The museum had hoped to open the extension to its main building for its 150th anniversary in 2020; now even the groundbreaking is seven years or more away.
“The [18-month] restoration has systemically treated all of the bridge’s structural elements for the first time in more than 400 years.” (vandals have already tagged it with graffiti, alas.)
“It was a diverse scene that held out a hint of utopian promise at a time when Abstract Expressionism was waning and new categories had not yet hardened: It included many more women than the uptown art world; it was not completely white; abstraction and figuration jostled side by side (if not always comfortably), along with genre-bending sculpture; and the gloriously messy birth of modern performance art took place in the midst of it all.”
“Balshaw has been director of the Whitworth Art Gallery since 2006. She became joint director of the Whitworth and the Manchester Art Gallery in 2011. In 2014, she in effect became Manchester’s cultural attache when she took on the role of strategic lead for culture at the city council. At the Whitworth, Balshaw has led the much-admired £15m redevelopment of the gallery, helping to breathe new life into the collections and dramatically increasing visitor numbers. It won the 2015 museum of the year prize.”
“The tiff spiraled out of control Tuesday, with House Republicans acting on two separate occasions to pull the artwork down from a tunnel in the Capitol complex, after it was rehung by Rep. William Lacy Clay (D-Mo.), whose young constituent painted it.”
“The architects trick visitors into the daunting [eight-story] climb by changing the subject with a fun house of surprising events. The entrance leads past a decorative digital wall to a long ride on an escalator through a tunnel spotted with mirrored discs. Visitors land at a wide terrace, … [and] another escalator leads to an outdoor piazza … [which] marks the start of a modern version of the Spanish Steps in Rome.”
Says one Christian artist, “One major Washington [D.C.] dealer said to me, ‘Ed, I’ve liked your work for years, but I don’t want to mark my gallery with your subject matter.'” Says another, whose work treats Judaic themes, “I’ve been told by dealers all the time, ‘I don’t want that crap in my gallery.'” And the reason may not be outright prejudice so much as a particular, now-standard ideal of what new art is and isn’t supposed to be.
“Artspace, a startup that launched in 2011 with the aim of facilitating online sales for galleries and nonprofits, will part with the bulk of its staffers,” particularly on the editorial side.
“Opened in 1929 for the New York Central Railroad, the Buffalo Central Terminal was every bit as grand and opulent as Manhattan’s Grand Central Terminal, Philadelphia’s 30th Street Station and Washington DC’s Union Station.” (In fact, its architect is the same one who designed Grand Central.) One group is trying not only to restore it, but to get Amtrak to move in again.
“All Russian loans to the US were halted in 2011 amid fears that they could be impounded after a US federal judge’s ruling that Russia must transfer a collection of books seized by the Bolsheviks to the Brooklyn-based Chabad-Lubavitch, an Orthodox Jewish community that fled the Soviet Union. Russia refused and, as a result, major US museums stopped lending to Russia.” But that deadlock seems to be about to break.
“The calls to revise the canon of art history have grown louder in the last few years, but the research, curation, and collection of art from regions that have long been overlooked or ignored is a slow process. Egyptian modern art appears to be the latest to undergo this process of rediscovery and integration into the larger history of art.” (includes audio podcast)
“The site, launched in 2014, offers investment advice to subscribers—the current cap is ten—who pay $3,500 per quarter for early access to a ranking of emerging and blue-chip artists. Like a brokerage analyst’s report, it uses terms such as “buy,” “sell,” and the even more alarming “liquidate” to guide clients. ArtRank’s algorithm arrives at its valuations through a combination of publicly available data such as past sale prices, forthcoming exhibitions, and social media posts from art world influencers as well as insider advice from collectors and dealers.”
“Despite the challenges, the international market attention has also proved to be a catalyst to formation of new galleries on the continent, who could see a path and a model of sustainability, which did not rely on philanthropic funding as in the past or domestic markets. As a result, the past four years have seen something of a surge in the number of new galleries on the continent, adopting a more internationally focused commercial operating model.”
Sure, students want more art, but it also comes down to this: Universities have a steady supply of cash, and they know a good investment when they see it.
A budget allocation, meant to restore the catacombs of Jewish residents of Rome from more than two millennia ago, has finally been realized, 10 years after it was first approved. “One of the grander niches has small columns at each corner and a frescoed cross vault with a depiction of a menorah. There are images of sacred Jewish symbols, including an ark with the scrolls of the Torah, and several inscriptions referring to synagogues in the city.”
Is money involved? Perhaps.
His grandson says no – and sues the city to stop the loan to a museum in Tokyo. “Prof. Karel Stretti, who leads the restoration department at the Academy of Fine Arts in Prague, said the largest of the ‘Slav Epic’ pieces measures 26.5 feet by 20 feet, meaning handlers would have to remove it from its frame and roll it up, which could crack the paint.”
But despite the great numbers – the best total since 2012 – the numbers for visits to about half of the Smithsonian Museums were down from 2015.
“Making museums multilingual (and not just via wall text) is a gargantuan task. It’s resource-intensive, requiring the investment of capital as well as time and, in best-case scenarios, incorporation into the museum’s overall strategic, marketing, acquisitions, programming, and hiring plans.”
Carl Swanson: “The combination of his inscrutability – all those words and phrases, scrawled and painted over, and grandiose titles referencing classical mythology – combined with the work’s billionaire home-decor market value to speak to something clubby, cushioned, and aloof which I never quite got, or felt I should get, or maybe that I felt that I needed to get. And it’s not just me.”
“2016, for the Louvre as for all sites in Paris, was a difficult year,”Jean-Luc Martinez, president and director of the Louvre, told Le Figaro. “We should finish the year at 7.3 million visitors, 15 percent less than in 2015, and a loss of at least €9.7 million ($10.2 million), not to mention the lower revenues in booksellers or restaurants,” he elaborated following the museum’s announcement.
As recently as 2014, Paris’s flagship museum had a record 9.3 million visitors – and those numbers were projected to rise to 12 million by 2025. Then came the terrorist attacks.
The legal briefs have become increasingly acrimonious. The foundation says that it has faithfully carried out Peggy’s wishes, that she never said the collection should remain as she left it, and it describes the descendants’ claims as “distortions,” “pointless,” “ridiculous and outrageous,” and “devoid of good faith.” It also says that a 2013 letter to the foundation from the descendants’ attorney “leaves little room for doubt as to their genuine objectives: they believe they can obtain a financial settlement” from the foundation.
The term “the artworld” itself seems to date only to 1964, but this timeline goes all the way back to 1793, when the revolutionary regime in France turned a certain royal palace in Paris into a public museum. The history here is selective, to be sure, but half the fun of these things is working up righteous high dudgeon over what’s been in- and excluded.
“[Drew Skillman and Patrick Hackett] were trying to build a 3-D chess application one night a couple of years ago when they discovered it had an unexpected side effect: As you moved the chess pieces around in virtual space, they left trails of light behind.”
“In Unbounded Histories, which can be streamed on any web-enabled phone as you enter the collection, [Andrea] Hornick creates soundscapes and recites poems keyed to individual artworks, all to encourage viewers and listeners to reconsider each work through her series of provocations.”
The project has been plagued by shaky funding and construction delays. “Adjacent to the city’s spiffy new art museum along the Biscayne Bay waterfront, the Frost Science Museum features a 500,000-gallon aquarium that will house sharks, barracuda, tuna and sea turtles; an Everglades exhibit; a state-of-the-art planetarium; an exhibit on the evolution of flight from dinosaurs to jet fighters; and numerous labs, conference rooms and hands-on experiences.”
“Of course we realized how unlikely it was that a large bridge of our design might be chosen by the city, but we proceeded as if it could happen,” Oldenburg wrote in a statement on the project.
A gift from a philanthropist couple has extended the no-entrance-fee policy, previously for children under 14 only, to all Chicagoans under 18 for at least the next 25 years.
The donation, from the Walton Family Foundation – yes, the Waltons of Wal-Mart, and of the Crystal Bridges Museum – is the largest in the history of this Texas museum dedicated to American art.