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Installation view of 57th Carnegie International, 2018, with Lynette Yiadom-Boakye’s No Need of Speech at center right.
BRYAN CONLEY/COURTESY THE ARTIST, JACK SHAINMAN GALLERY, NEW YORK, AND CORVI-MORA, LONDON
When the Carnegie Museum of Art in Pittsburgh established the Carnegie International in 1896, it hoped to draw artists and arts professionals from far afield to the city and to grow its collection. Its first purchase from the show was Winslow Homer’s The Wreck (1896), beginning a tradition of acquisitions that continues to the present. And with the 57th Carnegie International concluding today, the museum has revealed the nearly 40 works it has added to its collection from the event, which included 33 participants.
Among the artists whose work is entering the museum’s collection for the first time are Huma Bhabha, Sarah Crowner, Alex Da Corte, Kevin Jerome Everson, Park McArthur, Jessi Reaves, and Lynette Yiadom-Boakye. Eric Crosby, the Carnegie Museum of Art’s acting co-director and senior curator of contemporary art, told ARTnews that, by the end of its acquisition process, which continues after the exhibition’s closure, the institution will have 70 percent of the artists from the 2018 International in its holdings—among that group, 80 percent will be new to the collection.
Ingrid Schaffner, who curated the International, compared the new additions to the museum’s holdings to a “time capsule” of her show. Though, she added, “What’s right for the exhibition might not be right for the collection.”
Various works in the International, such as Crowner’s floor-to-ceiling, site-specific painting, could not be incorporated into the collection for logistical reasons. But the museum identified another of Crowner’s works, Opening Violet and Green (2018), that is “directly related” to her monumental work in the exhibition, to acquire.
The museum has also acquired more than one piece by some artists. For example, it received McArthur’s sound installation Pits (2018), which she created for the International, as a gift from the artist, and the institution also purchased a sign installation by McArthur titled Liabilities (2015), which Schaffner called “a major work of hers.”
Other notable pieces in this selection of acquisitions are four early video works by Joan Jonas, Mel Bochner’s Do I have To Draw You A Picture? (2017), Zoe Leonard’s I want a president (1992/2018), and Yiadom-Boakye’s No Need of Speech (2018).
Schaffner affectionately referred to the works in her exhibition as “friends,” and Crosby emphasized, “The cumulative effect of the acquisitions is not only to bring artists and their works into the collection, but also Ingrid and her thinking into the collection.”
The list of works in this group of acquisitions follows below.
Huma Bhabha, Untitled (2017)
Mel Bochner, Do I Have To Draw You A Picture? (2017)
Mimi Cherono Ng’ok, Untitled (2016), Untitled (2018), Untitled (2018), Untitled (2014), Untitled (2014), Untitled (2014), Untitled (2014), Untitled (2015), Untitled (2013)
Sarah Crowner, Opening Violent and Green (2018)
Alex Da Corte, Rubber Pencil Devil (2018)
Kevin Jerome Everson, Park Lanes (2015)
Joan Jonas, Organic Honey’s Visual Telepathy (1972), Glass Puzzle (1973), Mirage (1976), Mirage 2 (1976-2000)
Zoe Leonard, I want a president (1992/2018)
Park McArthur, Liabilities (2015), Pits (2018)
Josiah McElheny, Black Cloud Chamber (2015)
Ulrike Müller, Rug (con zapatos) (2018)
Jessi Reaves, Body with Electric Skin, Horizontal Shelf (2018), Sconce with Biotails (2018)
Rachel Rose, Lake Valley (2016)
Beverly Semmes, Red Sun at Night (2017), Hot Chocolate (2017), Fishnet (2017), Red Bird on Yellow (2017), Black Ball on Green Pitcher (2017), Yellow Lift (2018), Cherry Cup / Nest Basket (2017-2018), Nikie (2017), Blue Pitcher (2017), Tall Silver (2018), Hand Held (2018)
Lucy Skaer, My Terracotta Army, my Red Studio, my Amber Room I (2013)
Lynette Yiadom-Boakye, No Need of Speech (2018)
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