Art Industry News: Collector Pamela Anderson says the art market is ‘a bit corrupt’, but ‘part of a sexy life’

Art Industry News is a daily summary of the most important developments in the art world and the art market. Here’s what you need to know this Wednesday, September 23.


New York’s museums get a boost from Rockefeller – The Rockefeller Brothers Fund is giving $1.5 million to New York museums working to show and promote artists from underrepresented groups. It awards six-figure grants to institutions such as the Africa Center, El Museo del Barrio and the Studio Museum to support projects helping New York’s creatives through educational programs, residencies or studio space. free. The director of the fund’s arts and culture program says organizations have a responsibility to deconstruct the barriers that exclude BIPOC, LGBTQ+ and female artists from opportunities and “set a model for the sector to transform its approaches to diversity and representation. (ART news)

Paris court case suggests risky deal between gallery and curator – The former director of Asian arts at the Marlborough gallery, Philippe Koutouzis, and the retired curator of the Guimet museum, Jean-Paul Desroches, are to appear in court in Paris on corruption charges. Prosecutors allege that Marlborough and the family of artist Chu Teh-Chun paid the curator in exchange for exhibiting the Chinese-born artist’s work at the museum in order to promote his market. Desroches is accused of having received €20,000 (about $23,000) for a curatorial text on a series of 56 painted vases as well as three trips to Madrid, Beijing and Hong Kong paid for by Chu’s gallery or family. The curator denies the corruption allegations. (The arts journal)

Pamela Anderson on her relationship with the art world – In a column for FTIn “How to Spend It,” the actress, creative director of social media site Jasmin, and art collector talks about her taste in art and her experience as a muse for Richard Prince, Ed Ruscha, and Jeff Koons . “You could say that even though I collect pop art, pop artists also collect me,” she says, noting that she retrospectively believes that her many Playboy the covers were also pop art. As for the art world itself, Anderson approaches it lightly. Unlike some of her friends, who “manipulate the market a bit” by bidding or offering works by artists they own at charity auctions, she does not collect for investment or profit. “It’s a bit corrupt, I suppose.” But like everything else, I don’t know, it’s just part of a sexy life,” she concludes. We couldn’t agree more. (FinancialTimes)

Is Manifesta a model for future biennales? – The traveling international biennial Manifesta continued its latest edition in Marseille despite travel restrictions that prevented the majority of international visitors from seeing it. Making an argument for biennials to become more relevant to their local communities, the curators chose to focus on the specific struggles facing the city, including a housing crisis. Founder Hedwig Fijen said the event is “looking for alternative relevance”, not just “having tourists drawn to a city and spending a lot of money there”. In fact, this restricted focus can have a more lasting impact on a city’s cultural landscape and associated economic benefits. (New York Times)


Xavier Hufkens now represents Huma Bhabha – The US-based Pakistani sculptor, known for her monumental and totemic forms, has joined the list of the powerful Belgian gallery Xavier Hufkens. The artist won the prestigious Met Rooftop Commission in 2018. (Press release)

Rare Ruscha Text Work Heads To Christie’s – Christie’s offers a textual work by Ed Ruscha, City, With Marbles (1969), at its upcoming Contemporary Art sale on October 7 in New York. The work, which last hit the market in 2007 and sold for $992,000, carries an upper estimate of $3.5 million. It would be the last work of the series in private hands. (Art market monitor)


Art Therapy Pioneer Myra Levick Dies Jhe clinical psychologist who helped establish the field of art therapy died Sept. 16 at age 96. At a time when women rarely worked outside the home, she helped create a graduate-level art therapy program at Hahnemann Medical College and Hospital in the 1960s. She eventually became director of the program. (Applicant)

Frieze launches scholarship for POC curators – Frieze is launching an Emerging Curators Fellowship in partnership with Deutsche Bank and Chisenhale Gallery. The fund will be supported by the sale of a durable protective mask and case designed by British artist Idris Khan. UK-based POC curators are eligible to apply for the inaugural fellowship from January 2021. (Press release)


Seven on Seven gets a makeover for the age of social distancing – Rhizome’s collaborative event, which pairs artists with tech experts to create something new together, has a new format (45-minute sessions) and a new partner (Kunsthall Stavanger in Norway). The seven-day event kicks off Oct. 5 with a collaboration between artist Shu Lea Cheang and Kate Adamala, a synthetic biologist at the University of Minnesota. (Press release)

Collaboration of artists with a discriminated woman at the Musée d’Orsay – French photography duo Coste & Billy collaborated with @jeavnne, the woman who says she was discriminated against for her outfit during a visit to the Musée d’Orsay. Their portrait represents her standing in front of the engraving of images of works in the museum and is accompanied by a feminist text by Jeanne spearheading the sexualization of women’s bodies. (Press release)

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This photo tells the recent story of @jeavnne, a story that concerns us all. Discriminated against by her outfit, for a cleavage, deemed inappropriate, vulgar, indecent. She is refused entry to a museum. A body, yet just a body, demonized, automatically sexualized because it is feminine. We experience it on a daily basis, it has become normal in our lives as women. The “psst psst” in the street, the refusals at school for so-called “inappropriate” outfits, the aggressions, verbal, physical and so on. Jeanne, it’s all of us. We wanted for this work to convey a strong and powerful message to fight against the hypersexualization of the female body. Because it’s fed up, because it has to stop. In the background, we made a purple wall, it’s a color that symbolizes mediation, peace, because that’s what we want. On this same wall, annexed, we can see paintings representing naked female bodies catching fire. By means of these additional paintings, we must highlight the absurdity of refusing entry to a museum to a woman for a neckline, when the latter puts itself forward of painters who themselves have produced works of naked women. Fire, here, a destructive and regenerative function. In this work, he symbolizes the desire to emancipate oneself from the codes that current society imposes on women, for a fairer world. Jeanne is there, strong, assuming her body. Not an object, not sexual, just a body, beautiful, proud, her body, our body. Thanks to @jeavnne for coming to talk about this with us, the text in the post is hers, a beautiful text that says a lot

A post shared by COSTE & BILLY Production (@coste.billy) on

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