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The Italian curator Francesco Bonami is organizing an auction of Italian art at Phillips New York on April 28. Around 50 works created over the past 100 years are due to go under the hammer, but Arte Povera, one of the best-known movements to come out of the country in the past century, will not take centre stage. Instead, Bonami will focus on less well-known artists, in a similar vein to the exhibition he organized at the Palazzo Grassi in Venice in 2008, “Italics,” which shifted the focus from Arte Povera and Transavanguardia artists to those who had been side-lined by traditional readings of Modern and contemporary Italian art. “The idea is to open up the view of Italian art beyond the household names,” Bonami says.

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A curator who 14 years ago was a front-of-house assistant directing visitors to the highlights and toilets of the National Portrait Gallery in London is to return as the organization’s new director.

Nicholas Cullinan, who co-curated Tate Modern’s blockbuster Matisse cutouts exhibition last year with Sir Nicholas Serota, has been chosen to replace Sandy Nairne and become only the 12th director in the NPG’s 158-year history.

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The Malaysian curator and art advisor Adeline Ooi has been appointed Art Basel's director Asia. Ooi, who has been Art Basel's VIP relations manager for Southeast Asia for the past two years, takes up the post next month, and will help deliver the third edition of Art Basel in Hong Kong next spring (15-17 March).

Ooi co-founded the Kuala Lumpur-based consultancy RogueArt in 2009, which focuses on cultural projects, exhibitions and publications, and advises corporate collections about sourcing works.

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Van Gogh’s sweeping depictions of nature, like a detailed study of a moth or a flower, the rain-soaked French countryside or sun-scorched wheat fields, preoccupied his work and his thinking throughout his career.

“I’ve been a van Gogh nut ever since I was a teenager,” said Richard Kendall, a curator at large at the Clark Art Institute in Williamstown, Mass., who organized “Van Gogh’s Van Goghs: Masterpieces From the Van Gogh Museum in Amsterdam” at the National Gallery of Art in Washington in 1998.

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John Elderfield, chief curator emeritus of painting and sculpture at the Museum of Modern Art in New York City, has been named the first Allen R. Adler, Class of 1967, Distinguished Curator and Lecturer at the Princeton University Art Museum.

Elderfield will begin his work at Princeton by offering a series of public lectures in the spring and is expected to teach his first course in European modern art in the fall of 2015.

With the arrival of John Elderfield at Princeton, both the art museum and our Department of Art and Archaeology build on a shared tradition of art historical leadership and are poised to achieve yet greater impact for our students and for scholars around the world," said Princeton University President Christopher L. Eisgruber.

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Dan Byers is leaving as curator of modern and contemporary art at the Carnegie Museum of Art to join the Institute of Contemporary Art/Boston as senior curator.

Mr. Byers co-curated the 2013 Carnegie International and organized “Ragnar Kjartansson: Song,” which was on view at the ICA in Boston from December 2012 to April 2013.

He led the department of contemporary and modern art at the Carnegie beginning in 2009, and was appointed the Richard Armstrong Curator of Modern and Contemporary Art in 2012.

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The Hammer Museum announced Thursday that its next biennial art show, Made in L.A. 2016, will be co-curated by Hamza Walker of the Renaissance Society in Chicago and the Hammer's own Aram Moshayedi.

Combining a curator who has worked extensively in Los Angeles for the last 10 years with someone from outside the region, Moshayedi said, will help the program to examine regional art in relation to national and international art scenes.

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A brazen art crime has been uncovered in Uzbekistan. As the "Guardian" initially reported, several employees from the Uzbek State Art Museum have been found guilty of systematically selling original artworks and replacing them with fakes over a 15 year period.

Mifayz Usmanov, the chief curator of the central Asian country's premier art museum, was sentenced to nine years behind bars for his involvement in the daylight robbery. Two restorers were sentenced to eight years each.

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Jill Medvedow, Ellen Matilda Poss Director of the Institute of Contemporary  Art/Boston (ICA), announced today the appointment of Eva Respini as Barbara Lee Chief Curator. Respini is currently Curator in the Department of Photography at The Museum of Modern Art, where she organized the critically acclaimed retrospectives Cindy Sherman and Robert Heinecken as well as exhibitions with artists Klara Liden, Anne Collier, Leslie Hewitt, and Akram Zaatari. She will assume her new position at the ICA in March 2015.

“Eva Respini brings a combination of scholarship and a 21st-century sensibility to image-making, technology, and the role of the museum of the future,” says Medvedow. “She offers a rich understanding of contemporary art and is a creative and intelligent leader in her field. We look forward to the contributions that she will bring to the museum.”

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In our era of rapid prototyping and 3D printing, technologies that promise to transform the production of everything from medical devices to skyscrapers, it is easy to lose sight of how three-dimensional objects came into being in the predigital age. One way into this question is through drawing. What role did it play in the production of Renaissance sculpture, some of the most ambitious and technically accomplished ever produced? Or, as Columbia University art historian Michael Cole puts it, “Why did sculptors draw?”

his is the problem at the center of “Donatello, Michelangelo, Cellini: Sculptors’ Drawings from Renaissance Italy,” currently on view at the Isabella Stewart Gardner Museum in Boston and co-curated by Mr. Cole and Oliver Tostmann, formerly of the Gardner and now Curator of European Art at the Wadsworth Atheneum in Hartford, Conn.

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