Author: Douglas McLennan

“The art market appears to be positively high on books. But, again, why enter publishing now, a faltering field that’s economically unviable? Is the galleries’ enthusiasm for printed matter simply the flipside of a plight that has befallen the art book sector as a whole? Or is it about conquering the symbolic realm of word and image, where claims must be staked in the fight for artists and collectors?”

“The flood was a pivotal moment in the history of conservation in terms of the development of new methods and techniques, key lessons learned, the formation of lasting relationships and, significantly, attracting a younger generation to the field. It is being marked by a series of events in Florence and Venice (which also sustained extensive damage).”

The Long Museum West (long means “dragon” in Chinese) opened in 2014, on a scenic stretch of land on the western shore of the Huangpu River. The Shanghai government had offered a generous discount on the property, in an area that was once a manufacturing hub but is being transformed into a “cultural corridor” intended to rival New York’s Museum Mile and London’s South Bank.

“The Tate trustees are searching for Serota’s replacement. But Serota is irreplaceable. In his 28 years as the Tate’s director, he has created the world’s most successful Modern and contemporary art museum, rebuilt Tate Britain, opened and is expanding Tate St Ives, has plans for Tate Liverpool, and tours Artist Rooms to 34 partner museums. He has displayed the collection in new ways and curates superb shows. On the business side, Tate generates more non-government revenue than any other national museum in the UK. Serota is charming, decent and a witty (without a note) speaker. It is not just that he has a range of qualities rare in the world, let alone the world of museums; only he has the stature to run what he has wrought.”

“Of its $144 million building costs, the City of Helsinki’s investment would cover a maximum of $89 million. The remaining $55 million would be paid by private investments and a loan, the costs of which would be covered by the Guggenheim Helsinki Supporting Foundation. The licensing fee payable to the Guggenheim Foundation has been reduced by $10 million to $20 million and would be entirely financed by private donations, which have been secured.”