The Film Society of Lincoln Center and the Museum of Modern Art revealed the first eight official selections for the forty-fifth New Directors/New Films Festival today. The films represent thirteen countries and include three film debuts.
Among the narratives are Pietro Marcello’s Locarno prizewinner Lost and Beautiful, a chronicle of a shepherd’s dying wish and Anna Rose Holmer’s first film, The Fits, a coming-of-age-tale about a tomboy who is drawn to a Cincinnati dance team.
The festival's celebration of emerging talent and innovative filmmaking will take place March 16 through March 27. Filmmakers featured in the past include Pedro Almodóvar, Darren Aronofsky, Ken Burns, Agnieszka Holland, Spike Lee, Christopher Nolan, Steven Spielberg, and Wong Kar-Wai.
The New Directors/New Films selection committee is made up of members from both presenting organizations, including: Dennis Lim, Florence Almozini, Marian Masone, Gavin Smith, Rajendra Roy, Joshua Siegel, and Sophie Cavoulacos. The full list will be released in February.
The initial eight selected films are as follows:
Behemoth by Zhao Liang
Demon by Marcin Wrona
The Fits by Anna Rose Holmer
Lost and Beautiful by Pietro Marcello
Mountain by Yaelle Kayam
Neon Bull by Gabriel Mascaro
Thithi by Raam Reddy
The Wakhan Front by Clément Cogitore
The Shelley & Donald Rubin Foundation announced today that Sara Reisman will be the foundation’s new executive and artistic director. Alex Gardner has been appointed the executive director of the foundation’s Treasury of Lives, one of the largest biographical encyclopedias of Tibet, Inner Asia, and the Himalayan region.
In her new role, Reisman will be an administrator for many of the foundation’s interests, such as the Art and Social Justice program, which seeks to broaden access to art and culture throughout New York City via funding and new initiatives. Reisman will also oversee the foundation's yearly grants program, which supports artistic activism, arts education, art in community and service centers, community-based museums, and public art. “As the Shelley & Donald Rubin Foundation’s executive and artistic director, I'm proud to further its Art and Social Justice Initiative to expand artistic and cultural access in New York City,” said Reisman. “The idea that artists and cultural producers can act as catalysts for social change is at the core of Foundation's mission, and I strongly believe that the work we support through philanthropic means is essential.”
Alex Gardner will continue to expand the Treasury of Lives database. It currently contains more than 1150 biographies, written by over ninety international scholars. “The Treasury of Lives has become one of the premier resources for scholars, educators, and anyone interested in Tibet and Tibetan Buddhism,” says Gardner. “I'm excited to focus on developing this resource, as a way to raise further awareness of the deep history and enriching value of Tibetan and Himalayan cultures, of which Shelley and Donald Rubin have been long-time supporters and advocates.”
Writer Suzan-Lori Parks and artist Rashid Johnson will be collaborating to make Richard Wright’s 1940 novel, Native Son, into a movie. Johnson will direct, and Parks will write the adaptation for the screen. Bow and Arrow Entertainment, run by Matthew Perniciaro and Michael Sherman, acquired the rights to the book and will produce the film. Julia and Malcolm Wright, Richard Wright’s daughter and grandson, will serve as consultants on behalf of Richard Wright’s estate.
This is not the first time Parks has written for the screen—she wrote the screenplay for Spike Lee’s 1996 comedy, Girl 6, and adapted Zora Neale Hurston’s 1937 book, Their Eyes Were Watching God, for film. Parks received a MacArthur Foundation “genius” grant in 2001 and was the first African American to be awarded a Pulitzer Prize for her play Topdog/Underdog (2001).
Rashid Johnson is an internationally renowned artist. He is represented by the gallery Hauser & Wirth, and is the first artist to be appointed to the board of trustees for the Solomon R. Guggenheim Foundation and Museum in almost forty years. For the artist’s exhibition at Hauser & Wirth in New York last fall, titled “Fly Away,” Ian Bourland wrote in an artforum.com Critic’s Pick: “Whether the show constitutes the sort of ambivalent critique from within of his forebears or a more solipsistic deployment of his personal history isn’t entirely clear, and, for that reason, it is an important provocation in pressing conversations about identity, memory, and power in contemporary art.”
Max Hooper Schneider, Accidental Menagerie, 2015, mixed media, acrylic trays, polymer resin, aluminum structure, custom hardware, 120 x 108 x 15".
Art Basel and BMW have awarded this year’s Art Journey Award to Los Angeles–based artist Max Hooper Schneider. Hooper’s Art Journey project, Planetary Vitrine: The Reef as Event, “is a maritime exploration of coral reefs around the globe . . . [mostly] in the Indo-West Pacific.” The work will incorporate short visits to a pair of “pilgrimage sites seminal in the development of the coral imaginary in science and art: Cocos Keeling Islands, where Charles Darwin conducted fieldwork for his 1842 treatise, The Structure and Distribution of Coral Reefs; and the Bahamas, to which André Breton traveled on an imaginary voyage via readymade photographic representations of Bahamian coral in order to document nature’s surreality.” Hooper’s project will involve research, documentation, and performative/sculptural interactions with the natural world.
The jury for this year’s award is the New Museum’s Massimiliano Gioni, the Berlin Biennale’s Gabriele Horn, Victoria Noorthoorn of the Museo de Arte Moderno in Buenos Aires, Bisi Silva of the Centre for Contemporary Art in Lagos, and Philip Tinari of the Ullens Center for Contemporary Art in Beijing.
Sofia Imber, a journalist, television presenter, and arts administrator who transformed an auto parts garage into the Caracas Museum of Contemporary Art, died on February 19, writes Fabiola Sanchez of the Associated Press / Star-Tribune.
Imber was born in Soroca, Moldova, in the former Soviet Union. She came to Venezuela in 1930 with her family, and went on to graduate from the Central University of Venezuela. With her second husband, Carlos Rangel, she hosted the television program Buenos Dias from 1969 to 1993. She was famous for her no-holds-barred interviews with international leaders, artists, and writers, such as former US president Jimmy Carter, the Dalai Lama, and Gabriel Garcia Marquez.
In 1971, when Venezuelan officials were trying to find a place to exhibit art, Imber said to them, “If you give me a garage, I will turn it into a museum.” A few years later, Venezuela had its first institution dedicated to modern art, exhibiting works from Venezuelan artists in addition to artists of international renown, such as Pablo Picasso, Henri Matisse, and Fernando Botero. In 2001, she was fired from her job as the museum’s director, as she was a fierce critic of late president Hugo Chavez’s socialist government. “The president forgot or did not want to recognize the courage and the dedication of this wonderful woman,” the artist Jesus Soto said to the Associated Press before his death in 2005. Prior her departure from the museum, Imber created a program to showcase art in some of Venezuela’s most remote territories. In 1967, she became Latin America’s first woman to receive UNESCO’s Picasso Medal. She also received awards from France, Brazil, Colombia, Italy, and Spain, among other countries.
The artist and actor Shia LaBeouf has found a new home for his anti-Trump video installation, HeWillNotDivide.Us. The public artwork, which New York’s Museum of the Moving Image in Queens had removed because it was “a flashpoint for violence,” opened at the El Rey Theater in Albuquerque, New Mexico, on February 18.
In a joint statement, LaBeouf and his artistic collaborators, Nastja Säde Rönkkö and Luke Turner, accused the Queens museum of caving to political pressures when it took down the work. An excerpt reads: “From the outset, the museum failed to address our concerns about the misleading framing of our piece as a political rally, rather than as a participatory performance artwork resisting the normalization of division. In fact, the museum demonstrated a spectacular lack of judgment—and courtesy to us as artists—by neglecting to consult us when they staged a political rally at the site of our artwork on January 29, 2017. On numerous occasions, we voiced serious concerns to the museum about hate speech occurring at the site of our project, and requested that the museum act responsibly in moderating this and providing the public a means of reporting such incidents. Our requests were not even acknowledged, let alone acted upon. . . . It is our understanding that the museum bowed to political pressure in ceasing their involvement with our project.”
The Museum of the Moving Image removed the work on February 10 citing “ongoing safety hazards” that the work posed for visitors, staff, local residents, and businesses. In a statement on its website, the institution said that “while the installation began constructively, it deteriorated after one of the artists was arrested on the site of the installation and ultimately necessitated this action.” LaBeouf was the artist who was arrested. He was detained after quarreling with a man outside the museum on January 26. The institution said that threats of violence also contributed to its decision to shut down the piece.
Matthew Hemley of The Stage reports that Bath and the North East Somerset Council has approved a 100 percent cut to all arts funding within their budget. Equity, the UK trade union for actors and other creative professionals, has asked the Conservative Party’s Karen Bradley, the UK’s minister of culture, to intervene on the decision.
The grants provide theater companies up to about $6,200 annually. The council figures that stopping the funding will save them nearly $540,000 by the year 2020. Equity is also worried that Bristol’s city council will make similar cuts. Stephen Spence, Equity’s general deputy secretary, said, “The council has committed an act of cultural vandalism in Bath that will result in a new dark age for arts and culture in the region.”
A government spokeswoman, responding to calls made by Equity, said, “One of the best investments we can make as a nation is in our arts and museums. That is why the government has protected funding for National Museums to ensure they remain free to enter, and between 2015 and 2018 Arts Council England will invest approximately $1.9 billion of government and National Lottery funding,”
Performer Les Dennis said, “Our children should be encouraged to embrace the arts to develop their cultural outlook. If the arts aren't funded they won't be able to. We ignore its importance at our peril.”
Berlin-based African architect Diébédo Francis Kéré has been commissioned to design the 2017 Serpentine Pavilion in London’s Kensington Gardens. Kéré, who is from the village of Gando in Burkina Faso, is the first African architect to receive an invitation for the project.
This year’s pavilion takes its inspiration from a tree that serves as the central social hub in Gando. The pavilion’s supporting structure will be fabricated from steel, while the roof, made from wood, will be designed to look like the canopy of a tree. There will be four separate entry points that will allow visitors to wander easily throughout the open courtyard. An oculus on the building’s roof will funnel water from rains into a kind of splashing ornamental display before it is evacuated into a drainage system, also made from wood, for irrigating the park. The pavilion will continue to host its performance series, Park Nights, in addition to the Build Your Own Pavilion program, an architecture campaign funded by Bloomberg Philanthropies that “invite[s] young people to consider the relationship between architecture and public space.”
“As an architect, it is an honor to work in such a grand park, especially knowing the long history of how the gardens evolved and changed into what we see today,” said Kéré. “I am fascinated by how this artificial landscape offered a new way for people in the city to experience nature. In Burkina Faso, I am accustomed to being confronted with climate and natural landscape as a harsh reality. For this reason, I was interested in how my contribution to this Royal Park could not only enhance the visitor’s experience of nature, but also provoke a new way for people to connect with each other.”
A painting by Camille Pissarro and a drawing by Adolph Menzel—both from the collection of the late Cornelius Gurlitt, who had been hiding a trove of artworks inherited from his father, Hildebrand, who was an art dealer for the Nazis—have finally been returned to the heirs of the original owners, reports Catherine Hickley of the Art Newspaper. So far, a total of four artworks from the Gurlitt collection have been restituted. Ninety-one other works, from artists such as Paul Cézanne, Max Beckmann, Albrecht Dürer, Edvard Munch, Pierre-Auguste Renoir, and Edgar Degas, are greatly suspected of being sold under duress by or stolen from their Jewish owners.
Monika Grütters, Germany’s minister of culture, returned the Menzel drawing to the heirs of Elsa Helene Cohen on February 20. Cohen sold the work to Hildebrand in 1938 so that she could pay for her escape to the United States. The Pissarro was returned to the relatives of Max Heilbronn, a French-Jewish businessman, on February 17. “Germany must do everything to clarify the personal fates of persecuted people like Elsa Cohen, who saw themselves forced into selling artworks at that time, and return them to the heirs with no ifs or buts,” said Grütters in a statement.
Dubbed the Spider-Man burglar, Vjeran Tomic has been sentenced to eight years in prison and ordered to pay a $212,000 fine by a French criminal court for stealing five paintings worth more than $110 million from the Paris Museum of Modern Art in 2010, Benoît Morenne of the New York Times reports.
Notorious for scaling buildings in order to commit robberies, Tomic made off with Georges Braque’s Olive Tree near l’Estaque, 1906, Fernand Léger’s Still Life with Candlestick, 1922, Henri Matisse’s Pastoral, 1906, Amedeo Modigliani’s Woman with Fan, 1919, and Pablo Picasso’s Dove with Green Peas, 1911, in one of the biggest art heists. Whether the works have been sold has still not been determined.
According to The Telegraph, Peimane Ghalez-Marzban, the presiding judge, said that Tomic, who was able to enter the museum by cutting through a padlocked gate and breaking a window, gained access to the building and evaded the security guards with “disconcerting ease.”
While in court, Tomic confessed that he was originally only commissioned to steal Léger’s still life and swiped the other four after he discovered that the museum’s alarm system didn’t go off. Tomic apparently took his time, wondering around the institution for an hour before making his escape.
Two accomplices, Jean-Michel Corvez, an antiques dealer who allegedly orchestrated the heist, and Yonathan Birn, a clockmaker who stored the works, will also receive jail time. They were given seven- and six-year sentences respectively and were fined around $159,000. All three men were also ordered to pay the city of Paris $110 million in compensation for the missing paintings.
The French police arrested Tomic in May 2011 after receiving an anonymous tip about a man hanging around the museum during the days leading up to the theft. Once detained, Birn claimed he had thrown the paintings in the trash. “I thought I was being followed by the police, convinced I was being filmed or spied on. I told myself that I couldn't get out of the building with the paintings and committed the irreparable,” he said.
Yet, both Corvez and prosecutor Anaďs Trubuilt remain unconvinced. In court Corvez said Birn was “far too crafty” and that he would never “degrade himself by destroying the works.” Trubuilt said that the men “know very well that the day they leave prison, the paintings won’t have lost their value and that they can resell them.”