Displaying items by tag: Museum

Gary Nader has always felt Miami’s art and culture network was missing something: a museum dedicated to showcasing Latin American media. So he decided to create his own.

Nader, a local art collector with a gallery in Wynwood, revealed plans this week to build a Latin American Art Museum at a still-to-be-determined location in downtown Miami. The museum, he said, will feature about 600 paintings, drawings and sculptures from his personal collection. “The influence of Latin America in the U.S. is extremely prominent,” he said. “We want to tell the story."

The Edith O’Donnell Institute of Art History will be inaugurated on October 29 with a gathering of prominent art historians and museum leadership from around the world. The Institute has been founded through a $17 million gift from longtime patron of the arts Edith O’Donnell to the University of Texas at Dallas, and will be one of the preeminent centers for art history research and training in the U.S., alongside the J. Paul Getty Museum; the Clark Art Institute; the Institute of Fine Arts at NYU; and the National Gallery of Art, Center for Advanced Study in the Visual Arts.

Through its partnership with the Dallas Museum of Art, the Institute will be the first degree-granting program in the U.S. that incorporates both an institute and a museum, and is the first such program that is a collaboration between a public university and a public museum.

Combatants in a lawsuit over construction problems at the Broad Collection museum now rising in downtown Los Angeles have decided to keep their work gloves on to finish the project before taking them off to fight over who’s to blame for delays and alleged cost overruns.

The Broad contends that problems caused by the subcontractor hired to provide the museum's distinctive concrete and glass exterior drove up costs by at least $19.8 million and set the museum's planned 2014 opening back by at least 15 months.

Think of Picasso, and it's impossible not to envision the women he loved, tormented and painted, like Fernande Olivier, whose distorted features are indelibly associated with early cubism, or Dora Maar, often depicted weeping, or Marie-Thérèse Walter, whose face and body the artist sundered so violently during his surrealist years. "For me, there are only two kinds of women—goddesses and doormats," he told his postwar partner, Françoise Gilot, as she recounted in Life with Picasso, her 1964 memoir.

Since Picasso's death in 1973, the works emerging from these liaisons—and the gripping tales behind them—have provided fodder for countless museum and gallery shows.

The French architect Jean Nouvel has revealed his modern, airy design for the National Art Museum of China (NAMOC). Located in the heart of Beijing’s cultural district, the 323,000-square-foot museum will house a variety of important collections spanning from the Ming dynasty to the present day.

The NAMOC, which will be in close proximity to the city’s 2008 Olympic stadium, will feature a number of galleries for permanent and temporary exhibitions, research and education centers, a grand terrace, an indoor garden, and an auditorium. According to Nouvel, the NAMOC “resists the laws of gravity while asserting its presence.”

A new exhibition space for postwar art and known as the Kunsthaus Dahlem is due to open in Berlin in summer 2015, according to an announcement on Monday.

The museum will be located in a building with a rich history. It was originally the studio of Arno Breker, one of the most prominent Nazi-era sculptors. After World War II, the building was used by the occupying American forces as the headquarters of the Information Control Division (ICD) which, among other missions aimed at bringing Germany back into step with the international community, was responsible for controlling and licensing cultural institutions’ publishing activities.

On October 20, 1984, the Fondation Cartier pour l’Art Contemporain opened its doors in Jouy-en-Josas, offering visitors a pioneering, visionary approach to exhibition-making and engaging artists with its radical, free-spirited attitude to art. Thirty years later, its track record is impressive: over 100 exhibitions have been hosted on its premises and more than 800 artworks have been commissioned – which have since entered the Foundation’s collection and testify to its unique views on patronage. In honor of the occasion, over a period of almost one year, artists will occupy and animate the space with creations that represent all that the Fondation Cartier stands for: creation and discovery, openness to multiple disciplines, progressive voices and ideas.

The Kemper Museum of Contemporary Art marks its 20th anniversary this year, but the celebration is bittersweet.

R. Crosby Kemper, the banker and civic leader who put the museum in motion with co-founder Bebe Kemper, died eight months ago, raising questions in the arts community about the museum’s future. Is there funding — and a commitment from his children — for the museum to continue?

“We have no thought of closing,” said Mary Kemper Wolf, an accomplished filmmaker who is the daughter of Crosby and Bebe Kemper (now a trustee emeritus).

The Harry Ransom Center, a humanities research library and museum at The University of Texas at Austin, celebrates the homecoming of one of its most famous and frequently borrowed art works, the Mexican artist Frida Kahlo’s “Self-Portrait with Thorn Necklace and Hummingbird” (1940). The painting will be on display through March 31, 2015.

Since 1990 the painting has been featured in exhibitions in more than 25 museums in the United States and in countries such as Australia, Canada, France, Spain and Italy.

The painting was most recently on view at the Scuderie del Quirinale in Rome. The work travels next to The New York Botanical Garden for the exhibition “Frida Kahlo’s Garden,” running from May 16 to Nov. 1, 2015, in the LuEsther T. Mertz Library’s Rondina and LoFaro Gallery.

A Renaissance masterpiece by Raphael has warped because the air conditioning in a Rome museum has not worked for six months, raising questions once again over Italy’s ability or willingness to look after its precious cultural heritage.

In the heat and humidity of the Italian summer, the High Renaissance master’s "Deposition," which shows Christ being carried from the cross, became deformed, forcing officials in the capital’s Galleria Borghese to place a dehumidifier next to the art work in an attempt to save it.