“The [Peter] Zumthor project is about six months behind schedule. The process, including building permits and entitlements, is taking longer than expected, [museum director Michael] Govan says. And the museum’s $650-million fundraising campaign, he adds, is ‘in pace with the project.’ Which is to say: going slowly.”
“An estimate last month to restore Ilya Repin’s painting Ivan the Terrible and His Son Ivan on November 16, 1581 (1885), damaged by a metal-pole-wielding assailant at Moscow’s State Tretyakov Gallery, was Rb30m ($474,000). This is 60 times the sum reported immediately after the incident on 25 May.”
The first order of construction was primarily designed in a Soviet version of Art Deco, with some remains of avant-garde forms. Parts of the second and third orders, which opened in 1938 and 1943, are like this as well. Stations built from that point until the end of the 1950s can be described as Neoclassical with Empire-style motifs , usually for post-war projects treated as war memorials. These make up a little less than a quarter of the total stations in the system, but they are the most visited ones in the center and main line interchanges. Only 44 of total 214 stations are listed as historical monuments, including a few from the ‘50s and nothing since.
“It took more than three years for the leaders behind a proposed Desert Storm memorial to secure the plot of federal land they want to build their project. The World War I memorial has a site and a winner of a national design competition, but its officials are still tweaking and adjusting their plans to get clearance to build. And then there’s the cautionary tale of the 20 years it will have taken the Dwight D. Eisenhower Memorial to move from authorization to opening in 2021.” Peggy McGlone looks into the challenges and obstacles.
“As the old saying goes, no good deed goes unpunished.” David D’Arcy recounts the aggravating story of Russian-born American art dealer Alexander Khochinsky, who reported to Poland that his father, a World War II veteran, had left him an 18th-century portrait that had belonged to Poland’s National Museum in Poznan, was stolen by German troops in 1943, and then seized (and kept) by Soviet troops as the Nazis retreated.
“In fewer than five minutes in a Paris appeals courtroom on Friday, June 29, the surviving members of the art-dealing Wildenstein clan were cleared, for a second time, of defrauding French tax authorities out of millions of euros. The presiding judge in Paris’s court of appeals upheld the decision reached after a previous trial in January 2017.”
Yasmine Seale: “One morning in May I stood in a dark room in southern Turkey, watching blue-skinned early humans domesticate wheat between bouts of interpretive dance. They were holograms, and they swayed across the walls to a doomy arrangement of bells, drums, and spectral voices: the soundtrack to the dawn of time. The display was a concession to drama in an otherwise austere complex of new museums – low, tan, elliptical structures tucked into a dip in the Harran plain – built to ease visits to Göbekli Tepe.”
Life is awash with inducements to stupidity and greed. The bizarre, defiantly anti-utilitarian practice of making and enjoying art can function as a respite, a space for genuine reflection and reevaluation – as R.M. Rilke learned while staring at a broken ancient statue of Apollo, art can help us see that we must change our lives, if we want to live truly well in our short time. In our time that space is being increasingly colonised by the same venal lusts that already run so much of the wider world.
The music video is a true feast for the eyes as beautiful people take over a beautiful place in ways we’ve never seen — because people of color rarely have the opportunity to claim such spaces, a fact that adds to the extraordinariness of the couple’s feat. However, while the Carters’ accomplishment underscores the egregious lack of representation and audiences of people of color in art spaces, it also perpetuates the damaging notion that art is a luxury.
It takes a bit of work, and it flies in the face of art critics’ expectations. “Retired farmer Stephen Dale is challenging the assumption that modern art is best appreciated by city dwellers. A run of exhibitions staged by the 74-year-old at the free public art gallery he set up two years ago in Checkley, near Hereford, have now drawn big names from the art world and proved the scale of an appetite for the unexpected in the countryside.”
Ofelia Esparza, an 86-year-old artist who has been making Day of the Dead altars for much of her life, became a National Heritage Fellow last week. She says “that for her, altar making goes beyond tradition. It’s an obligation, a show of respect for the loved ones who are no longer with us.”
Could this have been different if Lin-Manuel Miranda had set Hamilton in Philadelphia instead of New York? (That’s … sort of … a joke.) In reality, the city of Philadelphia was blindsided by a decision from Temple: “City officials were in talks with Temple University to form a partnership that might keep the institution afloat. But this week, they learned that the university had abruptly pulled out of the partnership discussions, leaving the museum’s future uncertain.”
One of the artists: “Part of me has always thought of the Met, as an institution that is very traditional, Eurocentric, very much one of the elite/elitist institutions in the city, and it holds up that history. It has for a very long time. I think that is dramatically shifting right now.”
The centre has doubled the number of gallery spaces dedicated to Inuit art to four, and contemporary indigenous art fills a large new gallery of its own. Labels in the McLean Centre are now written in indigenous languages (either the local Anishinaabemowin language or Inuktitut), as well as English and French.
Contrary to reports last week that the landmark building by Charles Rennie Mackintosh remained “structurally solid” following the fire that raged through it earlier this month, “Glasgow City Council officials said that their surveys … have shown that there has been substantial movement in the building, meaning a sudden collapse of certain parts of it was ‘likely’.”
“The real estate developer Boris Mints opened the Museum of Russian Impressionism in the former Bolshevik confectionery plant [in Moscow] in 2016. At the end of May, news emerged that Mints and his family had fled to London, reportedly to avoid possible criminal investigation in Russia over bank dealings.”
“‘The main rule is that it’s not that hard to steal art, even from museums, but it’s almost impossible to translate that art into cash,’ says Noah Charney, a scholar and author who’s published multiple books on art theft. Paintings can be quickly cut out of frames, and small sculptures can be tucked into bags — even jewelry can be secreted away — but finding a buyer for your art or diamonds is often impossible. ‘Criminals don’t understand that, because their knowledge of art crime is based on fiction and films,’ Charney says.”
The Baltimore Museum of Art‘s decision to sell off seven works by white male artists to create a war chest to fund acquisitions of art by women and artists of color drove a traditionally hermetic discussion about museum practices into the mainstream. Now, the museum’s closely watched decision is beginning to bear fruit.
“[The Hood] is due to reopen on 26 January 2019 after a closure of nearly three years for an expansion and revamp by Tod Williams Billie Tsien Architects. The $50m project expands the museum’s space by 50% to over 62,000 sq ft, adds six new galleries and renovates the museum’s original 1985 Charles Moore building.”
50 years after Eero Saarinen’s landmark was dedicated, it has a new museum, a new promenade connecting it to the city, and a new concept. “The arch … has always been beloved because it binds together two feel-good ideas that are essential to American identity: a heroic past of grit and conquest, and a triumphant future of innovation. Now, well into the 21st century, the challenge is how to disentangle and even dismantle those ideas while salvaging the arch as a cultural object. The solution, mostly effective, has been to think in terms of connection, both to the city which hosts it, and to the deeper currents of history that led to its creation.”
“A mural by Keith Haring was revealed in Amsterdam last week, some 30 years after the US artist completed the commission, which was his gift to the Dutch city. The 40-foot-tall mural was painted by Haring in 1986 while he was in town for his exhibition at [the Stedelijk Museum]. It was covered a few years later when the entire facade of the brick building, which was then the Stedelijk’s art storage depot, had weatherboarding added to improve its climate controls.”
“Five hundred years in an alcove of a Spanish church is likely to leave any statue looking a bit cracked and faded, and the 16th-century wooden figure of St. George at St. Michael’s Church in Estella, a town in northern Spain, was no exception. But after the church asked a local workshop to give the statue a makeover, the results horrified the town’s authorities, scandalized professional restorers and set social media alight with indignation.”
“To hit that level of popularity and power is a huge challenge for someone who is just 40 and has to stand in front of the empty canvas knowing that the world is paying ridiculously large sums of money at auction for them. Adrian’s response was to continue to experiment… and that is something that makes people feel like we will still be looking at this guy in 50 years.”
In stark contrast to a more compact design released last summer, the plan, designed by Shohei Shigematsu of the international architecture firm OMA, features a new building on the northwest side of the Albright-Knox campus along Iroquois Drive. Sheathed in what Shigematsu called a “translucent skin,” the transparent ziggurat of a building will allow pedestrians to see inside of its galleries and flexible event spaces. It also will contain a public atrium and café.
“Sometimes, rocks are more than crumbled pieces of the earth. Sometimes, they unveil clues about our planet’s ancient past or future. For archaeologists from the Antiquity of Southeastern Europe Research Centre at the University of Warsaw, the rocks in Shkodër, Albania, turned out to be the ruins of the 2,000-year-old lost city of Bassania.”
The first round of the widely criticized deaccessioning, with works being sold in April and May, only netted $47 million of the museum board’s $55 million goal. Now nine more works will be sold, seven of them privately and two at Sotheby’s; those works include pieces by Bierstadt and Calder as well as Qing Dynasty antiques.
“Aiming at France’s refugee crisis, the anonymous British street artist appears to have targeted Paris with at least three murals and several of his signature rats in various locations. It is the first time the artist has hit the French capital with his brand of social and political commentary.”