Category: visual

The Philadelphia Museum of Art is starting construction of phase I of a long-range $200 million expansion which will take 15 years. The first phase expansion, when it opens in 2006, will, in essence, become a new wing of the city’s largest museum.” The museum hopes its long-term expansion will “boost its attendance from around 800,000 visitors each year to more than 1 million. The museum has raised $171 million of a $200 million capital campaign to pay for the construction, increase its endowment, and expand its programs. It hopes to raise the rest within 18 months.”

For hundreds of years Central London was the center of public sculpture. More recently, of course, “many people, including some serious art historians, have thought it’s artistically retrograde and uninteresting.” A new book maintains that the statuary tells the history of the city. “What is incredible about the sculpture in the Square Mile is its sheer diversity. It reflects the different roles of the City: the preoccupation with the sea because London was a major world port and the heart of the Empire; journalism, publishing and the media because of Fleet Street; the trades because of all the markets; finance because of the banks and the Stock Market.”

Twenty-five years ago Graham Sutherland was one of the most-praised artists in Britain. “At that point Sutherland was undeniably top of the heap. So why is the centenary of his birth, which falls this year, being celebrated in such a niggardly fashion? How did this disastrous decline come about? The first answer is that he died at the wrong time. At his death in 1982, at the age of 79, preparations were well advanced for a major retrospective at the Tate. It became his memorial show and was given surprisingly short shrift by most critics. You could see why. It was undeniable that Sutherland had been rather resting on his laurels in his final years…”

Fears of terrorism are affecting museums’ willingness to loan artwork for exhibitions. “Since 9/11, European institutions have become reluctant to lend their prize works of art to New York museums without new assurances of beefed-up security and increased terrorism insurance. For places like the Metropolitan Museum of Art and the Museum of Modern Art in New York, the cost of such insurance has escalated so dramatically that it threatens to break budgets just as these institutions are struggling with dwindling sponsorships and cutbacks in public funds.”

Archaeologists worry that a war in Iraq will stop digs across the Middle East. “Researchers with long experience in Iraq say they are worried that postwar looting could cause even more damage to the antiquities than combat. They also fear that some art dealers and collectors might try to take advantage of any postwar disarray and change in government to gain access to more of Iraq’s archaeological treasures.”

Iraq is rich in important historical sites and artifacts. “The country is one of the prime centers of Islamic art and culture. It is home to some of the earliest surviving examples of Islamic architecture — the Great Mosque at Samarra and the desert palace of Ukhaidar — and it is also a magnet for religious pilgrimage. The tombs of Imam Ali and his son Husein, founders of the Shiite branch of Islam, at Najaf and Karbala, are two of the most revered in the Muslim world.” A war will surely damage some of it.

The Museum of Modern Art’s Matisse Picasso show gathers up lots of great paintings. “With sixty-seven mostly top-drawer paintings, drawings, and sculptures by Picasso and sixty-six by Matisse, the show hardly needs a pretext, but it has one: a running dialogue of mutual attractions and abrasions between the twin godheads of modern painting. But to extract the story—an elliptical tale, full of hints, puzzles, and fine discriminations—while looking at so much stupendous art is like trying to check the oil in a speeding truck.”

A few weeks ago New York Times architecture critic Herbert Muschamp attacked Daniel Libeskind’s design for the World Trade Center site. A number of observers were amazed at the attack and protested. The Times’ response? “This past Sunday the Times published an attack on the THINK design [the other design finalist] by New York University Art History Professor Marvin Trachtenberg – and in the space usually reserved for Muschamp, no less. Trachtenberg, in a thinly concealed response to the besieged Times critic, dismissed the THINK design as ‘an architectural Frankenstein monster’ and went on to praise Libeskind’s in glowing terms. ‘[I]t is in a class by itself in its deeply creative, organic relationship to the specificity of ground zero and its environment and meaning’.”

“London’s fire stations were once splendid buildings. Designed and built to the very highest standards of the Arts and Crafts Movement inspired by John Ruskin and William Morris, they were the work of the London County Council’s fire brigade department. The proposed ‘community fire station and safety centre’ at Canary Wharf is something else. It promises to look like a cross between an office block and a block of flats.” Why? That’s how public funding in the “new” England works.

Melbourne’s new Ian Potter Centre at Federation Square has become one of the world’s most popular galleries, says the National Gallery of Victoria director Gerard Vaughan. In its first three months of operation, the museum has attracted 750,000 visitors. “It has to be one of the most visited art museums in the world just now. We can’t compete with the world’s top group of super galleries, which also includes New York’s Metropolitan and the Uffizi in Florence, but we are right up there compared to anywhere else.” He said the Pompidou Centre and the Musee d’Orsay in Paris receive up to 4000 visitors a day – the Ian Potter Centre was getting about 8000.