Creative Capital has announced the winners of its 2016 round of arts awards. The organization notes that over 50 percent of this year’s class are people of color. This announcement comes along with the news that Ruby Lerner, who has been president and executive director of Creative Capital since the institution was founded in 1999, will be retiring this March.
Winners for this year include Chris E. Vargas, Ahamefule J. Oluo, Eileen Myles, and Liz Glynn. Myles is receiving a grant for My Travels, a series of linked travel essays with a biographical bent, set in Boston, India, Ireland, New York, and Russia. Glynn is working on Gol[den], an installation and site for durational performances in a foreclosed home in Southern California. Oluo was awarded a grant for Susan, a long-form comedic storytelling piece and orchestral suite based on the life story of her mother, Susan Oluo. Vargas, meanwhile, is working on Transgender Hirstory in 99 Objects, an exploration of objects that hold significance in narrating the history of transgender communities.
Past recipients of Creative Capital awards include filmmaker Laura Poitras, artists Theaster Gates and LaToya Ruby Frazier, and playwright Young Jean Lee.
For the full list of winners click here.
Soon after last month’s report that Oscar-nominated director Asghar Farhadi would be prevented from attending the 2017 Oscars ceremony in Los Angeles due to Trump’s overreaching travel ban, CBS News reports that US immigration officials have prevented a twenty-one-year-old Syrian cinematographer named Khaled Khateeb—who worked on a short documentary film about his country’s ongoing civil war titled The White Helmets (2016), which has been nominated for an Academy Award—from entering the US for the ceremony tomorrow.
Khateeb was scheduled to arrive today in Los Angeles on a Turkish Airlines flight from Istanbul, but he was not allowed in after officials reported finding “derogatory information” regarding Khateeb. Derogatory information is a broad category that can include anything from concrete evidence of connections to terrorist organization to mere passport irregularities. Asked for comment on the matter, a spokeswoman for the Department of Homeland Security, Gillian Christensen, only said, “A valid travel document is required for travel to the United States.” Khateeb had been issued a visa to attend the ceremony, but Turkish authorities detained him this week, according to internal US government correspondence, and he was then required to get a passport waiver from the United States to enter the country. The correspondence indicated he would not receive such a waiver, but there was also no explanation in the correspondence for why Turkey detained Khateeb in the first place. Khateeb has said he is currently in Istanbul and has claimed he had not been detained.
The White Helmets, a British production directed by Orlando von Einsiedel, is nominated in the category of “Best Documentary Short” at the Oscars this year. Khateeb is one of three people credited for cinematography on the film, which focuses on the rescue workers who aid Syrians affected by the civil war. Many of the group’s members have been killed by Syrian President Bashar Assad’s regime, and the group was nominated for last year’s Nobel Peace Prize.
To coincide with the Oscars ceremony this year, Sadiq Khan, London’s mayor, will stage a public screening of Asghar Farhadi’s Oscar-nominated film, The Salesman (2016), in Trafalgar Square on February 26.
London’s Lisson Gallery has announced that it will open its fifth location and second New York Space this April, Nate Freeman of Artnews reports. The new 3,500-square-foot gallery will be housed at 136 Tenth Avenue.
The gallery’s director, Alex Logsdail, said that the idea for another New York space came about when artist Haroon Mirza inquired about finding a temporary space for a project that he thought was too small for the gallery’s 8,500-square-foot building on West 24th Street, which opened last year. “I started looking into it, and I realized we don’t have a space to show single-work exhibitions, or things that are a little more intimate. It was something that met the needs of a lot of our artists that make smaller work that we don’t exhibit all the time,” Logsdail said.
Mirza’s installation ããã – Experience, Practice, Ritual Remix, which consists of LED lights, an array of plants, and a video work that features found footage spanning the last fifteen years, beginning with the terrorist attacks on September 11, 2001 and ending with the election of Donald Trump, will inaugurate the space. The show will open March 3.
Jenny Sabin Studio’s Lumen has been selected as the winning design of MoMA PS1’s annual Young Architects Program. The immersive environment, an evolving design that changes in response to the people interacting with it as well as to heat and sunlight, will be constructed in the museum’s courtyard, opening on June 29.
Klaus Biesenbach, MoMA PS1 director and MoMA chief curator at large said, “Lumen is a socially and environmentally responsive structure that spans practices and disciplines in its exploratory approach to new materials. Held in tension within the walls of MoMA PS1’s courtyard, Lumen turns visitors into participants who interact through its responsiveness to temperature, sunlight, and movement.”
Now in its eighteenth edition, the Young Architects Program has offered emerging architectural talent the opportunity to design and present innovative projects for a temporary, outdoor installation that provides shade, seating, and water. The architects must also work within guidelines that address environmental issues, including sustainability and recycling. Made of responsive tubular structures in a lightweight knitted fabric, Lumen features a canopy of recycled, photo-luminescent, and solar active textiles that absorb, collect, and deliver light as well as a misting system that will respond to visitors’ proximity.
The other finalists for this year’s MoMA PS1 Young Architects Program were Bureau Spectacular (Jimenez Lai and Joanna Grant), Ania Jaworska, Office of III (Sean Canty, Ryan Golenberg and Stephanie Lin), and Schaum/Shieh (Rosalyne Shieh and Troy Schaum). Organized by associate curator Sean Anderson and curatorial assistant Aričle Dionne-Krosnick, an exhibition of the five finalists’ proposed projects will be on view at MoMA throughout the summer.
Bloomberg Philanthropies has supported the Young Architects Program since 2007. In 2016, MoMA and MoMA PS1 announced that its sponsorship had been extended for three years, enabling the program to be through the summer of 2018.
Beijing-based self-taught photographer Ren Hang, known for pushing boundaries in China with his controversial nude portraits, has died at the age of twenty-nine, the British Journal of Photography reports.
Born in Nong’ An—a suburb of Changchun, the capital of the northeastern province of Jilin—in 1987, Ren left for Beijing to study advertising when he was seventeen. Shortly after, he became interested in photography as a way to “relieve boredom.” The artist began by using a point-and-shoot-camera to capture his friends. Since then, Hang has been featured in solo exhibitions in Antwerp, Athens, Bangkok, Copenhagen, Frankfurt, Hong Kong, Marseille, New York, Paris, and Vienna, and self-published seven monographs before the publishing company Taschen released a retrospective photobook of his work this year.
Despite being widely celebrated, Ren had a turbulent relationship with his native country. He was jailed because his images were considered pornography, which has been illegal in China since 1949, his work was frequently censored, and his website was removed. Ren said, “I don’t really view my work as taboo, because I don’t think so much in cultural context, or political context. I don’t intentionally push boundaries, I just do what I do.”
Commenting on the artist’s first solo exhibition in New York, organized by Company Gallery, Chinnie Ding wrote: “Ren’s willful though vulnerable subjects seem to prosper in their found places, warding off the solitude in the gap between their bodies and the frame. In other images too, where one head vanishes behind another, extra limbs line up, or succulent flowers are joined to human feelers and spouts, forms of idiosyncratic mutuality roundly win out over atomized individualism.”
Mirjam Kooiman, a curator at Fotografiemuseum Amsterdam, said, “There’s no hierarchy between the female and the male model in his work. It’s very telling about these tendencies of sexuality and queerness in Chinese society and how his generation is dealing with it. It’s visual poetry. It’s without limits.”
Paul Schimmel will be leaving his role as director, partner, and vice president of Hauser & Wirth. Iwan Wirth and Manuela Wirth, cofounders and copresidents of the gallery, made the announcement today. After joining Hauser & Wirth in May of 2013, Schimmel headed the gallery’s new downtown arts district complex in Los Angeles.
Schimmel was previously the longtime chief curator at the Museum of Contemporary Art, Los Angeles, and has maintained a curatorial career extending back to the mid-1970s. (He wrote a Passages on Chris Burden, on the occasion of the artist’s death, in the September 2015 issue of Artforum.)
In announcing Schimmel’s departure, Iwan Wirth noted, “Going forward, Hauser & Wirth will continue building upon its longstanding, passionate commitment to Los Angeles with expanded programs, including an increasingly robust campaign of public events and community outreach activities, and an ever more dynamic schedule of exhibitions that celebrate our artists, and connections between California and the international scene.”
Jenny Heinz holds up the sign she had affixed to her jacket when Lincoln Center turned her away from a performance at David Geffen Hall. Photo: George Etheredge for the New York Times
In November, Jenny Heinz, an avid performance goer, attached an eight-by-eleven sign to the back of her jacket that reads: “No! In the name of humanity we refuse to accept a fascist America!”
Earlier this month, Lincoln Center would not admit Heinz to a Budapest Festival performance at the David Geffen Hall for refusing to remove the sign from her jacket, Colin Moynihan of the New York Times reports. Despite wanting to attend the event, Heinz forfeited her ticket to keep the sign, saying it was a matter of “freedom of expression.”
While Lincoln Center did not directly address the incident, it released a statement that reads: “Lincoln Center’s founding mission is to bring the world’s greatest artists to the broadest possible audience. Every day we strive to provide an environment that cultivates the special and uninterrupted connection between a diverse array of performers and patrons, enabling a multitude of curated experiences for our 6.5 million annual visitors and artists.”
In a meeting arranged by civil rights lawyer Norman Siegel, Heinz confronted Lincoln Center officials and was told by Peter Flamm, vice president for concert halls and operations, that signs are not permitted inside the facility as well as outside on the plaza.
A lawyer representing Lincoln Center informed Siegel that Heinz would not have been turned away if the words were printed on her clothing or featured on a button, highlighting inconsistencies about what can be classified as a potential disturbance to a performance.
Policies enforced at other institutions vary. While Radio City Music Hall declared signs and banners are not allowed, Synneve Carlino, a spokeswoman for Carnegie Hall, said it had no specific policy on signs, and that incidents would be reviewed on a case-by-case basis.
The Stavros Niarchos Foundation handed over its Renzo Piano–designed cultural center, which houses the National Library and the National Opera House, to the Greek state in a ceremony on Thursday, February 23, Ekathimerini reports. The foundation also donated roughly $650 million to support the maintenance of the facility for years to come.
Prime Minster Alexis Tsipras welcomed the “generous donation” and also acknowledged the public’s unease over the fate of the center once it’s controlled by the state saying, “The concerns are very real. They are due to the fact that many Olympic facilities on which the people spent hundreds of millions remain unexploited, virtually in ruin.” He added, “However, it is not right to create the impression that the state and citizens are not in the position to keep this jewel, to make use of it and to make it into something even better.”
Tsipras brushed over several examples of missteps by both private and public Greek cultural institutions including the Athens Concert Hall, which accumulated millions of dollars of debt, forcing the state to intervene. Director of the foundation Andreas Dracopoulos said that the center has already been “embraced” by Greeks and that 760,000 people have visited the space since it opened in 2016. President Prokopis Pavlopoulos added that if the state fails to manage the facility it “will not be a breach against the donors but against culture itself.”
Max Levai, principal director of Marlborough Chelsea, which has been rebranded as Marlborough Contemporary. Photo: Patrick McMullan
Marlborough Chelsea has announced that it is rebranding itself as Marlborough Contemporary and will coordinate programming between its New York and London spaces under the leadership of directors Max Levai and Pascal Spengemann.
“We are now an internationally aligned program, and Marlborough Contemporary represents the future of this legendary gallery,” Levai said. “This expansion opens up an exciting opportunity for connecting with new artists and expanding our audience.”
The gallery will also add to its staff by welcoming director Nichole Caruso, formerly of Wallspace Gallery and Lisa Cooley Gallery, as well as Leo Fitzpatrick, who will continue overseeing the adjacent Viewing Room gallery. Ed Spurr, formerly of Matthew Marks Gallery, will also join Marlborough Contemporary as a director in London.
Marlborough Contemporary London was formerly under the directorship of Andrew Renton. The first season of London programming will feature a diverse group of primarily American artists, all of whom will be making their first solo exhibitions in the UK, and will launch on April 27 with an exhibition of new work by Sarah Braman.
Founded in London in 1946, Marlborough Gallery has an international presence with major galleries and offices in Madrid and Barcelona as well as its established venues in New York and London.
The Museum of Contemporary Art Jacksonville has announced that Caitlín Doherty, chief curator and deputy director of curatorial affairs at the Eli and Edythe Broad Art Museum, will join the institution as its new director. She will take up the post on March 20.
“She brings with her a wealth of leadership experience, strategy, and programmatic vision, as well as significant skills in museum and nonprofit management,” MOCA acting director and deputy director Ben Thompson said. He added, “Caitlín is a great team builder and at other institutions has created a culture of ‘cooperative enthusiasm,’ which helps align all stakeholders toward shared goals. She recognizes the importance of integrating with our community, making the museum a destination, a warm and welcoming place for all.”
Since January 2015, Doherty has been chief curator and deputy director of curatorial affairs at the Eli and Edythe Broad Art Museum at Michigan State University. During her tenure at The Broad, Doherty curated numerous exhibitions, including “The Artist as Activist: Mahbubur Rahman and Tayeba Begum Lipi” (2016), “2116: Forecast of the Next Century” (2016), “Gideon Mendel: Drowning World” (2016), and “Moving Time: Video Art at 50, 1965-2015,” which is currently touring China.
Prior to The Broad, Doherty served as exhibitions and speaker curator at Virginia Commonwealth University in Qatar—a branch of the VCU School of the Arts in Richmond, Virginia—from 2012 to 2015. Previously, Doherty worked as the inaugural director of Lismore Castle Arts, a contemporary art gallery in Ireland, where she oversaw exhibitions featuring artists such as Michael Craig-Martin, Matthew Barney, Richard Long, and Nathalie Djurberg. She also taught art history, design history, and museum and gallery studies at Ireland's Waterford Institute of Technology, and has regularly guest lectured at other institutions including University College London. Also in Ireland, Doherty directed the interdisciplinary arts and cultural initiative Artswave, and acted as visual arts coordinator for Garter Lane Arts Centre.
“MOCA Jacksonville is a respected and vibrant contemporary art institution with a significant collection and a commitment to the exploration of the world around us through the art, artists, and ideas of our time,” Doherty said. “It is also at a very important point in its development-much wonderful work has already been done at the museum in areas such as exhibitions and education, and yet there is still the opportunity and desire for future growth and development, and for me that is hugely exciting.”