Art Collaboration Kyoto closes its third edition with “consistent sales.”
Bae Sejin, installation view of public program “Beyond Glitch,” at Art Collaboration Kyoto, 2023. Photo by Moriya Yuki. Courtesy of Art Collaboration Kyoto.
After four days of “consistent sales,” the third edition of Art Collaboration Kyoto (ACK) concluded today at the Kyoto International Conference Center. Some 64 galleries from 16 countries—including 33 first-time exhibitors—took part in this year’s event.
At ACK’s signature Gallery Collaborations section, 26 Japanese galleries hosted 27 international counterparts to participate in joint presentations. The section showcases groundbreaking work, including the joint presentation from Shibunkaku and Galerie Crèvecoeur, showing the works of Vienna–based artist Ernst Yohji Jaeger with Western and Japanese names who inspired him.
“ACK’s concept of pairing up local galleries with overseas galleries to exhibit is very unique, and I hope it continues in the future,” Tokutaro Yamauchi at Shibunkaku said. “When exhibiting at overseas art fairs, I often hear people say that they want to visit Kyoto, and I think ACK will serve as a great opportunity for Japanese galleries to create a gateway to the city. With all the attention on Kyoto, the timing of the fair during the season of autumn leaves is perfect. The fair’s layout is interesting, and the scale is very fitting for Kotyo.”
Interior view of Art Collaboration Kyoto. Photo by Moriya Yuki. Courtesy of Art Collaboration Kyoto.
Highlighting Kyoto, Japan’s vibrant local scene, the “Kyoto Meetings” section featured 11 galleries presenting works directly tied to the city’s culture and history. American Dike Blair and local artists Muku Kobayashi and Rina Matsudaira were among those who showcased their Kyoto-inspired works.
“ACK stands out amongst many art fairs around the world with its unique concept of collaboration,” said Thibault Geffrin, director of Almine Rech. “This was our first time participating in the fair, and it served as a great entry point into the Japanese art market. The Japanese market has its own rhythm, and understanding the context and taking the time to cultivate relationships is extremely crucial. Partnering with our local host gallery Kotaro Nukaga from Tokyo, allowed us to more easily navigate the cultural and language barriers and make meaningful connections with new local collectors.”
Additionally, the annual fair retained its received bonded status, granting international exhibitors an exemption from Japan’s 10% sales tax. ACK announced its return for November 1–3, 2024.
Raphaela Vogel is now represented by Petzel Gallery.
Portrait of Raphaela Vogel. Photo by Paul Sochacki. Courtesy of the artist and Petzel Gallery.
Raphaela Vogel, who lives and works in Berlin, has joined Petzel Gallery’s roster of artists. The New York gallery will showcase Vogel’s debut exhibition at its Chelsea location in January 2024, complemented by an artist talk and live performance at the Goethe-Institut.
“Raphaela Vogel is one of the most outstanding younger artists working in Germany these days,” said Friedrich Petzel, the gallery’s founder. “I was excited seeing her exhibition at the De Pont Museum in Tilburg and her eclectic use of film, sculpture, and drawing has no comparison in contemporary culture. I’m honored to work on her behalf.”
Born in 1988 in Nuremberg, Germany, Vogel is known for her innovative multimedia installations blending elements of sculpture, sound, and moving images. Her immersive works transport viewers into dystopian landscapes informed by local myths, the natural world, and digital technology. Her work weaves together paradoxes and complex narratives of modern existence, inviting audiences to question their perceptions.
Raphaela Vogel, Können und Müssen (Ability and Necessity), 2022. Courtesy of Petzel Gallery.
Her sculptures, like Können und Müssen (Ability and Necessity) (2022), shown at the 2022 Venice Biennale, depict haunting representations of animals that evoke the unsettling interplay between the man-made and natural worlds.
“There are many of my favorite artists on the alphabetical artist list of Petzel,” said Vogel. “One of them is Corinne Wasmuht. To be followed by her in the alphabet is too good to be true…”
Vogel will continue her relationships with other galleries that represent her, including BQ in Berlin, Gregor Staiger in Zurich, and Meyer Kainer in Vienna. The artist will present solo exhibitions in 2024 at Kunsthalle Gießen in Germany and the Centre d’Art Contemporain – La Synagogue de Delme in France.
Kristin Hjellegjerde Gallery opens first U.S. location in West Palm Beach.
Sara Berman, Installation view of “No Visible Means of Support” at Kristin Hjellegjerde Gallery, 2023. Courtesy of Kristin Hjellegjerde Gallery.
This week, Kristin Hjellegjerde Gallery, founded in London in 2012, opened its fourth gallery in West Palm Beach, Florida, marking its first permanent location in the U.S. The 3,000-square-foot gallery space is located in the city’s emerging Cultural Quarter.
The gallery’s inaugural exhibition will feature new work from London-based artist Sara Berman. Her show, “No Visible Means of Support,” on view through December 2nd, explores the societal expectations imposed on women and features emotional and vibrant paintings characterized by her signature diamond-shaped pattern.
In addition to the exhibition spaces, the new gallery includes a club room and a dining room designed for hosting special events and dinners. Founder Kristin Hjellegjerde said that West Palm Beach “felt a natural choice to us when we started to consider opening a gallery in the U.S.” She noted the burgeoning local art community as the most important factor, which “strongly encouraged us and helped us logistically.” “I am also very proud to be part of the emerging Cultural Quarter, where we are located on Florida Avenue within walking distance of the Norton Museum of Art,” she said.
Kristin Hjellegjerde currently operates three permanent locations outside the U.S., two in London and one in Berlin. Additionally, the gallery has hosted annual summer presentations in Nevlunghavn, Norway since June 2020, and several summer shows in an 18th-century German castle outside of Berlin.
Anish Kapoor’s Vantablack paintings to debut in New York.
Anish Kapoor, Non-Object Black, 2015. Courtesy of the artist and Lisson Gallery.
British Indian sculptor Anish Kapoor will unveil an all-new collection of Vantablack paintings at New York’s Lisson Gallery. The exhibition, on view from November 2nd to December 16th, will mark the New York City debut of Kapoor’s paintings using Vantablack nano-technology, a material that absorbs 99.965% of visible light. Additionally, the exhibition will feature never-before-seen works, including standalone sculptures and large-scale installations.
Over five decades, the London-based artist has developed innovative uses of materials like wax, steel, and stone to question our understanding of perception. In previous sculptures, like Cloud Gate (2005), a public sculpture in the AT&T Plaza in Chicago, he has explored the possibility of optical manipulation. Similarly, his Vantablack paintings challenge the possibilities and limitations of sight, evoking feelings of awe and dread with their deep, deadened appearance.
The show will include about 40 pieces, ranging from large-scale paintings to smaller works, as well as standalone and wall-mounted sculptures. Kapoor previously presented his Vantablack sculptures at last year’s Venice Biennale, exhibited at the Gallerie dell’Accademia and Palazzo Manfrin.
Maddox Gallery opens new Mayfair space.
Exterior view of Maddox Gallery Berkeley Street, 2023. Courtesy of Maddox Gallery.
Maddox Gallery today opens a new 5,000-square-foot gallery space in London’s Mayfair. Based on Berkeley Street, the gallery is spread across three floors and marks Maddox’s third space in the district, in addition to its original branch on Maddox Street, which opened in 2015.
“The opening of 12 Berkeley Street signifies a new chapter in the growth and expansion of Maddox,” said Jay Rutland, the gallery’s creative director. “A new W1 location further establishes us as a market leader in the art world.”
The gallery inaugurates the new space with “Storytelling,” a solo show of new works by the Scottish photographer David Yarrow. Featuring subjects including the British supermodel Cara Delevingne and the actor Bill Nighy, the works draw on the cinematic elegance for which the artist is best known.
“After three months on the road, it is good to be back home in London this week,” said Yarrow. “But what makes it very special is to be the artist launching Maddox’s new flagship gallery in the heart of Mayfair. I am flattered to be involved, and it is a big moment in both our journeys.”
American feminist artist Juanita McNeely has passed away at 87.
Portrait of Juanita McNeely. © 2023 James Fuentes. Courtesy of James Fuentes.
American artist Juanita McNeely passed away at 87. Across her six-decade career, the artist created work that tackled autonomy and resilience, fueled by her personal experiences and feminist activism. Known for her figurative paintings depicting the female experience, McNeely’s work furthers the dialogue around social issues such as abortion, bodily autonomy, and sexism. James Fuentes, which represented McNeely, confirmed her death in a statement this morning.
Born in St. Louis, Missouri, in 1936, McNeely became a prominent member of the second-wave feminist art movement. Her activism included involvement with the Fight Censorship group, Women Artists in Revolution (W.A.R.), and Redstockings. As a student in the 1950s, McNeely developed a multi-panel painting format to enrich her storytelling, allowing her to construct dynamic narratives about pain and beauty in the female experience.
Her work, such as Is it Real? Yes it is! (1969), on view at the Whitney Museum, reflects on her distressing personal experience searching for abortion treatment after finding out she had a tumor. The work, created before Roe v. Wade, is still a potent piece of sociopolitical commentary.
James Fuentes recently opened McNeely’s solo exhibition, “Moving Through,” in Los Angeles, which will remain on view until November 18th. Her artwork has been acquired by major institutions, such as the Queens Museum, the Art Institute of Chicago, and the Gemeentemuseum in The Hague, among others.
Robert Irwin, a key figure in the California Light and Space movement, has died at 95.
Portrait of Robert Irwin. Courtesy of Pace Gallery.
Robert Irwin, a leading figure in the California Light and Space Movement, has passed away at the age of 95. A visionary of experiential art, Irwin created innovative work spanning sculpture, painting, and installation over the course of a nearly seven decade career. Beginning in Los Angeles’s “cool school,” the artist evolved into a pioneer of artwork exploring the boundaries between light, space, and perception.
Pace Gallery, representing the artist since 1966, confirmed Irwin’s death in a statement on October 25th. Arne Glimcher, founder and chairman of the gallery, remarked, “In my long career, I have been privileged to work with some of the greatest artists of the 20th century and develop deep friendships with them, but none greater or closer than Robert Irwin. In our 57-year relationship, his art and philosophy have extended my perception, shaped my taste, and made me realize what art could be.”
Robert Irwin, untitled (dawn to dusk), 2016. © 2023 Robert Irwin / Artists Rights Society (ARS), New York. Photo by Alex Marks. Courtesy of The Chinati Foundation.
Born in Long Beach, California, in 1928, Irwin is renowned for site-specific installations that employ various methods and materials to bend light and space. His 2016 installation untitled (dawn to dusk), at the Chinati Foundation in Marfa, Texas, is housed in a U-shaped former hospital building and features a series of strategically placed eye-level windows that allow for the interplay of rectangular light and shadows, creating a dynamic visual experience.
Until November 11th, Irwin’s work is on view at Pace Gallery London, exhibited alongside works by Mary Corse, in “Parallax.” Additionally, A Desert of Pure Feeling, a documentary following the artist’s career, is available to stream on Amazon and Apple TV.
Irwin’s work is included in major museum collections such as the Art Institute of Chicago, the J. Paul Getty Museum in Los Angeles, the Guggenheim Museum in New York, and the Metropolitan Museum of Art in New York, among many others.
Todd Gray is now represented by Lehmann Maupin.
Portrait of Todd Gray. Photo by Brian Guido. Courtesy the artist and Lehmann Maupin.
The American photographer Todd Gray is now represented by Lehmann Maupin. The artist—who is based between Los Angeles and Akwidaa, Ghana—is renowned for his photo assemblages, and delves deep into topics of African diaspora, colonialism, and cultural beliefs. Earlier this year, Gray presented his first solo exhibition, “On Point,” with Lehmann Maupin in London, and will also debut new work at Art Basel Miami Beach with the gallery this December. Gray will continue to work with David Lewis in New York.
Born in 1954, Gray challenges the veracity and integrity of photography, urging viewers to reconsider the medium’s authenticity. His images, spanning from small-scale works to large prints, combine disparate references to evoke dialogue about place, time, and a collective past. Working with photographs of pop culture, documentary photographs of Ghana, portraits of Michael Jackson, gang members from South Los Angeles, and photo documentation from the Hubble telescope, Gray presents a complex definition of identity.
“Through his lens, Todd Gray explores the connections between history, race, and the human experience, crafting a narrative that demands thoughtful reflection,” said Rachel Lehmann, co-founder of Lehmann Maupin. “His presence in the program enriches our gallery’s commitment to representing artists who challenge, inspire, and contribute significantly to the ever-evolving landscape of contemporary art.”
Educated at the California Institute of the Arts, Gray has exhibited his work globally, appearing in the collections of the Whitney Museum, J. Paul Getty Museum, and the National Gallery of Canada. His illustrious career includes several awards, notably the Rome Prize Fellowship and the John Simon Guggenheim Fellowship for Fine Arts.
Gagosian now represents Lauren Halsey.
Portrait of Lauren Halsey. Photo by Russell Hamilton. Courtesy of the artist, David Kordansky Gallery, and Gagosian.
Los Angeles–based artist Lauren Halsey has been signed to the roster of the mega-gallery Gagosian, which will share representation with David Kordansky Gallery. Gagosian will feature Halsey in a solo show at its Paris location next year, another milestone for the rapidly rising artist, who was featured in The Artsy Vanguard 2019.
Born in 1987, Halsey made a name for herself with her immersive installations that bridge sculpture and architecture, as well as her graphically maximalist collages. Her work is deeply rooted in South Central Los Angeles, where her family has lived for generations. She recontextualizes locally significant public expressions like flyers, murals, and signs, which serve as both a celebration and an archive of Black culture. Earlier this year, she installed an Afrofuturist 22-foot-tall temple-like structure on the roof of the Metropolitan Museum of Art which included Ancient Egyptian hieroglyphics and sphinxes, as well as references to contemporary Black vernacular phrases and imagery.
Halsey earned her BFA from the California Institute of the Arts and an MFA from Yale University in 2014. She has had several notable exhibitions, including her first solo exhibition in Europe, “Too Blessed 2 be Stressed!” at Fondation Louis Vuitton in Paris. The representation comes ahead of her solo exhibition at London’s Serpentine Galleries, slated for October 2024.
The 2023 Soros Arts Fellowship is awarded to 18 artists tackling environmental issues.
From left to right: Portrait of Deborah Jack. Photo by Patricia de Melo Moreira/Factstory. Courtesy of Open Society Foundations; Portrait of Cannupa Hanska Luger. Photo by Patricia de Melo Moreira/Factstory. Courtesy of Open Society Foundations.
Open Society Foundations has awarded the 2023 Soros Arts Fellowship to 18 mid-career artists, each of whom will receive a $100,000 grant to further their socially driven initiatives. This year’s fellowship revolves around the theme “Art, Land, and Public Memory,” emphasizing transformative art projects addressing environmental challenges, sustainability, and Indigenous communities.
Additionally, the fellowship provides resources for building sustainable artistic careers, focusing on leadership development and offering peer-to-peer exchanges, mentorship, and networking opportunities.
“Art and culture are essential drivers for social change,” Open Society’s Tatiana Mouarbes said in a statement. “One of the greatest challenges of the 21st century is the health of our planet. Through their art and culture work, the 2023 Soros Arts Fellows are taking action to help heal a planet in crisis through community-led solutions for environmental justice. We are proud to support their visions.”
Portrait of Yto Barrada. Photo by Patricia de Melo Moreira/Factstory. Courtesy of Open Society Foundations.
Among the winners is Yto Barrada, the French Moroccan artist represented by both Goodman Gallery and Pace Gallery, who grapples with complex social relationships and the blurring of history and fiction in work that spans photography, film, sculpture, installations, and publications. Barrada will create a collaborative work titled the Mothership Manifesto at her studio and The Mothership, an eco-feminist residency in Tangier, Morocco. Drawing inspiration from educational materials and folk history, this new work aims to rethink conventional research methods in an educational textile project. .
Deborah Jack, based between Saint Martin and Jersey City, New Jersey, explores the intersection of ecology and cultural memory through several mediums, including video, installation, and film. With the grant, Jack will create To Make A Map of My Memory: Wayfinding Along Synaptic Topographies, an archive of oral history and multimedia installation that will platform voices in Saint Martin amid the Caribbean’s worsening climate crisis.
Portrait of Carolina Caycedo. Photo by Patricia de Melo Moreira/Factstory. Courtesy of Open Society Foundations.
New Mexico–based artist Cannupa Hanska Luger, known for his monumental installation, sculpture, and performance work that tells stories about Ingenious lives, received funding to publish SUVIVA. This work, as a publication and film series, plays on traditional survival guides, asserting the importance of Indigenous knowledge and traditions.
Carolina Caycedo’s multimedia work grapples with power imbalances, environmental justice, and the dangerous growth of capitalism. The Los Angeles–based artist will produce “We Place Life at the Center—Situamos la vida en el centro,” an exhibition drawing from Indigenous and eco-feminist perspectives and featuring collaborations from her fieldwork across the Americas. A bilingual publication and educational programs will accompany the exhibition, amplifying eco-social transformations and grassroots environmental voices.
Portrait of Nida Sinnokrot. Photo by Patricia de Melo Moreira/Factstory. Courtesy of Open Society Foundations.
Palestinian American sculptor Nida Sinnokrot will produce “Storytelling Stones: How far does your mother’s voice carry?” The project is a series of site-specific sculptures celebrating Indigenous traditions and fostering discussions on environmental justice. Sinnokrot’s work will invigorate public spaces in a manner that resonates with Palestinian and Indigenous communities worldwide.
Ida Applebroog, known for her paintings on gender and power, dies at 93.
Portrait of Ida Applebroog, 2018. © Ida Applebroog. Photo by Emily Poole. Courtesy of Hauser & Wirth.
Ida Applebroog, a key feminist artist in SoHo’s vibrant art scene in the 1970s, has died at 93. The Bronx-born artist’s work, rich with audacious and profound feminist perspectives, spanned over six decades.
Ranging from painting and sculpture to film and photography, Applebroog’s work consistently confronted societal power dynamics—and often, with sharp, dark humor. Her signature pieces on Rhoplex-coated vellum depicted flat and ambiguous domestic scenes, hinting at the communication and power gaps that punctuate everyday life. For Applebroog, originally born Ida Applebaum, gender and power dynamics were inseparable—in her work and her life.
Manuela Wirth, president of Hauser & Wirth, confirmed her death in a statement, commenting, “Ida has been a powerful force within the feminist movement since the 1970s, forging her own unique identity as an artist and woman, mother and wife. Relentless in her capacity for expansive visual experimentation, she interrogated themes of violence and power, human relations, her own body, and domestic space. Her emotionally disruptive and fearless approach to making art has been an inspiration to many generations, intensely personal, honest, and raw.”
Ida Applebroog, Galileo Chronology: I'm dying, 1975. © Ida Applebroog. Photo by Ken Adlard. Courtesy Hauser & Wirth
Referring to herself as an “image scavenger,” Applebroog transformed scenes from television and fashion magazines with a critical feminist lens. Her approach to art challenged the status quo but also highlighted the underlying structures that perpetuate gender biases. As in her work Galileo Chronology: I’m dying (1975), her pieces often featured headless or physically manipulated people to evoke distressing interactions.
Applebroog joined Hauser & Wirth in 2009. Soon after, her first solo exhibition at the gallery took place, featuring the installation Monalisa (2009), a house made from translucent shingles that depicted disembodied genitalia. In the piece, the home is portrayed as unstable, a place where fragile or intimate experiences are both on display and concealed.
In her later works, such as those in the “Angry Birds of America” series (2019), Applebroog responded to the political climate, capturing the turmoil and violence of the Trump era in the U.S. through images and sculptures of dead birds. Her later work showed unparalleled versatility, testament to her ability to evolve, yet stay rooted in her core themes.
“We are eternally grateful for her humor, wit, and radical introspection, presenting the absurdities of life as it is. Our thoughts are with Ida’s children and her extended family and friends at this time. She will be deeply missed by so many,” Wirth added.
Elton John announces an exhibition of his photography collection at the Victoria and Albert Museum.
Herman Leonard, portrait of Chet Baker, 1956. © Herman Leonard. Courtesy of the Victoria and Albert Museum and Herman Leonard Photography, LLC.
Elton John and his husband, David Furnish, have announced an upcoming exhibition titled “Fragile Beauty” at the Victoria and Albert Museum in 2024. The unprecedented exhibition will showcase over 300 photographs, many unseen by the public, from the couple’s extensive private collection.
“Fragile Beauty takes our collaboration to really exciting new heights, showcasing some of the most beloved photographers and iconic images from within our collection,” the couple said in a statement.
The collection, curated over 30 years, features work by more than 140 celebrated photographers, including Robert Mapplethorpe, Sally Mann, Cindy Sherman, Carrie Mae Weems, Diane Arbus, Ai Weiwei, and Zanele Muholi. The exhibition announcement stated that “Fragile Beauty” will explore themes such as fashion, reportage, celebrity, the male body, and American photography.
Eve Arnold, portrait of Malcolm X, 1962. © Eve Arnold. Courtesy of the Victoria and Albert Museum.
Additionally, the photos will present iconic portraits of figures like Marilyn Monroe, Malcolm X, Miles Davis, and Chet Baker while also chronicling historical moments, including the civil rights movement, the 1980s AIDS activism, and 9/11. The show will be on view from May 18, 2024 to January 5, 2025.
Duncan Forbes, curator of “Fragile Beauty,” said, “We are delighted to be working with Sir Elton John and David Furnish to present highlights from their unparalleled collection: from the playful and surprising to the contemplative and thoughtful. Whether through the elegance of fashion photography, the creativity of musicians and performers, the exploration of desire, or the passage of history as captured by photojournalism, photography reveals something important about the world.”
Thelma Golden, director and chief curator of Harlem’s Studio Museum, wins Gish Prize.
Portrait of Thelma Golden. Photo by Julie Skarratt. Courtesy of Gish Prize Trust.
Thelma Golden, director and chief curator at the Studio Museum in Harlem, has won the 30th Dorothy and Lillian Gish Prize. Presented by the Gish Prize Trust, the award is presented annually to an individual from any artistic field who has championed social change and fostered community within the arts.
The prize, inaugurated in 1994, honors artists and their supporters with one of the most substantial cash prizes that is currently valued at approximately $250,000.
Born in New York City, Golden earned international recognition for her work as an advocate for Black artists. Over the years, she curated major exhibitions such as “Chris Ofili: Afro Muses 1995–2005” at the Studio Museum and “Black Male: Representations of Masculinity in American Art” at the Whitney Museum of Art. For over two decades, her work at the Studio Museum has helped cultivate a center for contemporary black art in Harlem and New York City as a whole.
In 2019, Studio Museum closed for major renovations, and during that time, Golden facilitated a partnership between the museum and the Museum of Modern Art to uphold community engagement.
“As a curator and museum director who has been privileged to work for and on behalf of artists for my entire career, I am humbled to receive this prize that was created by an artist and has been given to so many creative leaders I greatly admire,” said Golden. “Working in service of artists in general, and very specifically Black artists, has allowed me to engage broadly in the world.”
The selection committee, chaired by the chief executive officer of the National Black Theater Sade Lythcott, included Anna Glass, executive director at Dance Theatre Harlem; Terrance McKnight, host at WQXR, New York Public Radio; Adam D. Weinberg, director emeritus at the Whitney Museum of American Art; and Laura Aden, president and CEO of the Howard Gilman Foundation.
$6 million Kerry James Marshall leads sales at Paris+ par Art Basel.
Exterior view of Grand Palais Éphémère. © Photo by Patrick Tourneboeuf. Courtesy of Paris+ par Art Basel.
Paris+ par Art Basel kicked off its sophomore edition at the Grand Palais Éphémère with soaring sales, cementing expectations for the leading art fair. David Zwirner reported selling a Kerry James Marshall painting for $6 million, the top sale for this edition of the fair. The gallery also found buyers for pieces by Marlene Dumas, Alice Neel, and Michaël Borremans.
Following the fair’s momentum, Hauser & Wirth also reported strong interest, selling out its booth on the first day. The mega-gallery sold work from renowned artists like Mark Bradford, George Condo, and Roni Horn, among others. Marc Payot, the gallery’s president, revealed that several of these works found homes in elite private collections in France.
Paris-based gallery Mennour reported sales of a sculpture by Anish Kapoor and two works by Lee Ufan. Meanwhile, Thaddaeus Ropac revealed multiple seven-digit sales for the works of Robert Rauschenberg, Georg Baselitz, and Simon Hantaï.
Amid all these splashy sales, Pace Gallery also presented a landmark Mark Rothko painting, Olive over Red (1956), priced at $40 million, at its booth. However, no sales or offers were reported by the gallery.
National Museum of Women in the Arts reopens after its two-year renovation.
Installation view of the collection galleries at the National Museum of Women in the Arts, 2023. Photo by Jennifer Hughes. Courtesy of the NMWA.
On October 21st, the National Museum of Women in the Arts (NMWA)—the world’s first museum programmed to exclusively feature women artists—will reopen after a two-year renovation at 1250 New York Avenue in Washington, D.C.
This weekend, the museum will host tours, performances, and other interactive events to celebrate the reopening, offering free admission on October 21st and 22nd. Susan Fisher Sterling, director of the museum, said that the renovations are “worth the wait.”
“Since opening its doors in 1987, the National Museum of Women in the Arts has been a symbol and gathering space for the cause of advancing gender equity in the art world,” Sterling told Artsy. “Through historical and contemporary exhibitions, programs, and outreach, as well as its bold collection, the museum advocates for the profound necessity of inclusivity.”
The museum’s inaugural exhibition “The Sky’s the Limit” will showcase contemporary sculptures and immersive installations from 13 women artists working over the last two decades, including Rina Banerjee, Sonya Clark, Petah Coyne, Beatriz Milhazes, Cornelia Parker, Mariah Robertson, Alison Saar, and many others. The exhibition will be on view until February 25th.
Inside the museum, redesigned by Baltimore-based architectural firm Sandra Vicchio & Associates, gallery spaces have increased in size by 15%. The comprehensive upgrade includes expanded exhibition areas, a state-of-the-art performance hall, and configurable rooms for public programs. Meanwhile, 40% of the work will be presented for the first time at NMWA in the inaugural exhibitions and the remixed collection.
In addition to “The Sky’s the Limit,” the museum will open two focus exhibitions, including “Making History,” a retrospective on Chinese American artist Hung Liu, and “Impressive,” a showcase of 25 prints from renowned French artist Antoinette Bouzonnet-Stella. Both exhibitions will remain on view until October 20, 2024.
With $69 million already raised, NMWA is close to meeting its capital campaign goal of $70 million. In addition to the exhibitions, the funding will help support the Gloria and Dan Logan Learning Commons, housing the Mary Ross Taylor Exhibition Galleries, the Betty Boyd Dettre Library and Research Center, and the Susan Swartz Studio.
“With the reopening of the National Museum of Women in the Arts, residents and visitors have one more fantastic reason to visit downtown D.C.,” said D.C.’s mayor, Muriel Bowser. “Art and artists, and the stories they tell, add so much to the vibrancy and color of D.C. Now, we are D.C. proud to, once again, have this incredible museum dedicated to uplifting and championing the stories of women.”