December 8, 2014: Artists Split Future Generation Art Prize, Christie’s Under Review, and Galapagos Leaves Brooklyn for Detroit
Today’s Notable News
Colombian artist Carlos Motta and Angolan artist Nástio Mosquito have received this year’s Future Generation Art Prize, and will split the $100,000 award given by the PinchukArtCenter in Kiev, Ukraine.
Christie’s is undergoing a review after its CEO left the company suddenly last week, and may consider a major restructuring in the wake of the upset. (via Bloomberg)
Peruvian artist Andrea Canepa was named winner of this year’s Miami Beach PULSE prize, a $2,500 award given annually at PULSE Miami Beach to an artist featured in a solo exhibition at the fair; Canepa’s work was on view at Spanish gallery Rosa Santos’s booth. (via New York Observer)
Legendary experimental arts center Galapagos Art Space will relocate to Detroit after nearly two decades in Williamsburg and Dumbo, Brooklyn, taking advantage of the city’s low cost of living and burgeoning arts scene. (via The New York Times)
The National Endowment for the Arts has released their list of Art Works grantees for 2014, including the Aperture Foundation, the Brooklyn Academy of Music, and the Drawing Center. (via Artforum)
Best of Instagram
Via @guggenheim: “In this weekend’s New York Times, go inside architect #FrankGehry’s design and inspiration for Guggenheim Abu Dhabi, the new 450,000-square-foot museum which will be 12 times the size of our Frank Lloyd Wright building in New York. ‘The architecture will be part of something bigger,’ says Gehry. Watch the full video interview with Gehry online at nytimes.com.”
“Provocative Art Basel Tweets Make Jerry Saltz the Jonathan Swift of Social Media” (via The Wall Street Journal)
“Takashi Murakami on Making Art After the Tsunami” (via The New York Times)
“Can Satellite Fairs Give Artists Their First Big Break?” (via The Art Newspaper)
Artists of the Day
Two prolific contemplators of the human form, Aristide Maillol and Lucian Freud, were born 61 years apart on this day in 1861 and 1922. While Maillol’s updated-classical sculpture may seem a far cry from the psychological wreckage of Freud’s figurative painting, the two artists coincide here in their sketches of recumbent nudes.
Want to catch up with the rest of this week’s news? Review past Daily Digests here.