Displaying items by tag: Art

The Corcoran Gallery, Washington D.C.’s oldest art museum, has been losing money for years and is currently in need of at least $130 million in renovations. The only major museum on the Mall that is privately owned, times have been tough for the Corcoran who must charge admission and raise large amounts of money to survive. Attendance has dropped drastically and donations to the museum have roughly halved since the recession.

The Corcoran’s commanding Beaux Arts façade and top-notch collection of 17,000 works including pieces by Winslow Homer, Edward Hopper, John Singer Sargent, Claude Monet, and Willem de Kooning are simply not a big enough draw to keep the institution afloat, especially when every other institution on the Mall offers free admission. The Corcoran’s board of trustees are currently debating between a number of options to keep the museum active including selling the current building, combining forces with another institution, and moving out of the city.

While many find the loss of the Corcoran will leave the Washington Mall with a gaping hole, the museum announced that they have been discussing possible solutions with the National Gallery of Art, George Washington University, and a few other unnamed institutions. The Corcoran hired a real estate firm as its adviser in September and hopes to have its future mapped out by the first half of 2013.

The District of Columbia Historic Preservation League is looking to extend the landmark designation for the Corcoran’s exterior and interior. If the institution were approved, any major construction would be subject to public review.

Art collector, philanthropist, and financier, Eli Broad, announced this week that he will donate 19 works to the Eli and Edythe Broad Art Museum at his alma mater, Michigan State University. The contemporary art museum is slated to open on November 10^th. Designed by the architect, Zaha Hadid, the 46,000-square-foot museum was expected to open in April but was delayed due to construction.

Broad’s donation includes a large-scale piece, Containment 1, by the American sculptor Roxy Paine that will be displayed outdoors. There are other works by various artists including Robert Longo, Elizabeth Murray, Terry Winters, and Jonathan Lasker, which are worth around $2 million collectively.

Broad donated $28 million for the museum, with $21 million going toward construction and $7 million for acquisitions, exhibitions, and other functions. Michael Rush, the museum’s director, is curating the inaugural show.  

The victim of a devastating art heist that took place last Friday, the Kunsthal Museum in Rotterdam claims their security system is not to blame. The Museum’s director Emily Ansenk shot down allegations that a rear emergency door had been left open. However, police are investigating whether or not there was someone in the museum after hours that could have opened the door for the thieves, as there were no signs of forced entry.

After robbers swiped seven artworks including paintings by Picasso, Matisse, and Monet, the Kunsthal became the subject of intense scrutiny. The Museum admitted to Dutch police that there were no security guards on duty when the robbery occurred. An external security firm was the first to respond when the Museum’s alarm went off. Museum officials claim that their security system, which relies solely on alarms and security cameras, is state-of-the-art.

Late on Friday, police released three grainy surveillance photos of the burglars exiting the Museum out of a back door. While their faces were not visible, police hope that the bags the thieves were carrying are recognizable. Police proceeded to post leaflets around the neighborhood, asking potential witnesses to step forward.

The International Contemporary Art Fair (FIAC) starts today in Paris and runs through Sunday, October 21. One of the largest forums for contemporary artists, galleries, and dealers, the FIAC encompasses a number of events across the city at the Grand Palais, the Louvre Museum, the Tuileries Gardens, and various other locations.

The Grand Palais portion of the FIAC is held on two floors and features 182 dealers of modern and contemporary art from around the world. Last night’s preview, which is considered a litmus test of the art market’s strength, hosted a number of notable sales. Joan Miro’s Surrealist abstract Peinture (Le Cheval de Cirque) (1927) was sold by Helly Nahmad Gallery (New York) for $8 million and Lucio Fontana’s Concetto Spaziale, Attese (1967–68) was sold by Paris’ Tornabuoni Arte for $2.36 million.

A number of high-profile collectors were in attendance including French billionaires Francois Pinault and Bernard Arnault, U.S. collector Alberto Mugrabi, and Turkish collector, Omer Koc. If the preview is any indication of the how the fair will proceed, it should be any exciting next few days in Paris.

French prime minister, Jean-Marc Ayrault, decided not to impose a wealth tax on works of art after a massive backlash that involved the country’s leading museums, including the Louvre. The tax, which was proposed by President Francois Hollande as part of his 2013 budget plan, was to be enforced on works worth upward of $65,545 (50,000 euros) in an effort to reduce France’s deficit. Museum leaders became particularly incensed after budget minister, Jerome Cahuzac, championed the tax.

The heads of France’s seven largest museums banded together and sent an angry to the culture ministry stating that the tax would harm their collections as owners would be dissuaded from lending their privately-owned works in an attempt to hide their identities. Additionally, the tax could scare off potential art collectors, weakening the overall market.

In light of the harsh criticism, Ayrault stated that the wealth tax would not be approved although it had already been passed by the Assemblee Nationale’s finance committee.

In 1961, art dealer Leo Castelli bought a painting by Roy Lichtenstein for $750. One of the founding fathers of Pop Art, this particular piece was one of Lichtenstein’s first. In 1970, when Castelli sent the painting to be cleaned by art restorer, Daniel Goldreyer, he didn’t know it would be the last anyone would see of the work for a long time.

Goldreyer soon contacted Castelli to tell him that Electric Chord had gone missing from his office. Efforts to locate the painting went on for decades. The Roy Lichtenstein Foundation even put an image of the work on its holiday greeting card in 2006 to remind people of the ongoing search. This past July, Electric Chord turned up in a storage facility in New York. Goldreyer’s widow had found the painting in a locker belonging to a former employee after her husband’s death in 2009. Ms. Goldreyer tried to sell the painting to Quinta Galeria in Colombia using an assumed name. She claimed she was selling it on behalf of a friend. The gallery decided to send the work back to New York.

Leo Castelli’s widow, Barbara, picked up Electric Chord on Tuesday, October 16^th. Valued at $4 million, she plans to hang the painting in her home.

After ten years, Frieze London continues to be a hit with patrons and dealers alike. A mix of established and fledgling galleries, Frieze attracted nearly 55,000 visitors during its five-day run. Major sales included Paul McCarthy’s White Snow Head (2012) for $1.3 million, Damien Hirst’s Destruction Dreamscape (2012) for $807,650, and Jenny Holzer’s installation Blast (2012) for $525,000. New to the fair, Stevenson Gallery was pleasantly surprised when The Outset/Frieze Art Fair Fund to Benefit the Tate Collection acquired Nicholas Hlobo’s Balindile I (2012).

Stefan Ratibor, Director of Gagosian, said, “We had a terrific fair. Both Frieze and Frieze Masters were quite brilliant.” Victoria Miro of Victoria Miro Gallery added, “I can only say positive things. We’ve had success with all our artists and the market has been surprisingly strong. The fair is truly contemporary with many cutting-edge pieces.”

This year marked the debut of Frieze Focus, a section of the fair devoted to galleries less than ten years old. Focus participant, Mihaela Luteo of Plan B said, “The positioning of Focus has been really very good in cultivating positive reactions. This section gives us the possibility of building our profile in the perfect context. We wanted to introduce artists that may not be so well known and have sold most of the work we brought with us.”

A decade after its debut, Frieze London remains at the forefront of the Contemporary art scene. Frieze's dedication to innovation, risk-taking, and new talent can be thanked for that.

Major paintings by such artists as Pablo Picasso, Claude Monet, and Henri Matisse were stolen from Rotterdam’s Kunsthal Museum on Tuesday. The thieves, who ransacked the museum in the early hours of the morning made off with seven works that may total hundreds of millions of dollars.

The heist is the largest in years for the Netherlands and includes Picasso’s Tete d’Arlequin, Matisse’s La Liseuse en Blanc et Jaune, Monet’s Waterloo Bridge, London and Charing Cross Bridge, London, Gauguin’s Femme devant une fenetre ouverte, dite la Fiancee, Meyer de Haan’s Autoportrait, and Lucian Freud’s Woman with Eyes Closed.

The works belong to The Triton Collection, a private collection that is being shown to the public for the first time ever as part of the Museum’s 20^th anniversary celebration. The Triton Collection was assembled over a twenty-year period and includes 150 works of modern art spanning from the 19^th century to the present day.

The Kunsthal’s alarm went off at 3AM and Rotterdam police have secured evidence from the scene. The police are speaking with potential witnesses and investigators are looking into the security camera footage.

Best known for his paintings of stark diner scenes, snapshots of city life, and quiet portraits of the American landscape, there is much more to Edward Hopper’s (1882–1967) oeuvre than one might think. Referred to as a romantic, a realist, a symbolist, and even a formalist, the exhibition, Paintings by Edward Hopper (1882–1967) currently on view at the Grand Palais, Galeries Nationales in Paris aims to explore each facet of Hopper’s artistic identity.

Divided chronologically into two main parts, the first section of the exhibition covers Hopper’s early work from 1900 to 1924. During this time Hopper studied at the New York School of Art under Robert Henri, the founder of the Ashcan School of realism. Hopper also spent nearly a year in Paris in 1906, followed by shorter stays in 1909 and 1910.

The first part of the exhibition sets out to compare Hopper’s early work to that of his contemporaries as well as to the art he saw while in Paris. While in Europe, Hopper was influenced by such things as Degas’ original angles to Vermeer’s use of light. He was also moved by the soft, harmonious nature of Impressionism, which is reflected in his work from the time. This work is in sharp contrast to the almost gritty realism Hopper favored back in the United States.

1924 marked a turning point in Hopper’s career. After successful exhibitions of his watercolors of neo-Victorian houses in Gloucester, Massachusetts at the Brooklyn Museum and the Franck Rehn’s Gallery (New York), Hopper enjoyed commercial success and was able to fully devote his life to his art. Hopper’s watercolors mark the second section of the Grand Palais exhibition and feature the iconic paintings most people associate with the artist.

Curated by Didier Ottinger, assistant director of the MNAM – Center Pompidou, the exhibition of Hopper’s work will be on view through January 28, 2013.

The inaugural Frieze Masters fair is already drawing comparisons to TEFAF Maastricht, the pinnacle of Old Masters fairs that takes place annually in the Netherlands. Featured alongside the contemporary art world staple, the Frieze Art Fair, Frieze Masters has been watching the sales add up.

Highlights include a Louise Bourgeois bronze, Avenza Revisted (1968–69), that was sold by New York’s Cheim & Reid gallery for $1.5 million, Bruce Nauman’s installation, Parallax Shell (1971), along with the drawing for it, which was sold by Sperone Westwater (New York) for $2–3 million, and Pablo Picasso’s Homme et Femme au Bouquet (197) which brought in around $9 million during the fair’s preview thanks to Wan de Weghe Fine Art (New York).

Concluding on October 14, Frieze Master still has plenty of time to keep the sales coming.