Jennifer Schuessler talks to Mark Tomasko, a collector who doesn’t just study the artwork on old and new bills – he tracks the originals down.
The museum purchased a plot on the moon through a website that issues deeds for property. The territory spreads over 20 acres in area D6, Quadrant Charlie, Lot Number 1/0581-0600, located 001 squares south and 001 squares east of the extreme northwest corner of what the deed terms “the recognized Lunar Chart.”
“One of the seven buildings of the Russell Industrial Center in Detroit, which has become known as a haven for artists and a locale for edgy events and movies, was ordered closed this week.” Said the city’s director of buildings and safety engineering, “During a recent inspection, the smell of natural gas from the multiple illegal installations was so strong, DTE had to be immediately called to correct the leak.”
Teachers at Westminster High School in Carroll County, a rural area on the Pennsylvania border, put up the posters as a “show of diversity” – which is precisely their purpose. But after a staff member complained, administrators said that political material couldn’t be displayed in classrooms without “showing both sides.” Westminster students have an alternative planned (and the school board is meeting with lawyers).
“This weekend, artists and campaigners will protest calling for the closure of LD50, in Dalston, east London, after accusations the gallery gave a platform to anti-immigrant, Islamophobic and ‘alt-right’ figures and promoted ‘hate speech not free speech’.”
“Falomir, an Italian Renaissance specialist, joined the Prado in 1997 as the head of the department for pre-1700 Italian and French paintings. He has organised major exhibitions on Titian, Tintoretto, Renaissance portraiture and Raphael. Between 2008 and 2010 he held the Andrew W. Mellon professorship at the National Gallery of Art in Washington, DC.”
“The only thing we know is that this is the first iteration of a recurring show,” Wakefield says of Desert X. “Maybe it’s every three years, maybe there’s one next year, who knows? This is about surprises.”
“This 19th-century love affair between American money and innovative French art might seem an unlikely one. Surveying his fellow Americans in Europe in the 1870s, Henry James had been appalled: ‘There is but one word to use in regard to them – vulgar, vulgar, vulgar … It’s the absolute and incredible lack of culture that strikes you in common travelling Americans.’ Yet it was these Americans, or at least the opulent advance guard among them, who would come to the rescue of struggling and despised French artists, and who found in Impressionism the beauty and value that for many decades evaded so much of the French artistic establishment.”
After six years of restoration work, the panel painting, Leonardo’s largest of its type, will be back at the Uffizi at the end of March.
“African architect Diébédo Francis Kéré has been selected to design this year’s Serpentine Pavilion, which is set to feature a roof that mimics a tree canopy and a central waterfall.”
Vjéran Tomic – nicknamed “Spider-Man” for the athletic way he executed the theft – stole paintings by Picasso, Matisse, Modigliani, Braque and Léger from the Musée d’art moderne de la ville de Paris in 2010. He, the instigator, and the fence each got multi-year jail terms and six-figure fines plus an order to reimburse the city for the €104 million the art is worth. (The fence – who claims he threw the paintings into the garbage when his home was raided – executed a memorably self-serving piece of theater when he heard his sentence.)
It’s a seven-foot white marble nude statue of Jesus, and you’d think it would be famous by now – or stolen. But Risen Christ survived both Napoleon and the Nazis. Elisabetta Povoledo explains how.
“Like previous Hirst extravaganzas, this project is being rolled out with the same hypervigilant level of control and fanfare. And hovering over the project is whether – given the precipitous drop in his prices after his all-Hirst Sotheby’s auction in 2008 – the celebrity artist can have another chapter.” Or has he (ahem) jumped the shark for good?
Two of London’s biggest museums have new directors who have significant experience outside the museum world. This may lead to new ideas, but they may also have a steep learning curve…
The roof has leaked since 1989, but heavy rains last month did so much damage that the museum – whose collection includes works by Picasso, Monet, and Rodin – has been forced to close for several months. And, as Lynsey Chutel reports, that’s by no means JAG’s only problem.
“An Iraqi archaeologist who was recently given emergency training by the British Museum is leading a rescue operation in Nimrud, the Assyrian site which was almost totally destroyed by [ISIS] extremists. The archaeologist has been appointed by Iraq’s State Board of Antiquities and Heritage to investigate the damage and stablise what can be saved.”
“The Whitney may have been the first New York museum to signal its resistance to the new Administration, but waves of actions have followed. No major institution closed in response to the #J20 movement’s call for an art strike during the Inauguration, but the Whitney invited Occupy Museums to program a series of talks in its theatre, and the Brooklyn Museum hosted a seven-hour reading of Langston Hughes’s poem “Let America Be America Again.” Most significant, the week after Trump signed his now unravelling travel ban, the Museum of Modern Art replaced seven works in its sacrosanct fifth-floor galleries—the domain of van Gogh, Picasso, and Pollock—with pieces by artists from three of the seven targeted Muslim-majority nations.”
The secrecy of the seller might have to go the way of an expectation of no selfies at museums, but for better reasons: “This sort of discretion — one founded in a simpler time, when only a few wealthy collectors took part in the art market — is not only quaint but also reckless when art is traded like a commodity and increasingly suspected in money laundering.”
The piece, a live-streaming art protest by by Shia LaBeouf, Nastja Säde Rönkkö, and Luke Turner, was shut down at the Museum of the Moving Image in New York last week even though it was supposed to stay up for as long as the current officeholder is president. But “the project has found a new home at the El Rey Theater in Albuquerque, New Mexico.”
The 19th-century painting has been feted by both North and South over the decades since it was painted. “”It’s one of our greatest Civil War artifacts in what it can teach us about what Americans have remembered and disremembered about the Civil War,’ Gordon Jones, senior military historian at the Atlanta History Center and co-leader of the cyclorama move and restoration team, told Hyperallergic.”
One current show has an intentionally provocative name because “‘It’s really a colonial idea that our women didn’t carve. Our women have always carved,’ said Lou-ann Neel, the carver’s granddaughter and an advising curator for the exhibition. ‘I’ve already heard a few people say, ‘Well, you know, our grandmother was also a carver.’ Good, I want to hear about her. Let’s talk about her, too. Because all of our communities need these role models to come from the last couple of generations and encourage our young girls and women to pursue the arts, too.'”
The convenience store exhibit, which is also, sort of, a functional convenience store, is supposed to be a critique of art-world prices. But one anonymous artist says they stole an art – or convenience store? – bag of cat food. “‘Do not be confused,’ wrote the artist in Spanish, under the nickname ‘Peligro’ (Danger). ‘Oroxxo isn’t a criticism of capitalism, it is an act of capitalism.'”
“Although all major construction schemes face tremendous problems, the World Trade Center rebuilding encapsulates everything that is wrong with urban development in a period when, as in so many other aspects of our public life, the good of the many is sacrificed to the gain of the few.”
With ISIS having retaken the ancient Roman city in Syria and destroyed yet more of its historical sites, the Getty has created an online archive with the oldest-known photos of Palmyra (from 1864) and drawings and etchings made in the mid- and late 1700s.
“A large Guercino painting that was stolen from a church in Modena in August 2014 has been traced by Italy’s Carabinieri art crime squad to Casablanca, Morocco. The Italian government is negotiating to return Madonna with the Saints John the Evangelist and Gregory the Wonderworker (1639) to the Church of San Vincenzo ‘as soon as possible’.”
New York City’s Public Art Fund in New York will install Kapoor’s Descension – a funnel of black-colored water that spirals down into the ground – in Brooklyn Bridge Park this summer. (How many think-pieces do you suppose we’ll get comparing it to the 9/11 Memorial?)
“On walls, canvas, wood, or parchment, the música of reds was always more pregnant, more cadenced, and more resonant than others. Moreover, painting treatises and manuals are not mistaken; it is always with regard to red that they are most long-winded and offer the greatest number of recipes. For a long time, it was also the chapter on reds that began the exposition on pigments useful to painters.”
“Brooklyn taketh, but sometimes Brooklyn giveth back.” Last spring, Nancy Spector left the Guggenheim’s Manhattan flagship to become chief curator at the Brooklyn Museum. Now the Guggenheim’s director has created a new position just for her.
Gurlitt, who died in 2014, was the son of one of the dealers Goebbels chose to sell confiscated “degenerate” artworks abroad. He left his entire collection – about 1,500 works inherited from his father (including Picasso, Matisse, Chagall, Monet, Kokoschka, Courbet, Dürer, Canaletto, and others) worth an estimated billion dollars – to the Bern Art Museum, which is about to exhibit it in partnership with Bonn’s Bundeskunsthalle.
Keefer: Throughout my career I have been heavily involved in all my major international exhibitions and it is a matter of deep regret and frustration that the organizers of my first show in China have seen fit to exclude me from this process.” Now the curator and newly appointed president of the German committee of the International Council of Museums (ICOM), Beate Reifenscheid, who has always defended the project, is claiming that the galleries involved didn’t want the exhibition to go ahead as they wanted control over Kiefer’s work in the Asian market.