French dealer Emmanuel Perrotin will expand into a nearly 2,000-square-foot “office showroom” in Seoul, Korea, near the city’s National Museum of modern and Contemporary Art. The venue will include a bookshop for editions and gallery-published books, as well as exhibition space, according to the Art Newspaper’s Gareth Harris.
Perrotin will inaugurate his new outpost with a show featuring French artist Laurent Grasso, and then will highlight Kaws in June. Harris also hints that Perrotin is looking into the possibility of opening another space in the Les Moulins cultural complex in Boissy-le Châtel, though the dealer says, “We haven’t decided anything yet.”
Perrotin already operates two spaces in Paris, as well as one in New York and another in Hong Kong.
Amsterdam’s Stedelijk Museum announced that it received a major gift of over 600 contemporary artworks from the German collector Thomas Borgmann. An exhibition featuring these works is slated for November 2017.
Some of the artists included in Borgmann’s donation are Cosima von Bonin, Cerith Wyn Evans, Jack Goldstein, Jutta Koether, Lucy McKenzie, Paulina Olowska, Jorge Pardo, John Stezaker, Wolfgang Tillmans, and Christopher Williams.
Said Borgmann about the gift, “I have closely followed the Stedelijk ever since my first visit in the 1960s; this museum felt like a natural home for these works. The Stedelijk has always impressed me with its thorough knowledge and high professional standards. The dedication and care for the collection are a wonderful combination with the dynamic and daring exhibition program. With this donation I would like to underscore my close relationship with the museum and Beatrix Ruf.”
Following up on a story artforum.com reported on this past January, a man by the name of Robert Michael Slayton was arrested in Los Angeles’s Canoga Park neighborhood for the November 2015 theft of a trailer that had $250,000 worth of art in it by artists such as Chagall and Matisse, reports Veronica Rocha of the Los Angeles Times.
The trailer, which was stripped, was found in Slayton’s backyard. He was taken into custody on June 16, 2016 on suspicion of grand theft, then released only hours later on $70,000 bail.
Thus far, about $120,000 worth of the missing art was recovered.
The Getty Research Institute has announced that Fiona Tan will be the artist in residence for its 2016–2017 scholars program according to Robin Scher at Artnews. The institute’s annual research program will host forty-six scholars along with Tan at the Getty Center and Villa in Los Angeles, organized around the theme of “Art and Anthropology.”
Tan works in Amsterdam and her practice uses film and video to examine issues of identity, globalization, and collective histories. The program head Alexa Sekyra said in a statement about the residency: “In asking scholars open-ended questions about their disciplines, methodologies, and their relationships to other fields of research, we received top-tier proposals that span continents and eras. I’m excited to see the great work that will come out of this incoming group of exceptional researchers.”
Joshua Barone reports in the New York Times that three properties constituting the former residence and studio of architect Michael Graves will be bought by Kean University, where he helped to found the Michael Graves School of Architecture, for $20. The properties are in Princeton, New Jersey, where Graves founded his firm in 1964, and were originally gifted through Graves’s will to Princeton University but the institution rejected the gift.
The university said in a statement: “We were grateful to be able to consider the possibility of accepting Michael Graves’s properties, but concluded that we could not meet the terms and conditions associated with the gift.” The terms stipulated by his will included preserving the buildings and coordinating their use for educational purposes, a cost that Kean was apparently willing to take on. As the architect’s will stated that if Princeton did not accept the gift, it would be offered to another nonprofit, Graves’s firm approached Kean, which is located in Union, New Jersey, about purchasing the properties this year. That university’s president, Dawood Farahi, said that their annual maintenance was estimated at $30,000 to $40,000, and converting the buildings for students would cost about $300,000. The three properties have been appraised at a total value of nearly $3.2 million.
Collectively called the Warehouse, the house and studio will now be a resource center for studying the architect’s work as well as a space for lectures and studio education. It will also still be open to Princeton students, as the properties are adjacent to Princeton’s campus.
UNITAR satellite image of damages done to the main entrance at the Temple of Nabu. Photo: UNITAR-UNOSAT
The Art Newspaper’s Gareth Harris writes that the Islamic State has damaged the main entrance to the Temple of Nabu, a holy place built in the ninth century, located in the Assyrian city of Nimrud in Northern Iraq. UNITAR, the United Nations Institute for Training and Research, revealed satellite images taken on June 3 of the destruction. The gate and walls of the main entrance to the temple were built centuries later.
Colin Renfrew, a member of the British parliament’s House of Lords and an archaeologist at the University of Cambridge stated “In general, it seems that they [ISIS] do not have the knowledge to distinguish between modern reconstructions of buildings and the ancient remains. They display a formidable ignorance. But when explosives and bulldozers are used, some serious damage can be done.”
UNESCO’s director general, Irina Bokova, said “Extremists cannot silence history and their attempt to erase the memory of this region can only fail. The deliberate destruction of heritage is a war crime and must be punished as such.”
William Hicks of Heatstreet writes that Emma Sulkowicz, the artist who garnered attention for Carry That Weight, 2015, her BFA thesis project at Columbia University for which she carried a mattress with her everywhere on campus for a year to protest the school’s treatment of her rape allegations against another student, just received the National Organization for Women’s 2016 Woman of Courage Award.
In response to the award, the artist said in an entry on her Instagram account: “Camille Paglia has publicly called my artwork a ‘masochistic exercise’ in which I neither ‘evolve’ nor ‘move on.’ She speaks as if she, a white woman, knew what was best for me, a woman of color she’s never met. Many people ask me how I’ve ‘healed’ from my assault, as if healing were another word for ‘forgetting about it,’ ‘getting over it,’ or even ‘shutting up about it.’ To expect me to move on is to equate courage with self-censorship. The phrases—suck it up, move on, and get over it—are violence . . . I dedicate this award to everyone who has not told me to get over it. Thank you for validating my fear and my way of handling it. Thank you for creating a world in which we can tackle the things that terrify us by doing the unexpected right thing.”
Britain’s decision to leave the European Union has caused repercussions within the art market, writes Scott Reyburn of the New York Times. One of the aftershocks was felt most pointedly at a Phillips auction of twentieth-century and contemporary art held this week at its London headquarters.
Nearly $16 million worth of art sold last night from thirty-one lots (thirty-two percent of the lots went unsold), down from last June’s sale of equivalent works, which totaled more than $24 million from fifty lots (only sixteen percent of the lots didn’t sell).
Nonetheless, Morgan Long, a director of art investment at the Fine Art Fund Group, said, “They did a decent job, given this was the first sale of Brexit week. They dropped the reserves, buyers were thinking about currencies and there was deeper bidding on the some of the lots that sold than we’ve seen in a while.”
The King’s Cross Central Limited Partnership—a development coalition—has announced that Tamsin Dillon and Rebecca Heald will join the organization as new curators. The duo will lead the King’s Cross Project, a three-year plan for commissioning art throughout the sixty-seven-acre neighborhood, which boasts a large residential area and business community.
The area used to be booming with industry, but by the late twentieth century many buildings had fallen into disrepair. Plans for redevelopment began to move forward in 1996. In 2001, Argent was selected as a redevelopment partner, and in 2006 an outline—prepared by Allies and Morrison and Porphyrios Associates—for fifty new buildings, twenty new streets, ten new public spaces, and the restoration of twenty historic buildings as well as two thousand homes was approved. Since then, the University of the Arts London relocated to the area and companies such as Google, Louis Vuitton, and Universal Music have opened their doors there as well. The redevelopment team is now looking to add art to the mix. Works will be commissioned for both buildings and public spaces throughout King’s Cross.
Dillon was director of Art on the Underground—a contemporary art program that launched in 2000 to promote a greater understanding of the Tube as a cultural and social environment—for nine years. She also served as the interim head of exhibitions and displays at Tate Liverpool. Currently, she is a curator for 14-18 NOW. She is a founding member of the board of trustees for Turner Contemporary in Margate, a member of the commissioning group for the Fourth Plinth in Trafalgar Square, and a member of the new Arts on the Waterways advisory group. She is also a juror for the 2016 Turner Prize.
Heald is a curator who has worked in exhibition and education departments at Tate Britain, the Hayward Gallery, Sadie Coles HQ, and the Art on the Underground. Recent curatorial initiatives include “Thinking Tantra in Mumbai,” touring to London’s Drawing Room (2016); “The House of Ferment” with Grizedale Arts for Science Gallery London at Borough Market (2015); and a commission for Art on the Underground with American artist Trevor Paglen at Gloucester Road Tube station, London. She has served on the boards of Studio Voltaire, London, and the Liverpool Biennial and currently works as a tutor in curating contemporary art at the Royal College of Art.
Ian Freshwater, an Argent LLP project director, said, “We are proud to take forward this ambitious vision for an integrated program of temporary and permanent artworks, all developed with multiple audiences in mind and in many cases directly involving community participation.”
A total of 3,500 Nazi-looted artworks were sold by museums in Munich after World War II instead of being returned to their rightful owners, report Catrin Lorch and Jörg Häntzschel of the Süddeutsche Zeitung.
These artworks, found by the Monuments Men, a group of art experts appointed to locate and protect works stolen by the Nazis, were handed off to Bavaria’s State Paintings Collections so that they could be given back to their original owners. Instead, the organization sold and gave away the works to various parties, including relatives of higher-ups within the Nazi regime, according to a report by the Commission for Looted Art in Europe (CLAE), headquartered in London.
CLAE uncovered this while investigating the provenance of a piece by Jan van der Heyden that is currently in the collection of the Xanten Cathedral, in North Rhine-Westphalia. It once belonged to a Jewish family by name of Kraus, who were forced to leave Vienna in 1938.
The Van der Heyden was bought by Heinrich Hoffmann, Hitler’s personal photographer (Hoffmann’s daughter, Henriette, married Baldur von Schirach, the Third Reich’s youth leader). Hoffmann’s art collection, along with the art collections of other top-ranking Nazis, were taken into the custody of the Monuments Men after the war. However, after WWII, Henriette von Schirach bought back the Van der Heyden in addition to numerous other artworks and valuable objects, as did other members of Hoffman’s family.
Anne Webber of CLAE said, “It is particularly striking that the Hoffmann family was getting virtually everything back that it claimed with minimal proof of ownership and this went on for almost two decades. The burden of proof was much higher for claims from Jewish families—from the victims of these Nazi leaders.”
Shortly after buying the Van der Heyden, Von Schirach sold it to the Xanten Cathedral. The Xanten Cathedral Association, however, refutes the Kraus family’s claim to the work. The Bavarian State Paintings Collections has gone on record claiming it did not hinder the restitution of these stolen artworks. It says it is willing to locate “fair and just solutions” with the relatives of those who were robbed.