Since 2008, just 2.4 percent of all acquisitions and gifts and 7.6 percent of all exhibitions at 30 prominent American museums have been of work by African American artists, according to a joint investigation by In Other Wordsand artnet News.
Category: visual
City Of New York To Commission Artists To Make The Construction Sheds And Fences Everywhere Less Ugly
“The [City Canvas] program was designed to beautify New York City’s visual landscape by installing large-scale – and temporary – artwork on its endless construction fences and 270 miles of sidewalk sheds. … Buildings Commissioner Rick D. Chandler said ‘If anyone can bring some love to the sidewalk sheds New Yorkers love to hate, it’s our city’s artists.'”
The History Of ‘Salvator Mundi’ Just Got Clearer (And Stranger)
The recently authenticated Leonardo da Vinci painting, now the world’s most expensive artwork ($450 million), spent nearly half a century in a family home in Baton Rouge before dealers purchased it in a 2005 estate sale for under $10,000.
Seven Of Robert Venturi’s Top ‘Postmodern’ Projects
Yes, he disavowed the “postmodern’ label, but nevertheless, here are seven signature examples of his style, from the house he created for his mother (the design that started it all), through his fire station in the modern architecture mecca of Columbus, Indiana and his museum buildings in London, Seattle, Houston, and San Diego to his “Queen Anne” chair.
Could Art Fairs Solve The Gallery Crisis?
The major art fairs should acknowledge that the nature of artist representation is changing and that the traditional model of a fixed gallery is losing legitimacy, in large part, ironically, because of the popularity of the fairs. A concomitant decrease in gallery visitor numbers has led several art dealers to turn to alternative, hybrid or nomadic galleries that depart from the traditional model centered around a fixed, expensive, exhibition space. The biggest art fairs should relax their admission criteria and open up their events to more curators and directors behind these new gallery models.
New Trump Tariffs On China No Longer Include Chinese Art
On Monday (17 September), the Office of the United States Trade Representative issued a revised list of imported goods subject to the tariff—which is due to rise to 25% by next year—that no longer includes Chinese-made art and antiquities.
A Year In The Life Of An Art Critic
“In which one writer, ARTnews Executive Editor Andrew Russeth, attempts to narrate life in the New York art world over the course of one full season, from September 2017 to September 2018, with brief forays to Miami, New Orleans, Basel, Buffalo, San Francisco, and a few other places. Along the way, countless exhibitions are visited, performances are witnessed, museum protests are reported on, art fairs are tolerated, and celebrations of various kinds are attended. Meanwhile, all sorts of surprises come in over the transom.”
For The First Time, The Frick Collection Will Put New Artwork In Its Permanent Galleries
“The Frick Collection in New York will have its first-ever intervention by a contemporary artist in its permanent collection galleries next May, when the UK artist and writer Edmund de Waal will install site-specific porcelain works.”
David Adjaye Will Design Princeton’s New Art Museum
“This is the latest major commission for the Ghanian-British architect who has completed a bunch of high profile projects for civic and cultural institutions over the years; most notably, the acclaimed Smithsonian National Museum of African American History and Culture in Washington, D.C. He is currently overseeing a number of museum designs including the new home for the Studio Museum in Harlem and the Latvian Museum of Contemporary Art in Riga.”
Florida’s Norton Museum Of Art Picks A New Director
Elliot Bostwick Davis has been chair of the department of Art of the Americas at the Museum of Fine Arts, Boston for the past 18 years. During her tenure there, she oversaw the 2010 opening of the museum’s widely acclaimed Art of the Americas wing, which brought forth expansive notions of connectivity by juxtaposing American colonial art, a strength of the museum, with art from throughout Latin America, indigenous art, and art from pre-Colombian civilizations.