“Just as doping in sports has sullied a pursuit where no one is supposed to cheat, editing tools like Photoshop are increasingly casting suspicion over an industry where no picture is supposed to lie.”
“Such is the impact of the 4,200 sq m of decoration, the Painted Hall has been dubbed the UK’s Sistine Chapel. But it was – and remains – so overwhelming that, according to legend, elderly sailors pleaded to be allowed to eat their dinners somewhere less grand.”
“For the sculptures, JR photographed young athletes who may one day make it to the Games, people who are still ‘working hard for the passion of sport.'”
“Beecroft became known in the U.S. in the mid-1990s for staging performances that featured monochromatic arrangements of nude or barely clothed models in body paint who often glared at viewers with empty or defiant stares. About a decade ago, she left the art world and began collaborating with West — orchestrating his fashion spectacles, which are held in locations like New York’s Madison Square Garden arena.”
“Pictures at $70 million are good P.R., but the revenues are in the middle market,” he said, where sellers tend to pay full commissions and guarantees are nearly unheard of. “That’s the most lucrative way to do business.”
“The collapsed sailing ramp has been hauled out of the water, a Russian diplomat has heroically killed a carjacker (or maybe not), and 450,000 condoms await action in the leaky athletes village. Beset by construction problems and delays and with preparations decreed the ‘worst ever’ by the International Olympic Committee, how is the architecture and design of the XXXI Olympiad shaping up so far?”
“An unnamed artwork by a mysterious artist is at the center of a $2 million lawsuit against dealer David Zwirner by Old Master dealer Fabrizio Moretti via his the London company, Blue Art Limited, which accuses Zwirner of breach of contract, fraudulent concealment, and inducement.”
The brainchild of billionaire Microsoft tech giant, Seahawks owner and avid art collector Paul Allen, the 70,000-square foot, 84-gallery event brought 18,000 visitors to the Emerald City last weekend. A cursory rundown of SAF’s stats, which included an exhibitor list of heavy hitters like Pace and David Zwirner, presents like a fully formed Art Basel air-dropped on the West Coast via Jeff Bezos-commissioned drone, but it was the wave of companion fairs and satellite exhibits that elevated Allen’s main event from what could have been an impressive-yet-boring gathering to a unique addition to the contemporary art scene.
“The building is a stark — and welcome — departure from the neoclassicism for which D.C.’s architecture is known. And while it is not yet complete (scaffolding still covers the building’s broad entrance), the museum nonetheless cuts a daring profile on the Mall, where its stacked trapezoidal forms appear to erupt from a grassy plain between the obelisk of the Washington Monument and the columnar façades of the Herbert Hoover Commerce Department Building.”
Robert Storr: “[Stuart] Davis was also the only first-class Cubist to emerge from North America. In my estimation he was the equal of the great Fernand Léger … I would even argue that, painting-by-painting, Davis was in some respects Léger’s superior.”
“The work, entitled Etnias, covers more than 30,000 square feet of a formerly abandoned warehouse in Rio’s newly reinvigorated port district. Using a wild quiltwork of brightly colored geometric shapes, it portrays the faces of five indigenous men and women from five continents.”
“From the left, Saint Francis of Assisi decked on his Franciscan order habit clutches a crucifix with a hand bloody with stigmata; from the right, Saint Francis of Paola holds a paper that reads ‘Charitas.’ And looking straight on, there’s a weeping Saint Peter looking up at a blue sky where his airy halo mingles with the clouds.” The trick is an effect called anamorphosis.
“[Dmytro] Szylak’s installation is hardly noticeable from the sidewalk in front of his former home, but if one approaches from the alley and garages of Klinger and Sobieski Streets, Hamtramck Disneyland looms like a Cubist carnival.”
“Every square inch of land on Earth has been altered by our presence. Yet in the process we have failed to follow Olmsted’s conclusions to their logical end. If his theories about public greenswards could be applied to towns and cities, why shouldn’t they be applied to the planet as a whole?”
“The artist Peter Doig took the stand here Monday in an odd federal court case in which the owner of a landscape painting is accusing Mr. Doig of falsely denying that he created the work while a young man in Canada.”
“The Brutiful Birmingham Action Group (see what they did there?) is fighting an uphill struggle to preserve the city’s best examples of 1950s and ’60s concrete and glass minimalism.”
“One of the beautiful but frustrating things about art history is that it can never be an exact science. Whatever forensic examination becomes available must be interpreted by human beings. Just as the introduction of DNA evidence has permitted huge strides forward in criminal investigations, but has not proven definitive in courtrooms, so too, digital art-historical discoveries have offered ‘eureka moments’ that have led to duelling opinions rather than resolutions.”
“The 1977 creation by the 20th-century artist Arthur Köpcke was lent to Nuremberg’s Neues Museum by a private collector, and is said to be worth around £68,000. The retired German dentist … said that she started filling in the artwork’s crossword puzzle because it bore the phrases ‘Insert words’ and ‘so it suits.’ … [Her attorney] says that far from harming the work in question, his client has increased its value.”
“For decades, a mysterious black stain has been spreading across the face of an anonymous woman in Australia. She is the subject of a painting by Edgar Degas, the French Impressionist painter, and since the 1920s, the oil paints in her portrait have gradually faded, revealing the hints of another, hidden portrait underneath.”
“The Swiss architect has been working with LACMA Director and Chief Executive Michael Govan for years on an ambitious and controversial new building to hold the museum’s permanent collection. But details – architectural and financial alike – have been hard to come by” – until now. Christopher Hawthorne has a look.
Movable walls that raise up like garage doors and slide open allow the building to essentially become one big Tetris puzzle in which the users can slot in stadium seating for up to 1,250 people—or leave open for a standing audience of 3,000.
“The show also raises questions about the popular narratives surrounding Detroit art, the often narrow perceptions about what exactly defines art from Detroit and how the conversation is starting to change — or needs to change.”
“Officials in the museum community say that no plan to protect exhibits is foolproof, and that the recent episodes reflect the balance that museums seek between making their collections accessible to visitors and keeping them secure.”
“It’s easy to preserve skin, but when it comes to an organ it’s a very different matter: they decompose no matter what you do.”
“The historic building remains in a bare-bones state, its parking lot devoid of construction vehicles, as stakeholders await a revised design plan for what the Ringling College of Art and Design, which absorbed the SMOA organization a decade ago, is calling its ‘South Campus Complex.'”
“Built in 1937, the concrete structure was the ‘last fragment’ of the derelict seaside lido used for the street artist’s ‘Bemusement Park’ exhibit last year. Conservationists said they had been told the fountain, in Weston-super-Mare, would be spared from destruction.”
“A number of these smaller self-portraits are etched onto copper, a surface upon which projections can be seen extremely clearly. Two early painted self-portraits are also made on copper — an unusual choice of surface for a painting, but perhaps telling of an artist working from a projection.”
“It took two days to 3D print Zeus’s body and 20 hours to print his legs.”
“Duchamp was a genius. He could put a noise in a ball of string and hey presto, it was art. He made it look easy – well, he made everything look easy – and yet many daft and self-indulgent sound works are only “art” at the most glib level as sadly exposed by the National Gallery’s exhibition Soundscapes last summer, in which only Philipsz rose above the banal.”
“Through five Republics, the French have assiduously cared for this apogee of French culture, a national symbol baked into the country’s psyche. Touching any part of Versailles is like performing brain surgery on France: a very delicate matter.”