TOP ARTISTS Male and pale: guess who got the most solo exhibitions?
TOP CURATORS The things they learned organising their first big show
The grand totals: exhibition and museum attendance numbers worldwide
U. ALLEMANDI & CO. PUBLISHING LTD. EVENTS, POLITICS AND ECONOMICS MONTHLY. EST. 1983, VOL. XXIV, NO. 267, APRIL 2015
THE ART NEWSPAPER SPECIAL REPORT Number 267, April 2015
VISITOR FIGURES 2014 Exhibition & museum attendance survey
The world goes dotty over Yayoi Kusama
Taiwan’s National Palace Museum clinches top spot, but Japanese artist’s retrospectives are a phenomenon in South America and Asia
eff Koons provided the Whitney Museum of American Art with a memorable bon voyage before the New York museum left the Breuer building for its shiny new home downtown. But when it comes to global exhibition attendance, last year belongs to Yayoi Kusama. The 86-year-old Japanese artist’s retrospective “Infinite Obsession” has been seen by more than two million people in South and Central America. Starting in Buenos Aires in 2013, her polka-dot and mirror installations drew huge crowds last year in Rio de Janeiro, São Paulo and Brasilia, and visitors camped outside Mexico City’s Museo Tamayo, where the show ended in January after a marathon final weekend. It will, therefore, feature in next year’s survey, as will the show’s last leg in Santiago, Chile (until 7 June). A second Kusama retrospective has been touring Asia since 2013; launched in South Korea, it is now on show in Taiwan and is due to travel to New Delhi. Koons may be triumphant in Paris, where his survey closes at the Centre Pompidou on 27 April, but with the Americas and Asia covered (after big shows at the Whitney, the Centre Pompidou and Tate Modern), Kusama is the poster girl for the globalisation of contemporary art.
Taiwan on top—again The National Palace Museum in Taipei organised the top three best-attended exhibitions in 2014. More than 12,000 visitors a day saw paintings and calligraphic works by Tang Yin (1470-1524); the show was the third in a quartet of collection-based exhibitions devoted to great artists of the Ming dynasty. A similar number of people visited a show about the Qing Dynasty emperor Gaozong (1736-95), which included 45 loans from the Palace Museum, Beijing. Half of the Taipei museum’s visitors are from the mainland; one-third are locals. Visitors to Taipei also flocked to see the accompanying show “Qianlong C.H.A.O.”, in which the popular image of the great emperor was reinterpreted by contemporary artists.
End of the Brazilian boom? The Centro Cultural Banco do Brasil (CCBB) continues to stage the best-attended non-charging shows: “Salvador Dalí” in its Rio de Janeiro branch took top spot, with 9,782 visitors a day. Loans came from the Gala-Salvador Dalí Foundation in Spain, as well as from the Dalí Museum in Florida. (In 2012, a different Dalí show was a hit in Paris’s Centre Pompidou and Madrid’s Museo Nacional Centro de Arte Reina
Sofía.) The Kusama retrospective packed the former bank’s halls in the Brazilian city, as well as the Instituto Tomie Ohtake in São Paulo, but a contemporary Brazilian artist, Milton Machado, attracted a fraction more people a day in Rio’s CCBB than the Japanese artist. It is unclear whether bigbudget, non-charging shows are sustainable. With corporate sponsorship sharply declining as a result of Brazil’s weakening economy, 2014 may mark the end of the country’s exhibition attendance boom. That said, a big show of Spanish Modern art led by Picasso opened in São Paulo’s CCBB last month.
Mighty MoMA The Museum of Modern Art (MoMA) in New York can look back on 2014 with pride in terms of its programming (although, after its much-criticised Bjork show, 2015 may be different). Last year, it presented eight out of the top ten sho