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Industry Moves
Lisson Gallery and Gomide & Co. Now Represent Mira Schendel Estate: After being represented by mega-gallery Hauser & Wirth since 2013, the estate of the Swiss-born Brazilian modernist will now join the roster of New York–based, blue-chip Lisson and São Paulo–based Gomide & Co. In 2027, Lisson will include Schendel’s work in a group show in November, ahead of a major survey of her works on paper, including never-before-seen drawings. The galleries also announced that the Dia Art Foundation had acquired the aritst’s Still Waves of Probability, with support from Top 200 Collector Ken Griffin.
The Lisson-Schendel relationship is somewhat of a homecoming for the artist, who showed with the London enterprise three times beginning in 1968. “Having been an admirer of Mira Schendel’s work for many years, and given her long history with Lisson, we are thrilled to announce representation of the Estate of Schendel,” Lisson CEO Alex Logsdail said in a statement. “She was an absolute visionary; her practice informed ideas around abstraction, language and concrete poetry, and speaks to inherent beauty.”
Philadelphia Museum of Art Gifts Carl Van Vechten Photographs to Chrysler Museum of Art: The PMA transferred 130 portraits taken by the late New York photographer between the 1930s and 1950s in his West 55th Street studio to the Chrysler in Norfolk, Virginia. The PMA had received these works as part of a donation of thousands of images from John Mark Lutz, a close friend of Van Vechten. Included in the gift are 10 portraits of Walter P. Chrysler Jr., the Virgina museum’s namesake who donated his collection to establish the institution. Some images will feature in the Chrysler’s upcoming “Define Yourself!” exhibition, opening in November; the institution will mount a 50-work survey of Van Vechten next May.
Dallas Museum of Art Board Elects New Chairman: John R. Eagle, a trustee since 2005, will take on the role of chairman for the 2026–27 fiscal year; he previously served as board president from 2007 to 2013. With his wife, Jennifer, Eagle gave $3 million to the DMA in 2015. Sharon Young, the current chairwoman, will transition to president.
The New York Historical Names New Board Chair: Arnold Chavkin, who joined the board in 2024 and currently leads its education committee, will be the next leader of the museum after a unanimous vote by the trustees. He succeeds Agnes Hsu-Tang, who has completed a five-year term as board chair and who is the namesake for the museum’s new $175 million Tang Wing for American Democracy.
Candice Madey Joins Josh Lilley Gallery: The New York dealer will now be US senior director for the London-based outfit. Madey and Lilley first met in 2009 and she has “watched with admiration as he’s grown the gallery’s reach in the U.S. and internationally,” she told ARTnews in an email.
Chanel Culture Fund Hires Amelia Redgrift: Earlier this month, Redgrift joined Chanel as head of integrated communications of global arts for Culture & Heritage, reporting directly to Yana Peel, the president of Chanel’s Arts, Culture & Heritage division. Redgrift left her role as chief communications officer of Pace Gallery in August after six years.
Layla Bermeo.
Courtesy Museum of Fine Arts, Boston
MFA Boston Names New Chair for Art of the Americas: A curator focused on the exchanges between the US and Latin America, Layla Bermeo is currently the department’s curator of paintings. She will begin in her elevated role on November 2. Her curatorial credits include “Collecting Stories: Native American Art” (2018–19) and “Frida Kahlo and Arte Popular” (2019), as well as the reinstallation of the museum’s 18th-century Art of the Americas galleries, which opened in June. During her tenure, she has helped the MFA Boston acquire modernist works by Remedios Varo and Norval Morrisseau (Anishinaabe).
Los Angeles Nomadic Division Announces Next Commission: LA-based artist Rosha Yaghmai will create a site-specific work for the Ruth Foundation for the Arts in Milwaukee, which be on view for about six and a half months beginning December 11. It will be LAND’s first one-work exhibition outside of the West Coast in a decade.
Kazuhito Tanaka Joins Document: The photo-based artist had an exhibition at the gallery’s Chicago space earlier this year. He is also an independent curator and the founder of the artist-run space Soda in Kyoto, where he is based.
Charles Moffett Takes on Hopie Hill: The LA-based artist, known for making still life paintings, will have her next show with the gallery in late 2027. She previously showed there in 2025 and had a solo booth with Moffett at the FOG Design + Art fair in January, which sold out.
Big Number: $3 B.
That’s not a typo—$3 billion is indeed the sum that billionaire collector Ken Griffin donated to Carnegie Mellon University in Pittsburgh. That money will be divided, with $1 billion going toward the school in general, while $2 billion will help it realize a satellite campus in Miami in the city’s Wynwood district. The eye-popping money will help to speed up construction, with groundbreaking set to start next year and the first Miami students beginning their studies in 2028. The campus, which will enroll some 3,500, won’t have traditional majors but will aim to “invert the traditional higher education model” with studies focused on “societal challenges.”
Read This.
A recent trend in museums, both public and private, is bringing back together the works of storied collectors and dealers. By the end of this year, two such exhibitions will have been staged in Europe: “Gustave Fayet: Collector – Designer. Icons of Modern Art” at the Fondation Louis Vuitton in Paris (opening October 9) and “Cassirer: Breakthrough of Impressionism” at the Alte Nationalgalerie in Berlin (closed September 27). Paul Cassirer, the subject of the latter exhibition, is credited with bringing Impressionism to Germany and helping the country’s museums acquire top works. But Cassirer is lesser known outside Germany for this important role. As Kelly Presutti writes in her review for Art in America, “Too often, we try to separate the art market from the museum, as if esteemed collections of now-canonical art could be held apart from the money with which they were bought and the circumstances in which they were sold. This exhibition and the accompanying catalog openly trace the mechanisms by which art crossed borders and exchanged hands.” It’s an interesting observation and one worth thinking more deeply about.
