Japanese artist Kishio Suga has won the visual arts award offered by the fifty-seventh Mainichi Art Award, reports Artinfo’s Darryl Wee. Previous recipients of the award—which recognizes winners in literature, theater, music, visual art, and film—include Tadao Ando, Lee Ufan, and Arata Isozaki.
An influential figure in the Mono-ha movement, Suga was recognized for the prize on the basis of two solo shows staged last year at the Museum of Contemporary Art, Tokyo, and the Vangi Sculpture Museum, Shizuoka.
“Forty years ago, nobody understood it, but these days more people appreciate how my work was trying to stimulate people’s consciousness,” Suga said.
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.”
Congressman William Lacy Clay of Missouri has filed a federal lawsuit against Architect of the Capitol Stephen Ayers for removing a student painting from a Capitol Hill exhibition claiming that he violated the artist’s right to free speech, Spencer S. Hsu of the Washington Post reports.
The lawsuit is the latest development in an ongoing controversy over an exhibition of works by high school students who won an annual nationwide art competition sponsored by the Congressional Institute. David Pulphus’s painting depicts police officers, who resemble razorback pigs in uniforms, aiming weapons at African American protesters in a standoff that was inspired by the protests in Ferguson, Missouri, after the shooting of unarmed African American teen Michael Brown in 2014.
Clay said that the removal of the painting “sent a chilling message to young Americans that their voices are not respected.” He added, “This case is truly about something much bigger than a student’s painting. It is about defending our fundamental First Amendment freedoms which are currently under assault in this country.”
The work was taken down several times over the course of a week by various people including, Republicans Doug Lamborn of Colorado, Dana Rohrabacher of California, and, Brian Babin of Texas, who claim that the work violates the rules of the competition, which state that “depicting subjects of contemporary political controversy or a sensationalistic or gruesome nature are not allowed.” Clay repeatedly rehung the work, which had been on display for seven months before “the unprecedented step of retroactively disqualifying” a contest winner.
In mid-January, Ayers stepped in and ordered the permanent removal of the painting. Clay said the Architect of the Capitol, whose office is in charge of of maintaining and preserving the buildings, gardens, monuments, and artworks on Capitol Hill, chose to censor Pulphus’s artwork “in response to the enormous political pressure he experienced from the Speaker of the House and certain right-wing media outlets.”
Ayers, who was appointed by Barack Obama in 2010, has seven days to respond to the suit. The painting is now hanging in Clay’s office.
Taylor Mac, A 24-Decade History of Popular Music: 1900–1950s, 2015. Performance view, New York Live Arts, New York, January 20, 2015. Taylor Mac (right). Photo: Ian Douglas.
Performance artist Taylor Mac and his musical director, Matt Ray, have been selected as winners of this year’s Edward M. Kennedy Prize for drama inspired by American history, writes Jennifer Schuessler in the New York Times. The duo will receive $100,000. Their performance, A 24-Decade History of Popular Music, covers over two hundred years of US history “reinterpreted through a radical queer lens,” as Schuessler calls it. Reflecting on Mac’s piece on artforum.com, critic Jennifer Krasinski wrote, “Taylor Mac is a master performer, riveting storyteller, and charismatic, otherworldly creature, dressed to the tens in artist/designer Machine Dazzle’s magnificent metamorphic glitz.”
Jean Kennedy Smith, a former United States ambassador to Ireland, created the prize to honor her politician brother. Lin-Manuel Miranda, creator of the musical Hamilton, was the previous winner of the prize. Miranda’s hit production was featured in curator Thelma Golden’s “Best of 2015” piece for the December 2015 issue of Artforum.
The board of the Washington Art Consortium—a coalition of seven art museums established in 1976 to bring more modern art to the state of Washington and spur collaboration among its cultural institutions—announced today that it is disbanding.
Its 411-work collection by 175 artists, including works on paper, photographs, and prints created from 1945 to the late twentieth century, as well as its more than $2 million endowment, will be distributed among its member art museums: the Henry Art Gallery at the University of Washington, Seattle; the Museum of Art at Washington State University, Pullman; Northwest Museum of Arts and Culture, Spokane; Seattle Art Museum; Tacoma Art Museum; Western Gallery at Western Washington University, Bellingham—where the collection is currently housed—and the Whatcom Museum, Bellingham.
After an eighteen-month period of strategic planning, the WAC concluded that the need for an organization that ensures greater access to art throughout the state “is now less crucial.” Founder Virginia Wright said, “For the last forty years I have enjoyed watching the Washington Art Consortium’s progress and development. In 2015, as we approached our fortieth anniversary, I encouraged our board to think about the future.” She added, “I am pleased with their decision and delighted that the collections will live on through our member museums, continuing to serve as an important resource for the entire state.”
WAC assembled a panel comprising three art experts—Brian Ferriso, director of the Portland Art Museum and current president of the Association of Art Museum Directors; Jack Lane, foundation president of the New Art Trust, San Francisco; and Barbara Johns, an independent art historian and former chief curator of the Tacoma Art Museum—who recommended the following: American Works on Paper 1945–75, comprising ninety-eight pieces, will go to the Western Gallery at Western Washington University; American Photographs 1970–1980, comprising 185 works, will go to the Henry Art Gallery at the University of Washington; the Mary Margaret Aiken and Richard Aiken Collection of Twentieth-Century Prints, comprising twenty-four works, will go to the Museum of Art at Washington State University; and the Safeco Collection of Northwest Works on Paper, comprising 104 works, will be divided among the Tacoma Art Museum, the Whatcom Museum of History and Art, and the Northwest Museum of Arts and Culture.
The panel also recommended that the former members of the consortium should have priority access to borrow these works for exhibition or research, free of loan fees. WAC’s endowment will be divided among the six institutions receiving parts of the collection, and will continue to be used for the care and maintenance of these works.
“Since this consortium was launched, the visual arts in Washington have grown to an entirely new level, with expanded facilities, collections, exhibitions, and programs across the state,” Sylvia Wolf, the president of the Board of WAC and the John S. Behnke Director of the Henry Art Gallery, said. “WAC was at the forefront of these changes, demonstrating how much could be accomplished through collaboration and collection sharing. In deciding to take this next step, we recognize that the landscape has changed for the better. This approach honors the intentions of the donors who helped create WAC collections and enables us to stay focused on these incredible works of art, and to provide greater access to them for audiences throughout the State of Washington.”
Dia Art Foundation announced today that Courtney J. Martin, currently an assistant professor in the history of art and architecture department at Brown University, has been appointed the foundation’s deputy director and chief curator. Martin will lead the curatorial department as well as oversee the collections, exhibition programming, and the acquisition of new works. She succeeds James Meyer, who will now serve as Dia's curatorial and academic advisor. Martin will take up the post in September.
“Courtney is an accomplished scholar and curator,” director Jessica Morgan said. “While working closely with her on the Robert Ryman exhibition, I was continually impressed by her rigorous curatorial approach and innovative thinking. We are thrilled to welcome her to Dia. I am confident that Courtney’s leadership will bring new insights and energy to the institution.”
Martin received her Ph.D. from Yale University in 2009, specializing on twentieth-century British art, and has authored numerous essays on the work of modern and contemporary artists, including Rasheed Araeen, Kader Attia, Rina Banerjee, Leslie Hewitt, Ed Ruscha, and Yinka Shonibare. She is the recipient of an Andy Warhol Foundation Arts Writers Grant and was the coeditor of Lawrence Alloway: Critic and Curator (2015), which won a Historians of British Art book award. She was also the editor of Four Generations: The Joyner Giuffrida Collection of Abstract Art (2016).
Prior to joining Brown University in 2013, Martin was an assistant professor at Vanderbilt University in Nashville, and had several fellowships at institutions such as UC Berkeley and the Getty Research Institute. Martin curated “Drop, Roll, Slide, Drip . . . Frank Bowling’s Poured Paintings 1973–8” (2012–13), at Tate Britain and “Robert Ryman” (2015–16), at the Dia Art Foundation.
“It is with great enthusiasm that I join Dia—an institution that I encountered upon moving to New York in the 1990s,” Martin said. “It has an unparalleled collection of art and a deep history of helping artists develop their practice and realize ambitious projects. . .I am excited to begin working with Jessica and the team to guide Dia’s strategic approach to exhibitions, collections, and public programs and help the institution continue to fulfill its mission.”
Publishers of the contemporary art magazine Parkett announced today that the next issue of the publication will be its last.
Citing the “change in reading behavior brought about by our digital age,” editor-in-chief Bice Curiger, founder Jacqueline Burckhardt, and publisher Dieter von Graffenried said, “We would like to thank you, our readers, for your interest and your loyalty and we are looking forward to the special double issue this summer.”
Since its founding in 1984, the Zurich- and New York–based magazine has featured over 215 works by artists in more than forty countries, including Ai Weiwei, El Anatsui, Laurie Anderson, Matthew Barney, Louise Bourgeois, Maurizio Cattelan, Tracey Emin, Christian Marclay, Beatriz Milhazes, Bruce Nauman, Gabriel Orozco, Sigmar Polke, Gerhard Richter, Anri Sala, Cindy Sherman, and Hiroshi Sugimoto. Each artist collaborated with the magazine to select writers and images, develop the layout, and to create a signed and numbered edition especially for Parkett. Rosemarie Trockel’s Portrait of the Artist as a Young Man, 2014, for instance, featured early photos of Curiger, Burckhardt, and Parkett US editor Nikki Columbus on top of colored vertical stripes.
Called “an engine of artistic thought and practice” by Ullens Center director Philip Tinari and “a catalyst for invigorating change whilst always producing the harvest of the quiet eye” by Hans Ulrich Obrist, Parkett considers itself “a large library and a small museum.” All 1500 texts from the magazine’s thirty-three-year run will be available on their website.
The full letter is as follows:
With the present volume of Parkett 99 and the following special issue 100/101 appearing this summer, the publishers have decided to bring the publication of the printed art magazine to a close. One of the major factors behind this decision is the radical change in reading behavior brought about by our digital age.
Parkett volumes and editions will, of course, remain fully documented online on our website and available via our offices in Zurich and New York. Furthermore, all volumes including 1500 texts are currently being digitized and will become accessible on our website. New, expanded Parkett exhibitions in various museums are in preparation as well, and will further explore the publication’s singular approach as a time capsule of the art of the last three decades.
Parkett enjoys a unique status in the international art world. For the past 33 years the journal has worked hand in hand with the most compelling artists and authors of our time in order to bring them to a wider public. In company with our most important partners and colleagues, we shall be concluding the Parkett adventure with a celebratory commemorative double volume this summer.
It will be an occasion to take a clear-sighted look at the past, the present, and the future. The special issue will retrace the energies, aims, and ideas that inspired and underpinned the founding and publication of Parkett and the special editions created by our collaborating artists of the past 33 years. In interviews, conversations, and essays, Parkett 100/101 will highlight the major changes and events that have shaped our expansive epoch.
We would like to thank you, our readers, for your interest and your loyalty and we are looking forward to the special double issue this summer.
Bice Curiger, Jacqueline Burckhardt, and Dieter von Graffenried
The Pérez Art Museum Miami has revealed that the John S. and James L. Knight Foundation is establishing a $200,000 matching grant to benefit the museum’s fund for work made by African American artists. Active through August 21, the grant is in large part enabled by a gift from trustee Dorothy A. Terrell in the amount of $100,000.
The fund has helped the museum acquire work by artists including Sam Gilliam, Martine Syms, Juana Valdes, Theaster Gates, and Kevin Beasley, among others. “We are proud to be a museum with a collection that is reflective of our diverse Miami community,” said director Franklin Sirmans. Sirmans announced the news at its annual reception for the fund earlier this week.
LaBeouf, Rönkkö & Turner’s work, HeWillNotDivide.Us, after it was vandalized outside El Rey Theater in Albuquerque, New Mexico. Photo: Jim Thompson of the Albuquerque Journal
Artist and actor Shia LaBeouf and his collaborators, Luke Turner and Nastja Säde Rönkkö, have decided to stop live streaming their relocated public artwork HeWillNotDivide.Us, which is installed outside of Albuquerque’s El Rey Theater, after gunshots were fired near the arts venue.
Earlier this morning, LaBeouf tweeted: “We have taken the stream down after shots were reported in the area. The safety of everybody participating in our project is paramount.”
The work, which consists of a camera situated on the exterior of the building with the words, “He will not divide us,” written above it in all caps, was created as a participatory performance piece that would stream footage of passersby repeating the phrase throughout the duration of President Trump’s term.
Originally, the artwork opened during Trump’s inauguration on January 20, at the Museum of the Moving Image in Queens, New York. However, the institution shut down the installation calling it “a flashpoint for violence,” forcing LaBeouf, Rönkkö, and Turner to find another home for it. The trio criticized the museum for abandoning the project, claiming that it “bowed to political pressure.”
Three days after HeWillNotDivide.Us was installed outside of El Rey Theater the work was vandalized. Someone had graffitied,“Reject false idols. Do it!” with pink spray paint, damaging the piece.
Museo del Prado’s selection committee has unanimously chosen Miguel Falomir, who currently serves as deputy director of the museum, to replace director Miguel Zugaza, Hannah McGivern of the Art Newspaper reports. In November 2016, Zugaza announced that he was stepping down after fifteen years at the helm of the institution to head the Bilbao Museum. The Prado’s trustees will meet in March to review the decision, which must also be approved by Spain’s Council of Ministers before it’s official.
An Italian Renaissance specialist, Falomir joined the Prado in 1997 as the head of the department of Italian and French painting, pre-1700. Previously, he served as an art history professor at the University of Valencia and as the Andrew Mellon Professor at the National Gallery of Art in Washington, DC, from 2008 to 2010. Among the numerous exhibitions Falomir organized for the Museo del Prado are “The Lavatory of Jacopo Tintoretto,” 2000; “Tiziano,” 2003; “Portrait of the Renaissance,” 2008; and “The Furies: Political Allegory and Artistic Challenge,” 2014.
According to El País, Zugaza said that Falomir is the ideal candidate. The selection committee consisted of Zugaza, board chair José Pedro Pérez-Llorca, and representatives of the Spanish ministry of culture.