The Petworth Park Antiques & Fine Art Fair to be held in May- 05.05-07.05.2017 – 8535

A view near Stroud in Sussex by Abraham Pether (1756-1812), oil on canvas, signed and dated 1788, 28″ x 36″ (35″ x 43″ in original Georgian carved gilded frame), £12,000 from The Parker Gallery

The market town of Petworth is getting excited in anticipation of visitors flocking to the area for The Petworth Park Antiques & Fine Art Fair, which is taking place for the third successive year in the ‘Capability’ Brown designed grounds of the palatial Petworth mansion from Friday 5 until Sunday 7 May 2017 in West Sussex.

Petworth town itself boasts around 30 antiques and art galleries, as well as award winning restaurants, pubs and much more. Easily accessible from London, the south and further afield, Petworth has a lot to offer those wishing to enjoy a day out or even a weekend away. Antiques fair ticket holders have the added advantage of free parking right outside the marquee inside Petworth Park and free entry to view the magnificent Turners, and other Old Masters by Van Dyck and Reynolds housed in the National Trust run property.

Over the 3 days across the first weekend in May, the purpose-built marquee accommodates 48 specialist dealers, all showing their finest wares. Traditional paintings sit alongside contemporary art on many stands, so there is plenty to appeal to differing tastes. Highlights include Arthur Rackham’s original illustration Hope For The World, priced at £29,500, which graced the cover of Hawthorn’s Wonderbook, to be found on Kaye Michie Fine Art’s stand alongside Mount Vesuvius by Mary Fedden (1915-2012), £15,850. Haynes Fine Art has two further Fedden paintings, both of which were reportedly painted at the same time, as the cat in Persian Still Life shows the feline with its tongue hanging out apparently enticed by the still life the artist was painting entitled Two Fish! Another highlight from Haynes Fine Art is a pencil sketch for Tribe of Benjamin Seizing their Brides by Sir John Everett Millais PRA (British, 1829-1896), 73⁄4″ x 111⁄2″, priced in the region of £15,000-£25,000. Continue reading “The Petworth Park Antiques & Fine Art Fair to be held in May- 05.05-07.05.2017 – 8535”

Mike Nichols’ The Graduate- New 4K restoration to be released nationwide for 50th anniversary – 8534

Photo: Rialto Pictures.

New York-based specialty distributor Rialto Pictures and Studiocanal will release Mike Nichols’ groundbreaking The Graduate, starring Dustin Hoffman and Anne Bancroft, in new 4K digital prints beginning in April.

The 50 anniversary restoration will have its World Premiere on April 8 at the TCL Grauman’s Chinese Theatre in Hollywood, as a centerpiece event of this year’s TCM Classic Film Festival. The new Graduate restoration will then play in over 700 movie theaters nationwide on April 23 and 26, as part of TCM and Fathom Events’ monthly “TCM Big Screen Classics” series.

The new restoration will also screen at this year’s Il Cinema Ritrovato festival in Bologna and will be released theatrically and as a special edition Home Entertainment release in all Studiocanal territories (France, Germany, U.K., Australia and New Zealand) throughout the summer.

Hoffman, in his star-making, breakout role, is Benjamin Braddock, the college track star suddenly adrift after graduation, and ripe for seduction by an older, married woman: Bancroft’s coldly calculating friend-of-the-family Mrs. Robinson. When Ben ultimately falls for dream girl Elaine (Katharine Ross), who happens to be the Robinsons’ daughter, it sets up a love triangle like no other in American films up to that time.

Adapted from the Charles Webb novel by Buck Henry and Calder Willingham (which immortalized the word “plastics” in the lexicon of hip expressions), THE GRADUATE was the biggest box office surprise of the decade, nominated for seven Oscars® andwinning for director Nichols’ sophomore effort. The classic “Top 40” score by Simon & Garfunkel started a new, youthful trend in soundtrack music as well.

Source : Artdaily

V&A announces plans for new Photography Centre and expansion of its photography collection – 8533

Arrival of the RPS Collection at the V&A © Victoria and Albert Museum, London.

Victoria and Albert Museum announced the expansion of its vast collection of historic and contemporary photography with the transfer of the Royal Photographic Society (RPS) collection from the Science Museum Group. The addition of over 270,000 photographs, 26,000 publications and 6,000 pieces of camera-related equipment reinforces the V&A’s position as one of the most important photography collections in the world.

Through its FuturePlan development project, the V&A will establish a new Photography Centre, creating a new public space to celebrate, appreciate and study photography. Due to open in Autumn 2018, it will be accompanied by a Museum-wide photography festival and a new digital resource for photography enthusiasts around the world.

The creation of the Photography Centre will see the V&A more than double its current photography display area in original nineteenth-century picture galleries by 2018. Designed by David Kohn Architects, it will allow the V&A to display a larger number and range of photographs, negatives, camera technology, books and archival materials than ever before. The Photography Centre will also facilitate exciting events and activities. Phase two of the project will expand the gallery space further and provide a teaching and research space, a browsing library, and a studio and darkroom to enable photographers’ residencies.

New purpose-built storage facilities have been created to house the expanded photography collection, and an extensive project to catalogue and digitise the RPS collection is now underway. This digitisation will provide web access and research resources for all audiences and photography lovers around the world. The Museum will also continue its programme of major photographic exhibitions at the V&A and other venues in the UK and overseas. Continue reading “V&A announces plans for new Photography Centre and expansion of its photography collection – 8533”

Masterworks of Native American art to be donated to The Met by Charles and Valerie Diker – 8532

Unrecorded Tsitsistas (Cheyenne) Artist (Unrecorded Tsitsistas (Cheyenne) Artist, Native American), Tobacco Bag, 1860–90. Hide, cotton, glass, horsehair, metal, sinew. H.16 7/8 × W. 6 1/4 × D. 1 1/2 in. Image © Charles and Valerie Diker Collection/Photo: Dirk Bakker.

The Metropolitan Museum of Art announced today the promised gift from Charles and Valerie Diker of 91 works of Native American art—a selection of recognized masterworks from the collection they assembled over more than four decades. Joining another 20 works already given by the Dikers during the past two decades, these examples range in date from the 2nd to the early 20th century, and represent—through a wide variety of aesthetic forms and media—the achievements of artists from many culturally distinct traditions across the North American continent.

“These superb works will be an extraordinary addition to The Met collection,” said Carrie Rebora Barratt, Deputy Director for Collections and Administration, in making the announcement. “They have been selected from the largest and most comprehensive collection of its kind in private hands today and are of the highest aesthetic quality. This generous gift will considerably strengthen our holdings of the artistic production of native communities, and we are immensely grateful to our longtime friends and donors Chuck and Valerie Diker for their vision and generosity.”

“Valerie and I are honored to share the remarkable work of these Native American artists with the public, especially as an integral part of the broader story of American creativity,” noted Mr. Diker. “Over the past 45 years, our vision and advocacy has been to build appreciation of these great works of art from cultures across the United States and, through The Met’s stewardship, we are confident that both public recognition of the power and beauty of these works and scholarship on them will be greatly advanced. We’d like to thank the leadership of The Met, especially Carrie Rebora Barratt and Thomas P. Campbell, Director, for enabling us to present the work of these important artists within the context of their peers in the U.S. and around the world.”

This collection will be displayed in The Met’s American Wing starting with a major exhibition in fall 2018, marking The Met’s curatorial decision to display art from the first Americans within its appropriate geographic context. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing, will oversee the integration of this material into the galleries. Continue reading “Masterworks of Native American art to be donated to The Met by Charles and Valerie Diker – 8532”

Victoria Miro announces new gallery in Venice – 8531

Chris Ofili, Poolside Magic 8, 2012, Charcoal, watercolour and pastel on paper, 40.2 x 26 cm (15 7/8 x 10 1/4 in). Courtesy the Artist and Victoria Miro, London © Chris Ofili.

Victoria Miro announced the opening of a new gallery in Venice. The first exhibition at Victoria Miro Venice will be by Chris Ofili.

Entitled Poolside Magic the exhibition comprises a suite of pastel, charcoal and watercolour works on paper, which are being shown together for the first time. Poolside Magic, in which a man in coat-tails serves a naked woman beside a swimming pool, riffs on themes of sexuality, mutability, magic and the occult, making reference to the vibrant and sensuous landscape and culture of Trinidad, where the artist lives and works. Source material for the series includes a photograph of Trinidadian artist Boscoe Holder (1921 – 2007) at work in his Port of Spain studio. Opening during the Vernissage for the 57th Venice Biennale, the exhibition marks a return to the city for the artist. Ofili represented Britain at the 50th Venice Biennale in 2003, when he presented his ambitious exhibition Within Reach, and in 2015 a suite of Ofili’s paintings were included in All The World’s Futures, the 56th International Art Exhibition of the Venice Biennale, curated by Okwui Enwezor. Chris Ofili’s exhibition Weaving Magic is at the National Gallery, London from 26 April to 28 August 2017.

Victoria Miro’s new gallery will open to the public on 10 May 2017. This will be the gallery’s fourth exhibition space, joining gallery sites in Mayfair and Wharf Road, London. The new gallery will provide further opportunities for artists to stage exhibitions and special projects in an intimate environment in the heart of Venice, a city so beloved by artists. Continue reading “Victoria Miro announces new gallery in Venice – 8531”

Edinburgh Art Festival announces 2017 exhibition programme – 8530

Edinburgh Art Festival, the largest annual festival of visual art in the UK, announced details of its 14th edition, including partner exhibitions and pop-up events by contemporary and modern artists from the UK and beyond. This year, as Edinburgh celebrates its 70th anniversary as a Festival City, EAF and partners will present over 45 exhibitions across more than 35 venues, combining ambitious presentations of Scottish and international contemporary art with important survey shows, across the capital’s leading galleries and museums as well as site-specific pop-ups and artist-run spaces.

Highlights of the 2017 programme include:

• Exhibitions of work by internationally recognised artists, including Jac Leirner at The Fruitmarket Gallery; Pablo Bronstein at Jupiter Artland; Ed Ruscha at the Scottish National Gallery of Modern Art; and Patrick Staff at Collective.

• Solo presentations by some of Scotland’s leading artists, include Douglas Gordon and Graham Fagen at Scottish National Portrait Gallery; Stephen Sutcliffe at Talbot Rice Gallery; and winner of the 2016 Margaret Tait Prize, Kate Davis, at Stills.

• Significant survey and historical shows including an overview of British Realist Painting at the Scottish National Gallery of Modern Art; a celebration of the great landscape painters John Constable and William McTaggart at the Scottish National Gallery; the largest exhibition in 70 years about the Jacobites at the National Museum of Scotland; and works by Hanna Tuulikki and Fiona Mathison in an exhibition exploring the history and cultural identity of women expressed in their work in textile at Dovecot Gallery. Additionally, in the 70th anniversary of Edinburgh as The Festival City and the Year of History, Heritage and Archaeology, City Art Centre will celebrate Edinburgh’s history through an A-Z tour of their collection.
Continue reading “Edinburgh Art Festival announces 2017 exhibition programme – 8530”

Inaugural Asia Week New York Contemporary set to debut May 2 to 10 – 8529

Shun Sudo, Innocent Forest, 2017. Acrylic on canvas, 63 x 102 inches. Photo Courtesy: Onishi Gallery

Asia Week New York Contemporary — featuring Michael Goedhuis, Kaikodo LLC, Kang Contemporary Korean Art, Navin Kumar Gallery, Joan B. Mirviss, Ltd., Onishi Gallery and Scholten Japanese Art — will debut on May 2 to 10, 2017.

Following on the heels of Asia Week New York’s successful 10-day round of exhibitions and auction sales, which generated an outstanding $423 million, these seven esteemed galleries are mounting contemporary art exhibitions to tap into the buzz and energy from other modern and contemporary art fairs going on in Manhattan at the same time.

To celebrate this new edition, each gallery will present the works of renowned Asian artists and will hold open houses on Friday evening, May 5.

Says Joan B. Mirviss, of her eponymous gallery: “This is a wonderful opportunity for us to open our galleries to the contemporary collectors who are in town for TEFAF New York Spring and Frieze.”

Representing artists from China, Japan, Korea, and India, the must-see highlights include:
Continue reading “Inaugural Asia Week New York Contemporary set to debut May 2 to 10 – 8529”

Block Museum receives major gift of photography by Edward Steichen – Evanston, ILL – 8528

Edward Steichen, Sunflower in Seed (1920),Vintage gelatin silver print, 7 5/8 in x 9 3/4 in. Collection of Block Museum of Art (2016.15.15) Gift of Richard and Jackie Hollander in honor of Alissa Schapiro. Image courtesy Artists Rights Society.

Images ranging from Charlie Chaplin and W.B. Yeats to self-portraits and botanical studies are among 44 Edward Steichen photographs given to Northwestern University’s Mary and Leigh Block Museum by art collectors Richard and Jackie Hollander.

The significant gift of silver gelatin and platinum prints by the Luxembourg-born American photographer Edward Steichen (1879-1973) is the second to the museum from the Hollander family, who donated 49 Steichen prints to the Block in 2013.

Prior to a series of museum gifts to the Block, the Whitney Museum of American Art and the Los Angeles County Museum of Art, the Hollanders held the world’s largest private collection of Steichen photographs, which they purchased directly from the artist’s estate. Adding to the value and importance of the collection, the photographs were printed by the artist himself.

Active throughout the 20th century, Edward Steichen transformed the medium through his innovations in portrait, fashion, theater, horticultural and advertising photography. He became one of the best-known portraitists in the world, focusing on capturing the personalities as well as the impressions of his subjects.

“We are honored by this new and important gift of art from Richard and Jackie Hollander, which recognizes the Block’s increasing prominence as a university art museum committed to teaching with its collections across fields of study,” notes Lisa Corrin, the Block Museum’s Ellen Philips Katz Director. “It highlights the value of the collection as a significant resource for faculty, students and the Chicago-area community. Collectors like the Hollanders know that giving works of art to the Block ensures that these treasures will be studied and appreciated, particularly by new generations of students, for many years to come.” Continue reading “Block Museum receives major gift of photography by Edward Steichen – Evanston, ILL – 8528”

A new biennial for the Baltics and Nordic region: RIBOCA – Riga – 8527

Photo: Elena Spasova. Courtesy Riga International Biennial of Contemporary Art.

The inaugural edition of the Riga International Biennial of Contemporary Art (RIBOCA), a major biannual event in Latvia, will launch in June 2018.

With a European focus and a strong regional profile, RIBOCA is conceived as a dynamic new site of artistic experimentation and knowledge production which will offer a barometer of current social, political and economic issues filtered through artistic practices. RIBOCA will create new opportunities for leading international and regional artists to engage with the rich cultural, historical and socio-political context of Riga, Latvia and its geographic surrounds. The biennial will be manifested at various points throughout the city, with a full programme and locations to be announced.

RIBOCA is a major initiative of the Riga Biennial Foundation, its commissioning body. Founder and Director of the Riga Biennial Foundation Agniya Mirgorodskaya developed RIBOCA as new global platform for international and Baltic artists to promote contemporary art and provide educational and community support within the region, and to increase artistic engagement between the Baltic region and the rest of the world. For each edition of the biennial, a significant proportion of the commissioned and participating artists were born in, or live and work in, the Baltic states of Estonia, Latvia and Lithuania, a territory which still remains relatively unexplored despite its prolific artistic production.

The Riga Biennial Foundation has appointed globally recognised, Greek-born curator Katerina Gregos as Chief Curator of RIBOCA 2018. The curatorial concept for the first edition of the biennial will be announced in spring 2017.

Source : Artdaily

Eskenazi Museum unveils design plans for transformative renovation – Bloomington, IN – 8526

The museum’s new entrance through the sculpture terrace, connecting the museum to the north-side of campus and the arboretum. Images courtesy of Ennead Architects/BDMD.

The Sidney and Lois Eskenazi Museum of Art at Indiana University has unveiled the initial design plans for the $30-million renovation to its I.M. Pei-designed building. The renovation will include an additional 20,000 square feet of gallery space, four new museum centers, a new lecture hall, and re-envisioned front and rear entrances, all while working within the existing footprint of the building. These improvements will greatly enhance the visitor experience at the museum, re-establish the Eskenazi as a state-of-the-art facility for the 21st century, and make it one of the preeminent teaching museums in the United States. Designed by Susan T. Rodriguez/Ennead Architects in New York with Browning Day Mullins Dierdorf, based in Indianapolis, the renovation and restoration is expected to be completed by fall of 2019.

The renovation will enhance the museum’s mission as a preeminent teaching museum through the creation of four new centers that will provide more space for programming and better resources for university students, professors, community-members, and preschool through high school students from throughout Southern and Central Indiana. The four centers are: a center for art education, where museum staff will instruct teachers on effective ways to use art objects in the museum’s collections; a center for art conservation where Indiana University can promote learning about the science behind preserving and studying works of art; a center for the study of works on paper, providing greater access to the museum’s diverse collection of 22,000 prints, drawings, and photographs; and a center for curatorial studies, which will be a place for training the next generation of museum curators. Facilities will also be improved to allow expansion of the museum’s already robust educational tour program that currently serves over 9,000 IU students and close to 5,500 K-12 students annually. Continue reading “Eskenazi Museum unveils design plans for transformative renovation – Bloomington, IN – 8526”

Lund Humphries publishes the first complete illustrated catalogue of the work of Pop Art pioneer Gerald Laing – London – 8525

Edited by David Knight, with essays by Michael Findlay, Lyndsey Ingram, David Knight and Marco Livingstone.

Lund Humphries publishes the first complete illustrated catalogue of the work of Pop Art pioneer Gerald Laing, published in association with the artist’s Estate.

This is a complete, illustrated catalogue of the painting and sculpture of Pop Art pioneer Gerald Laing (1936–2011), who shot to fame in the 1960s with his large-scale, iconic paintings of film-stars such as Brigitte Bardot and Anna Karina, conveyed in styles and colours that aped the crude but powerful printing processes of mass advertising.

In 1964 Laing moved to New York and transformed effortlessly from Pop artist to abstract minimalist, showing works in the seminal Primary Structures exhibition of 1966 and forming lasting friendships with leading lights of the US art world, such as Andy Warhol, Larry Poons, Roy Lichtenstein and Larry Bell. A self-imposed exile to a restored Scottish castle in 1969 removed him from the art world’s centre, but allowed him the space to develop a more personal, sculptural vocabulary in which the hard edges of his abstraction gradually gave way to anthropomorphic form.

This catalogue raisonné covers each distinct phase of Laing’s career and includes a fully illustrated catalogue of his works alongside comprehensive related reference material: chronology, exhibition history and list of public collections. An introductory essay by Michael Findlay, a close friend of Laing, provides an overview of his artistic development while essays by gallerist Lyndsey Ingram, editor David Knight and Marco Livingstone, a leading authority on Pop Art, examine specific periods and aspects of Laing’s practice.

David Knight is a freelance graphic designer and web developer. He began cataloguing the works of Gerald Laing in 2008, working closely with Laing to develop his website. He has continued to work with the artist’s estate to produce this catalogue raisonné.

Sky Arts, Barbican, Sage Gateshead, BALTIC launch £1million art fund – Gateshead – 8524

Applications are now open and the scheme is looking for ideas across all disciplines including the visual arts, theatre, music, dance, spoken word and more.

Following the triggering of Article 50, Sky Arts is launching Art 50, a landmark project to commission 50 artworks that will explore what it means to be British in a post-Brexit Britain.

With the result of last year’s referendum creating widespread debate across the country, this ambitious initiative is looking for artists, individuals or groups from all walks of life to respond to the question of what it will mean to be British outside of the European Union.

Applications are now open and the scheme is looking for ideas across all disciplines including the visual arts, theatre, music, dance, spoken word and more.

The project will reflect the diversity of opinion surrounding Brexit, including those who voted to remain and those who voted to leave the EU, and will feature voices from across the UK from both rural and urban communities.

Art 50 is a partnership between Sky Arts, the Barbican, Sage Gateshead, BALTIC Centre for Contemporary Art and Storyvault Films – makers of Sky Arts’ popular series Portrait Artist of the Year and Landscape Artist of the Year. It will be funded by £1 million from the Sky Arts Amplify fund, which was set up to encourage arts organisations and production companies to collaborate on new ideas. Continue reading “Sky Arts, Barbican, Sage Gateshead, BALTIC launch £1million art fund – Gateshead – 8524”

Frank Gehry archives acquired by the Getty Research Institute – Los Angeles – 8523

Frank Gehry (Canadian-born American, b. 1929), Walt Disney Concert Hall Model, 2003. Los Angeles, California Frank Gehry Papers at the Getty Research Institute, © Frank O. Gehry.

The Getty Research Institute announced today the acquisition of a major archive of the world-renowned architect Frank Gehry. The Frank Gehry Papers cover more than thirty years of his singular career and includes comprehensive material on some of his best-known projects. The acquisition is part purchase and part gift.

“Frank Gehry is undoubtedly the world’s most famous living architect. This extensive archive, covering the first three decades of his illustrious career, offers an in-depth look at the genesis of Gehry’s distinctive style and includes many of the projects for which he is internationally known,” said Thomas W. Gaehtgens, director of the Getty Research Institute. “The Getty Research Institute’s architectural holdings, especially in modern and contemporary architecture and design from the West Coast, are unparalleled and widely used. This standout addition connects with threads throughout these collections, and I’m sure it will quickly become an indispensable resource for researchers and curators. At the Getty, we have enjoyed a long, fruitful relationship with Mr. Gehry for many years, and we’re so proud to give this archive a home and to further his rich legacy.” Continue reading “Frank Gehry archives acquired by the Getty Research Institute – Los Angeles – 8523”

San Antonio Museum of Art receives major gift of art from local collector Larry Sheerin – San Antonio, TX – 8522

View of Monclova, last quarter of 19th Century, oil on canvas, 12×9”.

The San Antonio Museum of Art announced today the expansion of its Texas art holdings as the result of a major gift from local collector Larry Sheerin. The gift by Mr. Larry Sheerin and his family includes more than 80 works of art by the French-born, Texas-based painter Theodore Louis Gentilz. This gift enhances the study and display of early Texas art at the Museum.

“Our vision has long been to highlight the dynamic connections between local and regional artists and those from across the country and abroad, emphasizing the importance of San Antonio to global artistic dialogues,” said Katherine Luber, the Kelso Director of the San Antonio Museum of Art. “We are so fortunate to be the beneficiaries of this important collection. San Antonio, in particular, has a rich and diverse artistic and cultural history, and we are delighted to share it with our audiences.”

The Sheerin family has long been an ardent supporter of the Museum. Mr. and Mrs. Sheerin’s daughter, Kate Sheerin, a former museum curator and independent art historian, currently serves on the Board and was instrumental in guiding the collection to the Museum. These gifts of art arrive as the Museum has made a significant commitment to the study, preservation, and presentation of American art. A landmark gift from the Andrew W. Mellon Foundation supports the position of Chief Curator/Curator of American Art, and inspired another patron, Mrs. Marie Halff, to endow that position in honor of her late husband.

Highlights from Mr. Sheerin’s Gift:
Continue reading “San Antonio Museum of Art receives major gift of art from local collector Larry Sheerin – San Antonio, TX – 8522”

KAAN Architecten presents final design for ‘new’ Paleis Het Loo – Apeldoorn – 8521

Grand Foyer. Photo: museum Paleis Het Loo – KAAN Architecten.

The final design of KAAN Architecten for the ‘new’ Paleis Het Loo was presented in early March. The major project will start in 2018, and the renewed and renovated Paleis Het Loo will be completed by mid 2021.

An important part of the project, and also the main reason for it, is the renovation. It includes a major asbestos removal and a replacement of technical and climate installations.

Underground expansion
While this maintenance is being carried out, an underground expansion will be implemented under the front courtyard, the Bassecour. This expansion will allow Paleis Het Loo to create a spacious entrance with additional facilities for the public and room for both the permanent collection and temporary exhibitions.

From grass to glass
The eye-catchers in the design are the four glass parterres in the front courtyard: a thin layer of water will flow over the glass – a nod to the fountains and waterworks of the historic gardens. The combination of glass and water creates a unique incidence of lighting in the underground expansion and will prove an iconic addition to Paleis Het Loo.

Junior Palace and House of Orange
The current West Wing will become the home of a special area for children: the Junior Palace. The East Wing will become the House of Orange, with background information on the history of the royal house. A number of residential rooms in the palace will also be arranged differently. From 2021, visitors will enter the palace by the Grand Staircase, just as the former royal residents did. Several rooms in the servants quarters will be furnished and opened for the first time.

‘OPEN, JUST NOT AS USUAL’
During the renovation, the gardens, stables and the museum restaurants will remain open to the public from April to September and in the weeks around Christmas. The main building will be closed from 8 January 2018. The opening of the new Paleis Het Loo is planned for mid 2021

Dynamic new three-year programme of contemporary art opens in Edinburgh – 8520

Tess Lynch, (b. 1984), 23. Umbrellas (Remembered), 2016. Steel, weaving thread © Tess Lynch. Photo: Max Slaven

A dynamic new three-year programme of contemporary art exhibitions opened at the Scottish National Gallery of Modern Art in Edinburgh this spring. Between March 2017 and March 2020 the entire ground floor of the Gallery’s Modern One building will be given over to NOW – a series of six major exhibitions, showcasing the work of some of the most compelling and influential artists working today.

This extensive programme reflects the Gallery’s ambition to share contemporary art with a wide audience, and will shine a light on the extraordinary quality and range of work being made by artists working in Scotland today, from those at the beginning of their career to established talents with an international standing. It will also feature the work of artists from across the globe, placing art created in Scotland in an international context, and demonstrating the crucial exchange between artistic communities around the world. The programme will evolve in collaboration with a range of partners in order to reach new audiences and to support the development of new commissions. NOW will highlight the diversity of contemporary artistic practice, and the unique role of artists, who, through their work can offer alternative ways of seeing and understanding the world around us.

At the heart of each exhibition in NOW will be a significant presentation devoted to the work of a single artist, around which group displays and room-sized installations by a range of other artists will be selected to explore common themes and ideas. As well as new commissions and loans from private and public collections, NOW offers the chance to see recently acquired additions to the Gallery’s collection for the first time, and will offer fresh perspectives on familiar, much-loved works.

The opening exhibition, which is on show from 25 March, brings together a fascinating and diverse selection of work, including a major three-room exhibition by Glasgow-based, Turner Prize-shortlisted artist Nathan Coley. The exhibition also includes significant works by world-renowned Lebanese-born artist Mona Hatoum and the influential Brazilian artist Rivane Neuenschwander, a recent installation by Glasgow-based artist Tessa Lynch, and a display pairing the work of painters Louise Hopkins and Tony Swain. Continue reading “Dynamic new three-year programme of contemporary art opens in Edinburgh – 8520”

The Art Basel and UBS Global Art Market Report: Key findings – 8518

Globally: The art market achieved total sales of an estimated $56.6 billion in 2016, down 11% from 2015.

Art Basel and UBS today launched the first Art Basel and UBS Global Art Market Report. The Art Market 2017 analyzes today’s international art market. Written by renowned cultural economist Dr Clare McAndrew, Founder of Arts Economics, the report covers macro-economic trends within the industry, spanning the dealer and auction markets as well as the online sphere. The full report is free to download as of today on the Art Basel website.

A continuation of Dr Clare McAndrew’s extensive research into this field, the report begins with a discussion of estimated global sales, including the key benchmark statistics on global transaction values, volumes and geographic market shares. It then continues in successive chapters by analyzing the dealer and auction segments, online sales, art sectors (by periods), as well as global wealth trends and economic impact metrics. This new report places a large emphasis on the gallery sector, covering areas such as primary versus secondary sales, profitability, debt, exhibitions and art fairs.

Key findings of The Art Basel and UBS Global Art Market Report include:

• Globally: The art market achieved total sales of an estimated $56.6 billion in 2016, down 11% from 2015.

• Leading Markets: The top three markets – Unites States, United Kingdom and China – cemented their dominant position in the global art market in 2016, with a combined 81% of estimated sales by value. Despite a substantial decline in sales, the United States was again the largest market by value with an estimated market share of 40%. The United Kingdom was the second largest with 21%, followed by China with 20%.

• Dealer Figures: In 2016, there was a slight increase in sales in the dealer sector – up 3% year-on-year to an estimated $32.5 billion.

• Auction Figures: The value of sales at public auctions declined 26% year-on- year, reaching on aggregate an estimated $22.1 billion.

• Leading Auction Market: Due to the fall in United States auction sales and relatively stable performance in China, the Chinese market led the auction sector with 34% of sales by value.

• Private Auction Sales: All of the top-tier auction houses engaged in private sales, and these rose in 2016 to a weighted average share of 16% of their turnover.

• Art Sectors: The largest sector of the public fine art auction market in 2016 was Post War and Contemporary art, accounting for 52% of the market by value and 37% of transactions.

• Online Sales: Sales of art and antiques online were estimated to have reached $4.9 billion in 2016, an increase of 4% year-on-year and accounting for almost 9% of the global art and antiques market by value.

• Art Fairs in the Global Art Market: Art fairs continue to be a central part of the global art market, with aggregate sales estimated to reach $13.3 billion in 2016, up 5% year-on-year and an increase of 57% since 2010. Art fairs accounted for estimated 41% of dealer sales in 2016. Continue reading “The Art Basel and UBS Global Art Market Report: Key findings – 8518”

Major donation of Fabergé acquired for the nation and allocated to the V&A – London – 8517

Johann Christian Neuber, Snuff box, gold with specimen stones, Dresden, c. 1785-90. © Victoria and Albert Museum, London.

Nine superb works by Carl Fabergé and two by the eighteenth-century goldsmith, Johann Christian Neuber, have been donated to the Victoria and Albert Museum by Nicholas Snowman OBE from the Kenneth and Sallie Snowman Collection under the Cultural Gifts Scheme. The Scheme was introduced by the Government in 2013 as a major initiative to encourage life-time giving to UK public collections. This is the second gift under the Scheme to be allocated to the V&A. The V&A has one of the finest and most comprehensive collections of jewellery in the world, and these treasures are now on display in the Museum’s William and Judith Bollinger Gallery, which tells the story of jewellery in Europe from prehistoric times to the present day.

Very few Fabergé items are held in British public collections. These nine items of exceptional quality, including some of fascinating provenance, constitute a major benefit to the study of European jewellery in the UK. Kenneth Snowman CBE FSA (1919-2002) was the pre-eminent authority on the Russian goldsmith Fabergé and was even called on by James Bond for his advice on a Fabergé problem in The Property of a Lady, a short story published by Ian Fleming in 1963. Snowman published his first book on Fabergé in 1953 and the works presented to the V&A reflect a career of fifty years as scholar, dealer and curator.

The Fabergé pieces include four carved animals from the collection of Queen Alexandra, who, with her husband King Edward VII, was an important patron of the London branch of the famous Russian goldsmith. The animals are masterpieces of carving in chalcedony and agate, and include a baboon hissing in defiance, a sturgeon, a kangaroo and a chinchilla. The other Fabergé animals include an obsidian seal, in which skin texture and stone are perfectly matched, and a highly stylised smoky quartz hare which shows the influence of Japanese netsuke on Fabergé’s work. The most evocative of all the Fabergé objects is a rock crystal letter opener, mounted in gold and set with a diamond. This was a present from the Tsarina Alexandra of Russia to her former English governess, ‘dear Miss Jackson’, at Christmas in 1900. Miss Jackson had been Alexandra’s support after the early death of her mother. Continue reading “Major donation of Fabergé acquired for the nation and allocated to the V&A – London – 8517”

New stamps tell the story of the De Stijl art movement – The Hague – 8516

Today the CEO of PostNL, Herna Verhagen, presented the first set to the new mayor of The Hague, Pauline Krikke, in front of Mondrian’s painting Victory Boogie Woogie.

On Monday 27 March, PostNL will issue the De Stijl Centennial stamp sheetlet, celebrating this influential 20th century Dutch art movement. The stamps feature iconic works by Theo van Doesburg, Piet Mondriaan, Cornelis van Eesteren, Gerrit Rietveld and J.J.P. Oud. As artist, designer or architect, all are important representatives of De Stijl. At the Gemeentemuseum Den Haag, mayor Pauline Krikke received today the first issue of the De Stijl Centennial stamps from Herna Verhagen, CEO of PostNL.

The PostNL head office is currently also decorated in the De Stijl Centennial style, inspired by Piet Mondriaan’s Victory Boogie Woogie. In this way, PostNL supports the celebration of the national theme year ‘Mondriaan to Dutch Design’ in The Hague. Continue reading “New stamps tell the story of the De Stijl art movement – The Hague – 8516”

Home at last: After 14 years the stolen Van Goghs are back in the museum – Amsterdam – 8515

Minister Jet Bussemaker and director Axel Rüger in front of the two paintings. Photo: Jan Kees Steenman.

After an absence of 14 years, the two paintings by Van Gogh that were feared lost are again on display in the Van Gogh Museum. The works were stolen from the collection in 2002 by thieves who needed only a few minutes for the entire operation. The theft was a major blow to the art world. Last September, a team from the Italian Guardia di Finanza stumbled upon the two paintings during a house search in the vicinity of Naples. Thanks to the concerted efforts of the Italian and Dutch authorities, the works could be released relatively soon and begin their journey back to the Netherlands. Starting today, they have resumed their place in the museum’s collection and are on display in the state in which they were found, without their frames.

‘The homecoming of the recovered paintings means that our collection is once again complete, and we can close the door on this particularly painful period in our history. I’ve been looking forward tremendously to the day when we could again show these two gems to our public. That day has finally come. We haven’t been able to tell their story for more than 14 years, but starting today, they again have a face and a voice! They’re home at last! Unbelievable!’ director Axel Rüger said with a broad smile.

Initial examination has shown that the works have suffered relatively little damage. Apart from a small area of visible damage to the canvas View of the Sea at Scheveningen, the Van Goghs are in reasonably good condition. The most obvious damage was caused immediately after the robbery, when one of the thieves removed the frames.

Presumably they were not tossed around very much during the years that followed. In fact, they seem to have been left in peace behind the double wall where they were found, in the house occupied by the parents of Camorra chief Raffaele Imperiale. Today the returned paintings will receive a festive welcome from the outgoing Minister of Culture, Jet Bussemaker, and museum director Axel Rüger. The works will be on display until 14 May, after which they will go to the restoration studio for examination and treatment.

Feared lost but recovered
Last year members of a specialist team of the Italian Guardia di Finanza stumbled upon the two stolen works while searching one of the houses belonging to the fugitive Neapolitan Raffaele Imperiale. This put an end, in September 2016, to many years of uncertainty as to the condition and whereabouts of the paintings, which had been missing from the Van Gogh Museum since 2002.

Axel Rüger: ‘As director of the museum, I have first-hand experience of the effect that such a traumatic incident can have on the staff. In recent years I’ve been involved in the search for the works. It’s wonderful for me to get them back and to see them in our collection for the first time!’

Fourteen years of wondering about their condition and whereabouts
It was long feared that the works had suffered considerable damage. The recovered paintings appear to be in reasonably good condition, however. The relatively minor damage is all the more remarkable given that both paintings were forcibly removed from their frames after the theft, in the course of which View of the Sea at Scheveningen was damaged by one of the thieves.

The canvas Congregation Leaving the Reformed Church in Nuenen seems at first glance to be unharmed, apart from slight damage to the edges in a few places and some scratches in the layer of varnish. The work View of the Sea at Scheveningen suffered more damage: a piece of the paper support – and therefore a significant part of the depiction – is missing in the lower left-hand corner. We recently learned that this piece of paper was torn off when the work was forcibly removed from its frame. Small pieces of paint have chipped off in several places along the edge. In fact, this work had already had an eventful past, marked by intensive restorations and new ‘relinings’. During the latter interventions, the work on its original paper support was ironed onto a canvas, using a paste made of wax and resin, which was applied with a great deal of heat and pressure – a technique that is no longer used.

Filling in the gaps in the story
The two paintings from Van Gogh’s early period are small gems that have a lot of added value for the museum’s collection. Their return therefore fills glaring gaps in the presentation.

View of the Sea at Scheveningen (1882), originally painted on paper, is one of the first works Van Gogh made without the supervision of his teacher, Anton Mauve. In the preceding years he had devoted himself almost exclusively to drawing and had done little painting. Given his still-scant experience, the canvas is strikingly forceful. Even though the brushwork is fairly coarse and the simple, drawn figures distributed rather haphazardly over the beach, the space and the approaching storm are aptly characterized.

Van Gogh painted the Congregation Leaving the Reformed Church in Nuenen in 1884, when he was living with his parents in Nuenen in the province of Brabant. The canvas was intended for his mother, who had broken her leg early that year. The choice of subject, the church of the Reverend van Gogh, suggests that Vincent hoped his father would take pleasure in the work as well. X-radiographs show that Van Gogh touched up the foreground and other passages too, probably a year later, in 1885. He painted figures in front of the church door and applied autumnal colours to the bare winter trees and hedges. Only the church, the sky and some of the trees remained unchanged. In the foreground Van Gogh painted women wearing long mourning shawls, perhaps a reference to his own grieving process and thus to the death of his father, who died on 26 March 1885. In addition to its art-historical importance, therefore, this work is clearly of biographical value as well.

Van Gogh bus connects Nuenen and Amsterdam
To mark the return of the two Van Goghs, the organization Van Gogh Brabant and the Van Gogh Museum are introducing a bus service between Amsterdam and Nuenen. Visitors to the Van Gogh Museum can see, all on the same day, not only the paintings but also the edifice depicted, the Reformed Church in Nuenen. The bus service begins on 30 March.

Website : Van Gogh Museum
Source : Artdaily

The National Gallery opens first new gallery in 26 years – London – 8514

New Gallery B with Rubens and Rembrandt display © The National Gallery, London.

The National Gallery opens Gallery B to the public. This will be the first new gallery space created at the National Gallery in 26 years.

Gallery B – which was designed by architects Purcell – adds an additional 200 square metres of display space to the main Wilkins Building and opens up the ground floor. This creates a direct public route from the Portico Entrance on Trafalgar Square through to the Pigott Education Centre Entrance on Orange Street (at the rear of the Gallery).

For the first time, visitors can now explore all of the Ground Floor Galleries and progress up to the Main Floor whilst enjoying a continuous viewing experience.

It is intended that these now interconnected galleries will host a wide range of education programme activities along with special displays and exhibitions. The launch of Gallery B also marks the daily opening of Gallery A, previously open every Wednesday afternoon and one Sunday per month.

Gallery B opens with ‘Rubens and Rembrandt’, a special display of paintings by the Flemish artist Rubens hung opposite works by his Dutch counterpart, Rembrandt, creating a dynamic visual dialogue between these two great 17th-century masters. The innovative hang demonstrates the potential of this new gallery space for exceptional displays that offer different ways of exploring the National Gallery Collection.

Though the two masters probably never met in person, their works meet face-to-face in this inaugural hang of Gallery B, which includes nine works by Rubens and 11 paintings by Rembrandt from the National Gallery’s extensive collection of Dutch and Flemish art. Both Rubens and Rembrandt were prolific artists, who produced works of great sensitivity and emotional charge. Indeed, it has been argued that Rembrandt was influenced by Rubens’s remarkable artistry and personal charisma in forming his own identity within the grand lineage of master painters. An avid collector; it is recorded that Rembrandt later owned a painting by Rubens. This new installation testifies to the breadth of these two artists’ careers, whose bodies of work encompass history paintings, landscapes, portraiture and more.

Additionally, dynamic drawings by contemporary painter Frank Auerbach, inspired by the works of Rembrandt and Rubens, will be on view in the Gallery B Lobby and Espresso Bar.

Curator of Dutch and Flemish Paintings, Betsy Wieseman, said: “The arrangement of paintings in the main floor galleries is for the most part divided by national schools. The new gallery space presents an exciting opportunity to display together paintings by two great masters from neighbouring countries with diverging artistic traditions. This Gallery B display will enable the visitor to make their own comparisons, and as a result to view the achievements of these two artists – whose work is so well represented in the National Gallery – in an entirely new way.”

Director of the National Gallery, Dr Gabriele Finaldi, said: “Gallery B is the first new gallery to open since the Sainsbury Wing was inaugurated in 1991. It provides the setting for an original display of works by two of the National Gallery’s titans, Rubens and Rembrandt.”

Website : National Gallery
Source : Artdaily

Indianapolis Museum of Art engages architecture & design firm to build sustainable future – 8513

.

The plan will serve as a roadmap for the next 30 years.
The Indianapolis Museum of Art announced that it has partnered with the landscape architecture and urban design studio, David Rubin LAND COLLECTIVE, to develop a Master Land Use plan for the IMA’s 152-acre campus.

The plan will serve as a roadmap for the next 30 years, addressing access, infrastructure, connectivity, space and land use needs. A major goal of the plan is to integrate the IMA’s cultural and natural resources to create a holistic campus experience.“The IMA is in the process of defining what it means to be a living museum with a combination of extraordinary assets: a great art collection, stunning gardens, renowned historic sites, a nature preserve, sculpture park, unique performance and event spaces, and even a preschool,” said Dr. Charles L. Venable, the IMA’s Melvin & Bren Simon Director and CEO. “We are almost unique nationally in having such incredible, diverse resources that enable us to deliver a one-of-a-kind experience to our guests. We are thrilled to partner with David Rubin LAND COLLECTIVE to better understand how we can unify these resources to create even more exceptional experiences for the public while building a sustainable financial future for the IMA.”

Based out of Philadelphia, David Rubin LAND COLLECTIVE has extensive experience in Indiana landscapes and has collaborated on projects for Eskenazi Health Hospital – “The Commonground”; the Indianapolis DBU Headquarters Park for Cummins, Inc.; Grand Junction Plaza for the City of Westfield; and the Kitselman Trailhead for the Cardinal Greenway, Inc. and the City of Muncie. The studio also has experience integrating art and architecture—the Eskenzai and Cummins projects both had heavy art components.

“I became a member of the IMA several years ago, long before any professional affiliation connected me to this extraordinary institution,” said David Rubin, principal at LAND COLLECTIVE. “Working on projects in and around Indianapolis, I found the museum assets and expansive gardens to be a welcome place for emotional recharge and intellectual stimulation between project meetings. This is a unique place—like no other I have found in all of my travels— with untapped resources that have the capacity to serve the breadth of the region’s population. I call it a ‘constellation of assets’—a living Jacco Olivier painting—where every citizen can find themselves enriched by ever-changing, stimulating experiences throughout the year. It is my home away from home.”

LAND COLLECTIVE has engaged a team of consultants to collaborate on the project, including the land use planning and architecture firm, Beyer Blinder Belle; historic planning and preservation consultants from PennPraxis; engineering and surveying firm, Nitsch Engineering; public space design and management firm, ETM Associates, L.L.C.; and the Indiana-based construction company, The Hagerman Group. The multifaceted team will examine the IMA’s existing challenges, such as limited parking and navigation across the campus’ diverse landscapes, and determine opportunities for growth in underutilized spaces and resources. The resulting Master Land Use plan will aim to enhance the guest experience and celebrate the landscape’s unique history while creating a sustainable, 21st century campus.

To inform the master planning process, the IMA worked with external consultants over the past year to conduct a series of studies. Studies included identifying and strategizing earned income opportunities, analyzing audience segments in the local market and assessing existing community engagement initiatives.

The project team will utilize the results of these studies, along with their own research, to develop the IMA’s Master Land Use Plan. As part of their analysis, David Rubin LAND COLLECTIVE will meet with various stakeholder groups to gather feedback and better understand their specific needs. A forum for IMA members and the local community will be held on Feb. 5 from 2-4 p.m. in The Toby.

After the research phase, the master planning team will define the vision and framework for the plan, and make their final recommendations to the IMA’s Board of Governors. The process is set to conclude in summer 2017.

Magazzino Italian Art announces official opening and inaugural presentation in June 2017 – New York – 8512

.

 

Margherita “Christian” Stein at her home-gallery mid 1960’s Piazza San Carlo, Turin, Italy. Artworks by Jannis Kounellis, Luciano Fabro, Michelangelo Pistoletto. Photo by Mario Sarotto.

Magazzino, the new private warehouse art space in the Hudson Valley devoted to Postwar and Contemporary Italian art, will be open to the public by appointment only starting June 28, 2017, with an inaugural presentation that will pay homage to Margherita Stein. Founder of the historic Galleria Christian Stein in Turin, Italy, and one of the pioneers of the Arte Povera movement, Magazzino’s premiere presentation will continue Stein’s legacy in the United States by fostering a renewed dialogue around Postwar Italian art. Located along the Hudson River, in Cold Spring, New York, the new space will display works from the Olnick Spanu Collection, with the mission of researching and supporting further recognition of Postwar and Contemporary Italian art in the United States.The inaugural presentation will display a curated selection of works created by artists whose careers Stein fostered. Born and based in Turin, Margherita Stein assumed the alias “Christian Stein”, borrowing her husband’s first and last name in order to gain acceptance as she embarked on a career as one of the leading Italian gallerists of her time. Between 1966, when the gallery first opened, until 1999, Stein was responsible for supporting artists associated with Spatialism, the Zero Group and most significantly, Arte Povera, bringing early recognition to this movement, first in Italy and Europe, and later in the United States. Continuing this mission, Magazzino’s inaugural presentation and programming aims to further the historical dialogue and research on Italian art, both past and present.

Italian art critic and curator, Germano Celant, coined the phrase “Arte Povera” for his celebrated 1967 exhibition in Genova. Meaning “poor art” in Italian, the phrase grew out of the radical stance artists were taking in response to their dissatisfaction with the values established by political, industrial and cultural institutions. The movement features impressive sculptural installations, illustrating artists’ preoccupation with history and myth and their preference for humble, often ephemeral materials. These young Italians opposed the commercialization of the art object and aimed to eradicate the boundaries between media as well as between nature and art. Stein was active in the creation of the movement and participated in the debates these artists held on the changes that were taking place in contemporary art. Her commitment to their vision has proven to be an essential part of the history of Arte Povera. Based on Stein’s legacy, the inaugural display at Magazzino will showcase over four decades of historic works by artists including Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Luciano Fabro, Jannis Kounellis, Mario Merz, Marisa Merz, Giulio Paolini, Giuseppe Penone, Michelangelo Pistoletto, and Gilberto Zorio.

“The inaugural presentation at Magazzino will not only focus on the core group of artists associated with the Arte Povera movement but will also incorporate artists from the following generation, including Marco Bagnoli, Domenico Bianchi and Remo Salvadori,” states Director Vittorio Calabrese. “The aim of the initial presentation is not solely to be a survey of Arte Povera, but rather an homage to the vision of Margherita Stein and her role in shaping and advancing these artists’ careers. Our goal is to always have one gallery dedicated to presenting temporary exhibition of contemporary art.”

Magazzino draws architectural components from an existing structure which has been repurposed within a larger design conceived and led by Spanish architect Miguel Quismondo. Quismondo has doubled the square footage of the former space by completing the original L-shape into a rectangle, leaving a courtyard in the center, and creating a dialogue between the existing and the new addition. The state of the art facility will feature more than 18,000 square feet for art display and a library, which will feature publications on Italian art and will be accessible free of charge, by appointment to residents, students and scholars.

“The project pays tribute to its name by reiterating its integrity as an industrial warehouse,” explains architect Miguel Quismondo. “The existing building has been striped to its basic components, while the addition is built with structural cast-in-place concrete and metal girders, creating a modulated repetition. The balance of natural light, the contrasting shell and versatile height of the new component establishes a harmonious dialogue between the existing and the addition.” Following the completion of Magazzino, a publication will be launched on a photographic project, documenting the construction of Magazzino from start to finish, by photographer Marco Anelli. Anelli’s works portray the workers on site through the realization of the architect’s design that transformed a space originally designed as a farmers’ warehouse—then a dairy distribution center and most recently a rugged computer factory—into a space dedicated to Italian art. Beginning in summer 2017, Magazzino will join the thriving arts scene of Hudson Valley and will feature a range of educational programming for the local community. The new art warehouse space will be available as an academic resource to those who visit, the surrounding schools and members of the local community.

$12M gift to support Welcome Center for Denver Art Museum’s revitalization of Gio Ponti building – 8511

 

Model View from North.
 *
The Denver Art Museum announced that Anna and John J. Sie have pledged $12 million to support the construction of a new Welcome Center as part of its North Building revitalization project. The new space will be named the Anna and John J. Sie Welcome Center. Its transparent exterior will serve as a welcoming beacon to visitors and the neighborhood, while creating a clear and accessible point of entry to the North Building.

The DAM’s North Building project was announced in December 2016 and aims to unify the museum’s campus and make key improvements to sustain its operation and relevance into the future. Designed by world-renowned Italian architect Gio Ponti and Denver-based James Sudler Associates, the North Building opened to the public in 1971 and houses the majority of the DAM’s permanent collection galleries. Its seven-story silhouette is celebrated as one of the first-ever high-rise art museums, and is the only completed building in North America designed by the Italian modernist.The new Anna and John J. Sie Welcome Center takes its inspiration from shapes and volumes originally designed by Ponti for the North Building. The elliptical two-story facility, collaboratively conceived by Fentress Architects of Denver and Machado Silvetti of Boston, will visually connect the campus. The design pays clear homage to the original Ponti architecture while taking into account the unique landscape of the Golden Triangle Neighborhood in the heart of the city. At 50,000 square feet, it will be a significant feature for the museum and will include visitor-centric amenities such as a restaurant, quick-service café, improved ticketing and orientation capabilities, as well as dynamic and flexible program spaces, state-of-the-art event space and below-grade space for art storage and the Museum’s primary conservation lab.

“Anna and I are grateful to have been part of the pioneering cable industry in this country. Having lived the American dream, we are now fortunate to be able to give back to our great state of Colorado and the city of Denver,” said John Sie. “For us, the Welcome Center sends an important message of belonging to all visitors, while also uniting the campus and giving the North Building the entrance it deserves—providing a launch pad for visitors to have a great museum experience.”

John Sie is a longtime supporter of the DAM, serving on the museum’s Board of Trustees since 2002. John and Anna Sie both emigrated to the United States—John from Shanghai, China, when he was 14 years old, and Anna from Naples, Italy, at age 11. They met in New Jersey where they raised their five children together. John was recruited to Colorado by Dr. John C. Malone in 1984 to help build Tele-Communications Inc., and with Malone’s backing John later established the Starz and Encore networks. The Sie family and its foundation have generously contributed to many important museum initiatives, most notably the Frederic C. Hamilton Building Capital Campaign, the Annual Fund Leadership Campaign, the multi-year fund to support the exhibitions and programs of the museum, and the 2011 Xu Beihong: Pioneer of Modern Chinese Painting exhibition, which brought more than 60 works by the iconic artist from China to Denver.

“We are honored and grateful to have Anna and John Sie’s generous support for this new space that provides a more welcoming connection for the campus and an open invitation for all who pass through the Golden Triangle Neighborhood each day,” said Christoph Heinrich, Frederick and Jan Mayer Director of the DAM. “John has tirelessly worked to help guide the museum in his role as a trustee, and was instrumental in ensuring the North Building continued to be vital by encouraging the breezeway across 13th Avenue to connect it with the newer Hamilton Building during that design process. We are now excited to take the next important step in the North Building’s revitalization and the completion of our campus with this support.”

The goals of the North Building project include stewardship of the building, connecting the campus and the neighborhood, and celebrating museum learning and engagement. In addition to constructing the Anna and John J. Sie Welcome Center, other projects include expanding gallery spaces for growing collections for design and Western American art, completing Ponti’s original vision for visitor access to stunning 7th-floor views, exterior site improvements, and updating DAM’s environmental spaces and technology. The North Building project is currently in the design phase. Plans call for construction to begin by the end of 2017, with project completion by the building’s 50th anniversary in 2021. More details on the design will be released as the project develops.

The Dalí Foundation acquires Salvador Dali’s ‘Figura de perfil’ – 8510

Salvador Dali’s Figura de perfil (La Hermana Ana María)
*
Salvador Dali’s Figura de perfil (La Hermana Ana María) made £1,805,000 at Bonhams Impressionist and Modern Art sale on Thursday 2 March at London, New Bond Street. The work, a portrait of Dali’s sister, given to her by the artist before their relationship descended into turmoil, had been estimated at £800,000-1,200,000.

Bonhams Head of Modern and Impressionist Art, India Phillips, said, “This was an important and rare work from a pivotal period in Dali’s life and career. The painting had never appeared at auction before and I am not surprised it was so keenly fought over nor that it achieved such an impressive price.”

Figura de perfil (1925) combines two of Dali’s favoured subjects, his sister Ana María and the Cadaqués coastline that he referred to as “by far the most beautiful place in the world”. Dali painted Ana María regularly through the 1920s. She later recalled his painting ‘countless portraits of me’, noting that he ‘invariably painted me at the window’. Of those many portraits Dali chose this painting, Figura de perfil, to give to his sister.

Although Dali and his sister were on good terms when Figura de perfil was painted, they fell out over the publication of Dali’s autobiographical The Secret Life of Dali in 1942. Believing his account to be an unfair depiction of Dali family life, Ana María published a rival work: Salvador Dali as Seen by his Sister (1949).

By 1925, having already flown through Impressionism, Pointillism, Fauvism and Cubism, Dali was on the verge of entering the Surrealist phase for which he is best known. One of only a few works painted at this turning point in his career, Figura de perfil has been out of public view for nearly a century. Given by the artist to his sister, it was, in turn, presented by Ana María to the family of the present owners.