Nicholas Serota has reportedly won an additional £6 million in government funding for the Tate Modern expansion set to open next year.  The move is particularly noteworthy, as it comes in the midst of widespread cuts to arts funding around the nation. (more…)

The Tate is receiving an additional £6 million in funding from the British Government this year, earmarked to help fund the operations at the Tate Modern.  “Late last year the government in principle committed to an uplift in grant-in-aid to support the running of the new Tate Modern,” a Museum spokesman confirms. (more…)

An article this week in the Financial Times forecasts a “grim” outlook for UK Museums in the face of harsh budget cuts and austerity measures.  Those in the field note that while museums seem to be at a stronger state than ever within the British Nation, operational budget cuts threaten to hamper continued development and harm future plans.  “Museums are ironically better than ever before, better presented, better run and in better condition,” says  Stephen Deuchar, chief executive of the Art Fund.  “It’s just at the point where we ought to be reaping all the benefit from that investment that revenue funding is being cut back at a worrying pace.” (more…)

The Guggenheim has appointed two new trustees to its board this week, Artforum reports.  Valentino D. Carlotti, a Senior Partner at Goldman Sachs, and private investor David Shuman will join the museum leadership, both of whom have worked with the museum in the past as collectors and supporters of recent acquisitions. (more…)

The Battersea Arts Center has received a £1 million grant from the United Kingdom following a massive fire at the South London institution that destroyed its Grand Hall.  “The arts center is having to divert all its available resources into dealing with the aftermath and so I am pleased to be able to confirm that the government will provide £1 million towards the ongoing redevelopment work to help get this south London venue back on track,” says Culture secretary Sajid Javid. (more…)

Two separate directors for major UK museums have spoken out this week in the run-up to the country’s general elections, condemning current cultural funding cuts, and its effects, describing them as “severe.”  “Austerity is killing many local museums,” says David Anderson, director general of National Museum Wales.  “There is an urgent need for additional funding. The cultural funding model we have is failing.” (more…)

A group of protestors, working under the name Liberate Tate, showered the Tate Britain with fake pound notes this weekend, continuing the series of protests over the museum’s British Petroleum sponsorship.  “It’s time for the arts to draw a line,” says one protestor.  “Oil companies are a whole category of unacceptable partners for public arts, like tobacco and arms companies.”  (more…)

New information released by the Tate this month has revealed that the museum accepted between £150,000 and £330,000 in annual sponsorship funds from British Petroleum over the course of 17 years, totaling over £3.8 million in funds.  The relatively minor amount of funding each year underscores claims by the activist group Platform, which accuses BP of using the donations to help “greenwash” its reputation.  “The BP sponsorship figures are even lower than we had estimated,” says Anna Galkina of Platform. For nearly a decade, Tate provided a veneer of respectability to one of the world’s most controversial companies for just £150,000 a year.” (more…)

The Smithsonian is reportedly receiving an additional $14.5 million in government funding next year, bringing the total funding received for 2015 to $819.5 million.  Most of the funding will go to maintenance and salaries for the Institution’s various outposts and services, while some has been set aside for an ambitious renovation project for the Smithsonian’s South Mall. (more…)

The Gallerie dell’Accademia in Venice has announced an expansion plan that will double the institution’s exhibition space to 10,000 sq. meters by April of next year, just in time for the 2015 Biennale.  The project was made possible by a grant from Samsung and US non-profit Venetian Heritage, and marks “the conclusion of a project that has been close to our hearts for a long time, after a restoration that has lasted more than ten years,” says Giovanna Damiani, head of the Venetian museums authority. “We hope it is the beginning of a long collaboration.”  (more…)

The Financial Times analyzes the current protest fervor over the presence of sponsorship and advertising dollars currently at play in the contemporary art world, noting major disputes at the São Paolo and Gwangju Biennials, as well as the ongoing protests over BP’s sponsorship of the Tate.  “Creativity has become . . .instrumentalized both by capitalism and the nation state,” says São Paulo curator Charles Esche. (more…)

The Rauschenberg Foundation has announced a series of grants for artists-activists, interested in making work that engages social practice and change.  Grants range from smaller travel grants (anticipated to be from $2,500 to $10,000) up to $100,000.  The foundation is planning on announcing its next grant proposal series in November, focusing on climate change. (more…)

Art Basel has announced a new crowdfunding initiative, created in collaboration with Kickstarter, which will provide a platform for fundraising on art projects around the globe.  The first round of grant proposals include collections to build new studio space at London’s Gasworks, a major restoration project by SculptureCenter, and more. (more…)

The city of São Paulo is preparing for its 31st Bienal (Biennial) this month in Ibirapuera Park, and hopes for the event are high.  The event boasts an international curator team, fronted by Charles Esche, director of the Van Abbemuseum in Eindhoven, and former curator for biennials in Gwangju (2002), Istanbul (2005), Riwaq, Palestine (2007 and 2009) and Ljubljana (2010), as well as an $11 million budget, marking a considerable step forward for the event.  “I don’t think we need to once again announce that we’re going to reinvent the idea of the Bienal,” says Esche.  “We need to make a really good Bienal. We need to make an event, an exhibition, an experience that touches people.” (more…)

The Massachusetts Museum of Contemporary Art is preparing to undergo a major expansion project, doubling its North Adams, MA exhibition space to 260,000 square feet. “The expansion is unquestionably good for the region and the community; the challenge is to pull it off,” said Stephen C. Sheppard, director of nearby Williams College’s Center for Creative Community Development. “They will need to connect with people who share their vision and who’ll support it.” (more…)

In a conversation with The Independent, artist Jake Chapman discusses crowdfunding art shows and the more general role of the public in the art world. The conversation was precipitated by the Chapman Brothers‘ unorthodox funding strategy for their upcoming show at the Jerwood gallery: offering tattoos in exchange for donations.  One of the leading figures of the Young British Artists, Chapman promotes the need to “defend art from popularity and popularity from art” and maintains that “popular decisions are not always the right decisions”.  (more…)

In the midst of a recent “boom” in art funds, The Art Newspaper looks back at André Level’s La Peau de l’Ours, a fund founded in 1904 that purchased works like Picasso’s Les Bateleurs and successfully sold them at markedly higher prices.  The fund was inspired by the 1903 Salon D’Automne, which greatly inspired Level.  “I had seen there the canvases that seemed to me, without the slightest doubt, the authentic art of our time and the near future,” he wrote.  “I believed in it; I had faith.” (more…)

In a conversation with the Financial Times, Irish businessman Niall Fitzgerald reflected on his time as chairman of the British Museum‘s trustees. The former chief executive of Unilever, Fitzgerald became chairman  in 2006 and has focused his eight years in office on reworking the museum’s funding models and providing a stronger structure to the museum’s management. Under his auspices, the British Museum has entered into a profitable deal loaning objects to Abu Dhabi’s Zayed National Museum in addition to becoming, after the Louvre, the second-most visited museum in the world in 2013 . (more…)

A recent investigation has shown a number of cities across the U.S. failing to enforce a law requiring property developers to allocate a small percentage of cost for any construction project to fund public art, and many organizations are clamoring to enforce the laws.  “It’s really a question of making people aware that this law is on the books,” says Tom Chestnut of the Buffalo Arts Commission, who has pushed to enforce a related law in the Western New York city. (more…)

Carter, Beside Myself (Installation View), via Art Observed

Currently on view at Lisa Cooley’s Lower East Side exhibition space is a body of new work by Carter, including paintings, drawings, photography, sculpture and film from the artist’s wide-ranging and impressive output.  Continuing his exploration of varying identities and their interconnected relationships to the art object, the show continues Carter’s ongoing interest with presence throughout.

Carter, Fully Present (2013-2014), via Lisa Cooley (more…)

In what may be the final piece of the puzzle to rescue the Detroit Institute of Arts collection from a potential auction by the city, the museum has made the commitment to raise $100 million in additional funds over the next 20 years.  The donation would secure city pension funds, and in turn, hold the city to an agreement to transfer the legal title of ownership to the museum, effectively preserving it from any future sale.  “Clearly this is going to be a challenge,” COO Annmarie Erickson said. “It’s an enormous amount of money, but we’ve proven over and over again that we are good at raising money. We’ll have to balance this effort with our need to raise endowment dollars and operational funding. But given that this will help move the bankruptcy along quickly, that it will help the pensioners (and) ensure that the DIA collection is safeguarded for the public, we have compelling arguments to take to donors.” (more…)

Hyperallergic reports on Congress’s 2014 Omnibus Appropriations Bill, which was released yesterday with the National Endowment for the Arts seeing a funding amount of $146.02 million, only slightly down from last year’s $146.26 million. The funding amount comes after a fractious several months of negotiations, including a proposed cut of 49% to the NEA by the House last year.  The Arts in Education Program was also rewarded a similar amount of $25 million, which is up from last year’s $24.6 million. (more…)

The Michigan county of Oakland, one of three that approved property tax increases to help bankroll the Detroit Institute of the Arts operating budget last year, has unanimously approved a resolution stating that any attempt to sell works from the DIA Collection to benefit the city’s creditors would “terminate any obligation” of the county to continue support.  Oakland, along with Wayne and Macomb counties, is projected to contribute $250 million to the museum over 10years, and stated that it “continues to believe that the museum and its collections are important, irreplaceable and indivisible parts of the cultural fiber of the state and region.” (more…)

The Museum of Contemporary Art in Los Angeles, Via the Los Angeles Times

In a letter dated February 24th, Los Angeles County Museum of Art director Michael Govan and his co-chairs have made a formal offer to acquire the Museum of Contemporary Art (MOCA) in downtown Los Angeles.  The proposal outlines a plan for the transition of ownership of MOCA’s two museum properties to LACMA, which would maintain their operation under the MOCA banner. (more…)