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 describes the rise of all-women exhibitions
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.”
The New York Times reflects on Zaha Hadid’s life and accomplishments
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.
ARTnews interviews Aida Muluneh
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.
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.
Posted in Art Fix Friday	| Tagged Kiki Smith, women in art, women in the news, Zaha Hadid
Art Fix Friday: February 5, 2016
Posted on February 5, 2016 by Women in the arts
The College Board changes AP Art History in an attempt to reverse the cultural and racial bias in the arts.
The Atlantic reports on changes to AP art history
The Atlantic reports that the College Board’s new Advanced Placement curriculum for art history requires students to make cross-cultural connections. However, the challenges in diversifying the syllabus “mirrored the broad cultural bias found in the art world,” where 65% of the content is grounded in Western art. The efforts to diversify the course mean that 35% of the works studied come from “other artistic traditions.”
Ceramics, video, photography, and sound artist Emma Hart is the winner of the sixth Max Mara Art Prize for Women, which includes a six-month artist residency in Italy.
Rebecca Campbell’s 19 portraits of women artists are on display at the L.A. Louver.
Japanese artist Megumi Igarashi is fined $6,600 for distributing three-dimensional scans of her vagina.
A three-year project successfully digitized and restored more than 100 films by Cuban-American artist Ana Mendieta—15 of which are on view at Galerie Lelong.
Colossal shares Alexandra Kehayoglou’s textile works
Alexandra Kehayoglou uses scraps from her family’s Buenos Aires-based carpet factory to create transformative tapestries and rugs mimicking nature scenes.
Janet Fish’s paintings explore boundaries between representational and abstract art through their use of “intense color and spontaneous execution.”
Combining feng shui and digital technology, Sara Ludy’s works create a “tranquil sense of logic.”
Instagram artists Ashley Armitage and Ophelie Rondeau form the Girls by Girls photo collective.
In a new music video, Pussy Riot parodies Russian law enforcement.
Songs, monologues, and dances in “Freeze Frame” by the Debbie Allen Dance Academy tackle gun violence and race relations.
A Ballerina’s Tale chronicles Misty Copeland’s historic rise to become the first African American principal dancer with the American Ballet Theatre.
Indian dancer and choreographer Mrinalini Sarabhai died at the age of 97.
Women are taking over the role of warrior in wuxia—a genre of storytelling set in ancient China.
Dubbed the “first forgotten female filmmaker,” Alice Guy Blaché wrote, produced, and directed the first narrative fiction film in 1896. Today, however, historians estimate that more than 95% of her work has been lost or destroyed.
Nobel laureate Toni Morrison discusses her most recent novel, God Help the Child.
Left to Right: The New York Times explores Astro Noise; The Guardian discusses Black Sheep Feminism: The Art of Sexual Politics
Astro Noise at the Whitney Museum of American Art showcases disorienting works by journalist and filmmaker Laura Poitras. Using descrambled images of Edward Snowden’s files, ground zero footage, and prisoner interviews, Poitras’s works “address the sort of public numbness brought on by the accrual of so many revelations about government overreach.”
The Guardian explores Black Sheep Feminism: The Art of Sexual Politics, which includes works by Joan Semmel, Anita Steckel, Betty Tompkins, and Cosey Fanni Tutti that were found too controversial during anti-pornographic movements of second-wave feminism.
The Ohio Craft Museum’s exhibition of figurative ceramics by 13 women artists is a “visual response to what equality means.”
Kinetic sculptor Lisa Walcott’s whimsical exhibition, Living with Myself, includes a gallery filled with a dozen spinning tables with twirling white tablecloths.
Art Fix Friday: January 29, 2016
After backlash against the news that no women were nominated for the biggest prize in comics, the Angoulême comics festival agreed to add some women to its shortlist.
The Guardian discusses women’s contributions to comics
Though women have had a presence in American comics for the last 100 years, their contributions are often dismissed. The Guardian discusses a new exhibition, Comix Creatrix: 100 Women Making Comics, which aims to dispel the myth that there are few women creators in the comic industry and includes works dating back to the 18th century. In addition, NPR interviews Ariell Johnson about the inspiration behind Amalgam Comics & Coffeehouse, a comic book store championing diversity in superheroes.
NPR discusses the MFA’s acquisition of a Frida Kahlo painting
The Museum of Fine Arts, Boston (MFA) acquires the first painting Frida Kahlo ever sold, raising the number of Kahlo’s works in American public collections to 13.
Two massive murals by Dorothea Rockburne in a Midtown building in New York are at risk of being destroyed.
Babel Tower, by Shirin Abedinirad, is a stair-stepped outdoor installation that reflects the landscape.
Facebook censored a photograph of artist Lisa Levy sitting naked on a toilet for a performance art piece.
“Just Mothers” by photographer Sarah Pabst depicts the lives of two friends—both teenage mothers—in a slum near Buenos Aires.
Louise Bourgeois’s Chelsea townhouse opens for tours. The New York Times shares photographs and writes, “More than five years after her death, the house still feels inhabited by the woman who called it home.”
Singer Yoli Mayor, dubbed the “Cuban Adele,” is a hit in the South Florida music scene.
Hyperallergic explores how five American Indian dancers transformed 20th-century ballet
Hyperallergic charts how five American Indian dancers from Oklahoma, referred to as the “Five Moons,” became some of the first American prima ballerinas in top companies.
Argentina-born artist Amalia Ulman revealed that her social media from the last five months was part of an extended performance project “to prove that femininity is a construction, and not something biological or inherent to any woman.”
A group of 24 D.C.-based women rappers combat sexism and violence through music.
Susan Silton’s four-part rooftop opera with composer and singer Juliana Snapper drew crowds on Los Angeles’s 6th Street Bridge.
The Guardian writes about the need for awards for women authors of color, stating that the prizes “provide a platform on which to unite and force change.”
In Martha Tuttle’s first solo exhibition, wall hangings comprised of paper, natural dyes, and woven textiles “exist in that strange space between painting and sculpture.” Drawing inspiration from her childhood in New Mexico, Tuttle uses clay and sheep’s wool from the region.
Tauba Auerbach’s works, on view at Paula Cooper Gallery, reach “beyond traditional boundaries, dimensions, and categories.” Music, architecture, design, geometry, and language collide in Auerbach’s oeuvre.
Hyperallergic examines Liss LaFleur’s interdisciplinary works, on view in Texas and South Korea, which investigate the fluidity and transformative qualities of self-reflection.
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.
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.
The Telegraph discusses the fate of Goldschmied and Chiari’s artwork
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 Girl, discusses 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.
Artforum announces Le ‘NEW’ Monocle: Chapters 1–3 is on view at the Hirshhorn Museum and Sculpture Garden
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.