August 12, 2016

Smithsonian Appoints Rachel Goslins as Director of the Arts and Industries Building

Rachel Goslins

The Smithsonian Institution has announced that Rachel Goslins, the former executive director of the President’s Committee on Arts and Humanities, will head the Arts and Industries Building as director. She will take up the position on August 22.

For the newly created position, Goslins will be responsible for developing and implementing plans for the building. She will collaborate with Smithsonian’s curators and museum directors on programming, exhibitions, and infrastructure. The building, which has been closed for renovations since 2004, will also host a gallery dedicated to Latino culture.

“I am thrilled to be joining the Smithsonian and to help write the next chapter for this amazing building,” Goslins said. “I have long admired the Smithsonian, first as a mother with two little children in tow and then as a partner in several cultural programs and events. It’s an honor to now be able to contribute to the mission of the institution at such an exciting moment in its history.”

August 12, 2016

War Photographer Gerda Taro’s Installation Vandalized in “Politically Motivated” Attack

The vandalized installation of war photographer Gerda Taro’s images of the Spanish Civil War on display in Leipzig.

According to Monopol, war photographer Gerda Taro’s outdoor exhibition of images depicting scenes of conflict, including the Spanish Civil War, were vandalized on August 3 in what organizers believe was a “politically motivated” act. Someone had covered the photographs with black paint during the night. A police investigation is underway.

The works were installed for the f/stop festival, which was held in Leipzig from June 25 to July 3. In a statement, the organizers of the exhibition said, “The way a work of art is dealt with in the public space is always a litmus test for the state of a community. Unlike the ‘protected space’ of a museum or gallery, a work in the public realm is under the protection of us all.”

Taro, who was born Gerta Pohorylle, fled Leipzig for Paris in 1933. She met and befriended photographer Robert Capa, a Hungarian who was living in Paris in exile, and traveled to Spain with him. Taro was killed in Brunete, west of Madrid, in 1937 while documenting the Spanish Civil War at the age of twenty-six. She was the first female photographer to die while on assignment.

August 12, 2016

Jorge Daniel Veneciano Steps Down as Executive Director of El Museo del Barrio

Jorge Daniel Veneciano Photo: Agaton Strom | The New York Times

El Museo del Barrio has announced that executive director Jorge Daniel Veneciano will resign from his position at the end of the month. In a statement, the museum said that Veneciano wants to pursue new opportunities. Berta Colón, deputy director of institutional advancement, and Carlos Gálvez, deputy executive director, will serve as codirectors of the museum until a search committee can be established to elect a new director.

“After almost three years at El Museo del Barrio, Jorge Daniel leaves a legacy of outstanding exhibitions and programs, increased attendance, and deepened community engagement,” said María Eugenia Maury, chair of the board of trustees. “We are proud of what the staff and board have been able to accomplish under his leadership.”

While at the helm of the museum, Veneciano expanded the museum’s international reach and developed partnerships with educational service providers to strengthen the institution’s ability to service New York’s Latino communities.

August 12, 2016

Penelope Curtis to Curate Contemporary Art Section of TEFAF Maastricht in 2017

Penelope Curtis

TEFAF Maastricht has announced that Penelope Curtis, director of the Calouste Gulbenkian Museum in Lisbon, was appointed curator of the fair’s third edition of TEFAF Curated, its contemporary art section.

Titled “Heaven and Earth,” the section will invite a number of galleries to exhibit works related to its theme of the reclining or recumbent figure, a motif that has been used since antiquity.

Curtis is currently overseeing the combining of the Calouste Gulbenkian Museum’s founder’s and modern collections. A historian of sculpture, Curtis established the Henry Moore Institute in Leeds, a center for the study of sculpture. During her eleven years as director of the institute, she organized numerous shows aimed to expand the public’s knowledge of historical and contemporary sculpture. Previously, Curtis was the first woman elected to lead Tate Britain as director. During her five-year tenure at Tate, Curtis oversaw a nearly $60 million renovation and the chronological rehanging of the institution’s permanent collection.

August 12, 2016

Joseph Rosa Named New Director and CEO of Frye Art Museum

Joseph Rosa

Seattle’s Frye Art Museum has announced that Joseph Rosa, director of the University of Michigan Museum of Art in Ann Arbor, was appointed the institution’s new director and chief executive officer. “We found Joe to be a curatorially experienced, managerially gifted art historian and museum director,” Mike Doherty, trustee and chair of the search committee said. “He has a strong reputation for building and sustaining relationships. We are confident that Joe will build on what has already been accomplished and, drawing on our new strategic plan, take the Frye to even greater heights.”

During his six-year tenure at the University of Michigan Museum of Art, Rosa expanded the institution’s curatorial vision, increased community outreach initiatives, and created a $40 million capital campaign. Previously, he worked as a curator at the Art Institute of Chicago, the San Francisco Museum of Modern Art, the Carnegie Museum of Art in Pittsburgh, and the National Building Museum in Washington, DC. Rosa has received grants from the National Endowment for the Arts and the Graham Foundation and has served as a juror for the National Endowment for the Arts, the Pew Fellowship in the Arts, and the James Beard Foundation Awards. He is the author of seventeen books and a contributor to numerous publications.

“Thanks to the work of Jo-Anne Birnie Danzker and her team, the Frye is a beloved museum in the community,” Rosa said. “My family and I are very much looking forward to becoming part of the Seattle community.”

August 11, 2016

Rice University to Open New Moody Center for the Arts in February 2017

Design Rendering of the Mood Center for the Arts at Rice University in Houston, Texas.

Alison Weaver, executive director of the Moody Center for the Arts, announced today that the new 50,000-square-foot, $30 million facility for cross-disciplinary studies will open to the public in February 2017.

Designed by Los Angeles–based architect Michael Maltzan, the flexible teaching space will feature a black-box theater that can seat 150 people, a space for experimental performance, galleries for exhibitions, and a lab with access to resources such as a wood shop, metal shop, paint booth, studio classrooms, a technology lending library, and audiovisual editing booths. Students will begin taking courses at the center in January.

According to Molly Glentzer of the Houston Chronicle, the university plans to close its art gallery and display future exhibitions in the new arts center. Kim Davenport, director of Rice Gallery, will work as curator at the Moody, where she expects to continue commissioning site-specific installations.

August 11, 2016

Public Art Fund to Install Spencer Finch’s Miniature Redwood Forest in Brooklyn

Spencer Finch

The Public Art Fund has announced that it will install a miniature redwood forest created by artist Spencer Finch at MetroTech Commons in Brooklyn. Finch will re-create a 790-acre section of Redwood National Park, in California, at a 1:100 scale. Trees that range from 98 to 380 feet tall will be between 1 and 4 feet tall in the installation, which will live in a 4,500-square-foot section of the commons’ lawn.

Public Art Fund director and chief curator Nicholas Baume said that the work reflects the Brooklyn-based artist’s “fascination with activating the imagination through observation of natural phenomena.” He added, “For many years he has explored the ineffable qualities of our ever-changing natural world through wide-ranging mediums, but this is his first use of living trees.”

To realize the project, Finch collaborated with the Save the Redwoods League, which provided details such as topographical and canopy-height maps of the national forest and helped to design a special planting and irrigation system so the plants can flourish in their urban environment.

“Through both a scientific approach to gathering data—including precise measurements and record keeping—and a poetic sensibility, Finch’s works often inhabit the area between objective investigations of science and the subjectivity of lived experience,” said associate curator Emma Enderby, who organized the exhibition. “Spencer Finch: Lost Man Creek” will be on view from October 1, 2016, to May 13, 2018.

August 11, 2016

Artist Pension Trust Makes First Financial Distributions

Joel Tauber, SHARE (photo direction: Joel Tauber, shot by Kristi Chan) from the art installation and movie, The Sharing Project, 2014.

The Artist Pension Trust, a mutual assurance fund that provides long-term financial security for artists, has announced that in July it made its first financial distributions between $200 and $1,700 to more than four hundred participating artists in New York and Los Angeles. In a statement, the trust said that this “major landmark” was possible after it raised $452,085 from its first sales pilot.

“It’s great to see the model beginning to work,” said artist Zoe Crosher, who began participating in the program in 2007. Founded in 2004, the Artist Pension Trust consists of nine pools of artists in cities such as New York, London, Los Angeles, Berlin, and Beijing. The trust holds fourteen thousand works—one of the largest collections of contemporary art in the world—and supports more than two thousand artists. The participants are required to deposit twenty works into the trust over a twenty-year period. The profits from the works that are sold are divided up among the trust’s members: Artists receive 40 percent of the proceeds from the sale of their works and the other artists divide 32 percent of the payout, while the remaining 28 percent of the funds covers the trust’s operating costs. It was designed so that all participating artists benefit if one artist’s career takes off.

The trust also works toward increasing its members’ international exposure by exhibiting its collection through loans to museums, including Tate Modern and New York’s MoMA. Its advisory board consists of Lady Elena Foster, chair of the Tate International Council, and conceptual artist John as well as numerous curators. “This is a wonderful example of bringing together artistic endeavor with financial security for many of the up-and-coming names in today’s contemporary art world,” Foster said. “It’s exciting to see how APT works globally and nurtures new artists as well as nourishes relationships within the international art community.”

August 11, 2016

Bavarian State Paintings Collections Receives Donation of 58 Works

Munich’s Pinakothek der Moderne will exhibit a selection of the donated works in the fall.

According to Catherine Hickley of the Art Newspaper, philanthropists Christof and Ursula Engelhorn have gifted the Art Mentor Foundation Lucerne fifty-eight works from the eighteenth to twentieth centuries. The foundation has in turn donated the works, by artists such as Eugène Delacroix, Joseph Beuys, Cy Twombly, Georg Baselitz, and Piet Mondrian, to the Bavarian State Paintings Collections.

The Engelhorns were longtime donors of Munich’s Pinakothek der Moderne museum. With their support, the institution was able to acquire Francis Bacon’s triptych Crucifixion, 1965, and Joseph Beuys’ The End of the 20th Century, 1983. The gallery that features the permanent installation of Beuy’s work was dedicated to the couple in 2011. The Bavarian State Paintings Collections will display a selection of the donated works at the Pinakothek der Moderne in the fall.