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The Headlines
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JOB POSTINGS. The next director of the McNay Art Museum in San Antonio, Texas, will be Matthew McLendon, the San Antonio Report reports. McLendon is moving to the Alamo City after leading the Fralin Museum of Art at the University of Virginia in Charlottesville, for six years, and he succeeds Richard Aste, who is departing to pursue executive coaching in Southern California. McLendon starts in February. Over in New York, the Armory Show has selected three closely watched curators to organize various programs for its next edition, which is on tap for September at the Javits Center. They are Eva Respini (of the ICA Boston), Candice Hopkins (Forge Project), and Adrienne Edwards (the Whitney). ARTnews has the details. And, downtown, Ali Rosa-Salas has been tapped to lead the Abrons Arts Center, as vice president of visual and performing arts for Henry Street Settlement. She has been artistic director and chief curator at Abrons since last year.
A NEW CHAPTER. The Museum of Sex, the New York institution devoted to erotic artifacts and erotic art, is planning to open a second branch, in Miami, this coming spring, the Miami Herald reports. Its future home, now under construction, will measure about 32,000 square feet and be located in the Allapattah neighborhood, where the Rubell Museum alighted in late 2019. The opening exhibitions include a solo display of Japanese artist Hajime Sorayama ‘s work. The new project makes the city something of an erotic-art hotspot. Since 2005, the Wilzig Erotic Art Museum has been offering a formidably eclectic collection of such material in nearby Miami Beach.
The Digest
The National Film Registry of the Library of Congress is inducting 25 films into its pantheon, including Scorpio Rising (1963) by director Kenneth Anger (who was profiled by ARTnews in 2016), Tongues Untied (1989) by Marlon Riggs, and Iron Man (2008) by Jon Favreau. [Press Release/Library of Congress]
New York’s Performa and the Beatrix Ruf–helmedHartwig Art Foundation, which is planning to open a contemporary art museum in Amsterdam, have inked “a major institutional partnership at all levels,” per a news release. It will include co-commissions for works for Performa’s 2023 and 2025 biennials and a fellowship program. [Press Release/Performa]
Katja Horvat spoke with Ebony L. Haynes, the writer and curator who runs David Zwirner’s 52 Walker space in New York, and artist Nikita Gale, who showed there earlier this year. Where will Gale be in 20 years? “I have been on this kick where I just want to move to Alaska and fly around in a little plane,” the artist said. [032c]
Some artists who use the ArtStation platform to showcase their work have been calling on the site to ban AI-generated art, arguing that it degrades their own efforts. AI-art programs have faced criticism for copying artists’ trademark styles. ArtStation said that it will not ban such material, but will offer creators “more control over how their work is shared and labeled.” [Vice]
Billionaire art collector, museum trustee, and hedge-funder Kenneth Griffin has filed suit against the IRS, arguing that it is liable for the leak of his tax-return information, which was reported on earlier this year by ProPublica. The outlet said it does not know who gave it the material. [Chicago Tribune]
The archive of the famously reclusive novelist Thomas Pynchon has been purchased by the Huntington Library, Art Museum, and Botanical Gardens in San Marino, California, for an undisclosed sum. It measures 70 linear feet and has material that dates as far back as the late 1950s . . . but no photos of the author. [The New York Times and The Associated Press]
The Kicker
CHARM CITY. The Baltimore Museum of Art just opened a show of art it received from John Waters as a donation, and in Harper’s Bazaar, the Pink Flamingos director chatted with one of the exhibition’s curators, artist Jack Pierson. (Photographer Catherine Opie was the other one.) It is a rollicking conversation that touches on an unusual drawing Waters’s father made, Mike Kelley, and the Swiss. Waters also shares that he bought a Joan Miró print from the BMA in his youth: “Everyone in the neighborhood would see it and go, ‘Why would you buy that? It’s ugly.’ It flipped them out. And that’s when I realized the great power that contemporary art had to alienate and make people crazy. That’s what drew me to it from the very beginning.” Thank you, Miró! [Harper’s Bazaar]
Source: artnews.com