Hard on the heels of the recent announcement by the Vatican, that its bounteous library had begun digitizing all 82,000 manuscripts in its 135 collections – thanks to help from the Japanese Japanese technology group NTT Data — the Tate has made available a rich artistic resource. It’s called Audio Arts, and it consists of 245 hours of more than 1,640 interviews with artists, critics and other art world figures. This one is already available here.
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The job of Richard Kurin, Under Secretary for History, Art, and Culture of the Smithsonian Institution, just got a little harder. Kurin has been responsible for the search for a director of the Hirshhorn Museum since last spring. You’ll recall that former director Richard Koshalek stepped down after his seasonal inflatable bubble idea was killed by the Smithsonian amid board turmoil at the Hirshhorn and questions about who’d pay for it.
It has been more than a dozen years since the Taliban blew up the Bamian Buddhas in Afghanistan, but — as an article today’s New York Times outlines — there is no consensus still on what if anything should be done to the site. And there’s little money to do it. The article describes the split: (more…)
I’ve always been a fan of galleries showcasing new acquisitions by art museums, so I suppose I was predisposed to like the web feature announced the other day by the Metropolitan Museum of Art.* It’s called MetCollects, and there will be one episode a month, each going deep on a recent acquisition. The press release describes it as a “first look,” but of the three episodes so far they are all already on view.
I don’t have the Budget Book, but the National Endowment for the Arts has just put out a statement saying that President Obama has requested $146.021 million for FY 2105 for it, “the same amount as the current year’s budget.”
While I was gone, the Corcoran Gallery of Art issued its own obituary and — once again — managed to screw it up. It was only last April that the Corcoran formed an alliance with the University of Maryland to explore a partnership to preserve the school and gallery as one entity, but in the new release — made public last Wednesday — it doesn’t even mention that attempted “solution.”
I was cleaning out photos on my cell phone last weekend when I realized I had never posted here about the fabulous exhibition at the Brooklyn Museum* called The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk. Some of Gaultier’s designs are a bit over the top of me, so I wasn’t quite sure I’d like the exhibition. I did, and not just for the clothes, though may of them are gorgeous. I liked the exhibition because it used technology to the viewer’s advantage: it wasn’t just an add-on; it actually conveyed meaning and provided context.
St. Louis Art Museum director Brent Benjamin (below right) receives $670,000 in pay, “slightly more in annual compensation than the heads of similar art museums.” The museum has an endowment of $140 million and an operating budget of about $30 million. In 2012, it spent $1.4 million on exhibitions that yielded only $320,000.00 at the gate. The museum’s restaurant is losing money — $260,000 last year.
Last year, especially last summer, art journalists flocked to write about the latest scandal of conditions at Pompeii, which has been under threat for years and is visited every year by more than 2 million visitors — more than the Uffizi. In August, UNESCO threatened to put the site on its World Heritage in Danger list, which would be highly embarrassing for Italy. Here’s The Art Newspaper’s report on the situation last August. And here’s an article in The Guardian from last August, reporting that the Italians had called on German assistance, specifically nanotechnology to “focus on one particular apartment building, or insula, at Pompeii and [they] will look to develop long-term solutions and preventative restoration.”
The artist in question is about to get an exhibition at the National Gallery (yes, I’m still inspired by goings-on in London) — and he is Veronese. Apparently, when the NG bought Veronese’s The Family of Darius before Alexander (below right) in 1857, it was accused of squandering money on “a second-rate specimen of a second-rate artist.”