Curious Objects: Museums and the Lure of the Sell-Off, with the PMA’s director and CEO Timothy Rub Editorial Staff
The Association of Art Museum Directors killed something of a sacred cow last year when it ruled that museums will be permitted to use funds from deaccessioned artworks previously strictly controlled to pay for a wider array of institutional costs. On the occasion of this year’s virtual Philadelphia Show art and antiques fair, Ben Miller speaks with the Philadelphia Museum of Art’s director and CEO Timothy Rub about the AAMD’s ruling and the ripple effects it might have throughout the museum world. In a wide-ranging conversation, which gets into the nitty gritty of collecting and deaccessioning habits and procedures, as well as fundraising niceties, Rub makes a strong case for continuing to keep the departments of museums and their fundraising efforts firmly separated.
Floating tents, Harding presidential library, John Glenn centennial: What s new in Ohio travel for 2021
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Naomi Rosenblum Broadened the Horizon for World Photography
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Cleveland Museum of Art’s reinstalls contemporary art galleries with focus on artistic forms, social issues
Updated 5:30 AM;
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CLEVELAND, Ohio The trustees of the Cleveland Museum of Art took a dim view of modern and contemporary art half a century ago. Today, after decades in which the museum revved up its interest in new art, it’s a different story.
With more than 750 works in its growing collection of contemporary art, the museum has enough bandwidth to periodically refresh the roomy contemporary galleries in its East Wing with new arrangements of strong works by leading figures from around the world. And it can tell dramatically different stories about art history and contemporary life, depending on who’s doing the installing.
Herman Aguirre’s powerful paintings respond to Chicago shootings, Mexican drug cartel violence
Updated 5:32 AM;
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CLEVELAND, Ohio The centuries-old medium of oil paint can be incredibly expressive in the right hands. A powerful case in point is the museum-quality solo exhibition on the work of Chicago-based Mexican-American painter Herman Aguirre at Abattoir gallery in Cleveland.
Entitled “Ocultos,’ Spanish for “hidden,’ the show focuses on 14 paintings depicting impromptu memorials, mass graves, or sites of protest related to gang violence in Chicago or drug cartel killings in Mexico.
It’s grim material, to be sure. But Aguirre’s imagery is paradoxically lush, colorful, and highly emotive in ways that engage a viewer’s sympathy and attention. You can’t turn away.