Archive for the 'Art News' Category
Anselm Kiefer will be honored this year with a J. Paul Getty Medal alongside writer Mario Vargas, honoring his exceptional contributions to the arts. “We shall honor two of the world’s great artists,” says Maria Hummer-Tuttle, chair of the board of trustees. “Anselm Kiefer and Mario Vargas Llosa are both engaged in big ideas and historic moments, and they share with the Getty a passionate commitment to global culture.” (more…)
New York — Bjarne Melgaard: “The Casual Pleasure of Disappointment” at Red Bull Arts New York Through April 9th, 2017Thursday, March 23rd, 2017
For its inaugural exhibition as Red Bull Arts, the multi-purpose art venue in Chelsea has opened its doors for Bjarne Melgaard’s immersive reenactment of a clothing store, titled The Casual Pleasure of Disappointment, and furthering the artist’s already well-documented engagements with pop culture, fashion and personal subjectivities over the course of his body of multimedia works. The Norwegian artist, who has enjoyed tremendous recognition in the U.S. in recent years, especially his psychedelic installation at the 2014 Whitney Biennial, has brought his own fashion line, which had its European debut at the Astrup Fearnley Museum in Oslo last November, to New York. (more…)
AO On-Site – Hong Kong: Art Basel Hong Kong at the Hong Kong Convention Center, March 23 – 25th, 2017Thursday, March 23rd, 2017
The Hong Kong Convention and Exhibition Center opened its doors this morning on the first hours of Art Basel Hong Kong, signaling the launch of Hong Kong Art Week in the city, and bringing crowds of collectors, dealers and other art world professionals to bear on the lengthy hallways and aisles of the event. Marking a distinct focus on the Asian market, the fair boasted an impressive look at the continent’s contemporary arts circuit, with a burst of early sales that hinted at an ongoing willingness to spend at major events. True to form, the event managed to bring out an impressive list of international VIP’s. Hans Ulrich Obrist, Melissa Chiu, and Uli Sigg could all be seen wandering the aisles of the fair, as well as Ryan Gander, Rashid Johnson, and Christo, who was presenting a survey of his work at Galerie Gmurzynska.
The Art Newspaper looks at market health in France, and the possible impacts the coming election could have on its strength in the coming months. “Within a complicated global context, Paris is doing better than expected, and is gaining strength against other components of the international art market,”says Nicolas Orlowski of Artcurial auction house. (more…)
The global art market has fallen to its lowest point since the financial crisis, with global sales dropping 11% this past year, Bloomberg reports. “It was quite a challenging year for the art market,” economist Clare McAndrew said. (more…)
The Whitney Biennial is facing criticism from a group of black artists in the U.S. and abroad for the inclusion of a piece by Dana Schutz, featuring a depiction of the dead body of Emmett Till, the young boy brutally murdered after a white woman claimed he whistled at her. “The subject matter is not Schutz’s,” artist Hannah Black writes of the work. “White free speech and white creative freedom have been founded on the constraint of others, and are not natural rights. The painting must go.” (more…)
Since his step onto the world stage at the 2015 Venice Biennale, artist Ibrahim Mahama has garnered impressive critical attention for his use of reclaimed jute sacks and other cast-off materials. Drawing on the intersections of capitalist exchange, material decay, and commercial detritus, Mahama’s work uses structure and use as indicators of failed and fluctuating economic systems. This practice takes on new elements and variations in the artist’s current exhibition at White Cube in London, his first solo exhibition in the UK, and a powerful introduction to the artist’s attentive, challenging body of work.
Whitney Museum Director Adam D. Weinberg has issued a statement on Donald Trump’s proposed de-funding of the NEA, calling for its preservation and a recognition of its vital role in the continuation of the country’s health. “As an institution specifically dedicated to presenting and discussing contemporary American culture, the Whitney Museum of American Art feels a special responsibility to speak as an advocate for the continuing importance of the NEA and NEH,” he writes. “For institutions large and small, historic and contemporary, throughout the fifty states, and for the public they serve, the NEA and NEH are irreplaceable and must be preserved.” (more…)
London’s Fourth Plinth Commission project has announced works for both 2018 and 2020, the BBC reports. The Invisible Enemy Should Not Exist by Michael Rakowitz, featuring a re-creation of a work looted from the Iraq Museum, will go on view next year, while THE END by Heather Phillipson will feature a massive heap of ice cream topped by a fly, and a hovering drone broadcasting from above the work. “The new commissions will proudly continue the legacy of the Fourth Plinth in putting world-class contemporary sculpture at the heart of London,” says Ekow Eshun, Chair of the Fourth Plinth Commissioning Group. (more…)
Miami Beach’s Bass Art Museum has set its opening date for October 2017, marking the latest target date after a series of delays and set-backs in the museum’s ambitious renovation. The show’s original opening exhibition of works by Ugo Rondinone is still set to feature as its first show in the new space. (more…)
Christie’s has announced another major work for its May Post-War and Contemporary Evening Sale in New York, Cy Twombly’s Leda and the Swan, which carries an estimate of $35 million to $55 million, and could conceivably break the artist’s auction record of $70.5 million. “Given its tremendous importance within the context of both Twombly’s oeuvre and the canon of postwar art, we are honored to have the opportunity to offer this work to the market after nearly 30 clandestine years,” says Koji Inoue, the International Director for the auction house’s contemporary department. (more…)
Artist Robert Morris is profiled in the New York Times this month, as the artist prepares a show of new work at Castelli Gallery in New York. The artist reflects on the course of his career, and what might constitute his “late style.” “Edward Said thought he saw some old artists letting go and daring to do what they would not have when younger,” he says. “Who can say? But I don’t think I see art differently now than I did years ago. As for insights into the human condition, I think I am the same pessimist I always was.” (more…)
AO Preview – Hong Kong: Art Basel Hong Kong at Hong Kong Convention & Exhibition Center, March 23rd – 25th, 2017Monday, March 20th, 2017
Continuing the globe-hopping market events of March this year, collectors, galleries and artists will touch down in Hong Kong for the fifth edition of Art Basel’s fair event in the city, bringing 242 galleries from 34 countries around the globe to the annual sales event. Marking a strong focus on Asian galleries and artists this year (at least half of the exhibiting galleries are based on the continent), the fair may trace a shift away from globalized networks and towards strengthening national and regional markets.
Vanderlei Lopes, EEDDM II, via Athena Contemporanea (more…)
London’s National Gallery was evacuated this past week, after the a man attacked a Thomas Gainsborough painting with a screwdriver. “The damage is limited to two long scratches which have penetrated the paint layers but not the supporting canvas,” a spokeswoman for the gallery said. “The painting was removed from display and examined by the gallery’s conservators, who are now assessing next steps.” (more…)
Vanity Fair has a lengthy piece on the story behind the departure of Thomas Campbell from The Met, documenting the frequent internal conflicts and changes in focus that ultimately compounded the struggles the museum has faced in recent years, and ultimately contributed to Campbell’s departure. Of particular note is the case of the Leonard Lauder collection, and the agreements made between the museum and Lauder in order to secure the works. “It’s one thing to accept such a collection. It’s another thing to accept that you’re going to have to increase the space of exhibition, given such treasures,” says Robert Storr, a professor at the Yale School of Art and former MoMA Curator. “What makes a vital collection over long periods of time is not to have chapels to particular art, much less particular collections.” (more…)
The Financial Times has a piece on Chinese collector Yan Lugen, documenting his ongoing support of Chinese contemporary art, including funds for the country’s pavilion at the Venice Biennale this year, and his occasionally controversial position among the country’s arts communities. “He’s very charming, engaging — but frankly, he doesn’t really seem to know what he’s doing,” the article quotes from one Hong Kong adviser. (more…)
It’s been a long time coming for this year’s Whitney Biennial, an exhibition that has sat on pause for several years as the institution prepared for its move downtown, and got comfortable in its new space in the Meatpacking District. Opening its first Biennial since 2014, the stage has been set for a particularly timely moment of reflection on both America and its art communities at a time when the national identity has rarely been so fiercely contested and examined.
Hilton Als is featured in Interview Magazine this month, discussing the Alice Neel survey exhibition he organized at David Zwirner. “It’s very hard to find artists in the history of western art who don’t make portraiture ideological in some way,” he says. “I really felt that she worked with people, collaborated with them in ways that I feel I understand. I wanted to talk to her through her work at some point in my life. I didn’t know when that would happen, and I’m grateful to David [Zwirner] for making it possible.” (more…)