If there were such a thing as “Women Making Art” month—and why on earth isn’t there?—this particular April would qualify… in Washington D.C., at least. Some of the many exhibitions featuring female artists are, not surprisingly, to be found at the National Museum of Women in the Arts: Maria Martinez pottery and Laura Gilpin’s photography in New Ground, and Polly Apfelbaum’s colorful woodblock prints in Chromatic Scale. (Also, should you be as interested in the written as in the plastic arts, you can sit at the desk of Simone de Beauvoir—or at least a convincing replica, which is on display in the museum’s library.) But that’s not all. Over at the Hirshhorn, Yayoi Kusama’s Infinity Mirrors has been drawing bigger crowds than any exhibition in the museum’s history—and not only because would-be rubberneckers are, perhaps, ghoulishly hoping to witness another selfie-taker damaging the artwork, as happened in February. Elsewhere in town, you can see June Schwarcz’s enamel work at the Smithsonian American Art Museum, Arlene Shechet’s ceramic sculptures at the Phillips Collection, and Rineke Dijkstra’s photos at the National Gallery of Art.
Yayoi Kusama, The Obliteration Room, 2002 to present. Furniture, white paint, and dot stickers. Dimensions variable. Collaboration between Yayoi Kusama and Queensland Art Gallery. Commissioned Queensland Art Gallery, Australia. Gift of the artist through the Queensland Art Gallery Foundation 2012. Collection: Queensland Art Gallery, Brisbane, Australia. Photograph: QAGOMA Photography. © Yayoi Kusama
Arlene Shechet, Once Removed, 1998. Abacá paper and Hydrocal, dimension variable. Courtesy of the artist and Sikkema Jenkins & Co.
Henri Matisse, Interior with Egyptian Curtain, 1948. Oil on canvas, 45 3/4 x 35 1/8 in. Acquired 1950
Photo: Lee Stalsworth
Courtesy of National Museum of Women in the Arts