Innholdsfortegnelse for Fall 2016 i ARTnews

September Carmen Herrera Whitney Museum, New York September 16–January 2 In what has to be one of the most glorious, feel-good stories of the year, Cuban-born painter Carmen Herrera, aged 101 and still hard at work, is getting a 50-work, three-decade survey of her ingenious hard-edge abstractions. It will be her first solo museum show in New York in nearly two decades, and Dana Miller, curator and director of the Whitney’s collection, is in charge. When the Whitney debuted its new building last year, it hung a Herrera alongside pieces by Ad Reinhardt, John McLaughlin, and Agnes Martin. The ensemble looked right. This show seems likely to secure Herrera’s place among her better-known contemporaries. —Andrew Russeth William Kentridge Whitechapel Gallery, LondonSeptember 21–January 15 South African artist, filmmaker, and opera director…

Located in the heart of Uptown Charlotte, in the headquarters of Foundation For The Carolinas, the Luski Gallery is home to one of the South’s most-impressive glass art collections. Contemporary glass artists Lino Tagliapietra, Paul Stankard, and Michael Taylor along with painters Chuck Close, Cundo Bermúdez and Carlos Estevez are among the many artists currently featured in the more than 450-piece collection. Art collectors and philanthropists Sonia and Isaac Luski contributed much of the collection, fulfilling the family’s vision to create an accessible place for the community to enjoy their art. Foundation For The Carolinas serves as the civic hub for the Charlotte region, hosting thousands of visitors from throughout the nation each year. For nearly 56 years, the Luskis, who emigrated from Cuba in 1961, have collected works from…

One recent afternoon in Donald Judd’s old house in downtown Manhattan, the late artist’s children—Flavin and Rainer—were discussing their father’s career. Flavin has a boyish, unlined face framed by reddish-blond hair. Rainer inherited her slender build from their mother, dancer Julie Finch. Flavin, standing in the kitchen, froze abruptly, his pale eyebrows furrowing. “The meat thing is in the wrong place,” he said. “No!” his younger sister said, stricken. Absorbing this sacrilege from a balcony, she reconsidered. “Which meat thing? Oh! That meat thing. I actually moved it.” The meat thing was a morsa, a hefty, surgical-looking clamp designed to slice prosciutto. Flavin regarded the displaced device with consternation. “It’s not supposed to be here,” he said. “You can move it back,” said Rainer. Dust motes, let alone morsas, don’t…

The World is 9, a book accompanying Aida Muluneh’s exhibition of the same name at David Krut Projects, opens with a 2016 photograph of a woman covered from her neck down in a length of brilliant red cloth. The color is a startling contrast to her face, ears, and throat, which are all painted chalky white. A line of black dots bisects her face, as though marking some basic division of being. She wears her hair in a halo-like pouf. Her gaze is stern but tender. Whoever she is, whatever she represents, her presence demands attention. A series of photographs unfurls from this first image. Whether the woman is curled on the ground, standing gallant on a rise, or balanced on a ladder, hers is a painted face, a steadied…

In 2017 Mark Bradford will represent the United States at the Venice Biennale, with Brandeis University’s Rose Art Museum acting as the show’s commissioning institution. Bradford’s exhibition will be the second consecutive show for Venice’s U.S. pavilion presented by a university art gallery in the Boston area. (It follows Joan Jonas’s 2015 project for Venice, for which the MIT List Visual Arts Center was the presenting organization.) Boston’s small but storied campus galleries have long served as stepping-stones for museum curators and directors on their way up, including Contemporary Arts Museum Houston director Bill Arning; Museum of Contemporary Art, Los Angeles, chief curator Helen Molesworth; and Baltimore Museum of Art director Christopher Bedford. Although their target audience is nominally students and scholars, these institutions fill a vital need for noncanonical…

Ann Temkin, chief curator of painting and sculpture at the Museum of Modern Art in New York, recently framed the curator’s central dilemma in terms of the problem of storage: at any given moment, only a tiny fraction of a museum’s collection can be displayed, leaving the vast majority of its holdings to languish unseen in warehouses and vaults. At the same time, even as the storage rooms threaten to overflow, the imperative to collect persists; we no longer conceive of the museum as a repository of unquestioned masterpieces but as a living organism, open to debate and contestation, preserving the past and interpreting it according to the priorities of the present. A great many works find a more or less permanent home in the bowels of storage for good…

Art and venture capital are both about judgment, style, the message, and moving a cause forward,” said Richard Kramlich, cofounder of New Enterprise Associates. The venture capital firm, which invests in fledgling high-tech businesses that are initially unprofitable, is located on Sand Hill Road in a two-story building that is a cross between an alpine lodge and a 1970s suburban condo complex. Despite its unassuming middle-of-nowhere appearance, Sand Hill Road has the most expensive office space in America. Kramlich and his wife Pamela are adventurous collectors of video art but, at the office, the senior venture capitalist has curated an installation of photographs and prints. By the front door hangs a photograph by Darren Almond of the brightly colored prayer scarves that returning climbers leave at the base camp of…

This past April, I spent a week in Detroit. I grew up about 20 minutes outside the city, though I’ve been in New York for the last decade. My parents lived in the Detroit area for more than 60 years before joining the mass exodus from Michigan during the most recent recession. I no longer consider Detroit my home. There were images of the city that circulated in my mind, exaggerated by the fog of memory: vast fields covered in burned rubble where houses used to be; For Sale signs hanging from the ground-floor windows of skyscrapers; being propositioned as I walked to my car in a more or less abandoned section of downtown by a man who didn’t even seem to notice the blood pouring out of his own…

In mid-June, during the annual art fair here, an enormous banner hung opposite Basel’s convention center. The banner listed the current exhibitions in the canton’s museums as if to say, “Remember us?” Art fairs, with their frothy nimbus of money and celebrity, have lately been stealing fire from museums. But this year was different for Basel’s cornerstone institution, the 80-year-old Kunstmuseum, which had just completed an ambitious expansion in April. The elegant extension, designed by Basel-based architects Christ & Gatenbein, lacks the flexible room dividers so ubiquitous in other new museum buildings such as the Whitney. But as art historian Mechtild Widrich points out in her essay for a book devoted to the new building, the real contrast here is with the art fair, that most ephemeral of exhibition spaces.…

Most people, when they think of Rio de Janeiro, think of its sweeping beaches, inland lagoons, and tree-fringed mountains. But while the idea of Rio as fabulous tropical city can be apprehended, appropriated, amplified, and even fetishized, it’s just an idea. The reality is complex, unstable, and impossible to qualify. This is, in part, because the flip side of Rio’s heady mix of beach and urban culture is its chronic violence and inequality. The city’s social and economic fault lines regularly slip into tragedy, the result of persistent poverty, gang warfare, land conflicts, and police abuses. A June 2016 campaign by Amnesty International highlighted the more than 2,500 people killed by police officers in Rio since 2009, the year the self-proclaimed “Marvelous City” won its bid to host the 2016…

Bill Powers: Look at how decadent you are, with the window open in your studio and the AC blasting. Brian Belott: I’m wasteful, but I recycle, so it balances out. BP: I’ve never seen a box fan incorporated into one of your paintings before. Is that a new development? BB: Yeah, pretty much. At [the] NADA [art fair in New York] this year I was juggling box fans with my friend Billy Grant. We opened for Tyson Reeder’s performance Cold Steel. We’re doing this Clothesline project together at the Serpentine in London. BP: Is Clothesline the name of your collective? BB: Well, we have several working names: one is Clothesline, one is Christmas, one is George de George Hair Cuts Hair. BP: I don’t think of you as a performance…

The notion that collectors sit atop the hierarchy of today’s art world is axiomatic. They build private museums and control the boards of traditional ones. Through their acquisitions, they determine the fates of artists, and often overshadow curators, historians, and critics—all those ink-stained intellectuals who used to play a larger role in determining art’s value. And yet, one must not discount the supplier. On the primary market—the placement of new work straight from artists’ studios—art dealers often shape collectors’ tastes. On both the primary and secondary, or resale, markets, they shepherd artworks onto collectors’ walls (or, as the case may be, into their freeport storage spaces in Geneva or Singapore). In a recent profile of David Zwirner in the New Yorker, Nick Paumgarten wrote that “one prominent collector referred to…

Today’s refined traveler has high expectations and limited, valuable time to explore and be pampered. The art enthusiast faces the constant dilemma of discovering quality art experiences in interesting places that have not been overrun by kitsch and tourist traps. Places like Provincetown, Massachusetts, are rare indeed. If this were your typical story about arts tourism, the story of America’s oldest continuous art colony might be best told through a prism of Provincetown’s legendary traditions in the arts. “There is nothing quite like the light, seascape and the creative spirit found in Provincetown,” said Tony Fuccillo, Director of Tourism. “This is the reason why this place of exceptional scenic beauty, freedom of expression and un-common cultural character has remained an inspiration for artists and an oasis for art connoisseurs for…

There was little fanfare when bidders arrived at Sotheby’s headquarters at 1334 York Avenue May 9 for the auction house’s Impressionist and modern evening sale. Reporters murmured about the catalogue’s bloat and lack of buzzy eight-figure works, as did the few specialists who stopped by a pub a block away from Sotheby’s,called, appropriately, Murphy’s Law. After some introductory gavel-rapping from Oliver Barker, Sotheby’s cochairman of Europe and the evening’s auctioneer, there came a strong opening salvo: Maurice de Vlaminck’s Sous-Bois (1905) sold for $16.4 million and Paul Signac’s Maisons du port, Saint-Tropez (1892) for $10.7 million, solidly within their pre-sale estimates. But when Barker opened the bidding for André Derain’s Les Voiles rouges (1906), the proceedings stalled at $12.5 million, well below the work’s $15 million low estimate. The auctioneer…

Shanghai Night is a karaoke palace like no other—a lavish five-story complex with chandeliers, marble floors, and wood-paneled rooms for private parties. Visitors are astounded by the opulence, as well as by the young hostesses in white dresses who stand in the hallways with numbers pinned to their sides, waiting in hopes that some rich patron might hire them for the night. It seems crazy that such care would go into an establishment devoted to so pedestrian an entertainment as karaoke. But the most surprising aspect of Shanghai Night is its first-class collection of contemporary art: works by Olafur Eliasson, Tracey Emin, Antony Gormley, and Damien Hirst are all housed in display cases throughout the nightclub. Shanghai Night is the brainchild of Chinese collector Qiao Zhibing, who, in just ten…

After being closed for nearly three years of construction, the San Francisco Museum of Modern Art reopened to the public this past May with 170,000 square feet of exhibition space—more than double what it had before—and a boatload of marquee art on a 99-year loan from the collection of Gap founders Doris and Donald Fisher. The material in that haul is blue chip—curators will need to find ways to counterbalance its conservatism—but there is no doubting its towering quality. The museum’s opening was one of the main events on the art world’s spring calendar, and the usual globe-trotting suspects could be spotted all over town, many admitting that they had not been to the City by the Bay in some time. Galleries and museums, nonprofits and project spaces put on…

When I visited Los Angeles this past June, the city was having a queer moment, one anchored by history. Drawing from their 2011 joint acquisition of almost 2,000 artworks by Robert Mapplethorpe, the J. Paul Getty Museum and the Los Angeles County Museum of Art staged a two-part retrospective of the photographer’s work. Also at LACMA was Catherine Opie’s “O Portfolio” of the late 1990s, and at JOAN there was Aura Rosenberg’s “Head Shots” from the same decade. Bringing things into the present, but focused on exploring the recent past, was the freewheeling Queer Biennial II at various venues but with its opening and main group show at Industry Gallery DTLA in downtown. Is there a more affecting icon of the AIDS era than Robert Mapplethorpe’s 1988 Self-Portrait? He faces…