Conspiratorial “experts” like Jay Weidner assert that the airport’s murals and capstone prove the existence of a secret government plan for a “New World Order.” Others implicate the airport in the murder of JonBenét Ramsey. One local Evangelical Christian group, Cephas Ministries, claimed that the DIA was built as part of a plot to murder the “people that Lucifer hates.”
As the museum’s website describes the project, called “Send Me,” “Text 572-51 with the words ‘send me’ followed by a keyword, a color, or even an emoji and you’ll receive a related artwork image and caption via text message.” The Twitterverse is loving it.
Matthew Olson started with “send me a landscape” and was chagrined to receive Robert Gober’s Prison Window. (“What does it say about me that my landscape riffs on a prison cell?”) So he kept trying – and moved on to requests like “send me an idea” and “send me joy.” (The response to his final request, the notorious eggplant emoji, suggests that SFMOMA may need to tweak its algorithm a little.)
The frescoes in the Hall of Constantine were painted by Raphael’s students after the master died in 1520. But contemporary sources recorded that Raphael did complete two figures in the room – and the recent restoration of the frescoes helped scholars identify which ones they were.
The Dallas Museum of Art has acquired All the Eternal Love I Have for the Pumpkins, completed last year and Kusama’s first pumpkin-themed installation since 1991. The work goes on display Oct. 1.
“Turin’s Castello di Rivoli Museum of Contemporary Art has obtained the legendary art collection of Francesco Federico Cerruti. … The iconic trove features 300 masterpieces from the Middle Ages to the 20th century accumulated by the enigmatic Italian collector. Extraordinary works by Francis Bacon, Pablo Picasso, Wassily Kandinsky, and Amedeo Modigliani, as well as Pontormo, Pierre-Auguste Renoir, René Magritte, Andy Warhol, and Guilio Paolini feature in the jaw-dropping collection, alongside various furnishings and rare and ancient books.”
Sophia Kishkovsky looks into the history of Soviet ceramicist Oksana Zhnikrup and the Kiev workshop-factory where she created the figurines – to which, by the way, Koons did, in fact, purchase rights.
Last week the company was fined $3 million for having purchased cuneiform tablets and other ancient items (which will be returned) apparently looted from Iraq for the museum’s collection. Here, Noah Charney writes about different allegations: that the Green family (Hobby Lobby’s owners) acquired papyrus fragments used to bind Egyptian mummies that had been removed from the bodies in order to get at early Scriptural texts written on the fragments.
“Detectives are hunting two men who calmly walked into the Masterpiece art show last week and unlocked a cabinet before stealing several pieces of diamond jewellery. The men, both white and casually dressed, then locked the cabinet at the stand of Swiss jewellers Boghossian before strolling away.”
By ‘finding’ a lost city from the air, archaeologists fail to understand the depth and breadth of knowledge and experience that communities have of their place and their past. The illusory ‘finding’ seems important. The ‘finding out’, the delayed gratification, is replaced by the immediacy of the ‘discovery’.
Particularly after a statement by the museum’s director Janne Sirén: “We are also not in the business of collecting buildings. We are an art museum and our service is to our public and to the artworks in our custody. The buildings are here to serve us, and not us as the staff, but the public and the art. That is our foremost responsibility. The buildings are the utilitarian tools, in some respect, that allow us to accomplish our mission.”
“The plan, which is still its early phases, would see Bunshaft’s tranquil gap between his black box and the 1905 building filled in with a new, glass-enclosed space; Bunshaft’s galleries and courtyard would be demolished. Surface parking currently in front of the 1905 building would be converted back into green space—as it was before the 1962 expansion—with parking and future gallery space buried underneath.”
It doesn’t matter if the West, whatever the president meant by that, wants to or “has the will to survive,” whatever survival means. “Visiting the Hal Saflieni Hypogeum is a good reminder that no matter how hard you resist, everything around you will eventually be buried and that most likely no one will find it until thousands of years later, and if they do, it’s usually by accident.”
The internet, and Reddit, can be terrible cesspools – and they can also be very, very wonderful places, where people who love Wes Anderson films and sets and filmography know how to replicate the eye of the director. “There are the eye-popping colors and the strong, well-defined lines. There are the eccentric architectural triumphs and eerie quiet. But most importantly, there are those shots ― the ones that zoom in and out with an almost borderline obsessiveness in their quest for near-perfect, everything-just-so symmetry.”
Artist Justin Favela “likes the idea of rendering powerful objects in cheap tissue paper. ‘The lowrider, it’s always perceived as this very masculine thing and I like to play with that,’ says Favela. ‘It is hyper masculine. But in this case, it’s also feminine, because of paper and craft.'”
Two years ago, the statues were banned by governmental decree. Since then, “some statues have been turned into public works of art, some have simply ended up in shop windows and one has even been remade into an effigy of Darth Vader.”
Not good, and Biblical scholars are taking note. (Also, wow: “The company never met the dealer, and wired payments to seven different bank accounts. The items arrived in 10 packages at three different Hobby Lobby addresses, labeled only ‘ceramic tiles’ and ‘clay tiles (sample).'”)
“During this period, other women—like Peggy Guggenheim, Grace Nail Johnson, and Florine Stettheimer—also helped carve out the New York art landscape by establishing influential galleries and salons that fostered avant-garde art. Rarely, however, are these women heralded as the pioneers they were.”
“The road conditions near the jetty were highly variable, which was to say not always roads. The lake’s water levels, too, needed to be below 4,195 feet for us to see it, and those levels were partly dependent on snowfall (this winter there was lots) and how much of that snow, by the time we arrived, had melted and sluiced down the mountains — water that also, en route to the lake, could turn the 16 miles of unpaved roads into impassable mush.”
“According to the report, only 83 of 2,000 artifacts from the pre-Hispanic, or pre-Columbian, era could be certified as museum-quality by an independent team of museum curators who came from Mexico City to conduct the test. The other 1,917 are considered “decorative,” and will probably be given to schools or smaller museums before the museum moves from its temporary Fort Mason site to a permanent home in a luxury condo tower being constructed near SFMOMA.”
Yes, it was a Saarinen, but probably not the one you’re thinking of – and his influence was less through his own design than through the educational institution he founded.
“Q: Why did you decide to step down?
A: I think I’ve moved the museum forward in many respects. We’ve really modernised and come into the 21st century. …
Q: Was the speculation about your relationships with staff … the worse [sic] thing you’ve had to deal with as a director?
A: It goes with the territory. … There are charges of favouritism but quite frankly that is what leadership is all about. It’s about making decisions.”
The museum won “Art Fund’s prestigious, £100,000 first prize. The David Chipperfield-designed gallery in the Yorkshire town where the sculptor Barbara Hepworth grew up was competing in a strong field, which included London’s recently expanded Tate Modern.”
The Department of Justice filed a civil complaint in New York, and announced that Hobby Lobby had agreed to the fine and to forfeit thousands of antiquities including cuneiform tablets and clay bullae that prosecutors said were smuggled through the United Arab Emirates and Israel to the United States using deliberately false labeling practices.
In his resignation letter, dated June 12, Bonesteel protested what he called “abuse of Title IX protections. Overall,” he wrote, “it is my contention that I have been unfairly vilified and demonized by [a] small cadre of militant LBGT students with an authoritarian agenda.”
“Sometime after 1 a.m. on New Year’s Day, while fireworks were blasting and revelers carousing in the surrounding streets – a thief successfully carried out his plan to steal Paul Cézanne’s View of Auvers-sur-Oise from the University of Oxford’s Ashmolean Museum.”
Roy Lichtenstein died in 1997. What might he think of all this, if he were alive today? He was a Democrat; he created prints in support of Dukakis, in 1988, and of Clinton-Gore, in 1992. But his overriding drive was to bring qualities of high art into taut accord with motifs from commercial mass culture. There is a term for that kind of aspiration: American.
“Though it was originally an occupation that kept one behind the scenes, the appointment of curatorial posts is now fodder for news headlines, particularly when it comes to events like documenta or the Venice Biennale. More and more frequently, critics evaluate exhibitions based on how they are developed or formulated—thereby placing the responsibility of a show’s success directly upon the curator’s shoulders, and proving that they are no longer considered merely an overseer of collections or exhibitions. As the position becomes more high-profile, the crop of those aspiring to be curators grows, with more universities offering specialized programs in the field.”
“According to new research conducted in the Netherlands by the Dutch school inspectorate, the amount of time children spend drawing by hand both in and out of school has been reduced over the last 20 years; the study also found that their artwork has declined significantly in quality and complexity since a similar study was conducted two decades ago.”
“We asked several American curators to consider the controversy‘s lessons for the larger museum world. Their e-mail responses, which have lightly edited for clarity, set a new tone for how cultural institutions can work with local indigenous communities.”