The Whitney has hired Marcela Guerrero and Rujeko Hockley as assistant curators, bringing on a pair of young talents who have already built reputations for themselves at the Hammer and Brooklyn Museum, respectively.  “Marcela and Ru have distinguished themselves as two of the brightest and most passionate curatorial voices of their generation,” Scott Rothkopf, the Whitney’s deputy director for programs and chief curator, said in a statement. (more…)

The Morgan Library and Museum has announced that Jessica Ludwig will join the organization as deputy director.  “The Morgan is currently experiencing some of the most successful years in its history and Jessica’s expertise will be a key asset as the institution looks to extend these gains,” says Director Colin B. Bailey.  (more…)

Japanese collective Chim Pom has offered its creative take on the current border disputes between Donald Trump and the nation of Mexico, building a large tree house looking over the current border line.  “It’s our art,” says artist Ryuta Ushiro, “but it’s also for children.” (more…)

The Smithsonian has named Stephanie Stebich as the Director of its American Art Museum.  “I am honored to have been chosen to lead the national museum of American art in our nation’s capital,” Stebich said in a statement. “I am eager to tell the inspiring stories of American art through the museum’s phenomenal collections and dynamic programs.” (more…)

Zoe Barcza, Fidelio (2016), via Art Observed

Team Gallery has opened 2017 with a commanding group exhibition, The Love Object, a show curated by Tom Brewer that draws on the writings of Roland Barthes to frame a body of works exploring love and the act of love through a more objective lens, delving into relations of bodies, texts and language as a mode of investigating not only the state of emotional attraction, but equally the frameworks we use to understand these forms. (more…)

The New York Times reports on the controversy between artist Pat Lasch and MoMA, which seems to have discarded one of the artist’s works after commissioning for an exhibition during the museum’s 50th Anniversary show.  The work, a five foot high cake sculpture, was thrown out by the museum after it had deteriorated.  “Yes, my art sometimes looks like food,” Ms. Lasch says. “But I wonder if they’d ever let a Claes Oldenburg hamburger or pie sculpture go missing. I highly doubt it.” (more…)

The MFA Boston is planning a $24 million overhaul of its conversation center, centralizing a series of distinct departments into a central space.  “It’s not just about treatment any more,” Matthew Siegal, the chair of conservation and collections management, says. “Our department has an equal amount of technicians and conservators. People responsible for conservation engineering, specialist collections care, preventative conservation, etc. The whole discipline has changed to look at everything that goes on prior to the actual treatment. The idea is to keep objects from needing treatment.” (more…)

David Hockney was welcomed to Costaño Elementary and 49ers Academy in East Palo Alto, California, where he mentored young students in fine arts.  The program, headed by architect Frank Gehry, seeks to encourage arts education for high-needs students.   “I haven’t been inside a school for 40 years or more, and it’s very nice,” the artist said.  “The kids give off energy and I get it back.” (more…)

The second half of the Bronx Museum’s exchange of artworks with the nation of Cuba will not go ahead, after Cuban officials declined allowing works to leave the country, which some speculate may be the result of the new presidential administration.  “We pushed as hard as we could,” says director Holly Block.  “I don’t want to call it disappointment because it’s been such a long process that we’re hopeful that it’s going to continue to foster cultural exchange.” (more…)

Romania’s Culture Ministry has selected 90-year-old artist Geta Brătescu to represent the Eastern European nation at the Venice Biennale this year, Art News reports.  This will be Brătescu’s third Biennale, having participated previously in 1960 and 2013.   (more…)

The College Art Association has issued a statement condemning Donald Trump’s stated intent to shutter the National Endowment for the Arts.  “Given that the respective budgets of the NEA and NEH represent only a tiny fraction of the entire federal budget, their planned elimination cannot logically be seen as a cost-saving measure,” the statement reads.  “Rather, it appears to be a deliberate, ominous effort to silence artistic and academic voices, representing a potentially chilling next step in an apparent effort to stifle and eradicate oppositional voices and cultural output from civic life. By eliminating the support for these agencies, the government undermines the unifying potential of the arts, culture, and education that encourages and nurtures communication and positive discussion.” (more…)

Omer Fast, Still from August (2016), All images via Martin-Gropius-Bau.

Now through March 12th, the Martin-Gropius Bau presents the first large solo exhibition of the work of Omer Fast, compiling seven of the artist’s projects from the course of his career, including CNN Concatenated (2000), Looking Pretty for God (after G.W.) (2008), 5000 Feet is the Best (2011), Continuity (2012), Everything that Rises Must Converge (2013), Spring (2016), and a new piece entitled August (2016).  Fast’s art straddles the border between fiction and fact, probing the concept of reality created by one’s own personal narratives versus that created by media or collective narratives, often allowing the two poles to co-mingle and blur together. (more…)

Brad Troemel is the subject of a profile in the New Yorker this week, which reflects on the artist’s recent work both in and outside the traditional gallery system, and his approach towards making art that often defies categorization.  “At what point do artists using social media stop making art for the idealized art world audience they want,” the piece quotes from one of his essays, “and start embracing the new audience they have?”  (more…)

The New York Times profiles the increased potential in recent years for Instagram as a marketing tool, noting a considerable uptick in works sold through the platform.  “It has hit a sweet spot in the market for sharing information,” Anders Petterson, one of the contributors to the Hiscox Online Art Trade Report says, “but no one saw this coming as a sales tool.” (more…)

The LA Times has a piece today on the participation of a number of artists and gallerists in the Los Angeles protests against Donald Trump, counting Catherine Opie and a range of gallerists from across the city.  “Artists need to bring that voice of opposition to this cause — with every drop of blood and every tear,” Opie says. (more…)

Egypt’s Museum of Islamic Art has reopened for the first time since being badly damaged by a car bomb in 2014.  “I’m amazed. I haven’t been to the Louvre, but I feel like I’m somewhere a lot more beautiful,” said Hussein Ismail, a visitor to the museum. (more…)

Seventy-five people have been arrested across Europe as part of a crackdown on the trafficking of illegal art and artifacts, the New York Times reports.  Over 3,000 objects were recovered as part of the operation, which focused around works smuggled out of war-torn regions.  (more…)

Art News has a piece on President Donald Trump’s proposal to eliminate the NEA, reflecting back to the presidency of George H.W. Bush, when the organization faced similar threats of defunding, particularly in situations where the government sought to limit funding over exhibitions’ political content.  The piece reflects on a number of contentious shows during the era, including an exhibition of Robert Mapplethorpe photos, and an exhibition devoted to the AIDS epidemic. (more…)

The Guardian spotlights Anderson Ranch outside of Aspen, a former sheep farm that has become a major workshop site for artists working in a range of media, counting Tom Sachs and Christo among its recent residents.  “Anderson Ranch is unique because we’re a mix of both education and inspiration,” says executive director Nancy Wilhelms.  “People of all ages and abilities come here and learn new skills or unlock their inner artist, or learn something new about themselves through art.” (more…)

The New Yorker profiles the life and work of Marisa Merz, whose work is the subject of a major retrospective at the Met Breuer, opening this week.  The artist’s long work as the only female members of the Arte Povera, and her ongoing work at the age of 90, is featured alongside her expansive show at the Met. (more…)

A series of plaster sculptures by Alberto Giacometti will be brought together since their first exhibition since their creation in 1956, the Guardian reports, going on view at The Tate Modern this summer.  “This is one of the most ambitious restoration projects that the foundation has undertaken and it is very exciting that they wish to do it for Tate,” says Tate Modern director, Frances Morris. “I have to say it is only for Tate, because despite the restoration the works will in perpetuity be very vulnerable.” (more…)

Jay Gorney and Lisa Cooley have joined Paula Cooper Gallery, bringing an extensive range of experience to the gallery from their respective past ventures.  “For me, Paula Cooper Gallery represents integrity, long-term vision, and connoisseurship, qualities that I wish were in greater abundance in the emerging art market,” Cooley says. (more…)

Anthony Caro, Terminus (2013), via Art Observed

In the early years of his career, Anthony Caro worked on a series of twisting, enigmatic depictions of human and animal figures, works that owed much to the spatial interrogations of Picasso and the broader canon of 20th Century European abstraction.  The works are impressive in their understanding of the gestural and conceptual operations of the era’s avant-garde, but for Caro’s career, served in part as a starting point for his own engagement with space, not only on paper or canvas, but in three dimensions.  This engagement with the dual acts of perception and depiction, sight and operation, takes center stage at Mitchell-Innes & Nash this month, as the late artist’s final sculptures are shown alongside some of his first drawings and paintings, a rare opportunity to appreciate the range of evolution the artist reached during the course of his prolific career.

Anthony Caro, First Drawings Last Sculptures (Installation View), via Art Observed  (more…)

Keith Sonnier, Chila (2016), via Art Observed

Continuing his work with Pace Gallery, Keith Sonnier has brought a series of both new and historical works to the gallery’s uptown exhibition space.  His fourth solo show with Pace, Ebo River and Early Works features a range of works pieces by the artist, tracing his continued use of light as a central medium. Sonnier, who works in Bridgehampton, has worked with neon and industrial materials for more than forty-five years, and brings a selection of his works sharing themes of movement and space to the gallery walls.

Keith Sonnier, Lit Circle Red with Etched Glass (1968), via Art Observed

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