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    Storage, a New Artist-Run Space in New York, Wants to Offer an Alternative to Exploitative Gallery Models

    When artist Onyedika Chuke emerged from months of lockdown in New York City, there was one thing he felt he needed to do—and it wasn’t to see friends or to eat outdoors. It was to start a gallery.
    He opened his space, called Storage, last month inside the basement art studio he’d been renting underneath a Korean restaurant on the Bowery. “It was a really run-down dusty space that I knew something magical could happen in,” Chuke told Artnet News.
    The gallery—which opens at a moment when many other art businesses are facing financial challenges of historic proportions—aims to serve as an extension of Chuke’s artistic practice and activism. From the front end, it looks like a traditional commercial gallery, with a focus on work by women and people of color. But Chuke says he has embedded within it policies and practices that he hopes can model a more just art ecosystem.
    Storage, he said, is “a gallery in form of a protest.”
    The inaugural exhibition is an intergenerational group show featuring young artists such as Austin Martin White, Jazmine Hayes, Rena Anakwe, Sam Chun, Yanira Collado, and Daniella Portillo, as well as more established figures including William Cordova, Rick Lowe, and Emory Douglas, the minister of culture for the Black Panthers. (The gallery will be holding virtual conversations with the artists to discuss connections between their work.)
    Emory Douglas, Germ Warfare Declared Against Blacks (1972). Photo by Storage, courtesy of the artist.

    While Storage will take the standard 50 percent commission on art sales, Chuke is putting a portion of the proceeds toward the gallery’s new mentorship program for young artists, ages 16 to 24. (The program will also be funded by prints and editions produced in the gallery’s in-house print studio.) “It’s more of a social enterprise then it is a full-on commercial outfit,” Chuke said. To help him meet the overhead, he is keeping his jobs as an educator at Cooper Union and director of outreach at Foster Pride.
    Artists and writers also receive a special discount, though, Chuke said, most artists ended up waiving it. Works in the inaugural show range in price from $750 to $50,000, and have nearly sold out, according to Chuke.
    Chuke, who was the inaugural New York City public artist in residence at Rikers Island in 2018, hopes to fill a gap in the industry that he’s experienced as an artist himself. In 2011, disillusioned by dealers who he felt didn’t understand his practice, Chuke placed a ten-year moratorium on sales of his own work.
    “I became a gallerist because I thought I needed to be,” he said. “I want to be that thing that I haven’t been able to find.” And with ten years of working at art galleries under his belt—Chuke is a veteran of New York’s Susan Sheehan Gallery—he feels fully prepared to run the business side of things.
    In order to ensure the art is going into the right hands, and won’t be flipped for profit, he relies on a network of elder art dealers. “It is possible to have a healthier environment of patronage,” Chuke said. “Saying no to veterans and newer collectors with harmful habits is a part of that process.”
    William Cordova, Tetragrammaton. Photo by Storage, courtesy of the artist.

    The concept of the gallery was born after Chuke visited Nigeria for the funeral of his grandfather and returned home to a soon-to-be-locked-down New York, struck by feelings of loneliness. “Then you started seeing images of people being killed by the police… All this stuff was compounding: this isolation, all this death, and COVID was really hitting Black people more than most people,” he said.
    He had the realization that “I can either be depressed or I can be active.” At first, that meant participating in Black Lives Matter protests, but when the movement began to quiet down, “I realized I had to keep it going.”
    He chose the name Storage in the hopes that it would give an artistic community space to reexamine, recontextualize, and respond to history. “It’s the place where you unpack, you pull things apart, you reorganize,” he said.

    Austin Martin White, Untitled (Iron bit mask). Photo by Storage, courtesy of the artist.

    In curating the inaugural show, Chuke was inspired by a quote from “Discourse on Colonialism” a 1950 essay by Afro-Caribbean poet and politician Aimé Césaire: “It is not a dead society that we want to revive. We leave that to those who go in for exoticism.”

    “That quote cemented everything for me. There’s a lot of talk about a rebuilding the world, almost fanned by the flames of COVID,” Chuke said. “The way I’ve cleansed myself and revived myself in the past was to make art. Then I thought, what would other makers do if we had a space to do that?”

    See more works from the show below.
    Leslie Hewitt, Riffs on Real Time With Ground-(Green Mesh) 2017. Photo by Guillaume Ziccarelli, courtesy of the artist and Perrotin.

    Rick Lowe, Untitled (2018). Photo by Storage, courtesy of the artist.

    Jazmine Hayes, A Round of Applause, video still. Courtesy of the artist and Storage.

    Alicia Grullon, Female as Nymph #2 C (2005). Photo by Storage, courtesy of the artist.

    Alicia Grullon, Eyes Watching (2005). Photo by Storage, courtesy of the artist.

    “storage_” is on view at Storage, 96 Bowery, Basement, New York, September 10–October 25, 2020.
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    A French Museum Puts Its Genghis Khan Exhibition on Hold After China Pressures It to Rewrite the History of Mongol Culture

    Censorship pressure from Beijing has prompted a French museum to postpone a planned exhibition on Genghis Khan that involved loans from China. The Chinese communist party reportedly insisted that the show omit any use of the words “Genghis Khan,” “empire,” or “Mongol,” as well as demanding control over exhibition texts, maps, and brochures.
    “We made the decision to stop this production in the name of the human, scientific, and ethical values that we defend,” said Bertrand Guillet, director of Nantes’s history museum, the Château des ducs de Bretagne, in a statement.
    The “censorship of the initial project,” he claimed, was characterized by “biased rewriting of Mongol culture in favor of a new national narrative,” such as the attempt to change the exhibition’s title from “Sun of the Sky and the Steppes: Genghis Khan and the Birth of the Mongolian Empire“ to “Chinese Steppe Culture of the World.”
    The show, which was being organized in partnership with the Inner Mongolia Museum in Hohhot, China, had already been postponed from its October opening. Now, instead of debuting in February, it is on hold until at least 2024 as curators scramble to replace Chinese loans of artifacts with works from European and American collections.
    Monument to Ghengis Khan—the world’s largest equestrian statue—in Tsonjin Boldog, Mongolia. Photo via Flickr Creative Commons.

    During the 13th century, Khan united the nomadic tribes of northeast Asia and conquered much of Eurasia through deadly invasions, founding what became, after his death, the largest contiguous empire in history.
    Today, China has a fraught relationship with its ethnic Mongol population, which lives largely in the Inner Mongolia province. School reforms passed in August replaced ethnic Mongolian with Mandarin as the official language in school instruction in three subjects. The move was met with widespread protests in the province.
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    Artist Amalia Ulman Will Become a Model-for-Hire in a New Exhibition Held in a Very Exotic, Very Secret Location: the Dark Web

    New artworks by six contemporary artists, including Amalia Ulman, David Horvitz, and Joshua Citarella, are going onto the dark web next month as part of “Time Out of Joint,” a new exhibition curated by New York-based artistic partners Eva and Franco Mattes.
    The show, which is part of the online-only Yerevan Biennial, can only be accessed through a special browser. 
    Worried about web safety? As far as internet activities go, getting on the dark web is about as safe as surfing Amazon (perhaps even more so, many would argue). But the location is sure to scare some people—and that’s the point. 
    “One of the goals of this show is to bring people to a place they are not familiar with—even if it’s just one click away,” Eva and Franco Mattes tell Artnet News over email.
    David Horvitz, Nostalgia 500 (2020).

    “If the surface internet is like Art Basel, then the dark net would be your artist-run space in a dirty basement in Bushwick—a place that’s a bit harder to find, that works mainly on word of mouth, but where you might discover something unexpected.” they say.
    From now until January 2021, a new artwork by one of the six participating artists and collectives will debut on the site every two weeks. The first up is Horvitz’s Nostalgia 500, a project for which the artist is permanently deleting 500 digital photographs from his personal archive, one image at a time. 
    Artist Vladan Joler will introduce a map and essay based on what he calls “New Extractivism,” the process through which biodata is harvested by commercial and governmental interests.
    Meanwhile, Ulman’s contribution is a video piece in which she turns herself into a model-for-hire on a crowdsourcing platform. “The result is a supposedly funny-online-challenge video, which calls into question stereotypes and beauty standards, and is so incredibly awkward,” the curators say.
    Vladan Joler, New Extractivism (2020).

    Indeed, for Franco and Eva Mattes, these projects represent the artistic potential of the dark web, an arena that exists far from the corporatized, data industrial complex that is the internet.
    “Art could benefit from a less monochromatic, less centralized, less controlled, and less profit-driven environment,” the duo say. “Maybe the dark net is just a metaphor for something we are struggling to find in the artworld, an alternative.”
    To visit “Time Out of Joint,” download the Tor Browser at www.torproject.org and visit http://fjroxjgxhmd2ymp2.onion.
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    Metropolitan Museum of Art Curator Alisa LaGamma on 7 Extraordinary Treasures That Define Western Sahel Cultures

    At the dawn of the first millennium, bustling trade routes crisscrossed the region known as the Western Sahel, a vast swath of land that inches up to just below the Sahara Desert and encompasses what is today Senegal, Mali, Mauritania, and Niger.
    Four great empires emerged and thrived in this dynamic region over the centuries—Ghana (300–1200), Mali (1230–1600), Songhay (1464–1591), and Segu (1640–1861)—forever imparting it with an incredible material culture.
    Now, that legacy of the region’s transformative impact on visual arts is being examined in “Sahel: Art and Empires on the Shores of the Sahara,” currently on view at the Metropolitan Museum of Art. The 200 objects on view range from carved stone sculptures to textiles to illuminated manuscripts, which altogether detail the rise and fall of vast, complex civilizations, along with the arrival Islam.  
    From the myriad objects on view, the exhibition’s curator, Alisa LaGamma, has chosen seven artworks that offer a succinct glimpse into the region’s dazzling history. Below, LaGamma takes us through the works and explains their significance.

    Female Body (Venus of Thiaroye)SenegalBefore 2000 B.C.
    Female Body (Venus of Thiaroye), Senegal (Pre-2,000 B.C.) Sandstone. Collection of Institut Fondamental d’Afrique Noire Cheikh Anta Diop, Dakar, Senegal. Photo by Antoine Tempeì.

    The Beginnings of Figuration: “As many as 4,000 years ago, an individual recognized a human form in the contours of this pebble. He or she underscored that association through the addition of a few lightly inscribed lines. Despite the minimal intervention, that maker’s act transformed an inert mineral formation into a representational artifact. The truncated lower body of a female figure emerges from simple lines that circumscribe the contours of a rounded belly punctuated by a prominent navel above thighs bisected by a broad vertical channel. Its headless attenuated summit suggests the merging of male and female sexual attributes.”
    What You Need to Know: “The earliest Sahelian populations were highly mobile pastoralists who measured wealth in cattle and semi-precious stones. This miniature tribute to human reproduction that fits in the palm of one’s hand attests to creativity as a response of the human imagination to the natural world. It was likely deposited with its owner’s most treasured possessions within one of the thousands of man-made earthen tumuli left behind as burial markers that have reshaped the landscape. Its chance recovery suggests the role of figuration in visualizing symbolic thought concerning existence and procreation among the Sahel’s first settlers.”

    MegalithKaolack region, Senegal8th–9th century
    Megalith Kaolack region, Senegal (8th–9th century). Lateritic conglomerate. Collection of Institut Fondamental d’Afrique Noire Cheikh Anta Diop, Dakar, Senegal Photo credit: Antoine Tempeì.

    Monuments Like No Others: “The Sahelian imagination gave rise to its own distinctive and highly original landmarks. In order to pay tribute to their grandeur, it was fitting that we transported one of these from the entrance to the IFAN Museum in Dakar to the entrance of the exhibition in New York City. As early as the 8th century, the creators of thousands of such massive lithic monuments deployed iron tools to hew them from lateritic soil. Once released from that hardened ferrous earth, they were hoisted upright and positioned in the landscape within symbolic configurations. Ninety-three such sites situated along the Gambia River, which predate the arrival of Islam through trans-Saharan trade, likely defined ceremonial gathering places.
    Musical Inspirations?: “While the specific significance of these striking open-air installations have long been forgotten, today they are the focus of the archaeological investigation and protected as UNESCO World Heritage sites. Contemporary residents of the region have speculated that the highly original design of this rugged landmark may be that of a lyre. That theory complements the enduring importance played by music as a regional means of expression through which historical narratives are relayed by griots or bards.”

    EquestrianBura-Asinda-Sikka, Niger3rd–10th century
    Equestrian Bura-Asinda-Sikka Site, Niger (3rd–10th century) Terracotta. Collection of Institut de Recherches en Sciences Humaines, Universiteì Abdou Moumouni de Niamey, Niger. Photo credit: Maurice Ascani.

    Reimagining the Equestrian Monument: “The equestrian has been a major subject of exploration by artists in the Sahel going back to antiquity independent of its Western corollaries. This commemorative tribute to a mounted warrior is among the earliest known of these regional visualizations of power and authority. Horses were prized commodities imported from the Arab world as early as the first millennium B.C. Some historians have suggested that horseback riding was largely ceremonial until the 13th century, when cavalries, such as those of the Mali empire, gave regional leaders a strategic advantage in military combat.”
    Sahelian Conquering Heroes: “Modeled in lightly fired clay as early as the 3rd century, this sculpture was originally positioned above the resting place of a burial site within a necropolis, or city of the dead. The depiction is striking for the highly expressive exaggeration of the rider’s outstretched arm and the elongation of the horse’s muzzle accentuated with elaborate bracelets and harness. In the exhibition, this commanding Bura captain is a poised and regal presence whose piercing gaze looks beyond us into eternity. He leads a cavalry of riders shaped by artists in an array of media including cast metal and carved wood.”  

    The Rao PectoralRao/Nguiguela, Senegal12th–13th century
    Pectoral (The Rao Pectoral) Rao/Nguiguela, Senegal (12th–13th century) Gold. Collection of the Institut Fondamental d’Afrique Noire Cheikh Anta Diop, Dakar, Senegal. Photo by Antoine Tempeì.

    The American Premiere of a Radiant National Treasure: “This dazzling ornament translates the idea of radiance into a fixed form. Resplendent as a heavenly body, 6.7 ounces of gold have been cast into a disc that is adorned with concentric bands of bold bosses, elegant arabesques, and diamond motifs. It was unearthed in 1941 as part of the burial tumulus of a young man together with a number of finely cast gold beads and iron weaponry at the site of Rao. Although it is the centerpiece of Senegal’s national collections, this is the first time in recent memory this extraordinary creation has been on public display.”
    A Valuable Export: “Access to gold was the motivation for traders to cross the vastness of the Sahara regularly by the end of the 7th century. During the period in which this work was cast, three-quarters of the gold in circulation in Europe was mined in this region of West Africa. Perhaps given its abundance, gold was almost an afterthought in a Sahelian hierarchy of precious materials. Instead, across West Africa, copper was the preferred medium for adornment. At the same time, this work reflects Sahelian access to Islamic gold working techniques of filigree and granulation deployed to produce its refined ornamentation.”

    Female FigureGhana Empire, Kumbi Saleh, Mauritania7th–11th century
    Female Figure, Ghana empire, Kumbi Saleh, Mauritania (7th–11th century). Terracotta. Collection of  Office National des Museìes de Mauritanie, Nouakchott, Mauritania. Photo by Antoine Tempeì.

    Figurative Representation in Ancient Ghana:  “Were its discovery not carefully documented, this fragmentary figurine might be difficult to place. Modeled from humble clay, it is the only extant human depiction that brings to life a mighty state identified with precious gold: the storied ancient Ghana empire (ca. 300–1200). The slim waist, pronounced disc-like navel, and the dramatic sweep of rounded buttocks extending broad thighs constitute female bodily attributes universally associated with fertility and reproduction.”
    The Lifeline of a Treasured Object: “Retained for centuries, it was cast off in an ancient garbage with the building of a stone mosque. Its state may reflect deliberate iconoclastic defacement and rejection of earlier held religious practices. The jettisoning of this once cherished votive item suggests concrete evidence of the major social change and shifts in political ideology experienced by Kumbi-Saleh’s citizenry.”

    Commemorative Stela for Queen “M.s.r”Gao-Saney, Mali1119
    Commemorative Stela for Queen “M.s.r”, Gao-Saney, Mali (1119). Schist. Collection of Institut Fondamental d’Afrique Noire Cheikh Anta Diop, Dakar, Senegal. Photo by Antoine Tempeì.

    First Writings: “This stela constitutes one of the Sahel’s earliest known locally written texts. Islam’s arrival in the late 7th century introduced literacy and scriptural translation of regional languages. The epitaph of a female leader, the inscription is contemporaneous with the lives of a cast of royal figures otherwise unchronicled in the accounts of early Arab sources or the histories composed by Timbuktu scholars during the 17th century.” 
    Powerful Female Leaders: “Situated on the eastern arc of the Niger River Bend in present-day northern Mali, the site of Gao-Saney, was comprised of a major market town described in early Arab sources and a large Royal Cemetery. Among its early leaders were a number of women given the title of ‘malika,’ or queen, a role parallel to that of king. This high office was one that had originated outside Islamic culture but was nonetheless retained by Gao-Saney’s Muslim dynasty.”

    Reclining FigureMiddle Niger civilization, Jenne-jeno, Mali12th–14th century
    Reclining Figure Middle Niger civilization, Jenne-Jeno, Mali (12th–14th century). Terracotta. Collection of Museìe National du Mali, Bamako. Photo credit: Museìe National du Mali.

    Sahelian Renaissance to a Reformation?: “This figure is among the few carefully documented discoveries of a major artistic movement and explosion of creative output that occurred across the Inland Niger Delta from the 12th through 14th centuries. The corpulence, reclining posture, and ornaments that bedeck this androgynous figure suggest a prosperous individual of social distinction.”
    Cataclysmic Cultural Transformation: “Despite the care that went into this complex depiction of a potentate, it was deliberately decapitated before its disposal with the detritus of an abandoned sector of the city of Jenne-jeno during its final years, around 1400. We have no record of what precipitated either the efflorescence of artistic expression or the crisis that precipitated sudden abandonment of what had been a prosperous city of professionals. The establishment of the nearby modern city of Jenne at this very moment and the building of its Great Mosque, however, suggest this work’s fate reflects a major cultural shift in regional religious practices.”
    “Sahel: Art and Empires on the Shores of the Sahara” is on view at the Metropolitan Museum of Art through October 26, 2020.
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    Before He Died, Curator Okwui Enwezor Conceived an Exhibition About Black Grief. It’s Set to Debut at the New Museum Next Year

    Prior to his death in March of 2019, legendary curator Okwui Enwezor was in the process of completing an exhibition centered around the intersection of “black grief” and “white nationalism” in art, timed to the 2020 presidential election.  
    Next year, a group of curators will step in to bring Enwezor’s vision to life. “Grief and Grievance: Art and Mourning in America,” which was co-organized by MCA Chicago senior curator Naomi Beckwith, New Museum artistic director Massimiliano Gioni, artist Glenn Ligon, and independent curator Mark Nash based on Enwezor’s concept, will go on view at the New Museum on January 27.
    The announcement comes just one day after the New York Times published a scorched-earth exposé about the museum’s working conditions, in which current and former employees compared it to a “sweatshop” and a “fiefdom.” (Some on Twitter pointed out the irony of the show’s title, “Grief and Grievance,” in light of the coverage, and the fact that the museum gave the scoop on the exhibition to the Washington Post in an apparent snub of the Times.)
    Arthur Jafa, Love Is The Message, The Message Is Death (2016). Courtesy of the artist and Gladstone Gallery, New York and Brussels.

    The show will present work by 37 contemporary artists, many of whom are among the most important of their respective generations. The lineup includes Arthur Jafa (whose video Love Is the Message, the Message Is Death will be a centerpiece of the show), Kerry James Marshall, LaToya Ruby Frazier, Nari Ward, Deana Lawson, Kara Walker, and Jack Whitten. The works will fill the museum’s lobby and its three exhibition spaces. Collectively, the art examines and confronts what writer Saidiya Hartman calls in the show’s catalogue “the afterlife of slavery.” 
    In a statement, the museum’s director Lisa Phillips calls the show a “tribute to Okwui Enwezor’s courage, relentless focus, and fierce intelligence as a giant in our field and one of the most important curators of his generation.” 
    “His presence remains vivid,” the director goes on, “as does his legacy to transform the history of art and exhibition-making… On the eve of a presidential election where the stakes have never been higher, Okwui’s vision and the voices of the artists selected for this exhibition could not be more relevant.”
    Kerry James Marshall, Untitled (policeman) (2015). © Kerry James Marshall. Courtesy the artist and Jack Shainman Gallery, New York.

    The Nigerian-born Enwezor was known for ambitious, complex, generation-spanning exhibitions that teased out big ideas in cultural production, such as “Postwar: Art Between the Pacific and the Atlantic, 1945–65” at the Haus der Kunst in 2017. This marks his first exhibition tackling America as a subject.
    The show took root in the fall of 2018, evolving from a series of lectures about Black mourning and white nationalism that Enwezor had planned for Harvard University. When he died in March, he left lists of potential artworks, artists, catalogue contributors, and a working thesis.
    Shortly thereafter, the New Museum convened what it calls an “advisory team” to realize the Enwezor’s idea. Ligon, who Enwezor himself had invited to advise in a curatorial capacity, was joined by Nash, Beckwith, and Gioni, all of whom had collaborated the late curator before.
    The exhibition was roughly 85 percent complete upon Enwezor’s death, New Museum artistic director Massimiliano Gioni told the Washington Post. “We tried not to stray from the blueprint Okwui gave us. Where that was not possible, we tried to be like a restorer or conservator where you fill in the gaps.”
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    Beijing’s UCCA Broke Records With Its Blockbuster Picasso Show. It Wants to Do the Same With the Largest-Ever Andy Warhol Survey in China

    Last year, the UCCA Center for Contemporary Art in Beijing smashed attendance records with its blockbuster Picasso retrospective, capitalizing on the simple fact that a major museum survey dedicated to the artist had never been staged in mainland China. 
    Now, the museum is aiming to cash in with a major survey of another ubiquitous Western master: Andy Warhol. 
    Next summer, UCCA plans to present the “most comprehensive exhibition by Andy Warhol staged to date in China.” The show, simply titled “Andy Warhol,” will present more than 200 paintings, prints, drawings, films, and photographs by the artist, as well as archival materials framed to illustrate his trajectory from a child in Pittsburgh to the king of the New York art world.  
    “We found in doing the Picasso show that the public here is extremely receptive not only to major figures, but to exhibitions that tell stories of artistic formation, development, and experimentation—shows that answer the question ‘Who is this figure, what did they do, and why are they considered so important?’” UCCA director Philip Tinari tells Artnet News.
    “The Picasso show proved that while living artists may be at the core of our program, there is also room for us to present key figures from global art history,” he adds. “In a context where there are not public museums permanently showing this kind of work, exhibitions like these serve an important educational role.”
    The UCCA Center for Contemporary Art in Beijing. Courtesy of the Office for Metropolitan Architecture. Photo by Bian Jie.

    Jose Carlos Diaz and Patrick Moore, the chief curator and director, respectively, of the Andy Warhol Museum in Pittsburgh, organized the show and loaned all of the materials headed to Beijing. (Diaz declined to say whether the Warhol Museum is being compensated for the loans from its collection.)
    “This is an opportunity to curate an exhibition that explores the artist, his work, and the various areas of his practice highlighting a large quantity of popular artwork alongside rare items that have never been displayed abroad and allow us to tell a detailed exhibition about the artist,” Diaz says. He points to one section of the show devoted to Warhol’s work as a “serious photographer parallel to his lucrative celebrity portrait commissions” as one such example.  
    Tinari says that he’s been in touch with Diaz and Moore about the show since 2018 and visited the US museum in August of 2019. The director also says that Warhol’s famous 1973 screen prints of Mao Zedong were never in discussion for the exhibition. “The focus of the show was always on lesser known works and a narrative of Warhol’s development that informed by current scholarship,” he says.  
    “Andy Warhol” goes on view July 3 – October 10, 2021 in Beijing before traveling to the UCCA Edge in Shanghai in November.
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    Damien Hirst Is Riding the Wave of ‘90s Nostalgia With an Homage to His Own Early Work at His London Gallery This Month

    With all the shameless self-branding, ostentatious installation, and market madness that have defined his late-career work, it’s easy to forget that Damien Hirst was once seen as a fresh, cutting-edge “Young British Artist.” 
    Next week, the YBA figurehead will attempt to remind us of this himself with a robust presentation of works from the first two decades of his output. And, in typical Hirst fashion, he’s doing it on his terms, hosting the exhibition at his own personal gallery. 
    Going on view at Newport Street Gallery in London is “End of a Century,”’ a show of 50-some artworks from the 1980s and ‘90s, many of which belong to his best-known series. It’s the artist’s first solo show at the exhibition space, which he founded in 2015 to show off his personal art collection.

    The show takes us back to a time when “Cool Britannia” was a buzzword, Oasis and the Spice Girls ruled the music charts, and a shark suspended in formaldehyde could still thrill and shock the public.
    “Showing my works from the 90s and before, so long ago!,” Hirst wrote on Instagram, accompanied by pictures of his 20-foot-tall sculpture of an anatomical model, Hymn (1999-05), being hosted into the gallery by crane. “Makes me feel old—last century?”
    Early spot paintings, sharks suspended in formaldehyde, and college-era collages from found materials will be among the greatest hits on display. So, too, will be rarely-seen works such as Prototype for Infinity (1998), an installation of thousands of painted pills from his “Pill Cabinets” series, and Waster (1997), a vitrine filled with medical waste. 
    Damien Hirst, Waster (1997). Photo: Prudence Cuming Associates. ©Damien Hirst and Science Ltd.

    With the exception of a few private loans, most of the artworks belong to Hirst himself, according to The Art Newspaper. Technically none of them will be on sale. 
    The show, set to October 7 through March 21, 2021, will be accompanied by an illustrated catalogue. Entry to the exhibition is free but you have to book a timed ticket slot in advance. 
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    The Frick’s Plans for the Breuer Building Promise to Spotlight Its Masterpieces ‘in a Completely Different Light’

    For at least the next two years, New York’s Frick Collection will trade its Gilded Age mansion home for the Brutalist digs of the former Whitney Museum of American Art, designed by architect Marcel Breuer in 1966. Now, the museum has announced its plans for the long-awaited change of venue.
    The move promises a dramatic new setting for the Frick’s collection of Old Masters during the planned construction on an extensive renovation and expansion of the 1914 Henry Clay Frick House. The Frick Madison, as the temporary location in the former Whitney space has been dubbed, is set to open in early 2021 and will remain in operation until the project is done.
    The museum isn’t going far distance-wise—the Breuer Building on Madison Avenue at East 75th Street is only an eight minute walk from the historic East 70th Street mansion—but the two buildings are miles apart stylistically.
    “Audiences will be able to experience the collection reframed in an exciting new way,” said Frick director Ian Wardropper in a statement. “The minimalism of Marcel Breuer’s mid-century architecture will provide a unique backdrop for our Old Masters, and the result will be a not-to-be-missed experience, one that our public is sure to find engaging and thought-provoking.”
    The Met Breuer. Photo: DON EMMERT/AFP/Getty Images.

    This will be the first time that the Frick’s collection has left the confines of the mansion en masse, giving the curators license to change things up a bit and showcase the artworks outside of ornate period rooms.
    The Frick Madison display will be organized chronologically, by region, with rooms dedicated to Northern European, Italian, Spanish, British, and French art. Rembrandt van Rijn, Johannes Vermeer, and Anthony van Dyck will each have dedicated galleries.
    “Through fresh juxtapositions we will present our masterpieces in a completely different light, revealing unexpected relationships between subjects, artists, and media,” said Xavier F. Salomon, the museum’s deputy director and chief curator, in a statement.
    Diego Velázquez, King Philip IV of Spain (1644). Courtesy of the Frick Collection.

    “For example,” he added, “the Frick’s small but significant group of Spanish paintings, by artists from El Greco to Goya, will be shown together for the first time. The opportunity to deconstruct and re-present our collection in this way offers an invaluable learning experience that will enrich our understanding and enjoyment of the collection.”
    The expanded space also provides the opportunity to showcase collection masterpieces normally in storage, like “Progress of Love,” a series of Jean-Honoré Fragonard paintings that the Frick has never been able to show together in its entirety. And sixteenth-century Mughal carpets that would normally be installed as functional objects can instead be displayed on the museum walls, encouraging a fuller appreciation of their artistry.
    Jean-Honoré Fragonard, The Progress of Love: The Meeting (1771–73). Courtesy of the Frick Collection.

    Among the other heavy-hitting Old Masters visitors can expect to encounter at the new location are Thomas Gainsborough, Jean-Auguste-Dominique Ingres, Titian, J.M.W. Turner, Diego Velázquez, and James Abbott McNeill Whistler, as well as works of the decorative arts ranging from Asian and European porcelain to Renaissance bronze figures to French enamels.
    The Frick’s $160 million renovation plans, which look to add nearly 90,000 square feet of exhibition space to the museum, have hit numerous roadblocks over the years. After preservationists fought to save the Russell Page-designed garden, Selldorf Architects went back to the drawing board, devising a plan that axed the museum’s circular music room instead. Over objections from music lovers, that design was ultimately approved.
    Rendering of The Frick Collection from 70th Street; courtesy of Selldorf Architects.

    After New York went into lockdown in March, the Frick opted not to reopen in its permanent home before beginning construction, which it hopes to complete by 2022 or 2023.
    The museum inherits the Breuer Building from the Metropolitan Museum of Art, which moved in back in 2016, using the former Whitney Museum as an outpost for contemporary art. With rent priced at $17 million a year, the Met Breuer was widely viewed as an unsuccessful financial venture for the institution. In 2018, the Met announced that it would cut its eight-year lease short by three years and turn over the property to the soon-to-be-homeless Frick.
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