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Artnet News

The globe-trotting contemporary art-world jets into Paris this week for FIAC2001, otherwise known as the 28th annual Foire Internationale d'Art Contemporain, Oct. 10-15, 2001, at the Paris Expo at the Porte de Versailles. More than 160 galleries from 30 countries are exhibiting, with 74 solo shows -- fast becoming a FIAC trademark -- on view at individual gallery stands. Among the highlights: Robert Indiana at Guy Pieters of Knokke le Zoute, Belgium; Yayoi Kusama at Pièce Unique, Paris; Meret Oppenheim at Thomas Levy, Hamburg and Madrid; Tony Feher at Anthony Meier, San Francisco; Tomas Sanchez at Marlborough Gallery, New York; Georges Hugnet at Zabriskie Gallery, New York; Enrique Martinez Celaya at Ramis Barquet, New York; Martine Aballea at Art: Concept, Paris; Matthew McCaslin at Evelyne Canus, Paris; Jacques Villon at Louis Carré & Cie, Paris; Jules Olitski at Jacobson, London; Tobias Rehberger at Hussenot, Paris; and Jean Dubuffet prints at Hervé Bordas, Venice.

Other dealers -- 82 in fact -- are presenting thematic exhibitions like "The Comedy of Childhood" at Polaris, Paris, and "From Fontana to the Transavangardia" at Tornabuoni, Florence. The special "Perspectives" section includes 14 cutting-edge galleries with solo shows by new artists: Mariko Lehanka (Art Attitude Hervé Bize, Nancy); Simone Decker (Damasquine & Aeroplastics, Brussels); Luis Vidal Garcia (Espai 292, Barcelona); Annelies Strba, Warren Neidich (Gandy Gallery, Prague); Patrice Mortier (Olivier Houg, Lyon); Bruno Perramant (In Situ, Paris); Jérôme Touron (La Ferronnerie/Brigitte Négrier, Paris); Jessica Craig Martin (Maze, Turin); Mian Yang (ShanghArt, Shanghai); Nahoko Kudo, Hee Jin Kang (Shine Gallery, London); Bertrand Lamarche (Le Sous-Sol, Paris); Jordan Tinker (Spencer Brownstone, New York); and Pierre Ardouvin (Chez Valentin, Paris).

Also special for FIAC2001: the "Video Cube," a group of 14 video works by eight artists, each in its own mini-theater, and a preview of the Palais de Tokyo, a new contemporary art venue opening in December.

Malcolm Warner has been named senior curator at the Kimbell Art Museum in Fort Worth, effective Jan. 1, 2002. Warner, 48, has been senior curator of paintings and sculpture at the Yale Center for British Art in New Haven since 1999, and previously was a curator at the San Diego Museum of Art (1990-96) and the Art Institute of Chicago (1988-90). Among the exhibitions he has organized are "Millais: Portraits" at the National Portrait Gallery, London (1999) and "The Victorians: British Painting in the Reign of Queen Victoria, 1837-1901" at the National Gallery of Art in Washington, D.C. (1997).

Solomon R. Guggenheim Foundation chief Thomas Krens, fresh from the triumphant opening of two new museums in Las Vegas, is slated to deliver the ninth annual Mordes Lecture in Contemporary Art at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., on Sunday at 2 p.m. on Nov. 4, 2001. The topic: The future of art museums. He should know -- or should he? Admission is free.

Harvard University Art Museums in Cambridge, Mass., launches a series of lectures by museum directors called "Art Museums and the Public's Trust" on Oct. 16 at 6 p.m. with a presentation by Neil MacGregor, director of the National Gallery in London. The series of talks addresses the incredible growth of art's popularity -- in 2001, more than a billion people visited U.S. museums -- and the consequent risks of this new popularity. Future speakers include James Cuno, Harvard University Art Museums, Nov. 1, 2001; Philippe de Montebello, Metropolitan Museum, May 22, 2002; Glenn Lowry, Museum of Modern Art, Apr. 10, 2002; Anne d'Harnoncourt, Philadelphia Museum, Mar. 13, 2002; James Wood, Art Institute of Chicago, Feb. 27, 2002; and John Walsh, director emeritus, J. Paul Getty Museum, Jan. 23, 2002. "Art Museums and the Public Trust" celebrates the 80th anniversary of Harvard's famed museum course led by Fogg Museum associate director Paul Sachs.

The eternal modernist question gets an airing in "Why Abstract Art," a "conference on art and iconoclasm" at the University of Chicago, Oct. 12-13, 2001. Among the top scholars puzzling out the origin and continued vitality of abstract avant-gardism are French cultural critic Alain Besançon, author of The Forbidden Image (U. Chicago Press); philosopher Robert Pippin, author of Modernism as a Philosophical Problem; French esthetician Jean-Marie Schaeffer, author of The Art of the Modern Age: Philosophy of Art from Kant to Heidegger (Princeton); Chicago art historian W.J.T. Mitchell, author of Iconolog and editor of Critical Inquiry; art historian Michael Fried; and photographer James Welling. For info on attending the conference, contact Thomas Bartscherer at

Sotheby's New York sold part II of the Harriman Judd Collection of British art pottery on Oct. 6, 2001, for a total of $1,840,935 (with commission), rather more than the presale high estimate of $1.5 million. Of the 503 lots offered, only 69 remained unsold, for a total sale percentage by lot of 94 percent. The sale consisted largely of Martinware and Doulton, the ornate and witty Gothic-flavored pottery from 19th-century Britain, with lots carrying estimates as low as $1,000. The highest prices were brought by Martin Brothers stoneware bird jars; top lot was a 20-inch-tall example from 1895 that sold for $50,200. Part I of the Harriman Judd Collection, assembled in the 1970s and '80s by the California-based coin dealers Allen Harriman and Edward Judd, was auctioned in January at Sotheby's for a total of $3.2 million.

Susan Fisher Sterling has been promoted to the post of deputy director for art and programs at the National Museum of Women in the Arts in Washington, D.C. She has been chief curator there since 1990, hand has organized the forthcoming "Virgin Territory: Women, Gender and History in Contemporary Brazilian Art," opening on Oct. 18, 2001.

Hungry print lovers are rushing to snap up the latest benefit edition from Dieu Donne, the hip SoHo papermill that operates its own gallery at 433 Broome Street in Manhattan. It's Fresh, by Jonathan Seliger, and only looks exactly like a boxed Table Talk snack pie -- Lemon flavored, price 2/$1.00. In fact it's made from paper -- the pie is cast pigmented cotton paper pulp that sits in a pie tray cast in aluminum-coated linen, held in a display box made of silkscreened, glass-dried cotton sheets with an archival mylar window. The edition size is 75, priced at $200 plus $35 membership in the Dieu Donne Editions Club. For more info call (212) 226-0573 -- but hurry, they're moving fast.

Visual artists aged 21 and older are invited to apply for free studio spaces in Manhattan from the Marie Walsh Sharpe Art Foundation in Colorado Springs, Co. The 14 studios are nonliving spaces, with no stipend or equipment provided, available beginning Sept. 1, 2002, for a period of up to one year. Artists who presently have a studio larger than 400 square feet in New York are not eligible; the selection is juried by a panel of practicing artists. Proposals should include 1) eight slides, numbered, labeled and marked to show "top"; 2) an annotated slide list; 3) a resume; 4) a concise statement (one page only) indicating why you need the space; 5) a specification of starting date and length of stay; and 6) an s.a.s.e. for return of slides. Send to: The Space Program, The Marie Walsh Sharpe Art Foundation, 830 North Tejon Street, Suite 120, Colorado Springs, Co. 80903; (719) 635-3220.