Friday, November 6
Thursday, November 5
Waddington Custot Now Represents Bernar Venet
The London-based gallery Waddington Custot has added artist Bernar Venet to its roster. Venet’s work will figure in the gallery’s online Art Basel Miami Beach 2020 presentation, and the artist will have his first solo exhibition with the gallery in February 2022. Venet, who rose to fame in the 1960s, is known for his monumental metal sculptures, which are installed in Auckland, Austin, Berlin, Geneva, Seoul, and more international cities. The artist’s work has also figured in Documenta in 1977 as well as editions of major biennials in Paris, Venice and São Paulo.
New Art Dealers Alliance Announces Exhibitors for NADA Miami
The New Art Dealers Alliance has announced the exhibitor list for NADA Miami, the organization’s flagship art fair which is scheduled to take place from December 1 to 5. Some 46 NADA Members, including 27 first-time exhibitors, will display work in both gallery spaces and online. Exhibitors include Charles Moffett (New York), Galerie Derouillon (Paris), Gallery Artbeat (Tbilisi), Night Gallery (Los Angeles), Voloshyn Gallery (Kyiv), and XYZcollective (Tokyo). Also lined up for the fair are solo presentations by Dr. Charles Smith (Good Weather/Chakra), Baseera Khan (EFA Robert Blackburn Printmaking Workshop), Lotte Andersen (Ginsberg), and more that will appear in the NADA Projects section. A full list of exhibitors is available here.
Wednesday, November 4
Art Karlsruhe Postponed to May 2021
The Art Karlsruhe fair in Germany has been postponed until May 21, 2021 due to the pandemic. The event had been set to open in February 2021, and Britta Wirtz, managing director of Messe Karlsruhe, said in a statement that the fair “placed the interests of our exhibitors at the center of our decision” to delay the opening date. Art Karlsruhe will hold preview days on May 19 and 20 next year and run until May 24.
Tuesday, November 3
Pennsylvania Academy of the Fine Arts Names Curator of 20th Century Art
The Pennsylvania Academy of the Fine Arts in Philadelphia has appointed Brittany Webb as its inaugural curator of 20th century art. Webb joined the institution in 2018 and will retain the title of curator of the John Rhoden Collection. Currently, Webb is organizing a retrospective for sculptor John Rhoden, slated for 2022, as well as “Taking Space: Contemporary Women Artists and the Politics of Scale,” a major survey of leading 20th-century women artists, which opens on November 19.
Monday, November 2
Kasmin Now Represents George Rickey
Kasmin gallery in New York now represents American sculptor George Rickey, who died at the age of 95 in 2002. Rickey is best known for his monumental abstract sculptures—“useless machines,” as he called them—whose movements were guided by changes in air currents. The gallery will present two simultaneous exhibitions of work by the artist in fall 2021, starting with the installation of nine large-scale sculptures along Park Avenue, as part of a public art program organized by the Sculpture Committee of the Fund for Park Avenue in collaboration with NYC Parks. Also on display will be three works on view from Manhattan’s High Line. Eric Gleason, senior director at Kasmin, said in a statement, “George Rickey is a singular entity in the history of 20th-century sculpture, and his numerous innovations within the realm of kinetics helped to create and define a genre.”
NSU Art Museum Fort Lauderdale Receives $1.6 M. Gift
The Nova Southeastern University Art Museum Fort Lauderdale in Florida has received a $1.6 million donation from the Jerry Taylor & Nancy Bryant Foundation to endow a curatorial position and fund youth education programs at the institution. The museum has launched a nationwide search to fill its new curatorial role.
Nazi-Looted Pissarro Painting Remains Subject of Ongoing Dispute
According to a report by the New York Times, a Holocaust survivor who owns a Camille Pissarro painting that was looted from her father by Nazis has filed a lawsuit seeking permanent ownership without exhibition rotation. A previous agreement between Léone Meyer, the painting’s owner, and the Fred Jones Jr. Museum of Art at the University of Oklahoma, where the work had been held before Meyer knew it had belonged to her father, had established a rotational relationship between the American museum and one or multiple French art institutions.