“What is it about a specific piece of art that makes it become seen as an esteemed creation, while something entirely similar can be viewed as nothing more than (quite literally) a vessel for disposing of human excrement? This was the brazen question that researchers at the Faculty of Economics and Business at the University of Leuven in Belgium recently tackled using the scientific method. They published their results in the journal Human Nature in October.”
“What if the art world was a lot more integrated into the world world? What if the art world and the world world existed in a state of mutual accountability to one another? What if art was valued as a shared cultural transmission that brings people together despite difference, instead of as a luxury good that promotes class division?”
Factum Arte won fame for installing a faithful copy of Veronese’s The Wedding at Cana where Napoleon had ripped the original from the wall. Its full-size copy of the teenage pharaoh’s burial chamber has been installed at Luxor so that tourists can spend time in it without their breath and body moisture damaging the original. Now there’s a hope that Factum could help recreate at least some of what ISIS destroyed at Nimrud.
The window, to be unveiled in June 2018 in the church’s north transept, is in honor of Queen Elizabeth II.
This time it’s professional photographer Eric McNatt suing over Prince’s use of an image he took of former Sonic Youth leader Kim Gordon. “The complaint outlines at length Prince’s brazen attitude towards appropriating works, and his disposition toward previous legal actions against him, including the case brought by photographer Patrick Cariou.”
“Although most famous for his landscapes in his woodblock print series Thirty-six Views of Mount Fuji, he drew just about everything.”
Bjarne Melgaard sent 16 of his works from his studio in New York to his gallery in Oslo – which couldn’t collect them without paying $153,000 in VAT because customs agents insisted the paintings didn’t qualify for tax-free status. You see, they weren’t, as regulations require, “executed entirely by hand.”
“In a reversal of a 2012 vote that seemed to have buried the project, the 15-member board voted 8-7 on Monday to approve the 130-million euro ($180-million) plan. A final decision is expected next week by the 85-member city council.”
If you do the math, 65 times, it amounts to more than $180 million: a handsome sum for an offhand find and well worth continuing to court experts over, even in the face of expert dismissals and disavowals. When the Van Gogh Museum rejected the sketchbook outright in 2008 — calling the works “monotonous, clumsy and spiritless” — the owners simply sought more opinions until they found one that fit.
“It is surprising that any architect — and especially one with as much understanding of Philip Johnson’s basic philosophy as Scott Johnson — could support the idea that gravitas and the Crystal Cathedral are even the slightest bit compatible. The building has far more in common with the nearby Matterhorn at Disneyland, the Biosphere in Arizona or the domes of Buckminster Fuller than with any cathedral in Europe.”
Sculptor Helen Marten said, “In the light of the world’s ever lengthening political shadow, the art world has a responsibility, if not to suggest a provisional means forward, then at least show an egalitarian platform of democracy. I believe the hierarchical position of art prizes today is, to a certain extent, flawed.”
Here’s what the jury said about Robert Konieczny + KWK Promes’ National Museum in Szczecin, Poland: “This project enriches the city and the life of the city. It addresses a site with three histories, pre-World War II, wartime destruction, and post-war development, which left a significant gap in the middle of the city. This is a piece of topography as well as a museum.”
Young Dalí wanted to be a chef, and as an adult artist, “he loved the ‘logarithmic curve’ of cauliflowers.” Of COURSE he did.
Artist Genevieve Gaignard’s self-portraits, in which she mixes Cindy Sherman and Carrie Mae Weems with her own performance style, says “Maybe it can help [viewers] be more open and understanding to lifestyles, different people’s existence and upbringings, class and gender. I feel like that’s what’s being talked about right now.”
Essentially, there’s an argument between two methods. Both methods are on display right now, one in Michigan and one at the Met. “It seems we are a country riven not just by politics but — though rather more gently — curatorial approaches to clothes: populist versus elite; contextualized versus abstracted; local versus global.”
It’s a destination artwork near California’s Catalina Island: “The structures are subject to the elements, dramatically changing appearance with the shifting tides, waning daylight, churning water and movement of divers, not to mention the instincts of fish — which were later spotted inside the pavilions, along with a sea lion mesmerized by his own reflection.”
He says he wasn’t consulted about it and is very upset about it. (But the Beijing museum mounting the show says it’s going ahead anyway.)
“As cities, counties, and states update outdated bridges, upgrading their lighting systems to LEDs is inevitable. With that move comes the opportunity to throw in some low-cost civic razzle-dazzle.”
“When the election happened we didn’t know what to expect. But the week has ended on a high with the Monet and Phillips moving up a level and now this. There is still a market.”
“Sarcophagi are much more than simple containers for the departed, and the pictorial script on this one records that it belonged to a man named Amenrenef, who once served as a royal court advisor.”
At issue is a digital artwork showing an image of the Virgin Mary: press a button and it shatters. (The artist says the piece is about iconoclasm.)
Monet did 25 paintings for his Meules (“Grainstacks”) series, and this one’s unusual coloring makes it one of the best. (It was also one of the few in private hands.)
The works were found by arhcaeologists excavating a series of 80 rock-hewn tombs in the city of Şanlıurfa. They appear to date from the first or second century CE, when the area was part of the kingdom of Edessa, the seat of Syriac culture.
“And yet, sales were down from years past—last November’s postwar sale, with just a few more lots, netted $331.8 million, indicating a drop of 16 percent. But that auction was considered a disappointment, and if you compare Tuesday’s sale to that of November 2014, which brought in $852.9 million over 72 lots, you’d see a two-year dip of 67 percent. The market contraction continues apace.”
Is this “woman artist” stuff a good thing? (Was Jackson Pollock a “man artist”?) Elaine de Kooning once recalled a party where she and another painter, Joan Mitchell, were asked, “What do you women artists think … ?” Mitchell interrupted, “Elaine, let’s get the hell out of here.” That pretty much sums up some people’s feelings about all-women exhibitions. Let’s blow this ghetto! We can’t win here.
Two of the world’s top van Gogh scholars say there’s no way these are forgeries or copies: “These are absolutely O.K., from one to 65. End of song, end of story.” A senior researcher at the Van Gogh Museum says they’ve seen the book and dismissed it twice already. So – what’s the evidence?
It’s the second-highest price ever paid for a Munch (after you-know-what). Yet it was the only bid on the painting, and that was by a party that guaranteed the sale. In fact, the entire evening was disappointing sales-wise.
The art market has expanded enormously, but despite many schemes, selling art online in a big way has been elusive. “Most of its incumbent players recognise that technology is powering the sheer volume of interest in the market, but believe that, for now, it is more of a tool than a game changer.”
There will be six labs on two floors, and the facility is expected to place the MFA among the top institutions for art conservation in the world.