This artist makes ink from the things he finds outside, in the city. That’s right, he’s an ink forager. “Logan doesn’t just focus on nature in his foraging; he also makes ink from the detritus. … He stops suddenly, picks up a rusty nail and puts it in his pocket. Rust, he says, can make yellow, red, orange or black.”
John McKenna might not have made it in accountancy, but as a sculptor, he knows that the money he makes as an artist is always in flux. “It’s a precarious existence. Some years are lean and some hectic, but it’s always hard to save – the profits from the good years go on servicing the debts and repairs from the bad.”
Brexit, and all of the uncertainty surrounding it, might be giving Paris an edge. “President Emmanuel Macron of France seems to scent an opening. The president was scheduled to give a cocktail reception at the Élysée Palace on Friday ‘in honor of artists and creation’ on the occasion of FIAC 2018 including fair exhibitors. No French president has hosted such an event since 1985.”
Well, some of the skull, anyway. “On Friday the museum’s director announced that 80% of Luzia’s skull fragments had been identified. … The museum staff said they were confident they could recover the rest of Luzia’s skull and attempt reassembly.”
She lived in community wherever she was, but truly found a home in Taos. “As a poor, queer female artist who suffered from schizophrenia, Martin existed on the margins of society for most of her life. After spending the 1950s living in poverty, she achieved critical success in the 1960s and commercial success thereafter. In the 1990s she had made millions off her art and was eager to repay the kindness her community had showed her during her own years of struggle.”
In the Kuba Kingdom of the 17th and 18th centuries, before European colonialism, “royal ceremonies and parties sometimes had the feel of a runway showdown, with elites competing to see whose patterns were most unique and impressive. … Designs needed to scream and to be heard from a distance. They were engineered to capture the eye and not allow it to rest. “
Guadalupe Rosales started with some 1990s photos of friends, photos called “star shots” from mall photography studios. From there, her work became an Instagram archive to catalogue the history of Mexican Americans in Los Angeles. “‘I’ve gotten so many emails, people thanking me, saying, ‘I’m so glad that there is something out there that is representing a part of our culture,’ Rosales says of her Instagram accounts. ‘It’s nice to hear that. It validates that there was something missing — part of history.'”
“With a head like a turtle, a body like a giant cetacean and ten bulbous, hanging breasts, one thing is certain: It is hard to ignore the Skywhale. When the hot-air balloon debuted in May 2013, looming over Canberra for the Australian capital’s centenary celebrations, critics said the ‘floating sculpture’ created by Patricia Piccinini did not represent the city. Some blushed at the scale of its udders and at its six-figure cost. … Well, get ready, Australia. It’s back.”
The Metropolitan Museum of Art and the Brooklyn Museum said on Thursday that they would not use Saudi money for programs on Middle Eastern art that had originally been supported by groups tied to the Saudi government.
Two execs from the auction house talked to reporter Anny Shaw about the now-world-famous self-shredding painting. They insist that Sotheby’s was not warned in advance — and Banksy himself issued a statement that said “no collusion” [sic]. But there were some suspicious stipulations for the sale.
“In [a] video posted on Tuesday entitled Shred the Love (the director’s cut), Banksy shows himself constructing the shredding mechanism inside a frame. It then cuts to the auction room and the moment of partial destruction. At the end, the video notes: ‘In rehearsals it worked every time …’ as it shows the piece going the whole way through the shredding machine.”
“Featured in the lineup are Eevee, Mimikyu, Rowlett, Psyduck (my personal favorite here) and Pikachu. Grabbing all of them requires making separate purchases, including buying an expansion pack from the Pokémon Center. (How to get a Pikachu card remains a mystery for now, though.)” The line of cards is being launched on the same day that a major Munch restrospective opens at the Tokyo Metropolitan Art Museum.
The room is a lararium (household shrine), 16 feet by 12 feet, with an altar, a small raised pool, the remains of a garden, and brightly colored wall paintings that “include two serpents, a wild boar fighting unidentified creatures against a blood-red backdrop, and a mysterious man with the head of a dog that may have been inspired by the Egyptian god Anubis.”
Until now, the consensus was that the fateful explosion of Mount Vesuvius happened on August 24, 79 CE — this notwithstanding the presence amid Pompeii’s ruins of warm-weather clothing and the remains of autumn fruit. Now excavators have uncovered graffiti with the date October 17. Archaeologist Kristina Killgrove explains why it’s almost certain that this graffiti is from just before the eruption and not a prior year, and why the particular date of the catastrophe matters.
Yes, Okwui Enwezor was basically fired. As one member of Bavaria’s parliament put it, “Enwezor had too many scandals to handle at once. [He] is not a manager. He’s a great artist, but artists are not managers.” What were those scandals? Yes, the museum has serious money troubles, but one of Onwezor’s biggest problems was a controversy over the presence of Scientologists on the museum’s staff. (Seriously? Yes.)
“Art, which once reflected values aloof from simple (or complicated) greed, has been insidiously absorbed into the economy of commercial products,” Gary Indiana wrote in 1986, “its cash worth determined by dicey variables unlike the ones fixed for ordinary commodities.” The difference now is that the variables that determine art’s monetary value are no longer seen as dicey. Instead, they’re understood as art itself.
“Scott Brown is not alone. A deeply institutionalised invisibility cloak has long obscured the women in successful architectural partnerships, whether it’s MJ Long’s work on the British Library, a project usually credited to her husband Colin St John Wilson, or Su Rogers and Wendy Foster’s work on early projects with their husbands, Richard and Norman.”
The works to be auctioned at Sotheby’s next month — A Street (1926), Calla Lilies on Red (1928), and Cottonwood Tree in Spring (1943) — are expected to bring in well over $21 million to the Santa Fe museum’s acquisitions fund.
“A former Gulf War tank commander is recruiting experts to form a specialist unit” — called the Cultural Property Protection Unit — “that will protect cultural heritage in war zones, similar to the role carried out by the famed Monuments Men who saved artistic treasures from the Nazis during the Second World War. … The new unit will draw on members of the [British] Army, Navy, RAF and Royal Marines. Civilians who want to join will have to enlist in the Army Reserves.”
“The three sections of The Van Campen Family in a Landscape (1623-1625) [by Frans Hals] that have been located — including a piece from a private collection in Europe that was discovered to be a part of the painting a few years ago — [have been] reunited for the first time in an exhibition [at the Toledo Museum of Art].”
“[The director of the Rijksmuseum in Amsterdam] said it was expected to be a slow and intricate project, which would take several years and cost millions of euros. … The public will be invited to watch the intimate conservation process, both up close in the gallery itself and via an internet livestream, in what is believed to be the biggest ever undertaking of its kind.”
“Since Greece officially ended its decade-long economic bailout this summer, its government has been tentatively moving forward with plans to ease austerity measures on its citizens. … We asked figures from Greece’s art world to reflect on the economic crisis and its effect on the arts, and to look towards the future.”
Maybe photographers have been too worried about photography losing relevance. Indeed, it’s highly relevant. “One could argue from this evidence that it is the medium of our time, not just defining our globally connected digital image culture, but propelling it. Even a decade ago, no one could have predicted the seismic shift that has occurred in our relationship with – and use of – the photographic image.”
Appropriately punny for a museum that celebrates the author of The BFG, Charlie and the Chocolate Factory, and James and the Giant Peach (not to mention Matilda), “Isabelle Reynolds, from the museum, said: ‘We hope the closure hasn’t put a dampener on things.'”
There was an uproar from critics who argued that the gesture was clumsy and opportunistic, if not cynical, as Mr. Koons didn’t have a direct connection to the terrorist attacks. “The general outcry was in part caused by a form of outdated anti-Americanism, but it was also a sincere, offended one,” said Guillaume Piens, the director of the Art Paris Art Fair. “Whenever artists touch on memory and victims, it’s hard to see an uninterested, mere artistic act only.”
Jonathan Jones rounds up all of the scuttlebutt – and there’s a lot. “A crucial piece of evidence that Leonardo painted Salvator Mundi also suggests that its restoration has been excessive and has muffled its power. Ironically, this seems to make the work both an original and, in my view, a kind of kitsch concoction.”
The world came to knew Nathanael Greene as the Revolutionary War general whom Alexander Hamilton didn’t want to serve as secretary, but now? Well, now he’s the googly-eyed statue dude. (And the police of Savannah, Georgia, would like us all to know it’s not funny. Not funny at all.)
Yugoslavia was a modernist construct as a country, and the architecture bred unity as well. “Modernism was as much a part of the taste and tang of the place as tiny cups of Turkish coffee and milk sold in heat-sealed plastic bags.”
The artist fought hard for her place in the art world. And when men punished her for it, “she turned the horror of her own life into scenes of women’s vengeance on the men at whose hands they had suffered. She used biblical stories to portray, in exquisite paintings, her fury at the sexual violence she herself had endured.”
Hm. “For years, nonprofits from museums to major universities have been strengthening ties with the oil kingdoms of the Middle East as a way to broaden their offerings, foster cross-cultural dialogue and obtain access to those countries’ considerable riches.” Great goals! But … museums have a lot to evaluate right now.