“Record’s influence extends well beyond its core readership of professionals. Corporate executives, facilities managers, related professionals, and others who work with architects scout talent and note trends via Record. The magazine publishes emerging talents before they become household names—a very important function, given the few paths firms have to garner attention if they aren’t supported by trust funds.”
“What really disgusts Macintosh is the complicity of Labour-run Lambeth in wrecking the legacy that they once created, ‘their eager cooperation with central government in the process of the privatisation of public assets,’ their ‘sham consultations with residents, which are really exercises in hard-sell and bullying,’ their ‘heartless eviction operations.'”
“Over the past 18 months, the photographer has documented most of San Luis Obispo County’s bodies of water, ranging from the small — Atascadero Lake and Laguna Lake in San Luis Obispo — to the sizable, such as Santa Margarita Lake, Lopez Lake east of Arroyo Grande, Nacimiento Lake northwest of Paso Robles and Whale Rock Reservoir near Cayucos.”
“The redesigned atrium of South London’s Imperial War Museum tells the story of 20th Century war through objects such as guns, vehicles and clothing. Permanent World War One galleries have opened as a reminder of the conflict’s size and devastation, including interactive displays on life in the trenches. The museum employs advisers on how to attract a young audience.”
“We decided to look even further back, to the year 2000, and found that over the past 15 years the Galleries sector has been over 50 percent. Art Basel is indeed tough to get into—“like getting into a club” as dealer Jeffrey Deitch told The Times—and that can give the impression that it has been monolithic over the past decade or so, but the numbers show that its composition seems to at least partially reflect the many changes in the art world and art market over that period of time.”
“What were hard and fast boundaries between commercial galleries and museums a decade ago no longer exist. Top galleries eager to woo blue-chip artists, collectors and a more diverse public are increasingly turning to big-name museum professionals to mount exhibitions of depth that would look at home at the Met or the Museum of Modern Art. But in some cases that scholarship may be in the service of business.”
Grimshaw Architects’ means of directing light deep into the bowels of the huge transport interchange is the first of its kind: a six-storey funnel lined with a suspended mesh of 952 precisely positioned, diamond-shaped aluminium reflectors – and it is about to show off its star feature in the brightest of ways.
“London, in particular, is in the throes of a heritage war. This is partly because the city is at the sharp end of the development wedge. There simply isn’t enough space for all the luxury apartments, skyscrapers with huge trading floors and “public” lookout points that you have to pay to access. Small buildings that no one really notices, but are hugely important to London’s character, are often first in the line of fire. So are the big ones.”
“According to Le Figaro, staff at Versailles is still trying to identify the vandals from security camera footage, and the palace’s director Catherine Pégard plans to lodge a formal complaint. The artist, meanwhile, sees the attack on his work as symptomatic of a particularly regressive tendency in French society.”
Paul Durand-Ruel was the gallery owner who shepherded Renoir, Monet, Pissarro, Manet, Morisot and their peers past the haughty skepticism of the Paris art establishment – and their works into the hands of U.S. collectors. “Do not think the Americans are savages,” he once wrote. “On the contrary, they are less ignorant, less close-minded than our French collectors.”
“Officials in Gansu Province, which includes Dunhuang, and a company in Beijing have drawn up plans for a theme park connecting the caves with a separate area of sand dunes that already exists as a tourist playground (think dune buggies and camel rides). The connecting strip of desert would be filled with faux temples, folk villages and souvenir stands.”
“With an easy flick of the wrist, he once and for all drew an uncrossable line that demarcated the chasm between old art and new art … In his own words, he reduced everything to the ‘zero of form.’ Zero, for some reason, turned out to be a square, and this simple discovery is one of the most frightening events in art in all of its history of existence.”
“The jurors, who separately operate German, Swiss, Italian and American galleries, begin their work about 11 months before the fair. In a series of gatherings, they and their advisers discuss their selections, vote, consider appeals and ponder larger questions: Should they include contemporary Chinese artists? Yes. Art by artists coming of age in the digital era? Definitely.”
“Gasometers were crucially important to the growth of London as a modern city and to Britain as an industrial and post-industrial nation. The use of gas in street lighting, for instance, is a central element in the creation of the modern city and these amazing floating structures are where the gas was eventually stored. They are important as scientific as well as architectural icons and we should preserve the best of them.”
“Few regimes in history devoted as much thought to the arts as the Third Reich. With a failed painter at the helm and several other ministers who felt they knew what was what, the Third Reich encouraged conformist painters, offering them huge prizes and incentives, and discouraged any who took liberties with their canon. During the regime’s heyday, many works were acquired by the state or by its leading lights, who had impressive budgets to spend on works at the annual art show in Munich and who scattered money like confetti.”
“The ruling came after a decade-long dispute over ownership of the 1897 canvas, Saint-Honoré, Après-midi, Effet de Pluie, a Paris street scene by Pissarro, which is in the Thyssen-Bornemisza Museum in Madrid.” In 1939, the work’s owner, a Jewish woman, was forced to sell it to a Nazi art appraiser for the equivalent of $360.