8412 - Smithsonian American Art Museum opens its new galleries for Folk and Self-Taught art - Washingtob, DC


David Butler, Nativity, 1968, paint on tin. Smithsonian American Art Museum. Museum purchase through the Luisita L. and Franz H. Denghausen Endowment.
The Smithsonian American Art Museum’s collection of folk and self-taught art represents the powerful vision of America’s untrained and vernacular artists. Represented in the museum’s collection are pieces that draw on tradition—such as quilts—and artworks that reveal a more personal vision. The museum has reimagined its permanent collection galleries to feature 59 recent acquisitions, an expanded presentation of the beloved “Throne of the Third Heaven of the Nations Millennium General Assembly” by James Hampton, reopened historic windows and new oak floors. The galleries open to the public Friday, Oct. 21.

“The Smithsonian American Art Museum has long recognized folk and self-taught art as integral to the greater story of American art,” said Betsy Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “The museum’s mission to tell the story of America through the art of its people is particularly relevant at a time when museums everywhere are realizing that an expanded narrative of what American art is is necessary for engaging and satisfying contemporary audiences and accurately portraying the scope of creativity in this country.”

Recently acquired works by Consuelo Gonzalez Amezcua, Emery Blagdon, David Butler, Ulysses Davis, Ralph Fasanella, Clementine Hunter, Dan Miller, Joe Minter, Eddy Mumma, J.B. Murray, Achilles Rizzoli, Melvin Way, Charlie Willeto, Clarence and Grace Woolsey, Purvis Young and Albert Zahn join visitor favorites by Thornton Dial, Lonnie Holley, Martín Ramírez and Jon Serl. A striking presence in the galleries is a display of more than 60 sculptures and paintings by Blagdon that represents his constantly changing “Healing Machine.” It is the second-largest installation of his work on public view in the United States.

“The first-floor galleries for folk and self-taught art should have a powerful impact on visitors, conveying not only the museum’s commitment to diverse American narratives and manifesting the tremendous quality, depth and power that art by untrained artists can have, but also affirming its rightful position in a museum of great art,” said Leslie Umberger, the museum’s curator of folk and self-taught art.

Since it acquired Hampton’s “Throne” in 1970, the museum has been recognized internationally as a leader in championing the importance of works by artists who have no formal art training. Subsequent acquisitions, including major collections from Herbert Waide Hemphill Jr., Chuck and Jan Rosenak, and David L. Davies in the 1980s and 1990s, as well as recent selections by Umberger, have resulted in the museum becoming one of the only major American museums to clearly advocate for a populist and uniquely American voice within the context of great art.

On public view for the first time in the new installation of the “Throne” are Hampton’s personal journal, written primarily in an asemic, or unreadable script, and a chalkboard showing some plans for the “Throne” sketched by Hampton. The journal will be on display for a limited time. While the “Throne” may have been viewed as idiosyncratic visionary art when it was first acquired, it has become increasingly understood as a seminal representation of African American cultural and artistic heritage, a complex piece that embodies not just the artist’s personal vision but also a cultural tradition of giving visual testimony to spiritual beliefs.

“Studies in African American vernacular art advanced because the Smithsonian American Art Museum took the ‘Throne’ seriously as a work of art long before anyone fully grasped what it was,” Umberger said.

In addition to the 126 works on view on the first floor, folk and self-taught artists are featured throughout the museum’s galleries as part of the larger story of visual expression in America. For example, a major painting by Grandma Moses, “Grandma Moses Goes to the Big City,” hangs in the American Experience galleries; a painting by Horace Pippin hangs in the early modernist galleries; a painting on paper by George Widener hangs in the Lincoln Gallery; and William Edmondson’s iconic “Talking Owl” is on view in the Direct Carving installation. The museum’s permanent collection galleries on the second floor feature two galleries for folk and self-taught works that predate the 20th century, and additional works—old favorites and recent acquisitions alike—remain on view in the museum’s Luce Foundation Center on the third floor.


8411 - VMFA completes works on paper conservation project - Richmond, VA


Ernst Ludwig Kirchner (German, 1880-1938). Three Boys, Fehr’s Sons, 1915. Woodcut on wove paper, 22 ¾ x 16 15/16 in. (57.79 x 43.02 cm.) Virginia Museum of Fine Arts; The Ludwig and Rosy Fischer Collection, Gift of the Estate of Anne R. Fischer (Photo: Virginia Museum of Fine Arts)  The Virginia Museum of Fine Arts has recently completed a year-long project to conserve, stabilize, and digitize 60 works on paper from the Ludwig and Rosy Fischer Collection of German Expressionist Art. The conservation efforts were made possible by a grant from the Bank of America Art Conservation Project.

VMFA was among only thirteen institutions selected in 2015 to receive funding from the Bank of America Art Conservation Project, which seeks to preserve culturally significant works of art from around the world. “Our Art Conservation Project is designed to not only conserve artworks and shine a light on the need for the preservation of artistic and historic treasures, but also to educate communities, and convey respect for the varied cultures and traditions throughout the world,” said Victor Branch, Richmond market president, Bank of America.

Works by key German Expressionists—Max Beckmann, Peter August Böckstiegel, Otto Dix, Conrad Felixmüller, Erich Heckel, Ernst Ludwig Kirchner, and Emil Nolde—have received complete restoration as part of the project. The first selection of newly restored pieces—seven works on paper by Ernst Ludwig Kirchner—have recently opened in the museum’s European Modernism Galleries.

“Thanks to generous support from Bank of America, we have successfully stabilized and preserved these fragile works, ensuring they will be available for public display and inclusion in educational programming for generations to come,” VMFA Director Alex Nyerges said. “The digitization of these works from The Fischer Collection advances our ongoing efforts to share our encyclopedic collection and tell more in-depth stories about the artists and artistic movements represented throughout the museum.”

The Ludwig and Rosy Fischer Collection has garnered national and international attention, standing among other noteworthy holdings of German Expressionist art at the Museum of Modern Art (New York), the Los Angeles County Museum of Art, and the Saint Louis Art Museum. The Fischer Collection also represents an important asset to the academic communities based in Richmond. These newly preserved works will join those already on display, further strengthening a collection that provides countless learning opportunities for both scholars and the general public.

The History of the Ludwig and Rosy Fischer Collection
Known for containing many significant examples of Die Brücke, the Fischer Collection’s evolution reflects the history of early 20th-century Europe. Between 1905 and 1925, Ludwig and Rosy Fischer of Frankfurt, Germany, amassed a collection of art created by a group of radical young artists. The forward-thinking couple acquired examples of German Expressionist paintings, sculpture, drawings, prints, and illustrated books, but their collection did not survive the Third Reich intact. Upon their deaths in the mid-1920s, the collection was divided between their sons, Max and Ernst. In 1934 as the Nazi party gained power, Ernst and his wife Anne left Germany for the United States with their half of the collection packed among their household goods. The couple settled in Richmond where the art was preserved in their home for more than 70 years. When Max Fischer fled Germany a year after his brother, he had to leave his portion of the collection behind and it was presumed lost, stolen or destroyed during World War II. In 2009, the Ludwig and Rosy Fischer Collection of German Expressionist Art became part of VMFA’s permanent collection. Through a gift-purchase agreement with Anne Fischer (1902–2008), the widow of Ernst (1896–1981), the museum acquired approximately 200 works from one of the 20th century’s most significant movements. Earlier this year, Ernest Ludwig Kirchner’s Sand Hills in Grunau (1913)—one of the paintings from Max’s portion of the collection that had been presumed lost—was returned to the Fischer family and acquired by VMFA through a gift-purchase agreement.

With works dating just before World War I through the 1920s, the collection has a strong emphasis on Die Brücke—“the Bridge”—a pivotal movement within German Expressionism. Responding subjectively to the changing world around them, members of Die Brücke often used distorted forms and a vivid palette of bold colors. Printmaking was also a central practice for German Expressionists; woodcuts, etchings, and lithographs allowed wider distribution and accessibility of their work. As a founder and leader of the Die Brücke movement, Kirchner developed a particularly expressive style with woodcuts. The handwritten notes addressed to Herr and Frau Fischer on the bottom of many of the Kirchner prints in the museum’s collection attest to his personal relationship with the Fischer family. The Fischers owned more paintings by Kirchner than any other artist, and his work, including the exceptional group of prints on display now in the first installation of works conserved with funds from the Bank of America grant, form the core of their collection. One of the woodcuts included in this group, Three Boys, Fehr's Sons, 1915 was likely based on a painting Kirchner made of the same subject, which Ludwig and Rosy Fischer also acquired. However, it was among the paintings that Max Fischer left behind when he fled Nazi Germany in 1935, and it remains lost.



8410 - Christie's announces a new flagship space in Beijing


The new exhibition and office space was unveiled at a grand opening on October 15th. © Christie’s Images Limited 2016.
In Christie’s 250th year, the company announces continued expansion in China led by a brand new flagship space that opened in Beijing in autumn 2016. The new exhibition and office space was unveiled at a grand opening on October 15th. A special exhibition of works by Pablo Picasso (1881-1973) explores his influence on Chinese artists. The space also showcases works by other leading pioneers including Max Ernst, Fernando Botero, Sanyu, Chu Teh-Chun, and Zeng Fanzhi.

Patricia Barbizet, Chief Executive Officer, Christie’s, “We are proud to have found Christie’s a new home in Beijing, a city that is characterized by its tremendous cultural heritage and a profound collecting tradition. Christie’s continues to grow and invest in China and our new Beijing space marks an important milestone during our 250 year mission to connect art and collectors. We look forward to further exchanges with the art community and contributing to the diversified Chinese cultural landscape.”

As the world’s leading art business, Christie’s remains committed to its mission of promoting dialogue and cultural exchange within the art ecology in China. Following the opening of Christie’s Shanghai at the historical Ampire building in 2014, Christie’s continued focus is on increasing access to collecting and the enjoyment of the arts for all audiences across China. Located on #82 Jinbao Street and spanning over three floors, the new Beijing space is equipped with state-of-art facilities over 800 square meters. Conceived under the same aesthetic principles of Christie’s international sites such as London, Paris, New York and Hong Kong, Christie’s Beijing provides a multifunctional and interactive venue for exhibitions, art forums, lectures and other activities.

A special exhibition of six works by Picasso, the most heralded artist of the 20th century, was unveiled for the grand opening of the new flagship space. This exhibition explores the artist’s extraordinary oeuvre-- the themes and muses that populated his art throughout his prolific career, as well as Picasso’s connection to Chinese artists. While Picasso’s paintings and his various artistic styles may not reveal distinct influences from Chinese art, the artist, in fact, was familiar with and curious about the Middle Kingdom’s rich painting tradition. Picasso especially liked and studied the lively and energetic paintings by Qi Baishi (1864-1957) and became friends with Zhang Daqian (1899-1983), the two most influential modern masters from China. This exhibition is an exclusive preview of Picasso’s works which will be offered in Christie’s New York Impressionist and Modern Art Evening Sale on November 16. Highlights exhibited include Tete de Femme, 1943 and Buste de Femme, 1938, two very different portraits of his great wartime lover and muse, Dora Maar.

Jinqing Cai, Chairman, Christie’s China, “As we raise the Christie’s flag in our newly established art space in Beijing, I sincerely hope it becomes an integral part of the rich cultural heritage and the diverse art community of the city. We will continue our role in acting as a cultural ambassador and provide best access and expertise for art lovers, collectors and institutions between China and the world.”


8409 - eBay launches eBay Collective to provide a new, curated experience for interior designers and consumers


eBay launched a new destination, eBay Collective, an elevated shopping experience to provide interior designers and consumers with curated inventory of furniture, antiques, contemporary design and fine art. The bespoke experience has been specifically developed for eBay’s 164 million active buyers looking for sought-after products from trusted dealers and galleries. Dealers featured on the destination have been invited by eBay, and they meet eBay’s criteria to ensure a high-quality shopping experience.

“eBay’s brand is about helping every person find their version of perfect. Following our launch of eBay Wine this spring, eBay Collective is another example of how we’re committed to providing our consumers with curated experiences that are complemented with unique inventory and increased scope of choices to shop from,” said Jill Ramsey, eBay’s Vice President of Soft Goods. “Whether you are looking for a unique piece of furniture from a specific time period or one-of-akind piece of artwork for your home that reflects your own style, eBay Collective will help shoppers to find that perfect piece.”

eBay has also integrated “Shop the Look” Artificial Intelligence technology that is powered by eBay’s recent acquisition of Corrigon. With “Shop the Look,” image recognition technology allows shoppers to hover over an image and the tool searches eBay’s listings to surface inventory that matches or is a close match to that particular portion of the image.

The inventory on eBay Collective spans one-of-a-kind objects that can traditionally only be found in independent brick-and-mortar stores, while showcasing the incomparable selection that eBay offers, in an inspired, dedicated destination.

eBay will be syndicating select editorial stories from both Architectural Digest and Archdigest.com about decorating, shopping, and industry happenings—providing access to curated content, and inspiring customers to shop eBay Collective based on the latest trends in the design world.

“eBay’s partnership with Architectural Digest is yet another example of how eBay is providing a truly inspiring shopping experience,” said Suzy Deering, eBay’s Chief Marketing Officer of North America. “By aligning eBay’s unmatched inventory with Architectural Digest’s imagery and content, we’re creating a one-stop destination where inspiration leads to purchase on the same platform.”

Key categories of eBay Collective are furniture, antiques, contemporary design and fine art. Premium storefronts provide dealers with additional opportunities to build their brands and enable easy repeat shopping. eBay’s make-an-offer functionality provides the flexibility for dealers to offer trade discounts on their fixed-price selection. In addition, eBay has developed a white-glove managed shipping service that offers flat rates on continental US freight to simplify transactions. The platform is also available on mobile devices.

eBay by the Numbers:
• eBay Inc. has 164 million active buyers
• 1 billion listings at any given time
• Most are backed by eBay Money Back Guarantee


8408 - Virginia Museum of Fine Arts launches digital Fabergé archive - Richmond, VA


The Virginia Museum of Fine Arts announced the launch of its first digital archive, which documents the formation of the museum's renowned Fabergé and Russian decorative arts collection at www.faberge.vmfa.museum. Organized through the museum’s Margaret R. and Robert M. Freeman Library, this project was made possible in part by the National Endowment for the Humanities.

Bequeathed to the museum upon her death in 1947, Lillian Thomas Pratt’s Fabergé collection consistently remains one of the highlights of the museum’s permanent collection. In 1917, Pratt married her second husband, John Lee Pratt, a self-made millionaire engineer and businessman with General Motors. She began purchasing her collection of over 500 items, while accompanying her husband on business trips to New York City in the 1930s and 1940s. She eventually bought five of the 50 Russian Imperial Easter Eggs created by the Fabergé firm. Comprised of correspondence, invoices, price tags, and detailed item descriptions, the archive illuminates Pratt’s mind as a collector, as well as the close relationship she formed with her dealer, Alexander Schaffer.

“There is tremendous interest in VMFA’s Fabergé collection, both among scholars and the general public,” VMFA Senior Deputy Director of Collections and Conservation Stephen Bonadies said. “This online archive will allow us to share unique information about these objects with more people and, potentially, learn more about the collection for our own research purposes.”

More than 700 items have been digitized, resulting in 1,500 downloadable image files, all of which are available to the public via a new online portal dedicated to digital resources about Fabergé and Russian decorative arts. The website provides access to the digitized Pratt archive, newly filmed videos of the imperial Easter eggs opening, new 360° views of the imperial Easter eggs, and downloadable resources for educators. The website also links to the new Fabergé at VMFA mobile application that allows users to explore the collection through five different historical perspectives and design and share a Fabergé mini egg.

Designed by the creative technology company Vibethink, and powered by Piction, the museum's digital asset management system, the launch of the portal coincides with the highly anticipated return of the Fabergé collection, which will be displayed in a new suite of renovated galleries opening to the public on October 22, 2016.



8407 - British artist David Hockney makes a splash at Frankfurt fair with 2,000-euro book


British artist David Hockney poses with his book "SUMO - A Bigger Book" during the Frankfurt Book Fair in Frankfurt am Main, western Germany, on October 19, 2016 The world's largest book fair runs from October 19 to 23, 2016. In the spotlight as guest of honour is the literary culture and language of Flanders and the Netherlands.
Arne Dedert / dpa / AFP.
British contemporary artist David Hockney unveiled a 500-page art book at the Frankfurt fair on Wednesday that is so large it comes with its own stand -- and a price tag of 2,000 euros ($2,200).

The tome, "A Bigger Book", gives a visual overview of his decades-long career and includes everything from his earliest drawings to his famed swimming pool paintings and polaroid collages, to his more recent iPad drawings.

The 79-year-old, wearing a white flat cap and a yellow tie with a green cardigan, leafed through every page of the book in an hour-long presentation at the fair, but gave few comments beyond a brief description of the works.

The book itself only contains a few lines of hand-written text, letting the art do the talking.

"A book like this doesn't need much text," Hockney told the audience. "You just need pictures."

The book's title is a nod to one of Hockney's most well-known works, the 1967 painting "A Bigger Splash", which depicts a sun-soaked swimming pool right after someone dived into it.

The book weighs 35 kilogrammes (77 pounds) and measures 50 by 70 centimetres (20 by 27 inches). It comes with a three-legged, custom-made stand.

Just 10,000 copies exist, all of them signed by the artist.

The book's launch was one of the most eagerly awaited at the Frankfurt fair, which opened its doors to the public on Wednesday and runs until Sunday.

The Frankfurt book fair is the world's largest publishing event. It is also the oldest, dating back to the Middle Ages.
© 1994-2016 Agence France-Presse


8406 - IFAR announces catalogue raisonnés database enhancements


Database users will now be able to link to WorldCat to locate the library nearest to them that holds a print copy of a particular catalogue.
The International Foundation for Art Research (IFAR)—the leading organization addressing critical art-world issues regarding attribution, authenticity, and provenance—announced today the launch of new enhancements to its online Catalogues Raisonnés Database. New features and functionality include external links to the complete or partial digitized text of published catalogues raisonnés available on Google Books, HathiTrust, Internet Archive, and other online platforms. Additionally, Database users will now be able to link to WorldCat to locate the library nearest to them that holds a print copy of a particular catalogue. IFAR’s comprehensive resource—the only one of its kind—is regularly updated and available free of charge at www.ifar.org.

Launched in 2008, along with IFAR’s Art Law & Cultural Property Database, the Catalogues Raisonnés Database features annotated bibliographic information and links to additional resources regarding over 3,800 published catalogues raisonnés and approximately 350 catalogues-in-preparation concerning 2,580 artists. Both completed publications and those in preparation can be searched separately or together by the author’s name, or the artist’s name, place of birth or death, or period of activity.

Scholarly compilations of an artist’s body of work, catalogues raisonnés and information about them are essential research tools for academics, students, museum curators and administrators, collectors, appraisers, dealers, provenance researchers, and other art professionals and enthusiasts.

IFAR’s Executive Director Dr. Sharon Flescher said, “Catalogues raisonnés are integral to IFAR’s educational and research mission, and the Catalogues Raisonnés Database stems from that mission. Because catalogues raisonnés document all the known works of an artist, they are essential reference tools for researching the attribution and provenance of a work of art. This is a crucial element in promoting integrity in the visual arts. We hope that these new features will further serve the art community worldwide and bring new users to explore this already popular and singular resource.”

Dr. Flescher serves as the project’s co-director with Dr. Lisa Duffy-Zeballos, IFAR’s Art Research Director.

Before IFAR created the Database, information about catalogues raisonnés was difficult to find. Catalogues still in preparation were even more challenging to track because they can take years to be completed. This Database and the organization’s other trusted online tools, award-winning IFAR Journal, and public programs, advance IFAR’s position as a respected leader and vital resource in the art community.

The improvements were made possible by a Planning Grant awarded to IFAR by the National Endowment for the Humanities (NEH) in 2015. Additional funding was generously provided by The Gladys Krieble Delmas Foundation, the Dr. Lee MacCormick Edwards Foundation, and the Mr. and Mrs. Raymond J. Horowitz Foundation.

Numerous libraries, museums, and other institutions provide links from their websites to IFAR’s Database. In 2012, the New York Public Library partnered with IFAR to regularly inform the organization of newly published catalogues thereby facilitating the Database’s ongoing expansion.


8405 - Nationalmuseum releases 3,000 images on Wikimedia Commons - Stockholm

Berthe Morisot, In the Bois de Boulogne
 Nationalmuseum is making 3,000 high-resolution images of its most popular artworks available for free download on Wikimedia Commons. Zoomable images will also be added to the museum’s online database. The digitization project is a major advance in making Nationalmuseum’s collections more accessible.

While the Nationalmuseum building is under renovation, only a small part of the collections is accessible to the public. To provide more opportunity for people to enjoy its artworks, the museum embarked last year on a joint project with Wikimedia Sweden. As a result, high-resolution images of some 3,000 paintings from the collections are now available for download on Wikimedia Commons as public domain. This means they are part of our shared cultural heritage and can be freely used for any purpose. The images are also now zoomable, but not currently downloadable, in Nationalmuseum’s online database.

“We are committed to fulfilling our mission to promote art, interest in art, and art history by making images from our collections an integral part of today’s digital environment,” said Berndt Arell, director general of Nationalmuseum. “We also want to make the point that these artworks belong to and are there for all of us, regardless of how the images are used. We hope our open collection will inspire creative new uses and interpretations of the artworks.”

Nationalmuseum will continue to make its collections more accessible as digitization gathers pace and digital infrastructure improves. The longer-term goal is to create a portal offering quick and easy access to all the museum’s fine art collections and archives. Nationalmuseum joins a growing number of museums that have released images of their collections, including The Royal Armoury and Skokloster Castle with the Hallwyl Museum Foundation in Sweden, the Rijksmuseum in Amsterdam, and the National Gallery of Denmark in Copenhagen. Data on the images in Wikipedia Commons, including links to the zoomable versions, is available on GitHub as raw material for coders taking part in Hack4Heritage – an event being organized by Digisam, the agency coordinating the digitization of Sweden’s cultural heritage, in partnership with the Stockholm City Archives.


8404 - Pérez Art Museum Miami announces landmark acquisition from the Sackner Archive of Concrete and Visual Poetry


Guillaume Apollinaire, Paintings of Léopold Survage; Drawings and Watercolors of Irène Lagut, 1917. Softcover exhibition catalog with 12 lithograph pages tinted with watercolor. Published by Chez Madame Bongard Edition of 250; ten editions tinted with watercolor 11 x 7-1/2 x 1/4 inches. Collection of Ruth and Marvin Sackner. Photo: © Sid Hoeltzell
Pérez Art Museum Miami announced its major acquisition of over 400 language-based artworks from the world-renowned, Miami-based collection of Ruth and Marvin Sackner. The acquisition is a combined gift and purchase made possible thanks to the generosity of the John S. and James L. Knight Foundation and Marvin Sackner and his late beloved wife Ruth of 59 years, co-founder of the Sackner Archive of Concrete and Visual Poetry. The museum will receive the contents of PAMM’s well-regarded 2013 exhibition, A Human Document, which was part of the museum’s inaugural exhibition series. Additionally, PAMM curatorial staff selected another 150 pieces representative of the collection’s breadth and historical importance. A new exhibition celebrating this milestone currently scheduled for June 2017 will be unveiled in the Diane and Robert Moss Gallery.

“The Sackner Archives are like no other, just like Miami. The collection challenges conventional understanding of words and poetry and presents them as concrete art,” said Knight Foundation President Alberto Ibargüen. “Ruth and Marvin created this world-class collection over a lifetime in Miami, making PAMM its perfect home.”

“Ruth and Marvin Sackner put together a singular, prescient collection, one that preserves the history of numerous distinct fields of twentieth-century art while celebrating radical experimentation,” adds PAMM Director Franklin Sirmans. “This is a unique resource, for the public and scholars alike. And, rightly, the bulk of this treasure, collected over several years by a very special collecting couple, will remain here in Miami. The acquisition, thanks to our collaborators at Knight Foundation, further elevates PAMM as a requisite destination for art and scholarship, not just in Miami, but in the world. It also gives the museum another bridge in the discussion of modern art going back to its formation in the early 20th century.”

Consisting of over 70,000 objects, the Sackner Archive of Concrete and Visual Poetry constitutes the largest private collection of verbal/visual creative production in the world, with notable strengths in typewriter art, artist books, micrography, sound and performance poetry, mail art, experimental calligraphy, and numerous other subcategories. The collection is grounded in the early 20th-century European avant-garde, bringing together vibrant examples of the linguistic and typographic experiments that emerged from several foundational modernist movements, from Italian Futurism to Dada, Russian Constructivism, Surrealism, and Situationism.

“It’s a great pleasure to see this selection at PAMM,” says Marvin Sackner. “Ruth and I spent decades collecting, regarding each piece as a work of art, a piece of history, and a constant source of knowledge. Now the works can have the same effect on countless others.”

The Sackner Archive’s contemporary holdings are also expansive, encompassing important works by thousands of artists including Carl Andre, Öyvind Fahlström, León Ferrari, Ian Hamilton Finlay, John Giorno, Jenny Holzer, Paul Laffoley, Shirin Neshat, and Tom Phillips. PAMM’s selection was determined with an eye toward representing the Sackner collection proportionally and in both breadth and depth, preserving its unique conceptual framework for future generations.

Highlights from the PAMM acquisition:

Jenny Holzer
Jenny Holzer is best known for artworks that take the form of short, barbed statements, such as “Protect me from what I want,” or “Abuse of power comes as no surprise.” The PAMM acquisition includes Holzer’s Olympian Sign (1986), an LED device that displays a continuous scroll of Holzer’s aphorisms drawn from her Truisms, The Living Series, and The Survival Series.

Carl Andre
Minimalist Carl Andre is considered one of the most important visual artists of the 20th century, yet his significant contributions to the field of English-language visual poetry remain under-recognized. PAMM’s acquisition from the Sackner Archive includes five notebooks containing a total of over 350 individual Xeroxed sheets. In his poems, Andre uses words as modular units arranged in sequential formations, in ways that evoke the bricks, blocks of wood, and sheets of metal that he employed in his seminal sculptural practice. The PAMM acquisition also includes a rare original typewriter poem titled July 26 Movement Cuba Side 2, from 1965.

Guillaume Apollinaire
Guillaume Apollinaire was a profoundly influential art critic, theoretician, and advocate of the early 20th-century Parisian avant-garde. He was also one of the first practitioners of modern visual poetry. PAMM’s acquisition from the Sackner Archive includes rare editions of Apollinaire’s Les Soires de Paris (1914), and Calligrames (1918). It also includes Apollinaire’s Peintures de Léopold Survage (1917), an exhibition catalogue that features 13 striking picture poems taking the form of horses, clocks, flowers, and other visual motifs. This extremely rare, signed edition is one of only ten copies that Apollinaire tinted by hand with watercolor.

Marcel Broodthaers/Stéphane Mallarmé
The PAMM acquisition includes a rare 1897 publication of Stéphane Mallarmé’s “Un Coup de dés” (“A Throw of the Dice”). As the first modern concrete poem, it is considered a landmark in the history of experimental literature. The acquisition also includes Marcel Broodthaers’s 1969 adaptation of “Un Coup de dés,” in which Mallarmé’s words are struck through with black lines, preserving only the poem’s visual structure. By printing his version on translucent paper, Broodthaers allows the observer to view the poem’s configuration across multiple pages simultaneously; each turn of the page generates a new abstract-geometric composition. The PAMM acquisition also includes a 1972 print diptych by Broodthaers titled Ðas Recht.

Augusto and Haroldo de Campos
The PAMM acquisition includes rare, unpublished manuscripts by Augusto and Haroldo de Campos. The de Campos brothers were among the principal progenitors of the pivotal strand of concrete poetry that emerged in Brazil in the 1950s.

Ian Hamilton Finlay
The PAMM acquisition includes several dozen examples of Ian Hamilton Finlay’s “poster-poems,” in which the Scottish artist adopted the silkscreen technique and format associated with the ordinary, mass-produced poster: what appear at first glance to be mundane advertisements for retail stores, rock concerts, movies, and other forms of popular consumption are actually sly conceptual interventions in disguise.

Tom Phillips
The PAMM acquisition includes several selections from Tom Phillips’s A Humument, which is considered a classic of the artist book genre. The work is based on a little-known Victorian novel titled A Human Document, by W. H. Mallock, which the artist discovered by chance in a secondhand bookstore in South London in 1966. Employing various techniques, from painting and drawing to typewriting and collage, Phillips eradicated all but a few words or lines of text on each of the tome’s 367 pages. In the process, he transformed his source material into an epic work of visual poetry.


8403 - $10 million map of New York Harbour to be offered at TEFAF New York - 21/26.10.2016


The 1531 map of the world by Vesconte Maggiolo is the earliest extant depiction of New York Harbour, and is priced at $10 million. Photo: Courtesy of Daniel Crouch Rare Books.
Daniel Crouch Rare Books will exhibit the most expensive map ever offered on the open market at TEFAF New York (21-26 October 2016).

The 1531 map of the world by Vesconte Maggiolo is the earliest extant depiction of New York Harbour, and is priced at $10 million.

The map depicts Giovanni de Verrazzano’s epic first voyage to the new world when he became the first European mariner to anchor in New York harbour. Verrazzano named the area ‘Angouleme’ in honour of his patron Francis I of France, who was known as ‘Francis of Angouleme’ before becoming king. Here he met and reported enthusiastically on the local indigenous people who were Algonquian-speakers. In letters to Francis I he describes the beauty and abundance of the land.

The voyage was rife with challenges, from losing half the fleet to terrible storms, as well as many men succumbing to malnutrition and scurvy. However, having sailed from Dieppe in the autumn of 1523, Verrazzano successfully reached “a new land never before seen by anyone” on 1 March 1524. The position of landfall was given as 34 degrees, but was probably close to Cape Fear, North Carolina. Verrazzano and La Dauphine then sailed north to New York and on to Narragansett Bay.

Whilst sailing the northeastern seaboard Verrazzano made one crucial error that is recorded on the map - he sighted Pamlico Sound and mistook it for “el Mare Orientale” – the Pacific Ocean. This cartographic misconception became known as “The Sea of Verrazzano” and it took nearly a century before mapmakers stopped depicting North America as a thin, north-south extension of land with Asia just to the west. This mistake is amusingly depicted on the chart by the appearance of a be-turbaned oriental gentleman waving from the stern of one of three ships sailing in Verrazzano’s mythical sea.

A further voyage, also under royal auspices was planned in 1526 and in the spring of 1528 Verrazzano set sale for Florida, the Bahamas and Antilles. On an island probably near Guadeloupe, Verrazzano’s habit of anchoring away from shore proved fatal. Giovanni landed with a party to greet the natives, wading the last part while his boat with his brother on board remained at sea. Unfortunately, the tribe with whom he had ambitions to trade were cannibals and Verrazzano was killed and eaten whilst fresh, and within sight, but not firing range, of his crew.

Early 16th century portolan charts (navigational maps based on compass directions and estimated distances observed by the pilots at sea) rarely come onto the market. The last to do so was in 1923, which was also created by the map maker Vesconte Maggiolo (c.1476-c1551) and was sold to the Huntington Library, California.

Vesconte Maggiolo (c.1476-c.1551) was one of the best known Italian map and chart-makers of the first half of the sixteenth century. His life spans one of the most exciting periods of history. His first clearly dated chart was made in 1511, less than twenty years after Columbus’ first voyage to America.

Maggiolo’s map was apparently unknown until 1983, and remained undocumented until 1996. There are 21 extant recorded earlier manuscript maps showing the relationship between the old and new world, none of which is in private hands, and only four of which are in the United States.


8402 - Elliott Erwitt photography collection donated to Harry Ransom Center


The exhibition Elliott Erwitt: Home Around the World. Photos by Pete Smith. Images courtesy of Harry Ransom Center.
The Harry Ransom Center at The University of Texas at Austin has acquired the archive of renowned photographer Elliott Erwitt (American, b. France 1928). Caryl and Israel Englander generously donated the collection.

“Whether capturing fleeting moments of great historical importance or the ordinary events of everyday life, Erwitt continues to show us in one remarkable print after another a perspective that had eluded our sight before,” said Stephen Enniss, director of the Ransom Center.

The expansive collection, which will be housed at the Ransom Center, provides an unprecedented opportunity to study Erwitt’s life and work as a photographer.

Erwitt has worked as a photographer for 70 years and is a member of the prestigious Magnum Photos agency. His photographs have been exhibited internationally and have been published in hundreds of books, magazines and newspapers. Known for his extraordinary versatility, he is an accomplished portraitist, photojournalist, advertising photographer and observer of everyday life.

“The collection offers wonderful surprises for researchers, even those who know Erwitt’s work well,” said Jessica S. McDonald, the Ransom Center’s Nancy Inman and Marlene Nathan Meyerson Curator of Photography. “The longevity of Erwitt’s career also provides a very interesting window into major changes in the field, as photographs transitioned from reproductions on magazine pages to prints on museum walls.”

Two hundred of these prints are now on view in the Ransom Center Galleries in the inaugural exhibition drawn from the collection, “Elliott Erwitt: Home Around the World.” A richly illustrated exhibition catalog, edited by McDonald, has been co-published with Aperture.

Erwitt’s poignant family photographs became symbolic icons when they were featured in the 1955 exhibition “The Family of Man.” His famous photographs of the 1959 “Kitchen Debate” between Richard Nixon and Nikita Khrushchev in Moscow and his celebrated 1960 portraits of Marilyn Monroe and Clark Gable on the set of their final film “The Misfits” (1961) are all present in the newly acquired collection.

The Elliott Erwitt Photography Collection comprises an estimated 47,500 black-and-white photographs, ranging from 1946 to 2010. The collection includes Erwitt’s black-and-white negatives, including 35 mm and medium format, and his contact sheets spanning the same period.

The collection includes more than 33,000 modern exhibition prints ranging in size from 11-by-14 inches to 30-by-40 inches and nearly 12,000 5-by-7-inch proof prints. The collection also contains more than 2,500 vintage prints including press prints and prints prepared in conjunction with book projects such as “Eastern Europe: Czechoslovakia, Hungary, Poland” (1965), “Observations on American Architecture” (1972), “Son of Bitch” (1974) and “Recent Developments” (1978).

Containing early photographs that will be unfamiliar to many, the collection offers new insight into the establishment of Erwitt’s career, including his tremendously productive work for the illustrated press in the 1950s and 1960s. It also traces the development of recurrent themes that connect the work Erwitt has made over more than half a century. Students and researchers will be able to trace Erwitt’s persistent attraction to streets, beaches, museums and other public places where people — and dogs — go about their everyday lives in nearly every part of the world.

Additional works will be open for research in the Ransom Center’s Reading and Viewing Room once the collection has been processed.


8401 - Transformation of Scottish National Gallery begins as planning is approved


Scottish National Gallery Project: view of East elevation. Graphic interpretation: Hoskins Architects.
The National Galleries of Scotland announced that the major project Celebrating Scotland’s Art has begun after the City of Edinburgh Council formally approved the planning applications.

The £16.8 million extension will radically improve access to the National Gallery of Scotland’s world-class collection of Scottish art. The Scottish rooms, Print Room and Library in the Lower Level of the Scottish National Gallery (SNG) closed this week to allow for the preparation of the building. Actual construction work will commence on site in spring 2017 and will continue until autumn 2018. The new spaces will open to the public in early 2019. During the renovation, the SNG will remain open to the public with access to rooms at the ground and upper levels.

Michael Clarke, Director of the SNG and Project Director commented: “We are delighted that we can now move forward with this exciting development. I would like to thank the City of Edinburgh Council for their support of this project which will truly transform this site at the heart of Edinburgh and enable new audiences to enjoy the magnificent Scottish art collection.”

The planned redevelopment of the Scottish National Gallery, will triple the exhibition space available to the Scottish collection from 440 m to 1320 m, vastly improve visitor access and circulation throughout the SNG complex, and create a more sympathetic setting and entrance for the SNG within East Princes St Gardens.

One of Scotland’s leading architectural practices, Hoskins Architects, which has been widely praised for a number of high-profile designs in the arts and cultural sector, was appointed to the project in 2014. Before his untimely death earlier this year, the firm’s founder, Gareth Hoskins OBE, created an outstanding design, which is being taken forward by Director Chris Coleman-Smith.

Designed by the celebrated Scottish architect William Henry Playfair (1790-1857) and situated right in the heart of Edinburgh, the SNG is the most popular UK art gallery outside of London, attracting over 1.4 million visitors in 2015/16. It is home to the world’s finest collection of historic Scottish art, rich in the works of incomparable artists such as Allan Ramsay, Sir Henry Raeburn and Sir David Wilkie, as well as many, many others.

The completion of this project will give this wonderful resource the prominence it deserves, and enable the NGS to engage visitors and highlight the history, significance and impact of Scottish art, both nationally and internationally, to a much wider audience.

During the redevelopment and on opening, there will be an extensive programme of activity, which will give the National Galleries a chance to involve the community in the project and dramatically improve learning opportunities, especially for schools and families.

The Heritage Lottery Fund announced a £4.94 million grant towards the project earlier this year.


8400 - TEFAF debuts new website


TEFAF has been operating as one of the leading fine art and antiques organisations on the world stage for 30 years.
At a time of significant change in the art and antiques industry, where accessibility and transparency are increasingly important, TEFAF is launching a new website. It has become essential, with TEFAF’s expansion to New York with two additional fairs, TEFAF New York Fall and TEFAF New York Spring, to better inform, engage and serve its growing community of art dealers, galleries, museums, collectors, and other art market professionals and enthusiasts.

TEFAF has been operating as one of the leading fine art and antiques organisations on the world stage for 30 years. It is most renowned for the annual fair in the Dutch city of Maastricht as well as the publication of the annual TEFAF Art Market Report. All the online content is created by or co-created with the exhibitors, vetting experts and other people within the TEFAF community and will provide visitors with a year round, ongoing stream of information and insight.

The website is designed around two different streams of information. Firstly, a key information stream covering:

• TEFAF (vetting, history, organisation, charities, partners).

• The fairs (dates, venue, exhibitors, special events, programming, and information to help plan visits).

• Application procedures.

• Art market reports and further initiatives that will lead the way in industry research.

Secondly, a community stream focused on objects, stories and expertise to enable visitors to further discover art:

• The ‘Collection’ section provides a platform to explore the objects and artists featured by TEFAF exhibitors.

• The subjective and inspiring ‘Stories’ introduce online visitors to the experiences, perceptions and anecdotes of a range of different people from the art world.

• The content in the ‘Expertise’ section is objective, factual, descriptive and demonstrates to visitors the unrivalled knowledge of the TEFAF community. It will cover movements, materials, techniques, the market and much more.

The website is dynamic and flexible. As the website receives more content and through user input and feedback, it will grow, becoming more informative for visitors.

Central to all three TEFAF fairs are the exhibitors who are also prominently featured on the website. Their individual pages are more elaborate and visually attractive than previously. In addition, this new online platform allows them to share their collections, stories and expertise as well as gallery events and vacancies, with an even wider audience.

Alongside the public facing pages of the website there is also a private layer called ‘MyTEFAF’. This is a space for exhibitors, museums, press and collectors to organise and manage their interaction with TEFAF. This section will be made available to a select group over the next few weeks and expand to include further groups of people in future updates.


8399 - The New York Public Library reopens its historic Rose Main Reading Room and Bill Blass Public Catalog Room


The Rose Main Reading Room and adjacent Bill Blass Public Catalog Room were both reopened to the public
The New York Public Library reopened two historic rooms in its iconic Stephen A. Schwarzman Building on Fifth Avenue and 42nd Street after a more than two-year closure for repairs and restorations.

The Rose Main Reading Room and adjacent Bill Blass Public Catalog Room were both reopened to the public at 10 a.m. today. A ribbon-cutting ceremony was held in the Rose Main Reading Room’s South Hall shortly before then. New York Public Library President Tony Marx and Board of Trustees Vice Chairman Abby Milstein both spoke. Renowned poet Elizabeth Alexander read two poems: “The House Was Quiet and The World Is Calm” by Wallace Stevens, and “Branch Library” by Edward Hirsch.

Marx, Milstein, Life Trustee Sandy Rose – whose family funded a restoration of the Reading Room in the 1990s – and elected officials including Manhattan Borough President Gayle Brewer, Council Majority Leader Jimmy Van Bramer, New York City Councilmembers Dan Garodnick and Andy King, New York State Assembly Members Richard Gottfried and Deborah Glick, and New York State Senator Brad Hoylman, cut the ribbon.

“This public library, the greatest of public libraries in the world, is the foundation stone of a learned, informed, civil society,” Marx said. “It is the institution open to all, ensuring that all can come and learn from our great collections and our great staff . . . It is the basis of the democracy that we must continue to replenish. It is the institution committed to inclusion and opportunity . . . This Room is the symbolic center of that basic commitment, the values of openness and opportunity, of inclusion. This great space, the greatest public room in this city, is now reopened to all.”

The reopening of the rooms – spaces where researchers can access the Library’s general research materials, and anyone can do quiet reading or studying – comes more than two years after an ornamental plaster rosette fell from the Rose Main Reading Room’s 52-foot high ceiling overnight in May of 2014. The Library decided to conduct a full inspection of the ceilings of both the Rose Main Reading Room and the Bill Blass Public Catalog Room, building scaffolding and massive platforms the length of the near football-field sized room for access. Although the ceilings – built with the rest of the Library in 1911 – were found to be in good condition by WJE Engineers & Architects, P.C., the Library decided to make several improvements to the ceiling, including:

• Recreating and replacing the rosette that fell

• Reinforcing all 900 plaster elements in both rooms with steel cables

• Enlisting renowned muralists EverGreene Architectural Arts to recreate a 27 by 33 foot James Wall Finn mural on the ceiling of the Bill Blass Public Catalog Room. Unlike the murals in the Rose Main Reading Room by the same artist, the Bill Blass mural had not been restored in the 1990s, and a fine arts conservator determined that it sustained irreparable damage, loss of original paint, discoloration, patch jobs and unsophisticated over-paint.

• Working with Aurora Lighting to restore the Room’s chandeliers, including putting in LED lights.

Tishman Construction Corporation was the project manager on the $12 million restoration, which was completed several months ahead of schedule. The room will be the site of this year’s Library Lions fundraising gala on Monday, November 7.

While the rooms were closed, the Library maintained service for researchers in other rooms throughout the building. With work complete, research functions will return to Bill Blass and the Rose Main Reading Room – with improvements.

The Library, along with Gensler Architects and Tishman Construction, recently completed construction of a second level of state-of-the-art collections storage under Bryant Park, creating capacity for 4.3 million research volumes at the Stephen A. Schwarzman Building. The Library began moving materials into the new lower level of the Milstein Research Stacks in the spring; the process is expected to be completed in early 2017. With this increased capacity, the Library estimates that it can fill over 90 percent of research requests with materials located on-site.

The Library also installed a new, modern conveyor system to bring materials from underground storage to the Rose Main Reading Room. The $2.6 million system – 24 individual cars that each carry up to 30 pounds of materials on 360 feet of track – is more efficient and easier to maintain than the previous conveyor belt system.


8398 - National Archaeological Museum in Greece celebrates its 150th anniversary


A marble statue depicting Odysseus retrieved from the Antikyhira shipwreck is displayed as part of the temporary exhibition Odysseys at the National Archaeological Museum in Athens on October 4, 2016. The exhibition marks the museum's 150th anniversary. LOUISA GOULIAMAKI / AFP..The new exhibition of the National Archaeological Museum "Odysseys" is the main commemorative event on the occasion of the 150th anniversary since the foundation of the Museum. It attempts to give an account of the adventurous journey of man through time considered from an abstract and symbolic perspective that draws its inspiration from the Homeric Odyssey. Without reciting the mythological epic of Homer the exhibition is inspired by the archetypal character of Odysseus and recounts through the emblematic, as well as the lesser-known ancient works of the National Archaeological Museum, the long chronicle of the beleaguered man, his incessant endeavour to tame his environment, conquer new places, broaden his horizons, establish well-governed societies and fight against the perishable nature of his existence with the aid of love and creative act.

One hundred and eighty-four works that come either from the permanent exhibition or the rich in archaeological material storerooms of the Museum's Collections and six loans, three from the Epigraphic Museum and three from the Acropolis Museum, are presented in an enchanting sequence of cultural stratification, enabling the visitor to discern the differentiations and changes and simultaneously detect those elements that reside and remain unaffected in time and constitute the shared imprint which man has left on the centuries, the ages and the civilizations.

The interpretation of the ancient works through the symbolically charged poetry of C. P. Cavafy, G. Seferis, O. Elytis and Y. Ritsos imparts to the exhibits perhaps the most astute and exciting meaning, setting simultaneously a bridge with today through the modern poetic language. The audio-visual and digital applications of the exhibition denote in a discreet manner all these notional connections.

Three thematic axes run through the exhibition narrative:

THE JOURNEY presents tangible evidence of the ceaseless quest of man for raw materials, knowledge and ideas. Τhe variegated cargo of a conceptual ship and the myths that accompanied the sea journeys of ancient people create an allusive environment of adventure and knowledge. ITHACAS are inspired by the homecoming (nostos) of Odysseus and devoted to the homelands of all people. Ecumenical ideas and concepts are exemplified by works that embody the collective effort of societies to ensure development and prosperity, as well as the urge of human existence to defy its perishability. In the EXODUS, ancient creations symbolically demarcate great achievements of the human mind and spirit inviting each one of us to pick up the torch of creativity.

The music for the exhibition is by courtesy of Vangelis Papathanassiou from his works "Ithaca" and "VOICES - Dream in an Οpen Place".

The Eugenides Foundation offered the equipment and the application of the starry sky that Odysseus was looking at on his return to Ithaca from the island of Kalypso, while the National Theatre provided the theatrical costume of "Oedipus the King". Both of these offers contribute to the enhancement of the visitor's experience in the relevant exhibition parts.

The Museum's permanent exhibitions also participate in the «Odysseys» and the grant festivity they signify, by means of object stops at emblematic antiquities, designed to involve the visitor in tracing notional connections with the thematic aspects of the temporary exhibition.

For the realisation of the exhibition of uppermost importance has been the generous donation of the Stavros Niarchos Foundation.

The exhibition is accompanied by a catalogue in Greek and in English, a publication of the Archaeological Receipts Fund. This anniversary volume includes texts that present the diachronic trajectory and pursuit of the people who lived and created in the Helladic region and the wider catchment of the Eastern Mediterranean basin, as well as results of international research projects that are currently conducted focusing on important antiquities of the Museum collections, all this richly illustrated. The Afterword is devoted to the 150-year long history of the National Archaeological Museum enriched with texts on its scientific, educational and social contribution.

At the same time, the anniversary of the National Archaeological Museum receives honour from great museums of the world that send as «gifts» outstanding works of theirs to be on display in the spaces of the Museum's permanent exhibition for quite some time. The Metropolitan Museum of New York, the Badisches Landesmuseum of Karlsruhe, the National Museum of Western Art, Tokyo, the Palace Museum of Beijing, as well as the Greek National Gallery, the Greek National Museum of Contemporary Art, the Alexander S. Onassis Public Benefit Foundation and the University of Heidelberg participate in the celebration with important works from their collections, such as 'The Thinker' by Rodin, the Apulian krater that depicts a painter decorating a statue of Heracles using the encaustic (hot wax painting) technique et al. These artworks converse with the permanent exhibits of the National Archaeological Museum and bring forward different aspects of the ancient world along with, its sometimes unexpected, similarities with today.
.                                                                        Website : National Archaeological Museum.
                                                                                    Bron/Source : Artdaily

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8397 - UK's largest artist-led fair, The Other Art Fair, returns to Sydney for second edition


The United Kingdom’s largest artist-led contemporary art fair, The Other Art Fair, returns to Sydney for 2016 following its successful inaugural 2015 edition. The Fair attracted over 7,500 visitors during the four day fair enabling unrepresented artists to connect with collectors and sell their work.

Presented from 27-30th October, The Other Art Fair’s 2016 edition will showcase an expanded vision from newly appointed international Fair Director Laura Richardson including a move to Australia’s newest arts and cultural destination, ‘COMMUNE’ in Sydney’s Waterloo.

‘Making Art Fair’ is the theme for 2016 and symbolises the unique approach that the fair promises to deliver to its audience and artists. Richardson commented: ‘The Other Art Fair is specifically designed to breakdown the many barriers to entry for both artist and collector by perfectly bridging the gap to make it easier and more affordable to buy art. By purchasing art at the fair, visitors directly support emerging talent and contribute to growing the opportunities for undiscovered artists in Australia.’

The Other Art Fair will present 100 of Australia’s most talented emerging artists, chosen by a high profile local selection committee, which Richardson says ‘select artists based on their merit rather than experience, social status, gender, ethnicity or their financial position.’ The impressive 2016 selection committee of contemporary art experts is comprised of Ben Quilty (artist), Roslyn Oxley (Roslyn Oxley9 Gallery), Amanda Love (art consultant) and Leif Podhajsky (artist).

The first round of applications has resulted in the pre-selection of a diverse group of talented artists for The Other Art Fair including Celeste Wrona, Joe Helmore, Mark Collis, Sarah Beetson, Chrysa Koukoura, Martine Vanderspuy and Kirsten Jackson across varying disciplines including painting and illustration.

In a first for Australia, The Other Art Fair will add another dynamic to the Fair’s diverse approach to artistic genre through an unexpected partnership with Sydney tattoo artist Rhys Gordon of Little Tokyo. Known for his traditional Japanese tattooing, Rhys Gordon will collaborate with a soon to be announced Guest Artist to create tattoo works that challenge the traditional view of art, questioning permanence, value and ownership of contemporary art. The Other Art Fair will run an exclusive competition welcoming the general public to apply for 1 of 4 artworks drawn by the Guest Artist to be tattooed by Rhys on their body each day of the Fair.

In addition to the tattoo led art offering, The Other Art Fair will also host a well-known Australian guest artist offering fair visitors an opportunity to purchase a print created exclusively for the fair. Previously in London, The Other Art Fair has presented Tracey Emin and Martin Parr, so for Sydney they look forward to welcoming a prominent artist to be announced.

The Other Art Fair’s dynamic public program will include workshops, talks, VIP events and activities for kids and is presented in collaboration with multiple international partners including The School of Life, Eckerlsey’s and Winsor & Newton. Food and beverage options have been carefully curated to activate the COMMUNE space with Young Henrys returning to host The Other Art Fair bar alongside Archie Rose and Urban Winery and coffee is in the expert hands of the team from Espresso Di Manfredi. For the sweet tooth, Black Pantry will be on site to provide handcrafted marshmallows and toasting stations to create your very own smores unlike any marshmallow you have tasted.

The Other Art Fair is presented in partnership with Major Partner, BresicWhitney who are running their own People’s Choice Award to acknowledge outstanding participating artists. Artists will be selected by the audience of The Other Art Fair, who also have a chance to win the artwork they vote for and the winner of the People’s Choice Award will be awarded a cash prize to the value of $5000. The exclusive Hotel Partner, The Old Clare Hotel are offering discounted room rates for friends of The Other Art Fair and the campaign’s design is led by Creative Director Anthony Donovan.

The Other Art Fair, founded by Ryan Stanier in 2011, is a pioneering platform for emerging artistic talent that has since seen 12 editions presented in London and Bristol, with artworks offered for sale from as little as $100. The four-day event will attract a diverse audience and act as a valuable and fresh space for unknown names to reveal their skill in the contemporary art world. For many artists, The Other Art Fair has been a springboard to new opportunities including connecting with new collectors and finding representation with international galleries.

‘It is my goal to open up the art world to people from all walks of life. After all, art is subjective - you shouldn’t need a degree to have an opinion. I truly believe in making art fair.’ Fair Director, Laura Richardson



8396 - The New York Ceramics & Glass Fair announces 2017 dealer roster


Heading into its 18th year, the New York Ceramics & Glass Fair -- the singular fair of its kind in the United States, continues to attract a stellar roster of internationally renowned specialists -- from ancient to contemporary, spanning five centuries. Twenty- eight dealers will reveal their treasures, starting on January 19 for a four day run at the historic Bohemian National Hall, located on 321 East 73rd Street.

Says Meg Wendy, who co-produces the fair with Liz Lees, "This year we are delighted to announce first-time participants Antoinette's Heirlooms from London, Lisa Battle Sculpture, Rockville, MD, Michael Wainwright USA, from Great Barrington, MA, and the Lacoste Gallery from Concord Massachusetts." Adds Ms. Lees, "We welcome these distinguished galleries to our fair."

Returning to the fold from Great Britain, Ireland and the United States, the galleries and private dealers include:

Garry Atkins Antiques Ltd. (London), Michael Boroniec (Lanesboro MA), Martine Boston Antiques (Limerick, Ireland), Martin Chasin Fine Arts (Fairfield CT), Martyn Edgell Antiques (March, Cambridgeshire), Jeffrey S. Evans & Associates (Harrisonburg, VA), Jill Fenichell/The Bespoke Porcelain Company (Brooklyn, NY), Ferrin Contemporary (Cummington, MA), Carrie Gustafson (Arlington, MA), Katherine Houston Porcelain (Boston, MA), Leo Kaplan Ltd. (New York), Cliff Lee/Lee Gallery & Studio (Stevens, PA), Hideaki Miyamura (Kensington NH),Moylan/Smelkinson (Baltimore, MD), Polka Dot Antiques (Waccabuc, NY), Polly Latham Asian Art (Boston, MA), Ian Simmonds (Carlisle, PA), Philip Suval Inc. (Frederickburg, VA), TOJ Gallery (Annapolis MD), Earle D. Vandekar of Knightsbridge (New York), Vetro Vero (West Grove, PA), Maria and Peter Warren Antiques (Wilton CT), Mark J. West (Redhill, England) and Lynda Willauer Antiques (Nantucket, MA).

The New York Ceramics & Glass Fair, which takes place on the fourth and fifth floors of the Bohemian National Hall, 321 East 73rd Street (between First and Second Avenues), opens with a Private Preview on Wednesday, January 18, from 5:30 p.m. to 8:30 p.m., and to the public on Thursday, January 19 through Sunday, January 22. Hours are
11 a.m. to 7 p.m. Thursday through Saturday, and on Sunday from 11 a.m. to 4 p.m. Tickets are $20 per person and can be used throughout the duration of the fair.

An important component to the New York Ceramics & Glass Fair is their extensive lecture program, which runs throughout the duration of the fair. With a line-up of distinguished curators and experts, this year's series will not disappoint collectors and connoisseurs of all stripes.



8395 - Unprecedented access to Cooper Hewitt's collection following 18-month mass digitization effort - New York


Conservator setting up ceramic object for digital capture.© Smithsonian Institution.
Cooper Hewitt, Smithsonian Design Museum announced the completion of a comprehensive year-and-a-half project to digitize its collection, with more than 200,000 objects now accessible online via collection.cooperhewitt.org. The user-friendly interface enables all audiences—casual browsers, designers, curators, educators, students and scholars—to explore and examine one of the most diverse and comprehensive collections of design works in existence.

“As America’s design museum, Cooper Hewitt is committed to making its collections, knowledge and resources as accessible and useful as possible,” said Caroline Baumann, director. “A transformative gift from the Morton and Barbara Mandel Family Foundation made possible the digitization of our entire collection, and I am very proud that Cooper Hewitt accomplished this goal in just 18 months—an unprecedented achievement in the museum world. People of all ages, from anywhere in the world, can now mine the riches of the collection in ingenious and imaginative ways.”

In collaboration with the Smithsonian’s Digitization Program Office, the mass digitization project transformed a physical object (2-D or 3-D) from the shelf to a virtual object in one continuous process. At its peak, the project had four photographic set ups in simultaneous operation, allowing each to handle a certain size, range and type of object, from minute buttons to large posters and furniture. A key to the project’s success was having a completely barcoded collection, which dramatically increased efficiency and allowed all object information to be automatically linked to each image.

Characterized by sustainable high-throughput rates coupled with consistently high-quality digital captures, the project digitized an average of 600 objects per day, with publication to the website in as little as 48 hours. Online visitors can search the collection through traditional fields, such as time periods or countries, and also take a deep dive through color, size or type of object. A random button allows for an exciting journey of discovery, inspiring learning and sharing.

Cooper Hewitt’s groundbreaking in-gallery experiences and capabilities are also fueled by the mass digitization project. The Collection Browser, available on seven tables installed throughout three floors of the museum, gives visitors access to nearly 9,000 objects in the museum’s collection, including those currently on view in the galleries and those recently digitized. The largest tables allow up to six users to simultaneously explore high-resolution images of collection objects, select items from the “object river” that flows down the center of each table, zoom in on object details and learn about an object’s history and related objects organized by design theme and motif. The new interactive Pen further enhances the visitor experience with the ability to “collect” and “save” information, as well as create original designs on the tables. Using the unique web address printed on the visitor’s ticket, everything collected via the Pen becomes accessible outside of the museum on any smartphone or computer after his or her visit. Visitors can create a museum account that will allow them to access and build their collections over future visits.

The mass digitization effort is the latest addition to a robust series of initiatives and Smithsonian-wide partnerships undertaken to broaden digital access to the collection and transform the museum’s website into a leading global-design research and educational resource. In 2012, the museum launched the Object of the Day blog series, deployed a public prototype release of the new collection database and released the collection metadata. Through the Open Source section of the website, visitors can download the collection data and public API, 3-D models of the Carnegie Mansion, the Cooper Hewitt typeface and source code written by the museum’s in-house team.