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This is a discussion on Fine Arts News within the Painting forums, part of the Fine Art category; The guards at The Broad Museum in Los Angeles aren't just here to protect the art — they're also expected ...

      
   
  1. #181
    member Antique's Avatar
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    Avant Guard: At Broad Museum - A New Approach To Protecting Art



    The guards at The Broad Museum in Los Angeles aren't just here to protect the art — they're also expected to engage and educate. They're called visitor services associates, and they've gone through hours and hours of training to become ambassadors for contemporary art.

    It's hard to imagine a more magical way to begin a museum visit than to step inside The Infinity Mirrored Room at The Broad Museum. Artist Yayoi Kusama has covered the walls, floor and ceiling with mirrors. LED lights hang from the ceiling and are reflected everywhere you look. The lights sometimes move with the closing of the door, and create a wonderland of infinite color.



    You can only spend about 45 seconds in Yayoi Kusama's Infinity Mirrored Room - The Souls of Millions of Light Years Away but in that short time you'll find yourself transported.

    The shimmering installation is absolutely transporting — but can only be viewed for 45 seconds. No more than two or three people at a time can enter this small space, and there's a long line of others outside, patiently waiting to get in. It's hard to be mad, though, because the guard who ushers you out is so knowledgeable and pleasant — and he's not an outlier.

    At the 5-month-old Broad Museum, guards aren't just there to protect the beautiful and provocative art. They are there to engage with visitors — talking and teaching about the artworks.

    Guard Sabrina Gizzo might easily be mistaken for a docent. She's talking with some visitors about Thomas Struth's huge color photograph of a crowd at a museum in Florence Italy. In the photo, tourists are dressed in summer clothes — shorts, T-shirts, caps, sneakers. Struth photographs the crowd facing us, looking up at something we can't see. As Los Angeles visitors to The Broad study Struth's photograph — a museum crowd looking at another museum crowd — one Broad visitor notices that a man in the photograph is wearing sunglasses clipped to the front of his shirt. Gizzo suggests that her guest take a very close look at the sunglasses.
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  2. #182
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    Leon Jan Wyczolkowski - Spring 1933

    Leon Jan Wyczolkowski (1852-1936)
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  3. #183
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    Feds Recover Stolen Indian Antiquities From Major New York Auction House



    A sandstone statue of Rishabhanata, from Rajasthan or Madhya Pradesh, India, in the 10th century A.D., flanked by a pair of attendants. It is valued at approximately $150,000.

    Two valuable Indian sandstone sculptures dating back to the eighth century were seized by federal agents just days before they were scheduled to be sold at Christie's, a New York auction house.

    NPR's Hansi Lo Wang reports that together, the statues are valued at almost a half-million dollars.
    "One dates back to eighth-century India and is a rare depiction of a Hindu god and his entourage on horseback.
    "The other — believed to be made in the tenth century — shows a Hindu teacher flanked by two attendants.
    "Together, they're valued at almost a half-million dollars."


    A sandstone panel depicting a very rare representation of the equestrian deity, Revanta, and his entourage, from India, in the 8th Century A.D. It is valued at approximately $300,000.

    Agents of the U.S. Immigration and Customs Enforcement's Homeland Security Investigations say the statues were recovered as part of an ongoing initiative called Operation Hidden Idol, which focuses on "activities surrounding the illicit cultural property trade in New York." Both stolen items came from a smuggler of looted antiquities. According to court documents, investigators found an unlabeled computer disc in a Manhattan storage facility in 2012, with a folder labeled "Shantoo" that contained images of stolen antiquities and names of dealers.

    A person was charged in connection with the disc, and after pleading guilty to criminal possession of stolen property and related charges, that person became an informant for the investigation. An affidavit by a federal agent says the informant said "Shantoo" was a nickname for Ranjeet Kanwat, a "known smuggler" from India, and one of the main suppliers of stolen artifacts for Subhash Kapoor, who is currently awaiting extradition to New York in connection with more than $100 million in stolen antiquities.
    Ambassador Riva Ganguly Das, consul general of India, praised the recovery of the ancient statues.
    "My congratulations to all of the special agents of HSI New York, who have painstakingly and diligently undertaken these complex and time consuming investigations," he said.

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  4. #184
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    Sound Sculptor Harry Bertoia Created Musical, Meditative Art

    The late Harry Bertoia is most famous for the iconic chairs he designed in the 1950s, which are now coveted by collectors of mid-century modern furniture.

    But that was only one part of his career. Bertoia was also a renowned sculptor. He spent the final decades of his life creating works that make sound. Now those pieces are getting a fresh appreciation with an upcoming museum exhibition in New York, and the release of Bertoia's personal recordings in an 11-CD collection called Sonambient: Recordings of Harry Bertoia.



    Bertoia was born in Italy in 1915 and moved to Michigan as a teenager. He's famous for the chairs he designed, but his real love was sculpture.

    Bertoia's recording studio was an old wooden barn on his property in eastern Pennsylvania. It looks unremarkable from the outside. But when you step inside, it's equal parts art gallery and sanctuary.

    "It was almost church-like, very private, almost sacred to enter to hear these sounds," says Val Bertoia, Harry's son. Val worked as his father's assistant, and helped build some of the sculptures that are still carefully arranged around the renovated barn.


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    DIY Artists Paint The Town Strange, With Some Help From George R.R. Martin



    The Cartoon Kitchen, by Dylan Pommer.

    Lindsey Kennedy/Courtesy of Meow Wolf



    The Parlor
    , by Matt King.

    Lindsey Kennedy/Courtesy of Meow Wolf



    An interior view of the fictional Seligs' house, which was a collaboration of many artists. Here, in the kitchen, a portal — one of many — leads out of the house into the otherworldly beyond (aka Portals Bermuda, a future travel agency).

    Lindsey Kennedy/Courtesy of Meow Wolf



    Fancy Town
    , by Matt King.

    When you step into the House of Eternal Return, it feels a bit like walking into your family home — and finding yourself lost in a PeeWee's Playhouse on steroids. Or amphetamines. Or better yet, some undiscovered alien narcotic.
    Set up in the industrial district of Santa Fe, N.M., the new permanent art exhibition is a far cry from the fine arts galleries and museums for which Santa Fe is known. Think of it instead as a kind of art amusement park, built by an arts collective called Meow Wolf and largely funded by a surprising benefactor: George R.R. Martin.

    But before we get ahead of ourselves, let's start with the tour: When I arrive around 10 the night before the exhibition opens, dozens of Meow Wolf's 135 artists are scrambling to put the finishing touches on their meticulously crafted installations.

    One of those installations, a two-story Victorian house built from scratch, marks the entrance to the exhibition. All around it are uncanny reminders of the Seligs — the fictional family ostensibly lived here. I'm told the family has curiously disappeared after a break in the space-time continuum, and like all visitors, I'm set loose by the artists to explore the interdimensional mystery.

    "It's not art that you stand back from and look at," says Chadney Everett, the painter and former film prop-maker who designed the house. "It's art that you interact with and you experience in a very visceral way."



    The Aquarium
    , by Matt King — with fish sculpted by Sarah Bradley.

    Like most of the people I meet here, he's got a cultlike dedication to Meow Wolf's vision of immersive, interactive art — and to making it accessible to everyone. Despite suffering from a herniated disk, he's been putting in 14 hours a day to finish.

    "It's been really hard, but it's so worth it. We're gonna be open in a couple days, and then I'll rest and fix my spine," he laughs.

    I opt to crawl through the family fireplace into a series of prehistoric caves, with a glowing, 12-foot mastodon skeleton at their center. Sculptor Matt Crimmins turned its rib cage into a radiant makeshift marimba.
    "We're still trying to work out the kinks, but it's getting there," he says.
    The same could be said of Meow Wolf as a whole. Founding member Vince Kadlubek explains that when the collective started eight years ago, it was just a small band of creative 20-somethings who felt out of place in Santa Fe's high-brow art establishment.
    "We kind of always felt like we were on the outside looking in."
    So, they started their own DIY venue in a defunct barbershop. As the collective grew in size and popularity, Kadlubek says, their immersive shows grew more elaborate.
    But they still didn't have a large space of their own.
    "We all knew that it could work, but we just didn't have the heavy hitter," Kadlubek says. "We needed somebody to take a risk on us."

    We needed somebody to take a risk on us.

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    For 19th Century French Artists - "Life was changing at a pace which it never had before"



    In Eugène Delacroix's 1827 lithograph, Mephistopheles Aloft, 1827, a demon flies over a dark city.

    In the 19th century, French artists started getting creative with black materials— chalk, pastels, crayons and charcoal — some of them newly available. Now, a show called Noir at the J. Paul Getty Museum in Los Angeles celebrates the dark.

    "Black can be intense and dramatic," says Timothy Potts, director of the Getty. "I mean it's dark, it's the color of the night, of the unknown, of the scary."
    Manet, Redon, Degas, Corot, Courbet, and lots of lesser-known painters began putting black on paper in lithographs, etchings, drawings. Of course it's not the first time black was used, but this was different because of Industrial Revolution technology and the times.

    "Life was changing at a pace which it never had before," Potts explains. "And it wasn't all good — there was the poverty and the desperation of city life in a way that hadn't existed before."

    "The air was terrible," adds Lee Hendrix, Noir's curator. "Urban violence was becoming a regular thing. The city — and especially the night city, and the city of Paris itself — began to take on life as a kind of demonic domain."



    It's raining black in Odilon Redon's charcoal work, Apparition.

    Artists reflected these shadowy changes. In 1827 Eugène Delacroix drew a demon — Goethe's devil Mephistopheles. The lithograph shows him flying over a dark city, the incarnation of evil with his claw-like nails and his grinning leer.

    "I think they are plumbing the depths of the frightening, unimagined evil in ways that had not happened before in art," Hendrix says.
    In Odilon Redon's 1880 charcoal Apparition, it's actually raining black, in long, dark, slanting lines. A dreamlike ghostly presence emerges from the dark. There's a bit of light around him — artists rubbed squished-up bread onto the paper, to lift away the powdery charcoal.

    There's also an unusual Degas in the show: La Toilette is a monotype from 1885 which brought out the artist's dark side. Usually Degas used vivid colors in his paintings and pastels of women bathing. But here he puts black ink on a metal plate — and wipes it off, to create a bather's arms.



    Edgar Degas created his monotype La Toilette circa 1885.

    "[He's] wiping her arms as she's wiping her arms ... so the subject and the matter are married in that respect," says artist Alison Saar, who joined us at the Getty.

    This Degas was a monotype — meaning there was only one copy of the work. But the Industrial Revolution brought ways to produce several copies of an artwork — mass-produced prints that were snapped up at art shows.
    "These show were so well attended when you look at old engravings of them, they almost look like a department store," Hendrix says.
    It was around this time that art got democratized — ordinary people could afford it. And that's something of a ray of sunshine piercing through the noir.


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    Portraits Of The People Behind LA's Luxury


    Gardeners stand in for art collectors in Ramiro Gomez's riff on David Hockney's 1968 painting, American Collectors (Fred and Marcia Weisman)
    toggle caption © Ramiro Gomez/Courtesy of Abrams

    Los Angeles is a city of extremes: There are neighborhoods so luxurious only millionaires can afford them and neighborhoods so poor that residents work several jobs to pay the rent. Now, a young LA painter is bringing these neighborhoods together on his canvases.



    Workers tend a garden in Gomez's 2015 Jardín no 1.

    Ramiro Gomez paints modernist houses in Beverly Hills, perfectly appointed kitchens and exclusive shops on Melrose Avenue. His pictures have nothing, and everything, to do with his background. Gomez's mother is a janitor, and his father works the graveyard shift driving a truck. Workers like his Mexican immigrant parents show up in his paintings — part of the invisible landscape of luxury LA.
    "Someone will always be working to keep it nice," Gomez says. "Whether it's a home in the Hollywood Hills or Beverly Hills or the Paramount Studios."
    Gomez puts those "someones" on his canvases. He shows mostly Latino gardeners tending perfect lawns, maids cleaning tiles in gleaming bathrooms and nannies gathered in the park.



    Gomez takes ads for luxury products and imagines the individuals who make them possible. Above, his 2015 work, DVF.

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    Panama Papers Provide Rare Glimpse Inside Famously Opaque Art Market



    In 1997, Pablo Picasso's Women of Algiers (Version O) — shown here at Christie's in Hong Kong — was part of a groundbreaking art auction that sent prices soaring.

    The so-called Panama Papers have shined a light on the hundreds of thousands of shell companies used to circulate assets around the world. One of those assets is fine art, and the leaked papers show how collectors and companies have secretly bought and sold famous works by artists like Amedeo Modigliani and Pablo Picasso, among others.

    One event the papers illuminate is a famous 1997 Christie's auction featuring paintings from the collection of Victor and Sally Ganz. Some of the world's most important (and richest) collectors attended, and some bid unprecedented amounts of money. The auction is said to have launched the skyrocketing prices for modern art.

    Jake Bernstein is a senior reporter with the International Consortium of Investigative Journalists, which has the leaked documents. "This was a collection that Victor and Sally Ganz had accumulated over 50 years," he says, "and they had a lot of wonderful pieces — particularly a lot of Picassos — and it was a record sale."
    Auctions are theatrical spectacles with a lot of scaffolding and engineering behind them.

    Sarah Thornton, author of "Seven Days in the Art World"

    The collection sold for more than $200 million, a terrific profit for the Ganz family — or so it seemed until the Panama Papers were released. According to the papers, the Ganz family had already sold the paintings months earlier to a subsidiary of Christie's for $168 million. That company then sold the collection to another company based on a small island in the South Pacific.

    Bernstein says, "We figured out through the data exactly who was behind this offshore company and it turned out to be ... a British billionaire named Joe Lewis who was, at the time, the largest shareholder in Christie's."

    The Panama Papers show that both Lewis and Christie's stood to share the profits if the auction brought in more than $168 million, which it did. The deal wasn't illegal, but it was secretive — and the auction's success resulted in an uptick in the price of art that's still in effect today.

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    Artist J.M.W. Turner To Be Featured On U.K. £20, Ousting Economist Adam Smith



    Joseph Mallord William Turner's "Self portrait, age 24," will grace the UK's £20 note.

    Following a national nomination process, the Bank of England has announced the new face of the £20 bill: famed painter Joseph Mallord William Turner (1775-1851), known for his landscapes, seascapes and innovative depiction of light.
    Turner will replace economist Adam Smith, the influential advocate of free market policies who came up with the notion of the "invisible hand."

    After deciding that the figure on the bill would be from the visual arts field, the U.K. got the public involved by seeking nominations. The Bank of England says it received "29,701 nominations covering 590 eligible characters," and the bank's governor made the final decision.

    "There were lots of very well-known names, but also I discovered artists I'd never heard of and their great contribution. ... So the real thing that surprised me was the sheer breadth of talent," Bank of England Chief Cashier Victoria Cleland said in a video about the decision.
    The Bank of England has published a concept illustration of the new bill, which it says will enter circulation by 2020:


    The JMW Turner banknote concept released by the Bank of England.

    Art critic Andrew Graham-Dixon said Turner "is to British art what Darwin is to British science or Churchill is to British politics." Here's more from Graham-Dixon:
    "He is, I think, without doubt, the single most original British artist of all time – the one who's had the greatest influence on the art of Europe and indeed, the world. His breakthroughs, his obsession with the depiction of light, was a huge catalyst for that minor French movement known as Impressionism."
    In addition to a Turner self-portrait, the note will feature his painting The Fighting Temeraire and a quote from him: "Light is therefore colour."



    "The Fighting Temeraire," Turner's 1839 painting which will appear on the new £20 bill.

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    After - art photo by Stanislav Hricko

    After
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