The New Yorker has a piece on Georgia O’Keefe’s sister, Ida, and the artists’ impacts on each other. “She was the queen. . . . and we all loved her,” another sister, Catherine, said of Georgia. (more…)

Filmmaker and painter Rosalind Nashashibi will become the first artist in residence at the National Gallery in London . “Over the course of the year [beginning this month], she will work in the National Gallery’s on-site artist’s studio, benefitting from the close proximity to the gallery’s collection, research and teams,” a statement says. (more…)

Marina Abramovic will re-create her famed performance Imponderabilia at London’s Royal Academy of Arts next year, Art Newspaper reports. The work requires visitors to a show to squeeze between the naked bodies of performers to see the rest of the work on view. “If there were no artists, there would be no museums, so we are living doors,” the original project statement said. (more…)

Artist Betye Saar gets a profile in the NYT this week, as she prepares to open a pair of major museum shows this fall, and reflects on her career. “I consider myself a recycler,” she says “I’ve been that way since I was a kid, going through trash to see what people left behind. Good stuff.” (more…)

A piece in the NYT looks at storage conditions at Humboldt Forum in Berlin, and asks if long argued claims about African artifacts being safer in European collections really holds water. “They complain that they do not have enough money to do research on these objects to take proper care of them,” said Tahir Della, a postcolonial activist based in Berlin, “but they had enough money to build a castle in the middle of Berlin.” (more…)

Michael Rakowitz is the winner of the 2020 Nasher Prize for Sculpture for his incisive critiques of current social and political landscapes. “Michael’s work deals with migrant populations and homeless populations, and some of it deals with works of art and books that have been destroyed, in Germany, Afghanistan and Iraq, where his family is from,” says Nasher director Jeremy Strick. “As a result, he harbors an intense interest “in people who have suffered through wars or genocide or political violence.” (more…)

Hong Kong artists speak with Art News this week, as protests continue to roil the city. “In the last couple of years, we have witnessed a systemic erosion of the values that make this city unique,” says artist Samson Young. (more…)

Pace Gallery will represent artist Nina Katchadourian, as it prepares to open its new flagship in Chelsea.  “I’m incredibly happy,” Katchadourian says. “I’ve never worked with a gallery that operates on this scale, and there are going to be great things about their reach.” (more…)

Mariner Kemper, CEO and chairman of UMB Financial Corp (UMB Bank) and a trustee of the Kemper Museum of Contemporary Art in Kansas City, Missouri is facing pressure to resign over connections to President Trump’s controversial immigration policies.  UMB Bank represents the bondholders for the publicly owned and privately operated Wyatt Detention Center in Central Falls, Rhode Island, which houses detained immigrants. (more…)

Alex Prager’s new work is profiled in the New Yorker, as the artist turns her camera lens on the landscapes and people of Los Angeles.  The works explore new perspectives and frames for the artist, expanding on her intriguing body of crowd-based photography. (more…)

John Currin gets a profile in GQ this week, with the artist holding court on a range of topics from his taste in cars to his style of painting.  “I sometimes think I’m trying to paint like I am Sean Connery,” he says, “but the closest I’ll ever get is Clint Eastwood.” (more…)

Amy Sadao is stepping as director of the Institute of Contemporary Art at the University of Pennsylvania, Art News reports.  “I fulfilled and surpassed all of my goals, so this is the perfect time to think about my next step,” she says. “This is the right time for me to be able to write, research, and conduct interviews with people I admire, and it’s the right time for the ICA. I’m excited to see where ICA goes from here.” (more…)

The altarpiece of Saint Catherine by Jacopo Tintoretto, formerly owned by David Bowie, has been returned to Venice, after Belgian collector Marnix Neerman purchased the work and loaned it to the Palazzo Ducale. (more…)

Brazil’s National Museum, which was ravaged by fire last year, is aiming to reopen a wing in 2022 for the bicentennial of Brazilian independence. “The Louvre’s director should visit the museum next year, when we will seek to deepen conversations around possible donations,” says Denise Pires de Carvalho, the dean of the Federal University of Rio de Janeiro (UFRJ). (more…)

Olafur Eliasson is interviewed on CNN this week, as he discusses his views on climate change and his vision of how artists might be able to help increase the speed of response. “I’m afraid we can’t wait for them to do the work for us. Because they are not going fast enough,” he says of politicians working on the crisis. (more…)

Over $8 billion was spent last year to build a total of 148 new museums worldwide, according to the third yearly Cultural Infrastructure Index published by AEA Consulting this past week.  “We have been looking for indicators that suggest peak cultural infrastructure investment has been reached,” the report notes, “but the number of announced projects has remained remarkably stable over the past three years and the number of completed projects has increased each year over the same period.” (more…)

LA’s loved Ooga Booga Store has closed up shop, and will operate online, as well as through a pop-up at The Hammer  Museum through the end of the year.  The closure was announced on Instagram yesterday. (more…)

Sterling Ruby’s work in fashion gets a New Yorker profile this week, as he recaps his recent work and the encouragement he’s felt during his venture into making clothes. “The dealers were so mad at me,” he says, going on to describe his show with Raf Simons. “Everybody was standing up, cheering. At that moment, I thought, Fuck being an artist—this is wonderful.” (more…)

The New York Times celebrated Labor Day yesterday with a piece documenting the work and contributions of various creative laborers, including dancers, performers and frame manufacturers. “The frame sort of needs to disappear,” says Bill Schunk, who makes frames with his wife Rose Pappalardo at Frames New York. “If you’re noticing the frame, maybe something is wrong.” (more…)

Artist Conrad Shawcross has an interview in Art News this week, as the artist reaps praise for his show at Saatchi Gallery celebrating the raw energy of rave culture. “I have a personal connection to it because I experienced it and enjoyed it when I was younger,” he says. “I have a love of it, from a personal perspective.” (more…)

Two names have come out in support of the sale of works from the di Rosa Foundation, including one from Gloria Marchant, the widow of di Rosa collection artist Roy De Forest. “There are many works of Roy’s in this collection, but not often on display,” Marchant writes. “If some were sold to help continue the di Rosa, it would be like Roy giving back the generosity and support Rene gave him. It is the time for artists whose lives were touched by him, as Roy’s life was, to step up too.” (more…)

Artist Nicholas Party gets a profiled in the NYT this week, and talks about his creative, often surreal takes on the gallery dinner.“It all teetered on the brink of being debauched — there was an aura of decadent Rome,” says Alanna Heiss, the founder of MoMA PS1 and director of the arts nonprofit Clocktower Productions, “but my feeling is you can be as silly as you want as long as it wakes people up to thinking.” (more…)

Atlanta-based philanthropists Doris and Shouky Shaheen will donate a selection of Impressionist works to Atlanta’s High Museum, including pieces by Monet and Matisse. “Their collection is really a godsend,” says director Rand Suffolk. “It’s the kind of blessing that we would not be able to orchestrate on our own.” (more…)

Richard Serra is interviewed in the NYT this week, as he prepares to open a series of shows in New York. “If you’re are dealing with abstract art, you have to deal with the work in and of itself and its inherent properties,” he says of his work. “The focus is mainly on mass, weight, material, gravity and so on.” (more…)