In New Plan, National Geographic Will Move an Acclaimed Sculpture
“Marabar,” a granite artwork by Elyn Zimmerman, had been endangered by the organization’s plan to expand its Washington campus.
“Marabar,” the sculpture outside the National Geographic Society’s headquarters in Washington, will be moved as part of the society’s plan to rethink its campus.Credit.Alex Wong/Getty Images
By Rebecca J. Ritzel
March 9, 2021
National Geographic Society has pledged to preserve and relocate a seminal outdoor sculpture that the society argued was blocking its ability to
expand
and improve its campus in Washington.
“Marabar,” a 1984 granite-and-water artwork by artist Elyn Zimmerman, stands in the way of the society’s planned new entrance plaza and pavilion with a garden rooftop. Admirers of the work had organized a campaign to preserve it.
New York University s Institute of Fine Arts to present Cauleen Smith, H-E-L-L-O: To Do All At Once
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Ronnie Landfield – American Color Field Abstractionist
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Cindy Sherman Signs With Hauser and Wirth as Her Longtime Gallery Metro Pictures Announces Its Closure
The news comes just days after Metro Pictures announced plans to close.
That didn’t take long.
Shortly after legendary dealership Metro Pictures announced plans to close after 40 years, Hauser & Wirth confirmed it has signed the gallery’s biggest star, Cindy Sherman. The groundbreaking photographer had been with Metro Pictures from the start a rarity among top artists, who often move around as their profiles enable them to set their own agendas with dealers.
Metro Pictures’s announcement on Sunday afternoon set off a fury of speculation over where the gallery’s more than two dozen high-profile artists will land. Dealers all over the world are said to be scrambling to make offers, even though the gallery will not shut down until the end of 2021. Deals such as Sherman’s are likely to be hashed out quickly as artists look to secure new homes following murmurs of the galle
The Cathedral of Art (1942–1944, unfinished). Image courtesy Wikimedia Commons.
When Florine Stettheimer died in 1944, at the age of 72, the New York artist, poet, and salonnière, was still putting the final touches on
The Cathedrals of Art, the last in a series of four monumental paintings devoted to New York’s cultural, social, and economic temples. Identical in scale, each painting measures five feet tall by just over four feet wide.
The series, which includes
The Cathedrals of Fifth Avenue (1931)
, and
The Cathedrals of Wall Street (1939), was a winkingly aware homage to places of worship in the city she’d called home for all her adult life. For the deeply private artist,