Toronto’s Museum Of Contemporary Canadian Art Faces Uncertain Existential Future

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“At the tail end of a predictable process that has seen the forces of culture work merrily along as unintentional gentrification elves, sprucing and preening until their grassroots urban renewal rewarded them with skyrocketing rents and a one-way ticket out, the question hangs as heavily as ever: Culture has been thrust into the role of cure-all for a litany of urban ills, but what happens when culture outlives its curative function?”

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Researchers: Here’s Why We Care About Original Art Work More Than Reproductions

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A team of scholars led by George Newman of Yale University argues that “art is seen as a physical extension of the self, and imbued with the person’s soul/essence.” That being the case, the researchers write in the journal Topics in Cognitive Science, “the original possesses an essence that cannot be duplicated.”

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Getty Foundation Launches Program To Fund Conservation Of Modern Architectural Landmarks

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“The Getty Foundation has announced a major new conservation initiative for modern architecture, funding work on 10 landmark designs around the world including Jørn Utzon’s Sydney Opera House in Australia, Frank Lloyd Wright’s Robie House in Chicago and the Ray and Charles Eames residence in Pacific Palisades.”

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The World’s Art Online (And So The Museums…)

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“The 15 newcomers will be joining more than 500 partners from over 60 countries who already have put online more than 6.2 million objects and artifacts. Art lovers around the world are clicking to show their appreciation. The Google Cultural Institute had more than 19 million unique visitors from June 2013 to June 2014, and they generated 200 million page views in just one year.”

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Matisse Show At Tate Modern Breaks Attendance Records

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“Newly published figures showed that Henri Matisse: The Cut-Outs received 562,622 visitors, surpassing the Matisse Picasso exhibition of 2002, the previous record holder at 467,166, and the Damien Hirst exhibition of 2012, with 463,087.” (The show opens at MoMA in New York next month.)

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Gehry’s Eisenhower Memorial May Lose Most Of Its Gehry-Ness (Including Gehry Himself)

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“The project faces a major crossroad this week over its controversial Frank Gehry design, which uses woven steel tapestries strung on 80-foot columns to depict the modest Kansas roots of the decorated soldier and statesman. The Eisenhower Memorial Commission on Wednesday will review two approaches, including one that removes most of these elements. If that plan is selected, Gehry informed the commission, he will ask for his name to removed.”

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Prada Marfa Is Saved

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The artists Elmgreen & Dragset, who built the installation in 2005 on a highway about 40 miles from the art town of Marfa, Texas, “wanted the mock-up store, the size of shack but with Prada shoes and bags inside, to be a critique of the luxury goods industry. But it was threatened when it was deemed an illegal roadside advertisement.”

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Google Art Project Is A Threat To Museums? Absolutely Not

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“Some critics complain that Google’s initiative to take us on virtual trips through museums and to show us great pieces of art on demand, as we sit gazing at our laptops, will discourage people from actually going to these institutions. This is flatly untrue. Museum attendance is on the rise, dramatically so.”

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Jan Morris On Carpaccio

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Not the raw meat dish, silly; she means the painter. “I am no connoisseur, cultural scholar, or art historian. I know nothing about painterly techniques, chromatic gradations, or artistic affinities, and my infatuation with him is largely affectionate fancy. I feel I know him personally, and I often sense that I am directly in touch with him across the centuries, across the continents, as one might be in touch with a living friend. But however much I delight in Carpaccio’s virtual company, I know hardly anything about the man, and in this I am not alone.”

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The Cult Of Jeff Koons Must Die

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“Koons is alert to a tendency on the part of the art audience to submit—to submit to something (to anything) that exerts a certain discomfiting power. This is the S&M of the contemporary art world, with the audience angling for an opportunity to grovel at the feet of the superstar.”

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How To Get Street Artists To Help Create Your Designer Furniture Line

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Ariel Zuckerman and Eran Shimshovitz “hung wooden boards around the southern Tel Aviv neighborhood near their workshop and waited for graffiti artists to do their work.” Which they did – whereupon Zuckerman and Shimshovitz took the boards back to the workshop and fashioned them into furniture.

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Brooklyn Museum’s Longtime Diretor Arnold Lehman To Retire

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“Mr. Lehman made many attempts to reinvigorate the museum. But he will most likely be remembered for being at the center of one of the most bitter public fights in recent museum history when, in 1999, he presented “Sensation: Young British Artists From the Saatchi Collection,” a show of art from the holdings of Charles Saatchi, the British advertising magnate.”

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Dia Foundation Gets A New Director

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“Jessica Morgan, a widely respected British curator who spent her formative years working in the United States before joining the Tate in 2002 as a curator of contemporary art, will take over Dia at an uncertain time in its history.”

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Should Artists Own The Copyrights For Public Art?

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“How can a work of public art, located on public land and funded by taxpayer money, be the intellectual property of an individual artist? Actually, it’s not that uncommon. Portland was a leader in first allowing artists to retain copyright on all public art, but other cities, from Seattle to Miami, have followed suit.”

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One Of France’s Best Little Museums Was Founded (Surprise, Surprise) By A Hedge Fund Manager

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“Mr. Levett became a voracious buyer, assembling one of the world’s largest private collections of ancient arms and armor. Today, his scores of Greek hoplite helmets, Roman greaves and shields, along with Egyptian sarcophagi, Greek statues and ancient glass, are the crown jewels of his Musée d’art classique de Mougins.”

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