“In this case, the Albright-Knox seems to be trying to rewrite history, repeating the canard that Bunshaft’s building was built as an auditorium, not galleries, so that’s the only part worth saving. According to the history books, this is simply not true.”
“Hastings’ revived seaside pier will go head to head with a stealthy addition to the British Museum and a photographer’s concrete studio in west London in the race to win the RIBA Stirling prize for the UK’s best new building. They are joined on a diverse shortlist by a new visitor centre at Chatham’s historic naval dockyard, a little brick tower of six apartments in east London and a gargantuan complex for the City of Glasgow College – the second year running that the young institution has made the shortlist.”
“‘Too bad that it won’t be here anymore,’ says an older woman wearing a large grey ponytail. She’s talking about the free food at the colorful pavilion on Athens’s Kotzia Square. The woman probably doesn’t know that it’s really an art project by Pakistani artist Rasheed Araeen … ‘You have to be pretty brash as a Documenta visitor to sit here and eat the food when there are many who need it more,’ comments one German guest.”
“Officials at the Centre Pompidou have confirmed that … more than 20 exhibitions drawn from the holdings of the Beaubourg Gallery will be shown in the new outpost, called Le Centre Pompidou Shanghai (West Bund), which is based in a wing of the new 25,000 sq. m West Bund Art Museum designed by the UK architect David Chipperfield.”
Things have started to shift on the dot-painting stereotype in the decade or so. There has been “a push to have urban, Indigenous artists accepted. As a result, the art market’s understanding of Indigenous art has expanded to include urban artists who work in many different mediums.”
That’s what LA’s Broad Museum will charge. “One has to note that these are the same museums that regularly raise outside sums of money to pay for big building projects, even as they make no real effort to address ticket prices. While commending the Broads for displaying their collection for free (setting aside that it is largely blue chip and predictable), we can still say that it looks peculiar for them to spend $140 million on a building and then charge $25 for a show. The same goes for SFMOMA and its current admissions fees.”
The only copy outside Florence of Lorenzo Ghiberti’s Gates of Paradise, cast in bronze from the 15th-century originals, has arrived at the Nelson-Atkins Museum. Victoria Stapley-Brown tells the story of the work, how and why it came to be copied, and how the copy arrived in Kansas City via Japan, India, South Korea, and New York.
“Less than two years after arriving at the Barnes Foundation from Paris’ Musée d’Orsay, … Sylvie Patry, 48, is returning to France and to her former museum. It’s pretty much a dream job, she says. The Orsay, as she calls it, has carved out a position for her as deputy director for curatorial affairs and collections, giving her, essentially, the run of the place.”
While rivals tried to challenge the art-world establishment head on, Artsy chose to partner. “We always intuitively thought those other vertical models weren’t going to be as scalable, but it’s scary at the time to see another competitor going up really fast in revenue when you’re not,” Cleveland says. “To be a partnership model, to aggregate everything into one place, means we had to wait a little bit longer until we started seeing those transactions. Now the roles have switched.”
“A range of Met-ophiles – artists and archaeologists, chefs and curators, designers and D.J.s, playwrights and performers – offer their own ideas and expectations for how a new director can rethink the world’s greatest museum for a new century. Some of these suggestions are bold, others more whimsical, but all of them come from people who want nothing more than to see the museum on solid ground.”
In late May, all the editorial staff of Artinfo and Louise Blouin’s other art puiblications (Modern Painters, Art + Auction) were given two weeks’ notice and told they could reapply as freelancers. Then, reports Page Six, “owner Louise Blouin outsourced the editorial to India. But to make it seem as if there were still a cosmopolitan staff, articles were given bylines with hilariously generic international names.”
“Earlier this week, the foundation sponsoring the Genoa show decided to shut down exhibit three days early in order to collaborate with latest investigation enveloping the Italian expressionist painter and sculptor, who is one of the world’s most famously faked artists.”
“Italy’s Culture Ministry says the number of visitors to Italian museums continues to rise two years after reforms that included opening top museum positions to foreigners for the first time.”
“With prices for some Chinese antiquities reaching into the tens of millions of dollars, a flood of amateur and professional thieves looking to get rich quick has hit China’s countryside. While accurate figures are difficult to come by, the looting has resulted in the permanent destruction of numerous Chinese cultural heritage sites.”
“The French museum confirmed that water had invaded the mezzanine of the Denon wing, affecting the “Arts of Islam” and “From the Mediterranean Orient to Roman Times” rooms, both of which have been closed pending hygrometric stabilization. Water also entered the first floor of the Sully wing, affecting the “Salle des Sept-Cheminées” and Henri IV staircase, and the second floor of the Cour Carrée, affecting some rooms housing French paintings.”
“I realized that our paradigm of understanding how people experience their environments had radically shifted, and no one had really figured out what this meant. One of the things I found was that, basically, [given] what we now know about human cognition and perception, the built environments we inhabit are drastically more important than we ever thought they were.”
For instance: “The U.S. Department of Energy proposed to use an image of the face at the nuclear waste repository in Nevada’s Yucca Mountain to warn future explorers of radioactive waste.”
“Surprised that the tour guide was also a painter, Saskia Leefsma, one of the visitors in the group, asked, ‘Do you have a studio now?’ Mr. Mukasa admitted that no, this was the very first painting he’d made in a very long while because he had been suffering from post-traumatic stress disorder.”
Praying hands and candle emojis were banned from Weibo, but artists found creative ways to post. “Some posted the works of Liu Xiaobo’s poet and artist widow Liu Xia, who remains under house arrest, depicting mutilated dolls positioned in bleak landscapes. Paintings of empty chairs referenced the empty seat at Liu Xiaobo’s 2010 ceremony for the Nobel Peace Prize, which the Chinese government refused to release him to receive.”
For instance, stop saying Hobby Lobby was funding ISIS: That’s not true, but also, “in West Asia, most looting and most damage to cultural heritage generally is not being carried out by ISIS. This is not to belittle the horrible acts culminating in murderous violence that are committed by ISIS. Rather, the problem is ignoring the massive scale of threats to cultural heritage by focusing solely on one entity.”
Wow, 2017, you do have some pleasant surprises: “It’s far more popular than the museum ever imagined, with people indulging in a long back-and-forth, binge texting. And it’s also revealed something surprising about its users — about how, and when, they want to interact with art, and how much they crave a personal connection with cultural authority.”
Artist Star Montana: “I want people to understand the narrative of Boyle Heights. A lot of these people, they are trying to navigate how to exist in these neighborhoods. These people represent communities and neighborhoods. They exist. And they are individuals. And their stories — each one of them — their narrative is important, too. It’s important for me to sit down with them, even if it’s just for a minute.”
Whoops. Very, very much whoops, at a gallery in Los Angeles.
“On July 12, Wyeth would have turned 100. Over the course of his life and into his death, his reputation has weathered a whiplash of ups and downs and polarized opinion. In 1977, when the art historian Robert Rosenblum was asked to name the most overrated and underrated American artists, he nominated Andrew Wyeth for both categories. How can we explain these dramatic shifts? And what do they say about how critics and artistic movements influence an artist’s legacy?”
Since the Santa Fe-based art collective Meow Wolf opened its permanent installation, the House of Eternal Return, in March 2016, the project has been an unmitigated success in terms of viewership and profits. Housed in a 20,000-square-foot former bowling alley, the sprawling interactive artwork welcomed 400,000 visitors in its first year—nearly four times as many as expected—and brought in $6 million in revenue for the collective’s more than 100 members.
“The 13 stolen masterpieces valued at around half-a-billion dollars included a Rembrandt and a Vermeer … ‘I’m 100 percent sure that they are in Ireland. Hundred percent sure. No doubt in my mind,’ art investigator Arthur Brand said. He’s described as the Indiana Jones of the art world. It’s an audacious claim to make after nearly three decades. But Brand alleges his leads point to the Irish Republican Army.”
“‘Museums are rethinking the rush to digitise their collections amid concerns that such projects are costly and of little value,’ wrote the Times [of London] newspaper, in a report on [Tristram] Hunt‘s comments at the Hay Festival in Wales. … Responding to a question from the audience about the V&A’s use of digital technology to widen access in the regions, Hunt actually said that the museum is ‘involved in a massive programme of digitising [its] collections’ and is ‘very passionate about it’.”
Converting living rooms and bedrooms into temporary galleries is just one way that dealers are coming up with ways to adapt and survive. Car parks, hair salons, arcade bars and the backs of vans have also doubled as ingenious, if cramped, exhibition venues.
“The Museum of Ventura County, which temporarily shut its doors last year to take inventory, revamp some things and figure out its future, has not been able to raise enough money to get back on its feet. Unless the institution can get money from a new source, officials said, it will close by the end of the month. To Elena Brokaw, who since last summer has been the museum’s interim executive director, the answer lies in creating a public-private partnership.”
“The ‘color war’ between British artists Stuart Semple and Anish Kapoor has entered a new, rainbow-hued round of conflict.”