The Art Newspaper reports that Yayoi Kusama will leave Gagosian gallery; the Japanese artist had her first solo show at the space in 2009. Her move was announced yesterday, just one day after Damien Hirst announced his leave from the gallery (reported on by Artforum here). News of Hirst’s departure came on the heels of reports that Jeff Koons, also represented by Gagosian, will mount a solo exhibition at David Zwirner this coming spring.
The Museum of Contemporary Art Jacksonville has been awarded a seventy-five-thousand-dollar grant from the Andy Warhol Foundation, reports Charlie Patton of the Florida Times-Union . The funds will support the next two years of the museum’s “Project Atrium” series, which features site-specific and site-sensitive installations by emerging and midcareer artists. Previous exhibitions have featured works by artists including Melanie Pullen, Gustavo Godoy, Tristin Lowe, and Ian Bogost.
The 2012 Kandinsky Prize, which recognizes works of contemporary art by Russian artists, has been awarded to Grisha Bruskin and the AES+F collective. The recipients will split the approximately fifty-two thousand dollars included in the prize. The BBC reports that Bruskin was chosen for his H-Hour sculpture, which explores notions of hate. The AES+F collective is being recognized for Allegoria Sacra, the final part in a video trilogy about heaven, hell, and purgatory. The prize, which allows artists to nominate themselves, received 385 submissions. The punk collective Pussy Riot was part of this list, but failed to make the shortlist of thirty-five artists.
According to Le Monde, the sixth edition of Monumenta will take place in 2014 in the Grand Palais from May 5 to June 22. The news comes after reports earlier this year that the next iteration of Monumenta would be canceled due to budget cuts. The 2014 edition of Monumentacurated by Jean-Hubert Martin, who is responsible for the current Dali retrospective at the Centre Pompidou—will feature the Russian duo Ilya and Emilia Kabakov, who are reportedly constructing an immersive gorod, or city.
In Norway, many have been taken aback by the culture ministry’s recent treatment of the Office of Contemporary Art in Oslo. Jacquelyn Davis reported in Kunstkritikk that the new minister of culture, Hadia Tajik, unveiled a 2013 budget that rejected OCA’s request for around half a million dollars to present Edvard Munch alongside relevant contemporary artists at the upcoming Venice Biennale. Tajik insisted that the OCA would have to come up with its own funding to move forward with its biennale plans. For years, OCA has warned that its means are insufficient to cover actual expenses, and has appealed for earmarked funding towards biennial participation. Now, in a new development, the culture ministry’s undersecretary, Kjersti Stenseng, has decided to sack OCA’s entire board for financial mismanagement, telling Aftenposten, “Confidence is now so poor that we feel that cooperation has become very difficult in this climate.” Stenseng added, “The board is up for election in February and we have announced that we want a new board.” Critic Jonas Ekeberg took the culture ministry to task, saying, “The ministry should not be blinded by partly petty criticism [of OCA] from a limited part of the art world. Instead, one should look . . . at what an amazing job OCA does for Norwegian art, as well as at the enormous importance of the Venice Biennale.” Some have accused the office of elitism. Others point out that the power struggle is due in part to the fact that the ministry is not familiar with the increased costs in Venice and does not understand the significance of the biennial.
The pages of Liberation contained an odd revelation about Salvador Dalí: He had once swindled Yoko Ono. Amanda Lear, Dalí’s muse, disclosed that the artist had said that Ono had purchased a piece of Dalí’s moustache hair for $10,000. He, however, had suspicions that she was a witch, and sent her hair that wasn’t his. Lear—who met the artist in 1965 when she was eighteen and he was sixty-one—said, “Dali loved defrauding people.”
The Art Dealers Association of America has announced that Dorsey Waxter has been appointed its new president. Waxter will succeed Lucy Mitchell-Innes, coowner of Mitchell-Innes and Nash, who has served as ADAA’s president since 2009. Waxter, who began her career at Nancy Hoffman Gallery, was director at André Emmerich Gallery, before she started Dorsey Waxter Fine Art, an art-consulting agency. She has been on the board of directors of the ADAA since 2009. She says, “I am honored to have been appointed president of this prestigious organization and to build upon the work of my predecessors, Lucy Mitchell-Innes and Roland Augustine, to emphasize the prominence of art dealers. My prior experience will be useful in leading the ADAA as it continues its mission to promote the highest standards of connoisseurship, scholarship, and ethical practice within the profession.”
The Financial Times reports that Damien Hirst has announced he will no longer be represented by Gagosian Gallery. Hirst’s company, Science Ltd, said that “Larry Gagosian and Damien have reached an amicable decision to part company.” Gagosian, whose earnings were estimated at $925 million last year by Forbes, has represented the artist for the past seventeen years, and will mark the end of his relationship with Hirst by showing the artist's complete spot paintings at all Gagosian Gallery locations worldwide. The world's wealthiest artist, Hirst drew attention in 2008 for selling his work directly at an auction held at Sotheby's. He will continue to work with White Cube in London.
The board of trustees of the Fine Arts Work Center in Provincetown has announced that New York–based Michael Roberts has been selected as FAWC’s new executive director. Roberts, who most recently served as executive director for New York Public Programs at the Asia Society, has also worked as executive director of PEN American Center in New York and as faculty, lawyer, and assistant to the president at Harvard University. Roberts says, “I deeply admire the extraordinary accomplishments of the Fine Arts Work Center and its singularly important role in nurturing emerging artists and writers. I am looking forward to helping FAWC strengthen and grow towards the half-century mark and to building on its very strong foundation.”
Carol Vogel of the New York Times reports that the man who defaced part of a Rothko mural at the Tate Modern in London earlier this year was sentenced to two years in jail. Twenty-six-year-old Wlodzimierz Umanets tagged the 1958 work, Black on Maroon, with the phrase A POTENTIAL PIECE OF YELLOWISM, after his own artistic movement “Yellowism.” He plead guilty to criminal damage in October of this year. The original value of the Rothko is estimated to be between eight and fourteen million dollars.
The Aspen Art Museum has announced that it has received a significant gift of $2,500,000 from Nancy and Bob Magoon. The money will partially fund the salary of the person who works as CEO and director of the museumthe first endowed position at the museum in thirty-three years. The couple has also given a $500,000 gift to fund the construction of a new facility in Aspen. Bob Magoon has served as member of the museum's national council and Nancy Magoon currently sits on the museum's board of trustees. She also served as board president from 2006 to 2009. Heidi Zuckerman, who will fill the new endowed position, stated, “I am equally honored and humbled to accept this wonderful gift on behalf of the museum, as well as to continue carrying the directorship of the institution forward under their name. The Magoons’ collective work for the realization of all the AAM has and continues to achieve cannot be overstated.”