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Kevin Consey, who helmed several major art institutions, including, most recently, the University of California’s Berkeley Art Museum and Pacific Film Archive (BAMPFA) from 1999 to 2008, died on Wednesday at age 68. A representative for BAMPFA said that he died “following a long illness.” Consey is known for his role in overseeing the institution’s capital campaign for the museum’s current home, which was designed by Diller Scofidio + Renfro and opened in downtown Berkeley in 2016.
Having begun his career as director of the art gallery at his alma mater, Hofstra University in New York, Consey took the top post at the San Antonio Museum of Art in Texas in 1980. There, he led the $12 million transformation of the historic Lone Star Brewery into a museum space. Nearly a decade later, while directing the Museum of Contemporary Art in Chicago, Consey oversaw a $72 million building and endowment campaign and would go on to open a 220,000-square-foot facility designed by Josef Paul Kleihues at the institution in 1996.
Consey joined BAMPFA in 1999 and helped the university find a site and architect for its planned new building. He also guided the institution through a period of major growth in its programs and collection, with exhibitions of work by Joe Brainard, Theresa Hak Kyung Cha, Paul Kos, Richard Misrach, Bruce Nauman, and more organized during his tenure. Additionally, thousands of works were added to the museum’s art and film holdings while he was director.
After he retired from BAMPFA in 2008, Consey worked as a consultant for museums undertaking capital projects and served as an adjunct professor of museum studies at the San Francisco Art Institute.
The gala opening for The Art Show, the annual fair put on by the Art Dealers Association of America, has historically provided a smooth landing into the fair-packed Armory Week in New York. The evening, a benefit for the Henry Street Settlement, is the epitome of a civilized affair, with top-notch hors d’oeuvres and liberally flowing champagne. Dealers and collectors tend to be in a good mood, coming off the sleepy winter season. The gala for the 32nd edition of the fair took place on Wednesday night, and this time around the mood was a little different thanks to a newly crowded winter art fair calendar (some of the dealers barely had a chance to recover from the second edition of Frieze Los Angeles, which took place two weeks ago) and, more pressingly, the steepest stock-market dip in two years due to coronavirus jitters and political uncertainty around the upcoming presidential election.
But if attendees were anxious or overworked, it didn’t seem to affect attendance much. The 70 galleries in modestly sized booths running along four aisles in the Park Avenue Armory’s Drill Hall saw plenty of visitors, including Jerry Saltz (art critic for New York magazine), Richard Armstrong (director of the Guggenheim Museum), Tom Eccles (of Bard College), Melissa Chiu (of the Hirshhorn Museum), Terrie Sultan (of the Parrish Museum), Maxwell Anderson (of Souls Grown Deep Foundation), Jessica Morgan (of Dia Art Foundation), and David Schrader (from Sotheby’s private sales), as well as artist Nina Chanel Abney and advisers Kim Heirston and Wendy Cromwell, among many others.
The most visible change to the fair this year was the floor. The Park Avenue Armory spent months restoring its floor and sourced reclaimed southern pine for the purpose. The Art Show is the first fair to expose the floor; in the past they have used grey carpets. The effect is curiously like being on the deck of a ship—it works.
Still, it’s always interesting to see what choices dealers make with regard to the floors in their booths. Some had carpeting, others kept it raw. Petzel, whose booth is the first you see when you enter, solved the problem handily by using the space for an artwork: a mirrored floor by Walead Beshty. Mirrors were more potent at the booth of Luxembourg & Dayan, in a large painting by Michelangelo Pistoletto, La Gabbia (The Cage), for which images of steel bars were silkscreened onto a mirror, giving the impression that the viewer is either a prisoner or the one doing the imprisoning. Pistoletto started the piece in 1962 and, after he finished it in 1974, showed it at Sidney Janis gallery, arranging the panels into an actual cage that viewers entered. Luxembourg & Dayan was more forgiving, placing it along a wall.
One of the highlights of the ADAA Art Show, the annual New York fair put on by the Art Dealers Association of America, is its solo and two-artist booths. The booths at this fair, which is held in the Park Avenue Armory on Manhattan’s Upper East Side, are not large, so these are less like solo shows in galleries than they are tightly curated, jewel-box installations, often focusing on a specific aspect of an artist’s work—and sometimes even on a single piece. If a monographic museum show is a novel and a gallery exhibition is a short story, an Art Show booth is a vignette.
Last year’s edition of the fair was remarkable for how many such booths were devoted to work by women—a full 55 percent. ARTnews looked at solo and two-artists booths by women at the fair over the past decade, and found there has been a steady rise. This year’s edition, which opens tomorrow night with a gala for Henry Street Settlement, shows a slight dip in the percentage of booths given over to women from 2019, but boasts the highest number of solo presentations by female artists, a full 19—and more solo and two-artist booths overall, a full 49.
As far as painting is concerned, Andrew Kreps Gallery and Bortolami (both from New York) are collaborating on a booth of paintings by Carla Accardi, DC Moore (New York) has landscapes by Jane Wilson, Sicardi Ayers Bacino (Houston, Texas) has geometric abstractions by Mercedes Prado, and Locks Gallery (Philadelphia) has Op abstractions by Edna Andrade. Susan Inglett Gallery (New York) has vintage pornographic images transformed by Beverly Semmes. Pavel Zoubok Fine Art (New York) has sculptures by Vanessa German.
Monday, February 24, 2020 – 16:45Arts Catalyst is pleased to announce a new job opportunity of Deputy Director (Maternity Cover) which will be based in the city centre of Sheffield. Title: Deputy Director (Maternity Cover)Salary: £35,000 to £37,500 per annum (pro rata), based on experienceReporting to: Artistic Director / CEOContract Terms: 3.0 days a week. 24 hours (flexible working), fixed term for 9 months (with probationary period of 2 months).Location: Sheffield city centreApplication Deadline: 6pm, 6th April 2020 Working closely with the Artistic Director/CEO and Board of Trustees, the Deputy Director’s responsibilities include: day-to-day finances, operational/general organisational management, fundraising for the artistic programme and capital development with the Artistic Director and supporting the organisation’s Arts Council England NPO application. The Deputy Director will join Arts Catalyst at a crucial and transformational time in is 25-year history – when the organisation will be relocating its premises and operations to Sheffield in South Yorkshire. Working alongside the Artistic Director they will play a vital role in delivering a capital fundraising project for the organisation’s new site. Therefore, senior management, operational and large-scale/strategic fundraising experience is essential whilst experience in delivering a capital project is desirable. The role will involve covering elements of the Executive Director / Joint CEO’s role between June 2020 to March 2021. Elements of the role include: • Fundraising – Major grants• Capital Development / Fundraising• Submission of the 2022 – 2026 Arts Council NPO• Monitoring organisational finances (budgets set by the AD)• Operational management• Day-to-day financial management• Ensuring the business plan goals are being metClick here to download a full job description and further information about how to apply.
Just days after it was announced that three top galleries would spilt the job of selling off work from the collection of the late Donald B. Marron, one collector has already reportedly snapped up two prized works from his storied holdings of modern and contemporary art. Stephen A. Wynn, the billionaire former casino magnate who ranks on ARTnews‘s Top 200 Collectors list, has purchased two paintings by Picasso for roughly $105 million from Marron’s estate, according to the Wall Street Journal.
The deal, which Wynn had shared with his friends, reportedly includes Picasso’s 1937 Woman with Beret and Collar, a portrait of the artist’s lover, and Seated Woman (Jacqueline), a 1962 portrait of his second wife. Marron’s massive collection, which he amassed over some 50 years, is said to be worth at least $450 million. Representatives for Wynn did not confirm or deny the acquisition to the Wall Street Journal, but said that “Mr. Wynn frequently buys and sells fine art.”
Sotheby’s, Christie’s, and Phillip’s have been in fierce competition to sell off Marron’s renowned collection since he died at age 85 in December. But in a shocking announcement last week, Marron’s widow, Catie, bypassed the houses, cosigning some 300 works from the collection to Pace, Acquavella, and Gagosian galleries, which also includes work by Mark Rothko, Cy Twombly, Willem de Kooning, Gerhard Richter, Mark Bradford, Mark Grotjahn, and Laura Owens.
The galleries, who would not comment on the sale of the Picasso works, have not disclosed how much money they offered Catie, but it is likely well over the $300 million guarantee that the three auction houses are said to have offered. Speaking to the Wall Street Journal last week, Bill Acquavella said, “It was a lot of money, so we have to deliver—we can’t send any works back to her.”
Artist, Pauline Nijenhuis, has an enquiring mind. Not one to stand on the bylines and watch as 21st century production processes – including in textile art – enter an increasingly technological age, she poses some searching questions through her specially designed art projects.
Following the success of her first HAND@WORK project, Pauline has developed her second in the series to ask: what differences do we see in the ‘handwriting’ work of five embroidery artists? And how will the public evaluate the work made by hand in relation to the same work embroidered by a machine? Moreover, do people, in this era of growing digitization and robotization, still appreciate handiwork?
In her first HAND@WORK experiment in 2017 – entitled Fast Work, Time Consuming Landscape – Pauline challenged herself to work increasingly fast to see what effect it had on herself, the artist, and on the resulting artwork. Her project and its conclusions were presented in an installation at the exhibition ‘Time, Space and Architecture’ at Cityscapes Gallery in Amsterdam and also published in a book.
Pauline’s aim is not just to focus on the field of the visual arts, but to see how the ICT revolution affects our lives, our jobs and our prosperity as a whole – and on us as human beings.