Our daily round-up of news from the art world
Nan Goldin leads protest at the Met’s Sackler Wing | On Saturday, the photographer Nan Goldin led a demonstration at the Metropolitan Museum of Art, to protest against the Sackler family’s involvement with Purdue Pharma, which manufactures the opioid Oxycontin, reports the Guardian. Goldin was joined by around 100 fellow demonstrators, who gathered at the museum’s Sackler Wing to unfurl banners and throw prescription-pill bottles labelled as Oxycontin into the moat surrounding the Temple of Dendur.
Dresden receives gift of 1,200 contemporary works | The collector Erika Hoffmann has presented a gift of 1,200 works of contemporary art to Dresden’s State Art Collections, reports the Art Newspaper. The gift contains works by artists including Cy Twombly, Isa Genzken and Sigmar Polke acquired by Eva Hoffmann and her late husband Rolf since the 1960s. The works will be integrated into the collections of the 15 institutions which form the Dresden State Art Collections umbrella.
Director of Museum Morsbroich to step down | Markus Heinzelmann has announced that he is to step down as director of the Museum Morsbroich, Leverkusen, after more than a decade in the role. Heinzelmann, who has led the museum since 2006, has presided over some important site specific programmes and exhibitions and been responsible for drawing up a plan to guarantee the institution’s financial security.
Hauser & Wirth to represent Zeng Fanzhi | Hauser & Wirth has announced worldwide representation of the Chinese artist Zeng Fanzhi. Zeng says he will continue to have a relationship with Gagosian and the ShanghART Gallery in China; his first exhibition with Hauser & Wirth will be staged this autumn.
Recommended reading | On ArtNet, Tim Schneider goes searching for ‘disruptive’ market trends during Armory week. In the Sunday Times (£), Waldemar Januszczak gets a first look at Tracey Emin’s vast new studio in Margate and talks to the artist about family, middle age, and why she is moving out of London. And in the New York Review of Books, Jason Farago writes about Jasper Johns, and what it means to look at the flag paintings more than 70 years after Johns first conceived of them.
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