Georgetown Heritage, a nonprofit organization formed to rethink the one-mile, nine-acre portion of the canal in Georgetown, has hired the architect of Manhattan’s High Line in hopes of creating an equally buzzy, reimagined urban park along the now-staid industrial strip of land. It’s part of a broader plan to once again make the historic neighborhood a leading destination in the city amid competition from other booming neighborhoods.
“In her short time here, the Fearless Girl has fueled powerful conversations about women in leadership and inspired so many. Now, she’ll be asserting herself and affirming her strength even after her temporary permit expires—a fitting path for a girl who refuses to quit.”
Christo had the most-visited art event. And in New York, “the Whitney Museum of American Art, which moved to its new Renzo Piano-designed home in downtown Manhattan in 2015, has put an end to the city’s traditional duopoly of the Museum of Modern Art (MoMA) and the Metropolitan Museum of Art. The Whitney hosted five of the ten most-attended exhibitions in New York in 2016.”
Thomas Krens, the longtime director of the Guggenheim Foundation and the driving force behind the global expansion of the Guggenheim brand, now says “The world financial crisis and the Arab Spring has [sic]changed the equation radically … It may not be such a good idea these days to have an American museum … with a Jewish name in a country [that doesn’t recognise Israel] in such a prominent location, at such a big scale.”
“The much-loved 1785 painting, Mr and Mrs William Hallett (‘The Morning Walk’), received two scratches of about 1-metre and 65cm long in the incident, which happened on a busy Saturday afternoon.”
“The opposing forces were represented by two powerhouse teams of Chicago attorneys: former U.S. Attorney Patrick J. Fitzgerald, former Assistant U.S. Attorney Patrick M. Collins, and Tinos Diamantatos represented the British Museum; former U.S. Attorney Dan Webb, Sam Adam Jr., and Robert A. Clifford argued for Greece. And each side produced an expert witness.”
“The coin, which police said was protected by bulletproof glass, carries a nominal value of C$1m and was produced by the Royal Canadian Mint in 2007. Known as the “Big Maple Leaf” and made of the purest bullion, only five have so far been produced, according to the mint’s website. One side features a maple leaf, the other a portrait of Queen Elizabeth II.”
The New York Times‘s co-chief art critic looks at how the debate over Schutz’s Open Casket at the Whitney Biennial has developed, reminds us that African-American opinion on the issue is not monolithic, and suggests that those calling for the painting to be suppressed or destroyed have more in common with, for instance, Rudy Giuliani’s crusade against Chris Ofili’s The Holy Virgin Mary than they might like to admit.
“Better known for her passionate, tragic relationship with Rodin and her 30-year confinement in a psychiatric hospital near Avignon, [Camille] Claudel was largely forgotten as an artist until the late 1970s. The new museum holds most of the sculptures that she did not destroy when her affair with Rodin ended.”
“Clumsy, aggressive, cheap-looking (despite costing £100,000), it’s the very opposite of a raindrop. Like the worst public art, it’s also the very opposite of art — ungenerous, suggestive only of itself. Who to blame? The artists, Solas Creative, for sure. But also the arrogance of the bureaucrats who commissioned it.”
Basically, it boils down to three reasons (minus the random disturbed person with a screwdriver): It’s famous; it’s politically charged; it’s sexually explicit.
Arthur Langerman’s father died in Auschwitz, and he has spent years collecting statues, postcards, posters, cartoons and other examples of anti-semitic European art. Now some of it is on display in Norway because the collector sees the situation as urgent: “Langerman believed antisemitism was on the decline when he began his collection. Today, he’s no longer so sure.”
Do we even need to say it? Yes, it’s kangaroos.
His work – gates and fences in the city itself – will serve as a comment on the new American mindset. He says, “We are witnessing a rise in nationalism, an increase in the closure of borders, and an exclusionary attitude towards migrants and refugees, the victims of war and the casualties of globalization.”
Photographer and filmmaker Moffatt never wants to repeat herself. The pavilion “will feature two new large-scale photographic suites and two films. Commissioned by Naomi Milgrom and curated by Natalie King, the exact nature of the works in this exhibition is still a tightly guarded secret, but Moffatt says she used a lot of natural light – often shooting directly into the sun.”
No, seriously. People love their Hockney, and he returns the favor: “The vast audience that his retrospective has attracted is sure to please Hockney, who has always been an advocate for his art being not for a small elite.”
With a new board president, the former Museum for African Art is also pitching a new simulation of what it will look like inside – if it can raise the money.
Described as the ‘longest building in the world’, the project’s concept drawings reveal a skyscraper reaching an apex then curving back down. And featuring an elevator system that can travel in curves, horizontally and in loops.
“Archaeologists in the northern Shanxi province of China have uncovered a vibrant record of the customs and costumes of the people living in the area about 1,000 years ago. An ancient tomb filled with colorful, partially preserved murals resurfaced in Datong City as part of Datong Municipal Institute of Archaeology’s excavation of 31 tombs of the Liao and Jin dynasties.”
“If you think you can wait a few months to avoid the long lines and crowded galleries at the National Museum of African American History and Culture, you’ll need a new strategy.” Peggy McGlone reports.
After the sore thumb that’s sticking out there now, installed on top of the column in 2018 will be Michael Rakowitz’s The Invisible Enemy Should Not Exist, followed in 2020 by Heather Phillipson’s THE END. And yes, they basically are as described in the headline. Hannah Ellis-Petersen fills us in.
The historic structure, known as the Edicule, at the Church of the Holy Sepulchre in Jerusalem had fallen into such disrepair that the Israeli government declared it a safety hazard and closed it. Now, after $4 million worth of work, the Edicule is open to pilgrims again – and the cage of iron girders that had surrounded it for 70 years is gone. (includes video)
“To do a project on the 69th floor of the World Trade Center has been beneficial to a lot of us. You’ve gotta be pretty dumb not to think the floor’s not going to get rented out eventually, and that whoever probably took it wasn’t going to want the artwork. Of course they’re going to want the artwork. But never did Silverstein say they were ever going to use it for marketing to rent the place.”
The NEA’s Arts and Artifacts Indemnity Program has saved museums hundreds of millions in insurance premiums and made possible countless high-profile exhibitions that couldn’t have happened without it. But if the NEA is shut down, this program will be shut down with it – and there is no private-sector alternative.
“Amid a dramatic management shake-up at the top of New York’s Metropolitan Museum of Art earlier this month, interim chief executive Daniel Weiss is moving in with a sweeping plan to balance the budget and provide a road map for renovations. The plan, to be presented to the Met’s board of directors on Wednesday, could amount to an audition by Mr. Weiss for the top job at the nation’s premier encyclopedic museum.”
As Hannah Black, a British artist who’s one of the leaders of the protest against Dana Schutz’s Open Casket, puts it, “It’s not acceptable for a white person to transmute Black suffering into profit and fun.” (Black thinks Open Casket should be destroyed.)
“Xuhui has already invested Rmb 20bn (around $3bn) in turning a former industrial area into a 11km-long “cultural corridor” on the Huangpu river. It is planning an ambitious series of museums and other landmark projects, such as a theatre, music hall and Imax cinema.”
“It’s not a very complicated story,” says a source close to the Met. “Tom was a curator. He was plucked out to run a big job—not just director but director and C.E.O. He forged an agenda with the board. He had some management issues. They together made all these decisions to get ahead on digital. Tom wasn’t on his own. They together decided to invest in modern and contemporary. The place is politically, totally insane. Al
In coordination with UNESCO, the International Alliance for the Protection of Heritage in Conflict Areas (ALIPH) aims to prevent heritage site destruction, fight trafficking of stolen artifacts and pay for restoration. But it also seeks to create a global network of storage and safeguarding sites.