Art Fix Friday: January 13, 2017

As the Women’s March on Washington approaches, The Huffington Post highlights NMWA’s Free Community Weekend and special “Nasty Women” tour on Sunday, January 22nd.

ARTnews shares a list of museum statements, closures, and admissions policy changes for January 20th and the following weekend.

Artists Jayna Zweiman and Krista Suh organized the Pussy Hat Project for the Women’s March on Washington, offering free patterns to knit hats.

Out of more than 5,000 art submissions by women, the Amplifier Foundation selects the eight poster designs for the march. Five of the posters are available for free online.

Front-Page Femmes

The Tate plans to appoint Maria Balshaw as its first female director since the museum’s founding in 1897.

The Isabella Stewart Gardner Museum installs an enlarged version of a miniature painting titled I Need a Hero by Pakistani artist Ambreen Butt.

Brain Pickings examines Simone de Beauvoir’s perspective on the role of chance and choice in life.

Genevieve Gaignard “fearlessly examines America’s heart” through exploring different personas.

A crowdfunding campaign is underway to create a memorial for Fanny Cornforth’s unmarked grave. Cornforth was best known as one of Pre-Raphaelite painter Dante Gabriel Rossetti’s favorite models.

Juxtapoz features LaToya Ruby Frazier’s award-winning first book, The Notion of Family, exploring the economic decline of her hometown of Braddock, Pennsylvania.

Women Who Draw, a new website, showcases the work of women illustrators and allows the artists to highlight different aspects of their identity.

The Guardian shares ten books by “wild women” who transgressed social, personal, and literary boundaries, including works by Leonora Carrington, Margaret Cavendish, and Audre Lorde.

Daliyah Marie Arana, the four-year-old girl who has read more than 1,000 books, shadows Librarian of Congress Carla Hayden as “librarian for the day.”

Tracee Ellis Ross won a Golden Globe for her role in the television series Black-ish and dedicated her award to women of color.

La Medea, a new production by Brooklyn-based artist Yara Travieso, “combines dance, interactive theater, live music, film, and live broadcasting, creating a genre of art all its own.”

Artsy explores the importance of feminist art that transcends boundaries race, gender, and class.

Hyperallergic explores recent documentaries about well-known painters Elizabeth Murray and Carmen Herrera.

Shows We Want to See

The exhibition Room showcases 15 private, emotionally charged spaces created by women artists, including works by Nan Godin, Louise Bourgeois, and Francesca Woodman.

The Whitechapel Gallery commissioned the Guerrilla Girls to conduct a survey on gender and racial inequality in European art institutions. The resulting exhibition shows that little has changed since their 1986 campaign “It’s Even Worse in Europe.”

Hyperallergic reflects on Kara Walker’s “tumultuous charcoal drawings” featured in a recent exhibition at the Cleveland Museum of Art.

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

Art Fix Friday: July 22, 2016

Eighteen women artists share advice for young artists in an article for artnet.

Ebony G. Patterson says, “Being an artist is not a sprint, it’s a marathon” while Marilyn Minter encourages young women artists to “Go with your gut, even if it goes against all rational thinking.” Mariko Mori imparts, “Never compare your career with other artists.”

Front-Page Femmes

Mexican artist Teresa Margolles builds a concrete shelter in Echo Park incorporating debris from homicide scenes as a monument to 100 forgotten victims.

The Washington Post interviews Iranian artist Atena Farghadani, who was released from prison two months ago.

Greek artist Despina Stokou writes an article about navigating art-world sexism.

Hyperallergic reviews The Woman Destroyed, featuring works related to femininity and the deconstruction of the female body within art history.

MoMA acquired Faith Ringgold’s American People Series #20: Die, which was on view at NMWA in 2013.

Slovakian artist Mária Švarbová stages eerie photographs of pastel-colored swimming pools.

Niki de Saint Phalle’s previously unseen works are on view in London.

Activist and comic Joyce Brabner says, “Any work a woman does has value.”

Louise Hearman won the 2016 Archibald prize.

Amy Cutler collaborated with a musician and a stylist for an interactive installation involving 800 feet of braided hair.

Juxtapoz highlights Rachel Kneebone’s fractured porcelain figures.

Google commissioned two women artists to create a mural using spreadsheets.

Japanese artist Yayoi Kusama illustrated The Little Mermaid.

Dorothea Tanning’s 1969 soft-sculpture “suggests a domestic world where desire finds odd outlets and fetishes take hold.”

Seattle-based artist Kate Alarcón transforms paper materials into flowers.

Women writers like H. M. Ward find success by self-publishing their work online.

More than 150 literary figures call for the release of imprisoned Palestinian poet Dareen Tatour.

Cyntha Ozick discusses reading as a child and how to create good villains.

Filmmaker Rebecca Miller discusses her fifth feature film, Maggie’s Plan.

Ava DuVernay’s new documentary explores the U.S.’s sky-high incarceration rate.

Screenwriter Melissa Mathison, best known for E.T., passed away before the completion of The BFG.

Six hundred pieces of music left behind by Jane Austen’s family are now available online.

The all-female Ghostbusters movie earned $46 million in its opening weekend.

Shows We Want to See

Alma Thomas at the Studio Museum in Harlem features works from every period of the artist’s career—including a work on loan from NMWA. ARTnews shares review excerpts from their archives about Thomas’s colorful abstractions.

Hyperallergic reviews Generations: Joyce J. Scott | Sonya Clark and writes that Scott “challenges art world taboos against beauty and humor.”

Whitechapel Gallery will host the first U.K. exhibition of the Guerrilla Girls—or “feminist masked avengers”—titled Is It Even Worse in Europe?

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

Art Fix Friday: January 22, 2016

After Saatchi Gallery’s Champagne Life exhibition announcement, the Guardian expresses mixed-feelings and Broadly writes that “all-female group shows may have to be a necessity until equilibrium has been achieved.” In an interview with ArtinfoSaatchi Gallery Director and Chief Executive Nigel Hurst said, “the majority of women artists do have to keep more plates spinning.”

Front-Page Femmes

Marina Abramović trains a group of Greek performance artists for a large-scale performance project at the Benaki Museum in Athens.

In tragic news, 33-year-old French-Moroccan photographer and video artist Leila Alaoui died from injuries sustained during a terrorist attack in Burkina Faso. Best known for her portraits of Moroccans and migrants, Alaoui sought “to give life to the forgotten.”

The Atlantic delves into scientific illustrations by 17th-century naturalist artist Maria Sibylla Merian and writes, “One hundred and fifty years before Charles Darwin wrote his Origin of Species, Merian knew nature well enough to depict it as a constant struggle for survival.”

The Red Sand Project asks participants to fill cracks in local sidewalks with red sand as a metaphor for the millions of trafficked people who “fall through the cracks.”

A new Google Doodle celebrates Swiss Dada artist Sophie Taeuber-Arp and her “joyous abstractions.”

The Guerrilla Girls challenge the art-world status quo in Minnesota with a series of “takeover” events.

Works by Mickalene Thomas, on view at Aperture Gallery, explore Thomas’s various approaches to art making and background in photography.

The San Francisco Chronicle explores Black Salt, a women’s artist collective that sheds light on artists of color, queer artists, and other artists who are “on the periphery of museum culture.”

Abeer Bajandouh, a 27-year-old Saudi freelance photographer and educator, explores themes of identity and immigration.

Bonhams addresses gender imbalance in the art world by dedicating a section of its upcoming sale to a selection of women artists.

Vogue creative director Grace Coddington scales back her role after more than 25 years at the magazine.

The New York Times reviews Golden Globe-winning comedian Rachel Bloom’s series.

In a discussion about women choreographers, the Guardian describes “a gender imbalance so egregious, and of such long standing, that it shames the British dance establishment.”

Chicken & Egg, an organization dedicated to supporting female documentarians, announces Kristi Jacobson, Julia Reichert, Yoruba Richen, Elaine McMillion, and Michèle Stephenson as its five grant award recipients.

Colossal shares behind-the-scenes work of three women animators.

Shows We Want to See

Hyperallergic explores stand-out artwork in No Man’s Land and also discusses the challenges in presenting work by 100 women artists.

An exhibition in Berlin presents new paintings and works on paper by 81-year-old British artist Rose Wylie.

WOMEN: New Portraits features newly commissioned photography by Annie Leibovitz as a continuation of a project that began over 15 years ago.

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

Art Fix Friday: October 30, 2015

Halloween Headlines 

Los Angeles–based artist and photographer Christine McConnell transformed her parents’ house into a spooky setting inspired by the 2006 animated feature Monster House.

NPR interviews author Stacey Schiff and reviews The Witches: Salem, 1692, as “engagingly thorough, thrillingly told, and bracingly authoritative.”

Next month, Louise Bourgeois’s Spider (1997) goes to auction with a low estimate of $25 million and a high estimate of $35 million. It might surpass the record holder, Georgia O’Keeffe’s Jimson Weed/White Flower No. 1, which sold last year for $44.4 million.

NPR asks writer Veronique Tadjo and Harvard professor Maria Tatar why old women are often evil in fairy tales and folklore.

Front-Page Femmes

Nigerian-born artist Njideka Akunyili Crosby wins the $50,000 Wein Prize from the Studio Museum in Harlem.

An 1843 sketch of Charlotte Brontë is revealed to be a self-portrait.

The Huffington Post explores how some prominent women artists, including Helen Frankenthaler, did not like to be labeled as such.

Pioneering Korean painter Chun Kyung-ja—best known for her vivid paintings of women and flowers—died at the age of 91.

Cleaners in an Italian museum threw away an avant-garde art installation by Sara Goldschmied and Eleonara Chiari—believing it was garbage.

The Guerrilla Girls launch a line of towels, hankies, and mugs for sale at MoMA.

Iranian-born journalist Khazar Fatemi’s short video series captures the stories of women in Afghanistan, Turkey, Syria, and Iraq.

Musician and actor Carrie Brownstein’s memoir, Hunger Makes Me a Modern Girldiscusses her upbringing, the break-up of her band, and her personal “battle waged on the body.”

Pulitzer prize-winning author Alice Walker refused a request to publish an Israeli edition The Color Purple because she believes the country “is guilty of apartheid and persecution of the Palestinian people.”

Vogue releases a clip of the new documentary focused on Dr. Maya Angelou.

One of only two female directors currently at Disney Television Animation, Aliki Theofilopoulos talks about perseverance in the animation industry.

Shows We Want to See

The Hirshhorn Museum and Sculpture Garden showcases chapters one through three of Shana Lutker’s Le “NEW” Monocle. Influenced by surrealists’ fistfights, Lutker’s work is divided into eight parts, each featuring a piece of writing, a group of sculptures, and a performance.

The World Chess Hall hosts Ladies’ Knight: The Female Perspective on Chess, featuring 12 women’s works, which range from a standard chess-board to large video installations.

After a near-fatal car accident, multimedia artist Howardena Pindell focused on recapturing her past—as seen in her abstracted “Autobiography” series on view at Spelman College Museum of Fine Art.

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

Art Fix Friday: October 23, 2015

Today, powerhouse British vocalist Adele released “Hello”—her first song in three years.

Next month, the Grammy-winning artist will release her first album after almost five years. The New York Times explores “Hello” as the first music video filmed with IMAX cameras. The Telegraph calls the single a “supremely confident comeback, a monster ballad.” Forbes predicts the songstress’s new album will become the bestseller of 2015 in only five weeks. Together, Adele’s past two albums reached over 13 million in record sales—less than two million behind the combined five albums by Beyoncé.

Front-Page Femmes

Art collector and Walmart heiress Alice Walton wants to change the art world. Walton cares about “access to the arts for all people.”

With a no-shoes and no-phones policy, Amalia Ulman screens her latest video work at Frieze London.

17th-century illustrator and naturalist Maria Sibylla Merian devoted her life to the scientific study of live insect specimens.

Seattle-based artist Carol Milne creates knitted glass sculptures.

Jennifer Angus installs a trompe l’oeil wallpaper at the Smithsonian’s Renwick Gallery using 5,000 weevils, beetles, cicadas, and other insects.

Michelle Angela Ortiz makes large-scale public artworks around Philadelphia based on stories of undocumented families whose lives were affected by deportations.

London-based Bulgarian artist Gery Georgieva incorporates folk culture in her reinterpretation of “Single Ladies.”

The Huffington Post describes how Yayoi Kusama’s immersive installations beg to be photographed.

Feminist graffiti artist Bambi tells The Guardian, “I want to save the world and that’s why social commentary is always present in my work.”

Hyperallergic interviews Guerrilla Girls Käthe Kollwitz and Frida Kahlo.

Washington Post dance critic Sarah Kaufman’s new book explores the early years of Motown.

NPR reviews the latest mystery novel by J.K. Rowling—published under her pseudonym, Robert Galbraith.

D.C.’s Women’s Voices Theater Festival shows “gender parity is possible.”

Room author and screenwriter Emma Donoghue discusses her “deeply feminist” film and gives advice for women breaking into the male-dominated film industry.

Slate explores Jennifer Lawrence’s essay about gender disparities in actors’ pay.

Filmmaker Laurie Anderson’s Heart of a Dog is a personal film about “forgetting and resurrecting.”

Shows We Want to See

The Reginald F. Lewis Museum hosts Ruth Starr Rose (1887–1965): Revelations of African American Life in Maryland and the World. Featuring large-scale paintings, portraits, and illustrations, the exhibition offers a rare glimpse into African American life at the turn of the 20th century.

Hyperallergic highlights the New York Public Library’s exhibition about forgotten women printmakers from the 16th through 19th centuries.

The Museum of Contemporary Art Tokyo showcases pictures by Yoko Ono taken from her New York apartment. ArtInfo says the show “suggests both a view of artistic practice from Ono’s unique perspective but also the transparent, participatory elements of her work.”

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

Art Fix Friday: September 25, 2015

The 2015 Emmy Awards were the most inclusive yet for women. Bustle notes, “Although Hollywood has never been the best when it comes to the representation of women, recent years have marked some real change.”

  • Fifteen of the 18 Leading Actress nominees in comedy, drama, and mini-series were women over the age of 35.
  • Allison Janney won her seventh Emmy, tying her for most performance Emmy wins.
  • Amy Schumer won for Outstanding Variety Sketch Series.
  • Red carpet interviewers #AskHerMore, focusing on women’s careers over looks.
  • Viola Davis became the first black woman to win for Best Actress in the drama category.

Front-Page Femmes

Hyperallergic investigates Jackie Saccoccio’s massive paintings “dominated by drips and spatters and networks of bleeding color.”

“It’s the language of Pop telling another story: the story of politics, feminism,” says the Tate Modern’s director about The World Goes Pop.

The Walker Art Center shares 11 Guerrilla Girls posters.

The Huffington Post shares a comedic cartoon featuring Frida Kahlo.

ARTINFO continues to share its list of the 25 most collectible midcareer artists with sonic and visual artist Jennie C. Jones.

The Gallery Weekend Budapest festival of Hungarian contemporary art mostly featured work by women artists.

Hyperallergic reviews a new book and exhibition based around Mary Ellen Mark’s documentary photographs. Mark’s photos “tell a larger story about individuals facing adversity in its myriad forms—poverty, natural disaster, family dysfunction, disability, and so on.”

A Los Angeles art gallery for women, trans, and queer artists, Heart of Art Gallery, was forced to shut down due to harassment and threats.

Self-taught artist Noell Osvald creates bold works through simple gestures performed in black and white.

Brands are selecting more female athletes for endorsement deals.

Artistic directors for ballet troupes are mostly men.

Feminist punk band Hemlines released its first official EP, All Your Homes, today.

Gaia Vince won the Royal Society Winton Prize for Science Books in 2015—as the first woman to win the prize in its 28-year history. The Guardian discusses why women don’t win science book prizes.

The New Yorker explores the work of crime writer Vera Caspary.

Shows We Want to See

“Countless female artists have been ignored, forgotten, and stepped on.” Hyperallergic announces that the Denver Art Museum (DAM) will host an exhibition of works by 12 women Abstract Expressionists opening in June 2016.

SculptureCenter in Long Island City features projects exclusively by women artists in 2016—an unintentional effect of the museum’s goal to “show work that has merit and doesn’t have enough attention, and that happens to be more true for women than men because they don’t get a lot of visibility in the art world.”

A new retrospective of Yayoi Kusama’s six-decade-long career includes early works that have never been exhibited.

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

Art Fix Friday: August 7, 2015

“To me, they are art world royalty,” said a Whitney Museum curator about the famous feminist art collective.

The Guerrilla Girls posted a video of themselves celebrating their 30th year. Several members, including those with the pseudonyms “Frida Kahlo” and “Käthe Kollwitz,” talk to The New York Times about the continuing gender inequities in the art world.

The New York Times charts the Guerrilla Girls’ evolution. After three decades, their mission for equality is far from over. The group first collaborated in 1985 in response to a MoMA exhibition featuring 165 artists—less than ten percent of whom were women.

Joyce Kozloff recaps her meeting with Georgia O’Keeffe in the artist’s home in 1972.

Artnews visits sculptor Ursula von Rydingsvard in her Brooklyn studio.

Hyperallergic finds only five public statues of historical women in New York City.

In honor of the Tate Modern retrospective of Agnes Martin, Artnews posts a throwback article about the artist’s minimalist grid paintings.

A new anti-street harassment mural is unveiled outside a Brooklyn grocery store.

The New Yorker article “A Ghost in the Family” shares how artists Clare Rojas and Barry McGee formed a family around McGee’s daughter by his first wife, artist Margaret Kilgallen, after Kilgallen’s tragic death.

Artist Maxine Helfman’s “Historical Correction” series re-creates old Flemish portraits by replacing the posed subjects with men and women of color.

A new study says women make up 60% of museum staffs, but minorities only account for 28% of positions.

“Word to The Woman”—Solange Knowles’s newest collaboration with Puma—features 14 innovative women from different backgrounds.

Artnet celebrates artist Hedda Sterne’s birthday with six of her most famous quotes.

The Independent analyzes the role and prevalence of female comics in Hollywood.

Here She Comes Now: Women in Music Who Have Changed Our Lives features essays by 22 writers, most of them women.

The Guardian reviews five female-friendly comic book film adaptations.

Covered in Ink surveys numerous ways women in [tattoo] culture are marginalized.”

The Guardian posts an obituary for film noir star Coleen Gray.

Shows We Want to See

Curators Day + Gluckman features 24 women artists that provide “a snapshot of the evolving conversations that continue to contribute to the mapping of a women’s place in British society.”

One of the newest contemporary art galleries in Los Angeles exhibits works by eight women artists.

Swedish artist Hannah Liden’s bagel sculptures are installed at three New York locations.

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