Art Fix Friday: February 10, 2017

In an article examining gender bias in the art world, the Guardian writes, “The imbalance is systemic, and exists not just in the enormous gaps that are evident in the collections of publicly funded institutions.”

Front-Page Femmes

The Creators Project shares photography from NMWA’s collection on view at Whitechapel Gallery in London for Terrains of the Body.

The Art of Beatrix Potter chronicles Potter’s evolution from a naturalist to an expert artist and wildly successful author of children’s books.

Ann Carrington arranges hundreds of spoons, knives, and forks to re-create elegant bouquets.

Art historian and critic Dore Ashton passed away at the age of 88. The New York Times, Wall Street Journal, and Hyperallergic reflect on her life and career.

Augusta Savage (1892–1962) used sculpting “as a vehicle for challenging racial discrimination.”

The Dia Art Foundation acquired six works by Anne Truitt.

Hyperallergic writes that Eleanore Mikus “seems to have thoroughly vanished” from art history texts.

In Radical Love: Female Lust women artists interpret ancient Arabic poetry through “visualizing desire and worship in a dizzying array of manifestations.”

British artist Tracey Emin is funding a four-year scholarship for a refugee student at Bard College Berlin.

Art in America features Nicole Macdonald’s Detroit murals.

The Museum of Modern Art joins the Art+Feminism Wikipedia Edit-a-Thon.

Kara Walker painted a monumental work, alluding to Emanuel Leutze’s Washington Crossing the Delaware (1851).

A new website features work by more than 400 women photojournalists from 67 countries. The site’s creator discusses the “very paternalistic thread that exists within the news photography community” as well as a “growing empathy gap.”

The Metropolitan Opera recently presented the second of only two operas composed by women in the venue’s history.

Maira Kalman narrates a morning workout at the Metropolitan Museum of Art.

The New York Times highlights the women working behind the scenes of Star Wars.

Margaret Atwood’s 1985 novel The Handmaid’s Tale tops Amazon’s bestseller lists.

Shows We Want to See

The Guardian shares highlights from an exhibition of Hannah Gluckstein, or “Gluck,” who was known for her “emotive, humanistic paintings.”

Yayoi Kusama: Infinity Mirrors will open at the Smithsonian’s Hirshhorn Museum and Sculpture Garden on February 23rd. The Huffington Post and The Wall Street Journal discuss the exhibition and Kusama’s successes.

IWM Contemporary: Mahwish Chishty, on view at The Imperial War Museum, combines military drone imagery with Pakistan’s folk art traditions.

Mierle Laderman Ukeles has been an artist in residence at New York City’s Department of Sanitation for the last 39 years. The Queens Museum hosts the artist’s first retrospective.

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

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: October 21, 2016

Ava DuVernay’s new documentary 13th explores how the U.S. became the country with the world’s largest prison population—and why a disproportional number of those prisoners are black.

The film borrows its title from the 13th amendment to the constitution, which outlawed slavery but left a loophole. NPR calls it the film a “searing, opinionated interpretation of American history.” The Guardian writes that DuVernay leans on “eloquent talking-head interviews and well-sourced archive material” to study the links between slavery, segregation, and mass incarceration.

Front-Page Femmes

Victoria and Albert Museum curator Sonnet Stanfill discusses gender imbalance in art museum leadership. NMWA Director Susan Fisher Sterling adds that “women still have a long road ahead of them to gain gender parity in the museum world.”

NO MAN’S LAND artist Anicka Yi received the 2016 Hugo Boss Prize for innovative and influential work in the contemporary art world.

2016 MacArthur Fellow Kellie Jones says, “A lot of women artists don’t get any recognition…their early years are really their 50s or 60s.”

NMWA artist Amy Sherald talks to Baltimore Magazine about her education, heart failure, and professional success.

Yoko Ono unveiled her first permanent art installation in the U.S.

Hyperallergic writes, “Decades before other artists, [Florine] Stettheimer depicted a number of challenging subjects that remain controversial and relevant today.”

Artist Nidaa Badwan created a photo series chronicling 20 months she spent in self-imposed quarantine during the Israel-Gaza conflict.

Madame Tussauds in Hong Kong will open a Yayoi Kusama “artistic themed zone.

British artist Lucy Sparrow created bodies of work that consist of more than 4,000 items made entirely of felt.

Japanese paper artist Chie Hitotsuyama creates textured sculptures of animals using rolled strips of wet newspaper.

Hauser Wirth & Schimmel will feature NO MAN’S LAND artist Isa Genzken’s I love Michael Asher.

Photographer Beth Moon documents the world’s oldest trees in her new book Ancient Skies, Ancient Trees.

A new animated biopic offers insight into Hokusai’s work through the life of his daughter, an artist in Edo-era Japan.

Six female artists, including NO MAN’S LAND painter Elizabeth Peyton, discuss Bob Dylan’s influence.

Actress Kathleen Turner discusses The Year of Magical Thinking, a play based on Joan Didion’s 2005 memoir.

Shows We Want to See

The Louisiana Museum of Modern Art near Copenhagen hosts Louise Bourgeois. The Structure of Existence: The Cells, showcasing 25 of the artist’s powerful installations. Referred to as “cells” by Bourgeois, each work “is an independent spatial unit filled with carefully arranged objects which create different scenarios.”

Feminist Avant-Garde of the 1970s at The Photographers’ Gallery features the work of 45 female artists from across the world, including Cindy Sherman, Francesca Woodman, and Hannah Wilke.

Grandma Moses: American Modern is on view at the Shelburne Museum. Hyperallergic writes, “The Grandma Moses story reads a lot like an artist’s fairy tale.”

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

Art Fix Friday: September 2, 2016

Last Sunday, more than 700 women artists gathered outside of Hauser Wirth & Schimmel in Los Angeles for a group photo. The Huffington Post, Los Angeles Times, and Artsy shared the story. The Art Newspaper called the event a “wake-up call that women artists still have a long way to go. It’s not a question of making history—it’s a question of fighting it.”

Artist Kim Schoenstadt began the project, Now Be Here, by emailing 200 of the city’s artists, who in turn forwarded the email to others. The gathering was, in part, inspired by Hauser Wirth & Schimmel’s current exhibition Revolution in the Making: Abstract Sculpture by Women, 1947–2016.

Front-Page Femmes

Frances Morris, the head of Tate Modern, says the art world is “still a boys’ club.”

Hyperallergic examines Betty Tompkins’s “striking and unapologetic” works.

NO MAN’S LAND artist and Turner Prize nominee Helen Marten discusses how her assemblages defy easy categorization.

Hyperallergic discusses the “raw tenderness and explicit sexuality” in Catherine Opie’s intimate photographs.

Multimedia artist Wendy Red Star talks about contemporary Native American art, her artistic practice, and collaborating with her daughter.

As part of Simone Leigh’s The Waiting Room, the Black Women Artists for Black Lives Matter collective unites against “institutionalized violence that continues to plague black communities.”

Juxtapoz shares Erika Lizée’s “ominous and mysterious” trompe-l’oeil installation.

Amber Cowan fuses fragments of vintage glass to create complex vessels and sculptures.

“Random items in Fluxus spirit exemplifies that everything is art” in Alison Knowles’s exhibition at the Carnegie Museum of Art.

The Art Newspaper and the Guardian explore Björk’s new exhibition.

In her series “Doubles,” Miranda Barnes explores the friendship between black twin girls.

Olek yarn-bombed a two-story house in Finland with pink crochet.

Costume designer Sandy Powell discusses working with Martin Scorsese, her favorite designs, and her early inspirations.

The New Yorker explores the life and work of piano prodigy Yuja Wang.

Ileana Cabra’s first solo album contains “folk-inspired ballads and infectious Latin jazz standards.”

New Marvel Comics covers show “a diverse field of heroes for the covers.”

Imbolo Mbue’s debut novel, Behold the Dreamers, depicts a “country both blessed and doomed” during the global financial crisis of 2007 and 2008.

The New Yorker shares Bernadette Mayer’s poetry.

NPR shares an interview from October, 2015 with author Gloria Steinem.

Shows We Want to See

Her Crowd: New Art by Women from Our Neighbors’ Private Collections at the Bruce Museum showcases works by established and emerging women artists, including Yayoi Kusama, Kiki Smith, Betye Saar, Dana Schutz, and Tara Donovan.

Visitors wander through a “cardboard labyrinth” to view photographs of hundreds of visitors to the Perth Amboy home in Rachel Harrison’s installation at the Museum of Modern Art (MoMA).

The Norwegian city of Bergen hosts seven exhibitions and events showcasing Lynda Benglis’s works throughout the year.

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

Art Fix Friday: June 17, 2016

Artsy profiles 20 early or mid-career female figurative painters who are “creating inspiring figurative paintings that speak to the present, and offer glimpses into the future.” The list includes NO MAN’S LAND artists Nina Chanel Abney, Hayv Kahraman, and Mira Dancy—as well as NMWA artist Amy Sherald.

Abney’s work “swiftly tackle topics related to race, gender, and politics.” Artsy writes that “a critical mass of female painters are embracing figuration, diversifying it, and pushing the conversation around it forward.”

Front-Page Femmes

“Just Me and Allah,” a photographic series by Samra Habib—a queer Muslim photographer—shares the stories of LBGT Muslims.

Activist groups protest Tate Modern’s new building for the exclusion of works by Ana Mendieta.

Painter Françoise Gilot—now 94 years old—discusses her past with Picasso, her career, and her attempts to buy back her paintings.

Juxtapoz features Brooklyn-based photographer Janelle Jones’s vibrant, candy-colored still-lifes.

Chinese artist Cao Fei is the youngest artist ever selected to create a BMW Art Car.

Yayoi Kusama–In Infinity is the first exhibition to highlight the Japanese artist’s interest in fashion and design.

Artforum shares “A Feminist Guide to Surviving the Art World,” highlighting works by prominent feminist artists.

For her “social sculpture” project, Percent for Green, Alicia Grullón conducts environmental justice workshops, providing a proposal for legislation.

Andra Ursuta’s Alps sculpture resembles a climbing wall—but with penis-shaped holds.

Mika Tajima’s temporary public art project is a hot pink hot tub that releases “techni-color clouds.”

Multidisciplinary artist Ciriza’s work “evokes the slow shedding of human hair and snake skin.”

Xiomara Reyes will become the new director of the Washington School of Ballet.

Teen thriller author Lois Duncan died at the age of 82.

The Atlantic explores how a short-lived 1908s spinoff series, She-Ra, offered an alternative to the male-dominated cartoon world.

Comedian Tig Notaro released her memoir, I’m Just A Person.

The Guardian interviews “punk-poet genius” Patti Smith.

The New Yorker writes that rocker Mitski Miyawaki’s lyrics “invite close readings, examinations that reveal submerged meanings.”

The Los Angeles Times raves about two murals featured in Cindy Sherman: Imitation of Life.

The Atlantic delves into the why Hollywood doesn’t tell more stories for and about girls.

AIGA explores design house Marimekko’s history of being “made for women and run by women”—and how 94% of its employees are women.

Shows We Want to See

Hyperallergic examines (left) and Georgia O'Keefe’s watercolors (right)

Hyperallergic examines Adriana Varejão’s portraits (left) and Georgia O’Keeffe’s watercolors (right)

In Kindred Spirits, Adriana Varejão encourages visitors to guess which portraits are images of native people and which are versions of modernist designs.

Georgia O’Keeffe’s Far Wide Texas examines 51 watercolor paintings O’Keeffe made during her two years teaching in Texas.

Women of Abstract Expressionism at the Denver Art Museum aims to correct the history of the male-dominated art movement. Vogue and the Denver Post interviewed the exhibition’s curator.

The Smithsonian American Art Museum opens The Art of Romaine Brooks.

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

Art Fix Friday: June 3, 2016

The New York Times asks, “Broadway may not be so white, but is it woman enough?” Theater critics Laura Collins-Hughes and Alexis Soloski discussed roles for women.

The Broadway musical Waitress, which just passed the million-dollar mark, and the play Eclipsed feature all-female creative teams. However, “women still lag far behind men as playwrights, composers, directors and designers.” About celebrated roles for women, Soloski says, “This season, I’ve worried that we still need to approach female characters as victims to accept them as heroes.”

Front-Page Femmes

Micol Hebron draws attention to the underrepresentation of women artists in her Gallery Tally project. When asked about upsetting gallerists, Hebron responded, “I’m reporting the numbers. I’m not making them.”

Multimedia artist Margot Bowman uses technology to reimagine the selfie in art.

Colossal shares minimalist aquariums with 3D-printed flora designed by Haruka Misawa.

Havana-born artist Carmen Herrera, now 100 years old, has lived and worked in New York City for the past six decades—in relative obscurity for much of that time.

Japanese “vagina artist” Megumi Igarishi released a manga memoir illustrating her practice and backlash from Japanese authorities.

Illustrator and typographer Georgia Hill creates bold, letter-based murals.

San Francisco-based artist Meryl Pataky combines neon sculptures with organic forms.

Lexi Alexander, a former kickboxing champion, is the only woman to direct a major comic book superhero movie.

“For all practical purposes the history of silhouette animation begins and ends with [Lotte] Reiniger,” writes the Telegraph. A Google Doodle celebrated the anniversary of the German filmmaker’s birth.

Yvonne Koolmatrie, an Ngarrindjeri weaver from South Australia, wins the $50,000 Red Ochre art prize.

The New York Times interviews comedic actress Maria Bamford about mental illness and her Netflix show, Lady Dynamite.

The Ghostbusters reboot, featuring an all-female cast, faces “a buzz saw of sexist backlash.”

The New York Times reviews Rita Dove’s career-spanning Collected Poems: 1974–2004.

Art historian Reiko Tomii’s latest book “offers illuminating assessments” and “provides valuable investigative tools for carrying out this kind of fresh-spirited research.”

The Ruins of Civilization, a new play by Penelope Skinner, “suggests a bleak sociopolitical future that is within the realm of possibility.”

Shows We Want to See

The Queensland Gallery of Modern Art hosts an exhibition of photographs by Cindy Sherman—“one of the most influential photo artists of the late 20th century,” The Guardian shares Sherman’s theatrical self-portraits, which capture “the grotesque and the uncanny, the monstrously feminine, and the comedic worlds of haute couture.”

Diane Simpson’s window designs at MCA Chicago are “a distillation of Art Deco design and research.” For her sculptures, Simpson even repurposed wallpaper and linoleum flooring from the 1920s and ’30s.

The Tel Aviv Museum of Art presents wooden dolls arranged in two tableaux vivantes by Canadian artist Ydessa Hendeles that are reminiscent of Pietà scenes, crime shows, and a controversial children’s book.

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

Art Fix Friday: May 27, 2016

Japanese artist Yayoi Kusama tells the Guardian about her childhood, a letter from Georgia O’Keeffe, and that she thinks “[pumpkins] are the most humorous of vegetables.”

artnet shares a sneak-peek at Yayoi Kusama’s new works at London’s Victoria Miro Gallery, involving paintings, pumpkin sculptures, and mirror rooms.

Front-Page Femmes

FBI Special Agent Meridith Savona tells ARTnews about her career investigating art crimes.

Hollow, an installation by Katie Paterson uses samples of wood from 10,000 different trees collected by the artist over three years.

“I am fighting photography with photography,” says Ayana Jackson. In her work, Jackson explores how photography shaped the narratives of African-Americans and Africans.

Cindy Sherman’s new photographs take inspiration from 1920s-era film stars.

The Georgia O’Keeffe Museum in Santa Fe, New Mexico purchased a rarely seen abstract O’Keeffe painting titled The Barns, Lake George (1926) for $3.3 million.

“The virtual is compelling because it mixes the artificial with an unpredictable sense of the real,” says Claudia Hart about her 3D simulations.

Mexican conceptual artist Minerva Cuevas’s site-specific interventions address social and political concerns.

“I’m inspired by errors,” says 78-year-old Hungarian artist Dora Mauer in an interview with the Telegraph.

The Art Newspaper profiles several of China’s rising female artists—who are still overwhelmingly outnumbered by their male contemporaries.

Elaine Reichek embroiders expressive tableaus inspired by ancient Greek mythology.


The Huffington Post shares Olek’s recent work

Olek re-creates a massive, crocheted front page of The New York Times to drape over the facade of the Virginia Museum of Contemporary Art.

The Guardian charts illustrator and journalist Molly Crabapple’s path toward sketching in Guantánamo Bay and publishing her memoir, Drawing Blood.

Yaa Gyasi’s debut novel, Homegoing, “shows the unmistakable touch of a gifted writer.”

A new book by Anna Beer profiles women composers dating back to the 17th century.

Candice Hoyes’s debut jazz album showcases the singer’s “operatic voice and soulful style.”

Design critic Alice Rawsthorn discusses why some of the greatest designers tend to be outsiders.

San Juan-based artist and educator Beatriz Santiago Muñoz creates films about the Caribbean’s colonial past that are “half-documentary and half-fantasy.”

Shows We Want to See

Katherine Tzu-Lan Mann uses acrylic paint, Sumi ink, and collage on enormous sheets of paper to create works that result in a “precarious balance of harmony and clangor.”

Mami features works by women artists of African descent, revolving around Mami Wata—the water spirit revered in West, Central, and Southern Africa, and the African diaspora.

Los Angeles-based artist Nicole Miller investigates the landscapes of marginalized communities through the lens of socioeconomic status, race, and gender in Every Word Said: History Lessons from Athens and Tucson.

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

Art Fix Friday: May 6, 2016

In the U.S. “only 27% of the 590 major solo shows organized by nearly 70 institutions between 2007 and 2013 were devoted to women.” The Art Newspaper outlines how influential donors, prizes for women, and diversifying museum leadership can help rectify the gender imbalance.

Helen Molesworth, the chief curator of MOCA, says that although the art world is progressive, “that doesn’t set us apart from the larger cultural forces at play, which have for the past several hundred years promoted the idea that genius and men and power and money are all very intertwined with one another.”

Front-Page Femmes

Marisol Escobar, known in the 1960s for her wooden Pop Art sculptures, died at the age of 85.

Adriana Varejão’s hand-painted tile mural covers Rio’s 2016 Summer Olympics aquatics stadium.

Tauba Auerbach makes a large, geometric pop-up book.

Mona Hatoum’s survey includes endoscopic video of her internal organs.

Iranian cartoonist Atena Farghadani was released from prison.

A fire at German artist Rosemarie Trockel’s home damaged and destroyed more than $30 million worth of art.

Cornelia Parker installed a Hitchcock-inspired barn on the roof of the Metropolitan Museum of Art.

The Los Angeles Times traces 89-year-old artist Betye Saar‘s oeuvre through her recent and upcoming exhibitions.

Unnerving, surreal characters in Floria González’s photographs explore the impact of motherhood on her life.

Virginia-based teen Razan Elbaba uses photography to “break the stereotypes and significantly express the true goal of Muslim women.”

Art Basel visitors will help performance artist Alison Knowles toss a giant salad before it is served.

Heather Phillipson’s three-part installation for Frieze New York involves dog sculptures, video, trampolines, pillows and more.

The Guardian shares the @52museums Instagram project—highlighting one of NMWA’s posts.

“It’s so empowering for this generation to see a black ballerina doll that has muscles,” says Misty Copeland about the new Barbie made in her likeness.

NPR describes a new album by Anohni, formerly Antony Hegarty, as “a pop album that is simultaneously an act of dissent.”

Gabriela Burkhalter’s The Playground Project explores forgotten artistic playgrounds of the 20th century.

Sweet Lamb of Heaven, by Lydia Millet, is “an extraordinary metaphysical thriller.”

The New Yorker delves into two articles written by Harper Lee about the case that brought her to Kansas with Truman Capote.

The documentary Eva Hesse, structured around excerpts from her journals, provides a psychological portrait of the artist. Watch the trailer.

Shows We Want to See

Five women artists from the Electric Machete Studios collective locked themselves in their studio for 48 hours. The resulting works reflect the “complex identities of the women as feminists and artists.” Interventions: A Xicana & Boricua Guerrilla Perspective explores the relationship between art, feminism, and indigenous identity.

Abstract work by overlooked Victorian spiritualist Georgiana Houghton will be featured in London. The Guardian writes, “Houghton would host a seance, talk to her spirit guide and draw complex, colourful and layered watercolours.”

Carmen Herrera—now 101 years old—“distills painting to its purest elements.”

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

Art Fix Friday: April 22, 2016

TIME magazine released their list of the 100 most influential people. Bustle writes, “with 60 men and 40 women, the TIME 100 list is still experiencing a gender gap.” The magazine also highlighted 13 women whose influence exceeds their fame, including Chinese fashion designer Guo Pei and 87-year old Japanese artist Yayoi Kusama.

In a TIME interview, rapper Nicki Minaj gives advice to women and says, “Don’t ever be ashamed to ask for the top dollar in your field.” Jennifer Lawrence writes an essay about Adele and calls the British songstress “an international treasure.” Tina Fey writes a feminist ode to UFC fighter Ronda Rousey. The list also includes actresses Melissa McCarthy, Priyanka Chopra, and Gina Rodriguez—among others.

Front-Page Femmes

The Guardian examines how the death of student Sara Ottens profoundly impacted Cuban American performance artist Ana Mendieta.

Ilma Gore faces a potential lawsuit from Donald Trump’s legal team if her painting of a nude Trump sells.

The Guardian discusses how to buy indigenous Australian art—ethically.

Photographer Annie Leibovitz discusses career advice she received from Queen Elizabeth II.

Harriet Tubman will replace Andrew Jackson on the $20 bill. There are also plans for seven more historic female figures to grace the $5 and $10 bills.

ARTnews discusses how artist Lynn Hershman Leeson published art criticism under the guise of three invented personas.

Everybody Loves Raymond actress Doris Roberts passed away on Sunday at age 90.

“It takes a lot of bravery to be kind,” says Newbery award-winning author Kate DiCamillo.

Slate interviews photographer Amanda Marsalis about Ava DuVernay, gentrification, and directing her first film, Echo.

Barbara Holmes used wood reclaimed from a dump in San Francisco to create a spiraled, site-specific installation.

After tragic news of Prince’s death on Thursday, women artists paid their respects on social media and Slate explored his history of collaboration with women, calling Prince “one of music’s great champions of women.”

Coachella has no female headliners—for the ninth year in a row.

The documentary series, The Ascent of Woman, recognizes feminist trailblazers in an attempt to “retell the story of civilization with women and men side by side for the first time.”

Shows We Want to See

Lee Miller: A Woman’s War at the Imperial War Museums closes this Sunday. The exhibition showcases over 150 images by the war correspondent, alongside Picasso’s portrait of Miller, and her personal correspondence with Condé Nast.

The first major survey of Mona Hatoum’s work in the U.K. is on view at Tate Modern. The Lebanese-born Palestinian artist is best known for adjusting domestic items to “imbue them with a certain lethal horror.”

A new exhibition features Pati Hill’s “delicate, remarkable images, all made on the rather unremarkable IBM Copier II.”

Roz Chast creates a larger-than-life mural in the Museum of the City of New York, for an exhibition of 200 of her drawings titled Cartoon Memoirs.

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

Art Fix Friday: April 8, 2016

In an artnet article on the most expensive living female artists in 2016, Cady Noland, Yayoi Kusama, and Cindy Sherman top the list.

Other ranking women artists include South African painter Marlene Dumas, optical illusions master Bridget Riley, Ethiopian-born artist Julie Mehretu, and Brazilian painter Beatriz Milhazes—among others.

Front-Page Femmes

ArtInfo shares a video of Tania Bruguera’s ten-hour voting session and discussion about immigration.

Illma Gore’s provocative portrait of a naked Donald Trump, recently the subject of social media censorship, will be on view in London.

Inge Hardison, whose bronze sculptures immortalized black historical figures, innovators, and ordinary people, died on March 23 at age 102.

Susannah Worth’s new body of work explores images of food and the significance of recording “culinary performances.”

London-based artist Rebecca Louise Law’s site-specific installation is a suspended garden comprising 30,000 flowers.

Sabina Ott reflects on the influences and processes behind her 8,000-cubic-foot foam mountain installation.

Women artists outnumber men by ten to four in the city-wide festival Glasgow International.

In her memoir, Syrian architect Marwa al-Sabouni imagines a future for her war-torn hometown of Homs.

ARTnews goes behind-the-scenes of Mary Weatherford’s Los Angeles studio.

The Los Angeles Times explores Zaha Hadid’s gender, ethnicity, and architectural legacy and ArtInfo lists 10 upcoming building projects that the architect worked on before her untimely death.

In a video, New York-based artist Carole Feurman discusses her hyper-realistic sculptures and artistic practice.

Aerialist turned improvisational performance artist Matilda Leyser discusses how motherhood led to greater creativity in her work.

The chair that author JK Rowling used to write the first two Harry Potter novels sold at auction for $394,000.

New Republic explores poet Adrienne Rich’s feminist awakening through examining her never-before-published letters.

The new biography The Lady with the Borzoi: Blanche Knopf, Literary Tastemaker Extraordinaire argues that Blanche was the more important and influential of the Knopf publishers.

NPR interviews Full Frontal’s Samantha Bee about finding stories, her feminist worldview, and how she feels liberated in her 40s.

Director and screenwriter Elaine May reflects on the public reception of the 1987 film Ishtar.

Rihanna talks about what it’s like to be a role model.

Shows We Want to See

Smithsonian’s National Museum of the American Indian hosts a retrospective of 81-year-old painter Kay WalkingStick featuring 75 works.

Chinese artist Cao Fei explores dystopic scenarios in her first solo exhibition in the U.S. at MoMA PS1.

While grieving her partner’s death, Emma Levitt began knitting and piecing together her partner’s old clothes—ultimately creating a 14-foot-high tapestry, In the Presence of Absence. The work is included in the exhibition Getting Real, which highlights catharsis in art-making.

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