Quay Brothers Retrospective at MoMA. Robert Barker/Cornell University.
Twelve Artists Who Make Marfa, Texas, a Cultural Destination. Join the Crew of Tom Sachs's DIY Mission to Mars at Park Avenue Armory. Tom Sachs, dressed in khakis and a white short-sleeve collared shirt complete with pocket protector, stood at a control panel in the front of the Park Avenue Armory’s cavernous Wade Thompson Drill Hall, his face lit by a bank of dozens of television monitors.
Slowly, deliberately, the artist called out over walkie-talkie to his similarly uniformed assistants spread throughout the mammoth hall — “Camera one, okay, camera two. Rockets. Camera four. Space.” A video sequence gradually filled the central monitor depicting a space shuttle taking off from its launch pad, gushing smoke. Sachs has filled the Armory with an installation that tells the narrative of his personal mission to Mars, an obsessive, warped, and funny replication of everything from the Apollo Lunar Module to a handmade moon rover and a space-friendly Japanese teahouse (they have to take their human culture with them to Mars, one attendant commented). Visitors to the Armory are welcome to pretend right along. Shock-seekers snap up new Aussie art dare. Smell This Shit – It’s Art. How China Went from Art-Market Afterthought to World Auction Superpower.
The year 2011 delivered three seemingly incredible statistics that confirmed the status of China as a major power in the global art world.
In March, Artprice, the online clearing-house for art market data, declared China the world’s largest art market based on the total value of fine art auction sales in 2010. Three months later, France’s auction regulator, the Conseil des Ventes, released its annual report on the world’s top auction houses and included no fewer than 5 from China in its top 10. Moreover, 10 Chinese houses made the Conseil’s top 20. Two of them, Poly International Auction and its archrival, China Guardian, took third and fourth places, respectively. Metropolitan Museum of Art’s New Guidebook. The Metropolitan Museum of Art Enticements from the new Met guide: “Hypocrite and Slanderer,” above; “Kneeling Bull Holding a Spouted Vessel,” right; and “Aquamanile Depicting Aristotle and Phyllis.”
You may think that guidebooks put out by museums to highlight their most prized possessions should be on the endangered list too. ‘The Dawn of Egyptian Art’ at the Metropolitan Museum. Karsten Moran for The New York Times A detail of a sculpture of a bound captive that formed part of a temple threshold on display in the “Dawn of Egyptian Art” exhibition at the Metropolitan Museum.
More Photos » This style’s consistency is, if you think about it, frightening. It bespeaks an authoritarian power that was consolidated under the first Pharaoh around 3100 B.C., and that, despite political ups and downs, maintained a firm grip on the country’s aesthetic program for nearly three millenniums. The duration of Egyptian art may dull curiosity about how it began, since it is hard imagining a time when it didn’t exist. Guggenheim and UBS Project Plan Cross-Cultural Program.
The project, to be financed by UBS and called the Guggenheim UBS Map Global Art Initiative, will begin with South and Southeast Asia.
The museum will invite a curator from each region to New York for overlapping two-year residencies; they will work with a team of Guggenheim curators to identify new and recent artworks that best reflect the range of talents in their areas. ‘Colorful Realm,’ Works by Ito Jakuchu at National Gallery. Gallery: Programs: Japan Society. Functional Arts: Indonesian Art.
In Texas, a Tradition of Museums That Showcase the Quirky. ‘In Vibrant Color’ - Harry Warnecke - National Portrait Gallery. ¶“I Love Lucy” wouldn’t have been as funny in color.
¶Gen. George S. Patton wouldn’t have been as fearsome in color. ¶Charlie McCarthy wouldn’t have been as believable in color. ¶Cowboys ought always to be photographed in black and white after the age of 30. The exhibition is called “In Vibrant Color: Vintage Celebrity Portraits From the Harry Warnecke Studio,” and it consists of color photographic portraits of 24 noteworthy people from the last century whom we’re more accustomed to seeing in black and white.
Lucille Ball is there, and Jimmy Durante, and Laurel and Hardy. Russian Real Estate Magnate Takes on Putin With Appropriation Art Show on the Upper East Side. Most people don’t associate Russian protest art with mansions on Manhattan’s Upper East Side, but Soviet-born real-estate-developer-turned-art-collector-turned-artist Janna Bullock found a fitting venue for her installation, “Allegories & Experiences,” in the bare space of a Beaux Arts house on East 82nd Street.
Sparked by the massive demonstrations in Russia in late 2011, the exhibition — Bullock's response to the 12-year rule of Vladimir Putin — is timed to coincide with the country’s March 4 presidential elections. "The latest developments are quite fascinating and I think as with any dictatorship, no matter how bulletproof it seems, it comes to an end," Bullock says, explaining the motivation behind the work. "And it is my responsibility – and the responsibility of anybody who has position, knowledge, expertise, and will – to make sure that people understand that dictatorship is not forever and they have to stand up for themselves and they have to speak. " ‘The Steins Collect,’ Matisse and Picasso, at the Met.
2012 Whitney Biennial. Smithsonian making 3D models of items from its collection. What do you do when you're the world's largest museum but can display only two percent of the 137 million items in your collection (a mere 2.75 million) at any given time?
In an effort to get more of their treasures into the public eye, specialists at the Smithsonian Institution's 19 collective museums and galleries hit upon the solution of digitizing their collection and 3D printing key models and displays suitable for traveling exhibitions. It's a tall order, but one that's sure to give the rapidly blooming business of additive manufacturing a huge boost. View all In the past, whenever curators wanted to duplicate an object, they turned to traditional rubber molds and plaster casts.
Now, with the Smithsonian's budding digitization initiative coming up to speed, teams can deploy expensive minimally-invasive laser scanners to generate virtual models of items in the collection with micron-level accuracy. Source: SPAR Point Group via CNET A native San Franciscan, Randolph attended the U.S. Burgonet. "Chambord". ‘The Ungovernables - 2012 New Museum Triennial’ Art Project, powered by Google.