Catherine Opie sums it up for some of the artists who joined the estimated 750,000 people marching and protesting on Saturday: “Artists need to bring that voice of opposition to this cause — with every drop of blood and every tear.”
Grand Park could handle the numbers, while Pershing Square … let’s just say it had some issues. And don’t ask about intersections: “This was a sign, perhaps, that the size of the march had caught the Los Angeles Police Department and other officials by surprise; otherwise this intersection would have been closed to cars far earlier.”
Shia LaBeouf, actor and artist, “has created a new interactive performance, which asks passersby at the Museum of the Moving Image in New York to stand in front of a camera (available 24/7) and say, ‘He will not divide us.'” It lasts for four years – “or the duration of the presidency.”
Geneva-based Phoenix Ancient Art “is seeking $77 million in damages, claiming that through years of ‘hard work, professional judgement, and extensive knowledge regarding antiquities,’ it devised a plan under which the Getty could acquire a [private] collection of antiquities.” That plan was never executed.
“The State Hermitage Museum in St Petersburg has joined forces with a Russian archaeological institute to build an interactive virtual model of Palmyra, as reports emerged today that Islamic State militants have destroyed the ancient city’s amphitheatre and four pillared gates.”
“Current political events compel me to turn my attention to pressing needs in the cultural sector,” said Jorge Daniel Veneciano in a statement.
“Even as one very visible portion of the art world becomes ever more soaked in money, artists like [A.L.] Steiner are picking up the ideas of first- and second-generation institutional critique and adapting them to the needs of the present … investigating, tweaking, and even striking out against the operation of museums, galleries, and the very market itself as an integral part of their larger practices.” Steiner, for instance, decreed for one gallery show that cutting in half the gallery’s opening hours was part of the artwork.
Since Dutch football hooligans damaged the Bernini-designed fountain at the steps’ base in 2015, there’s been a lot of concern about keeping the landmark safe. Paolo Bulgari (of the jewelry house), who paid for the Steps’ most recent restoration, wants to ban sitting on them and to put in a Plexiglas barrier at night; art historian Vittorio Sgarbi says tourists should be charged a euro or two for access.
“Even as one very visible portion of the art world becomes ever more soaked in money, artists like A.L. Steiner are picking up the ideas of first- and second-generation institutional critique and adapting them to the needs of the present. With what feels like increasing frequency, they are investigating, tweaking, and even striking out against the operation of museums, galleries, and the very market itself as an integral part of their larger practices.”
Fortunately, he has a lot of them, as he’s demonstrated in the ten years he’s been in Los Angeles: LACMA’s attendance has doubled and its cachet has soared. Adam Nagourney gives an overview of Govan’s prospects for the biggest project he’s ever undertaken.
Curators at the Sarasota museum have studied this portrait of King Philip IV with an infrared camera, and they think they’ve found the evidence they need.
The auction house filed a complaint against the collector who consigned this work, which was described as 16th-century Italian, after testing discovered pigments that didn’t exist until the 20th century. (Sotheby’s launched a similar lawsuit in October over a different canvas.)
“At a media preview on January 9,” writes Sarah Rose Sharp, “the Detroit Institute of Arts introduced Lumin, a new interpretive guide developed in partnership with Google and an augmented reality (AR) platform creator called GuidiGO. Subsequently, a tempest of conflicting emotions was triggered in the soul of this arts writer.”
“On New Year’s Eve, the organization’s founder and executive director, Bryan Suereth, was officially dismissed by Disjecta’s board of directors, following disputes over his leadership and an eleventh-hour attempt by supporters to keep him at the helm.” Said disputes over Suereth’s leadership are by no means over, though even he and his supporters acknowledge that he can be confrontational.
“The Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), the first institution of its kind in Indonesia, has announced that it will officially open to the public in Jakarta in November 2017 after delays in the construction of [its] landmark multi-purpose building.”
“Critics of the painting said the officers were depicted as pigs, which sparked outrage among Republican lawmakers and some police groups. Supporters said it was an example of free expression that deserved to be displayed. The dispute led to a bizarre back-and-forth as GOP lawmakers unilaterally ripped the painting from the wall and returned it to Clay’s office, only to have Clay and his allies rehang it alongside other paintings selected in the competition.”
“The landmark, which receives more paying tourists—around seven million a year—than any other monument in the world, was built as the centerpiece of the 1889 Universal Exposition. The planned refurbishment is intended to bolster the French capital’s bids to host another World’s Fair in 2025 and, before that, the 2024 Olympic and Paralympic games, according to a statement from the mayor’s office.”
Auction prices are a terrible way of judging the value of an artist. But they do tell you something about the demand for their work. Male artists command higher prices generally, but these six women are rising in the auction market.
In Peggy Sutton’s kitchen, she “has a framed a black-and-white sketch of the president she bought from a man for $1 at the 63rd Street beach. On the way to the lower level, she hung an oversize Ebony magazine cover of the black cool issue in which Mr. Obama exits a car wearing dark shades. Downstairs is a beaded Obama pillow. Upstairs on display in a spare bedroom is like Obama-palooza: homemade clothes, dollar bills with pictures of the president and the first lady, jeweled Obama champagne flutes, inauguration invitations.”
The renovations of Paris’ relatively young, and certainly most controversial, museum will be extensive – but they won’t change the look of the building, or (so hope the curators) force any closures as the work goes on.
The pick meant that Exposition Park keeps on transforming into less open space than building space, but it “also played to — and in the end confirmed — certain ideas Los Angeles has about itself, that it’s a city without a robust culture of civic engagement, that builds first and asks questions later, that pounces on opportunities like the Lucas Museum of Narrative Art rather than debating them.”
The first Houses of Parliament burned to the ground in 1834, and what we now photograph endlessly was finished rebuilding in 1860. But now, “a Westminster source said fire alarm cabling and systems were ‘so antiquated that they fail regularly and replacement parts are no longer available. The poor disabled access in the palace means emergency evacuation procedures for people with mobility impairments do not meet acceptable standards.'”
Mirror shield-maker Cannupa Hanska Luger: “Artists, we live on the periphery. But we are the mirrors. We are the reflective points that break through a barrier. You don’t have to be in the same economic place that I am to relate to the work that I make. That is the power of art.”
“The St. Louis museum isn’t backing off its commitment to send the painting to Washington, and the effort to stop it is a small pre-election skirmish in what will be a long, fraught and likely disorganized boycott of the Trump administration by artists, scholars, and citizens who align themselves with the arts and humanities sector. The petition, and the flurry of attention it raised, is important as a moment of what might be called the “stress testing” of this country’s cultural institutions. As Trump opponents look to the next four years, they want to know how much cultural and moral capital is stored in the institutions they love. Will museums and universities and arts centers be up to the challenge of confrontation, resistance and truth-telling?”
Few would doubt his interest in the art and heritage sectors, or his knowledge of his own academic field. But now that he is to be the director of one of them, does he still support the reintroduction of admission fees in national museums, which he proposed in 2011 as ‘a truly equitable cultural policy’?
The phrase sort of made my head spin — is it possible Prince had just invented a whole new conceptual category of art? What could “fake art” mean? It certainly doesn’t mean “forgery,” and it can’t simply mean “bad art.” But it doesn’t seem to me simply to mean “work bought by someone the artist disapproves of” or even “work no longer condoned by the artist.” It seems — to me, anyway — to suggest something much squirrellier than that, some new way of thinking about how to navigate a news theater dominated by “fake news,” the disappearance of cultural, intellectual, and aesthetic authorities, and the rise of a disinformation state.
“On the same Tuesday in March that will see Mayor Eric Garcetti facing no real opposition for reelection, L.A. voters will consider Measure S (once known as the Neighborhood Integrity Initiative), which calls for a two-year moratorium on major new development projects. Its backers say new construction is out of control — and out of scale with historically low-rise Los Angeles. What they can’t quite bring themselves to say is that the measure itself is an expression of mourning for an L.A. that is already dead, a city of single-family subdivisions, highway construction, discriminatory zoning and free parking that worked (to the degree that it ever did) only as long as the region continued to sprawl voraciously at the edges.”
Tristram Hunt, the Labour MP for Stoke-on-Trent, a Midlands city that’s been dubbed “the Brexit capital” (66% ‘leave’ vote), is leaving politics to take over the Victoria and Albert Museum in London.
Unfortunately, this may last only a few months.
Prosecutors had accused Guy Wildenstein, two family members, and advisors of attempting to avoid paying €550 million in inheritance taxes by transferring assets out of France. In delivering his verdict, the judge went out of his way to say that he does not think the Wildensteins are innocent: the problem is with French law.