The Clark Art Institute announced today that it has received $2 million in support of its growing works-on-paper collection from the Eugene V. and Clare E. Thaw Charitable Trust. The institute will name a new gallery in its renovated Manton Research Center in honor of the collector.
“This very generous gift expands our ability to present exhibitions of works on paper—gleaned from both the Clark’s amazing collection and from other institutions and private collectors—that are of the highest quality,” director Olivier Meslay said. “It also allows us to imagine extraordinary programming opportunities for the future.”
Eugene V. Thaw said that the opening of the new study center and its 1,350-square-foot gallery is what prompted him to donate. “The Clark has a small but very fine collection of works on paper, particularly its extraordinary holdings of prints and drawings by Albrecht Dürer.” Thaw added, “My personal collection of works on paper is going to the Morgan Library in New York, and I wanted to do something different for the Clark to support the renovation and expansion of the Manton Research Center.”
A longtime supporter of the arts and a collector of Old Master drawings, Thaw founded the Eugene V. and Clare E. Thaw Charitable Trust thirty-five years ago to support visual and performing arts, preserve the environment, and aid in the welfare of animals and wildlife.
The first exhibition to be hosted by the Eugene V. Thaw Gallery is “Photography and Discovery,” a comprehensive survey of the Clark’s collection of historic photographs, including works by Francis Frith, Gertrude Käsebier, Gustave Le Gray, and William Henry Fox Talbot.
Mark Langer, chairman and CEO of Hugo Boss, artist and 2016 Hugo Boss Prize winner Anicka Yi, and Richard Armstrong, director of the Solomon R. Guggenheim Museum. Photo: Lauren Cavalli
Richard Armstrong, director of the Solomon R. Guggenheim Museum, and Mark Langer, chairman and CEO of Hugo Boss AG, announced today that artist Anicka Yi has been awarded the 2016 Hugo Boss Prize. She is the eleventh artist to receive the honor and the $100,000 prize.
Born in Seoul in 1971 and based in New York since 1995, Yi first started showing works in 2008. For “You Can Call Me F” at The Kitchen, Yi gathered biological information from one hundred women to cultivate the idea of the female figure as a viral pathogen. In an introduction to a March 2015 cover story on and portfolio by the artist, Artforum editor Michelle Kuo wrote: “Teeming and communing, the bacteria conjure a microcosm of the larger social structures from which they are culled.”
Yi was selected from a short list of six finalists, which also included Tania Bruguera, Mark Leckey, Ralph Lemon, Laura Owens, and Wael Shawky. The jury was made up of Katherine Brinson, curator of contemporary art at the Guggenheim Museum; Dan Byers, senior curator at the Institute of Contemporary Art Boston; Elena Filipovic, director and chief curator at Kunsthalle Basel; Michelle Kuo, editor of Artforum; and Pablo León de la Barra, curator of the Guggenheim’s UBS Map project.
“We are particularly compelled by the way Yi’s sculptures and installations make public and strange, and thus newly addressable, our deeply subjective corporeal realities,” the jury said in a statement. “We also admire the unique embrace of discomfort in her experiments with technology, science, and the plant and animal worlds, all of which push at the limits of perceptual experience in the ‘visual’ arts. The artist gives material and olfactory form to complex networks of ideas, imbuing her unusual materials with both political and psychological urgency.”
The Guggenheim Museum has published a catalogue featuring artist projects by each of the finalists. An exhibition of Yi’s work will open at the institution in April 2017.
Established in 1996, the Hugo Boss Prize recognizes artists for their contributions to contemporary art. Previous winners include Matthew Barney, Douglas Gordon, and Marjetica Potrč.
The Dallas Museum of Art announced today that Anna Katherine Brodbeck, currently an associate curator at the Carnegie Museum of Art, has been named assistant curator of contemporary art. She will start the post in January 2017.
Gavin Delahunty, senior curator of contemporary art, said, “One of the many things that excited me about Katherine, and what set her apart from other short-listed candidates, is how she has taken her strong foundation in Latin American art to expand her knowledge of art histories and practices from across the globe.”
During her tenure at the Carnegie Museum of Art, Brodbeck collaborated with the Art Institute of Chicago and the Whitney Museum of American Art to organize the first comprehensive US retrospective of the influential Brazilian artist Hélio Oiticica.
Previously, Brodbeck was a curatorial research assistant at the Frick Collection, where she worked on exhibitions including “Picasso’s Drawings, 1890–1921: Reinventing Tradition” (2011). She also served as a curatorial intern at New York’s MoMA and as a gallery assistant at the Bronx Museum of the Arts. Brodbeck has also been an adjunct professor of art and art history at New York University and Hunter College. She earned her master’s and doctorate degrees in art history from the Institute of Fine Arts at NYU.
According to Laura Gilbert of the Art Newspaper, Ann Freedman, former director of Knoedler Gallery, has reached a settlement with Frank Fertitta, entrepreneur and owner of Las Vegas casinos. This is the eighth lawsuit that was filed against the gallery after it sold nearly $70 million in counterfeit artworks in one of the biggest art-forgery scandals. The settlement amount was not disclosed.
Fertitta filed the complaint in 2014, claiming that Freedman and Knoedler were aware that they sold him a fake Mark Rothko painting in 2008 for $7.2 million. In 2011, the collector sold the painting, but upon discovering that it was counterfeit he offered to buy it back.
Freedman and the gallery face two more pending lawsuits filed by the Martin Hilti Family Trust over a $5.5 million purchase of a forged Rothko and by California-based collector Frances White over a $3.1 million sale of a fake Jackson Pollock canvas. Freedman’s lawyer, Luke Nikas, said he “feels very good about the . . . remaining cases.”
The Centre Pomidou in Paris has announced that Jean-Pierre Criqui has been appointed a curator of contemporary art.
An art historian and critic, Criqui has served as editor-in-chief of the institution’s Les Cahiers du Musée national d’art moderne since 1994. Previously, he worked as a contemporary art advisor for the Ministry of Culture as well as an independent curator. In 2010, Criqui began organizing talks and lectures at the Centre Pompidou. He has written essays on artists such as Katharina Fritsch, Bernard Frize, Gabriel Orozco, Allen Ruppersberg, and Ken Price and in 2014 he edited a collection of artist statements and conversations with artist Christian Marclay for On&By Christian Marclay.
Inverleith House at the Royal Botanic Garden in Edinburgh, Scotland, is closing its doors after thirty years, Phil Miller of Herald Scotland reports. The decision was made two years after Creative Scotland denied the institution’s application to receive regular funding, which would supports three years of programming. In support of its exhibition program, the Scottish Arts Council and Creative Scotland have granted the contemporary art gallery $1.8 million since 1994.
Simon Milne, the Regius Keeper at the gardens, said, “These are hard financial times for everyone, and we couldn’t afford to sustain it, and at the moment we have to focus on our core programs, which are botany and horticulture.” The Royal Botanic Garden stated that no staff members would lose their jobs in the transition.
The gallery has hosted solo shows for artists such as Douglas Gordon, Richard Wright, Callum Innes, Jim Lambie, Cathy Wilkes, Karla Black, and Mark Leckey. Its current exhibition, “I Still Believe in Miracles,” which includes works by Douglas Gordon, Jim Lambie, Richard Wright, and Ed Ruscha, will be the last show presented by the gallery and is on view until October 23.
After learning about the Royal Botanic Garden’s decision to shutter the space, a spokesperson for Creative Scotland said, “The importance of the gallery, alongside the work of Paul and his team, to contemporary visual art and artists in Scotland cannot be understated and its loss will be profoundly felt.”
In Creative Scotland’s annual Visual Arts Sector report, which was released yesterday, the institution acknowledged the difficulties facing arts organizations, stating that resources are “extremely stretched.” It reads: “For Scotland to be a recognized, international center of excellence for the visual arts, the sector will need to maintain and grow the resources required to sustain its work. At a time when the funding available to Creative Scotland and other public partners is reducing this will be a challenge that will require a focused and determined effort from all involved. Positive change has to be encouraged and new ways of working supported.”
Sharon Lockhart has been chosen to represent Poland at the 2017 Venice Biennale for her project titled Little Review, curated by Barbara Piwowarska.
The Maly Przeglad (Little Review) was a children’s supplement in the Polish newspaper Nasz Przeglad (Our Review). The Maly Przeglad was started in 1926 and lasted for about thirteen years. The Polish-Jewish orphanage director, pediatrician, and children’s author Janusz Korczak was the man who originated the idea for the supplement. In 1942, Korczak was imprisoned in the Treblinka concentration camp, where he died. Lockhart will create a photographic series regarding Maly Przeglad’s history, along with a film exploring the lives of female students from Poland’s sociotherapy centers. The artist’s project is a meditation on the tribulations of childhood and adolescence, and a platform for young women to be heard.
Lockhart has been an active member of the Polish art scene for the last decade, and has exhibited throughout the world. In the January 2004 issue of Artforum, Jan Tumlir says of the artist’s first exhibition at Blum & Poe in Los Angeles, “Sharon Lockhart’s work . . . is never a unilateral process. Prey to periodic reversal and regression, her promise of a pretty picture is consistently thwarted by a simmering undercurrent of pain.”
The 2016 Bessies, aka the New York Dance and Performance Awards, were announced on Tuesday, October 18 at a ceremony at the BAM Howard Gilman Opera House in New York. The Bessies were established in 1983 in honor of dancer and teacher Bessie Schonberg. This year’s event was produced with Dance/NYC and presented in partnership with the Brooklyn Academy of Music.
Tap dance innovator Brenda Bufalino received the 2016 Bessie for Lifetime Achievement in Dance. An award for Outstanding Service to the Field of Dance was given to The Jerome Robbins Dance Division of The New York Public Library for the Performing Arts. Alex Smith, executive chairman of the Thelma Hill Performing Arts Center, was also given an award for Outstanding Service to the Field of Dance. And Eiko Otake received a Special Citation for her series of performances “A Body in Places,” 2014–2016, presented and produced by Danspace Project, one of which Lauren O’Neill-Butler wrote about for artforum.com in 2015.
This year’s other honorees are as follows.
– Souleymane Badolo for Yimbégré at BAM Fisher
– Pat Graney for Girl Gods at Peak Performances at Montclair State University
– Maria Hassabi for PLASTIC at MoMA
– Ralph Lemon for Scaffold Room at The Kitchen
– Ephrat Asherie for her body of work
– Kazunori Kumagai for Live at the Blue Note
– Molly Lieber for her body of work
– Jamar Roberts for Sustained Achievement with Alvin Ailey American Dance Theater
Outstanding Musical Composition/Sound Design
– Dan Trueman in collaboration with Sō Percussion and Mobius Percussion for There Might Be Others by Rebecca Lazier at New York Live Arts
Outstanding Visual Design
–Holly Batt for Pat Graney’s Girl Gods at Peak Performances at Montclair State University
Three awards were previously presented in July at the Bessies press conference: The 2016 Bessie for Outstanding Revival was given to Rainbow ’Round My Shoulder by Donald McKayle, performed by Dayton Contemporary Dance Company, and produced by Paul Taylor American Modern Dance at the David H. Koch Theater at Lincoln Center; the 2016 Emerging Choreographer Award went to Joya Powell; and the 2016 Juried Bessie Award, overseen by Bill T. Jones, Yoshiko Chuma, and Liz Gerring, went to Pam Tanowitz.
Art experts discuss ways to improve transparency in the Korean art market and art appraisal credibility at a seminar organized by the Ministry of Culture, Sports and Tourism on June 9 in Seoul.
The law will require art galleries, art auctions, and distributors to obtain licenses in order to operate. They will also have to keep detailed records of every sale, as well as submit counterfeit prevention plans and lists of the artists they represent. Auction houses will have to meet certain qualifications, including having a professional auctioneer, a physical location, and at least $180,000 in capital. If these stipulations are not met, a business could face fines or have its license revoked. Anyone convicted of forgery will also face up to five years in prison or have to pay up to $45,000. The ministry aims to pass the legislation by 2017.
The ministry is also proposing a new police force dedicated to art forgeries and the establishment of an official organization staffed by researchers and appraisers to authenticate works. “The institute will be operated not as a government agency but as a public one, and will help improve Korea’s art authentication technology, as well as aiding with crimes, investigations, and trials related to counterfeit artwork,” vice-minister Jung Kwan-joo said.