“The public owns the painting, along with all the rest scheduled to go on the block, starting in November. Trustees and staff are stewards of the art collection, charged with taking whatever measures are best for it. Yet this museum’s leaders are behaving as if they are stewards of the institution, not the art. Absurdly, museum standards are being vandalized to protect the museum.”
According to local press, who spoke to court officials, Mohamed Houli Chemlal confirmed police suspicions – that the 12-strong cell had also been planning to use major explosives at the Sagrada Família, the basilica that is one of Spain’s most important architectural landmarks.
The exhibition uses fences as a way to explore immigration, boundaries and the ongoing refugee crisis. Ai, who lived in New York in the 1980s when he was a student, says it is “a love letter to the city and its people”. The outdoor show will include large-scale site-specific sculptures as well as photography to be presented in more than 300 spots, both public and privately owned, across the city
“Just as I would love to see a woman president, I would love to see a woman director at the Met, and there are women who are ready to step into the role,” says Geri Thomas, the president of the firm Art Staffing, which has worked with museums including the Met.
“I think creative thinking, in a business sense, has incredible value. My colleague here, Ewan Branda, has said that the architecture degree will be the law degree of the 21st century. He’s basically saying that this degree will open doors in the way that the law degree did last century, in politics and elsewhere.”
Christopher Hawthorne: “With its Gothic ornament, peaked arches and 150-foot clock tower, the complex is a fantasia of just-add-water heritage, equal parts Disneyland and Hogwarts. Even more striking, the Village barely pretends to have the courage of its neo-trad convictions. Once you walk inside any of the buildings it becomes clear that the Gothic exterior is a stage set, a false front behind which lies a drearily conventional series of spaces.”
“Driven by a climate of mistrust and doubt, many questioned the sincerity of the letter written by Rand Suffolk, Nancy & Holcombe T. Green, Jr., Director of the High Museum. How could this happen at the High? Why were the police called on this young man? Surely there was no need for the violence, and would this signal the end of the popular Teen Night events?”
This was a move against erasure. “‘For me and my generational peers, this period of history is unforgettable, almost beyond belief,’ Mr. Wang, now 67, said in an interview. ‘Our entire youth was taken away. We didn’t fight a war, we didn’t learn anything, and when we came home, many of us couldn’t find jobs. We had nothing to show for ourselves.'”
Richard Woods: “There’s one house in the harbour, floating around – somebody heard through gossip in the town that it was going to be floated to Calais and back again. Some people are genuinely interested in whether “boat people” will move into the houses. But then lots of people in the town completely get the project.”
Yeah, it’s not easy, surprisingly. “For brokers like Mr. Milne, marketing these houses offers unique challenges, including the need to become a Wright expert, to devise a strategy for separating potential buyers from sightseers, and to develop a convincing argument for why someone should pay a premium to live in a house with small bedrooms and a snug kitchen, cinder-block walls, cement floors, narrow doorways, a carport instead of a garage and, quite likely, no air-conditioning.”
In Philadelphia, with years of input and discussion, artists are building new monuments. “As a result of the years-long project, a public art project titled Monument Lab,’ will take over the city of Philadelphia this fall. Twenty artists of various ages, races, gender identities and artistic backgrounds will erect monuments in 10 public spaces spread throughout the city.”
This is about the artist himself, but also about much more than his life: “The story of Farhad — a smart, lanky boy — is more than an unexpected bright light in grim circumstances. It shines a light on forgotten asylum-seekers and suggests the untold potential lost among migrants stranded along the Balkan route to Western Europe.”
“In the wake of the controversy over removing American monuments to the Cult of the Lost Cause of the Confederacy, Memento Park is not a bad model for us to consider following now — although certainly there are others. The dispute, which exploded into bloodshed, death and grinding national shame in recent days, demands hard thought. Decisions need to be made. Unlike sculpture, civic monuments are less the product of an individual artist than they are collaborations of entire societies. Civic monuments solicit a collective moral response. They invite an audience to affirm and applaud what it sees.”
Gilbert Vahé began work at Giverny when the restoration of the gardens first began in 1977, and (except for a five-year temporary retirement that ended this January) he’s been there ever since, “work[ing] to maintain the original aesthetic – a certain profile of color and light – that corresponds to Monet’s vision.”
“On Thursday, the International Criminal Court ruled that former rebel Ahmad al-Faqi al-Mahdi, the man convicted of ordering the attack on the ancient landmarks in Timbuktu, was required to pay ‘individual, collective and symbolic’ reparations of up to $3.2 million (2.7 million euros). Al-Mahdi was jailed last September for nine years by the Hague-based court after he pleaded guilty to ‘intentionally’ directing attacks on nine historic Timbuktu mausoleums and its Sidi Yahia mosque.” He is the first person to be convicted of cultural war crimes by the ICC.
“Michael Bonesteel, an adjunct professor specialising in outsider art and comics, … resigned this year after two Title IX complaints were filed by transgender students” and he was consequently stripped of some courses and required to revise his syllabus for another and have it approved. Since then, reports Jori Finkel, the School of the AIC has been receiving some serious pushback over alleged censorship.
“The Banality shows spurred five lawsuits, some decades after the original exhibit. One is pending today, almost 30 years after the show, while another settled out of court. Koons lost the remaining three, with courts finding him liable for copyright infringement and rejecting his fair use defense: that he was parodying the source material. But importantly for the art world, … [those judgments] have helped to define when artists can and cannot use the work of others for their own pieces, making a lasting impact on copyright law.” Jessica Meiselman recounts the history.
“The ancient house was likely undergoing a remodel when, on Jan. 18, 749, the massive earthquake struck Jerash, located in what is now Jordan … Before the earthquake, artisans were putting together mosaics for the floors of the house, but they abandoned their artwork after the natural disaster struck. This abandonment turned the house into a time capsule, allowing modern-day archaeologists a chance to see how artisans from the Umayyad – the early Islamic period – assembled these decorative mosaics.”
The five-story building in Tokyo’s Shinjuku district was actually completed in 2014, with installation going on since. The museum, which opens October 1, will have rotating exhibits changing twice a year, a separate floor for the Infinity Rooms, and a library/archive; timed tickets will cost ¥1,000 (just over $9.00).
“During springtime, the Indianapolis Museum of Art welcomed you to friendlier weather with thousands of color-drenched blooms on its outdoor campus. A beer garden and, later on, 18 holes of mini-golf designed by artists kept you coming back. Starting in mid-November, … the museum’s gardens will be illuminated by millions of lights that dance along to the music of the Nutcracker Suite. You’ll have your choice of drinks and firepits to roast s’mores. These are the type of cultural experiences Indy residents are drawn to. It’s just that when it comes to perception, market research shows people don’t necessarily connect them to the IMA.”
The British Museum will take part in a European summit to discuss the return of art seized from the Benin kingdom, now part of southern Nigeria, by a British punitive expedition in 1897 as “reparations” after it defied the British empire by imposing customs duties.