Why, And How, Did A Liverpool Biennial Artwork Documenting The Deaths Of Thousands Of Refugees Disappear?

What the … “On Wednesday, August 1, the Liverpool Biennial announced that their installation of The List was anonymously removed by unauthorized persons unaffiliated with the arts festival. The city council also affirmed that nobody employed by the municipality was thought to have pilfered the long list of the dead. On Twitter, the biennial is asking for anyone with knowledge related to the work’s disappearance to come forward.”

Who Really Owns, And Who Really Should Own, The Elgin Marbles?

A new book addresses the issue in a variety of ways that should make us reconsider what ancient art actually means to us. “I doubt that anyone is willing to add color to these sculptures, although that would make them look more authentic. The critical question, then, is what these dilemmas says about legitimate ownership of the marbles. Once we turn sacred works into art, and remove the original coloring, why cannot we also move them?”

No More Free Sundays At Colosseum, Uffizi, Etc., Says Italy’s New Government

“The new culture minister of Italy’s populist coalition government, Alberto Bonisoli, has [announced] that a monthly free-entry initiative at the country’s museums and monuments is coming to an end. Since July 2014, more than 480 state-run cultural sites, including Pompeii, the Uffizi and the Colosseum, have been free to visit on the first Sunday of every month. Known as Domenica al museo (Sunday at the museum), the policy was one of many culture reforms introduced by Bonisoli’s centre-left predecessor, Dario Franceschini.”

Should Museums Be Trying To Get Visitors To Slow Down?

That a lot of visitors make a beeline through art museum galleries has long been a bugaboo for curators and directors—“studies of museum visitors have shown that people look at artworks very quickly, spending maybe five seconds or less per painting,” Brent Benjamin, director of the Saint Louis Art Museum told Observer. But despite this desire on the part of arts professionals, slowing visitors down in front of individual objects has not been the primary goal at most institutions of late—though they certainly want to get people in, and get them to stay.

The Reasoning Behind The Cranach-Norton Simon Court Decision? Respecting National Sovereignty

The crux of the case, brought by the heir of the art dealer who owned the Adam and Eve paintings before World War II, was whether the Dutch government had the right to sell the works on when it recovered them post-1945. The U.S. 9th Circuit Court of Appeals decided, basically, that it would not second-guess the Kingdom of the Netherlands.