Client News: April 2024
Inside Philanthropy, April 16: “A Conversation with Julia Marciari-Alexander, Incoming Samuel H. Kress Foundation President,“ by Mike Scutari, interviewing Marciari-Alexander on her career, time at the Walters Art Museum, and next steps
Wall Street Journal, April 11: “‘Matisse and the Sea’ Review: Currents of Inspiration in St. Louis,“ by Karen Wilkin, reviewing the exhibition of the same title, on view at the Saint Louis Art Museum through May 12, 2024
Philanthropy News Digest, April 7: “People in the News (04/07/2024),“ including the appointment of Julia Marciari-Alexander as president of the Samuel H. Kress Foundation
Artnet News, April 1: “Nelson-Atkins Museum Is Auctioning Off a $18-Million Monet,“ by Vittoria Benzine, on the news of the upcoming auction of Monet’s Mill at Limetz
ARTnews, April 1: “Nelson-Atkins Museum to Sell $18 M. Monet Painting at Christie’s in May,“ by Daniel Cassady, sharing the news about the museum’s upcoming sale of Monet’s Mill at Limetz, the proceeds of which will be used to support future art acquisitions
Penta, April 1: “Nelson-Atkins Museum and Kansas City Family to Sell a Monet at Christie’s for up to $25 Million,“ by Abby Schultz, on the upcoming auction of Monet’s Mill at Limetz
Apollo, April 2024: “Acquisitions of the Month: March 2024,“ including a number of works acquired by the Minneapolis Institute of Art by artists such as Carlos Cruz-Diez, Cara Romero, and Jacopo de’ Barbari, among others
Client News: March 2024
Effect Magazine, March 11: "5 standout early-spring design shows in New York City," by Adrian Madlener, featuring Sayar & Garibeh: Broomlithic, currently on view at R & Company
The Art Newspaper, March 8: "A women’s art history that goes beyond the brush and is a call to action," by Jacqueline Riding, on the catalogue for Making Her Mark, previously on view at the Baltimore Museum of Art
Observer, March 6: “SLAM’s ‘Matisse and the Sea’ Showcases Many Ways of Seeing,“ by Farah Abdessamad, on the Matisse exhibition now on view at the Saint Louis Art Museum
Art in America, March 4: "Datebook: The Art World’s Spring Happenings to Add to Your Calendar," featuring Joyce J. Scott: Walk a Mile in my Dreams, now on view at the Baltimore Museum of Art
ArtAsiaPacific, March 1: “Weekly News Roundup: March 1, 2024,“ including the announcement of Daisy Nam’s appointment to lead the CCA Wattis Institute for Contemporary Art
Artforum, March 1: "Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s,” by Susan Snodgras, an expansive review on the exhibition at the Walker Art Center
The Magazine Antiques, March/April 2024: “Current and coming: On the waterfront with Matisse,” on the new exhibition Matisse and the Sea, on view at the Saint Louis Art Museum
Elle Decor, March Issue: “What’s Next: Stranger Things,” by Helena Madden, featuring work by Jolie Ngo, represented by R & Company
Patterns & Insights Magazine, March Issue: “The Female Gaze,” by Deborah Bishop, featuring work by Katie Stout and Luam Melake, presented by R & Company
Client News: February 2024
Forbes, February 29: "An Important Exhibit Of Eastern Bloc Artists Teaches Important Lessons About Political Vigilance," by Jonathon Keats, on the exhibition Multiple Realities at the Walker Art Center
Artforum, February 29: "Martha Jackson Jarvis," by Teri Henderson, on the artist's solo exhibition on view at the Baltimore Museum of Art through March 24
ArtReview, February 28: “Wattis Institute CCA appoints new director and chief curator“ on the California College of the Arts’ latest announcement appointing Daisy Nam as director of the Wattis Institute
ARTnews, February 27: "60 Must-See Exhibitions to Visit This Spring," by Alex Greenberger, featuring artist Joyce J. Scott's 50-year career retrospective at the Baltimore Museum of Art
Artforum, February 27: “Daisy Nam To Lead CCA Wattis Institute For Contemporary Arts,“ on the California College of the Arts’ latest announcement
Philanthropy News Digest, February 21: “FCA awards over $1 million to 2024 cohort of experimental artists,“ sharing the news of the Foundation for Contemporary Arts’ 2024 Grants to Artists awards
American Theatre, February 20: “SDCF Ockrent Fellow, TDF/Sharaff Awards, NAMT Residency Grants, and More,“ sharing the news of the Foundation for Contemporary Arts’ 2024 Grants to Artists awards
Forbes, February 20: “‘The Most Important Matisse Painting In America?’ Saint Louis Art Museum Centers ‘Bathers With A Turtle’,“ by Chadd Scott, on the museum’s new exhibition Matisse and the Sea
AD, February 20: "How Martin Eisler’s 1952 Rib Chair Became a Hallmark of Brazilian Modernism," by Hannah Martin, featuring the Forma exhibition at R & Company
Boston Globe, February 19: “The mysterious case of a missing Bolivian art star — and how his work ended up in Brunswick, Maine,“ by Malcolm Gay, on the Bowdoin College Museum of Art’s acquisition of a painting by Alejandro Mario Yllanes
Hyperallergic, February 6: “The Enigmatic Bolivian Artist Who Centered Indigenous Workers’ Rights,“ by Maya Pontone, on the recent acquisition of a painting by Alejandro Mario Yllanes
Apollo, February 2: "States of awareness – experimental art from the Eastern bloc," by Rachel Wetzler, exploring the exhibition Multiple Realities at the Walker Art Center
Clients News: January 2024
Art in America, January 29: “Across the Iron Curtain, A Vibrant Art Scene Thrived Above and Underground," by Alex Greenberger, reviewing the Walker Art Center's current exhibition Multiple Realities
Surface, January 23: “Designer of the Day: Sayar & Garibeh,” by Ryan Waddoups, featuring the design duo, whose solo show is on view at R & Company
Artforum, January 17: “Joan Mitchell Foundation Announces 2024 Artists-in-Residence," by the news desk, on the Foundation's latest cohort of artists heading to the Joan Mitchell Center for residency
Financial Times, January 12: “Say it with clay,” by Victoria Woodcock, featuring the work of Roberto Lugo, represented by R & Company
The Art Newspaper, January 12: “Baltimore Museum of Art acquires its first piece of performance art," by Torey Akers, on the 100 acquisitions recently made by the BMA
Galerie, January 12: “6 Collectible Design Shows to Explore in January," by Geoffrey Montes, featuring the exhibition Sayar & Garibeh: Broomlithic, currently on view at R & Company
New York Times, January 11: “Daring to Create Art Freely Behind the Iron Curtain," by Jason Farago, reviewing the exhibition Multiple Realities at the Walker Art Center
AD, January 5: “Corey Damen Jenkins Headlines Sotheby’s Visions of America, the Walker Art Center Launches Collectible Design Resource, and More News," by Alia Akkam, featuring the launch of Idea House 3
Apollo, January 3: “The godmothers of conceptual art take centre stage – contemporary highlights in 2024," by Isabella Smith, featuring the forthcoming Sophie Calle exhibition at the Walker Art Center
Observer, January 2: “The Invincible Jim Dine On Drive, Draftsmanship and His Own Mortality,“ by Dian Parker, and discussing Dine’s exhibition of drawings on view at the Bowdoin College Museum of Art
Client News: December 2023
Wall Street Journal, December 28: "‘Multiple Realities: Experimental Art in the Eastern Bloc’ Review: Creativity Under Soviet Constraints," by Peter Plagens, reviewing the exhibition currently on view at the Walker Art Center
ARTnews, December 21: “The Defining Exhibitions of 2023,” featuring The Culture at the BMA and SLAM; Making Her Mark at the BMA; and Multiple Realities at the Walker Art Center
Hyperallergic, December 20: “The Best Art Books of 2023,” by Sarah Rose Sharp, featuring the Pacita Abad catalogue produced in conjunction with the exhibition at the Walker Art Center
Artforum, December 12: “Kevin Tervala Named Chief Curator at BMA," announcing the appointments of Tervala as Chief Curator and Antoinette Roberts as Assistant Curator of Contemporary Art
ARTnews, December 1: “33 Must-See Exhibitions to Visit This Winter,” by Alex Greenberger, featuring Tetsuya Yamada: Listening, opening at the Walker Art Center in January
Apollo, December 1: “Acquisitions of the Month: November 2023,“ including the Saint Louis Art Museum’s acquisition of more than 100 works by 20th century Native American artists from the William P. Healey Collection
Apollo, December issue: “The rise of the Renaissance woman," by Christina J. Faraday, reviewing the exhibition Making Her Mark at the BMA
Client News: November 2023
Observer, November 20: “Celebrating Native American Photography’s Sovereign Gaze,“ by Farah Abdessamad, reviewing the exhibition In Our Hands: Native Photography, 1890 to Now on view at Minneapolis Institute of Art
The Eye of Photography, November 20: “Minneapolis Institute of Art: In Our Hands: Native Photography, 1890 to Now,“ on the exhibition of the same name
Hyperallergic, November 20: “Before Picasso, Joaquín Sorolla Was America’s Favorite Spanish Artist,“ by Lauren Moya Ford, reviewing the exhibition Spanish Light: Sorolla in American Collections on view at the Meadows Museum
New York Times, November 17: “His Architect Said the Site Was No Good, So He Built the Project Himself," by Julie Lasky, featuring the home and studio of artist Hun Chung Lee, represented by R & Company
The Art Newspaper, November 17: “The Week in Art: What did the New York auctions reveal about the state of the art market? Plus, experimental art from the Eastern Bloc and a sculptural installation by Terry Adkins," produced by Ben Luke, featuring an interview with Pavel Pys about his exhibition Multiple Realities, now open at the Walker Art Center
Wallpaper*, November 16: “Walker Art Center opens new collectible design shop," by Adrian Madlener, on the launch of Idea House 3, a new retail platform at the museum
Widewalls, November 13: “Hundred Works of Modern Native American Art Gifted to SLAM,“ announcing the gift by William P. Healey to the Saint Louis Art Museum
Artforum, November 10: “BMA creates paid internships honoring Valerie Maynard," by Artforum staff, on the establishment of the Valerie J. Maynard Legacy Internship, a collaboration between the museum and Valerie J. Maynard Foundation
Artnet News, November 9: “The Essentials: How a New Show on Native Photography Centers Its Enduring Resonance Through 4 Key Works,“ by Taylor Dafoe, on the new exhibition In Our Hands: Native Photography, 1890 to Now, on view now at the Minneapolis Institute of Art
Wall Street Journal, November 4: “‘Making Her Mark’ and ‘Remix: The Collection’ Review: Centuries of Creative Women," by Judith H. Dobrzynski, featuring the BMA's recently opened exhibition on historic women's artistic achievements
Financial Times, November 3: “The brilliance of Brazilian modernism,” by Mark C O’Flaherty, featuring R & Company's exhibitions of Zanine de Zanine Caldas, Joaquim Tenreiro, and Sergio Rodrigues
Apollo, November 3: “Multiple Realities: Experimental Art in the Eastern Bloc, 1960s–1980s," by Apollo staff, previewing the exhibition at the Walker Art Center
The Art Newspaper, November 2: “US exhibition to reveal audacity and experimentation of Eastern Bloc artists," by David Crowley, previewing the Walker Art Center's Multiple Realities exhibition, now on view
Art in America, Winter Issue, November 2023: “Datebook: Multiple Realities: Experimental Art in the Eastern Bloc, 1960s-1980s,” by the editors, featuring the exhibition at the Walker Art Center
The Art Newspaper, November 2023: “Acquisitions,” by Hannah McGivern, including the gift of 100 works of Native American art to the Saint Louis Art Museum from the William P. Healey Collection
Client News: October 2023
Los Angeles Times, October 28: “Israeli-Palestinian conflict spills over into letters and firings in the arts,“ by Carolina A. Miranda, including the news of David C. Howse’s appointment as president of California College of the Arts
Culture Type, October 27: “David C. Howse Appointed President of California College of the Arts in San Francisco,“ by Victoria L. Valentine
Boston Globe, October 25: “David C. Howse is leaving ArtsEmerson for presidency of California college,“ by Don Aucoin, on Howse’s appointment as president of California College of the Arts (CCA)
Artnet News, October 19: “Step Inside the Debut of Design Miami Paris, Featuring Marble ‘Discourse’ Seats and Eco-Responsible Woodwork," by Emily R. Pellerin, featuring R & Company's presentation at the fair
Intersection Magazine, October 13: “By Design: Jolie Ngo,” by Caroline Roux, on the work of designer Jolie Ngo, represented by R & Company
Intersection Magazine, October 13: “By Design: Joyce Lin,” by Caroline Roux, on the work of Joyce Lin, represented by R & Company
The Art Newspaper, October 6: “Jasper Johns’s ‘mutual aid’ organisation for artists receives almost $9m from the estate of Los Angeles gallerist Margo Leavin,“ by Elena Goukassian, on a series of gifts to the Foundation for Contemporary Arts
Boston Globe, October 5: “Here, There, and Everywhere,“ by Kari Bodnarchuk, including the exhibition In Our Hands: Native Photography, 1890 to Now, on view starting October 22, 2023 at the Minneapolis Institute of Art
Apollo, October 5: “Acquisitions of the Month: September 2023,“ including Minneapolis Institute of Art’s acquisition of a rediscovered painting, The Venerable Miguel Gerónimo Carmelo (1628–30) by Francisco de Zurbarán
Hyperallergic, October 4: “10 New Art Books to Read This October,“ by Lakshmi Rivera Amin, Hrag Vartanian and Natalie Haddad, and including the catalogue for the exhibition In Our Hands: Native Photography, 1890 to Now, on view starting October 22, 2023 at the Minneapolis Institute of Art
Forbes, October 4: “Baltimore Museum Of Art Exhibition Adds Much Needed Depth And Breadth To European Art History," by Chadd Scott, exploring the BMA's current exhibition Making Her Mark: A History of Women Artist in Europe, 1400-1800
Hyperallergic, October 3: "15 Art Shows to See in New York This October," featuring Roberto Lugo: The Gilded Ghetto, currently on view at R & Company
Client News: September 2023
Apollo, September 29: “Art Diary: Making Her Mark: A History of Women Artists in Europe, 1400-1800,” highlighting the exhibition opening at the Baltimore Museum of Art on October 1
New York Times, September 28: “What to See in N.Y.C. Art Galleries in September: Roberto Lugo,” by Jillian Steinhauer, on the artist’s first New York Solo show, currently at R & Company
Forbes, September 26: “Fall 2023 Exhibitions At University Of Michigan Museum Of Art Highlight America’s Two Great Original Sins," by Chadd Scott, exploring the exhibitions Cannupa Hanska Luger: You're Welcome and Hear Me Now
CBS News Sunday Morning, September 24: “The New Season: Art from hip hop to Picasso,“ by Serena Altschul, including the exhibition The Culture: Hip Hop and Contemporary Art in the 21st Century, now on view at the Saint Louis Art Museum and previously on view at the Baltimore Museum of Art
Artnet News, September 22: “Artist Carmen Winant’s New Show Turns an Intimate Eye on the Subtle—Even Banal—Realities of Abortion Care,“ by Taylor Dafoe, on Winant’s new installation at the Minneapolis Institute of Art
Observer, September 18: “On View Now: Four Shows in Tribeca on Reimagined Figuration," by Farah Abdessamad, featuring Roberto Lugo: The Gilded Ghetto at R & Company
The Source, September 15: “2023’s ‘Music at the Intersection’: A Hip-Hop Time Capsule Unearthed,“ by Kim SoMajor, on the Saint Louis Music Festival
Whitewall, September 14: “Roberto Lugo Uses Clay to Connect Community and Culture in The Gilded Ghetto," by Katy Donoghue, on the artist's current exhibition at R & Company
Galerie, September 11: “The Artful Life: 7 Things Galerie Editors Love This Week," by Shelby Black, featuring Roberto Lugo's The Gilded Ghetto at R & Company
Hyperallergic, September 11: “Looking Anew at Mina Loy, From Paris to the Bowery,“ by Alan Gilbert, on the exhibition “Mina Loy: Strangeness Is Inevitable” at the Bowdoin College Museum of Art and the accompanying book
Dwell, September 11: “Roberto Lugo Is Using a Greco-Roman Pottery Tradition to Tell His Own Stories," by Adrian Madlener, exploring The Gilded Ghetto, a solo show by Lugo, currently on view at R & Company
The Art Newspaper, September 8: “How women played a bigger role in the Renaissance and beyond," by J.S. Marcus, featuring Making Her Mark, opening at the Baltimore Museum of Art in October
Vibe, September 7: “Thundercat Remembers ‘Best Friend’ Mac Miller On Fifth Anniversary Of His Death,“ by Preezy Brown, interviewing the artist ahead of Saint Louis’ “Music At The Intersection” festival
Galerie, September 6: “7 Collectible Design Shows Around the World in September," by Geoffrey Montes, featuring the exhibition Broomlithic at R & Company
New York Times, September 4: “Art Shows and Exhibitions to See This Fall," by Will Heinrich, featuring Making Her Mark, opening at the Baltimore Museum of Art in October, and Multiple Realities, opening at the Walker Art Center in November
New York Times, September 4: “Dance Performances, Festivals and More Coming This Fall," by Margaret Fuhrer, featuring Dianne McIntyre's In The Same Tongue, opening at the Walker Art Center in October
Rolling Stone, September 2023: “A Kaleidoscope of Hip-Hop Art,” by Andre Gee, highlighting the exhibition The Culture: Hip Hop and Contemporary Art in the 21st Century, co-organized by the Saint Louis Art Museum and Baltimore Museum of Art
Brooklyn Rail, September 2023: “Mina Loy: Strangeness Is Inevitable,“ by Kate Silzer, on the book by the same name accompanying the exhibition on view at Bowdoin College Museum of Art
Burlington Magazine, September 2023: “Mina Loy: Strangeness Is Inevitable,“ by Mary Ann Caws, reviewing the exhibition on view at the Bowdoin College Museum of Art
Client News: August 2023
CULTURED, August 23: “12 Essential Art Exhibitions Worth Traveling For This Fall," by Devorah Lautner, featuring Making Her Mark, opening at the Baltimore Museum of Art in October
Artforum, August 23: “Joan Mitchell Foundation Announces 2023 Fellowships," on the 15 artists who received $60,000 in unrestricted funds from the foundation along with ongoing professional support
Vogue, August 18: "28 Must-See Exhibitions Opening Across the United States This Fall," by Stephanie Sporn, featuring Making Her Mark at the Baltimore Museum of Art, opening on Oct. 1
Art Basel, August 17: “Remembering the ocean with Allan Sekula," by Stefanie Hessler, on the Walker Art Center’s forthcoming exhibition, Allan Sekula: Fish Story.
Forbes, August 15: “Black Women In Art And Black Writing In Art On View At Kansas Museums," by Chadd Scott, featuring the exhibition Black Writing, opening at the Spencer Museum of Art on August 19
The Art Newspaper, August 11: “Capturing the ‘spectacularly unspectacular’ reality of abortions and reproductive health facilities,“ by Helen Stoilas, reporting on artist Carmen Winant’s new installation ““The last safe abortion,” at the Minneapolis Institute of Art
T Magazine, August 10: “Frank Bowling’s Geographies,” by Lovia Gyarkye, a conversation with the artist tied to his current exhibition at SFMOMA
Rolling Stone, August 8: “Celebrate Hip-Hop’s 50th Birthday With These Concerts, Exhibits, and Events," by Andre Gee, featuring the exhibition The Culture, opening soon at the Saint Louis Art Museum and previously on view at the Baltimore Museum of Art
Hyperallergic, August 2: “A 350-Page Tribute to Pacita Abad’s Boundless Art," by Sarah Rose Sharp, exploring the catalogue accompanying Pacita Abad, currently on view at the Walker Art Center and soon to open at SFMOMA
Client News: July 2023
Artforum, July 31: “Eva Respini to Lead Curatorial Programs at Vancouver Art Gallery,“ announcing Respini’s appointment as Deputy Director and Director of Curatorial Programs at the Vancouver Art Gallery
T Magazine, July 28: “Artist-Designed Party Hats, and How to Recreate Them," by Coco Romack, featuring artist Jolie Ngo, who is represented by R & Company
Artnet News, July 28: “Star Curator Eva Respini Departs the ICA Boston to Head Up Curatorial Programs at the Vancouver Art Gallery,“ announcing Respini’s appointment as Deputy Director and Director of Curatorial Programs at the Vancouver Art Gallery
The Art Newspaper, Updated July 27: “Octavia Butler’s classic science-fiction novel Parable of the Sower sprouts artistic seedlings," by Helen Stoilas, including the forthcoming exhibition Black Writing at the Spencer Museum of Art
Musée Magazine, July 24: “Fish Story I Allan Sekula,” by Michael Galati, a review on the forthcoming exhibition at the Walker Art Center
Forbes, July 21: “Anishinaabe Visions And European Traditions: Jim Denomie At Minneapolis Institute Of Art,“ by Chadd Scott, on the new exhibition of Denomie’s work
Boston Globe, July 19: “‘Mina Loy: Strangeness Is Inevitable’ celebrates a remarkable ‘cultural pollinator’,“ by Mark Feeney, reviewing the exhibition on view at the Bowdoin College Museum of Art
Wall Street Journal, July 17: “Luminous, Liquid Visions,“ by Barrymore Laurence Scherer, reviewing the exhibition Watercolors Unboxed at the Worcester Art Museum
ARTnews, July 13: “In the Baltimore Museum of Art’s Hip-Hop Exhibition, Black Women Artists Shine Bright Like a Diamond," by Jasmin Hernandez, on the importance of Black women's contributions to hip hip in her review of The Culture at the BMA
Frieze, July 7: "Pacita Abad’s Stitching Traverses the Globe," by Simon Wu, reviewing the first US retrospective of artist Pacita Abad, on view at the Walker Art Center
Indian Country Today, July 7: “INDIGENOUS A&E: Modern art, a novel’s brutal truth and a cultural fest in Canada,“ by Sandra Hale Schulman, including the exhibition Action/Abstraction Redefined: Modern Native Art 1940s-1970s at the Saint Louis Art Museum
Musée Magazine, July 3: “People Watching | Contemporary Photography since 1965,“ by Michael Galati, on the exhibition on view at Bowdoin College Museum of Art
Brooklyn Rail, July 2023: “ArtSeen — Mina Loy: Strangeness is Inevitable,“ by Amy Rahn, on the exhibition of Mina Loy’s work at the Bowdoin College Museum of Art
Client News: June 2023
Boston Globe, June 29: “City tours at a discount, a Mill City folk fest, and the faces of Bowdoin,“ by Kari Bodnarchuk, featuring the exhibition People Watching: Contemporary Photography since 1965, on view through November 5
The Art Newspaper, June 26: "Baltimore Museum of Art acquires LaToya Ruby Frazier installation honouring community healthcare workers," by Torey Akers, on the BMA’s acquisition of More Than Conquerors
1stDibs: Introspective Magazine, June 25: “The Weird Science of Rogan Gregory’s Hypnotic Designs," by Ted Loos, on R & Company's publication of the first book on artist Rogan Gregory's career
The Eye of Photography, June 23: “The Bowdoin College Museum of Art : People Watching : Contemporary Photography since 1965,“ on the museum’s new exhibition
Artnet News, June 23: “Art Enlivens Chicago in the Summer Season. Here’s an Insider’s Guide to the City’s Major Exhibitions, Landmarks, and Thriving Galleries,“ by Vasia Rigou, including the exhibition Hector Guimard: Art Nouveau to Modernism at the Driehaus Museum
ARTnews, June 21: “ARTnews in Brief," by Max Duron, featuring SFMOMA’s appointment of Gamynne Guillotte as its Chief Education and Community Engagement Officer
The Art Newspaper, June 9: “New York fair Portal will not return to Governors Island after clash with trust over event space," by Carlie Porterfield, on the news that 4heads will not return to the Island to host its beloved annual fair
1stDibs: The Study, June 9: “Learn Why Designer Maarten Baas Set This Charles Rennie Mackintosh Chair on First," by Cara Greenberg, on the Hill House Chair featured in R & Company's current exhibition The Dennis Freedman Collection
Artnet News, June 7: “After 15 Years on Governors Island, Artist-Run Fair Portal Was Rejected From the Site This Year, as Demand for Exhibition Space Grows,“ by Sarah Cascone
New York Magazine: Curbed, June 2: “New York City’s Latest Specialty Libraries for Design Obsessives," by Diana Budds, featuring the design library and archive at R & Company
The Art Newspaper, June 2023: “Native abstract expressionism,” by Ruth Lopez, on the exhibition Action/ Abstraction Redefined: Modern Native American Art, 1940s-70s, opening later this month at the Saint Louis Art Museum
The Art Newspaper, June 2023: “Mina Loy, the mysterious figure who depicted wartime New York’s underbelly,“ by Matthew Gale, reviewing the catalogue Mina Loy: Strangeness is Inevitable, accompanying the exhibition of the same name at the Bowdoin College Museum of Art
Asian Art Newspaper, June 2023: “Fukuda Kodojin – Landscapes,“ on the exhibition Fukuda Kodōjin: Japan’s Great Poet and Landscape Artist at the Minneapolis Institute of Art
The Art Newspaper, June 2023: “Acquisitions,“ including the Saint Louis Art Museum’s acquisition of Pietro Calvi’s 1874 sculpture Selika
Artforum, Summer 2023: “Taking Liberty,” by Murtaza Vali, on the art of Pacita Abad tied to the artist’s retrospective currently on view at the Walker Art Center
Client News: May 2023
ARTnews, May 26: “Kara Walker Receives Major Commission from SFMOMA," by Francesca Aton, on the announcement of the artist's forthcoming public art installation at the museum
Observer, May 24: “Kara Walker Tapped by SFMOMA for a Large-Scale Installation," Alexandra Tremayne-Pengelly, on the announcement that the museum has commissioned the artist to create an installation for one of its free galleries
CULTURED, May 15: “Asma Naeem Moved Back in With Her Parents to Pursue a Dream. Now She's a Top Museum Director," by Melissa Smith, on Baltimore Museum of Art Director Asma Naeem’s shift from law to the arts
Newcity, May 16: “Today In The Culture, May 16, 2023,“ by Ray Pride, including the exhibition Hector Guimard: Art Nouveau to Modernism, opening June 22 at the Driehaus Museum
Art New England, May 15: “Turn of Phrase: Language And Translation In Global Contemporary Art,“ by Carl Little, reviewing the exhibition of the same name at the Bowdoin College Museum of Art
TEFAF Magazine, May 11: “Tenreiro, Caldas, and Rodriques: Brazilian Mid-Century Design Between Rio de Janeiro and São Paulo," Karen Chernick in conversation with R & Company's Zesty Meyers
Fine Books & Collections, May 10: “Japanese Poet and Painter Fukuda Kodōjin Celebrated in First Retrospective,“ on the exhibition Fukuda Kodōjin: Japan’s Great Poet and Landscape Artist on view at the Minneapolis Institute of Art
New York Times, May 5: “TEFAF New York, a ‘Little Jewel Box’ of a Fair, Carves Out Its Own Niche," by Ted Loos, highlighting R & Company's presentation at TEFAF New York
JNS, May 5: “Minneapolis art exhibit depicting Chanukah heroine Judith centers on ‘ghastly’ Caravaggio decapitation,“ by Menachem Wecker, on the exhibition Caravaggio′s Judith and Holofernes on view at the Minneapolis Institute of Art
The Art Newspaper, May 2: "May book bag: from a monograph for an underrated Pop artist to a book about Derek Jarman’s Blue movie," by Gareth Harris, including the recently published Making Their Mark: Art by Women in the Shah Garg Collection
The Burlington Magazine, May 1: “Seventy years after a groundbreaking exhibition on early photography in Rome, scholarship on the subject continues to advance,” by Marco Iuliano, featuring the catalogue In Light of Rome: Early Photography in the Capital of the Art World, 1842–1871, accompanying the exhibition of the same name at the Bowdoin College Museum of Art
Art & Antiques, May 2023: “Championing Modern Design," by Rebecca Allan, on R & Company's current exhibition The Dennis Freedman Collection
Elle Decor, May 2023: “The Natural Look,” by Helena Madden, featuring “The Root Chair” by designer Joyce Lin, whose solo exhibition is currently on view at R & Company
Client News: April 2023
Wallpaper*, April 28: “Dennis Freedman’s collection at R & Company is a trip inside the mind of a design collector," by Emily Pellerin, exploring the gallery's recently opened exhibition of collectible design masterworks
ANSA, April 27: “Un Caravaggio da Roma in mostra a Minneapolis,“ by Alessandra Baldini, on the exhibition Caravaggio′s Judith and Holofernes on view at the Minneapolis Institute of Art
Surface, April 26: “Designer of the Day: Joyce Lin,” by Ryan Waddoups, on Joyce Lin, whose solo exhibition Material Autopsy is on view at R & Company
New York Times, April 25: “Museums Look Locally for Growth and, Sometimes, Survival," by Michael Janofsky, featuring The Culture at the Baltimore Museum of Art and perspectives from SFMOMA's director Christopher Bedford
New York Times, April 25: “Increasingly, Women Are Running the World’s Great Museums," by Ted Loos, featuring the appointment of Asma Naeem as the Baltimore Museum of Art's new director
ARTnews, April 21: “ARTnews in Brief: MOCA LA Names José Luis Blondet Senior Curator, Walker Art Center Hires Rosario Güiraldes," by Maximiliano Duron, on the Walker's recent curator of visual arts appointment
Boston Globe, April 19: “When in Rome…,“ by Mark Feeney, reviewing the exhibition In Light of Rome: Early Photographs in the Capital of the Art World, 1842-1871 at the Bowdoin College Museum of Art
Forbes, April 19: “Baltimore Museum Of Art Tracks Hip Hop’s Rise From Sub-Culture To ‘The Culture’", by Chadd Scott, exploring the BMA's current exhibition about hip hop and contemporary art
Artnet News, April 17: “What I Buy and Why: Creative Director Dennis Freedman on His Never-Ending Quest for Avant-Garde Italian Design," by Lee Carter, ahead of the opening of the exhibition The Dennis Freedman Collection at R & Company
The Magazine Antiques, April 14: “Garden Varieties,“ by Kevin D. Murphy, on the exhibition Monet/Mitchell: Painting the French Landscape at the St Louis Art Museum
Wallpaper*, April 14: “How Hip Hop changed the face of art: a new Baltimore show explores the story,“ by Harriet Lloyd-Smith, on the exhibition The Culture: Hip Hop and Contemporary Art in the 21st Century at the Baltimore Museum of Art
PopSugar, April 13: “The Woman Behind Lil' Kim's Iconic Wigs Remakes Them For the Culture,“ by Jihan Forbes, on Dionne Alexander and her inclusion in The Culture: Hip Hop and Contemporary Art in the 21st Century at the Baltimore Museum of Art
Hyperallergic, April 12: “The World Is Finally Ready for Mina Loy,“ by Lauren Maya Ford, on the book and exhibition Mina Loy: Strangeness is Inevitable at the Bowdoin College Museum of Art
Vogue, April 10: “It’s Spring! Time for Some Art,“ by Dodie Kazanjian, including The Culture: Hip Hop and Contemporary Art in the 21st Century at the Baltimore Museum of Art
Ebony, April 10: “5 Amazing Exhibits by Black Artists to Check Out This Spring,“ including Afrofuturism in Costume Design at the North Carolina Museum of Art
Cultured, April 10: “This Week In Culture: April 10 - 16, 2023,“ including the exhibition Pacita Abad at the Walker Art Center
The Art Newspaper, April 7: “This Week in Art,” podcast hosted by Ben Luke, The Culture: Hip Hop and Art in the 21st Century at the Baltimore Museum of Art
Wall Street Journal, April 7: “Pacita Abad’s Art of Excess," by J.S. Marcus, on the opening of the first retrospective of the artist at the Walker Art Center
ARTnews, April 7: “Artist Kahlil Robert Irving Understands the Present by Taking a Bird’s Eye View of the Past," by Francesca Aton, on the artist's recently opened exhibition at the Walker Art Center
Vogue, April 6: “How the Hairstylist Behind Lil’ Kim and Mary J. Blige’s Iconic 90s Looks Changed Fashion Forever,” by Janelle Okwodu, featuring The Culture: Hip Hop and Art in the 21st Century at the Baltimore Museum of Art
Artnet News, April 5: “‘Hip-Hop Is a Canon’: How the Baltimore Museum of Art’s Major Hip-Hop Show Is Bridging the Divide Between Rap and Art," by Miki Hellerbach, on the opening of The Culture: Hip Hop and Contemporary Art in the 21st Century
Widewalls, April 5: “The Saint Louis Art Museum Appoints Melissa Venator as Curator Focused on Modern German Art“
The New Criterion, April 4: “Exhibition note: On “Roman Landscapes: Visions of Nature and Myth from Rome and Pompeii” at the San Antonio Museum of Art,“ by Robert S. Erickson
Art & Antiques, April 1: “The Power of Art in Times of Terror,“ by Dian Parker, reviewing the exhibition “In the Shadow of Dictatorship: Creating the Museum of Spanish Abstract Art,” on view at SMU’s Meadows Museum
Design District Magazine, March/April 2023: “Social Seating: Artist Luam Melake’s Functional Furniture Inspires Human Connections,” by Claudine Ko, featuring Luam Melake: Furnishing Feelings at R & Company
Client News: March 2023
ArtReview, March 31: “The Top 10 Exhibitions to See in April 2023,“ including Pacita Abad at the Walker Art Center
The Arts Fuse, March 26: “Coming Attractions: March 26 Through April 8 — What Will Light Your Fire,“ including the exhibition Mina Loy: Strangeness is Inevitable, on view at the Bowdoin College Museum of Art in Brunswick, Maine
Forbes, March 26: “Joan Mitchell, Claude Monet, Equals, Together At Saint Louis Art Museum,“ by Chadd Scott, on the exhibition Monet/Mitchell: Painting the French Landscape at the St Louis Art Museum
T Magazine, March 24: “The Artist Crafting Fantastical Headpieces From Watches, Seashells and Stuffed Animals,“ including pieces on R & Company designers Roberto Lugo and Hun Chung Lee
The New York Times, March 22: “Komal Shah, Champion of Female Artists, Works to Raise Their Profiles,“ by Hilarie M. Sheets, on Shah’s newly released book on her collection of work by women artists
Forbes, March 21: “First Museum Retrospective For Michael Richards, Artist Killed During 9/11 Attacks, On View At North Carolina Museum Of Art,“ by Chadd Scott
Art of the Ancestors, March 21: “Now Showing: Eternal Offerings: Chinese Ritual Bronzes at the Minneapolis Institute of Art“
News & Observer, March 16: “From Dreamville to Stevie Nicks, don’t miss these 5 big Triangle events this spring featuring Ruth E. Carter: Afrofuturism in Costume Design exhibition at the North Carolina Museum of Art,” by Colleen Hammond
Widewalls, March 16: “SFMOMA Partners with Activist Alice Wong on New Podcast to Explore the Intersection of Art and Disability”
News & Observer, March 15: “Ruth E. Carter won her 2nd Oscar for ‘Wakanda Forever.’ How to see her costumes in NC,” by Jessica Banov, on the new exhibition Ruth E. Carter: Afrofuturism in Costume Design on view now at the North Carolina Museum of Art
Artnet News, March 14: “Art Industry News: Tom Sachs’s Former Studio Employees Speak Out Against a ‘Cult-Like’ Workplace + Other Stories,“ including “Angela Basset’s Oscar-Winning Costume Heads to Museum Display at the North Carolina Museum of Art”
Widewalls, March 13: “The University of Michigan Museum of Art Announced Its Latest Round of Acquisitions,“ including works by Andrea Carlson, Jess T. Dugan, Matthew Angelo Harrison, Suchitra Mattai, Frederick Ebenezer Okai, and Futamura Yoshimi
Wall Street Journal, March 11: “‘Roman Landscapes: Visions of Nature and Myth From Rome and Pompeii’ Review: Idylls of Ancient Italy,“ by Judith H. Dobrzynski, on the new exhibition at the San Antonio Museum of Art
Galerie, March 8: “8 Extraordinary Design Gallery Shows to See in March,” by Geoffrey Montes, including Luam Melake at R & Company
Arts Access Newsletter, March 7: “What We’re Listening To, featuring the Raw Material Podcast from the San Francisco Museum of Modern Art”
AnOther, March 3: “Spring Has Sprung: Brilliant Things To Do in March,“ including Monet/Mitchell: Painting the French Landscape at the St Louis Art Museum
Walter Magazine, March 1: “Are You Down? A New Exhibition Celebrates the Work of Michael Richards,“ by Hampton Williams Hofer, on the retrospective of Richards’ work at the North Carolina Museum of Art
Fine Art Connoisseur, March 1: “Great Art Worldwide,” featuring Roman Landscapes: Visions of Nature and Myth from Rome and Pompeii, on view at the San Antonio Museum of Art
Client News: February 2023
JNS, February 27: “St. Louis museum acquires second work by 18th-century Jewish woman artist,“ about the Saint Louis Art Museum’s acquisition of a bimah cover believe to be made by Simhah Viterbo
Forbes, February 26: “Art During Dictatorship: Abstraction In Spain Under Franco, on the Meadows Museum exhibition In the Shadow of Dictatorship: Creating the Museum of Spanish Abstract Art,“ by Chadd Scott
WWD, February 22: “Joan Mitchell Foundation Alleges Louis Vuitton Used Artist’s Paintings Without Permission,“ by Joelle Diderich, on Louis Vuitton’s illegal use of works by artist Joan Mitchell in an advertising campaign
NHL, February 21: “Ripken The Bat Dog's Epic Journey to Deliver the Game Puck,” with a visit to the North Carolina Museum of Art
The Art Newspaper, February 21: “Joan Mitchell Foundation sends cease-and-desist to Louis Vuitton over handbag ads,“ by Carlie Porterfield, on Louis Vuitton’s illegal use of works by artist Joan Mitchell in an advertising campaign
Wall Street Journal, February 21: “Louis Vuitton Pressured to Pull Ads With Joan Mitchell Paintings,“ by Nick Kostov, on Louis Vuitton’s illegal use of works by artist Joan Mitchell in an advertising campaign
New York Times, February 21: “Joan Mitchell Foundation Claims Vuitton Ads Infringe on Painter’s Copyright,“ by Zachary Small, on Louis Vuitton’s illegal use of works by artist Joan Mitchell in an advertising campaign
Financial Times, February 21: “Artist Joan Mitchell’s foundation demands Louis Vuitton ditch ad campaign,“ by Adrienne Klass and Joe Miller, on Louis Vuitton’s illegal use of works by artist Joan Mitchell in an advertising campaign
Wall Street Journal, February 18: “Icons: Art for Roman Holidays,“ by Susan Delson, featuring works from the exhibition Roman Landscapes: Visions of Nature and Myth from Rome and Pompeii, on view at the San Antonio Museum of Art
Minerva Magazine, February 13: “On show: a selection of exhibitions from around the world in 2023,” featuring Roman Landscapes: Visions of Nature and Myth from Rome and Pompeii, at the San Antonio Museum of Art
Artnet News, February 7: “These 5 New Exhibitions—Complete With Balloon Furniture and Chairs Made for Cuddling—Reveal Directions That Design Is Going Today,“ by Adrian Madlener, including Luam Melake at R & Company
Client News: January 2023
T Magazine, January 26: “The T List: Luam Melake’s Soft, Social Furniture, on View in New York,” by Roxanne Fequiere, on designer Luam Melake's forthcoming solo exhibition at R & Company
Inside Philanthropy, January 26: “Older Americans Rarely Have Access to Arts Education. This Funder is Working to Change That,” by Mike Scutari, on the Vitality Arts program developed by E.A. Michelson Philanthropy
New York Times, January 24: “Baltimore Museum of Art Taps Its Chief Curator as Its Next Director," by Hilarie M. Sheets, on the appointment of Dr. Asma Naeem as the BMA's new leader
Artforum, January 24: “Asma Naeem to Lead Baltimore Museum of Art,” by Zack Hatfield, on the BMA’s appointment of its next director
ARTnews, January 24: “Asma Naeem Becomes the First Person of Color to Lead the Baltimore Museum," by Alex Greenberger, on the BMA's appointment of its next director
The Eye of Photography, January 24: “Saint Louis Art Museum : Donation Ray Metzker," by Jean-Jacques Naudet, on a group of more than 40 photographs by Ray Metzker gifted to the museum
AD, January 23: “Luam Melake’s Foam Furniture Wants to Bring People Back Together," by Hannah Martin, on the forthcoming exhibition Furnishing Feelings at R & Company
Forbes, January 23: “This Intriguing Exhibit Unearths The Surprising Role Of Ceramics In Cementing The Alliance Between Japan And The U.S.," by Jonathon Keats, exploring Clay as Soft Power at the University of Michigan Museum of Art
Widewalls, January 20: “SFMOMA's Acquires New Work, Including the Museum's First NFT and Works by 18 Artists New to the Collection," by Eli Anapur, featuring the museum's latest slate of acquisitions
Wall Street Journal, January 18: “‘Clay as Soft Power: Shigaraki Ware in Postwar America and Japan’ Review: Making Pots, Building Bridges,” by Lee Lawrence, a review of the exhibition at the University of Michigan Museum of Art
Surface, January 13: “Robin Rhode Choreographs a Woman-to-Bird Metamorphosis," by Ryan Waddoups, on the exhibition African Dream Root at Lehmann Maupin in New York
Boston Globe, January 12: “Here, There, and Everywhere: A Rome exhibit in Maine, a dreamy eclipse escape, and a clever duffel backpack," by Kari Bodnarchuk, featuring the exhibition In Light of Rome: Early Photography in the Capital of the Art World, 1842-1871 at Bowdoin College Museum of Art
Culture Type, January 11: “Taylor Jasper is Joining the Walker Art Center as Assistant Curator of Visual Arts,” by Victoria Valentine, on the institution’s newest hire to its curatorial team
Thrillist, January 9: “16 Art Museum Exhibits Worth Traveling for in 2023," by Priscilla Frank, featuring the exhibition Michael Richards: Are You Down? at North Carolina Museum of Art
Dazed, January 9: “The major art exhibitions you need to see in 2023," by Emily Dinsdale, featuring the forthcoming exhibition The Culture: Hip Hop and the Contemporary Art in the 21st Century at the Baltimore Museum of Art
1stDibs Introspective Magazine, January 7: “Studio Job’s Job Smeets Looks for America and Finds a Mother Lode of Inspiration,” by Ted Loos on the exhibition The American Job at R & Company
Vogue, January 6: “17 Must-See Exhibitions This Winter and Spring, From New York to the Ivory Coast," by Dodie Kazanjian, featuring Paul Chan: Breathers at the Walker Art Center
Artnet News, January 6: “On Hip Hop‘s 50th Anniversary, Here Are the Essential Museum Shows Celebrating the Movement‘s History and Enduring Legacy," by Min Chen, featuring the forthcoming exhibition The Culture at the Baltimore Museum of Art and Saint Louis Art Museum
Artnet News, January 6: “The Art Angle Podcast: Why the Very Serious Artist Paul Chan Is Taking a Breather," a conversation with editor Rachel Corbett and artist Paul Chan in conjunction with his current exhibition at the Walker Art Center
Widewalls, January 4: “Art Exhibitions to See in the First Half of 2023," by Balasz Takac, featuring the forthcoming exhibition The Culture: Hip Hop and the Contemporary Art in the 21st Century at the Baltimore Museum of Art
Photograph Magazine, January 3: “Darrel Ellis: Regeneration | Baltimore Museum of Art," a review by Mark Alice Durant of the exhibition at the BMA, on view through April 23
Art & Antiques, Winter Issue: “Black Orpheus,” by Lorna Dryden, a feature on the exhibition at the at the Chrysler Museum of Art
Client News: December 2022
The News & Observer, December 30: "Here are 50+ fun and adventurous things to do in NC this year," by Kristen Johnson and Colleen Hammond, featuring Michael Richards: Are You Down? and Ruth E. Carter: Afrofuturism in Costume Design at the North Carolina Museum of Art
Artnet News, December 21: “‘Unsung Heroes’: A Show of Remarkable Designs Recognizes the Contributions Made by 14 California Women Artists," by Laurie Pike, exploring the exhibition Born Too Tall, currently at R & Company
Fine Books & Collections, December 20: “In Light of Rome Photography Exhibition Opens,” by Rebecca Rego Barry, exploring the exhibition at the Bowdoin College Museum of Art
The Art Newspaper, December 19: “Acquisitions round up: Wu Tsang's immersive installation from Venice Biennale heads to San Francisco Museum of Modern Art," by Gabriella Angeleti, on SFMOMA's recent acquisition of Of Whales (2022), now on view in the museum's atrium
Museé Magazine, December 19: “Exhibition Review: In Light of Rome," by Anvita Brahmbhatt, exploring the exhibition at the Bowdoin College Museum of Art
Architects + Artisans, December 15: “Roman Landscapes at the San Antonio Museum of Art," by Mike Welton, on the major forthcoming exhibition at SAMA that explores landscape as a genre in the art of ancient Italy
Harper’s Bazaar, December 14: “John Waters on His Life in Art,” by Stephen Mooallem, featuring a conversation between John Waters and artist Jack Pierson tied to Coming Attractions, currently on view at the Baltimore Museum of Art
The Brooklyn Rail, December 14: “In Conversation: Omar Ba with Emann Odufu," an in-depth conversation with the artist tied to his exhibition Political Animals, currently on view at the Baltimore Museum of Art
The Art Newspaper, December 14: “A brush with... Alicja Kwade," by Ben Luke, a podcast episode with the artist tied to her current exhibition at 303 Gallery
Forbes, December 3: “The Africa We Ought To Know; U.S. Museums Reconsidering The Continent," by Chadd Scott, featuring the complete reinstallation of the North Carolina Museum of Art's collections
Client News: November 2022
Design District Magazine, November 22: “The Power of Clay,” by Janelle Zara, profiling artist Roberto Lugo tied to his upcoming presentations at Design Miami with R & Company
Artnet News, November 21: "‘I Realized the Power of Art to Infuriate People’: John Waters on How He Built His Art Collection—and Then Gave It Away," by Min Chen, on the exhibition Coming Attractions at the Baltimore Museum of Art
The Conversation, November 21: “18th- and 19th-century Americans of all races, classes and genders looked to the ancient Mediterranean for inspiration," by Sean P. Burrus, on the exhibition Antiquity and America at the Bowdoin College Museum of Art
CULTURED, November 21: “This Week in Culture: ‘Part Two: Run’ by Alex Prager,” by Joshua Glass, on Lehmann Maupin’s presentation of Alex Prager’s new work at its Palm Beach location
T Magazine, November 17: “The T List: A Baltimore Exhibition of John Waters’s Art Collection,” by Sydney Gore, on the presentation of John Waters’s bequest to the Baltimore Museum of Art
Stirpad, November 17: “R & Company narrates the stories of women designers who inspire change,” by Almas Sadique, on R & Company’s current exhibition Born Too Tall
Forbes, November 17: “Jacob Lawrence ‘Nigeria’ Series Together Again For First Time Since 1965," by Chadd Scott, on the Chrysler Museum of Art's exhibition Black Orpheus: Jacob Lawrence and the Mbari Club
The Design Edit, November 16: “A historical survey of noted, yet overlooked, women designers from California uncovers their lasting impact,” by Adrian Madlener, on Born Too Tall, currently on view at R & Company
Wallpaper*, November 3: "Female Californian designers celebrated in new R & Company exhibition," by Tilly Macalister-Smith, on the exhibition Born Too Tall, which celebrates the work of 14 women designers
Artnet News, November 3: “Artist Philippa Pham Hughes’s Latest Work Is a Massive Dinner Party Bringing Conservatives and Liberals Together Ahead of the Midterm Elections," by Helen Stoilas, on the artist's "We Need to Talk" event at the University of Michigan Museum of Art
Artforum, November 2: “Close-Up: Jannis Kounellis," by David Rimanelli, on the artist's “blocked door” series tied to the current retrospective of his work at the Walker Art Center
BaerFaxt, November 2: Post on North Carolina Museum of Art’s collection reinstallation and its approach to broadening dialogues through art
Art & Antiques, November 1: "Powerful Ceramics," by Lorna Dryden, previewing the exhibition Clay as Soft Power at the University of Michigan Museum of Art
Fine Art Connoisseur, November 1: "Off the Walls: Artists & Galleries," by Peter Trippi, featuring the exhibition Botticelli and Renaissance Florence: Masterworks from the Uffizi at the Minneapolis Institute of Art
Client News: October 2022
New York Times, October 22: “At Museums and Auctions, Private Treasures Are Unveiled,“ by Lauren Messman, including the exhibitions Coming Attractions: The John Waters Collection at the Baltimore Museum of Art, EJ Hill: Brake Run Helix at MASS MoCA, Start Talking: Fischer/Shull Collection of Contemporary Art at the North Carolina Museum of Art, and Paul Chan: Breathers at the Walker Art Center
Air Mail, October 2022: “Botticelli and Renaissance Florence: Masterworks from the Uffizi,“ Culture Matrix, featuring the major Botticelli exhibition on view at the Minneapolis Institute of Art through January 8
New York Times, October 21: “EJ Hill Wants to Take You on a Ride,“ by Siddhartha Mitter, on Hill’s exhibition at MASS MoCA, opening October 30, 2022
New York Times, October 20: “A Tribute to Black Artists Could Signal a Change for Museums," by Claudia Dreifus, featuring the exhibitions Black Orpheus at the Chrysler Museum of Art and A Movement in Every Direction at the Baltimore Museum of Art
New York Times, October 19: “Air-Powered Art From a Newly Minted Winner of a ‘Genius Grant’," by Ted Loos, exploring the work of artist Paul Chan pegged to his forthcoming exhibition at the Walker Art Center
Art & Object, October 19: “North Carolina Museum of Art Collection Reimagined,“ by Amy Funderburk, on the Museum’s reinstallation of its collection, bringing more works on view with new perspectives and voices
ARTnews, October 19: “Morning Links,“ including the new exhibition Botticelli and Renaissance Florence: Masterworks from the Uffizi at Minneapolis Institute of Art
Forbes, October 17, “A Major New Jannis Kounellis Retrospective Shows That Art Is The Meaning Of Life—And Vice Versa," by Jonathon Keats, exploring the major survey of Arte Povera artist Jannis Kounellis currently on view at the Walker Art Center
Minerva Magazine, October 17: “Classical currents: Antiquity and America,“ on the exhibition Antiquity & America: The Ancient Mediterranean in the United States at the Bowdoin College Museum of Art
Burnaway, October 15: “Ralph Burns at the North Carolina Museum of Art, Raleigh,“ on the artist’s exhibition Fall 2022 Billboards: Ralph Burns
Wall Street Journal, October 14: “Imagining the Great Migration," by Susan Delson, previewing the exhibition A Movement in Every Direction, which opens at the Baltimore Museum of Art on Oct. 30
The Art Newspaper, October 13: “Minneapolis to host 'most comprehensive US show of Botticelli' with major loans from the Uffizi," by Ruth Lopez, exploring the exhibition Botticelli and Renaissance Florence: Masterworks from the Uffizi at the Minneapolis Institute of Art
The Art Newspaper, October 13: “Second Act for Lost Jannis Kounellis Work Ahead of Major Exhibition,” by Helen Stoilas, on the retrospective of work by Jannis Kounellis at the Walker Art Center
Forbes, October 10: “New York’s Top October Art Exhibitions Have A Southern Flavor,” by Chadd Scott, including the show Kinship: Dusti Bongé and Betty Parsons at Hollis Taggart gallery
Design District Magazine, October, Issue 2 2022: “The Brazilian Way,” by Janelle Zara, on the exhibition Joaquim Tenreiro: Tectonic Master on view at R & Company
Metropolis Magazine, October 6: “Rediscovering a Master of Brazilian Modernism," by Anthony Paletta, on R & Company's solo presentation of Brazilian designer and master woodcarver Joaquim Tenreiro
Forbes, October 5: “Europe’s Greatest Art Comes To America This Fall," by Chadd Scott, featuring Botticelli and Renaissance Florence: Masterworks from the Uffizi at the Minneapolis Institute of Art and Dalí/Vermeer: A Dialogue at the Meadows Museum, SMU
Artnet News, October 5: “13 U.S. Museum Shows to See This Fall, From Tragic Genius Matthew Wong’s First Retrospective to a Landmark Joan Didion Exhibition," by Zachary Small, featuring Jannis Kounellis in Six Acts opening at the Walker Art Center
Garden & Gun, October 4: “Mississippi’s Modernist Painter Who Thought New York Had Nothing on Biloxi," by Gabriela Gomez-Misserian, on Hollis Taggart Gallery's upcoming exhibition on the work of Dusti Bongé
Artnet News, October 3: “In a Major Shift, Museums Can Now Use the Proceeds From Deaccessioning for More Than Just Buying Art,” by Caroline Goldstein, on AAMD’s decision to amend its guidelines on deaccessioning
Client News: September 2022
The New York Times, September 30: “Museums Vote to Allow the Sale of Art to Care for Collections,” by Julia Jacobs, on AAMD’s rule change on deaccessioning
The Art Newspaper, September 30: “Following controversial sales, US museums association revises its deaccessioning policy,” by Justin Kamp, on the Association of Art Museum Directors’ recent rule change
Hyperallergic, September 30: “Museums Can Use Deaccessioning Funds for Collection Care, AAMD Says,” by Jasmine Liu, on the Association of Art Museum Director’s rule change
ARTnews, September 30: “Prominent Museum Group Amends Policy Allowing for Sales of Art for ‘Direct Care’ of Collection Following Controversy,” by Alex Greenberger, on the Association of Art Museum Director’s rule change for deaccessioning
Artnet News, September 30: “Unfairly Imprisoned, He Labored on a Chain Gang for Years. Now Winfred Rembert’s Paintings About That Experience Are Selling for Nearly $300,000," by Katya Kazakina, featuring a mention of the Minneapolis Institute of Art’s recent acquisition of Rembert’s The Beginning (2002)
Essence, September 29: “20 Fall Exhibitions & Art Shows To Explore,” by Okla Jones, including the exhibitions Black Orpheus: Jacob Lawrence and the Mbari Club at the Chrysler Museum of Art and Darrel Ellis: Regeneration at the Baltimore Museum of Art
Culture Type, September 27: “50+ Exhibitions to See This Fall,” by Victoria Valentine, including Black Orpheus at the Chrysler Museum of Art, A Movement in Every Direction and Omar Ba at the Baltimore Museum of Art, and EJ Hill: Break Run Helix at MASS MoCA
STIRpad, September 26: “Rogan Gregory’s organic silhouettes take centrestage at R & Company,” on the designer’s exhibition at R & Company in New York
The Design Edit, September 23: “Uncovering hidden gems by two giants of different traditions, two New York mainstay galleries are enriching design history,” by Adrian Madlener, featuring R & Company’s exhibition Joaquim Tenreiro: Tectonic Master, currently on view
artnet news, September 19: “The 10 New York Gallery Shows Not to Miss This Month, From Uptown to Tribeca,” by Caroline Goldstein & Sarah Cascone, featuring Mary Heilmann: Daydream at 303 Gallery
Wallpaper*, September 18: “Rogan Gregory conjures up extraterrestrial designs in New York," by Martha Elliott, on designer Rogan Gregory’s vision and work, currently on view at R & Company
The Magazine Antiques, September/October 2022: “Current and coming: Botticelli heads to Minnesota,“ featuring the upcoming exhibition Botticelli and Renaissance Florence: Masterworks from the Uffizi, opening in October with more than 45 loans from the Uffizi
Burnaway, September 17: “Black Orpheus: Jacob Lawrence and the Mbari Club at the Chrysler Museum of Art, Norfolk,” a preview of the forthcoming exhibition, opening on October 7
Washington Post Magazine, September 13: “The secrets and messages of the chairs where politicians sit,“ by Menachem Wecker, including James Zemaitis, Curator and Director of Museum Relations at design gallery R & Company
The Design Edit, September 12, “Fresh approaches to the age-old traditions of ceramics, stone craft, and drawing dominate in the city's top-billed autumn showcases," by Adrian Madlener, featuring the solo presentation of works by Rogan Gregory at R & Company
New York Times, September 8: "More Than 90 Art Shows and Exhibitions to See This Fall," by Will Heinrich, featuring exhibitions opening at the Baltimore Museum of Art, Chrysler Museum of Art, Minneapolis Institute of Art, and Walker Art Center
Apollo, September 7: “Acquisitions of the Month: August 2022,“ including the Meadows Museum's acquisition of the painting Saint Francis (1635) by Francisco de Herrera and the Minneapolis Institute of Art's acquisition of the painting The Virgin and Child with Saint Andrew, Saint Eustace, Saint John the Baptist, and Saint Catherine (c. 1470–80) by Fernando Gallego
Galerie, September 6: "The Artful Life: 6 Things Galerie Editors Love This Week," by Geoff Montes, featuring Rogan Gregory: Imperfect Truth opening at R & Company on September 9
Vogue, September 5: "46 Art Exhibitions to See In New York (and Beyond) This Fall," by Dodie Kazanjian, featuring 303 Gallery's solo presentation of new works by Mary Heilmann
New York Times, September 1: "While You Are Sleeping, Rogan Gregory Gets His Ideas," by Ted Loos, on the work of designer Rogan Gregory tied to his forthcoming solo show at R & Company
Client News: August 2022
Chicago Tribune, August 31: “‘Capturing Louis Sullivan’ at Driehaus Museum: 50 years after Richard Nickel’s death, his photographs still haunt and inspire,“ by Hannah Edgar, on the Museum’s newly opened exhibition
Wall Street Journal, August 27: “‘Jewels of the Nile: Egyptian Treasures From the Worcester Art Museum’ Review: Style on the Nile,“ by Laura Jacobs, reviewing the premiere presentation of this unique collection of ancient Egyptian jewelry
Architects + Artisans, August 26: “At the Bowdoin College Museum, Antiquity & America,“ interviewing curator Sean Burruss on the exhibition Antiquity & America: The Ancient Mediterranean in the United States
Crain’s Chicago Business, August 24: “The Big Ticket: Fall Culture Preview,“ including the exhibition Capturing Louis Sullivan: What Richard Nickel Saw, on view at the Driehaus Museum
The Magazine Antiques, August 19: “Museum Accessions: Old Masters, Mysterious Modernists, and More,“ including acquisitions by the Meadows Museum (Pedro de Campaña’s Calvary), Bowdoin College Museum of Art (William Gale’s The Captured Runaway), and the Baltimore Museum of Art (Lotte Laserstein’s Traute Asleep on a Sofa)
OperaWire, August 17: “The Hopkins Center to Premiere ‘The Ritual of Breath Is the Rite to Resist’,“ by Francisco Salazar, on the new work to be presented at Dartmouth’s Hopkins Center for the Arts
Biscayne Bay Tribune, August 15: “PAMM among nine museums awarded grants for programs in creative aging,“ as part of a group of nine leading art museums receiving funding from E.A. Michelson Philanthropy
AARP, August. 12: Museum news round-up by Lina Zeldovich, featuring five museums—The Brooklyn Museum, the New Orleans Museum of Art, the Los Angeles County Museum of Art, the Fine Arts Museums of San Francisco, and the Utah Museum of Fine Arts—that will be offering “aimed at engaging older adults in creative forms of expression,“ funded by E.A. Michelson Philanthropy
Hyperallergic, August 12: “Transitions,“ by Hakim Bishara, including the news of Casey Mesick Braun’s appointment as curator and Sean Kramer’s appointment as post-doctoral curatorial fellow at the Bowdoin College Museum of Art
Culture Type, August 8: “On the Rise: 47 Museum Curators and Arts Leaders Who Took on New Appointments in First Half of 2022,” by Victoria L. Valentine, including the appointment of Turry M. Flucker as Vice President of Collections and Partnerships at the Terra Foundation for American Art, and Jessica Bell Brown’s promotion to Curator and Department Head for Contemporary Art at the Baltimore Museum of Art
Artnet News, August 5: “Art Industry News,“ including the Baltimore Museum of Art’s news that Catherine Opie and Jack Pierson will curate an exhibition of works from John Waters’s collection
ARTnews, August 5: “John Waters Gifts to Go on View at Baltimore Museum, Uffizi Plans $51.1 M. Boboli Gardens Project: Morning Links for August 5, 2022,“ featuring the news that Catherine Opie and Jack Pierson will curate an exhibition of works from John Waters’s collection at the Baltimore Museum of Art
Client News: July 2022
Brooklyn Rail, July/August: “In Conversation: Elle Pérez with Ksenia M. Soboleva,” a conversation with the artist tied to their current exhibition at the Baltimore Museum of Art
1st Dibs’ Introspective Magazine, July 29: “Peek inside the Houses of the Many Artists Who Call Maine Home,“ by Wendy Moonan, on the exhibition At First Light: Two Centuries of Maine Artists, Their Homes and Studios, on view at the Bowdoin College Museum of Art
Stuff About Things, July 28: “Episode 33: Van Gogh & Starry Night,“ by Lindsay Sheedy, including the exhibition Antiquity & America: The Ancient Mediterranean in the United States at the Bowdoin College Museum of Art
Artnet News, July 26: “One Foundation Is Giving Top U.S. Museums Millions of Dollars to Address a Critical Blind Spot: Programming for Older Adults,“ by Menachem Wecker, on the E.A. Michelson Philanthropy’s Vitality Arts grants program
The Design Edit, July 25: “As Long Island becomes a year-round destination, design galleries are flocking to the Hamptons.," by Osman Can Yerebakan, featuring R & Company’s new Southampton outpost dedicated to vintage design
Artnet News, July 18: “Museums Need to Be Braver. Here’s How College and University Art Galleries Can Offer the Sector at Large a Roadmap for Reinvention,” by Christina Olsen, an Op-Ed about the institutional models that campus museums are creating for the field
Chronicle of Philanthropy, July 15: “Gifts Roundup: Spencer Museum of Art at the University of Kansas,” by Maria Di Mento, on the $3 million gift that the museum received for its Arts Research Integration (ARI) program
Philanthropy News Digest, July 23: “Spencer Museum of Art receives $3 million gift,“ on the donation—and challenge grant—to support Arts Research Integration (ARI) program
Art Africa Magazine, July 15: “Museum premier of Jacob Lawrence’s Nigeria series brings together this major American artist’s work with a selection of art by his African contemporaries,“ on the upcoming exhibition Black Orpheus: Jacob Lawrence and the Mbari Club, at the Chrysler Museum of Art
Artforum, July 14: “James D. Thornton Picked to Chair Baltimore Museum of Art Board,” on the announcement that the BMA has appointed a new Board Chair
New England Home, July/August: “P.S., State of Art,” including the exhibition At First Light: Two Centuries of Maine Artists, Their Homes and Studios, on view at the Bowdoin College Museum of Art
Client News: June 2022
Newcity, June 30: “Today In The Culture, June 30, 2022,“ by Ray Pride, including the upcoming exhibition Capturing Louis Sullivan: What Richard Nickel Saw at the Driehaus Museum
The Art Newspaper, June 24: “Fish scales, nettles and banana leaf? Exhibition of traditional Japanese garments made with unusual materials opens in Minneapolis,“ by Karen Chernick, on the exhibition Dressed By Nature: Textiles of Japan at the Minneapolis Institute of Art
The Brooklyn Rail, June 6: “Force of Nature: Audrey Flack,“ an interview with the artist and Jason Rosenfeld, timed with her exhibition at Hollis Taggart
Client News: May 2022
Artnet News, May 23: “Editors’ Picks: 13 Events for Your Art Calendar, From a Gallery for Un-Instagrammable Art to a Curators’ Talk on the Term ‘Latinx’,“ by Sarah Cascone, including the opening of Audrey Flack: Force of Nature at Hollis Taggart
Architects + Artisans, May 18: “At the Bowdoin College Museum of Art, ‘At First Light’,” by J. Michael Welton, on the upcoming exhibition featuring two hundred years of art made by artists in—and influenced by—the state of Maine
Design Miami: Forum Magazine, May 5: “Ones to Watch: Taking Form,” by Claudine Ko, on designer Jolie Ngo’s practice and current exhibition at R & Company
Smithsonian Magazine, May 5: ”Thousands of Andrew Wyeth Paintings Have Never Been Seen by the Public—Until Now,”by Sarah Kuta, on the Wyeth Foundation for American Art’s new collection sharing plan for more than 7,000 works by Andrew Wyeth
ARTnews, May 5: “An Ancient Roman Bust, Bought for $34.99, Heads from Goodwill to a Texas Museum,” by Tessa Solomon, on the San Antonio Museum of Art’s presentation of a Roman bust before its rightful return to Germany
artnet News, May 5: “A Texas Shopper Bought a $35 Bust at Goodwill. Experts Say It’s a Historic Marble Portrait of One of Julius Caesar’s Greatest Enemies,” by Jo Lawson-Tancred, on the discovery of a Roman bust that is now on view at the San Antonio Museum of Art
Brooklyn Rail, May 4: “Marcia Resnick: As It Is or Could Be,“ by Ksenia Soboleva, reviewing the retrospective exhibition of Resnick’s work, on view at the Bowdoin College Museum of Art through June 5, 2022
Brooklyn Rail, May 4: “Joan Mitchell,” by Barry Nemet, on the Baltimore Museum of Art’s presentation of the artist’s retrospective
artnet News, May 4: “In Pictures: See Long-Lost Paintings by Francis Hines, Who Wrapped Art and Buildings in Fabric, Discovered in a Dumpster by a Car Mechanic,” by Jo Lawson-Tancred, on the story of the discovery of works by Francis Hines that will go on view at Hollis Taggart gallery
The New York Times, May 3: “He Wrapped Landmarks in Fabric. Years Later, His Art Turned Up in a Dumpster.,” by Amanda Holpuch, on Hollis Taggart gallery’s exhibition of works by Francis Hines
Architectural Digest, May 1: “One to Watch: Jolie Ngo,” by Hannah Martin, on the designer’s first solo exhibition, on view at R & Company, in the print edition of AD
Client News: April 2022
Artnet News, April 28: “Thousands of Unseen Andrew Wyeth Paintings Will Make Their Public Debut as Part of a New Push From the Artist’s Foundation,“ by Caroline Goldstein, on the Foundation’s collection sharing announcement
The New York Times, April 27: “All the Andrew Wyeth No One Has Seen,“ by Hilarie M. Sheets, on the Wyeth Foundation for American Art’s announcement of a collection sharing arrangement that will bring more than 7,000 works by Andrew Wyeth into public view, in collaboration with the Brandywine River Museum of Art and the Farnsworth Art Museum
Associated Press, April 21: “Dumpster find leads to rediscovery of artist Francis Hines," by Pat Eaton-Robb, exploring the story of Francis Hines and the forthcoming show at Hollis Taggart gallery
AnOther, April 19: “Marcia Resnick’s Offbeat Portraits of New York’s Most Influential Artists,“ by Flossie Skelton, on the retrospective of the artist’s work at the Bowdoin College Museum of Art
The Art Newspaper, April 11: “Works rescued from dumpster lead to rediscovery of star artist of 1970s New York scene,” by Benjamin Sutton, on the discovery and presentation of works by Francis Hines at Hollis Taggart gallery
The Eye of Photography, April 11: “The San Antonio Museum of Art (SAMA) : Laura Aguilar,” by Jean Jacques Naudet, on SAMA’s recent acquisition of seven works by pioneering photographer Laura Aguilar
ARTnews, April 8: “Baltimore Museum of Art Names Jessica Bell Brown Head Of Contemporary Art,” by Harrison Jacobs, on Brown’s promotion at the BMA
Boston Globe, April 7: “Dartmouth unveils designs for $88 million expansion of Hopkins Center for the Arts,” by Dana Gerber, on Snohetta’s reimagining of the “the Hop,” Dartmouth’s home for music, dance, theatre, and film
Artforum, April 7: “Jessica Bell Brown Named Contemporary Art Chief at BMA,” by Zack Hatfield, on Brown’s promotion to Curator and Head of Contemporary Art at the Baltimore Museum of Art
Financial Times, April 6: “Joan Mitchell at Baltimore Museum of Art — an immersive symphony of colour,” by Ariella Budick, reviewing the Joan Mitchell retrospective, currently on view at the BMA
BOMB Magazine, April 4: “Weather and Wordplay: Yto Barrada Interviewed by Cassie Packard,“ interviewing the artist timed with her exhibition Yto Barrada: Ways to Baffle the Wind at MASS MoCA
ARTnews, April 4: “New Exhibition Focusing on ‘Legacies of the Great Migration’ Looks at Artists’ Personal Connections to a Chapter of U.S. History,“ by Hilarie M. Sheets, previewing the exhibition co-organized by the Mississippi Museum of Art and Baltimore Museum of Art
monopol, April 4: “Security staff curated exhibition,” by Saskia Trebing, on the Baltimore Museum of Arts’ Guarding the Art exhibition, currently on view
MFL: Magazine for Living, April 1: “Serban Ionescu,” a Q&A with writer Cristina Cimato, timed to designer Serban Ionescu’s forthcoming solo exhibition at R & Company
Client News: March 2022
Surface, March 30: “Designer of the Day: Zanini de Zanine,” by Ryan Waddoups, a Q&A with the Brazilian designer tied to his current solo exhibition at R & Company
ARTnews, March 30: “How Artist Marcia Resnick, Long Underknown, Pushed Photography to Its Conceptual Boundaries,“ by Grace Edquist, on the retrospective of the artist’s work at Bowdoin College Museum of Art
Studio International, March 28: “Joan Mitchell,” by Elizabeth Buhe, reviewing the retrospective on the artists currently on view at the Baltimore Museum of Art
Hyperallergic, March 27: “At the Baltimore Museum of Art, Joy That Is a Little Askew,” by Seph Rodney, on the current solo presentation of works by Richard Yarde at the BMA
New York Times, March 23: “Baltimore Museum Guards Take Seats at the Curators’ Table,” by Hilarie M. Sheets, on the BMA’s March 27 opening of the Guarding the Art exhibition
Hyperallergic, March 23: “Why Joan Mitchell’s Paintings Can Never Die,” by Seph Rodney, a review of the Baltimore Museum of Art’s current presentation of the Joan Mitchell retrospective
Antiques Trade Gazette, March 21: “Museum buys PAN magazine prints,“ by Laura Chesters, on the Driehaus Museum’s acquisition of a major collection of prints from this avant-garde magazine
Frieze, March 18: “Switching of the Old Guard: How Baltimore’s Museum of Art Security Team Became the Curators,” by Ian Bourland, interviewing Kellen Johnson about his participation in the BMA’s Guarding the Art exhibition
artnet News, March 17: “Can an Art Nonprofit Survive Without Wealthy Board Members? New York’s A Blade of Grass Is About to Find Out," by Taylor Dafoe, on ABOG’s decision to shift to a paid, professional board model
Washington Post, March 16: “The newest curators at the Baltimore Museum of Art? Its own security guards.,” by Cathy Free, on the BMA’s forthcoming exhibition, Guarding the Art, opening on March 27
i-D, March 15: “Forgotten photographs of New York's art scene in the 70s,“ by Miss Rosen, on the retrospective of works by Marcia Resnick, on view at Bowdoin College Museum of Art, before heading to the Minneapolis Institute of Art
Wall Street Journal, March 11: “A Guard’s-Eye View of Art," by Peter Saenger, on the Baltimore Museum of Art’s upcoming exhibition, Guarding the Art, curated by 17 members of its security team
Metropolis, March 11: “Sculptural Lighting is Having a Moment,” by Adrian Madlener, featuring the iconic “Vine” illuminated sculpture by Jeff Zimmerman, currently on view at R & Company
The Art Newspaper, March 11: “Generational continuum: Massachusetts Museum of Contemporary Art rejuvenates Sol LeWitt’s wall drawings,“ by Gabriella Angeleti, on the restoration work for LeWitt’s retrospective at MASS MoCA
Art in America, March 1: “Q&A: Elise Tensley, a security officer at the Baltimore Museum of Art,” by Francesca Aton, for the magazine’s “Hands-on” print column in the March issue about people who engage with art in distinct, hands-on ways
Client News: February 2022
Apollo, February 2022: “Acquisitions of the Month: February 2022,“ including the acquisition of a 17th century fresco by Luca Giordano and a pair of 13th century marble lions by the Minneapolis Institute of Art
AnOther, February 25: “Inside Irving Penn’s 1950s New York Photo Studio,“ by Miss Rosen, on the gift of 16 works by Penn to the Bowdoin College Museum of Art by Robert Freson
WNYC, February 24: “Suchitra Mattai's Debut Solo NYC Art Show 'Herself as Another',“ reporting on the artist’s new exhibition at Hollis Taggart
The Eye of Photography, February 24: “The Bowdoin College Museum of Art (BCMA): Marcia Resnick : As It Is or Could Be,“ on the Museum’s exhibition, the first museum retrospective of works by Marcia Resnick
Boston Globe, February 23: “Asking the urgent questions in ‘Us Them We’ at Worcester Art Museum,“ by Cate McQuaid, reviewing the exhibition Us Them We | Race Ethnicity Identity, on view at the Worcester Art Museum
Hyperallergic, February 21: “Kamoda Shōji, One of Japan’s Most Celebrated Ceramic Artists,“ by Lauren Moya Ford, on the retrospective of the artist’s work at the Minneapolis Institute of Art
The New Yorker, February 21: “She Shot John Belushi, and Other Bad Boys,“ by Nick Paumgarten, interviewing photographer Marcia Resnick in advance of her retrospective exhibition opening at the Bowdoin College Museum of Art, and then traveling to the Minneapolis Institute of Art
Artnet News, February 21: “Across the U.S., Museums Are Exploring Spiritualism and the Occult as Powerful, Unsung Forces in Art History,“ by Eleanor Heartney, including the exhibition Supernatural America: the Paranormal in American Art, one view at the Minneapolis Institute of Art
Artnet News, February 11: “The Art Angle Podcast: How Lucy Lippard and a Band of Artists Fought U.S. Imperialism,“ hosted by Ben Davis, interviewing Lippard and curators Erina Duganne and Abigail Satinsky on the exhibition Art for the Future: Artists Call and Central American Solidarities on view now at Tufts University Art Galleries
Artnet News, February 1: “Editors’ Picks: 13 Events for Your Art Calendar, From an Artist’s Reclaimed ‘Hustlers’ to a Remake of Colette’s Baroque Home,“ by Sarah Cascone, including the virtual talk “Kamoda Shōji: The Art of Change” at Joan B. Mirviss Ltd., timed with the exhibition of Shōji’s work at the Minneapolis Institute of ArtThe 10 New York Gallery Shows Not to Miss This Month, From Uptown to Tribeca," by Caroline Goldstein & Sarah Cascone, featuring the Mary Heilman: Daydream at 303 Gallery
Client News: January 2022
Hyperallergic, January 31: “Mauricio Lasansky’s ‘Nazi Drawings’ Confront the Unthinkable Evil,“ by Lauren Moya Ford, on the exhibition of the artist’s drawings on view at Minneapolis Institute of Art through June 26
ARTnews, January 28: “University of Michigan Receives ‘Transformative’ $12 M. Gift of Chinese Calligraphy," by Maximilíano Durón, on U-M Museum of Art receiving the largest gift of art in the university’s history
ARTnews, January 26: “Baltimore Museum Fills Gaps in Its Collection by Acquiring Surrealist Photography, Nari Ward Car Sculpture, More,” by Tessa Solomon, on the BMA’s announcement of 54 acquisitions to the museum’s encyclopedic holdings
Hyperallergic, January 24: “Ten North American Museums to Offer 12-Week $6,300 Paid Internships,” by Jasmine Liu, on the new institutions participating in the Association of Art Museum Directors’ (AAMD) paid internship program, now in its third year
Artnet News, January 24: “Editors’ Picks: 13 Events for Your Art Calendar This Week, From Tarot Reading for Artists to Lucy Lippard on Central American Solidarity,” by Sarah Cascone, featuring the opening virtual event for Tufts University Art Galleries’ current exhibition, Art for the Future, including renowned curator and critic Lucy Lippard
L’Oeil de la Photographie, January 24: “Bowdoin College Museum of Art Receives Gift of 16 Photographs by Irving Penn,” by Jean-Jacques Naudet, on BCMA receiving a gift of sixteen photographs by Irving Penn from his former studio assistant Robert Freson
The Design Edit, January 17: “James Zemaitis: Twenty years ago he was organising some of the first modern design auctions. Many of those iconic pieces have soared in value since – Zemaitis shares his insights,“ by Adrian Madlener, interviewing Zemaitis, Director of Museum Relations at R & Company
Artnet News, January 13: “12 Must-See U.S. Art Museum Shows in 2022, From Philip Guston’s Scandal-Stalked Survey to Faith Ringgold’s Big New York Moment,” by Artnet News Editors, featuring Supernatural America: The Paranormal in American Art opening at the Minneapolis Institute of Art in February
Elephant, January 10: “Yto Barrada: ‘I Hate the Large Photographs of Artists in the Entrance of Exhibitions’,“ by Holly Black, interviewing the artist timed with Barrada’s exhibition Yto Barrada: Ways to the Wind on view at MASS MoCA
Forbes, January 6: “See ‘Infinite Indigenous Queer Love’ Through The Eyes Of Jeffrey Gibson,” by Chadd Scott, including Tufts University Art Galleries’ current exhibition, Art for the Future
The Art Newspaper, January 5: “Archival discovery prompts exploration of 1980s movement to support Central American artists at time of political upheaval,” by Helen Stoilas, on the research and development of Tufts University Art Galleries’ current exhibition, Art for the Future
Client News: December 2021
New York Times, December 16: “What to See in N.Y.C. Galleries Right Now: Richard Marquis and Verner Panton,” by Roberta Smith, featuring reviews of the Richard Marquis and Verner Panton exhibitions at R & Company
The Art Newspaper, December 13: “Six decades after Adolf Eichmann trial, an artist’s graphic response is timely as ever,“ by Karen Chernik, on the exhibition Envisioning Evil: ‘The Nazi Drawings’ by Mauricio Lasansky, on view at the Minneapolis Institute of Art, Minnesota, until June 26, 2022
Forbes, December 12: “Matthew Wong: Blue View at Art Gallery of Ontario,“ by Chadd Scott, on the retrospective of Wong’s work at the Art Gallery of Ontario
Apollo, December 10: “Kamoda Shōji: The Art of Change,“ previewing the exhibition of the artist’s work at Minneapolis Institute of Art
The Art Newspaper, December 10: “'Heart of Matisse': new study centre dedicated to Modern master opens at Baltimore Museum of Art,” by Hilarie M. Sheets, on the opening of the BMA’s Marder Matisse Center on Dec. 12
The Art Newspaper, December 10: “The Week in Art podcast: a new centre to study Matisse at Baltimore Museum of Art,” by Ben Luke, featuring an interview with curator Katy Rothkopf about the Matisse collection at the BMA
Forbes, December 9: “60th Anniversary Of Adolph Eichmann Trial Remembered In Exhibit At Minneapolis Institute Of Art," by Chadd Scott, about the exhibition Envisioning Evil: ‘The Nazi Drawings’ by Mauricio Lasansky on view at Mia
Artforum, December 6: “San Antonio Museum of Art Names Emily Ballew Neff Director,” by Zack Hatfield, on Neff’s appointment as SAMA’s new Kelso Director
ARTnews, December 6: “San Antonio Museum of Art Names Emily Ballew Neff Director,” by Tessa Solomon, on SAMA’s new leadership appointment
New York Times, December 3: “Painter of Elijah Cummings Portrait Finds It’s a Career-Changer,” by Hilarie M. Sheets, about the unveiling of the official portrait of the beloved late Congressman Elijah Cummings, commissioned by Maya Rockeymoore Cummings and the Baltimore Museum of Art
Client News: November 2021
The Wall Street Journal, November 19: “Matisse in Baltimore,“ by Susan Delson, on the opening of the Baltimore Museum of Art’s new study center dedicated to Matisse and the stained-glass installation by painter Stanley Whitney
Canadian Architect, November 16: “Vancouver Art Gallery receives $100 Million Gift from the Audain Foundation,“ reporting on the news of the gift to support the museum’s capital campaign
Dezeen, November 16: “Herzog & de Meuron reveals second Vancouver Art Gallery redesign with woven copper-effect facade,“ by Nat Barker, with details on the museum’s planned new building
Designboom, November 12: “herzog & de meuron's vancouver art gallery receives historic $100M donation,“ by Lynne Myers, on the museum’s announcement of its historic gift from Michael Audain
The Art Newspaper, November 11: “'I wanted to prove that you could take younger artists and have it work out for the gallery': exhibition opens in tribute to influential New York gallerist Martha Jackson,” by Karen Chernick, about Hollis Taggart’s exhibition about the trailblazing dealer
The Magazine Antiques, November 10: “Openings and Closings: November 10 to November 16,“ by Elizabeth Lanza, including the exhibition Love Stories from the National Portrait Gallery, London, on view now at the Worcester Art Museum
Metropolis, November 9: “R & Company Spotlights Decades of Verner Panton’s Lighting Designs,“ by Anthony Paletta, on the gallery’s show, open through January 8, 2022
Apollo, November 6: “The week in art news,“ including the announcement of a historic gift of $100 million to the Vancouver Art Gallery
The Wall Street Journal, November 6: “‘A Modern Influence: Henri Matisse, Etta Cone, and Baltimore’ and ‘Thaddeus Mosley: Forest’ Reviews: Out of the Shadows, Into Color and Light,“ by Eric Gibson, reviewing two exhibitions at the Baltimore Museum of Art
The Art Newspaper, November 5: “Vancouver Art Gallery will put largest-ever cash donation to a Canadian art museum toward new building,“ by Tom Seymour, on the museum’s gift of $100 million from Michael Audain
Client News: October 2021
New York Times, October 29: “Stanley Whitney Dances With Matisse,” by Hilarie M. Sheets, including the announcement that the Baltimore Museum of Art will permanently installed Stanley Whitney’s first museum commission in its Center for Matisse Studies
New York Times, October 21: “At Mass MoCA, Supporting Artists Beyond Exhibitions,“ by Laura van Straaten, on the organization’s array of artist residencies and training and support programs, such as Assets for Artists
New York Times, October 20: “‘He Raises the Bar for Me’: 4 Artists on the Influence of Bob Thompson,“ by Brian Boucher, interviewing artists Peter Doig, Rashid Johnson, Naudline Pierre and Henry Taylor on Thompson’s impact, timed with the retrospective of his work on view at the Colby College Museum of Art
ARTnews, October 13: “Joan Mitchell Foundation Names Inaugural Winners of $60,000 Fellowships,” by Tessa Solomon, on the 15 artists awarded the Joan Mitchell Fellowship for 2021
Artforum, October 13: "Joan Mitchell Foundation Announces Inaugural Fellows," by Zack Hatfield, on the news that 15 artists have received $60,000 in unrestricted funds through the Joan Mitchell Fellowship
The Design Edit, October 12: “Object of the Week: ‘Wire Cone Chair,’ 1960 by Verner Panton,” by Adrian Madlener, on one of the featured objects in R & Company’s current exhibition Verner Panton
Wallpaper*, October 5: “Verner Panton rare works and greatest hits at R & Company,” by Pei-Ru Keh, on the gallery’s immersive exhibition of works by designer Verner Panton currently on view
Artnet News, October 6: “Editors’ Picks: 12 Events for Your Art Calendar This Week, From Greater New York to Archtober,“ by Tanner West, including with “Erre: Them and Us/Ellos y Nosotros,” Marcos “Erre” Ramírez and his brothers, poet and visual artist Omar Pimienta and border culture expert Juan Carlos Ramírez-Pimienta
Wall Street Journal, October 2: "‘Bob Thompson: This House Is Mine’ Review: The Staggering Breadth of a Brief Career," by Judith Dobrzynski, a look at the retrospective of artist Bob Thompson currently on view at Colby College Museum of Art
The Art Newspaper, October 1: “Henri Matisse, as only the collector Etta Cone knew him,” by Karen Chernick, a preview on the Baltimore Museum of Art’s current exhibition A Modern Influence: Henri Matisse, Etta Cone and Baltimore
Client News: September 2021
The Art Newspaper, September 30: “New Mass MoCA director pledges to ‘honour the past and build from there,’“ by Barbara Reina, interviewing Kristy Edmunds, MASS MoCA’s newly appointed director
Los Angeles Times, September 23: “CAP UCLA’s Kristy Edmunds, a key leader in L.A. arts, to leave for MASS MoCA,“ by Deborah Vankin, on Edmunds’ appointment by MASS MoCA and her impact on the arts in Los Angeles
Cultured, September 23: “For Walter Hood, Landscape Is Inherently Political,“ by Karrie Jacobs, on the architect’s vision and approach, including the re-opened Oakland Museum of California
ARTnews, September 23: “MASS MoCA Names Influential Performing Arts Center Leader as New Director,“ by Alex Greenberger, on the appointment of Kristy Edmunds as director
Boston Globe, September 23: “MASS MoCA names Kristy Edmunds its first new director in more than 30 years,“ by Malcolm Gay
Berkshire Eagle, September 23: “Kristy Edmunds named new director of MASS MoCA,“ by Greta Jochem, on Edmunds’ appointment
Artforum, September 23: “Kristy Edmunds Named Director of MASS MoCA,“ by Zach Hatfield, on Edmunds’ appointment as the next director
New York Times, September 23: “New Director for MASS MoCA,“ by Robin Pogrebin, on the appointment of Kristy Edmunds as the next director of the Massachusetts Museum of Contemporary Art
Forbes, September 22: “Highlighting Top Art Exhibitions On Campus This Fall,“ by Chadd Scott, including the exhibitions There Is a Woman in Every Color: Black Women in Art, on view at the Bowdoin College Museum of Art, and Bob Thompson: This House is Mine, on view at the Colby College Museum of Art
The Magazine Antiques, September 22: “Openings and Closings: September 22 to September 28,“ by Elizabeth Lanza, including the exhibition There Is a Woman in Every Color: Black Women in Art, opening at the Bowdoin College Museum of Art
Frieze, September 21: “Three Takes on Bob Thompson,“ by Tunji Adeniyi-Jones, Peter Doig, Jessica Lynne AND Terence Trouillot, on the retrospective of the artist’s work currently on view at the Colby College Museum of Art
New York Times, September 17: “These Are the Art Shows and Events to See This Season,” by Will Heinrich, highlighting upcoming exhibitions at the Baltimore Museum of Art, Bowdoin College Museum of Art, Minneapolis Institute of Art, Oakland Museum of California, and San Antonio Museum of Art
The Magazine Antiques, September 13: “Openings and Closings: September 15 to September 21,“ by Elizabeth Lanza, including Canvas and Silk: Historic Fashion from Madrid’s Museo del Traje, opening at the Meadows Museum, Dallas
New York Times, September 14: “Counting New Art Blessings Amid the Uncertainty,” by Holland Cotter, including mention of the Baltimore Museum of Art’s upcoming exhibition, A Movement in Every Direction: Legacies of the Great Migration
Hyperallergic, September 14: ”Baltimore Museum of Art Wants to Reimagine Itself ‘From Scratch,’” by Hakim Bishara, on the BMA’s forthcoming research project supported by the Mellon Foundation
Artforum, September 13: “Baltimore Museum of Art Receives $150K Grant to Research Museum Structures,” on the BMA’s community-oriented research project to consider the structure and function of a museum
ARTnews, September 13: “ARTnews in Brief: Baltimore Museum of Art Gets Mellon Foundation Grant for ‘Radical Change’—and More from September 13, 2021,” on the BMA’s new Mellon Initiative to explore the structures that underpin museums
Apollo, September 10: “Art Diary: Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje,“ on the upcoming exhibition at the Meadows Museum, Dallas
Culture Type, September 6: “From California to Chicago, Tennessee to Maine, 15 of Summer’s Best Museum Exhibitions Remain on View This Fall,“ by Victoria L. Valentine, including Bob Thompson: This House is Mine, opening at the Colby College Museum of Art
Artnet News, September 1: “Painter Tschabalala Self Wants to Keep Her Life Separate From Her Work. Will the Art World Let Her?,“ by Noor Brara, profiling the artist in tandem with a solo exhibition of her work at the Baltimore Museum of Art
The Magazine Antiques, September/October 2021: “Current and coming: Gran Elegancia in Dallas,” by Jenamarie Boots, on the new exhibition Canvas & Silk: Historic Fashion from Madrid’s Museo del Traje, opening September 19 at the Meadows Museum
Client News: August 2021
The New Yorker, August 30: “Audrey Flack Keeps It Real,“ by Emma Allen, visiting the artist’s studio ahead of a presentation of her works by Hollis Taggart at the Hamptons Fine Art Fair
Wall Street Journal, August 20: “The Artist as Athlete,“ by Susan Delson, on the retrospective exhibition of Joan Mitchell’s work opening at San Francisco Museum of Modern Art and then at the Baltimore Museum of Art
The Art Newspaper, August 10: “Regrouping after pandemic shut down its new home, International Center of Photography in New York names its next director,” by Nancy Kenney, on ICP’s announcement that it has appointed David E. Little as its new executive director
Artforum, August 10: “David E. Little to Lead New York's International Center of Photography,” by Zack Hatfield, on the news that David E. Little is ICP’s new executive director
ARTnews, August 10: “ARTnews in Brief: New York’s ICP Names New Executive Director,” by Tessa Solomon, on ICP’s selection of David E. Little for its new executive director
Art & Object, August 9: “Supernatural America: The Paranormal in American Art,“ by Cynthia Close, on the exhibition opening at the Minneapolis Institute of Art in February 2022
Artforum, August 4: "John Waters Named to Board of Baltimore Museum of Art," by Zack Hatfield, on the BMA's announcement of its five new board members
Architectural Record, August 4: “Oakland Museum of California Renovation,“ by Kenneth Caldwell, reviewing the campus renovations designed by Hood Design Studio in collaboration with Mark Cavagnero Associates
Artnet News, August 4: “Art Industry News,” including new of the Baltimore Museum of Art’s five new board members
ARTnews, August 4: “Morning Links for August 4, 2021,” including news that John Waters has joined the board of the Baltimore Museum of Art
Client News: July 2021
NPR, July 29: “At This Baltimore Museum, Security Guards Will Be The Ones Curating The Exhibit,” by Jonathan Franklin, on the BMA’s March 2022 exhibition Guarding the Art, also included in NPR’s Morning Edition on July 26
MUSEUM Magazine, July/August 2021: “First Look,“ including Bob Thompson: This House Is Mine, which opened July 9, 2021 at the Colby College Museum of Art
The Magazine Antiques, July 26: “Current and coming: A Prodigy Resurrected in Maine,“ a focus on Bob Thompson: This House Is Mine, which opened July 9, 2021 at the Colby College Museum of Art
Smithsonian Magazine, July 21: “Security Guards to Curate First-of-Its-Kind Exhibit at Baltimore Museum of Art,” by Tara Wu, highlighting the opportunity given to the security team at the BMA to curate an exhibition
The Magazine Antiques, July 21: “Openings and Closings: July 21 to July 27,“ by Elizabeth Lanza, including Bob Thompson: This House Is Mine at the Colby College Museum of Art
ARTnews, July 19: “Baltimore Museum of Art Security Guards Take the Helm to Curate Exhibition,” by Tessa Solomon, on the BMA’s forthcoming exhibition Guarding the Art
CNN, July 15: "At this museum exhibition, the security guards are the curators," by Gabriella Angeleti, picked up from The Art Newspaper on the BMA's upcoming exhibition Guarding the Art
Philanthropy News Digest, July 12: “Baltimore Museum of Art to acquire ninety works of art,” by Matt Sinclair, on the BMA’s recent acquisitions, including a gift from longstanding supports Nancy Dorman and Stan Mazaroff
The Art Newspaper, July 12: "Security guards become guest curators at the Baltimore Museum of Art," by Gabriella Angeleti, on the BMA's upcoming exhibition curated by 17 of the museum's security team
The Art Newspaper, July 12: "Like Goya, a ‘renegade’: exploring Bob Thompson’s high-octane challenges to Western art," by Nancy Kenney, on the upcoming retrospective on the work of Bob Thompson at the Colby College Museum of Art
The Architect’s Newspaper, July 8: “Chicago’s Richard H. Driehaus Museum expands into the neighboring John B. Murphy Memorial Auditorium,“ by Matt Hickman, on the Museum’s acquisition of the neighboring building
Icon Magazine, July 7: “‘Concrete instrument’ by Taryn Simon installed at Mass MoCA,“ on the installation of The Pipes at MASS MoCA
The Art Newspaper, July 2: “Driehaus Museum in Chicago reactivates an ornate historic auditorium for the arts,“ by Ruth Lopez, on the Museum’s acquisition of the Murphy Auditorium
ARTnews, July 2: “ARTnews in Brief: Minneapolis Institute of Art Acquires Theodore Roszak Trove—and More from July 2, 2021,“ by Maximilíano Durón, Alex Greenberger, on Mia’s acquisition of more than 800 works of art by Theodore Roszak
Chicago Tribune, July 2: “Driehaus Museum buys adjacent Murphy Auditorium, preserving another landmark from Chicago’s Gilded Age,“ by Robert Channick, reporting on the Museum’s purchase of the historic building next door
AnOther, July 1: “Exhibitions, Films, Food and Drink: Brilliant Things To Do This July,“ by Daisy Woodward, including the photography exhibition In Her View, opening July 3, 2021 at the Minneapolis Institute of Art
Hyperallergic, July 1: “Salary Survey Shows Widening Income Disparities at US Museums,“ by Hakim Bishara, reporting on AAMD’s release of its 2021 salary survey
Client News: June 2021
Crain’s Chicago Business, June 30: “Driehaus Museum buys ornate Murphy Auditorium next door,“ by Dennis Rodkin, on the Museum’s acquisition of the historic Murphy Auditorium, adding more space for future programs
Architectural Record, June 30: “Installation by Taryn Simon and Shohei Shigematsu Opens at Mass MoCA,“ by Joann Gonchar, on the installation of the artists’ work The Pipes and the newly opened Skyspace, C.A.V.U., by James Turrell
Artnet News, June 30: “Considering a Career in Museums? Here’s How Much Money You Can Expect to Make in Dozens of Different Roles,“ by Caroline Goldstein, on the newly released AAMD salary survey
Worcester Telegram & Gazette, June 30: “Worcester Art Museum gets $400,000 NEH grant for permanent Higgins Armory installation,“ by Richard Duckett, the Museum’s support for new galleries, expected to open in 2024
Wall Street Journal, June 23: “A Dream No Longer Deferred,“ by Michael J. Lewis, reviewing the recently renovated campus and gardens of the Oakland Museum of California
Artnet News, June 21: “Editors’ Picks: 9 Events for Your Art Calendar This Week, From a Sebastião Salgado Talk at ICP to a Queer Punk Cabaret,“ by Sarah Cascone, including a public performance by staged by LaJuné McMillian with support from A Blade of Grass and the Brooklyn Public Library
Forbes, June 20: “Tschabalala Self ‘By My Self’-With Henri Matisse-At Baltimore Museum Of Art,“ by Chadd Scott, on the exhibition of the artist’s work now on view at the Baltimore Museum of Art
WWD, June 10: “Five Hundred Years of Spanish Fashion to Be Focus of New Exhibition,“ by Rosemary Feitelberg, on the upcoming exhibition Canvas and Silk: Historic Fashion from Madrid’s Museo del Traje, opening at the Meadows Museum on September 19, 2021
Fashion United, June 10: “Meadows Museum and Museo del Traje to collaborate on fashion exhibition,“ by Danielle Wightman-Stone, announcing the upcoming exhibition Canvas and Silk: Historic Fashion from Madrid’s Museo del Traje, opening September 19, 2021
Artnet News, June 8: “500 Years Ago, These Artists Were Household Names. Here’s What Their Fall From Favor Suggests About the Fickleness of Art History,“ by Menachem Wecker, on the exhibition What the Nazis Stole From Richard Neumann (and the Search to Get It Back), on view now at the Worcester Art Museum
designboom, June 4: “how the oakland museum of california transformed its landmark modernist campus,“ by Philip Stevens, on OMCA’s newly renovated campus, which will reopen to the public on June 18
ARTnews, June 3: “Minneapolis Institute of Art Receives $19 M. in Endowment Gifts,“ by Tessa Solomon and Claire Selvin, on the leadership gifts to support a chief DEAI officer, new Latin American curator, and other positions and programs
The Art Newspaper, June 3: “Minneapolis Institute of Art announces over $19m in gifts, including funds for a diversity officer, Latin American curator and deputy director,“ by Nancy Kenney, on the museum’s recent endowment fundraising successes
T: The New York Times Style Magazine, June 1: “In Compton, a School That Paved the Way for Generations of Black Artists,” by Melissa Smith and including the work of A Blade of Grass fellow Rosalind McGary
Observer, June 1: “The 9 Must-See Museum Exhibitions of Summer 2021,“ by Helen Holmes, including James Turrell: C.A.V.U., the artist’s new Skyspace, and Shaun Leonardo: You walk…, both at MASS MoCA
Client News: May 2021
New York Times, May 21: “‘It’s About Time.’ Museums Make Bids for Their Communities,” by Tess Thackara, including exhibitions and programs at the Colby College Museum of Art and San Antonio Museum of Art
New York Times, May 21: “Museum Shows With Stories to Tell,” by Ted Loos, including a solo exhibition of work by contemporary artist Tschabalala Self at the Baltimore Museum of Art
Architectural Record, May 19: “Oakland Museum of California Announces June Reopening,“ by Joann Gonchar, on OMCA’s confirmed June 18 opening date and a report on its campus renovations
A Women’s Thing, May 19: “Nicole Havekost’s Monumental Sculptures Celebrate the Female Body in a Powerful Way,“ by Morgan Everhart, on the artist’s new solo show at the Minneapolis Institute of Art
The Architect’s Newspaper, May 19: “Oakland Museum of California will unveil its campus refresh in June after lengthy closure,“ by Matt Hickman, on the completion of OMCA’s campus renovations and the Museum’s June 18 reopening
Hyperallergic, May 17: “Baltimore Museum Showcases Work by Underrepresented Artists, Funded by 2018 Deaccessioning,” by Cassie Packard, on the BMA’s current exhibition Now Is The Time
Stir World, May 12: “Multi-year retrospective of James Turrell at MASS MoCA, USA,“ looking at the artist’s extensive, career-spanning installations at MASS MoCA
Studio International, May 11: “Epilogue: Michael West’s Monochrome Climax,“ by Elizabeth Buhe, on the late artist’s second solo show at Hollis Taggart galleries
Art & Object, May 7: “Epilogue: Michael West’s Monochrome Climax at Hollis Taggart,“ by Cynthia Close, on the late artist’s second solo show at Hollis Taggart galleries
Newcity, May 7: “Today in the Culture, May 7, 2021,“ by Ray Pride, including the announcement of Anna Musci’ and Zachary Lazar’s appointments to leadership positions at the Driehaus Museum
Chicago Tribune, May 6: “Driehaus Museum announces leadership appointments after death of founder,“ by Doug George, on the appointment of Anna Musci as Executive Director and Zachary Lazar as President of the Board of Trustees
Client News: April 2021
The Magazine Antiques, April 28: “Openings and Closings: April 28 to May 4,“ by Elizabeth Lanza, including the exhibition Epilogue: Michael West’s Monochrome Climax at Hollis Taggart
Penta, April 22: “24 Artists Donate Works to Raise Funds for the Massachusetts Museum of Contemporary Art,“ by Fang Block, on the museum’s online fundraising auction
Inside Philanthropy, April 13: “From an Award to an Investment.” A Funder Expands its Support for Individual Artists,” by Mike Scutari, on the Joan Mitchell Foundations’s new fellowship program and approach to artist residencies
Client News: March 2021
The Art Newspaper, March 30: “Mass Moca breathes new life into Taryn Simon's mourning sculptures,“ by Gabriella Angeleti, on Simon’s and Shigematsu’s work The Pipes coming to MASS MoCA
Surface, March 30: “Nike Sues MSCHF Over Lil Nas X “Satan Shoes,” and Other News,“ including the news that MASS MoCA will install Taryn Simon and Shohei Shigematsu’s work The Pipes
designboom, March 30: “taryn simon and OMA's 'the pipes' to join MASS MoCA's long-term outdoor artworks”
The Architect’s Newspaper, March 24: “Taryn Simon and Shohei Shigematsu’s The Pipes are coming to MASS MoCA,“ by Jonathan Hilburg
Artnet News, March 3: “A Sprawling James Turrell Exhibition Presents One Artwork From Each Decade of the Artist’s Storied Career—See Images Here,“ by Caroline Goldstein, on the installations of the artist’s work at MASS MoCA
Surface, March 3: “MoMA Temporarily Covers Philip Johnson’s Name After Outcry, and Other News,“ including MASS MoCA’s announcement about the upcoming opening of its James Turrell Skyspace
Agence France Presse, March 1: “Renaissance masters offer a snapshot of a once vast collection plundered by the Nazis,“ on the upcoming exhibition of works from the collection of Richard Neumann at the Worcester Art Museum
Culture Type, March 1: “The Week in Black Art, March 1-7, 2021: Two Museums Will Acquire Amy Sherald’s Portrait of Breonna Taylor, Text From Obama Speech Will Grace Facade of Presidential Museum,“ by Victoria L. Valentine, including the upcoming exhibition Bob Thompson: This House Is Mine at the Colby College Museum of Art
ARTnews, March 1: “MASS MoCA Gets 40-Foot-Tall James Turrell ‘Skyspace’ Installation,“ by Claire Selvin, on the upcoming opening of the new installation in late-May 2021
It’s Nice That, March 1: “To Survive on This Shore spotlights transgender and gender nonconforming older adults through portraiture and interviews,“ by Jyni One on the exhibition by Jess T Dugan, on view now at Minneapolis Institute of Art
Client News: February 2021
The Wall Street Journal, February 27: “The Kimono in Print: 300 Years of Japanese Design Review: Clothes as Canvas,“ by Lee Lawrence, reviewing the new exhibition at the Worcester Art Museum, on view through May 2, 2021
artnet News, February 26: “The Baltimore Museum Walked Back Plans to Sell Art to Fund Equity Initiatives. Now, It’s Raised $1.5 Million the Old-Fashioned Way,” by Brian Boucher, on the BMA’s announcement that it has received three gifts to support its diversity and equity initiatives
The Art Newspaper, February 26: “After thwarted art sales, Baltimore Museum of Art marshalls funding to promote diversity and equity,” by Nancy Kenney, on the BMA’s raising $1.5M toward its Endowment for the Future
Hyperallergic, February 25: “After Canceling Controversial Deaccessioning, Baltimore Museum Receives Over $1M for Equity Initiatives,” by Valentina Di Liscia, on the BMA’s news that it has started to raise funds for its ambitious DEAI initiatives
ARTnews, February 25: “ARTnews in Brief: Hollis Taggart Now Represents Tim Kent,” by Claire Selvin, on artist Tim Kent joining the gallery’s contemporary program
The Art Newspaper, February 25: “A colossal water tank at Mass Moca will house James Turrell’s latest Skyspace,“ by Gabriella Angeleti
designboom, February 25: “james turrell skyspace set to open inside MASS MoCA's concrete water tower,“ by Philip Stevens
Observer, February 25: “MASS MoCA is Going to Open a New James Turrell ‘Skyspace’ in May,“ by Helen Holmes
Forbes, February 24: “In A Series Of Quilts, L’Merchie Frazier Saves Us From Amnesia Regarding Black History,“ by Brienne Walsh, on the exhibition “Freedom Rising: I Am the Story,” at Minneapolis Institute of Art (Mia) through September 19, 2021
Forbes, February 17: “Ignasi Aballí To Represent Spain In Venice Biennale, But First, He And His Work Visit The Meadows Museum In Dallas,“ by Chadd Scott, on the selection of Aballí as the first artist in the MAS: Meadows/ARCO Artist Spotlight program
Artforum, February 11: “Joan Mitchell Foundation Refocuses Funding Model with Extended Fellowship,“ on the Foundation’s new unrestricted, multi-year fellowship grant program
Forbes, February 10: “Dartmouth Selects Snøhetta To Lead $70 Million Renovation And Expansion Of Its Hopkins Center For The Arts,“ by Chadd Scott, reporting on the College’s architect selection for its performing arts center
The Architect’s Newspaper, February 10: “Snøhetta will lead expansion and design revamp of Hopkins Center for the Arts at Dartmouth College,“ by Matt Hickman, on the news of the College’s architect selection
Musical America, February 10: “Dartmouth to Invest $75m to Expand Its Arts Center,“ by Nicholas Beard
Elephant, February 9: “Jess T Dugan on Desire, Ageing and the Intersectional Gaze,“ by Charlotte Jansen, profiling the artist timed with an exhibition of her work at the Minneapolis Institute of Art
The Art Newspaper, February 2: “Joan Mitchell Foundation switches to longer-term support of US artists,” by Nancy Kenney, on the Foundation’s launch of a new artist fellowship that offers $60,000 in unrestricted funding
Colossal, February 1: “A Monumental Collection of Slouching Figures Considers the Effects of Aging on the Body,“ by Grace Ebert, on the exhibition of Nicole Havekost’s work on via at the Minneapolis Institute of Art
Client News: January 2021
Forbes, January 26: “Feminist As Audrey Flack,“ by Brienne Walsh, interviewing the artist who is the focus of the new documentary Queen of Hearts: Audrey Flack
Artnet News, January 18: “Editors’ Picks,“ by Sarah Cascone, including Remnant Romance, Environmental Works: Idelle Weber and Aurora Robson at Hollis Taggart
Artnet News, January 18: “Editors’ Picks,“ by Eileen Kinsella, including MASS MoCA’s series In Session, focused on anti-racism work in art museums
Cultbytes, January 18: “Idelle Weber and Aurora Robson’s Environmental Works at Hollis Taggart,“ by Annabel Keenan, reviewing the two artists’ work on view at Hollist Taggart
Surface, January 14: “Remnant Romance, Environmental Works: Idelle Weber and Aurora Robson,“ on the exhibition of work by the two artists at Hollis Taggart
Client News: December 2020
Culture Type, December 22: “On the Rise: 54 Curators and Arts Leaders Who Took on New Appointments in 2020,“ by Victoria L. Valentine, including the appointment of Julie Crooks as curator of the new department Arts of Global Africa and the Diaspora at the Art Gallery of Ontario
The Art Newspaper, December 16: “Mass MoCA will expand artist-in-residency programme as artists continue to struggle amid the Covid-19 pandemic,“ by Gabriella Angeleti, reporting on the financial support to expand the institution’s residency program
Forbes, December 16: “Massachusetts Museum Of Contemporary Art Using Andrew W. Mellon Foundation Grant To Expand Artist-In-Residence Program,“ by Chadd Scott, on the grant of $500,000 to support MASS MoCA plans to quadruple its annual onsite artist residencies
Client News: November 2020
Observer, November 27: “Miami Art Week 2020 Offers a Rich Array of Cultural Events in a Different Format,” by Helen Holmes, including Bakehouse Art Complex’s launch of its Fresh Goods Gallery online sales platform
Artnet News, November 23: “How Master Portraitist Jess T. Dugan Empowers Subjects to Open Up for Remarkably Intimate Photographs,“ by Taylor Dafoe, on the artist timed with their exhibition To Survive on This Shore on at the Minneapolis Institute of Art
Hyperallergic, November 19: “San Antonio Museum of Art Acquires First Works by Contemporary Native American Artists,“ by Cassie Packard, on the Museum’s new acquisitions by Christina Fernandez, LaToya Ruby Frazier, Jeffrey Gibson, Edgar Heap of Birds, Kirk Hayes, Earlie Hudnall Jr., Marcelyn McNeil, and Liz Trosper
The Art Newspaper, November 19: “Miami non-profit launches virtual sales platform with a generous donation from the Martin Margulies Foundation,“ by Gabriella Angeleti, on the gift of 55 photographs to Bakehouse Art Complex
Hyperallergic, November 18: “Audrey Flack on the Gaps in Art History,“ by Karen Chernik, interviewing the painter about the new documentary about her work, following her show this fall at Hollis Taggart gallery
W Magazine, November 12: “John Waters, Vulgar King, Is Getting Two Museum Bathrooms Named After Him,” Brooke Marine, on the news that the BMA will be home to a repository of works by John Waters as well as his fine art collection
Hyperallergic, November 12: “John Waters Promises Art Collection to the Baltimore Museum (If It Names Its Restrooms After Him),” by Hakim Bashara, on the announcement that John Waters will donate his collection to the BMA
The Art Newspaper, November 12: “John Waters, the ‘Pope of Trash’, gives his treasures to Baltimore Museum of Art,” by Helen Stoilas, exploring the news that John Waters has promised a collection of his work as well as his fine art collection to the BMA
New York Times, November 11: “John Waters, Droll Bard of Baltimore, Promises Art to Hometown Museum,” by Ted Loos, looking at the approximately 375-work fine art collection that cultural icon John Waters has promised to the Baltimore Museum of Art
Artsy, November 4: “Tomashi Jackson and Kahlil Robert Irving are among this year’s Joan Mitchell Foundation Grant recipients,” by Justin Kamp, on the artists who received $25,000 in unrestricted grants from the Joan Mitchell Foundation
Artforum, November 3: “Joan Mitchell Foundation Announces 2020 Grant Recipients,” by Zack Hatfield, on the Joan Mitchell Foundation’s announcement of its 2020 artist class of Painters & Sculptors Grant recipients
NewCity, November 2: “A Complex History: Nate Young and Mika Horibuchi Bring Their Labor to the Forefront at Driehaus Museum Exhibition,“ by Jenn Stanley, on the next iteration of the Museum’s A Tale of Today exhibition series
Client News: October 2020
New York Times, October 30: “Two Museums Tried to Sell Art. Only One Caught Grief About it,” by Hilarie Sheets, on deaccessioning decisions at the Baltimore Museum of Art and Brooklyn Museum
Cool Hunting, October 2020: “To Survive On This Shore,“ featuring the book To Survive on This Shore: Photographs and Interviews with Transgender and Gender Nonconforming Older Adults by photographer Jess T Dugan and social worker Vanessa Fabbre, timed with the exhibition on view now at the Minneapolis Institute of Art
Hyperallergic, October 23: “Responding to Backlash, Baltimore Museum Board Chair Defends Deaccessioning,” by Valentina Di Liscia, exploring the BMA’s position and defense of its Endowment for the Future plans.
The Art Newspaper, October 23: “The great museum sell-off: should public collections deaccession to survive Covid-19?,” a podcast interview with Ben Luke and Baltimore Museum of Art director Christopher Bedford exploring the museum’s deaccessioning decision
Cultured, October 22: “Two Artists Transform The Gilded Age Driehaus Museum In Chicago,“ by Elizabeth Fazzare, on the exhibition A Tale of Today: Nate Young and Mika Horibuchi
The Art Newspaper, October 21: “New York artists find second chance in Governors Island residency programme showcase,“ reporting on the series of residencies organized by 4heads, providing opportunities for artists even as its annual fair Portal: Governors Island was postponed
Artnet News, October 21: “Looking for a Museum Career? Here’s How Much Money You Can Expect to Make, According to a New Survey,“ by Taylor Dafoe, reporting the 2020 Salary Survey released today by the Association of Art Museum Directors
The Art Newspaper, October 20: “Plans ‘in the trash can’: remote learning forces US college museums to get creative,“ by Tess Thackara, on how campus museums such as the Spelman College Museum of Art, Bowdoin College Museum of Art, Cantor Arts Center at Stanford Uiversity, and the University of Michigan Museum of Art are navigating through the current environment
Apollo, October 15: “What’s On: With New Light at the Minneapolis Institute of Art,“ on the reinstallation of the museum’s galleries of Himalayan, South, and Southeast Asian art
WBUR, October 14: “MASS MoCA Exhibit 'The Breath Of Empty Space' Reinterprets Media Representations Of Police Violence,“ by by Zoë Mitchell and Tiziana Dearing, on the exhibition of works by Shaun Leonardo
Architect’s Newspaper, October 7: “Chicago’s Driehaus Museum enlivens its historic mansion with contemporary art,“ by Jonathan Hilburg, on the second iteration of the Museum’s A Tale of Today contemporary art series, featuring Nate Young and Mika Horibuchi
Artnet News, October 6: “Editors’ Picks: 16 Events for Your Art Calendar This Week,” by Artnet News staff, including Hollis Taggart’s upcoming exhibition, André Hemer: These Days, opening October 8
BBC Culture, October 5: “Blinding Light: The ‘Great American Painting’?,” by Kelly Grovier, exploring the career and artistic achievement of female artist Michael West, whose estate is represented by Hollis Taggart
Artnet News, October 5: “American Museums Are Taking Advantage of Relaxed Rules to Sell More Than $100 Million of Art at Auction This Season,” by Eileen Kinsella, exploring the conversations on museum deaccessions and including the Baltimore Museum of Art’s Endowment for the Future
Hyperallergic, October 5: “Baltimore Museum Will Sell Major Warhol as Part of Equity Initiative,” by Valentina Di Liscia, writing on the BMA’s plan to deaccession several works to support a wider investment in diversity and equity initiatives
The Art Newspaper, October 3: “Baltimore Museum of Art will sell important paintings by Warhol, Still and Marden,” by Nancy Kenney, exploring the BMA’s recently announced Endowment for the Future initiatives
New York Times, October 2: “Baltimore Museum to Sell 3 Blue-Chip Paintings to Advance Equity,“ by Hilarie Sheets, reporting on the Baltimore Museum of Art’s plans to increase salaries and community access
Artsy, October 1: “The Rising Market for Women Abstract Expressionists,” by Karen Chernick, featuring gallery president Hollis Taggart on the work and market interest of artist Michael West
Client News: September 2020
ARTnews, September 29: “Influential Social Practice Art Fellowship Program Shuts Down Because of Covid-19,“ by Claire Selvin, on the news about A Blade of Grass restructuring its future operations
Artsy, September 29: “What It Takes to Make Museum Boards More Diverse,“ by Yaling Jiang, including interviews with Christopher Bedford of the Baltimore Museum of Art and Christine Anagnos of the Association of Art Museum Directors
Artnet News, September 29: “A Blade of Grass Director Deborah Fisher on Why She Let Her Staff Go to Save the Social-Practice Art Organization,“ by Taylor Dafoe, interview Fisher on the organization’s restructuring and future plans
Artnet News, September 28: “Editors’ Picks: 17 Events for Your Art Calendar This Week, From NADA’s Now-Online Chicago Fair to a Feminist Art Parade,“ including the “Hey Neighbor: Artists’ Talk Series,” organized by 4heads as part of the Governors Island Residency Initiative
Wallpaper*, September 22: “A poignant exploration of the lives of transgender and gender non-conforming older people,“ by Pei-Ru Keh, on the new exhibition Vision 2020: Jess T. Dugan, on view at the Minneapolis Institute of Art
Artnet News, September 21: “Editors’ Picks: 16 Events for Your Art Calendar This Week, From a Virtual EXPO Chicago to a Live Performance at the Met,“ including include a conversation about the Richard H. Driehaus Museum’s new exhibition A Tale of Today: Nate Young and Mika Horibuchi
New York Times, September 19: “Things To Do This Week,“ by Adriana Balsamo and Hilary Moss, including “Jazz: The Living Room Session,” at the Baltimore Museum of Art
Apollo, September 10: “Acquisitions of the Month: August 2020,“ including news of a Catalan modernist sculpture and five drawings acquired by the Meadows Museum
Observer, September 1: “The 11 Must-See Art Exhibitions of Fall 2020,“ by Helen Holmes, including The Breath of Empty Space at MASS MoCA
Client News: August 2020
Surface, August 25: “Design Dispatch: Shaun Leonardo’s canceled exhibition gets a second act, Uniqlo’s internet-breaking face mask, and theft at a ninja museum,“ on the opening of Leonardo’s show at MASS MoCA
Artsy, August 25: “Shaun Leonardo’s previously canceled exhibition will go on view at Mass MOCA and the Bronx Museum,“ by Daria Harper
WBUR, August 25: “Founding Director Of MASS MoCA Reflects On His Departure And Art In A Post-Pandemic World,“ by Amelia Mason, interviewing Joe Thompson following his announcement that he will step down
WAMC, August 24: “Thompson To Depart MASS MoCA After Three Decades,“ by Josh Landes, on Joe Thompson announcement that he will step down at the end of October 2020
Artnet News, August 24: “A Cleveland Museum Canceled a Show of Shaun Leonardo’s Drawings of Police Violence. Now, Two Other Museums Are Stepping in to Display Them,“ by Taylor Dafoe, on the exhibition traveling to MASS MoCA and then the Bronx Museum
The Art Newspaper, August 24: “After controversial cancellation in Cleveland, Mass MoCA will exhibit Shaun Leonardo’s images of Black victims,“ by Nancy Kenney, on Shaun Leonardo: The Breath of Empty Space, opening August 25 at MASS MoCA
Fine Art Connoisseur, August 21: “New Acquisitions at the Meadows Museum,“ on the Museum’s acquisitions of five drawings, including on by Alonso Cano, and a sculpture by Agustín Querol y Subirats
ARTnews, August 21: “Longtime MASS MoCA Director Steps Down After 32 Years at the Helm,“ by Alex Greenberger, on Joe Thompson’s announcement
Berkshire Eagle, August 21: “Joseph Thompson, founding director of Mass MoCA, stepping down after 32-year run,“ by Larry Parnass
Berkshire Eagle, August 21: “Joseph Thompson brought Mass MoCA 2.0 to life,“ by Jennifer Huberdeau, looking at Thompson’s tenure at MASS MoCA
Boston Globe, August 21: “Mass MoCA director Joseph Thompson stepping aside after 32 years,“ by Malcolm Gay
New York Times, August 21: “MASS MoCA’s Founding Director to Step Down,“ by Colin Moynihan, announcing Joe Thompson’s planned departure from MASS MoCA after 32 years
Hyperallergic, August 21: “Week in Review,“ by Cassie Packard, including the acquisition of five drawings and one sculpture by the Meadows Museum, SMU
Antiques Trade Gazette, August 20: “Texas museum boosts Spanish art collection with five acquisitions from Madrid gallery,“ by Frances Allitt, on the Meadows Museum’s new drawing acquisitions
Hyperallergic, August 6: “Wendy Red Star Is Teaching Children About the Crow Nation With Her Art,“ by Karen Chernik, on the artist’s new installation at MASS MoCA
Client News: July 2020
ARTnews, July 30: “Baltimore Museum of Art Adds Six Trustees—and More from July 30, 2020," by Claire Selvin, on the BMA’s announcement that it has added new members its Board of Trustees
artnet News, July 28: “Editors’ Picks: 13 Events for Your Virtual Art Calendar This Week," by Sarah Cascone, including the online panel, Driving While Black, organized by the Adirondack Experience in collaboration with ADI and ANCA
The Art Newspaper, July 14: “Museums in western Massachusetts re-open,” by Margaret Carrigan, exploring MASS MoCA’s approach to reopening, its current exhibitions, and its upcoming plans and programs
artnet News, July 13: “Editors’ Picks: 21 Events for Your Art Calendar This Week," by Sarah Cascone, including the Art Gallery of Ontario's upcoming conversation between its director Stephan Jost and the Tate's Maria Balshaw
Inside Philanthropy, July 8: "'Toward Greater Justice.' How Funders Are Supporting Artists in a Historic Moment," by Mike Scutari, featuring A Blade of Grass discussing its Fellowship for Socially Engaged Art and other upcoming initiatives
Client News: June 2020
Art & Object, June 30: “6 American Galleries Highlighting Abstraction,” by Paul Laster, featuring the exhibition Bill Scott: A Prolonged Moment at Hollis Taggart gallery, on view through July
artnet News, June 29: “Editors’ Picks: 13 Events for Your Virtual Art Calendar This Week,” by Sarah Cascone, including a conversation with Art Gallery of Ontario director Stephan Jost on July 2
Artsy, June 26: “The Art Market Is Finally Catching Up with Joan Mitchell’s Genius,” by Justin Kamp, on the career and market of artist Joan Mitchell, featuring an interview with BMA senior curator Katy Siegel
The Art Newspaper, June 25: “Institutions need to follow artists’ lead to make a material impact on the world,” an Op-Ed by BMA director Christopher Bedford and BMA senior curator Katy Siegel on the future of art museums and the importance of listening to artists
ARTnews, June 25: “Baltimore Museum of Art Acquires Masterpieces by Female-Identified Artists for Major Initiative,” by Tessa Solomon, on the BMA’s announcement of its recent acquisitions tied to its 2020 Vision
artnet News, June 22: “Editors’ Picks: 13 Events for Your Virtual Art Calendar This Week, From the Making of a Gerhard Richter Documentary to an Online Fair for Digital Art,“ by Sarah Cascone, including “Violet Hour: Artist Talk With Zackary Drucker” at the Baltimore Museum of Art
National Review, June 20: “The San Antonio Museum of Art Opens Its Doors,“ by Brian T. Allen, touring the re-opened Museum following its pandemic-induced closure
Artsy, June 17: “How Galleries Are Supporting and Signing New Artists during the Pandemic,“ by Shannon Lee, including Hollis Taggart gallery, which has signed artists Kenichi Hoshine, Hollis Heichemer, and Leah Guadagnoli, since the quarantine began
artnet News, June 15: “Editors’ Picks: 9 Events for Your Virtual Art Calendar This Week,“ by Tanner West, including Live from the Drawing Room: The Language of Flowers at the Richard H. Driehaus Museum on Thursday, June 18
Motif Magazine, June 15: “Real Help for Real Artists: MassMoCA workshops help artists thrive,“ by Cathren Housley, about the organization’s Assets for Artists program
artnet News, June 12: “Our Museum Is Considered a Leader in Equity and Inclusion. Here’s What We’ve Done—and Why We Have a Long, Long Way to Go,“ by Lori Fogarty, director of the Oakland Museum of California
The Magazine Antiques, June 10: “This Week’s Destinations for Digital Culture,” by Jenamarie Boots, including the array of “Visit from Home” options organized by the Bowdoin College Museum of Art
artnet News, June 9: “‘People Are Unaware of Their History’: Why Museums Are Collecting Artifacts From the Black Lives Matter Protests as They’re Happening,“ by Sarah Cascone, including the Oakland Museum of California
Widewalls, June 8: “History Gets Reclaimed at Hollis Taggart Gallery,“ by Isis Davis-Marks, on the gallery’s exhibition History Reclaimed, featuring the works of Suchitra Mattai and Adrienne Elise Tarver
The Progressive, June 5: “Activist Artists Get Boost from A Blade of Grass,” by Eleanor Bader, on the national non-profit A Blade of Grass and its works supporting artists engaged in social change
New York Times, June 2: “The Sacrosanct Endowment? Not Anymore for Some Arts Groups,“ by Graham Bowley and Julia Jacobs, including the Worcester Art Museum, which has been able to temporarily redirect restricted funds to support general operating expenses
Client News: May 2020
Artforum, May 28: “Baltimore Museum of Art to Provide Financial Relief to Local Artists and Businesses,” by Lauren Cavalli, on the BMA’s new initiatives developed in support its local community.
Hyperallergic, May 27: “New Baltimore Museum of Art Programs Prioritize Support for Local Artists and Organizations,” by Valentina Di Liscia, on the upcoming launch of the museum’s BMA Salon, BMA Screening Room, and BMA Studio.
The Art Newspaper, May 27: "Baltimore Museum of Art diverts $100,000 from cancelled speaker series to help local artists, galleries and audiences," by Hilarie Sheets, on the BMA’s new programs that offer financial support and visibility to Baltimore’s local galleries and artists.
artnet news, May 25: “Editors’ Picks: 13 Virtual Art Events Not to Miss This Week, From the Debut of Ibrahim Mahama’s Latest Project to Studio Visits With NADA," by Sarah Cascone, featuring A Blade of Grass’s new talk series with the New Museum, Governance Reimagined.
CBS This Morning: Saturday, May 23: “Museums may be forced to sell art amid virus,“ by Christina Ruffini, reporting on the Association of Art Museum Directors’ resolutions on the use of funds from deaccessioned art
El Paso Inc., May 22: “Coalition receives grant for socially engaged art,“ reporting on the grand of $20,000 from A Blade of Grass to Tornillo: The Occupation Coalition
Artforum, May 22: “US Galleries Expect 73 Percent Revenue Loss in Second Quarter, Venus Over Manhattan Withholds Rent, and More," by Lauren Cavalli, featuring news that artists Leah Guadagnoli and Kenichi Hoshine have joined Hollis Taggart gallery.
The Magazine Antiques, May 20: “This Week’s Destinations for Digital Culture,” by Jenamarie Boots, including a virtual tour of the Mead Art Museum’s exhibition Embodied Taste, and an audio tour of the Art Gallery of Ontario’s collection of model ships
Los Angeles Times, May 14: “Should museums and other arts groups draw on endowments to prevent layoffs?,“ by Deborah Vankin, exploring the issues and rules surrounding the use of endowment funds
The Magazine Antiques, May 13: “This Week’s Destinations for Digital Culture,“ by Jenamarie Boots, including interactive elements at The Richard H. Driehaus Museum in Chicago
Artforum, May 12: “Baltimore Museum of Art Gifted $3.5 Million to Endow Matisse Studies Center Directorship," by Lauren Cavalli, on the appointment of Katy Rothkopf as the new director of the BMA’s Matisse Center and the gift to endow her position.
Artsy, May 8: “How African Cultures Celebrated Motherhood through Sculpture,” by Niama Safia Sandy, on the maternal icons explored in the Baltimore Museum of Art’s upcoming exhibition, A Perfect Power: Motherhood and African Art.
Artforum, May 8: “A Blade of Grass Awards 2020 Fellowships,” by Lauren Cavalli, on A Blade of Grass’s announcement that it has awarded eight socially-engaged artists with $20,000 in unrestricted grants as part of its fellowship program.
Artsy, May 7: “Why the Art World Is Rediscovering Female Abstract Expressionist Michael West,” by Karen Chernick, on the life and career of Abstract Expressionist painter Michael (Corinne) West timed to Hollis Taggart gallery’s online presentation of her work.
Bloomberg Businessweek, May 6: “Four Artists Who Are Addressing Climate Change Head-On,“ by James Tarmy, including Blane De St. Croix, whose work will be presented at MASS MoCA
The Magazine Antiques, May 6: “More Destinations for Digital Culture,” by Jenamarie Boots, including the new online exhibition Michael West: We Come Alive and Dream at Hollis Taggart
artnet news, May 4: “Editors’ Picks: 12 Events For Your Virtual Art Calendar This Week,“ by Sarah Cascone, including the online premier of the video “All Power to the People: Black Panthers at 50” at the Oakland Museum of California
Wall Street Journal, May 2: “As Museums and Galleries Reopen, Visitors Face New Rules,“ by Kelly Crow, including reopening preparations at the Oakland Museum of California and San Antonio Museum of Art
Client News: April 2020
Artnet News, April 29: “To Survive After This Is Over, Cultural Institutions Need to Redefine the Value of Art. Here’s How to Do It,” an op-ed by Deborah Fisher, the Executive Director of A Blade of Grass, on the value and future of art.
The Magazine Antiques, April 29: “More Museums Online, Plus Other Destinations,” by Jenamarie Boots, including a number of special collections and objects accessible online at the Oakland Museum of California
New York Times, April 26: “An Artist’s New Migration Song,“ by Siddhartha Mitter, on the work of artist Serge Alain Nitegeka, on view (by appointment) at Marianne Boesky Gallery or on the Gallery’s website
Artforum, April 23: “Baltimore Museum of Art Appoints Johnnetta Betsch Cole as Special Counsel on Strategic Initiatives,” by Lauren Cavalli, on Dr. Cole’s new role in implementing the BMA’s long-term strategic vision.
It’s Nice That, April 23: “Shan Wallace captures the heart of Baltimore’s black communities in her intimate photographs,” by Jyni Ong, on artist Shan Wallace’s vision and approach as reflected in her exhibition, 410, currently installed at the Baltimore Museum of Art.
ARTnews, April 16: “In Substantial Shift, Museum Industry Group Pushes Directors to Break the Rules to Survive,“ by Andrew Russeth, reporting on AAMD’s resolution addressing how museums may use restricted funds
The Art Newspaper, April 15: “AAMD loosens rules for museums seeking to divert income amid coronavirus crisis,“ by Nancy Kenney, reporting on AAMD’s resolution intended to provide greater financial flexibility to art museums
New York Magazine, April 10: “The Couch Gallery Crawl,” by Thomas Benfield, on Vulture’s recommendations for experiencing art at home, featuring Hollis Taggart’s recently launched Instagram Live series, Taggart Time.
Artsy, April 9: “16 Influential Young Curators Shaping Contemporary Art,” by Alina Cohen, on a new generation of inspiring and forward-thinking curators, including the Baltimore Museum of Art’s Jessica Bell Brown.
New York Times, April 6: “Idelle Weber, Who Stretched the Meaning of Pop Art, Dies at 88,” by Jillian Steinhauer, on the life and career of artist Idelle Weber, whose estate is represented by Hollis Taggart.
Hyperallergic, April 3: “A View From the Easel During Times of Quarantine,” compiled by Elisa Wouk Almino, featuring Hollis Taggart artists Bill Scott and Chloe Lamb on their studio work during the coronavirus epidemic.
Art Newspaper, April 3: “New York artist launches platform to link people in need of help with others amid coronavirus lockdown,” by Gabriella Angeleti, on artist Jody Wood’s new S.O.S. project, which creates informal care-giving networks.
L'Quotidien de l'Art, April 1: “Idelle Weber, pop art au féminin,” by Pauline Chevallereau, remembering artist Idelle Weber.
Artnet News, April 1: “American Pop Artist Idelle Weber, Known for Her Striking Depictions of Corporate Banality, Has Died at Age 88,” by Sarah Cascone, remembering artist Idelle Weber, who influenced the Pop-Art and Photorealist movements.
Client News: March 2020
Artforum, March 31: “IDELLE WEBER (1932–2020),” by Zack Hatfield, remembering Pop-Art Icon Idelle Weber, who passed away on March 23 at the age of 88.
Artnet News, March 30: “Editors’ Picks: 11 Things Not to Miss in the Virtual Art World This Week,” by Sarah Cascone, featuring the launch of Hollis Taggart’s new Instagram Live artist talk series, titled Taggart Time.
Inside Philanthropy, March 27: “‘Remake the Model.’ Philanthropy and the Arts After Coronavirus,” by Mike Scutari, on how funders and arts organizations are approaching financial support for artists and the art sector more broadly, with insight from Deborah Fisher, executive director of A Blade of Grass, and Kay Takeda, deputy director of artist programs at the Joan Mitchell Foundation.
Inside Philanthropy, March 22: “The Arts Sector is Being Decimated by COVID-19. What Are Funders Doing in Response?,“ by Mike Scutari, including perspectives from Deborah Fisher, executive director of A Blade of Grass, and Jeannie L. Howe, executive director of the Greater Baltimore Cultural Alliance
Wall Street Journal, March 14: “‘Rufus Porter’s Curious World: Art and Invention in America, 1815-1860’ Review: Products of a Failed Polymath,“ by Edward Rothstein, reviewing the exhibition at the Bowdoin College Museum of Art
Forbes, March 12: “Add To Your List Of ‘5 Women Artists’ At These Museums Around The United States,“ by Chadd Scott, including Texas Women: A New History of Abstract Art at the San Antonio Museum of Art
artnet News, March 6: “She Was a Student of Hans Hofmann and a Friend of Arshile Gorky. But This Artist’s Work Was Obscured—Until Now,“ by Sarah Cascone, on the work of abstract expressionist painter Michael (Corinne) West
Good Trouble, March 6: “Velvet Fist: Ellen Lesperance,“ by Mollie Wodenshek, conducting a Q&A with the artist about her new exhibition, on view at the Baltimore Museum of Art through June 28, 2020
Observer, March 2: “Spring’s Best Museum Shows Celebrate the Influence of Daring Experimentalists,“ by Helen Holmes, including Blane De St. Croix: How to Move a Landscape, opening May 23 at MASS MoCA
Artforum, March 2: “Veteran Baltimore Museum of Art Curator Jay McKean Fisher to Step Down,“ by Lauren Cavalli, on Fisher’s retirement after 45 years at the BMA
artnet News, March 2: “Editors’ Picks: 17 Things Not to Miss in New York’s Art World This Week,“ by Sarah Cascone, including History Reclaimed: Suchitra Mattai and Adrienne Elise Tarver, opening at Hollis Taggart on March 5
Brooklyn Rail, March 2020: “Ellen Lesperance: Velvet Fist,“ by Elizabeth Buhe, on the exhibition at the Baltimore Museum of Art through June 28, 2020
WSJ. Magazine, March 2020: “The Six Best-Designed Items of March,“ by Cody Delistraty, including The Kimono in Print and Kimono Couture: The Beauty of Chiso, opening in April at the Worcester Art Museum
Client News: February 2020
Artforum, February 27: “Sharon Corwin Named President and CEO of the Terra Foundation for American Art,“ on the news of the Foundation’s new hire
Portland Press-Herald, February 26: “Transformative director of Colby art museum leaving for job in Chicago,“ by Bob Keyes, on the Terra Foundation’s appointment of Sharon Corwin as its next president and CEO
The Art Newspaper, February 26: “Terra Foundation for American Art recruits new leader from Colby College Museum,“ by Nancy Kenney, announcing the appointment of Sharon Corwin as the incoming president and CEO of the Terra Foundation
Art in America, February 19: “For Six Decades, William Christenberry Captured the Ramshackle Vernacular of the South,“ by Zachary Fine, reviewing the exhibition Memory is a Strange Bell at the Ogden Museum of Southern Art
artnet News, February 19: “Attendance Has Always Been a Narrow Way to Define Success. That’s Why This Museum Is Using Data Science to Measure Its Social Impact,“ by Taylor Dafoe, reporting on a major audience and community research initiative by the Oakland Museum of California
The Art Newspaper, February 13: “Chicago’s Driehaus Museum has announced the second installment of its contemporary art initiative,“ by Wallace Ludel, on the Museum’s upcoming show of works by Nate Young and Mika Horibuchi, opening April 4, 2020
Inside Philanthropy, February 7: “Cultivating “Creative Risk-Taking.” A Look at a Foundation’s Oasis for Artists,” by Mike Scutari, on the Joan Mitchell Foundations Artist-in-Residence program and its 2020 residents.
Client News: January 2020
Artforum, January 29: “Joan Mitchell Foundation Names 2020 Artists-in-Residence,” by Lauren Cavalli, on the Joan Mitchell Foundation’s announcement of the 2020 participants in its residency program.
It’s Nice That, January 28: “An exploration of paternity, masculinity, race: Alex Christopher Williams on Black, Like Paul,“ by Jyni Ong, on Williams’ series, part of the exhibition Currents at the Ogden Museum of Southern Art in New Orleans
Artforum, January 27: “A Blade of Grass Announces Staff and Board Appointments,” by Lauren Cavalli, on A Blade of Grass’s announcement that it has appointed Kathryn McKinney to its staff and Michael Quattrone to its board.
The Art Newspaper, January 22: “Highlighting a shift, Art Gallery of Ontario acquires works by prominent women artists,“ by Wallace Ludel, on the museum’s recent acquisitions—and its five year investment in acquiring work by contemporary women artists
Architectural Digest, January 22: “SOM Takes Home AIA Award, Windy City Rehab Stars Face Lawsuit, and More News in Chicago,“ by Rebecca Holland, including the announcement of the next iteration of the Richard H. Driehaus Museum’s contemporary series, A Tale of Today: Nate Young and Mika Horibuchi, opening April 4, 2020
Planet Money, January 21: “Can You Name Five Fine Artists That Are Women?,“ by Sally Herships and Cardiff Garcia, on the market for art by women artists and the Baltimore Museum of Art’s 2020 Vision strategy
Hyperallergic, January 17: “In Baltimore, Generations Traces a Lineage of Abstraction Among Black Artists,“ by Seph Rodney, reviewing the exhibition Generations: A History of Black Abstract Art, on view at the Baltimore Museum of Art through January 19, 2020
Artforum, January 17: “Ten Museums Selected for AAMD’s Paid College Internship Program,“ by Lauren Cavalli, reporting on the next museums to host paid interns as part of the Association of Art Museum Directors’ program
ARTnews, January 16: “ARTnews in Brief: Association of Art Museum Directors Selects 10 U.S. Institutions for 2020 Internship Program—and More from January 16, 2020,“ reporting on the second year of AAMD’s paid internship program
Artnet News, January 13: “Editors Picks: 19 Things Not to Miss in New York’s Art World This Week,“ by Cristina Cruz, including Xenia: Crossroads in Portrait Painting at Marianne Boesky Gallery
The Art Newspaper, January 2020: “Mum's the word: the exhibitions rethinking motherhood,“ by Margaret Carrigan, including the Worcester Art Museum’s recent exhibition With Child: Otto Dix/Carmen Winant
The Magazine Antiques, January/February 2020: “Revisiting Rufus Porter,” by Suzanne Rudnick Payne and Michael R. Payne, on the new exhibition Rufus Porter’s Curious World: Art and Invention in America, 1815-1860 at the Bowdoin College Museum of Art through May 31, 2020
Client News: December 2019
Wall Street Journal, December 30: “‘Eternal Light: The Sacred Stained-Glass Windows of Louis Comfort Tiffany’ Review: A Vibrant, Luminous Faith,“ by Edward Rothstein, reviewing the exhibition on view at the Richard H. Driehaus Museum in Chicago through March 8, 2020
The Art Newspaper, December 18: “Three exhibitions to see in New York this weekend,“ by Gabriella Angeleti, including Donald Moffett: Ill (Nature Paintings), on view at Marianne Boesky Gallery through December 21
Popular Photography, December 16: “Photo Revolution explores the untidy history of photography as an artform,“ by Jeanette D. Moses, reviewing the exhibition Photo Revolution: Andy Warhol to Cindy Sherman, on view now at the Worcester Art Museum
Ecocult, December 7: “Weekend Reading: The D.C. Exhibits You Need to See,“ by Alden Wicker, including the exhibition Fast Fashion/Slow Art, organized by the Bowdoin College Museum of Art and on view at the Corcoran School of the Arts and Design through December 15, before opening at Bowdoin on January 30
Artforum, December 3: “Interviews: Mickalene Thomas,“ by Shirley Ngozi Nwangwa, talking with the artist about her new installation at the Baltimore Museum of Art
Hyperallergic, December 3: “The Cosmological Musings of Michael West, an American Abstract Expressionist,“ by Billy Anania, reviewing the show Space Poetry: The Action Paintings of Michael West at Hollis Taggart through December 21
Apollo, December 2019: “What’s On: Rufus Porter’s Curious World,” previewing the new exhibition opening December 12 at the Bowdoin College Museum of Art
The Art Newspaper, December 2019: “Welcome to the world of Rufus Porter: painter, publisher and prophetic inventor,“ by Jonathan Griffin, prevuing the new exhibition on Porter and his contemporaries at the Bowdoin College Museum of Art
Manhattan Magazine, December 2019: “Patrons & Players,” including pieces on “Players” Simon and Nikolai Haas and “Patron” Marianne Boesky, by Phebe Wahl
Client News: November 2019
The Art Newspaper, November 28: “Three exhibitions to see in New York this weekend,” by Margaret Carrigan, including Space Poetry: The Action Paintings of Michael West at Hollis Taggart through December 21
Vogue, November 26: “Remembering Michael West, a Forgotten Founder of Abstract Expressionism,“ by Grace Edquist, on the artist—originally named Corinne Michelle West—whose work is currently featured at Hollis Taggart gallery through December 21
Philanthropy News Digest, November 25: “Terra Foundation Awards $9.5 Million to Launch Art Design Chicago 2024,“ on the Terra Foundation for American Art’s plans for the second iteration of its Art Design Chicago program
National Review, November 23: “Dallas Mixes Art and Opera, Here and in Madrid,“ by Brian T. Allen, on the new visual and performing arts collaboration launched by the Meadows Museum, the Dallas Opera, and Madrid’s Teatro Real
The Wall Street Journal, November 22: “‘We Were White and Sleepy Before’—The Baltimore Museum of Art’s Radical Makeover,“ by Kelly Crow, profiling Christopher Bedford, the Museum’s director, and the changes being implemented at the Museum
The Clyde Fitch Report, November 22: “‘Strange Bell’ Rings True: Revisiting the Art of William Christenberry,“ by Carol Strickland, reviewing the exhibition on view now at the Ogden Museum of Southern Art in New Orleans
Artforum, November 22: “Gallery News Round-up,” by Lauren Cavalli, including the news that Hollis Taggart gallery now represents artist William Buchina
Aesthetica Magazine, November 22: “5 to See: This Weekend,“ by Eleanor Sutherland, including Photo Revolution: Andy Warhol to Cindy Sherman, on view now at the Worcester Art Museum
The New York Times, November 20: “Mickalene Thomas Shares Everything. Even a New Show,” by Ted Loos, on acclaimed artist Mickalene Thomas’s large-scale immersive installation, A Moment’s Pleasure, at the Baltimore Museum of Art.
The New York Times, November 20: “Meet the Artists in Mickalene Thomas’s Orbit,” by Ted Loos, on the presentation of work by artists with Baltimore ties within the new site-specific installation, Mickalene Thomas: A Moment’s Pleasure, a the Baltimore Museum of Art.
The Art Newspaper, November 19: “Terra Foundation plans 2024 sequel to Art Design Chicago,“ by Nancy Kenney, breaking the news on the Terra Foundation for American Art’s plan to continue its successful program
Chicago Tribune, November 19: “Art Design Chicago celebration of city’s visual arts to return in 2024,“ by Steve Johnson, announcing the next iteration of the Terra Foundation for American Art’s Art Design Chicago program
The Art Newspaper, November 13: “Meadows Museum in Dallas teams up with local and Madrid opera companies,“ by Brian Allen, announcing the Museum’s new partnership with The Dallas Opera and Teatro Real
Good Trouble magazine, November 12: “Fast Fashion/Slow Art,” by Alyssa Carter, exploring the exhibition Fast Fashion/Slow Art (FF/SA), organized by the The Bowdoin College Museum of Art
Popular Photography, November 8: “William Christenberry, an unlikely icon of Southern photography,” by Jeanette D. Moses, on the expansive career survey of artist William Christenberry at the Ogden Museum, on view through March 1, 2020
The Brooklyn Rail, November 6: “Donald Moffett with Dan Cameron,“ an interview of Moffett by Cameron timed with Moffet’s new exhibition ILL (nature paintings) at Marianne Boesky Gallery through December 21, 2019
Photo District News, November 5: “Perfect Little Poems,” by Samantha Reinders, on the survey exhibition of work by artist William Christenberry at the Ogden Museum of Southern Art through March 1, 2020
Burnaway, November 5: “News-in-Brief: Ogden Museum acquires works by William Christenberry, RaMell Ross, and others,” by Logan Lockner, on the Ogden Museum of Southern Art’s fall acquisitions announcement
Maison Ullens, November 1: “Artful Aspen,” a look at the development of Aspen as a cultural hub featuring an interview with Marianne Boesky on her Aspen outpost, by Maura Egan
Client News: October 2019
Culture Type, October 29: “Jessica Bell Brown Has Been Hired by the Baltimore Museum of Art as Associate Curator for Contemporary Art,“ by Victoria L. Valentine, on Brown’s hiring, her background, and how her appointment reflects the BMA’s focus
Artforum, October 28: “Baltimore Museum of Art Expands Its Contemporary Art Department,“ announcing the BMA’s hiring of Jessica Bell Brown and Leila Grothe as associate curators of contemporary art
New York Times, October 23: “Seething or Subtle, Donald Moffett’s Art Is Always Political,“ by Laurel Graeber, interviewing the artist and previewing his upcoming exhibition, titled ILL (nature paintings), opening November 7 at Marianne Boesky Gallery
New York Times, October 23: Including two mentions of the Worcester Art Museum, for their slavery related labels on Colonial-era American portraits (“Displaying, not Hiding, the Reality of Slave Labor in Art,” by Alina Tugend) and their new exhibition With Child: Otto Dix/Carmen Winant (“Exhibitions to Fill an Art Lover’s Fall Calendar,” by Ted Loos)
NPR, October 22: “Museums Face Pressure From Activists Over Dubious Financial Ties,“ by Rose Friedman, including an interview with Art Gallery of Ontario director Stephan Jost
Burnaway, October 19: “Toccarra A.H. Thomas appointed director of the Joan Mitchell Center,“ announcing the Foundation’s appointment of a new director for its New Orleans-based Center
Culture Type, October 17: “Latest News in African American Art,“ by Victoria L. Valentine, including news of several recipients of the 2019 Joan Mitchell Foundation Painters & Sculptors Grants, including Paul Stephen Benjamin, Jamal Cyrus, Lauren Halsey, Daniel Lind-Ramos, and Suzanne Jackson and also the appointment of Toccarra Thomas as director of the Joan Mitchell Center
The Clyde Fitch Report, October 13: “The Canon Explodes: The Museum World Aims for Diversity,“ by Carol Strickland, including an exploration of activities at the Ogden Museum of Southern Art and Baltimore Museum of Art
Christian Science Monitor, October 10: “Can art help unite a diverse society? Museums aim to find out.“, by Carol Strickland, including discussion of the Baltimore Museum of Art’s community outreach work
All Arts, October 9: “Through found photos, Carmen Winant shows uncensored reality of pregnancy and childbirth,“ by Scott Indrisek, on the new exhibition With Child: Otto Dix/Carmen Winant at the Worcester Art Museum
Artforum, October 9: “Toccarra A.H. Thomas Appointed Director of Joan Mitchell Center,“ announcing the Joan Mitchell Foundation’s appointment for its New Orleans-based residency center
Artforum, October 4: “White Cube Expands to Paris, Proyectos Ultravioleta Wins Prize at Frieze London, and More,“ including Hollis Taggart’s new space on West 25th Street, which expands the gallery’s contemporary art program and kicks off with the exhibition Breaking the Frame, opening October 24
Hyperallergic, October 3: “Cauleen Smith on Spirituality, Staging, and Having Enough,” by Olivia Gauthier, interviewing the artist about her work, new developments, and her exhibition on view now at MASS MoCA
Artsy, October 3: “The 15 Best Booths at Frieze London and Frieze Masters,“ by Alina Cohen, including Marianne Boesky Gallery (Frieze London, Main Section, Booth B12) with a booth featuring new ceramic works by The Haas Brothers
The New York Times, October 1: “A New Leader for the Minneapolis Institute of Art,“ by Hilarie M. Sheets, announcing Katherine Crawford Luber’s appointment to the position of director
The Art Newspaper, October 2019: “A victory for righteousness or just a performance of it?,“ by Stephan Jost, director of the Art Gallery of Ontario, writing about the allure of political polarities as art museums grapple with challenging topics
Client News: September 2019
artnet News, September 30: “How Scholars and Curators Helped Create an International Art Market for Pioneering American Modernist Marden Hartley,“ by Eileen Kinsella, including comment from Hollis Taggart on Hartley’s enduring power as an artist
artnet News, September 30: “Editors’ Picks: 23 Things Not to Miss in New York’s Art World This Week,“ by Sarah Cascone, including Thresholds of Perceptibility: The Color Field Paintings of Leon Berkowitz at Hollis Taggart through November 2
ARTnews, September 26: “ARTnews In Brief: Gwangju Biennale Reveals Partial Artist List for 2020 Edition and More,“ including the news of the gift of artworks to the Baltimore Museum of Art from collectors Pamela J. Joyner and Alfred J. Giuffrida
Observer, September 26: “Walter Hood on Winning a ‘Genius’ Grant and His Vision for Transforming the Oakland Museum,“ by Helen Holmes, as the Museum announces it has raised more than 80% of its campaign goal
Artforum, September 25: “Joan Mitchell Foundation Announces 2019 Grant Recipients,“ sharing the news of the Foundation’s 2019 Painters and Sculptors Grants, providing $25,000 in unrestricted funds to 25 artists
ARTnews, September 25: “ARTnews In Brief: Gwangju Biennale Reveals Partial Artist List for 2020 Edition and More,“ including the announcement of the 2019 Painters and Sculptors grants from the Joan Mitchell Foundation, providing 25 unrestricted grants of $25,000 to artists from across the U.S.
ARTnews, September 24: “ARTnews In Brief: Gwangju Biennale Reveals Partial Artist List for 2020 Edition and More,“ including the news that the Hollis Taggart gallery will open a new space dedicated to contemporary art on West 25th Street in Chelsea
Artforum, September 23: “Marianne Boesky Gallery now represents the Cairo-born, New York–based artist Ghada Amer,“ on the Gallery’s addition to its artist roster
The Canvas Monthly, September 2019: “Navigating the Shark-Infested Waters of the Art World with Marianne Boesky,“ interviewing Boesky on the state of her Gallery and the contemporary art world
ARTnews, September 17: “Marianne Boesky Gallery Now Represents Ghada Amer,“ announcing the Gallery’s latest addition to its roster
Observer, September 13: “The Oakland Museum Is Trying to Raise $85 Million for an Impressive Facelift,“ by Helen Holmes, on the Museum’s recently announced campus renovation plans
New York Times, September 12: “Fall Preview: Don’t Miss These Art Shows and Events This Fall,” by Will Heinrich, including the exhibitions: By Their Creative Force: American Women Modernists at the Baltimore Museum of Art; Sarah Oppenheimer: S-337473 and Ledelle Moe: When at MASS MoCA; and the Worcester Art Museum’s exhibition With Child: Otto Dix / Carmen Winant
Apollo, September 10: “Acquisitions of the Month: August 2019,“ including the Art Gallery of Ontario’s purchase of Gustave Caillebotte’s painting Blue Irises, Garden at Petit Gennevilliers (c. 1892)
Artsy, September 10: “5 Global Trends Affecting the Art Market This Fall,” by Benjamin Sutton, including mention of Hollis Taggart gallery’s representation of the estate of artist Leon Berkowitz.
artnet News, September 9: “Editors’ Picks: 21 Things Not to Miss in New York’s Art World This Week,“ by Sarah Cascone, including the new exhibition Hannah Van Bart: Places and Beings at Marianne Boesky Gallery
Observer, September 3: “The 12 Unmissable Art Exhibitions of Fall 2019,“ by Helen Holmes, including ¡El Movimiento Vivo! Chicano Roots of Days of the Dead, opening October 16 at the Oakland Museum of California
East of Borneo, September 3: “Artists at Work: Cauleen Smith,“ by Travis Diehl, interviewing the artist about her practice, timed with her exhibition We Already Have What We Need, on view now at MASS MoCA
Exhale Lifestyle, September 3: “5 Boston-area Art Exhibits Every Feminist Should See,“ by Wendy Taucher, including the Worcester Art Museum’s exhibition With Child: Otto Dix / Carmen Winant, opening September 21, 2019
The Magazine Antiques, September 2019: “Tiffany church windows at the Driehaus Museum,“ by Thomas Connors, previewing the new exhibition Eternal Light: The Sacred Stained-Glass Windows of Louis Comfort Tiffany
The Brooklyn Rail, September 2019: “Morehshin Allahyari: She Who Sees the Unknown,“ by Joel Kuennen, reviewing the artist’s exhibition at the MacKenzie Art Gallery
Christie’s Magazine, September-October 2019: “On Show,” including the new exhibition Eternal Light: The Sacred Stained-Glass Windows of Louis Comfort Tiffany, on view now at the Richard H. Driehaus Museum in Chicago
The Art Newspaper, September 2019: “Oakland Museum breaks itself open,” by Hilarie M. Sheets, on the Museum’s campus renovation plans, and how the renovations support its community engagement initiatives
Client News: August 2019
The Art Newspaper, August 30: “What to see at Portal: Governors Island,“ by Gabriella Angeleti, on the paper’s pick of selected highlights; the fair opens Saturday and runs ever weekend through the end of September
artnet News, August 30: “Here Are 9 Affordable Works We Love at the Portal Fair on Governor’s Island, New York’s Least Pretentious Art Fair,“ by Sarah Cascone on selected art — and prices — for Portal: Governors Island
Hypebeast, August 30: “An Exclusive Look at the Portal: Governors Island Art Fair Displaying 89 Artworks,“ by Keith Estiler, previewing works on view and for sale at the fair
Gothamist, August 29: “Here’s A Preview Of Portal: Governors Island, The Wild Art Fair Opening This Saturday On Colonels Row,“ by Scott Lynch, and including an extended slide show of works from the fair
WNYC, August 29: “Your Summer Bucket List,” segment on The Brian Lehrer Show and mentioning Portal: Governors Island
CultureType, August 28: “On View: ‘Tricknology: Ektor Garcia and Allison Janae Hamilton,’ Curated by Sanford Biggers at Marianne Boesky in Aspen, Colo.,“ by Victoria L. Valentine
Untapped Cities, August 28: “10 Unique Ways to Celebrate Labor Day Weekend 2019,“ by Nicole Saraniero, and including the Governors Island Art Fair, now known as Portal: Governors Island, which opens Saturday, August 31
Frieze, August 27: “At MASS MoCA, Cauleen Smith Builds an Afrofuturist World,“ by Esmé Hogeveen, reviewing Smith’s exhibition We Already Have What We Need on view at MASS MoCA through April 2020
Hyperallergic, August 27: “An Art Fair Brings Over 80 Artists to Governors Island,“ by Eric Vilas-Boas, on the 2019 iteration of the Governors Island Art Fair, now known as Portal: Governors Island, which opens Saturday, August 31 and then each weekend through September
Afar, August 27: “10 U.S. Art Exhibitions Worth Traveling for This Fall,“ by Allison C. Meier, including Generations: A History of Black Abstract Art, opening September 29, 2019 at the Baltimore Museum of Art
ArchDaily, August 27: “Oakland Museum Unveils Roof Garden by Hood Design Studio,“ by Eric Baldwin, on the Museum’s recently announced campus renovation plans
AM New York, August 26: “13 things to do this weekend in NYC, from the Richmond County Fair to Labor Day fun and concerts,“ by Shaye Weaver, including the 2019 edition of Portal: Governors Island (formerly known as the Governors Island Art Fair), which opens this weekend
Patch, August 26: “Art Fair Returns To Governors Island This Labor Day Weekend,“ by Sydney Pereira, on Portal: Governors Island, which opens August 31 and runs each weekend through September
The Art Newspaper, August 23: “Art Gallery of Ontario acquires a Caillebotte after long legal struggle,“ by Hadani Ditmars, reporting on the museum’s acquisition of Iris Bleus, Jardin du Petit Gennevilliers and now on view at the AGO
FAD Magazine, August 20: “LABIOMISTA, Koen Vanmechelen’s 60-acre ‘New-Age Zoo’,“ by Kate McIlwee, on the artist’s new arts complex in Genk, Belgium
The Architect’s Newspaper, August 20: “Hood Design Studio leads revamp of the Oakland Museum roof garden,“ by Sydney Franklin, on the Oakland Museum’s campus renovation plans
UrbanGlass, August 20: “OPENING: Tiffany's ecclesiastical windows to go on display at Chicago's Driehaus Museum,“ by Maghan Hayfield, on the Museum’s upcoming exhibition Eternal Light: The Sacred Stained-Glass Windows of Louis Comfort Tiffany, opening September 7, 2019
Architectural Record, August 19: “An Ambitious Revamp Aims to Connect the Oakland Museum’s Cascading Gardens with the Surrounding City,“ by Joann Gonchar, on the Oakland Museum of California’s campus renovation plan
Financial Times, August 16: “Toy stories: an ode to childhood at the Massachusetts museum,“ by Ariella Budick, reviewing installations by Jarvis Rockwell, Trenton Doyle Hancock, Annie Lennox, and Cauleen Smith, on view now at MASS MoCA
ARTnews, August 16: “Art En Route,” by Claire Selvin, including acquisitions news from the Meadows Museum, the Mead Art Museum, and the Baltimore Museum of Art
Philanthropy News Digest, August 13: “Mead Art Museum Receives Anonymous Gift of 170 Contemporary Artworks“ reporting on the Museum’s acquisition news
Art & Eduction, August 13: “Mead Art Museum Receives Anonymous Gift of 170 Contemporary Artworks“ reporting on the Museum’s news
Observer, August 9: “Work by Cindy Sherman, David Hockney and Others Gifted to Anonymously to Mead Museum,“ by Helen Holmes, on the gift of more than 170 contemporary art works to the Mead Art Museum at Amherst College
BOMB Magazine, August 8: “Art and Archive: Brian Jungen Interviewed bySheila Regan,“ interviewing the artist timed with his major exhibition on view at the Art Gallery of Ontario
Hyperallergic, August 8: “Mead Art Museum Receives Over 170 Pieces Contemporary Art From Anonymous Donor,“ Eric Vilas-Boas, leading the outlet’s news round-up for the day
WBUR, August 8: “Amherst's Mead Art Museum Receives More Than 170 Contemporary Art Works,” by Cintia Lopez
Artforum, August 8: “Mead Art Museum Receives Anonymous Gift of 170 Contemporary Artworks,” sharing the Museum’s acquisitions news
ARTnews, August 8: “Anonymous Donor Gives 170 Works to Mead Art Museum at Amherst College,“ by Alex Greenberger, reporting on the Mead’s latest set of acquisitions, a selection of which will go on view in September
Boston Globe, August 8: “Mead Art Museum receives gift of more than 170 contemporary artworks,“ by Nora McGreevy, announcing an anonymous donation that gives the Museum works by a diverse range of established, mid-career, and emerging artists
Burnaway, August 7: “News-in-Brief: August 7, 2019,“ including the news of the Ogden Museum of Southern Art’s most recent Louisiana Contemporary art awards
Artforum, August 7: “Ogden Museum Of Southern Art Awards Louisiana Contemporary Prizes,“ announcing the most recent juried awards, to artists Jessica Strahan, Sarrah Danziger, Rachel David, and Thomas Deaton
Surface, August 5: “The Baltimore Museum of Art Devotes a Year-Long Program to Female-Identifying Artists,“ by Barry Samaha, on the Museum’s 2020 Vision for diversifying its roster of exhibitions and programs
artnet News, August 5: “Behind the Oakland Museum’s $20 Million Plan to Transform Its Roof Into a Public Art Oasis,“ by Sarah Cascone, writing on the Museum’s design initiative to redesign and replant its many terraces and roof-top gardens
Artforum, August 2: “Baltimore Museum Of Art To Devote 2020 To Celebrating Women Artists,“ on the Museum’s 2020 Vision plan of upcoming exhibitions and programs
artnet News, August 2: “In a Powerful Statement, the Baltimore Museum of Art Is Dedicating All of Its 2020 Programming to Female Artists,“ by Sarah Cascone, noting the Museum’s plans “planning 13 solo shows for women artists including Joan Mitchell, Candice Breitz, and Katharina Grosse“
ARTnews, August 2: “Contemporary and Historical Works Tell Queer Narratives at the Oakland Museum of California,“ featuring the Museum’s exhibition Queer California: Untold Stories
The Art Newspaper, August 1: “Baltimore Museum of Art dedicates a year of exhibitions to women,“ by Nancy Kenney, reporting on the Museum’s upcoming exhibition and program plans, titled 2020 Vision
Recent News From Our Clients, July 2019
Crosscut., July 31: “At Sea-Tac airport, a red border made of sand draws attention to human trafficking,“ by Agueda Pacheco Flores on the new installation of artist Molly Gochman’s work Red Sand Project: Border US-MX
Patch, July 30: “350-Foot Earthwork At Sea-Tac Will Highlight Human Trafficking,“ by Neal McNamara, on the new installation of artist Molly Gochman’s work Red Sand Project: Border US-MX
Studio International, July 28: “Koen Vanmechelen – interview: ‘Now everyone is talking about diversity, but that is just a hashtag diversity,’“ by Allie Biswas, speaking with the Belgian artist and touring his new public project, LABIOMISTA
Smithsonian.com, July 26: “Baltimore Museum of Art, Home to Largest Matisse Collection, Will Open Center Dedicated to Artist,“ by Meilan Solly, including further background on sisters and Matisse collectors Claribel and Etta Cone
The Art Newspaper, July 26: “Baltimore Museum of Art to create a Matisse study center,” by Nancy Kenney, including an interview with BMA director Christopher Bedford on the vision for its Ruth R. Marder Center for Matisse Studies.
Observer, July 26: “A Center Devoted to Matisse Will Open at the Baltimore Museum Thanks to a $5M Grant,” by Helen Holmes, on the BMA’s announcement that it will establish a center dedicated to the study of artist Henri Matisse.
Artsy, July 26: “The Baltimore Museum of Art will launch an Henri Matisse research center,” by Wallace Ludel, on the announcement that the BMA has received a $5M gift to support the creation of the Ruth R. Marder Center for Matisse Studies.
New York Times, July 25: “Baltimore Museum to Establish a Matisse Center in 2021,” by Tess Thackara, on the BMA’s plans to create the Ruth R. Marder Center for Matisse Studies and the $5M it has received in support from the Ruth Carol Fund.
Artforum, July 25: “Baltimore Museum of Art to Launch Henri Matisse Research Center,” by Lauren Cavalli, on the opening of the Ruth R. Marder Center for Matisse Studies at the BMA and the $5M gift given by the Ruth Carol Fund to support it.
artnet News, July 25: “The Baltimore Museum Art—Home to the Largest Public Collection of Henri Matisse Works—Is Opening a Study Center Dedicated to the Artist,” by Sarah Cascone, on the announcement that the BMA has received a $5M gift from the Ruth Carol Fund to establish the Ruth R. Marder Center for Matisse Studies.
ARTnews, July 24: “Marianne Boesky Now Reps Gina Beavers, Painter of Luscious Food Porn, Instagram Magic,” by Claire Selvin, on artist Gina Beavers joining Marianne Boesky Gallery.
Artforum, July 22: “Worcester Art Museum Gifted $10 Million,” on the gift from the C. Jean & Myles McDonough Charitable Foundation, the largest in its history
Boston Globe, July 21: “McDonough donates $10 million to Worcester Art Museum, largest gift of its kind in museum’s history,“ by Isaac Feldberg, on the Museum’s leadership gift from the C. Jean & Myles McDonough Charitable Foundation
ICON, July 19: “Fantasy land, reverse zoo, public park: Labiomista features Mario Botta architecture and wild animals,“ by Alice Bucknell, touring the new public project created by artist Koen Vanmechelen
Hyperallergic, July 16: "The Growing Tide Against Unpaid Internships," by Hakim Bishara, on the Association of Art Museum Directors’ resolution encouraging museums to provide paid internships and exploring the implications for issues of access and equity
ARTnews, July 9: “ARTnews in Brief,” including the announcement that Hollis Taggart has hired Paul Efstathiou as director of contemporary art and Jillian Russo as director of exhibitions
Artforum, July 9: “Pace Closes Beijing Outpost, Thor Shannon Joins David Zwirner, and More,“ including the annoucement of two new hires at Hollis Taggart: Paul Efstathiou as director of contemporary art and Jillian Russo as director of exhibitions
artnet News, July 8: “Editors’ Picks: 20 Things Not to Miss in New York’s Art World This Week,“ by Sarah Cascone, including Painting/Sculpture at Marianne Boesky Gallery through August 9, 2019
The Art Newspaper, July 2: “Private view: must-see gallery shows opening this July and August,“ by Anna Brady and Margaret Carrigan, and including the upcoming exhibition Tricknology, on view at Marianne Boesky Gallery, Aspen, from July 26 - September 9, 2019
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Artist Molly Gochman to Unveil Site-Specific Installation on US-MX Border on August 3 I 30 July 2019
On August 3, New York-based artist Molly Gochman opens Red Sand Project: Border US-MX, at Seattle-Tacoma International Airport. Gochman created this 350-foot long, two-foot wide earthwork that replicates the US-Mexico as a symbol of the borders and boundaries that are drawn between people and communities—and the existence of which supports the creation of vulnerable populations. The installation is envisioned as a platform for spurring dialogue on equity, immigration, human trafficking, and support for trafficking survivors.
The presentation of Red Sand Project: Border US-MX dovetails with Sea-Tac Airport’s own efforts to bring awareness to human trafficking. In January 2018, the Port of Seattle Commission passed a motion directing staff to implement a port-wide anti-trafficking strategy, and earlier this year, King County, Port of Seattle, City of Seattle, Sound Transit, Alaska Airlines, and Delta Air Lines launched a unified public awareness campaign, encouraging survivors to call a national hotline for assistance at 888-373-7888, text 233-733, or visit WATraffickingHelp.org.
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Driehaus Museum to Open Exhibition in September Exploring Louis Comfort Tiffany’s Commercial Prowess and Impact on Chicago’s Architecture I 29 July 2019
On September 7, the Richard H. Driehaus Museum will open Eternal Light: The Sacred Stained-Glass Windows of Louis Comfort Tiffany, an exhibition featuring 11 outstanding, ecclesiastical stained-glass windows made by Louis Comfort Tiffany and his workshop artisans between 1880 and 1925. The exhibition captures the artistic range and intricacy of Tiffany’s output, while drawing particular attention to his religiously-themed works as important signifiers of America’s rapidly shifting social, economic, and religious landscape at the end of the 19th and beginning of the 20th centuries. As religious communities responded to these changing norms by erecting new churches, Tiffany worked to leverage his technical prowess, his skilled workforce, and glassmaking innovations to meet the newfound demand. The windows included in the upcoming exhibition, along with a selection of other Tiffany objects, preparatory drawings, and archival materials, highlight Tiffany’s incredible creative and commercial vision and provide a new opportunity to examine him as a key purveyor of America’s modern future. The exhibition will remain on view through March 8, 2020.
To further contextualize the prominence of Tiffany’s religious works and to underscore his impact on Chicago’s art and architecture, the Driehaus Museum has also organized a 14-stop interactive self-guided tour through the city, titled Chicago’s Tiffany Trail. The tour, which will be available via the app Vamonde, will build on themes explored in the exhibition and provide details on the patrons who commissioned the projects, the technologies used to realize the designs, and how each Tiffany work is incorporated into the architectural design of their environment. Highlights include the Chicago Cultural Center, Church of Our Savior, Hyde Park Union Church, the Marquette Building, Macy's on State Street, Rosehill Mausoleum, Second Presbyterian Church, and the Levere Memorial Temple. Together, these sites underscore the ways in which Tiffany took advantage of a critical moment in American history to further establish himself and attain new financial success and notoriety.
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Baltimore Museum of Art To Establish Center for Matisse Studies; Receives $5 Million in Support I 25 July 2019
The Baltimore Museum of Art (BMA) today announced that it has received a gift of $5 million from the Ruth Carol Fund to support the creation of a center within the museum dedicated to the study of French artist Henri Matisse, drawing on the museum’s incomparable collection of more than 1,200 works by the artist. In recognition of this generous gift and in tribute to the Ruth Carol Fund’s founder, a longtime BMA supporter, the center will be called The Ruth R. Marder Center for Matisse Studies. The Marder Center will serve as a major resource for scholars, providing new opportunities for research and symposia, for the presentation of exhibitions that contribute to both academic and public understanding of the French master’s practice, and for the digitization and publication of portions of the collection, making it accessible to audiences around the world. The gift from the Ruth Carol Fund provides essential support toward the design and construction of the space and also establishes an endowment for the Marder Center’s ongoing operations. The Ruth R. Marder Center for Matisse Studies is slated to open in 2021, with a focused presentation drawn from the BMA’s vast Matisse collection.
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Nonprofit 4Heads Announces 12th Edition of Annual Art Fair, Portal: Governors Island I 24 July 2019
On August 31, the nonprofit 4heads will open its annual art fair, Portal: Governors Island (formerly Governors Island Art Fair). The selling fair will feature 89 emerging and mid-career artists, whose work spans the spectrum of artistic genre and media, from painting and drawing to sculptural installations to video and digital works. This year’s edition of the fair will be presented across seven of the historic homes on Colonels Row as well as on the adjacent outdoor lawns. As with prior iterations of the fair, each artist is provided with an individual room, connective space, or exterior plot, allowing artists to leverage the environments to create micro-exhibitions as well as immersive, large-scale installations. Now in its 12th year, the fair heralds the start of the fall visual arts season in New York, offering a spirited atmosphere that invites active engagement between visitors and exhibitors and providing an essential platform for today’s working artists. Portal: Governors Island opens Labor Day weekend and will be open every Saturday and Sunday through the month of September.
Portal: Governors Island, which first launched in 2008 as Governors Island Art Fair, was among the first major art events to take place on Governors Island. Since interest in the Island as a cultural destination has grown, in particular over the last several years, 4heads has remained steadfast in maintaining its presence, continuing to provide working artists with a place to show new and recent work and to build their networks of support. To maintain a diverse and dynamic roster of participants, 4heads continues to offer fair participation to artists free of charge, with 70% of sales also going directly to the artists. As part of the organization’s vision to expand opportunities for its community of artists, especially those without formal representation, 4heads moved to change its name in spring 2019 to Portal, as a signal that other iterations of the fair are being planned for future dates and locations around New York City.
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Marianne Boesky Gallery Now Represents Artist Gina Beavers I 24 July 2019
Marianne Boesky Gallery is pleased to announce representation of artist Gina Beavers, whose sculptural paintings explore the digital landscapes of our everyday lives. Several of Beavers’ paintings are included in the gallery’s summer group exhibition, Painting/Sculpture, which examines the continued blurring of boundaries between painting and sculpture and highlights the depth and interest of works that live in the liminal space between. Painting/Sculpture is on view across both the gallery’s Chelsea locations through August 9. A solo presentation of Beavers’ work is being planned for spring 2020. In addition to her presentations at Marianne Boesky Gallery, Beavers’ work is currently the subject of a solo exhibition at MoMA PS1 in New York. Gina Beavers: The Life I Deserve marks Beavers’ first solo museum show and is on view through September 2, 2019.
“Gina’s works are incredible in their articulation of critical conversations in both contemporary art practice and in our wider society. She has an innate ability to play with and push the limits of our understanding of artistic hierarchies and disciplines, as well as to reflect to us our own cultural ideals—for better or worse. We are excited to have her join the gallery, and to bring wider attention to her dynamic work and vision,” said Marianne Boesky. “We also look forward to collaborating with Foxy Production, who will also continue to work with and support Gina in New York.”
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Worcester Art Museum Receives $10 Million Donation I 22 July 2019
The Worcester Art Museum (WAM) today announced that it has received a $10 million gift from the C. Jean & Myles McDonough Charitable Foundation—the largest single donation in WAM’s history. This contribution follows the Foundation’s $4 million endowment gift and naming of WAM’s directorship in 2015, and continues Jean McDonough’s lifelong support of the Museum with a gift targeted at supporting both the Museum’s near-term needs and its long-term financial health.
“The Worcester Art Museum is a tremendous resource for culture and education for people throughout New England, and an institution greatly deserving all of our support,” said Neil McDonough. “With my mother’s gift, we see an opportunity to strengthen the Museum’s current operations, encourage growth of the endowment, and support its ambitious plans for the future.” Lisa McDonough, a WAM Trustee and Jean McDonough’s daughter-in-law, added: “We hope that by making this commitment, other members of our community will also step forward to ensure that WAM continues to thrive.”
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Hollis Taggart Appoints Director of Contemporary Art & Director of Exhibitions I 9 July 2019
Hollis Taggart announced today that it has appointed Paul Efstathiou as Director of Contemporary Art. The appointment marks the gallery’s ongoing expansion of its primary market business, and supports its vision to create a greater interplay between its work with emerging and mid-career artists and the presentation of its vast holdings of Post-War American art. Efstathiou, who previously worked as an independent curator and dealer, has collaborated with the gallery on several prior exhibitions, including group shows that featured such artists as William Buchina, Marcel Dzama, Brenda Goodman, Hiroya Kurata, and Esther Ruiz, as well as Los Angeles-based artist John Knuth’s first solo exhibition in New York City. To further bolster its leadership team, Hollis Taggart has also appointed Jillian Russo as Director of Exhibitions. Russo previously served as Curator for the Art Students League of New York. Efstathiou will begin his new role at Hollis Taggart on July 15, 2019. Russo has already taken her position.
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Marianne Boesky Gallery to Open Exhibition Featuring Allison Janae Hamilton and ektor garcia, Curated by Sanford Biggers I 1 July 2019
Marianne Boesky Gallery is pleased to announce an exhibition curated by artist Sanford Biggers, featuring the work of artists Allison Janae Hamilton and ektor garcia—both of whom have long-standing relationships with Biggers. Hamilton and garcia are recognized for their complex, narrative-infused tactile sculptures and installation pieces. This exhibition will explore the ways in which both artists use materials to evoke history and define new mythologies—aspects of this approach are also present in Biggers’ own practice. Titled Tricknology, the exhibition takes its name from a line in a song by the group Brand Nubian that directly calls out the importance embracing one’s self, soul, and narrative as one. The exhibition celebrates this concept and practice, while critically viewing the dominant narratives that underlie our knowledge of art, culture, and history. Tricknology will be on view at Marianne Boesky Gallery’s location in Aspen, Colorado, from July 26 through September 9. As part of the exhibition, both Hamilton and garcia will present new work.
“In their seminal song Wake Up, the hip hop group Brand Nubian calls out the importance of reclaiming history and self-knowledge in order to see through the tricknology employed by those in power,” said Sanford Biggers. “The works that Allison and ektor make are enigmatic, layered, and nimble in their respective uses of personal and cultural history as well as materials. They both offer visionary insight and tools for us to construct new narratives, and I look forward to collaborating with them on this exhibition.”
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Recent News From Our Clients, June 2019
Artforum, June 28: “San Antonio Museum Of Art Welcomes Four New Trustees,“ announcing the Museum’s new additions to the Board as well as its slate of new officers
ARTnews, June 27: “ARTnews in Brief,“ including “San Antonio Museum of Art Appoints Four New Board Members,“ on Rebecca Cedillo, Kathleen Finck, Aleyda Kniestedt, and Jennifer Lee joining the Museum’s board
Artforum, June 27: “Baltimore Museum Of Art Opens Satellite At Historic Market,“ reporting on the Museum’s new branch at the city’s famous Lexington Market
ARTnews, June 26: “Crab Cakes, Waffles, Art: Baltimore Museum of Art Opens Branch at Storied Local Market,” by Andrew Russeth on the BMA’s announcement that it is opening a branch location at the historic Lexington Market.
Frieze, June 24: “The Untold Queer History of California,“ by Bryony White, on the new exhibition Queer California: Untold Stories, on view at the Oakland Museum of California through August 11, 2019
artnet News, June 24: “Out of Office: Why Top Galleries Are Opening Luxurious Spaces Far Off the Beaten Track,“ by Lorena Muñoz-Alonso, and including Marianne Boesky Gallery, which opened a branch in Aspen, Colorado, in 2017
Artforum, June 21: “Association Of Art Museum Directors Urges Cultural Institutions To Pay Their Interns,“ reporting on AAMD’s new resolution
Hyperallergic, June 20: “The Association of Art Museum Directors Calls on Museums to Provide Paid Internships,” by Hakim Bishara, exploring the resolution passed by the the Association of Art Museum Directors to encourage museums to pay their interns as a means of increasing accessibility to the field.
ARTnews, June 20: “Association of Art Museum Directors Calls for End of Unpaid Internships,” by Alex Greenberger, on the Association of Art Museum Directors passing a new resolution calling on museums to offer paid internships.
Art Newspaper, June 18: “Artist to install earthwork calling attention to immigration and human trafficking,” by Nancy Kenney, on the announcement that artist Molly Gochman will open a large-scale installation in Seattle to foster discussions on the human trafficking and the border wall.
Boston Globe, June 14: “Brave new worlds, on view at the Mead Art Museum,” by Murray Whyte, reviewing the Museum’s exhibition Dimensionism: Modern Art in the Age of Einstein, on view through July 28
Artforum, June 14: “Baltimore Museum Of Art Adds More Than Seventy Works To Its Collection,“ sharing the Museum’s news as it continues to build—and diversify—its holdings
ARTnews, June 14: “Baltimore Museum of Art Acquires Works by Charles Gaines, Ana Mendieta, and Others,“ by Claire Selvin, reporting on the Museum’s news of more than 70 acquisitions
SciArt Magazine, June 2019: “On View | Interview: Dimensionism: Modern Art in the Age of Einstein at Amherst College's Mead Art Museum,“ by Marnie Benney, interviewing the exhibition’s curator, Vanja Malloy
Galerie Magazine, Summer 2019: “High Season,“ by Sue Hostetler, including information on Boesky West and its upcoming exhibition of works by Ektor Garcia and Allison Janae Hamilton, curated by artist Sanford Biggers
Artsy, June 11: “Frank Stella Doesn’t Believe in Artistic Reinvention,“ by Alina Cohen, interviewing the artist tied to his exhibition of new and recent works, on view at Marianne Boesky Gallery through June 22
The Guardian, June 10: “Animal crackers: inside the world's most madcap menagerie,“ by Oliver Wainwright, writing about LABIOMISTA, a new project that explores the connections between art, community, and science, developed by artist Koen Vanmechelen
Harper’s Bazaar Arabia, June 9: “This Iranian Artist Is Spotlighting Female Jinn Figures In Her Latest Solo Show,“ by Delara Zand, on the new exhibition of works by Morehshin Allahyari, on view through August 25 at the MacKenzie Art Gallery
Artforum, June 6: “Toronto’s Black And Caribbean Communities Help Art Gallery Of Ontario Acquire 3,500 Photographs,“ on the museum’s exceptional acquisition, building a new area of depth in its photography collection
artnet news, June 5: “Carribbean Communities in Toronto Helped the Art Gallery of Ontario Acquire a Historic Trove of Photographs From the Islands,“ by Taylor Dafoe, announcing the museum’s acquisition of this 3,500 image collection
ARTnews, June 5: “Summer Preview: The Most Promising Museum Shows and Biennials Around the World,“ including Brian Jungen: Friendship Centre, opening at the Art Gallery of Ontario on June 20, 2019
The Art Newspaper, June 3: “In the Frame: Stars come out: Annie Lennox at MASS MoCA—Pharrell at the Musée Guimet,“ including Annie Lennox’s new installation at MASS MoCA, on view now
Monocle, June 2: “The Monocle Weekly: Kate Bryan, Erland Cooper, Frank Stella,“ podcast featuring an interview with artist Frank Stella talking about his latest works, on view at Marianne Boesky Gallery through June 22
Art in America, June 1: “Yinka Shonibare at the Driehaus Museum,“ by Lauren DeLand, reviewing the Museum’s exhibition, formally titled A Tale of Today: Yinka Shonibare CBE, and on view through September 29, 2019
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Baltimore Museum of Art to Open Branch Location at Lexington Market I 25 June 2019
The Baltimore Museum of Art (BMA) today announced the June 27 opening of a branch location at Lexington Market, the world’s oldest continually operating public market. BMA Lexington Market is a 250-square-foot space that will host a variety of art programs and collaborative activities. The branch will host an opening reception on Wednesday, June 26, from 3 to 5 p.m., to showcase photography created by youth at the Greenmount West Community Center who worked with New Orleans-based artists Keith Calhoun and Chandra McCormick. BMA Lexington Market is located near the arcade in the East Market. It will have regular hours from 9 a.m. to 5 p.m. Thursday through Saturday. Admission is free.
“For the BMA to achieve its vision to be truly of and for the community, we have to tackle issues of accessibility and audience engagement through a spectrum of approaches, both in and outside the museum walls. The opening of the BMA Lexington Market is another opportunity to connect with people and to provide programs, art presentations, and public convenings in a different environment and context, offering our community more flexibility to participate,” said Christopher Bedford, BMA Dorothy Wagner Wallis Director. “This opening also builds on the BMA’s long history of operating branches to better serve the public, while creating a new opportunity for the museum to better understand how best to reach and engage with the city’s many constituents.”
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AAMD Urges Art Museums to Provide Paid Internships I 20 June 2019
The Board of Trustees of the Association of Art Museum Directors (AAMD) has approved a resolution calling has approved a resolution calling on art museums to provide paid internships. The adoption of this resolution follows several years of discussions surrounding labor and equity issues at AAMD, and in particular conversations led by Professional Issues committee Co- Chairs Jill Medvedow (ICA Boston) and Mark Bessire (Portland Museum of Art).
“Providing paid internships is an important step for the art museum field in creating and sustaining a diverse, equitable, accessible, and inclusive set of opportunities, said Jill Medvedow, Co-Chair of AAMD’s Professional Issues committee and director of the ICA Boston. “Internships are an important gateway for those seeking careers in art museums, providing incredible opportunities for hands-on experience in many aspects of an institution’s operations. Yet by failing to pay interns, we ensure that these experiences are only really accessible to those who already financially secure and, often, people who have established career networks available to them.”
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Exploring the Art of Pregnancy & Childbirth at the Worcester Art Museum I 18 June 2019
This fall, the Worcester Art Museum (WAM) will present With Child: Otto Dix/Carmen Winant, an exhibition exploring representations of pregnancy and birth through the works of German artist Otto Dix (1891-1969) and contemporary American artist Carmen Winant (b. 1983). Providing artistic, social, and medical context for how we view this central, emotionally charged topic, the exhibition will show works by Dix from the Museum’s collection, international loans, and a newly commissioned work by Winant. The exhibition will be on view from September 21 through December 15, 2019.
With Child: Otto Dix/Carmen Winant was inspired by Dix’s enigmatic 1931 portrait The Pregnant Woman, a hyper-realistic depiction of a model in the later stages of pregnancy. Since the work was acquired by the Worcester Art Museum in 2016, it has provoked a range of audience reactions. While some appreciate the painting’s directness—an outgrowth of Dix’s New Objectivity style—others are uncomfortable with the way the work presents its subject. These varied and sometimes powerful responses led Marcia Lagerwey, Guest Curator and Former Director of Education and Experience at WAM, to develop this exhibition as an opportunity to help viewers engage with and confront their own diverse thoughts on this theme.
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Major Collection of Caribbean Photographs Acquired by Art Gallery of Ontario I 5 June 2019
The Art Gallery of Ontario (AGO) announces today that it has acquired The Montgomery Collection of Caribbean Photographs, a singular collection of more than 3,500 historical images from 34 countries including Jamaica, Barbados and Trinidad. One of the largest collections of such images, this incredible visual record contains studio portraits, landscapes and tourist views. Bringing to life the changing economies, environments and communities that emerged following the abolishment of slavery, the Collection includes nearly every photographic format available during the years 1840 to 1940, including prints, postcards, daguerreotypes, lantern slides, albums, and stereographs. Prior to this, the AGO held no Caribbean photographs in its collection.
The acquisition was made possible in part by the generous contributions of a group of 27 donors, the majority of whom are from Toronto’s Black and Caribbean communities. Collectively the donors raised over $300,000, with a lead gift from Dr. Liza & Dr. Frederick Murrell. Many of the donors have never before contributed to the AGO. The largest known collection outside the Caribbean, The Montgomery Collection of Caribbean Photographs now positions the AGO as a leader in Caribbean photographic research, and will make its debut in an exhibition in 2021.
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Recent News From Our Clients, May 2019
ARTnews, May 30: “Marianne Boesky Gallery Appoints Bradford Waywell as Senior Director of Sales and Acquisitions,” by Claire Selvin, on the gallery’s latest addition to its leadership team and the expansion of its secondary market business.
Observer, May 30: “Annie Lennox: ‘I’m a Magpie of Sorts.’ How She Amassed All the Items in Her Mass MoCA Exhibition,” by Laura Pitcher, on the musician’s large-scale installation, currently on view at MASS MoCA.
ARTnews, May 29: “‘It’s a Very Active Form of Listening’: To Refine Exhibitions and Programming, Baltimore Museum of Art Will Survey 300 Local Organizations,” Claire Selvin speaks with BMA director Christopher Bedford on the launch of the museum’s citywide survey to examine local needs and interests.
Artforum, May 29: “Baltimore Museum of Art Launches a Citywide Survey to Learn How to Best Serve Its Communities,” by Lauren Cavalli, on the BMA’s launch of a survey to explore the needs and interest of local organizations and individuals.
artnet News, May 29: “Crowdsourcing the Museum? The Baltimore Museum of Art Is Issuing a Citywide Survey to Ask Locals What They Want to See,” by Rachel Corbett, on the BMA’s launch of community listening initiative inspired by a similar survey done by the museum in 1937.
ARTnews, May 23: “Hollis Taggart Now Represents Knox Martin,” by Claire Selvin, on Hollis Taggart bringing artist Knox Martin into its program.
ARTnews, Summer 2019: “Exhibiting Change: When Some of the Best-Attended Exhibitions in Museums Are Protests, Where Do Institutions Go from Here?,“ by Barbara Pollack, including the Association of Art Museum Directors (AAMD) on field-wide changes, and perspective on the Baltimore Museum of Art’s new approach to audience engagement
AnOther, May 20: “The Mobile Museum Schooling the World on Trans History,“ by Emily Crooked, looking at the "Museum of Trans Hirstory and Art” (MOTHA), included in the Oakland Museum of California’s new exhibition Queer California: Untold Stories, on view through August 11, 2019
The Wall Street Journal, May 20: “‘Dimensionism: Modern Art in the Age of Einstein’ Review: A Manifesto to Shake Up the Creative Landscape,“ by Edward Rothstein, reviewing the exhibition on view at the Mead Art Museum at Amherst College through July 28, 2019
Artforum, May 15: “Galina Mardilovich Joins Mead Art Museum As Curator Of Russian And European Art”
ARTnews, May 15: “Mead Art Museum Appoints Galina Mardilovich Curator of Russian and European Art,“ by Claire Selvin; Mardilovich has been the acting curator in this role since last year.
Hyperallergic, May 9: “The Art Gallery of Ontario Makes Admission Free for Visitors 25 and Below,“ by Hakim Bishara, on the admissions changes announced today by the AGO
Artforum, May 9: “Art Gallery Of Ontario Aims To Attract Younger Audience With New Admissions Policy,“ reporting on the AGO’s newly revised admissions fee structure, which goes into effect on May 25, 2019
ARTnews, May 9: “Art Gallery of Ontario Alters Admissions Policy to Diversify Audience,“ by Alex Greenberger, on the AGO’s new pricing, which includes the launch of a $35/year Annual Pass — and free admission for visitors 25-and-under
Artforum, May 7: “Vanja Malloy Named Director of Syracuse University Art Galleries,“ reporting on Malloy’s departure from the Mead Art Museum at Amherst College this July
ARTnews, May 7: “Vanja Malloy Named Director and Chief Curator of Syracuse University Art Galleries,“ by Annie Armstrong, noting Malloy will be only the second director for SUArt Galleries
Architectural Digest, May 2: “Frank Stella Debuts Latest Work at Boesky Gallery in Chelsea,“ by Carly Olson, on the artist’s new exhibition Frank Stella: Recent Work, on view at Marianne Boesky Gallery through June 22
Daily Mail, May 2: “Into the Wild West: Transcontinental Railroad's role in expansion across America is highlighted in photos showing Mormon families, a Shoshone tribe and workers laying tracks in the 1800s,“ by Dianne Apen-Sadler, on the new exhibition Pushing West: The Photography of Andrew J. Russell, on view now at the Oakland Museum of California
artnet News, May 1: “Here Are 22 Unmissable Spring Gallery Shows in New York, From Joan Mitchell’s Big Moment to Jeff Wall’s Spooky Surrealism,“ by Caroline Goldstein and Sarah Cascone, including Frank Stella: Recent Work, on view at Marianne Boesky Gallery through June 22
The Art Newspaper, May 2019: “When Form Plus Function Equals Art,“ by Brook Mason, including a focus on artists the Haas Brothers
Artforum, May 2019: “Waking Life,” by Siddhartha Mitter, on the art of Cauleen Smith including her new exhibition We Already Have What We Need, on view now at MASS MOCA
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Marianne Boesky Gallery Appoints Bradford Waywell as Senior Director, Sales and Acquisitions I May 30, 2019
Marianne Boesky Gallery announced today that it has appointed Bradford Waywell as Senior Director, Sales and Acquisitions. Waywell joins from Edward Tyler Nahem Fine Art, where he served as the Director. Waywell also previously worked with Marianne Boesky Gallery as a Sales Director, from 2011 to 2012. In his new role, Waywell will lead the gallery’s expansion of its secondary market business, while also supporting artist relations and sales for the gallery’s growing roster of artists. He will start at the gallery in September 2019.
“Brad brings with him great knowledge of Impressionist, Post-War, and Contemporary artists and art movements. His keen eye and wide-ranging relationships with collectors, curators, and artists are incredible assets,” said Marianne Boesky. “With my vision to grow equally the gallery’s primary and secondary market business, I know Brad’s experience will prove invaluable. I very much look forward to welcoming him again to the team.”
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Baltimore Museum of Art Announces Launch of Major Citywide Survey I May 29, 2019
The Baltimore Museum of Art (BMA) today announced it is relaunching its ambitious 1937 citywide survey to find out how the museum can best serve the interests of Baltimore’s communities. Titled Make It Now, the updated survey asks 300 organizations—including schools and civic, social, and religious groups—to tell the BMA what they want from Baltimore’s largest art museum. This initiative will help in planning for future exhibitions and programs while reinforcing longstanding relationships and developing new ones throughout the city.
The BMA is reaching out to many of the same organizations that it established relationships with during the 1930s, such as the American Institute of Architects, Enoch Pratt Free Library, McCormick & Company, and Maryland Jockey Club, as well as newer organizations and those overlooked in 1937. Individuals who wish to contribute their thoughts and ideas to the survey can participate online by visiting artbma.org/now. Responses are due by Sunday, June 30.
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Hollis Taggart Announces Its Exclusive Representation of Artist Knox Martin I May 23, 2019
Hollis Taggart announced today the exclusive representation of acclaimed artist Knox Martin, whose vibrant, abstract compositions bring together the visual vocabularies of Cubism, Abstract Expressionism, and Pop Art in a style all his own. Martin’s paintings, from the 1960s and 1970s, as well as two new works from 2019, are currently on view at Hollis Taggart, in an exhibition titled Knox Martin: Radical Structures. The show captures Martin’s intricate use of color, free-form gesture, and figural references, with important examples from the past and present. Knox Martin: Radical Structures will remain on view through June 1, 2019 at the gallery’s primary space in Chelsea, at 521 W. 26th Street.
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Hollis Taggart to Open Exhibition of Sven Lukin’s Painting-Sculptures in June I May 17, 2019
Much has been made over the last decade about the increasingly blurring lines between fine art and design, as function and creative innovation meld to produce compelling new kinds of objects. In this context, artist Sven Lukin’s painting-sculptures of the 1960s feel utterly at home and enticingly contemporary. Inspired by the work and vision of acclaimed architect Louis Kahn, Lukin’s enigmatic works are all volumetric forms, geometric fields of color, and illusionistic lines and perspectives. On June 6, Hollis Taggart will open an exhibition focused on Lukin’s work from the ‘60s, highlighting the ongoing interest and appeal of the Post-War artist’s practice. Titled Sven Lukin: Objects in Space, the exhibition will remain on view through July 12, 2019 at the gallery’s primary Chelsea location at 521 West 26th Street.
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Baltimore Museum of Art to Open Two Shows Centering Work of Visionary Black Artists in Art History I May 15, 2019
The Baltimore Museum of Art (BMA) presents Generations: A History of Black Abstract Art, an exhibition that captures the significant contributions that black artists have made to the development of abstraction from the 1940s to the present. On view September 29, 2019, through January 19, 2020, Generations explores the multifaceted power of abstract art as experimental practice, personal exploration, and profound political choice for decades of black artists. The exhibition features nearly 80 paintings, sculptures, and mixed-media installations by such notable artists as Mark Bradford, Jennie C. Jones, Norman Lewis, Lorna Simpson, Alma W. Thomas, and Sam Gilliam, and unveils a newly commissioned work by Kevin Beasley. Generations is curated by Christopher Bedford, BMA Dorothy Wagner Wallis Director, and Katy Siegel, BMA Senior Research & Programming Curator and Thaw Chair of Modern Art at Stony Brook University. The exhibition is co-organized by the BMA and the Ogden Museum of Southern Art. Download Press Release
The Baltimore Museum of Art (BMA) today announced a sweeping reinstallation of its contemporary collection galleries that focuses on the creativity of 20th- and 21st-century black artists. Titled Every Day: Selections from the Collection, the reinstallation features works by such visionary artists as David Hammons, Joyce J. Scott, Mickalene Thomas, Kara Walker, and Nari Ward, alongside those by Helen Frankenthaler, Ellsworth Kelly, and Andy Warhol, among others. Centering the works by black artists creates a multidimensional picture of contemporary art that also allows us to reimagine our collective past, revealing the vital role of artists and art in these conversations about history and the future. Download Press Release
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Mead Art Museum Appoints Curator of Russian & European Art I May 15, 2019
The Mead Art Museum at Amherst College announced today that it has appointed Dr. Galina Mardilovich to the position of curator of Russian and European art, effective July 1, 2019. Mardilovich, who has served as the acting curator at the Mead since August 2018, will oversee the museum’s program for Russian and European art, including researching the collection, developing exhibitions, and proposing new acquisitions. In addition, Mardilovich will collaborate with the Amherst Center for Russian Culture on the use of the Thomas P. Whitney ’37 Collection of Russian Art, a unique art and rare book collection that includes more than 600 paintings, drawings, and sculptures produced by artists both in Russia and in exile beginning in the late 19th century.
During her time at the Mead, Mardilovich has already curated two exhibitions that showcase her acumen for connecting the two collections under her purview: Constructing Collage and Fleeting Nature: Selections from the Collection (co-curated). She has also curated two exhibitions drawn specifically from the Mead’s Russian collection: Views from the Eastern Front: Russian Modernism and the Great War and Paste, Stick, Glue: Constructing Collage in Russia. The latter exhibition—an historical overview of the many ways in which Russian and Soviet artists employed collage, and the related techniques of film montage and photomontage—highlights the Mead’s tremendous collection resources in this area, including artworks by Liubov’ Popova, Aleksandr Rodchenko, Varvara Stepanova, El Lissitzky, Oscar Rabin, Oleg Kudryashov, and Alexander Kosolapov, among others.
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Art Gallery of Ontario Makes Bold New Pricing Changes I May 9, 2019
Today the AGO (Toronto) announced bold and exciting changes that will ensure greater museum access than ever before. Starting on May 25, admission for visitors 25 and under is free – all year, anytime, including for special exhibitions. For visitors over 25, single-visit tickets are now $25 and include the AGO Collection and all special exhibitions with no added fees. And the AGO is launching a new Annual Pass that provides unlimited museum admission for a year for $35.
According Stephan Jost, the AGO’s Michael and Sonja Koerner Director and CEO, “the goal is to make it easier for everyone to make art a part of their everyday lives. We will test and learn from this new model over the coming year, with the goals of increasing engagement with our audiences, and also gaining new understandings of visitor patterns that will help us better meet their needs.”
The AGO is celebrating this landmark initiative with the launch of AGO All Hours, an unmissable event that will happen three times a year. AGO All Hours runs from morning to night, and invites visitors to participate in unconventional experiences featuring local artists and community partners. From special programs, art installations and artmaking activities to pop-up bars, marquee performances and more, AGO All Hours has the vibe of a Toronto block party welcoming all ages all day, from 10:30 a.m. to 1 a.m.More details are available at AGO.ca or by following #AGOAllHours.
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Comprehensive Exhibition of Morehshin Allahyari’s Work on View at MacKenzie Art Gallery I May 7, 2019
The MacKenzie Art Gallery is pleased to announce Morehshin Allahyari: She Who Sees The Unknown, the most comprehensive exhibition to date of the New York-based Iranian artist’s ongoing research project into female and gender non-binary monsters and jinn, of Middle Eastern origin. Using a four-part process involving research, 3D-modeling and printing, storytelling, and community involvement, Allahyari re-creates jinn figures and uses the traditions and myths associated with them to explore colonialism, patriarchism, and environmental degradation in relation to the Middle East. Curated by John Hampton, Director of Programs at the MacKenzie Art Gallery, Morehshin Allahyari: She Who Sees The Unknown is the first exhibition to bring together the three figures known as Huma, Aisha Qandisha, and the Laughing Snake, and will be on view from May 25 through August 25, 2019.
Started in October 2016 as part of Allahyari’s residency at Eyebeam in New York City, the She Who Sees The Unknown project is part of a process Allahyari refers to as ‘refiguring,’ or the act of going back into the past to retrieve elements that have been forgotten or misrepresented over time, in order to help reimagine another kind of present or future. In this case, Allahyari revives the stories of various jinn who were seen as tremendously powerful figures but either came to be seen as negative, or have been written out of the canon of largely male “superhero” stories. Allahyari embraces the monstrosity of these figures and resituates them in contemporary narratives where their powers can change perspectives on the present and the future. For Allahyari, ‘refiguring’ is a ficto-feminist and activist practice that challenges today’s power structures and social realities.
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Vanja Malloy Named to Lead Syracuse University Art Galleries I May 7, 2019
Vanja Malloy, Ph.D., curator of American art at the Mead Art Museum at Amherst College, has been named director and chief curator of the Syracuse University Art Galleries. Malloy will be the second director of the SUArt Galleries, a member of the Coalition of Museum and Art Centers [CMAC], since its founding in 2006. She succeeds Domenic Iacono, who retired after forty years at the university last June.
“We are very excited to welcome Vanja Malloy as the next director of SUArt. It was an extremely competitive process with applicants from around the world,” CMAC executive director Jeffrey Hoone said in announcing the appointment. “Vanja stood out with her great educational credentials and experience. She has an exhibition record that displays a creative mind and an ability to connect many different collaborative partners. She has produced exhibitions and programs that appeal to many different audiences while maintaining an intellectual rigor so important to an academic setting. We are very much looking forward to her leading the team at SUArt and building on their success as the premier art museum at Syracuse University.”
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Recent News From Our Clients, April 2019
Hyperallergic, April 26: “Yinka Shonibare Restages the Trauma of the Gilded Age,“ by Seph Rodney, on the exhibition A Tale of Today: Yinka Shonibare CBE, on view at the Richard H. Driehaus Museum through September 29, 2019
ARTnews, April 22: “9 Art Events in New York This Week: ‘Art After Stonewall,’ Lorna Simpson, Frank Stella, and More,” by Max Duron, featuring the opening of Frank Stella: Recent Works at Marianne Boesky Gallery as part of the roundup of must-attend events
Monocle Magazine, April 18: “Star Turn,” writer Tomos Lewis goes behind-the-scenes with artist Frank Stella ahead of his solo exhibition at Marianne Boesky Gallery, opening April 25, for the May print edition of the magazine
Aesthetica, April 12: “5 to See: This Weekend,” including Queer California: Untold Stories, on view through August 11, 2019 at the Oakland Museum of California
The Clyde Fitch Report, April 8: “At Driehaus Museum, Yinka Shonibare Fabricates Post-Colonial Identity,“ by Carol Strickland, reporting on the Museum’s first exhibition in its new contemporary art series A Tale of Today: New Artists at the Driehaus
The Art Newspaper, April 2: “Boots Riley on the links between art, Surrealism and social justice,“ by Victoria Stapley-Brown, on the Baltimore Museum of Art’s April 24 program with Mickalene Thomas and Boots Riley
Artforum, April 2019: “1000 Words: Trenton Doyle Hancock,“ by Ikechukwu Onyewuenyi, on the artist’s exhibition Mind of the Mound: Critical Mass, on view now at MASS MoCA
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Driehaus Museum Will Explore Tiffany’s Sacred Stained-Glass I April 24, 2019
This fall, the Richard H. Driehaus Museum will present Eternal Light: The Sacred Stained-Glass Windows of Louis Comfort Tiffany, focusing on the design and production of Tiffany’s ecclesiastical window commissions—and exploring these works in the context of both the art and social history of the period. At the heart of the exhibition are eleven outstanding, religiously themed windows made between 1880 and 1925 that demonstrate the signature designs, working methods, techniques, and production styles of Tiffany and his workshops. Works have been drawn from major public and private collections across the United States, including the Metropolitan Museum of Art, the Neustadt Collection of Tiffany Glass, and the Charles Hosmer Morse Museum of American Art. The exhibition also includes a number of works that have not been on public view since the closure of the Richard H. Driehaus Gallery of Stained Glass at Navy Pier. Organized by the Driehaus Museum, Eternal Light: The Sacred Stained-Glass Windows of Louis Comfort Tiffany includes more than 25 works by Tiffany and his artists and will be on view from September 7, 2019 – March 8, 2020.
Towards the end of the 19th century, as the social and economic climate in the United States shifted—driven by the wealth created through industrialization, internal migration following the Civil War, and an influx of immigrants—the nation’s religious views shifted, too. This was, in part, an appreciation for the country’s achievements and a desire to celebrate what many saw as divinely inspired success. By some estimates, thousands of churches were commissioned and under construction during this period, and with that building boom came a desire for each religious community to distinguish itself and its house of worship. Louis Comfort Tiffany saw this as an opportunity for business growth and drew on his firm’s technical prowess and innovations in glass-working, along with the creativity of the artists he employed, to meet these congregations’ needs.
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MASS MoCA to Open Comprehensive Survey of Work by Artist Cauleen Smith I April 11, 2019
On May 25, MASS MoCA will open artist Cauleen Smith’s most comprehensive exhibition to-date, featuring a survey of her videos made over the last decade and a half, a written manifesto, and a selection of banners from her In the Wake series, which was included in the 2017 Whitney Biennial. These prior works will be presented alongside a new textile and works on paper as well as an immersive video installation produced especially for the exhibition. Occupying the entirety of MASS MoCA’s first floor galleries, the exhibition provides an in-depth look at Smith’s incredible capacity to engage with and capture the experiences of her subjects, which she describes as “the fragile, the forgotten, the flawed, and the fugitive.”
Building on her training as a filmmaker, Cauleen Smith creates visual and phenomenological experiences that ruminate on social, cultural, intellectual, artistic, and political liberation. Inspired by a wide range of sources, from Afrofuturism, the music of Sun Ra, science fiction, and Third World Cinema, her multi-disciplinary practice combines aesthetic richness with conceptual rigor to examine subjects like the African Diaspora, the image of black women in film, the post-hurricane landscape of New Orleans, and the transformative power of art, among so much more.
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Marianne Boesky Gallery to Open Exhibition of Recent Sculpture by Frank Stella I April 10, 2019
Marianne Boesky Gallery is pleased to present an exhibition of recent sculptures by renowned artist Frank Stella. Ranging from the monumental to the intimately-scaled, the featured sculptures capture Stella’s ongoing exploration of the spatial relationships between abstract and geometric forms and the ways in which they behave in and engage with physical space. In these newest works, Stella combines interlocking grids with more fluid and organic lines, creating a dynamic interplay between minimalist and gestural visual vocabularies. Frank Stella: Recent Work will be on view from April 25 through June 22 across both of the gallery’s Chelsea locations at 509 and 507 W. 24th Street.
Stella’s decades-long career is synonymous with artistic innovation. From his early Black Paintings, which dramatically shifted the dialogues on abstract art, to his use of both the formal qualities of painting and sculpture to produce his Polish Village series in the 1970s, and through to his use of computer modeling and 3D printing, from the 1990s and into the present, Stella has continued to push compositional boundaries. His experimentation with and use of line, color, and form have resulted in strikingly different effects—on the canvas and in three dimensions. Stella’s boundless vision has resulted in a new body of work that freshly engages the grid as well as the star and ribbon motifs that have appeared throughout his oeuvre.
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Hollis Taggart Announces Dual Presentations of Knox Martin at Frieze and in Chelsea I April 9, 2019
This May, Hollis Taggart will present an in-depth exploration of the work of acclaimed artist Knox Martin, with a solo presentation at Frieze New York and a concurrent solo exhibition at its primary location in Chelsea. Martin’s practice, which spans nearly seven decades, has engaged with the conceptual and aesthetic underpinnings of a wide range of artistic movements, from Cubism to Abstract Expressionism to Pop Art. His use of bright swaths of color, precise, architectural lines, and organic forms that reference the female body have resulted in energetic and vibrant compositions that speak to a visual vocabulary that is entirely his own.
For the upcoming edition of Frieze New York, Hollis Taggart will present a focused selection of paintings, from the 1950s through the 1970s, providing an introduction to the artist’s early works. To foster a broader understanding of Martin’s practice, the gallery will also open Knox Martin: Radical Structures at its 521 W. 26th Street space on May 2, 2019. The exhibition at the gallery will emphasize in particular Martin’s paintings from the 1960s and 1970s, and also include several later works, among which are two new paintings created by the 96-year-old artist in 2019. Knox Martin: Radical Structures will be on view through May 27, 2019.
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Nonprofit 4heads Announces Name Change to Annual Fair & Opens Call for Artists I April 9, 2019
The nonprofit organization 4heads, helmed by Nicole Laemmle, Jack Robinson, and Antony Zito, announced today that its annual fair on Governors Island will now be called Portal: Governors Island (previously Governors Island Art Fair). Open weekends in September, the fair presents the work of approximately 100 artists every year across the former military homes on Colonels Row and other historic sites across the island. Launched more than 10 years ago, 4heads recognized the possibilities of Governors Island as a platform for the presentation of contemporary art well before many acknowledged it as a desirable destination for arts consumers and the general public. The name change is part of an ongoing planning process that will ultimately result in other editions of Portal opening in different locations across the city throughout the year. The decision also comes at a moment of change on Governors Island, as more cultural entities move to the island and those that have been long-standing staples look to expand on both the island and well beyond.
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New Works & Major Installation Design By Artist Brian Jungen at the AGO I April 3, 2019
This summer, the Art Gallery of Ontario (AGO) will open a major exhibition of the artist Brian Jungen, bringing together for the first time many of his most iconic sculptures in an installation specially designed by the artist. Internationally renowned for his sculptures made from repurposed consumer goods, this exhibition presents over 80 of his works, including a group of new pieces. To provide audiences with insight into his creative process, the exhibition also includes extensive material from Jungen’s personal archive—materials that have served as sources of inspiration throughout his career. Organized by the AGO and curated by Kitty Scott, the Carol and Morton Rapp Curator of Modern and Contemporary Art, Brian Jungen: Friendship Centre opens on June 20 and runs to August 25, 2019. This exhibition marks the first time that the AGO will host a solo presentation by an Indigenous Canadian artist in the Sam & Ayala Zacks Pavilion, the AGO’s largest temporary exhibition space, at 11,000 sq. feet.
An artist of Indigenous and European heritage, Jungen’s (b.1970) multidisciplinary art-making explores a long history of cultural inequality and expresses both a concern for the environment and a profound commitment to Indigenous ways of knowing and making. He has created an extensive body of work that engages equally with Indigenous materials and traditions as with pop culture and Western art history. The exhibition also transforms the AGO’s galleries into an Indigenous meeting place, bringing to the fore different aspects of Jungen’s personal experiences. For example, on the reservation, the gymnasium is a space not only for sport, but also for ceremony and conviviality; in Canadian cities, Friendship Centers serve a similar purpose. Jungen echoes these spaces in the design for his installation at the AGO.
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Recent News From Our Clients, March 2019
Interior Design, March 2019: “Blips: Contrasts and Connections,” by Annie Block, featuring the Richard H. Driehaus Museum’s new exhibition A Tale of Today: Yinka Shonibare CBE, on view through September 29, 2019
The Art Newspaper, March 28: “Three Exhibitions to See in New York this Weekend,” highlighting the current Hans Op de Beeck exhibition at Marianne Boesky Gallery, by Victoria Stapley-Brown.
Aspen Sojourner, March 27: “Aspen Weekend Agenda: March 29-31, 2019,” by Cindy Hirschfeld, on the last weekend to see Tropical Molecule at Boesky West in Aspen.
Artforum, March 27: “Curator Miranda Lash Joins Joan Mitchell Foundation Board,” by Lauren Cavalli, on the Joan Mitchell Foundation’s announcement that it has appointed curator Miranda Lash to its Board for a three-year term.
ARTnews, March 26: “Miranda Lash Joins Joan Mitchell Foundation’s Board of Directors,” by Claire Selvin, on the appointment of curator Miranda Lash to Joan Mitchell Foundation’s Board, for a three-year term.
ARTnews, March 19: “Tropical Molecule at Marianne Boesky Gallery, Aspen, Colorado,” an image slideshow of the gallery’s current exhibition at its Boesky West location, put together by Max Duron.
Architectural Digest, March 18: “Driehaus Museum Starts New Contemporary Series with Yinka Shonibare Work,“ by Carly Olson, on the Museum’s newly opened exhibition A Tale of Today: Yinka Shonibare CBE, on view through September 29, 2019
Chronicle of Higher Education, March 18: From the “Campus Spaces Newsletter”, by Lawrence Biemiller, inclusion of the Mead Art Museum at Amherst College and steps it has taken to improve access for and services to students
Chicago Tribune, March 13: “It's 'Party Time' at the Driehaus with an exuberant show from Yinka Shonibare,“ by Steve Johnson, on the Richard H. Driehaus Museum’s new exhibition A Tale of Today: Yinka Shonibare CBE, on view through September 29, 2019
The Art Newspaper, March 13: “Terra Foundation’s Transformational Leader Elizabeth Glassman to Step Down,” by Victoria Stapley-Brown on the evolution of the Terra Foundation under Elizabeth Glassman’s leadership.
Chicago Tribune, March 13: “Elizabeth Glassman will step down as president of Chicago’s Terra Foundation,” a news brief on the announcement that Elizabeth Glassman will step down from the Foundation after 18 years by Steve Johnson.
Artforum, March 13: “Terra Foundation President and CEO Elizabeth Glassman To Step Down,” by Lauren Cavalli on the announcement that Glassman will step down and that the Foundation has exceeded $100 million in giving.
ARTnews, March 13: “Terra Foundation President and CEO Elizabeth Glassman To Step Down,” by Claire Selvin on the Foundation’s news that Glassman will step down and that it has exceeded $100 million in giving.
Crain’s Chicago Business, March 13: “Terra Foundation CEO Stepping Down,” by Jan Parr on Elizabeth Glassman announcing that she will step down from the Terra Foundation after 18 years.
Inside Philanthropy, March 11: “‘Ongoing Evolution.’ An African-American Couple Gets Behind a Museum’s Push for Greater Diversity,” by Mike Scutari on the $3.5 million gift Eddie C. and C. Sylvia Brown made to the Baltimore Museum of Art.
Modern Art Notes Podcast, March 7: “No. 383: Yinka Shonibare, Pontormo,“ hosted by Tyler Green, and including an interview with Shonibare in conjunction with his exhibition A Tale of Today: Yinka Shonibare CBE at the Richard H. Dreihaus Museum in Chicago
artnet News, March 6: “23 High-Energy Gallery Shows Opening in New York This March That You Won’t Want to Miss,” including an exhibition of works by Harry Bertschmann at Hollis Taggart’s Project Space, by Sarah Cascone.
Artforum, March 1: “San Antonio Museum Of Art Names Lucia Abramovich Associate Curator Of Latin American Art,” on the Museum’s hire for a curator to oversee one of the most important collections of its kind in the U.S.
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Curator Miranda Lash Joins Joan Mitchell Foundation Board of Directors I March 26, 2019
The Joan Mitchell Foundation announced today that Miranda Lash, currently the Curator of Contemporary Art at the Speed Art Museum in Louisville, has been appointed to its Board of Directors for a three-year term. Prior to joining the Speed, Lash was the founding Curator of Modern and Contemporary Art at the New Orleans Museum of Art (NOMA), beginning in 2008. During her tenure in New Orleans, she experienced firsthand the impact of the Foundation’s Creating a Living Legacy (CALL) initiative, while organizing the Museum’s Mel Chin: Rematch retrospective exhibition. As part of that process, Lash and Chin worked closely with the Foundation to see how the CALL approach to studio organization and documentation could be applied towards preparing for a major exhibition.
“We are excited to have Miranda bring her significant knowledge and expertise working with contemporary artists to our organization,” said Michele Tortorelli, President and Board Chair of the Joan Mitchell Foundation. “Given the wide range of exhibitions she has curated, her artist-centered approach, and her experience in New Orleans—where the Joan Mitchell Center is located—we expect she will add a valuable perspective to the Foundation’s work supporting artists at various stages in their careers. As a curator, she will be a valued voice at the table in our work on stewarding Mitchell’s legacy.”
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Exhibition of Works by Hollis Heichemer to Open at Hollis Taggart Project Space on April 4 I March 19, 2019
On April 4, Hollis Taggart will open its first exhibition of works by artist Hollis Heichemer at its Project Space at 507 W. 27th Street. Titled Happenstance, the exhibition will include a selection of Heichemer’s vibrant abstract oil paintings, produced between 2017 and 2019. Happenstance will also include several of the artist’s drawings, marking the first time her works on paper will be publicly exhibited. An opening reception will be held on April 4, from 6:00 to 8:00 PM, and the exhibition will remain on view through May 4, 2019.
Of her work Heichemer says, “I’m interested in the moment that something shifts. The sudden disruptions, when we’ve moved from one second to the next but in that instant something inexplicable has happened. We’ve seen something; felt something; our imagination has been sparked; a perspective has been altered; and we’ve changed.” Indeed, Heichemer’s richly-colored paintings exude an intense sense of motion, as delicate lines meld with thick brushstrokes and coalesce into wide washes of color. The layering of color in her work, in particular the deep greens and blues, add a tactility that suggests ongoing action and formation just beneath the surface plane in which this one moment has been caught.
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Terra Foundation for American Art Announces Its President & CEO Will Step Down I March 13, 2019
Elizabeth Glassman, who has served as President & CEO of the Terra Foundation for American Art for nearly two decades, announced today that she will step down, effective upon the Foundation’s appointment of her successor. During her tenure, Glassman led a revisioning of the Foundation’s operational model, which resulted in the global circulation of important works of American art from the Foundation’s 800-object collection and the establishment of a grants program that has to-date awarded more than $100 million for the creation of approximately 1,000 exhibitions and programs in 31 countries. The Foundation’s approach leverages both its extensive collection and granting capacity to bring the art of the United States to a wide range of audiences, spurring important dialogues on visual culture, national identity, and the importance of building connections across places and peoples. The Terra Foundation is launching an international search for Glassman’s successor, with the goal of having a new President & CEO in place by early 2020.
As part of the announcement, the Terra Foundation also released today new information about the success of its 2018 Art Design Chicago initiative. The content includes data from an audience survey. It can be accessed HERE.
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Belgian Artist Koen Vanmechelen to Open Monumental Art and Nature Project on July 6, 2019 I March 7, 2019
On July 6, 2019, internationally-renowned artist Koen Vanmechelen will open LABIOMISTA, a monumental, multi-faceted project that brings together the vital threads of his work and establishes new opportunities for collaboration and dialogue on some of the most pressing and challenging social issues of contemporary society. For more than 20 years, Vanmechelen has been creating work that explores the connections between art, community, and science. From his paintings, sculptures, videos, and mixed-media installations to his conceptually-driven “living art” initiatives, Vanmechelen’s wide-ranging practice has been motivated by the belief that art has an important role to play in enhancing understanding of and developing solutions for such critical topics as diversity and resilience, shifting outlooks on the environment, the relationships between nature and culture, and sustainable community building. With the opening of LABIOMISTA, Vanmechelen creates his largest, evolving artwork yet, capturing the trajectory of his practice and forming a dynamic platform for future endeavors.
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Recent News From Our Clients, February 2019
ARTnews, February 28: “San Antonio Museum of Art Names Lucia Abramovich Associate Curator of Latin American Art,“ by Claire Selvin
ARTnews, February 27: “Degrees of Mystery: B. Wurtz on Exhibitions Around New York,” including a spotlight on John Houck’s Holding Environment at Marianne Boesky Gallery, by B. Wurtz.
The Art Newspaper, February 27: “Hermitage and MoMA heads seek end to US-Russian loans freeze,“ by Martha Lufkin with Alison Cole, on the recent conference in Texas discussing ways to end the loan embargo
ARTnews, February 26: “Hollis Taggart Now Represents Estates of Michael Corinne West, Leon Berkowitz,” by Claire Selvin, on the gallery’s announcement of its exclusive representation of two artist estates
BURNAWAY: The Voice of Art in the South, February 26: “Nothing and Everything: Paul Stephen Benjamin in New York,” by Stephanie E. Goodalle, a review of artist Paul Stephen Benjamin’s recent solo exhibition at Marianne Boesky Gallery
Town & Country, February 25: “Inside Frank Gehry's Overhaul of Garden of Allah, L.A.’s Most Infamous Corner,“ by Lesley M.M. Blume, on the new Gehry-designed complex planned for 8150 Sunset Boulevard
artnet News, February 21: “Sweet Dreams Are Made of This: Eurythmics Singer Annie Lennox Is Having a Solo Show at MASS MoCA,” by Sarah Cascone, on the large-scale, site-specific installation singer Annie Lennox will be creating for MASS MoCA, opening in May 2019
Architectural Digest, February 20: “Hugo Franca’s Natural Wood Furniture Arrives in the Rockies,” by Carly Olson, on the opening of Tropical Molecule at Boesky West, featuring the work of designer Hugo Franca and artist Thiago Rocha Pitta
artnet News, February 19: “Editors’ Picks: 16 Things Not to Miss in New York’s Art World This Week,” including the premiere of the film Staging Silence (3) by Belgian artist Hans Op de Beeck at Marianne Boesky Gallery on February 23
Artforum, February 19: “Marianne Boesky Gallery Appoints Stephanie Gabriel Director,” by Lauren Cavalli, on the expansion of Marianne Boesky Gallery’s leadership team
ARTnews, February 19: “Marianne Boesky Gallery Names Stephanie Gabriel Director,” by Claire Selvin, on the gallery’s hiring of a new director and marketing and communications coordinator
Hyperallergic, February 15: “Black as a Sensory Experience,” a review of artist Paul Stephen Benjamin’s current solo exhibition at Marianne Boesky Gallery, written by Jasmine Weber
Art Papers, February 12: “The Infinite Nature of Black,” an interview with artist Paul Stephen Benjamin, written by Sarah Higgins, tied to his current solo exhibition at Marianne Boesky Gallery
modern Magazine, February 11: “The Influence of African American Designers in Chicago,” by Anna K. Talley, on the exhibition currently open at the Chicago Cultural Center as part of the Terra Foundation’s Art Design Chicago initiative
Artforum, February 8: “Baltimore Museum Of Art Receives $3.5 Million To Endow Chief Curator“ on the Museum’s news announcing long-term support for this position
New York Times, February 8: “Baltimore Museum of Art Gets $3.5 Million to Endow Chief Curator,“ by Sara Aridi, on the gift from philanthropists Eddie C. and C. Sylvia Brown, a position held by the recently appointed Dr. Asma Naeem
Artforum, February 7: “San Antonio Museum Of Art Gifted Several Works Of Contemporary Art,“ reporting on the news of multiple gifts—from multiple sources—to support the Museum’s collection-building initiatives
ARTnews, February 5: “San Antonio Museum of Art Receives Works from Dallas Collectors, Alex Katz Foundation,“ by Alex Greenberger, including works by Nic Nicosia, Catherine Lee, and a group of five other American artists
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Hollis Taggart to Celebrate Impact of Art Students League at The Armory Show I February 28, 2019
For its presentation at the 2019 edition of The Armory Show, Hollis Taggart will celebrate the importance and impact of The Art Students League, a fixture of the New York art scene for 140 years. The gallery’s exhibition will feature works by prior teachers and students, highlighting the dynamic conceptual and aesthetic interplay between the two and capturing a trajectory of artistic development. Among the prior teachers that will be exhibited are Hans Hofmann, Richard Pousette-Dart, Knox Martin, William Scharf, and Theodoros Stamos. League students that will be shown include Milton Avery, Leon Berkowitz, Helen Frankenthaler, Louise Nevelson, Jack Tworkov, Idelle Weber, and Michael (Corrine) West, among others.
Hollis Taggart is featured in Booth 206 on Pier 90 as part of the Insights sector. Dedicated exclusively to 20th century artworks, Insights emphasizes solo-artist, dual-artist, and thematic presentations, and highlights canonical works of modernism and the post-war era as well as overlooked artistic gems and rediscoveries.
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San Antonio Museum of Art Announces New Associate Curator of Latin American Art I February 28, 2019
The San Antonio Museum of Art (SAMA) announced today that it has hired Lucia Abramovich as the Museum’s new Associate Curator of Latin American Art, following the completion of an international search. Abramovich brings to the Museum extensive curatorial, research, and community engagement experience, including at the New Orleans Museum of Art, Dumbarton Oaks Research Library and Collection of Harvard University, and the Smithsonian Institution’s National Museum of the American Indian.
The San Antonio Museum of Art’s Nelson A. Rockefeller Center for Latin American Art encompasses more than 12,000 objects in the areas of Ancient America, Spanish colonial, Republican-era, Modern, Contemporary, and Folk Art. Among her projects at SAMA, Abramovich will reconceptualize and reinstall the Museum’s Latin American Folk Art collection, one of the most important collections of its kind in the United States. Abramovich will begin work in San Antonio in June 2019.
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Hollis Taggart Announces Its Exclusive Representation of Two Artist Estates I February 26, 2019
Hollis Taggart announced today the exclusive representation of the Michael (Corinne) West Estate. Michael West (1908-1991)—born Corinne Michelle West—is recognized by art historians as a vocal and active participant in the development of Abstract Expressionism, bringing a highly developed personal philosophy and vision to her work. Despite her substantive contributions to the dialogues and artistic innovations that shaped the movement, West is largely remembered for her relationship with artist Arshile Gorky—her own narrative obscured by the sexism of the period and the passage of time. With its new representation of West’s estate, Hollis Taggart aims to rectify the omission of West’s practice within our understanding of Abstract Expressionism and its relationship to subsequent modern art movements. The gallery’s representation of West follows its work in bringing to light and deepening scholarship on other historic female artists, including Audrey Flack, Grace Hartigan, Kay Sage, Marjorie Strider, and Idelle Weber, among others. Hollis Taggart will present an exhibition of West’s work in November 2019.
Hollis Taggart concurrently announced the exclusive representation of the Estate of Leon Berkowitz (1919-1987). Berkowitz founded the Washington Workshop Center for the Arts in 1945, creating the fertile ground on which the Washington Color School would be established. Although frequently associated with the group, Berkowitz resisted the School’s formal investigations in favor of more poetic and spiritual evocations of color and light. While his earlier works suggest a deliberate and ordered study of color, his later—and most recognized—canvases vibrate with luminescent bursts and mists of color that seem to extend well beyond the surface plane. The collaboration with the Estate marks an opportunity to further examine Berkowitz’s practice, which has connections to a wide range of artistic movements, from Color Field Painting to the California Light and Space Movement. Hollis Taggart will present an exhibition of Berkowitz’s work in September 2019.
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MASS MoCA Announces Highlights from Spring 2019 Exhibition Season I February 20, 2019
Each season MASS MoCA offers a powerful range of visual arts presentations that leverages its 250,000 square feet of gallery space, on-site fabrication capabilities, and adventurous spirit. The Spring 2019 season is no exception. Among the highlights are artist Trenton Doyle Hancock’s largest solo project to-date; the most comprehensive survey of works by artist Cauleen Smith; a site-specific installation by celebrated musician Annie Lennox; and an expansive group exhibition that examines the human condition in this particular socio-political moment. All of these exhibitions feature new works and debuts by the featured artists, and provide audiences with in-depth views of some the most topical dialogues and innovations in contemporary art.
Spring 2019 also marks MASS MoCA’s 20th anniversary, and the institution will celebrate on May 25, Memorial Day weekend, with a reception that celebrates three of its exhibitions, a block party, a benefit performance by Annie Lennox, and a rollicking concert—events that speak to MASS MoCA’s equally robust visual and performing arts programs and that activate its vibrant 16-acre campus.
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Marianne Boesky Gallery Appoints New Director and Communications Coordinator I February 19, 2019
Marianne Boesky Gallery announced today that it has appointed Stephanie Gabriel as Director and Sara Putterman as Marketing and Communications Coordinator. Gabriel worked at Lehmann Maupin Gallery, where she most recently served as a Partner. She will take her new position at Marianne Boesky on February 26, 2019. Sara Putterman joins from Sotheby’s New York, where she most recently held the position of Digital Marketing Manager. She will start at the gallery on February 21, 2019.
“Stephanie brings with her an incredible record of gallery leadership and wide range of long-standing relationships with artists and curators that will prove invaluable to our growing operations. And with the digital realm becoming increasingly important to reaching artists, collectors, and influential leaders alike, Sara’s experience in digital communications will play an important role as we look to the future of the gallery. We are delighted to welcome both of them to our team,” said Marianne Boesky.
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Artist Hans Op de Beeck to Premiere New Film at Marianne Boesky on February 23 I February 14, 2019
Marianne Boesky Gallery is pleased to present Staging Silence (3), a new film created by Brussels-based artist Hans Op de Beeck. The film, which will make its international premiere at the gallery on February 23, 2019, is the third and final installment in Op de Beeck’s Staging Silence series, with prior films having debuted in 2009 and 2013. The presentation will also include a new life-sized sculpture, several smaller sculptural works, and a selection of watercolors to provide a more holistic experience of the artist’s wide-ranging practice. The film, and accompanying exhibition, will be on view through April 6, 2019 at the gallery’s 507 W. 24th Street location.
Staging Silence (3) takes the viewer on a journey through a series of desolate scenes, gradually constructed and deconstructed by a pair of anonymous hands that act as either divine creator or grand puppeteer. Ranging from hyper-realistic fictional land and cityscapes to absurd, almost surreal, dreamscapes, the various locations are connected by the sense of mystery and melancholy that pervades them. The emergence and disappearance of these interiors and views evoke a wide range of sensations, from nostalgia to tragedy to optimism, and, in some instances, even to humor. These evocations are further accentuated by the film’s original score, produced by Op de Beeck in collaboration with Scanner.
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Baltimore Museum of Art Receives Major Gift to Endow Chief Curator Position I February 8, 2019
The Baltimore Museum of Art (BMA) today announced a gift of $3.5 million from Baltimore-based philanthropists Eddie C. and C. Sylvia Brown to endow the position of Chief Curator at the museum. The Browns’ support and advocacy for the BMA spans more than two decades and includes important contributions of both art and funds to expand the museum’s presentations and collections of works by African American artists. This most recent gift underscores the Browns’ ongoing generosity and commitment to the BMA and marks a critical development for the museum as it continues to enact its vision to position social equity at the core of its mission.
The announcement of the newly endowed Eddie C. and C. Sylvia Brown Chief Curator—one of the few curatorial positions in the United States named for an African American couple—follows the August 2018 chief curatorial appointment of Dr. Asma Naeem, whose background includes extensive new scholarship into the work of female artists and artists of color. Together, these two milestones highlight the BMA’s commitment to addressing the need for increased diversity in the museum field not only through its exhibitions and programs but also through its internal composition and structures.
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Works by Yinka Shonibare CBE to Open at Driehaus Museum I February 7, 2019
On March 2, the Richard H. Driehaus Museum will open A Tale of Today: Yinka Shonibare CBE, the inaugural exhibition in the Museum’s new contemporary art series. The London-born and -based artist, who was raised in Nigeria, has drawn on both his English and African history throughout his career, to create visually compelling art in a variety of media. The upcoming exhibition at the Driehaus—the artist’s first museum exhibition in Chicago in over five years—will feature photographs, sculpture and installations. A through-line in Shonibare’s practice has been an exploration of the intersection between the attitudes and trappings of the past, such as the Victorian Age, and the values and mores of the present. It is for this reason that the artist was selected to launch the Driehaus Museum’s new series, which will provide opportunities for audiences to see the history of the Gilded Age through different lenses, and explore the social, class, racial and economic issues that make that history relevant to society now. A Tale of Today: Yinka Shonibare CBE is organized by the Driehaus Museum and runs through September 29, 2019.
Formally titled A Tale of Today: New Artists at the Driehaus, the Driehaus Museum’s contemporary art series will continue over the next three years, with variations on the program that explore new perspectives and feature new artists—with an emphasis on engaging artists of color as well as underrepresented communities within Chicago. In Spring 2020, the Driehaus will collaborate with Chicago-based artists, including Nate Young, while the third iteration, in 2021, will be A Tale of Today: Mark Dion, presenting works by the American artist who is particularly known for exploring the history of knowledge and science in his artistic practice. The Museum’s new series takes its name from The Gilded Age: A Tale of Today, the 1873 book by Mark Twain and Charles Dudley Warner that originally coined the phrase that subsequently became the name for this period in American history.
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Series of Contemporary Art Gifts Go To San Antonio Museum of Art I February 6, 2019
The San Antonio Museum of Art announced today that it has received three separate gifts of contemporary art to support the continued growth and diversification of its collection. The Dallas Consortium has given Nic Nicosia’s major work Space Time Light (2008-2009), which comprises a series 10 large-scale archival inkjet images on canvases. It is the first work by the artist to enter the collection. At the same time, the Alex Katz Foundation, which has been focused on donating works of art by living American artists to American art museums, has donated one work each by artists Katherine Bernhardt, Richard Bosman, Juan Gomez, Lauren Nickou, and Virginia Overton. The third gift, from an anonymous donor, is a large-scale bronze sculpture by American artist Catherine Lee. Many of these gifts are now on view at the Museum, in its newly reinstalled galleries of contemporary art.
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Hollis Taggart to Represent Estate of Norman Bluhm; Exhibition to Open in March I February 5, 2019
Hollis Taggart is pleased to announce representation of the Estate of Norman Bluhm, Abstract Expressionist painter (1921-1999). From his early richly-layered canvases to his more structured and vibrant later works, Bluhm’s paintings are recognized for their compelling evocations of movement and energy. To mark the new collaboration, Hollis Taggart will present an exhibition focused on Bluhm’s work from the 1970s at its primary Chelsea location at 521 W. 26th Street, opening on March 14, 2019. The exhibition, Norman Bluhm: The ‘70s, will be accompanied by an essay by the poet and art critic John Yau, a long-time friend and advocate of Bluhm’s work.
“Norman Bluhm was an exceptionally gifted painter, who showed extensively in New York and Europe throughout his career. Despite his artistic achievements, Bluhm’s full creative trajectory has not garnered the critical evaluation and scholarship it deserves. With the upcoming exhibition—and the others that will follow—we look forward to bringing new audiences and attention to his work, and in doing so, supporting a more robust examination and understanding of the artists that participated in and propelled Abstract Expressionism and the movements that have followed,” said Hollis Taggart. “We have shown Bluhm’s work in numerous group exhibitions over the years, and are excited for the opportunity to examine and present his work more expansively and with greater focus on his particular vision and techniques.”
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Recent News From Our Clients, January 2019
Metropolis, January 31: “LABIOMISTA, a ‘Reverse Zoo’ Anchored by a Mario Botta–Designed Building, Set to Open in 2019,“ by Alice Bucknell, reporting on artist Koen Vanmechelen’s multi-building, 60-acre project located in Genk, Belgium
Wall Street Journal, January 29: “‘Monet’s Waterloo Bridge: Vision and Process’ Review: Paintings That Span London’s Many Moods,“ by Judith H. Dobrzynski, on the exhibition now on view at the Worcester Art Museum through April 28
Artforum, January 21: “Canada’s MacKenzie Art Gallery Gifted One Thousand Works Of Contemporary Indigenous And Inuit Art,“ on a gift that builds on the museum’s strengths in Indigenous art
The Art Newspaper, January 15: “MacKenzie Art Gallery given 1,000 works by contemporary indigenous artists from Canada and the US,“ by Judith H. Dobrzynski on the gift of works by collectors Thomas Druyan and Alice Ladner
The Eye of Photography, January 15: “Capturing the Moment: Photographs from the Marie Brenner and Ernest Pomerantz Collection,“ on the gift of works and related exhibition at the San Antonio Museum of Art, beginning February 22, 2019
artnet News, January 14: “Editors’ Picks: 16 Things Not to Miss in New York’s Art World This Week,” by Sarah Cascone, on the upcoming opening of artist Paul Stephen Benjamin’s first solo exhibition in NYC at Marianne Boesky Gallery.
The Art Newspaper, January 11: “Is an art Cold War thaw coming? US and Russian museum leaders and diplomats to discuss loan freeze,“ by Victoria Stapley-Brown, on the upcoming public conversation in Dallas to discuss art exchanges
Artforum, January 10: “Joan Mitchell Foundation Names 2019 Artists in Residence,” by Lauren Cavalli, reporting on the artists who will be taking up residencies at the Joan Mitchell Center in New Orleans this year.
ARTnews, January 10: “Joan Mitchell Foundation Names 2019 Artists-in-Residence,” by Annie Armstrong, announcing the 32 artists who have been awarded residencies at the Joan Mitchell Center in New Orleans.
The Oregonian, January 3: “5 Portland artists recognized with $25,000 Joan Mitchell Foundation grants,“ by Amy Wang, reporting on recent awards to local artists as part of the Foundation’s annual Painters & Sculptors Grants
Architectural Digest, January 3: “A Century of Black Designers Receive Belated Recognition in Chicago,“ by Carly Olson, on the exhibition African American Designers in Chicago: Art, Commerce, and the Politics of Race, on view now at the Chicago Cultural Center as part of the Art Design Chicago initiative
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Explore Hiroshige’s 69 Prints of Japan’s Provinces at the Worcester Art Museum I January 30, 2019
This winter, the Worcester Art Museum (WAM) will explore a pivotal period in Japanese history, through the eyes of artist Utagawa Hiroshige (1797−1858) and his print series Famous Views of the Sixty-odd Provinces (1853-1856). Created during a time of change—after a growing network of roads spurred an increase in tourism within Japan—Hiroshige’s 69 prints tapped into this growing fascination with the country’s landscape and captured many meisho, or famous places, long catalogued in Japan’s literary tradition. Organized by the Worcester Art Museum from the complete set of this series in its collection, Travels with Hiroshige will be on view February 23 – May 26, 2019.
While Hiroshige did some sketching outdoors, for Famous Views of the Sixty-odd Provinces he referred extensively to other sources, including Japan’s centuries-old landscape painting tradition and numerous commercial travel guides that had been developed before or during his lifetime. Among those was the popular guidebook, Exceptional Mountain and Water Landscapes (1800–1802). The result was a series of works that both aspired to topographical accuracy and yet were infused with an artist’s creativity about imagined places.
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Marianne Boesky to Open Exhibition of Work by Hugo Franca and Thiago Rocha Pitta in Aspen I January 30, 2019
Marianne Boesky Gallery is pleased to present Tropical Molecule, an exhibition featuring the work of designer Hugo França and artist Thiago Rocha Pitta at Boesky West in Aspen, Colorado. Distinct in their conceptual and aesthetic approaches, Rocha Pitta and França are nonetheless united by a shared commitment to engaging with and honoring the natural environment, especially in their home country of Brazil. On view from February 15 through March 31, 2019, the exhibition will include França’s characteristic sculptural furniture alongside a selection of Rocha Pitta’s watercolors, frescos, and photographs. A new sculpture by Rocha Pitta will also be installed on the exterior of the gallery. Together, the works, which are being shown together for the first time, capture the continuously blurring boundaries between art and design and highlight nature as a powerful source of inspiration across discipline and time.
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Baltimore Museum of Art to Open Major Exhibition of Surrealist Masterworks in February I January 17, 2019
The Baltimore Museum of Art (BMA) presents the first major exhibition to examine how 20th-century European and American Surrealist artists used monsters and mythic figures to depict their experiences of war, violence, and exile. Monsters & Myths: Surrealism and War in the 1930s and 1940s includes 90 works by Salvador Dalí, Max Ernst, André Masson, Pablo Picasso, Mark Rothko, Dorothea Tanning, and others who were affected by the political turmoil of the Spanish Civil War and World War II. On view in Baltimore February 24–May 26, 2019, this ticketed exhibition is co-organized by the BMA and the Wadsworth Atheneum Museum of Art.
During the pivotal years between the world wars, European and American avant-garde artists responded to the rise of Hitler and the spread of Fascism by creating some of the most compelling images of the Surrealist movement. Monstrosities in the real world bred monsters in paintings and sculpture, on film, and in the pages of journals and artists’ books. The BMA’s exhibition is organized with thematic sections that focus on prominent subjects such as the Minotaur, as well as sections on the artists’ responses to social and political upheavals, including Premonition of War, The Spanish Civil War, World War II, and Surrealism in the Americas. Exhibition highlights include Picasso’s Minotauromachy (1935), Dalí’s Soft Construction with Boiled Beans (Premonition of a Civil War) (1936), Ernst’s Europe After the Rain II (1940–42), and Masson’s There Is No Finished World (1942). Among the works by American artists responding to the war are Rothko’s The Syrian Bull (1943) and Tanning’s The Temptation of Saint Anthony (1945/46). The exhibition concludes with two films: Un Chien Andalou (1929) by Luis Buñuel and Dalí and Meshes of the Afternoon (1943) by Maya Deren.
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Drawing By Goya, Painting By Fortuny Are Acquired By The Meadows Museum I January 17, 2019
The Meadows Museum, SMU, has acquired two works that complement important aspects of its exceptional collection of Spanish art. A drawing by Francisco José de Goya y Lucientes (1746–1828), titled Visions (c. 1819–23), is the first Goya drawing to enter the Meadows collection, which already includes six of the artist’s paintings and important holdings of his prints, including first-edition sets of the Spanish master’s four print series.
The Museum has also acquired Crouched Arab (c. 1871), an oil sketch by Mariano Fortuny y Marsal (1838–1874) that was used for a figure in the artist’s larger canvas Tribunal of the Alhambra (1871). Both works will be on view at the Meadows Museum this spring: the Fortuny sketch will join the Museum’s upcoming exhibition Fortuny: Friends and Followers opening on February 3 and the Goya drawing will be installed with a small selection of related works from the Museum’s permanent collection on April 30.
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Hollis Taggart Moves Its Satellite Space and Announces New Exhibition Series for Spring I January 15, 2019
Hollis Taggart announced today that it has moved its satellite space at the High Line to a new street-front location, increasing its square footage and visibility. The gallery first opened the secondary location in September 2018 as part of its expansion in Chelsea, which also included moving its primary space from the seventh to the ground floor of an arts complex on W. 26th. The satellite at the High Line will continue to operate as a project space, serving to test the appeal of the rapidly developing area as well as collector and public interest in the work of a range of both contemporary and historic American artists. Located at 507 W. 27th Street, the new Hollis Taggart: High Line will open on January 16, with a group exhibition of contemporary work. The space will be open Tuesday through Saturday, from 10:00 AM to 6:00 PM.
The new Hollis Taggart: High Line will open with a group exhibition, featuring the work of Pablo Atchugarry, William Buchina, Audrey Flack, Alex Kanevsky, Li Lihong, Esther Ruiz, and Alan Wolfson, among others. Titled Selections from our Contemporary Collection, the exhibition highlights the range and depth of the gallery’s contemporary holdings. On March 4, the gallery will launch an exhibition series that explores the work of under-recognized—in some instances forgotten—American artists. The first exhibition will focus on the work of Harry Bertschmann, whose early output was considered alongside the paintings of Franz Kline, Robert Motherwell, and Mark Rothko. Unlike his contemporaries, however, in the 1960s Bertschmann began shifting his focus to the commercial success he found in graphic design, producing logos and advertisements for well-known brands like Pond’s and Bufferin. Although his participation in exhibitions and with commercial galleries diminished, he remained a prolific painter throughout his life.
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1,000 Works Of Contemporary Indigenous And Inuit Art Gifted To Mackenzie Art Gallery I January 14, 2019
The MacKenzie Art Gallery today announced that it has received a pledged gift of more than 1,000 works of art by contemporary Indigenous and Inuit artists from Edmonton-based collectors, Thomas Druyan and Alice Ladner. The Kampelmacher Memorial Collection of Indigenous Art, named in honour of Druyan’s grandparents Wolf and Sala Kampelmacher, began in 1992 and is the product of the couple’s commitment to engaging with artists and galleries that reflect the myriad of artistic expressions of Indigenous art from across North America. For the MacKenzie, Indigenous art has long been a core area of activity. With this gift, the Gallery can strengthen this capacity, developing an expanded array of exhibitions and programs for current and future audiences and, especially, students, scholars, and members of the community. A selection of works from the collection is touring as part of the MacKenzie’s Provincial Touring Artists and Exhibition Program and additional pieces will be on view at the Gallery beginning January 25, 2019.
The MacKenzie’s relationship with Druyan and Ladner formally began with the 2016 exhibition Across the Turtle’s Back: The Kampelmacher Memorial Collection of Indigenous Art. The first part of their gift—which will be made in three installments over a three-year period—includes 221 of the 234 works from that exhibition. As Across the Turtle’s Back demonstrated, Druyan and Ladner share a vision that is driven by the expressive qualities of individual works. This has resulted in an eclectic collection, often incorporating Indigenous artists they felt were deserving of greater recognition.
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U.S. And Russian Art Exchanges: A Public Conversation On Opportunities to End the Impasse I January 11, 2019
Finding a Way: The Soft Diplomacy of Art Exchanges Between Russia and the United States: a public discussion on February 13, 2019 with several leading American and Russian art museum directors, academics and diplomats, addressing a major challenge in cross-cultural collaboration. Since late-2010, the government of Russia has withheld loans of artwork from its state-owned museums and collections to borrowers in the United States. This moratorium followed an unrelated Federal District Court decision in July 2010, and a fear that artworks on loan to the U.S. might be seized by U.S. courts—even those objects that have received formal immunity from seizure by the U.S. State Department.
The Russian moratorium, led to an informal reciprocal moratorium by most U.S. museums, which refused to lend to Russian state-owned museums if their loans could not be reciprocated. The lack of art exchanges has affected museum exhibitions to the detriment of audiences in both countries, as well as imposed limitations on new scholarship and research. This public discussion is an opportunity for leaders from both sides to engage, share their concerns, and—hopefully—identify ways to improve cultural collaboration between the two countries.
Organized by the Association of Art Museum Directors (AAMD), the Meadows Museum, SMU, and the John Goodwin Tower Center for Political Studies, SMU. Participants include: Ambassador Mikhail Shvydkoy, former Minister of Culture, former Special Envoy for International Cultural Cooperation, Russian Federation; Mikhail Piotrovsky, Director, State Hermitage Museum; and Glenn Lowry, Director, Museum of Modern Art. The conversation will be moderated by Daniel Orlovsky, Professor and George Bouhe Research Fellow in Russian Studies at SMU.
February 13, 2019, 5 - 7:30 PM CST. The event is free and open to the public, but reservations are required. To register, contact the Tower Center at either 214-768-4716 or tower@smu.edu. The event will also be streamed live and will be accessible through the Tower Center website: https://www.smu.edu/towercenter
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Joan Mitchell Foundation Announces 32 Artists Selected for Residency at Its Center I January 10, 2019
The Joan Mitchell Foundation announced today the 32 artists to whom it has awarded residencies at its Joan Mitchell Center in New Orleans for the coming year. All of the artists will be provided with private studio space at the Center, which sits on a two-acre campus in the historic Faubourg Treme neighborhood, along with a stipend, communal dinners, and opportunities to participate in programs that actively engage both the professional arts community and the public. Additionally, those artists traveling to the Center from outside New Orleans are provided with on-site lodging and financial support to transport necessary materials and works. The Artist-in-Residence program was developed as an extension of the Foundation’s support of the local arts community in New Orleans following the devastation of Hurricane Katrina, and has become a vital realization of artist Joan Mitchell’s vision to provide artists with the necessities of time and space to create their work.
The Foundation first began hosting artists in temporary residency spaces in New Orleans in 2013, and then opened the Joan Mitchell Center in 2015. Over these five years, it has hosted nearly 200 artists. Establishing opportunities for local artists in New Orleans remains a critical aspect of the Foundation’s work at the Center, and every Artist-in-Residence cycle includes a selection of artists from the city. The residency program is complemented by a roster of events, including open studios, artist talks, and networking events, which foster creative exchange and encourage relationship-building among artists and other members of the New Orleans community. Artists also have access to professional training and advisement, including studio visits with curators, and consultations and workshops with arts, business, and legal professionals.
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Paul Benjamin to Open First Solo Exhibition in New York at Marianne Boesky Gallery I January 7, 2019
On January 19, Marianne Boesky Gallery will open Pure, Very, New, Atlanta-based artist Paul Stephen Benjamin’s first solo exhibition in New York. Presented across both of the gallery’s Chelsea locations, at 509 and 507 W. 24th Street, the exhibition will feature Benjamin’s paintings, photographs, sculpture, and single and multi-channel video installations, as well as a new site-specific black light installation to be created in the internal passageway between the two spaces. Curated by independent curator Lisa Freiman, the exhibition will highlight Benjamin’s years-long examination of the word “black” as a linguistic, conceptual, and cultural construct. Pure, Very, New, which will be accompanied by a catalogue, will remain open through February 16, 2019.
Benjamin’s practice is rooted in a vigorous meditation on blackness, considering: “What is the color black?” “What does black sound like?” “Is it an adjective, a verb, an essence, or all of these components mixed to create a nuanced whole?” For his large-scale monochromatic paintings, Benjamin thickly coats the canvas in varying shades of black, producing a sensation of boundless depth. This is further accentuated by Benjamin’s application of the particular tonality’s name within the field of color—the words appearing to float and dissipate within the richness of the paint itself. The development of these paintings followed an ordinary visit to a hardware store, where Benjamin was confronted with the many permutations of commercial black paint. Shades of black came with emotive titles like “Totally Black,” “New Black,” and “Pure Black,” among numerous others. For Benjamin, this sparked a multi-layered investigation of the color and whether it could be distilled or understood differently within the context of a painting or the color itself.
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Recent News From Our Clients, December 2018
Artforum, December 18: “Art Gallery Of Ontario Appoints Heidi Reitmaier New Deputy Director,“ on the AGO’s new director of Public Programming and Learning
ARTnews, December 18: “Art Gallery of Ontario Names Heidi Reitmaier Deputy Director and Chief of Public Programming and Learning,“ by Annie Armstrong, on the AGO’s new hire
ARTnews, December 12: “Joan Mitchell Foundation Names Recipients of 2018 Painters & Sculptors Grants,” by Annie Armstrong, on the announcement of the 25 artists awarded $25,000 in unrestricted funds as part of the Joan Mitchell Foundation’s Painters & Sculptors Grants.
Artforum, December 12: “Joan Mitchell Foundation Names 2018 Grant Recipients,” by Lauren Cavalli, announcing the 2018 recipients of the Joan Mitchell Foundation’s Painters & Sculptors Grants, which awards 25 artists with $25,000 in unrestricted funds.
Brooklyn Rail, December 11: “A Gift from One Artist to Many: The Joan Mitchell Foundation,” an essay by Christa Blatchford, CEO of the Joan Mitchell Foundation, for the Brooklyn Rail’s special section on artist-endowed foundations.
Brooklyn Rail, December 11: “John Houck: Holding Environment,” by David Carrier, on the artist’s currently open exhibition, Holding Environment, at Marianne Boesky Gallery through December 22.
Collector Daily, December 6: “John Houck, Holding Environment @Marianne Boesky,“ by Richard B. Woodward, on the artist’s new exhibition, Holding Environment, on view at Marianne Boesky Gallery through December 22
British Journal of Photography, December 6: “John Houck’s iterative still-life photography,“ by Marigold Warner, on the artist’s new exhibition, Holding Environment, on view at Marianne Boesky Gallery through December 22
Photograph, November/December 2018: “John Houck: Holding Environment at Marianne Boesky Gallery,“ by Taylor Dafoe, reviewing the artist’s exhibition, on view through December 22, 2018
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Artist Matthias Bitzer to Open Solo Exhibition at Boesky West in Aspen I December 13, 2018
Marianne Boesky Gallery is pleased to present an exhibition of new and recent works by Berlin-based artist Matthias Bitzer at Boesky West in Aspen, Colorado. In his multi-disciplinary work, Bitzer weaves together artistic and literary references to create an otherworldly realm, where the real and imagined meld and a sense of space and time is dislocated. With the upcoming exhibition, Bitzer’s engagement with the visual and written arts breaks new ground, capturing the conceptual explorations within his own storytelling and dovetailing with a novel that he is currently developing. Indeed, the exhibition title, 3, speaks to the triade of Bitzer’s two protagonists and the narrative possibilities that exist between them. The show will be on view from December 19, 2018 through February 3, 2019, and marks the artist’s third solo presentation with the gallery.
Bitzer’s practice is known for an interplay between seemingly disparate subjects, sources, and contexts, culled from historical and literary images and texts, fictional imaginings, and his dreams and real-life experiences. In his mixed-media collages, paintings, sculptures, and multi-part installations, these fragments come together to reveal unseen narratives and surprising connections. Portraits of unidentified characters have emerged throughout Bitzer’s oeuvre—in some instances inspired by historical figures such as Berthold Brecht, Lotte Lenya, and Emily Dickinson, and in others from his own life. Within Bitzer’s work, however, they become dislodged from their origins and are presented anew, as kinds of apparitions or memories.
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Joan Mitchell Foundation Announces Recipients of 2018 Painters & Sculptors Grants I December 12, 2018
The Joan Mitchell Foundation today announced the 2018 recipients of its annual Painters & Sculptors Grants, which provide 25 artists with $25,000 each in unrestricted funds. The unrestricted nature of the grants aligns with artist Joan Mitchell’s recognition that having the time and freedom to create is as important to the development of one’s practice as support for specific endeavors. As such, the Foundation, whose mission was set forth in Mitchell’s will, remains committed to providing artists with the flexibility to determine how best to use the grants to advance their careers. In addition to the financial support, recipients of the Painters & Sculptors Grants become eligible to apply for residencies at the Joan Mitchell Center in New Orleans and gain access to a network of arts professionals, who can provide consultations on career development and financial management.
To be eligible for a grant, artists are nominated by artist peers and arts professionals selected from throughout the US, and are then chosen through an anonymous multi-phase jurying process. Over the last several years, the Foundation has increased its attention to equity and access in the selection process, expanding the pool of nominators and jurors to include more geographic, ethnic, and experiential diversity and to ensure that the nominees reflect a spectrum of backgrounds and approaches to their work. Among this year’s class of Painters & Sculptors grantees, more than 70% of the grantees identify as female and approximately 80% as non-white, with those identifying as Black, African, African-American, and Caribbean comprising 36% of that number and Hispanic, Latinx, and Chicanx individuals 20%. The artists also range in age from 28 to 59 and hail from 10 states across the US.
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Recent News From Our Clients, November 2018
Centurion, Print Winter Issue: “The Dialogues of Diversity,” by Brian Noone, examining the multi-disciplinary work of artist Koen Vanmechelen and his newest project LABIOMISTA
Artforum, November 28: “San Antonio Museum Of Art Receives Gift Of More Than 850 Photographs,“ announcing the gift to the Museum from Marie Brenner and Ernest Pomerantz and the upcoming exhibition of works drawn from the collection
Quartz, November 28: “An eye-opening exhibition shows how scientific breakthroughs shaped modern art,“ by Anne Quito, exploring the new exhibition Dimensionism: Modern Art in the Age of Einstein, organized by the Mead Art Museum, Amherst College, and on view now at the Berkeley Art Museum and Pacific Film Archive
ARTnews, November 27: “San Antonio Museum of Art Receives 850 Photographs from Marie Brenner and Ernest Pomerantz,“ by Alex Greenberger, announcing the gift and Capturing the Moment, the Museum’s upcoming exhibition drawn from the collection
Financial Times, November 24: “The Art Market: Results as clear as day,“ by Melanie Gerlis, including the announcement of the gift of more then 850 photographs to the San Antonio Museum of Art from collectors Marie Brenner and Ernest Pomerantz
ARTnews, November 20: “Jennifer Bartlett Is Now Represented by Marianne Boesky and Paula Cooper Galleries,” by Alex Greenberger, announcing the two galleries’ co-representation of the acclaimed artist.
New York Times, November 14: “What to See in New York Art Galleries This Week,“ by Will Heinrich, featuring exhibitions by John Houck and Svenja Deininger at Marianne Boesky Gallery
Chicago Tribune, November 14: “Contemporary art by people of color will explore beauty and inequality at Driehaus Museum,“ by KT Hawbaker, announcing the Museum’s contemporary art program, titled “A Tale of Today,” and launching in March 2019
The Magazine Antiques, November 14: “Contemporary art confronts the Gilded Age at the Driehaus,“ by Cillian Finnerty, on the Richard H. Driehaus Museum’s new contemporary art program, which begins in March 2019 with an exhibition of works by Yinka Shonibare MBE
Atlas Obscura, November 13: “A Madcap Project Aims to Rejuvenate a Former Mining Town in Belgium,“ by Amandas Ong, on a visit to LABIOMISTA, the new studio and site being developed by artist Koen Vanmechelen and opening in June 2019
Inside Philanthropy, November 7: “Inside the Joan Mitchell Foundation: How a Visual Arts Funder Is Evolving,“ by Mike Scutari, in conversation with Christa Blatchford, CEO of the Joan Mitchell Foundation
artnet news, November 5: “Editors’ Picks: 17 Things Not to Miss in New York’s Art World This Week,“ by Sarah Cascone, including the new exhibition Idelle Weber: Postures and Profiles from the ’50s and ’60s, at Hollis Taggart through December 15, 2018
Artforum, November 2: “AAMD Announces Partner Museums in Internship Program for Underrepresented College Students,“ about the Association’s new paid internship program and the 10 museums selected to host interns
The Calvert Journal, November 2: “Punk Orientalism: these artists are confronting the legacy of Soviet imperialism,“ by Katie Davies, on the upcoming exhibition at the MacKenzie Art Gallery
The Boston Globe, November 2: “The Ticket: What’s happening in the local art world,“ including Rotherwas Project #4: Yinka Shonibare MBE, The American Library Collection (Activists) now open at the Mead Art Museum, Amherst College
Artforum, November 1: “Joan Mitchell Foundation Releases Workbook To Support Artists With Estate Planning,“ on the Foundation’s release of Estate Planning for Visual Artists: A Workbook for Attorneys & Executors, part of the Foundation’s Creating a Living Legacy (CALL) initiative
Town & Country, November 2018: “The T&C 50: The Most Influential Families in Media, Art, and Culture Around the World,“ including artists Nikolai and Simon Haas, represented by Marianne Boesky Gallery
The Art Newspaper, November 2018: “Long-running Sol LeWitt show adds another decade,“ by Victoria Stapley-Brown and Helen Stoilas, on the extension of MASS MoCA’s career-spanning LeWitt installation until 2043
The Art Newspaper, November 2018: “When the avant-garde met E=mc2,“ by Hannah McGivern, on the exhibition Dimensionism: Modern Art in the Age of Einstein, organized by the Mead Art Museum and opening November 7, 2018 at the Berkeley Art Museum & Pacific Film Archive
The Art Newspaper, November 2018: “In The Trade,” announcing that Hollis Taggart will now represent artist Idelle Weber; the gallery has an exhibition of her work opening on November 8, 2018
Apollo, November 2018: “Letter: The Scene is Reminiscent of Jurassic Park,“ by Digby Warde-Aldam, on his visit to Genk, Belgium, to preview artist Koen Vanmechelen’s new studio and site, LABIOMISTA
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San Antonio Museum of Art Receives Gift of More Than 850 Photographs I November 27, 2018
The San Antonio Museum of Art has been given more than 850 photographs by collectors Marie Brenner and Ernest Pomerantz. The works, which begin in the 1920s and run into the 1990s, track transformative events such as The Great Depression, World War II, and the Civil Rights Movement, as well as scenes of urban and rural life, such as the marqueed chaos of Times Square or the gnarled trees of the Sierra Mountains. To celebrate this gift, the Museum—which has been steadily growing its photography collection over the last three years—will present the exhibition Capturing the Moment: Photographs from the Marie Brenner and Ernest Pomerantz Collection, opening February 22 and running through May 12, 2019.
Among the artists whose work is included in the gift and the exhibition are Dmitri Baltermants, Ilse Bing, Paul Caponigro, Henri Cartier-Bresson, W.E. Dassonville, Mike Disfarmer, Leonard Freed, Danny Lyon, Joel Meyerowitz, Arthur Rothstein, Stephen Shore, and Louis Clyde Stoumen. The work of many of these photographers was informed by changes in camera technology, such as the introduction in 1924 of the lightweight Leica 35mm camera. These very portable cameras made it possible for photographers to enter any landscape and document events—capturing what the photographer Henri Cartier-Bresson termed the “decisive moment,” that split second that reveals a subject’s larger truth.
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Marianne Boesky Now Represents Jennifer Bartlett, in Partnership with Paula Cooper I November 21, 2018
Marianne Boesky Gallery is pleased to announce representation of acclaimed artist Jennifer Bartlett, in partnership with Paula Cooper Gallery. To mark the new collaboration, the two galleries will present mixed-media installations by Bartlett at Art Basel Miami Beach in December, with Marianne Boesky showing Boats (1987) and Paula Cooper featuring Beaver: Man Carrying Thing (1989). In both works, Bartlett unites her monumental paintings with steel sculptural forms, extending the imagery held within the two-dimensional space into the third dimension and, in doing so, inviting the viewer to step into and become part of the scene. A solo exhibition of Bartlett’s work is also slated for Marianne Boesky’s primary location in Chelsea at 509 W. 24th Street in fall 2019.
Of Jennifer’s work and career, Marianne Boesky said, “I admire Jennifer’s ambition and her courage to constantly challenge herself and her audience through painting. She began her career as a rare female minimalist painter during the 1970s and has maintained an ever-evolving practice. Her most recent works continue to showcase her unbound curiosity and ability as a painter—something that is markedly difficult to find. Her work deserves much greater visibility.”
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Hollis Taggart Announces Andy Warhol and Jeffrey Becton Exhibitions for High Line Location I November 2, 2018
Tomorrow, November 3, Hollis Taggart will open Warhol’s Social Media at its High Line Nine location at 507 W. 27th Street, featuring more than thirty original photographs produced by Andy Warhol in the 1970s and ‘80s. The photographs, which capture celebrities as diverse as Dolly Parton, Jean-Michel Basquiat, and Truman Capote, encapsulate Warhol’s fascination with both notoriety and anonymity, and highlight his fervent commitment to documentation and artistic experimentation. This presentation of historic photographs will be followed by an exhibition of works by Jeffrey C. Becton, a pioneer in digital photography. Opening on November 28, the exhibition, Looking Out, Looking In: Jeffrey Becton, will showcase the artist’s digital photomontages, which he creates by fusing elements of photography, painting, drawing, and other techniques. Experienced in succession, the upcoming exhibitions at Hollis Taggart provide a dynamic trajectory of approach and innovation within photography and underscore the genre’s capacity to portray both reality and fiction.
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Joan Mitchell Foundation Releases Estate Planning Workbook for Artists and Attorneys I November 1, 2018
The Joan Mitchell Foundation announced today the release of a new workbook, titled Estate Planning for Visual Artists: A Workbook for Attorneys & Executors. Developed in partnership with the Arts & Business Council of Greater Boston (A&BC), the workbook includes in-depth sections on legal matters pertaining to intellectual property and copyright as well as estate vehicles, such as wills, trusts, and artist-endowed foundations, among others. The legal details are complemented by perspectives from a diverse group of arts professionals, who offer further information and context on the constellation of entities and relationships that play a role in the legacy-planning process. The workbook is part of the Foundation’s Creating a Living Legacy (CALL) initiative, which provides resources and tools for artists in the areas of studio organization, documentation, and the inventorying of artworks.
The creation of Estate Planning for Visual Artists: A Workbook for Attorneys & Executors marks the second collaboration between the Foundation and A&BC. In 2014, the two organizations partnered to produce and release the Estate Planning Workbook for Visual Artists, which provides guidance to artists on artwork documentation, intellectual property, and the basic components of estate planning. The new workbook builds on the original advice—intended primarily for artists—by focusing in particular on the needs of estate planning attorneys and others working with artists on their legacies. With this resource, the Foundation aims to expand the pool of attorneys with knowledge and experience in this area, as well as to provide insights and increase understanding of this important work in the arts field. Both workbooks are available free-of-charge on the Foundation’s website, along with a Career Documentation Guide and other resources for visual artists.
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Recent News From Our Clients, October 2018
The Art Newspaper, October 31: “US museums are too white, and this paid internship programme hopes to change that,“ by Gabriella Angeleti, announcing the 10 museums participating in the new program from the Association of Art Museum Directors
Introspective Magazine, October 28: “Before Art Deco Hit Miami Beach, Streamline Moderne Had Taken Over Chicago,“ by Ted Loos, on the new exhibition Modern by Design: Chicago Streamlines America, at the Chicago History Museum
Artforum, October 26: “Massachusetts Foundations Team Up To Launch $25 Million Arts Initiative,“ announcing the Barr-Klarman Arts Capacity Building Initiative, which includes a $600,000 grant to the Worcester Art Museum
ARTnews, October 25: “Worcester Art Museum Receives $600,000 Grant from Barr and the Klarman Family Foundation,“ by Andrew Russeth, and also including news of the Museum’s grant of nearly $250,000 from the Institute of Museum and Library Services (IMLS)
ArtAsiaPacific, October 22: “AAP Monthly Picks: October–November 2018,“ including Punk Orientalism, opening November 10, 2018 at MacKenzie Art Gallery
Hyperallergic, October 18: “Art Movements,“ by Jasmine Weber, including the news that artist Idelle Weber will now be represented by Hollis Taggart, which will feature her in an upcoming exhibition
Wallpaper*, October 14: “Edward Burtynsky surveys the devastating scale of man’s footprint on the planet,“ by Tom Seymour, including new images, film, and Augmented Reality works, part of the Anthropocene exhibition, on view now at the Art Gallery of Ontario and the National Gallery of Canada
Elephant, October 8: “Unpicking the Dominant Narratives of Sex with Veronica Brovall,“ by Alice Bucknell, including mention of Brovall’s exhibition this summer at Sophia Contemporary Gallery, London
artnet news, October 5: “Joan Mitchell Is Having More Than a Moment. Here’s How the Artist’s Foundation Has Championed Her Market and Legacy,“ by Sarah Cascone, on the mission and recent activities of the Joan Mitchell Foundation
Wallpaper*, October 2018: “Wonder lab,“ by Giovanna Dunmall, exploring artist Koen Vanmechelen’s 60-acre LABIOMISTA project and its new, Mario Botta-designed studio building
Fine Art Connoisseur, September/October 2018: including Dalí: Poetics of the Small, the first exhibition to explore the artist’s small-scale paintings, on view at the Meadows Museum through December 9, 2018
Apollo, October 2018: “Q&A: Edward Burtynsky on the future of the planet,“ an interview with the artist by Fatema Ahmed, tied to the exhibition Anthropocene, on view now at the Art Gallery of Ontario and National Gallery of Canada
Departures, Fall 2018: “Persian Promise With a centuries-old artistic heritage, a flourishing diaspora and undeniable international momentum, contemporary Iranian art is on a trajectory like no other,“ by Brian Noone, including Sophia Contemporary Gallery, which showed a number of Iranian artists
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Ten Museum Internship Partners Selected by AAMD I October 31, 2018
The Association of Art Museum Directors (AAMD) today announced the selection of its 10 art museum partners for its internship program focused on undergraduate students from underrepresented backgrounds. These 10 museums, all AAMD members, were chosen from a group of more than 50 applications submitted throughout the summer. Partner museums for this pilot year of the program were chosen based on several factors, including: the proposed project focus for the participating intern; geographic diversity, representing a range of communities across the United States; and type of institution, including those with an encyclopedic collection, and those with a focus on modern and contemporary art. This initiative is supported by a generous grant from the National Endowment for the Arts, as well as additional financial and logistical support from AAMD and the participating member museums.
The 10 participating institutions are: Albright-Knox Art Gallery, Buffalo, NY; Anchorage Museum, Anchorage, AK; Chazen Museum of Art, University of Wisconsin-Madison, Madison, WI; McNay Art Museum, San Antonio, TX; Mississippi Museum of Art, Jackson, MS; Missoula Art Museum, Missoula, MT; Montclair Art Museum, Montclair, NJ; Portland Art Museum, Portland, OR; San Jose Museum of Art, San Jose, CA; and The Nasher Museum of Art at Duke University, Durham, NC.
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Exhibition at Department of Education Puts Spotlights Art Museums & Schools I October 30, 2018
Beginning November 5, 2018, the Association of Art Museum Directors (AAMD) will present an exhibition of works by children from across the country, produced as a part of their participation in art education programs organized collaboratively by art museums and their local schools or youth programs. More than 10 AAMD member museums participated in the program, which is supported by the Department of Education; this the fourth such exhibition organized by the Association to be presented at the Department’s headquarters in Washington, D.C. The exhibition will run through January 2, 2019. To see the list of participating institutions, please download the press release.
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$600,000 Grant to Worcester Art Museum, Part of the Barr-Klarman Initiative I October 25, 2018
The Worcester Art Museum announced today that it was selected to participate in the Barr-Klarman Massachusetts Arts Initiative. A partnership between two Boston-based foundations - Barr and The Klarman Family Foundation – the initiative is a $25 million, six-year investment in 29 arts and cultural organizations from across Massachusetts. Participating organizations receive flexible, multi-year operating support grants, in addition to training and technical assistance from TDC, a nonprofit consulting and research firm. Worcester Art Museum’s engagement in the initiative begins with two grants totaling $600,000 from Barr and the Klarman Family Foundation over three years.
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Two New Exhibitions Explore Artists’ Relationship to Structures of Power I October 17, 2018
This fall, the MacKenzie Art Gallery will present two new exhibitions that show different approaches to artists confronting the power of the state, and the ways in which those states can determine people’s perceptions about the world around them. The October premiere of a new work by Garry Neill Kennedy focuses on the artist’s large-scale text paintings addressing the extra-judicial detention of Canadian Omar Khadr, drawing on the phrase “ya ummi, ya ummi,” Arabic for “oh mother, oh mother,” which Khadr repeated during his interrogation. In November, the MacKenzie will present Punk Orientalism, the first show to explore in depth the nonconformist contemporary art and artists of Central Asia, Caucasus, Iran and the Middle East, featuring more than 27 works from the late 1970s through today. Ya Ummi, Ya Ummi … opens October 20, 2018, and Punk Orientalism will open November 10, 2018.
“These two exhibitions embrace an essential part of our mission as an art museum, providing a place to examine and discuss challenging social issues through art, whether those are rooted in Canada or much further afield,” said Anthony Kiendl, the museum’s Executive Director and CEO. “Both the Ya Ummi, Ya Ummi … and Punk Orientalism exhibitions address issues around colonization and imperialism. Garry Neill Kennedy’s moving paintings speak to this in a very Canadian context, while the many artists in Punk Orientalism bring to bear a set of experiences that are both foreign and yet also instantly relatable, drawing on the experiences of Indigenous people and colonization across the globe. We are grateful to guest curator Sara Raza for her collaboration with us on Punk Orientalism, and to Garry for working with us to premiere these new pieces.”
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Hollis Taggart to Represent Pop Artist Idelle Weber & Open Exhibition of Her Work in Nov. I October 16, 2018
Hollis Taggart announced today that the gallery will begin formally representing Idelle Weber, a major figure in the Pop Art movement, but one whose work deserves greater recognition. The gallery has had a multi-year relationship with Weber, beginning with its 2013 exhibition Idelle Weber: The Pop Years. Organized by the gallery, that 2013 show helped bring Weber back into the forefront of contemporary thinking about mid-century women artists—and led to the acquisition of major Weber works, including the painting Munchkins I, II, & III (1964) by the Chrysler Museum of Art in 2013, and the Jump Rope (1967–1968) wall sculpture, by the Los Angeles County Museum of Art (LACMA) in 2016.
In conjunction with this new relationship, Hollis Taggart will present an exhibition of Weber’s work this fall, the gallery’s third show in its new, street-level space on West 26th Street. Opening November 8, 2018, the exhibition will focus on Weber’s work from the 1960s, with a few earlier and later works as well. The exhibition, titled Idelle Weber: Postures and Profiles from the 50s and 60s, will feature more than 30 works, including Lucite cube sculptures, collages, and gouache and tempera on paper works. These works address some of the themes that occupied and inspired Weber throughout her career, including the corporate world, fashion, politics, and women in society.
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Terra Foundation Announces Roster of Scholarly Symposia as Part of Art Design Chicago I October 4, 2018
The Terra Foundation for American Art released today a roster of scholarly symposia being organized as part of its year-long Art Design Chicago initiative. Taking place throughout the fall, from October through December 2018, these events bring together esteemed scholars from Chicago, across the U.S., and Europe, who will offer new research, insights, and perspectives and foster ongoing dialogues on a diverse range of subjects. Among the symposia topics are the significance of the South Side neighborhood to Chicago’s cultural fabric and the development of Black visual and material culture nationally; the role of African American designers in social and political movements and changes; a place-based consideration of outsider art in Chicago and other centers internationally, both within the art historical canon and commercial market; and the importance of feminist artist-run activities in Chicago from the late 19th century to the present. Many of the events are free and open to the public, encouraging active engagement among academics, arts professionals, students, and the general public alike.
Spearheaded by the Terra Foundation, Art Design Chicago, which first launched in January 2018, features more than 30 exhibitions, a vast array of public and academic programs, a television series, and publications, developed by more than 75 cultural partners, in and outside of Chicago. Envisioned as an opportunity to reassess and explore deeply the breadth of Chicago’s art and design legacy, the initiative has brought to the fore little-known narratives of artists, designers, and creative thinkers who have shaped Chicago’s cultural landscape and influenced innovations across the U.S. and abroad. The scholarly symposia further encapsulate a primary goal for the initiative: to spur new research that provides a foundation for future projects beyond 2018’s slate of activities, and to contribute to American art scholarship by building understanding of Chicago’s role as a major metropolitan art center.
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Marianne Boesky Gallery to Open Solo Exhibition of Works by John Houck in October I October 2, 2018
Marianne Boesky Gallery is pleased to present Holding Environment, an exhibition of new work by Los Angeles-based artist John Houck that highlights the artist’s deepening engagement with the expressive effects and conceptual possibilities of painterly gesture within his photography practice. Inspired by Houck’s temporary relocation to Portland, OR, in 2018, and his time spent living near family there for the first time since his formative years, the exhibition presents the artist’s explorations of memory, identity, and relational psychology. The exhibition will be on view from October 25 through December 22, 2018 at the gallery’s 507 W. 24th Street location. Holding Environment is the artist’s first presentation with the gallery in New York, following a solo exhibition at Boesky West in Aspen, CO, in summer 2017.
Houck’s practice is distinguished by a deconstruction of accepted formal and conceptual boundaries. His intricate compositions hold both the profusion of detail inherent to photography and the fluidity and playfulness of painterly gesture. In this way, his works portray neither reality nor constitute fiction, but rather live in a liminal space where the object and form are defined by experience and personal understanding—much in the way that our memories can distort truth. Houck achieves this sensation through a process of re-photographing, in which he captures an object along with its image—sometimes many times over—introducing a multitude of perspectives and confusing the contours of the original. The effect is further accentuated by Houck’s introduction of painting within the cycle, adding an interpretative and emotive layer to the feedback loop of his photographic process.
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Marianne Boesky Gallery to Open Solo Exhibition of Works by Svenja Deininger in October I October 2, 2018
Marianne Boesky Gallery is pleased to present Crescendo, Viennese artist Svenja Deininger’s third solo exhibition with the gallery. The exhibition will feature a new body of paintings that captures Deininger’s fluid manipulation of color and form, resulting in complex compositions that arise organically as she works the canvas. Driven by both formal inquiry and a deep understanding of physical environment, Deininger will create a holistic experience. Crescendo will be on view at the gallery’s 509 W. 24th Street location from October 25 through December 22, 2018.
Deininger approaches each exhibition as a distinct moment in time, following a single conceptual thread or inkling until it completes in a discrete body of work. In this way, Deininger is much like a composer, weaving together gesture, color, and line to create an intricacy of texture and rhythm, with each painting bringing a singular note and weight to the overall experience. Suspended between abstraction and figuration, her canvases evoke a range of seemingly intangible sensations—a fleeting dream, a spark of memory, the indiscernible outlines of a place, or an emotion lost but newly felt. These evocations are most recently influenced by her time spent painting in Milan, where she began this latest body of work, and Vienna, where she completed it. While devoid of any overt reference or symbol, the atmospheric and structural contours of her home and briefly adopted city have inspired both palette and silhouette within these new paintings.
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Recent News From Our Clients, September 2018
The New York Times, September 28: “Is This the End of Governors Island?,“ by Helene Stapinski, on the impact of rezoning of Governors Island on arts organizations that use the Island, like the annual Governors Island Art Fair
Hyperallergic, September 28: “14 Arts Organizations Protest Governors Island Rezoning,“ Jasmine Weber, on the potential impact on arts organizations of plans to rezone the Island
ARTnews, September 13: “Hollis Taggart Opens Third Space in Chelsea Gallery District,“ by Claire Selvin, on the gallery’s new space in the High Line Nine
The Art Newspaper, September 7: "New York's Chelsea galleries hope new storefronts will bring new business," by Margaret Carrigan and Gabriella Angeleti, including Hollis Taggart's move to a new, street-level space at 521 West 26th Street in Chelsea
Gothamist, September 7: "Old Governors Island Houses Now Filled With Strange Creations For 11th Annual Art Fair," by Scott Lynch, with a photo essay on the 2018 Governors Island Art Fair, open weekends through September 30, 2018
artnet news, September 3: "Editors’ Picks: 17 Things Not to Miss in New York’s Art World This Week," by Sarah Cascone, including the exhibition Dashiell Manley: Sometimes We Circle the Sun, opening Thursday September 6 at Marianne Boesky Gallery
Zeal NYC, September 3: "Art Break: Governors Island Hosts an Art Fair and New Exhibits Kick Off the Season at Galleries Around Town," by A.E. Colas, including the 2018 edition of Governors Island Art Fair, open to the public for free, weekends from September 1 - 30, 2018
The Art Newspaper, September 2018: "Chicago resurrects its master craftsman," by Nancy Kenney, about a renewed focused on architect and designer Edgar Miller, including a series of programs sponsored by the Terra Foundation for American Art, part of the year-long Art Design Chicago initiative
American Way, September 2018: “Surrealism is Smaller in Texas,“ by Izabella Felpeto, on the exhibition Dalí: Poetics of the Small, open at the Meadows Museum, Dallas, through December 9, 2018
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MASS MoCA Announces Expansive Exhibition of Work by Artist Trenton Doyle Hancock I September 28, 2018
For more than two decades, artist Trenton Doyle Hancock has been portraying the tragic saga of the Mounds, mythical creatures whose peaceful existence is under constant threat. His paintings, drawings, mixed-media works, and staged performances explore the weaving plots and narratives of the Mounds as they struggle to survive in a world that seeks their imminent demise. On March 9, 2019, Hancock will invite visitors into the layered and complex universe of Mounds in an immersive and sweeping exhibition presented at MASS MoCA. Occupying the whole of Building 5—which runs the length of a football field—the exhibition, Mind of the Mound: Critical Mass, will feature a series of large-scale, interactive Mound sculptures, envisioned by Hancock and produced onsite in MASS MoCA’s fabrication studios, alongside new and recent paintings and drawings. The exhibition will also feature pages from the 300-page graphic novel that Hancock is currently creating, as well as objects from the artist’s personal collections. Mind of the Mound, which will be further activated by a series of performance once open, marks Hancock’s most ambitious and largest solo project to-date.
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Joan Mitchell Foundation to Release Book & Open Show on Impact of Support for Artists I September 27, 2018
Over the last 25 years, the Joan Mitchell Foundation has awarded grants to more than 1,000 artists, totaling over $15 million in direct, unrestricted funding. Hundreds more artists have been supported through $8 million in grants given to arts organizations nationwide, as well as through the Foundation’s education programming, free online resources, and residency opportunities at the Joan Mitchell Center in New Orleans. To celebrate the work and achievements of its artist community and to examine the impact of its initiatives, the Foundation will release a book and open a companion exhibition, both titled Widening Circles: Portraits from the Joan Mitchell Foundation Artist Community at 25 Years, this December. Featuring anecdotes and testimonials by 25 artists, the book captures the real-life experiences of working artists and shares their perspectives on the importance of ongoing support for art and artists. Developed over the course of 2018, each impact statement is accompanied by a large-scale, color portrait of the artist, captured by photographer Reginald Eldridge, Jr., who traveled from Alaska to New York and many places in between to engage with the featured artists in their studios and hometowns.
The exhibition, presented at the Joan Mitchell Foundation’s headquarters at 137 W. 25th Street, will feature all 25 of Eldridge’s portraits. A gallery guide that includes the artists’ impact statements will be available as part of the exhibition experience. Together, the exhibition and book shed light on the diversity of Joan Mitchell Foundation’s community, with artists ranging widely in age, background, and location, as well as in the breadth of their creative practices and personal and professional experiences. At the same time, their voices make tangible the realities and business of being an artist. They underscore the importance of financial stability to artistic innovation and the need for and nature of meaningful funding.
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Artist Koen Vanmechelen to Open 60-Acre Redevelopment in Belgium in May I September 25, 2018
Internationally renowned conceptual artist Koen Vanmechelen is breathing new life into the city of Genk, Belgium—once a major mining center—with a 60-acre redevelopment project. Called LABIOMISTA—which means “the mix of life”—the project will feature an entrance and orientation building designed by acclaimed Swiss architect Mario Botta; a Research & Study Forum, located in a newly redesigned 1920s villa; the Cosmopolitan Culture Park, a sustainably redeveloped grassland that will serve as home to a wide range of animals and invite the public to engage with the environment and its inhabitants; and the artist’s 53,000-square-foot private studio, also designed by Botta. Each of the project’s components is inspired by Vanmechelen’s wide-ranging practice, which is guided by an artistic and scientific engagement with biocultural diversity and its impact on the creation of more resilient and sustainable communities. This fall marks a midway point to the project’s completion, which is slated to open in May 2019.
LABIOMISTA brings together, at one site, the different threads that comprise Vanmechelen’s work, while also creating a new platform for dialogue and innovation. His practice is best encapsulated in such “living art” initiatives as the Cosmopolitan Chicken Project (CCP). Launched 20 years ago, the CCP is a crossbreeding program through which the artist naturally breeds chickens from different countries, diversifying the flock’s gene pool and in doing so increasing its fertility, immunology, and aesthetic variety. The project has become a driving force for Vanmechelen, spurring similar projects around the world—most recently in Ethiopia—as well as collaborations with scientists and leaders from a spectrum of fields to examine the importance of diversity to building resilience, shifting outlooks on the environment, the relationships between nature and culture, and community development.
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Hollis Taggart Opens Third Space in Chelsea at High Line Nine I Wednesday, September 12, 2018
Hollis Taggart announced today that it will open a third space in Chelsea at the High Line Nine, an indoor promenade located below the High Line between W. 27th and W. 28th Streets. The new space will feature rotating installations of contemporary art, as an extension of the gallery’s continued expansion of its work with contemporary artists and collections. The gallery plans to occupy the approximately 500-square-foot space from September 13, 2018 through early December, at which time it will determine whether to make the location more permanent. This news follows Hollis Taggart’s move to a new street-level space at 521 W. 26th Street and the opening of a nearby private viewing and storage annex earlier this month. The High Line Nine space will operate Tuesday through Saturday, from 10:00 AM to 6:00 PM.
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Highlight: Chelsea at Hollis Taggart to Feature 13 Contemporary Artists I Monday, September 10, 2018
Hollis Taggart is pleased to present Highlight: Chelsea, an exhibition of new and recent work by thirteen emerging and mid-career artists that together underscore the formal and conceptual diversity of contemporary practice. Highlight: Chelsea is guest curated by Paul Efstathiou and marks the gallery’s second collaboration with the independent curator, as it expands its contemporary program. The exhibition will include new work by William Buchina, Elizabeth Cooper, Corydon Cowansage, André Hemer, Hiroya Kurata, John Knuth, Matt Mignanelli, Matt Phillips, Esther Ruiz, Eric Shaw, and Devin Troy Strother, as well as recent works by Marcel Dzama and Brenda Goodman. Highlight: Chelsea emphasizes the featured artists’ distinct styles and approaches, while also creating dynamic aesthetic juxtapositions and parallels between them. Highlight: Chelsea will be on view from October 6 through 27, 2018.
“For me, Highlight: Chelsea is about creating a visually rich and compelling experience for visitors that translates into genuine interest in each artist’s individual practice. The initial impact of an exhibition—that instant feeling of awe—is essential to overcoming the uncertainty that someone might feel in the gallery environment or with contemporary art, generally, and instead inspiring inquisitiveness and connection with an artist or particular work,” said Efstathiou.
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Worcester Art Museum Exhibition Focuses on Artistry of Illustrated Manuscripts I Monday, September 10, 2018
This fall, the Worcester Art Museum (WAM) will examine an important period of art making in the Islamic societies of Iran and India, drawing on forty key works from WAM’s collection. Preserved Pages: Book as Art in Persia and India, 1300-1800, organized by guest curators Hannah Hyden and David J. Roxburgh, will explore the ways in which the linkage between art and literature nurtured artistic developments across the region. The exhibition tracks the innovations in style and media created by artists—including painting, drawing, and illumination—that was spurred by a growing interest in collecting single pages and assembling them into albums. Preserved Pages will be on view October 13, 2018 through January 6, 2019.
Organized around a series of themes, the exhibition examines the range of contexts in which illustrated manuscripts were used—from epic works of poetry to capturing major moments in history—as well as how individual artworks were assembled into bound albums, and the emergence of certain styles, subject matters, and norms, such as including the name or signature of the artist. The first half of the exhibition will present famous literary works represented by folios from manuscripts, while the second half will focus on the album format and its artistic developments, all drawn from the Worcester Art Museum’s collection.
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Mead Art Museum Announces Three Fall Exhibitions I Thursday, September 6, 2018
On September 13, the Mead Art Museum at Amherst College will open three new exhibitions highlighting its growing collection, and the ways in which the Museum presents thematic exhibitions relevant to the lives of current Amherst students, faculty, and staff. Timing Is Everything is an exploration of artists’ visualizations of concepts of time, from 17th Century European decorative arts to contemporary works such as Lorna Simpson’s Partitions and Time (1997). Abstraction: New Acquisitions at the Mead includes eight works on paper by the artist Leon Polk Smith between 1944 and 1969 and recently acquired by the Museum. Finally, the second installation of Fragmented Identities: The Gendered Roles of Women in Art Through the Ages features 31 artworks examining the ways in which women have been depicted or have represented themselves across different media, centuries, and the globe. To celebrate the three exhibitions, the Museum will host an opening reception on September 13 from 5-7 p.m., which is free and open to the public.
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Recent News From Our Clients, August 2018
artnet news, August 31: "9 Artists to Watch at the Governors Island Art Fair," by Sarah Cascone, reviewing the 2018 edition of Governors Island Art Fair, which is open to the public, for free, on weekends from September 1 - 30, 2018
Artforum, August 31: "Canada's MacKenzie Art Gallery Receives Anonymous $25 Million Donation," on the museum's major endowment gift, as well as the additional gift to support acquisitions and programs from local philanthropist Lyn Goldman
Apollo, August 31: "Art news daily," including news of the $25 million endowment gift to the MacKenzie Art Gallery
The Art Newspaper, August 30: "Escape New York's concrete jungle for the Governors Island Art Fair," by Gabriella Angeleti, reviewing the 2018 Governors Island Art Fair
El Universal, August 30: "Obras de arte invaden edificios abandonados," on the upcoming 2018 edition of the Governors Island Art Fair
ARTnews, August 30: "MacKenzie Art Gallery Receives Anonymous Gift of $25 Million," by Annie Armstrong, announcing a major gift to the museum to support its expanding operations and program plans
Hyperallergic, August 30: "Immerse Yourself in the Ghoulish Art on Governors Island," by Zachary Small, previewing the 2018 edition of the Governors Island Art Fair, open weekends September 1 - 30
Untapped Cities, August 28: "8 Unique Ways to Celebrate Labor Day Weekend 2018," including the 11th edition of the Governors Island Art Fair, opening Saturday, September 1
Artforum, August 21: "John G. Hampton Joins Canada’s MacKenzie Art Gallery As Director Of Programs"
ARTnews, August 20: "MacKenzie Art Gallery Hires John Hampton as First-Ever Director of Programs," by Claire Selvin, announcing the museum's newly created position
ARTnews, August 16: "The Worcester Art Museum Appoints Marnie Weir as Director of Education and Experience," by Claire Selvin
The Art Newspaper, August 10: "Heading home: early Rubens masterpiece returns to the artist's Antwerp studio for the first time," by Victoria Stapley-Brown, reporting on the Art Gallery of Ontario's loan of Peter Paul Rubens’s painting "The Massacre of the Innocents" (c. 1610) to the Rubenshuis museum
Culture Type, August 7: "Yinka Shonibare Wrapped More than 200 Books in ‘African’ Textiles, His ‘American Library’ is Designed to Start a Conversation About Immigration," by Victoria L. Valentine on the Mead Art Museum's acquisition of Shonibare's work The American Library Collection (Activists) and the debate being planned for October 30, 2018 as part of the installation of the work
The Telegraph, August 3: "The Director's Guide: MASS MoCA, Massachusetts," by John O'Ceallaigh, interviewing director Joe Thompson for an "insider's guide" to visiting MASS MoCA
Hyperallergic, August 2: News round-up by Deena ElGenaidi, including the Mead Art Museum's acquisition of Yinka Shonibare's work The American Library Collection (Activists)
Apollo, August 2: "Celebrating the diversity of Chicago's cultural landscape," by Louise Nicholson, exploring the spirit and scope of the Art Design Chicago initiative, spearheaded by the Terra Foundation for American Art and ongoing through December 2018.
The Clyde Fitch Report, August 1: "Spanish Masterpieces Bridge Cultures at the San Antonio Museum of Art," by Carol Strickland, reviewing the exhibition "Spain: 500 Years of Spanish Painting from the Museums of Madrid," on view at the Museum through September 16, 2018
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$25 Million Endowment Gift Supports Expanding Programs at MacKenzie Art Gallery I Thursday, August 30, 2018
The MacKenzie Art Gallery today announced two major gifts to the art museum. The first, a $25 million (CAD) gift from an anonymous donor, is the largest such donation in the Gallery’s history. By creating a new endowment for the Gallery, this gift will annually provide, on average, 25% of the Gallery’s current annual operating budget. A second, six-figure gift, from local collector and philanthropist Lyn Goldman, will be split between the MacKenzie’s acquisitions fund and its ongoing programming and organizational needs. Part of an effort to transform the MacKenzie ahead of its 70th anniversary, these two gifts will support the museum’s capacity to develop and present creative exhibitions and programs, and to better engage 21st century audiences.
The anonymous $25 million (CAD) donation has been endowed through the South Saskatchewan Community Foundation (SSCF), which will manage the funds and disburse the earned income to the MacKenzie Art Gallery annually. The donor, while wishing to remain anonymous, is committed to ensuring future growth opportunities for the Gallery. Recognizing that raising funds for operating endowments is often an institution’s most difficult challenge, this gift helps to address the museum’s core needs.
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MacKenzie Art Gallery Announces New Position, Hires John G. Hampton I Monday, August 20, 2018
The MacKenzie Art Gallery today announced the appointment of John G. Hampton to the newly created position of Director of Programs. This new position will oversee all of the Gallery’s curatorial and education initiatives and will be instrumental in the ongoing transformation of the Gallery’s exhibitions and programs, creating more dynamic experiences for visitors. Hampton will be joining the gallery on October 1, 2018.
The new Director of Programs will provide the oversight and expertise necessary to lead the Gallery’s curatorial and education departments, as well as strengthening the various complementary practices that engage visitors in an immersive experience. The MacKenzie recognizes and embraces the idea that visual art and culture constitute an immense breadth of perspectives, modes of communication, and experiences. Museums play a vital role in preserving, creating, translating, interpreting and disseminating culture—and when these equally important practices are in conversation, they can exponentially add meaning to our lives.
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Worcester Art Museum Hires Marnie Weir as Director of Education & Experience I Wednesday, August 15, 2018
The Worcester Art Museum (WAM) today announced that Marnie P. Weir has been appointed the Museum’s Director of Education and Experience. Ms. Weir comes to WAM from New York City, where she most recently held the position of Director of Public Education & Visitor Services at The Cathedral Church of St. John the Divine. Ms. Weir will begin work at the Museum on October 22nd. She replaces Marcia Lagerwey, PhD, who is moving into a part-time role after more than 30 years in Education and Audience Engagement at WAM.
In her role as Director of Education and Experience, Ms. Weir will oversee the Education and Experience Division, which encompasses the full scope of educational and public programs for all audiences, as well as classes for adults, youth, and teens, and includes both administrative staff, 47 part-time studio art faculty, and 60 volunteer docents. In addition, she will work closely with the curatorial and exhibition teams on strategy, planning, and interpretation; lead the museum-wide Audience Experience Work Group, which makes sure all activities are connected with a positive guest experience; serve as a key community liaison for the Museum; and implement and maintain an ongoing system of quantitative and qualitative evaluation and documentation of education programs, interpretation, and events.
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Marianne Boesky Gallery Announces September Exhibition Program I Tuesday, August 14, 2018
Anthony Pearson, Opening September 6 I Download Press Release
Marianne Boesky is pleased to present artist Anthony Pearson’s fourth solo exhibition with the gallery, which will feature a selection of new wall works from his Embedment series and highlight his ongoing exploration and mastery of the compositional and textural possibilities of poured gypsum cement. Created through a methodical and physical engagement with the material, the resultant works occupy a liminal space between painting and sculpture. The exhibition will be on view from September 6 through October 20, 2018 at the gallery’s 507 W. 24th Street location.
The Embedment series marks a new shift in Pearson’s experimentation with hydrocal—a gypsum cement that he infuses with pigments—which he first began using in 2011. For this series, he stretches a segment of fabric within a mold and then pours the liquid cement, which he has variously colored, atop the fabric, layering, shifting, and allowing it to coalesce organically within the confines of the supports. Once the material sets, Pearson removes the hardened cement from the frame and pulls the canvas from its face, which leaves intricate patterned impressions and traces of fiber filament on the surface plane. In this way the skin and body of the work are created concurrently, as the fields of color weave together into abstract landscapes, where suggestions of sunsets and desert views dissipate as quickly as they emerge. Made in reverse, with the front of the work facing downward in the frame, the process embodies Pearson’s deep knowledge of the material, integrating his original vision for each work with the naturally arising effects.
Dashiell Manley, Opening September 6 I Download Press Release
Marianne Boesky Gallery is pleased to present sometimes we circle the sun, Los Angeles-based artist Dashiell Manley’s second solo exhibition with the gallery. Featuring a selection of new large-scale oil paintings, the exhibition sees Manley transition from his direct engagement with breaking news cycles, into more personal meditations, exploring his own experiences within today’s global happenings. With this shift, Manley also delves more deeply into the formal relationships and boundaries between material, mark, and picture plane, using the canvas as a space to physically shape his emotional and psychic responses. sometimes we circle the sun will be on view from September 6 through October 20, 2018 at the gallery’s 509 W. 24th Street location.
Manley’s practice has been characterized by focused, repetitive, and often times labor-intensive techniques and processes. From the New York Times series, in which he transcribed and abstracted the front pages of the newspaper, to his Various sources (quiet satires), for which he reproduced, altered, and collaged political and topical cartoons, Manley’s early work emphasized systems of production as means of understanding and exploring difficult subjects. With his Elegy series, which he began developing in 2016, Manley began to shift away from analytical manifestations to more emotional and psychological expressions on the canvas, allowing himself to open up his gestures and movements. With this new approach, he established a singular technique—sculpting the oil paint with a palette knife—that resulted in colorful, highly-textured, abstract canvases, that in instances encapsulated sharp cuts of paint and in others soft undulating effects.
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4Heads Announces 11th Edition of Governors Island Art Fair, Opening September 1 I Tuesday, August 14, 2018
On September 1, 4heads will open the Governors Island Art Fair (GIAF), featuring a diverse range of artists from across the U.S. and abroad. Installations, which span the spectrum of artistic genre and media, will be presented across eight of the historic homes on Colonels Row, with each artist installing in an individual room or connective space. Now in its 11th year, GIAF heralds the start of the fall visual arts season in New York, with a spirited atmosphere that encourages conversation between artists and visitors and challenges the established fair paradigm as one exclusively for art connoisseurs. GIAF will be open every Saturday and Sunday through September 30.
GIAF, which first launched in 2008, was among the first major art events to take place on Governors Island. As interest in the Island as a cultural destination has grown, in particular over the last several years, 4heads has remained steadfast in maintaining its presence, continuing to provide working artists with a place to show new and recent work and to build their network of support—both among peers and the public. Each year, GIAF presents the work of up to 100 artists, selected through an open call and jurying process. For the 2018 edition, as with previous iterations, each artist will be given a full room—free of charge—to create an immersive installation or micro-exhibition, allowing the artists more space to highlight their distinct approaches and techniques.
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Recent News From Our Clients, July 2018
Artforum, July 30: "Mead Art Museum Acquired Installation By Yinka Shonibare," on the Museum's new work, The American Library Collection (Activists), which will go on view beginning October 30, 2018
ARTnews, July 30: "Hollis Taggart Gallery Moves to First-Floor Location in Chelsea," by Claire Selvin, on the Gallery's move and its upcoming exhibition, New Space, New Acquisitions, opening September 6, 2018
ARTnews, July 30: "Mead Art Museum at Amherst College Acquires Work by Yinka Shonibare," by Claire Selvin, on the Museum's acquisition of the work The American Library Collection (Activists) (2018), which will be on view at the Mead beginning October 30, 2018
Hyperallergic, July 26: "Six de Koonings Found in a Storage Unit, and 355 Works Worth $480M Donated to Hong Kong Museum of Art; The Cleveland Museum of Art receives a $1.5 million gift for Chinese painting conservation, and the Worcester Art Museum acquires four new works," by Deena ElGenaidi, including news of the Worcester Art Museum's acquisition of works by Max Slevogt, Richard Müller, Bharti Kher and Stan Douglas.
The New Yorker, July 23: "Sue de Beer," by Johanna Fateman, on the artist's new film, The White Wolf, on view through August 3 at Marianne Boesky Gallery
Galerie Magazine, July 23: "The Essential Aspen Summer Art Guide 2018," by Paul Laster, including the exhibition of works by the Haas Brothers, Stonely Planet, on view at Boesky West through August 25, 2018
FAD Magazine, July 22: "The Top 8 Art Exhibitions to see in London this week," by Tabish Khan, including Veronica Brovall - Wear the Heat, at Sophia Contemporary Gallery, London, through July 28, 2018
Artforum, July 16: "Association of Art Museum Directors Aims to Diversify Museum Field with New Internship Program," on AAMD's new paid internship program in art museums from college students from underrepresented backgrounds
The New York Times, July 15: "A Canadian Museum Promotes Indigenous Art. But Don’t Call It ‘Indian.’," by Ted Loos, on the Art Gallery of Ontario and its new exhibitions and installations of Indigenous art, including a major retrospective of work by Rebecca Belmore and the renovation and reinstallation of the J.S. McLean Centre for Indigenous and Canadian Art
The New York Times, July 15: "San Antonio’s Summer Homage to Spain," by Shivani Vora, celebrating the city's tricentennial, including the new exhibition Spain: 500 years of Spanish Painting from the Museums of Madrid at the San Antonio Museum of Art
artnet news, July 12: "In an Effort to Diversify Museum Staffs, a New Program Offers Paid Internships at Museums Across the US," by Sarah Cascone, on the Association of Art Museum Directors' new internship initiative for college students from underrepresented backgrounds
Forbes, July 11: "Artist Sue De Beer Makes Poetic Film Art In The Guise Of A Werewolf Movie At Marianne Boesky," by Adam Lehrer, reviewing "The White Wolf," de Beer's new film, on view now at Marianne Boesky Gallery
The Brooklyn Rail, July 11: "In Conversation: SUE DE BEER with Jessica Holmes," on the artist's solo exhibition at Marianne Boesky Gallery through August 3, 2018
The Art Newspaper, July 11: "AAMD creates paid internships to make museum staff more diverse," by Gabriella Angeleti, on the launch of a new art museum internship program supported by AAMD for college students from underrepresented backgrounds
Wall Street Journal, July 5: "‘Spain: 500 Years of Spanish Painting From the Museums of Madrid’ Review: A Visual Heritage Tour," by Judith H. Dobrzynski, on the exhibition organized as part of the Museum's celebrations of San Antonio's tricentennial, on view through September 16, 2018
Mayfair Times, July 2018: "The Test of Time," by Reyhaan Day, including Sophia Contemporary Gallery, London in a discussion about the enduring appeal of contemporary art from Iran
The Art Newspaper, July/August 2018: "Indigenous art leads the conversation at Canadian gallery," by Judith H. Dobrzynski, on the reopening of the J.S. McLean Centre for Indigenous and Canadian Art at the Art Gallery of Ontario
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Hollis Taggart to Open New Space in September with Exhibition of Recent Acquisitions I Monday, July 30, 2018
In September, Hollis Taggart will inaugurate its new street-level gallery at 521 W. 26th Street, with an exhibition of significant recent acquisitions, including works by Alexander Calder, Adolph Gottlieb, Hans Hofmann, and Theodoros Stamos. The gallery will concurrently open a private viewing and storage annex across the street, with visits available by appointment. This consolidates the gallery’s operations in Chelsea, where it first moved in 2015. Together, the spaces provide Hollis Taggart with nearly 4,000-square-feet to host exhibitions and engage clients with select works of art in its inventory. The inaugural exhibition, which will open to the public on September 6, will be followed by an exhibition of mid-career and emerging artists, organized by independent curator Paul Efstathiou, in October, and a solo exhibition of works by acclaimed Pop artist Idelle Weber in November.
The new gallery space will open following a complete renovation that includes the creation of improved sightlines from the street deep into the main floor of the gallery, installation of new flooring, and construction of glass-walled offices, a library, and other functional back-of-house areas. The renovation will create an inviting environment to draw additional foot traffic, as the gallery transitions from its current seventh floor space in the same building. With the opening of its new private viewing and storage annex, the gallery will close the private viewing space it has been operating on E. 64th Street at the end of November.
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Mead Art Museum Acquires Work By Yinka Shonibare MBE I Monday, July 30, 2018
The Mead Art Museum at Amherst College has acquired The American Library Collection (Activists), a large-scale installation piece by the Britain-born, Nigeria-raised artist Yinka Shonibare MBE. Consisting of 234 books wrapped in Shonibare’s signature Dutch wax print fabric, each book holds the name of a first or second generation American “activist” writer inscribed on its spine in gold foil. This is the first artwork by Shonibare in the Mead’s collection; it will be on view at the Museum beginning October 30, 2018.
Also this fall, the Mead will host a debate among Amherst College faculty on the subject of the global migration of people, commodities and ideas, for which the Shonibare work will serve as the starting point. The debate—which will serve as a model for how students can facilitate constructive discussion of sensitive topics—will bring together faculty from American studies, economics, political science, and other disciplines. The debate will take place as part of the public opening for the Shonibare installation, from 5-7pm on October 30.
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Anthony Pearson to Present New Work in Solo Show at Marianne Boesky Gallery I Tuesday, July 17, 2018
Marianne Boesky is pleased to present artist Anthony Pearson’s fourth solo exhibition with the gallery, which will feature a selection of new wall works from his Embedment series and highlight his ongoing exploration and mastery of the compositional and textural possibilities of poured gypsum cement. Created through a methodical and physical engagement with the material, the resultant works occupy a liminal space between painting and sculpture. The exhibition will be on view from September 6 through October 20, 2018 at the gallery’s 507 W. 24th Street location.
The Embedment series marks a new shift in Pearson’s experimentation with hydrocal—a gypsum cement that he infuses with pigments—which he first began using in 2011. For this series, he stretches a segment of fabric within a mold and then pours the liquid cement, which he has variously colored, atop the fabric, layering, shifting, and allowing it to coalesce organically within the confines of the supports. Once the material sets, Pearson removes the hardened cement from the frame and pulls the canvas from its face, which leaves intricate patterned impressions and traces of fiber filament on the surface plane. In this way the skin and body of the work are created concurrently, as the fields of color weave together into abstract landscapes, where suggestions of sunsets and desert views dissipate as quickly as they emerge. Made in reverse, with the front of the work facing downward in the frame, the process embodies Pearson’s deep knowledge of the material, integrating his original vision for each work with the naturally arising effects.
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Four New Works for the Worcester Art Museum I Monday, July 16, 2018
The Worcester Art Museum (WAM) announces the acquisition of four works, as it continues to strategically build its collections of European, Asian, and North American artists in a variety of media. Two early 20th-century German paintings, one by Max Slevogt and another by Richard Müller, bring balance to WAM’s collections and bridge gaps in the pathway to Modernism. At the same time, contemporary works by Bharti Kher and Stan Douglas add to the Museum’s Asian art and photographic collections. Together, these acquisitions support the Museum’s overarching vision to connect its strengths in areas such as Old Masters with modern and contemporary art, and to highlight connections between the work of artists across different countries and continents.
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Wasserman Projects to Open Exhibition of New Works by International and Local Artists I Friday, July 13, 2018
Wasserman Projects in Detroit will open Color-aid, an exhibition of new and recent works by New York- and Paris-based painter Ken Aptekar, Cologne-based artist Peter Zimmermann, and Detroit-based sculptor and ceramicist Abigail Murray. Curated by Wasserman Projects’ Director Alison Wong, the exhibition explores the artists’ distinct formal and conceptual approaches to the use of color, surface, and pattern. Color-aid will include paintings and photographs by Aptekar, resin-poured canvases by Zimmermann, and a site-specific installation of Murray’s ceramics; together, these vividly-colored and highly-textured works will engage viewers in a sensory experience and highlight our emotional and psychic responses to such visual stimuli. The exhibition will remain on view through August 30, 2018.
The layering of meaning within the featured works is also an important connective thread throughout the exhibition, with each artist’s formal studies and experimentations providing an avenue through which to both reveal and mask social commentaries. While Zimmermann’s distortion of sourced imagery into pure abstraction offer an insight into the way our society consumes visual culture, Aptekar’s paintings, which juxtapose fragments of historical paintings with contemporary phrases and words, suggest an alternative perspective on who gets to interpret and define art. Murray’s practice, which straddles fine art and commercial production, highlights the attachment we feel to the functional goods with which fill our homes.
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AAMD Launches Internship Program for Students from Underrepresented Backgrounds I Wednesday, July 11, 2018
The Association of Art Museum Directors (AAMD) today announced the launch of a pilot internship program to engage undergraduate students from underrepresented backgrounds and nurture their career opportunities in the art museum field. Up to ten students will be selected for the pilot year, and provided with a 12-week long, paid internship at different AAMD member museums, offering exposure to a range of museum departments. Interns will be paired with a mentor, who will direct their activities and provide overall counsel on their professional development. Applications to be a host institution for the program will open this summer, with internships beginning in late-spring 2019. The initiative is supported by a generous grant from the National Endowment for the Arts, as well as additional financial and logistical support from AAMD and participating member museums.
AAMD will select 10 member art museums to host one intern each in this pilot year. Interns will be paired with host museums in their home or university town. The program is only available to undergraduate students in their sophomore, junior, or senior years, to provide opportunity for students who have begun to solidify their academic interests and potential career path. Each intern will be assigned to work on at least one defined project, so that they will be able to see the culmination of their work at the end of the summer. A stipend of $6,300 will be provided for each 12 week internship.
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Recent News From Our Clients, June 2018
artnet news, June 28: "Must-See Art Guide: London," by Tatiana Berg, including the exhibition Veronica Brovall: Wear the Heat at Sophia Contemporary Gallery, London, through August 4, 2018
Wall Street Journal, June 27: "‘Charles White: A Retrospective’ Review: Shimmering Black History Brought to Life," by James Panero, on the exhibition now at the Art Institute of Chicago (through September 3, 2018) and part of the Terra Foundation for American Art's Art Design Chicago initiative
Artforum, June 26: "Mead Art Museum Appoints Emily Potter-Ndiaye Head of Education, Curator of Academic Programs"
ARTnews, June 26: "Mead Art Museum Names Emily Potter-Ndiaye Head of Education and Curator of Academic Programs," by Claire Selvin, on the news from the art museum at Amherst College
ArtReview, June 22: "Mayfair Art Weekend Gallery HOP! ArtReview tours," including Veronica Brovall: Wear the Heat at Sophia Contemporary Gallery, London, through July 28, 2018
Galerie Magazine, June 21: "7 Brilliant Group Shows Not to Miss in New York This Summer," by Lucy Rees, including The Mechanics of Fluids at Marianne Boesky Gallery, curated by artist Melissa Gordon and on view through August 3, 2018
ARTnews, June 18: "9 Art Events to Attend in New York City This Week," including The Mechanics of Fluids at Marianne Boesky Gallery
artnet news, June 18: "Editors’ Picks: 17 Things Not to Miss in New York’s Art World This Week," by Sarah Cascone including Sue de Beer: The White Wolf, at Marianne Boesky Gallery
Time Out New York, June 14: "Check out these top group exhibitions at art galleries this summer," by Howard Halle, including The Mechanics of Fluids at Marianne Boesky Gallery, curated by artist Melissa Gordon and on view through August 3, 2018
ARTnews, June 7: "Meadows Museum Hires Amanda Dotseth as Curator," by Claire Selvin, announcing the news from the Meadows Museum
Artforum, June 7: "Meadows Museum in Dallas Names Amanda W. Dotseth Curator," announcing the selection of Dotseth, currently a Fellow at the Museum, following a search
Artforum, June 6: "Worcester Art Museum Names Claire Whitner Director of Curatorial Affairs, Curator of European Art"
Apollo, June 6: "Acquisitions of the Month: May 2018," including 50 works by American photographer Brett Weston, gifted to the San Antonio Museum of Art
The Art Newspaper, June 5: "A Maine werewolf in New York," by Victoria Stapley-Brown, on the new film by artist Sue de Beer, The White Wolf, on view at Marianne Boesky Gallery from June 21 to August 8, 2018
ARTnews, June 5: "Worcester Art Museum Names Claire Chandler Whitner Director of Curatorial Affairs," by Shirley Nwangwa, on the Museum's new appointment, who will also serve as the Museum's Curator of European Art
WSJ. Magazine, June: "Past Perfect," by Ted Loos, on the exhibition Charles White: A Retrospective, on view at the Art Institute of Chicago from June 8 to September 3, 2018, part of the Terra Foundation for American Art's year-long Art Design Chicago initiative
American Express Essentials, June: "The Top 15 Art Museums This Summer," by Fiona Brutscher, including three from the Terra Foundation's Art Design Chicago initiative: Never A Lovely So Real and Charles White: A Retrospective, both at the Art Institute of Chicago, and Sculpting a Chicago Artist: Richard Hunt and his Teachers, at the Koehnline Museum
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Mead Art Museum Appoints Emily Potter-Ndiaye as Head of Education I Tuesday, June 26, 2018
The Mead Art Museum at Amherst College has appointed Emily Potter-Ndiaye to the position of head of education and Andrew W. Mellon Curator of Academic Programs, effective Aug. 20, 2018. In her role, Potter-Ndiaye will promote primary research with the museum’s collections to faculty and students across disciplines as an integral part of the liberal arts educational experience at Amherst College — and a growing area of activity for the Mead, which has expanded its collaborations with faculty, staff and students over the past three years. Potter-Ndiaye comes to the Mead from the Brooklyn Historical Society, where she has been director of education since August 2013, and where she launched a number of notable and nationally recognized programs. In addition to her own work at the Mead, she will supervise the museum’s education team, including the assistant museum educator, coordinator of public programs and marketing, and the study room manager; and also oversee the Mead’s student employees, interns and volunteers.
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Amanda Dotseth Appointed Curator at Meadows Museum I Thursday, June 7, 2018
Following a six-month national and international search, the Meadows Museum, SMU has appointed Dr. Amanda W. Dotseth to the position of curator. An accomplished scholar, Dotseth conducts research that is grounded in the Spanish Middle Ages, but has addressed a wide range of topics, including architecture, panel painting and the history of collecting. Dotseth is currently completing a Meadows/Mellon/Prado postdoctoral fellowship at the museum; she will begin her new role as curator on September 19, 2018. During the two years of her fellowship, Dotseth has curated or co-curated exhibitions such as Zurbarán: Jacob and His Twelve Sons, Paintings from Auckland Castle; Chillida in Dallas: De Música at the Meyerson; and At the Beach: Mariano Fortuny y Marsal and William Merritt Chase. She also coordinated the first colloquium of current and former Meadows/Prado fellows and organized a symposium on medieval Spanish art featuring internationally recognized scholars in the field.
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Sue de Beer to Premiere New Film at Marianne Boesky Gallery I Tuesday, June 5, 2018
Marianne Boesky Gallery is pleased to premiere artist Sue de Beer’s sixth major film, The White Wolf. The film uses the classic werewolf narrative as a lens through which to explore broader themes of transformation, memory, and the psychology and physicality that forms our sense of self. The low-budget horror-thriller was developed as part of de Beer’s John Simon Guggenheim Fellowship, which she received in 2016, with additional support from Mana Contemporary. On view June 21 through August 3, 2018 at the gallery’s 507 W. 24th Street location, the exhibition will also feature a group of de Beer’s early career, horror-inspired photographs, which inspired portions of the new film.
The film, which is set on a fictional island off the coast of New England in the late 1980s, follows the intersecting experiences of several characters connected through a medical clinic, to a secret history shared by inhabitants of the town. Presented as a non-linear, two-channel installation, The White Wolf fuses the elements characteristic of the werewolf genre, with a lyrical examination of the body and its relationship to the ephemeral sense of self. This dynamic counter play is best exemplified in the lead character—the reclusive doctor who heads the clinic—played by New York-based experimental musician and composer Yuka Honda. Her quiet but confident presence defines the voice and tone of the film.
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Worcester Art Museum Appoints Claire Whitner to Two Posts I Tuesday, June 5, 2018
The Worcester Art Museum (WAM) today announced that Claire Chandler Whitner will be its next Director of Curatorial Affairs and James A. Welu Curator of European Art. Whitner comes to WAM from the Davis Museum at Wellesley College, where she has been since 2014, most recently as the Assistant Director of Curatorial Affairs and Senior Curator, and where she oversaw the recent reinstallation of the Davis’ permanent collections galleries. A specialist in German Modernism and 17th-century Dutch art, Whitner will begin her new post on August 20, 2018.
At WAM, Whitner will have broad oversight of the Museum’s curatorial direction, across all departments. This includes bringing together WAM’s curators, educators, and conservators to collaborate on planning and presenting new exhibitions and installations that address a central element of the Museum’s mission: connecting visitors, communities, and cultures through experiences with art. She will also oversee the Museum’s ongoing work to reexamine its installations of European and American art, which began in 2013 with the [remastered] exhibition of its noted Old Masters collection, and has continued since then, including with a program in 2017 that added labels about slave ownership to historical portraits in its American art installation. Whitner will take a leading role in shaping the Museum’s collecting efforts, working with WAM’s director, Matthias Waschek, to identify and secure gifts and purchases that address specific collection needs.
Download Press Release
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Recent News From Our Clients, May 2018
ArtReview, May 2018: "Serge Alain Nitegeka: Personal Effects in Black," by Joshua Mack, reviewing the artist's recent exhibition at Marianne Boesky Gallery
It's Nice That, May 21: "Artist Genesis Belanger explores the strange things that advertising conditions us to want," by Laura Snoad, reviewing Belanger's work timed with her inclusion in the group exhibition Uncanny Memories, on view at Sophia Contemporary Gallery, London
ARTnews, May 18: "Marianne Boesky Gallery and R & Company Now Represent the Haas Brothers," by Annie Armstrong, announcing the Haas Brothers' representation by Marianne Boesky Gallery and their upcoming show at Boesky West, Aspen
FAD Magazine, May 15: "My week in the art world – Mayfair treats," by Giulia Trojano, including the exhibition Uncanny Memories, on view now at Sophia Contemporary Gallery, London
Philanthropy News Digest, May 13: "People in the News," include the announcement of Kay Takeda's new position at the Joan Mitchell Foundation
Arts Today, May 11: "What's on in the capital," including the exhibition Uncanny Memories, on view now at Sophia Contemporary Gallery, London
Artforum, May 9: "Joan Mitchell Foundation Names Kay Takeda Senior Director of Artist Programs," on the Foundation's new hire
ARTnews, May 9: "Joan Mitchell Foundation Names Kay Takeda Senior Director of Artist Programs," by Annie Armstrong, announcing Takeda's move to the Joan Mitchell Foundation
Artforum, May 2: "San Antonio Museum of Art Receives Donation of Fifty Brett Weston Photographs," on the Museum's announcement of the gift from collector Christian Keesee
ARTnews, May 1: "San Antonio Museum of Art Acquires 50 Brett Weston Photographs," by Annie Armstrong, reporting on the gift to the Museum from the collector and philanthropist Christian Keesee
The Art Newspaper, May 2018: "MASS MoCA takes the plunge with ice-water installation," by Victoria Stapley-Brown, on two new commissions by artist Taryn Simon, "A Cold Hole" and "Assembled Audience," opening May 26 in MASS MoCA's Building 5
The Art Newspaper, May 2018: "The Glittering Prizes," including news on the Terra Foundation for American Art's recent announcement of an additional $300,000 in grants for programs that will be part of this year's Art Design Chicago initiative
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Marianne Boesky Gallery Now Represents The Haas Brothers I Friday, May 18, 2018
Marianne Boesky Gallery is pleased to announce representation of The Haas Brothers—Los Angeles-based twin brothers Nikolai and Simon Haas—in partnership with R & Company. To mark the new collaboration, the gallery will present an exhibition of new and iconic works by The Haas Brothers at Boesky West, Aspen, transforming the interior and exterior of the space into a whimsical and fantastical sculptural landscape. Titled Stonely Planet, the exhibition will be on view from June 20 through August 25, 2018. The Haas Brothers will also participate in an Artist Talk at the Aspen Art Museum on July 3, 2018, at 5:00 PM, which will be moderated by the museum’s Nancy and Bob Magoon CEO and Director, Heidi Zuckerman.
Since founding the Haas Brothers in 2010, brothers Nikolai and Simon have spurned arbitrary artistic boundaries and hierarchies, creating a playful and provocative world that merges art, fashion, film, music, and design. Their openness to experimentation and general curiosity has resulted in a wide-ranging visual lexicon that incorporates a spectrum of materials from stone and porcelain to brass and bronze to self-invented resins and polyurethanes. The Brothers' dynamic practice is characterized by technical precision—supported by their active collaborations with an array of artisans—and a whimsical sense of humor that speaks to a universal audience.
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Joan Mitchell Foundation Appoints Kay Takeda Senior Director of Artist Programs I Wednesday, May 9, 2018
The Joan Mitchell Foundation announced today that Kay Takeda has been appointed Senior Director of Artist Programs. Takeda comes to the Foundation from the Lower Manhattan Cultural Council (LMCC), where she has been in leadership positions since 2005 and currently serves as Vice President, Grants & Services. In her new role, Takeda will oversee the Joan Mitchell Foundation’s diverse roster of artist-centered initiatives, including its grants, residencies, and professional development programs. As part of the senior leadership team for the artist-endowed Foundation, Takeda will spearhead the Foundation’s activity to refine the focus and enhance the impact of program offerings as an essential facet of Mitchell’s legacy. Takeda will begin work at the Foundation on June 4, 2018.
“I have followed Kay’s work in the field for years and always admired her incredible commitment to artists, and to establishing programs that offer new opportunities and platforms for artists to enhance their practices. We are thrilled that Kay is bringing her passion, expertise, and innovative approach to the Joan Mitchell Foundation, and look forward to learning from and collaborating with her, as we continue to ensure that our initiatives serve artists at every stage of their careers,” said Christa Blatchford, Chief Executive Officer of the Joan Mitchell Foundation.
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New Exhibition at Brandywine Explores the Sublime in Contemporary Art I Tuesday, May 1, 2018
This summer the Brandywine River Museum of Art will present Natural Wonders: The Sublime in Contemporary Art, a landmark exhibition featuring 13 major American artists whose work investigates our relationship with nature—exploring both its beauty and its capacity to inspire awe and fear. Organized by the Brandywine with guest curator Suzanne Ramljak, Natural Wonders will include the museum debut of Diana Thater’s Road to Hana series, which captures in a multi-screen video wall the fantastical “painted forest” of rainbow eucalyptus on the Hawaiian island of Maui, as well as the North American premiere of Mark Tribe’s New Nature series of 4K videos drawn from wilderness preserves in the United States. On view June 23 through October 21, the exhibition also features work by Suzanne Anker, Lauren Fensterstock, Patrick Jacobs, Maya Lin, Roxy Paine, Miljohn Ruperto & Ulrik Heltoft, Jennifer Trask, T.J. Wilcox, and Dustin Yellin.
In conjunction with the exhibition, the Brandywine has commissioned a site-specific piece by Kathleen Vance: a 35-foot-long recreation of a segment of the Brandywine River—complete with flowing water—in the Museum’s atrium. Known for her Traveling Landscape series of works that engage viewers in exploring the changing topography of natural waterways, Vance conducted research on the Brandywine River’s history and shoreline as a prelude to developing her piece. Her commission offers visitors the rare opportunity to see her work within view of the very body of water that inspired it. With the river visible through the Museum’s floor-to-ceiling windows, the installation directly stages the interplay of artifice and nature at the core of the exhibition.
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Recent News From Our Clients, April 2018
Kunstzeitung, April 2018: "Insel der Vielfalt: Die „Art Design Chicago“ soll das Image der drittgrößten US-Stadt aufpolieren," on the Terra Foundation of American Art's year-long initiative of exhibitions and programs
Reuters, April 30: "Art uses custom-made robots to paint," by Elly Park, featuring artist Barnaby Furnas and his collaboration with tech start-up ArtMatr; also seen on USA Today
New York Magazine, April 30: "Three Sentence Reviews," by Jerry Saltz, including of Barnaby Furnas's exhibition "Frontier Ballads" at Marianne Boesky Gallery
Hyperallergic, April 11: "How Robots Can Help Painters," by Ilana Novick, exploring artist Barnaby Furnas's use of robots as painting assistants in his exhibition of new work, Frontier Ballads, at Marianne Boesky Gallery
ARTnews, April 6: "For Collection-Sharing Initiative, Terra Foundation and Art Bridges Tap Detroit Institute of Arts, MFA Boston," by Annie Armstrong, on the news of grants as part of the Terra-Art Bridges initiative
The Art Newspaper, April 5: "Bridging the divide: Terra Foundation and Art Bridges fund collaborative programming between major art institutions and smaller, regional venues," by Victoria Stapley-Brown, announcing the new, $15 million Terra-Art Bridges initiative
TRT World, April 4: "Showcase: Abstract Expressionism in London," a video piece exploring the exhibition Portal, at Sophia Contemporary Gallery, London through May 3, 2018, and featuring the work of American artists Iva Gueorguieva and Dona Nelson
The Art Newspaper, April 2018: "How San Antonio Snagged Masterpieces from Madrid," by Victoria Stapley-Brown, on the upcoming exhibition Spain: 500 Years of Spanish Painting from the Museums of Madrid, opening June 22, 2018 at the San Antonio Museum of Art
Mayfair Magazine, April 2018: "Put to the Test," including the exhibition Portal, at Sophia Contemporary Gallery, London through May 3, 2018, and featuring the work of American artists Iva Gueorguieva and Dona Nelson
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Marianne Boesky to Open Exhibition of New Work by Artist Julia Dault I Monday, April 23, 2018
Marianne Boesky Gallery is pleased to present More Than Words, Julia Dault’s second solo exhibition with the gallery. The exhibition will feature a new series of sculptures as well as new paintings that, together, capture Dault’s iterative play with color, form, texture, and materials, as well as her ongoing exploration of the creative potential of industrial products. The new works underscore the value of engaging with the intricate, often beautiful, and little-considered systems that lie just beyond any given surface. This idea is also encapsulated in the exhibition title, which references Extreme’s 1991 hit song of the same name and continues Dault’s use of pop culture references in her work.
Dault is driven by the boundless creative and formal possibilities within the confines of self-imposed rules, which are often determined by the materials and tools with which she is working. This sense of discovery in the seemingly constrained led to Dault’s newest sculptures: abstract compositions inspired by the intricate fretworks of brightly colored PEX tubing that comprise the plumbing systems in our homes and workspaces. This new engagement broadens Dault’s explorations of the tools and materials of other trades exemplified by earlier sculptures made with off-the-shelf Formica and Plexiglas.
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Uncanny Memories Exhibition to Open at Sophia Contemporary Gallery I Monday, April 23, 2018
Sophia Contemporary is proud to present Uncanny Memories, a group show of young artists exploring the themes of the uncanny and surrealism through a variety of media. Featuring new and recent work by six artists from the UK, US, and France – Jonathan Baldock, Genesis Belanger, Matthew Hansel, Matt Lipps, Theo Mercier, and Adam Parker Smith – the exhibition reflects on the legacy of surrealism in contemporary art while investigating the notion of the uncanny in reference to the history of art. Uncanny Memories will open to the public with a reception from 6-8PM on Thursday, May 10, and will remain on view through June 23, 2018.
The concept of the uncanny was first defined by Sigmund Freud as an experience strangely familiar, confronting the viewer with unconscious, repressed impulses. Uncanny Memories will explore this notion through eighteen artworks executed in a variety of media: painting, sculpture, ceramic, mirror work, and photography. From London-based Jonathan Baldock’s bronze sculptures and Brooklyn-based Genesis Belanger’s porcelain and stoneware works to Paris- based Theo Mercier’s photographic collages, the exhibition demonstrates the widespread impact of the uncanny on contemporary artists across media and geography.
All of the artists featured in Uncanny Memories are united by a desire to reveal the odd, the strange, the surreal, and the uncanny in our contemporary societies by looking back at the history of art. From the blend of classical imagery and cartoonesque elements in Matthew Hansel’s paintings to the variety of art historical references in Adam Parker Smith’s whimsical sculptures, the use of antique, classical, and modern imagery constitutes a common thread in the exhibition. By looking back at the history of art and reinterpreting it with a surreal, tongue-in-cheek twist, the artists in the show seek to explore our collective unconscious in order to reveal the uncanny memories shaping our present reality.
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Groundbreaking Exhibition Examines Role of Science in Modern Art I Tuesday, April 17, 2018
This fall, the University of California, Berkeley Art Museum and Pacific Film Archive (BAMPFA) presents the premiere of a touring exhibition that explores the influence of scientific discovery on some of the twentieth century’s most celebrated artists. Organized by the Mead Art Museum at Amherst College, Dimensionism: Modern Art in the Age of Einstein is the first exhibition to highlight the untold story of the “Dimensionist Manifesto”—a proclamation authored by Hungarian poet Charles Sirató in 1936 and endorsed by such artistic luminaries as Alexander Calder, Marcel Duchamp, Joan Miró, László Moholy-Nagy, Sophie Taeuber-Arp, and others—which called for an artistic response to the era’s groundbreaking scientific discoveries. Featuring more than seventy artworks by the Manifesto’s signatories and their contemporaries, the exhibition illuminates remarkable connections between the scientific and artistic revolutions that shaped the twentieth century.
Dimensionism features new scholarship on the influence of science on European and American artists of the 1930s, who were active at a time when mass media was exposing the general public to radical new developments in scientific theory. Inspired by new conceptions of time and space engendered by physics, mathematics, astronomy, and microbiology, an emerging avant-garde movement sought to expand the “dimensionality” of modern art. These artists engaged with scientific concepts to advance bold new forms of creative expression, from the fourth-dimension of space-time embodied by Calder’s free-moving mobiles to new perceptions of the cosmos evoked by Noguchi’s lunar landscapes.
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New $15 Million Collection-Sharing Terra-Art Bridges Initiative Announced I Thursday, April 5, 2018
The Terra Foundation for American Art and Art Bridges announced today the details of the first collaborations for Terra-Art Bridges (TAB), a new $15 million initiative to examine and test new approaches to sharing collections, increasing scholarship, and expanding access to and experiences of American art. As part of the first cycle of grants for TAB more than $2.4 million has been awarded to the Detroit Institute of Arts (DIA) and the Museum of Fine Arts, Boston (MFA). The DIA and the MFA will work with regional partners to co-create traveling exhibitions that bring important works of American art to new audiences in largely non-metropolitan areas. In addition to the implementation monies provided to the DIA and the MFA, the Philadelphia Museum of Art (PMA) was awarded a research-and-development grant, and discussions about similar exploratory grants are taking place with the Brooklyn Museum, the Smithsonian American Art Museum (SAAM), and the Los Angeles County Museum of Art (LACMA).
Terra-Art Bridges is a six-year program that will establish partnerships among a wide range of institutions from across the U.S., creating a network that is expected to generate exhibitions across more than 80 museums and arts venues and serve a spectrum of audience interests and needs. To ensure participation from museums from every area of the country, TAB is also working with the American Alliance of Museums (AAM) to identify the pool of potential organizational partners. AAM used its own data about the nation’s museums along with interactive mapping tools and data from the U.S. Census to allow the Foundation to identify communities with strong art museums that might benefit from loans of art as envisioned by the project.
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Recent News From Our Clients, March 2018
National Catholic Reporter, March 30: "Inquisition-era paintings of Old Testament figures highlight 'complexity of humankind'," by Menachem Wecker, reviewing the exhibition Zurbarán's Jacob and His Twelve Sons: Paintings from Auckland Castle, which premiered at the Meadows Museum, SMU, in 2017
Artforum, March 29: "Terra Foundation Awards More Than $300,000 to Art Design Chicago Projects," reporting on the latest round of grants for a range of programs as part of the Art Design Chicago initiative
ARTnews, March 29: "Terra Foundation Awards $300,000 in Grants to Chicago Arts Organizations," by Grace Halio, on the most recent round of grants supporting projects and programs as part of the Art Design Chicago initiative underway across Chicago this year
The New Yorker, March 26: "Goings On About Town," including the exhibition Barnaby Furnas: Frontier Ballads, open through April 14, 2018 at Marianne Boesky Gallery
Artforum, March 23: "Claudia Wieser," by Alex Garner, reviewing Wieser's new exhibition Chapters, on view at Marianne Boesky Gallery through April 14, 2018
Forbes, March 16: "Barnaby Furnas's Historical Paintings For Tumultuous Times," by Clayton Press, on the exhibition Barnaby Furnas: Frontier Ballads, open through April 14, 2018 at Marianne Boesky Gallery
Mosaic, March 14: "The Unprecedented Bible Portraits of Francisco de Zurbarán," by Menachem Wecker, reviewing the exhibition Zurbarán's Jacob and His Twelve Sons: Paintings from Auckland Castle, which premiered at the Meadows Museum, SMU, in 2017
New York Times, March 13: "For Artists, the Thrill of Grant Money Arrives With a ‘Now What’?," by Ted Loos, including the Joan Mitchell Foundation, which provides both unrestricted grants to artists as well as services such as financial counseling
Studio International, March 9: "Claudia Wieser: ’I know there is the danger of beauty in my work, or a danger that it becomes purely decorative’," by Kristian Vistrup Madsen, on Wieser's new exhibition on view through April 14, 2018, at Marianne Boesky Gallery
New York Times, March 8: "Beyond Frank Lloyd Wright: A Broader View of Art in Chicago," by Hilarie M. Sheets, looking at a number of the exhibitions, programs, and participating institutions of Art Design Chicago, a year-long initiative led by the Terra Foundation for American Art
Inside Philanthropy, March 6: "Overlooked No More: A Foundation's Push to Elevate Chicago Art," by Wendy Paris, on the Terra Foundation for American Art's Art Design Chicago initiative, which has provided more than 70 grants to 55 organizations across Chicago for exhibitions and programs taking place this year
Architectural Digest, March 5: "Versatile Artist and Designer Michele Oka Doner Celebrated in 3 Simultaneous Exhibitions," by Brook Mason, on the artist's upcoming exhibition Michele Oka Doner: Fluent in the Language of Dreams, at Wasserman Projects, Detroit
Apollo, March 2018: "Spreading the Word," by Louise Nicholson, profiling the Worcester Art Museum and its leadership, timed with the upcoming opening of the exhibition The Mystery of Worcester's Leonardo, open March 10 through June 3, 2018
Sardinia Post, March 2018: "Il Nuovo Mondo di Maria," by Donatella Percivale, on current and upcoming exhibitions at Marianne Boesky Gallery of work by the late Italian artist Maria Lai
Mayfair Times, March 2018: Art exhibitions roundup by Layla Haidrani, including Portal, at Sophia Contemporary Gallery, featuring American artists Iva Gueorguieva and Dona Nelson
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Terra Foundation Announces $300,000 in Grants for Art Design Chicago Projects I Thursday, March 29, 2018 I PDF
The Terra Foundation for American Art announced today that following its March board meeting, it has awarded more than $300,000 in grants to support public and academic programs for Art Design Chicago, a wide-ranging initiative spearheaded by the Foundation and developed in partnership with more than 60 cultural organizations to explore the ongoing influence of Chicago’s art and design history. Grants awarded in the latest cycle enhance further the roster of public programs available throughout 2018 as part of Art Design Chicago and contribute to ongoing research into ideas spurred by the initiative that will extend well beyond this calendar year. To date, the Terra Foundation has given 90 grants to 64 organizations, totaling approximately $5.6 million, to support the development of exhibitions, academic and public programs, publications, and a four-part television series for Art Design Chicago, which kicked off in January and will continue through December.
“Encouraging and expanding public engagement with Chicago’s cultural community is a core focus of Art Design Chicago. Barriers to access come in many forms, from financial obstacles to a general sense that cultural experiences can be intimidating or exclusionary,” said Amy Zinck, Executive Vice President of the Terra Foundation. “Our vision, and that of our partners’, is to start breaking down some of these barriers, by providing a wide-range of events on a diversity of subjects; ensuring that programs are taking place throughout the year and across the city’s many neighborhoods; and also helping to make many of those experiences free or affordable. There’s an important slow build with this initiative that takes into account the time necessary for people to engage with opportunities in ways that are meaningful to them.”
To read the full news alert, please click the PDF link above.
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500 Years of Spanish Painting Will Be On View at San Antonio Museum of Art I Thursday, March 29, 2018 I PDF
This summer, the San Antonio Museum of Art will present a dramatic survey of five hundred years of Spanish painting, stretching from the union of Queen Isabella and King Ferdinand in the late fifteenth century through the turn of the twentieth century. Spain: 500 Years of Spanish Painting from the Museums of Madrid will contain more than forty works of art from major collections in Madrid — very few of which have previously been on view anywhere in the United States and none of which have been seen in San Antonio. Organized in celebration of the Tricentennial of the city of San Antonio, the exhibition will convey the splendors of Spanish artistic traditions — a heritage that is part of the rich legacy of blended cultures that make San Antonio one of the most distinctive places in the United States.
Spain traces the continuity of specific Spanish pictorial traditions, including portraiture, landscape from the earliest hints of naturalism to the impressionist and expressionist movements of the late nineteenth century, dramatic devotional painting, and exacting still life. Organized by Dr. Katherine Crawford Luber, the Kelso Director, and Dr. William Keyse Rudolph, Andrew W. Mellon Chief Curator/Marie and Hugh Halff Curator of American Art, Spain will only be on view in San Antonio. Spain features works by iconic artists El Greco, Diego Velázquez, Bartolome Estéban Murillo, Jusepe de Ribera, Francisco Goya y Lucientes, Joaquín Sorolla, and Pablo Picasso. It also celebrates the artistic achievements of many other Spanish masters, such as Juan de Flandes, Luis de Morales, Frederico Madrazo y Kuntz, Antonio Esquivel, and Ignacio Zuloaga.
To read the full news alert, please click the PDF link above.
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Marianne Boesky Gallery to Present New Film by Hans Op de Beeck in April I Tuesday, March 27, 2018 I PDF
Marianne Boesky Gallery is pleased to present Belgian artist Hans Op de Beeck’s third solo exhibition with the gallery. The exhibition marks the first public presentation of Op de Beeck’s perception-bending animated film, “The Girl,” which he completed in late 2017 in collaboration with the Flanders AudioVisual Fund. For the presentation, which will be open from April 26 through June 16, 2018, the gallery will transform its 507 W. 24th street location into a black box space.
The film’s highly atmospheric views, rich landscapes, and poignant music—composed by Tom Pintens in collaboration with the artist—penetrate the psyche and stimulate the senses, encapsulating Op de Beeck’s uncanny ability to create visual fictions that deliver moments of wonder, silence, and introspection. His wide-ranging oeuvre, which includes large-scale installation, sculpture, film, painting, drawing, photography, and texts, reflects on the tragi-comic ways in which humans stage and organize their lives. Utilizing simple, everyday images, Op de Beeck raises universal questions about meaning and mortality, finding a delicate balance between the serious and the absurd, between the banal and extraordinary.
To read the full news alert, please click the PDF link above.
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Iva Gueorguieva / Dona Nelson – Portal, at Sophia Contemporary Gallery I Thursday, March 1, 2018 I PDF
Sophia Contemporary is pleased to announce Portal, the first two-person show of American artists Iva Gueorguieva and Dona Nelson. Gueorguieva and Nelson come from two successive generations of artists whose work is at the forefront of contemporary abstraction in the United States. Through painting and sculpture, both artists grapple with the history of painting, redefining abstraction and challenging the material and conceptual boundaries of their media. The exhibition initiates an intergenerational visual dialogue through fifteen works including Iva Gueorguieva’s vibrant acrylic and collage works and Dona Nelson’s signature double-sided freestanding paintings. Portal will open to the public with a talk by both artists from 6-7PM on Thursday, March 15, 2018 followed by a private view from 7-9PM. The exhibition will remain on view through May 3, 2018.
Portal will demonstrate how Gueorguieva and Nelson question the intrinsic flatness of the canvas by exploring the sculptural properties of painting, in particular through the use of collage and the deconstruction of the form through the process of cutting, dyeing, ripping, gluing, and painting on both sides of the canvas. While collage is an integral part of both artists’ work, they use it in different ways: Nelson controls the composition of her paintings by erecting physical boundaries on the canvas with gauze soaked in glue while Gueorguieva uses various means to push and move the color as it gets absorbed by the raw canvas.
To read the full news alert, please click the PDF link above.
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Recent News From Our Clients, February 2018
artnet News, February 26: "Editors’ Picks: 14 Things to See in New York This Week," by Sarah Cascone, including the upcoming exhibition Barnaby Furnas: Frontier Ballads, opening March 1 at Marianne Boesky Gallery
Artforum, February 16: "Kemi Ilesanmi and Juan Sánchez Join Joan Mitchell Foundation’s Board of Directors"
Interior Design Homes, February 15: "Back to Her Roots," on the exhibition Fluent in the Language of Dreams at Wasserman Projects, Detroit, featuring the work of Michele Oka Doner
Observer, February 15: "Artist Who Gilded NYC’s 34th Street Subway Station Takes on Detroit," by Margaret Carrigan, on the new exhibition of works by Michele Oka Doner at Wasserman Projects, Detroit
Artforum, February 8: "Joan Mitchell Foundation Names Artists for Its 2018 Residency Program," offering a range of national and local artists studio space and a stipend for a residency at the Foundation's Joan Mitchell Center in New Orleans
Garage Magazine, February 1: "Dubbed 'Under-Sung' by the New Yorker, Sanford Biggers Is on a Roll," by Paul Laster, profiling the artist--currently working at the American Academy in Rome--whose exhibition Selah was presented at the Marianne Boesky Gallery in September 2017
Departures, February 2018: "Culture Calendar: 18 Things to Do in February 2018," including the upcoming exhibition Michele Oka Doner: Fluent in the Language of Dreams at Wasserman Projects in Detroit
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Marianne Boesky to Open Solo Shows of New Works by Barnaby Furnas and Claudia Wieser I Tuesday, February 20, 2018
Marianne Boesky Gallery is pleased to present Frontier Ballads, Barnaby Furnas’s seventh solo exhibition with the gallery. The exhibition will feature new paintings that both encapsulate and question deeply-held mythologies of American identity, from representations of the rugged terrain of the West and the legendary explorers who settled it, to symbols of patriotism and those marking the country’s image of wholesomeness. This body of work also marks a new phase in Furnas’s ongoing experimentations with process and technique, as the paintings are being created in part through new robot technologies developed to his specifications. For the full press release, click HERE.
Marianne Boesky Gallery is pleased to present Claudia Wieser’s Chapter, the Berlin-based artist’s second solo exhibition with the gallery. Drawing inspiration from the BBC Television series “I, Claudius” (1976), Wieser transforms the gallery’s white box into an arena where history, artifice and social constructs collide. Wieser’s practice derives from the distinct, but interrelated realms of fine art, architecture, design, and film. These elements are united by Wieser’s engagement with geometric patterning as a means of abstraction and a manifestation of spirit, psychic space, and the subconscious. The exhibition highlights Wieser’s adept ability to create an experiential environment through a reductive vocabulary of composite wallpaper, ornamented woodwork, gilded drawings, hand-painted tiles, and multifaceted mirrors. For the full press release, click HERE.
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Joan Mitchell Foundation Appoints Two New Board Members I Friday, February 16, 2018 I PDF
The Joan Mitchell Foundation announced today that arts administrator and curator Kemi Ilesanmi and artist Juan Sánchez have been appointed to its Board of Directors. The Foundation advances the work of living artists through grants, residencies, partnerships, and access to professional services. To ensure that this work is guided as best as possible by the needs of artists, the Foundation requires that one third of its Board be working artists in addition to members from other fields. Sánchez joins artists and current Board members Tomie Arai, Ronald Bechet, Yolanda Shashaty, and Jean Shin. Likewise, Ilesanmi brings her experiences working with artists—as a curator, grants administrator, and the Executive Director of arts presenter The Laundromat Project—to the Foundation’s work.
To read the full news alert, please click the PDF link above.
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Joan Mitchell Foundation Announces 2018 Participants for Artists-in-Residence Program I Thursday, February 8, 2018 I PDF
The Joan Mitchell Foundation announced today the artists selected for its 2018 Artist-in-Residence program, which is hosted at the Foundation’s Joan Mitchell Center in New Orleans. Recipients include artists local to New Orleans, as well as national and international artists who have previously received grants from the Foundation. All of the artists are provided with private studio space at the Center, a stipend, and the opportunity to participate in communal dinners five nights a week. Artists coming from other parts of the U.S. are also given lodging at the Center’s two-acre campus in the historic Faubourg Treme neighborhood, and an additional stipend for travel and shipping work. The Foundation launched the Artist-in-Residence program in 2013 as an extension of its grants programs, offering artists the essential benefits of time and space to experiment, create new work, and build their networks of fellow artists and arts professionals.
To read the full news alert, please click the PDF link above.
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First Exhibition to Explore Salvador Dalí's Small Format Paintings I Wednesday, February 7, 2018 I PDF
The Meadows Museum, SMU, will present the first in-depth exploration of the small-scale paintings of Salvador Dalí (1904–1989). While many of Dalí’s canvases are known around the world and are among the defining works of the Surrealist movement, the small size of many of these works is frequently overlooked. Nearly half of the artist’s paintings during the early part of his Surrealist period (1929–1936) were actually small- format works: some measuring just over a foot, and others as small as 3 x 2 in. Organized by the Meadows as part of its mission to present Spanish art in America, Dalí: Poetics of the Small will be on view at the Meadows Museum—the only venue for this exhibition—from September 9– December 9, 2018.
The exhibition will include nearly two dozen of Dalí’s small-scale paintings, including important works such as The Accommodations of Desire (1929, Metropolitan Museum of Art), The Angelus (c. 1932, private collection), and The Weaning of Furniture-Nutrition (1934, The Dalí Museum, St. Petersburg, Florida). While diminutive in scale, these paintings reflect Dalí’s distinctive Surrealist style—with familiar but distorted figures often set against a dramatic or barren landscape. An outgrowth of Dalí’s love for the refined and precise works of Dutch Masters, specifically Johannes Vermeer (1632–1675), as well as Dalí’s own notorious attention to detail, these cabinet paintings from the height of his career have never been systematically studied or exhibited as a cohesive group.
To read the full news alert, please click the PDF link above.
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Recent News From Our Clients, January 2018
Artforum, January 31: "Worcester Art Museum Appoints Erin R. Corrales-Diaz Assistant Curator of American Art," on the appointment of the Museum's new curator
ARTnews, January 31: "Worcester Art Museum Hires Erin R. Corrales-Diaz as Assistant Curator of American Art," by Andrew Russeth, reporting the Museum's new curator
Hyperallergic, January 26: "Art Movements," by Tiernan Morgan, including news of the Meadows Museum's acquisition of "Beach at Portici," the last painting by Mariano Fortuny y Marsal, and the San Antonio Museum of Art's acquisition of three works by contemporary African-American artists
Artforum, January 26: "San Antonio Museum of Art Acquires Works by Kevin Beasley, Rodney McMillian, and Martine Syms," announcing the Museum's latest contemporary art acquisitions, and building its collection of works by African-American artists
The Art Newspaper, January 25: "Three to see: New York," by Sarah Hanson, including the exhibition Serge Alain Nitegeka: Personal Eeffects In BLACK, on view through February 24, 2018 at Marianne Boesky Gallery
ARTnews, January 25: "San Antonio Museum of Art Acquires Works by Kevin Beasley, Rodney McMillian, Martine Syms," by Alex Greenberger, reporting on the latest acuisitions at the Museum
Art Radar, January 15: "A room of one’s own: Iranian-American Afruz Amighi – artist profile," by Jessica Clifford, on the artist's solo exhibition at Sophia Contemporary Gallery, London
Wallpaper*, January 11: "Letter from Detroit: urban renewal is on the horizon for 2018," by Stephanie Murg, including arts presenter Wasserman Projects, located in Detroit's Eastern Market
Artforum, January 11: "Amherst College’s Mead Art Museum Receives $3 Million Gift," announcing the gift from John and Sue Wieland, as well as the exhibition opening February 8 that draws from their collection, HOUSE: Selections from the Collection of John and Sue Wieland
Observer, January 11: "Serge Alain Nitegeka’s New Paintings and Sculptures Reflect on His Time as a Refugee," by Margaret Carrigan, on the artist's new exhibition at Marianne Boesky Gallery in New York
ARTnews, January 11: "Collectors Sue and John Wieland Give $3 M. to Amherst College’s Mead Art Museum," by Alex Greenberger, on the endowment gift to the Mead Art Museum, and the upcoming exhibition, HOUSE: Selections from the Collection of John and Sue Wieland, opening February 8, 2018
Hyperallergic, January 9: "How Asian-American Artists Made a Mark on Abstract Expressionism," by Danielle Wu, reviewing the exhibition Abstract Expressionism: Looking East from the Far West, on view through January 21 at the Honolulu Museum of Art
The Wall Street Journal, January 6: "‘Last Defense: The Genius of Japanese Meiji Metalwork’ Review: Creativity Forged Anew," by Lee Lawrence, reviewing the exhibition of the same name at the Worcester Art Museum, on view now through September 2, 2018
ArtAsiaPacific, January 3: "Echo’s Chamber, Afruz Amighi," by Ned Carter Miles, on the artist's exhibition, on view through January 19, 2018 at Sophia Contemporary Gallery, London
Observer, January 2: "Long Lost Photographic History of People of Color on Display in Worcester," by Margaret Carrigan, on the exhibition Rediscovering an American Community of Color: The Photographs of William Bullard, on view through February 25, 2018
Apollo, January 1: "A trip along the East Coast of the United States," by Louise Nicholson, including a preview of The Mystery of Worcester's Leonardo, opening March 10, 2018 at the Worcester Art Museum
The Art Newspaper, January 2018: "A new Leonardo? Show on connoisseurship claims to reveal master's hand," by Judith H. Dobrzynski, on the Worcester Art Museum's upcoming exhibition The Mystery of Worcester's Leonardo, opening March 10, 2018
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Dr. Erin R. Corrales-Diaz Appointed At Worcester Art Museum I Wednesday, January 31, 2018 I PDF
The Worcester Art Museum (WAM) today announced that Erin R. Corrales-Diaz has been appointed the Museum’s Assistant Curator of American Art, a position generously supported by the Andrew W. Mellon Foundation. Dr. Corrales-Diaz comes to WAM from Spartanburg, South Carolina, where she currently holds dual posts as Curator of the Johnson Collection and Visiting Scholar at Wofford and Converse Colleges. Among her recent curatorial projects are exhibitions titled To Teach Is To Learn: Lessons in African American Art of the South, Southern Roots: Selections of Self-Taught Art from the Johnson Collection, and A Process of Learning: Educating the Avant-Garde at Black Mountain College. Dr. Corrales-Diaz will begin work at the Museum in May 2018.
WAM is widely known for its American art collection, which begins with the early Colonial period and continues through the 20th century, and has particular strengths in early American portraiture and American Impressionism. In January 2017, the Museum was awarded a three-year grant from the Henry Luce Foundation to support a series of projects focused on the Museum’s collection of pre-contemporary American art. Among other projects, the grant will support a new series of installations and rotating exhibitions that will highlight some important—but less frequently seen—works from the collection, including an initiative to research, conserve, and install several stained glass windows by John La Farge and Louis Comfort Tiffany, which have not been on view in more than 40 years.
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Three Major Works of Art By Acquired By San Antonio Museum of Art I Thursday, January 25, 2018 I PDF
The San Antonio Museum of Art announced it has acquired major artworks by three contemporary African American artists—Kevin Beasley (b. 1985), Rodney McMillian (b.1969), and Martine Syms (b. 1988). The works by Beasley and McMillian are now on view in the Museum’s contemporary art galleries and the Syms video/sound installation will be installed in February to coincide with Black History Month. The works join the Museum’s growing collection of art by other African American artists such as Willie Cole, Eldzier Cortor, Sam Gilliam, Faith Ringgold, Kehinde Wiley, and self-taught artists Bill Traylor and John Willard Banks.
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Meadows Museum Acquires Last Painting by Fortuny I Friday, January 19, 2018 I PDF
The Meadows Museum, SMU, announced today that it has acquired Beach at Portici, the last painting of famed Spanish artist Mariano Fortuny y Marsal (1838- 1874). The nearly finished painting—which is unusual for its large scale, relative to much of the artist’s work—depicts the enjoyment of a summer day at the beach, and demonstrates Fortuny’s hallmark ability to capture light in paint. Fortuny was an especially popular artist with 19th-century American collectors and audiences, as the particularly American provenance of this work reveals. Reflecting the high esteem in which Fortuny’s works were held, Beach at Portici was featured prominently in the American Pavilion’s “Loan Collection of Foreign Masterpieces Owned in the United States” at the 1893 World’s Columbian Exposition in Chicago. Considered one of the most important international exhibitions of the 19th century, these works were selected to show off to the Fair’s wide audiences— more than 27 million people visited during its six-month run—the richness and breadth of paintings owned by American collectors and museums, and implicitly, American economic prowess, and refined taste in fine art.
Beach at Portici will be on view at the Meadows Museum beginning January 19, 2018. From June 24 through September 23, it will be the subject of a focused exhibition, At the Beach: Mariano Fortuny y Marsal and William Merritt Chase, where it will be paired with a loan from the Amon Carter Museum of American Art, Chase’s Idle Hours (c. 1894). The Spanish artist had a significant impact on many important American artists and perhaps especially on Chase, who knew his work well and greatly admired it.
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Mead Art Museum Receives $3 Million Endowment Gift, Plans New Exhibition I Thursday, January 11, 2018 I PDF
The Mead Art Museum at Amherst College announced today that it has received a gift of $3 million from John Wieland ’58 and his wife Sue to endow the Mead Director and Chief Curator position and to support contemporary art acquisitions. Long-time supporters of Amherst College and the Mead, the Wielands decided to make their gift to indicate support for a larger set of initiatives at the Museum that have included, over the last two years, a comprehensive reinstallation of the collection and an increased focus on cultivating exhibitions and programs that bring new, international voices to Amherst and more actively engage campus audiences.
In conjunction with the gift, the Mead will present a special exhibition of works from the Wielands’ collection, featuring nearly 60 pieces by more than 30 artists, including Louise Bourgeois, Edward Burtynsky, Robert Gober, Félix González-Torres, Martha Rosler, Cindy Sherman and Ai Weiwei. HOUSE: Selections from the Collection of John and Sue Wieland will open at the Mead on February 8 and remain on view until July 1.
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Worcester Art Museum Presents Exhibition & New Research On A Leonardo Mystery I Monday, January 8, 2018 I PDF
In March 2018, the Worcester Art Museum will present an exhibition revealing the hand of Leonardo da Vinci in two Renaissance panel paintings—the Museum’s A Miracle of Saint Donatus and the Musée du Louvre’s Annunciation—while reuniting these two panels for the first time since they were separated in the early 19th century. Based on recently completed technical research, The Mystery of Worcester’s Leonardo will demonstrate clearly Leonardo’s role in creating both paintings. The exhibition will open March 10, 2018 and remain on view until June 3. The A Miracle of Saint Donatus painting was discovered in 1933 and sold shortly thereafter to Theodore T. and Mary G. Ellis, patrons of the Worcester Art Museum, as a work by Leonardo da Vinci. Like Worcester’s painting, the Louvre’s Annunciation has also sometimes been attributed to Leonardo. However, most prior research led to an attribution to Lorenzo di Credi, a peer of Leonardo’s and a fellow apprentice in painter and sculptor Andrea del Verrocchio’s workshop.
“It is precisely because of the incredible skill and beauty of Leonardo’s work that we find such mystery in those with tantalizing but uncertain attributions,” said Matthias Waschek, C. Jean and Myles McDonough Director of the Worcester Art Museum. “For decades, these two paintings have held clues about Leonardo’s style. Now, thanks to this new research by Rita Albertson, the Museum’s Chief Conservator, and her colleagues, we have for the first time a better understanding of—and evidence for—Leonardo’s role as a painter of these predella panels.”
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Recent News From Our Clients, December 2017
ArtReview, December 2017: "Previewed," including Jessica Jackson Hutchins's exhibition The People's Cries, on view through December 22, 2017 at Marianne Boesky Gallery
Gallery Girl, December 28: "Gallery Girl meets Afruz Amighi," by Lizzy Vartanian Collier, on the exhibition Afruz Amighi: Echo’s Chamber, on view at Sophia Contemporary Gallery, London, until January 19, 2018
artnet news, December 25: "Afruz Amighi’s Multifaceted Feminist Sculptures Project a Sense of the Precariousness of Our Ideals—See Them Here," by Hannah Pikaart, on the artist's exhibition on view at Sophia Contemporary Gallery, London, until January 19, 2018
Hyperallergic, December 21: "Best of 2017: Our Top 20 Exhibitions Across the United States," including Nick Cave: Until, which was on view at MASS MoCA
The Art Newspaper, December 18: "The top ten museum acquisitions of 2017," by Aimee Dawson, including the Art Gallery of Ontario's acquisition of 522 photographs by Diane Arbus, making the AGO the second-largest holder of the artist's work
artnet news, December 18: "How Social Practice Artists Are Using Creative Problem-Solving to Help Revive Detroit," by Brian Boucher, including Wasserman Projects' work with artist Koen Vanmechelen and his Planetary Community Chicken project
Art Newspaper, December 15: "Three to See: London," by Aimee Dawson, including the first solo show of work by Afruz Amighi, Echo’s Chamber, at Sophia Contemporary Gallery, London, through January 19, 2018
Village Voice, December 13: "The Year in Overlooked Art," by Siddhartha Mitter, including Selah, an exhibition of work by Sanford Biggers at Marianne Boesky Gallery
FAD Magazine, December 13: "How to Show It," by Paul Carey-Kent, including Afruz Amighi’s works, on view now at Sophia Contemporary Gallery, London
Observer, December 11: "Liz Glynn Questions the Direction of American Progress at Mass MoCA," by Margaret Carrigan, on the exhibition of Glynn's work, The Archaeology of Another Possible Future, on view through Labor Day 2018
Travel & Leisure, December 5: "The 50 Best Places to Travel in 2018," by Fiorella Valdesolo, including The Berkshires, featuring MASS MoCA and its recently opened Building 6, with long-term installations from artists such as Laurie Anderson, Louise Bourgeois, Jenny Holzer, and Robert Rauschenberg
Il Sole 24 Ore, December 1: "Gallerie in corsa per i lasciti d’artista," by Silvia Anna Barrilà and Maria Adelaide Marchesoni, including the news of Marianne Boesky Gallery's announcement that the Gallery now represents the archive of Maria Lai
Frieze, December 2017: "In Profile: Jessica Jackson Hutchins," by Laura Van Straaten, on the artist's new work, now on view in the exhibition The Peoples' Cries, at Marianne Boesky Gallery through December 22, 2017
Art in America, December 2017: "Diana Al-Hadid," by Rachel Wetzler, reviewing Al-Hadid's recent exhition, Falcon's Fortress, at Marianne Boesky Gallery
The Art Newspaper, December 2017: "The top ten museum acquisitions of 2017," by Aimee Dawson, including the Art Gallery of Ontario's acquisition of 522 photographs by Diane Arbus, making the museum the second largest holder of the artist's work
The Art Newspaper, December 2017: "The Glittering Prizes," by James H. Miller, including announcements of grants by: the Terra Foundation for American Art to support public school engagement with exhibitions and projects that are part of the Foundation's Art Design Chicago initiative in 2018; the Joan Mitchell Foundation's 2017 Painters & Sculptors Grants program, providing unrestricted grants of $25,000 each to 25 artists across the U.S.
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Artist Michele Oka Doner to Create New Work for Exhibition at Wasserman Projects I Monday, December 18, 2017 I PDF
With her upcoming self-titled exhibition at Wasserman Projects, renowned artist Michele Oka Doner revisits for the first time the large-scale floor installation Pages I and II, which she created almost 40 years ago for her first solo museum show in 1978 at the Detroit Institute of Arts. For Michele Oka Doner, which opens on February 16, 2018, the artist will recreate the original installation and add Pages III and IV, extending the scope and experience of the work and re-contextualizing it within her career’s long engagement with organic forms and the evolution of language. The installation will be complemented by a selection of her recent Relics and ink drawings. Together, the works offer a lens into Oka Doner’s dynamic practice, shaped in part by her studies at the University of Michigan in Ann Arbor and her time spent living in Detroit, between 1969-1981. The exhibition will be on view through May 5, 2018.
Oka Doner’s work has been guided by a passion for the natural world and a fascination with the history held within the remnants of living things, such as twigs, leaves, seeds, shells, pods, and stones. In her diverse installations, public works, sculptures, photographs, and drawings, these organic fragments are integrated, replicated, and reimagined in new contexts that speak to the ephemeral yet enduring nature of life. Oka Doner’s works exist within a captivating tension between spiritual meditation and scientific study, as she explores the universality and interconnectedness of our world and the human desire to organize and categorize it.
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Recent News From Our Clients, November 2017
Observer, November 28: "Brooklyn-Based Artist Afruz Amighi Debuts Her Women Made of Steel," by Margaret Carrigan, reviewing Amighi's new exhibition, on view now at Sophia Contemporary Gallery, London
ARTnews, November 27: "Marianne Boesky Gallery Now Represents Archivo Maria Lai," by Robin Scher, on the new of the Gallery's work with the archive of the late Italian artist
Financial Times, November 24: "Art Market: Collecting," by Melanie Gerlis, including the announcement that the Marianne Boesky Gallery will now represent the archive of the late Italian artist Maria Lai
Jdeed, November 24: "Afruz Amighi | Echo’s Chamber," reviewing the artist's new solo exhibition, on view through January 19, 2018 at Sophia Contemporary Gallery, London
Alaska Public Media, November 21: "Along with national recognition, 2 Alaska artists awarded $25,000 each," by Casey Grove, on Alaska artists Sonya Kelliher-Combs and Drew Michael receiveing Painters & Sculptors Grants from the Joan Mitchell Foundation
Studio International, November 19: "Abstract Expressionism: Looking East from the Far West," by Lilly Wei, reviewing the exhibition of the same name, on view through January 21, 2018 at the Honolulu Museum of Art
Rivard Report, November 16: "Two San Antonio Painters Receive Prestigious Artist Grants," by Nicholas Frank, reporting on San Antonio painters Ruth Buentello and Ana Fernandez receiving unrestricted grants of $25,000 each, as part of the Joan Mitchell Foundation's 2017 Painters & Sculptors Grants
Glasstire, November 15: "S.A. Artists Receive $25K Joan Mitchell Grants," by Paula Newton, on San Antonio artists Ruth Buentello and Ana Fernandez, recipients of 2017 Painters & Sculptors Grants from the Joan Mitchell Foundation
ArtsATL, November 15: "News: Artadia Award recipients announced, Meko wins Joan Mitchell Prize," including news that artist Michi Meko is the recipient of a 2017 Painters & Sculptors Grants award from the Joan Mitchell Foundation
TRT World, November 15: "'Im/material: Painting in the Digital Age' exhibition in London," an in-depth feature on the exhibition on view through November 17 at Sophia Contemporary Gallery in London
ArtRabbit, November 15: Interview with artist Konrad Wyrebek, by Annette Rotz, one of the artists in 'Im/material: Painting in the Digital Age' exhibition, at Sophia Contemporary Gallery, London
Philanthropy New York, November 15: "ArtNet News Details Joan Mitchell Foundation 2017 Grant Recipients," picking up artnet's coverage of the Foundation's 2017 Painters & Sculptors Grants announcement
ARTnews, November 14: "Terra Foundation for American Art Gives $100,000 Grant to DePaul University’s Center for Urban Education," by Robin Scher, among a series of additional grants from the Terra Foundation in support of programs its Art Design Chicago initiative in 2018
artnet news, November 14: "Joan Mitchell Foundation Announces 2017 Grant Recipients, Making 25 Artists $25,000 Richer," by Taylor Dafoe, on the Foundation's awarding of a series of unrestricted grants to a diverse audience of artists across the United States
Artforum, November 14: "Joan Mitchell Foundation Awards $625,000 in Grants to Artists," on the announcement of the Foundation's 2017 Painters & Sculptors Grants
ARTnews, November 14: "Joan Mitchell Foundation Announces 2017 Painters & Sculptors Grant Recipients," by Robin Scher, on the Foundation's awarding of 25 unrestricted grants of $25,000 to artists across the United States, in the 24th year of this grant program
Wall Street Journal, November 13: "Winslow Homer’s Transforming Odyssey," by Lance Esplund, on the new exhibition Coming Away: Winslow Homer and England, on view through February 4, 2018 at the Worcester Art Museum
FAD Magazine, November 12: "The Top 8 Art Exhibitions to see in London this week," by Tabish Khan, including Im/material: Painting in the Digital Age, on view through November 17 at Sophia Contemporary Gallery, London
Fine Art Connoisseur, November/December 2017: "Off the Walls," including the exhibition Coming Away: Winslow Homer and England, on view through February 4, 2018 at the Worcester Art Museum
Artforum, November 10: "DePaul University Receives $100,000 Grant for Education and Exhibition Programs," announcing the Terra Foundation for American Art's grant, to support bringing Chicago Public Schools pupils to exhibitions in 2018, as part of Terra's Art Design Chicago initiative
Hyperallergic, November 10: "Art Movements," by Tiernan Morgan, including news on the Terra Foundation for American Art grant to Center for Urban Education at DePaul University, for a program to bring support arts access and education for students of Chicago Public Schools
Office Magazine, November 9: "Artists and the Internet," by Paige Silveria, interviewing artists Matt Hansel and Chris Dorland, who are featured in the exhibition Im/material: Painting in the Digital Age, on view now at Sophia Contemporary Gallery, London
Art Asia Pacific, November 2017: "Abstract Expressionism: Looking East from the Far West," by Bansie Vasvani, reviewing the exhibition of the same name, on view through January 21, 2018 at the Honolulu Museum of Art
Departures, November 2017: "Culture Calendar: 19 Things to Do in November 2017," by Rebecca Milzoff, including the exhibition Coming Away: Winslow Homer and England, on view through February 4, 2018 at the Worcester Art Museum
Asian Art Newspaper, November 2017: "Afruz Amighi: Echo's Chamber," on the artist's first UK solo show, opening November 24 at Sophia Contemporary Gallery, London
The Magazine Antiques, November 2017: "Homer's Odyssey," by Elizabeth Athens, on the exhibition Coming Away: Winslow Homer and England, on view through February 4, 2018 at the Worcester Art Museum
The Art Newspaper, November 2017: "Comings and Goings," including the appointment of Julian Cox as the new Chief Curator of the Art Gallery of Ontario, as well as the launch of the museum's new department of Canadian and Indigenous Art, naming Georgiana Uhlyarik its Fredrik S. Eaton Curator, Canadian Art and Wanda Nanibush its Curator, Indigenous Art
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Marianne Boesky Gallery Now Represents Archivo Maria Lai I Monday, November 27, 2017 I PDF
Marianne Boesky Gallery is pleased to announce representation of Archivo Maria Lai (1919-2013), marking the first time the artist will be represented in the U.S. Lai’s expressive compositions—made from a spectrum of materials, including watercolors, fabric, and clay—were influenced by literature and the oral histories of her birthplace, Sardinia. Her works, which were recently featured in Viva Arte Viva at the 57th Venice Biennale as well as at documenta 14, seamlessly combine the essence and traditions of her home with a universally compelling aesthetic vocabulary. Marianne Boesky Gallery will present a selection of cast and sewn works from Archivo Maria Lai at the upcoming edition of Art Basel Miami Beach at Booth B11, and will open the artist’s first solo exhibition in the U.S. since 1956—organized in collaboration with Lai’s niece, Maria Sofia Pisu—at its Aspen location, Boesky West, on February 16, 2018.
Performance and community-activated engagement is at the core of Lai’s career. Her most famous of these works is Legarsi alla Montagne (To Bind to the Mountain), which she created in 1981 as a “monument to the living” in response to a request to make a war memorial in her hometown of Ulassai. In this social action, inspired by a local legend, neighbors tied blue fabric together, creating a single ribbon that wove around homes and other structures until it encircled a peak that overlooked the town. The performative work served to physically and metaphorically bind the town, mountain, and people, establishing a sense of community and bringing the individual into a bigger whole. This work led to the development of other social actions initiated by Lai in cities across Italy and Europe.
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Tragic Chinese Love Story Explored in New Exhibition at Worcester Art Museum I Wednesday, November 15, 2017 I PDF
The tragic love story of the historic Chinese emperor Ming Huang (reigned 712-756) and his consort Yang Guifei has inspired artists, musicians, and writers across Asia for centuries. It is now the focus of a new exhibition, Dangerous Liaisons Revisited, opening at the Worcester Art Museum on January 20, 2018. Centered on the Museum’s 14th- to 17th-century Ming period handscroll painting, Ming Huang and Yang Guifei Listening to Music, the exhibition explores the story’s enduring appeal through 25 works ranging from the 7th to the 21st century, including tomb sculptures, ink paintings, prints, historical musical instruments, and contemporary works. The exhibition remains on view until April 22, 2018.
Dangerous Liaisons Revisited explores three main themes: the shifting representation and meaning of the famous love story of Ming Huang and Yang Guifei in later Chinese and Japanese art and culture; the role of music at the Chinese imperial court and as a metaphor for human desires; and the significance of the golden age of the Tang dynasty for later generations of artists, from the anonymous Ming period artist of the Worcester Art Museum’s handscroll painting to contemporary artists.
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25 Artists Will Receive $25,000 Each From Joan Mitchell Foundation I Tuesday, November 14, 2017 I PDF
The Joan Mitchell Foundation today announced the 2017 recipients of its annual Painters & Sculptors Grants—a diverse group of 25 artists who will each receive an unrestricted grant of $25,000. The Painters & Sculptors Grants were created in direct response to artist Joan Mitchell's instructions that a portion of her estate be used to “aid and assist individual painters and sculptors.” The grants focus in particular on artists whose work has contributed to important artistic and cultural dialogues, but who have nonetheless remained under-recognized on a national level. One of several grant programs run by the Foundation, awardees also become eligible to apply for residencies at the Joan Mitchell Center in New Orleans, which opened in 2010 to provide both national and local artists with additional space and support to develop their practices.
This year’s recipients of the Painters & Sculptors Grants represent a wide range of artistic practices and demographics. The artists range in age from 27 to 62, hail from 12 states in all regions of the U.S., including two artists from Alaska and one from Hawaii, and eighty percent identify as nonwhite. Their work explores some of the most pressing issues of our time, including the immigrant experience, transgender rights, the housing crisis, racial and economic inequality, global warming, and Confederate monuments, and employs a broad array of materials and processes. They join more than 500 contemporary artists who have received Painters & Sculptors Grants over the last 24 years, including many luminaries supported early in their careers.
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Terra Foundation Announces New Grants for Art Design Chicago, 2018 I Thursday, November 9, 2017 I PDF
The Terra Foundation for American Art announced today that following its October board meeting, it has awarded several new grants to support education and exhibition programs for Art Design Chicago, a wide-ranging initiative spearheaded by the Foundation and developed in partnership with more than 60 cultural organizations to explore Chicago’s art and design legacy. Among them is a grant of up to $100,000 to the Center for Urban Education at DePaul University to provide Chicago Public Schools (CPS) students and teachers with access to Art Design Chicago exhibitions and to enhance the core curriculum. The project, which will be guided by Dr. Barbara Radner, an associate professor at the University and the director of the Center, will enable schools in low-income neighborhoods to make field trips to a range of cultural organizations participating in Art Design Chicago, along with professional development for teachers and educational materials to incorporate explorations of artworks into their curricula. It is expected to serve approximately 4,500 students in grades 6-12 and 150 teachers across 50 schools throughout 2018.
Dovetailing with Art Design Chicago’s mission to illuminate the under-recognized contributions of Chicago’s creative communities, the DePaul program aims to provide access for students to Chicago’s many cultural institutions, increase awareness of the city’s artistic legacy, and enhance the scope of CPS’s social science, literacy, and visual arts curricula. While field trips will focus on Art Design Chicago exhibitions, the program is intended to inspire an ongoing engagement with American art, and to advance teachers’ skills in guiding students to think critically about art and its relationships to American history and culture as well as their own lives. This long-term vision aligns with the Terra Foundation’s ongoing support for programs that bring American art into Chicago’s classrooms. Students will create their own Art Design Chicago exhibits to inspire their school communities. In addition to the classroom-based activity, program leaders will work with CPS Community Schools, which serve to meet both academic and non-academic needs of families in different communities, to organize parent and family visits to Art Design Chicago exhibitions and events, which will take place from January through December 2018.
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Recent News From Our Clients, October 2017
artnet news, October 26: "35 Unmissable Gallery Shows to See in New York City This November," by Sarah Cascone, including Jessica Jackson Hutchins: The People’s Cries, on view at Marianne Boesky Gallery from November 2 - December 22, 2017
FAD Magazine, October 25: "Review: Im/material: Painting in the Digital Age (Sophia Contemporary)," by AJ Dehany, on the exhibition currently on view at Sophia Contemporary, London
Inside Philanthropy, October 20: "What Has the Terra Foundation for American Art Been Funding in Chicago Lately?," by Alyssa Ochs, reporting on the Terra's Art Design Chicago initiative, which takes place across sites in Chicago throughout 2018
Hyperallergic, October 19: "Sanford Biggers Summons the Power of Deep Music," by Seph Rodney, on Biggers' solo exhibition at Marianne Boesky Gallery, on view through October 21, 2017
Arte Fuse, October 17: "Sanford Biggers at Marianne Boesky: Intentionally Woke, Unintentionally Groovy," by Ariana Akbari, on the recent solo exhibition of works by Sanford Biggers at Marianne Boesky Gallery
ArtRabbit, October 13: "Studio Envy: Painting in the Digital Age," by Annette Rotz, interviewing artist Ry David Bradley on his work and participation in the exhibition Im/material: Painting in the Digital Age, on view now at Sophia Contemporary Gallery, London
ARTnews, October 12: "Julian Cox Named Chief Curator and Deputy Director of Art Gallery of Ontario," by Alex Greenberger, on the museum's new hire
Time Out New York, October 4-10: "Sanford Biggers," by Joseph R. Wolin, reviewing Biggers' first solo exhibition at Marianne Boesky Gallery, on view through October 21, 2017
Brooklyn Rail, October 5: "DIANA AL-HADID: Falcon's Fortress," by Steven Pestana, reviewing the artist's new exhibition, on view through October 21, 2017 at Marianne Boesky Gallery
Brooklyn Rail, October 5: "SANFORD BIGGERS: Selah," by Steven Pestana, reviewing the artist's first solo exhibition at Marianne Boesky Gallery, on view through October 21, 2017
artnet news, October 5: "Must-See Art Guide: London," by Tatiana Berg, including the exhibition Im/material: Painting in the Digital Age, on view through November 17 at Sophia Contemporary Gallery
Interior Design, October 2017: "Afruz Amighi Showcases Steelwork and Sketches at London's Sophia Contemporary Gallery," by Annie Block, on view at Sophia Contemporary Gallery beginning November 23, 2017
The Mayfair Magazine, October 2017: "The World As We Know It," featuring the exhibition Im/material, opening September 29, 2017 at Sophia Contemporary gallery in London
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Art Gallery of Ontario names Julian Cox its new Chief Curator| Thursday, October 12, 2017| PDF
The Art Gallery of Ontario (AGO) is pleased to announce that Julian Cox has been appointed its new Chief Curator. With 25 years of museum experience, the British-born Cox—who is currently the Chief Curator and Founding Curator of Photography for the Fine Arts Museums of San Francisco (FAMSF)—begins his tenure in January 2018, pending approval of authorization to work in Canada. In his capacity as Chief Curator, Cox will also become the Gallery’s second Deputy Director, joining Alicia Vandermeer, Deputy Director and Chief Advancement Officer.
Since 2010, Cox has directed FAMSF’s renowned curatorial team working across two museums, the de Young and the Legion of Honor. As Chief Curator, he led curatorial activities in art of the Americas, Oceania and Africa, Ancient art, European Paintings and European Decorative Arts and Sculpture, Prints and Drawings, American art, contemporary art and international textiles and costume. He has also overseen FAMSF’s conservation, library and publications staff. Cox has considerably strengthened FAMSF’s curatorial endeavours in photography—his field of expertise—leading a robust program of exhibitions and scholarly projects, and increasing the collection by almost twenty per cent to more than 5,000 works. Cox has also published and lectured extensively, giving recent presentations on American civil rights and media culture at the Cincinnati FotoFocus Biennal and on photography and social activism at the Whitney Museum of American Art, New York.
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Terra Foundation Releases Exhibition Roster for Art Design Chicago | Wednesday, October 11, 2017| PDF
Spearheaded by the Terra Foundation for American Art, Art Design Chicago is a year-long initiative that explores Chicago’s role as a catalyst and incubator for innovations in art and design. Focusing on the period between the 1871 Chicago Fire and the turn of the 21st century, Art Design Chicago will feature more than 25 exhibitions, several new scholarly publications, a documentary, as well as hundreds of academic and public programs, presented from January–December 2018. Together, these activities shine a light on Chicago’s art and design legacy, providing new insights into the city’s enduring influence on fine and decorative arts, graphic and commercial design, product development, and film, and revealing lesser-known narratives of ingenuity and perseverance.
Art Design Chicago was developed in partnership with more than 60 cultural organizations throughout the City of Chicago and beyond, which range widely in scale, mission, and approach. While the majority of the initiative’s activity will take place in and around Chicago, several of the exhibitions are expected to tour nationally and internationally and others will open at organizations across the U.S. To support the success of Art Design Chicago, Terra Foundation is investing more than $6.5 million, with monies going toward research and development as well as implementation grants to cultural partners, and promotional and administrative costs for the initiative. Additional support for Art Design Chicago is provided by Presenting Partner The Richard H. Driehaus Foundation, Leslie Hindman Auctioneers, the John D. and Catherine T. MacArthur Foundation, and the Joyce Foundation. The Chicago Community Trust and Leo Burnett are providing in-kind support.
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Recent News From Our Clients, September 2017
Wired, September 29: "Meet the artists using tech to preserve our history," by Sian Bradley, looking at the art and practice of Konrad Wyrebek and Ry Bradley, featured in the exhibition Im/material: Painting in the Digital Age, now open at Sophia Contemporary Gallery in London
Observer, September 28: "Best New Art Spaces to Visit This Fall," by Maggie Carrigan, including Boesky West, the new gallery and residency space opened in Aspen by the New York-based Marianne Boesky Gallery
Wall Street Journal, September 25: "A Rare Visit From a Family of Kings," by Judith H. Dobrzynski, reviewing the premiere of the exhibition Zurbarán: Jacob and His Twelve Sons, Paintings From Auckland Castle, on view through January 7, 2018, at the Meadows Museum in Dallas
Hyperallergic, September 25: "Art Amid Governors Island’s Architectural Decay," by Allison Meier, on the 10th edition of the Governors Island Art Fair, open weekends through October 1, 2017
CBS Sunday Morning, September 24: "The New Season: Art," by Anna Werner, including the exhibition Abstract Expressionism: Looking East from the Far West, on view through January 21, 2018 at the Honolulu Museum of Art
ARTnews, September 22: "John Houck Is Now Represented by Marianne Boesky," by Alex Greenberger, also including mention of Houck's exhibition currently on view at Boesky West in Aspen
The Clyde Fitch Report, September 22: "Sanford Biggers Sculptures Evoke Violent History," by Carol Strickland, reviewing Biggers' new solo exhibition, titled Selah, on view now at Marianne Boesky Gallery
artnet news, September 20: "A Hip, New Old Master? Why Americans Should Get Excited About 17th-Century Painter Francisco de Zurbarán," by Henri Neuendorf, on the exhibition of Zurbaran's series of painting, premiering at the Meadows Museum in Dallas
Artforum, September 15: "Sanford Biggers," a review by Wendy Vogel of the artist's new solo exhibition, titled Selah, at Marianne Boesky Gallery
The New York Times, September 13: "What to See in New York Art Galleries This Week," including a review of the exhibition Selah, Sanford Biggers' first solo exhibition at Marianne Boesky Gallery, on view through October 21
artnet news, September 7: "Here Are 51 New York Gallery Shows That You Need to (Somehow) See This September," by Sarah Cascone, including Diana Al-Hadid: Falcons’ Fortress, a new solo exhibition for the artist, opening September 17 at Marianne Boesky Gallery
The Art Newspaper, September 5: "Trump University’s lesson in heartless capitalism comes home to New York," looking at the installation Real Estate Goldmine, by Joshua Starcher and Melissa Estro, on view now as part of the Governors Island Art Fair
Hyperallergic, September 4: "A Retrospective of Andrew Wyeth, a Painter Both Loved and Loathed," by Rob Colvin, reviewing the exhibition Andrew Wyeth: In Retrospect at the Brandywine River Museum of Art
Gothamist, September 3: "Stately Governors Island 'Colonels Row' Houses Filled With Wild Art," by Scott Lynch, on the opening of the Governors Island Art Fair for its 10th season
artnet news, September 1: "The Island of Emerging Art: Governors Island Nourishes Rising Talents With Its Latest Art Fair," by Sarah Cascone, reviewing the 10th edition of the Governors Island Art Fair, open weekends through October 1
The Art Newspaper, September 2017: "Zurbarán's Jacob reunites with his sons in Texas," by Pac Pobric, previewing the new exhibition opening September 17 at the Meadows Museum that brings together the artist's series of 13 life-size paintings of the Biblical patriarch Jacob and his 12 sons
THE Magazine, September 2017: "Field Report: Aspen," by Lauren Tresp, including the exhibition John Houck: Tenth Mountain, on view through October 1, 2017 at Boesky West
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Artist John Houck Joins Marianne Boesky Gallery I Friday, September 22, 2017 I PDF
Marianne Boesky Gallery is pleased to announce representation of artist John Houck, whose layered and dynamic compositions challenge preconceived notions of photography as a genre of true-to-life representation. Houck joins the gallery following the successful opening of his solo exhibition, Tenth Mountain, at Boesky West in Aspen, Colorado this summer. The exhibition marks the first in-depth exploration of the artist’s increasing use of painterly gesture in his photographic work, and remains open through October 1, 2017. The gallery will also present a selection of the artist’s work at the upcoming edition of Art Basel Miami Beach.
Houck makes his images through a systematic re-photographing that produces a complex set of relationships between figure and ground and defies a clear understanding of the real and created. In this process, the artist takes a set of objects—often with personal meaning—and captures them multiple times. With each iteration, the objects are repositioned atop of their own images. The resultant work is a kind of photograph of itself, seen through a multitude of perspectives. The unfixed nature of Houck’s compositions is further complicated by the artist’s introduction of painterly mark-making, which he incorporates in both the objects being photographed and the photographs themselves. These actions transform the photograph into a screen through which the composition is gradually developed, examined, and remade.
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Artist Diana Al-Hadid to Present New Work at Marianne Boesky Gallery I Wednesday, September 6, 2017 I PDF
Marianne Boesky Gallery is pleased to present Falcon’s Fortress, Diana Al-Hadid’s third solo exhibition with the gallery. The exhibition brings together the artist’s largest presentation of wall works in New York along with new sculptures and works on Mylar, all of which are created by layered drips of material that form both their physicality and imagery. These seemingly frozen drips evoke a mythic realm, simultaneously in the throes of creation and dissolution, where landscape and architecture meld and the historic feels present and immediate. Falcon’s Fortress will be presented from September 16 through October 21 in the gallery’s 509 W. 24th Street location.
Al-Hadid returns to an interest sparked seven years ago in innovations in early time-telling devices, namely those perfected by the 13th century Islamic Golden Age inventor and important scholar Al-Jazari, and outlined in his “Book of Knowledge of Ingenious Mechanical Devices.” Where she previously took inspiration from him for the creation of a fictional water clock, for this show she closely examines his candle clock devices, which measure the passage of time by the decreasing weight and shortening length of candlesticks. For one such work, Al-Hadid constructs the core operational elements of the “Candle Clock of the Swordsman,” adding her own design modifications to expose the internal mechanics for audiences to view.
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Recent News From Our Clients, August 2017
New York 1, August 31: "Your Weekend Starts Now 8/31/17," by Stephanie Simon, including a preview for the opening of the Governors Island Art Fair
Architectural Digest, August 31: "Sanford Biggers Makes Art Out of Antique Quilts," by Carly Olson, on Selah, Biggers' first solo exhibition at Marianne Boesky Gallery, on view through October 21, 2017
Metro NY, August 31: "Best things to do on Labor Day Weekend 2017," including the Governors Island Art Fair, which runs weekends through October 1, 2017
The New York Times, August 30: "An Art Fair for the 99 Percent," by Daniel McDermon, previewing the 10th edition of the Governors Island Art Fair with a focus on five of the 100 artists participating this year
Hyperallergic, August 30: "The Governors Island Art Fair Launches This Weekend," by Elisa Wouk Almino, previewing the Fair's opening
Condé Nast Traveler, August 26: "What to Do in the Berkshires," by Kate Donnelly, including MASS MoCA and its new James Turrell installations, part of the works installed in Building 6, which opened earlier this year
Hyperallergic, August 25: "A Cybernetic Bestiary Made of Disposable Packaging," by Christopher Snow Hopkins, reviewing the installation of bioluminescent kinetic sculptures by artist Shih Chieh Huang, on view through November 12, 2017 at the Worcester Art Museum
Time Out New York, August 23: "One of NYC's best art fairs returns to Governors Island next month," by Jennifer Picht, on the 10th edition of the Governors Island Art Fair, opening Saturday, September 2, 2017
The Art Newspaper, August 22: "Unsung (Asian-American) heroes of Abstract Expressionism," previewing the upcoming exhibition Abstract Expressionism: Looking East from the Far West, opening September 7, 2017 at the Honolulu Museum of Art
ARTnews, August 17: "John Houck at Boesky West, Aspen," on the new exhibition John Houck: Tenth Mountain, on view through October 1, 2017
artnet news, August 9: "Need to Get Out of the City? Here Are 5 Art-Themed Day Trips for Summer’s Dog Days," by Henri Neuendorf, including the Worcester Art Museum and MASS MoCA
artnet news, August 8: "Art Industry News: Pussy Riot Members Detained After Protest in Siberia + More Must-Read Stories," including the news that the 2017 edition of the Governors Island Art Fair will expand into the Island's Liggett Hall for the first time
artnet news, August 3: "Must-See Art Guide: Aspen," by Libby Langsner, including the exhibition John Houck: Tenth Mountain, at Boesky West
Financial Times, August 2: "Mass MoCA — a revelation round every corner," by Ariella Budick, reviewing the new installations and exhibitions at MASS MoCA, at which she writes "the landscape of contemporary art opens up in successive bursts of revelation."
Apollo, August 2: "Acquisitions of the month: July 2017," including the San Antonio Museum of Art's acquisition of 31 portraits of Latino Americans by artist Timothy Greenfield-Sanders
Whitewall Magazine, August 1: "Where to Sip, Stay, and See Art in Aspen," by Eliza Jordan, including the exhibition John Houck: Tenth Mountain at Boesky West
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How England Transformed Winslow Homer, at the Worcester Art Museum I Wednesday, August 23, 2017 I PDF
From March 1881 through November 1882, iconic American artist Winslow Homer lived in the small fishing village of Cullercoats on the northeastern coast of England—a period that was pivotal in the development of his work. This November, this crucial period in Homer’s life will be explored in a new exhibition at the Worcester Art Museum. Coming Away: Winslow Homer and England will show how the landscape of England, the artists he met there, and the reviews his work received while abroad all had a profound impact on his career. Featuring 50 works by Homer, as well as paintings by his English contemporaries, the exhibition is organized in collaboration with the Milwaukee Art Museum, and will be on view at Worcester from November 11, 2017 through February 4, 2018, and at Milwaukee from March 2 through May 10, 2018.
Coming Away demonstrates how new influences impacted Homer’s artistic development during and after his stay in England, and how this time exacerbated the tensions he felt between the traditional nature of his subject matter and the modernity of his aesthetic vision. By the 1870s, Homer (1836-1910) had already established himself as a successful artist in the United States, receiving widespread acclaim for his paintings, watercolors, and prints. In March 1881, the artist travelled to England, most likely spurred by the growing interest in British art in the United States as well as the success of his work there (his 1876 painting The Cotton Pickers – on view in the exhibition – was a highlight of the 1878 summer exhibition at the Royal Academy of Arts). While in England, Homer engaged with the work of the country’s masters, including Joseph Mallord William Turner and Sir Lawrence Alma-Tadema, as well as with paintings by regional artists from the coastal village of Cullercoats, where he established a studio. He also purchased two cameras at this time, suggesting his interest in contemporary forms of picture making.
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4heads to Celebrate 10th Anniversary of Governors Island Art Fair in September I Monday, August 7, 2017 I PDF
On September 2, 4heads will open the 10th edition of the Governors Island Art Fair (GIAF), featuring work by 100 new and returning artists presented in the historic homes on Colonels Row and for the first time in the ground floor spaces of Liggett Hall. When 4heads launched GIAF in 2008, the artist-run nonprofit was among the first cultural organizations to recognize the tremendous potential of Governors Island as a must-go cultural destination. Over the last ten years, as interest in and the redevelopment of Governors Island has grown, 4heads has remained committed to activating the diversity of buildings and sites across the Island, providing at once a dynamic presentation platform for today’s working artists and bringing attention to the historic significance of the structures the fair occupies. Today GIAF heralds the start of the fall visual arts season in New York, with a spirited atmosphere that encourages conversation between artists and visitors and challenges the established fair paradigm as one exclusively for art connoisseurs. GIAF will be open every Saturday and Sunday through October 1.
The first iteration of GIAF was presented in Building 114, a former nurses’ residence erected in 1934, and included 52 artists, working predominantly in two-dimensional media. With each year, GIAF has explored new ways of engaging with the architectural environments available on Governors Island and expanded to encompass artists working across painting, photography, sculpture, video, sound, and mixed-media installation. For the 2017 edition, GIAF will feature a wide range of artists from across the U.S., including from Baltimore, Chicago, Cincinnati, Columbus, New York City, and locations in California, Georgia, Maine, Massachusetts, New Jersey, Pennsylvania, and Virginia, among others, as well as international artists from Beijing, Helsinki, Seoul, Tel Aviv, Toronto, Warsaw, and locations in Ecuador, Ethiopia, Germany, and Lithuania. GIAF will occupy spaces in Colonels Row and Liggett Hall—located directly across from Colonels Row—as well as a range of outdoor locations between the two sites.
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Artist Sanford Biggers to Open First Solo Show at Marianne Boesky Gallery I Tuesday, August 1, 2017 I PDF
Marianne Boesky Gallery is pleased to present Sanford Biggers’ Selah, the artist’s inaugural solo exhibition with the gallery. Taking inspiration from American History and the human form, Biggers will create an experience that highlights often overlooked cultural and political narratives through symbolic gestures and imagery. Selah will be on view from September 7 to October 21, 2017 in the gallery’s 507 W. 24th Street space, with a special installation presented in one of the gallery’s viewing rooms.
Biggers’ expansive body of work encompasses painting, sculptures, textiles, video, film, multi-component installations, and performance. His syncretic practice positions him as a collaborator with the past, adding his own voice and perspective to those who made and used the antique quilts, African sculptures, and cultural imagery his work references. Biggers cuts, paints, reshapes, and alters objects and images—both found and created by himself—leveraging their formal and conceptual qualities to reimagine and amplify certain narratives and perspectives. His works speak to current social, political, and economic happenings as well as to the historic context that bore them. The interrelated components and aesthetic diversity of Biggers’ works provide a multifaceted platform for dialogue and debate.
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Rediscovered Images Of An Early 20th-Century Community Of Color I Tuesday, August 1, 2017 I PDF
This October, the Worcester Art Museum, in collaboration with Clark University, opens a new exhibition of stunning portraits of people of African-American and Native American descent. Rediscovering an American Community of Color: The Photographs of William Bullard provides a unique window into an American community of color following Reconstruction into World War I, a period of African American U.S. history that is often overlooked. It is the first exhibition drawn from an archive of over 5,400 glass negatives left behind by Bullard, a white photographer active in Worcester and across central Massachusetts between 1897 and 1917. Taken primarily in Worcester’s Beaver Brook neighborhood, where Bullard also lived, these images offer a unique look at a community made up of recent Southern migrants, people of Native American descent, Black Yankee families, and a handful of immigrants from the Caribbean. Unusual for the period, Bullard left behind a logbook identifying the names and places of nearly 1,000 of his photographs, including over 80 percent of his portraits of people of color. This makes the collection especially rare, as it is possible to tell the personal stories of many of Bullard’s sitters.
Rediscovering an American Community of Color: The Photographs of William Bullard opens on October 14, 2017. Co-curated by Nancy Kathryn Burns, the Museum’s Associate Curator of Prints, Drawings, and Photographs, and Janette Thomas Greenwood, Professor of History at Clark University, the project brought together scholars, students, descendants of Bullard portrait sitters, and community members. Working with Frank Morrill, owner of the Bullard collection of negatives, Greenwood connected with many living descendants, collecting valuable oral histories. Clark University students, who helped research the photographs and prepare the exhibition, also met with descendants and gathered family stories that provide context for the photographs. A community advisory board, made up of local descendants and community leaders, also linked researchers with family members.
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Recent News From Our Clients, July 2017
artnet news, July 31: "Artist Shih Chieh Huang on Using New Technology to Bring Trash to Life," by Sarah Cascone, on the new installation but Huang, on view now at the Worcester Art Museum
Artforum, July 26: "San Antonio Museum of Art Gifted Thirty-One Portraits by Timothy Greenfield-Sanders," announcing the latest acquisition by the Museum, building its contemporary art collection and recognizing the impact of Latino Americans
ARTnews, July 26: "San Antonio Museum Receives 31 Portraits of Latinx Americans by Timothy Greenfield-Sanders," by Maximilíano Durón, on the acquisition of these large-scale portraits celebrating the accomplishments of Latino Americans across the spectrum of American society and culture
The New Yorker, July 24: "Goings On About Town," including the exhibition Cells, on view now at Marianne Boesky Gallery, a "ten-person show of works that flirt with functionality is as fun as a visit to Pee-wee’s Playhouse."
The Wall Street Journal, July 15: "‘Andrew Wyeth: In Retrospect’ Review: Reassessing a Mythic Painter," by Richard B. Woodward, reviewing the major exhibition of Wyeth's works on view at the Brandywine River Museum of Art through September 17, 2017
Time Out New York, July 14: "Check out the best group exhibitions at galleries this summer," by Howard Halle, including the new exhibition Cells, now on view at Marianne Boesky Gallery, "which features nine artists offering works that range from Jackson Hutchins’ papier mache couch to sound artist Jennie C. Jone’s 'acoustic abstractions.'"
Surface, July 11: "A Wonka Wonderland Opens at Marianne Boesky," by Mariana Fernandez, on the new exhibition Cells, a "a boundary-breaking installation filled with surreal designs," on view now
Art in America, July 11: "Emphasis on the Magic: A Wyeth Retrospective," by Carol Strickland, reviewing the major retrospective of Andrew Wyeth's work on view now at the Brandywine River Museum of Art
Creators Project on Vice, July 7: "John O'Reilly on the Literary Muses That Shaped His 50-Year Art Career," by Nathaniel Ainley, interviewing the artist whose work is now the focus of a retrospective at the Worcester Art Museum, on view through August 13, 2017
Architectural Digest, July 7: "Marianne Boesky Gallery's Latest Show Combines Design and Art," by Carly Olson, on "Cells," the Gallery's new exhibition featuring works by the Haas Brothers, Cosima von Bonin, Matthias Bitzer, Jorge Pardo, Jessica Jackson Hutchins, and more
Apollo, July 6: "Acquisitions of the month: June 2017," including the acquisition of 522 works by Diane Arbus by the Art Gallery of Ontario, making the museum the world's second-largest collector of Arbus
Hyperallergic, July 3: "Study Finds Museum Salaries Are Rising Across the Board, Despite Huge Disparities," by Benjamin Sutton, on the recently released survey of museum salaries, available here (http://bit.ly/AAMD2017SalarySurvey) from the Association of Art Museum Directors (AAMD)
Photograph Magazine, July/August 2017: "Interview: John O'Reilly," on O'Reilly's "complex, semi-autobiographical photo collages," time with the retrospective of O'Reilly's work on view at the Worcester Art Museum through August 13
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31 Portraits By Timothy Greenfield-Sanders Given To San Antonio Museum Of Art I Wednesday, July 26, 2017 I PDF
The San Antonio Museum of Art today announced that it will receive 31 portraits from noted American photographer Timothy Greenfield-Sanders’ Latino List series. Known for his large-format portraits, the group of Greenfield-Sanders works includes images of accomplished Latinos who span the worlds of culture, business, politics, and sports. The Latino List continues work Greenfield-Sanders has done previously to document the struggles and the accomplishments of different communities, including his Black List series of portraits of notable African-Americans. A promised gift from Houston-based art dealer and collector Hiram Butler and his spouse Andrew Spindler-Roesle, the works will go on view at the Museum in October 2017 as an exhibition titled The Latino List: Photographs by Timothy Greenfield-Sanders.
“Giving the Latino List to the San Antonio Museum of Art memorializes old friendships and shared values,” said donor Hiram Butler. “This group of photographs is especially important to me, as I grew up in Eagle Pass speaking Spanish, and San Antonio was my connection to the larger world of culture. Museum Trustee Banks Smith and I have known one another since we entered the University of Texas in 1970, while Timothy Greenfield-Sanders and I have been friends and worked together since 1979. I want my gift to acknowledge Banks and the friendship he has shown me—and to support an institution that does so much to share the art of cultures from around the world.”
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Boesky West to Open Solo Exhibition of New Work by Artist John Houck I Wednesday, July 26, 2017 I PDF
Marianne Boesky Gallery is pleased to present an exhibition of new work by Los Angeles-based artist John Houck at its recently opened Aspen, CO location, Boesky West. The exhibition marks an important shift for the artist as he more deeply embraces painting as part of his photography practice, furthering the compositional complexity of his work. Titled Tenth Mountain, a reference to the Tenth Mountain Division of the United States Army of which his grandfather was a part, the show also emphasizes the ongoing importance of personal narratives to Houck’s creative process. The exhibition will be on view from July 27 through October 1, 2017.
Many of Houck’s prior works have depicted mementos from his past, dug up from his childhood and given—or re-given—to him by his parents. Houck’s interest in representing elements of his personal history stem from his intimate engagement with psychoanalysis—one school of which relates childhood experience to adult identity. For Tenth Mountain, Houck explores the images, objects, and narratives that engage his memories of growing up in the awe-inspiring environs of Colorado and his family’s broader connections to the rugged landscape. The Tenth Mountain division was trained specifically for combat in extreme mountainous and arctic conditions, including specialized training on skis. Many members were trained in the Colorado Rockies and returned to start ski resorts such as Vail. Houck’s grandfather’s belongings related to this period of his life have long captivated the artist, and the featured works, most of which were created especially for the show, feel particularly resonant at Boesky West.
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Im/material: Painting in the Digital Age I Wednesday, July 26, 2017 I PDF
Sophia Contemporary is proud to present Im/material: Painting in the Digital Age, a group show of young contemporary artists investigating the nature of painting in today’s digital age. Featuring eight international artists all under the age of forty - Martin Basher, Michael Bell-Smith, Ry David Bradley, Chris Dorland, Matthew Hansel, Anna Ostoya, Josh Reames, and Konrad Wyrebek - the exhibition reflects on the role of painting in a post-internet age where digital imagery is omnipresent. Through varying formal and conceptual strategies, the featured artists question the boundaries of painting at a time when software and machines can replicate the functions of easel, canvas, and paint, and contemporary imagery is increasingly viewed and consumed through computer screens and devices. The exhibition will open to the public with a reception from 6-8PM on Thursday, September 28, and will remain on view through November 17.
The eight artists included in the show all grew up with computers and the internet as ubiquitous media through which images are produced and consumed. All of the artists were chosen for approaching painting as a way to draw attention to and reimagine digitally produced images, slowing them down to examine their meaning and impact, both in relationship to art history and our daily consumption of them. The eighteen works in the exhibition explore subjects including imagery related to advertising, branding, and corporate culture; the flattening of hierarchies between perceived high and low art; the blurred boundaries between the handmade and the technological; and the visual manifestation and capturing of speed as images move through digital frameworks.
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Recent News From Our Clients, June 2017
Hyperallergic, June 30: Daily news round-up includes the Art Gallery of Ontario's acquisition of 522 works by Diane Arbus, as well as the appointment of four new curators; also includes the Terra Foundation's announcement of $2.5 million in grants to support its Art Design Chicago series of programs in 2018
artnet news, June 30: Daily news round-up includes the announcement of $2.5 million in grants by the Terra Foundation for American Art, to support new exhibitions and programs as part of its Art Design Chicago initiative in 2018
Apollo, June 30: "Study suggests pay increase across US museum sector," reporting on the newly released survey of museum salaries from the Association of Art Museum Directorsp
Observer, June 29: "Revealing Stats on Museum Salaries May Make You Reconsider That Arts Degree," by Alanna Martinez, noting that data from "...the Association of Art Museum Directors reveals that some jobs pay more than others but even the average median salary has seen an increase"
The Art Newspaper, June 29: "Outlook is sunny for museum employees, AAMD survey says," by Victoria Stapley-Brown, reporting on the newly released Salary Survey from the Association of Art Museum Directors (AAMD), available as a free download at http://bit.ly/AAMD2017SalarySurvey
Artforum, June 29: "Terra Foundation for American Art Awards $2.5 million in Grants for Art Design Chicago Projects," on the latest series of grants in support of new exhibitions and programs for Art Design Chicago, taking place throughout 2018
artnet news, June 29: "Here’s Exactly How Much Everyone Who Works in a Museum Can Expect to Make," by Julia Halperin, drawing on data from the newly released salary survey from the Association of Art Museum Directors (AAMD)
Artforum, June 29: "New Study Reveals Increasing Salaries in Museum Field," on the newly release Salary Survey from the Association of Art Museum Directors (AAMD), made available for free for the first time this year
ARTnews, June 29: "Terra Foundation Gives $2.5 M. to Groups for 2018 Art Design Chicago," by Robin Scher, on a series of 15 grants to Chicago-based organizations, in support of the Art Design Chicago initiative taking place throughout 2018
ARTnews, June 27: "Art Gallery of Ontario Adds Four New Curators," by Alex Greenberger, on the museum's hiring of curators Julie Crooks, Alexa Greist, Wanda Nanibush, and Caroline Shields
Artforum, June 27: "Art Gallery of Ontario Appoints Four New Curators," on the new curatorial hires across the museum's Canadian and Indigenous art, photography, prints and drawings, and European art departments
artnet news, June 26: "See the Diane Arbus Photographs Acquired by Art Gallery of Ontario," on the museum's acquisition of 522 works by Arbus, an acquisition supported by a group of AGO donors
Apollo, June 26: "Art Gallery of Ontario acquires 522 Diane Arbus photographs," on the AGO's acquisition, making the museum the world's second largest collector of Arbus's works
The Art Newspaper, June 24: "Art Gallery of Ontario goes from zero to number two with Diane Arbus acquisition," by Hadani Ditmars, on the AGO's acquisition of a major collection of works by Diane Arbus
Financial Times, June 23: "The Art Market," by Melanie Gerlis, reporting on the acquisition of 522 photographs by Diane Arbus by the Art Gallery of Ontario, making the AGO the world's second largest collector of Arbus's work
ARTnews, June 23: "Art Gallery of Ontario Acquires 522 Diane Arbus Photographs," by Alex Greenberger, announcing the major new acquisition of Arbus works by the AGO
Artforum, June 23: "Art Gallery of Ontario Acquires 522 Diane Arbus Photographs," on the museum's acquisition of a major collection of photographs by Arbus
Wired, June 20: "Let’s Slice Open the Biggest Contemporary Art Museum in the US," by Margaret Rhodes, on the MASS MoCA's new, long-term installations in Building 6
New York Post, June 19: "Massachusetts’ artsiest enclave gives NYC a run for its money," by Barbara Hoffman, on MASS MoCA's newly opened Building 6, and other cultural activities to do while visiting the Berkshires
The New York Times, June 16: "Unclothed in Andrew Wyeth’s Art," by Ted Loos, on some of the issues explored in the upcoming exhibition Andrew Wyeth: In Retrospect, opening June 24, 2017 at the Brandywine River Museum of Art
The New York Times, June 16: "MASS MoCA: It’s a Site for All Eyes," by Roberta Smith, comprehensively reviewing MASS MoCA's new long-term installations from artists Laurie Anderson, Louise Bourgeois, Jenny Holzer, Robert Rauschenberg, and James Turrell, as well as current exhibitions by Nick Cave, Tanja Hollander, Lonnie Holley, and Dawn DeDeaux
Hyperallergic, June 13: "A Journey Through James Turrell’s Disorienting World at the Newly Expanded MASS MoCA," by Christopher Snow Hopkins, tied to MASS MoCA's recent opening of Building 6
Hyperallergic, June 6: "Meandering Through MASS MoCA’s Vast Expansion," by Alex Jen, on the newly opened Building 6 at MASS MoCA, featuring long-term installations from artists Laurie Anderson, Louise Bourgeois, Jenny Holzer, Robert Rauschenberg, and James Turrell, among others
Art in America, June 1: "Postcommodity," by David Markus, on the artist collective's solo exhibition at Art in General
ARTnews, June 1: "Rethinking the Town Hall: Nick Cave on ‘Until,’ His Massive MASS MoCA Installation," by Robin Scher, on Nick Cave's installation open through August 2017
Modern Painters, June/July 2017: "A Theory of Evolution," by Margaret Carrigan, on the upcoming solo exhibition of works by Shih Chieh Huang, opening June 24, 2017 at the Worcester Art Museum
Modern Painters, June/July 2017: "Staying Grounded: A South African Artist Looks to the Land for Inspiration," by Margaret Carrigan, an artist profile of Dineo Seshee Bopape, following her recent solo exhibition at Art in General in New York
Asian Art Newspaper, Summer Quarter 2017: "Shih Chieh Huang: Reusable Universes," by Olivia Sand, on the new installation by the artist at the Worcester Art Museum, open June 24 through November 11, 2017
Art + Auction, June/July 2017: "A Modern Wyeth," by James H. Miller, the Magazine's cover story on the upcoming exhibition Andrew Wyeth: In Retrospect, opening June 24, 2017, at the Brandywine River Museum of Art, and critics and collectors seeing this iconic artist through a new lens
Asian Art Newspaper, Summer Quarter 2017: "Heaven and Hell: Salvation and Retribution in Pure Land Buddhism," by Martin Barnes Lorber, on the new exhibition at the San Antonio Museum of Art by the same name, open through September 10, 2017
Modern Painters, June/July 2017: "Andrew Wyeth's 100th," by Margaret Carrigan, on the upcoming retrospective exhibition opening June 24, 2017 at the Brandywine River Museum of Art
ArtForum, Summer 2017: "Thiago Rocha Pitta," by Dawn Chan, reviewing the artist's recent exhibition at Marianne Boesky Gallery
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New AAMD Salary Survey Shows Five Year Growth Trends in Key Positions I Thursday, June 29, 2017 I PDF
The Association of Art Museum Directors (AAMD) today released its 2017 Salary Survey, which includes responses from 219 museums in the United States, Canada, and Mexico, and covers more than 50 different staff positions, from the director’s office to leadership and support positions in curatorial, education, advancement, communications, and security departments. The data shows that museums remain strong and stable workplaces: in 2016, the average median salary increased 3%, while in the preceding year it grew at a rate of 2.7%, exceeding the rate of growth for the U.S. as a whole. At the same time, responses indicate the importance of staff as institutional assets, with nearly two-thirds (64%) of responding museums stating that they spent between 41%–60% of their operating budget on payroll-related expenses—up from 57% in 2015.
Beginning with the 2017 Salary Survey, AAMD is making the full report available for free as a download via its website and as a service to the museum field and museum professionals. Developed in partnership with Stax Inc., a data driven consulting and advisory firm, the survey report looks at salaries and benefits data covering the period from 2011-2016, and includes geographic- and population-based benchmarking. The survey is part of a wider move by the Association over the last several years to support an increase in data-driven analyses of the museum field, such as with the gender gap study, conducted with the National Center for Arts Research (NCAR) at Southern Methodist University, and AAMD’s own Art Museums by the Numbers reports.
To read the full news alert, please click the PDF link above; the complete survey report is available via the AAMD website at http://bit.ly/AAMD2017SalarySurvey.
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Terra Foundation for American Art Announces $2.5 Million in Grants I Thursday, June 29, 2017 I PDF
The Terra Foundation for American Art today announced a broad slate of grants given in support of Art Design Chicago, a wide-ranging initiative the Foundation is spearheading to explore Chicago’s vibrant creative history and enduring influence on art and design. Following a board meeting on June 20, Terra leadership confirmed 33 grants for Art Design Chicago projects given to 31 cultural organizations located in and beyond Chicago, totaling approximately $2.5 million. Grant monies will go toward the creation of a diverse range of exhibitions, publications, projects, and academic and public programs, which will illuminate voices and narratives that were critical to the evolution of Chicago as a cultural epicenter of art and design movements globally. Art Design Chicago will take place throughout 2018, and a selection of highlights from the initiative are featured below.
With consideration to the breadth and depth of the city’s art and design legacy, the Terra Foundation expanded its content parameters for grants to encompass projects about graphic, commercial and product design as well as film, in addition to those focusing on the fine and decorative art forms it most frequently funds. The broader grant guidelines for Art Design Chicago also provided opportunities for a wider swath of nonprofits to participate, in particular smaller, community-oriented organizations. Among the entities receiving grants in June, 15 are receiving Terra Foundation support for the first time. These include Bradley University, Chicago Design Museum, Chicago Parks Foundation, National Public Housing Museum, South Side Community Art Center, Ukrainian Institute of Modern Art, Video Game Art Gallery, and University of Chicago Center in Paris, among others.
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Four new curators appointed at the Art Gallery of Ontario I Tuesday, June 27, 2017 I PDF
The Art Gallery of Ontario (AGO) announced today the appointment of four new curators, adding to its ranks of internationally recognized scholars. The new curators are: Julie Crooks, Assistant Curator of Photography; Alexa Greist, Assistant Curator of Prints and Drawings; Wanda Nanibush, Assistant Curator of Canadian and Indigenous Art; and Caroline Shields, Assistant Curator of European Art. Their hiring is part of the museum’s strategy to strengthen its role as a leader in art scholarship across a range of areas, while also generating a greater number of collection-based exhibitions and programs for audiences both in Toronto and internationally.
Current and upcoming exhibitions and projects for these curators include the exhibition Rita Letendre: Fire & Light, a major retrospective for this Canadian Indigenous abstract painter opening June 29, 2017; the renovation and reinstallation of the museum’s European galleries; and Free Black North, an installation of rare photographs depicting Black Ontarians in the 19th century. The AGO is also currently undergoing a comprehensive reinstallation of its collection, bringing 70,000 sq. ft. of new installations across more than 50 galleries, including public spaces that were previously without art. Entitled Look:Forward, the project is engaging all of the museum’s departments and curators, to bring new art and ideas in front of visitors.
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522 photographs by Diane Arbus acquired by the Art Gallery of OntarioI Friday, June 23, 2017 I PDF
The Art Gallery of Ontario (AGO) announced today that it has acquired a collection of 522 prints of photographs by American photographer Diane Arbus (1923–1971). Selected by the AGO and purchased through the Fraenkel Gallery in San Francisco, the collection spans the breadth of Arbus’s career, and includes a number of rarely seen or published images from early in her career, as well as many prints from her late career that made her one of the most widely recognized names in 20th century art. Made possible with funds from AGO supporters Phil Lind, Sandra Simpson, Jay Smith, Jozef Straus, and Robin and David Young, the acquisition vaults the AGO towards the top of the list of Arbus collections, making the Gallery’s holdings one of the most significant collections internationally and the largest in Canada.
The collection at the AGO covers three broad and overlapping periods of Arbus’s career. Among the less well-known—and rarely published or exhibited—are her early photographs from the mid-1950s. This includes Female impersonators in mirrors, N.Y.C., 1958. The second phase of Arbus’s work is comprised of her photographs for magazines such as Esquire and Harper’s Bazaar, which began in 1960 and continued to her death. Arbus created many portraits for these and other publications, of celebrities and luminaries like James Brown, Mia Farrow, Coretta Scott King, Norman Mailer, Marcello Mastroianni, Eugene McCarthy and Mae West. Other portraits during this period were of less recognizable or unknown people, such as Jack Dracula lying by a tree, N.Y.C., 1961, published in Harper’s Bazaar in November 1961, or A family one evening in a nudist camp, PA.,1965, a picture taken on assignment for Esquire that never appeared in the magazine.
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Recent News From Our Clients, May 2017
ArtReview, May 2017: "Art Life New York: The Whitney Biennial is not the only story in town, as this roundup of exhibitions reveals," by Sam Korman, including the solo exhibition at Art in General of work by the artist collective Postcommodity
Whitewall, Spring 2017: "Diana Al-Hadid and The Audacity of Taking up Space," by Katy Donoghue, ahead of the artist's upcoming solo show at Marianne Boesky Gallery
CityLab, from The Atlantic, May 31: "Two Cuban-Born Artists Depict Detroit's Resurgence," by Andrea Penman-Lomeli, on the exhibition City of Queen Anne's Lace, on view through June 24, 2017 at Wasserman Projects, Detroit
Curbed, May 31: "Can contemporary art help revitalize rural America?," by Patrick Sisson, exploring the impact of MASS MoCA on the economy of North Adams, Massachusetts, and the role of the arts as an economic driver, tied to the opening of MASS MoCA's Building 6
artnet news, May 31: "Summer Art Preview: 19 Travel-Worthy Museum Exhibitions to See Around the Globe This Season," by Sarah Cascone, including Andrew Wyeth: In Retrospect, opening at the Brandywine River Museum of Art on June 24, 2017
The Eye of Photography, May 30: "John O’Reilly’s studio odyssey through literature, art history and autobiography," by Jean-Jacques Naudet, on the exhibition of O'Reilly's work, on view through August 13, 2017 at the Worcester Art Museum
Out.com, May 29: "Is There Racism in Heaven? Nick Cave Tackles Police Brutality at MASS MoCA," by Justin Moran, on artist Nick Cave's installation "Until," on view in Mass MoCA's Building 5 through August 2017
The New York Times, May 26: "A Museum Where Giant Art Has Room to Breathe," by Hilarie M. Sheets, on the expansive installations--and the artists creating them--in MASS MoCA's Building 6, opening to the public on May 28, with works by Laurie Anderson, Louise Bourgeois, Jenny Holzer, Robert Rauschenberg, James Turrell, and more
WSJ. Magazine, May 25: "The Berkshires Town That’s Becoming a Cultural Hub," by Jay Cheshes, on art and culture tourism to North Adams, MA, where MASS MoCA opens its expansion into Building 6 on May 28, with a series of long-term installations
Washington Post, May 25: "A Laurie Anderson pilgrimage? Just don’t tell her you’re calling it that.," by Geoff Edgers, on the new art, sound, and video installations by Laurie Anderson opening at MASS MoCA's newly renovated Building 6 on May 28
Wall Street Journal, May 24: "Where Art Has Space to Play," by Peter Plagens, on MASS MoCA's new expansion and its role as a major destination for contemporary art
BlouinArtInfo, May 23: "The Raw Power of Ribera’s Drawings," by James Miller, on the exhibition Between Heaven and Hell: The Drawings of Jusepe de Ribera, on view through June 11 at the Meadows Museum
Creators Project on Vice, May 19: "Take a Tour of Nick Cave’s Colossal Playground of an Art Installation," by Nathaniel Ainley, on the artist's installation, Until, now on view at MASS MoCA
Aspen Peak Magazine, Summer 2017: "Blue-Chip Mountains: One of New York's Major Art Players Comes West," by Murat Oztaskin, on the opening of Marianne Boesky Gallery's space in Aspen, the current exhibition of works by Frank Stella and Larry Bell, and the upcoming exhibition solo show of photographer John Houck
The Art Newspaper, May 19: "Massachusetts museum’s expansion enables artists to dream big," by Victoria Stapley-Brown, on the upcoming opening of Building 6 at MASS MoCA, featuring a series of long-term installations with artists such as Laurie Anderson, Jenny Holzer, and James Turrell
Aspen Magazine, Summer 2017: "Icons of Art," by Michael Cleverly, on the exhibition of works by Frank Stella and Larry Bell, now on view at Boesky West in Aspen
artnet news, May 19: "Mass MoCA Just Became One of America’s Largest Museums," by Henri Neuendorf, on MASS MoCA's expansion, opening to the public on May 28, 2017
Hyperallergic, May 18: "Jusepe de Ribera’s Catholic Perversity," by Rob Colvin, on the monographic exhibition of Ribera's drawings, on view at the Meadows Museum in Dallas through June 11, 2017
artnet news, May 16: "7 Famous Artists Reveal the Surprising Studio Tools They Couldn’t Do Without," by Kiki Olmedo, including Brazilian artist Thago Rocha Pitta, who recently had a solo exhibition at Marianne Boesky Gallery
ELLE Decor, May 15: "6 Last-Minute Memorial Day Weekend Getaways," by Sara Tardiff, leading off with the opening of MASS MoCA's Build 6 on May 28, 2017, featuring installations by Laurie Anderson, Jenny Holzer, and James Turrell, among others
The Quietus, May 13: "'Dialogue Is Our Ceremony': An Interview With Postcommodity," by Adam Lehrer, on the work of the artist collective Postcommodity, including their exhibition Coyotaje, on view at Art in General through June 3, 2017
The Architect's Newspaper, May 10: "Two Cuban artists uniquely capture Detroit’s built environment—both its decay and hope for the future," by Jason Sayer, on the exhibition City of Queen Anne's Lace, on view through June 24 at Wasserman Projects in Detroit
artnet news, May 9: "11 Everyday Objects Transformed Into Extraordinary Works of Art," by Caroline Goldstein and Sarbani Ghosh, including Nick Cave's work and his installation Until, on view now at MASS MoCA
Hyperallergic, May 4: "Artist Collective Postcommodity on Recovering Knowledge and Making Border Metaphors," Risa Puleo, on this artist collective's first solo exhibition, on view now through June 3 at Art in General
ARTnews, May 4: "Crossing Over: Postcommodity Flips the Script on U.S. Border Patrol," by Alex Greenberger, on the solo show by this artist collective, on view through June 3 at Art in General
artcritical, May 4: "The One-Room Art Fair: Portal in SoHo," by Roman Kalinovski, on the second edition of Portal, on view through May 8, 2017
Hyperallergic, May 2: "Passing Through Portal, an Unpretentious Art Fair in Soho," by Jillian Steinhauer, on the "deliciously weird" second edition of Portal, on view through May 8, 2017
Paper, May 2: "Our Mega-Guide to Frieze Art Week 2017: Part 1," by Gary Pini, including Portal
The Art Newspaper, May 1: "Satellite dish: what to see at fairs outside the Frieze New York tent," by Pac Pobric, including the second edition of Portal, running May 3 - 8, 2017
ARTnews, May 1: "Frieze Week 2017: A User’s Guide to the Fairs," by Malaya Sadler, including information on Portal, now in its second year, organized by 4heads, the group that also organizes the Governors Island Art Fair; Portal is open May 3 - 8 at 435 Broome Street, and admission is free
Brooklyn Rail, May 1: "Postcommodity Coyotaje," by Jared Quinton, on the exhibition of works by the artist collective Postcommodity, on view at Art in General through June 3, 2017
Departures, May 2017: "Culture Calendar: 23 Things to do in May 2017," by Rebecca Milzoff, on MASS MoCA's expansion, opening May 28, 2017
Art + Auction, May 2017: "The Long View," by James H. Miller, on the upcoming opening of MASS MoCA's expansion into Building 6, with long-term installations by artists Laurie Anderson, Louise Bourgeois, Jenny Holzer, Robert Rauschenberg, and James Turrell, among others; opens to the public on May 28, 2017
Modern Painters, May 2017: "Ins + Outs," including the news of Laurel Ptak's appointment as Executive Director of New York's Art in General, and MASS MoCA's opening of its newly renovated Building 6
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MASS MoCA Unveils Newly Restored Building 6, With Major Long-Term Artist Installations I Thursday, May 25, 2017 I PDF
On May 28, 2017, MASS MoCA will open its newly renovated Building 6, adding 130,000 square feet of space, nearly doubling the institution’s current gallery footprint and adding new art fabrication workshops, performing artists’ support facilities, music festival amenities, and other programmatic capacities. The centerpiece of Building 6 is a series of changing exhibitions and long-term installations and collaborations with artists Laurie Anderson, Jenny Holzer, James Turrell, the Louise Bourgeois Trust, the Robert Rauschenberg Foundation, and the estate of Gunnar Schonbeck. Additional artists featured include Sarah Crowner, Dawn DeDeaux and Lonnie Holley,, Spencer Finch, Janice Kerbel, Sol LeWitt, Mary Lum, Richard Nonas, Optics Division/Metabolic Studio, Barbara Ernst Prey, and Joe Wardwell.
Building 6 sits at the western perimeter of MASS MoCA’s campus, its prow-like triangular footprint shaped by the confluence of the north and south branches of the Hoosic River. Visitors will enter the new space through Building 5, the signature gallery for MASS MoCA’s large-scale installations, which will feature Nick Cave’s Until through Labor Day 2017, or through Building 8, where a light-based work by Spencer Finch has been on view since February 4. Building 6, a three-story post-and-beam building, is distinguished by the ample natural light that enters through the hundreds of windows lining the perimeter of the building. Additional natural light filters into the core of the building through a historic lightwell that was restored during this renovation, its roof replaced with a skylight measuring 20’ wide by 140’ long. This rediscovered space incorporates a new series of stairs and bridges that encourage easy movement between floors and across the two sides of the building.
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Hidden History of Abstract Expressionism Explored in New Exhibition I Thursday, May 18, 2017 I PDF
This September, the Honolulu Museum of Art presents the first exhibition to consider mid-twentieth-century abstraction through its Asian-American practitioners, with a special focus on artists active in Hawai‘i. Abstract Expressionism: Looking East from the Far West addresses a gap in the history of Abstract Expressionism, bringing artists of the New York School together with Asian-American artists who studied and worked in New York in the 1940s and 1950s, examining the influence of Asian intellectual and artistic traditions on artists long revered as uniquely American. Conceptualized and curated by Deputy Director of Art and Programs and Curator of European and American Art Theresa Papanikolas and organized by the museum, the exhibition opens September 7, 2017 and runs through January 21, 2018.
The exhibition presents major works by American masters such as Philip Guston, Willem de Kooning, Robert Motherwell, Barnett Newman, Jackson Pollock, and Mark Rothko, alongside those by Asian-American artists such as Ruth Asawa, Saburo Hasegawa, Isamu Noguchi, Isami Doi, Tadashi Sato, and Tetsuo Ochikubo, among others. With more than 45 paintings, drawings, and sculptures, the exhibition will examine the ways in which Eastern traditions from Chinese and Japanese calligraphy to Zen Buddhism helped advance Abstract Expressionism’s aesthetic agenda—its understated lyricism, its compositional balance, its subtle awareness of place—regardless of the artist.
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Recent News From Our Clients, April 2017
artnet news, April 28: "Frieze Week 2017: Your Go-to Guide to New York’s Fairs," by Sarah Cascone, which includes information on the second edition of Portal, on view May 3 - 8 (admission is free) at 435 Broome Street
ARTnews, April 28: "The Archives of American Art Launches Feature-Filled Online Research Guide to Chicago," by Andrew Russeth, on a grant from the Terra Foundation for American Art to the Smithsonian Institution's Archives of American Art, to support the creation of a new online resource for art history sources in Chicago; the grant is part of Terra's Art Design Chicago initiative
The New York Times, April 27: "10 Galleries to Visit Now in Brooklyn," by Martha Schwendener, including Art in General and its exhibition of works by the artist collective Postcommodity, on view through June 3, 2017
National Catholic Reporter, April 22: "Medieval art is relatable today, even out of context," by Menachem Wecker, including an interview with Jeffrey Forgeng, curator of Arms, Armor, & Medieval Art at the Worcester Art Museum, where the Medieval art galleries were recently renovated and reinstalled
New York Magazine, April 20: "Is Political Art the Only Art That Matters Now?," by Carl Swanson; includes the new exhibition by artist collective Postcommodity, now on view at Art in General
The Advocate Magazine, April 19: "The Bedazzling Art of Nick Cave," by Christopher Harrity, on the artist's installation titled Until, now on view at MASS MoCA
The Architect's Newspaper, April 18: "James Turrell rooms, a 15-ton Louise Bourgeois sculpture, and many site-specific works feature in Mass MoCA expansion," by Lauren Lloyd, on MASS MoCA's expansion and renovation of Building 6 on its campus, opening to the public on May 28, 2017
Hyperallergic, April 17: "Depicting Nature’s Rebellion Against Humanity," by Zachary Small, on artist Thiago Rocha Pitta's exhibition The First Green, on view at Marianne Boesky Gallery through April 29
Discover, April 15: "'The First Green': Ancient Life Inspires Modern Art," by Jeffrey Marlow, on the science behind artist Thiago Rocha Pitta's exhibition The First Green, on view at Marianne Boesky Gallery through April 29
The New Yorker, April 14: "Postcommodity," an exhibition by the eponymous artist collective, now on view at Art in General through June 3, 2017
Colossal, April 14: "Tens of Thousands of Metallic Lawn Ornaments Glisten Inside Nick Cave’s Monumental Installation at MASS MoCA," by Kate Sierzputowski, on the Nick Cave installation Until, on view now at MASS MoCA
BOMB Magazine, April 13: "Postcommodity," by Rob Goyanes, on the exhibition by the eponymous artist collective, now on view at Art in General through June 3, 2017
Architectural Digest, April 12: "The Art Capital of New England is a Former Factory Town," by Tim McKeough, on MASS MoCA's expansion and renovation of Building 6 on its campus--and other things to see and do, and places to stay, in North Adams, MA
Agence France Presse, via Luxuo, April 12: "Art fairs in Chicago: Terra Foundation for American Art announces over 25 exhibitions for Art Design Chicago," on the announcement of the Terra Foundation for American Art's new initiative Art Design Chicago, with programs taking place in 2018
Forbes, April 12: "Postcommodity Takes On The Complexities Of The Border Between The United States And Mexico," by Brienne Walsh, on the solo exhibition by the artist collective on view at Art in General through June 3, 2017
The National, April/May 2017: "Next Stop: Chicago: Where Theaster Gates and his Rebuild Foundation are remaking the South Side, one artful restoration at a time," by DW Gibson, on Gate's art-making, community engagement, and workforce training on Chicago's South Side
Architectural Digest, April 11: "These Images Induce Sudden California Dreaming," by Sam Cochran, on the exhibition Golden State, on view at the Marianne Boesky Gallery through April 27, 2017
artnet news, April 8: "The Week in Art: Swizz Beatz at the Brooklyn Museum and the Wild Tribeca Ball," by Caroline Goldstein & Sarah Cascone, including Art in General's 2017 Visionary Awards gala
ArtForum, April 7: "Postcommodity," the artist collective's first solo exhibition, now on view at Art in General through June 3, 2017, reviewed by Katherine Brewer Ball
BlouinArtInfo, April 6: "Golden State: A Photo Show Captures California's Contradictions," by Taylor Dafoe, reviewing the exhibition Golden State, open now through April 27, 2017, at Marianne Boesky Gallery
artnet news, April 4: "An Innovative Initiative Aims to Raise Chicago’s Art Profile Even Higher," by Eileen Kinsella, on the new initiative Art Design Chicago, announced this week by the Terra Foundation for American Art, with programs taking place throughout 2018
ArtSlant, April 4: "Postcommodity’s Latest Installation Confronts Viewers with Fears at the U.S. Border," by Zachary Small, reviewing the exhibition Coyotaje, work by artist collective Postcommodity, on view at Art in General through June 3, 2017
New York Times, April 3: "Chicago to Take the Spotlight With Ambitious 2018 Art Event," by Ted Loos, on the announcement of Art Design Chicago, a year of exhibitions and public programs exploring the city's diverse cultural history, organized by the Terra Foundation for American Art
Studio International, April 3: "After Industry," by Allie Biswas, on the exhibition of the same name and featuring works by Jason DeMarte, Christer Karlstad, and Willy Verginer, on view at Wasserman Projects in Detroit through April 8, 2017
Aesthetica, April 2: "Subverted Ideals," by Kate Simpson, reviewing the exhibition Golden State, open now through April 27, 2017, at Marianne Boesky Gallery
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Portal Returns For Its Second Edition with 30 Artists in New Soho Space I Wednesday, April 26, 2017 I PDF
Following its successful inaugural edition in 2016, Portal will return in a new location in Soho. Open to the public from May 3 - 8, 2017, Portal will transform the 2000-square-foot street level gallery at 435 Broome Street into vibrant artist space with the work of approximately 30 artists from the U.S. and abroad. Featured artists were selected through both an open call and an invitational process geared toward artists who have previously shown with 4heads—the nonprofit responsible for organizing Portal as well as the Governors Island Art Fair. This year's artists are a mix of abstract and representational makers, working across a diversity of disciplines, including photography, painting, sculpture, sound, and mixed media installation. All of the work in Portal was chosen by 4heads co-founders Antony Zito, Jack Robinson, and Nicole Laemmle, with an eye toward creating dynamic juxtapositions and highlighting the diversity of artistic approach and technique among today’s working artists.
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Artist Jay Heikes Responds to Today's Social Upheaval in New Show at Marianne Boesky Gallery I Thursday, April 20, 2017 I PDF
In his upcoming exhibition at Marianne Boesky Gallery, Minneapolis-based artist Jay Heikes explores the entanglement of physical, perceptual, and intellectual barriers. Inspired by today’s social and political tumult, the show, aptly titled Keep Out, is Heikes’ meditation on the intensity and ubiquity of socially-constructed boundaries and their powerful ramifications to both individuals and communities. Keep Out, on view at 507 W. 24th Street from May 5 to June 17, 2017, features a large-scale copper, wire, and wax installation and a selection of new multimedia wall works from his “Zs” series. Together, the works reflect on and offer a prayer for transcendence in the face of the ongoing and seemingly endless onslaught of shocking and negative news.
For Keep Out, Heikes expands on his “Music for Minor Planets” drawing series, first started in 2013, releasing the delicate, graphite compositions from the two-dimensional confines of paper and wall and transforming them into a large-scale sculpture. The copper sculpture, which is made in three parts, each measuring 10 feet in height, 15 feet in length, and 10 feet in width, visually references sheet music and will occupy much of the gallery’s floor space. Its bars, made of bent wire, expand and contract within and beyond their frames, engaging the surrounding space and seemingly reacting to unseen forces. Its musical notes, appearing as wax orbs, are in some instances affixed to the bars and in others have fallen to the floor, scattered. The work at once compels and repels the viewer, contributing to the overarching sense of tension. The sculpture takes inspiration from some of Heikes’ favorite musicians like Terry Riley, and highlights the power of additive intervention to change and alter artistic intention and experience.
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San Antonio Museum of Art Exhibition to Explore Heaven & Hell in Pure Land Buddhism I Wednesday, April 12, 2017 I PDF
In June 2017, the San Antonio Museum of Art will present Heaven and Hell: Salvation and Retribution in Pure Land Buddhism, the first exhibition in the U.S. to explore in detail the core tenets and deities of one of the most popular forms of Buddhism throughout Asia. Featuring approximately 70 works—including paintings, sculpture, and decorative objects—the exhibition highlights the ways in which local customs, beliefs, and styles were used to contrast the faith’s visions of Heaven and Hell, ideas that are central to Pure Land Buddhism. Curated by Dr. Emily Sano, the Coates-Cowden-Brown Senior Advisor for Asian Art at the San Antonio Museum of Art, the exhibition features some of the most stunning examples of works created as part of the sect’s devotional and funerary traditions, drawn from fifteen private collections and institutions across the country and world as well as the museum’s own Asian collections. Heaven and Hell will be on view through September 2017.
Originally developed in West Asia during the early years of the Common Era, Pure Land Buddhism spread across Central Asia to China and into Tibet, Korea, Japan, and Taiwan, pulling in and incorporating the gods and figures of local faiths as it took root in each new culture. But in each new manifestation, Amitābha, the Buddha of the Western Paradise, remained at the center of the Pure Land faith, promising a place in his heavenly land to anyone who utters his name. This promise of salvation and an escape from the pain of Hell—even to those who led less than exemplary lives—helped Pure Land Buddhism flourish and expand throughout Asia. This represented a departure from the more traditional Theravada Buddhism that dominated Southeast Asia, which held that nirvana could only be obtained through devout study and meditation.
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Terra Foundation Announces Art Design Chicago, Exploring City's Enduring Impact I Tuesday, April 4, 2017 I PDF
The Terra Foundation for American Art today formally announced Art Design Chicago, a wide-ranging initiative to explore the breadth of Chicago’s role as a catalyst and incubator for innovations in art and design. Spearheaded and funded by the Terra Foundation, with significant support from The Richard H. Driehaus Foundation, Art Design Chicago was developed in partnership with more than 40 cultural organizations to celebrate Chicago’s artists, designers, and creative producers. Focusing in particular on the period between the 1871 Great Chicago Fire and the turn of the 21st century, the initiative reveals little-known narratives of ingenuity and perseverance and provides new insights on Chicago’s enduring influence on fine and decorative arts, graphic and commercial design, product development, and film. Art Design Chicago will feature more than 25 exhibitions and hundreds of public programs, presented throughout 2018, as well as the creation of several scholarly publications and a four-part documentary. Together, these activities shine a light on Chicago’s art and design legacy, and its continued impact on contemporary practice.
“We are delighted to be working with so many brilliant organizations to bring Art Design Chicago to life, and to share with new and existing audiences the dynamic artistic history of Chicago. This city has long had a pioneering spirit, championing the avant-garde, and shaping modern art and design. Chicago continues to be uniquely positioned to translate artistic vision into the consumer goods that we live with everyday,” said Elizabeth Glassman, President and CEO of the Terra Foundation. “We could not think of a better moment to launch this initiative, when reconnecting with who and what comprises the American story is so essential and immediate.”
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Major Andrew Wyeth Retrospective Coming to Brandywine River Museum of Art I Monday, April 3, 2017 I PDF
On June 24, 2017, the Brandywine River Museum of Art will open Andrew Wyeth: In Retrospect, the first major survey of the artist’s work in more than 40 years. The exhibition will feature over 100 works, spanning the entirety of the artist’s career: from the early watercolors that established his reputation to his final painting, Goodbye, completed just a few months before his death in 2009. The show also will include many of Wyeth’s studies, which were rarely exhibited in the artist’s lifetime and offer new insights into his creative process and approach. Co-organized by the Brandywine and the Seattle Art Museum, Andrew Wyeth: In Retrospect commemorates the centennial of the artist’s birth—in July—and provides the most in-depth presentation of the renowned artist’s diverse and prolific practice to date.
Wyeth’s life extended from World War I—a period that sparked the imagination of the artist as a young boy—to the new millennium. This comprehensive retrospective examines four major periods in Wyeth’s career, taking inspiration from the artist’s own words likening his painting to “following a long thread leading like time to change and evolution.” The exhibition offers new interpretations of his work, including the lesser explored influences of popular film and images of war, and looks more closely at the relatively unstudied but numerous portrayals of African Americans from the Chadds Ford community. Andrew Wyeth: In Retrospect also provides a thorough comparison of his widely divergent approaches to watercolor—which inspired him to paint quickly and at times with abandon—and to his use of tempera, a more controlled medium, in which he slowly and deliberately built up layers of paint on panels.
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Recent News From Our Clients, March 2017
BlouinArtInfo, March 31: "A Dialogue Grows around Contemporary Aboriginal Australian Art," by Margaret Carrigan, on the new exhibition Of Country and Culture at the San Antonio Museum of Art
Artsy, March 30: "The 15 New York Shows You Need to See This April," by Casey Lesser, including the new exhibition of works by Brazilian artist Thiago Rocha Pitta, at Marianne Boesky Gallery through April 29, 2017
Wall Street Journal, March 29: "‘Between Heaven and Hell: the Drawings of Jusepe de Ribera’ Review: The ‘Little Spaniard’ Who Fused Realism With Classicism," by Karen Wilkin, on the new exhibition of Ribera's drawings, open at the Meadows Museum through June 11, 2017
Dezeen, March 29: "Bruner/Cott further expands MASS MoCA art museum in the Berkshires," by Dan Howarth, on the expansion and renovation of Building 6 on MASS MoCA's campus
Photo District News, March 28: "Golden State Warriors," PDN's Photo of the Day, on the new photography exhibition at the Marianne Boesky Gallery
The Eye of Photography, March 22: "Golden State, a photographic experience in California," on the upcoming exhibition exploring class and lifestyle through images of California, opening March 29, 2017 at the Marianne Boesky Gallery, with essay by curator Drew Sawyer
ARTnews, March 20: "9 Art Events to Attend in New York City This Week," including the upcoming exhibition by artist collective Postcommodity, their first New York solo show, opening Friday, March 24 at Art in General
artnet news, March 20: "Editors Picks: 9 Things to See in New York This Week," by Sarah Cascone, including the new exhibition of work by Postcommodity, opening at Art in General
Boston Globe, March 17: "Lifting the veil on Mass MoCA’s expansion," by Malcolm Gay, previewing the organization's new galleries and long-term installations in Building 6, opening May 28, 2017
Good Trouble, March 17: "Defying Collapse: Post-Industry Art in Detroit," by Jennifer Lorraine Fraser, reviewing the exhibition After Industry at Wasserman Projects in Detroit, open through April 8, 2017
New York Times, March 15: "Notable Museum Openings This Spring and Summer," by Judith H. Dobrzynski, including the exhibitions Heaven and Hell: Salvation and Retribution in Pure Land Buddhism opening June 16 at the San Antonio Museum of Art, and Renaissance Woman in Asia: Florance Waterbury and Her Gifts of Asian Art, opening May 13 at the Worcester Art Museum.
New York Times, March 14: "Using Discards to Build Art (and Rebuild a City)," by Hilarie M. Sheets, on the artist and "urban interventionist" Theaster Gates, whose exhibition The Minor Arts is now on view at the National Gallery of Art in Washington, D.C.
Art Observed, March 13: "New York – Pier Paolo Calzolari: “And I Say” at Marianne Boesky Through March 25th, 2017," by Dan Creahan, on the artist's exhibition, currently on view at Marianne Boesky Gallery
Cultured, March 2017: "The Twenty Five" round-up of 25 top exhibitions, happenings, and moments, including the premiere edition of the Honolulu Biennial, open now through May 8, 2017, and on the opening of Marianne Boesky Gallery's new Aspen space, Boesky West, and its opening exhibition of works by Frank Stella and Larry Bell
ArtReview, March 2017: "Dineo Seshee Bopape sa ____ ke lerole, (sa lerole ke ___)," by Owen Duffy, reviewing the recent exhibition of Bopape's work at Art in General
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Brazilian Artist Explores the Origins and Evolution Of the Earth I Monday, March 13, 2017 I PDF
Marianne Boesky Gallery is pleased to present The First Green, an exhibition of new work by Brazilian artist Thiago Rocha Pitta. The exhibition—the artist’s second solo show with the gallery—marks a new chapter in his meticulous investigations of the natural environment, as he delves deeper into the origins and evolution of the earth. On view from April 1 to April 29, 2017 at 509 W. 24th Street, The First Green will debut work created over the last year, including more than 20 frescos, a video, and an installation made of a living bed of moss and a concrete tent-like structure.
Rocha Pitta’s diverse practice is connected to a deep fascination with the subtle transformations of the world around him—the slow erosion and alteration of desert terrain, the descent of fog, and the fluctuations of underwater formations. His installations, videos, and paintings have captured the vibrancy of a living planet by training the viewer’s eye on the slow changes of materials, the physical progressions of miniscule segments of land, and the sudden shifts in weather. While figures are rarely depicted in his work, humanity’s presence and relationship to these changes is powerfully felt.
With this new body of work, Rocha Pitta examines and elevates the natural processes that served as the foundation for all life. Tracing the relationship of microorganisms like stromatolites and cyanobacteria to photosynthesis through to the development of the ozone layer, Rocha Pitta creates a rich visual tapestry that reinvigorates this narrative and makes it feel immediate to contemporary life, particularly as we consider our role in the continued transformation of our planet.
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Marianne Boesky Gallery Inaugurates New Aspen Location, Boesky West I Friday, March 3, 2017 I PDF
Marianne Boesky Gallery is pleased to present an exhibition of sculpture and wall works by artists Frank Stella and Larry Bell, made over the last two years. The exhibition, titled Frank Stella & Larry Bell, is the first in the gallery’s new Aspen location—Boesky West at 100 South Spring Street—and marks a rare opportunity to see the work of these two iconic artists, and long-time friends, together. On view from March 8 through April 16, 2017, the show highlights both artists’ ongoing fascinations with abstraction, light, and space, creating a dynamic dialogue between their distinct practices.
Over his many decades-long career Frank Stella has produced an extraordinary body of work, from the paintings that came to define the early 1960s to his more recent assemblage and collage-like constructions. The upcoming exhibition will feature a selection of small-scale wall-mounted sculptures that continue the artist’s Scarletti K series, which he first began in 2006. Inspired by the Italian composer Domenico Scarletti, the works are visual responses to the experience of the musician’s sonatas. Comprised of abstracted coils, orbs, and other geometric forms, the colorful works connote a lightweight playfulness. This sensation is carried through to another group of sculptures—many of which include industrial forms used in the making of marshmallows. Stella reshapes, dissects, combines, and, in some instances, paints these forms to create a diversity of spatial relationships that seem to bend and push against gravity. Additionally, the exhibition will include a large-scale, stainless steel star sculpture, installed in the outdoor garden. While distinct in form, scale, and tone, all of the works exhibited at Boesky West are created through a combination of digital modeling, rapid- prototype printing, physical sculpting, and collaging.
Larry Bell first began his illustrious career in 1959, and quickly became a pivotal figure in the California Light and Space movement. Over the last six decades, Bell has made investigations into the properties of light and surface, creating a methodology that is characterized by spontaneity, intuition, and improvisation. For the upcoming exhibition, Bell will show a series of mixed media collages, produced through the vacuum deposition technique. In this process, the artist uses a vacuum chamber to transfer aluminum and silicon monoxide onto the surface of paper. The resultant works appear to trap and emanate light, producing a dazzling array of colors that spring from the surface, much the way that prisms make rainbows in sunlight. The collages, which are mounted on canvas, defy preconceived notions of depth and weight, drawing the viewer in to the swaths and swirls of reflective color. The exhibition will also feature several Light Knots, which are made from polyester film. Following the vacuum deposition process, Bell cuts the two-dimensional sheets, making curves with his scissors that suggest the human figure, and twists the film into abstract forms. In some instances, the iridescent sculptures are hung from the ceiling, while in other cases they are suspended within glass cubes. This alternation in presentation plays with our common understandings of how objects behave in space, an idea that permeates much of Bell’s practice.
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Aga Sablinska Joins PAVE Communications and Consulting I Tuesday, February 28, 2017
We are excited to announce that Aga Sablinska is joining PAVE Communications and Consulting as a media relations strategist, effective immediately. Consistent with our approach of bringing senior level experience and skills to our work, Aga has developed strong experience in cultural communications over the last seven years. She specializes in creative story development, crafting unique angles that she matches with an extensive network of media contacts.
Aga will be working directly with us to support the implementation of our media strategy on behalf of our clients, expanding our capacity for outreach, story development, and cultivation of journalists. You can read more about Aga’s background and experience in her bio, here.
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Recent News From Our Clients, February 2017
Surface Magazine, February 2017: "Itinerary: Coming in March," including the upcoming Honolulu Biennial, running March 8 - May 8, 2017
The Bellingham Herald, February 24: "Art consortium disbands, two Bellingham museums will get part of collection," on the decision by the Washington Art Consortium to disband
Condé Nast Traveler, February 23: "Honolulu Biennial Is the Art Event Your Beach Vacation Needs," by Alexandra Pechman, on the upcoming Honolulu Biennial, running March 8 - May 8, 2017, and featuring more than 30 international and local artists
The News Tribune, February 23: "Washington Arts Consortium to disband, distribute works to member museums," by Rosemary Ponnekanti
ArtForum, February 23: "Washington Art Consortium Disbands and Divides Up Art Collection," on WAC's plan to disband, and to distribute its collection to its members
ARTnews, February 23: "Washington Art Consortium Disbands, Collection To Be Distributed To Its Member Museums," by Robin Scher, on the announcement that the Consortium, founded in 1976, will wrap up operations while continuing to focus on arts engagement opportunities for audiences in Washington State
The Art Newspaper, February 23: "Three to see: New York," by Victoria Stapley-Brown, including the new exhibition of works by Pier Paolo Calzolari, "And I Say," open at the Marianne Boesky Gallery now through March 25, 2017
Seattle Times, February 22: "WAC’s work is done: Art consortium, founded in the 1970s, disbands," by Brendan Kiley, on the decision by the Washington Art Consortium to disband
Observer, February 15: "Marianne Boesky: A Gallerist’s Work Is Never Done," by Guelda Voien, on Marianne Boesky Gallery's new exhibition of works by Pier Paolo Calzolari, opening February 16, 2017, and Boesky's approach to artists and art
Art Market Monitor, February 15: "Marianne Boesky on Art, Real Estate & Peace of Mind," by Marion Menaker, on the Observer's profile of Marianne Boesky
ARTnews, February 13: "10 Art Events To Attend In New York City This Week," including the upcoming Pier Paolo Calzolari at Marianne Boesky Gallery, opening February 16, 2017
Apollo, February 10: "Art in General appoints Laurel Ptak as executive director," featured in their art news daily round-up
artnet news, February 10: "Art in General Names Laurel Ptak Executive Director," by Alyssa Buffenstein
Artforum, February 9: "Art in General Appoints Laurel Ptak as Executive Director," on the announcement of Ptak's new position
ARTnews, February 9: "Laurel Ptak Named Executive Director of Art in General," by Alex Greenberger, on the announcement of Ptak's new position
The Creators Project, Vice, February 4: "A Group Show in Detroit Asks, Can Humans and Nature Ever Coexist?," by Nathaniel Ainley, on the new exhibition ‘After Industry’ at Wasserman Projects, Detroit, featuring paintings by Christer Karlstad, sculptures by Willy Verginer, and photographs by Jason DeMarte
Edible Brooklyn, February 4: "Culinary Workshops with Juanli Carrión," on a series of newly commissioned culinary workshops from Art in General
Photo District News, February 3: "Mimicking Nature with Fake Flowers and Candy," featuring the photos of Jason DeMarte, now at Wasserman Projects in the exhibition "After Industry," as PDN's Photo of the Day
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Photography Exhibition, Exploring Economy, Class, and Lifestyle in California I Monday, February 27, 2017 I PDF
Marianne Boesky Gallery is pleased to present Golden State, an exhibition that explores the diversity of urban and suburban experience in California, predominantly from the 1970s through the present day. Curated by Drew Sawyer, William J. and Sarah Ross Soter Associate Curator of Photography at the Columbus Museum of Art in Ohio, the exhibition features the work of seven American photographers, whose meticulously staged and documentary style images capture distinctions of class and economy and speak to individual and communal aspirations. On view March 29 through April 27, 2017 at 507 W. 24th Street, Golden State connects to issues at the very core of today’s political tumult, through depictions of a state that has at once emerged at the forefront of the progressive movement and encapsulates the growing disparities between economic classes.
Among the artists featured in the exhibition are John Divola, Buck Ellison, Christina Fernandez, Anthony Hernandez, Catherine Opie, and Larry Sultan, all of whom have been based in California throughout their careers. While artists like Fernandez, Hernandez, and Ellison are well known and acclaimed on the West Coast, they have received less recognition nationally. Golden State offers a dynamic opportunity to introduce the work of these California photographers to East Coast audiences, and to position them within a broader artistic and socio-political dialogue.
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New Life for 400+ Works of Art in Washington Art Consortium Collection I Thursday, February 23, 2017 I PDF
The Board of the Washington Art Consortium (WAC) announced today that its seven member consortium will disband, and that WAC’s art collection and endowment assets will be distributed to six of its member art museums. Originally founded in 1976 by Seattle philanthropist and collector Virginia Wright, WAC was formed to bring works of art by distinguished modern American artists to the State of Washington, and to spur collaboration among art museums in the state. Across 40 years of partnership, WAC has amassed a collection of 411 works by 175 artists, including works on paper, photographs, and prints created from 1945 through the late 20th century, and presented more than 130 exhibitions and programs.
The decision to conclude the consortium arrangement follows a period of strategic planning over the last 18 months. This process included: an examination of the ways in which WAC has successfully spurred collaboration among its members; a review of the increased role of modern and contemporary art in Washington; and a careful analysis of the benefits and costs of maintaining the consortium as an independent 501(c)3 entity. Finding that the capabilities of each member museum—as well as other arts organizations in Washington—have grown substantially, the WAC Board, to which Ms. Wright is a lifetime adviser, determined the need for a separate entity to ensure broad access was now less crucial, and that the resources to maintain it could be better deployed in service of audience engagement with collections. While the consortium will no longer continue as an independent entity, the former members will continue to work together on exhibitions and programs, fulfilling Ms. Wright’s vision for collaboration among arts organizations throughout the state.
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First New York Solo Exhibition for Arts Collective Postcommodity I Friday, February 10, 2017 I PDF
On March 24, Art in General will present a newly commissioned installation by arts collective Postcommodity, marking the group’s first solo exhibition in New York. Composed of artists Raven Chacon, Cristóbal Martínez, and Kade L. Twist, Postcommodity’s multidisciplinary practice reveals and examines Indigenous cultural narratives and their relationships to broader social, political, and economic dialogues and actions. For the exhibition titled Coyotaje, Postcommodity continues its several years-long investigation of the military and economic life of the US-Mexico borderlands, highlighting the complex dynamics between US Border Patrol, the communities living in the San Pedro River Valley region, and individuals moving across the border. The exhibition is made possible through Art in General’s New Commissions Program, and is part of the Brooklyn nonprofit’s season-long exploration of the politics related to geographic boundaries and the histories, possession, and accessibility of land.
“Coyotaje moves the conversation on border security beyond simplistic, mass-oriented appeals, and instead examines the real-life experiences of those living and moving near and around the border. An incredibly relevant topic in the US over the last several years, Postcommodity’s work breaks down some of the arbitrary and falsely-created barriers among peoples of this region, and looks to establish new constructs that speak more readily to the social, geographic, and cultural histories of these borderlands,” said Kristen Chappa, Art in General’s Curator and Programs Manager, who organized the project. “Art in General is thrilled to make possible Postcommodity’s first New York commission, especially at a time when expanding awareness and understanding of these histories and realities is so essential.”
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Art in General Appoints Laurel Ptak As Its Executive Director I Thursday, February 9, 2017 I PDF
Art in General today announced the appointment of Laurel Ptak as the nonprofit’s new Executive Director. Ptak, who has extensive curatorial experience and currently serves as Director and Curator at the artist-founded space Triangle in New York City, will begin her new role at Art in General on February 13, 2017. Ptak will oversee artist engagement and curatorial direction for Art in General’s New Commissions and International Collaborations programs, as well as the organization’s operations and fundraising initiatives. Ptak will also develop the upcoming What Now? symposium, which explores timely issues in artistic and curatorial practice through panel discussions and artist interventions, in collaboration with the Vera List Center for Art and Politics, and will conceptualize other such programs in the future. Building on Art in General’s legacy and commitment to contemporary artists in the U.S. and abroad, Ptak will focus on further enhancing the scope of the organization’s creative collaborations with artists and partner institutions and growing its programs to represent an ever more dynamic range of work.
“Laurel has a keen eye for art and artists, and is deeply committed to bringing to the fore groundbreaking new work and creative practices. Her curatorial experience and approach combined with an incredible institutional acumen make her the ideal choice to take Art in General into its next chapter,” said Roya Khadjavi Heidari, Co-president of Art in General’s Board of Directors. “We are delighted to have her vision and expertise as we continue to enhance our programs, and the ways in which we engage with artists, partner organizations, and the public. We are particularly attuned to global discussions, and are especially enthusiastic about Laurel’s ideas and ambition for our international programs.”
To read the full news alert, please click the PDF link above.
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Recent News From Our Clients, January 2017
Huffington Post, January 28: "A Visionary Brings Social Awareness to the Worcester Art Museum," by Isa Freeling, on the innovative approaches to program and community engagement being pursued by the Museum's director, Matthias Waschek
Architect's Newspaper, January 20: "Annabelle Selldorf designs new Marianne Boesky Gallery in Aspen," by Jason Sayer, on the Gallery's new exhibition and residency space, opening March 8, 2017
artnet news: January 19: "Marianne Boesky to Launch Boesky West in Aspen," by Sarah Cascone, on the Gallery's new exhibition and residency space in Aspen, which will open March 8 with a show of works by Frank Stella and Larry Bell, followed by a solo show of photographs by James Houk
ArtInfo, January 18: "Marianne Boesky Gallery to Open New Project Space in Aspen," by Nicholas Forrest, on the Gallery's new space and initial program plans, opening March 8
Art Observed, January 18: "Marianne Boesky to Open Exhibition Space in Aspen," on the Gallery's new space and initial program plans
Artforum, January 18: "Marianne Boesky Gallery to Open New Space in Aspen," on the Gallery's new space and initial program plans
ARTnews, January 18: "Marianne Boesky To Open Gallery in Aspen," by Nate Freeman, on Boesky's new exhibition and residency space designed by Selldorf Architects, opening March 8 2017 in Aspen with a show of works by Frank Stella and Larry Bell
ARTnews, January 13: "Soil, Dust, Life: Dineo Seshee Bopape On Her Eearthy, Searching Art," by Angela Brown, featuring a Q&A with Bopabe about her work and her first solo exhibition in the US, open at Art in General through January 14, 2017
Artforum, January 13: "Critics' Picks: Hannah van Bart," by Yin Ho, a review of the exhibition Hannah van Bart: The Smudge Waves Back, on view at Marianne Boesky Gallery through February 4, 2017
ARTnews, January 12: "Worcester Art Museum Awarded $825,000 Grant For Its Pre-Contemporary American Art Collection," by Robin Scher, on a major grant to the Museum from the Henry Luce Foundation's American Art Program
Artforum, January 12: "Worcester Art Museum Awarded $825,000 Grant from Henry Luce Foundation," on the Foundation's support for new research and exhibitions on the Museum's pre-contemporary American art collection
artnet news, January 3: "Editors’ Picks: 8 Things to Do in New York This Week," by Sarah Cascone, including #2 on the list: “Hannah van Bart: The Smudge Waves Back” at Marianne Boesky Gallery through February 4, 2017
Hyperallergic, January 3: "An Artist’s Plots of Earth Decay to Dust," by Seph Rodney, on Dineo Seshee Bopape’s installation at Art in General
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MASS MoCA To Open Restored Building 6 in May, with Long-Term Artist Installations I Monday, January 23, 2017 I PDF
In May 2017, MASS MoCA will open its newly renovated and restored Building 6, adding 130,000 square feet of space, nearly doubling the institution’s current gallery footprint and adding new art fabrication workshops, performing artists’ support facilities, music festival amenities, and other programmatic capacities. The centerpiece of Building 6 is a series of changing exhibitions and long-term installations and collaborations with artists Laurie Anderson, Jenny Holzer, and James Turrell, the Louise Bourgeois Trust, the Robert Rauschenberg Foundation, and the estate of Gunnar Schonbeck.
This expansion continues MASS MoCA’s organic repurposing of an historic 28-building factory campus that occupies 16 acres in downtown North Adams, Massachusetts. In addition to gallery spaces, significant new amenities for concert-goers will support MASS MoCA’s vibrant and growing roster of music concerts and multi-day festivals, which include Wilco’s Solid Sound Festival, Bang on a Can’s Summer Music Festival, and FreshGrass, a progressive bluegrass and American roots music festival curated and produced by the museum. The design for Building 6, along with the wider campus plan, has been developed by Cambridge-based Bruner/Cott & Associates, who were also the architects for the first two phases of MASS MoCA renovations, and for its Sol LeWitt building. The budget for Phase III is $65 million, including $18 million in endowment and $4 million for related strategic investment in campus infrastructure. Of the project budget, $25.4 million was provided by the Commonwealth of Massachusetts, with the remaining $40 million coming from private donors.
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Marianne Boesky Gallery to Open Solo Exhibition of Italian Artist Pier Paolo Calzolari I Thursday, January 19, 2017 I PDF
Marianne Boesky Gallery is pleased to present the third solo exhibition of Italian artist Pier Paolo Calzolari, debuting works completed in the last two years. And I Say further develops the artist’s decades-long practice of using commonplace and organic materials, including salt, lead, oyster shells, tobacco, and fire, as a means of exploring states of matter, transience, light, and beauty. On view from February 16 to March 25, 2017, the exhibition will feature two separate immersive installations along with a series of lead wall works. And I Say is the second single-artist exhibition to be presented across the gallery’s adjacent spaces at 507 and 509 W. 24th Street.
Calzolari has distinguished himself from his Arte Povera peers, who frequently embraced an avant-garde rejection of the cultural past, through his ongoing and deliberate dialogue with art history. And I Say reflects this continued engagement, drawing on traditions cited by the artist as ranging from African graffiti to Cretan and Pompeiian painting, Japanese decorative arts, and elements of Mannerism and the Baroque. By repositioning art historical sources, Calzolari offers a meditation on the experience of art across time, exploring the tension between the fleeting nature of life and materials and the perennial expressions of artistic traditions.
To read the full news alert, please click the PDF link above.
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Marianne Boesky Gallery to Open New Location in Aspen this March I Wednesday, January 18, 2017 I PDF
Marianne Boesky Gallery is pleased to announce that it will open Boesky West, a new project space in Aspen on March 8, 2017. The 3,000 square-foot building, originally the cabin of late 1800s photographer James “Horsethief” Kelly, was reimagined and designed by Selldorf Architects and executed in cooperation with local architecture firm David Johnston Architects. Boesky West will serve as an extension of the Chelsea flagship, and feature exhibitions both by gallery artists and artists invited to present special projects. With the new space, Marianne Boesky aims to provide opportunities for these artists to engage with the broad cultural community in Aspen, as well as with the sublime and awe-inspiring landscape.
Boesky West will present exhibitions, open to the public, during the peak winter-spring and summer seasons. The inaugural exhibition will feature new and recent work by artists and long-time friends Frank Stella and Larry Bell. The exhibition, which is currently in development, will highlight both artists’ ongoing fascinations with abstraction, material, light, and space, creating a dynamic dialogue between their distinct practices. The exhibition marks a rare opportunity to see these two renowned artists together.
To read the full news alert, please click the PDF link above.
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Worcester Art Museum Receives Major Grant from Luce Foundation for 3 Year Program I Thursday, January 12, 2017 I PDF
The Worcester Art Museum today announced that it has been awarded a three year grant of $825,000 from the Henry Luce Foundation to support a series of projects focused on the Museum’s extensive—and exceptional—collection of pre-contemporary American art. One of the largest awards given by the Foundation’s American Art Program last year, these funds will support a new series of installations and rotating exhibitions that will highlight important but less frequently seen works from the Museum’s holdings of American art. This includes an exhibition to open in 2018 centered on several stained glass windows by John La Farge and Louis Comfort Tiffany, which have not been on view in more than 40 years.
The Museum was invited by the Henry Luce Foundation’s American Art Program, based on its commitment to support exhibitions, publications, and research. These funds will make possible a series of research projects and new exhibitions that will unfold over the next three years. This work also coincides with the Museum’s ongoing, institution-wide initiative to explore new narratives based on works in its collection, such as with its newly reinstalled Medieval galleries and the reinstallation of its Old Master galleries in 2013.
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Meadows Museum to Premiere Exhibitions of Works By Jusepe de Ribera & Francisco de Zurbarán in 2017 I Monday, January 9, 2017 I PDF
In 2017, the Meadows Museum at SMU is co-organizing and will present two standout exhibitions by Spanish Golden Age master artists and contemporaries, Jusepe de Ribera (1591–1652) and Francisco de Zurbarán (1598–1664), along with a focused exhibition exploring an element of artistic rivalry between Pablo Picasso (1881-1973) and Diego Rivera (1886-1957). Opening March 12, 2017, Between Heaven and Hell: The Drawings of Jusepe de Ribera will be the most comprehensive presentation ever dedicated to the artist’s drawings—and the first major monographic exhibition organized on the artist in the United States in the last 25 years. Although Ribera is known principally for his paintings and prints, he produced an extensive corpus of drawings, many of which are independent studies or works of art in their own right. Co-organized with the Museo Nacional del Prado, the exhibition celebrates the publication of the first catalogue raisonné of the artist’s drawings, published jointly by the Meadows Museum, the Museo Nacional del Prado, and the Fundación Focus. The Meadows Museum is the only U.S. venue for this exhibition.
On September 17, 2017, the Meadows will present Zurbarán: Jacob and his Twelve Sons, Paintings from Auckland Castle, a series of 13 life-size paintings making their first trip to the United States in the most important Zurbarán exhibition in 30 years. Proposed by the Meadows, the project is co-organized with Auckland Castle in County Durham, England, and The Frick Collection in New York, where it will be on view in the spring of 2018. This series of works was purchased in 1756 by Richard Trevor, Bishop of Durham; Trevor subsequently redesigned Auckland Castle’s Long Dining Room to house the paintings, which together comprise one of the most significant public collections of the artist’s work outside Spain. The upcoming restoration of Auckland Castle—which involves the temporary deinstallation of the series from the room where the paintings have hung for more than 250 years—presents this unique study and exhibition opportunity. Before their display in the U.S., the paintings will undergo technical analysis at the Kimbell Art Museum’s noted conservation lab.
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Recent News From Our Clients, December 2016
ArtInfo, December 26: "'The Smudge Waves Back’ by Hannah Van Bart at Marianne Boesky Gallery," on the upcoming exhibition of Van Bart's work, opening January 5, 2017
ArtInfo, December 23: "Honolulu Biennial Reveals 2017 Artist Lineup, List of Sites," Nicholas Forrest, on the Honolulu Biennial's inaugural edition, which runs March 8 - May 8, 2017
Hyperallergic, December 21: "The Disturbingly Relevant Art of the Moscow Conceptualists," by Tatiana Istomina, reviewing the exhibition “Thinking Pictures”: Moscow Conceptual Art in the Dodge Collection, at the Zimmerli Art Museum through December 31, 2016
ARTnews, December 21: "Here Is the Full List of Artists Participating in the Inaugural Honolulu Biennial," by Angela Brown; the Honolulu Biennial's inaugural edition runs March 8 - May 8, 2017
artnet news, December 21: "Honolulu Biennial Artist Roster Mingles Locals and Global Art Stars," by Brian Boucher
Artforum, December 21: "Honolulu Biennial Announces Participating Artists for Inaugural Edition"
ArtInfo, December 8: "Dashiell Manley’s ‘Whatever, A Vibrant Holiday’ at the Marianne Boesky Gallery, New York," by Isabella Mason, featuring a slideshow of Manley's works, on view through December 17
ARTnews, December 7: "Worcester Art Museum Adds Five Board Members, Names Lisa Kirby President," by Andrew Russeth, on new Board members Susan M. Bassick, Andrew T. Jay, Dana R. Levenson, Ronald L. Lombard, and Anne-Marie Soullière
artnet news, December 7: "Worcester Art Museum Appoints Lisa Kirby Board President and Adds 5 New Trustees"
Art in America, December 2016: "Dineo Seshee Bopape," by Brian Droitcour, on the first U.S. exhibition by this South African artist, on view at Art in General through January 14, 2017
The Art Newspaper, December 1: "What is the role of the liberal biennial in a conservative world?," by Pac Pobric, including an interview with curator Ngahiraka Mason on the first Honolulu Biennial, opening March 8, 2017
The Art Newspaper, December 1: "Child portrait revealed to be work by Goya’s brother-in-law," by Emily Sharpe, on the acquisition by the Meadows Museum of a portrait by Francisco Bayeu y Subías
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Honolulu Biennial Announces Full Artist List and Locations for Inaugural Edition I Wednesday, December 21, 2016 I PDF
In anticipation of the opening this spring, the Honolulu Biennial Foundation (HBF) today announced the comprehensive list of artists participating in the 2017 Honolulu Biennial. The roster features leading, midcareer, and emerging artists from Hawaiʻi, the Pacific Islands, Asia, North America, Australia, and New Zealand, including Yayoi Kusama, Lisa Reihana, who will also be representing New Zealand in the upcoming Venice Biennale, Lee Mingwei, and local talents Kaili Chun, Chris Ritson, and Drew Broderick. Artists were selected by Curatorial Director Fumio Nanjo, Director of Tokyo’s Mori Art Museum, and Curator Ngahiraka Mason, former Curator of Indigenous Art, Maori Art at Auckland Art Gallery Toi o Tāmaki. Titled Middle of Now | Here, the Honolulu Biennial highlights the dynamic and diverse perspectives of artists from the cultures linked by the Pacific Ocean and underscores the idea that place has a lasting impact on individual and communal identities.
“Where we live shapes who we are. Our everyday surroundings affect our lives. Everything we are, all we have been, and are becoming is related to place,” said Nanjo and Mason in a joint statement of the guiding vision for the Biennial. “The power of geography and its affect on worldviews, culture, and stylistic and conceptual approaches to art are real and persistent. The Honolulu Biennial recognizes place-based creativity as living and continuous, and seeks to shine a light on the incredible variation and complexity of art created by artists from this part of the world.”
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Art in General Announces New Commissions and Programs for Winter 2017 I Wednesday, December 15, 2016 I PDF
Art in General today announced its exhibition and public programs schedule for winter-spring 2017. For this season, the Brooklyn-based nonprofit has commissioned artists and invited speakers whose work addresses broadly the politics of land, offering a range of dynamic perspectives on such important social issues as geographic identity, border relations, immigration, environmentalism, statelessness, and the relationship between gender and the land. Among the highlights are exhibitions of new work by Johannesburg-based artist Dineo Seshee Bopape, New Mexico and Arizona-based artist collective Postcommodity, performances by New York artist Juanli Carrion, and a film project by New York-based artist Freya Powell.
Art in General’s overarching curatorial program is grounded in its New Commissions and International Collaborations initiatives, through which the 35-year old organization selects artists from the U.S. and abroad to develop and complete new works that might not otherwise be possible. In addition to commissioning new work, Art in General also offers a dynamic array of film screenings, talks, and workshops. Each April, in partnership with the Vera List Center, it hosts the What Now? symposium, which explores timely topics at the cross-section of art and current events, providing opportunity for in-depth discussion on themes and concepts explored through its curatorial program.
To read the full news alert, please click the PDF link above.
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Exhibition Explores Post Industrial Landscape Through Work of International Artists I Tuesday, December 13, 2016 I PDF
On February 3, Wasserman Projects in Detroit will open After Industry, an exhibition of new and recent work by Italian sculptor Willy Verginer, Norwegian painter Christer Karlstad, and Michigan-based photographer Jason DeMarte. The exhibition marks the first time that Verginer and Karlstad’s work will be explored in depth in the U.S, and the first time their work will be exhibited together and with that of DeMarte. While vastly different in style, media, and technique, these artists’ works offer a subtle but unmistakable commentary on humanity’s disregard for and attempts to control the natural world. Their installations, paintings, and photographs convey the psychological and physical state of a world engrossed in consumption, and as a result at the cusp or just beyond collapse. On view through April 7, After Industry will immerse audiences in an aesthetically rich experience, while also providing a platform to engage with important underlying themes, including consumerism, human impact on the environment, and the effects of mass production.
Professionally trained as a sculptor and wood carver in his home region of Val Garenda in Northern Italy—where wood carving traditions date back to the 7th century—Verginer creates installations that locate his life-like wood-sculpted figures in vignettes with seemingly incongruous objects such as barrels, tires, and light bulbs, producing scenes that defy clear narrative and capture an eerie otherworldliness. This alienesque sensation is also felt in Karlstad’s paintings and DeMarte’s photographs. Karlstad portrays a landscape where cities are just a memory and nature has reasserted itself. The animals and people that populate his highly realistic canvases feel familiar and yet their circumstances are strange and haunting. DeMarte’s vivid, large-scale photographs depict man-made tableaus of nature, highly composed and amplified through lighting and computer manipulation. DeMarte completes his scenes by inserting images of candies, syrups, and brightly colored products, creating sickeningly artificial and oversaturated environments.
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Of Country and Culture: The Lam Collection of Contemporary Australian Aboriginal Art Will Premiere at San Antonio Museum of Art IDecember 7, 2016 IPDF
On February 24, 2017, the San Antonio Museum of Art will present an exhibition of contemporary Aboriginal art, drawn from a collection gifted to the Museum earlier this year by long-time supporters May and Victor Lam. Titled Of Country and Culture, the exhibition explores the contemporary application of a range of Aboriginal artistic traditions—from sand paintings, to body painting, to grave poles—to reveal the intricacy and diversity of these works, as well as how the subject matter is intimately connected with people’s daily lives. With approximately 75 works on view, the exhibition also expands our understanding of the indigenous people of Australia, each with distinct languages and cultures, but all of whom share a profound connection to the land. In particular, the collection includes a significant number of works by women artists, demonstrating their contributions to contemporary Aboriginal art and representing a relatively recent change from their historical exclusion from the contemporary painting movement in Australia. The exhibition will be on view through May 14, 2017, and will include a number of additional works on loan from the Lam family.
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Worcester Art Museum Appoints New Board President, Adds Five New Trustees IDecember 7, 2016IPDF
The Worcester Art Museum announced yesterday at its Annual Meeting that Lisa Kirby Gibbs of Worcester will be the next President of the Board, taking over from Joseph J. Bafaro, Jr., who has completed his Board term. Ms. Kirby Gibbs, who has been on the board for four years, is joined by five new Trustees: Susan M. Bassick, Andrew T. Jay, Dana R. Levenson, Ronald L. Lombard, and Anne-Marie Soullière. Lisa Kirby Gibbs, who has resided with her family in Worcester since 1999, has served as chair of the Museum’s Audience Engagement Committee and has sponsored free admission during the month of August for the past three years through The Kirby Foundation, of which she is CEO and Trustee.
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Recent News From Our Clients, November 2016
ArtInfo, November 17: "Breakdown: Dashiell Manley Deconstructs the News," by Margaret Carrigan, on Manley's new exhibition, whatever, a vibrant holiday, open through December 17 at Marianne Boesky Gallery
artnet news, November 17: "Anne Barlow Named Artistic Director of Tate St Ives," by Caroline Elbaor, on the new appointment for New York-based Art In General's director
Print Magazine, November 16: "The Artist Who Taught Us to Draw Animals," by Steven Heller, on the opening of the new exhibition KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley, now open at the Worcester Art Museum
The Architect's Newspaper, November 2: "Theaster Gates’s Rebuild Foundation launches training initiative and crafts auction," by Matthew Messner, on the launch of Dorchester Industries at Rebuild Foundation and the upcoming November 5 Benefit and Auction, which includes a preview of Glenn Ligon's A Small Band (2015)
artnet news, November 2: "Theaster Gates Launches Skills Training Program and Fundraising Auction," by Amah-Rose Abrams
The Architect's Newspaper, November 2: "Gehry Partners’ 8150 Sunset unanimously approved by L.A. City Council," by Antonio Pacheco, on the unanimous approval of Townscape Partners' plans for a new, mixed-use development at 8150 Sunset Boulevard
ARTnews, November 1: "Theaster Gates Starts Artisan and Craft Workforce Training Program in Chicago," by Robin Scher, on the launch of Dorchester Industries at Rebuild Foundation and the upcoming November 5 Benefit and Auction, which includes a preview of Glenn Ligon's A Small Band (2015)
Artforum, November 1: "Theaster Gates Founds Apprenticeship Program for Underemployed Chicago Residents," on the launch of Dorchester Industries by Rebuild Foundation
Los Angeles Times, November 1: "L.A. City Council approves Frank Gehry's project on the Sunset Strip," by Alice Walton, on the unanimous approval of Townscape Partners' plans for a new, mixed-use development at 8150 Sunset Boulevard
Curbed LA, November 1: "City Council gives final approval to Frank Gehry-designed Sunset Strip development," by Jenna Chandler, on moving ahead with plans for 8150 Sunset Boulevard
Los Feliz Ledger, November 1: "Ryu Demands City Rethink State Density Law, while Council OKS Gehry Project," by Allison B. Cohen, on moving ahead with plans for 8150 Sunset Boulevard
Los Angeles Business Journal, November 1: "L.A. City Council Signs Off on Frank Gehry Project," by Daina Beth Solomon, on moving ahead with plans for 8150 Sunset Boulevard
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Art In General Announces That Director Anne Barlow Will Join Tate St. Ives IWednesday, November 16, 2016 I PDF
Art in General—the New York-based nonprofit dedicated to assisting local and international artists with the production and presentation of groundbreaking new projects—announced today that its Director Anne Barlow will depart in early 2017 to become the Artistic Director for Tate St. Ives. An international search for a new director will begin immediately.
“Under Anne’s tenure, Art in General has enhanced its new Commissions Program and launched a new International Collaborations Program, expanding our ability to connect with, support, and present the work of dynamic artists from New York and abroad. Her vision and tireless advocacy for artists has increased substantially the critical appreciation and visibility of our exhibitions and educational programs,” said Roya Khadjavi Heidari, co-president of Art in General’s Board of Directors. “She has brought in new foundation and government funding and grown the number of individuals dedicated to AiG’s mission, an essential part of our ongoing success.” “Although we are very sorry to lose Anne’s leadership and passionate commitment, we are gratified that the Tate St. Ives sees in her so many of the same talents that we have come to value,” said Leslie Ruff, co-president of Art In General’s Board of Directors. “We wish her all the very best for this exciting new chapter, and look forward to working with her during this transitional time while we begin the search for a new Director.”
To read the full news alert, please click the PDF link above.
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Theaster Gates to Launch Workforce Training Initiative at Rebuild Foundation Benefit I Tuesday, November 1, 2016 I PDF
Theaster Gates and his Rebuild Foundation today announced the launch of Dorchester Industries, a workforce training and apprenticeships initiative for un- or underemployed people across the South Side of Chicago. The program pairs people with Rebuild Foundation’s artists-in-residence as well as local tradespeople—from masons and general contractors to landscapers—to learn new skills as well as have direct, hands-on opportunities to create and sell new art and design objects. To kick-off the initiative, handcrafted wooden tables and ceramic dishware, created by the first generation of program participants, will be used and available for sale at the November 5th Benefit and Auction for the Stony Island Arts Bank (SIAB), the programmatic center of Rebuild Foundation. Additionally, a series of beautifully crafted and boxed Japanese-style ceramics, created by Dorchester Industries under the guidance of Koichi Ohara, a well-known contemporary Japanese ceramicist, will be included in the event auction.
A team of 8 Dorchester Industries participants have been working with Ohara, learning the art form over the last month, from the basics of working with clay to the processes involved in kiln firing and glazing. During his time in Chicago, Koichi and the team of apprentices have produced some 2000 works, from soup bowls to tea bowls, and sake pitchers and cups. For the SIAB benefit auction,15 of these have been packed into hand-crafted wood boxes in mixed sets of five and will be available for bidding. The auction will also include works by Gates, Anselm Kiefer, Eddie Peake, and Antony Gormley, drawn from Gormley’s personal collection. Proceeds from Dorchester Industries objects will be provided to program participants, while sales of other auction artworks will support Rebuild Foundation’s exhibitions and community programs. Auction artwork is available for bidding on Paddle8 at: https://paddle8.com/auction/rebuild-foundation/
To read the full news alert, please click the PDF link above.
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Recent News From Our Clients, October 2016
New York Times, October 30: "Playing Chicken With the Art World," by Hilarie Sheets. About the exhibition Energy/Mass and the Cosmopolitan Chicken Project, now on view at Wasserman Projects in Detroit, "You may never think about art the same way," writes Sheets.
Discover, October 14: "In Pursuit of the ‘Cosmopolitan Chicken’," by Nathaniel Scharping, on the importance of the chicken, as explored at Wasserman Projects in the recently opened exhibition by artist Koen Vanmechelen
Forbes, October 13: "Soviet Totalitarianism Was No Match For These Moscow Conceptual Artists," by Jonathon Keats, on the new exhibition “Thinking Pictures”: Moscow Conceptual Art in the Dodge Collection at the Zimmerli Art Museum, Rutgers
New York Times, October 12: "Nick Cave: Sculptural, and Political, at Mass MoCA," by Holland Cotter, previewing the new Nick Cave exhibition opening Saturday, October 15
University Herald, October 11: "Free Book Delivery For Students: Have a Book Handpicked and Delivered to You Every Month for the Rest of Your Life? London Bookstore Offers for Free!," by Beth Golden, on the book raffle by Heywood Hill
Vox, October 8: Vox's weekly round-up of book-related links and stories includes Heywood Hill's "Library of a Lifetime" raffle
Apollo, October 5: "Acquisitions of the Month: September 2016" includes the Meadows Museum's acquisition of the painting "María Teresa del Castillo" by Francisco Bayeu y Subías
The New Criterion, October 5: "The Critic's Notebook," including (by Mene Ukueberuwa) a piece on Heywood Hill bookshop's Library of a Lifetime raffle
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Marianne Boesky Gallery Now Represents Multidisciplinary Artist Sanford Biggers I Wednesday, October 19, 2016 I PDF
Marianne Boesky Gallery is pleased to announce representation of artist Sanford Biggers, whose practice encompasses installation, film, video, drawing, sculpture, original music, and performance. Biggers’ work deals with well-recognized social, political, and cultural narratives, which he reinterprets to highlight new and underlying perspectives. The gallery will feature Biggers’ work as part of its presentation at Art Basel Miami Beach in December, to be followed by a solo exhibition in New York in 2017.
Leveraging the formal qualities of the vast range of media with which he works, Biggers creates installations and “vignettes” that inspire dialogue on issues such as formalism, the shifting meaning of symbols, nostalgia, history, the figure, and the complexities of identity in today's social and political landscape. Biggers’ work is as visually compelling as it is conceptually complex, taking viewers on a journey from initial aesthetic encounter through the many embedded layers of meaning to create what he terms, “a future ethnography.”
To read the full news alert, please click the PDF link above.
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Marianne Boesky Gallery Opens Concurrent Solo Exhibitions of New Work by Artists Matthias Bitzer and Dashiell Manley
Matthias Bitzer: a different kind of gravity I Press Release PDF
Marianne Boesky Gallery is pleased to present the second solo exhibition of Berlin-based artist Matthias Bitzer. a different sort of gravity features a new body of work that explores the ways in which thoughts, images, and objects are interpreted through language and memory. The exhibition will be on view from October 27 to December 17, 2016 at the gallery’s 507 W. 24th Street location. A concurrent exhibition of new work by Los Angeles-based artist Dashiell Manley will be on view in the adjacent Marianne Boesky Gallery at 509 W. 24th Street.
The interplay between seemingly disparate subjects, sources, and contexts forms the core of Bitzer’s practice. In both his two and three-dimensional works, these distinct ideas come together to reveal unseen narratives and surprising connections. This conceptual underpinning is newly experienced with this body of work, which includes a series of multi-part installations that are composed of drawings, paintings, and mixed-media panels as well as freestanding steel and light sculptures.
Dashiell Manley: whatever, a vibrant holiday I Press Release PDF
Marianne Boesky Gallery is pleased to present whatever, a vibrant holiday, the gallery’s first solo exhibition of work by Los Angeles-based artist Dashiell Manley, who joined the gallery in February. The exhibition will feature a new series of paintings, titled Elegy for whatever, which explores the emotional and psychological experience of the breaking news cycle and furthers the artist’s ongoing engagement with the subject. The exhibition will be on view from October 27 to December 17, 2016 at the gallery’s 509 W. 24th Street location. A concurrent exhibition of new work by Berlin-based artist Matthias Bitzer will be on view in the adjacent Boesky East at 507 W. 24th Street.
whatever, a vibrant holiday represents both a continuation and disruption of Manley’s years-long engagement with daily global news. The works that comprise the Elegy for whatever series are personal and emotional responses to the gripping, and often difficult, aspects of the news emphasized in his previous series. Manley translates the feelings and moods invoked by these stories into gestures and movements, resulting in highly textured, colorful, and entirely abstract canvases that capture the psychology of an experience. The new works also mark an evolution in Manley’s practice, as he engages more deeply with oil paint—sculpting the paint with a palette knife on the canvas surface, creating both a physical and emotional depth.
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First Comprehensive Exhibition of Modern Spanish Art to Open at Meadows Museum I Tuesday, October 4, 2016 I PDF
This fall, the Meadows Museum at SMU will present the most comprehensive survey of modern Spanish art to be shown in the United States. The exhibition—which features nearly 100 works of art dated from 1915-1957 by more than 50 artists—offers a compelling visual narrative of the development and evolution of modern art, as seen through the work of the most important Spanish creators of the time. The works are drawn predominantly from the Asociación Colección Arte Contemporáneo (ACAC), one of the most significant repositories of modern Spanish art in the world, along with select masterpieces from the renowned collection of the Meadows Museum. The collaboration and exhibition mark the first time many of these works will travel to the U.S. Modern Spanish Art from the Asociación Colección Arte Contemporáneo will be on view at the Meadows—the exclusive venue for this exhibition—from October 9, 2016, through January 29, 2017. This exhibition has been organized by the Meadows Museum and the Asociación Colección Arte Contemporáneo, in collaboration with Acción Cultural Española.
To read the full news alert, please click the PDF link above.
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Recent News From Our Clients, September 2016
Art in America, September 2016: "In the Studio: Donald Moffett," by Steel Stillman, on the new exhibition Donald Moffett: any fallow field, opening at Marianne Boesky Gallery on September 8
Entertainment Weekly, September 30: "A London bookstore is offering a chance to win free books for life," by Madeline Raynor, on the new book prize--for readers--launching this October by Heywood Hill bookshop, London
New York Times, September 29: "A New Chapter in Book Prizes: Readers Are the Winners," by Sarah Lyall, on the first literary prize for readers, launching this October by London's Heywood Hill bookshop
Bustle, September 29: "How To Win A Book Per Month For The Rest Of Your Life," by Emma Oulton, on the new literary prize for readers organized by Heywood Hill
Fast Company, September 23: "The World's Most Cosmopolitan Chicken Is Coming To Detroit," by Jessica Leber, on Koen Vanmechelen's new exhibition at Wasserman Projects
Whitehot Magazine, September 2016: "Belgian Artist Koen Vanmechelen Answers the 'Chicken or the Egg' Riddle and More in ENERGY/MASS at Wasserman Projects," by Kurt McVey
Big Think, September 23: "What Happens When An Artist Thinks Like a Scientist? Better Chicken," by Laurie Vazquez, on the new exhibition of works by Koen Vanmechelen, titled ENERGY/MASS, at Detroit's Wasserman Projects
New York Times, September 23: "Mysterious Portrait," in Eve M. Kahn's Antiques column, on the acquisition of a newly re-attributed portrait by Francisco Bayeu y Subías by the Meadows Museum
artnet news, September 20: "Theaster Gates Secures Loan for the Gazebo Where Tamir Rice Was Shot," by Henri Neuendorf
New York Times, September 18: "Art Fall Preview: From East Coast to West Coast. From Concrete to Ethereal.", by Martha Schwendener, including: Modern Spanish Art From The Asociacion Colecion Arte Contemporaneo and Between Heaven And Hell: The Drawings Of Jusepe De Ribera at the Meadows Museum, Dallas; The Lam Collection Of Aboriginal Art at the San Antonio Museum of Art; Nick Cave: Until, at MASS MoCA; and the Honolulu Biennial, coming in Spring 2017.
New York Times, September 15: "Cleveland Gazebo Where Tamir Rice Was Shot Will Be Moved to Chicago," by Monica Davey, reporting that the Chicago-based Rebuild Foundation will preserve the gazebo and develop programs using it
Smithsonian.com, September 15: "Breeding a Better Chicken in the Name of Art (and Science)," by Andrew Amelinckx, on the Cosmopolitan Chicken Project opening this month at Detroit's Wasserman Projects
Hyperallergic, September 6: "ArtRx NYC: Fall Guide 2016," including “Thinking Pictures”: Moscow Conceptual Art in the Dodge Collection, open now at the Zimmerli Museum at Rutgers University
Gothamist, September 4: "Photos: Historic Buildings On Governors Island Now Filled With Art," by Scott Lynch, on the 2016 Governors Island Art Fair
New York Times, September 2: "In NYC This Weekend? Here Are 2 Art Shows, 2 Operas and 5 Plays," includes Daniel McDermon on the Governors Island Art Fair, "a rare chance to see such a large cross section of contemporary work for the cost of a $2 ferry ticket." Open each weekend through September.
Modern Farmer, September 2: "Breeding a Better Chicken in the Name of Art (and Science)," by Andrew Amelinckx, writing about the Cosmopolitan Chicken Project, which opens at Wasserman Projects in Detroit on September 22
Hyperallergic, September 1: "Harboring Art in Historic Spaces at the 2016 Governors Island Art Fair," by Allison Meier, previewing the 2016 edition of the Governors Island Art Fair, which opens Saturday, September 3, 2016
NY1, September 1: "Your Weekend Starts Now 9/1/16," Stephanie Simon reports on cultural events around New York City this weekend, including the Governors Island Art Fair
New York Observer, September 1: "An Art Fair Takes Over Governors Island, and 7 Other Things to Do," by Alanna Martinez, on the Governors Island Art Fair's Labor Day weekend opening
Flavorpill, September 1: "Labor Day Weekend is upon us," includes the Governors Island Art Fair as one of two arts and culture events for the weekend
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Governors Island Art Fair Draws 60,000; Artist Call for Portal Art Fair in May Now Open I Monday, October 3, 2016 I PDF
The nonprofit 4heads announced today that the ninth annual Governors Island Art Fair (GIAF) drew nearly 60,000 visitors in its four weekend run, an approximate 10,000-person increase from the previous edition. GIAF expanded for the second consecutive year, adding Castle Williams as a presentation site for the 2016 iteration. More than 100 artists, working across a spectrum of media, installed their work in Colonels Row, Fort Jay, Castle Williams, and designated outdoor locations, attracting a diverse public of arts collectors, patrons, and novices to the historic locales.
Among the highest selling artists this year were Marcy Sperry, whose colorful and elaborately beaded canvases resemble topographies of distant lands; Jim Garmhausen, who uses his background as a cartoonist to create dynamic characters and narratives in his paintings, works on paper, and sculptures; Meegan Barnes, who presented a series of ceramic sculptures inspired by the derriere; and Sam Horowitz, whose sculptures made of found and refurbished wood were also popular in the 2015 edition of GIAF. The more than 500 works featured at GIAF ranged in price between $100 and $20,000, and total sales at the conclusion of the fair were approximately $30,000, with additional sales in progress and to follow.
To read the full news alert, please click the PDF link above.
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Heywood Hill To Award Library of a Lifetime Prize, First Literary Prize for Readers | Thursday, September 29, 2016 | PDF
Heywood Hill, the legendary independent London bookshop, is launching the world’s first major literary prize focused on readers of books, rather than their writers. The first prize winner will receive the Library of a Lifetime: one newly published and hand-picked hardback book per month, for life, delivered anywhere in the world. To win, readers must enter the name and author of the single book that has meant the most to them, drawn from any book published in English since Heywood Hill was founded in 1936—eighty years ago this year. As part of the campaign, and to kick things off, Heywood Hill has asked a number of writers to share their own nominations, including Julian Barnes, Antonia Fraser, Kazuo Ishiguro, among others; their submissions will be shared on the bookshop's Twitter feed throughout the month of October.
To read the full news alert, please click the PDF link above. Submissions may be made at: https://www.heywoodhill.com/competition
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Meadows Museum Acquires Child Portrait By Francisco Bayeu I Friday, September 23, 2016 I PDF
Today the Meadows Museum at SMU announced the acquisition of the painting María Teresa del Castillo (1767-70), a portrait of a child by Francisco Bayeu y Subías (1734-1795), one of the most important and widely admired Spanish painters of the period. This painting is an important addition to the Meadows Museum’s collection, which has very few such examples of child portraiture. Part of the aristocratic Villagonzalo collection since at least the 19th century and not often seen on public display, the painting is in extraordinary condition—with an unlined canvas on its original stretcher—and required little conservation. It is of such high quality that for many years it was attributed to Bayeu’s mentor, the court painter Anton Raphael Mengs (1728-1779); a recent examination of the piece led to both the identification of the girl depicted and a reattribution of the painting to Bayeu.
To read the full news alert, please click the PDF link above.
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Colnaghi Brings Exceptional Old Master Works to Wasserman Projects in Detroit I Thursday, August 18, 2016 I PDF
Colnaghi is pleased to present an exhibition of European paintings and sculpture at Wasserman Projects in Detroit from September 7 through 11, 2016. Old Masters / New World is the renowned London-based gallery’s first exhibition in the city, and will feature works of art from the 15th to the 18th centuries, including important paintings by such artists as Frans Francken, Gaetano Gandolfi, and Jusepe de Ribera and sculpture by Pedro Duque y Cornejo, among others. These magnificent works will be further augmented by an exceptional collection of Spanish glass from the Royal Factory of Glass and Crystal of La Granja, created between 1727 and 1850. The company’s first collaboration with Wasserman Projects, a gallery and exhibition space housed in a converted firehouse in Detroit, the exhibition supports Colnaghi’s mission to engage and excite audiences by presenting Old Masters within contemporary contexts, highlighting these extraordinary works’ relevance and relationship to the 21st century experience.
For the more than 120 years, Colnaghi has been enhancing opportunities for arts patrons and the public to experience stunning masterworks, by establishing long-lasting relationships with institutions across Europe and the U.S., participating in fairs and exhibitions, and developing scholarly publications. The opening of Old Masters / New World is yet another opportunity to share these Old Master works, now with audiences in Detroit and the surrounding regions.
To read the full news alert, please click the PDF link above.
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Recent News From Our Clients, July & August 2016
artnet news, August 31: "Here’s What to Expect at Governors Island Art Fair," by Rain Embuscado, previewing the 2016 edition of the Governors Island Art Fair
Time Out New York, August 29: "The top five New York art shows this week," by Howard Halle, includes the Governors Island Art Fair, which opens Saturday, September 3rd, 2016
Hyperallergic, August 26: "Art Movements: Transactions," on the acquisition of Otto Dix's "The Pregnant Woman" (1931) and two paintings by Philippe-Jacques Van Brée by the Worcester Art Museum
Architectural Digest, August 15: "Preview Frank Gehry’s Massive New Development on L.A.’s Sunset Strip," by Kimberly Peterson, on the Frank Gehry design for the mixed-use development at 8150 Sunset Boulevard
New York Times, August 14: "The Artist Nick Cave Gets Personal About Race and Gun Violence," by Ted Loos, on the creation of the artist's upcoming installation, "Until," opening at MASS MoCA this October
KNX 1070, August 6: "Mottek on Money" radio segment with anchor Frank Mottek, featuring an interview with architect Frank Gehry about his design for 8150 Sunset Boulevard
artnet news, August 1: "Honolulu Biennial is Set to Launch Inaugural Edition in March 2017," by Sarah Cascone, on the announcement of the Biennial's title for 2017, Middle of Now | Here, as well as presentation sites, and an additional curatorial voice
The Real Deal, August 1: "City planning unanimously approves Frank Gehry’s WeHo project," by Cathaleen Chen, on the LA City Planning Commission's unanimous vote to recommend the new Frank Gehry designed project at 8150 Sunset Boulevard
SNAP Architectural News + Products, July/August: "Live And Learn," by David Sokol, about Hampshire College's R.W. Kern Center and the Living Building Challenge
Curbed Los Angeles, July 29: "Frank Gehry’s Sunset Strip project is approved — ‘I will do my best to make you proud'," by Jenna Chandler, on the LA City Planning Commission's unanimous vote to recommend the new Frank Gehry designed project at 8150 Sunset Boulevard
The Architect's Newspaper, July 29: "Gehry A Go Go: Gehry complex on Sunset Strip approved with affordable housing component," by Antonio Pacheco
LAist, July 29: "Frank Gehry's Five-Building Project On Sunset Strip Gets The Green Light," by Tim Loc
KABC, July 28: Nightly News segment on Frank Gehry's presentation to the Los Angeles City Planning Commission about his design for 8150 Sunset Boulevard
Los Feliz Ledger, July 28: "Gehry Design for Sunset Blvd. Approved by City Commission," by Allison B. Cohen
ArtInfo, July 28: "Details About Inaugural Honolulu Biennial Revealed," by Taylor Dafoe
Artforum, July 28: "Honolulu Biennial 2017 Names Ngahiraka Mason Curator and Reveals Theme"
ARTnews, July 27: "2017 Honolulu Biennial Names Ngahiraka Mason Curator and Announces Dates," by Tessa Goldsher
DNAinfo, July 19: "Barracks To House 100 Artists' Works on Governors Island," by Irene Plagianos, on the list of artists presenting at the Governors Island Art Fair this September
Hyperallergic, July 15: "An Eclectic Lineup at This Year’s Governors Island Art Fair," by Allison Meier, about the list of artists presenting at the Governors Island Art Fair this September
The New York Times, July 7: "What to See in New York Art Galleries This Week," by Ken Johnson, on the exhibition I Talk With the Spirits at Marianne Boesky Gallery, open through August 12, 2016
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Governors Island Art Fair Expands to Castle Williams, Former Defense Structure & Prison I Tuesday, August 16, 2016 I PDF
The nonprofit 4heads announced today that the ninth edition of Governors Island Art Fair (GIAF) will expand to include new installations at Castle Williams, a former defense structure on the Island. Artists will install works in eight of the building’s casemates— which later served as military prison cells—marking the first time ever that art will be featured in these spaces, which the National Park Service only recently opened to the public as part of an ongoing effort to preserve the fortress and make it fully accessible to visitors. This expansion of GIAF builds on last year’s incorporation of the underground munitions chambers at Fort Jay, further enhancing the dynamic experience of the fair on the Island and 4heads’ mission to enliven historic locations throughout the city with contemporary art. GIAF will open to the public on September 3—and remain open every weekend throughout the month—presenting the work of 100 artists, from the U.S. and abroad, across Castle Williams, Colonels Row, and Fort Jay, as well as many designated outdoor locations.
Among the exhibitors at Castle Williams are Vermont-based artist Mark Lorah, who will create a site-specific installation, using a system of white boxes, that responds to the physical experience of confinement; New York-based artist Chaney Trotter, who collected hundreds of pounds of driftwood in North Carolina to construct a monumental ribcage based on a painting she created in 2010; and New York artist Mitsutaka Konagi, who has worked as a stone carver, restoring landmark buildings in New York City, and will create a site-specific installation from individually crafted chunks of marble. Artists for this section of GIAF were specifically selected to show a diversity of responses to the spaces, which themselves have served many purposes since the fortress was designed and constructed between 1807 and 1811.
To read the full news alert, please click the PDF link above.
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Exhibition of New Works by Donald Moffett to Open in September at Marianne Boesky I Tuesday, August 16, 2016 I PDF
Marianne Boesky Gallery is pleased to present Donald Moffett: any fallow field, the artist’s sixth solo exhibition with the gallery. The exhibition will feature new work that examines nature and human disregard, broadening Moffett's ongoing engagement with the body politic. any fallow field is the first show dedicated to a single artist to be presented in the gallery’s recently expanded Chelsea location, across both 507 and 509 West 24th Street. The exhibition will be on view from September 8 – October 15, 2016.
any fallow field includes Moffett’s latest extruded paintings, contemplating the natural world. With these signature works, the artist coaxes his oil paint into individual tendrils that are perpendicular to the canvas yet seem to undulate on the surface. These paintings are counterbalanced by a new series of resin works, whose glossy and translucent faces hint at their depth. While the structural form remains consistent within both bodies of work, with their milled holes and cutouts resembling buckshot or flowers, the surfaces are unambiguously inversed.
To read the full news alert, please click the PDF link above.
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Zurbarán Masterworks From Auckland Castle Will Tour to Meadows Museum in 2017 l Monday, August 1, 2016 l PDF
The Meadows Museum at SMU announces a touring exhibition of life-size paintings by the Spanish Golden Age master Francisco de Zurbarán (1598–1664), on loan from Auckland Castle in England. Proposed by the Meadows—in collaboration with The Frick Collection, the Kimbell Art Museum, and the Auckland Castle Trust—the project includes an analysis of the paintings at the Kimbell’s noted conservation lab, as well as a scholarly publication about the unique history of this series, the most significant public collection of the artist’s work outside of Spain. The exhibition marks the first time these works will travel to the United States, and will premiere at the Meadows in September 2017, followed by a presentation at The Frick Collection beginning in January 2018.
Depicting the Old Testament figures Jacob and his Twelve Sons, the paintings are a visual narrative of Jacob’s deathbed act of bestowing a blessing on each son, blessings which foretold their destinies and those of their tribes. The works were purchased by Bishop Richard Trevor, Bishop of Durham, at auction in 1756 from the collection of a Jewish merchant named Benjamin Mendez. Trevor redesigned Auckland Castle’s Long Dining Room to house the series, seeing in the public presentation of these works an opportunity to make a statement about the need for social, political and religious understanding between Christians and Jews in the United Kingdom. The upcoming restoration of Auckland Castle—which involves the temporary desinstallation of the series from the room where it has hung for more than 250 years—presents this extraordinary study and exhibition opportunity.
To read the full news alert, please click the PDF link above.
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LA Planning Commission Approves Gehry Designed Project For 8150 Sunset Blvd. lThursday, July 28, 2016 l PDF
At its hearing today, the Los Angeles City Planning Commission unanimously approved the development proposed for 8150 Sunset Boulevard by LA-based developers Townscape Partners, with an innovative design by Pritzker Prize-winning architect Frank Gehry. The plan was approved as proposed, but with an additional 4% affordable housing, bringing the total of affordable housing at the site to 15% of the 249 units.
“We are grateful to the Commissioners for approving this project, and look forward to continuing to improve the details of the design with all of the stakeholders,” said Townscape partner Tyler Siegel. Townscape partner John Irwin noted that “Frank Gehry’s design will provide much-needed, high quality residences, as well as create a new destination for shopping and eating in the City. This is the right direction for development in LA, embracing both the benefits of good planning—as well as a commitment to providing affordable housing at varying income levels, which we have agreed to increase at the recommendation of the Commission.”
To read the full news alert, please click the PDF link above.
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Honolulu Biennial Announces Dates, Curatorial Appointment, and Locations I Wednesday, July 27, 2016 I PDF
Honolulu Biennial 2017, organized by the Honolulu Biennial Foundation (HBF), announced today the formal title and dates for the inaugural edition of the multi-site, contemporary visual arts festival. Titled, Middle of Now | Here, the Biennial will run from March 8 through May 8, 2017 throughout various locations within the city. Additionally, the Honolulu Biennial announced the appointment of Ngahiraka Mason as Curator for the event. Mason previously served, for more than 20 years, as Curator of Indigenous Art, Maori Art at Auckland Art Gallery Toi o Tāmaki. She joins the Biennial’s Curatorial Director Fumio Nanjo, Director of Tokyo’s Mori Art Museum, in developing the vision and experience, and in selecting participating artists.
Local Hawai’i-based and Native Hawaiian artists will be featured alongside emerging, midcareer, and leading national and international artists from the countries and continents linked by the Pacific Ocean, giving the Honolulu Biennial a distinctive focus within the global trope of biennials. Several of the featured artists were announced earlier this year, and include MAP Office (Hong Kong); Brett Graham (New Zealand); Les Filter Feeders (Hawai‘i); Charlton Kupa'a Hee (Hawai‘i); Fiona Pardington (New Zealand); Yuki Kihara (New Zealand/Samoa); Mohammed Kazem (U.A.E.); Andrew Binkley (Hawai‘i); and Yayoi Kusama (Japan). The full list is in formation, and will be announced in the fall.
To read the full release, please click the PDF link above.
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Governors Island Art Fair Announces Artist List for Ninth Edition I Friday, July 15, 2016 I PDF
The nonprofit 4heads announced today the comprehensive artist list for the ninth edition of the Governors Island Art Fair (GIAF), which will open to the public on September 3 and remain on view every Saturday and Sunday throughout the month. The selling fair features more than 100 artists, who represent a wide breadth of creative practice, from painting and photography to sculpture to video, sound, and mixed media installations. Artists will install works in the former military homes on Colonels Row, in the cavernous, underground spaces at Fort Jay, and in designated outdoor spaces throughout the Island, kicking off New York’s fall art season with a dynamic array of artist installations, including many created especially for GIAF. As with previous iterations, artists featured at Colonels Row and Fort Jay will be provided with individual rooms in which to present their work, creating the experience of a series of solo exhibitions and allowing artists to fully take advantage of the historic architectural spaces.
“Every new season, we do our best to present a depth of work that will keep the experience fresh and exciting for visitors, whether an art-lover, collector, or someone who just stumbled into the fair while visiting the Island. At the same time, we are aware of the dialogues that are happening within our community of artists, which really reflect our culture and the issues of our time,” said Antony Zito, 4heads, co-founder. “We choose work that demonstrates a strong vision and sense of craft, work that speaks to the daily lives and concerns of our visitors. This year, we are featuring artists who are exploring and commenting on such important issues as the epidemic of police violence and the impact of human progress on the natural environment, as well as personal issues, like phobias and alienation. It’s a truly diverse mix, in subject and media.”
To read the full release, please click the PDF link above.
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Belgian Artist Brings His Interdisciplinary Practice to Wasserman Projects in Detroit I Wednesday, July 13, 2016 I PDF
On September 22, Wasserman Projects in Detroit will present an exhibition of works by Belgian artist Koen Vanmechelen, whose wide-ranging oeuvre includes photography, sculpture, mixed-media installation, video, and living art initiatives. The exhibition marks the newest phase of Vanmechelen’s ongoing, 20-year-long Cosmopolitan Chicken Project (CCP), which crossbreeds chickens from around the world as a means of exploring cultural, biological, and aesthetic diversity. Featuring the artist’s 2D- and 3D-works, alongside live chickens from CCP, the exhibition highlights the artist’s engagement with ideas of singularity and duality as manifested in the crossbreeding process and his metaphoric representations of the chicken and the egg. Titled Energy/Mass, the exhibition will remain on view through December 17, 2016.
Each year, Vanmechelen introduces a chicken from a different country to CCP, mating it to create a new bird and continuing the genetic diversification of the flock. For the exhibition at Wasserman Projects, the 19th generation Mechelse Cemani chicken will be bred with the American Wyandotte chicken—named for a Native American tribe historically prevalent in the lower Great Lakes—producing the 20th generation Mechelse Wyandotte. This new fully-grown chicken, which now holds aspects of the DNA of 20 international breeds, will be housed in a specially created coop, along with its parent birds, as a living installation that highlights the confluence of art and science. The exhibition will also feature recently hatched Mechelse Wyandotte chicks, housed in a separate enclosure within the exhibition space.
To read the full release, please click the PDF link above.
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Exhibition at Zimmerli Art Museum Highlights Unexpected Roots of Conceptual Art I Wednesday, July 6, 2016 I PDF
Opening on September 6, the exhibition, Thinking Pictures will introduce audiences to the artists and work that defined the development and evolution of conceptual art in Moscow in the 1970s and 1980s. Thinking Pictures opens with Vitaly Komar and Alexander Melamid’s pivotal 1973 installation, Apelles Ziablov (The World’s First Abstract Art, Painting from the 18th Century by the Serf Artist), which features a series of paintings and artist-created archival material that present the artists’ sudden discovery: an original creator of abstract art, the semi-fictional character Apelles Ziablov. The work, at once humorous and incisively critical of authority, whether governmental or historic, encapsulates the underlying spirit of the diverse practices and approaches that comprise “Moscow Conceptualism.”
The exhibition follows the narrative arc of such major installations—several of which have not previously been displayed in the U.S.—highlighting the incredible range of work created by Muscovite artists during this period and the unique sociopolitical contexts that bore it and made it distinct from analogous developments in the west. Featuring nearly 50 artists and approximately 100 works, Thinking Pictures brings to the fore work that is formative to the development of contemporary art practices and yet has been little known or shared as part of the global dialogue. The exhibition will remain on view at the Zimmerli Art Museum at Rutgers through December 31, 2016.
To read the full release, please click the PDF link above.
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Marianne Boesky Gallery Opens First Exhibition in Newly Expanded Chelsea Space I Wednesday, June 22, 2016 I PDF
Read The New York Times review, July 7, 2016
Marianne Boesky Gallery is pleased to present I Talk with the Spirits, an exhibition featuring the work of artists Thornton Dial, Jay Heikes, and Lee Mullican. The exhibition explores the enduring hold of spirituality on artists and their art throughout the 20th century and beyond, expressed across disparate generations, cultures, and artistic traditions. This show, which takes its name from a 1964 album by the great experimental jazz musician Rahsaan Roland Kirk, weaves their work together to create a nuanced picture of the ways in which the spiritual has engaged the artistic imagination. Curated by artist and writer Chris Wiley and organized by Kristen Becker, I Talk with the Spirits will be on view from June 23 – August 12, 2016.
The exhibition is grounded in the work of Lee Mullican (1919-1998), best known as one of the founders of the influential but short-lived Dynaton group, created in San Francisco in the early 1950s. Mullican was highly influenced by the art, artifacts, and rituals of Native American and Pre-Columbian South American cultures, by an interest in Surrealism, and by Zen Buddhism, to which the influential philosopher Alan Watts introduced him. The works that resulted from these varied influences blend the signs, symbols, and myths of ancient religious rites with meditative techniques of painting and drawing. Mullican's exploration of artistic transcendence through the patterns and repetitions in his abstract paintings sets the course for examining how spirituality is interpreted and questioned within Jay Heikes' and Thornton Dial's varied practices. Featured in the exhibition will be a selection of Mullican’s drawings and paintings, such as those of Kuchina dolls, totemic figures, or luminous depictions of cosmogenesis, as well as some of his ceramic or bronze sculptures.
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Recent News From Our Clients, May & June 2016
artnet news, June 21: "Editors' Picks: 8 Art Events to See in New York This Week," by Sarah Cascone, on "I Talk with the Spirits," the upcoming exhibition at Marianne Boesky Gallery, featuring works by Jay Heikes, Thornton Dial, and Lee Mullican
The Wall Street Journal, June 17: "A New Dawn for Sunset Boulevard," by Katy McLaughlin, on new developments along Los Angeles' Sunset Boulevard, including the project at 8150 Sunset Boulevard being planned by Townscape Partners and designed by Frank Gehry
The Art Newspaper, June 9: "Marianne Boesky flies the flag with posthumous Thornton Dial show," by Gabriella Angeleti, reviewing the recent exhibition at the Marianne Boesky Gallery
Artforum, May 27: "Marianne Boesky Gallery Expands Chelsea Space and Closes Lower East Side Outpost"
The Art Newspaper, May 27:"Out with the old, in with the new: Marianne Boesky closes one space to open another," by Dan Duray, on the expansion of the Marianne Boesky Gallery in Chelsea, and the opening of the first exhibition in the combined spaces, featuring works by Jay Heikes, Thornton Dial, and Lee Mullican
The New York Times, May 26: "Twice the Room," by Robin Pogrebin, on the expansion of the Marianne Boesky Gallery in Chelsea, and the opening of the first exhibition in the combined spaces, featuring works by Jay Heikes, Thornton Dial, and Lee Mullican
ARTnews, May 18: "Suzanne Weaver Named Curator of Contemporary And Modern Art at San Antonio Museum of Art," by Hannah Ghorashi
Artforum, May 18: "San Antonio Museum of Art Appoints New Curator of Modern and Contemporary Art"
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Unprecedented Survey of Spanish Modern Art to Open at Meadows Museum I Tuesday, June 21, 2016 I PDF
This fall, the Meadows Museum at SMU will present the most comprehensive survey of Spanish modern art to be shown in the United States in 50 years. The exhibition, which features more than 90 works of art dated from 1915-1960 by approximately 50 artists, is drawn predominantly from the Asociación Colección Arte Contemporáneo (ACAC), one of the most significant repositories of Spanish modern art in the world, with select masterpieces from the renowned collection of the Meadows Museum. The collaboration and exhibition mark the first time many of these works will travel to the U.S., and the first opportunity for American audiences to experience the exceptional breadth and depth of the ACAC’s modern art collection. Curated by Eugenio Carmona, an internationally recognized scholar of 20th-century art, Modern Spanish Art from the Asociación Colección Arte Contemporáneo will be on view at the Meadows—the only venue for this exhibition—from October 9, 2016 through January 29, 2017.
The ACAC, which was formed in 1987 by a group of private companies in Spain, offers the only complete visual narrative of the development and evolution of Spanish art, from the beginnings of modern art to the present, through the work of many of the most important artists of the time. Leveraging the exceptional scope of the ACAC, the exhibition explores five distinct trajectories taken by Spanish artists of this period. Among the artists featured are Eduardo Chillida, Óscar Domínguez, Pablo Gargallo, Julio González, Antoni Tàpies, Joaquín Torres-García, Josep de Togores, and Jorge Oteiza, who were little appreciated in their time but today have found international acclaim; Rafael Barradas, Leandre Cristòfol, Ángel Ferrant, Alberto Sánchez, and José Guerrero, who influenced the practice of their contemporaries in the U.S. and Spain alike; and artists, who—though critical to the history of modern art—remain lesser-known, including Alfonso Olivares and Martín Chirino. Works by these artists, and many more, are further augmented with masterpieces by some of the most famed Spanish modern artists, drawn from the collection of the Meadows Museum, including Salvador Dalí, Juan Gris, Joan Miró, and Pablo Picasso.
To read the full release, please click the PDF link above.
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Major Exhibition of South American Works Opens at San Antonio Museum Saturday I Tuesday, June 7, 2016 I PDF
This weekend, the San Antonio Museum of Art will open Highest Heaven, an expansive exhibition of paintings, sculpture, furniture, ivories, and silverworks that explores the art of the Altiplano, or high plains, of South America in the 18th century. With more than 100 works, Highest Heaven introduces visitors to the incredible diversity and intricacy of objects created during this period, and highlights the distinct visual language that arose from the cultural exchange within the Spanish Empire. The exhibition further examines the important role of art in the establishment of new city centers and propagation of the Christian faith among indigenous peoples in the Spanish colonies. Drawn exclusively from the distinguished collection of Roberta and Richard Huber, the exhibition will be on view from June 11 through September 4, 2016, before traveling to the Crocker Art Museum in Sacramento, California in October, and to the Worcester Art Museum in Worcester, Massachusetts the following March.
The Altiplano stretches from northern Argentina to the flatlands of Peru, and much of the exhibition focuses on works produced by workshops in the major cities of Cuzco and Lima in modern day Peru and Potosi in modern day Bolivia, where both European and native artists practiced. Paintings and sculpture served primarily to disseminate Christian images and faith to the New World, while works in ivory and silver underscored the wealth and prosperity of the growing Empire. Paintings also frequently depicted major colonial cities to both capture their urban fabric and educate those back home on the appearance and existence of the colonies.
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Portal Art Fair Draws Record Attendance to Federal Hall; To Return for 2nd Edition I Wednesday, June 1, 2016 I PDF
The inaugural edition of Portal art fair, which took place May 4-10 at Federal Hall National Memorial in Manhattan, drew approximately 16,000 visitors across its 7-day run. The record-breaking number is more than four times the regular visitorship for the historic landmark, which averages about 500 visitors per day. Organized by the nonprofit 4heads, Inc., the selling fair provided a new platform for collectors, arts enthusiasts, and the general public to experience more than 100 works of art from approximately 30 artists, nearly all of whom work and live in New York. Several of the artists made significant sales, including Will Kurtz—who sold portions of his now iconic installation in the grand entrance rotunda for more than $24,000—Marie Koo, Jackie Mock, Simona Prives, and Margot Spindelman. With the conclusion of a successful first run, 4heads, Inc. has announced that Portal will return for its second edition in May 2017, becoming an important new voice during Frieze Week New York.
In September 2016, 4heads, Inc. will also open the ninth edition of the Governors Island Art Fair (GIAF), bringing, once again, 100 artists to the former military homes and outposts on the Island. The open call to artists is active through June 9, and 4heads, Inc. invites artists from New York, across the country, and abroad to submit proposals via the 4heads, Inc. website. Artist selections will be made by co-founders Jack Robinson, Antony Zito, and Nicole Laemmle shortly following the closing date, and announced in July.
To read the full release, please click the PDF link above.
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"KAHBAHBLOOOM: The Art & Storytelling of Ed Emberley" I Wednesday, June 1, 2016 I PDF
Opening this fall at the Worcester Art Museum is the first comprehensive retrospective for artist Ed Emberley, among the most prolific and respected illustrators of children’s literature of the last 60 years. KAHBAHBLOOOM: The Art and Storytelling of Ed Emberley draws on the Massachusetts-based artist’s personal archive of original hand-drawn sketches, woodblock prints, final proofs, and first edition books to survey Emberley’s career and examine his influence on generations of readers and nascent artists.
An interactive exhibition for intergenerational audiences, the show includes a specially designed reading area, as well as an active drop-in studio program where visitors of all ages can try their hand at making art using the lessons from Emberley’s books, at a replica of Emberley’s own studio table. KAHBAHBLOOOM opens November 16, 2016, and will run through April 9, 2017, and is being curated by artist, writer, and historian Caleb Neelon, in partnership with the Museum’s Audience Engagement Division.
To read the full release, please click the PDF link above.
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Opera di Firenze Launches "Opera for Everybody" Kickstarter Campaign I Tuesday, May 31, 2016 I PDF
Opera di Firenze (OF) announced that the company will launch a Kickstarter fundraising campaign today, as part of its new “Opera for Everybody” initiative. The program aims to make OF’s productions more widely accessible to audiences around the world, and to spur a renaissance of interest in opera from Florence, the heart of the Renaissance and the birthplace of opera. With a target goal of €300,000 (approximately $330,000), OF’s Kickstarter funds will: make possible the expansion of the organization’s live-streaming of its productions; create a digital venue where audiences will be able to attend performances either live or on demand; support on-site exhibitions and programs for audience engagement, both locally and internationally; and will be the first theatre in the world to offer a fantastic virtual stage, through which anyone can “enter” the Opera di Firenze and experience more about its productions.
The Kickstarter campaign is backed by a range of rewards, including different music download and playlist options, a series of limited edition prints autographed by Ferragamo, parts of original costumes from OF productions, lessons with the company’s costume makers, and opportunities to audition via Skype and receive feedback from the company. The OF Kickstarter page is live at: http://bit.ly/OperaForEvryon
To read the full release, please click the PDF link above.
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Marianne Boesky Gallery Announces Expansion in Chelsea & Exhibition Roster I Friday, May 26, 2016 I PDF
Marianne Boesky Gallery is pleased to announce the expansion of its flagship Chelsea location to include the adjacent space at 507 West 24th Street. The new "Boesky East," only five feet away and connected from inside, more than doubles the gallery’s footprint in Chelsea, bringing it to approximately 13,000 square feet. This additional space allows it to mount ever more ambitious solo and group shows as well as concurrent exhibitions that highlight dynamic parallels and narratives across artist, media, and theme. Marianne Boesky Gallery will inaugurate the expansion with an exhibition of works by artists Jay Heikes, Thornton Dial, and Lee Mullican, curated by artist and writer Chris Wiley. The show will open on June 23, 2016 in both 509 and 507 West 24th Street.
“Experimentation with space and architecture in diverse NYC locations, from Chelsea to the Upper East Side to the Lower East Side, has been an essential part of our vision, evolving and growing to meet and complement the changing interests and needs of our artists. This was key in the development of our Upper East Side and Lower East Side locations, and now with this expansion in Chelsea,“ said Marianne Boesky. “Our upcoming exhibition schedule highlights the diversity of what we can now do in Chelsea. It provides a platform for major solo shows by more established artists such as Donald Moffett in September and Pier Paolo Calzolari in February, and also allows us to present multiple exhibitions, including separate solo shows by Dashiell Manley and Matthias Bitzer in the late fall.”
To read the full release, please click the PDF link above.
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San Antonio Museum of Art Appoints New Curator of Modern and Contemporary Art I Wednesday, May 18, 2016 I PDF
Katherine Luber, the Kelso Director at the San Antonio Museum of Art, today announced the appointment of Suzanne Weaver as the Museum’s new Brown Foundation Curator of Modern and Contemporary Art. Weaver, who has extensive curatorial experience and previously served as the Interim Director of the Institute of Contemporary Art, Miami, will begin her new role at the Museum on June 20, 2016. Weaver will oversee the continued growth of the modern and contemporary program, which has steadily expanded over the last several years, with recent presentations of 28 Chinese (2015) and Corita Kent and the Language of Pop (2016) and a re-installation of the contemporary galleries this spring.
“Suzanne has nearly three decades of experience, working both in museums and as an independent curator and consultant. We are delighted that she is joining our growing curatorial team, and to have her expertise and vision as we continue to develop our modern and contemporary collections and curatorial and public program,” said Luber. “San Antonio, which has always been rich in history, is rapidly becoming a cultural hub, and we are looking forward to working with Suzanne to actively engage local and international artists with our community and Museum.”
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Recent News From Our Clients, Spring 2016 I Friday, May 6, 2016
The New York Times, May 6: “4 Non-Frieze Art Fairs to Explore This Weekend,” by Martha Schwendener, reviewing several the new Portal art fair along with three others
Art Report, May 5: “Marianne Boesky Gallery Commemorates Thornton Dial,” by Devon Watson, on the new Dial exhibition “We All Live Under the Same Old Flag”
Gothamist, May 5: “Portal Art Fair Features NYC Street Scene In Federal Hall,” by Scott Lynch, featuring highlights and photos of the new Portal art fair
Art in America, May 4: Exhibition at the Marianne Boesky Gallery of works by Thornton Dial, “We All Live Under the Same Old Flag,” included in the current exhibition round-up
New York Times, May 4: “How to Make the Most of the Frieze Week Art Fairs,” by Daniel McDermon, including the new Portal art fair
Artnet, May 3: “Portal Art Fair Lets in Some Promising New Voices,” by Ben Davis, previewing the launch of the new Portal art fair
The Art Newspaper, May 2: “Satellite dish: our pick of the top events outside the tent,” by Pac Pobric, featuring Portal, the new art fair for emerging artists
Artnet, April 29: “Frieze Week Parties, Openings, and Events, In a Nutshell,” by Sarah Cascone, including the new Thornton Dial exhibition “We All Live Under the Same Old Flag” at the Marianne Boesky Gallery
Artsy, April 29: “15 Blockbuster Gallery Shows You Need to See in New York This May,” by Alexis Corral and including the new Thornton Dial exhibition “We All Live Under the Same Old Flag” at the Marianne Boesky Gallery
New York Observer, April 28: “Weekend Edition: 10 Things to Do in New York’s Art World Before May 2,” by Paul Laster, including the new Thornton Dial exhibition “We All Live Under the Same Old Flag” at the Marianne Boesky Gallery
Wall Street Journal, April 11: “Forms, Portraits and Cars: Serge Alain Nitegeka, Barkley L. Hendricks and Sarah Braman in this week’s Fine Art,” by Peter Plagens, on the solo exhibition of works by Nitegeka at the Marianne Boesky Gallery
Mousse Magazine, April 5: “Serge Alain Nitegeka ‘Colour and Form in BLACK’ at Marianne Boesky Gallery, New York,” by Chiara Moioli
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Inaugural Edition of Portal Art Fair Opens May 4 at Federal Hall National Memorial, Offering New Platform for Emerging Artists I Tuesday, April 26, 2016 I PDF
The inaugural edition of Portal art fair will open to the public on May 4 at historic Federal Hall National Memorial at 26 Wall Street. Portal features approximately 30 artists, working across painting, photography, sculpture, installation, sound, and video, and builds on the organization’s mission to provide new platforms for emerging artists, while highlighting historically significant landmarks across the city. The fair marks the second major collaboration between 4heads, Inc. and the National Park Service, following the successful exhibition of artist installations in Fort Jay at Governors Island National Monument last fall, and coincides with the centennial celebrations of the National Park Service throughout this year.
The featured artists--the comprehensive list of which is included below--were selected through an invitational process led by fair co-founders Nicole Laemmle, Jack Robinson, and Antony Zito. Artists were selected based on submitted proposals that responded to and engaged with the distinct architecture of Federal Hall National Memorial; previous presentations at the 4heads-organized Governors Island Art Fair (GIAF); and to highlight the diversity of artists actively working in New York. The guiding vision for the fair is to break down the boundaries between art and the public, using the space to create an intimate and direct experience, and to uncover the vibrant artist community that frequently operates outside of the art world establishment.
To read the full release, please click the PDF link above.
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Exhibition of Paintings by Artist Thornton Dial to Open at Marianne Boesky Gallery Later This Month I Wednesday, April 6, 2016 I PDF
Marianne Boesky Gallery is pleased to present We All Live Under the Same Old Flag, an exhibition of paintings by Thornton Dial. Created across the last two decades, the featured works highlight Dial’s engagement with contemporary social and political issues such as poverty, homelessness, and war. The exhibition is the first in New York since the artist’s passing earlier this year, and follows the recent solo exhibition of his works on paper at the gallery’s former Upper East Side space. It will be on view April 30 – June 18, 2016, at 509 W. 24th Street, New York.
Through his art, Dial revealed the stories of those living in the rural south, highlighting the experiences and tensions among those of different class, race, and economic power over the last seven decades. In the latter part of his career, Dial pushed his perspective and work outward, choosing to connect with and interpret a more universal and contemporary history. We All Under the Same Old Flag explores this conceptual and aesthetic transition, and emphasizes Dial’s ability to capture a broader, national consciousness on the canvas.
To read the full release, please click the PDF link above.
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Worcester Art Museum Unveils Last Judgment Tapestry After Two-Year Restoration I Friday, April 1, 2016 I PDF
As Read in the New York Times, A Tapestry Unfurls, Friday, April 1, 2016
On April 23, after more than 25 years off view, the Worcester Art Museum (WAM) will present the newly restored 16th-century Flemish Last Judgment tapestry. The monumental work was acquired by the Museum in 1935 and is among the most significant Renaissance tapestries in America. The installation follows a nearly two-year conservation process by De Wit Royal Manufacturer of Tapestry in Belgium, known for its leading edge restoration techniques for historic textiles. The exhibition, which extends through September 18, 2016, will allow visitors to experience the intricate details of the tapestry up close.
Woven in Flanders—now the Dutch-speaking northern region of Belgium—in approximately 1505, the Last Judgment tapestry is the last in a set of ten panels that depicted different moments in the allegorical history of Christianity. The large-scale work, which measures 12.1 x 26.2 feet, would have been displayed at royal and ecclesiastical events such as royal entries into a city, and as a luxurious furnishing in a cathedral or palace. Its complex composition features nearly 100 figures encircling Christ, in a vast array of positions and depicting the fullest range of emotion, from rapture and awe to shock and horror.
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Hampshire College Brings Leading-Edge Sustainable Architecture to New England With R.W. Kern Center I Friday, March 18, 2016 I PDF
Located at the heart of the Hampshire College campus, the R.W. Kern Center will open on April 29, 2016. The multipurpose facility meets the highest threshold of forward-thinking, sustainable design, incorporating systems that generate the building’s energy, capture its water and manage its usage, and process and recycle waste. The facility, designed by the Cambridge-based firm Bruner/Cott & Associates, will serve as the point of entry to the campus. The Kern Center is the first of a series of major environmental initiatives at Hampshire, among them to become the first college or university in the country to generate all of its electricity from solar power and complete the construction of a second living building, this one by an educational partner on campus, later this year.
The 17,000-square-foot facility was built with the goal to be certified under the most advanced green-building standard in the world, the Living Building Challenge, which calls for procuring supplies from local and regional sources and avoiding the use of toxic red-list materials. The Kern Center features two wings joined at an angle to frame views of the nearby mountains from inside the building, and its roofline elegantly supports the solar energy- and rainwater-capture systems. Examples of the locally and sustainably sourced materials are Ashfield stone cladding, exposed laminated-wood beams, and a polished concrete floor in the interior.
To read the full press release, please click the PDF link above.
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Recent News From Our Clients I Thursday, March 17, 2016 I
New York Times, March 17, 2016: “New Portal Art Fair to Run Concurrent With Frieze New York,” by Hilarie Sheets, on the launch of a new fair for emerging artists, taking place in the Federal Hall National Memorial from May 4-10, 2016 For additional news coverage of Portal, click here.
Boston Globe, March 17, 2016: "Worcester Art Museum planning the purr-fect exhibit," by Steve Annear, on the inspiration for theupcoming exhibitions and programs, titled "Meow," at the Worcester Art Museum
Artnet, March 14, 2016: “10 Art Events to See in New York and Beyond This Week,” by Sarah Cascone, on the opening of the new exhibition of works by Serge Alain Nitegeka at Marianne Boesky Gallery
Smithsonian.com, March 11, 2016: “The Worcester Art Museum’s New Exhibit Is All Cats, All the Time,” by Danny Lewis, featuring the exhibitions and programs that are part of “Meow” at the Worcester Art Museum
Boston Globe, March 1, 2016: “Worcester Art Museum adds another work by Cornelis van Haarlem,” by Joe Incollingo, on the gift by collector Hester Diamond to the Museum of this Dutch Golden Age painting
Photograph Magazine, March/April 2016: Edie Bresler reviews the exhibition “Cyanotypes: Photography’s Blue Period,” at the Worcester Art Museum
ARTnews, February 25, 2016: “Marianne Boesky Gallery Now Reps Dashiell Manley,” by Hannah Ghorashi, on the newest addition to the Gallery’s roster of artists
The Art Newspaper, February 17, 2016: “Aloha Kusama, artist’s polka dot sculpture heads to Hawaii,” by Gareth Harris, on the launch of the Honolulu Biennial in 2017 and the preview program in Spring 2016
And Spring preview exhibition listings in the New York Times’ annual Museums Section, compiled by Judith H. Dobrzynski, including “Highest Heaven: Spanish and Portuguese Colonial Art From the Roberta and Richard Huber Collection,” opening June 11 at the San Antonio Museum of Art and “The Captivating Cat: Felines and the Artist’s Gaze,” opening May 21 at the Worcester Art Museum.
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New Art Fair by Nonprofit 4heads, Inc Launches May 2016 at Federal Hall National Memorial in Manhattan I Thursday, March 17, 2016 I PDF
As read in:
The New York Times, March 17: New Portal Art Fair to Run Concurrent With Frieze New York, by Hilarie Sheets
artnet, March 17: Artist-Run Portal Fair to Launch During Frieze New York, by Henri Neuendorf
The New York Observer, March 18: New Art Fair to Occupy Wall Street’s Federal Hall Building This Spring, by Alanna Martinez
Portal, a new fair featuring approximately 40 artists, will open to the public on May 4 at historic Federal Hall National Memorial at 26 Wall Street. Developed by 4heads, Inc.—the nonprofit behind Governors Island Art Fair (GIAF)—the fair builds on the organization’s mission to provide new platforms for emerging artists, from across the U.S. and abroad, to engage with the public, arts professionals, and collectors, while highlighting historically significant landmarks across the city. Following the success of the eighth edition of GIAF in September 2015, 4heads, Inc. decided to create a new fair that will leverage art world activity in New York City in early May to support the work of young and emerging artists.
Federal Hall National Memorial, which opened in 1842 as the United States Customs House, was designed by American sculptor John Frazee. Featured artists will install their work across three floors of the building, including the grand entrance rotunda, second floor galleries and balconies, and the lower-level rotunda, allowing visitors to rediscover the monumental architecture through a diverse range of artistic perspectives.
To read the full release, please click the PDF link above.
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Art in General Will Honor Artist Teresita Fernandez, Gallerist Marianne Boesky, and Arts Leader Ruby Learner at 2016 Visionary Awards Gala on April 11 I Thursday, March 10, 2016 I PDF
Art in General is pleased to announce that it will honor artist Teresita Fernández, gallerist Marianne Boesky, and arts leader Ruby Lerner at its Visionary Awards Gala in April, which celebrates artistic innovation and enduring support for emerging artists. The Visionary Awards were launched in 2014 to highlight the work of artists, arts professionals, philanthropists, galleries, corporations, and collectors, who believe in the transformative power of art and who nurture and support diverse creative talents. The 2016 honorees were selected by Art in General for their visionary leadership and singular contributions to the field, and will join a renowned list of recipients, including Lisa Dennison (2014), Phong Bui (2014), Jeffery Larsen (2015), and Carin Kuoni (2015).
The evening will include a special performance by 2015 International Collaborations artist Donna Huanca, a Bolivian-American artist whose sculptures and installations are activated by live female performers that improvise and interact with the abstract assemblages. Additionally, Brooklyn-based SITU Studio will create an architectural installation that engages the Gala venue at 26 Bridge Street—a transformed metal factory in DUMBO. Titled Airwaves, the installation will engage the steel trusses of the structure with several wide strips of translucent, reflective fabric that will undulate as taught waves. Collectively the strips will form a floating landscape and become a three-dimensional screen that will receive projections from above. Attendees will also be able to participate in a silent auction featuring artists Janine Antoni, Nicole Cherubini, Ryan McNamara, and Shirin Neshat, among others.
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Explore The Cat as Artist's Muse & Cultural Icon in "Meow," at the Worcester Art Museum I Wednesday, March 9, 2016 I PDF
On May 21, the Worcester Art Museum (WAM) will open Meow: a cat-inspired exhibition, a multi-program initiative that explores the cat as both an iconic figure throughout art history and a pop culture, Internet-age phenomenon. The project, which runs through September 4, will feature exhibitions, special installations, interactive public programs, and community engagement—all of which highlight the prolific role of the cat in creative endeavors from ancient sculpture to 19th-century painting to contemporary fashion. Guest curated by scholars and artists, the dynamic mix of programs in Meow examines the relationship between the experience of art and our daily lives through active audience participation.
Among the major elements of Meow is the exhibition The Captivating Cat: Felines and the Artist’s Gaze, which will be open throughout the duration of the initiative. Featuring more than 70 works from the Museum’s permanent collection, the exhibition looks at depictions of cats from ancient Egypt and China to the modern day through prints, drawings, photographs, paintings, sculpture, fashion, and armor, and features works by Will Barnet, Albrecht Dürer, Takebe Ryotai, Toshi Yoshida, and Harry Gordon, among many others.
To read the full release, please click the PDF link above.
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Marianne Boesky Gallery to Present New Works by Johannesburg-based Artist Serge Alain Nitegeka I Wednesday, March 9, 2016 I PDF
Marianne Boesky Gallery is pleased to present Colour & Form in BLACK, a solo exhibition of new paintings and sculptures by Burundi-born, Johannesburg-based artist Serge Alain Nitegeka at its flagship Chelsea location. The exhibition presents a new body of work that demonstrates the artist’s recent experimentations with form, color, and space. Colour & Form in BLACK is Nitegeka’s second solo exhibition since joining the gallery in 2014. It will be on view March 17 – April 23, 2016, at 509 West 24th Street.
This exhibition presents the current trajectory of Nitegeka’s practice, in which the artist pursues a visceral and unmediated engagement with formal questions of line, color and volume. Here, Nitegeka deepens his commitment to abstraction, evoking Russian constructivism with these works’ clean, structured lines and boldly oscillating colors. The compositions are born not from forethought, but rather from the freeform aesthetic spontaneity that alights when artist and picture plane meet.
To read the full release, please click the PDF link above.
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Dutch Masterpiece by Cornelis van Haarlem Gifted to Worcester Art Museum by New York Collector I Wednesday, March 2, 2016 I PDF
The Worcester Art Museum (WAM) today announced the acquisition of Cornelis van Haarlem’s Paris and Oenone (1616), an important example of Dutch Golden Age painting, given to the Museum by New York collector Hester Diamond. The painting joins two others by Cornelis van Haarlem in WAM’s collection—The Wedding of Peleus and Thetis (1593) and Venus and Cupid (1602)—making the Museum’s holdings of paintings by the artist the most comprehensive in the nation. The gift follows Ms. Diamond’s 2013 landmark gift of Paolo Veronese’s Venus Disarming Cupid (circa 1560), further enhancing the Museum’s Old Masters collection.
Paris and Oenone is among a series of works Cornelis van Haarlem created during his lifetime that illustrate his fascination with love stories from ancient Greek and Roman mythology. The larger-than-life painting features Paris, the son of King Priam of Troy, as he courts Oenone, the daughter of the river god Cebren, by carving her name into a tree. The bucolic scene represents an important transition in the artist’s stylistic evolution.
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Marianne Boesky Gallery Now Represents Los Angeles Artist Dashiell Manley I Thursday, February 25, 2016 I PDF
Marianne Boesky Gallery is pleased to announce representation of Los Angeles-based artist Dashiell Manley, whose installations interweave painting, film, and digital components to examine changing cultural and historical narratives through time. The gallery first featured Manley’s work in a 2015 group exhibition, titled Weird Science, which explored the idea of the “unknown” in art and science.
New work by the artist will be featured in Marianne Boesky Gallery’s presentation at The Armory Show in March 2016, including paintings from his Various sources (quiet satires). In this series, the artist appropriates ready-made images—such as political and topical cartoons—from a range of periodicals and renders them in ink and watercolor pencil in curated patterns on the canvas, disrupting and altering their messages. He then paints linear forms over them, creating even more dramatic interventions that emphasize specific moments and messages. This presentation will be followed by a solo exhibition of Manley’s work in 2017.
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Exhibition Provides New Insights into Global Development of Conceptual Art through Work of 50 Artists I Tuesday, February 23, 2016 I PDF
Through the work of nearly 50 artists, the upcoming exhibition Thinking Pictures will introduce audiences to the development and evolution of conceptual art in Moscow—challenging notions of the movement as solely a reflection of its Western namesake. Opening at the Zimmerli Art Museum at Rutgers in September 2016, the exhibition will explore the unique social, political, and artistic conditions that inspired and distinguished the work of Muscovite artists from peers working in the U.S. and Western Europe. Under constant threat of censorship, and frequently engaging in critical opposition to Soviet-mandated Socialist Realism, these artists created works that defied classification, interweaving painting and installation, parody and performance, and images and texts in new types of conceptual art practices.
Drawn from the Norton and Nancy Dodge Collection at the Zimmerli, the exhibition features masterworks by such renowned artists as Ilya Kabakov, Komar and Melamid, Eric Bulatov, Andrei Monastyrsky, and Irina Nakhova, and introduces important works by under-represented artists, including Yuri Albert, Nikita Alekseev, Ivan Chuikov, Elena Elagina, Igor Makarevich, Viktor Pivovarov, Oleg Vassiliev, and Vadim Zakharov. Many of the works in the exhibition have never been publicly shown in the U.S., and many others only in limited engagement. Together, these works, created in a wide-range of media, underscore the diversity and richness of the underground artistic currents that comprise ‘Moscow Conceptualism’, and provide a deeper and more global understanding of conceptual art, and its relationship to world events and circumstances.
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Recent News From Our Clients I Winter 2016 I
New York Times, February 15, 2016: “Honolulu Biennial in 2017 to Spotlight Local and International Contemporary Artists,” by Hilarie M. Sheets, announcing the formal launch of the Honolulu Biennial as well as the 2016 preview
New York Times, February 6, 2016: “Cyanotype, Photography’s Blue Period, Is Making a Comeback,” by Ted Loos, for the exhibition “Cyanotypes: Photography’s Blue Period” at the Worcester Art Museum
New York Times, January 23, 2016: “After Six Years, Marianne Boesky to Close Uptown ‘Experiment’,” by Robin Pogrebin, announcing the exhibition “Floss: Pino Pascali & Donald Moffett” at the Marianne Boesky Gallery
Wall Street Journal, January 21, 2016: “‘Vagrich Bakhchanyan: Accidental Absurdity’ Review,” by Edward Rothstein, for the exhibition of the same name at the Zimmerli Art Museum, Rutgers
Hyperallergic, January 15, 2016: “A Soviet Artist’s Lifelong Search for a Universal Artistic Language,” by Tatiana Istomina, for the exhibition “Vagrich Bakhchanyan: Accidental Absurdity” at the Zimmerli Art Museum, Rutgers
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Honolulu Biennial Announces First Selected Artists for 2017 Event and Special Preview with Yayoi Kusama I Tuesday, February 16, 2016 I PDF
The first Honolulu Biennial will take place in Spring 2017, bringing a wide range of international artists to Hawai‘i, to be exhibited alongside local artists and to engage with the rich cultural diversity of the Hawaiian Islands. Curated by Fumio Nanjo, director of Tokyo’s Mori Art Museum and an internationally recognized scholar of contemporary art, the Honolulu Biennial will include indoor works as well as outdoor installations presented across a range of community, historic, public and unconventional spaces.
Among the featured artists are MAP Office (Hong Kong); Brett Graham (New Zealand); Les Filter Feeders (Hawai‘i); Charlton Kupa'a Hee (Hawai‘i); Fiona Pardington (New Zealand); Yuki Kihara (New Zealand/Samoa); Mohammed Kazem (U.A.E.); Andrew Binkley (Hawai‘i); Yayoi Kusama (Japan). (Full list in formation).
On March 8, 2016, the Biennial will kick-off a special preview program with an installation of Yayoi Kusama’s multi-piece sculpture installation Footprints of Life, presented in partnership with The Howard Hughes Corporation® and Ward Village®, the company’s 60-acre master planned community in the center of Honolulu.
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Marianne Boesky Gallery to Present New Body of Work by Brooklyn-based Artist Kon Trubkovich I Friday, February 12, 2016 I PDF
BOESKY EAST is pleased to present OCT. PM., an exhibition of new paintings by Brooklyn-based artist Kon Trubkovich. This new body of work explores the construct of memory: the pieces remembered, obscured, imagined, and reconstructed and that together capture the essence of an event, a conversation, or a moment. The exhibition draws its name from a time stamp featured in one of the large-scale canvases and underscores the idea of a memory captured on film. OCT. PM. is Trubkovich’s fourth solo exhibition since joining the gallery in 2006, and will be on view February 21 – March 27, 2016, at 20 Clinton Street, New York, 10002.
Fragments drawn from the artist’s memory and a collection of home movies made by a family friend serve as the basis and inspiration for new visual narratives. A Soviet wallpaper print, an individual’s facial expression, a women-only dinner party, or an uncertain recollection of a white fence are brought together into new wholes on the canvas, blurring the boundaries between the real and imaginary. The works in the show are connected by these common threads, but take the viewer into distinctly different directions, eliciting a range of emotions. The layering of such elements in vividly contrasting hues results in the creation of luminescent portraits and interior scenes.
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Exhibition Explores Expansion of Faith and Culture in South America During Spanish Rule Through More Than 100 Works of Art I Tuesday, February 2, 2016 I PDF
Highest Heaven, opening at the San Antonio Museum of Art on June 11, explores the paintings, sculpture, furniture, ivories and silverworks of the Altiplano, or high plains, of South America in the 18th century. Through the work of both well-regarded masters and lesser-known artists, Highest Heaven highlights the role of art in the establishment of new city centers in the Spanish Empire, and the propagation of the Christian faith among indigenous peoples. Drawn exclusively from the distinguished collection of Roberta and Richard Huber, the exhibition features more than 100 works, including approximately 20 recent acquisitions to the Collection. The exhibition will remain on view through September 14, 2016, before traveling to the Crocker Art Museum in Sacramento, California in October, and to the Worcester Art Museum in Worcester, Massachusetts the following March.
“In contrast to other areas of Spanish colonial scholarship, such as New Spain (present-day Southwestern United States, Mexico, and Central America), much less is known about the artists, workshop practices, and even the names of South American artists,” said Katherine Luber, The Kelso Director of San Antonio Museum of Art. “Collectors are often the first to blaze the trail of discovery, and then the scholarship follows. A show like Highest Heaven opens up avenues of investigation. We are producing a catalogue that we hope will spur additional scholarship in the field. That’s part of what is so exciting about this exhibition.”
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Exhibition Exploring Influence of Technology on Work of 20 Artists Opens at Zimmerli in March I Tuesday, January 19, 2016 I PDF
On March 12, the Zimmerli Art Museum at Rutgers will open Dreamworlds and Catastrophes, an exhibition exploring Soviet artists’ engagement with science, technology, and design at the height of the Cold War. The artists featured in the exhibition captured the duality of the intense geopolitical circumstances and the sense of hopeful possibility created by technological advancement in Soviet military and space technologies. Works in the exhibition range from documentary photography, which memorialized scientific achievements and their influence on everyday life, to surrealistic abstractions that encapsulated the sense of a rapidly changing world, to kinetic sculptures that incorporated new technologies. Although created in the Cold War era of the 1960s to the1980s, these works have a renewed relevance and immediacy as current global events have reignited American and Western European tensions with Russia.
Dreamworlds and Catastrophes includes nearly 60 works by artists from Estonia, Latvia, Russia, and Ukraine, all of whom were operating in underground circles and whose work was not sanctioned by the Soviet regime. As such, their works critically examine the extreme nationalism that characterized the period and offer a wide-range of both political perspectives and artistic experimentations. Among the notable artists are Petr Belenok, Jānis Borgs, Valdis Celms, Boris Mikhailov, Sergei Sherstiuk, and Alexander Zhitomirsky. Many of the works on view will be displayed for the first time, demonstrating the diversity of art created by Soviet artists in this period. The exhibition draws parallels with the work of Western peers, such as Robert Rauschenberg, Martha Rosler, Andy Warhol, Richard Buckminster Fuller, and Richard Hamilton, and highlights the impact of the space and nuclear arms races on a generation of artists around the world.
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Worcester Art Museum Announces New President of the Board and Four New Trustees I Tuesday, November 17, 2015 I PDF
The Worcester Art Museum announced today at its Annual Meeting that Joe Bafaro Jr. will be the next President of the Board, and will be joined by four new Trustees: Sarah G. Berry, James C. Donnelly, Jr., Mark W. Fuller, and Malcolm A. Rogers. Former President of the Board, Cliff Schorer, and former Chair of the Governance Committee, Marie Angelini, will be rotating off.
“Our four new Trustees will add a range of skills, ideas, and networks,” said Mr. Bafaro, the incoming Board President. “With Sarah’s return, as well as Jim’s and Mark’s engagement, we are further strengthening our philanthropic reach while adding senior experience in not for profit oversight.” Matthias Waschek added “Malcolm’s wisdom as the former director of the MFA Boston will help us with the implementation of WAM’s 2020 Long Range Plan, which has four goals: Reinvigorate the Mission; Build the Board and Corporation of Tomorrow; Reach 200,000 Visitors by 2020; and Define the Path to Sustainable Mission.”
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New Living Building at Leading Edge of Sustainable Architecture to Open in March 2016 on Hampshire College Campus I Wednesday, October 14, 2015 I PDF
The R.W. Kern Center at Hampshire College, slated to open in March 2016, intends to achieve full Living Building Certification, which requires net-zero energy, waste, and water systems. To date, only eight buildings have been certified since the Living Building Challenge was launched in 2009. The new facility, designed by Cambridge-based firm Bruner/Cott, exemplifies Hampshire College’s commitment to the highest level of environmental sustainability and to creating hands-on learning opportunities that engage students with the latest cross-disciplinary approaches and technologies. The Kern Center will serve as the first entry point to the campus, and house the admissions and financial aid offices, student gathering spaces, multifunctional classrooms, and a coffee bar.
Located at the heart of Hampshire’s campus, the 17,000-square-foot Kern Center consists of two wings joined on an angle, with a building-height atrium at the core. The angular design frames views of the surrounding mountains from inside the building, while creating a roofline that best supports the solar energy and rainwater capture systems. On the outside, the Center is clad in Ashfield stone, a mica garnet schist, taken from a quarry located only 30 miles from campus, and accented with a locally fabricated concrete composite. The interior of the building is defined by its composite wood beams, made from sustainably forested wood and, on the first level, a polished concrete floor accented with local aggregate quarried two miles away from campus. The placement of the windows is calibrated to provide maximum access to natural light for those working in the building, while also mitigating the challenges of insulating a building effectively against the variable New England weather.
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Eighth Annual Governors Island Art Fair Draws 50,000 Visitors Across Four Weekend Run I Monday, October 5, 2015 I PDF
As Read in New York Times "Inside Art"; New York Times "Weekend Miser"; New York Observer; and artnet; among many others
As Heard on New York 1 and WFUV
The Governors Island Art Fair (GIAF) closed on Sunday, September 27, with fair organizers, the nonprofit 4heads, praising the high attendance for the eighth edition of the annual fair, which brought in approximately 50,000 visitors in its four weekend run. GIAF, which is presented across the historic, military homes on Colonels Row, expanded this year to feature works in the underground ammunition chambers at Fort Jay, enhancing its mission to provide artists with dynamic and little-known spaces in which to show.
"It was a record year for GIAF on many levels--from the high number of applicants, which strengthened the scope and range of featured work, to the addition of installation space at the Fort Jay magazine, to the tremendous growth in sales and audience interest and engagement,” said Nicole Laemmle, 4heads co-founder. “Above all though, we are inspired and grateful for the enthusiastic response from our featured artists. This is so important to us. Our main goal is to grow and cultivate this community of artists, and when we hear excitement directly from them, it is the truest measure of our success."
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San Antonio Museum of Art Announces Fall Season, Featuring Contemporary Chinese Art, Works by Artist-Activist Corita Kent, and a Dance Duet by Miguel Guttierez, Among Much More I Tuesday, September 1, 2015 I PDF
Contemporary arts take the lead at the San Antonio Museum of Art this fall, with presentations of works by Chinese artists from the Rubell Family Collection in 28 Chinese, choreographer and dancer Miguel Guttierez’s piece Age & Beauty Part 1: Mid-Career Artist/Suicide Note or &:-/, and a retrospective of the politically engaged, Pop-driven work of Corita Kent, also known as Sister Mary Corita. Also this fall, the Museum will present Realms of Earth and Sky: Indian Painting from the 15th to the 19th Century, an exploration of the diversity of styles and subject matter seen in miniature paintings from across India.
In September, the Museum will temporarily close its European art galleries in preparation for a major renovation. As part of the renovation process, the Museum will re-imagine the presentation of its important holdings in Irish silver and British ceramics, as well as some of its most popular paintings, including William Adolphe Bouguereau’s masterpiece Admiration (1897), an icon of late 19th century French Academic painting. Once completed, the new galleries will also make it possible to rotate selections from the Museum’s extensive collections of European works on paper, many of which have rarely been seen. The new galleries will re-open in summer 2016.
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Townscape Partners Reveals Design Concepts by Frank Gehry for Mixed-Use Development at 8150 Sunset Boulevard I Wednesday, August 26, 2015 I PDF
As Read in Architectural Record, Architect, Architect's Newspaper, Artforum, ARTnews, Wallpaper, Dezeen, Curbed LA, Realty Today, Designboom, and ArchDaily
Townscape Partners today revealed design concepts by Frank Gehry for the mixed-use development at 8150 Sunset Boulevard. Gehry’s plan, which is one of several design alternatives proposed by Townscape for the site, features five interrelated and complementary structures, including two residential buildings, as well as distinct buildings and green spaces for retail, entertainment, and public gathering. The placement of each element responds contextually to the surroundings while recognizing the prominence of the site, which anchors the eastern end of the Sunset Strip and faces the Hollywood Hills to the north. Gehry’s design strengthens the residential community along this major thoroughfare by introducing a mix of rental and for-sale housing, actively engaging with the adjacent historic architecture and supporting the new restaurants and retail both on the site and in the neighborhood.
In response to community feedback to the original site plan, which was developed in 2013, Townscape Partners proposed several design alternatives for 8150 Sunset. Gehry’s plan will be formally submitted for Environmental Impact Review in September as part of a recirculated Draft Environmental Impact Report.
To read the full release, please click the PDF link above.
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Zimmerli Art Museum To Open Two Major Surveys in Fall 2015 I Monday, August 17, 2015 I
The First US Retrospective of Radical Soviet Conceptual Artist Vagrich Bakhchanyan I PDF
The First Mel Edwards Retrospective in Twenty Years I Press Preview, August 20, to RSVP e-mail alina@paveconsult.com I PDF
On October 17, the Zimmerli Art Museum at Rutgers will present the first US retrospective on the groundbreaking work of Soviet conceptual artist Vagrich Bakhchanyan (1938-2009), whose incisive critiques of Soviet propaganda led to unlikely success and an embrace in Soviet popular culture that remains relevant to this day. Accidental Absurdity will feature approximately 80 works from the artist's multidisciplinary oeuvre, including prints, collages, literary compositions, and conceptual performances, all of which highlight the humor that guided Bakhchanyan's artistic experimentations. The exhibition will remain on view through March 6, 2016, and the Zimmerli will serve as the only US venue for this unprecedented presentation.
The majority of the material on view will be drawn from the Zimmerli's Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union--the largest and most comprehensive collection of dissident Soviet art in the world, and which includes the work of such notable as Ilya Kabakov, Victor Pivovarov, Vitaly Komar, and Alexander Melamid.
To read full releases for both exhibitions, please click the PDF links above.
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100 Artists. 100 Rooms. Governors Island Art Fair Opens September 5, Presenting for First Time Installations at Fort Jay I Friday, August 14, 2015 I PDF
As Read in the New York Times, Inside Art: War Fort as Art Space
The eighth annual Governors Island Art Fair (GIAF), which features the work of emerging artists from around the region and across the globe, will for the first time present artist installations in the Fort Jay magazine, a series of six cavernous brick chambers underneath Fort Jay that housed ammunition and explosives in the 19th and early 20th centuries. Varying in size, the magazine spaces will feature video and sound installations that take advantage of the raw environment and underground acoustics. The expansion of GIAF to the Fort Jay magazine is part of an effort with the Governors Island National Monument and the Trust for Governors Island, both of who have long played a role in enhancing the range of performance and visual art experience on Governors Island.
The fair, which includes 100 artists and several independent galleries, will open to the public on September 5 and remain open every weekend throughout the month. The majority of works on view are available for purchase, and admission to the fair is free of charge. The fair is organized by the nonprofit organization 4heads, which gives each exhibiting artist a full room or outdoor space in which to install their work as part of its commitment to providing artists with opportunities to fully examine and express their creative visions. For the last eight years, 4heads has partnered with The Trust for Governors Island to present the fair across various areas of the Island, including the military homes in Colonel’s Row.
To read the full release, please click the PDF link above.
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PAVE Announces Four New Clients, Across Arts, Architecture, and Design I Monday, August 3, 2015 I
PAVE is pleased to announce work with Governors Island Art Fair, organized by the nonprofit 4heads, the San Antonio Museum of Art, Brooklyn-based design firm SO-IL, and Los Angeles-based developers Townscape Partners. Representing varied disciplines and spanning a range of geographies, PAVE’s new clients embody the diversity of the creative communities we serve. We are thrilled to be leading communications efforts and raising awareness of these dynamic organizations and their many exciting initiatives
Links to our clients’ websites are embedded above and additionally available on our Clients page.
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PAVE Communications & Consulting, Established by Sascha Freudenheim And Alina Sumajin, Announces Launch I Thursday, July 16, 2015 I PDF
Sascha Freudenheim and Alina Sumajin announced today the launch of PAVE Communications & Consulting. Freudenheim and Sumajin, who both most recently served in senior leadership positions at Resnicow + Associates, bring a combined more than 25 years of experience in cultural communications to the establishment of PAVE. The full service strategic communications agency serves the creative disciplines, including the visual and performing arts, design, architecture, humanities, and film.
The agency is distinguished by its direct and multi-layered approach to public relations campaigns, that draw upon the vast number of platforms now available to clients to communicate their brand messages and diverse activities.
To read the full release, please click the PDF link above.