8369 - Copenhagen Contemporary: New centre for international installation art opens


Carsten Nicolai: unidisplay (2012), Copenhagen Contemporary, 2016. Photo: Anders Sune Berg.
Copenhagen Contemporary, Copenhagen’s new centre for international installation art, opened on Papirøen on 25 August 2016 with a Big Bang of an exhibition programme: the cult artist Bruce Nauman, the Icelandic art meteor Ragnar Kjartasson, the German artist and musician Carsten Nicolai, as well as Yoko Ono and Petterson & Hein.

CC is an independent institution established to create a new, international exhibition space in Copenhagen for the big, technically demanding installations of contemporary art – art you can often walk into and sense with your whole body. Art that the existing institutions have difficulty accommodating. Copenhagen Contemporary's ambition is to create unique art experiences and present art in the best possible way to as many people as possible. CC wants to challenge and create space for reflection.

Project Director Jens Erik Sørensen: “CC is to be a force field for people of all ages, A Gate to the Future for art – in the heart of Copenhagen!”

Copenhagen Contemporary on Papirøen has been created as a pilot project on private initiative over the past year and a half in a fruitful dialogue with the Copenhagen City Council and with generous backing from foundations, private collectors and the business world.

CC has rented four large halls totalling 3,400 m2 on Papirøen (Christiansholm) in Copenhagen alongside Copenhagen Street Food. Here, until 31 December 2017, CC will mount changing exhibitions of works in the large format by internationally recognized artists. The vision of the pilot project is that CC can subsequently be established as a more permanent venue in Copenhagen.

Over the past few decades new art institutions have been opened in the big cities around the world to cater for the more space-demanding formats – institutions like the Palais de Tokyo in Paris, Tate Modern in London, the Baltic Centre for Contemporary Art in the Newcastle area, Hangar Bicocca in Milan, and MoMA PS1 in New York.

CC opened on 25 August with a major exhibition presenting the American artist Bruce Nauman in the large format for the first time in Scandinavia, and with two large-scale video installations by the feted young Icelandic video and performance artist Ragnar Kjartansson.

At the same time it will still be possible to see the German artist and musician Carsten Nicolai’s big light and audio installation that people have already visited during CC’s ‘warm-up’ opening in the course of the summer. Out on the quayside in front of CC’s exhibition halls you are invited to write down a wish in Yoko Ono’s poetically beautiful Wish Tree Garden , and you can sit looking out over the water and into the future on one of the thirteen coloured concrete benches A View from the Present 1 - 13, created by Pettersen & Hein.

The American artist Bruce Nauman, who turns 75 this year, is an institution in his own right in the art world – some would say a cult artist. Since the end of the 60s Bruce Nauman has created art that arouses attention and challenges the public all over the world. With simple means and the body as object he has shaped mental spaces in performance, film, sculpture and installation art that provoke and irritate. In Nauman’s own words the effect of his art is like being hit on the head by a baseball bat! The exhibition presents some of Nauman’s most important works such as Green Light Corridor (1970), Hanging Carousel (George Skins a Fox ) (1988), Raw Material, BRRR (1990), a couple of neon works and several of his experimental repetitive films. The works in the exhibition show how the encounter with Bruce Nauman’s art creates a kind of bodily interaction – and it is this sensory experience that is pivotal to Nauman’s practice. The experience that the individual works provoke may be very different, and they arise because we move into the work, as in the light corridor, or are subjected to disorienting, cacophonous noise as in Raw Material, BRRR.

In recent years Ragnar Kjartansson (b. 1976) has become known all over the world for his music-based performances and his large-scale video installations, which take a humorous and poetic-philosophical look at both the banalities and subtleties of our everyday life.

The exhibition presents two of his latest large video installations: the performance-based A Lot of Sorrow , which is a film adaptation of the six-hour performance he staged in collaboration with the band The National at MoMA PS1 in New York in 2013; and the nine-screen video installation Scenes from Western Culture (2015) in which Ragnar Kjartansson has staged a series of everyday situations that work like filmic paintings or living tableaux of our western life.

Carsten Nicolai’s (b. 1965) work revolves around the way our brain interprets our visual impressions. His more than 30-metre-long light and audio installation unidisplay (2012) consists of a long wall on which changing light patterns are projected and where mirrors on both sides of the projection create an infinite universe. The undulating patterns affect our eyes through optical illusion, flicker and after-images. At the same time the various visual expressions are rooted in a soundtrack so that the work affects us both physically and mentally.

Along the waterfront Yoko Ono (b. 1933) has created her Wish Tree Garden specifically for CC, inviting the passers-by to write a wish on a slip of paper and hang it on one of the branches. The wish tags are regularly collected, and when the exhibition ends they will all be sent to Ono’s Imagine Peace Tower on Iceland, an installation Ono has dedicated to her late husband John Lennon.

Also on the quayside the Norwegian artist Magnus Pettersen (b. 1983) and the Danish furniture designer Lea Hein (b. 1981) have created A View from the Present 1 - 13 , thirteen concrete benches made with a special dying technique where colour pigments form patterns in the normally monochrome, hard material. The rounded edges invite people to sit down and spend time on the quayside.


8368 - Conservation of the "Chinese Cabinets" in Schönbrunn Palace on course for completion


Small and exclusive: the "Chinese Cabinets" in Schönbrunn Palace with their East-Asian decoration were not originally intended to accommodate many people.
Much of the conservation work on the "Chinese" Round Cabinet, part of the exquisite East-Asian interior decoration in Schönbrunn Palace in Vienna, Austria, has been completed, and work on the "Chinese" Oval Cabinet continues full steam ahead. The conservation work is based on a concept developed with the support of the Austrian Science Fund FWF.

Small and exclusive: the "Chinese Cabinets" in Schönbrunn Palace with their East-Asian decoration were not originally intended to accommodate many people. Access was restricted to members of the higher nobility, ministers and ambassadors, who debated political topics in an intimate setting there. The Cabinets, which later attracted large audiences, have been undergoing conservation since mid-2015. Traffic vibrations, large numbers of visitors and inappropriate conservation work caused extensive damage to the rooms and their contents over the years. As part of a project funded by the Austrian Science Fund FWF, a research team led by Gabriela Krist from the University of Applied Arts Vienna developed a scheme for the conservation and appropriate restoration of the exhibits. The associated conservation work on the Round Cabinet has largely been completed.

The project is dedicated to the furnishings and fittings in the two "Chinese Cabinets" and the Porcelain Room, which contains valuable lacquer panels, blue gouaches and porcelain items. The team researched the history of the objects, their materials and manufacture for the establishment of the conservation concept. They surveyed, among other things, 125 lacquer panels of wide-ranging origins, which were incorporated into the white-gold wood panelling lining the walls. DNA analyses revealed that the ground used for the panels from China contains pig blood: "The use of pig's blood as a component of the lacquer ground is part of the traditional Chinese manufacturing process. The blood is mixed with chalk and brick dust to insulate the wood panel and create a suitable base for the lacquer work. This kind of ground was inexpensive to produce and particularly popular in large-format works", explains Krist.

The research carried out by the project also produced proof that the lacquer panels were split in two halfs around 1900 and that the backs of the panels were used to decorate the walls thereafter. To the delight of the project team, the fronts of the panels, which were believed to have been lost, were found in the storage of the Bundesmobilienverwaltung (Federal Furniture Administration). "In future it will be possible to see the rediscovered fronts in the Schönbrunn Cabinets", reports Krist. "They show magnificent depictions in gold paint on a black background. In addition to scenes from palace life and hunting, they also include landscapes with children at play."

Over the past months, the valuable porcelain items from the cabinets have been conserved in a workshop in Schönbrunn specially created for the purpose. These include three vases that were thought to have been lost and were found in the Breakfast Room. Krist and her team traced the restoration history of the porcelain pieces and developed a mounting plan for their reversible and safe repositioning on the carved wall consoles, which project from the panelling. "All of the 252 pieces of porcelain we found had holes in their bases. Archive research and a technological examination of the screws showed us that this intervention was carried out as far back as the early 19th century – as a result many of the pieces were damaged", explains Krist. Further interventions, which would not be opted for today, were also carried out after that. According to Krist a quarter of the vessels and figures were painted over and numerous pieces were glued to the consoles: "In the 20th century, in particular, polyester resin was used to glue the objects to the consoles and the resin was also poured into the vessels in generous quantities." The work currently being carried out involves the elimination of these past conservation treatments. The new mounting plan contains a solution for the safe and reversible attachment of the porcelain objects to the consoles using waxes. The historical screws are being re-used, while care is being taken to provide good insulation between the metal and porcelain.

In addition to the return of the lacquer panels and porcelain objects, the chandelier and artistic inlay of the timber floor in the Round Cabinet are also being treated. The conservation work on the two cabinets is due to be completed in 2017. The research undertaken as part of the FWF-funded project is making a valuable contribution to the success of the conservation work being carried out at this Austrian UNESCO World Heritage site.


8367 - Ten days until the Brussels Gallery Weekend - 08 - 09 -10 & 11.09.2016

For the 9th year in a row, this event launches the gallery season with a dynamic program of exhibitions, panel discussions and tours of the city’s leading contemporary art galleries and institutional art venues.

Positioning itself in line with other high profile international events, Brussels Art Days has been renamed more appropriately as the Brussels Gallery Weekend.

For the 9th year in a row, this event launches the gallery season with a dynamic program of exhibitions, panel discussions and tours of the city’s leading contemporary art galleries and institutional art venues.

The New York Times recently highlighted how Art Brussels week makes the European capital a “serious destination for collectors of contemporary art,” and this 4-day event places a spotlight on the quality, diversity and vision that have built Brussels’ reputation as a trend setting city. In addition to the main program, a strong buzz of satellite activities is expected as the energy spreads around town in September.

Brussels Gallery Weekend shows not only why Brussels is a serious destination for collectors, but also why it’s become one for artists, curators and other cultural catalysts.

31 local galleries have been invited to join this year’s event, which compiles a program of leading international artists, rising local talents and an innovative curatorial program.

Aeroplastics • Valérie Bach • Albert Baronian • Bernier/Eliades • Didier Claes • Dauwens & Beernaert • dépendance • Dvir • Feizi • MLF | Marie-Laure Fleisch • Pierre-Marie Giraud • Gladstone • Hopstreet • Xavier Hufkens • Jablonka Maruani Mercier • Rodolphe Janssen • Keitelman • Harlan Levey Projects • Maniera • Greta Meert • Meessen De Clercq • Jan Mot • Nathalie Obadia • Office Baroque • Almine Rech • Michel Rein • Sorry We’re Closed • Stems • Micheline Szwajcer • Daniel Templon • Caroline Van Hoek

“The Dispersed Museum”
Following last year’s collaboration with Caroline Dumalin of WIELS, in 2016, Brussels Gallery Weekend has invited Matteo Lucchetti as guest curator.

Lucchetti proposes an overarching theme, The Dispersed Museum, which offers an alternative way to navigate the shows as if they were parts of an imaginary museum’s program. The suggestion is that “existing public institutions and galleries shape a strong and solid offer, which could be alternatively observed as the program of a dispersed museum with many different active spots rather than a system relying on one centralizing building.” The lack of a Museum of Contemporary Art in Brussels becomes a trigger to involve the local community of artists, curators, gallerists and collectors in a round table discussion that re-imagines the future role and functions of the museum.

In the context of this offer, round table discussions with industry influencers and special international guests will be held at the KVS theatre on Saturday, September 10th.

The new Brussels Gallery Weekend website not only introduces the event’s new visual identity, but following the vision of Lucchetti, allows you to create your personalized paths based on individual interests.

Visitors will be able to select the hash-tags (#) to create and print a map of exhibitions they would like to see. You choose for example, #conceptual #painting #postcolonial #video and the website will generate a route of all the exhibitions that fit one or more of these criteria.

Every year Brussels Gallery Weekend also puts a spotlight on some of the outstanding non-profit, institutional and artist run spaces that contribute to the city’s inspiring contemporary art landscape as well as some of the private collections that have helped raise the profile of Brussels as a leading destination for contemporary art. Brussels based curators Sonia Dermience (Komplot) and Anne-Claire Schmitz (La Loge) will join Lucchetti in guiding guests to different destinations as each develops their own tour through the weekend’s activities.



8366 - The Brooklyn Museum announces "A Year of Yes: Reimagining Feminism at the Brooklyn Museum"


Joseph Kosuth (American, born 1945). 276 (On Color Blue), 1993. Neon tubing, transformer, and electrical wires, 30 x 162 in. (76.2 x 411.48 cm). Mary Smith Dorward Fund, 1992.215. © 2016 Joseph Kosuth / Artists Rights Society (ARS), New York (Photo: Brooklyn Museum).
The Brooklyn Museum announced A Year of Yes: Reimagining Feminism at the Brooklyn Museum, ten distinct exhibitions and an extensive calendar of related public programs celebrating the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art. The Museum-wide series starts in October 2016 and continues through early 2018.

A Year of Yes presents a multiplicity of voices from the history of feminism and feminist art while also showcasing contemporary artistic practices and new thought leadership. The project recognizes feminism as a driving force for progressive change and takes the transformative contributions of feminist art during the last half-century as its starting point. A Year of Yes then reimagines the next steps, expanding feminist thinking from its roots in the struggle for gender parity to embrace broader social-justice issues of tolerance, inclusion, and diversity.

From exhibitions of renowned and trailblazing women artists such as Georgia O'Keeffe and Marilyn Minter, to a breakthrough survey of the lesser-known artist Beverly Buchanan; from a long-overdue historical account of the centrality of women of color in the emergence of second-wave feminism, to exhibitions with global contemporary artists enacting a future of equality, A Year of Yes pushes back against conventional barriers while expanding the canon.

A Year of Yes also delves into the history of the Brooklyn Museum itself, reexamining the radical, progressive, and largely unheralded contributions so often left out of traditional institutional histories. By reinterpreting the collection, amid ten special exhibitions and innovative public programming, the Museum will demonstrate how feminism's reenvisioning of the contemporary world has changed how we understand the artworks in the building, the culture that surrounds them, and the ways history gets written.

"The Brooklyn Museum is uniquely positioned to work from its broad historical holdings to lead vital conversations about how feminism must contribute to the urgent international dialogue about human rights. Art is more than something to stand in awe of and ponder. It tells us about ourselves and our past, and art leads to cultural change," said Anne Pasternak, the Museum's Shelby White and Leon Levy Director.

A Year of Yes Exhibitions

• Beverly Buchanan-Ruins and Rituals
October 21, 2016-March 5, 2017

• Marilyn Minter: Pretty/Dirty
November 4, 2016-April 2, 2017

• Iggy Pop Life Class
November 4, 2016-March 26, 2017

• Infinite Blue
Opening late November 2016

• A Woman's Afterlife: Gender Transformation in Ancient Egypt
Opening December 2, 2016

• Georgia O'Keeffe: Living Modern
March 3, 2017-July 23, 2017

• Utopia Station
Launching late March 2017

• We Wanted a Revolution: Black Radical Women, 1965-85
April 21-September 17, 2017

• The Roots of "The Dinner Party"
Opening October 20, 2017

• A Feminist Timeline
Opening October 20, 2017


8365 - "Boutique art fair" dedicated to contemporary Asian art to take place from October 19 to 23 in Paris

Peng Yun, Summer of Xiao Duos. © Courtesy of Peng Yun and Vanguard Gallery.
ASIA NOW, the "boutique art fair" dedicated to contemporary Asian art, will take place from October 19 to 23, 2016, in a new exhibition space located at 9 Avenue Hoche in Paris.

For its second edition, ASIA NOW is broadening perspectives on contemporary Asian art and its growing market, showcasing both established and emerging artists to demonstrate its value and potential. ASIA NOW pursues its mission to uncover the richness and variety of artistic creation in Asia.

ASIA NOW will gather over 30 galleries (compared to 19 galleries in 2015), representing artists from more than 11 Asian territories including Cambodia, China, Hong Kong, Indonesia, Japan, Singapore, South Korea, Taiwan, Thailand, Tibet, and Vietnam.

Among those newly represented in the fair this year: Blindspot Gallery (Hong Kong) showcasing the works of a selection of photographers, including Trevor Yeung, MadeIn Gallery (Shanghai, China) presenting artist Wang Sishun, Rossi & Rossi (Hong Kong; London, UK) exhibiting several Tibetan artists, Tang Contemporary (Beijing, China; Hong Kong; Bangkok, Thailand) showing artist Cai Lei, and Gallery EXIT (Hong Kong) who will present a solo exhibition of Kong Chun Hei.

Participating for the first time will be galleries Arataniurano (Tokyo, Japan), Fabien Fryns (Beijing), Tabula Rasa Gallery (Beijing), Chi-Wen Gallery with Chien Chi-Chang (Taipei, Taiwan), L-Art Gallery (Chengdu, China), with Wu Ding, Zhang Hang, and Zhang Ya, Misa Shin Gallery (Tokyo) focusing on three Japanese artists Shomei Tomatsu, Tsuyoshi Ozawa and Ysuko Iba, and Park Ryu Sook Gallery (Seoul, South Korea) with Seulgi Lee (Seoul), The Centre of Attention/News of the World (London) featuring Teow Yue Han and the Hanoi Doclab, and Vanguard Gallery (Shanghai, China) with Peng Yun.

Also featured are Yeo Workshop (Singapore), presenting Santi Wangchuan’s works using various forms of textile, as well as Edmond Gallery (Berlin, Germany) with the photo-installations of Hu Weiyi.

Among the galleries already involved in ASIA NOW’s 2015 edition: A2Z Art Gallery (Paris, France; Hong Kong), A Thousand Plateaus Art Space (Chengdu), with Chen Qiulin, CHOI&LAGER (Seoul; Cologne, Germany), presenting Ayoung Kim and Heinkuhn Oh, ifa Gallery (Brussels, Belgium) with Xu Zhe’s video works, Leo Xu Projects (Shanghai), Madga Danysz Gallery (Paris; Shanghai; London), with Liu Bolin, JR, Li Hongbo, and Tadashi Kawamata, Primo Marella Gallery and Primae Noctis Art Gallery (Milan, Italy) showcasing Nguyen Thai Tuan’s monumental canvases, and Sa Sa Bassac (Phnom Penh, Cambodia).

ASIA NOW aims to create a close connection between the collector and artists and their works. The second edition will be staged in the intimate atmosphere of a Haussmannian building, through which visitors will be able to wander from one room to the other as they would in a collector’s home.

An ideal platform for dialogue and exchange committed to the promotion of contemporary Asian art, ASIA NOW is extending its program for its second edition, with new projects and performances featured:

• A group exhibition curated by Hervé Mikaeloff, in collaboration with Matthias Arndt (founder of A3) will be dedicated to Southeast Asia’s art scene, including artists from the Philippines and Indonesia such as Eko Nugroho.

• At ASIA NOW, Shang Xia and Christie’s will continue the dialogue on Chinese Contemporary Design having already had two years of successful collaboration in Shanghai, New York and Paris. Twelve pieces designed by Shang Xia – the leading brand of Chinese contemporary design and craft of Hermès group – will once again illustrate the creativity and vibrancy of today’s China, a society that cares about its history and cultural legacy.

• The Centre of Attention/News of the World (London), a non-commercial and not-for-profit organisation and research studio curated by Pierre Coinde will be presenting two projects which will reveal the thinking processes in contemporary visual media. It focuses on the work of international or British artists working within the context of globalization. There will be a non-stop screening of the Hanoi Doclab exhibition and a performance piece by Singaporean artist Teow Yue Han.

• A Women’s Independence Art Show curated by Magda Danysz, commissioned by Etam to celebrate its 100th anniversary, will present the works of 10 artists including Liu Bolin, Li Hongbo, Stella Sujin, and Yi Zhu. The art commissions will be first unveiled at K11 art museum in Shanghai, then at ASIA NOW. After the fair, the artworks will be sold at a charity auction, the profits of which will be donated to the Naked Heart Foundation founded by Natalia Vodinova.


8364 - The Richard Diebenkorn Foundation to release Richard Diebenkorn catalogue raisonné


This seminal, magnificently produced four volume, 2,000 page reference contains more than 5,000 works illustrated in stunning new color photography and exhaustively documented, including many works published for the first time.
The Richard Diebenkorn Foundation and Yale University Press announced the October 18, 2016 publication of Richard Diebenkorn: The Catalogue Raisonné, the definitive resource on the singular American artist’s unique works, including sketches; drawings; paintings on paper, board, canvas; and sculptural objects. This seminal, magnificently produced four volume, 2,000 page reference contains more than 5,000 works illustrated in stunning new color photography and exhaustively documented, including many works published for the first time. An art historical and publishing event, the catalogue, $400.00, is the culmination of more than twenty years of work the Diebenkorn family initiated shortly after the artist’s death and will ensure his place in the history of 20th century art.

“The complexity, the passion, the struggle—it's all here," says independent curator and author Jane Livingston, who edited the catalogue with Andrea Liguori, Managing Director of the Richard Diebenkorn Foundation. “He was brilliant and wanted to be understood,” she adds, remarking that Diebenkorn’s handwritten studio notes made between the 1950s and 1970s and reproduced in their original form will provide new information about his approach to artmaking. In addition to a bibliography and list of exhibitions, the catalogue contains a richly illustrated chronology by Daisy Murray Holman that features the voices of the artist; his wife Phyllis Diebenkorn (d. 2015);
and many others, much of which is previously unpublished.

For specialists and enthusiasts alike, the catalogue features essays by scholars of Richard Diebenkorn: art historian, curator and former Director of the San Francisco Museum of Modern Art Gerald Nordland, author of Richard Diebenkorn (Rizzoli, 1987) who writes about the early years; museum professional, curator and scholar Steven Nash, co-organizer of Richard Diebenkorn: The Berkeley Years, 1953–1966 (2013) at the de Young Museum in San Francisco, who writes about the artist’s representational work; Chief Curator Emeritus of Painting and Sculpture at The Museum of Modern Art John Elderfield, who organized The Drawings of Richard Diebenkorn (1989) and writes about the Ocean Park paintings; and former Curator of Modern Prints and Drawings at the National Gallery of Art Ruth E. Fine, who writes in the catalogue about the artist’s drawings.

Adds Ms. Livingston: "We were stunned by how monumental his output had been. The majority of the works Diebenkorn produced—well over half—never left the artist’s possession.” She asserts that many of these drawings and paintings on paper, never before reproduced or seen, are "heartbreakingly beautiful, completely fresh, exciting and important, among the best things he ever made” and “will be a revelation to even the most knowledgeable Diebenkorn aficionado.”

The artist's widow inspired a fresh editorial approach that departs from other catalogues raisonnés and, says Ms. Livingston, sets a new standard. "Phyllis [Diebenkorn] wanted viewers to have that experience of reading a book—looking at beautiful pages and stumbling upon the works." To that end, brief essays by Ms. Livingston are embedded among the works in Volumes Two, Three and Four, illuminating the circumstances of his life at different times and discussing aspects of his work as it evolves. And, she says: “Every Ocean Park painting and most of the other major paintings are reproduced one to a page."

The catalogue raisonné was printed at Trifolio Press in Verona, Italy, using their proprietary color technology, which provides a range and depth of color that has not been possible until now. It has been produced in association with the Fine Arts Museums of San Francisco.

Ms. Livingston organized the highly acclaimed retrospective The Art of Richard Diebenkorn (1997) at the Whitney Museum of American Art and authored the accompanying exhibition catalogue. The author of many books on painting, sculpture and photography, she served as Curator of 20th-century Art at the Los Angeles County Museum of Art and Associate Director and Chief Curator of the Corcoran Gallery of Art in Washington, D.C.


8363 - Maria Cox donates art collection to Museum of Contemporary Art Jacksonville


Frank Stella, Singeli VA II, 1977.
Maria Cox collected modern and contemporary art with her late husband, Donald, throughout their marriage, building an impressive selection of works by Joan Mitchell, Philip Guston, Joel Shapiro, Frank Stella, Keith Haring, Malcom Morley, Jasper Johns, and many more.

Now, she has donated The Donald and Maria Cox Collection to the Museum of Contemporary Art Jacksonville, a cultural institute of the University of North Florida. Highlights include Mitchell’s 1986 painting “Chord III,” two paintings by Guston, a bronze sculpture by Shapiro, and Haring’s “Two Dancing Figures” sculpture.

The gift by Maria Cox, a MOCA trustee for 12 years, represents an acceleration of a planned bequest set in motion with the Coxes’ 2004 gift of 48 works, which are some of the most active and educationally valuable objects in MOCA Jacksonville’s Permanent Collection. The current gift, valued at about $5.8 million, includes another 50 artworks that have even greater significance. The 98 objects in the entire Cox Collection include 16 paintings, 27 sculptures, 52 works on paper, one photograph, and two pieces of ephemera. Cox has also created The Donald and Maria Cox Fund by pledging a gift to help support research, conservation, access, and future growth of the Permanent Collection.

“Maria Cox’s generous gift transforms MOCA’s Permanent Collection,” said Ben Thompson, acting director. “These important works by top-tier artists bolster the strength of the Permanent Collection, dramatically increasing its significance, and will provide joy, education, and scholarship for generations.”

The Permanent Collection guides and enriches MOCA Jacksonville’s exhibition offerings, as well as providing a lasting, year-round resource for the community. MOCA endeavors to create a Permanent Collection of significant depth, scope, and quality to be used for exhibitions, study, and scholarly research—all tools that foster education, awareness, and experience with contemporary visual art. Cox’s gift propels the Museum towards its goal of creating a high-quality collection with areas of distinction that will help define the institution regionally, nationally, and internationally.

“Donald and Maria easily could have selected a more established and well-known institution in New York City where they built their careers, so why MOCA Jacksonville? Their choice indicates to me what really drove their collection from the very beginning—simply the love of art,” said Charles Gillman III, chair of the MOCA Board of Trustees and president of Cumberland Woods, LLC. “Now, her wish is to share that joy with others. At another institution, her gift would have to compete with many other significant works for exposure from storage. And once their works were curated into an exhibition, they would be competing with myriad other great art offerings about town for an audience. The Cox gift is all about exhibiting the art and foregoing the fanfare. Now, it's up to MOCA to prove to our local constituencies the exceptional value of this gift that has come to us here in Jacksonville."

The Coxes began collecting in the 1970s, a very “alive” time in New York for art.

“We saw an enormous amount of art—galleries, museums, studios, in New York and traveling,” Maria Cox said. “Don and I mostly agreed on selections. If we didn’t agree, we didn’t buy it. In New York, sometimes on a Saturday, we might have visited up to twenty-eight galleries. There was so much going on in the galleries and the museums uptown, midtown, SoHo, and then Tribeca and further east and south. It was always good to go to a museum along with the galleries; it sharpened the focus. It made a good comparison of what could stand up to the museum quality.”

Donald Cox, who died in 2006, was a Virginia Tech graduate in chemical engineering whose forty-three-year career as a senior vice president and director at Exxon included responsibilities in Europe and throughout the world. After retirement, he served as president of The Teagle Foundation, trustee and president of the American Federation of Arts (AFA), trustee of the American Academy in Rome, a member of the Whitney Print Committee, and emeritus trustee at Polytechnic Institute of New York University and Bluefield College in Virginia. He also served as a director of the Emigrant Bank and Neuberger Berman.

Maria Cox, a Cornell University graduate, worked with architectural and interior design firms in New York, Boston, and San Francisco before establishing her own New York interior design firm in 1968 where she did commercial, institutional, and residential projects. She shared a warehouse space with five architects with whom she sometimes collaborated. Early designs included work on the Opera House and Avery Fisher Hall at Lincoln Center. She was an associate member of the American Institute of Architects, an affiliate of the AFA, and a longtime trustee of the Johnson Museum of Art at Cornell University. She holds degrees in landscape design and horticulture from the New York Botanical Garden. In 2002, she won an award from the Florida Native Plant Society for her native garden at her Ponte Vedra Beach home.

“The Cox gift will greatly strengthen MOCA’s Permanent Collection, considerably enhancing the Museum’s outreach and education efforts,” said Preston Haskell, founder of integrated design-build firm The Haskell Company and a former chair of the MOCA Jacksonville Board of Trustees. “It’s a great statement about MOCA and the community to have Maria and Don Cox, who could have gone anywhere, to choose Jacksonville and to choose MOCA as the principal benefactor of their generosity.”

The Cox Collection includes 60 artists previously not represented in MOCA’s Permanent Collection. In 2015, MOCA conducted in-depth research on the Permanent Collection, which includes painting, sculpture, prints, drawings, photography, ephemera, time-based media, mixed media, and artist books. To guide future acquisitions, the curatorial staff identified wide-ranging themes under which more than one discipline can be categorized.

The works in The Donald and Maria Cox Collection underscore some of these, including The Evolution of Mark-making, in which the mark is an extension of the artist’s mind, motivated by an impulsive and intuitive process between the artist and brush, and (Re)presentation, which pays homage to the Realist art movement yet elevates a variety of art-making practices, including but not limited to assemblage, portraiture, appropriation, or even photorealism and photo montage.

“Gifts comprise more than 70 percent of MOCA Jacksonville’s Permanent Collection,” Thompson said. “These objects hold great value for the Museum and the community. We hope others will consider donating artworks of high caliber and great educational value in the future.”

P. Scott Brown, an associate professor of art history at UNF, will work with his fall Methods class to catalog the Cox Collection. Students will research the objects and write essays that will be published on the MOCA Blog and used in didactic materials at the Museum.

“The Cox gift represents a unique and wonderful opportunity of the sort that UNF's partnership with MOCA now makes possible for our students,” Brown said. “The junior and senior art history majors at UNF will be studying the Cox Collection this fall, working on the kinds of serious, professional problems that students at many universities never have the chance to experience before they enter the real world: working face to face with real artworks, helping to interpret their importance to the museum, its visitors, our community, and the city of Jacksonville.”

To celebrate this transformational gift, MOCA Jacksonville plans to exhibit a selection of the new objects in “Breaking Ground: The Donald and Maria Cox Collection,” September 24 through January 8, 2017. Curator Jaime DeSimone leads a Coffee Talk with a Curator program discussing the gift on November 12.


8362 - Stanton Williams and Asif Khan to design new Museum of London at West Smithfield


An outstanding example of London creativity, Stanton Williams and Asif Khan were selected from an inspiring shortlist of six architectural teams.
Stanton Williams and Asif Khan working together with conservation architect Julian Harrap and landscape design consultants J&L Gibbons have today been announced as the winners of the Museum of London’s international competition for the new museum at West Smithfield.

An outstanding example of London creativity, Stanton Williams and Asif Khan were selected from an inspiring shortlist of six architectural teams by a panel of well-known figures from the world of the arts, media, property, architecture and business, chaired by broadcaster and economist, Evan Davis. The decision brings to a close a six-month long competition funded by the Greater London Authority (GLA), which attracted over 70 entries, and was managed by Malcolm Reading Consultants.

The vision for the new Museum of London balances a crisp and contemporary design with a strong recognition of the physicality and power of the existing spaces of the West Smithfield site.

Their early stage concept includes:
• A new lifted landmark dome which would create a beautiful light-filled entrance to the museum;
• Innovative spiral escalators transporting visitors down to the exhibition galleries in a vast excavated underground chamber;
• Flexible spaces that can serve as a new meeting place for London and a centre for events and debate;
• A new sunken garden and green spaces to provide pockets of tranquillity.

There was firm consensus amongst the jury that Stanton Williams and Asif Khan presented a concept that had a strong sense of cohesion which honoured the original market buildings as well as having a passion for the project.

The winning architects will now work closely with the team at the museum and the museum’s stakeholders including the GLA, City of London Corporation and the local Smithfield community to develop their initial concepts into a fully-formed vision for the new museum at West Smithfield.

Evan Davis, Chair of the Jury, said of the decision: "The jury knew it would be a difficult choice and that's what it turned out to be. We had six fantastic teams on the shortlist; each had ideas for the site that were both ambitious and interesting. I would never have guessed that you could take wonderful old buildings like that and turn them into a new museum in so many completely different ways. But after a lot of discussion, a clear winner emerged. Stanton Williams and Asif Khan offered some really innovative thinking, and managed to combine a sensitivity to the heritage of the location, with a keen awareness of the practicalities of delivering a really functional museum."

Lacaton & Vassal Architectes and Pernilla Ohrstedt Studio were awarded an honourable mention for their thoughtful, contemporary and refreshing design approach.

The museum intends to submit a planning application for the West Smithfield site to the City of London Corporation in 2018 and to deliver the new museum by 2022.

The public exhibition displaying the shortlisted design concepts for the new museum at West Smithfield will remain on display until 11 September 2016.



8361 - Cooper Hewitt to presents United States at London Design Biennale

                                                    Installation view of Immersion Room. Photo by Matt Flynn © 2015 Cooper Hewitt, Smithsonian Design Museum. Cooper Hewitt, Smithsonian Design Museum today announced that it will represent the United States at the inaugural London Design Biennale at Somerset House this September. The London Design Biennale will mark the first time that Cooper Hewitt’s Immersion Room and Pen, developed by the museum in collaboration with leading design firms and made possible through the support of Bloomberg Philanthropies, are available outside of the museum. More than 35 countries will be participating in the Biennale, taking place from Sept. 7 to Sept. 27, which explores the theme of “Utopia by Design.”

“Cooper Hewitt’s interactive technologies bring design to life in innovative ways and invite people to explore the joy of creativity,” said Smithsonian Secretary David Skorton. “As we develop our long-term partnership with the Victoria and Albert Museum on a permanent exhibition space in London, the London Design Biennale is another opportunity to introduce the Smithsonian’s vast resources and knowledge to a global audience, building a bridge to the important theme of utopia.”

“As America’s design museum, Cooper Hewitt continually seeks new ways to advance the public understanding of design and serves as a dynamic, global resource,” said Caroline Baumann, director of the museum. “We are honored to have the opportunity to share our world-class collection and groundbreaking interactive experience with an international audience at the London Design Biennale.”

Cooper Hewitt’s Immersion Room—an interactive installation designed by Cooper Hewitt and Local Projects—will offer a selection of digitized wallpapers from the museum’s collection that embody the theme “Utopia by Design.” The Immersion Room uses digital and projection technologies to present the wallpapers at full scale. Using an interactive table in the Immersion Room, visitors will be able to explore wallpapers from the museum’s collection and create their own designs. The installation will focus on how people create ideas of utopia within their own homes, and how the designed home is a “place of respite” or “little slice of paradise.” Cooper Hewitt’s Assistant Curator of Wallcoverings Gregory Herringshaw selected 101 historic and contemporary utopia-related wallcoverings, from the 18th to the 21st century, ranging from secret gardens to youthful indulgences to exotic landscapes.

Visitors to the London Design Biennale will be issued a Cooper Hewitt Pen they can use to explore the collection of wallcoverings in the Immersion Room, save their favorite museum works and create and save their own designs. In addition, installations throughout Somerset House can be collected and saved with the Pen, allowing visitors to develop their interest in design and record their entire visit to the Biennale. Visitors will receive a receipt with a special URL and code allowing them to view their collection online after they have left the Biennale.

The Immersion Room installation and digital experience at the London Design Biennale are made possible by the Secretary of the Smithsonian and the Smithsonian National Board.


8360 - Exhibition of Zurbarán masterworks from Auckland Castle will tour the U.S.


Naphalti being packaged ready for shipping. Photo: Colin Davison courtesy of Auckland Castle.
The Meadows Museum at SMU announces a touring exhibition of life-size paintings by the Spanish Golden Age master Francisco de Zurbarán (1598–1664), on loan from Auckland Castle in England. Proposed by the Meadows—in collaboration with The Frick Collection, the Kimbell Art Museum, and the Auckland Castle Trust—the project includes an analysis of the paintings at the Kimbell’s noted conservation lab, as well as a scholarly publication about the unique history of this series, the most significant public collection of the artist’s work outside of Spain. The exhibition marks the first time these works will travel to the United States, and will premiere at the Meadows in September 2017, followed by a presentation at The Frick Collection beginning in January 2018.

Depicting the Old Testament figures Jacob and his Twelve Sons, the paintings are a visual narrative of Jacob’s deathbed act of bestowing a blessing on each son, blessings which foretold their destinies and those of their tribes. The works were purchased by Bishop Richard Trevor, Bishop of Durham, at auction in 1756 from the collection of a Jewish merchant named Benjamin Mendez. Trevor redesigned Auckland Castle’s Long Dining Room to house the series, seeing in the public presentation of these works an opportunity to make a statement about the need for social, political and religious understanding between Christians and Jews in the United Kingdom. The upcoming restoration of Auckland Castle—which involves the temporary desinstallation of the series from the room where it has hung for more than 250 years—presents this extraordinary study and exhibition opportunity.

“Francisco de Zurbarán is one of the greatest masters from the Golden Age of Spanish painting, and we are thrilled to be bringing these works to the United States for study and presentation,” said Mark Roglán, the Linda P. and William A. Custard Director of the Meadows Museum. “In Dallas, the Meadows Museum’s rich collection of Spanish masters will allow visitors to experience Jacob and his Twelve Sons fully contextualized within the history and aesthetic traditions of Spanish art.”


8359 - Getty Research Institute acquires major Käthe Kollwitz Collection


Outbreak, working proof for sheet 5 of the Peasants’ War series 1902/03. Käthe Kollwitz, (German, 1867–1945). Gray wash and white heightening, etching, drypoint, aquatint, lift ground, soft-ground etching, textile, and transfer screen. Getty Research Institute, Los Angeles.
The Getty Research Institute announced today the acquisition and partial donation of a major collection of works on paper accumulated by internationally renowned collector Dr. Richard A. Simms. This collection, assembled over 40 years, was built around Simms’ abiding interest in German artist Käthe Kollwitz (1867-1945) and includes artists in her orbit – Max Klinger (1857-1920), Emil Nolde (1857-1956), Otto Greiner (1869-1916), Ludwig Meidner (1884-1996), and George Grosz (1893-1959). The gift portion of this collection represents the largest donation of graphic art received by the J. Paul Getty Trust.

In conjunction with the GRI acquisition, the J. Paul Getty Museum has received as a gift from Dr. Simms the drawing Study for Heinrich von Kleist’s Broken Jug, 1876, by Adolph Menzel (1815-1905). This donation celebrates the work of recently retired Senior Curator of Drawings Lee Hendrix.

“Käthe Kollwitz is one of Germany’s most important artists and her accomplishments in the graphic arts and sculpture are extraordinary. These facts are generally not so well known or appreciated in the US. With the unique combination of prints, working proofs, and drawings that focus on Kollwitz’s early career, Dr. Simms assembled a study collection showing precisely how she came to represent a defining moment in European printmaking. They are a substantial addition to the Getty Research Institute’s Special Collections” said Thomas W. Gaehtgens, director of the GRI. “The Simms collection now counts as one of the most significant acquisitions of graphic art in the US and abroad. We are deeply grateful to Dr. Simms, not only for his extraordinary gift, and his foresight in building this unparalleled collection, but also for his long and fruitful relationship with the Getty. As founding chair of the GRI’s donor council, he has been a crucial partner in building our drawings and prints collections for the better part of two decades.”

Kollwitz was one of the great draftsmen and printmakers of the modern period, which is evident in the 41 drawings and 236 etchings, woodcuts, and lithographs collected by Simms. Many of the prints are working proofs, unfinished prints upon which she worked out an evolving composition in pencil, gouache, and chalk. If the Simms collection consisted only of Kollwitz’s masterpieces, it would be unparalleled in the US; but because Simms wanted to see Kollwitz in a broader context, he became a self-taught expert of the period and strategically assembled a coherent group of related works by her contemporaries, including a remarkable collection of 175 prints and 7 drawings by Klinger, who inspired Kollwitz to reject painting and devote herself to printmaking; prints and drawings by her second teacher Karl Stauffer-Bern (1857- 1891); and works by German Expressionists such as Ernst Barlach (1870-1938), whose woodcuts she admired; and Grosz, whose acerbic social commentary echoed Kollwitz’s own perspective. Simms’ interest in Kollwitz and the social and artistic milieu of late 19th and early 20th-century Germany led him to supplement his research library with letters by Kollwitz, Greiner, Klinger, and others, all of which are included in the donation.

“Kollwitz’s name invokes unforgettable images of the human condition—of war, protests, suffering, solidarity, familial bonds, mourning, and social justice expressed by powerful representations of the human body: mothers and children, men and boys hitched to ploughs, mourners on a battlefield, and uncompromising self- portraits,” said Louis Marchesano, curator of prints and drawings at the Getty Research Institute. “That the humanism of these images both documents and transcends the social and political upheavals of the early 20th century is well known, but because Kollwitz adhered to a staunchly figurative art in an era headed toward abstraction, and because she was a woman in a field dominated by men, her name recognition in the US isn’t what it should be.”

“Four decades ago when I began collecting,” said Dr. Richard Simms, “I was moved by Kollwitz’s images of the downtrodden, victims of war, and the underclass. But, I quickly understood that she was as dedicated to the artistic process as she was to humanism and social justice. I saw Kollwitz’s genius in the chalk, pencil, and wash emendations that cover the numerous working proofs I collected. This is why I pursued the greatest drawings, proofs, and finished prints at a time when these objects were still on the market. I wanted to build a masterpiece study collection that would encourage us to explore the depth of her thought, technique, and creativity. And I am convinced that the best place to carry out this exploration is at the Getty Research Institute.”

According to Marchesano, “what Dr. Simms understood about Kollwitz before most other collectors and scholars is that she managed to be an artist of the people, an artistic virtuoso admired by the most discerning collectors, and an artist’s artist. It is rather remarkable that she was able to move forward as she did without compromising her art or her political and social convictions.”

Käthe Kollwitz was born in 1867 in Königsberg, Germany (now Kaliningrad, Russia). Her father, the architect Karl Schmidt, encouraged her to pursue a career in art, which she began by training in Munich and Berlin. In the 1880s, she was directly influenced by Max Klinger’s prints and his tract Malerei und Zeichnung (Painting and Drawing), which convinced her to give up painting and devote her energies to the graphic arts. Her earliest surviving prints and drawings, important examples of which were acquired by Simms, date from around 1890.These include unflinching self- portraits as well as the remarkable study for her first important print Scene from Zola’s Germinal (1891).

During the next 15 years, she experimented with printmaking techniques and consolidated her reputation as one of history’s finest printmakers with two cycles, Ein Weberaufstand (A Weaver’s Revolt), 1897 and the Bauernkrieg (Peasants’ War), 1908. The undeniable power of the Peasants’ War intaglio series is brought into relief with the Simms collection’s preparatory drawings, proof impressions, and rejected compositions all of which document not only the evolution of individual images but also the general shift in her style away from a late 19th-century naturalism populated by incidental details toward a monumental figurative art informed by a sculptural sensibility.

The earliest composition which definitively marks Kollwitz’s departure from German naturalism is the famous Frau mit totem Kind (Woman with Dead Child, 1903), of which Simms collected not only extraordinary impressions, but also a heavily worked preparatory drawing on two sheets. The monumental, sculptural effects found here were reinforced in 1904 when Kollwitz lived in Paris. There she trained as a sculptor while experiencing the overwhelming influence of French Modernism, proof of which is offered by the single most critical drawing of this period, again in the Simms collection, the large Seated Nude Woman.

With continued success, her experiments in etching, lithography, and woodcut were well received. In 1919, she became the first woman admitted to the Berlin Akademie der Künste. In 1920, she published the impressive Gedenkblatt für Karl Liebknecht (Memorial sheet for Karl Liebknecht). Considered amongst the best of her mid-career, the sheet commemorates the death of Liebknecht, who was murdered along with fellow communist Rosa Luxembourg. The Simms collection includes an impressively large preparatory drawing, a version printed from a copperplate which Kollwitz rejected, and proof impressions of the final woodcut, as well as a sketch of the dead Liebknecht, who was drawn by Kollwitz at the request of the victim’s family.

In 1933, Kollwitz was expelled from the academy because of her support for an anti-Nazi petition in 1932. Her later work became less concerned with the kind of specific subjects that dominated the early part of her career in which Simms was most interested. Not unlike Rembrandt, what occupied Kollwitz throughout her life in print and drawing was self-portraiture—with images that range from an artist of youth and vigor who had just begun to explore the world, to a wizened, undefeated witness of modernity’s horrors.

Dr. Richard A. Simms became the founding chair of the Getty Research Institute’s Council in 2006 and a member of the Getty Museum’s Disegno Group in 2012. He has given significantly to both programs, including important works by Félix Vallotton, James Ensor, Giovanni Battista Piranesi, and František Kupka. He has lent works of art, including many by Kollwitz, to the Getty, and to other institutions, including the National Gallery of Art (Washington, D.C.) which in 1992 presented what remains the only major exhibition of Kollwitz’s work in the United States.

The Getty Research Institute’s collection of graphic works dates from the Renaissance to the present day and comprises about 35,000 individual prints, and hundreds of bound albums with many more prints, as well as art journals and related magazines illustrated with original prints. The GRI also holds hundreds of important sketchbooks, letters, and archives related to prints and printmakers. The Simms Collection joins these holdings as a major research resource and will be catalogued, digitized and exhibited.


8358 - Goya's Black Paintings reveal their secrets 200 years later


Highlighted in color, in the center of the group of pilgrims the enlarged portrait of Napoleon (39 x 30 cm) in the painting The Pilgrimage of San Isidro.
By Antonio Muñoz-Casayús / Edited and translated into English by Miguel Escobar Hoyos
 Why did the Spanish painter immortalize the French Emperor by discreetly painting his likeness in "The Pilgrimage of San Isidro"? The painting is one of fourteen "Black Paintings" he painted in a farm house outside Madrid just before he exiles himself to France. The farm house is a “Time Capsule” containing works of art with hidden messages that are only now revealing themselves to the world!

The discovery of the portrait of Napoleon in the Pilgrimage of San Isidro painting by Antonio Munoz-Casayús, led him to recognize and identify more than 20 other political and social figures of Goya’s contemporaries.

Goya caricaturized these personalities in order to hide their true identities from the authorities of the time. He did so to avoid prison or forced exile.

The discovery of these personalities and their role in the painting, contradicts the widely held belief by experts that the 14 (+1) Black Paintings by Goya were works without any specific meaning, painted by a sickly old man at the end of his career.

1808-1814: The drums of war in Spain threaten America ...
The Emperor begins the invasion of Spain and Portugal in order to consolidate a dominant position in Western Europe. A victory over the Iberian Peninsula would by default, secure his control over all of the Spanish and Portuguese colonies from North to South of the American continent. If his plan were to be successful, the Napoleonic Empire would possess a vast wealth of raw materials and expand his obligatory military draft pool amongst his new subjects thus fueling the size and power of his armies.

Napoleon set up a trade blockade against England called the "Continental System" which prevented it from all commercial trade with the rest of Europe. The goal was to ruin England financially.

In 1808, Spain burns and bleeds from all sides. It is a country in economic bankruptcy for close to two hundred years. The Napoleonic invasion and the War of Independence did nothing but increase the hardship of the Spanish patriots.

Goya, a graphic and vital chronicler of current events and their consequences, had long contemplated his exile to France. His liberal friends had been executed, imprisoned or deported. He cannot wait to leave Spain.

After defeating the French with the help of the British, and upon his return to Spain in July 1814, King Ferdinand VII, thinking that Goya had collaborated with Napoleon and his sympathizers, said: "Goya, not only do you deserve death, but the Gallows! If I forgive you, it's because I admire you!"

Having already suffered the unbearable trauma of two inquisitorial courts and without raising further suspicion, Goya methodically plans his escape to France.

Needless to say, freedom awaits Goya far from Madrid.

“He who cannot put out the fire of his house must abandon it.", Francisco de Goya, 1824.

Goya knows that his last days in Madrid are numbered. He moves away from the center of the city to a village in the outskirts where he can avoid gossip about his relationship with Leocadia Weiss as well as his nosey neighbours. In February, 1819, he buys the Huerta del Baño del Caballo property, otherwise known as the Quinta del Sordo which he transforms into a Time Capsule for posterity.

It should be noted that Goya had visited this property in 1812, seven years earlier upon the death of his dearly beloved wife, Josefa Bayeu. The property was located on the right bank of the Manzanares River, next to the bridge of Segovia, where the pilgrimage to the San Isidro hermitage begins. In the early nineteenth century, the area was a beautiful landscape of fields and country homes.

Given the unbearable situation for all Spanish democrats in absolutist Spain, his final destination was undoubtedly France. However, before leaving, he feels compelled to write his last message for history and therefore elects this farm house which meets with the conditions of privacy that he sought. There would be no more witnesses of his creations other than his immediate family. His friends have either left for exile in France or are been persecuted in their own country.

Goya has made his decision but still needs time. The time to rearrange the house, paint the fourteen murals that would decorate its walls and leave the property in the hands of his grandson Mariano, to conserve and maintain for his sporadic visits back from Bordeaux.

Goya knows all too well that he cannot buy time, even less at 75 years old and after suffering a very serious disease that same year.

There is no time to lose, so Goya gets right to work and paints rapidly. He conceives his works in his head long before putting brush to canvas. If he has to change anything, he only does it in the final phase of his work.

In a very short time, he creates fourteen paintings (Charles Yriarte, in 1867 mentions a fifteenth) on the walls of the small farm house. The dimensions of the paintings are irregular as they have to accommodate the existing walls of each of the rooms.

He remained in the house until his exile to Bordeaux in June, 1824.

In 1874, Jean Laurent photographed the fourteen mural paintings in Goya’s farm house before they were removed and transferred to canvas by the painter and restorer of the El Prado Museum, Salvador Martínez Cubells between 1874 and 1878. The work was commissioned by the French banker, Émile d’Erlanger, who was the new owner of the farm house.

D’Erlanger brought the Black Paintings to the Paris Universal Exposition of 1878 with the intention of selling them but was unsuccessful and had no interest from buyers.

In 1881, d’Erlanger donated the paintings to the Spanish state and had them placed in the El Prado Museum, where they have remained since 1889.

The painter’s farm house was left abandoned for a long time thereafter until it was finally demolished in 1909 because of its advanced state of deterioration.

Note by the editor:
This is an unparalleled moment in the history of Goya. Goya immortalized Napoleon on the walls of the Quinta del Sordo farm house. His face is characteristically Napoleon and his look is penetrating. He is the only character in the painting that is looking straight into the eyes of the observer, whether he is looking at the painting from one angle or another.

He is surrounded by his companions, but undistracted by the group nor their follies and their happy pilgrimage. Goya makes Napoleon, the center of the painting.

Napoleon looks directly into our eyes while his companions go on with their merriment and festivities. Napoleon is the center of the universe and he knows it. His grin deceives him and Goya will not lose the opportunity to reflect this moment in history.

Perhaps Goya wanted to depict a Napoleon that was concealing his real objectives from his allies in Spain.

For over 200 years, Francisco De Goya’s personal democratic beliefs were kept secret from the Spanish and French politicians and authorities of the day. He did so to escape certain death or exile. That would have been his fate if his enemies would have discovered the secrets in his paintings.

And until today, the Black Paintings were simply considered dark illustrations with no specific meaning, painted by a sickly and deaf man at the end of his career. On the contrary however, Goya ingeniously created these paintings with hidden messages. The Pilgrimage of San Isidro is full of images that tell their own separate story.

The Quinta del Sordo was Goya’s Time Capsule for future generations.

This is the first of a series of seven (7) articles prepared by the researcher, Antonio Muñoz-Casayus related to his discoveries and observations of Francisco De Goya’s painting, “The Pilgrimage of San Isidro”.
                                                                         Bron/Source : Artdaily


8357 - Sotheby's announces Museum Network


Inaugural series: The Treasures of Chatsworth is currently in production and will debut in Autumn 2016. Photo: Sotheby's.
Sotheby's announced the launch of an online destination to discover video content created by and about the world's leading museums. The digital hub will be called Sotheby’s Museum Network and it will be featured prominently on Sothebys.com as well as Sotheby’s Apple TV channel. The museums in this network will include internationally-renowned public institutions, such as the Metropolitan Museum of Art, Tate, and the National Palace Museum in Taiwan as well as well as newer institutions founded by private collectors, including the Garage Museum of Contemporary Art in Moscow.

In addition to syndicating museums' own content, the Sotheby’s Museum Network will also be the home of original programming conceived and produced by Sotheby’s. The Treasures of Chatsworth, a 13-part series on one of Europe’s greatest private houses and most significant art collections, is currently in production and will debut this autumn. Further information will be shared in the coming months.

Recent years have seen the opening of numerous private museums by passionate patrons, as well as record attendance at major exhibitions worldwide, reflecting a seemingly insatiable public interest in great art and collections. Sotheby’s Museum Network will reach a global audience for whom museums and foundations are a new entry point into the world of art, as well as seasoned collectors and connoisseurs who look upon these institutions as the ultimate source of authority on art and culture. It will ultimately encompass thousands of existing museum videos, which have never before been aggregated into one channel, making it easier for people to discover what they love as well as introducing new audiences to the great work that these institutions are creating worldwide.

“We are thrilled to host the extraordinary videos produced by our museum partners around the world," commented David Goodman, Executive Vice President, Digital Development & Marketing. “The Museum Network is a response to a growing global audience that wants to experience the world of art and collecting. The network is a natural evolution of the existing ties we have with museums through programs like Sotheby’s Preferred and we can now deepen those relationships with institutions and their benefactors as we expose their outstanding collections to millions of art lovers who engage via digital channels. The Treasures of Chatsworth is the perfect way to launch our drive into original video content creation centered on the arts and will be the first of many original films that will reveal the wonder of art and collecting.”


8356 - Art Loss Register announces work with 100 auction houses


Last year the ALR helped in the recovery of this 18th century Aubusson tapestry which is of great national importance. The item was stolen in France in 1982 and identified at auction in 2015 by the Art Loss Register. The piece measures 4.3m by 2m, and it is estimated at £7,000-£9,000. After more than three decades it is now returned to its original home and hangs in a château in Normandy.

The Art Loss Register announced that, they are working with 100 auction houses across the world who make use of their due diligence services.

This represents an increase of 50% in the number of auction houses checking their catalogues with the Art Loss Register in the last three years, reflecting the growing importance for art market professionals to carry out checks and due diligence.

The Art Loss Register’s scope is worldwide, with subscribers based in the UK, USA, France, Norway, Austria and Holland, and with growing numbers from Germany, Switzerland and Italy. There has been a noticeable increase in the number of smaller and regional auction house subscribers. The Art Loss Register checks 400,000 items offered on the international art market each year, the majority of which are in auction catalogues.

The key benefit for auction houses of searching items with the Art Loss Register is that it significantly reduces the risk of selling items that are stolen or subject to a claim, and the reputational and financial risks associated with this.

For the victims of theft and insurers, the increase in the number of auction houses working with the Art Loss Register means that their chances of recovery are significantly improving.

Last year alone, the Art Loss Register located stolen items ranging from artworks by Matisse, Picasso, Warhol, Keith Haring and Anish Kapoor, to Rolex watches, tribal art, English furniture and Roman antiquities in the sale catalogues of auction houses.

James Ratcliffe, General Counsel and Director of Recoveries at the Art Loss Register said, “It is fantastic to see the huge increase in subscribing auction houses over the last three years. This is testament both to the hard work and skills of the whole team here at the ALR; and also the increasing recognition across the market of the need to carry out a recognised standard of due diligence on transactions. As a result, it is becoming more and more difficult for thieves to profit from the theft of art.”

The Art Loss Register, established in 1990 and based in London, is the world’s largest private database of stolen, missing and looted art, antiques and collectibles. The Art Loss Register also holds records of fakes and forgeries, items which are subject to a dispute, and items against which a loan has been secured. The Art Loss Register also offers a pre-loss registration service for museums and large permanent collections.

There are currently half a million items listed on the database. The range of items is considerable and includes paintings, sculptures, antiquities, watches, clocks, jewellery, musical instruments, furniture, books and coins.  



8355 - Rupertinum building reopens and Generali Foundation Study Center inaugurated


Rupertinum reopening.
In the early seventeenth century, under Archbishop Paris Lodron, the “Collegium Rupertinum” was a seminar for aspiring priests. The spirit of scholarship that has slumbered in the building to which it gave its name is now coming back to life in a center devoted to learning about and expertise in modern and contemporary art.

After several months of renovations, the galleries on three levels of the Rupertinum, with a total floor space of 4.300 sq ft, feature a contemporary look and state-of-the-art technology. The redesigned rooms on levels 1 and 2 benefit from more open floor plans and views of the neighboring Salzburg Festival district. On levels 2 and 3, 3.800 sq ft have been allotted to the newly created Generali Foundation Study Center, which houses a specialist library, archives, and an extensive video collection. The facilities also include a reading room with workstations and the Franz West Lounge with furniture designed by the artist on level 3.

“At long last, the remodeled galleries in the Rupertinum building are up to contemporary standards,” Sabine Breitwieser is pleased to note. “And we are extremely proud that the Generali Foundation Study Center, which holds one of the most important libraries and archives dedicated to contemporary art in Austria, makes the new Rupertinum a vital addition to the ensemble of institutions of learning and scholarship in Salzburg,” the Museum der Moderne’s Director adds. “We are proud that our efforts to raise the funds of € 950.000 for the renovation of the Rupertinum have been successful and pleased to see Salzburg’s standing as a center of art and culture enhanced,” State Minister of Culture Heinrich Schellhorn says.

Working with the renowned office Kuehn Malvezzi architects (Berlin/Milan), the allocation of functions and spaces at the Rupertinum was retooled to allow for a symbiotic union of exhibitions, preservation efforts, scholarly undertakings, art education programs, and a wide variety of forms of engagement with art. By encouraging hands-on research into its holdings facilitated by trained staff, the Study Center fuses visual immediacy and scholarly research for an immersive learning experience.

The Generali Foundation Study Center and the special exhibition on view in its rooms are accessible to the public free of charge; students and experts as well as members of the public who are curious about modern and contemporary art are invited to use the facilities.


8354 - BOZAR, Brussels introduces the Pieter Paul art guide app


Facing the Future. Art in Europe 1945-68 sheds light on 180 works created between 1945 and 1968 by artists from Europe and the former Soviet-Union.
BOZAR is launching the Pieter Paul app, a free digital art guide that accompanies the visitor around the exhibition Facing the Future: Art in Europe 1945-68. Facing the Future features some 180 works of art from the period 1945-1968, with works from Europe and the former Soviet Union and by major artists including Fernand Léger, Vladimir Tatlin, Gerhard Richter and Pablo Picasso.

As a visitor to Facing the Future you can use your smartphone to log onto the free Wifi network Guests@BOZAR, entering “bozar” (small letters) as ID and “picasso” (small letters) as the password. You can then use the Pieter Paul app as your personal guide to the exhibition: simply take a photo with your smartphone of the Pieter Paul logo displayed next to an artwork to receive more information right away. Information videos on the exhibition are also available through this app and photos and descriptions of certain works can be downloaded. In this way you can make a virtual tour ahead of your visit or continue to enjoy the experience back home.

Pieter Paul also provides you with further practical information on (events at) BOZAR, such as an overview and sneak peek at current exhibitions plus details of opening times, admission prices and contact details. The app also allows you to keep your favourite artists and artworks in a personal collection and to receive related tips and info.

Facing the Future. Art in Europe 1945-68 sheds light on 180 works created between 1945 and 1968 by artists from Europe and the former Soviet-Union (Fernand Léger, Vladimir Tatlin, Gerard Richter, Dmitry Krasnopevtsev...). In spite of tensions between East and West Europe in the years following the Second World War, artists on both sides of the Iron Curtain were experimenting with similar art forms such as media art, action painting, conceptual art and sound art. Along with the Pushkin Museum in Moscow and the ZKM in Karlsruhe BOZAR is putting on its very first retrospective of the artistic movements which flourished in East and West Europe after the Second World War.


8353 - Sixth edition of the Thessaloniki Biennale of Contemporary Art to take place in September of 2017


External view of the north wing of the monastery Lazariston complex During the 150 years of its history, the building, housed -among others- refugees from Asia Minor after 1922. In the last two decades it houses the State Museum of Contemporary Art, organizer of the Thessaloniki Biennale of Contemporary Art. Photo: Adonis Kekidakis.
After ten years and five successful Biennials of international prestige and press coverage, with curators and visual artists from Greece and abroad, with collaborations from various institutions, interventions in public spaces and thousands of visitors, the State Museum of Contemporary Art is already planning the sixth edition of the Thessaloniki Biennale of Contemporary Art, to take place in September of 2017.

The Thessaloniki Biennale of Contemporary Art, which was first introduced to the public in June of 2007, is operating under a new structure, with updated goals and an emphasis on a collaborative curatorial team, placing the Home at the core of its concept, as an imagined construction.

In our times, the notions of residence, community and homeland, wherever one feels safe and accepted, has his roots and develops his social and family relations, are no longer a certainty. The Biennial will attempt to trace their imagined construction and fluidity, as a projection and future expectation, through incorporating past experience.

The 6th Thessaloniki Biennale of Contemporary Art aspires to embrace all contemporary tendencies and trends, to introduce some less or more prominent artists and groups, to utilize the practice of open calls, to spread out in various venues across the city, to cooperate with cultural and educational hubs on a unified program of successive events, to interact with everyday life and to offer outlets for visions and transcendence.