“Freelance biennial curating is highly visible but relatively new as a paid occupation. Remuneration is shrouded in secrecy: most of the biennials mentioned in this article refused to comment on our findings.”
“On the ART:I:CURATE site, collectors and artists create profiles – think Myspace, but for visual artists rather than musicians – and can buy and sell work. ART:I:CURATE members can also give their digital mark of approval with a Facebook-esque “like” button. In addition, ART:I:CURATE organizes exhibitions in non-gallery settings including apartments, warehouses and hotels.”
“After three decades of shoehorning contemporary-art exhibits into a former power plant on the outskirts of this wealthy Rocky Mountain enclave, the museum plans to triple its footprint. It will relocate in August to a new home designed by Pritzker prize winner Shigeru Ban in the center of town – a move that illustrates the growing clout and ambition of Aspen’s stewards.”
“The bill has gained six co-sponsors in the past three weeks, including the representatives Sam Farr of California and Janice Schakowsky of Illinois. At a hearing yesterday, 15 July, in Washington, DC, experts including Karyn Temple Claggett, the director of policy and international affairs for the US copyright office, testified in support of the bill.”
“The institute announced Wednesday that a large group of companies, foundations and wealthy individuals – Roger S. Penske and the Penske Corporation; Quicken Loans and the Rock Ventures Family of Companies; DTE Energy; Blue Cross Blue Shield of Michigan; Meijer; Comerica Bank; the JPMorgan Chase Foundation; Consumers Energy and Delta Air Lines Foundation – had pledged $26.8 million toward a $100 million commitment by the museum as its part of the “Grand Bargain.”
“Last year one museum was built every day on average, though the rush has since ‘slowed’ to about one every three days” Author Cathy Giangrande talks about the various kinds of museums being opened, what they are and aren’t doing well, and how the government is and isn’t involved in the museums’ content.
“Every now and again [politicians and boards] appoint a foreigner … in the hope of getting a bit of that magical know-how, and then they get rid of him or her in humiliating, destructive and unprofessional ways that in the UK or US would be inconceivable.” Anna Somers Cocks explains why this happens, and offers three
horror stories case histories.
“The World Cup display of German talent is the moment for Britons to put aside the prejudices and scars left by 20th-century wars and wake up to the fact that Germany is not just modern Europe’s economic powerhouse, but its cultural workshop, too, creating everything from beautiful football to sublime art.”
“The opponents lack standing to intervene in the reorganization pending before the court, they have offered no viable alternative and they are seeking court-ordered relief that is beyond the scope of the law, the [museum's] lawyers said” in a legal brief that called the lawsuit “obstruction for the sake of obstruction.”
“To a great extent the Clark, which is known especially for its holdings in French Impressionism and 19th-century academic painting plus a handful of Renaissance masterpieces, has done this by doubling down, intensifying but also elaborating its founders’ mission: the individualistic contemplation of art within domestically scaled spaces in a pastoral setting.”
“The small plastic LOVE signs that began popping up on telephone poles around town this spring put a smile on many faces in the Crescent City. Though they occupied the same space as grassroots street advertisements, they didn’t seem to have anything to sell. Because they are generically designed and commercially produced, they didn’t look like conventional graffiti or street art. Because they are rather small and seek to share such a universally upbeat message, they are difficult to dislike … even if they are illegal.”
“A good deal of the outrage directed at the idea of selling off art from Detroit’s museum is a backlash against the vague idea that doing so would mean rejecting art as a whole, or would amount to a declaration that the residents of Detroit do not deserve to enjoy art. On the contrary. I can think of no higher expression of Van Gogh’s artistic worth than the fact that Detroit could—with the sale of a single one of his paintings—provide water to all of its citizens.”
“Museum officials envision the tower, rising above a planned Metropolitan Transportation Authority subway station at Wilshire and Orange Grove Avenue, as having a hotel and condominiums. It would also contain LACMA galleries, including a new architecture and design wing and, potentially, architect Frank Gehry’s archives.”