Silver Art Projects, a corporate responsibility initiative of Silverstein Properties will launch an artist residency at 3 World Trade Center, hosting 30 artists every September for up to 8 months. “I’ve always been very interested in arts and culture and so has my family, particularly my grandfather,” says Cory Silverstein. “Josh and I met in college and realized we shared a passion for the arts. When we moved to New York, we wanted to bring arts and culture in a nonprofit capacity to the World Trade Center and the downtown area.” (more…)

Oscar Murillo, Manifestation (2018-2019), via David Zwirner

Currently on view at David Zwirner London, artist Oscar Murillo has brought forth a selection of new works exploring both his past visual language and a range of expressive new iterations of his technique, delving into the visual history of his paintings as a shared exchange with both history and modernity.  On view through the end of the month, Murillo brings out a new range of pieces and projects that underscore his continued engagement with the painted canvas. (more…)

The Smithsonian Institution will not remove the Sackler name from its Asian art museum, defying a request by Oregon Senator Jeff Merkley.  “The legal agreement signed between the Smithsonian and Arthur M. Sackler was in keeping with the Smithsonian’s recognition practices at the time and obligated the Smithsonian to designate the facility as the Arthur M. Sackler Gallery in perpetuity,” saysSmithsonian Secretary Lonnie G. Bunch III. “For this reason the Smithsonian cannot remove the Sackler name from the Gallery without breaking this commitment.” (more…)

Kayne Griffin Corcoran now represents artist Sam Moyer on its roster, Art News reports. “I am delighted to continue to be involved with Sam’s practice in my current role at Kayne Griffin Corcoran,” says director Colleen Grennan, who previously worked with Moyer at Cleopatra’s. (more…)

London-based business strategy firm and exhibition company Informa Markets has acquired Art Miami, the parent company of a number of fairs including Aqua Art Miami, Art Wynwood, and Art New York. “Informa Markets is known as the world’s largest exhibition company,” said a representative from Art Miami. “With that said, participating exhibitors can anticipate improvements to the marketing, infrastructure, logistics and ambience of all fairs under the new ownership structure.” (more…)

Olga Balema, Brain Damage (Installation View), via Bridget Donahue

Upon entering the gallery space at Bridget Donahue this month, one is greeted by a peculiar selection of objects.  Small-scale, think strips of elastic material are laid up against the walls of the space, or twisted out along the floor.  The pieces, with their slight impressions upon the viewer’s perception of space, seems to lend the already raw Chinatown space a look of material temporality, of objects held in momentary sway, as if left behind in between residents.  (more…)

Kim Gordon is interviewed in Art News this week, talking about her career and the development of her work. “I was writing, but I didn’t really think of myself as an art writer. I felt more like an anti-art writer,” she says.  (more…)

The new design for LACMA by Peter Zumthor has been been placed on view at the museum, reproducing several blocks of the Miracle Mile with the new design spread over its expanse.  (more…)

Barbara Hunt McLanahan, who headed a number of New York arts institutions, including Artist’s Space and the Judd Foundation, has died at the age of 55 after a battle with cancer. “Barbara was a remarkable leader, truly a force of nature: dynamic, brilliant, passionate and above all deeply devoted to her family, of which she considered CMA to be a part—and we, her,” says Children’s Museum of the Arts president William Floyd. “She has left an indelible mark that can be seen in every aspect of the museum.” (more…)

A piece in the NYT asks a group of artists to reflect on the Stonewall riots, and its legacy in the current American landscape. “The freedom to look how I look and to act how I act are forms of progress hard-won by queer people who fought, at Stonewall and elsewhere, for years,” says artist Rindon Johnson. “The stones thrown, the bones broken and the lives lost are with me now as I pursue my practice.” (more…)

Germany will return a Jan van Huysum painting stolen by the Nazis the Uffizi Gallery in 1943 to the museum, the BBC reports. The painting was rediscovered in 1991 following the reunification of Germany, but efforts to return it then failed. (more…)

The Italian government is moving to merge the Gallerie degli Uffizi with the Galleria dell’Accademia in Florence, Art Newspaper reports.  The merging has drawn criticisms over a perceived lack of autonomy for the respective institutions. (more…)

Writer Lee Rosenbaum pens a think piece this week on Sotheby’s move to a private company, and what it means for the art world. “No longer subject to the fiscal discipline imposed by the disclosure requirements for publicly traded companies,” she writes, “Sotheby’s would not only have greater freedom to assume such risks; it would also have more freedom to fail without public embarrassment.” (more…)

Piero Manzoni, Achrome (1961-62), via Hauser & Wirth

In 1960, at the height of his artistic maturity and of his awareness on the gradual path and progression of his work, artist Piero Manzoni would branch out into a series of material experimentations and evolutions that would mark one of the most prolific stages in his career, and also one of the most conceptually fruitful. The artist, utilizing diverse natural and synthetic materials, such as cotton wool, canvas, polystyrene, phosphorescent paint, and even bread, stones, and straw, would ultimately create a broad range of his Achromes, arrangements of material that both draw on their compositional elements and on their sheer mass to create a new awareness of the object and the space around it, a new manner of seeing branching directly out from the piece itself. Simultaneously, the artist would explore a range of other practices and performative works, focusing in particular on the realization and execution of extensive “lines,” traced across papers, photos, and even across the gallery space. Delving into this important period in the artist’s career, Hauser & Wirth New York has brought together two concurrent exhibitions devoted to the artist’s work, unfolding over two floors and focusing on Manzoni’s most significant bodies of work.

Piero Manzoni, Linea lunga 7200 metri (1960), via Hauser & Wirth

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The Appellate Division of the New York Supreme Court ruled has dismissed a court case against the family of art dealer and collector Yris Rabenou Solomon over ownership of four works from the collection of the late art historian, critic, and collector Paul Westheim, the onetime publisher of the German art magazine Das Kunstblatt. (more…)

Guggenheim Museum workers in New York voted to unionize at a meeting last night, the latest in a string of museums to see their employees join a union. “We feel really good,” an unidentified worker said. “It’s rewarding to know that we’re finally on relatively equal footing with management at the museum.” (more…)

Cindy Sherman sits down with Apollo this month, as she opens her retrospective at the National Portrait Gallery in London. “I’m trying to erase myself more than identify myself or reveal myself,” she says. “That’s a big, confusing thing that people have with my work: they think I’m trying to reveal these secret fantasies or something. It’s really about obliterating myself within these characters.’” (more…)

American billionaire J. Tomilson Hill has been identified as the buyer of an early 17th-century work labeled a rediscovered Caravaggio.  “I think it was begun by Caravaggio and finished by another artist,” says Fabrizio Moretti, a leading old masters dealer in London. “It’s the most important painting associated with Caravaggio to have appeared on the market for 20 years.” (more…)

Timothy Taylor Gallery is moving to an expanded headquarters in London’s Mayfair district.  “Having programmed that [previous] space for 15 years, I wanted a change,” Taylors ays. “Quite frankly, I think many of the artists wanted a change as well.” (more…)

Christian Rattemeyer a longtime associate curator in the department of drawings and prints at the Museum of Modern Art will take over as SculptureCenter’s next director.  (more…)

Roy Lichtenstein, The Conductor (1975), Final Price: £4,977,000 via Phillips

With minimal fanfare and a steady hand, Phillips Auctions rounded out a well-managed evening sale of Contemporary and 20th Century works yesterday evening, closing a 36 lot sale to a final sales total of £35.9 million  with 5 lots going unsold.  The evening marks another strong and reliable outing for the auction house, making itself felt in the blue-chip market with increasingly strong results.  (more…)

Rem Koolhaas’s firm OMA has revealed a brand new design for the New Museum annex, which will house additional gallery space and room for other initiatives. “We wanted it to be complementary but not competitive,” Koolhaas says, “to be independently appealing but also make sure the coexistence of these two buildings gives something fresh.” (more…)

Creative Time has appointed Natasha Logan as its next deputy director. “One priority for me is the Creative Time Summit—considering where this platform and this mechanism for dialogue is most useful and will have the most impact,” she says. (more…)

The LA Times has a piece this week on the continued protests and opposition over LACMA‘s proposed expansion, as groups organized to take further action against the museum.  “The [protest] group members all feel that public input has been discounted and curtailed, and they’re seeking to express the public voice, in the public interest,” says local Richard Schave. (more…)