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abbeysnysemester-blog · 6 years ago

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Galleries Of Week 5

Tammi Campbell - Arsenal Contemporary Gallery

Tammi Campbell’s show entitled, “Bring Ice, Thanks” immediately reminded me of Emil Lukas’s show at Sperone Westwater Gallery. I think it was mostly because Emil Lukas makes ‘bubble wrap paintings’ and Tammi Campbell used bubble wrap among other materials generally used in packing/shipping of artwork. She used cardboard, tarps, and tape alongside the bubble wrap. I thought that this was a really interesting thought - the pieces speaking about the transit of art and also drawing on the capitalistic tendencies of the art world as well because if you are mentioning the transit of art/art pieces you must be thinking about the means that is transporting them - transactions. I thought that it was interesting to leave the works in a half-baked sort of state with the bubble wrap surrounding them and the cardboard covering them because it also kind of created an air of mystery about what would be under those layers.

Ghosts - Jack Hanley

‘Ghosts’ at Jack Hanley gallery was a group show by various types of artists that included video, sculpture, paintings, and prints. A specific video by Courtney Andrews really both intrigued me and also was quite frightening. There was a older box TV on the ground with a video of a girl hanging from a tree while also moving her legs on the tree so It kind of looked like she was climbing it. This image was frightening but also made me very intrigued to see how the artist created the video as it was seemingly overlaid over the forest in the back ground. After reading the press release relating to the work, Andrews video is speaking about perceptions of women and in the specific video, “Holding,” she is relating her character to one persecuted during the witch trials. The show was overall quite eerie and did definitely evoke a spiritual or ghostly presence by the pieces.

Neil Wellver - Tibor De Nagy

Neil Welliver’s show at Tibor De Nagy Gallery was not something that I would generally be drawn to on my own. I did actually find that I was interested in the quiet landscapes that were both woodcuts as well as paintings. I was more interested in his earlier works that were not only landscapes, but also contained figures within the landscapes. I found that the large scale woodcuts were very detailed and also quite contemplative. I found myself able to sit and spend time with each piece. I also found from the press release that the woodcuts were all in collaboration with a master woodcutter in the Ukiyo-e style named Shigemitsu Tsukaguchi.

Nari Ward - We the People

‘We the People,’ is Nari Ward’s exhibition at the New Museum on the 3rd and 4th floors. It has extremely striking imagery to almost every piece, as well as a contemplative video that gives you a look into growing up as a POC youth. A few pieces that I really enjoyed were the piece that was made up of shoelaces on the wall that plainly read, “We the People,” which was speaking about how that phrase that begins the constitution is supposed to be inclusive of all but that in reality it really leaves out basically entire populations of inclusion for POC people. Another piece I found really interesting was a quilt-like structure that hung from the ceiling to the ground that was made of bottles with notes inside that was strung together with wire and metal rings. If I remember correctly I think that this piece was based off of traditions seen in colonial america combined with the ‘message in a bottle,’ imagery. The third piece that I found very interesting was the ‘naturalization table,’ where museum goers can take a photo and fill out a naturalization/immigration application and it will get hung on the wall. The table has a specific schedule of when it gets activated, and that is when the museum goers can have their photos taken. I’m not sure if it was just simply the last round of people who were there to get their photos taken, but when I visited the museum, mostly all - if not 90% of the people on the wall were white (the ones filling out the fake naturalization forms) which is not me saying they all are for sure natural born citizens of america, but I just found it interesting, and also was questioning whether or not this was on purpose?

Yukulti Napangati - Salon 94

Walking into the Yukulti Napangati exhibition at Salon 94, one may think that all of the pieces are very similar, however after spending some time with the work and also reading about its conception, you can really see all of the various subtle changes, but still the unity throughout. Napangati is an aboriginal painted from West Australia and specifically the Gibson Desert. Her group of people which are called the Pintupi were actually reunited with her family at the age of 14, when they were found as a group of nomadic peoples living secluded from the world. Her family of 9 created a media shock where they were touted as the “Lost Tribe” but her family insisted they were not lost from their tribe, they were just living as their ancestors would have, off the land. Napangati’s background was so interesting to me, and was even more intriguing as the press release details how she became one of the first Pintupi women painters, as up until that point there were only ‘painting men,’ and women could only really assist them. Her work is speaking about the various stories and narratives passed down from generation to generation in her tribe/family, and how these are all interconnected both generationally and spiritually as well. I definitely think the work evokes a very specific spiritual quality, almost as if you look at the paintings too long you will feel like you are dreaming!

Ger Van Elk - 202 Bowery/Grimm Gallery

In all of my gallery visits, I have never been more generally excited/in love with a piece before. This happened when I went to see Ger Van Elk’s show at 202 Bowery. I had not heard of this artist before so I didn't really know what to expect, but Van Elk has two pieces in this show that are perfectly framed and matted that actually have screens where a photograph would be. In the first time I saw this in the first video piece where there is a video of the artist trying to row down a stream in a yellow life boat and If I’m not mistaken the title is something like, “Trying to Flatten the Water,” or something similar. This piece really for some reason made me so enamored and I had never thought of showing a video like this or somewhat subverting a photo/prints presentation. Still at this point I’m not really sure if this is even the first instance of someone doing this but It was very influential to me. As was another 2 pieces that were in the downstairs portion of the show that included slide projectors, which was something I had never seen before. I know my freshman year someone in my space class had found a slide projector at a thrift store, but I think I am in love with them now and was just really inspired overall by this show for my own art making.

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aestheticofaccumulation · 6 years ago

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Nari Ward

We the People (black version), 2015

Shoelaces

8 ft. × 27ft.

Crystal Bridges Museum of American Art, Bentonville, Arkansas

Hank Willis Thomas

American, born 1976

We The People, 2015

decommissioned prison uniforms mounted on Sintra

Collection Albright-Knox Art Gallery, Buffalo, New York

Gift of Mrs. George A. Forman, by exchange, 2016

—

Accumulation as constitutional critique.

#redstatesthough #audiencematters #accumulation #prisonabolition #votersuppression #communityengagement

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stlconsignmentgallery · 7 years ago

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Crystal Bridges debuts 2 overhauled galleries

Crystal Bridges Museum of American Art started working on a project made to make its early American art galleries much more inclusive and engaging for the guests.

The outcomes of these attempts are on view.

The two galleries — which was shut since January — opened to the public and attribute 185 objects from the the museum’s permanent collection and loans. The overhaul is the initial gallery redesign that the museum has undertaken because opening in 2011 and part of tradition leaders explained as the chance to reevaluate American art is presented.

Rod Bigelow, the museum’s executive director, believes the consequences “better reflect the complexity of the American story.”

“We expect that the reinstalled galleries will boost access to more art, encourage broader views, and facilitate unexpected learning moments,” Bigelow said in a declaration.

The spaces were designed after the museum held numerous discussions with stakeholders, such as members of employees, leaders, volunteers and the community. Curator Mindy Besaw stated among those big takeaways from these discussions was that people were prepared for “sophistication” at the way in which the museum told the American story via artworks.

Previously, Crystal Bridges started guests into Colonial America when they walked in the galleries with sculptures and period paintings out of its collection. Nevertheless, the very first work people today see if they enter the renovated galleries — Nari Ward’s We the Folks (2015) — is symbolic of the new aim of introducing a varied perspective of America.

Ward’s 28-foot part featuring the first few words of the preamble of the U.S. Constitution, spelled out of dangling shoelaces, was featured at the museum’s contemporary art gallery. Crystal Bridges made a decision to transfer the work into a introductory space that provides a brief snapshot to visitors to the wide array of artists and art that make up the Crystal Bridges collection.

Other works at the introductory space include Charles Willson Peale’s George Washington (1779) andalso nearby, a sculpture dated from 1450-1650 found in southern Arkansas and lent to Crystal Bridges by the University of Arkansas Museum Collections.

“We are really hoping to pull the depth and assortment of the people which form the stories,” Besaw stated. “We don’t have to inform a rosy, small history of art. We adopt every one of the things that make history, art history. Nari Ward’s reflection on that outdated 18th century text, but at a very 21st century manner, is really supposed to start you in that framework.”

The reimagined galleries proceed people through three different phases and themes throughout early America: “Networks of Power,” “People on the Move” and “Painters of Modern Life.”

Artwork and the paintings have been linked with bits given to the museum from different institutions. Crystal Bridges has incorporated about 25 works given from areas including the Denver Art Museum; the Nelson-Atkins Museum of Art at Kansas City, Mo.; New-York Historical Society; and the University of Arkansas, Fayetteville, to provide more texture. Besaw stated many of the loans are for a single year.

The loans consist of Spanish Colonial and American Indian art, which is placed “in dialogue” with Crystal Bridges functions in several instances. 1 example: American Indian bandolier bags created around precisely the exact same period as Thomas Sully’s portrait Colonel Samuel Boyer Davis (1819). The bags and portrait are positioned next to each other to show ways.

“Both of them are recognitions of prestige,” Besaw stated. “The women who made the totes, it was for special occasions and recognition. To get a full-length portrait was prestigious.”

The museum with its goals of inclusion and access crafted every component of the redesign to art in mind. There are extended labels to provide information. Text is in Spanish and English. Digital touchscreens and stations are positioned to add to the experience.

Crystal Bridges even evaluated wall colors and in which the walls should be positioned. Exhibition Designer Jessi Mueller stated there was a comprehensive renovation within the next gallery meant to open up the area.

“We had a fantastic chance here to move walls, which we are not usually able to perform with all our permanent collection,” Mueller explained. “We [demolished] everything in here and started fresh.”

Another eye-catching shift comes with 40 paintings set together in the conclusion of both galleries, salon-style. The group explores artistic and beauty style from the late 19th and early 2oth centuries. Information for every single work in the area can be retrieved on a touchscreen.

Crystal Bridges also carved out space to mini-exhibitions, which may change and also also a 105-foot experimental place known as the Niche which will vibrate jobs more frequently.

The initial rotating mini-exhibition — “How Do You Figure?” — attributes 35 works. Lots of the functions are on view for the very first time.

The theme for The Niche focuses on how designers select paint colors from the gallery.

“This is our permanent group,” Besaw said concerning the renovation. “We have the time to live with this, to listen to our guests. If something isn’t really working because we believe it may be shown or as we planned, it can be changed by us. … We now have that freedom to really work with it and ensure it is flexible and serve the demands of our visitors. It’s ongoing. It’s supposed to be experimental.”

from stlconsignmentgallery http://stlconsignmentgallery.com/crystal-bridges-debuts-2-overhauled-galleries/

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oselatra · 7 years ago

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48 hours in Bentonville

The art capital of Arkansas.

48 HOURS

The Art Capital of Arkansas.

BentonVillE

Bentonville is the 10th-largest city in Arkansas, but No. 1 in the number of significant American paintings, thanks to Alice Walton's Crystal Bridges Museum of American Art. It is also known as the headquarters of the company Alice Walton's father founded, Walmart. Before the Waltons became the best-known folks in town, there was Thomas Hart Benton, who was from Missouri but supported Arkansas statehood and was thus awarded with the town's name. He was an artist, too. So Bentonville's art cred goes way back. It will go way forward, too, when Walton's nephews open a new haven of the arts, 21st century style, with the Momentary, a multi-use arts space in what used to be a Kraft Cheese factory.

Rather ride a bike than look at art? There are 20 miles of bike trails, both for those who like to glide along and those on mountain bikes who dare to attack the Slaughter Pen Hollow's jumps.

It's not your grandparents' Bentonville.

Day 1

Drop off your bags (and check in later)

Art lovers will choose 21c Museum Hotel, at 200 NE A St., on the northeast corner of the town square. Besides luxe accommodations, 21c's 12,000 square feet of gallery space exhibit contemporary art by nationally acclaimed artists. It also has a great bar and The Hive restaurant. You'll be joined by big green plastic penguins, 21c's trademark bit of whimsy, at various times.

Or, if breakfast with new friends is more your thing, there's the Victoria B and B at 306 N. Main St. No penguins here, but it's not fusty either: There are Jacuzzis and vaulted ceilings and baroque beds. French is spoken there, for an extra je ne sais quois. If you plan to spend two nights, check out Thrive Retreat, 401 SW A St.; your pet can come, too. If you want to do your own cooking, the B Side Loft, 412 SW B St., is a garage apartment. All are within walking distance of Crystal Bridges Museum of American Art, your next stop. (There are also numerous major chain hotels, including the affordable and recently redone DoubleTree Suites by Hilton at 301 SE Walton Blvd.)

Head to Crystal Bridges and lunch

The walk to Crystal Bridges from the square is only about 10 minutes along a paved trail through beautiful woods. You'll be ready for lunch when you get there, so head to Eleven, named for the opening date of the museum (11/11/11). On a scale of 1 to 10, it's also an 11, thanks to a menu inspired by American comfort food (shrimp and grits, beans and greens, braised short ribs). The setting, on a glass-walled bridge, with a view of the museum and its ponds, beautiful light, with a Jeff Koons glass heart overhead, is both welcoming and chic. After lunch, it's time for a tour.

The Alice Walton-conceived and financed museum, tucked into a 100-acre ravine of Ozark hardwoods and landscaped to a fare-thee-well with native plants and sculpture, makes looking at art feel like getting a hug — even if that embrace is from Lynda Benglis' metal lumps or Claes Oldenburg's brain-like melting alphabet. The collection, indoors and out, is first-rate, from early masterpieces by Asher Durand, to the mid-century marvel the Fly's Eye Dome by Buckminster Fuller, to Nari Ward's shoelace installation "We the People" (2015). The Crystal Bridges trail, which pulses with the flow of families on foot and the fleet on two wheels, is one way to enter; you can also drive to the west entrance and descend to the museum, where Louise Bourgeois' 30-foot-tall spider sculpture "Maman" watches over the courtyard.

Time for a drink

No matter where you're putting up for the night, the bar at 21c is the place to go for an aperitif. There is probably no label you can't get here, from Balvenie scotch to Bulleit bourbon and beers and wines from around the world. Lots of thought and booze go into the cocktails, like the Rosie the Riveter (rum, apple brandy, cocchi rosa aperitif and mint) and the Kentucky Daisy (bourbon, grapefruit, ginger, lime and orange blossom water). So you don't fall out, the bar offers cheese and charcuterie plates, hummus, hamburger, a wild mushroom ricotta, pimento cheese, etc.

Dinner time

The shortest trek to dinner would be from the 21c bar to the 21c restaurant, The Hive, where award-winning chef Matt McClure dishes up what Northwest Arkansas restaurateurs call "High South" cuisine. Up for dry-aged beef tartare? Pumpkin pureed with apricots? Smoked pork belly? Make a beeline for the Hive. True to form, 21c has extended art to the dining room, which has been given a beehive treatment, complete with giant insects, by Canadian artist Johnston Foster.

Day 2

Eat again!

In good weather, check out Crepes Paulette, which serves sweet and savory crepes from its French-flag blue, white and red food truck near the entrance to the Crystal Bridges trail. Or check out Crepes Paulette's sitdown restaurant with crepes, soups, fancy cold drinks and beer and wine. 213 NE A St. (food truck) and 100 SW Eighth St. (restaurant).

Brought your kids? You're in luck.

Do your children like chocolate? Then head for the arts and science interactive Scott Family Amazeum, 1009 Museum Way (the road to Crystal Bridges' western entrance), where children experiment with the food of the gods in the Hershey's Lab. They can also tinker, climb in a canopy over the exhibit areas, visit a homestead cabin, control a giant SpongeBob puppet ... . They can even learn about the karst topography of the Ozarks, with the Amazeum's cave, complete with the sound of dripping water, cavefish and bats.

Brought bikes instead of kids?

Like virtually every other new development in Bentonville, the Walton family is behind this attraction: the biking and hiking trails that traverse the length of the town, 22 routes in all that circle Lake Bella Vista in the north to the Razorback Regional Greenway in the south that goes all the way to Fayetteville. There are trails for everyone from cruisers who like to just get from one spot to another to bruisers who tackle the Slaughter Pen Mountain Bike Trail.

Lunchtime!

Matt Cooper is a preacher's son, so it makes sense that he should be the executive chef at The Preacher's Son, 201 NW A St., an upscale venture of the Walton-led Ropeswing Hospitality Group. The restaurant is in a renovated church with windows designed by Fayetteville artist George Dombek; its menu includes gluten-free items that get an extra creative kick from gluten-intolerant Cooper. It's newly opened for lunch. Or head to the The Pressroom. A small venue with excellent coffee when it opened, it moved to a bigger edition a few years ago and now serves breakfast, lunch and dinner in chic digs at 100 NW Second St. Don't be surprised by the cucumber in your water.

Learn about how Sam Walton made his bundle

The Walmart Museum is set in the former Walton's 5 & 10 on the square. It tells of Sam Walton's rise from running a Ben Franklin store in Newport to opening his own store in 1950 in Bentonville. The rest is history — told with photographs, documents, a recreation of Walton's office, the old red truck he was famous for driving and hauling Old Roy in, a gift shop and a soda fountain.

Splash with kids

In summer, Lawrence Park Plaza (conveniently located across from the downtown entrance to the Crystal Bridges Trail) is a splash park, with jets of water spouting up to cool your sweaty tykes. In winter, it's an ice rink, where Southerners learn how to stand and move in skates the way Northerners do from the moment they begin walking.

See Native American artifacts

If you can put aside your qualms about how the grave goods in the Museum of Native American History, 202 SW O St., were acquired, you and your kids may enjoy a trip to this museum, which displays the private collection of a Bentonville resident along with items borrowed from the University of Arkansas at Fayetteville. Arrowheads, bows, clothing and ceramics from all parts of North America are on display.

Relax with a drink

Another place to have an adult beverage is back at The Preacher's Son, in the Undercroft Bar below the restaurant. An Undercroft Sazerac, made with Old Overholt rye whiskey, Peychaud's bitters and lemon peel in an absinthe-washed glass, adds a little touch of the Big Easy to Bentonville.

Then eat dinner

When Crystal Bridges was under construction, the coastal smarts hired to come to work on the museum heard a new restaurant was coming to town: Tuscan Trotter. That's what they heard, anyway. But what really opened was Tusk & Trotter American Brasserie, 110 SE A St., a name that nods to the Razorback scene in Northwest Arkansas. In a nod to the hog, pork rinds, pork belly, pork shanks and pig ear nachos number among the beef and chicken dishes. Nice bar scene here, and you can get bacon in your booze. Other locally owned places to land: There are many. Check out Table Mesa, 108 E. Central Ave., for Latin cuisine, Thai Kitchen, 707 SW A St., for ... Thai.

Before you leave town ...

Stop by Pink House Alchemy, 1010 SW A St., and pick up one or two or more of the simple syrups this local business creates to flavor your cocktail or nonalcoholic spritzers. Find Ginger Shrub, House Bitters, Grapefruit Bitters, Dark Cherry Grenadine, Mexican Chile Simple Syrup, Hazelnut, and, yes, Pumpkin Butternut Spice — they inspire lots of drink ideas, no? Pink House is only open weekdays, but holds special events on some Saturdays, so you might find them in. Find a schedule on Facebook, @PhAlchemyHandcraftedSimpleSyrups.

48 hours in Bentonville

#48 hours in Bentonville

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nofomoartworld · 8 years ago

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Hyperallergic: New York-Historical Society Offers Workshops for US Residents Seeking Citizenship

Nari Ward, “We the People” (2011) (photo by Will Brown, courtesy Speed Art Museum)

For permanent residents in the New York region seeking American citizenship, studying for the naturalization test is about to get a whole lot easier, and much more fun. Yesterday, the New-York Historical Society announced the launch of the Citizenship Project, a major initiative to offer green card holders free civics and American history workshops led by the museum’s educators. A partnership with CUNY’s Citizenship Now!, which offers free and confidential immigration law services, the project will harness the museum’s unique collection to make the preparation process engaging as well as instructive.

James Henry Cafferty, “Baltimore News Vendor” (1860), one of the objects incorporated into the scavenger hunt (image courtesy New-York Historical Society)

“New York has a huge demand for these resources, which is not currently being met,” Louise Mirror, the New-York Historical Society’s president and CEO told Hyperallergic. “Our New-York Historical program, with object-based learning, will be unique.”

Specifically, art and artifacts will be used as teaching tools to help participants better understand pivotal moments in US history over the course of the nine-session classes that the Ford Foundation has funded. These workshops, which occur on-site, begin this summer and are offered at various times and intensities so individuals may select a schedule that best fits their needs.

The museum has also created a scavenger hunt that any visitor can participate in that focuses on objects on view related to test questions on the naturalization exam. Question #3, which asks about the first three words of the Constitution, for instance, leads you to Nari Ward’s “We the People” installation, which he made of donated shoelaces. Question #58 — “What is one reason colonists came to America? ” — takes you to George Henry Boughton’s 1867 painting of Pilgrims going to church, as an illustration of those escaping religious persecution or in search of economic opportunity. The guide is a smart way to animate the New-York Historical’s rich holdings and steers people away from rote memorization, instead learning through a visual and cultural method.

The museum, which hosts naturalization ceremonies in its auditorium, has been considering a program to help with studying for the naturalization exam for several years now, understanding that even American-born citizens would find it difficult to pass. But the need for one became more timely after President Trump’s incendiary January 27 executive order that restricted travel for thousands, from refugees to permanent residents.

“When the first travel ban initially included legal immigrants, we realized that we could put our skills to use helping green card holders learn the civics and history they need to know to pass the test, so that they could participate fully in American civic life as citizens and also be protected under the Constitution,” Mirrer said. “The project would draw attention, as well, for Americans, to the high bar set by our nation for citizenship.”

For citizens who want to see how they would fare on knowledge of American history and civics, questions and answers to the hunt will be on display at the museum’s entrance, on interactive tablets, and online.

From the New-York Historical Society’s scavenger hunt (courtesy the New-York Historical Society)

The post New York-Historical Society Offers Workshops for US Residents Seeking Citizenship appeared first on Hyperallergic.

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#IFTTT #Hyperallergic

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am-i-on-yet · 8 years ago

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All are Welcome

On the morning of November 9th, 2016 it seemed as if the world had stopped making sense. To many, it seemed as if we were stuck in a dream that would soon end. Many individuals no longer knew where they stood, or where they would be safe. There were confusion and tension among people, and these emotions drew out different reactions. You could see it on your friend’s face, your family’s tone, your coworker’s attitude. You saw it clearly over social media, where people expressed their sorrow, their anger, and their disappointment. But you also saw their support, their love, their understanding, and their efforts for those who no longer felt safe. And as I watched, I noticed some museums were no different.

On the day before the election, a majority of the museums I followed urged their audiences to go and vote. The following day, a few museums attempted to offer some sort of comfort in relation to the results. But what sort of comfort could a building provide? Below I have included the first Instagram posts of two of the contemporary museums I followed from the day after the election.

New Museum: “Today more than ever, we continue to take heart in the power of art to transform consciousness, to educate, to foster empathy and to help us look to the future.”

Museum of Contemporary Art Chicago: “If you are feeling stressed today after the election, here is a calming seascape from Hiroshi Sugimoto's ‘Time Exposed’ Series”

Those within certain museums took this opportunity to express that their institution was a place to feel safe; that all were welcome. Work that took a stand was showcased, redisplayed, or redirected by the artist. For example, after the Inauguration, January 20th 2017, The Institute of Contemporary Art in Boston shared Nari Ward’s “We the People,” 2011 (a piece spelling out those words in shoelaces) with the caption “strength in numbers.” Words of acceptance were posted, expressing the human side of these institutions, reminding us that museums are made up of individuals that take part in their community. One remarkable case that still sits with me was a panel hosted by the New Museum in New York City that consisted of lawyers, activists, and organizers discussing “what are your rights when it comes to civil disobedience and protest”. The New Museum also hosted free legal clinics about rights under the new administration, providing a turn in the expert voice not only applies to art but art in relation to the law and civil rights. It was a time when museums were using themselves as a platform to offer opportunities to members, artists, and followers to feel safe and be proactive.

Some institutions chose to remain silent when it came to personal political views, understandably not taking sides or assuming one opinion for all who make up the museum. It is important to remember that an art museum is a public institution that is meant to educate and engage their visitors through art and for certain institutions it may not seem their place to make a declaration that could potentially upset members, staff, and followers. However, these museums continued to function as a place of normalcy, a space that continued to reach out to anyone who was interested, possibly to be the calm atmosphere many looks for in times of uncertainty.

#epilogue

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nofomoartworld · 8 years ago

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Hyperallergic: Art Movements

Postcard of the Statue of Liberty sent by Sigmund Freud to his wife, Martha Bernays Freud, August 30, 1909. It was sent by Freud on his only trip to the United States, where he delivered a series of lectures on psychoanalysis at Clark University in Worcester, Massachusetts. (courtesy Library of Congress)

Art Movements is a weekly collection of news, developments, and stirrings in the art world.

A number of cultural groups and organizations issued statements condemning President Donald Trump’s executive order limiting travel from seven Muslim-majority countries, among them the Getty, the American Alliance of Museums, and the United States Holocaust Memorial Museum.

The Guardian highlighted the plight of a number of artists whose work and activities have been impacted by the president’s executive order, including Oscar-nominated filmmaker Asghar Farhadi, sculptor Shahpour Pouyan, and musician Rahim AlHaj.

Art collector and philanthropist Eli Broad wrote an open letter to US senators Mitch McConnell (R-KY) and Charles E. Schumer (D-NY) in opposition to the nomination of Betsy DeVos as US Secretary of Education.

The Library of Congress digitized 20,000 items from the papers of Sigmund Freud. (A PDF documenting the collection can be downloaded here.)

A federal judge ruled that Glafira Rosales, the Long Island art dealer involved in the Knoedler forgery scandal, will not serve any further jail time.

Anish Kapoor, “I like America and America doesn’t like Me” (2017) (via Instagram/@dirty_corner)

Anish Kapoor created a new work, “I like America and America doesn’t like Me” (2017), in response to the Trump administration’s policies. The poster’s title refers to Joseph Beuys’s seminal 1974 performance, “I Like America and America Likes Me.”

Bailiffs removed a group of squatters from an unoccupied, £15–million (~$18.8 million) property in West London. A group of activists, the Autonomous Nation of Anarchist Libertarians (ANAL) entered the property on January 23 in order to make it available to the homeless. The Grade II-listed building belongs to Russian oligarch Andrey Goncharenko. The BBC’s art editor, Will Gompertz, opined that ANAL’s action belongs to a long tradition of arts activism: “Is there a huge difference between any of them [Assemble — the winners of the 2015 Turner Prize] and Anal? I don’t think so. Will they be shortlisted for the 2017 Turner Prize in Hull? I doubt it. But it’s not impossible.”

The Stop Trump Coalition pledged to stage “one of the biggest demonstrations in British history” in protest the president’s proposed state visit to the UK. A petition opposing a state visit has been signed by over 1.8 million people, making it the second-most popular petition on the government’s website.

Eike Schmidt, the director of the Uffizi and the Pitti Palace, pledged to dedicate more shows to female artists, a decision he attributes to conversations with the Guerrilla Girls.

The only known photograph of René Magritte’s “La Pose Enchantée” (1927). The image was included in the artist’s catalogue raisonné (courtesy Norwich Castle)

Norwich Castle decided not to physically remove a section of a lost René Magritte work that was discovered beneath another of the artist’s paintings. A section of Magritte’s “La Pose Enchantée” (“The Enchanted Pose”) was discovered underneath “La Condition Humaine” (“The Human Condition”) last year. It is thought that the artist cut the former painting into four sections in order to reuse the canvas. If this is the case, curators have yet to locate the fourth and final section of the work.

The Duke of Cambridge and Prince Harry announced the commission of a statue dedicated to Princess Diana.

New York City launched One Book, One New York, a program that aims to encourage New Yorkers to read the same book together.

Suphat Saquandeekul, Thailand’s deputy director of the office of intellectual property, resigned after stealing three paintings worth $125 from a hotel in Kyoto, Japan.

An unknown individual placed a fake exhibition label beside a fire extinguisher and other innocuous infrastructural items at the Centre Pompidou.

Transactions

Kara Walker, “40 Acres of Mules” (2015), charcoal on three sheets of paper, acquired through the generosity of Candace King Weir, Agnes Gund, and Jerry I. Speyer and Katherine Farley (© 2016 Kara Walker, photo courtesy the artist and Victoria Miro Gallery, London)

The Museum of Modern Art published a list of its recent acquisitions as part of its 2015–16 annual report. The list includes works by Bruce Conner, Laura Poitras, Avery Singer, James Turrell, and Kara Walker.

The Fine Arts Museums of San Francisco acquired 62 works by contemporary African American artists from the Southern United States from the Souls Grown Deep Foundation in Atlanta. The acquisition includes works by Thornton Dial, Ralph Griffin, Bessie Harvey, Mary T. Smith, Mose Tolliver, Annie Mae Young, and Purvis Young.

The Toledo Museum of Art acquired Dan Dailey’s “Orbit” (1987).

The Thompson Family Foundation donated $10 million to the Museum of the City of New York.

The Los Angeles County Museum of Art acquired Random International’s “Rain Room.”

The Dia Art Foundation acquired six works by Anne Truitt.

The Huntington Library, Art Collections, and Botanical Gardens acquired a 10-volume edition of The Life and Writings of John Muir (1916–24) that incorporates 260 original photographs, most by Herbert W. Gleason (1855–1937).

Herbert W. Gleason, “A Snow-Banner” (ca 1911), platinum print in William Frederic Badè’s The Writings of John Muir, The Mountains of California, pt 1, vol 4, Houghton Mifflin Co, New York (1916–24) (© and courtesy the Huntington Library, Art Collections, and Botanical Gardens)

Transitions

Elizabeth Mugar Eveillard was elected chair of the Frick Collection’s board of trustees.

Ari Wiseman stepped down as the deputy director of the Solomon R. Guggenheim Museum and Foundation.

Douglas Dreishpoon was appointed director and editor of the Helen Frankenthaler Foundation’s upcoming catalogue raisonné.

Mark Holcomb was appointed interim executive director of the Tacoma Art Museum.

Esther Bell was appointed senior curator of the Clark Art Institute.

Cindy Kang was appointed assistant curator at the Barnes Foundation, the first such appointment in the Foundation’s history [via email announcement].

Paul Jackson was appointed communications director of the New Museum.

Martijn Pronk was appointed Head of Digital Communication at the Van Gogh Museum.

Kate Lewis was named chief conservator of the Museum of Modern Art’s conservation center and department.

Sotheby’s appointed David Schrader, a managing director at J.P. Morgan, as head of private sales for contemporary art.

Phillips appointed Clarice Pecori Giraldi as its regional director for Italy.

Phillips appointed Dina Amin as its senior director and head of the twentieth-century and contemporary art department, Europe.

The New Art Dealers Alliance (NADA) elected a new executive committee.

The Saatchi Gallery launched a new commercial space named Salon.

The Humber Street Gallery opened in Hull.

Joyce Liu and Ivan Pun joined the board of Performa, and Richard Chang was named as its new president.

Accolades

Nari Ward, “We the People” (2011), shoelaces, 96 x 324 inches, collaboration with the Fabric Workshop and Museum, Philadelphia and the Speed Art Museum, Louisville. Gift of the Speed Contemporary 2016 (courtesy Lehmann Maupin, New York and Hong Kong)

John Akomfrah was awarded the Artes Mundi 7 Prize.

Nari Ward received the 2017 Vilcek Prize for the Arts. The Vilcek Foundation also awarded prizes to Iman Issa, Meleko Mokgosi, and Carlos Motta.

Annette Lemieux was awarded the 2017 Maud Morgan Prize.

Pioneer Works announced its 2017 residents.

Opportunities

Art F City is seeking commission pitches from artists and writers affected by President Trump’s policies. Submissions should be sent to [email protected] with the subject heading “Fuck Donald Trump.”

Smack Mellon launched an open call for its summer group exhibition, Race and Revolution: Still Separate — Still Unequal.

Obituaries

Dore Ashton (1928–2017), art historian and critic.

Philip Cannon (1929–2016), composer.

Alexander Chancellor (1940–2017), writer and editor.

Saloua Raouda Choucair (1916–2017), painter and sculptor.

John Hurt (1940–2017), actor.

Masaya Nakamura (1925–2017), toy and game entrepreneur. Producer of Pac-Man.

Lennart Nilsson (1922–2017), photographer. Best known for his images of human fetuses and embryos.

Paul Ornstein (1924–2017), psychoanalyst and Holocaust survivor.

Charles Recher (1950–2017), artist.

Chuck Stewart (1927–2017), photographer.

Emma Tennant (1937–2017), novelist.

John Wetton (1949–2017), bass player, vocalist and songwriter. Early member of King Crimson.

Max Wilcox (1928–2017), record producer.

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