You are currently browsing the tag archive for the ‘art’ tag.
Janet Cardiff. The Forty Part Motet, 2001; installation view, Fuentidueña Chapel at The Cloisters museum and gardens. Courtesy of The Metropolitan Museum of Art. Photo: Wilson Santiago.
Getting to the Janet Cardiff installation at The Cloisters was like a modern-day quest for some kind of Holy Grail, which in the end seemed appropriate. After my phone died at the 191st St. subway stop—leaving me with no guide through the unfamiliar paths of Fort Tryon Park—and after circling the labyrinthine rooms and hallways that make up The Cloister’s architecture, I finally found The Forty Part Motet, Cardiff’s sound installation.
For the 11-minute score, Cardiff reworked the Tudor-era composition Spem in Alium Nunquam Habui (In No Other Is My Hope) (1573) by Thomas Tallis. The piece, originally intended for recital in churches and cathedrals, logically suits the religious iconography of The Cloisters, while also mirroring the compound’s collaged nature. Constructed in reference to no singular structure, the Cloisters function as an ensemble of many historical precedents. In the Fuentidueña Chapel, Catalan frescos of the Virgin and Child as well as the Adoration of the Magi cover the walls, and a life-size wooden crucifix hangs at the foot of the 12-century apse. The installation of The Forty Part Motet bridges both centuries and geographic borders.
Amelia Rina
Daily Serving
The “Beethoven Frieze” (1902), by Gustav Klimt, on view in Venice last year while on loan for an exhibition devoted to the artist.
Over the last decade, Austria has made significant progress in restoring art and property looted by the Nazis during World War II. Now the government’s commitment to that goal is facing a new test, with the filing of a claim on Tuesday for the return of one of the nation’s most celebrated artworks: the “Beethoven Frieze,” by Gustav Klimt.
This monumental 1902 work, which stands seven feet high, spans more than 112 feet and weighs four tons, is so well known that an image from the frieze was selected as the motif for a commemorative Austrian 100-euro coin. The work, part of a homage to the composer’s Ninth Symphony, is housed in the gold-domed 1902 Secession building in Vienna, where a climate-controlled room has been specially constructed for it.
The current dispute over the “Beethoven Frieze” does not hinge on wartime plundering, but rather on how stolen art was handled after the war ended, a common theme of restitution cases arising from Nazi looting.
The gold-painted frieze was owned by the Lederer family, wealthy Austrian Jews who were important patrons of Klimt’s. When the Nazis invaded Austria in 1938, the family escaped to Switzerland, but its extensive art collection was seized and its once formidable industrial empire bankrupted. Many of the family’s valuable works, including 18 Klimts, were destroyed in the final days of the war.
Patricia Cohen
New YOrk Times
A detail from Saying Farewell at Xunyang, by Qiu Ying, c1500-50 Photograph: John Lamberton/Nelson-Atkins Museum of Art
On 5 August 1473, a young artist drew the first ever landscape. The date is known precisely because Leonardo da Vinci wrote it on the sheet of paper, as if aware of the revolutionary nature of what he was doing. To look at mountains and trees just for themselves was unprecedented.
Or was it? The invention of landscape painting is one of the great moments of European art. Painting nature is a way to get inside yourself. To this day, people enjoy doing watercolours in the outdoors as a form of meditation. Leonardo’s discovery of the mystery of nature – which you see in all his paintings, with their dreamy rocks and pools – is the invention of a new kind of inner life.
Jonathan Jones
Guardian
Artist Shane Hope creates ornate, abstract paintings using low-cost 3-D printers. Photo: Shane Hope
3-D printers are typically used make high-resolution models or functional prototypes, but artist Shane Hope manipulates them to channel his inner Jackson Pollock. The Brooklyn-based artist creates “paintings” that are densely packed with a rainbow of 3-D printed barnacles. The results are massive, dazzling assemblages—beautiful in the way that spectacular computer glitches can be—and are only matched in manic energy by Hope’s descriptions of them. “Seeing 3-D printing as a sort of gateway drug en route toward molecular manufacturing, I thereafter decided I’d visually/literally relate the operative ideologies, promises, and hype of 3-D printing to the R&D and forecasts regarding nanofacture.” Heady stuff, and while this jargon-filled description is a tad grandiose, the paintings push the boundaries of low-cost 3-D printers in new and interesting ways.
Joseph Flaherty
Wired
Van Gogh Museum director Axel Rüger with Sunset at Montmajour after unveiling the painting in Amsterdam. Photograph: Peter Dejong/AP
A stunning landscape that has spent much of its life unloved in a Norwegian attic has been revealed as a newly discovered masterpiece by Vincent Van Gogh.
Academics are nothing short of astonished, not least because it comes from the artist’s greatest period when he lived in Arles, southern France, and created works such as The Yellow House and The Sunflowers.
Writing in the Burlington Magazine, the three Dutch experts from the Van Gogh Museum in Amsterdam responsible for the discovery call the work “absolutely sensational”.
Sunset at Montmajour was unveiled at a ceremony in the Dutch city. Axel Rüger, director of the museum, called it a “once in a lifetime experience”.
The picture was painted in 1888 and shows the wild and beautiful countryside near Arles with a ruined abbey on the hill of Montmajour.
Mark Brown
The Guardian
The Romans may have first come across the colorful potential of nanoparticles by accident, but they seem to have perfected it. (The Trustees of the British Museum / Art Resource, NY)
The colorful secret of a 1,600-year-old Roman chalice at the British Museum is the key to a supersensitive new technology that might help diagnose human disease or pinpoint biohazards at security checkpoints.
The glass chalice, known as the Lycurgus Cup because it bears a scene involving King Lycurgus of Thrace, appears jade green when lit from the front but blood-red when lit from behind—a property that puzzled scientists for decades after the museum acquired the cup in the 1950s. The mystery wasn’t solved until 1990, when researchers in England scrutinized broken fragments under a microscope and discovered that the Roman artisans were nanotechnology pioneers: They’d impregnated the glass with particles of silver and gold, ground down until they were as small as 50 nanometers in diameter, less than one-thousandth the size of a grain of table salt. The exact mixture of the precious metals suggests the Romans knew what they were doing—“an amazing feat,” says one of the researchers, archaeologist Ian Freestone of University College London.
Zeeya Merali
Smithsonian
“Untitled” by Jackson Pollock was one of the forged works. How imitations of the most heralded Abstract Expressionists by a complete unknown could have fooled connoisseurs and clients remains a mystery.
For 15 years, some of the art world’s most established dealers and experts rhapsodized about dozens of newly discovered masterworks by titans of Modernism. Elite buyers paid up to $17 million to own just one of these canvases, said to have been created by the hands of artists like Jackson Pollock, Willem de Kooning, Mark Rothko, Franz Kline and Robert Motherwell.
But federal prosecutors say that most, if not all, of the 63 ballyhooed works — which fetched more than $80 million in sales — were painted in a home and garage in Queens by one unusually talented but unknown artist who was paid only a few thousand dollars apiece for his handiworks.
Authorities did not name or charge the painter and provided few identifying details except to say he had trained at a Manhattan art school in a variety of disciplines including painting, drawing and lithography. He was selling his work on the streets of New York in the early 1990s, they said, when he was spotted by a Chelsea art dealer who helped convert his work into one of the most audacious art frauds in recent memory.
Patricia Cohen and William K. Rashbaum
New York Times
Peter Doig’s Cricket Painting (Paragrand), 2006-2012. Photograph: Peter Doig
In Edinburgh, Peter Doig’s imminent exhibition at the Scottish National Gallery is being billed as a kind of homecoming. They even have a “Doig menu” available at the gallery restaurant. Given that he was born in the city, but left when he was two, and that his art has always been informed by his inveterate desire to keep moving from place to place – he currently lives in Trinidad, following two long stints in London separated by a spell in Canada – it must feel odd to suddenly find himself referred to as a Scottish artist.
“It does a bit,” he says, grinning. “When I was growing up, I never felt that I belonged anywhere because we never lived in a house for more than three months. That’s all I knew and that’s why I don’t really belong anywhere. Then again, I do feel Scottish in some way. Maybe it’s to do with visiting my grandparents here every summer as a child, but I am aware of my Scottish ancestry. It’s there all right, but it would be pushing it to label me a Scottish painter. Or, indeed, an anywhere painter.”
Yet a sense of place is one of the key determinants of Doig’s art. Since his move from London to Trinidad in 2002, his paintings have become richer in hue and even more vivid in their evocation of atmosphere and memory, both his own personal memory and that of the artists his work calls to mind, from Cézanne and Daumier to the German expressionists of the 1920s. In one of the smaller rooms, a recent big work, entitled Paragrand, features three silhouetted figures playing cricket, each one receding more into a vivid, indeterminate backdrop where sand, sea and foliage merge into one. It seems to vibrate with intensity even from a distance, a huge, flat swath of shimmering orange at the centre, altering all the other colours around it.
Sean O’Hagan
The Guardian
An empty space on a wall of the Kunsthal museum in Rotterdam after the heist last year. Photograph: Robin Utrecht/AFP/Getty Images
Ash from an oven owned by a woman whose son is charged with stealing seven multimillion-pound paintings, including works by Matisse, Picasso and Monet, contained paint, canvas and nails, a Romanian museum official said on Wednesday.
The discovery could be evidence that Olga Dogaru was telling the truth when she claimed to have burned the paintings, which were taken from Rotterdam’s Kunsthal gallery last year in a daylight heist.
Ernest Oberlander-Tarnoveanu, director of Romania’s National History Museum, told the Associated Press that museum forensic specialists had found small fragments of painting primer, the remains of canvas and paint, and copper and steel nails, some of which pre-dated the 20th century.
“We discovered a series of substances which are specific to paintings and pictures,” he said, including lead, zinc and azurite.
He refused to say definitively that the ashes were from the stolen paintings. He said justice officials would make that decision.
He did venture, however, that if the remains were those of the paintings, it was “a crime against humanity to destroy universal art”.
“I can’t believe in 2013 that we come across such acts,” he said.
Oberlander-Tarnoveanu said forensic specialists at the museum had been analysing ashes from the stove since March, and would hand their results to prosecutors next week.
The seven paintings were stolen in October in the biggest art heist to hit the Netherlands for more than a decade. Thieves broke in through a rear emergency exit of the gallery, grabbed the paintings off the wall and fled within two minutes.
The works would have an estimated value of tens of millions of pounds if they were sold at auction.
The Guardian
Designs for the new park in Vauxhall by Erect Architecture with J&L Gibbons
London’s answer to New York’s High Line park began to take shape in June after two London architecture firms won a competition to design a landscaped walkway just south of the River Thames that will link new and existing galleries, public works of art and an open-air auditorium. Erect Architecture and the landscape architects J & L Gibbons beat 100 entries from 21 countries to design the promenade, which will stretch from the Garden Museum next to Lambeth Palace (the London residence of the Archbishop of Canterbury) to the site of the former 17th-19th century pleasure gardens in Vauxhall.
“The idea is to connect the gallery district that is emerging in Vauxhall in a green and interesting way,” says Chris Law, one of the directors of Vauxhall One, a group of local businesses that launched the competition in conjunction with the Royal Institute of British Architects. The area currently boasts the contemporary art spaces Gasworks and Beaconsfield, and a new gallery called Cabinet is due to be built this summer. Damien Hirst’s gallery also opens on Newport Street next year. There are further plans to use the abandoned railway arches next to Vauxhall station as exhibition spaces.
Anny Shaw
The Art Newspaper
Slow Painting 