“Native voices in the conversation are often put aside, and a lot of times the folks that get the spotlight or the final say are those that are in the higher positions within the field. So it feels like, collectively, what everyone is talking about is this idea of not being heard regularly, not being recognized regularly within larger historical narratives, within the art field in general, and then even within this conversation. So, thank you all.”
D. Neal Bremer, a Kalamazoo resident who worked as COO of the GRAM from June 2015 until his termination on June 28 of this year, claims that museum executives regularly misused donor-restricted funds on other expenses, “including general operations expenses,” according to the lawsuit filed on Sept. 22 in the 17th Circuit Court for Kent County.
According to a statement issued by the museum, Beatrix Ruf resigned because of “the speculation in the media in recent weeks which may have an impact on the reputation of the museum.” Her duties will be taken over by the current management team, along with a short-term interim business director.
“After more than a year and a half of renovation work, the Freer reopened to the public over the weekend, along with a raft of new exhibitions at its partner institution, the subterranean Sackler Gallery to which it is connected by an underground tunnel. With the director of the Freer/Sackler, Julian Raby, set to retire early next year,” writes Philip Kennicott, “this project serves as a summation of his tenure: Sensible, accessible and stylish in a low-key way.”
“The art world lost track of acclaimed sculptor Auguste Rodin’s bust of Napoleon in the 1930s, but it’s apparently been on display for the past 85 years in the most unlikely of places – the council chambers in Madison Borough Hall.”
The architectural sculpture titled Domestikator was rejected by the Louvre for installation in the Tuileries Gardens because they were thinking of the children: the work was thought too sexually suggestive to be displayed outdoors. (A playground is not far away.) So the work will end up outside the Pompidou Centre instead.
Curious, Tim O’Brien asked Trump about the painting: was it an original Renoir? Trump replied in the affirmative. It was, he said. “No, it’s not Donald,” O’Brien responded. But, once again, Trump protested that it was. “Donald, it’s not,” O’Brien said adamantly. “I grew up in Chicago, that Renoir is called Two Sisters on the Terrace, and it’s hanging on a wall at the Art Institute of Chicago.” He concluded emphatically: “That’s not an original.”
Landscape architects put rain gardens at the new Sandy Hook Elementary School to allow observation space before anyone enters the building, for instance. But “security focuses on what happened in the past. That can mean large barricades to stop cars from entering, bomb-sniffing dogs to check abandoned backpacks, and bag checks at gated entrances. Yet, all these defenses share a failure in common: there are protections against what previously worked.”
The story is quite amazing: “The artist, Tova Berlinski, was born in 1915 in the Polish town of Oswiecim, better known by its German name — Auschwitz. Newly married, she and her husband left for what was then known as Palestine in 1938, a year before the Germans conquered Oswiecim and began building the Auschwitz-Birkenau concentration and extermination camp on the edge of town.”
Maybe: “We want the promise that everything is going to be O.K. … We want the joy back. We’ve moved away from the dark Edison bulb toward something bright.”
Artist Dianna Cohen says that oceanographer Sylvia Earle helped inspire her to found her biggest art project: A non-profit that’s working on cleaning up the Great Pacific Garbage Patch.
Kennicott: “If there’s a safe center to the cutting edge, the Obamas seem sure to find it. Like the Obamas’ personal presentation, the paintings are almost sure to look a lot tailored and just a little trendy, without crossing any lines that might discomfit popular expectations.”
Sitting down, in a museum, can be an almost radical act: a refusal to flow along with the distracted crowd, idly passing by art as if it was just one more stream of visual enticement in a visually saturated world. A good sit is all about committing to the depth, not the breadth, of the art itself, seeing more by deciding to see less.
“The newly refurbished Tate St Ives – which reopens this week (14 October) following an ambitious four-year building project – should draw an extra 50,000 visitors and raise an extra £10.5m annually for the local economy, says the executive director, Mark Osterfield. The waterfront venue, nestled into the rock face, has enlarged its exhibition spaces, adding almost 600 sq. m of new galleries. Tate St Ives opened in 1993 and draws around 250,000 visitors each year.”
“Though the hammer’s coming down on a major price in front of a crowd is good for headlines, auction houses have dealt with the pressures of the business by branching out. Private sales are increasingly important to the bottom line, as are advisory businesses — the auction houses help a collector manage her treasures, for instance, or broker acquisitions for museums.”
“As one-off fees, you might say, ‘that’s not so bad’. But consider that your average art history PhD will have dozens, if not perhaps hundreds, of images, then soon even an unpublished PhD can become prohibitively expensive. You want to discuss mid-18th Century portraiture, and show perhaps 50 images? That’ll be £750. You want to turn that PhD into a book? £3050 please, before you’ve even thought of printing costs. Want to put on a Hogarth exhibition, with a decent catalogue? £8600. Ouch. And Tate are on the cheaper end of the scale.”
“Sitting down, in a museum, can be an almost radical act: a refusal to flow along with the distracted crowd, idly passing by art as if it was just one more stream of visual enticement in a visually saturated world. A good sit is all about committing to the depth, not the breadth, of the art itself, seeing more by deciding to see less.” Philip Kennicott picks the finest spots in greater Washington to do just that.
The superstar performance artist had hired starchitect Rem Koolhaas to convert a former theater she had bought in Hudson, NY into the Marina Abramović Institute for the Preservation of Performance Art. But Koolhaas’s design would cost an estimated $31 million to realize, and Abramović has determined that she can’t raise that much money. (Ah, well – at least she has a new sideline in patisserie.)
Two Boston-area couples who have been collecting 17th-century Dutch and Flemish art for decades are donating a total of 113 works – including canvases by Rembrandt, van Dyck, and Rubens – along with funding and library materials for a new Center for the Study of Netherlandish Art.
“A Colorado couple has dropped a federal lawsuit that sought to stop the Manhattan district attorney’s office from returning to the Republic of Lebanon an ancient marble bull’s head that prosecutors said had been looted during that country’s civil war. … The 2,300-year-old sculpture had been on loan to the Metropolitan Museum of Art until July when the museum turned it over to authorities.”
The structure, which will connect to the museum’s Sanaa-designed building, will double the museum’s footprint on the Bowery, providing an additional 50,000 square feet for galleries, improved public circulation, and flexible space for the institution’s more experimental programs like its business incubator and the urban-policy think tank that it runs.
“The grid is ripe ground for tilting, warping, ripping, and otherwise distorting into new forms. As autumn and the back-to-school season get underway, it’s only natural to crave order. But a crisp gridded notebook needn’t be a way to restrain our thinking or reign in our imaginations. As Jefferson and other architects have long known, the grid is simply an underlying structure—upon which we may be able to build something new.”
Museums in Napa and Sonoma Counties, including the Di Rosa Center for Contemporary Art, the Hess Collection, Stonescape, and the Oliver Ranch report no damage so far, though most of them are closed for the present.
Salvator Mundi, long taken to be a copy, was only authenticated as a Leonardo original a few years ago, and already it has a tangled legal and ownership history.
The parent company of the Ullens Center for Contemporary Art (UCCA) in the Chinese capital was purchased last week by a group of investors. “The museum’s founders, Guy and Myriam Ullens, announced that the UCCA was up for sale in June 2016, fuelling concerns about the future of what has become one of mainland China’s leading private art institutions since it opened in November 2007.”
It’s a protest. And graffiti artist Sebastian Errazuriz didn’t physically deface one of Koons’ famous balloon dogs. But the augmented reality graffiti is Errazuriz’s way of staking a claim to public space. He doesn’t think the privilege of geo-tagging should necessarily fall to technology giants. After Snapchat announced a partnership with the sculptor Jeff Koons that uses augmented reality to place his artworks into famous landmarks around the world, Mr. Errazuriz “graffiti-bombed” the project.
While many curators today have a status on a par with the artists with whom they work, it was not always thus. The celebrity status of the curator has mushroomed with the professionalization of art, the multiplication of international events, and, not least, with difficult-to-define contemporary art being in desperately in need of able ambassadors to the public.
“The four-year building project, which launched in September, includes new education and visitor centres, an expansion of the current indoor exhibition space and a transportation centre on the Meijer Gardens’ 158-acre main campus, designed by the New York-based Tod Williams Billie Tsien Architects,” in Grand Rapids.
“ArtPrize Nine [audience] voters gave Battle Creek graphic designer Richard Schlatter the $200,000 Grand Prize for his 12-foot portrait of Abraham Lincoln made from about 24,500 pennies that bear Lincoln’s image. … Schlatter said he decided to create the portrait after he was mesmerized by the various shades of pennies he had accumulated.” (To see all the 2017 ArtPrize category winners, click here.)
“Heartside Community Meal, an outdoor meal for 250 guests in Heartside Park [in Grand Rapids] on Sept. 23, was entered by Seitu Jones, a Saint Paul, Minnesota, artist who teaches urban food systems at the University of Minnesota.” (To see all the 2017 ArtPrize category winners, click here.)