Frieze Wrap Up & First Look at SFMOMA

Alice Marie Mahoney
May 9, 2016 · 5 min read

Just the 5 art world updates you should know this week.

Despite gloomy weather, New York’s Frieze fair enjoyed a sizable turnout as well as significant sales this past weekend.

Frieze set up on Randall’s Island, just off the coast of Manhattan (Grand Lift)

Pace Gallery sold off five sculptural works from Fred Wilson (including one to an Asian art museum), Hauser & Wirth moved two glass sculptures by Roni Horn at $975,000 each, 303 Gallery sold almost all works on view, including pieces from Dout Aitken, Alicija Kwade and Hans-Peter Feldmann, while Lisson Gallery reported having sold out half their booth on preview day alone, including works from Lawrence Weiner, Pedro Reyes, Ryan Gander, Haroon Mirza, and Stanley Whitney. Erwin Wurm’s pieces also proved popular at the Lehmman Maupin booth as the gallery sold seven of his works throughout the fair just as Walton Ford’s pieces were in high demand at Paul Kasmin Gallery’s booth, which sold out its solo show of the artist.

Amsterdam’s Van Gogh Museum is now letting visitors bring the museum into their own homes, offering professional services to private collectors, corporations and other institutions.

Outside the Van Gogh Museum in Amsterdam (Travel and Leisure)

Through the new program, museum employees will provide advice and support to clients regarding conservation, preservation, installation and the development of educational programs. The venture could cover up to 5% of the museum’s annual operating budget (which costs a total of €45 million) and provide a source of revenue that is immune to fluctuations in both museum visitation and government funding. Some critics worry that the museum involving itself in the private sphere could lead to a conflict of interest Adriaan Dönszelmann, the managing director of the Van Gogh Museum, dismissed this issue, saying that while it would work with private clients it would refrain from influencing the public art market

Artnet news’ Ben Davis gave readers a first look at the San Francisco Museum of Modern Art (SFMOMA) this week, a month before it opens its expanded and refurbished facilities to the public.

The newly designed SFMOMA (left) and inside one of the museum’s permanent gallery spaces (artnet News)

The renovations, which cost more than $300 million, have dramatically expanded the space curators have access to: “Curators now have seven floors to work with, yielding up vast rambling corridors of art, clearly organized pathways that are still full of potential detours and surprises.” These new spaces will allow SFMOMA to open a staggering 19 new exhibitions at once, in honor of the museum’s opening. While the museum blends the bohemian past and technological future of the city well, it also owes a great deal of inspiration to Doris and Donald Fisher, the art collecting couple whose donation inspired the renovations; 270 of the pieces donated by the Fishers will be on display throughout three floors of the museum.

Manifesta — the roving biennial of European contemporary art — has announced that it will hold its 13th edition in Marseille, France in 2020.

Marseille, France (Euro EUS)

The mayor of Marseille is said to have already allocated €627,000 ($715,000) toward acquiring the rights to host the biennial and, as host, the city will have to spend an additional €2.4 million ($2.74 million — a third of the biennial’s total budget) toward developing the event over the next four years. Hosting the fair will only be latest effort from Marseille to develop itself into a destination for art and culture (including the construction of a new museum). However, the French city also aligns well with the experimental fair’s mission to “keep its distance from what are often seen as the dominant centres of artistic production, instead seeking fresh and fertile terrain for the mapping of a new cultural topography.” The fair will hold its 11th edition next month in Zurich, followed by its 2018 edition in Palermo, Italy.

Although Tate severed financial ties with oil company BP in March, the British museum group may now face an information tribunal, forcing them to disclose BP’s specific contributions.

Protests broke out last June at the Tate Modern over BP’s funding of the museum (artnet News).

The action was brought against Tate by arts group Platform and information rights group Request Initiative. The Tate — whose chair of trustees is former BP CEO John Browne — has previously disclosed that BP annually donated between £150,000 and £330,000 ($216,000 and $475,000) from 1990–2006. However, the museum declined to divulge the amounts received since 2006. Platform’s Anna Galkina said “As Tate’s deal with BP ends, the oil company can no longer use Tate’s spectacular displays to distract the public from its [environmentally] destructive business. The public still has a right to know how much BP paid Tate for this transfer of public trust.”

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Alice Marie Mahoney

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Welcome to ArtList

Buy outstanding art directly from private collections worldwide. We write stories about them.