigh, “The Village Series #7” (2019), stoneware; right, Alice Neel, “Ginny and Elizabeth” (1975); Photo: Tawni Bannister for the New York Times

At Gracie Mansion, the residence of the Mayor of New York, She Persists: A Century of Women Artists in New York is on view through January 2020. Including works by 44 artists and collectives, the show is the largest to be mounted at the mansion and the first to highlight women artists. First lady Chirlane McCray said, “The exhibit is really important at this time, given the #MeToo movement, the centennial anniversary of the suffrage movement, [and] the historic number of women running for office.”

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