One historic site, the Vizcaya Museum and Gardens in Coconut Grove, did sustain some serious flooding to its basement, café and stores, although the main building and its collections remained safe. A truck arrived on Tuesday to begin pumping out the water from the lower levels. “The good news is there are no art collections stored [there].”
“Discovered at the Dra Abul Naga necropolis on the west bank of the Nile [near Luxor], the newly opened tomb holds statuettes, mummies, pottery, and other artifacts … One of the statues depicts a goldsmith named Amenemhat sitting beside his wife. A figure of one of their sons stands beneath them. The archaeologists say the family lived during Egypt’s 18th Dynasty.” (includes video)
“The world’s top collectors in 2017 – among whose recent acquisitions are a record-breaking Basquiat and Anicka Yi’s video from the Whitney Biennial – include newcomers like Laura Arrillaga-Andreessen, the founder of Stanford University’s Center on Philanthropy and Civil Society, and her husband, Silicon Valley VC Marc Andreessen, comedian and Chicano art aficionado Cheech Marin, and Iranian financier Mohammed Afkhami. And media mogul David Geffen is back!”
“Overall, the society’s museums appear to be okay and intact. Minimal damages to the buildings with the exception of some damaged windows.… Power is out so climate control is an issue.”
Yes, museums do have codes of ethics that cover the professional conducts of their staffs. Erich Hatala Matthes argues that that isn’t anough, as controversies from the fate of looted antiquities in collections to this summer’s outcries over Dana Schutz’s Open Casket at the Whitney Biennial and Sam Durant’s Scaffold at the Walker Art Center to the culture war over Confederate monuments demonstrate.
“A small fire on Friday at the State Hermitage Museum in St Petersburg raised alarms about the fate of one of its greatest treasures: the beloved Hermitage cats that protect its Old Masters from mice and have become museum mascots.”
The 102,000-square-foot Zeitz Museum of Contemporary Art Africa is in a set of old grain silos on the city’s waterfront that have been cnverted by designer Thomas Heatherwick. Its art comes from Jochen Zeitz, a major collector of new work from the continent.
“Thanks to a percolating economy and the technological revolution that swept through architecture while most of these designers were building their practices, many of them are producing work at speeds and scales that were not possible even a decade ago.”
“Sotheby’s announced the price estimates for the works. The Berkshire Museum holdings will be offered at auction starting November, and will continue through 2018. The museum has said it hopes to raise some $50 million from the sale. Leading the sale is a work by Norman Rockwell that has attracted the most ire of those protesting the move.”
Described by founder Elsa Longhauser as a kunsthalle, the ICA LA is a small, non-collecting museum, whose origins lie in the now defunct Santa Monica Museum of Art (SMMoA). After a lengthy rent dispute with its landlord, the SMMoA closed in 2015, and Longhauser, the museum’s executive director, took time to regroup before rebranding the museum as the ICA LA. “We’re not really changing the model,” Longhauser told Hyperallergic at a press preview yesterday, “we’ve just expanded. Moving from Santa Monica to Downtown gave us the opportunity to rethink, revise, and contemplate what we want to do.”
“The boy, hair swept to the side and focus drawn by an unseen object, peeks with evident interest from the Mexican side over the slats of the wall at Tecate, Calif., as if looking over the railing of his crib.”
“An unlikely group of experts—art conservators—have banded together to do what they can, manning a 24-hour hotline that offers practical methods to treat water-damaged art. A small army of volunteers is also on standby to survey the damage in person after the skies clear.”
Andrew Hunter’s mission was to make the AGO relevant to the world outside its doors in a deep and real way. For maybe the first time in its history, it is. The gallery’s task now, with two key positions now vacant — Hunter’s, and the role of chief curator — is to decide whether to maintain course, or chart a new direction. It does the latter at its peril.
“In architecture, that conversation has remained stunted. Who designed the Capitol Records building in Hollywood, Welton Becket or Louis Naidorf? Just how much was the architecture of L.A. firm Morphosis affected when co-founder Michael Rotondi departed in 1991, leaving Thom Mayne without the humanizing balance his partner tended to provide? Did Renzo Piano’s designs lose some elegance when the brilliant structural engineer Peter Rice, a longtime collaborator, died in 1992? Did Frank Gehry’s work change appreciably when Edwin Chan left Gehry’s office in 2011?”
“I pulled out all the public records for results in 2014 of London galleries, and I presented [the data] anonymously. It was really interesting because more than half of the galleries were in red. Which I think is one of the problems now: that of keeping up appearances and not being honest and open to your artists.”
“It was finally recovered last month, and investigators are focusing on several theories. And one of them is, in its own way, extraordinary: They are trying to determine if the heist was engineered by a retired New York City schoolteacher — something of a renaissance man — who donned women’s clothing and took his son along as his accomplice, and then hung the masterwork in the bedroom of his own rural New Mexico home, where it remained. In other words, they are examining whether he stole a painting now valued at in excess of $100 million simply so he could enjoy it.”
The photos, which show a series of portraits of people in Thailand, were changed slightly by Madeleine Fierze and entered into the competition under the title “I look at the world with the eyes of a child”. In July, she scooped the top award in the “Fine Art People Children” non-professional category, but her award was called into question when Sasin Tipchai noticed his photos had been copied at the end of August.
“Almost a decade ago, these artists—freelancers who face stiff competition for 15 slots each week in the print magazine—could count on licensing deals for substantial passive income. Some received monthly checks as high as $8,000; others regularly saw one or two thousand dollars. Today, even those who saw the highest royalties receive only a few hundred dollars per month.”
“Art fairs represent as much as one quarter of total annual art sales worldwide—the figure is slightly over $13 billion annually. And fairs account for over 40 percent of most galleries’ annual revenue. Total art fair attendance numbers are in the millions and will only increase. If we accept that fairs are a kind of new cultural institution, cultural institutions of the future, say, then we should ask ourselves: What do we want these new cultural institutions to look like and how can they serve this diverse and growing audience?”
Madeleine Josephine Fierz of Switzerland won a gold medal at the Moscow International Foto Awards for a series of images of young Thais which she titled “I look at the world with the eyes of a child.” Turns out they were the work of a Thai photographer, and Fierze downloaded them from Pixabay.
Haring had assumed that his South Philadelphia mural would disappear, and it hasn’t. For this 88½-foot mural, it was the opposite: “I made this painting to amuse the sick children in this hospital, now and in the future,” he wrote in his diary – but by 2011 it had deteriorated badly, and the hospital was going to demolish it as part of an expansion. Roslyn Sulcas recounts how the piece, called Tower, was rescued.
- the one we here thought was the least bad of the finalists. (We agree with the vast majority – 78% – of Building Design readers, who chose a different candidate.) But the judges’ votes for the UK’s worst building of the year went to a development near London’s Victoria Station; one judge describes it as “two large blocks sliced and diced to create to create a series of angular volumes drunkenly leaning on each other … [with] a headache-inducing moiré pattern when viewed from the side.”
“The Perez Art Museum Miami, The Wolfsonian—FIU, ICA Miami, Dimensions Variable, Vizcaya Museum and Gardens, and Faena Art all announced they would be closed on Wednesday and remain shut through the weekend.” Fortunately, several of these museums were specifically built to withstand extreme weather.
Haring painted We the Youth on the side of a South Philadelphia row house in 1987 after his first plan – to paint a city garbage truck – didn’t pan out. The mural faced a vacant lot, and both Haring and his sponsors always expected another house to be built on it eventually. Then, of course, Haring became famous, and the mural is still there.
“Located 50 miles south of Indianapolis, Columbus owns dozens of architectural masterworks by internationally renowned designers from the era. Eliel and Eero Saarinen, and more than a handful of Pritzker Prize Laureates, including I.M. Pei, Richard Meier, and Robert Venturi, began developing projects there with sudden regularity in the mid-1950s.” Why were all these heavyweight architects making buildings there? Because of the owner of this company town’s company.
“Neapolis is believed to have been submerged after a tsunami in the 4th century AD destroyed most of it, as recorded by Roman soldier and historian Ammien Marcellin. The natural disaster also badly damaged Alexandria in modern Egypt and the Greek island of Crete.”
“Audiences are changing, behavior is changing, scholarship is changing, and I think I’ve helped move the museum in the direction that it needs to be moved in to be successful in the future. It required making some fundamental decisions, and now I’ve played the part I can play there, and I’m looking forward to moving on and thinking about the cultural sector in a broader way.”
“The boisterous sculptures and strident upside-down paintings of the Neo-Expressionist Georg Baselitz are known the world over. But when more than $3 million worth of works from his personal collection, including some he had created, disappeared from a German storage depot, it took months before anyone noticed. Prosecutors have [now] arrested three suspects, all of whom worked in the shipping industry.”
“The opening festivities, from 11 to 15 November, will be marked by cultural events and visits from museum directors from around the world. The café and the children’s museum will also be opened, but it will still take months before all the site’s facilities, which include a scientific center, are fully functional. The first exhibition, entitled ‘From One Louvre To Another’ and curated by Jean-Luc Martinez, will open on 22 December and will deal with the history of the Louvre in Paris.”
The artworks were taken by British soldiers who were sacking the capital of the Kingdom of Benin; the art was then auctioned off to pay for the costs of the invasion in which they were taken, and most of the pieces ended up in museums in Berlin and London, where they gave European viewers their first glimpse of African art.