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Artdaily - The First Art Newspaper on the Net
The First Art Newspaper on the Net
Abraham Bloemart's "Moses Striking the Rock," a painting from 1596 now in its collection. The museum said it had investigated and did not find compelling evidence that Curt Glaser had been forced to sell the painting. Metropolitan Museum of Art via The New York Times.
by Catherine Hickley
(NYT NEWS SERVICE)
.- The Nazi authorities removed Curt Glaser from his post as director of the Berlin State Art Library in April 1933 because he was Jewish. He was also evicted from his home and, the following month, sold most of his art collection at two auctions. Since 2007, 13 private collectors or institutions including the Dutch Restitutions Committee, the Prussian Cultural Heritage Foundation in Berlin, the Museum Ludwig in Cologne and the city of Basel have concluded that Glaser sold his collection in May 1933 as a result of Nazi persecution, and agreed to either return or pay some compensation to his heirs for art he sold that wound up in their collections. But the Metropolitan Museum of Art and the Museum of Fine Arts, Boston have repeatedly rejected the heirs claims for paintings that were sold at the same auctions. They argue there is not enough evidence that Glaser sold under duress. The disparity in the decisions highlights how, 76 years after World War II ended, the criter ... More
The First Art Newspaper on the Net
Abraham Bloemart's "Moses Striking the Rock," a painting from 1596 now in its collection. The museum said it had investigated and did not find compelling evidence that Curt Glaser had been forced to sell the painting. Metropolitan Museum of Art via The New York Times.
by Catherine Hickley
(NYT NEWS SERVICE)
.- The Nazi authorities removed Curt Glaser from his post as director of the Berlin State Art Library in April 1933 because he was Jewish. He was also evicted from his home and, the following month, sold most of his art collection at two auctions. Since 2007, 13 private collectors or institutions including the Dutch Restitutions Committee, the Prussian Cultural Heritage Foundation in Berlin, the Museum Ludwig in Cologne and the city of Basel have concluded that Glaser sold his collection in May 1933 as a result of Nazi persecution, and agreed to either return or pay some compensation to his heirs for art he sold that wound up in their collections. But the Metropolitan Museum of Art and the Museum of Fine Arts, Boston have repeatedly rejected the heirs claims for paintings that were sold at the same auctions. They argue there is not enough evidence that Glaser sold under duress. The disparity in the decisions highlights how, 76 years after World War II ended, the criter ... More
Source : vimarsana
5 Galleries To Visit At H Queen's During Art Month
Hauser & Wirth
As a leading international gallery of modern and contemporary work, Hauser & Wirth does not disappoint, hosting American abstractionist Jack Whitten’s first solo exhibition in Asia. Until July 31, this collection of rarely seen paintings, sculptures and works on paper includes significant works that track Whitten’s evolution as an artist. Included in the exhibition is his ‘Black Monolith’ painting series, which honours African American visionaries and uses an eclectic mix of materials to capture the essence of his admired subjects.
Left: David Adjaye, “Khufu”, 2021 @ David Adjaye, courtesy Pace Gallery. / Right: Adam Pendleton, “Untitled (WE ARE NOT)”, @ Adam Pendleton, courtesy Pace Gallery
Hauser & Wirth
As a leading international gallery of modern and contemporary work, Hauser & Wirth does not disappoint, hosting American abstractionist Jack Whitten’s first solo exhibition in Asia. Until July 31, this collection of rarely seen paintings, sculptures and works on paper includes significant works that track Whitten’s evolution as an artist. Included in the exhibition is his ‘Black Monolith’ painting series, which honours African American visionaries and uses an eclectic mix of materials to capture the essence of his admired subjects.
Left: David Adjaye, “Khufu”, 2021 @ David Adjaye, courtesy Pace Gallery. / Right: Adam Pendleton, “Untitled (WE ARE NOT)”, @ Adam Pendleton, courtesy Pace Gallery
Source : vimarsana
Cantor Arts Center Launches Asian American Art Initiative Bolstered by Major Ruth Asawa Acquisition
Cantor Arts Center Launches Asian American Art Initiative Bolstered by Major Ruth Asawa Acquisition
Among the first of its kind, Stanford’s newest hub of interdisciplinary scholarship transforms the museum’s collection and expands research opportunities.
Posted On
Ruth Asawa with life masks on the exterior wall of her house. (Photography by Terry Schmitt. Artwork: “Untitled (Wall of Masks),” c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/ Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner)
By BETH GIUDICESSI
PALO ALTO — The Cantor Arts Center at Stanford University announced Jan. 25 the establishment of the Asian American Art Initiative (AAAI), a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices.
Cantor Arts Center Launches Asian American Art Initiative Bolstered by Major Ruth Asawa Acquisition
Among the first of its kind, Stanford’s newest hub of interdisciplinary scholarship transforms the museum’s collection and expands research opportunities.
Posted On
Ruth Asawa with life masks on the exterior wall of her house. (Photography by Terry Schmitt. Artwork: “Untitled (Wall of Masks),” c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/ Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner)
By BETH GIUDICESSI
PALO ALTO — The Cantor Arts Center at Stanford University announced Jan. 25 the establishment of the Asian American Art Initiative (AAAI), a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices.
Source : vimarsana
Cantor Arts Center launches Asian American Art Initiative bolstered by major Ruth Asawa acquisition, The Michael Donald Brown Collection and other works
January 25, 2021
Cantor Arts Center launches Asian American Art Initiative bolstered by major Ruth Asawa acquisition, The Michael Donald Brown Collection and other works
Among the first of its kind, Stanford’s newest hub of interdisciplinary scholarship transforms the museum’s collection and expands research opportunities.
By Beth Giudicessi
The Cantor Arts Center at Stanford University announced today the establishment of the Asian American Art Initiative (AAAI), a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices.
Ruth Asawa with life masks on the exterior wall of her house. (Image credit: Photography by Terry Schmitt. ARTWORK: Untitled (Wall of Masks), c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/ Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner)
January 25, 2021
Cantor Arts Center launches Asian American Art Initiative bolstered by major Ruth Asawa acquisition, The Michael Donald Brown Collection and other works
Among the first of its kind, Stanford’s newest hub of interdisciplinary scholarship transforms the museum’s collection and expands research opportunities.
By Beth Giudicessi
The Cantor Arts Center at Stanford University announced today the establishment of the Asian American Art Initiative (AAAI), a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices.
Ruth Asawa with life masks on the exterior wall of her house. (Image credit: Photography by Terry Schmitt. ARTWORK: Untitled (Wall of Masks), c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/ Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner)
Source : vimarsana
Cantor Arts Center launches Asian American Art Initiative
By Beth Giudicessi
The Cantor Arts Center at Stanford University announced today the establishment of the Asian American Art Initiative (AAAI), a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices.
Ruth Asawa with life masks on the exterior wall of her house. (Image credit: Photography by Terry Schmitt. ARTWORK: Untitled (Wall of Masks), c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/ Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner)
The initiative is anchored by the museum’s acquisition of 233 ceramic masks that comprise
By Beth Giudicessi
The Cantor Arts Center at Stanford University announced today the establishment of the Asian American Art Initiative (AAAI), a significant effort to acquire, preserve, display and research art related to Asian American and Asian diaspora artists and their practices.
Ruth Asawa with life masks on the exterior wall of her house. (Image credit: Photography by Terry Schmitt. ARTWORK: Untitled (Wall of Masks), c. 1966–2000. Ceramic, bisque-fired clay. © 2020 Estate of Ruth Asawa/ Artists Rights Society (ARS), New York. Courtesy The Estate of Ruth Asawa and David Zwirner)
The initiative is anchored by the museum’s acquisition of 233 ceramic masks that comprise
Source : vimarsana
The Paris Review - Blog Archive Staff Picks: Marriage, Martinis, and Mortality
Sigrid Nunez. Photo: © Marion Ettlinger.
A candid attitude about death and sincere empathy for grief are wrongly put at odds: to speak with frankness is regarded as insensitive, and condolences are meant to come from the heart. But often it is the card-aisle euphemisms that ring false. Sigrid Nunez’s most recent novel,
What Are You Going Through, is unflinching on the theme of mortality and thus presents an openhearted honesty so rare it feels thirst-quenching. The two major elements at play: dread about the end of the world, by way of the narrator’s ex, an academic who delivers lectures about what humanity has done to ensure the demise of everything; and the imminent death of the narrator’s friend, either by cancer or (the friend hopes) her own hand. I don’t want to call this a story without hope, because to face inevitability with the dichotomous perspective of hope versus no hope … you may as well be armed with Hallmark. Nunez renders the pain of aging, especially as a woman, with quiet humor and philosophy brought to life by sharp characters. Readers of Nunez’s previous novel,
Sigrid Nunez. Photo: © Marion Ettlinger.
A candid attitude about death and sincere empathy for grief are wrongly put at odds: to speak with frankness is regarded as insensitive, and condolences are meant to come from the heart. But often it is the card-aisle euphemisms that ring false. Sigrid Nunez’s most recent novel,
What Are You Going Through, is unflinching on the theme of mortality and thus presents an openhearted honesty so rare it feels thirst-quenching. The two major elements at play: dread about the end of the world, by way of the narrator’s ex, an academic who delivers lectures about what humanity has done to ensure the demise of everything; and the imminent death of the narrator’s friend, either by cancer or (the friend hopes) her own hand. I don’t want to call this a story without hope, because to face inevitability with the dichotomous perspective of hope versus no hope … you may as well be armed with Hallmark. Nunez renders the pain of aging, especially as a woman, with quiet humor and philosophy brought to life by sharp characters. Readers of Nunez’s previous novel,