Category: visual

The challenge is bringing the 1955 canvas — an example from de Kooning’s celebrated but also contested “Woman” series, known for their grotesque, even savage renderings of the female nude — back to near-original condition. Ulrich Birkmaier, the Getty Museum’s senior paintings conservator, and Tom Learner, the Getty Conservation Institute’s head of science, have teamed up for the project. They expect the process to take at least a year. – The New York Times

“There is no indication at the site what the figures are or where they might go. There is no indication that a museum is in the offing. Just painted bronze figures in suits and beachwear standing on dirt in West Philly. … As unlikely as it may sound, it appears that the 4700 block of Market Street has been targeted by a somewhat reclusive private foundation — the Daniel Veloric Foundation — as the site for a museum sometime in the future.” – The Philadelphia Inquirer

As more corporations and real estate developers across the country turn to murals to hawk their products, controversy follows. In New York City, for instance, Target had to apologize for a mural it installed inside a new store in the East Village. While the mural was designed as an homage to the neighborhood’s history as a home to punk rockers and struggling immigrants alike, it drew criticism for making light of the gentrification that had transformed the neighborhood. – In These Times

In Sotheby’s recent New York Old Master sale, a copy of the Mona Lisa soared past its estimate of $80,000-$100,000 to sell for $1.69m. It seems extraordinary that someone would pay so much for a copy (in fact, that’s probably an auction record for any copy). Then there is the fact that the painting had been offered privately before the auction for considerably less, but with no takers. Some have seen the transaction as suspicious. – The Art Newspaper

“The bona fide version of The Crucifixion, donated to Santa Maria Maddalena church in the small Ligurian town of Castelnuovo Magra more than a century ago, was safely stored away last month as part of a carefully concocted bluff.” – The Guardian

Authorities who accepted street art just a couple of years ago are now whitewashing murals, harassing artists, and having them turned out of their studios. Yet they keep on, painting on everything from fallen chunks of concrete to bicycle taxis to El Paquete, the Cuban “internet” that’s passed from house to house on external hard drives. – Pacific Standard

“‘It’s a disgrace that the Netherlands is only now turning its attention to the return of the colonial heritage’, Rijksmuseum director Taco Dibbets [said]. ‘We should have done it earlier and there is no excuse.’ … The Rijksmuseum has around 4,000 colonial objects, not all of which, Dibbits says, were stolen. All objects are owned by the state so museums cannot take the decision to return an object on their own.” – DutchNews.nl

“The plan recognizes the shifts in art-making in the 40-odd years since we were founded,” said Hirshhorn Director Melissa Chiu. “Many artists create work on a larger scale, and we want to create a space for performance and other interactive work.” – Washington Post

Parks and squares are littered with markers that failed at their only job: to keep their topics from falling into oblivion. You may have paused a thousand times at the feet of that mounted king with the two swords crossed above his head in Central Park, but would you be able to pick Jagiello out of a lineup or recite a single fact about his exploits at the Battle of Grunwald? – New York Magazine

“Seeking to raise its visibility and welcome more visitors, the Hirshhorn Museum plans to redesign its sunken sculpture garden to create an expanded entrance on the Mall and directly connect the artsy oasis to the museum’s main plaza.” Says the board chairman, “You have 25 million people walking on the Mall every year and right now our garden is largely invisible.” – The Washington Post