A New York State Supreme Court judge has ruled that the Orange County Government Center in Goshen, NY, can be revamped and overhauled, despite its historical value as a Brutalist building designed by architect Paul Rudolph, according to the New York Times' Robin Pogrebin.
Chair of the architecture department at Yale University from 1958 to 1964, Rudolph famously designed the school’s art and architecture building, and taught students including Norman Foster and Richard Rogers.
Hoping that Rudolph’s concrete space could be repurposed and kept largely intact, three opponents of the renovation had sued the county, asserting that it was a waste of taxpayer currency. They’ve now filed an appeal. Steven M. Neuhaus, an Orange County executive, said, “It is my hope that this delay will not impact the bid prices.”
ArtsWave has announced almost $10.4 million in grants and initiatives for Greater Cincinnati institutions, reports the Cincinnati Enquirer’s Carol Motsinger. The largest united arts fund in the country, according to Motsinger, ArtsWave will be giving the bulk of its money to thirty-five groups, with an additional $435,000 going to sixty smaller projects and partnerships.
Grantees include the Cincinnati Art Museum, which is receiving $1,635,000; the Contemporary Arts Center, which has been promised $405,000; and the Taft Museum of Art, which will get $320,000.
ArtsWave’s president and CEO Alecia Kintner called the grants “an enviable Cincinnati tradition” that “demonstrates the community’s deep belief that the arts are essential to making our region an amazing place to live.”
Miami’s city council has voted to approve about $1.8 million in funding for the Museum of Contemporary Art North Miami. Included in that amount is a $650,000 loan that the museum’s nonprofit wing, MOCA, Inc., will receive to build an “organizational and physical framework” that’ll help the institution work with private donors and apply to grants, reports the Miami Herald’s Lance Dixon. Dixon also notes that the newly approved funding follows a $500,000 loan the city granted the museum last fall to assist with Art Basel programming.
“There is no downtown—there is no city redevelopment—without restructuring and maintaining the image of MOCA and we have to be serious about that,” said mayor Smith Joseph.
The board of trustees at the Whitney Museum of American Art announced today that they have elected Neil G. Bluhm and Laurie M. Tisch as cochairs and Richard M. DeMartini as president, effective July 1, 2015. DeMartini, the board’s former treasurer, succeeds Bluhm as president while as cochairs Bluhm and Tisch succeed Robert J. Hurst and Brooke Garber Neidich, who led the board for the past seven years through the Whitney’s transition from its Upper East Side location to its new residence in the Meatpacking District. Neidich will continue to serve as a trustee along with Hurst, who chaired the Whitney’s recent capital campaign.
In addition to serving on the Whitney’s board of trustees since 2003, Neil G. Bluhm is also a trustee at Northwestern University, a member of the board of directors of Northwestern Memorial Foundation of Northwestern Memorial Hospital, and a member of the board of trustees and chairman of the Investment Committee of the Art Institute of Chicago.
Elected to the Whitney’s Board in 1996, Laurie M. Tisch is president of the Laurie M. Tisch Illumination Fund and was the founding chair of the Center for Arts Education and the Children’s Museum of Manhattan. At the Center for Arts Education, she led a campaign to restore arts education in public schools by raising $40 million. Tisch is also a vice chair of the board of directors and a member of the executive committee and the development committee at Lincoln Center for the Performing Arts.
Richard M. DeMartini was elected to the Whitney’s Board of Trustees in 2007 and leads the financial services strategy sector of the private equity firm Crestview Partners. DeMartini also served as president of Bank of America’s asset management group from 2001 until 2004 and was prior to that a chairman and CEO of Morgan Stanley’s international private client group.
This past Friday, animal rights activists began protesting at the current Jannis Kounellis exhibition of a work originally from 1969 titled 12 Horses and featuring twelve real horses in the gallery space at Gavin Brown’s in the West Village, reports Eileen Kinsella at Artnet. The activists showed up at the gallery with signs protesting the horses’ presence in the exhibition, with one sign reading, “It’s not art, it’s animal abuse.” Brown himself was reportedly trying to talk to the protesters though a spokesperson for the gallery said Brown has declined to comment.
This is the final exhibit at Gavin Brown’s current location before the gallery relocates to Harlem. The Jannis Kounellis show runs through June 27.
The Museum of Contemporary Canadian Art in Toronto has signed a contract that will move it into the first two-and-a-half floors of the Tower Automotive Building, which will be revamped, reports James Adams in the Globe and Mail. The renovation, which is expected to be completed in late 2016 or early 2017, will cost the museum six million dollars. Coming after some six years of meetings, discussions, and negotiations the museum held with forty-seven developers and landowners, the deal will give the institution three times more space than its current 10,600-square-foot site, which it has occupied since 2005.
“We’ re looking at this as our permanent home, for all intents and purposes,” said David Liss, the artistic director and curator of the museum.
The Missoula Art Museum in Montana is appointing a new curator as another steps down. According to The Missoulian’s Cory Walsh, Stephen Glueckert, senior exhibitions curator, has revealed his plans to depart. In his long career at the museum, Glueckert helped begin the museum’s Montana Triennial, a statewide survey of contemporary art. He was also instrumental in staging exhibitions featuring artists from Miriam Schapiro (who recently passed away) to Jacob Lawrence (currently the subject of a retrospective at the Museum of Modern Art in New York).
In turn, Brandon Reintjes has been hired to fill the position Glueckert is leaving. Reintjes has organized exhibitions at the University of Montana’s galleries, and has been curator of art at the Montana Museum of Art and Culture since 2009. “He has the passion for contemporary art that we do at MAM,” said Millin.
The Independent Art Fair has found a new home in Spring Studios in TriBeCa. It‘ll be relocating from its previous space on West Twenty-second Street, a space that once housed the Dia Center for the Arts. The new studios occupy the upper half of Fifty Varick Street, in a space that the Tribeca Film Festival and New York Fashion Week have also used for events and offerings.
Independent’s next iteration will take place from March 3 through March 6. In its new location, it‘ll have access to more than twenty-five thousand square feet of space, overlooking St. John’s Park.
“The majority of the art world has never seen this space,” said Matthew Higgs, Independent’s creative adviser. Architect Jonathan Caplan will oversee the exhibition design of Spring Studios for the next edition of Independent. Higgs and Elizabeth Dee, the fair’s cofounder, said that the November 2016 edition of the fair, called Independent Projects, will focus on work only by female artists.
Jessica Gelt reports in the Los Angeles Times that the Getty Foundation has announced a second round of grants for the Keeping It Modern conservation initiative, which supports the study, preservation, and maintenance of modernist architecture across the world. This time, grants totaling more than $1.75 million have been awarded to fourteen buildings all built in the twentieth century across eight countries.
The foundation selected the winning structures based upon their potential to function as a model for conservation practices. They include: Erich Mendelsohn’s Einstein Tower in Potsdam, Germany; Marcel Breuer’s St. John’s Abbey and University Church in Collegeville, Minnesota.; Frank Lloyd Wright’s Unity Temple in Oak Park, Illinois; Bauhaus founder Walter Gropius’ residence in Lincoln, Massachusetts; and James Strutt’s residence in Ottawa, Canada. This year the foundation is giving its first implementation grant to Wright’s Unity Temple, where the money will be used for conservation. Prior grants were issued strictly for research and study so that the local guardians of the structures could come up with their own preservation plans.
Other buildings receiving grants from this second round are Charles Rennie Mackintosh’s Hill House in Helensburgh, Scotland; Pierre Jeanneret’s Gandhi Bhawan (Gandhi Center) in Chandigarh, India; Joao Batista Vilanova Artigas and Carlos Cascaldi’s School of Architecture and Urbanism at the University of São Paulo; Gerrit Rietveld’s Schroder House in Utrecht, Netherlands; Michel de Klerk’s Het Schip in Amsterdam; George Nakashima’s Arts Building and Cloister in New Hope, Pennsylvania; the Giancarlo de Carlo Collegi buildings at the University of Urbino in Italy; Paul Rudolph’s Jewett Arts Center at Wellesley College in Massachusetts; and Jorge Ferreira’s Arthur Neiva Pavilion in Rio de Janeiro.
The first round of Keeping It Modern grants announced last fall provided funding for the study of ten structures, including Jørn Utzon’s Sydney Opera House in Australia, Frank Lloyd Wright’s Robie House in Chicago, and the Ray and Charles Eames’ residence in Los Angeles.