The auction house’s stock price has been steadily declining over the last six months. On Monday the company released its third-quarter results, showing that commissions from Sotheby’s auction sales during the period were $56 million, a decrease of 12 percent from the same period in 2014.
“In 1978, when Unesco published its first list of protected places, there were just 12 World Heritage Sites. Now there are 1,031, including Fray Bentos meatpacking plant in Uruguay, as of July this year.”
“Sotheby’s stock price reflects the general slowdown in the global economy. The stock has been hurt by their earnings from their main auction business, which are weak.”
“From today, fans of the British Museum will be able to avoid the crowds to snoop through more than 4,500 objects online, peering inside glass cabinets to inspect their finest artefacts. It will be the largest indoor Street View project in the world, allowing virtual entrance into the entire London institution as well as specially-curated digital collections.”
“We knew that we had one false ceiling to take down. We had a plan to put new ductwork in. What nobody knew was that, above this false ceiling, there was a second false ceiling. And then a third false ceiling.”
“Reports written by Nicholas Eastaugh, the director of Art Analysis & Research (formerly Art Access & Research), examin[ed] the pigments used in 23 paintings. Of those, 12 were found to include CI Pigment Yellow 74, which was not commercially available before the Abstract Impressionist artist died in 1956.”
“What makes this fall from grace so striking is that when the Garden Bridge plan first entered the public domain it caused a ripple of pleasure. Month by month, it has steadily descended from being perceived as a flagship for a new brighter London to becoming a symbol of the city’s wider problems. So how exactly did the Garden Bridge fall from grace?”
“The reason some paintings are so incredibly expensive is that they ought by rights to be in a museum. As modern art enters its third century (oh yes), most of its great canonical works are in collections like that of New York’s Museum of Modern Art or Guggenheim – so if a work of that calibre comes on the market it is worth, oh, about $274m.”
“The answer involves everything from the rise of ascetic Protestantism, Soviet contrarianism, Zen reflection and the ever-unstoppable power of the dollar. The last one – market forces – goes a long way towards explaining the ‘if it ain’t broke, don’t fix it’ attitude that fuels the white cube’s persistence.”
“While the goals of this program are admirable, the costs and structure are unreasonable in light of the many legitimate demands and constraints on the Commonwealth’s capital investment plan,” Governor Charlie Baker wrote in his veto letter.
In a bidding session that lasted nine minutes, the artist’s Nu couché sold for $170.4 million to an unnamed Chinese buyer. The work is only the tenth ever to sell for a nine-figure price.
“It is one of only five states without any sales or use tax, meaning that a Manhattan collector who might owe, say, $887,500 in sales tax on the purchase of a $10 million painting at Sotheby’s in New York, would owe nothing by shipping the art to Delaware directly after purchasing it.”
“While the end result – graffiti – can be seen as a pain in the backside for the authorities, arguably a blight on communal areas, the perpetrators, consciously or unconsciously, question long-accepted norms about how our cities and spaces should be used.”
“This chapter of the performance deals with Huxtable’s sense of frustration and mourning about the internet’s ‘transition to something like an oligarchy … The idea of people’s personal information being controlled goes hand in hand with this access to history – the two things are determined by Google algorithms. And if a server is not renewed, then it’s gone for good.'”
“The art press greeted the first installation/iteration of the permanent collection with a run of unexpectedly hostile skepticism; this results from the fact that, despite an adulation for buzzwords like ‘public engagement,’ ‘appeal to younger audiences,’ ‘cultural tourism,’ and ‘accessibility,’ in contemporary art discourse of late, those in power don’t actually like it all that much when paralegals from Pacoima show up with their kids. But that’s exactly who this glorious museum is for — those kids.”
“The Vogels acquired art not because it was fashionable, part of social and economic aspirations, or because it could guarantee a return on an investment, but because they thought the work to be truly important. The couple built street cred with the artists in their collection because they were there from the beginning, when every artist needs the most support, financially as well as emotionally. … Compare the Vogels’ history with the Broads.”
“For the past 17 months, the centuries-old fountain has been partly covered by scaffolding while it was undergoing badly-needed repairs. Today, the waters started flowing again.”
It does not say museums should avoid any specific types of company, but does say museums must find sponsors who share their “ethical values”.
“[Given] what pops up on Google as you look for places, the fact we did not have ‘museum’ in the name was not helpful to us,” said W. Richard West Jr.
“Experts at the Bosch Research and Conservation Project (BRCP) have confirmed that a drawing previously attributed to one of Hieronymus Bosch’s workshop assistants was actually rendered by the Flemish master himself. … The news closely follows a similar but less celebratory announcement that two other paintings, long believed to be authentic Bosches, were actually imitations.”
It’s about more than just the new chief curator. Now settled in its new home in Center City Philadelphia, the foundation “is poised to roll out an expansive plan embracing multiple ways of thinking about art, teaching art, and bringing art to the broader community … At the same time, the foundation will be seeking to raise an additional $100 million in endowment funds to help bankroll the new initiatives.”
In his lifetime, Rodin struggled to maintain his palatial workplace, and the three-year renovation, which has cost 16m euros, is the most comprehensive since it was converted into a public museum in 1919.
Sylvie Patry, in a telephone interview from Paris, said she sought the job because she felt the Barnes was “a collection that is known but not so well known, which makes it a very interesting job for a curator.
“The plan calls for a new statue that’s way taller than the ancient one. At 400 feet tall, the new Helios would be nearly four times the height of the original. The proposal also includes an interior library, museum, cultural center, exhibition hall, and, of course, a crowning lighthouse that’s visible for 35 miles.”
“At first you think it’s the holiday spirit and wonderful. Then you realise it’s the end of the year and people are looking for charitable contributions.”
“The EU considered” – and has now rejected – “a restriction on cadmium [paints] following pressure from Sweden, which argued that artists pollute the food chain when they rinse their brushes in the sink. Cadmium ends up in sewage sludge and is then spread on agricultural land … Cadmium in its pure form is highly toxic, but the cadmium compounds used by artists are not classified as hazardous.”
“The design consumes less coveted park space than expected, while introducing a contemporary aesthetic that evokes Frank Gehry’s museum in Bilbao, Spain, in its undulating exterior and Turkey’s underground city of Cappadocia in its cavelike interior.”
Kriston Capps argues that it’s time to ditch that term altogether, because it has turned into a “partisan slur”: “The conservative pearl-clutching over starchitects is performed. It’s registered in bad faith. It’s at root an allergy to program, funding, public works, or intangibles that have nothing to do with the built environment. The objection to starchitects is dressed up in Culture Wars theatrics, meant to elicit partisan alignment around political identity in the face of difficult design questions.”
“In the past two years, as the city has invested millions of dollars in renovating and refurbishing the building, something strange has been brewing at the Corn Palace. For 13 years, from 2001 to 2014, the arena was run by the same director, Mark Schilling. But in 2014, he was asked to resign” and convicted of petty theft. “Since then, the city has hired two directors, one of whom was asked to step down before even starting the job, and a second who lasted less than a year.”
“This was to be the first franchise of an event in Grand Rapids, Michigan, and its failure to make it here is a reminder that the art patrons in Dallas will show up dressed to the nines for galas like TWOxTWO last week, raising millions of dollars for the Dallas Museum of Art and amfAR, but aren’t interested in seeing an event like ArtPrize come to life, which allows artists of any caliber to participate.”