The Park Avenue Armory has received a gift of $65 million from the The Thompson Family Foundation, bringing the total amount of money given by the foundation to the institution to a total of $129 million over the past years.  The Foundation, set up to honor the memory of businessman Wade Thompson, has long been a staunch supporter of the Armory.  “He passionately believed that the Armory should be rescued as one of the country’s most important landmarks,” says his widow, Angela Thompson. (more…)

Crystal Bridges Art Museum in Arkansas is soon to announce a major series of acquisitions filling major holes in its collection of American art, the New York Times reports.  Pieces recently acquired include Jasper Johns’s Flag, which was purchased last fall for $36 million, the record-setting Georgia O’Keefe work Jimson Weed/White Flower No 1, as well as four works by Louise Bourgeois, estimated at a combined $35 million to $40 million.  “Bourgeois is really important to 20th century art and yet she has not received the entire due that she deserves,” says Margaret C. Conrads, museum director of curatorial affairs. (more…)

London’s Royal Academy of Art has unveiled a £50 million expansion plan that will link the institution’s two buildings in the British capital’s Mayfair district.  “You will be able to go from an exhibition in Burlington House to a lecture in Burlington Gardens through the vaults of the building,” says Sir David Chipperfield, who designed the project.  “You will see the cast corridors, you will see where the schools have been all this time. It’s a small amount of architecture for a profound result.” (more…)

A new study on the use of digital technologies in American art museums is set for release this week, an in-depth study that looks at museum projects nationwide and their effectiveness in incorporating new immersive media.  The study covers 41 museum projects, from a “digital census” of French sculpture at Dallas’s Nasher Center to new iPad based wall labeling at the Worcester Art Museum in Massachusetts.   (more…)

The strikes over the National Gallery in London’s plans to privatize its workforce are continuing this week, with artist Ryan Gander joining the protestors outside the museum.  The current protests have requested a delay in any decision to privatize until after the national elections on May 7th. (more…)

The completed Whitney Museum is set to open in a matter of days, and articles in both New York Magazine and the New Yorker are already praising the space for its massive exhibition spaces and intriguing design by architect Renzo Piano.  “The audacity of the building shows that, yes, the Whitney will survive the new era,” writes Jerry Saltz.  “But the better question is whether it has found a way to thrive in it. And, believe it or not, I am in love with what this building represents.” (more…)

As the Los Angeles County Museum of Art continues its 50th-anniversary acquisitions campaign, the museum announced over $200 million in new art received as “anniversary gifts” to the institution.  A number of the works go on view this week as part of the museum’s “50 for 50: Gifts on the Occasion of LACMA’s Anniversary” exhibition. (more…)

A Los Angeles Times article charts the success of LACMA curator Stephanie Barron, who has helped grow the museum and its collection into an international powerhouse of modern and contemporary art, as well as a growing Korean, Islamic and Latin American collections.  “I’ve had the amazing good fortune,” Barron says, “to work for an institution that has unconditionally supported the seriousness of the work that I want to do.” (more…)

A survey by Art Newspaper shows that almost one third of US Museum solo shows go to artists represented by just one of the top five galleries worldwide: Marian Goodman, Gagosian, Hauser & Wirth, David Zwirner, or Pace.  “Curators are abdicating and delegating their responsibilities to more adventurous gallerists who, aside from the profit motive and in some respects because of it, seem in many cases to be bolder and more curious than their institutional counterparts,” says Robert Storr, the dean of the Yale University School of Art. (more…)

In the wake of the controversy over its canceled Hermann Nitsch show, Mexico City’s Museo Jumex has appointed Julieta González as chief curator and interim director, replacing the departed Patrick Charpenel.  “Although Patrick is now moving on, the bonds between him and Museo Jumex are indissoluble,” said Jumex heir Eugenio López Alonso. “I am certain we will have the opportunity to collaborate with him in the future.” (more…)

Following the success of its exhibition Matisse: The Cut-Outs, MoMA will return Henri Matisse’s full room installation The Swimming Pool to its permanent collection galleries, beginning in April.  “MoMA’s viewers will now be able to encounter this important work in the context of the museum’s collection,” says exhibition co-curator Karl Buchberg. (more…)

The Louvre Abu Dhabi has purchased an iconic portrait of George Washington, executed by portrait artist Gilbert Stuart from Los Angeles’s Armand Hammer Foundation.  The work will hang in a gallery featuring work exploring the notion of prominent individuality, alongside the Jacques-Louis David ’s Napoleon Crossing the Alps.   (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…)

Employees at The National Gallery in London have planned a five day strike in response to the museum’s privatization of their positions, which union general secretary Mark Serwotka claims “risks damaging the worldwide reputation of what is one of the U.K.’s greatest cultural assets.” (more…)

Pointing to concerns over security, the Victoria and Albert Museum has attempted to withhold information on its ownership of a devotional image of Muhammad following the terrorist attacks in Paris earlier this month.  “Unfortunately we were incorrect to say there were no works depicting the prophet Muhammad in the V&A’s collection,” said spokeswoman Olivia Colling. “As the museum is a high-profile public building already on a severe security alert, our security team made the decision that it was best to remove the image from our online database (it remains within the collection).” (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 Musée d’art moderne de la ville de Paris is focusing on expanding its collection of photography, the Art Newspaper reports, earmarking over â‚¬100,000 a year to increase the size of its holdings in the upcoming years.   (more…)

A recent article in Vanity Fair reports on the increased competition for visitors between The Met and MoMA, as the former museum begins a new emphasis on modernist and contemporary projects, and ambitious expansion projects at both institutions.  “The Met is upwardly mobile at the moment and it’s doing everything it can to be more modern and more varied in what it has to offer, without vulgarizing things,” says Picasso biographer John Richardson. “And MoMA, an institution that I revere, is in a period of going slightly down in everybody’s estimation.” (more…)

Jean Dubuffet, Snack for Two, (1945) via Museum of Modern Art

Currently on view at New York’s Museum of Modern Art is a retrospective focused on the work of French artist and sculptor Jean Dubuffet. Bringing together the museum’s unmatched collection of paintings, sculptures, drawings, prints, and illustrated books from Dubuffet’s prolific output, the exhibition focuses predominantly on the key years of his career: from the 1940’s to mid-1960’s.

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The New York Times notes an upcoming wave of exhibitions focusing on the work of Andy Warhol, over 40 in total around the US and abroad, led by the Andy Warhol Foundation for the Visual Arts, which has also announced a series of grants and donations for various art institutions.  “When I say that Andy is going to be as well known for his philanthropy as he is for his art, it’s really true,” says Foundation president Joel Wachs. (more…)

Douglas Gordon, tears become…streams become… (2014), via Art Observed

Douglas Gordon’s work often takes its strength from its simplicity.  Using minimal alterations and contextual wrinkles in the selections of his exhibition spaces, works and collaborations, Gordon seems to draw a certain pleasure from bringing out deeper recognitions of the space and structure of art as presentation, as experiential and institutional meditation. (more…)

Since opening in 2012, Shanghai’s Power Station of Art has become a central player in the rapidly expanding Chinese contemporary arts scene, as evidenced by the success of its recently opened 10th Shanghai Biennale.  “We want the Shanghai Biennale to be more international,” says Li Xu, deputy director of the Power Station. “This is a new kind of cultural confidence.” (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 New York Times looks at the nearly $67 million in upcoming renovations slated for the Louvre in Paris, and president Jean-Luc Martinez’s vision for a more visitor-centered experience.  “I lived in a suburb that was very modern, and everything was new,” Martinez tells the NYT. “And when I arrived here, everything was ancient. Imagine for a child, to see five centuries of art, some as old as two or three millenniums. In this space, I felt the depth of human history.” (more…)