Rem Koolhaus: “The Centre Pompidou was maybe the last moment that a museum competition won with that degree of abstraction, radicality and that degree of newness. It was more a hypothesis than a project and I think museum competitions since then have moved as far as possible away from that. The very model of a museum that the Pompidou offered has been avoided as much as possible by subsequent museum competitions, juries, clients and realisations.”
Category: visual
As Top-Selling Living Artists Age, Galleries And Auction Houses Are Scrapping Over Them
“Chuck Close and other artists used to sit around bars like the Cedar Tavern and Max’s Kansas City and talk about art. ‘I have more conversations today over what we’re going to do to protect our spouses, our children, our work,’ Mr. Close said.”
What London’s National Gallery Learned Giving Live-Streaming Gallery Tours
“Though we have seen uplifts in ticket sales during the days following broadcasts, it quickly became clear that the segment of our audience who have been most enthusiastic about the broadcasts are those who are not able to come to the National Gallery in person.”
Princess Di Deserves Better Than A Tacky Bronze Statue
The Guardian’s art critic isn’t mincing words. “For William and Harry to announce they are going to commission a public statue is a smack in the face for any idea that modern British art is democratic and egalitarian. The royals are weighing in on art, and their commission – with what is ultimately our money – looks as if it will be an unmediated expression of their personal taste. Clearly, their choice of art will be influential and powerful. It could also be stupid.”
Making Baghdad’s Walls Beautiful Again
Image of Hope came about because of this: “Baghdad became increasingly divided into neighbourhoods, separated by brick walls. The once lively and energetic city started to lose its character and atmosphere. The walls did not only serve security purposes, but political and armed groups also used them as canvasses for sectarian slogans and political propaganda.”
In A Time Of Nativism, A Challenge For The International Art World
Or not? “‘Art is a transcontinental commodity,’ said William Weston, a specialist dealer in modern prints. … ‘Nationalism won’t harm its trading position. It won’t affect the market in New York or London. Americans won’t stop buying David Hockney because he’s a British artist.'”
Tania Bruguera Pulls Work From Bronx Museum, Claiming It’s Complicit In Cuban Censorship
The artist, who has been detained and also jailed in Cuba, says, “There is a long tradition of artists withdrawing art [from exhibits] for moral reasons.” Now she’s going to join them.
How The Los Angeles Art World Has Dealt With The Inauguration And First Days Of Trump
“Many gestures were modest, but in sum they revealed that the advent of the Trump presidency is no ordinary moment in American cultural life.”
How Would You Sell An Artwork That’s Built Into The Ground?
“The original earthworks were never meant to be sold like paintings or statues. That was partly in keeping with the hippie, yippie tenor of the times. They have never come up for auction, although one sculpture fetched as high as $4 million in 2008. How would you even sell an earthwork?”
LA’s Hammer Museum To Build A Major Expansion
“This transformation will provide 60 percent more exhibition space including collection galleries and a works on paper gallery to highlight our growing collection of photographs and drawings,” Ann Philbin, the Hammer’s director, said in a statement.