“Close to 2,000, from 75 countries, they have collectively contributed 10,000 artworks to the trust, a unique combination of artist collective and hedge fund.”
“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.”
In an essay titled “The Birth of Bad Taste”, Barry Schwabsky argues that “long before Matisse, the Italian artists of the sixteenth century who came to be known as Mannerists were willing to twist their figures out of proportion, and they did so to create not convincing images, but convincing paintings.”
“The preliminary document, released Wednesday after eight months of research and ahead of a full report due at the end of the year, cites several shocking oversights; for example, the Louvre is critiqued for storing Classical sculptures in a subterranean chamber that could not be properly evacuated in the event of an overflow of the Seine river.”
“The opening would come 20 years after the 2003 arrival of the $284-million Walt Disney Concert Hall. Govan said LACMA would be continuing the “movement” that the acclaimed concert hall launched. The new LACMA would show that L.A. was, in effect, not a one-hit wonder, but a city capable of charting an ambitious, ongoing course of increasing and revitalizing its cultural offerings.”
Still skittish four years after 21 people died and more than 500 were injured in a stampede at a Love Parade, the mayor of the German city of Duisberg refused permission for Totlast (“Deadweight”), a labyrinthine installation by Gregor Schneider, because it could induce “confusion, panic and disorientation.”
The Williamstown museum now has big new exhibition space (much of it underground) that finally enable it to show large-scale 20th-century art and to collaborate with major venues on touring exhibitions. That’s not to mention the one-acre, three-tiered reflecting pool designed by Tadao Ando and Gary Hilderbrand.