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There was a distinct dearth of flamboyant garb at Tate Britain’s private view of Queer British Art—honourable exceptions being the young man in underpants and a feathered headdress, and the gentleman sporting a collar of pink rhinestone roses.
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The National Gallery has created a new frame for Sebastiano del Piombo’s The Raising of Lazarus (1517-19) altarpiece, which was unveiled in its new Michelangelo & Sebastiano exhibition (until 25 June). The new composite frame, which contains a mix of carefully sourced antique pieces as well as newly made replicas based on 16th-century architectural elements, is much closer stylistically to the original frame and gives the large-scale painting even greater visual impact. The original frame was probably designed by Sebastiano’s mentor, Michelangelo, according to new research by the gallery’s curator of 16th-century Italian paintings, Matthias Wivel. Sebastiano then supervised the carving and gilding, which was done in Rome.
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Before: Sebastiano del Piombo, The Raising of Lazarus (1517-19). © The National Gallery, London
The frame was considered lost, but the original predella (lower part) has been identified in Narbonne Cathedral, in southern France. The three feathers of the Medici family’s arms can be seen above the two festoons. Although the altarpiece was commissioned for the cathedral, it was sold off in 1722 and replaced by a copy. It was only in the 1980s that scholars realised that the predella (but not the rest of the frame) was original.The British businessman John Julius Angerstein (1732-1823) bought the painting in 1798 and sold it as part of his collection to establish the National Gallery in 1824. It was the first work to be inventoried and given the number NG1.
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The National Portrait Gallery will begin collecting Yoruba sculptures similar to this example in the Phoebe A. Hearst Museum of Anthropology, California (Sculpture of Queen Victoria carved by Thomas Ona Odulate, Yoruba.*Collected by William R. Bascom)
London’s National Portrait Gallery (NPG) is to expand its collection to include significantly more works created before around 1500, with a view to displaying its pre-Tudor objects for the first time. The gallery is also seeking to enhance its holdings of works made outside of the UK, which, until now, have been restricted to portraits of sitters who have had a significant impact on British life and culture.“Looking at pre-Tudor material is a real departure for the gallery,” says Louise Stewart, the museum’s cross collections curator.
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The Victoria and Albert Museum (V&A) announced last week plans for a new photography centre that will house the museum’s collection following the controversial decision to transfer 270,000 photographs from the National Media Museum in Bradford to the London-based institution.*The museum’s curatorial team will also organise touring exhibitions of the collection, alongside an existing programme of UK and international loans. A museum spokeswoman says that the “photographs will be available for loan and the photography curators will be working with both UK regional museums and venues abroad to develop exhibitions in dialogue with venues’ collections”.
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Under the landmark agreement announced in February last year between the V&A and the Science Museum Group, which runs the National Media Museum, the collection of the Royal Photographic Society (RPS) in Bradford will join the existing collection of 500,000 photographs at the V&A. More than 26,000 publications and 6,000 pieces of camera-related equipment in the RPS collection, which was founded in 1853, will also be transferred to the V&A where the holdings will be digitised.
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"We needed to build something to keep people away from this piece that remains of the Berlin Wall"
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Lower Manhattan’s Trinity Church has been sued by the Pennsylvania sculptor Steve Tobin for violating his moral rights when it removed his 9/11-themed work from the church’s courtyard, where it had been installed for ten years. The sculpture The Trinity Root recalled a sycamore tree that stood in front of the 320-year-old church and bore the brunt of the debris from the collapse of the Twin Towers on 11 September, preserving the church from more extensive damage.
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The French journalist Anne Sinclair has given an enlightening interview to our French sister paper Le Journal des Arts about her late grandfather, the influential art dealer Paul Rosenberg (1881-1959).
A recent exhibition at La Boverie in Liège, Belgium, entitled 21 Rue la Boétie, featured paintings that passed through Rosenberg’s hands, with 63 works on display by artists such as Matisse, Braque and Picasso. In a controversial move, the show did not travel to the Centre Pompidou in Paris as planned, but instead opened at the Musée Maillol in the capital (until 23 July). Sinclair says that Picasso hoped to paint her portrait but she resisted, fearing that she would end up as one of the artist’s “distorted faces”.
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The opening exhibition at the Institute of Arab and Islamic Art in New York, a new cultural space founded by the Qatari national Sheikh Mohammed Rashid Al-Thani, will include works by four women artists. Prints and works on paper by Dana Awartani, Monir Shahroudy Farmanfarmaian, Zarina Hashmi, and Nasreen Mohamedi will feature in the show, entitled Exhibition 1, opening on 4 May in a temporary venue at 3 Howard Street in lower Manhattan.
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Marlene Dumas, The Widow (2013). (Courtesy of Defares Collection and Zeno X Gallery, Antwerp. Photo: Peter Cox)
Strangely, the capital city of Belgium and the de facto capital of Europe has no dedicated museum of contemporary art. The contemporary collection of the Royal Museums of Fine Arts of Belgium is mostly in storage amid ongoing renovation.
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The only industrial building designed by Gerrit Rietveld (1888-1964), the Dutch designer and architect associated with the De Stijl movement, sat empty for nearly a decade before its current owner bought it and set about bringing it back to life. Fast forward two years and not only has the former textile factory in Bergeijk, a city in the Netherlands’s Noord-Brabant province, undergone a sympathetic restoration, but a visitors’ centre devoted to the building’s celebrated designers is due to open this month. Rietveld built the factory in 1957 for De Ploeg, a manufacturer of curtain and upholstery fabrics. Unlike typical industrial buildings of the period, Rietveld’s Modernist construction was more horizontal than vertical, with a distinctive saw-tooth west façade, glass roof panels that afforded plenty of natural light and the bold, primary colours of De Stijl dotted throughout. Rietveld was thinking about a new, modern culture when he designed De Ploeg, says the art historian Edwin van Onna, from the Rietveld & Ruys Foundation. Rietveld also designed two nearby houses as well as a bus stop, which was restored in 2011.
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The 12-hectare park that surrounds the factory, which was designed by the landscape architect Mien Ruys and is owned by the City, is also being given a new lease of life. “The park and factory were conceived as an ensemble,” Van Onna says. Burgmans estimates that “99.9% of the park will also be restored to its original appearance”. In the summer, the park hosts popular design and music festivals.
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The painting Retrato de niña o Joven Inmaculada (Portrait of girl or Young Immaculate) is attracting the attention of experts at the Spanish auction house Abalarte in Madrid, where it has been billed as a potential early work work by Velázquez due to be auctioned on 25 April. The 57cm x 44cm oil on canvas was discovered by chance by Richard de Willermin, a specialist in 17th- and 18th-century Italian, Flemish and Spanish art who consults as an expert for Abalarte.
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Retrato de niña o Joven Inmaculada (Portrait of girl or Young Immaculate) is due to be auctioned on 25 April at Abalarte in Madrid
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An x-ray of the portrait has revealed that a crown of stars is hidden by overpaint
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When we hear the name Albers, we tend to think of Josef and his Homage to the Square series of paintings. But Anni Albers (1899-1994), his wife and fellow Bauhaus refugee, is at the forefront of two forthcoming exhibitions, including a full-scale survey of her work planned for 2018 at Tate Modern. The show, which will travel to the Kunstsammlung Nordrhein-Westfalen in Düsseldorf, is preceded by a smaller survey, Anni Albers: Touching Vision, which is due to open this autumn at the Guggenheim Bilbao (6 October-14 January 2018).
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Anni Albers’s Study for Camino Real (1967) (© 2017 The Josef and Anni Albers Foundation/Artists Rights Society (ARS), New York)
Nicholas Fox Weber, the director of the Josef and Anni Albers Foundation, which is supporting both exhibitions, says: "During her lifetime, she got quite a bit of attention, but in a slower world than Josef did," he says. In 1949, she became the first textile artist to have a solo show at New York’s Museum of Modern Art, which was organised by Philip Johnson.
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Thomas Struth, The Consolandi Family, Mailand, 1996 (2014). (© Thomas Struth)
Although Katarzyna Kobro and Wladyslaw Strzeminski worked primarily in different media—sculpture and painting, respectively—the married couple’s relationship was of “crucial importance” to their artistic theories and work, says Jaros
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The US artist and architect Vito Acconci, known for his radical conceptual works such as Seedbed (1972), has died age 77. The Bronx-born artist turned poet and architect, who is considered a Body Art trailblazer, arguably paved the way for a later generation of artists such as Martin Kippenberger, Matthew Barney and Paul McCarthy.
Acconci received his BA with a major in literature from Holy Cross College in Worcester, Massachusetts, in 1962. After publishing a magazine called 0 to 9 from 1967 to 1969, he turned to photography, documenting passers-by that he followed on the street for the work Following Piece (1969).
The work explores “his body’s occupancy of public space through the execution of preconceived actions or activities”, according to the Metropolitan Museum of Art in New York, which owns photographs from the series. For Seedbed, he spent hours masturbating beneath a ramp at the Sonnabend gallery in New York while whispering aloud his fantasies about visitors.
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Vito Acconci, Step Piece (1970). Courtesy National Gallery of Art, Washington
From the late 1970s, he began making experimental sculptures, furniture and public art pieces, including Birth of the Car/Birth of the Boat (1988) located in Pittsburgh, Name Calling Chair (1990) and Flying Floors at Philadelphia International Airport which was unveiled in 1988. The same year, he established his own architecture practice, Acconci Studio, which is based in Brooklyn.
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Laure de Beauvau-Craon, who led Sotheby’s France for almost 15 years, died on Saturday, 29 April in Anjou, in the Loire valley, aged 74. Born Laure de Rougemont, she became a princess when she married Marc de Beauveau-Craon, the heir of a noble house tied to the duchy of Lorraine. Her royal title did not stop her from waging—and winning—a war on another ancient order, France’s “commissaires-priseurs”.
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The 2017 Turner Prize shortlist, announced today, 3 May, immediately reflected the Tate’s recent decision to lift the age limit of the shortlisted artists. Since 1991, artists over 50 have been excluded from the prize, but this year’s shortlist includes the painter Hurvin Anderson, 52, and another painter and multimedia artist, Lubaina Himid, who is 62. Announcing the shortlist, Alex Farquharson, Tate Britain’s director, says: “The upper age limit originally helped the prize define itself as an award for a breakthrough moment in a more emerging artist’s career. But now this remit is so well established, I think we can safely acknowledge that artists can experience a breakthrough at any age, without any risk of the prize becoming a lifetime achievement award.”
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The Irish-born photographer Richard Mosse has won the Prix Pictet award, for his series of black-and-white images entitled Heat Maps (2016-17). Now based in Leeds, Mosse used a military-grade thermal camera that detects body heat to depict sites on the journeys faced by migrants in Europe, the Middle East and North Africa. Regarded as a conceptual documentary photographer, his work was shown earlier this year in the Barbican Centre’s Curve gallery.
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A reward of $25,000 has been offered for information leading to the whereabouts of a ship spinnaker designed by the late Pop artist Roy Lichtenstein. The vessel sailed in the 1995 Americas Cup in San Diego, California; its hull, which is decorated with Lichtensteins mermaid motif, features in a show opening this month at Middlebury College Museum of Art in Vermont (Young America: Roy Lichtenstein and the America's Cup; 26 May-13 August). Anyone with information on the missing sail should contact Kevin Mahaney, the ships skipper in 1995 who spearheaded the exhibition.
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Freud’s Trip to Orvieto, by Nicholas Fox Weber, Bellevue Literary Press, $26.99 (hb)
In the small Italian town of Orvieto in 1897, Sigmund Freud had a revelation. In the town’s cathedral, before a depiction of the Last Judgement by the Renaissance painter Luca Signorelli, the 41-year-old psychoanalyst felt he had found “the greatest” depiction of the theme he had ever seen.
The intense and violent fresco, which carries an odd sexual energy, was seared into his mind. Yet upon his departure, “to his immense frustration, Freud could not recall the name of the artist,” writes Nicholas Fox Weber, in his new book, Freud’s Trip to Orvieto (Bellevue Literary Press).Through 48 short, sharp chapters (some are only a page and a half), Weber traces the psychoanalyst’s memory loss and his attempt to recall Signorelli’s name.
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OGOLO (1987) by Ben Enwonwu. Photo courtesy of Sotheby's.
London
Sotheby’s
16 May: Modern and Contemporary African Art OGOLO (1987) by Ben Enwonwu (est. £60,000-£80,000)
One of seven works by the late Nigerian Modernist in the auction house’s inaugural sale of Modern and Contemporary African art, this painting is one of the first of some 50 Ogolo-themed works that the Goldsmiths-trained painter and sculptor produced over the final decade of his career.
The work, executed in gouache, pen and ink on cardboard, depicts a funerary rite enacted at his brother’s burial by masked performers representing the Agbogho, Mmuo and Ogolo spirits according to traditional beliefs of the Igbo, as Nigeria’s indigenous people are known. According to Enwonwu’s biographer Sylvester Okwunodo Ogbechie, the spectre of the Ogolo left a lasting impression, and the artist’s preoccupation with the subject thereafter “is suggestive of his confrontation with his own mortality”. Another of Enwonwu’s Ogolo works, dating from 1992, brought £67,000 with premium at Bonhams in 2014; the higher estimate here is reflective of rising interest in his oeuvre.
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Métamorphoses (1936) by Joan Miró. Photo courtesy of Christie's.
New York
Christie’s
16 May: Impressionist and Modern Art Works on Paper Métamorphoses (1936) by Joan Miró
(est. $300,000-$500,000)
This collage-drawing, made up of watercolour, cut paper, decals, India ink and charcoal on paper, is from a series that the Spanish artist created from clippings of children’s books and kitschy postcards and advertisements. In this work, which dates from a hinge period in Miró’s practice between representation and abstraction, the artist “juxtaposes bold splashes of watercolour with precisely rendered personages and stencilled numbers and letters to create a whimsical, surreal environment”, says Vanessa Fusco, a specialist in the house’s Impressionist and Modern Art department. Offered at auction for the first time, the work was first owned by Miró’s primary American dealer, Pierre Matisse (the son of the artist Henri Matisse), who passed the work down to his son, Pierre-Noël Matisse, whose wife, Jacqueline Miller Matisse, is selling the work. In a market cluttered with Miró fakes, “its fresh provenance is particularly desirable”, adds Fusco.
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Doha Bay, known as the Art Mill, into a vast new gallery for Qatar Museums. The Santiago-based company beat off eight other finalists to design the new space, which is located east of the Museum of Islamic Art.According to the competition brief announced by Malcolm Reading Consultants, the Art Mill will measure up to 80,000 sq. metres and "predominantly" comprise gallery and exhibition space. To put the Doha flour mill into perspective, London's Tate Modern, which is housed in a former power station, measures around 55,000 sq. metres of internal space.
The project also includes a conservation centre and museum storage "to match the diversity of the collection" as well as education, conference and event spaces. A spokeswoman for Qatar Museums declined to comment on the purpose of the new venue, and whether it will house Qatar's Modern and contemporary art collection or host international loan exhibitions.
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The Tehran-based artist Atena Farghadani, who was sentenced to 12 years and nine months in prison for her satirical cartoons depicting members of the Iranian government as monkeys and goats, says she is planning an exhibition of her protest art. Speaking one year after her release from Evin prison, Farghadani says gallery owners in Tehran are too scared to mount such a show, but that she remains undeterred, posting critical works to Facebook and Instagram.
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“I don’t intend to stop protesting or making political art,” Farghadani says in a podcast produced by Amnesty International. “My family is always checking up on me to see what drawings and cartoons I am producing. As I don't want to leave Iran, they get worried about me. But art is like a part of me and I can’t give up on political or protest art.”
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Matt Hancock, the UK minister for digital and culture, has promised that the government’s Brexit negotiators will support the interests of the creative industries. Speaking at a pre-election meeting organised by the Creative Industries Federation, he said only the Conservatives could deliver “the best possible Brexit deal”.
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Conservators from the Manchester Museum painstakingly removed a century of grime from around 25 objects used as life science teaching aids ahead of an exhibition opening this month that presents them as works of art. The treated pieces, many of which have never been on display before, are from the University of Manchester’s collection.
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The art world is skewered in The Square, the Swedish film that has scooped the Palme d’Or at this year’s Cannes film festival. According to the UK newspaper The Telegraph, the movie, directed by Ruben Ostlund, is a “blackly comic send-up of the art world’s pretensions and neuroses”.
It centres on the director of a contemporary art gallery who makes a splash with a new performance art space called The Square. Peter Bradshaw reports in The Guardian that the most excruciating part is a formal dinner for patrons who encounter performance artist Oleg dressed as an ape.
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After a mediation held at the Walker Art Center in Minneapolis on Wednesday, an agreement has been reached that will see Sam Durants Scaffold sculpture dismantled and burned, in a ceremony overseen by Dakota elders. The work, which references US state-sanctioned hangings, raised an outcry among Native American groups when it was installed in the Minneapolis Sculpture Garden because of its recreation of a historic gallows used in 1862 to hang 38 Dakota men executed by the US Army in Mankato, Minnesota.
The agreement is the first step for the Walker in a long process to rebuild trust with the Dakota and Native communities throughout Minnesota, the museums director, Olga Viso, said at a press conference. Were grateful to the traditional Dakota leaders for their wisdom and patience in this process.
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Nearly a decade ago, a Seattle-based collector visiting New Haven, Connecticut, asked to see three works from the 1920s and 1930s by the artist Thomas Wilfred in the collection of the Yale University Art Gallery. The objects, two strangely resembling flatscreen televisions and one a lamp on a table, had remained deep in storage for decades. When the collector asked the accompanying curator and conservators to plug in and switch on the works, they were understandably hesitant. “One of us grabbed a fire extinguisher, just in case,” says Keely Orgeman, Yale’s assistant curator of American painting and sculpture, who has organised the gallery’s current survey of Wilfred’s light works. “But when we plugged the first one in, the ceiling was instantly filled with this multicoloured, swirling vortex.”
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Digital giant Google has partnered with 180 institutions, schools and archives around the world for a new online project focusing on the history of fashion.
We Wear Culture, which launched on the Google Arts & Culture website and mobile apps looks at “how fashion is stitched into the fabric of our societies”, according to a press release. "We live in a world were there's a divide between high culture and popular culture and we believe there really is no division," said Amit Sood, the director of Google's Cultural Institute, at a launch of the project at the Metropolitan Museum in New York on Thursday. He explained that the fashion platform developed through Google's work with museums digitising their collections and discovering there were connections to be drawn between arts and culture. The We Wear Culture platform, which Sood describes as "a rabbit hole", follows these relationships through different routes. "You don't have to have one pathway to experience culture, you can have many."
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Pierre Huyghe, After Alife Ahead (2017)
Former ice rink, Steinfurterstrasse 113-115
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If you are expecting to see site-specific works at Sculpture Projects Münster (Skulptur Projekte Münster), which opened this weekend, you will not be disappointed. Nicole Eisenman’s jolly fountain on the Promenade (a public path on the site of the former city walls) and Nairy Baghramian’s bronze sculpture in front of the Baroque Erbdrostenhof, a popular site chosen by artists in the past, are both large-scale works that deal directly with their surroundings.
But the curators of this year’s edition - Kasper König, Britta Peters and Marianne Wagner - are deliberately pushing the boundaries of what can be called public sculpture. Performances and digital works abound, while videos are screened in nightclubs and others can only be viewed on your smartphone. Created in 1977 in response to the uproar that followed a proposal to install an inoffensive sculpture by the US Minimalist artist George Rickey, the sculpture show, which takes place every ten years, has become one of the art world’s most anticipated events. For the first time, Sculpture Projects Münster*extends to the industrial city of Marl this year. Here are five unmissable works that you can see until 1 October.
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Parmigianino's The Virgin and Child with Saint Mary Magdalen and the Infant Saint John the Baptist was sold to the J. Paul Getty Museum in Los Angeles for £24.5m
The J. Paul Getty Museum in Los Angeles has successfully acquired Parmigianino’s £24.5m painting of The Virgin and Child with Saint*Mary Magdalen and the Infant St John the Baptist. Dating from around 1535-40, it is one of the finest works by Parmigianino (Francesco Mazzola) in private hands. The painting was sold by the Dent-Brocklehurst family of Sudeley Castle, Gloucestershire, and has been in the UK for nearly 250 years. Sotheby’s handled the private sale.A UK export licence was deferred last February, to enable a British buyer to match the price. Although London’s National Gallery had shown the painting on loan, it decided against trying to raise the funds, partly because it has recently been considering other acquisitions. No other UK museums attempted to make a bid.
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Giovanni da Rimini, Scenes from the Lives of the Virgin and other Saints (around 1300-1305) (© The National Gallery, London)
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Giovanni da Rimini, Scenes from the Life of Christ (around 1300-05) (© Courtesy Ministry of Heritage, Culture and Tourism, and Gallerie Nazionali di Arte Antica di Roma; Photo: Mauro Coen)
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The Brussels-based, Greek-born curator, historian and writer Katerina Gregos is bringing an expanded version of her exhibition A World Not Ours, which debuted in 2016 at the Schwarz Foundation on the Greek island of Samos—a major European entry point for refugees—to La Kunsthalle Mulhouse. “In Europe, [migration] has become one of the most fundamental political and existential issues of the continent, testing its attitudes towards human rights, notions of tolerance and peaceful coexistence,” she says, adding that she is “particularly interested in how artists respond to such questions because very often their work proffers a much more considered, critical and nuanced way of understanding such complex problems”.
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Venice at Sunrise
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Chinese art came to Korea earlier this month—virtually.
Art Busan, a fair which ran 1 to 5 June in the South Korean port city, invited the DSL Collection Virtual Reality Museum to participate.
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Kassel’s city council has settled on a location to build a new Documenta Institute to serve as a research centre and to host events, conferences and exhibitions studying its significance in the contemporary art world.The city has budgeted the construction of the new centre at €24m and plans to build it on a plot of land that is currently a carpark in the north of the city, close to the university. The German government will stump up €12m, the state of Hesse will provide a further €6m and the city will raise the remaining €6m.
The new centre will be managed by the Documenta team, the city of Kassel and the Fridericianum museum. The idea is to “keep alive the concept and experience of Documenta in the years between exhibitions”, the city council says in a statement.
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The final stage of the United Arab Emirates (UAE)-funded renovation of the 19th-century imperial theatre at the Château de Fontainebleau—a Unesco World Heritage site near Paris—begins in June. Designed in 1857 for Napoleon III, the theatre reopened in 2014 after the first phase, which cost €5m and saw 25 specialists and 135 craftsmen revive the original décor of the main auditorium. The final phase focuses on restoring the theatre’s machinery, the upper levels of the salons and the podium that houses one of France’s most important stage sets. The project is expected to be completed in spring 2019.
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Enduring favourite Salvador Dalí claimed two top-five places in 2013
A Spanish court today (26 June) has ordered that Salvador Dalí’s body be exhumed to determine whether he is the biological father of Pilar Abel Martínez. According to the Spanish newspaper El País, Abel has been fighting to be acknowledged as Dalí’s daughter since 2007.
Abel claims that her mother had an affair with the artist in 1955 in Port-Lligat, a small coastal village in northern Catalonia where Dalí lived and worked. Abel was born the following year in February 1956. Dalí was married to Gala at the time; the couple never had any children.
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Artists in Mexico City have taken over a disused historic pool and turned it into a pop-up art gallery, months before the facility is due to be torn down to make way for a new mixed-use development.Formerly known as Club Condesa, the pool opened in 1940 to house Mexico City’s first women’s-only swim club and became co-ed in the 1960s, counting an estimated 250 members at its peak. But maintaining the property at Tlaxcala 103 became nearly impossible for its owners as larger fitness centers moved into the now trendy neighbourhood of Roma Sur. The club closed in 2015, and the building was bought by a group of private developers including Antonio Cordero, who wanted to repurpose the space before it is torn down. Together, Cordero and the curator Angelica Montes created the exhibition Thresholds of Time, which includes the work of nearly 50 local and international artists.
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Artists and curators tell us about the journeys they have embarked on, or hope to make, to see something special.
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Doug Aitken, artist: One of the most magical places is Paolo Soleri’s Arcosanti. He was an architect who came from Italy, studied under Frank Lloyd Wright at Taliesin West, and by the 1960s he became restless. He looked for land, because if you had land you could experiment. It was a kind of extreme utopian city, where everyone who lived in it and visited was part of it. His idea was that it was always unfinished and would evolve. By the 1970s he obtained land about 45 minutes from Scottsdale, Arizona. It’s very organic, it uses rammed earth techniques, interesting use of glass, it’s very indoor-outdoor. It thrived for a long time in the 1970s. I had the privilege to have a conversation with Paolo maybe six months before he passed away and I remember I asked him: “Is your city utopian?”
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