Alma Allen Reaffirms Accusations Against Publicist David Resnicow Amidst Venice Biennale Controversy

Artist Alma Allen has once again brought forward allegations against art publicist David Resnicow, asserting his involvement in sabotaging Allen’s United States Pavilion at the 2026 Venice Biennale. This contention amplifies an already turbulent period surrounding the art event.

Artist Alma Allen Alleges Publicist David Resnicow Undermined Venice Biennale Pavilion

On June 8, 2026, artist Alma Allen publicly renewed his accusations against prominent art publicist David Resnicow, claiming that Resnicow orchestrated efforts to undermine Allen’s participation in the upcoming Venice Biennale. In a Monday afternoon Instagram post, Allen revealed that “two of the three galleries that withdrew their support for my pavilion informed me that they did so on the advice of David Resnicow.” Resnicow’s firm has historically managed public relations for the U.S. Pavilion on six previous occasions. Allen emphasized that although he has never personally encountered Mr. Resnicow, the publicist's name frequently arose from various art world professionals, including writers, museum directors, funders, and curators, who indicated they were cautioned against supporting Allen’s American Pavilion. This marks Allen’s second public naming of Resnicow, following an initial mention in a New York Times article in March that reported Allen had secured representation with Perrotin gallery after Kasmin and Mendes Wood DM reportedly severed ties with the artist over his Biennale involvement. Resnicow, in statements to both the Times and ARTnews, has vehemently denied these claims, expressing his bewilderment and asserting that he “never told anyone not to work with him or speak with anymore about funding for the pavilion.” He previously voiced concerns regarding the American Arts Conservancy's capacity to execute the project successfully. The controversy surrounding Allen’s selection as the U.S. representative ignited last November, with criticism focusing not only on his artistic work but also on the selection process itself. Allen has stated he did not apply for the commission but was approached by curator Jeffrey Uslip, who informed him he was among five shortlisted artists. Despite acknowledging the potential reputational risks, Allen accepted the invitation. The artist has repeatedly argued that he became the public face for decisions he neither made nor fully comprehended at the time. The backlash intensified after the pavilion’s opening, with critics questioning the role of the newly formed American Arts Conservancy and some labeling Allen’s abstract sculptures as an unusual choice given the contemporary political climate. Alex Greenberger, an ARTnews critic, notably described Allen’s selection as “deeply dispiriting” and lacking political relevance. Allen, however, believes much of the debate transcended his art, lamenting that people were “defining the sculptures for him and projecting politics onto work that was never intended as a political statement.” The stressful experience led Allen to leave Venice just two days into the Biennale, skipping several events. While frustrated by the lack of public clarification regarding the selection process, Allen expressed no regret for participating, stating, “I’m still happy I’ve done it because people are seeing the work.” However, he added, “But I’m not sure I would want to be much involved in the art world going forward.” Later on Monday, Allen confirmed via text that Kasmin, Mendes Wood DM, and Pace were the three galleries that withdrew support. Kasmin has since transitioned to Olney Gleason, which declined to comment, as did Mendes Wood DM. A Pace gallery representative informed ARTnews that Resnicow “did not advise us against working with Alma Allen.”

This ongoing saga highlights the intricate dynamics and potential pitfalls within the art world, particularly when high-profile events like the Venice Biennale are involved. It raises questions about transparency in selection processes, the influence of publicists, and the pressure artists face when their work becomes entangled in broader political and institutional debates. Allen's experience underscores the emotional toll such controversies can take on creators, even as it affirms the importance of maintaining artistic integrity amidst external pressures.