Eike Schmidt is one of seven non-Italians appointed to direct the country’s state museums as part of a sweeping reform that seeks to bring the institutions in line with their more business-minded peers in the US and the UK.
We are in a mature, healthy and broad market in rather rude health, thank you very much. Here’s how it panned out.
“Mimicking termites’ strategies, architects and engineers can drastically improve energy efficiency in buildings.”
Liu Yiqian and Wang Wei own the Long Museum in Shanghai and plan to make it one of the world’s great art institutions. “And nothing, Mr. Liu said, says world class quite like a Modigliani nude. … He added, ‘The message to the West is clear: We have bought their buildings, we have bought their companies, and now we are going to buy their art.'”
“In 1890, Forest City, Iowa, built a palace – not of stone, or wood, or brick, but of flax. … The inventive structure was not the only one of its kind. In the late 1880s, the Midwest was seized by a craze for building palaces out of grains – hay, bluegrass, alfalfa, and corn, corn, corn.”
“His output is very large, almost incontinent, and the failures of his work are legion. But the talent is vast enough to fill the output. I hope I’m not dumb enough to think he can do no wrong. But what he does right matters so much more than what he does wrong. He is, I think, the genius of American art since the death of Pollock, and I’m not sure that I don’t prefer the higher achievements of his art to most of Pollock anyway.”
“A well-known piece of art in Shorewood’s Atwater Park will be removed and altered after a New Jersey blogger’s accusation that it contains hidden anti-Semitic messages went viral, generating concern among village residents and local Jewish leaders.”
What’s more, the alleged thief was acquitted of stealing the painting but convicted of stealing the frame, was sentenced to three months, and may not have been the culprit even though he turned himself in. As a bonus, the return of the painting was straight out of The Importance of Being Earnest.
“An unknown Italian man identifying himself as a retired art thief has contacted the police in the northern city of Piacenza demanding €150,000 ($163,000) for the safe return of a Gustav Klimt painting. … The artwork disappeared from the Galleria d’Arte Moderna Piacenza in February 1997 while the alarm system was incapacitated due to ongoing renovation work.”
“The Lakeside City (‘La Ciudad Lacustre’), which set out to recover the ancient Texcoco lake in the east of Mexico City, is the most comprehensive urban plan the city has ever seen. Kalach and fellow architect, Teodoro González de León, proposed to limit urban growth, clear and curtail development on the original lake bed, and allow the groundwater and rain to restore the body of water.”
“We are located in the Grand Palais near the Palace of the President,” said Jean-Daniel Compain, a senior vice president at Reed Exhibitions, reached by telephone Sunday. “We were expecting another 20,000 people in those two days, and I cannot take the risk.
“The new documentary on her life, ably directed by Lisa Immordino Vreeland, is a reminder of what an engaged patron Guggenheim was. At one point in the film, an interviewer asks her what the role of her gallery was in the realm of American painting. ‘To give birth to it,’ replies Guggenheim. ‘I was the midwife.'”
“The great Cuban-born painter Carmen Herrera, who turned 100 this year, and did not sell a work until she was 89, gets up every morning to paint. Her advice to the young is not to hurry through their 20s, and never to be intimidated by anything. ‘You don’t decide to be an artist,’ she has said, ‘art gets inside of you. It’s like falling in love.'”
“‘I guess it’s always a problem to get recognized in your hometown,’ she reflects. ‘But they can’t wait and wait because then I’ll die and it’ll cost big bucks,’ she adds with a laugh. ‘Then they will pay for their hesitation.'”
Examinations with a microscope reveal a racist joke.
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.”