Yoshua Okón, an artist based in Mexico City, and Rujeko Hockley, an assistant curator of contemporary art at the Brooklyn Museum, have been elected as new board members of artist grant foundation Art Matters.
Director of Art Matters Sacha Yanow states “Ru and Yoshua each bring unique perspectives and experience to our work and we’re thrilled to welcome them into the leadership of this organization.”
Hockley started at the Brooklyn Museum in 2012. Some of the exhibitions she helped organize there include “The Bruce High Quality Foundation: Ode to Joy, 2001-2013,” 2013, and “Kehinde Wiley: A New Republic,” 2015. Okón, an Art Matters grantee, has had solo exhibitions in Milan, Paris, and Los Angeles, among other places. His work can also be found in the collections of the Hammer Museum and Tate Modern.
David M. Rubenstein, cofounder of the Carlyle Group—a Washington D.C. based investment firm—has been elected chairman of the Smithsonian Institution board, Peggy McGlone of the Washington Post reports. He will succeed board of regents chairman John McCarter.
Rubenstein, who joined the board in 2009, said, “I love the museums, and I love the learning. It keeps me young.” In January, he donated $10 million to the National Museum of African American History and Culture’s capital campaign. The museum named its central exhibition space the David M. Rubenstein History Galleries in his honor. Rubenstein cochairs the Smithsonian’s joint fundraising campaign, serves as board chair of Duke University, and is a board member at several other institutions, including the University of Chicago, Lincoln Center, and the National Gallery of Art.
The Smithsonian also elected Steve Case, cofounder of AOL, as vice chairman and Risa J. Lavizzo-Mourey, president and chief executive of the Robert Wood Johnson Foundation, as the third member of its executive committee. They will start in their three-year terms in January.
In addition to the appointments, the institution announced that it has reached its $1.5 billion goal for its first joint fundraising campaign, which kicked off in 2011, one year ahead of schedule. “It’s the largest, most ambitious campaign for a cultural organization in the world,” Smithsonian secretary Wayne Clough, said. “We are proud to work to keep the museums free for all Americans.”
Florida’s Boca Raton Museum of Art announced today that Lanya Snyder was named assistant curator of contemporary art and photography collections. Snyder will be responsible for collaborating with Kathy Goncharov, the contemporary art curator, and Marisa J. Pascucci, curator of collections, on the museum’s exhibition program.
A Bard College graduate, Snyder joined the institution in January and has been developing an annual photography forum in order to grow the museum’s collection of historical and contemporary photographs. Snyder said, “I look forward to working with my colleagues to create a meaningful dialogue between the community and the global art world.”
French Prime Minister Manuel Valls has promoted Nathalie Bondil, director general and chief curator of the Montreal Museum of Fine Arts, to Officer of the Order of Arts and Letters of France. She was initially recognized in 2008 when she was named a Chevalier (Knight) of the Order.
Jacques Parisien, chairman of the MMFA’s board of trustees, also announced that the institution has extended Bondil’s contract five years. “Since her appointment as director, the museum has achieved great success,” Parisien said.
Under Bondil’s leadership the MMFA has doubled its annual attendance to one million people, added two pavilions, increased community participation in programming by 207 percent in three years, and added 8,472 works to its collections.
Born in Barcelona in 1967, Bondil was raised in Morocco and is a citizen of France and Canada. She studied art at the École du Louvre and the Institut national du patrimoine in Paris, served as the Montreal Museum’s chief curator for seven years, and was appointed director in 2007. Bondil was awarded the Médaille de l’Assemblée nationale du Québec in 2016, appointed a member of the Order of Canada in 2015, and currently serves as vice chair of the Canada Council for the Arts.
London’s mayor Sadiq Khan, to fight against the city’s high rent costs, is setting up the Creative Land Trust, made from a combination of private and public funds, so that people who provide spaces for artists to work can receive loans to buy their buildings and ensure that these spaces are invariably protected, writes Anny Shaw of the Art Newspaper.
Studiomakers, a group of philanthropists and entrepreneurs, are collaborating with Khan to fight gentrification and the city’s exorbitant rents by working with landowners and developers to keep existing studios while also creating new ones. According to the Greater London Authority, between 2014 and 2019, 3,500 artists are expected to lose their workspaces in the city. Said Khan, “Culture is in the DNA of the capital but we cannot be complacent. As property prices rise and new areas of the city grow, artists are finding themselves unable to put down roots here. I am committed to improving access to dedicated, affordable workspace so that the next generation of creatives are given the extra support they require to flourish.”
Khan’s announcement comes on the heels of the Somerset House Studios launch in central London, where 36,000 square feet of office space has been converted into more than thirty-five different kinds of studios for about one hundred artists. A team of architects, artists, fashion designers, and musicians—such as Larry Achiampong, Christian Marclay, and Katie Paterson—has piloted the spaces over the last several months. A number of them have even moved into Somerset House after being priced out of their old workspaces. Rents are being worked out according to the London average for studios. Somerset House will also offer residencies of up to two-and-a-half years, focusing on multidisciplinary artists who also choose to work collaboratively. And an open application process for twenty-five new residents is starting today.
After protests and a petition by Venice’s artistic community following the city administration’s announcement that it would take over the historic Bevilacqua la Masa Foundation and act as the institution’s executive manager, the foundation’s new board held their first meeting on October 20, near Bevilaquca la Masa’s headquarters at Palazzo Tito, reports Exibart. The foundation’s new director, Michele Casarin, chaired the meeting, including three new board members: board president Bruno Bernardi, Valentina Farolfi, and Roberto Zamberlan.
As artforum.com reported in July this year, the petitioners demanded that three members of the board of governors should be appointed by the mayor at “the designation of the provosts or directors of the three public educational institutions in Venice, which work in the field of contemporary art, art critique, curatorship, and management,” while including the Academy of Fine Arts and the Ca’ Foscari and IUAV universities–and this demand essentially has been met.
Bruno Bernardi teaches business management, cultural organization management, and accounting and analysis at the Venice University Ca’ Foscari. Since 2013, he has also served as director of the master’s program in creative development and management of cultural heritage–a collaboration between the Ca’ Foscari University and the Scuola Holden in Turin, and has been a member of the administration board of the Fondazione Musei Civici since 2015.
Valentina Farfolfi works as a consultant in public relations and has developed various projects within cultural, scientific, lifestyle, and publishing. While serving as consultant for the Altagamma Foundation, her tasks included collaborating with Codice Italia and executing initiatives such as FEST along with exhibitions on Charles Darwin and homo sapiens.
Roberto Zamberlan worked as a gallerist at Venice’s Santo Stefano Gallery until 2009, and worked with the Giorgio e Isa de Chirico Foundation in Rome. Zamberlan is known for his experience with organizing cultural events.
Between now and 2019, more than fifteen museums will open in France, according to Le Figaro. Among these: a perfume museum in Paris, a museum dedicated to the European Parliament in Strasbourg, and the Museum Bonnat-Helleu in Bayonne whose collection includes works by Leonardo da Vinci, Raphael, Michelangelo, and Rubens.
The most expensive project is the MusVerre, a museum dedicated to contemporary glass works that relocated to a larger facility in Sars-Poteries near the Belgian border earlier this month. With a price tag of 15 million euros, MusVerre aims to turn Sars-Poteries into a tourist destination by attracting visitors from nearby Belgium and Luxembourg as well as from further afield locations like the US and Scandinavia.
Finding less and less state funding for cultural institutions, French museums (new and existing) are now relying more heavily on private donations, ticket sales, and space rentals for private events.
Maximilíano Durón of Artnews writes that Derrick Adams has been awarded the $50,000 Joyce Alexander Wein Artist Prize from the Studio Museum in Harlem. Adams, a multidisciplinary artist in performance, sculpture, photography, and video, among other media, has been featured in several exhibitions at the Studio Museum (see the artist’s Clockin’ [Hamomons], performed on June 16, 2012, at the museum on artforum.com). Adams was also in three editions of the Performa biennial and appeared in the 2005 iteration of MoMA PS1’s “Greater New York” exhibition.
The prize was initiated in 2006 in memory of philanthropist and jazz promoter George Wein’s wife, who was a longtime trustee of the museum. Previous winners of the prize include Njideka Akunyili Crosby, Lorna Simpson, and Trenton Doyle Hancock.
The Nelson-Atkins Museum of Art in Kansas City has appointed Aimee Marcereau DeGalan as its Louis L. and Adelaide C. Ward Senior Curator of European Art. Marcereau DeGalan comes to the Nelson-Atkins from the Dayton Art Institute, where she was chief curator and curator of European art.
Julián Zugazagoitia, the Menefee D. and Mary Louise Blackwell CEO and director of the Nelson-Atkins, said, “The timing of this important addition to our staff could not be better. Aimee’s scholarship will be immediately called upon as we prepare to open the Bloch Galleries in the spring, and she will continue the important work that has begun on our catalogue of French paintings.”
Marcereau DeGalan has held curatorial posts at the Cleveland Museum of Art, the Detroit Institute of Arts, and the Fleming Museum of Art at the University of Vermont. While at the Dayton Art Institute, she accessioned more than four hundred works for the museum, raised money to conserve seven significant European paintings, and brought in scholars on a regular basis to advise on the institution’s various collections. She also presented twenty-four exhibitions during her tenure there.
Stephanie Kirchgaessner of The Guardian reports that Patrizia Asproni, head of the Turin Museum Foundation, has resigned from her post after a fight with Turin’s new mayor, Chiara Appendino, “a rising star in the populist Five Star Movement.” Appendino called for Asproni’s resignation after a major unnamed sponsor pulled out of a proposed Édouard Manet exhibition, preferring that the show be in Milan instead.
Appendino claims news of the withdrawal caught her off guard. She said, “The city cannot tolerate that the foundation is not able to maintain relationships with important sponsors.” Those familiar with the situation between Appendino and Asproni, however, say the issue is about something much larger—specifically, the mayor’s ambivalent relationship with her city’s reigning cultural constituency. During her campaign, Appendino stressed that museums should focus on making their galleries more accessible to the population, rather than hosting “blockbuster” exhibitions—but this announcement alienated many of the Manet exhibition sponsors. Asproni, who was appointed by the city’s last mayor, Piero Fassino, said she tried doing what she could to work with Appendino, but Appendino kept putting her off.
In an interview yesterday, Asproni said, “It is a terrible thing that the mayor wants to decide which exhibitions go to museums. I think this [calling for my resignation] was a political move because of course I arrived with the previous mayor and he asked me to build the culture of the town.”