It was great to see that Danh Vo was named the winner of the 2012 Hugo Boss Prize 2012 on November 1. The short list included some very strong artists, including the wonderful Trisha Donnelley, who was an important part of our 2009 exhibition The Quick and the Dead and whose work is in the Walker’s permanent collection. Having said that, […] It was great to see that Danh Vo was named the winner of…

Vietnamese-born, Basel-based artist Danh Vo was named winner of the $100,000 Hugo Boss Prize on Thursday. Vo’s Tombstone for Phùng Vo is installed in the Minneapolis Sculpture Garden, and he’ll be part of our show 9 Artists next fall.

For years, Cindy Sherman tried to lose herself in her work, “literally and figuratively, so that I would never be recognized.” But in recent years, she tells the San Francisco Chronicle’s Kenneth Baker, she’s let go of that pressure to hide. “I didn’t want the challenge of constantly trying to reinvent myself or invent new characters; that shouldn’t be the reason why I’m doing what I’m doing.”

Tate has announced it’s launching three new global networks “designed to build links with artists, curators and organizations” in the Middle East, Latin America, and Asia. Additionally, teams are focusing on acquiring and exhibiting art from the African continent.

“The Twin Cities seem to have an old-time, survivalist, DIY spirit, and DuCett has bottled it,” writes Blake Gopnik of Andy Ducett’s sprawling exhibition Why We Do This on view at Minneapolis’ Soap Factory through November 10.

Ai Weiwei has announced he has started paying back the $1.3 million given by supporters during his tax case. “We have no more options to keep trying. We’ve done what we could, and the court’s decision has been made. So we should repay the money.”

Hurricane Sandy has had a devastating impact on Chelsea’s galleries. While damage has yet to be assessed, most spaces below 25th Street have sustained some flood damage. It will take months for spaces to be repaired, and “all of Chelsea has to be rebuilt.”

How much money did the Getty-funded Pacific Standard Time program pump into the local economy? More than $280 million, according to a report released Nov. 1 by the Los Angeles County Economic Development Corporation.

“Should public museums be places where political argument happens?” asks Randy Kennedy. “Why is this so rarely the case, especially when compared with politically engaged programming in museums” elsewhere in the world?