The Museum of Modern Art in New York and the Warhol Museum have announced a partnership that will enable the digitization of about 500 film and video works that Andy Warhol made between 1963 and 1972. Starting this month, the institutions will begin to scan over 1,000 rolls of 16mm film shot by Warhol, turning them frame-by-frame into high-resolution digital images. The two museums are also enlisting the help of the Moving Picture Company for the project. Once digitization has been completed, all the films will be made available to the public.
Curator and writer Edward Leffingwell has passed away at the age of seventy-two. Art in America reports that the cause of death was cardiac arrest. Leffingwell served as Art in America’s corresponding editor from Brazil from 1989 to 2009, penning nearly four hundred contributions to the magazine. From 1988 to 1992, he acted as director of Los Angeles’s Municipal Art Gallery and director of visual arts for the City of Los Angeles’s cultural affairs department. He also acted as program director for MoMA PS1’s Institute for Art and Urban Resources, organizing exhibitions including “About Place: Contemporary American Landscape,” 1986, “McCracken: Heroic Stance: The Sculpture of John McCracken,” 1987, and “Michael Tracy: Terminal Privileges,” 1987.
The Chicago Artists Coalition has named Caroline Older executive director. Older has over two decades of experience working for nonprofits, having previously worked as managing director of development at the Chicago Humanities Festivaland as the executive director of the Arts Council of Greater Grand Rapids. She’s also held positions at the Whitney Museum of American Art, the Virginia Museum of Fine Arts, and the Metropolitan Museum of Art. The CAC’s mission is to “build a sustainable marketplace for entrepreneurial artists and creatives.”
The Berlin-based artist Simon Denny, who originally hails from Auckland, will be representing New Zealand in the next edition of the Venice Biennale. Denny’s work—which explores the rhetoric of technocorporate culture—appeared in the 2008 Sydney Biennale and the 2009 Brussels Biennale. He was also the only New Zealand artist included in the curated portion of last year’s Venice Biennale. Robert Leonard, chief curator of City Gallery Wellington, will organize the New Zealand pavilion.
"Simon Denny is one of the most high-profile New Zealand artists working internationally,” said Heather Galbraith, commissioner of the New Zealand pavilion at the 2015 Venice Biennale. “His intelligent, challenging work is characterised by its fascination with technological advancement and developing modes of communication.”
The Oklahoma City Museum of Art has hired Michael Anderson as its new film curator, according to NewsOK. Anderson was on the screening and program committees of the Starz Denver Film Festival, and has taught film, video, and history courses at Yale. As a critic, he’s also covered the New York Asian Film Festival and New York Film Festival. “His extensive education and love of cinema, paired with his film festival experience, will take the Oklahoma City Museum of Art’s film programming to a new level,” said the museum’s president and CEO, Michael Whittington.
The independent curator, art historian, and art consultant Richard D. Marshall has passed away. Marshall first studied at the University of California Irvine, and then the Independent Study Program at the Whitney Museum of American Art. From 1974 through 1993 he worked as a curator at the Whitney Museum of American Art, where he was responsible for organizing multiple biennials, as well as seminal solo shows featuring Jean-Michel Basquiat, Robert Mapplethorpe, and Louise Nevelson, among others.
As an independent curator, Marshall put together shows at the Museo Nacional de Arte Reina Sofia, Madrid, the Irish Museum of Modern Art, Dublin, and the Museo de Arte Contemporaneo, Monterrey, Mexico. Since 2003, he served as curator at the Lever House in New York. He was a former member of the authentication committee for Jean-Michel Basquiat’s estate, and also served as a board member of the Alexander Calder Foundation, New York, and as a trustee of the Museum of Contemporary Art San Diego.
Esther Bell has resigned as curator of European paintings, drawings, and sculpture at the Cincinnati Art Museum to assume the role of curator of European painting at the Fine Arts Museum of San Francisco. Bell was at the Cincinnati institution for twenty-one months, reports Julie Engebrecht of Cincinnati.com. Said Colin Bailey, director of the San Francisco museum: “We are delighted to appoint someone of Bell's caliber who brings a depth of knowledge and expertise that will benefit our future exhibitions and the museums' permanent collections.”
Roslyn Sulcas reported in the New York Times that the American Ballet Theater is giving the Library of Congress an archive of some 50,000 documents accumulated over the company’s seventy-four years. Contents include contracts for George Balanchine and Jerome Robbins, programs for dinners hosted in honor of the president of Ivory Coast and the prime minister of Japan, and tour records. “We knew we possessed a number of valuable documents, and we didn’t know how to care for them,” said Rachel Moore, ABT’s chief executive. “We knew that we didn’t have the expertise or resources to build our own archive.”
A Ukrainian artist whose mural parodied the leader of the country’s pro-Russia separatist movement has been abducted in the night, reports Gianluca Mezzofiore in the International Business Times. Artist Sergei Zakharov began making waves this summer in Donetsk for his art installations mocking the Donetsk People’s Republic. Among his works was a wood silhouette of the despicable protagonist in Mikhail Bulgakov’s novel Heart of a Dog, dressed in a DNR uniform. Another piece depicted pro-Russian leader Arsen Pavlov as a horned, diabolical creature.
According to a neighbor, who was roused by the barking of dogs, Zakharov was kidnapped in the evening by four armed men with DNR uniforms, who also made off with his laptop. When the neighbor asked where they were taking him, the men claimed to be a “rapid-response team” that didn’t know details beyond their mission of retrieving him. “He was taken to an unknown destination. We haven't been able to contact him. If anyone has any ideas about a possible release, please write to me in private,” implored a spokesman of his project on Facebook.
While a Ukrainian artist went missing, a Russian artist awaits his fate: Artnet’s Coline Milliard compiled an update on the status of Oleg Vorotnikov, founder of the Russian art collective Voina, who was arrested in Venice on June 27 after a bloody altercation with activists. According to the artist’s lawyer, Vorotnikov was recently released on bail, following a short stay in prison—but because Russia had put out a warrant for Vorotnikov through Interpol, it’s possible the dissident artist will be extradited to Russia. The provocateur’s group drew attention for torching a police car in 2011 and drawing a 200-foot-long penis on a bridge in Saint Petersburg, among other acts.
There’s some confusion over the circumstances of the fight: Vorotnikov’s family had moved into a hospice already occupied by anarchist squatters. At some point, their coexistence apparently grew tense: Via Facebook, Vorotnikov’s wife said that the “so called activists blocked our kids Kasper and Mama in the house, barricaded doors and when we came back they attacked me and Oleg with a metall tubes and bricks.”
What the janitors were to Joseph Beuys and Martin Kippenberger, the firefighters are to artist Holger Stark, wrote Barbara M÷ller Die Welt. The local firemen, deeming an installation by the artist at the Kunstsammlung Neubrandenburg a “fire hazard,” attempted to dismantle the work, which comprises a pile of wood seeming to burst forth through the front glass fašade of the building.
The kunsthalle managed to stop them at the last minuteand insists that the installation was safe. Due to the mayor’s request, however, the institution’s staff has been given additional overtime hours to guard the installation. Incidentally, Stark called the work Risiko (Risk), showed it in a gallery two years ago, where it also was dismantled due to its status as a fire hazard.
Writing in the Neue Zurcher Zeitung, Marc Zitzmann highlighted the tenth anniversary of the Maison Rouge in Paris, paying homage to the “small but fine institution” that reminds people, in Zitzmann’s approximate words, the institution doesn’t just feature art by every Tom, Dick, and Koons—or art used to “add flash to biennials and burnish the social standing of billionaires.”
Instead, the Maison Rouge—founded by Antoine de Galbert, the coheir to the Carrefour fortune—has staged exhibitions featuring work like Arnulf Rainer's art brut, Guy Shraenen’s record covers, and art videos by Isabelle and Jean-Conrad Lemaţtre. Wrote Zitmzann, “It is a house that likes to take its visitors into parallel universes, and that has reconciled many a skeptic, at least by featuring more peripheral positions and protagonists of contemporary art.” The space, Zitzmann noted, now sees about 100,000 visitors yearly.
El Salvador’s new president, Salvador Sanchez, opened his official residence to the public, with one special twist: He made it into an art gallery, exhibiting works by the country’s artists. “The residence will become a space where we can share with those who have been excluded,” said Sanchez at the opening of the new gallery, according to the BBC, which also reported that families of those who perished in the civil war—which took place in the 1980s and ‘90s—as well as human-rights activists, were among the first welcomed to the space. Sanchez said he would reside in the home he already owns, through the end of his term.