Director Jill Soloway, known for creating the TV show Transparent, is allegedly directing a pilot for a new TV show called I Love Dick, according to Deadline’s Nellie Andreeva, who reports that the show is set in an academic community in Marfa.
The series will be based on Chris Kraus’s 1997 novel of the same title—a novel hailed by The Guardian as “the most important book about men and women written in the last century.”
Kraus’s book famously laid out a nonlinear, highly personal narrative about a married filmmaker who involves her husband in correspondence about her growing obsession with a theorist identified only in the book as “Dick” (who is widely recognized as Dick Hebdige).
Amazon has ordered the pilot. The show will be produced by Soloway and Andrea Sperling’s new company, Topple Productions, and is being written by playwright Sarah Gubbins.
Kraus’s archives were recently acquired by NYU’s Fales Library, as artforum.com reported here.
In protest of the normalization of a Donald Trump presidency, arts institutions, artists, and critics are planning to participate in a culture strike on Inauguration Day, January 20. Billed as an “act of non-compliance,” the J20 Art Strike urges museums, galleries, theaters, concert halls, studios, nonprofits, and art schools to take a stand against hate and intolerance.
The following is a running list of institutions and organizations that will close or present special programming.
Accola Griefen Gallery
Alexander & Bonin
Black Ball Projects
Blum & Poe
Burning in Water
The Carpenter Center, Harvard University
CCA Wattis Institute for Contemporary Arts
Cheim & Reid
College Art Association
David & Schweitzer
Dillon + Lee
Francis M. Naumann Fine Art
First Street Gallery
Grey Art Gallery, New York University
Howl! Happening: An Arturo Vega Project
Joan, Los Angeles
Lyles & King
Lyle O. Reitzel Gallery NY
The Miriam and Ira D. Wallach Art Gallery, Columbia University
No Longer Empty
Pen + Brush
Sean Kelly Gallery
Secret Dungeon Project
Station Independent Projects
Steven Harvey Fine Art Projects
Steven Kasher Gallery
Thomas Erben Gallery
Victori + Mo
Pay What You Wish and Free Admission:
El Museo del Barrio, New York
Institute of Contemporary Art, Boston
Museum of Arts and Design, New York
Museum of Contemporary Art, Denver
Museum of Contemporary Art, Los Angeles
Museum of the Moving Image, New York
National Museum of Women in the Arts, Washington, DC
The New Museum, New York
Rhode Island School of Design Museum
The Walker Art Center, Minneapolis
The Whitney Museum of American Art, New York
Elena Ochoa Foster, a publisher, curator, and the founder of Ivorypress—a publishing house specializing in artists’ books—has been elected as the new chair of London’s Serpentine Galleries council.
Ochoa Foster is a member of the board of art directors at the Mutual Art Trust and serves on the advisory board of the Prix Pictet photography award. She has been president of the jury at the Swiss photography award, Alt+1000; president of the Tate International Council for five years; and a member of the board of directors of both the Tate Foundation and the Noguchi Foundation.
In a joint statement, Yana Peel, chief executive, and Hans Ulrich Obrist, artistic director of the Serpentine Galleries, said: “We are honored and delighted that our long-standing collaborator Lady Foster will be assuming the chairmanship of the Serpentine Council, the Galleries’ core community of supporters and friends. Elena’s outstanding support of artists as publisher and patron make her an excellent champion and the ideal ambassador for our ambitions—to bring multiple worlds together in an open landscape for art and ideas in the heart of Kensington Gardens.”
The Serpentine Council is made up of supporters, comprised of international leaders from a variety of backgrounds. Council members’ donations and support enables the Serpentine Galleries to remain open to the public free of charge.
According to Dan Bilefsky of the New York Times, the Islamic State has continued its “cultural cleansing” campaign by ravaging the city of Palmyra, Syria, in an attempt to eradicate cultural and historical objects that don’t adhere to its interpretation of Islam. The militant group used explosives to severely damage the ancient city’s Roman amphitheater and a tetrapylon—a square with four plinths and four columns.
Nine months after Syrian troops drove ISIS out of Palmyra, the extremists seized the two-thousand-year-old city again in December. Maamoun Abdulkarim, Syria’s director general of antiquities and museums, said, “ISIS is destroying Palmyra, building after building. In the past, their goal was ideological,” but now it has become a matter of “revenge.”
Harvard art historian James S. Ackerman died on Dec. 31 at his home in Cambridge, Massachusetts at the age of ninety-seven, William Grimes of the New York Times reports.
Best known for his writings on the architecture of Michelangelo and Palladio, Ackerman was born in San Francisco on Nov. 8, 1919. He studied art and architecture at the Cate School in Carpinteria, California, and earned his bachelor’s degree from Yale University in 1941. He was attending the Institute of Fine Arts in New York when he was drafted into the Army in 1942 and served with the Intelligence Corps. Before returning to the US, Ackerman volunteered to work for the Monuments and Fine Arts Commission in Milan where he recovered archives that had been safely stored in the monastery complex Certosa.
Ackerman earned his doctorate from the Institute of Fine Arts in 1952. He published “The Architecture of Michelangelo,” a two-volume tomb comprising essays on his building projects including Laurentian Library and the Medici Chapel in Florence and the Farnese Palace and St. Peter’s Basilica in Rome. The Society of Architectural Historians recognized the book with its Hitchcock Award in 1961. Ackerman taught at Harvard University from 1960 to 1990 and in 1969 he worked as a professor at Cambridge University in England.
While President-elect Donald J. Trump has not officially made a statement regarding his plans for the National Endowment of the Arts or the National Endowment of the Humanities, a report published by The Hill this morning claims that the Trump administration has proposed eliminating both agencies in order to reduce federal spending by $10.5 trillion over the next ten years.
According to the proposal, funding for the departments of commerce, energy, transportation, justice, and state would also be subject to significant cuts and program eliminations and the corporation for public broadcasting would become privatized.
Established by Congress in 1965, the NEA is the largest national funder of nonprofits in the US. The agency awards more than 2,200 grants and cooperative agreements exceeding $130 million for arts programming annually. The NEA’s 2015 Annual Report states that its $146 million budget, which represents only 0.012 percent of the federal budget, supported more than 30,000 concerts, readings, and performances and more than 5,000 exhibitions. NEA awards generated around $600 million in matching support.
The NEH aims to strengthen teaching and learning in schools and colleges, facilitate research and original scholarship, and preserve and provide access to cultural and educational resources to cultural institutions, such as museums, archives, libraries, colleges, universities, public television, and radio stations, as well as to individual scholars. In 2015, the agency awarded $121,540,617 to 822 humanities projects.
Brian Darling, a former aide to Kentucky Senator Rand Paul and a former staffer at the Heritage Foundation, said that the Trump administration needs to reform and that “targeting waste like the National Endowment for the Arts and National Endowment for the Humanities would be a good first step.”
PEN America executive director Suzanne Nossel called the proposal “an outrageous abdication of the US government’s proud history of support for groundbreaking research and creative endeavors.” She added, “The announcement that this is even under consideration casts a sinister cloud over our vibrant national culture, stoking fears that the Trump administration aims to usher in a new Dark Ages in America….Even apart from the essential resources at stake, the signal sent by this gesture is a slap in the face to artists, writers, researchers, and scholars who are learning that the administration seems to consider their work worthless.”
Trump is not the first president to threaten to terminate the NEA and NEH. According to Livingston Biddle, a former NEA chairman, the Reagan administration also planned to do away with the agencies, but changed tact after its special task force on the arts and humanities realized “the needs involved and the benefits of past assistance.”
The Museum of Arts and Design in New York announced today that director Jorge Daniel Veneciano will resign on January 31 after only five months in the position. The scholar of art and political theory will shift his focus to writing and consulting at the intersection of cultural policy, immigrant rights, and civic engagement. Board chair Michele Cohen will serve as interim director while the museum searches for a replacement.
“Current political events compel me to turn my attention to pressing needs in the cultural sector,” Veneciano said. He is currently writing a book about the social relevance of cultural institutions in “securing civility in uncivil times.” He added, “I remain a great admirer of the museum of arts and design, and I am confident that it will be in good hands going forward.”
Veneciano succeeded Glenn Adamson when he joined the institution as director in October. Previously, he served as director of El Museo del Barrio. Cohen said that the museum respects Veneciano’s decision and “on behalf of MAD’s trustees, staff, and audiences, I wish him well on his next steps.”
The Milwaukee Art Museum announced today that it has been promised a gift of more than five hundred works by French graphic artist Jules Chéret from the collection of Susee and James Wiechmann. Often referred to as the “father of the modern poster,” Chéret influenced many artists of his time including Henri de Toulouse-Lautrec and Pierre Bonnard. His works range from posters advertising theatrical events to designs for book covers.
“Susee and I are thrilled to add our Jules Chéret poster collection to the museum’s treasures where it can be shared by all,” James Wiechmann said. “These posters that lit up the streets of Paris in the late 1800s will now shine in the galleries of our Milwaukee Art Museum and those of other museums as they are exhibited around the country.”
In addition to the promised gift of their Chéret collection, which was partially featured in the museum’s exhibition, “Posters of Paris: Toulouse-Lautrec and His Contemporaries” (2012), the Wiechmanns are underwriting the institution’s new associate curator of prints and drawings position. Britany L. Salsbury, an Andrew W. Mellon curatorial fellow at the Rhode Island School of Design, will take up the post in February.
“We look forward to welcoming Britany as an integral part of the museum’s curatorial team,” director Marcelle Polednik said. “In addition to managing our works on paper collection, her extensive experience makes her the perfect person to catalogue and develop a major exhibition based on the Chéret gift.”
Frieze announced today that Ruba Katrib, a curator at the SculptureCenter in New York, has been appointed as curatorial advisor for the Focus section at Frieze London’s 2017 edition, which will take place from October 5 to October 8.
Katrib joins numerous curators collaborating with Frieze, including Raphael Gygax, curator at the Migros Museum für Gegenwartskunst in Zurich,Toby Kamps, curator of modern and contemporary art at The Menil Collection in Houston, and independent curators Norman Rosenthal and Clare Lilley. Katrib said, “I’m eager to see who’s there and what they’ve brought, knowing that the galleries in Focus can be counted on to bring lesser-known artists, new work, and exciting ideas—they consistently work hard to convey a fresh approach.”
Last year, Focus, which showcases emerging galleries aged twelve years or younger, presented thirty-seven galleries from Berlin to Shanghai. Previous curatorial advisors have included Cecilia Alemani, Daniel Baumann, Raphael Gygax, Sarah McCrory and Rodrigo Moura.
Travis Chamberlain, the associate curator of performance at New York’s New Museum, will join Queer|Art—a nonprofit organization dedicated to supporting LGBTQ artists—as its first managing director. He will take up the post on February 1.
Filmmaker and founding director Ira Sachs established Queer|Art in 2009 to give voice to “a population that has been historically suppressed, disenfranchised, and often overlooked by traditional institutional and economic support systems.” Sachs said, “Given the success and demand we’ve seen for our programs over the eight years we’ve been around, it is clear that Queer|Art can play a vital role in serving both the arts and LGBTQ communities for years to come.” He added, “Significantly, Travis will be the organization’s first fulltime staff member, and represents our commitment to growth and sustainability. We are thrilled to have such an impassioned and experienced arts leader join us in our efforts.”
During his tenure at the New Museum, Chamberlain supported the work of a number of queer artists such as Ishmael Houston-Jones, Dennis Cooper, Karen Finley, Julie Tolentino, Wu Tsang, Jennifer Monson, and others. He joined the institution in 2007 as a public programs coordinator before becoming the associate curator of performance in 2013. Previously, Chamberlain served as the artistic director of Galapagos Art Space in Brooklyn.
Chamberlain said, “I feel deeply connected to the principles of mentorship, tribute, and holding space that guide Queer|Art’s programming.” He added, “The sense of community, cultural lineage, and creative and spiritual support Queer|Art provides to the artists it serves—emerging, established, retired, and no longer living—are needed now in a particularly urgent way. I look forward to working with Ira and the board to expand upon the success of Queer|Art’s current programming and to advance the organization’s profile in dynamic new directions.”
Programs that Queer|Art currently organizes include its Queer|Art|Mentorship, which pairs emerging and established artists for a yearlong exchange—former participants of the initiative include Jess Barbagallo, Morgan Bassichis, Yve Laris Cohen, Reina Gossett, and Justin Sayre, among others—and its Queer|Art|Film series, which will celebrate its one-hundredth screening at the IFC Center in lower Manhattan this year. The Winter 2017 season features a series of works selected by a group of artists comprising Cole Escola, Alynda Lee Segarra, Agosto Muchado, and Shea Diamond.