Following the Second World War, with the relocation of the world’s artistic epicenter from Paris to New York, a different kind of war was waged in the pages of magazines across the country. As part of the larger “culture wars” of the mid-century, art critics began to take on greater influence than they’d ever held before.
“The exhibition brings together light installations from every stage of the career of this 74-year-old artist and elder statesman of the Southern California Light and Space movement, from what appears to be a levitating cube (a projection of buttery light in the corner of the gallery) to a series of holographic images that seem to contain three-dimensional wisps of light.”
Martin Filler: “How odd that the towering genius of architecture during the third quarter of the twentieth century – when his most conventionally successful colleagues prized innovation over tradition, analysis over intuition, and logic over emotion – was a mystically inclined savant who sought to reconnect his medium with its spiritual roots. Indeed, he ran wholly counter to prevailing images of the modern architect.”
“When a Scottsdale, Arizona, man was headed to a retirement home, a neighbor helping with the move found the collectible in the garage and suggested contacting an auctioneer to appraise it. Josh Levine, owner of the auction house who was called to look at the poster, estimated the signed Lakers memorabilia would be worth about $300. But when they went to the man’s garage, what they found could be 50,000 times more valuable.”
“The plan would fund projects inspired by the island’s unique features: its name; its “vantage point” amid an iconic bridge and two great cities, surrounded by an inland sea; its history as a site of innovation — a world’s fair, an early nexus of commercial aviation, a military installation; and its environmental and ecological conditions. Projects will be solicited from local, national and international artists.”
“If the movie Bean has taught us anything (and what hasn’t it taught us really?), it’s that American museums and the museum-going public will line up, go out of its way, to view something spectacular, whether there’s much in the way of educational value.” Noah Charney (who cops to similar behavior himself) talks with some curators about “what you as a curator do when the material in your collection is more interesting than spectacular.”
“Years after rival art museums in Melbourne, Brisbane and Canberra completed their own expansions and reaped obvious benefits (including higher attendances), the acrimony surrounding the Sydney Modern Project, as the expansion [of the Art Gallery of New South Wales] has been called, reflects – and epitomizes – Sydney’s deep ambivalence toward culture.”
“The diplomatic crisis will affect exhibitions as no art from Qatar can be exhibited in these Gulf countries right now. If anyone bought anything in Qatar—not only art works—it would not be easy to export to these countries either.”
As the middle market shrinks, many dealers are finding they can’t afford to do fairs—but they can’t afford not to, either. “It’s very hard to estimate what the revenue will be, so a gallery’s decision to do a fair is highly uncertain,” says Olav Velthuis, a professor at the University of Amsterdam who specializes in economic sociology. “People don’t realize that fairs are loss leaders for many small galleries.”
“In a striking leadership reorganization, the Metropolitan Museum of Art on Tuesday announced that Daniel H. Weiss, its president and chief operating officer, will lead and run the museum, filling the new, higher-ranking role of president and chief executive. And in a sign that fiscal responsibility now trumps artistic control, the museum’s next director, who oversees programming, will report to Mr. Weiss, rather than the other way around.”
“News of the painting arrives exclusively from a press release issued by an organization called News Press International (NPI), which also shared a video recap of the gallery event. … The only expert involved in this case who is identified is Curtis Dowling, an art forgery investigator. Perhaps you know him as host of CNBC’s reality TV series Treasure Detectives.”
“The J. Paul Getty Museum in Los Angeles has successfully acquired Parmigianino’s £24.5m painting of The Virgin and Child with Saint Mary Magdalen and the Infant St John the Baptist. … The painting was sold by the Dent-Brocklehurst family of Sudeley Castle, Gloucestershire, and has been in the UK for nearly 250 years.”
“Animal-rights campaigners smashed windows and threw blue paint on the work space of Aboubakar Fofana in Athens … Fofana’s piece, Ka touba Farafina yé (Africa blessing) (2017), features 54 sheep – one for each country in Africa – that have their wool dyed in different shades of indigo. It deals with the ‘tragedy of migration’, Fofana says, using a sheep’s quest for new pastures as a symbol of humans risking their lives in search of a better one.”
After a controversial 2010 bailout package brought relations between Germany and Greece to a new low, organizers had said they hoped the festival would help mend relations between the two countries. However, the undertaking has largely failed to appeal to locals, and in the process has even alienated some. According to Yanis Varoufakis, the enigmatic former Greek finance minister who stepped down after pressure from European leaders forced Greece to accept harsh austerity measures in exchange for an international bailout package in 2015, Documenta’s arrival was nothing more than “crisis tourism.”
In retrospect, they were city-based but anti-urban projects, divorced from the streets, in thrall to cars. A mass of contradictions, Wright, the inexhaustible genius, was, in these as in so many other projects, a maker and mirror of the American century. His archives should keep scholars busy for at least the rest of the post-American one.
While authorities were aware that a small amount of looting had taken place, they did not realize the extent of the destruction until it was too late. The largest pyramid on the site of Nohmul (also known as Noh Mul), the most important Maya site in Belize, had been reduced to just a core of rubble.
When the beloved but impoverished Museum of Contemporary Craft closed abruptly, Portland suddenly had a hole in the popular, hopping Pearl District. Then last week, “Suddenly a space that had housed an important cultural center that had died before its time seemed alive with hope and possibilities again” as the Oregon Jewish Museum and Center for Holocaust Education opened, post-remodel, in the space.
“‘This is one thing I can do before I die,’ [Agnes] Gund, 78, said in an interview at her Upper East Side apartment, where the Lichtenstein used to hang over the mantel, along with works by Jasper Johns and Mark Rothko. ‘This is what I need to do.'”
They’re sites, he says, where “consumerism and wilderness collide,” and where campers consistently bring more and more of the comforts of home (raising the question of what “camping” might actually mean).
Maybe not. Sorry, Jean-Léon Gérôme. “‘The issue is that this period is just not sexy any more,’ said Wendy Goldsmith, an art adviser based in London, who was formerly the international head of 19th-century European art at Christie’s. ‘So many collectors have moved through Impressionism and now over to contemporary.'”
“The judges ruled that creating an independent archaeological park would disturb the unity of Rome’s Unesco-protected historic centre and deprive the city of the proceeds from ticket sales to the monuments.”
“The discoveries were made on a nondescript side street just behind the city’s colonial-era Roman Catholic cathedral off the main Zocalo plaza on the grounds of a 1950s-era hotel. The underground excavations reveal a section of what was the foundation of a massive, circular-shaped temple dedicated to the Aztec wind god Ehecatl and a smaller part of a ritual ball court, confirming accounts of the first Spanish chroniclers to visit the Aztec imperial capital, Tenochtitlan.”
In fact, in 2016, Paris’s flagship museum was in third place. The leader in visitor traffic may surprise you – until you think about it for a sec.
Paul Villinski had created Flower Bomber, a replica of a B-25 military plane made from recycled wood and fiberglass, especially for the atrium of the Taubman Museum of Art in Roanoke, Virginia, and the piece was taken the night before he was going to drive it there.
What’s more, it’s for a little egg-shaped structure from Guatemala. Carolina Miranda explains.
Not only is Karole Vail a Guggenheim stalwart — she has been on staff since 1997 and organized the sweeping retrospective “Moholy-Nagy: Future Present” last year — but she also has personal ties to the institution: Peggy Guggenheim was her grandmother.
He was trying to shape an indigenous regional architecture for Southern California. And he was attempting to put a definitive end to — to bury for good — a deeply troubled decade in his personal and professional lives. The regionalism of the houses, their response to the landscape, history and climate of Southern California, is at once their most powerful and most naive feature.
“The artist, who found global fame with his pop-up street art, [had] offered prints of his famous ‘girl with balloon’ for those who voted against Prime Minister Theresa May’s Conservative party in six constituencies near his Bristol home.” His reason for cancelling the offer is a good one, though.
“On a recent Saturday morning in a desanctified church in Upper Manhattan, 24 people were piled together in a naked fetal hug. On a balcony one story above them was the New York artist Angelo Musco, taking photos of the group for his latest project.”