Miami Drags Its Feet On Wealthy Collector’s Self-Funded Museum – Until Getting Publicly Shamed

The museum proposed by hedge fund tycoon Steven Berkowitz – which would house sculptor Richard Serra’s enormous Passage of Time and James Turrell’s light installation Aten Reign – was stalled by local government. Then The Miami Herald wrote, “It’s baffling when an opportunity arises for taxpayers to benefit from the generosity of a wealthy investor and art patron – and the city of Miami acts like it doesn’t care.”

12-Year-Old Trips, Punches Hole In $1.5 Million 17th-Century Painting

“Footage released by the organisers of ‘The Face of Leonardo: Images of a Genius’ exhibition in Taipei shows the boy in shorts, trainers, a blue Puma T-shirt and holding a drink walk pass the still life, catching his foot and stumbling over. He looks up at the Paolo Porpora oil on canvas painting of flowers, shown later to have a fist-sized gash at the bottom, and freezes, looking around at other people in the room.” (includes video)

What UK Artists Have Lost Under The Tories

Artist Bob and Roberta Smith: “I want us to re-engage with that postwar consensus that we need to expand creativity and who gets involved in it. The Tories think that silly notion is history now. Politicians don’t seem to even understand the basic importance of something like design and how it underpins production. It’s crazy, and, to be honest, Labour is not much better.”

The War-Hungry Women Written Out Of Photographic History

“These women and their lives and times seem like ancient history in an age where anyone with a mobile phone now has their camera constantly with them. In 2014 we took one trillion photos; 30bn of which were selfies. It’s worth reminding ourselves – in the context of this monstrous exponential profusion of images that we live with – that all the great photographs these women took were shot on film (or plate), developed and printed.”

How Edye Broad Got Eli Interested In Art – And Changed Los Angeles

“Their collaboration, notably in the early years, was marked by Edye’s eclectic inclinations and Eli’s desire to shape one of the world’s leading collections of contemporary art. He could appear passionate, if brusque, sweeping into a gallery, making assessments and departing. Edye was a slower touch, lingering, studying the work, chatting with the artist. She is, as those who know them say, the antidote to his sting.”