The seventh edition of the ArtPrize competition has announced the list of winners for this year. In the public vote category, the grand prize winner was a piece by Loveless PhotoFiber titled Northwood Awakening, while in the juried award section the grand prize winner was Kate Gilmore for a project called Higher Ground. Gilmore’s piece, staged in a house at the Rumsey Street Project in Grand Rapids, Michigan, featured nine women on swings mounted from the house’s ceiling and in front of open windows.
Other winners in the juried prize section include, in the 2D category, The Fearless Brother Project Presents: Realistic Neglects A Graphic Series, by Monroe O’Bryant, and The Last Supper by Julie Green in a 3D category.
David Zwirner has announced that they now represent the estate of German artist Sigmar Polke, who was the subject of a major retrospective at MoMA last year. As Zwirner himself noted in a statement released by the gallery, “being able to work with The Estate of Sigmar Polke is a dream come true. Growing up in Cologne, I had the great fortune of meeting Sigmar and witnessing firsthand the enormous influence he exerted on his generation and the ones that followed. His creativity and curiosity knew no bounds, and his ability to innovate across different media is unparalleled.”
The first planned exhibition of Polke’s work at the gallery in collaboration with the estate is scheduled for May 2016.
The chief executive of BBC Worldwide, Tim Davie, has been added as a trustee at the Tate. His appointment is for four years and was made by Prime Minister David Cameron. Davie currently develops the BBC’s international brand and editorial strategy and was previously the director of BBC Audio & Music (now known as Radio). He is the chair of the U.K. charity Comic Relief and co-chairs the UKTI Creative Industries Strategic Advisory Group.
Kapwani Kiwanga is the commissioned artist of the 2016 Armory Show. The show’s Focus curators, Julia Grosse and Yvette Mutumba appointed the Paris-based artist known for using social science and anthropology to “unsettle hegemonic narratives where marginal discourse can flourish,” according to the Armory. She had a solo show “Maji Maji” at Jeu de Paume, and her work has been in the Center Pompidou, Paris and the Glasgow Center of Contemporary Art.
The South African artist, William Kentridge, has given the collection of his archive and art—including films, videos, and digital works—to the George Eastman Museum in Rochester.
The museum’s director, Bruce Barnes, called Kentridge’s donation “the most important acquisition of contemporary art in the museum’s history.”
The museum will devote its 500-seat theater to screening some of his films. A major retrospective of Kentridge’s work will probably not occur before 2019, however, since shows have been programmed for the next three years.
A collection of one thousand paintings, sculptures, and other artworks by da Vinci, Michelangelo, Rembrandt, owned by octogenarian Nina Moleva, has been bequeathed to President Vladimir Putin, reports the Moscow Times’s Layli Foroudi. Policemen on duty outside the apartment building say they have been keeping watch for two years. The artwork together is worth a reported two dollars billion.
Moleva’s late husband was Ely Belyutin, an avant-garde artist; the couple has long reported that the collection was begun by Belyutin’s grandfather, Ivan Grinyov. Moleva had formerly offered it to the Pushkin Museum of Fine Arts, but the museum had refused to accept the collection. Rumor has it that many works are fake, however, and that Ivan Grinyov was a mere invention.
“The collection has become a bit of a myth,” said Valentin Dyakonov, a curator and critic at the Kommersant. “It would have been difficult to find such items, and nobody knows where the art came from.”
In recent years, several philanthropists offering multimillion-dollar gifts have made headlines by asking receiving institutions to bear their name. But that demand may not always be legally allowed, according to a new court ruling. The New York Times’ Benjamin Mueller and Kristin Hussey report that the wife of the Wall Street financier Sanford I. Weill, Joan Weill, recently offered a twenty-million-dollar donation to Paul Smith’s College, in northern New York State. Weill owned a home in the forested lands nearby and had come to admire the school’s mission. But “Weill’s only condition—one that experts say is becoming more common among major donors—was that the institution become Joan Weill-Paul Smith’s College,” wrote Mueller and Hussey.
A state judge rejected Weill’s strings-attached gift, ruling that her donation did allow the college to infringe on a provision in its founder’s will attaching his father’s name to the college forever.
The debate is one that’s increasingly relevant in philanthropic circles, with Avery Fisher Hall in New York becoming David Geffen Hall, and the Miami Art Museum being reanointed as the Jorge M. Pérez Art Museum of Miami-Dade. “The decision sent a strong message to other organizations that perpetual naming agreements would not be lifted easily, and it left the fate of Weill’s gift in doubt,” wrote Mueller and Hussey.
“This decision is a big, big deal,” said Doug White, a Columbia University professor who advises philanthropists and nonprofits. “It’ll help define what the court system thinks of the idea of changing the name of an organization like this.”
In tribute to Chantal Akerman, who recently passed away, the New York Film Festival has added free showings of two of her films, the landmark “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles,” 1975, and “Chantal Akerman by Chantal Akerman,” 1997, according to the New York Times’ Stephanie Goodman.
“No Home Movie,” Akerman’s most recent film, was already making its debut at the festival; Artforum.com’s Melissa Anderson called it a “tender, at times deliberately agonizing portrait.”
The National Museum of Women in the Arts has announced the most recent recipient of the Suzanne and James Mellor Prize for distinguished scholarship on women artists. The winner of the fifty-thousand-dollar grant is Jo Applin, who has proposed the monograph Not Working: Lee Lozano Versus the Art World 1961–1971.
Applin is a senior lecturer in modern and contemporary art, currently on leave from the University of York as the recipient of a Philip Leverhulme Prize. She is the author of two books, Eccentric Objects: Rethinking Sculpture in 1960s America (2012) and Yayoi Kusama: Infinity Mirror Room—Phalli’s Field (2012). She has contributed to Artforum, Map, Modernism/Modernity, Oxford Art Journal, Sculpture Journal, and the Times Literary Supplement.
Applin will look at how American artist Lee Lozano engaged with and ultimately rejected the notion of “work,” ceasing to work entirely and to drop out of the art world.
Each year, the award recognizes a project of scholarship “that disseminates the highest quality of groundbreaking research on women artists from any time period and country of origin,” in the museum’s words.