“The issue of the IM lights adversely affecting the Turrell Skyspace became apparent toward the end of the spring semester of 2012, when several IM games had to be rescheduled to accommodate the sunset light shows at Turrell Skyspace.”
Category: visual
Rothko Defaced At Tate Modern
A man tagged Mark Rothko’s Seagram murals at 3:15 p.m. on Sunday, and then left the building. The museum was evacuated.
Did The Rothko Vandal Do It For Attention To His Site?
The man who defaced the Rothko painting may be claiming that he’s a modern-day Duchamp – and wanting likes on his Facebook page.
U.S. Galleries, And Dealers, Make London A ‘Battleground’
“It will be good for the London market to wake up, because the Americans are invading.”
Shortlisted Turner Prize Art, On Display – In Britain, No Less
“It feels as if fairness is beginning to dawn over a prize fogged with anomalies.”
What’s Capitalism Good For?
Art, of course.
The New Normal In The Art Market
“The alchemy of what’s selling, or not, can swing wildly in any given season depending on what turns up in the marketplace, but dealers say the overriding dynamic now is one of polarization.”
Bosnia’s National Museum Closes
“Bosnia’s National Museum, which survived two world wars and the 1990s siege of Sarajevo, has closed because of lack of funds and political splits.”
Shanghai Opens Two Enormous New Museums
“On 1 October, the city is marking China’s National Holiday by unveiling the China Art Palace in the mammoth red building that was formerly the China Pavilion in the Expo. On the opposite bank of the Huangpu River, the Power Station of Art was due to open in a converted factory, which during the Expo was the Urban Best Practices Area.”
Cecil Beaton As War Photographer
“[The story of Beaton is always hinged on the war as being a transformative moment for him – a move from the frivolities of celebrity glamour to the realities of conflict and destruction. … [Yet] Beaton rarely got too close to combat and his images lack the gruesome realities of battle that you find in Frank Capa’s jarring work. Instead we get icons of war, men and women captured in moments of staged realities.”
