Category: visual

“Published by New York’s Maecenas Press-Random House in 1969 and distributed as their book of the month, the volume went on to become one of the most sought-after Dalí suites of all time.”

“The majority of museum directors agree that the next crucial matter for the AAMD is finding a solution that deals with these works, specifically those collected between 1970 and the present. But no one is ready to outline what that solution may look like.”

“Our intention is not just to get them back but to put a stop to trafficking, and I think we are having a degree of success: many museums and countries have changed their rules and regulations. It is not a question of property, but of morality. If the role of museums is to educate, they cannot possibly hang on to illegal artefacts.”

“The idea (hope?) of keeping an artist’s entire body of work under one roof makes sense only if there is sufficient interest in that artist and the estate can provide an endowment that covers most or all operating costs.”

An exhibition in London “examines a little-known period of Mondrian’s life in the late 1930s when he lived for two years in a bedsit in Hampstead, north London, and socialised with … avant-garde British artists.”

An alternative art space in Manhattan’s Tribeca neighborhood has “a new exhibition called ‘I’ll Raise You One…’ in which a group of people sit in the gallery’s storefront window space and play strip poker for all to see.”

Nearly two years after the temblor that devastated southern Haiti, the art conservation center created by the Smithsonian to protect works recovered from the rubble has been handed over to the government in Port-au-Prince. Will there be enough money to keep the project going?

“Rodin’s The Burghers Of Calais, which is among Britain’s most important public sculptures, does not appear to have a legal owner. It stands outside the Houses of Parliament and across the road from Henry Moore’s Knife Edge Two Piece, which is similarly ownerless.”

“Museums like the Detroit Institute of Arts are loaded with objects of religious meaning, from Renaissance paintings of biblical stories to pieces of African art regarded as spiritual objects in their cultures. But a show so heavily focused on the central figure of Christianity raises the subject in an unusually direct fashion.”

“Fearing modern art’s encroachment on artistic traditions,” Leningrad avant-garde leader Timur Novikov, during the 1990s, “called for a return to ancient Greco-Roman ideals of beauty and harmony. But rather than simply reproducing classical motifs, Novikov [and his fellows] … adapted them to the 20th century with new media and irreverent interpretations.”