Art Industry News: Vanity Fair Charts How the Gallery World’s ‘Art Boys’ Became Catnip to Celebrity Girlfriends + Other Stories

Plus, a Gagosian veteran joins Levy Gorvy and an open letter criticizes Tate's ongoing relationship with Anthony D'Offay.

Vito Schnabel and Amber Heard at the Wimbledon Tennis Championship in 2018. Photo by Neil Mockford/GC Images.

Art Industry News is a daily digest of the most consequential developments coming out of the art world and art market. Here’s what you need to know this Friday, April 26.

NEED TO READ

MoMA Confirms Major Judd Survey in 2020 – First announced four years ago, the Museum of Modern Art’s planned survey of Donald Judd’s work disappeared from the calendar for a time. Now it has re-emerged, and is finally due to open in March 2020. Sixty works, including Judd’s paintings, drawings, and sculptures, will fill the newly expanded museum’s sixth floor. Despite Judd’s status, there has not been a major US museum survey of his work since 1988. The show, which will be organized by Ann Temkin, aims to overturn the oversimplified view of the influential minimalist pioneer’s work and ideas. (ARTnews)

Artists Call Out Tate’s Resumed Links With Anthony d’Offay – A year after allegations of sexual harassment against Anthony d’Offay became public, the Tate has come under fire for resuming contact with the prominent arts patron and former dealer. An open letter spearheaded by Manchester-based artist Jane Dawson and signed by more than 40 others, including a number of artists who have exhibited at Tate, asks what steps the institution took to conduct a thorough investigation of the allegations before restoring its relationship. (Guardian)

Why Celebrities Love Dating Art Dudes – Here’s one side effect of the global art boom you may not have considered: it has been very good for young, well-heeled men who work in the industry and now have a chance to date celebrities. Vanity Fair connects the dots on the trend, naming, among others, Gladstone director Cooke Maroney (engaged to Jennifer Lawrence), dealer Vito Schnabel (spotted with Amber Heard), and artist Ben Shattuck (romantically linked to Jenny Slate). “The Art Boy is a regular guy with a twist,” the magazine explains. The partnerships involve “each party to the deal conferring upon the other an air of respectability and coolness that would be otherwise impossible to achieve.” (Vanity Fair)

François Pinault Prepares for His Next Grand Opening – In a rare interview, Pinault offers a sneak peek at the much-anticipated, under-construction spectacle he is building on the site of the historic Bourse de Commerce in Paris. The museum, designed by architect Tadao Ando, is due to open next year. The Pantheon-like building will present 10 shows a year from the French billionaire’s blue-chip contemporary art collection, plus star loans. He also revealed he will team up with the Centre Pompidou in 2020 for an exhibition of work by a “world-famous” male artist he declined to name. Noting how prices can quickly inflate while curators and administrators in French museums debate acquisitions, Pinault said, “Only a madman like me can decide to buy them fast.” (New York Times)

ART MARKET

Artvest Sells Its Stake in TEFAF New York – The American art advisory has sold its 49 percent stake in the New York edition of the art fair just days before its spring edition is due to open, ending a nearly yearlong legal tussle over its rightful ownership. The European Fine Art Foundation, the Dutch nonprofit group that co-founded the New York fair, is now the full owner. (The Art Newspaper)

Lévy Gorvy Hires Longtime Gagosian Director – Victoria Gelfand-Magalhaes, a 15-year veteran of Gagosian gallery, is joining the far more boutique art dealership Lévy Gorvy as its president of Europe. The news comes soon after Gagosian announced an organizational reshuffling, though Gelfand-Magalhaes says her move has been in the works for quite some time. She will focus on expanding the gallery’s primary program and its art advisory business. (FT)

Gagosian’s Key Role in the Market for Late Picassos – Ahead of Sotheby’s sale of two late works by Picasso, the auction house’s Julian Dawes looks back at the key role Gagosian’s 2009 show “Pablo Picasso: Mosqueteros” played in the appreciation of his late work. The show, organized with help from Picasso’s late biographer John Richardson, was key in developing a taste for them among high-end contemporary art collectors. “The parallels to de Kooning and Basquiat, among others, became clear,” Dawes says. (Art Market Monitor)

Jack Shainman Presents “Basquiat x Warhol” – Jack Shainman Gallery is planning an exhibition of collaborative works made by Jean-Michel Basquiat and Andy Warhol during the 1980s. The show, which runs from June 1 to September 7 at the gallery’s space in Kinderhook, New York, will present seven paintings they made together, alongside a few solo works by each artist. Thirty years on, the collaborations look “so strong and so fresh,” Shainman says. (ARTnews)

COMINGS & GOINGS

Frieze Books Its Return to Paramount – Frieze Los Angeles will return to Paramount Studios from February 13 through 16 next year for its sophomore edition, the fair has confirmed. Director Bettina Korek says she hopes the weather will be better this time around. (Los Angeles Times)

Is the Planned Banksy Gallery in Port Talbot on Ice? – The art dealer who bought the Banksy mural that appeared in the industrial Welsh town over Christmas says his plans to build the UK’s first street art museum are being thwarted by bureaucrats. John Brandler says trying to get the museum approved by local authorities is like “bashing my head against a wall” and that the red tape may mean the museum never gets built. (Guardian)

UK Museum of the Year Shortlist Announced – The Art Fund has shared this year’s shortlist for its Museum of the Year award. The five museums are: the V&A Dundee in Scotland, Wales’s St Fagans National Museum of History, the maritime museum HMS Caroline in Belfast, Oxford’s Pitt Rivers Museum, and Nottingham Contemporary. The winner is due to be announced on July 3. (TAN)

FOR ART’S SAKE

Dispute Over Biennial Air Conditioner Goes to Court – Organizers at the Kochi-Muziris Biennale are in hot water after they offered equipment and materials from its latest edition, including televisions, speakers, and projectors, for sale at auction. Among the offerings was a $32,000 air-conditioning unit made by the company Imperium Engineers, the sale of which has now been prohibited by a court injunction due to claims that the biennale organizers never fully paid for it. The case is one of several disputes over underpayment and non-payment of employees who worked on the event. (ARTnews)

Ross Bleckner Makes His New York Comeback – The artist’s show at Petzel Gallery is his first in New York for five years. It is also his first since the fall from grace of his longstanding dealer Mary Boone. “Lot of people evade taxes,” Bleckner said, though he added he was surprised she got caught because “Mary’s a very smart woman.” Bleckner says Boone herself helped arrange the show at Petzel. The rough surfaces of the new works, on view through June 15, are inspired by the election of Donald Trump. (New York Times)

Studio Drift Wants to Rebuild Notre Dame With Recycled Plastic – The hip artist duo has entered the race to rebuild the Notre Dame following last week’s devastating fire. They have proposed that the roof of the cathedral be reconstructed using plastic recycled from the ocean. The design would help clean up the sea as well as save trees, and have the added benefit of being fire-resistant. Studio Drift has also launched an open call for further ideas to rebuild the cathedral with sustainable materials. (designboom)

Stanley Kubrick’s Amazing Eye for Design – The director’s survey exhibition at London’s Design Museum, on view from April 26 to September 15, includes around 700 objects culled from his films and meticulously compiled archive. The show’s offerings range from Ken Adam’s sketches for the war room in Dr Strangelove to erotic furniture from the Korova Milk Bar in A Clockwork Orange. The exhibition also reveals how the perfectionist director kept track of the hundreds of extras playing dead rebel slaves in Spartacus: every one of them had a unique ID number. (Guardian)


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