I’ve got no strings. Maurizio Cattelan’s “Daddy Daddy” (2008), which sold for $2.5 million this evening at Phillips de Pury in New York.
• Congratulations are in order for Michael Silverberg, who has been named editor-in-chief of Print. In addition to the magazine, he’ll direct content for the regional design annual competition, Imprint, and Print Books. Silverberg previously served as managing editor of Print.
• Entertainment Weekly is getting a new design director: Kory Kennedy. He’s held the same role at Runner’s World for the past six years and previously worked his design magic for publications such as Spin, Rolling Stone, Interview, and Sports Illustrated. Kennedy starts at EW on May 30.
• The juries have spoken, and on Tuesday evening, the Art Directors Club celebrated the winners of its 91st annual awards at a cocktail-laden gala in New York emceed by John Boiler of 72andSunny. Pulling off the elusive three-peat were a couple of hometown favorites, The New York Times Magazine and the School of Visual Arts, which won the cumulative awards honor in their respective categories (ADC Design Team of the Year and ADC School of the Year) for the third year in a row. Click here for the full listing of winners or better yet, stop by the ADC 91st Annual Awards Exhibition, which opened today at the ADC Gallery and is on view through May 24.
• Think the John Edwards trial has nothing to do with design? Think again! With Bunny Mellon‘s “furniture business” approach to campaign finance making headlines, Penelope Green digs deep into decorator ethics (from sales tax avoidance to creative accounting) in this great feature published in today’s New York Times.
• The Museum of Fine Arts, Boston recently became the proud owner of the largest classical statue in the United States: a 13-foot-tall Roman goddess that dates to the early second century A.D. Acquired for the museum by anonymous donors, Juno arrived via crane (through a skylight) earlier this spring and is now on view in the George D. and Margo Behrakis Wing for Art of the Ancient World. Now comes the fun part: sprucing her up. Conservators are treating the sculpture in situ so that visitors can observe activities that normally take place behind the scenes (plus, there are few places for a 13,000-pound marble lady to hide). Follow Juno’s slow and steady makeover here.