Art Fix Friday: January 6, 2017

Carmen Herrera, now 101 years old, discusses her career with the Guardian. Herrera recalls the obstacles she faced as a woman artist in the mid-20th century. She explains, “Because everything was controlled by men, not just art.”

Herrera famously sold her first painting at age 89. The Huffington Post discusses her solo show Lines of Sight at the Whitney Museum of American Art, on view through January 9, 2017.

Front-Page Femmes

The Women’s March on Washington, in collaboration with the Amplifier Foundation, asks for art submissions to be used on posters and banners during the march. The deadline is 2 p.m. on Sunday, January 8, 2017.

She Who Tells a Story artist Shirin Neshat describes her photograph Speechless from the series “Women of Allah.” Neshat says, “It’s usually printed larger than life—so that when someone stands in front of it, the gun is pointing straight at their stomach.”

Barbara Jatta is the first woman to direct the Vatican Museums.

The Guardian features vivid, abstract paintings by Sandra Blow.

Leila Abdelrazaq draws comics representing the experiences of Palestinian refugees and immigrants.

Wiebke Maurer sculpts place settings in gold and silver filigree.

Artsy highlights eight women who turned food into feminist art.

Bustle reviews the film Hidden Figures, based on Margot Shetterly’s book about the black women mathematicians who helped make space flight possible.

The New York Times interviews Ruth Negga about her leading role in the film Loving.

Alexis Arnold poses discarded books and covers them in borax crystals.

New York’s Second Avenue Subway features expansive public art installations by Sarah Sze and Jean Shin.

NPR remembers Debbie Reynolds and Carrie Fisher.

Beyoncé will be the first black woman to headline the music festival Coachella.

Actress Marlene Dietrich accumulated a massive collection of books and left handwritten notes in many of them.

NPR records Angel Olsen performing her song “Give It Up” in a church in the Bronx.

“Horror creeps into the most ordinary lines” in the novel Fever Dream by Argentinian author Samanta Schweblin.

In her new short story collection, Difficult Women, Roxanne Gay explores “stories of women who go to impossible places but are fighting to find their way back.”

Shows We Want to See

Nina Chanel Abney: Royal Flush, opening next month at the Nasher Museum of Art, features around 30 of Abney’s paintings. “Through her monumental paintings, Abney gives us the chance to have a meaningful conversation about issues of racial violence and social justice.”

The Creators Project interviews the co-directors of the crowd-sourced NASTY WOMEN Exhibition. The Huffington Post shares a small selection of the featured works submitted by 694 artists.

The Georgia Museum of Art features kinetic sculptures by New Orleans-based artist Lin Emery. “Executed in either polished or brushed aluminum, the sculptures take their cue from music, dance, and natural forms.”

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

Art Fix Friday: December 4, 2015

The significant number of works by women at this year’s Art Basel Miami Beach has the art world buzzing.

Highlighting a handful of young artists at the main fair, The Wall Street Journal includes noteworthy Moroccan artist Yto Barrada’s exhibit evoking a natural-history museum and Mexican artist Fritzia Irizar’s gold-threaded Phrygian hat.

The Frisky lists 15 works by women artists who exhibited at Art Basel, including Hannah Wilke, Helen Frankenthaler, Marina Abramović, and Kara Walker. The Observer also selects seven must-see booths, including works by Rosalyn Drexler, Louise Nevelson, Emily Sundblad, and Zilia Sánchez.

A showcase by collectors Don and Mera Rubell, No Man’s Land, presents work by more than 100 women artists. The Guardian writes, “The whole presentation works more than fine as an art world cross-section, and you really don’t miss the men.”

Front-Page Femmes

Three decades after her tragic death, Cuban-American artist Ana Mendieta “seems to inspire, generally: devotion, even obsession.”

Hyperallergic explores the fluid, abstract works of Philadelphia-based painter Jan Baltzell.

Examining femininity and domesticity, Patty Carroll’s “Anonymous Women” photos depict textile-cloaked women blending into their environments.

Dickey Chapelle, the first American woman photojournalist killed in action, captured historical moments from Iwo Jima to the Vietnam War.

This year’s Pirelli calendar—famous for featuring sexualized, nude models—features women role models under the direction of photographer Annie Leibovitz.

B.A. Shapiro’s new novel, The Muralist, tells the fictional story of two Abstract Expressionist painters.

Slate writer Anne E. Fernald traces the links between Gertrude Stein and Goodnight Moon author Margaret Wise Brown.

Known for her pioneering work in Islamic feminism, Moroccan writer and sociologist Fatima Mernissi died Monday at the age of 75.

Orange Is the New Black actress Uzo Aduba discusses acting, smiling, and her ten-year ice skating career.

Critiquing Hollywood image and weight standards for actresses, Star Wars star Carrie Fisher says, “They don’t want to hire all of me—only about three-quarters! Nothing changes, it’s an appearance-driven thing.”

A new play for the Royal Shakespeare Company, written by Helen Edmunson, delves into Queen Anne’s relationship with the aristocrat Sarah Churchill.

Blank on Blank animates an interview with Nina Simone and European jazz singer Lillian Terry, which progresses from a discussion of pop culture to violence.

Shows We Want to See

Haunting panel scenes by married artists Iri and Toshi Maruki encapsulate the horrors they witnessed three days after the atomic bomb exploded in Hiroshima in 1945.

Hyperallergic reviews Mary Heilmann’s works, which combine “a do-it-yourself ethic with a vision of unconventional domesticity.”

A Georgia O’Keeffe retrospective in Grenoble, France includes O’Keeffe’s paintings alongside the works of her contemporaries. The Huffington Post explores the exhibition’s abstracted floral imagery and the artist’s success in “escaping the classic images of female sexuality.”

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