March 4, 2015: Forbes’s Billionaires Support the Arts & the Louvre Abu Dhabi Ramps Up Work
In New York … ADAA: The Art Show opens at the Park Avenue Armory; “The Copenhagen Interpretation,” featuring works by Nicola Verlato, Tom Sanford, William Powhida, and more, opens at The Lodge Gallery; “Bronx Speaks: Making Place,” featuring works from artists from the multi-organization Bronx Arts Alliance, opens at The Bronx Museum of the Arts; “Martin Palotini – Julio Alan Lepez” opens at Artemisa Gallery; Brian Pearson opens at Robin Rice Gallery; Natan Dvir opens at Anastasia Photo; Magdalena Solé opens at Soho Photo Gallery.
In London … “Leon Golub: Bite Your Tongue” and “Pascale Marthine Tayou: BOOMERANG” open at Serpentine Galleries; “Werner Büttner: The Marking of the Abyss” opens at Marlborough Contemporary; “Roman Signer: Slow Movement” opens at Barbican Art Gallery; “Ken Kiff: The Hill of Dreams” opens at Marlborough Fine Art; “Armand Boua: Djossi A Yopougon” opens at Jack Bell Gallery.
In Paris … “Karina Bisch: Arlequine” opens at Galerie des Galeries.
Today’s Notable News
Of the 11 people included on Forbes’s 2015 Rich List, six of them—including top-ranker Bill Gates—are involved in the arts, whether as patrons or collectors. (via The Art Newspaper)
The late Lucian Freud’s collection of works by Frank Auerbach, including 29 works on paper and 15 oil paintings, has been divided between several UK art institutions in place of a hefty inheritance tax on Freud’s estate. (via The Art Newspaper)
The city of Philadelphia will award a total of $60,000 in funding to 23 arts organizations, who will use the grants to stage performances and programs in public sites throughout the city. (via Artforum)
With complaints about immigrant working conditions still unresolved, the Louvre Abu Dhabi is set to increase its workforce by 50% in the coming months in order to meet its 2016 opening goal. (via The Art Newspaper)
Chris Succo is now represented by Brooklyn’s The Journal Gallery. (via The Baer Faxt)
Best of Instagram
“Hirshhorn Museum’s New Curator Brings a Different Perspective” (via the New York Times)
“Looking at Art May Keep You Fit, Study Suggests” (via Hyperallergic)
Beginning tonight at sundown, Purim is one of the most joyous holidays of the Jewish year. It revolves around the story of a young Jewish woman named Esther who, with the encouragement of her uncle Mordecai, bravely helped thwart a threat on the Jewish people in biblical Persia. Celebration of the holiday typically includes feasting, drinking, reading Esther’s tale, and dressing up as the characters from the story. In the vein of this tradition of playing dress-up, we’ve rounded up five artists on Artsy whose practices have dealt with masquerade and identity creation.
Lynn Hershman Leeson took the investigation of identity, truth, and gender to its extreme through Roberta Breitmore, an alter ego for whom she created an entire life. From 1974 through 1978, the artist not only physically became and performed her fictitious double—through clothes, make-up, and wigs—but also documented Roberta’s physical existence in the world through a driver’s license, plastic surgery mock-ups, correspondence with her psychiatrist, and more.
In a practice that incorporates gender bending and the disruption of the male gaze, inquiries into the art historical canon, and issues of race and culture, Yasumasa Morimura elaborately transforms his physical appearance and inserts himself into recognizable images from art history and popular culture, embodying diverse characters from Frida Kahlo to Audrey Hepburn.
Cindy Sherman is famous for her photographs that document moments from non-existent films, exploring the boundary between truth and fiction—how can something refer to an original that doesn’t exist? Featuring Sherman dressed up as oft-cliché female prototypes, the series also challenges the stereotyped gender roles persistent in the media.
Jürgen Klauke’s early work deals with issues of gendered identity and uses his own body as a canvas for exploration. In series like “Transformer” (1970-75), he extended his everyday androgyny to incorporate more clearly feminine aspects, turning his body into a “projection surface of multiple identities and sexes,” in order to challenge narrow notions of gender.
Although she does not use herself as a subject, Mickalene Thomas creates works that explore and assert identity, particularly one that is black and female. With influences ranging from 1970s pop culture to the art historical canon, Thomas celebrates the women she paints and photographs, often using rhinestones to accentuate their feminine features, while arguing a place for them in the very sources from which she draws. Despite the costumes her models don, her images do not point to a fabricated idea of self but rather illustrate a range of African-American femininity in all its strength and agency.
Want to catch up with the rest of this week’s news? Review past Daily Digests here.