Art collector Tim Sayer has donated his entire collection of over 400 works to the Hepworth Wakefield in his will, reports Artinfo’s Nicholas Forrest. Sayer’s art includes works by Sol Lewitt, Alexander Calder, Bridget Riley, and Gerhard Richter. A retired contributor to BBC Radio 4, Sayer amassed the collection over fifty years. The director of the Tate, Nicholas Serota, said of the gift, “The Tim Sayer bequest is one of the most significant and generous donations to a regional gallery in the UK. The collection reflects the discriminating eye of a person of modest means, whose passion for art ‘took precedence over holidays.’”
The Bellevue Arts Museum’s board of trustees has announced that Karin Kidder was named its new executive director, effective immediately. Kidder has served as the interim executive director of the institution since November. She originally joined the museum as its director of marketing and communications.
“Karin brings tremendous experience and skill to this leadership role,” Julie Miller, board president said. "Her extensive background in the arts, strong business acumen, and intimate knowledge of BAM will help us deliver on our mission and vision.”
Previously, Kidder worked with Foster/White Gallery in Seattle and became immersed in the Northwest arts community. She also worked for artist Dale Chihuly, managing his gallery relationships worldwide, and was director of several programs at London Business School’s Institute of Innovation and Entrepreneurship. Kidder earned her MBA with a marketing concentration from London Business School in 2008 and has a BA in art history from Colby College in Waterville, Maine.
According to Nate Freeman of Artnews, Pace Gallery has announced that it will now represent the estate of twentieth-century sculptor Tony Smith. Matthew Marks Gallery managed it previously.
I would like to say what a great job Matthew did all these years,” said Pace president Marc Glimcher at the Armory Show. “Sometimes it’s time for a change—and that’s happened to us, too,” he added. “It’s just part of the dynamic now.”
Pace founder Arne Glimcher said that the gallery represented Smith before he died and that the generation of Abstract Expressionists and early Minimalists that Smith was a part of “are the bedrock the gallery is built upon.” Smith’s work will be featured in the 2017 Art Unlimited section of Art Basel in Switzerland as well as in an exhibition at one of Pace’s galleries in November 2018.
President and director of the Art Institute of Chicago James Rondeau announced today that Sarah Guernsey, who most recently served as the museum’s vice president for publishing and design, has been appointed deputy director for curatorial affairs. She now oversees the Art Institute’s initiatives within academic engagement, conservation, design, digital experience, exhibitions and registration, publishing, and the Ryerson and Burnham Libraries.
“Sarah Guernsey brings more than twenty years of highly respected expertise in curatorial collaboration and content development, scholarly publishing, digital innovations, and design excellence to this crucial position in our museum,” Rondeau said. “Her track record of success, as well as her passionate dedication to achieving our civic and global aspirations deepens the strengths of our leadership team and enhances the Art Institute’s capacity to transform, inspire, and engage.”
Since joining the Art Institute of Chicago in 2009, Guernsey has helped shape the museum’s award-winning publishing program through her collaborative work with curators, scholars, and artists and her innovative approach to both printed and digital scholarly catalogues. Throughout her career, Guernsey has led efforts to respond to an increasingly complex publishing environment. In 2016, she chaired the National Museum Publishing Seminar, which invited publishing professionals to discuss best practices for interpreting museum collections and exhibitions through an ever-expanding array of media. Guernsey earned her bachelor’s degree from Marquette University and her master’s degree in art history, theory, and criticism from the School of the Art Institute of Chicago.
Guernsey said, “I am eager to engage with my talented and energized colleagues—as well as collaborators across Chicago and beyond—to realize our enormous potential as a public, interdisciplinary space.”
The Chazen Museum of Art at the University of Wisconsin-Madison has announced that its director of thirty-three years, Russell Panczenko, is stepping down this summer.
During his tenure at the institution, which has the second largest collection of art in Wisconsin, Panczenko oversaw a $43 million expansion project that nearly doubled its footprint, grew the museum’s holdings from 12,000 objects to more than 21,000, and maintained its free admission policy.
“It’s been quite remarkable—the way he has spearheaded so many changes, culminating in the building of the new building” that opened in 2011, Gene Phillips, chair of the UW-Madison art history department, told the Wisconsin State Journal. “In addition to the fundraising, he also paid a lot of attention to the design elements, the materials. So I think it’s really quite an achievement.”
Panczenko praises the university for giving him free reign with the art museum. “The university was very supportive of my endeavors,” he said. “Basically, I was told, ‘Hey, if you can raise the money, go for it.’ That’s unusual, and it was great.”
Born in Germany, Panczenko relocated to a Ukrainian community in Connecticut. He earned his bachelor’s degree in the classics from Fairfield University and his doctorate in art history from the University of Florence, Italy, in 1979. Prior to joining the museum, he was assistant director at the Williams College Museum of Art. Panczenko said that he hopes retirement will give him more time to travel and pursue his hobby of photography.
The Museum of Contemporary Art, Los Angeles, has announced that it has received a gift of twenty-two works from collectors and longtime supports of LA MoCA Alan Hergott and Curt Shepard. The donation includes paintings and photographs by artists who have been recently featured in exhibitions at the museum, including Doug Aitken, Matthew Barney, Thomas Hirschhorn, and Catherine Opie as well as additional works by Lari Pittman, Rineke Dijkstra, Gilbert & George, Andrea Gursky, Elliott Hundley, and Jack Pierson.
“As with many American museums, MoCA would not exist without the selfless engagement of its patrons. With this gift, Alan and Curt join a family of collectors who have changed museums in this country forever,” director Philippe Vergne said. “Their gifts to MoCA benefit the museum and its artists, the city of Los Angeles, and its citizens. This is true philanthropy at the highest level.”
Hergott and Shepard have been active collectors of contemporary art for the last thirty years. In total, they’ve gifted the museum at least forty works from their collection, which according to the institution, will help it to showcase LGBTQ culture and address the complex social and political history surrounding the representation of men. Shepard said, “We hope to see these works in various juxtapositions with other art in MoCA’s permanent collection for a long time to come.”
Rafael Aranda, Carme Pigem, and Ramon Vilalta, founders of the firm RCR Arquitectes, have been selected as the 2017 laureates of the Pritzker Architecture Prize. This is the first year individual architects will share the prize, marking a distinct shift toward acknowledging collaborative practices for an award that has traditionally singled out individual architects (and has occasionally generated controversy for doing so—Robert Venturi’s 1991 prize, for example, was not shared with his wife and creative partner, Denise Scott Brown, despite the fact that she had been a partner in his firm since 1969). Aranda, Pigem, and Vilalta are the second laureates to be honored from Spain (Rafael Moneo received the prize in 1996).
The architects, who are best known for designing buildings that are sensitively integrated into the surrounding landscape and combine understated geometry with rugged materials to produce complex spatial experiences—as exemplified by the dramatically cantilevered Cor-Ten steel volumes of their Musée Soulages in Rodez, France—will together receive a $100,000 grant, a formal citation certificate, and a bronze medal.
“They’ve demonstrated that unity of a material can lend such incredible strength and simplicity to a building,” chair of the jury Glenn Murcutt said. “The collaboration of these three architects produces uncompromising architecture of a poetic level, representing timeless work that reflects great respect for the past, while projecting clarity that is of the present and the future.” On receiving the prize, Pigem said, “It is a great joy and a great responsibility. We are thrilled that this year three professionals, who work closely together in everything we do, are recognized.”
Based in their hometown of Olot in the Catalonian region of Spain, Aranda, Pigem, and Vilalta have worked collaboratively for nearly three decades. After founding RCR Arquitectes in Olot in 1988, they have worked on a variety of projects ranging from art museums to kindergartens, including La Cuisine Art Center (Nègrepelisse, France, 2014), Soulages Museum in collaboration with G Trégouët (Rodez, France, 2014), La Lira Theater Public Open Space in collaboration with J Puigcorbé (Ripoll, Girona, Spain, 2011), El Petit Comte Kindergarten in collaboration with J Puigcorbé (Besalú, Girona, Spain, 2010), and Bell-Lloc Winery (Palamós, Girona, Spain, 2007). In 2013, the trio established the RCR BUNKA Foundation to support initiatives—ranging from exhibitions to publications—that expand the reach of architecture and landscape design into culture at large. They have also served as consultant architects to the Natural Park of the Volcanic Zone of La Garrotxa in Spain since 1989.
The jury comprised Glenn Murcutt, chair, architect, and 2002 Pritzker Laureate; Stephen Breyer, US Supreme Court Justice; Yung Ho Chang, architect and educator; Kristin Feireiss, architecture curator and writer; Lord Palumbo, architecture patron, chairman emeritus of trustees at Serpentine Galleries, and former chairman of the Arts Council of Great Britain; Richard Rogers, architect and 2007 Pritzker Laureate; Benedetta Tagliabue, architect and educator; Ratan N. Tata, chairman emeritus of Tata Sons, the holding company of the Tata Group; and Martha Thorne, executive director of the Pritzker Prize and dean of the IE School of Architecture & Design in Madrid, Spain.
Founded in 1979 by the late Jay A. Pritzker and his wife, Cindy, the annual Pritzker Architecture Prize honors a living architect or architects whose work demonstrates a combination of talent, vision, and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture. The 2016 winner of the prize was Chilean architect Alejandro Aravena. Aranda, Pigem, and Vilalta will be honored at the Pritzker Prize ceremony, which takes place at the State Guest House of Akasaka Palace in Tokyo on May 20.
A new edition of the 1:54 Contemporary African Art Fair has been announced for Marrakech. The fair is scheduled to run from February 24 to 25, 2018, and will take place at the hotel La Mamounia. The fair will host a wide range of galleries from the African continent and throughout the world.
The fair’s founding director, Touria El Glaoui, said, “This third edition of 1:54 has been in the works since our first edition in London, and we look forward to continuing to expand and support our network of galleries, artists, collectors, and partners with this new fair. It has been an important goal of 1:54 to host an edition on the African continent, and we could not think of a better place than Morocco to host this inaugural edition outside of London and New York. Morocco has one of the continent’s most dynamic art scenes, not to mention the incredibly significant Biennale de Marrakech, which made our decision on where to expand the fair easy for us.”
Esther Schipper’s gallery is moving from Schöneberger Ufer Sixty-Five to a much larger space at Potsdamer Strasse Eighty-One E in Berlin, reports Henry Neuendorf on Bidnow. The new gallery, designed by New York’s Selldorf Architects and s1 architektur in Berlin, will have 7,300 square feet of exhibition space. Schipper’s former gallery on Schöneberger Ufer was 1,700 square feet total. The gallery will reopen on April 28 during Gallery Weekend in its new space with exhibitions by Angela Bulloch and Anri Sala.
The Pinakotheken announced that Mayen Beckmann, granddaughter of Max Beckmann, has donated numerous documents and artifacts from the Beckmann estate to the Munich museums. Among the items are letters, handwritten notes, diaries, dramas, drafts, and sketches in addition to Beckmann’s six-hundred-and-fifty-volume library as well as his personal photograph-albums, Monopol reports.
The Pinakotheken comprises several institutions: Alte Pinakothek, the Neue Pinakothek, the Pinakothek der Moderne, the Museum Brandhorst, and the Sammlung Schack. Die Bayerischen Staatsgemäldesammlungen (The Bavarian State Painting Collection) contains the largest collection of paintings by Max Beckmann in Europe, spread across the individual museums. Since 1977, they have also hosted the Max Beckmann Archive.