As the Miami Art Museum (MAM) breaks ground for its new Herzog and de Meuron-designed building in Museum Park, its leaders should rethink the scope of the institution’s program.
The Metropolitan Museum of Art plans to renovate the entire Fifth Avenue plaza in front of the museum, but the project will not include building new subterranean space, which was the scheme earlier in the decade until a lawsuit from neighbors led to scaling back the plan.
Frida Kahlo experts have witnessed an increase in the number of questionable works, if not outright fakes, circulating on the secondary market but nothing quite like the massive cache that emerged last year in Mexico.
A three-day cultural tour of Trinidad and Tobago as a guest of the prime minister replaced vacation-spot clichés with a textured view of the tropical nation’s evolving identity. About half the population is decended from laborers brought from India in the 19th century to work the sugarcane plantations, and many are celebrating the Hindu festival Diwali.
A 1970s-era law still on the books that stipulates that lofts in SoHo be rented to artists. The law’s been ignored for years, but an article in today’s NY Times reports that since the recession the city is paying closer attention to its requirement that tenants be artists.
The closely watched federal lawsuit in which a private collector is suing the Andy Warhol Foundation and its subsidiary Art Authentication Board is about to reach an abrupt and unexpected end. The London-based American Joe Simon, whose 2007 complaint challenges the Authentication Board’s rejection of the authenticity of the 1964 Warhol self-portrait that he owns, says that he and his lawyer, Seth Redniss of New York, will withdraw from the case at the next hearing.
MoMA director Glenn Lowry argues that contemporary artists provide important perspective on the art of the past. He’s right.
The Rembrandt Research Project issues the latest volume in its Corpus next month, and the editor, Ernst van de Wetering, considered leading Rembrandt expert, offered a lecture at Columbia University. His talk was a disorganized ramble.
“Paul McCarthy: Three Sculptures,” which inaugurates the new Los Angeles gallery of New York-based L & M Arts, has made me a reluctant fan. The grotesque sculpture is a robotic double image of George W. Bush copulating with a pig, just the sort of shock-schlock that McCarthy has made his stock in trade.
The Metropolitan Opera opened its season last week with Das Rheingold, the premier of a new production of Wagner’s “Ring” cycle. This new “Ring” is directed by Robert Lepage who conceived a 45-ton machine with vertical planks that swivel to form various stage configurations. It’s a clever and versatile mechanical invention, but the resulting visual effect, and other aspects of the production, are a disappointment.