COURTESY TACOMA ART MUSEUM
GOINGS-ON AT MUSEUMS
Becky Benaroya has donated her family art collection, valued at around $14 million, to the Tacoma Art Museum. [Seattle Times]
Sotheby’s acquisition of Art Agency, Partners may affect the Dallas Museum of Art. One of the principals of Art Agency, Partners is Allan Schwartzman, and he’s been advising frequent DMA donor Howard Rachofsky for a while now. Will that change what goes into the museum’s collection? [D Magazine]
Here’s a long essay about the tumultuous history behind Montreal’s Museum of Contemporary Canadian Art. [Art F City]
Sarah Morris at Museum Leuven. [Contemporary Art Daily]
ARTPOP
Here’s a profile of Joshua Roth, the head of the Hollywood’s United Talent Agency who has gone to uncharted terrain for his industry—the art world. He’s the man behind Kanye West and Steve McQueen’s LACMA project; Vulture once called him “the Ari Gold of the art world.” [W Magazine]
Simon Critchely discusses David Bowie’s legacy and shares a rumor he heard from Liam Gillick: the pop star anonymously gave money to art schools. [Artinfo]
CONTROVERSIES AND SCANDALS
Following LEGO’s refusal to let Ai Weiwei have its product for a work, the company is no longer asking customers to specify what they need bulk orders for. [Artforum]
Jerry Saltz got kicked off Facebook for posting a picture of a Betty Tompkins work, presumably one of her “Fuck” paintings, which feature graphic sexual images culled from porn. [Twitter]
AFRICA
Construction magnate Marwan Zakhem is planning to open Gallery 1957, a contemporary art gallery, in Accra. “We need to create a buzz and to bring the younger artists to international attention,” he says of Ghanaian artists. [The Art Newspaper]
PHOTOGRAPHY
Work by photographers from 23 countries will be selected by 18 curators for the Dubai Photo Exhibition, set to open on March 16. [The Art Newspaper]
A look at David Maisel’s aerial photography, which “can make Earth’s surface look more alien than terrestrial.” Maisel has a show currently on view at San Francisco’s Haines Gallery. [The New Yorker]