Category: visual

“The Tate trustees are searching for Serota’s replacement. But Serota is irreplaceable. In his 28 years as the Tate’s director, he has created the world’s most successful Modern and contemporary art museum, rebuilt Tate Britain, opened and is expanding Tate St Ives, has plans for Tate Liverpool, and tours Artist Rooms to 34 partner museums. He has displayed the collection in new ways and curates superb shows. On the business side, Tate generates more non-government revenue than any other national museum in the UK. Serota is charming, decent and a witty (without a note) speaker. It is not just that he has a range of qualities rare in the world, let alone the world of museums; only he has the stature to run what he has wrought.”

“The artist, who died in 2011, specifically selected the five pieces for exhibition at the museum, shortly before his death.”

“Of its $144 million building costs, the City of Helsinki’s investment would cover a maximum of $89 million. The remaining $55 million would be paid by private investments and a loan, the costs of which would be covered by the Guggenheim Helsinki Supporting Foundation. The licensing fee payable to the Guggenheim Foundation has been reduced by $10 million to $20 million and would be entirely financed by private donations, which have been secured.”

His miniature woodcut series The Dance of Death is like a “16th-century Charlie Hebdo,” argues a Cambridge historian.

“Breathing Lights” is a $1.2 million art project created by Frelin and architect Barbara Nelson in the browned-out, former manufacturing hub of Albany, Troy and Schenectady, N.Y. Using LED strips, portable batteries and programmed Arduino boards, they have built light panels and had them installed inside window frames. They’re looking to draw attention, through art, to abandoned spots once called homes.

Adam Abdalla, principal of the firm Cultural Counsel and founder of the new online publication, called Affidavit, talks about its content (critical and personal essays rather than news), potential conflicts of interest, and the editorial team.

“Public or private, rural or urban, college museums are tackling ambitious projects like never before, promoting academic curators – who were once part of a sleepier, insular art world – to be lead actors on the cultural stage. But not everyone agrees that school museums should compete with their mainstream counterparts or that students necessarily benefit more from having art of such magnitude as opposed to more modest collections.”

With Jeffrey Gundlach’s help, the Albright-Knox has completed what may be the fastest capital-raising campaign in US museum history. In less than three months, it amassed more than $100m—a rate of more than $1m a day.

Last year, President Hollande asked the president of the Louvre, Jean-Luc Martinez, to prepare a report for protecting heritage in areas of conflict after the destruction of the ancient site of Palmyra in Syria by Isis last year. Martinez subsequently devised a 50-point plan, including establishing a single European database of seized or stolen cultural property. In 2018, Louvre is due to start moving more than 250,000 works of art and artefacts from Paris to the 23,500 sq. m, €60m store in Liévin, a move which has enflamed some of the museum’s curatorial staff.