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THE TOP JOB. Curator Pollyanna “Polly” Nordstrand has been hired as director of the Museum of Indian Arts & Culture in Santa Fe, New Mexico. Nordstrand, who is Hopi, was previously at the Crystal Bridges Museum of American Art in Bentonville, Arkansas, where she was its first curator of Native American art. In other leadership news, the Kunsthall Trondheim, which opened in that Norwegian city in 2016, has a new director, Artforum reports: Adam Kleinman. He is coming from the Kadist arts organization (of Paris and San Francisco), where he was lead curator for North America. Kleinman was involved in organizing Documenta 13, has been editor in chief and curator at what is now the Kunstinstituut Melly in Rotterdam, the Netherlands, and is succeeding Stefanie Hessler, who was tapped to run the Swiss Institute in New York.
NIFTY: Paris prosecutors have filed charges against five “young adult suspects” for allegedly stealing NFTs worth some $2.5 million between late 2021 and early 2022, the AFP reports. The digital theft included some of the Bored Ape Yacht Club tokens. The suspects’ alleged scheme involved convincing victims that they could animate their static images and then taking their property. Meanwhile, the Calder Foundation is teaming up with the TRLab NFT platform on a project called “The Calder Question” that will include educational programs about artist Alexander Calder and the chance to buy Calder NFTs (details to be announced). Proceeds will go toward a conservation fund.
ARTISTS UP CLOSE. Photographer Tyler Mitchell, who has a new show at Gagosian in London, was interviewed by CNN. The painter Bernice Bing, who died in 1998, was covered by the New York Times on the occasion of a survey of her work at the Asian Art Museum in San Francisco. And painter Glenn Brown was profiled in the Wall Street Journal. Brown will have an exhibition next month at Gagosian in New York, and just opened a museum in London that is currently showcasing his art. “My works are slightly repulsive, so I want to give people time with them,” he said.
A Berlin court ruled that Enno Lenze and Wieland Giebel, of the Berlin Story Bunker Museum, can place a damaged Russian tank outside that country’s embassy in the German capital. Local officials, who had previously rejected the proposal, can appeal. [DW]
In May, the Broad will stage a Keith Haring show with more than 120 works. It’s the late artist’s first major survey in Los Angeles, Deborah Vankin reports. Museum founders Eli and Edythe Broad first bought Haring’s art in 1982, and Broad curator Sarah Loyer said that “it feels sort of part of our DNA as an institution to put on a show like this.” [Los Angeles Times]
In an interview, Muyiwa Oki, the first Black president of the Royal Institute of British Architects, detailed his agenda, which includes requiring that all practices chartered by RIBA pay overtime. [The Guardian]
King Charles will appear on an upcoming episode of the BBC show The Repair Shop, which features experts restoring notable antiques. The newly reigning monarch will bring in for repair an old clock and a piece of pottery made for Queen Victoria‘s Diamond Jubilee in 1897. [BBC News]
Collectors, if you are strolling the aisles at Frieze and thinking about buying something, but are not sure if you want to do it, British restaurateur Jeremy King has some wise words for you: “If you love it, don’t give a fuck what anyone else thinks.” (He said that is the best collecting advice that he ever received.) [TAN]
TOUGH LOVE. Writing in the Washington Post, critic Sebastian Smee shared a delightful anecdote about Andrew Lloyd Webber and his grandmother. It seems that, in the 1960s, the theater-giant-in-the-making saw Edward Burne-Jones’s astonishing painting Flaming June (ca. 1895) at a London shop and asked his grandmother for £50 to buy it. Her response: “I will not have Victorian junk in my flat.” Tough break! But the future Phantom of the Opera king would of course one day be able to buy plenty of art on his own. The work subsequently changed hands a couple times (for larger sums) and ended up at the Museo de Arte de Ponce in Puerto Rico. That institution is currently undergoing post-Hurricane Maria repairs, and it has loaned the work to the Metropolitan Museum of Art in New York, where it is on view through February 2024. Go have a look; see what Lloyd Webber’s grandmother missed. [WP]