Christopher Knight: Pacific Standard Time should underwrite full retrospective exhibitions of artists with significant histories of working in Los Angeles, beginning in the late 19th century and continuing to the present. Not project shows. Not young or emerging or new artist surveys. Not a phalanx of partial looks at a segment of an established artist’s output. Instead, I mean full, rigorous accountings of historical figures, as well as artists beyond mid-career who have been in it for the long haul — a generation or more.
Category: visual
Debate Over Museum Admissions Is An Existential One
The debate over what or if to charge admissions is part of a larger debate over what museums should do and be. The model of the past century for museums, Feldman said, is “build, grow and acquire,” which is expensive and demands that no source of revenue be overlooked. The newer conception of museums involves ideas about what should be done with the existing collections in order to improve access and increase understanding, which is why a growing number of institutions are putting their collections online and trying to make the museum experience more interactive. The largest museums in the country are attempting to pursue both models, but the result has been that their actions on the one hand work against the increased access they hope to achieve.
Does The ‘Seeing Slowly’ Method Of Looking At Modern Art Work?
The technique (if that’s the word) that art dealer Michael Findlay recommends in his book Seeing Slowly: Looking at Modern Art is to stand in the middle of the gallery room, pick a work that catches your eye, and simply look at it for at least three (and up to 15) minutes. No reading the wall text or listening to the audio guide. Elena Goukassian gives the method a try to find out if it helps her appreciate better an artist whose work she’s never related to or liked.
Has A Lost Leonardo Turned Up In Massachusetts?
“This spring, the Worcester Art Museum … will put the complex process of identifying a Leonardo at the heart of a new exhibition. The Mystery of Worcester’s Leonardo (10 March-3 June) makes the case that a work that has been in the museum’s collection since 1940, A Miracle of Saint Donatus of Arezzo (around 1479-85), should be credited to the Renaissance master.” Judith H. Dobrzynski reports.
Smithsonian’s $2 Billion Plan For Castle And Environs Gets Pushback
“The Smithsonian Institution’s plan to redevelop the area around its iconic administration building, known as the Castle, by replacing its formal garden and relocating three entrance pavilions received mixed reaction from the federal agency that must eventually approve it.”
Museum Groups Condemn LaSalle University’s Plan To Sell Art
“College and university art museums have a long and rich history of collecting, curating, and educating in a financially and ethically responsible manner on par with the world’s most prestigious institutions,” the statement says. “A different governance structure does not exempt a university museum from acting ethically, nor permit them to ignore issues of public trust and use collections as disposable financial assets.”
Met Museum Defends Its New Admissions Policy
Many think the new $25 entrance fee – which is the same for several other city museums – is too expensive. Met President Daniel Weiss disagrees. “In every society and throughout history, excellence costs money,” he said. “If you’re willing to spend $25 to go to the MoMA or Guggenheim, or spend $15 to go to the movies, we don’t think asking $25 to come to the Met is an unreasonable request.”
Numbers For The Louvre Rebounded In 2017 After A Large Drop The Year Before
International tourists returned to the Louvre after skipping post-terrorist attack Paris in 2016 – and a blockbuster show on Vermeer took care of the rest.
What’s Up With Your Art Numbers, UK Government?
What’s up is that only 1/4th of the art that the government buys is by women. What? Even in this day and age? Definitely. “The figures are somewhat skewed by several bulk acquisitions of dozens of paintings from individual male artists. But even if these are omitted, the collections still show more than 70% of works acquired during the period were by male artists.”
Will Kurt Schwitters’ Last Art Studio – A Stone Barn In Britain’s Lake District – Be Bought And Shipped To China?
The building’s owner has failed to win funds to keep the building up – and after five attempts, it seems impossible. Why it’s important: “The Merz Barn in Langdale, Cumbria, was used by the German artist Kurt Schwitters, after he fled from the Nazis in 1940. The building became regarded as a pioneering piece of modernist art after Schwitters covered its walls in a distinctive collage of materials before his death in 1948.”