Displaying items by tag: institution

On June 5, 2013 at Sotheby’s New York the Corcoran Gallery of Art auctioned 25 rugs from its William A. Clark Collection. The rugs, which are from the 16^th and 17^th centuries, brought in $43.7 million, over four times the pre-sale high estimate of $9.6 million, making it the most successful carpet auction ever held. 100% of the lots sold and the auction achieved “White Glove” status, meaning every lot in the sale garnered more than it’s pre-sale high estimate.

The highlight of the auction was the Clark Sickle-Leaf Carpet. An important and iconic rug created by an unknown Persian artist during the first half of the 17^th century, the rarely exhibited piece was expected to garner between $5 million and $7 million. The carpet ended up selling for $33.7 million, the highest price paid for any carpet at auction. Mary Jo Otsea, the senior consultant for rugs and carpets at Sotheby’s said, “Selling the Clark Sickle-Leaf Carpet for a record-breaking price of more than three times the previous auction record for a carpet has unquestionably been the highlight of my 30 year career. It is gratifying to see the strength of the market for carpets of this quality and rarity.”

The rugs were part of a bequest from William Clark (1839-1925), a Montana-based entrepreneur-turned-senator, to the Corcoran in 1925. The gift was comprised of 200 paintings and drawings and a number of other works, including the rugs. The Corcoran will use the proceeds from the sale to support future acquisitions that will better fit the institution’s focus on American and contemporary art. While the Corcoran has endured recent financial troubles, the money will not be used for operating expenses in keeping with its deaccession policy.

After acquiring a considerable number of important drawings, the Morgan Library & Museum in New York City has mounted an exhibition to showcase their recently added works. Spanning from the Renaissance through the 19^th century, the drawings were acquired through gifts, purchases, and bequests. Over 100 of these works will be featured in Old Masters, Newly Acquired.

The Morgan has greatly improved its Impressionist, Post-Impressionist, and Symbolist holdings by acquiring a number of works by such artists as Édouard Manet (1832-1883), Paul Cézanne (1839-1906), Édouard Vuillard (1868-1940), and Odilon Redon (1840-1916). The museum also acquired over forty Danish drawings including sheets by several Golden Age masters including C.W. Eckersberg (1783-1853) and Johan Lundbye (181-1848). The Morgan added to their British watercolor collection with works by John Martin (1789-1854) and Samuel Palmer (1805-1881). William M. Griswold, director of the museum, said, “The Morgan’s collection of drawings is among the finest in the world, and the institution has been very fortunate to have long-standing relationships with some of America’s most important collectors. This exhibition celebrates their connoisseurship and their commitment to the Morgan.”

Old Masters, New Acquired will be on view at the Morgan Library & Museum through August 11, 2013.

Richard Koshalek, the director of the Hirshhorn Museum and Sculpture Garden in Washington, D.C., announced his resignation on May 23, 2013 after three years with the institution. Koshalek’s decision was prompted by the Hirshhorn’s board of trustees’ failure to reach a consensus in regards to a plan to cover the museum’s courtyard with a temporary inflatable bubble, which has been continually stalled.

Koshalek made the announcement during a board meeting, which was centered on the bubble project. During the meeting, the 15 board members were unable to agree whether or not to continue fundraising for the project. Officials said that the bubble will remain under consideration even after Koshalek’s departure.

If created, the bubble would connect the inside and outside of the Hirshhorn and create additional space for installations and performances. Designed by Diller Scofidio & Renfro, the bubble is expected to cost over $12.5 million to create and install. Fundraising efforts have brought in about $7.8 million to date.

The nonprofit Architectural League of New York is the latest party asking the Museum of Modern Art to reconsider their decision to raze the former home of the American Folk Art Museum. The organization wrote an open letter signed by members of its board of directors to MoMA on Monday, April 22, 2013. Prominent architects such as Richard Meier, Thom Mayne, Steven Holl, Hugh Hardy, and Robert A.M. Stern voiced their support against the demolition of the building, which was designed by notable New York-based architects Tod Williams and Billie Tsien.

The monumental building, which features a sculptural bronze façade, was erected twelve years ago on West 53^rd Street by the American Folk Art Museum. After the institution fell into financial turmoil, the building was sold to MoMA and the Folk Art Museum moved to a smaller location. Now, as plans for an expansion gain steam, MoMA has announced their decision to level the building. Officials justified the ruling by claiming that the Folk Art Museum’s former home didn’t mesh with MoMA’s sleek glass façade and that structure’s location was logistically problematic as it is slightly set back from MoMA’s main building.

The decision to demolish the structure, which has quickly become a Midtown landmark, has been met with a wall of opposition. Last week, a New Haven, CT resident, Robert Bundy, launched a petition against MoMA’s decision and garnered over 2,000 signatures in a matter of days.

As it stands, MoMA expects to begin renovations in 2014 by which time the Folk Art Museum’s former home will be destroyed.

Sotheby’s Contemporary Evening Auction in London totaled $116 million on February 12, 2013. The sale featured a number of works by art market powerhouses such as Francis Bacon (1909-1992), Jean-Michel Basquiat (1960-1988), and Gerhard Richter (b. 1932). Bacon’s oil on canvas triptych Three Studies for a Self-Portrait (1980), which sold for $21.5 million, was the evening’s top lot. German collector, Jurgen Hall, who plans to loan the work to a major international institution, purchased the painting.  

44 of the 54 lots offered sold and over 20 works brought more than $1 million dollars. Highlights included two Richter paintings, Wolke (Cloud) (1976) and Abstraktes Bild (769-1) (1992), which sold for $11.9 million and $12.8 million respectively. Basquiat’s Untitled (Pech/Oreja) (1982-83), a large-scale acrylic, oil stick, and paper collage, went for $10. 7 million and another one of his hefty works, Five Fish Species (1983), sold for $7.8 million. Both works were purchased by New York-based art dealer Jose Mugrabi.

While there were some major sales, the auction fell comfortably within its pre-sale estimate of $95.7 million to $132.2 million. The contemporary auctions will continue tonight, Feburary 13, 2013, at Christie’s London.

London’s Tate Modern announced that 5.3 million patrons visited the museum in 2012, a record for the institution. In fact, the number of visitors was up a considerable 9.5 percent from the previous year.

An exhibition devoted to the work of contemporary artist Damien Hirst (b. 1965), which ran from April 4 to September 9, 2012, contributed significantly to the Tate’s record attendance. The show, which featured some of the controversial artist’s best-known works, attracted 463,000 visitors making it the most popular solo show ever organized by the museum. The Tate’s recently opened performance space, The Tanks, also contributed to the increase in patrons. The Tanks, which opened in July, is a permanent space for not only performance, but installations and video art as well.

Tate Modern, which opened in 2000, is Britain’s national museum for modern and contemporary art. Located along the Thames River in the former Bankside Power Station, the museum expects another stellar year. Exhibitions planned for 2013 include a major retrospective of the pop artist Roy Lichtenstein (1923-1997) and a show devoted to Swiss-born painter Paul Klee (1879-1940).

A vintage print of a photograph by Edvard Munch (1863-1944), which is now in the collection of the Munch Museum in Oslo, might be headed to the Centre Pompidou in Paris. One of an edition of five, the photograph shows Munch in his garden around 1930. The work was part of the collection that Munch bequeathed to the city of Oslo.

Last month, the city’s government asked Oslo’s parliament to approve the deaccession of the photograph so that it could be sold to a major international institution and made more accessible to the public. In response to the proposal, a member of Parliament pointed out that the deaccession is in contrast to Munch’s will that states that his works should be kept together. While a long-term loan is a possibility, city officials are asking Parliament to vote on the Munch sale.

The Centre Pompidou has offered nearly $50,000 for the print. The Oslo government expects a decision to be made in 2013.

The Whitney Biennial is one of the art world’s most anticipated events. Started as an annual exhibition of contemporary American art in 1932, the show became a biennale in 1973. Over the course of the past forty years, the Whitney Museum of American Art has not only had their own staff members curate the show, but the institution has invited outside curators, including Europeans, to organize the Biennial.

For the upcoming 2014 Biennial, museum staff members chose three non-Whitney curators to organize the show. Former art dealer and current Whitney curator, Jay Sanders, and Elisabeth Sussman, both of whom organized the renowned 2012 Biennial, will oversee the process. The three curators, Stuart Comer, film curator at London’s Tate Modern; Anthony Elms, an associate curator at Philadelphia’s Institute of Contemporary Art; and Michelle Grabner, a professor and the chairwoman of the painting and drawing departing at the School of the Art Institute of Chicago, will each be given their own floor of the museum to create a compelling exhibition.

This will be the last Biennial to take place in the Whitney’s Marcel Breuer building as the museum will be moving to a new Renzo Piano-designed building in the meatpacking district in 2015.

Members of the Los Angeles County of Museum of Art currently pay $400 a year for exclusive access at the institution. All of that is about to change as museum director, Michael Govan, announced that he will be raising annual fees for members to $1,000 a year. A $250-level museum membership must be purchased separately annually. The announcement has council members as well as art enthusiasts and professionals threatening to leave the institution.

While Govan stands behind his decision, some feel he is jeopardizing the support of smaller donors and will scare off younger people from becoming members. At a meeting for council members on Tuesday, November 27, Govan explained his decision, stating that the changes are part of a larger restructuring plan to simplify the museum’s system and make it more professional. Govan also plans to dismantle each of the ten museum council boards, leaving only a chairperson to assist the department curator and development staff.

The fee increase will go into effect in January for new members and in June for existing ones.

In the 1970s a coat of varnish obscured Sea Change (1947), an important work by Jackson Pollack that signaled his transition famous drip technique. The Seattle Museum of Art has tackled the restoration of Sea Change, which is a cornerstone of the institution’s collection.

Efforts appear to be going well as reporters and photographers were invited to the museum on Tuesday, November 27, to see the progress firsthand. Led by the museum’s chief conservator, Nicholas Dorman, the undertaking is complicated due to the multiple types of media used by Pollack and the sheer depth of the painting’s surface. Measuring approximately 4 x 5 feet, Sea Change consists of many layers including several types of paint (oil, house and commercial, early acrylic), a white oil base, aluminum paint drips, and imbedded gravel.

In order to preserve the original painting, Dorman had to become as familiar as possible with the work underneath the layer of old varnish. He carefully studied old X-rays of the painting as well as photographs of Pollack at work in order to learn more about the composition itself.

Bank of America’s Art Conservation Project is funding the restoration work on Sea Change. Launched in 2010, the initiative has provided about $2 million to the conservation of art and artifacts of cultural and historical value around the world.