Visual Arts News Digest, Compiled by the Vancouver Art Gallery Library, February 28, 2017

Vancouver public art Human Structures to leave Olympic Village The Lego-like art installation Human Structures Vancouver will be leaving the shores of Olympic Village–one of three public-art installations moving to Montreal in March after showing in the 2014-16 Vancouver Biennale. They’ll be showing as part of the La Balade de la Paix / An Open-Air Museum exhibition sponsored by the City of Montreal and the Musée des Beaux-Arts de Montréal to celebrate the Quebec city’s 375th anniversary and Canada’s 150th. Jonathan Borofsky’s colourful sculpture of interlocking human figures had been an uplifting sight along the bike path since its installation in the summer of 2014. Georgia Straight, February 27, 2017

Stuart McCall wins Capture Photography Festival Canada Line Competition Stuart McCall has won the annual Capture Photography Festival Canada Line Competition for his striking shot of colourful construction markings on concrete. The artwork will be part of the public programming for the 2017 festival, which will include photo-based installations at many stations along the Canada Line. The winner’s image is to be installed large scale at the Canada Line King Edward Station and the photographer will be paid a $500 fee. Georgia Straight, February 24, 2017

‘It is an insult’: City designers ‘deeply disappointed’ with new Vancouver logo Dozens of members of the city’s thriving graphic design scene have signed an open letter to Vancouver’s mayor and council expressing dismay at their speedy approval of a new civic logo they see as uninspiring, and a huge missed opportunity at rebranding the west coast metropolis… The new wordmark, which was developed at a cost of about $8,000 by city staff engaging an unnamed designer, is a green and blue, bold Gotham font block letter design that removes the interlocking graphic of the old logo. The Province, February 24, 2017

Art Gallery Aims to Amplify Inuit Voices A museum is not only about displaying attractive objects, says Winnipeg Art Gallery (WAG) director and CEO Stephen Borys. Museums are also about bringing people closer together. Now the art gallery – the oldest civic gallery in the country – has been presented with a new opportunity to do just that, thanks in part to Winnipeg’s growing Indigenous population and its longtime role as a hub for the North. This spring, construction begins on the long-discussed Inuit Art Centre at the WAG. Tentatively slated to open in 2020, the groundbreaking center will feature works by artists from across the Canadian Arctic. Arctic Deeply, February 22, 2017

Nova Scotia gallery celebrates Harold Edgerton — the man who could pause time Edgerton made photographs for most of his career, recording movements in multiple-exposure works, or capturing instants in iconic single images. His work has migrated from the laboratory to the art museum, and is now held in most major photography collections across the globe. Recently a small collection of his work was gifted to the Art Gallery of Nova Scotia in Halifax. The 30 works it acquired will go on view beginning Saturday, in a show curated by Sarah Fillmore. The Globe and Mail, February 24, 2017

Beaverbrook Art Gallery CEO to bid farewell The Beaverbrook Art Gallery is losing a prominent leader in the coming year. Terry Graff says he will step down as CEO and chief curator after 10 years at the helm. Graff presided over the Fredericton gallery as it expanded its collection and as it settled a dispute over the ownership of some its most valuable art. During his tenure, the Beaverbrook also launched the Masterworks tour, which brought works of art donated to the gallery by Lord Beaverbrook to North American audiences., February 28, 2017

New York
Spring awakening? A shake-up for New York’s fairs The Armory Show is under new direction and Nada has bumped its New York edition from May to March, while the mid-market Pulse fair, which originated in Miami, has closed its Manhattan edition, opting instead for a year-round series of events. Facing stiff competition—with dates coming hot on the heels of Arco Madrid and just before Art Dubai and Art Basel in Hong Kong—the New York market seems to realise it must innovate to remain relevant, but each fair is formulating its own answer to that challenge. The Art Newspaper, February 28, 2017

US Court Allows Lawsuit Over Nazi-Looted Egon Schiele Drawings to Go Forward, Following New Legislation The heirs of Fritz Grunbaum, an Austrian Jewish entertainer, have repeatedly tried to sue for the return of two valuable drawings by Egon Schiele, which were part of a large collection that the Nazis confiscated from Grunbaum’s Vienna apartment in 1938, but were unsuccessful due to “legal technicalities.” Timothy Reif, David Fraenkel, and Milos Vavra, who have argued for years that the collection, which included eighty-one Schieles, was stolen by the Nazis, filed another lawsuit after Congress passed the Holocaust Expropriated Art Recovery Act in December, which may change the outcome of their case. Artforum, February 24, 2017

How the producer of James Bond built one of the world’s greatest photography collections Michael G Wilson has been the man behind every James Bond movie since Moonraker in 1979. But the 74-year-old hasn’t limited his role to being producer or executive producer. Wilson has also notched up no fewer than 18 cameos in 007’s various adventures, as pall-bearer, doctor, man in a corridor, police chief, army general, casino gambler, Nasa technician, Greek priest and Soviet security council member. Wilson cuts a similar figure in the world of photography: hugely influential, yet content to remain an eminence grise. Since the 80s, his enthusiasm for collecting photographs has grown enormously, in tandem with the prices such works can now fetch at auction. In fact, Wilson’s collection now numbers 11,000 images, making it three times bigger than the Tate’s. The Guardian, February 28, 2017

Musée d’Orsay Appoints Laurence des Cars as Director Laurence des Cars will be the next director of Paris’s Musée d’Orsay, Le Monde reports. She will succeed Guy Cogeval, who is stepping down after serving as the museum’s director since 2008. Des Cars is currently the director of the Musée de l’Orangerie, where she has worked since 2014. Prior to that, she held positions with the head of the Agence France-Muséums. She was also a curator at the Musée d’Orsay for 13 years, from 1994 to 2007. Artnews, February 28, 2017

Institut du Monde Arabe show gives sneak preview of planned museum of modern and contemporary art in Palestine A new exhibition at the Institut du Monde Arabe (IMA) in Paris is a taster for a major new museum planned for Palestine. The show, called For a Museum in Palestine (until 26 March), includes 60 contemporary works selected by the French artist Ernest Pignon-Ernest, which will form the basis of the collection at the planned Palestinian Museum of Modern and Contemporary Art. The pieces have been donated by mainly French artists with works on display by Gérard Fromanger and Hervé Télémaque, key figures of the 1960s Figuration Narrative movement. The French artist Henri Cueco and Jan Voss of Germany are also participating in the show. The Art Newspaper, February 28, 2017

Guggenheim’s show of Middle Eastern and North African art goes to China Shanghai’s Rockbund Art Museum will this April host the final leg of the Solomon R. Guggenheim Museum’s group show of contemporary art from the Middle East, But a Storm is Blowing from Paradise (until June 11). It marks the largest exhibition of contemporary art from the region to show in mainland China, as well as Rockbund’s first major collaboration with a Western institution. But a Storm is Blowing from Paradise debuted last April in New York and is the third phase of the Guggenheim UBS MAP Global Art Initiative, which also exhibited and acquisitioned contemporary art from Latin America and South and Southeast Asia. The Art Newspaper, February 28, 2017

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