November 9, 2012

Jacques Dupin (1927–2012)

Art scholar, gallery director, and poet Jacques Dupin has passed away at the age of eighty-five, reports Paul Vitello of the New York Times. Dupin is remembered as the author of Joan Miro’s official biography (as well as some ten volumes of catalog monographs) and also one of the artist’s closest friends; upon Miro’s death in 1983, he was appointed the only person authorized to authenticate the artist’s work. A longtime director of Paris’s Galerie Maeght, Dupin was known for the deep relationships he maintained with his artists, like Francis Bacon and Alberto Giacometti, who both painted his portrait.

Dupin grew in up in the a small town in the south of France; in 1944, his family moved to Paris, where Dupin married and became an integral part of the vibrant postwar avant-garde scene. He began a influential poetry quarterly and often housed struggling artists, writers, and political refugees. Said Paul Auster, who lived with Dupin for a year: “Jacques was a model of integrity and a man of immense generosity, especially toward young artists. I don’t think I have ever had such a great friend.”

November 9, 2012

Art Dealers Association of America Names First Recipients of Hurricane Relief Grants

Wallspace, Bortolami Gallery, Derek Eller Gallery, and Printed Matter are the first to receive grants from the hurricane relief fund set up by the Art Dealers Association of America, which, as reported on by Artforum here, is dedicated to helping galleries rebuild in the aftermath of Hurricane Sandy. The association will continue to provide grants and loans to galleries unable to conduct business due to hurricane damage over the following weeks. Recipients are determined by need and must experience the following: catastrophic damage that prohibits gallery business, drastically impaired cash flow, and risk of permanent closure. While the fund began at two hundred and fifty thousand dollars, it has since grown and continues to grow. The association reports that after announcing the relief program, unsolicited donations from members were offered immediately. Said donor David Zwirner: “We are grateful that our gallery has the resources to recover swiftly from the storm, but we recognize that some of our valued colleagues are in vulnerable positions. The relief fund will help galleries to restore their spaces and continue their vital contributions to the art community.”

November 8, 2012

Leonardo Favio (1938–2012)

Argentinean film director, actor, and singer Leonardo Favio has passed away at the age of seventy-four, reports the New York Times. He began his career in the films of Leopoldo Torre Nilsson, but soon moved on to make his own films such as Chronicle of a Lonely Child (1965) and The Nazarene Cross and the Wolf (1975). He also attained success as a singer of ballads in Argentina. After the coup by the Argentinean military in the late 1970s, Favio fled the country as a supporter of former president Juan Domingo Perón, about whom he later made a six-hour documentary. In 2001, the Film Society of Lincoln Center held a retrospective of his work, “The Outsider Looking In: The Films of Leonardo Favio.”

November 8, 2012

Columbus Museum of Art Cuts Staff Positions

The Columbus Museum of Art has cut six staff positions as part of a cost saving measure in advance of construction reports the Columbus Dispatch. The positions include store manager, manager of volunteers, educator for family programs, family-program coordinator, special-events assistant, and capital-campaign manager. Nancy Colvin, marketing and communication manager, stated, “We’ll be streamlining programs as we move through construction. We’ll be dealing with less space, but we’re certainly not looking to get rid of family programs.”

November 8, 2012

Bill Fontana Wins Prix Ars Electronica Collide

American artist Bill Fontana has been awarded the second Prix Ars Electronica Collide at CERN. The award includes a two-month residency at CERN with a scientific mentor, then a month-long residency at Futurelab at Ars Electronica. The sixty-five-year-old pioneer of sound art stated, “This joint residency presents me with a tremendous learning opportunity, so it was irresistible.” Gerfried Stocker, artistic director of Ars Electronica Linz, said, “We are honored that an artist of Bill Fontana’s reputation and international standing should think of entering the Prix Ars Electronica Collide at CERN. It clearly demonstrates how this experiment in making collisions between arts and science is capturing the zeitgeist and exciting artists from all over the world at every stage of their careers.” The jury also awarded an honorary mention to the Mexican artist Ale de la Puente.

November 7, 2012

International News Digest


Libération reported on this year’s Marcel Duchamp prize, which went to Daniel Dewar and Grégory Gicquel. The annual award, given during FIAC, recognized Dwar and Gicquel’s work Gisant, a large dolerite sculpture of a diver wearing flippers, reportedly intended as a stele for the Montparnasse cemetery. The duo will be given a show at the Centre Pompidou in the fall of 2013, and will receive $45,000. Alfred Pacquement, director of the Musée national d’art moderne of the Centre Pompidou and the jury’s president, stated, “Their use of materials, which includes artisanal practices and the fractioning of volumes, also in the form of animation movies, expands the aesthetic standards. At the same time the issues they raise are related to leisure and the most pop cultural traditions.” Other artists nominated for the twelfth Marcel Duchamp Prize were Valérie Favre, Bertrand Lamarche, and Franck Scurti.

The city of Düsseldorf has made the message loud and clear to the Museum Kunstpalast: Budget cuts must be enacted! Despite the wide and celebrated success of the museum’s recent El Greco and Andreas Gursky exhibitions, the city has proposed 120 cost-saving measures that it will discuss with the museum’s board. Düsseldorf’s cultural council spokesman Hans Georg Lohe told Monopol that decisions would be made final in the next months. However, Kunstpalast director Beat Wismer said to Monopol that he was “not familiar with the ominous 120 points.” The austerity measures are a response to the 140 million euro slump in commercial taxes anticipated by the city. Kunstpalast operates on an annual budget of 15 million euros and generally has an annual 2.5-million-euro deficit. The museum is based on a public-private partnership between the city, Metro Group, and Eon, which provides substantial subsidies to keep the museum from accumulating debt. The museum’s second floor, which is home to a quarter of the collection’s nineteenth- and twentieth-century works, will be closed due to lack of funds for a restoration, while the pieces themselves will go on to be exhibited at a yet-to-be-determined location.

Die Zeit recently examined the viability of the Internet as a platform for exhibiting and selling artworks. Not surprisingly, the paper concluded that digital venues have found only moderate success. Die Zeit cited Contemporary Art Daily—founded by Forrest Nash—as the most successful platform for art viewing and launching, given its slick combination of highly selective curation and a spartan aesthetic. Aso noting that Nash’s site is free of critical discourse, so to speak, Die Zeit aligned itself with the opinions of art historian Michael Sanchez, who wrote in Artforum this March that Contemporary Art Daily “effectively dematerialized the white cube into the white screen, creating new conditions of circulation.” Why, though did VIP Art Fair, founded in 2011, prove to be so disappointing, along with Charles Saatchi’s Your Gallery, founded in 2006? Die Zeit suggested that it is the intervention of the individual critic, curator, tastemaker, or collector that makes such platforms viable, not simply the unfettered level of access they provide. Unlike the music industry, the world of art does not measure success with total views or popularity on the Internet. In other words, the number of “likes” an artist may have does not translate into the amount of money someone will spend on their work or the prestige of the museum that will purchase their creations. With the interest in digital media waning in the art world, according to Die Zeit, dealers and artists will continue to look to other mediums and platforms to sell their work.

November 7, 2012

CCS Bard Acquires Archives of Colin de Land and Pat Hearn Gallery

The Center for Curatorial Studies at Bard College has acquired the archives of Colin de Land’s American Fine Arts and the Pat Hearn Gallery. Dubbed by art critic Jerry Saltz the “Keith Richards of the art world,” de Land established American Fine Arts in 1986, where he exhibited artists working with everything from large-scale installation to institutional critique. Hearn established her eponymous gallery first in New York’s East Village, and then eventually became one of the first dealers to move to Chelsea. Together, Hearn and de Land also helped to establish the Armory Show. Bard’s acquisitions were financially supported by patrons Marty and Rebecca Eisenberg and Howard and Barbara Morse.

November 7, 2012

The Museum of Latin American Art Lays Off Employees, Cuts Budget by $600,000

Adolfo Guzman-Lopez reports for KPCC that the Museum of Latin American Art in Southern California has laid off five employees, including its chief curator Cecilia Fajardo Hill, as part of its efforts to cut its budget by $600,000. Patron Robert Gumbiner, who founded the museum sixteen years ago, covered annual operating deficits for over a decade. But since his death three years ago, according to CEO Stuart Ashman, the museum has been forced to implement austerity measures. “With this $600,000 reduction, we feel we could achieve the balanced budget that we need to achieve because we can’t go into debt,” said Ashman.

November 7, 2012

Independent Vision Curatorial Award Winners Announced

Nav Haq and Jay Sanders have been chosen as the winners of the 2012 Independent Vision Curatorial Award. Haq is a curator at the Het Museum van Hedendaagse Kunst Antwerpen, and previously worked as curator at Arnolfini in Bristol. Sanders is curator and curator of performance at the Whitney Museum in New York, and prior to that served as gallery director at Greene Naftali. Both Haq and Sanders will receive $4,000 to realize a new project. The juror for this year's competition, Hans Ulrich Obrist, noted of the awardees he chose, “Each . . . is establishing a unique voice, developing their practice by initiating projects independently, as well as having worked in a diverse range of institutions.”