“The sense of loss and of what it means to be “found” is very strong at the Foundling Museum, where the current exhibition “FOUND” was organized by the sculptor and installation artist Cornelia Parker.”

More at The New York Review of Books.

“Born in California in 1940, Mary Heilmann studied ceramics, literature, poetry and sculpture in San Francisco, Santa Barbara, and Berkeley, before moving to New York in 1968. While in New York, she took up painting, experimenting with bright colours, drips and unorthodox geometries – a move which was particularly radical due to the fact the medium had been declared ‘dead’ and the majority of her artistic contemporaries were performance artists or sculptors. Nonetheless, she began exhibiting at Holly Solomon Gallery in the mid-1970s and then showed regularly at Pat Hearn Gallery in the 1980s and 1990s – Hearn and Solomon both being female art dealers whose navigation of the cut-throat New York gallery climate has been legendary”

More at AnOther.

Now, you can download all 239 issues of the landmark UK feminist magazine free-of-charge. Source: Open Culture.

Source: Flavorwire.

“Back in the early 1990s, the British art world changed forever thanks to a band of bright young things that weren’t afraid of controversy, threw away the artworld rulebook and rewrote it in multimedia forms and tabloid headlines. Nearly 30 years on, and the likes of Damien Hirst and Tracey Emin remain some of the leading lights in contemporary British art. A new book from Thames & Hudson, Artrage details that blistering scene and looks at its place today.”

More at It’s Nice That.

“This year marks the fifth anniversary of Frieze New York, the stateside instalment of Frieze’s multi-media celebration of art, offering a showcase comprising 200 galleries from 31 countries worldwide. Encouragingly, the line-up champions more women artists than ever before – so, who better to give us a guided tour than Olympia Scarry?”

More at AnOther.

Natalie Rigg (AnOther) talks to the British artist about her new sculptures, currently on exhibition in London
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Sarah Lucas, The Female Gaze (2016)

Sarah Lucas shot to art stardom in the late 1980s with her bawdy, sexually charged works depicting body parts crafted from mundane, ‘found’ objects. A lemon for a breast; an errant mattress for a body; flesh-coloured tights stuffed to the seams to resemble a jutting phallus, a leg (or both) – Lucas’ art, which brazenly comments on contemporary gender tropes, death and sexuality, played a pivotal role in the rise of Young British Artist movement of the 1990s.

During that explosive period – where Lucas and her fellow YBAs (Tracey Emin, Damien Hirst, Gary Hume et al) partied like rock veterans – her provocative aesthetic frequently divided opinion, as did her so-called stance on feminism. Today, despite swapping her native north London for a more rural life in Suffolk, the British artist is still unwaveringly relevant. Her latest exhibit, titled Power in Woman, is currently on display inside the North Drawing Room of Sir John Soane’s museum, London. Pitched against egg yolk-yellow walls and classical furniture, the show presents three grey plaster-cast mouldings of her muses, Yoko, Michele and Pauline, affixed to chairs or tables in various positions. (more…)

Marissa Grunes (The Paris Review) discusses her mother’s memorization of Stevens’ ‘Sunday Morning’

When “Sunday Morning” was first published in the November 1915 issue of Poetry, just over a hundred years ago, Wallace Stevens was thirty-six; the poem was one of his first major publications. He’d recently moved to the Hartford Accident and Indemnity Company, where he would spend the rest of his life insuring people against the hazards of sudden change. His professional and poetic lives converged on that fact: everything changes.

A spiritual meditation for a secular era, “Sunday Morning” glows with the ripe colors of late summer and early autumn, brief arc segments of the seasonal cycle whose rhythms Stevens celebrates. (more…)

Hannah Ellis-Petersen (The Guardian) discusses a new exhibition that challenges traditional interpretations
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Georgia O’Keeffe (AP Photo)

There are few artists in history whose work is consistently reduced to the single question: flowers or vaginas?

But a new Tate Modern retrospective of Georgia O’Keeffe, a giant of American 20th-century modernism, is to challenge the “conservative male” – and widely accepted – assumptions that her famous flowers paintings are depictions of female genitalia.

The show, which opens in July, will be the UK’s largest ever exhibition of O’Keeffe’s work and will be Tate Modern’s first show since its £26m revamp. Featuring more than 100 works, which have rarely left America since her death in 1986, it will display her 1932 Jimson Weed painting, which in 2014 became the most expensive painting sold at auction by a female artist when it was bought for $44.4m. (more…)

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Photograph: Vivian Maier

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