ArtNexus reports that Mexican curator and adviser Victor Zamudio Taylor has passed away; his death was confirmed by Fundación Jumex. Zamudio Taylor worked as an advisor to the Jumex foundation’s president, Eugenio López-Alonso. He was also a Rockefeller Foundation senior associate researcher at the National Museum of American Art and the American Art Archives, in Washington, D.C. He was responsible for shows including “Ultra Baroque: Aspects of Post Latin American Art,” exhibited at the Museum of Contemporary Art in San Diego in 2001, and “Cities Scape” staged at ARCO in 2006.
The shortlist for the 2014 Hugo Boss Prize has been released. Paul Chan, Sheela Gowda, Camille Henrot, Hassan Khan, Steve McQueen, and Charline Von Heyl are contenders for the prize, which is awarded every two years and includes one hundred thousand dollars as well as an exhibition at the Solomon R. Guggenheim Museum. Carol Vogel of the New York Times reports that while in the past finalists often included many emerging artists, this year’s list skewed toward more established practitioners—McQueen is a former Turner Prize winner and Henrot was the recipient of the Silver Lion for most promising newcomer at the 2013 Venice Biennale. Notably, half the nominees are women. The winner will be announced next fall with an exhibition slated for spring of 2015.
Amy Cappellazzo has announced that she will leave Christie’s to work as a private dealer and adviser, reports Carol Vogel of the New York Times. Said Cappellazzo: “The market has changed considerably. It’s now a vast industry and there are tremendous opportunities.” Cappellazzo, chairman of postwar and contemporary art development, has been with the auction house for thirteen years. In 2012 interview with the Wall Street Journal she noted: “When I think about private sales, I think about matchmaking—it’s literally about arranging love.”
Zoe Zhang Bing has been appointed curator of the Goethe Open Space for its 2013–2014 art program in Shanghai, which has been titled 9m2 Museum. Bing has acted as deputy director of Shanghai Duolon Museum of Modern Art and served as one of ten curators at the Kuandu Biennale in Taipei. In a press release, the institute states that the upcoming program is “an opportunity for artists to withdraw from their previous experience of exhibition-making and to reconsider the relations between art creation and exhibition, exhibition and space, and space and the art system.”
The Detroit Institute of Arts is a step closer to a potential grand bargain that would protect it from creditors in the city’s bankruptcy and still save city pensions that are currently at risk. The Detroit Free Press reports that the institution publicly welcomed a federally mediated deal that would turn the museum into a nonprofit, protect its art from sale, and generate five hundred millions dollars from various charitable foundations. These funds would go to retiree pensions on behalf of the value of the museum’s art. While there is no guarantee to this deal, the support of the institute is seen as a pivotal move forward.
Pia Catton reports in the Wall Street Journal that Chus Martínez is leaving her position as El Museo del Barrio’s curator. The museum, in East Harlem, acknowledged that she will step down at the end of next month, in order to take on “a professional opportunity that she couldn’t pass up.” Martínez, who worked there for a little over one year, seems to be stepping down in the wake of several other departures at the institution, including that of Margarita Aguilar, the museum’s former director, who was fired in February.
GalleristNY reports that Michael Findlay, director of Acquavella Galleries, has been elected to the New York Foundation for the Arts’ board of directors. Honored by the NYFA last year for his philanthropic work, Findlay was the first US dealer to show work by Joseph Beuys and Sean Scully, according to the NYFA’s press release. In 1984, he joined the staff of Christie’s, and in 1992 became a member of the board of the auction house, as well as its international director of fine arts. Discussing his new role with the NYFA, Findlay said: “I am honored to be joining the board of one of the leading arts service organizations in the country . . . . At a time when government funding for the arts is under fire, artists in all disciplines need vital support now more than ever.”
Michael Brown has been hired as the San Diego Museum of Art’s associate curator of European art. Beginning his new role in January of next year, Brown will oversee the development of permanent collection installations and related exhibitions, and contribute to the museum’s provenance research and art acquisition programs. Brown was most recently a post-doctoral research associate at the Denver Art Museum, where he was responsible for organizing the show “Personal Effects: Art and Home in South America.” As a writer, he’s contributed essays to catalogues put out by the Brooklyn Museum, the Denver Art Museum, and Fomento Cultural Banamex in Mexico City.
French filmmaker Edouard Molinaro has passed away at the age of eighty-five, reports Steve Chawkins of the Los Angeles Times. Over his career, Molinaro made more than thirty feature films, including the widely acclaimed La Cage Aux Folles (1978), which brought him an Oscar nomination for best director in 1979. The film was later turned into a Broadway play, which won several Tonys, and was adapted into the 1996 film, The Birdcage. Noting his intentions with the film, Molinaro told the New York Times in 1981 that he wanted to “make a comedy enabled [him] to tackle the question [of the gay community being largely represented in dramas and not comedies] in a non-racist wayso people would laugh with, not at, homosexuals.” In a statement paying homage to the filmmaker’s death, France’s President, Francois Hollande, lauded Molinaro for working with some of the best French actors and having a storied career: “Our country lost a great, appealing, and original filmmaker.”