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.

Art Fix Friday: April 1, 2016

The New York Times charts the resurgence of women-only art shows, stating, “While some artists are ambivalent about being viewed through the lens of gender, the all-women’s group show, which fell out of favor in the ’80s and ’90s, is flourishing again.”

The New York Times article adds, “If these shows don’t close the gender divide, they at least provide substantial investment and rigorous scholarship to illuminate narratives that have slipped from the art historical record.”

Front-Page Femmes

In tragic news, Iraqi-born British architect Zaha Hadid died of a heart attack on Thursday at the age of 65. Regarded as “the greatest female architect in the world today,” Hadid was the first woman to win the Pritzker prize. The Guardian and ArtInfo share images of her architectural achievements.

Valeria Napoleone discusses her collecting philosophy of buying work only by women artists.

Media executive and philanthropist Elisabeth Murdoch launched an annual £100,000 award for a mid-career female artists based in the U.K.

ARTnews shares Belgian artist Berlinde De Bruyckere’s new works exploring life and death.

An exhibition of hand-painted pottery by Aboriginal women of Hermannsburg celebrates their football heroes.

After she sold stocks in front of a live audience and painted their fluctuations in value, Sarah Meyohas was accused of “manipulating the market.”

Kiki Smith says, “I’m not trying to dictate what other people think about. I’m just presenting something, and if that something is successful it resonates to other people in their own lives.”

Los Angeles-based photographer Ilona Szwarc documents Texan girls who compete in rodeos.

Ethiopian artist Aida Muluneh creates enlightening photographs through careful staging, painted subjects, and bold colors.”

Known for her large-scale works, Louise Fishman says, “It is a very interesting thing to go from a little painting to one that involves the whole body.”

Anoushka Shankar blends sitar sounds with pop music in a response to the trauma of displaced refugees.

The New Yorker profiles “the greatest singer in the history of postwar popular music”—74-year-old songstress Aretha Franklin.

Novelist Marilynne Robinson is the 2016 winner of the Library of Congress Prize for American Fiction.

Hyperallergic reviews the latest production of Jackie Sibblies Drury’s “Really,” in which the play’s three actors and 30-member audience are housed in a plywood box.

Shows We Want to See            

Hyperallergic explores Linda Teggs (left) and Frances Goodman (right)

Hyperallergic explores Linda Tegg’s work (left) and Frances Goodman’s exhibition (right)

Photographs, videos, and installations by Linda Tegg remind audiences about humanity’s connection to the animal kingdom.

In Rapaciously Yours, South African artist Frances Goodman examines femininity, costuming, and role-playing—through artwork comprised of acrylic nails.

Jamaican artist Ebony G. Patterson explores visibility in terms of class, gender, race, and the media in her exhibition at the Museum of Arts and Design. Her highly-adorned objects feature bodily forms camouflaged by floral prints, embroidery, and glitter.

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