Lisa Oppenheim has joined Tanya Bonakdar, the gallery reported last night. For some time, Bonakdar has followed the career of the experimental photographer and filmmaker, the gallery says. Over the past year, however, Bonakdar became more closely acquainted with the artist through visits to her Brooklyn studio. “Lisa is committed to process: looking at the historic roots of photography, all the way back to Henry Fox Talbot, analyzing them, and then pushing those ideas forward into contemporary photography, with her innovative use of materials that combine the traditional with the new, the historic with the unconventional,” said Shawna Cooper, the gallery’s associate director.
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Five-year Pérez Art Museum Miami director Thomas Collins (better known as Thom) will now return to his native Philadelphia as the new director of the Barnes Foundation. He’ll be taking over for COO and CFO Peg Zminda, the acting director after the 2013 departure of Derek Gillman — who recently announced his new position at Christie’s as chairman and senior vice president of Impressionist and Modern art. “Thom is a national leader in the visual arts and is recognized for his expertise and breadth of knowledge in education and art history,” Joseph Neubauer, chairman of Barnes’s board of trustees, said in a statement. ”His track record in museum leadership, community outreach, and development makes him the right choice to lead the Barnes Foundation at this time.” Before PAMM, Collins worked for five years as director of the Neuberger Museum in Purchase, New York — and before that, he held posts at Baltimore’s Contemporary Museum, Cincinnati’s Contemporary Arts Center, Seattle’s Henry Art Gallery, and MoMA. “With its world-class collection, critically acclaimed new building, award-winning programs, growing membership and engaging array of courses in art and horticulture, the Barnes has become increasingly accessible to a more diverse audience than ever before,” Collins said in a statement. “It will be a privilege to lead the Barnes Foundation in its next chapter.”
Just in time for the holidays we have the sparkling trailer for “Woman in Gold,” the uplifting film starring Helen Mirren as Maria Altmann, known for her successful lawsuit filed in 2000 against the Republic of Austria forcing them to return work by the painter Gustav Klimt which fell into the hands of the Nazis after the annexation of Austria in 1938.
I became a towel person thanks to the dying battery of an electric golfcart-taxi and the sudden onslaught of torrential Floridian rain. The original plan for last night was to take in Ryan McNamara’s “MEƎM 4 Miami,” which proved impossible due to that pair of obstacles, not to mention Miami’s anemic traffic creep. We instead hid out from the elements at the Edition, the just-opened luxury hotel on Collins Avenue that has been hosting approximately 78% of the after parties for this year’s Art Basel Miami Beach. It was the location for a performance later that evening by gonzo artist duo Freeman/Lowe, entitled “Shadow Pool: A Natural History of the San San International.” My travel companions — a writer who penned a Modern Painters cover story on Freeman/Lowe, and an artist who has previously worked with them — mentioned that the pair was still looking for performers to round out the evening’s cast. It seemed like a more interesting proposition than standing on a lawn taking selfies with new John Baldessari sculptures, and so we got sucked into the slightly chaotic, albeit well-staffed, production of “Shadow Pool.”
Among the solo presentations at Pulse’s new beachfront tent is Bloomington, Indiana’s Pictura Gallery, who have lined their booth with David Magnusson’s solemn, pale-toned photographs of fathers and daughters posing prom-style before vast expanses of desert. We caught up with Magnusson to ask him about the story behind the striking works — and his response was so good, we just had to quote it in full:
“These are pictures of young girls with their fathers who participated in Purity Ball ceremonies arranged by conservative Christian organizations in the south and southwest. A Purity Ball is a ceremony where the girls promise to stay pure and remain abstinent until marriage, and their fathers promise to protect their daughters in their decisions. Coming from Sweden, which is one of the most secular countries in the world, I just had the picture of crazy American fathers sitting on porches with big shotguns, prepared to do whatever it took to protect their baby girls — but I was fascinated by the use of symbolism from marriage ceremonies, so I started to read everything I came across.
So last night was the night that Jeffrey Deitch brought Miley Cyrus to Art Basel so that she could sing “Lucy In The Sky With Diamonds” with Wayne Coyne of the Flaming Lips, the both of them tucked inside a giant plush rainbow costume. It was a night that most people seemed eager to hate the hell out of. Cyrus, wearing a glittery wig and gleefully slapping whatever female posterior twerked its way toward her on stage, was foul-mouthed and lovable, mostly. She let us know that, contrary to her normal protocal for performance days, she had indeed drank and smoked weed in advance of her set. She gave a long, rambling, self-deprecatory explanation of her recent endeavors into the world of contemporary art, after which she started talking about someone’s dead cat, and sang a pretty good piano ballad about the dead cat (even though it’s banging-key histrionics did slightly recall Dana Carvey’s classic “chopping broccoli” riff).
German multimedia artist Christian Jankowski will be the chief curator for Manifesta 11, Europe’s contemporary art biennial, scheduled to take place in Zurich in 2016. “For the first time in Manifesta’s history, an individual artist will take the position of Chief Curator and will work on a project for an entire urban environment,” said Hedwig Fijen, Manifesta’s director and chair of the curatorial selection committee, in a press release. “Jankowski will investigate the whole array of art’s authorship, its production and its reflection on Zurich’s professional landscape. In doing so, Manifesta 11’s Chief Curator approaches the complex identities of the city in an unexpected way, reaching out to audiences beyond the inner circle of contemporary art biennials.” Based in Berlin, Jankowski participated in the Venice Biennale in 1999 and 2013, and in the Whitney Biennial in 2002; his work often consists of large-scale performance pieces that engage large numbers of participants, some of them unwitting. For example, in 2009, he staged “Strip the Auctioneer,” a performance held at Christie’s in Amstersam, in which auctioneer Amo Verkade sold off his clothing piece by piece.
On behalf of Independent Curator’s International (ICI), Nancy Spector, deputy director and chief curator of the Guggenheim Foundation, has made her choice for winner of the Independent Vision Curator Award: Eva Barois De Caevel, a Paris-based independent curator, assistant curator of Raw Materials in Dakar, and co-founder of Cartel de Kunst, an international emerging-curator collective. “Eva Barois De Caevel’s unflinching curatorial practice tackles some of today’s most urgent issues, including sexuality and human rights, in a postcolonial world,” Spector explained in a press release. The award, which includes a $3,000 stipend, will be presented to De Caevel on November 17 at ICI’s annual benefit auction.
A new art fair is set to join the Miami ranks this December. Called Concept, it will take place on the Seafair mega yacht docked in downtown Miami’s Bayfront Park and focus on “blue chip secondary market work by modern and contemporary masters,” according to press materials. Just down from the city’s new Perez Art Museum, the seafaring fair will have 35 exhibitiors, which have yet to be announced. Created by Next Level Fairs, Concept will run from December 2 through 7.
Though film history includes stories of early productions featuring predominantly black casts, such as 1913’s “The Pullman Porter” and 1914’s “Uncle Remus’ First Visit to New York,” all actual copies of these films have since disappeared — that is, until now. Found in MoMA’s archives, an untitled film print starring Caribbean American musical theater actor Bert Williams has been dated back to September of 1913 and will debut at the museum later this fall.