Category: visual

“‘This is one thing I can do before I die,’ [Agnes] Gund, 78, said in an interview at her Upper East Side apartment, where the Lichtenstein used to hang over the mantel, along with works by Jasper Johns and Mark Rothko. ‘This is what I need to do.'”

They’re sites, he says, where “consumerism and wilderness collide,” and where campers consistently bring more and more of the comforts of home (raising the question of what “camping” might actually mean).

Maybe not. Sorry, Jean-Léon Gérôme. “‘The issue is that this period is just not sexy any more,’ said Wendy Goldsmith, an art adviser based in London, who was formerly the international head of 19th-century European art at Christie’s. ‘So many collectors have moved through Impressionism and now over to contemporary.'”

“The judges ruled that creating an independent archaeological park would disturb the unity of Rome’s Unesco-protected historic centre and deprive the city of the proceeds from ticket sales to the monuments.”

“The discoveries were made on a nondescript side street just behind the city’s colonial-era Roman Catholic cathedral off the main Zocalo plaza on the grounds of a 1950s-era hotel. The underground excavations reveal a section of what was the foundation of a massive, circular-shaped temple dedicated to the Aztec wind god Ehecatl and a smaller part of a ritual ball court, confirming accounts of the first Spanish chroniclers to visit the Aztec imperial capital, Tenochtitlan.”

In fact, in 2016, Paris’s flagship museum was in third place. The leader in visitor traffic may surprise you – until you think about it for a sec.

Paul Villinski had created Flower Bomber, a replica of a B-25 military plane made from recycled wood and fiberglass, especially for the atrium of the Taubman Museum of Art in Roanoke, Virginia, and the piece was taken the night before he was going to drive it there.

What’s more, it’s for a little egg-shaped structure from Guatemala. Carolina Miranda explains.

Not only is Karole Vail a Guggenheim stalwart — she has been on staff since 1997 and organized the sweeping retrospective “Moholy-Nagy: Future Present” last year — but she also has personal ties to the institution: Peggy Guggenheim was her grandmother.

He was trying to shape an indigenous regional architecture for Southern California. And he was attempting to put a definitive end to — to bury for good — a deeply troubled decade in his personal and professional lives. The regionalism of the houses, their response to the landscape, history and climate of Southern California, is at once their most powerful and most naive feature.