Boston Mayor Martin J. Walsh aims to boost the city’s artistic community by increasing funding for the arts. On Tuesday, Walsh revealed that $1 million is being allotted for Boston’s artist-in-residence-program, individual grants for artists, and a new artist resource desk at City Hall, reports the Boston Globe.
“There’s a lot of talk of how artists are being pushed out of the city and haven’t felt supported by the city in the past,” Walsh’s chief of policy Joyce Linehan said.
Half of that million will expand the city’s artist-in-residence program, Boston AIR, which was recently established in October 2015. Meanwhile, $400,000 will directly support individual artists–the details of which are still being sorted out. The last $100,000 will create the resource desk, which officials said would act as a central information hub for artists working in the city.
An infographic conveying the top arts and cultural exports in the United States in 2014. Photo: The National Endowment of the Arts
The National Endowment of the Arts and the Bureau of Economic Analysis have released a report that provides state leaders with data on the impact of the arts and culture on the economy and the job market. Based on data from 2014, its research shows that cultural industries in the US have contributed $729.6 billion to the economy, and between 1998 and 2014, the contribution of arts and culture to the nation’s gross domestic product grew by 35.1 percent.
“Information from the Arts and Cultural Production Satellite Account has been invaluable for understanding the role of arts and culture in our economy, demonstrating that the arts are indeed part of our everyday lives,” said NEA chairman Jane Chu. “Now with the new state data, state leaders have a powerful tool to assess and advance arts and culture for the benefit of all their residents.”
According to the report, between 2013 and 2014, the growth in arts and cultural workers exceeded the national rate in seventeen states, with the largest growth in Arizona, Nevada, Utah, and Washington. New York, Washington, Wyoming, and Hawaii had the highest concentrations of jobs in the arts. Hawaii’s twenty-three museums and seventeen zoos and botanical gardens contribute to the state’s high museum employment, which is four times the national rate.
The report’s findings come at a time when the future of the National Endowments of the Arts and Humanities, as well as the Corporation of Public Broadcasting and the Institute of Library and Museum Services, are uncertain. President Trump proposed eliminating them in his 2018 Federal Budget plan, which still needs to be approved by Congress.
Artist Chris Ofili and actor, director, and playwright Mark Rylance were among the honorees at a ceremony at Buckingham Palace on Wednesday, April 19, The Guardian reports. Rylance was knighted for his services to theater and Ofili was made a Commander of the Most Excellent Order of the British Empire (CBE).
The Turner-Prize-wining artist said that the award was special due to his parents’ decision to relocate to England from Nigeria more than four decades ago. “We set up our life in England and it’s so special to be recognized for what I do in England and Britain, and for my parents that they made a great choice and invested so much in me,” Ofili said. “It feels as though I have achieved a lot.”
Among the other honorees are heptathlete and Olympic-gold-medalist Ennis-Hill, who was made a dame commander during the ceremony; Victoria Beckham, who became an Officer of the Most Excellent Order of the British Empire (OBE) for her contributions to the fashion industry; and Lieutenant Colonel Henry Worsley, who died while trekking across Antarctica to raise money for the Endeavour Fund—an initiative that supports the recovery of wounded, injured, and sick servicemen and women—last year.
Just after 5 PM on Thursday, April 20, a man vandalized a student’s painting on view in the education center at the Metropolitan Museum of Art, the New York Daily News reports.
Thirty-three-year-old Ryan Watson used a blue marker to write “Nazi art” on a work on display and then yelled, “go back to your country,” after he was approached by a security guard. Museum staff called the police after the incident occurred, who arrested Watson and charged him with graffiti and criminal mischief.
Met spokeswoman Annie Bailis said that every effort is being made to restore the piece, which is featured in the museum’s “Scholastic Art and Writing Awards” exhibit. She added, “The Met is grateful for the quick and effective action taken by security officers and the NYPD on this unfortunate incident.”
Polish sculptor and fiber artist Magdalena Abakanowicz has died at the age of eighty-six, the rector of Warsaw’s Academy of Fine Arts said on Friday, April 21. Perhaps best known for her biomorphic, large-scale sculptures of headless human figures made from thick fibers hardened with synthetic resins, the artist once said: “There is no tool between me and the material I use. I choose it with my hands. I shape it with my hands. My hands transmit my energy to it. By translating an idea into a shape, they will always pass on something escaping conceptualization. They will reveal the unconscious.”
Born on June 20, 1930, in Falenty, Poland, Abakanowicz began her artistic career as a painter and shifted to creating sculptural forms with textiles shortly after. Her soft sculptures made from dyed sisal fibre, known as ‘Abakans,’ were exhibited at the 1964 International Biennial of Tapestry in Lausanne and won a gold medal at the 1967 São Paulo Biennial. She was also the recipient of numerous honors and awards, including the Award for Distinction in Sculpture from the New York Sculpture Center in 1993 and the Leonardo da Vinci World Award of Arts in 1999. Abakanowicz was a professor at the Academy of Fine Arts in Poznań, Poland, from 1965 to 1990, and a visiting professor at a number of institutions in Los Angeles, Berkeley, Boston, New York, San Diego, Sydney, and Tokyo. Her permanent installations can be found in Grant Park, Chicago; at the National Gallery of Art Sculpture Garden in Washington, DC; and Warsaw’s Romuald Traugutt Park; the largest collection of her art is safeguarded by the National Museum in Wrocław in Poland.
In the November 1993 issue of Artforum, Marek Bartelik reviewed her shows at Marlborough Gallery and PS1 MoMA. He wrote: “Vivid memories of World War II and four decades of communism inform the art of the Polish artist Magdalena Abakanowicz . . . In order to create her sculptures, Abakanowicz peels the bark, cuts off the limbs, and inserts metal devices into tree trunks, making them look like subjects of double torture, first by an unknown hostile force, then by the artist herself. Yet such ‘cruelty’ allows her to question the binary oppositions of victim and oppressor, love and hate, life and death, while preventing her from simplistically repeating therhetoric that so often surrounds themes of war, totalitarianism, or ecology.”
William Booth and Zwelethu Mthethwa leaving the Western Cape High Court in in Cape Town on June 1, 2015. Photo: Nardus Engelbrecht
Following a court ruling last month that found photographer Zwelethu Mthethwa guilty of murder, several galleries and auction houses in South Africa have decided not to display or sell his work, Andrew Robertson of IOL reports.
“In a recent board meeting, the directors of Strauss & Co decided that the company would not be auctioning works by Zwelethu Mthethwa until further notice,” marketing and advertising officer Bina Genovese said.
Mthethwa was convicted of killing twenty-three-year-old sex worker Nokuphila Kumalo in 2013. His attorney, William Booth, recently postponed sentencing since he has been denied access to the prison and was unable to have a clinical psychologist and social worker meet with Mthethwa.
The artist remains in custody after two failed bail applications. “I am going to be applying for leave to appeal against his conviction once he is sentenced,” Booth said. “I will also be applying for bail to be fixed for him, pending the finalization of his appeal.” The lawyer added that the artist hopes to continue making art while in prison, but believes he may face an “uphill battle.”
On April 19, the BelgianArtPrize, a biennial award that recognizes the artistic achievements of mid-career artists, honored Otobong Nkanga. She will receive $26,000 and will be featured in an exhibition at the BOZAR Center for Fine Arts, which will run until May 28.
The international jury said that it chose Nkanga because she “is an artist who records the social and topographical changes of her environment, who observes their inherent complexities and understands how resources such as soil and earth, and their potential values, are subject to regional and cultural analysis.”
Since 1950, the nonprofit organization La Jeune Peinture Belge, which describes itself as a group of art lovers, professionals, and collectors, has collaborated with the BOZAR Center for Fine Arts to organize the prize with the goal of supporting artistic talent in Belgium and offering artists an international platform.
The international jury comprised Beatrix Ruf, director of the Stedelijk Museum Amsterdam; Hans Ulrich Obrist, artistic director of the Serpentine Galleries in London; Dieter Roelstraete, cocurator of Documenta 14; art collector Mimi Dusselier; and Estelle Francès Lasserre, director of the Fondation d’Entreprise Francès. The other artists shortlisted for the prize are Edith Dekyndt, Simona Denicolai & Ivo Provoost, and Maarten Vanden Eynde.
Iván Navarro Victor, (The Missing Monument for Washington, D.C OR a proposal for a monument for Victor Jara), 2008. Photo: Artist Pension Trust
The Artist Pension Trust, a mutual assurance fund that provides long-term financial security for artists, withdrew eighteen lots from an upcoming auction at Sotheby’s London after several artists decided that the sale “was not in their best interests,” Colin Gleadell of The Telegraph reports.
Works by David Shrigley, Jeremy Deller, Richard Wright, Jane and Louise Wilson, Liam Gillick, Martin Boyce, and Douglas Gordon, among others, were featured in a catalogue that had been released a month ago. The lots were estimated to bring in more than $250,000.
This year marks the first time APT chose to put works up for auction. The London sale was to follow a successful Sotheby’s New York auction last month. Only two out of fifteen works from APT failed to sell. A work by Chilean artist Iván Navarro was one of the highest-priced pieces of the group, netting $26,000. The sale raised a total of $231,000, which exceeded the original $160,000 estimate.
Al Brenner, CEO of the MutualArt Group, which merged with the artist trust in December 2016, said that the mass withdrawal of works was a result of the artists’ fears that their works would be undersold or not sold in and affect future sales. For now, Brenner said he is not planning any more auctions.
Founded by businessman Moti Shniberg in 2004, ATP invites artists to participate, and then asks them to contribute more than twenty works over the course of two decades. The works would eventually be sold and the profits would be split between all of the artists in the trust. The model allows emerging artists to benefit from the reputation of more established artists whose works might sell for more. ATP also promotes the work of all of its members by organizing shows or loaning works to exhibitions. ATP currently has more than thirteen-thousand works from two-thousand artists.
Australia’s TarraWarra Museum of Art names Emily Cormack, a Melbourne-based freelance curator and writer, as curator of the next edition of the TarraWarra Biennial. Director Victoria Lynn said, “Emily curated ‘Primavera’ at the Museum of Contemporary Art in Sydney last year to wide acclaim, and we look forward to her unique vision for the TarraWarra Biennial 2018.”
In addition to curating the twenty-fifth edition of “Primavera: Young Australian Artists,” an annual exhibition that recognizes artists who are thirty-five years of age and younger, Cormack has organized a number of shows for Melbourne’s Gertrude Contemporary and Adam Art Gallery in Wellington. She is also cofounder and codirector of the independent art space Conical.
Established in 2006 as an experimental curatorial platform, the TarraWarra Biennial aims to identify new trends in contemporary Australian art. The 2016 biennial, titled “Endless Circulation,” was a collaboration between the TarraWarra Museum of Art and the Melbourne-based contemporary art journal, Discipline.
Installation view of “Visionaries: Creating a Modern Guggenheim” at the Solomon R. Guggenheim Museum in New York. Photo: Solomon R. Guggenheim Museum
In an ongoing dispute between the descendants of collector Peggy Guggenheim and the Solomon R. Guggenheim Foundation, Peggy’s great-grandchildren claim that the museum’s current New York exhibition violates conditions stipulated when Peggy gifted the foundation her collection, Cristina Ruiz of the Art Newspaper reports.
On view until September 6, “Visionaries: Creating a Modern Guggenheim,” features twenty-one works from the Peggy Guggenheim collection in Venice by artists such as Marcel Duchamp, Pablo Picasso, and Jackson Pollock. Her family members assert that Peggy did not want the works to leave the floating city between April and November, which is when Venice receives the most tourist traffic.
Peggy’s great-grandson Sindbad Rumney-Guggenheim said that many of the collection’s major works will be in New York during the Fifty-Seventh Venice Biennale. “That’s going to be detrimental to any tourist who’s visiting the Peggy Guggenheim Collection.”
Rumney-Guggenheim is one of the family members who have sued the foundation, alleging mismanagement and claiming that it is violating Peggy’s legacy by not adhering to her vision for the collection. A Paris court of appeal dismissed the most recent case against the institution in 2015.
The condition that the family declares is being disregarded was included in a letter written by Peggy on January 27, 1969. She wrote to her cousin Harry, the foundation’s then-president, informing him of her wish to have works from her collection remain in Venice during the tourist season.
It was originally accepted by the board of trustees and incorporated into a document outlining the transfer of ownership of modern art from the Peggy Guggenheim Foundation to the Solomon R. Guggenheim Foundation on October 8, 1974. However, the condition was not included in a deed of gift that was signed in front of an Italian notary on January 23, 1976. This document has been the legal contract that judges have been referencing when making their rulings.
According to a letter written by the law firm of White & Case on behalf of the foundation, sent to the IRS in 1976, the foundation acknowledged that deed of gift signed in Italy was more of a formality prompted by the Italian government and that ownership had already been transferred in 1969. Yet, a spokesperson for the foundation agrees with the courts and states that the “operative document” is the deed of gift. She also said that none of the grandchildren from Peggy’s son Michael Sindbad Vail, who was the executor of her estate, have filed complaints.