Art Fix Friday: October 9, 2015

Design label Max Mara works with London’s Whitechapel Gallery to give women artists a shot at having their own solo exhibitions. The Max Mara Art Prize for Women enables one artist to have a six-month residency in Italy followed by a major solo exhibition.

Meet the shortlisted artists:

  • Ana Genovés recreates overlooked objects and spaces through architectural installations.
  • To examine landscapes, Tania Kovats creates large-scale installations and time-based works.
  • Emma Hart uses ceramics, video, and photography to explore misrepresentation.
  • Using a range of materials, Phoebe Unwin paints from memory rather than photo references.
  • Ruth Ewan works with archaeologists and horticulturalists to explore radical histories.

Front-Page Femmes

ARTnews gets a sneak-peak into Joan Semmel’s SoHo studio.

Moroccan-born Lalla A. Essaydi combines Islamic calligraphy with representations of the female body.

Evelyn Dunbar, the only woman hired as an Official British War Artist in World War II, gets a retrospective of over 500 paintings and sketches.

The New-York Historical Society plans to open a Center for the Study of Women’s History—spurred by the discovery that some of their collection’s Tiffany lamps were actually made by women.

Juxtapoz shares doll illustrations by Mexican-born artist Hilda Palafox.

Pakistani-born artist Shahzia Sikander’s training in centuries-old Islamic art miniatures influences her hypnotic video installations.

In Central Park, Yoko Ono gathers thousands of people to create a peace sign in memory of John Lennon.

Olga Hirshhorn, collector and widow of the Hirshhorn Museum and Sculpture Garden’s founder, died at age 95.

ArtInfo asks Ishiuchi Miyako about her solo exhibition and how she broke up the boys’ club of Japan’s postwar photography.

Belarusian writer Svetlana Alexievich wins the 2015 Nobel prize in literature for her compilation works exploring history through the emotions of her interviewees.

Rock ‘n’ Roll maven Peggy Jones, also known as “Lady Bo,” died at age 75.

Belgian director Chantal Akerman, known for her introspective feminist films, died at the age of 65.

Marketing efforts for the upcoming film Suffragette receive backlash.

Slate suggests headlining women superheroes for future Marvel movies.

Hawaiian actress Auli’I Cravalho is cast as the voice of Disney’s Moana.

Shows We Want to See

Asia Society Texas Center features mixed-media works by Seoul-based artist Yeesookyung. Known for her “Translated Vase” series, the artist reassembles broken shards to create biomorphic sculptures.

The Grand Palais retrospective of Elisabeth Louise Vigée Le Brun includes a 49-foot-high mirror diffusing a rose-scented fragrance—a reference to the painter’s patron, Marie Antoinette.

Jacqueline Humphries’s “black light” paintings—works that glow with phosphorescent paint—will be on view at the Contemporary Arts Center in New Orleans.

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

Viewfinder: Esther Bubley

Esther Bubley (1921–1998) was a leading freelance photographer during the golden age of photojournalism. Bubley was renowned for her photographs featuring the United States and its people in the 1940s, ’50s, and ’60s. NMWA’s latest exhibition, Esther Bubley Up Front, presents 27 prints recently donated to the museum.

Esther Bubley, Untitled (Washington, D.C.), 1943; Gelatin silver print, 9 x 8 in.; Gift of Jill and Jeffrey Stern; © Jean B. Bubley; Photograph by Lee Stalsworth

Esther Bubley, Untitled (Washington, D.C.), 1943; Gelatin silver print, 9 x 8 in.; Gift of Jill and Jeffrey Stern; © Jean B. Bubley; Photograph by Lee Stalsworth

Born in Phillips, Wisconsin, Bubley developed a passion for photography in high school. Her career in photography took off in 1942 when she was hired as a darkroom assistant for Roy Stryker, the famed head of the photographic unit of the Office of War Information (OWI) in Washington, D.C.

Under Stryker’s tutelage, Bubley tackled her first assignments documenting wartime in the nation’s capital. Working primarily with a 35mm and other small handheld cameras, Bubley was able to capture her subjects from unusual vantage points.

Bubley continued to work under Stryker when he was commissioned by the Standard Oil Company to create a photographic file documenting the oil industry.

One of her best-known assignments for Standard Oil was a profile on the oil boom town of Tomball, Texas. She immersed herself in the town for six weeks, documenting the activities of its oil workers and their families. Bubley’s candid images of the residents provide an intimate record of small-town America in the mid-20th century.

Bubley’s talent for creating probing and gently humorous images contributed to her success. She freelanced for various corporations including Pepsi and Pan-American Airways, and publications including Life and Ladies’ Home Journal. Bubley contributed stories illustrating subjects ranging from the Miss America pageant to after-school programs to farm life. One of her prominent stories covered the Rood family of Wahoo, Nebraska, who had successfully paid off their farm’s 40-year mortgage in only six years. The Roods housed Bubley while she photographed them working, going to school, and enjoying family nights.

Esther Bubley, Untitled (Wahoo, Nebraska), 1948; Gelatin silver print, 12 1/8 x 10 1/4 in.; Gift of Jill and Jeffrey Stern; © Jean B. Bubley; Photograph by Lee Stalsworth

Esther Bubley, Untitled (Wahoo, Nebraska), 1948; Gelatin silver print, 12 1/8 x 10 1/4 in.; Gift of Jill and Jeffrey Stern; © Jean B. Bubley; Photograph by Lee Stalsworth

Bubley was one of few women of her time whose photographic accomplishments led her to prominence in her field. Her curious and genuine approach to her subjects yielded deeply insightful images of American culture.

Esther Bubley Up Front is on view in the Teresa Lozano Long Gallery though January 17, 2016.

Venetian Virtuoso: Rosalba Carriera

Born in Venice, Rosalba Carriera (1675–1757) was the daughter of a clerk and a lace-maker. Largely self-taught, she began her artistic career painting miniature portraits. Carriera employed ivory as the ground for her miniatures instead of the typical material for her time, vellum. Such works quickly solidified her reputation within Italian art circles and gained her acceptance into Rome’s prestigious Accademia di San Luca in 1704.

By her early twenties, Carriera was using pastel—the medium for which she later became famous. Previously the powdered pigment bound into sticks was used mostly for informal drawings and preparatory sketches. Carriera revolutionized its use for serious portraiture. Her works were admired for their velvety color palettes and striking details.

She received commissions from the courts of Modena, Vienna, and Dresden. In 1720, Carriera spent a successful year in Paris, where she visited renowned art collections, met French artists, and created portraits of prominent individuals, including the young Louis XV.

She later worked in Modena and Austria, assisted by her sister Giovanna. In Vienna, the Holy Roman Emperor Charles VI became her patron and the empress became her pupil. Her greatest patron, Augustus III of Poland, sat for her in 1713 and amassed more than 150 of her pastels.

Carriera primarily used pastel for portraits and allegorical images. In the 18th century, artists often personified the continents by using female figures in distinctive clothing. At the time, Europe recognized four continents: Africa, Asia, Europe, and America. Carriera’s allegorical work in NMWA’s collection, America, represents the region as a woman in costume. The realistic flesh tones of the figure exemplify Carriera’s skill with pastel. She included a jeweled headband, feather hair accessory, and a quiver of arrows to allude to Europeans’ common associations with America. Her ability to capture the textures of rich fabrics and accessories was appealing to her wealthy patrons.

Carriera suffered emotional trauma following her sister Giovanna’s death in 1738 and the loss of her own eyesight, which began eight years later. By 1749 she was permanently blind and unable to work. However, Carriera enjoyed such extensive fame that for subsequent women artists, to be called a “modern Rosalba” was high praise. Renowned French portraitist Elisabeth Louise Vigée-Lebrun (1755–1842) earned the moniker decades after Carriera’s death, as Carriera’s oeuvre continued to influence artists such as Vigée-LeBrun and Adélaïde Labille-Guiard.

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

Art Fix Friday: October 2, 2015

The MacArthur Fellows Program announced the 24 individuals awarded “genius grants” this year—including nine women. Two prominent U.S. artists, Nicole Eisenman and LaToya Ruby Frazier, received $625,000 in funding over five years.

NPR spoke with Frazier about her work exploring the collapse of the steel industry in her hometown of Braddock, Pennsylvania. Retelling the town’s history through photos of her own family, Frazier reveals the roles of African-Americans in Braddock’s industry, which had been “overlooked and ignored and erased from the history pages.” As a call for social justice, her work serves as a “human document” of the injustices faced by the working class.

Front-Page Femmes

Moa Karlberg photographs women’s faces in Sweden and Tanzania during the final stages of giving birth.

ARTINFO interviews Tania Bruguera about her new project, The Francis Effect, which confronts issues of immigration by appealing to the pope.

Jerry Saltz asks, “Why Have There Been No Great Women Bad-Boy Artists?” In this Vulture article, Saltz explains that “the art world has never really known what to do with them, mostly responding from fear.”

Flutist Clare Chase “is a model for a new generation of American classical musicians,” writes The New Yorker.

Sound artist Christine Sun Kim rethinks definitions of sound and silence.

A new project invites contemporary women artists to imagine the narratives and voices of characters in Western art’s recurring images of women reading.

International art curator Koyo Kouoh discusses contemporary African Art and the “invisible boundary” of the Sahara.

Hillary Clinton made a “girl power” Spotify playlist. Slate lists more empowering songs by women artists.

Nancy Meyers’s The Intern gets dismissed by male critics as a “chick flick.” The Guardian says, “It’s not unusual for [female filmmakers’] work to receive unduly harsh criticism.”

Screenwriter Julia Hart discusses her work in the feminist Western film, The Keeping Room. Hart enjoys taking “classic tropes that have been dominated by men and turning them around and making them female.”

The Women’s List is an oral history of 50 years of women’s equality told through 15 trailblazing women.

Author Julie Schumacher becomes the first woman to win the Thurber prize for humor writing.

Singer and model Grace Jones releases her memoir, I’ll Never Write My Memoirs.

Margaret Atwood’s The Heart Goes Last is a strange version of reality.

New York Magazine shares words of wisdom by 25 famous women writers.

Shows We Want to See

Covered in Time and History: The Films of Ana Mendieta investigates the mostly-forgotten films of the multi-talented feminist artist. artnet says the exhibition “remedies this fractured past, so that the artist can be more than her tragedy.”

Including over 90 works, The Indestructible Lee Miller reveals how Miller’s experience as a model for Vogue and Man Ray influenced her photography.

Mexican Photography: Women Pioneers includes photos from “some of Mexico’s most celebrated photographers, though most are not famous outside the art world.”

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

Recent Acquisitions at the LRC: You Are You

The next time you visit NMWA, come to the Betty Boyd Dettre Library and Research Center to see new books on women in the arts, as well as reference books, artists’ books, and more.

You Are You
by Lindsay Morris
Kehrer Heidelberg Berlin, 2015
Released in conjunction with the 2015 exhibition at ClampArt, New York City

You Are You features photographs by Lindsay Morris that document gender-nonconforming children at an annual weekend-long summer camp. The camp provides children with a safe, supportive environment where they can explore and express multiple interpretations of gender alongside their families.

Morris’s work attempts to broaden the conversation on gender-nonconformity by contributing to a larger discussion of support and representation for youths. You Are You offers a glimpse into the importance of familial and societal support for gender-unique children. Noted author Jennifer Finney Boylan, who contributed an essay detailing her experiences as a transgender woman, explains, “As it turns out, the thing I most needed to learn was not how to do any one particular thing…No, the thing I needed to learn, back then as well as later, was that I was not alone.”

The book’s profound photographs capture the open expression and normalization of gender-variant childhood. The artist addresses the issue that a lack of understanding of gender identity and expression often leads to discrimination against gender-nonconforming individuals. You Are You marks a groundbreaking moment when “gender-creative childhoods are being freely expressed.” The book not only incorporates photographs of the children, but also the voices of family members on raising gender-creative youths and the importance of listening to their needs.

Morris’s project highlights the self-awareness and bravery of gender-creative children. It frames their growth and needs within the scope of societal responsibility; we must listen to them, support them, and let them explore the gender spectrum. Most importantly, we must let them be who they are.

All are welcome to look at this catalogue, which is on the wall display in the LRC’s reading room. If you’re touring the museum’s exhibitions, the library is open to the public and makes a great starting point on the fourth floor. In addition to beautiful books and comfortable chairs, library visitors enjoy interesting exhibitions that feature archival manuscripts, personal papers by women artists, rare books, and artists’ books. Reference Desk staff members are always happy to answer questions and offer assistance. Open Monday–Friday, 10 a.m.–12 p.m. and 1–5 p.m.

—Bianca Rawlings is an intern at the Library and Research Center. She is currently pursuing a Master of Arts degree in art history with a concentration in late Italian Renaissance and Baroque art, focusing on issues of gender, representation, and marginalization.

Art Fix Friday: September 25, 2015

The 2015 Emmy Awards were the most inclusive yet for women. Bustle notes, “Although Hollywood has never been the best when it comes to the representation of women, recent years have marked some real change.”

  • Fifteen of the 18 Leading Actress nominees in comedy, drama, and mini-series were women over the age of 35.
  • Allison Janney won her seventh Emmy, tying her for most performance Emmy wins.
  • Amy Schumer won for Outstanding Variety Sketch Series.
  • Red carpet interviewers #AskHerMore, focusing on women’s careers over looks.
  • Viola Davis became the first black woman to win for Best Actress in the drama category.

Front-Page Femmes

Hyperallergic investigates Jackie Saccoccio’s massive paintings “dominated by drips and spatters and networks of bleeding color.”

“It’s the language of Pop telling another story: the story of politics, feminism,” says the Tate Modern’s director about The World Goes Pop.

The Walker Art Center shares 11 Guerrilla Girls posters.

The Huffington Post shares a comedic cartoon featuring Frida Kahlo.

ARTINFO continues to share its list of the 25 most collectible midcareer artists with sonic and visual artist Jennie C. Jones.

The Gallery Weekend Budapest festival of Hungarian contemporary art mostly featured work by women artists.

Hyperallergic reviews a new book and exhibition based around Mary Ellen Mark’s documentary photographs. Mark’s photos “tell a larger story about individuals facing adversity in its myriad forms—poverty, natural disaster, family dysfunction, disability, and so on.”

A Los Angeles art gallery for women, trans, and queer artists, Heart of Art Gallery, was forced to shut down due to harassment and threats.

Self-taught artist Noell Osvald creates bold works through simple gestures performed in black and white.

Brands are selecting more female athletes for endorsement deals.

Artistic directors for ballet troupes are mostly men.

Feminist punk band Hemlines released its first official EP, All Your Homes, today.

Gaia Vince won the Royal Society Winton Prize for Science Books in 2015—as the first woman to win the prize in its 28-year history. The Guardian discusses why women don’t win science book prizes.

The New Yorker explores the work of crime writer Vera Caspary.

Shows We Want to See

“Countless female artists have been ignored, forgotten, and stepped on.” Hyperallergic announces that the Denver Art Museum (DAM) will host an exhibition of works by 12 women Abstract Expressionists opening in June 2016.

SculptureCenter in Long Island City features projects exclusively by women artists in 2016—an unintentional effect of the museum’s goal to “show work that has merit and doesn’t have enough attention, and that happens to be more true for women than men because they don’t get a lot of visibility in the art world.”

A new retrospective of Yayoi Kusama’s six-decade-long career includes early works that have never been exhibited.

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

ABC’s of Art: The 2015 Teacher Institutes

NMWA offered the week-long Art, Books, and Creativity (ABC) Teacher Institute for the sixth year, and for the second time also held the Advanced ABC course for returning teachers. Participants spent the dog days of summer, July 13–17, 2015, learning arts-integration techniques. The ABC curriculum is ideal for third- through eighth-grade educators. During the program, teachers explored new avenues of creativity.

Photo credit: Laura Hoffman

One teacher’s book art project; Photo credit: Laura Hoffman

Made possible through a grant from the U.S. Department of Education, ABC encourages growth in visual literacy and critical thinking, while also highlighting women artists’ achievements. In particular, the work of Maria Sibylla Merian inspired “bug books,” which encourage students to focus on insect life cycles and habitats.

As NMWA’s education intern, I learned as much as the enrolled teachers. I was largely unaware of the many challenges educators face—particularly in issues of literacy in D.C. schools. The Advanced ABC participants discussed ways in which artists’ books could provide visual literacy as a pathway to reading.

Unfamiliar with artists’ books, I was not aware of their practical applications. Teachers found new ways to incorporate concepts into their own curriculum plans. One educator based his flag book on famous women of the American Revolution. Another teacher said these techniques would allow her to “feed the artist in my classroom.” Ranging from investigations of traditional Native American cultures to literacy interventions, many advanced lesson plans were ready to be shared with colleagues by the end of the week.

Teachers wear their hats; Photo credit: Laura Hoffman

Teachers with their hat creations; Photo credit: Laura Hoffman

Participants also constructed sculptural hats and “star books”—books with complex folds and covers that demonstrate knowledge of shapes and primary colors.

The Advanced Institute teachers delved deeper and experimented with circuits to add lights and motorized elements to their books.

Toward the end of the program, the two groups converged during a crafty happy hour at the museum. Program participants enjoyed wine and refreshments and then experimented with paste, marbling, and watercolor techniques during a paper-making activity.

While creating personal portfolios of artists’ books, teachers learned the basics of Visual Thinking Strategies (VTS)—a method for facilitating discussions about art.

VTS encourages close looking and deep thinking, where each student feels his or her opinion validated. This method provides an equal playing field for art appreciation and creative engagement. As an art history student, I often ask about a work’s title, artist, or time period. However, I was exposed to new points of view through hearing participants’ personal connections. VTS creates a culture of thinking where students work together as storytellers.

To access the free curriculum, visit the ABC website. To learn more about the ABC Teacher Institute, check out the museum’s website.

—Brittany Fiocca was the summer 2015 education intern at the National Museum of Women in the Arts.

Art Fix Friday: September 18, 2015

Women, Arts, and Social Change is NMWA’s new initiative to address gender parity in the art world. NMWA Director Susan Fisher Sterling spoke with artnet about the inspiration behind the program and its cross-disciplinary series Fresh Talk. Conversations will feature figures like Carrie Mae Weems and Guerrilla Girl Alma Thomas.

Sterling says, “Current discourse focused on women and social change typically do not include any depth on the arts and programs focused on arts and social change tend to underrepresent women’s contributions. With our mission to champion women through the arts, no organization is more uniquely poised to take up this conversation.”

Front-Page Femmes

ARTnews shares that the The Protector of Home and Family is the “first known visual art work by Dr. Maya Angelou to be publicly exhibited or offered for sale.” Angelou’s art collection also sold for nearly $1.3 million on Tuesday.

The Huffington Post lists 10 historic women photographers, including Nan Goldin, Shirin Neshat, and Diane Arbus.

“I am strong. I am a woman. And I bite like a Mamba!” says a member of the Black Mamba Anti-Poaching Unit to photographer Julia Gunther. Gunther chronicled the work of the majority-female patrol in South Africa.

ARTnews visits artist Natalie Frank in her Brooklyn studio.

ARTINFO includes Joyce Kozloff among the list of 25 most collectible midcareer artists.

Marilyn Minter discusses Photoshop, feminism, fashion, and fine art. A supporter of other women artists, Minter says, “When a show is curated, it has to have other women in, too, or I won’t do the show.”

The New Yorker compares the divergent paths of two Iranian artists, Monir Shahroudy Farmanfarmaian and Shirin Neshat.

In honor of the author’s 125th birthday, BBC archivists released lost Agatha Christie radio plays.

Rachel Cassandra’s upcoming book incorporates the work of 20 women street artists in South and Central America.

Women’s Voices Theater Festival is an initiative by 50 of the D.C. region’s professional theaters to present at least one world-premiere play by a female playwright during a six-week period.

Television is as male-dominated as the film industry. This year, women make up 42% of all speaking characters and 27% of behind-the-scenes roles like creators, writers, and producers.

Shows We Want to See

Jewelry and related drawings by French artist Niki de Saint Phalle will be featured at Louisa Guinness Gallery.

A survey of American installation artist Ree Morton is on view at Madrid’s Reina Sofia. Hyperallergic says Morton’s late works “have waded into the contested feminist debate about “women’s art”…by deliberately overstating a girlish, kitschy aesthetic in order to lay bare its gendered stereotypes.”

The Silversmith’s Art: Made in Britain Today at the National Museum of Scotland showcases 150 silverworks and half of the artists are women, “showing the increasingly pivotal role women represent in contemporary British silversmithing.”

(Em)Power Dynamics: Exploring the Modes of Female Empowerment and Representation in Americaan all-woman show—is on view at The Gateway Project Space in New Jersey.

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

Internships at NMWA

Have you considered interning at the National Museum of Women in the Arts? Interns at NMWA gain experience in a museum setting, learning and advancing their careers while helping departments from development to education to curatorial. What’s a NMWA internship really like?

Rebecca Ljungren, college senior and NMWA education intern, spring 2015:

  • Why were you interested in a NMWA internship?
  • The unique quality of the museum as the only one in the world solely dedicated to women artists—as well as raving reviews from past interns—pushed me to apply. This is my first internship and I feel lucky that it was at NMWA!
  • Can you describe your job?
  • There is never a dull moment! From helping put together workshops to researching artists, giving tours, and assembling self-guides, the skills I learned are extremely valuable toward my future goals—as well as a ton of fun!
  • What was something unexpected you learned about NMWA?
  • How small each department is, but how much they are able to get done. This place is a powerhouse.
Spring 2015 interns in front of Chakaia Booker’s Acid Rain

Spring 2015 interns in front of Chakaia Booker’s Acid Rain; Photo credit: Laura Hoffman

Lucas Matheson, college junior and NMWA development intern, spring 2015:

  • Can you describe your job?
  • My job included recognition projects, funding research, and donor database management. Additionally, I worked on copyright acquisition for the Membership Department and the Registrar.
  • What has been your favorite part of working at NMWA?
  • My favorite part has been communicating with artists as part of my copyright project. It has been wonderful to see how happy artists are to support NMWA. Also, Maria Friberg (an artist from Stockholm) unexpectedly sent a beautiful book of her photographs. That was a wonderful bonus.
  • Anything else you’d like to add?
  • I had not anticipated how supportive NMWA staff would be—both from a professional and an educational perspective. I was encouraged to visit other institutions, ask questions, attend gallery talks, and simply spend time in the galleries. NMWA was interested in my growth as an individual, not just my abilities to support the museum, and that meant a lot.
Spring 2015 interns in NMWA’s galleries; Photo credit: Laura Hoffman

Spring 2015 interns in NMWA’s galleries; Photo credit: Laura Hoffman

Monica Varner, recent art history graduate and NMWA library and research center intern, spring 2015:

  • Can you describe your job?
  • I answer questions from researchers using the archives and library resources. I also staff the reference desk to assist patrons. I am learning how to catalogue records for the Archive of Women Artists as well as books and exhibition catalogues.
  • What has been your favorite part of working at NMWA?
  • My favorite part is getting “hands-on” experience in cataloging and working with institutional and artist archives. It is a real advantage to be able to apply theory outside of the classroom.
  • Would you recommend a NMWA internship?
  • I would definitely recommend a NMWA internship. It’s great being at a museum with a strong presence in D.C., but where you’re not lost in a sea of interns.

Interested in learning more? Visit the museum’s website to apply!

Art Fix Friday: September 11, 2015

“Become a creative enabler. My secret to success is making sure others can be highly successful and productive too,” says NMWA Director Susan Fisher Sterling in the third installment of artnet’s “Women Share Their Secrets to Art World Success.

Female art world professionals shared words of wisdom for women looking to find their place in the arts. The latest group of 31 women work at top-tier galleries, PR firms, and auction houses. Check out artnet’s other survey responses in their first and second installments.

Front-Page Femmes

Matika Wilbur attempts to photograph members of each federally recognized Native American tribe in the United States.

Iranian artist Atena Farghadani’s shook her lawyer’s hand and faces new charges including “indecent conduct.”

Actresses Sally Field and Miriam Colón, singer Meredith Monk, and visual artist Ann Hamilton will receive National Medals of Arts from the White House.

Hyperallergic examines Lorraine O’Grady’s 1983 performance piece Art Is…

The Huffington Post praises Doubleworld, the New Museum’s exhibition of Sarah Charlesworth’s photo-collages.

Saudi artist Arwa Alneami’s photographs and videos, Drop Zone, are named after her hometown’s amusement park, where women are not permitted to scream loudly on rides.

Melissa Cooke’s large-scale graphite drawings look like surrealistic black-and-white photographs.

Product designer Sara Little Turnbull died on Friday at age 97. The New York Times remembers the innovative artist for her diverse inspirations, ranging from geisha styles, to prison, to a Kenyan park.

Mozart’s sister—a child prodigy whose career ended at age 18—is the subject of a new play called The Other Mozart.

The Art Newspaper reviews Jesse Locker’s latest book, Artemisia Gentileschi: the Language of Painting.

The Anisfield-Wolf Book Awards celebrated its 80th anniversary. Edith Anisfield Wolf created the award in 1935 to celebrate books that explored issues of race.

17th-century artist and naturalist Maria Sibylla Merian’s fascination with butterflies is the subject of a new book. Hyperallergic’s review states the book shows how Merian “progressed from a young girl curious about the natural world, to one of the first researchers to examine butterflies in such detail.”

Brain Pickings shares portions of a 1968 interview between Janis Joplin and radio host Studs Terkel.

The Washington Post explores the recent publishing trend in memoirs of female rockers, attributed in part to the “different way that women rockers tell stories—with more humility and vulnerability than their male counterparts.”

Bustle recommends 17 nonfiction women-authored books, including works by Maya Angelou, Barbara Kingsolver, and Chimamanda Ngozi Adichie.

Shows We Want to See

Ieva Epnere’s latest exhibition contains videos, photographs, and tent-like installations that highlight the isolated beauty of a former mining town in Norway.

Tate Modern’s The World Goes Pop “provides a valuable corrective to the notion that Pop Art was a male preserve.” Including 25 female artists, the exhibition reveals how many women used Pop Art motifs to critique 1960s and ’70s social norms.

American minimalist Anne Truitt’s drawings are on display at the Matthew Marks Gallery in New York. The Art Newspaper shares a video of the artist discussing her Tokyo period from 1964 to 1967.

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