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Better Home and Garden: Judd Foundation Offers Glimpse of Restored 101 Spring Street

After more than 15 years of restoration work, 101 Spring Street, the cast-iron building in Soho where Minimalist artist Donald Judd lived off and on until his death in 1994, will reopen to the public as a museum in June. “We’re a little giddy here,” Rainer Judd, the artist’s daughter, told a group of journalists last Thursday inside the building, where she grew up with her brother Flavin Judd, who was also on hand.

Judd père bought the place in 1968 along with their mother, dancer Julie Finch. It was a big year for him: he had a show at the Whitney, his first child (Flavin, who’s named for the late artist Dan Flavin) and a cactus collection that was becoming a problem. “There was a certain amount of panic about where was the cactus going to go?” Rainer Judd said. They decamped from their cramped Union Square place for the fixer-upper on Spring Street. Read More

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The Met’s Been Hacked! Tipsy Museum Meet-Ups Attract ‘Girls’ Star Allison Williams, Vimeo Founder Zach Klein

Nick Gray looked sharp as he buzzed around the Metropolitan Museum of Art’s Great Hall on a recent Saturday night, greeting members of his tour group and directing them to the coat check. In an immaculate navy blue sweater, striped tie and brown wing tips, the 31-year-old looked like a freshly pressed Ivy Leaguer and exuded a wholesome, open charm.

Once his group of roughly 20 souls had gathered at the base of an Egyptian statue, Mr. Gray asked them to introduce themselves by making a gesture and naming a passion. There were curtsies, twirls and air punches. Passions included Mickey Mouse and Amazon.com. Mr. Gray executed a kung-fu chop and said he was passionate about the Metropolitan Museum of Art. Read More

Museums

LA MOCA. (Courtesy Wikipedia Commons)

L.A. MOCA Endowment Soars to $75 M., Museum Names Donors

The Los Angeles Museum of Contemporary Art, perennially beset with reports on its failing finances, is enjoying some good news. Trustees announced today that they have raised more than $50 million for the museum’s endowment in the past month, bringing it to $75 million. Prior to the campaign, the endowment hovered at a mere $22 million.

The museum also released a list of donors who have committed $1 million to $10 million, which includes Wallis Annenberg, Maria and Bill Bell, Eli and Edythe Broad, Blake Byrne, Steven and Alexandra Cohen, Cliff and Mandy Einstein, Lenore and Bernard Greenberg, David and Suzanne Johnson, Bruce Karatz and Lilly Tartikoff Karatz, Daniel S. Loeb and Margaret Munzer Loeb, Eugenio Lopez, Lillian Lovelace, Maurice Marciano, Edward J. and Julie Minskoff, Dallas Price-Van Breda, Fred and Carla Sands, Jeffrey and Catharine Soros, Darren Star and Sutton Stracke, Paul and Herta Amir and Marc and Eva Stern.  Read More

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Warhol’s ‘13 Most Wanted Men’ to Visit Expanded Queens Museum

The Queens Museum, currently in the process of an ambitious expansion project, has announced more than a year’s worth of exhibitions that will fill its airy new galleries. Though the roster of shows ranges from a performance piece by Pedro Reyes to Peter Schumann’s enormous, politically charged puppets, perhaps none is more tantalizing than “Andy Warhol’s 13 Most Wanted Men and the 1964 World’s Fair.” Before groaning—does the world need another Warhol show?—consider why this one, slated for April 2014, will be worth attending. Far from merely a crowd-drawing ploy, the exhibition wouldn’t be quite as juicy were it to happen happen anywhere else. Read More

Museums

The Los Angeles Museum of Contemporary Art saw a drop in attendance in 2012.

Museum Attendance Figures Show Slump for Troubled MoCA Los Angeles

The Art Newspaper has released its closely read annual worldwide museum attendance figures for 2012 and while there is good news for New York, there is some rather bad news for Los Angeles’s embattled Museum of Contemporary Art.

The most popular exhibition globally in 2012 was one of Dutch Old Masters that opened in Japan, something the paper points to as evidence that while new art may steal the spotlight, old art still draws crowds. In the major cities, however, modern and contemporary art stayed on top. Read More