Category: visual

An image of the Venus of Willendorf was posted on the page of “artivist” Laura Ghianda, and Facebook removed it – and then stuck to that decision through four appeals.

The 1609 painting Nativity with St Francis and St Lawrence was stolen from a Palermo church in 1969, and since then many mafia informants have told authorities tales about it ranging “from the unlikely to the absurd.” But now someone has offered an account of the work’s fate that may be credible.

“On Saturday evening, Tibetan social media users posted photos and videos of the ancient Jokhang Temple complex in the region’s capital, Lhasa, a UNESCO world heritage site, with one of its golden roofs engulfed in flames. … The blaze may have severely damaged the 1,300 year-old temple and many of its precious architectural features, murals and relics; or perhaps it was small and quickly extinguished, and the temple is more or less fine.” The Chinese government says the latter, but many observers don’t trust its account.

In 1986, the Madrid museum, one of the top contemporary art destinations in the Spanish capital, commissioned the famous sculptor to create a piece for a landmark exhibition, References: An Artistic Encounter in Time. Their idea was to show the work of three famous Spanish artists next to that of three renowned artists from the 20th century, including Richard Serra.

Peter Schjeldahl: In principle, the show’s aim reflects the New Museum’s valuable policy of incubating upstart trends in contemporary art. But it comes off as willfully naïve. Nearly all the artists plainly hail from an international archipelago of art schools and hip scenes and have embarked upon normal career paths. Noting that they share political discontents, as the young tend to do, is easy. Harder, in the context, is registering their originality as creators—like bumps under an ideological blanket. But there’s insight to gain about emergent sensibilities in world art, without hustling everybody toward illusory barricades.

As contemporary art is increasingly viewed as an asset class—alongside equities, bonds, and real estate—Georgina Adam sees artworks often used as a vehicle to hide or launder money, and artists encouraged to churn out works in market-approved styles, bringing about a decline in quality.

The method: Use every noninvasive technique known to art, and medicine (yes, medicine), in a two-week blitz of discovery. The paintings conservator at the Mauritshuis Royal Picture Gallery says: “The expertise and the scientific equipment are coming from the whole world, converging on this one painting, this one masterpiece. … We’ll see how much information we can gain with the technology at our disposal in a very short period of time — two weeks, working 24 hours a day, day and night.”

The large earthen mound complexes lie everywhere in the river valleys of the Midwest and Southeast. But “early archaeologists working to answer the question of who built the mounds attributed them to the Toltecs, Vikings, Welshmen, Hindus, and many others. It seemed that any group — other than the American Indian — could serve as the likely architects of the great earthworks.”

The museum’s director says it’s because people in L.A. love the city, and donor Lynda Resnick has more pointed words. “The gift to the Hammer, Lynda Resnick said in a phone interview, comes at a time when the economy may be good but ‘we can depend less and less on the government and what they can do. It’s up to the private sector to give back.'”

While Bolivia’s cultural minister says “”A criminal proceeding will be initiated to obtain the sanction that corresponds to those who have dared to discredit our most holy virgin of the Socavon and to whom intends to destroy the patrimonialism and intangibility of the Oruro Carnival,” the artist is quick to point out that she created the image exactly because of the drinking, carousing, and disrespect of women at the carnical.