ARTnews shares a list of museum statements, closures, and admissions policy changes for January 20th and the following weekend.
The Tate plans to appoint Maria Balshaw as its first female director since the museum’s founding in 1897.
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.