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.