LONDON — Late last year, the British model Kate Moss revealed a personal fact that intrigued not only the fashion and celebrity media, but also the art world.
Related
-
Frieze Art Fair Pitches Its Tent in New York
(May 10, 2013) -
A Battle to Become Art Capital of China
(May 10, 2013) -
Flemish Artist Carves a Niche in Clay
(May 10, 2013)
Enlarge This Image
Duke Riley
A design by the artist Duke Riley called “Laugh Now, Cry Later.”
The revelation went beyond the acknowledgement from Ms. Moss, one of the most photographed women in the world, that she had tattoos. It included the claim that the swallows on her haunch were the work of the German-born British artist Lucian Freud, who had died the previous year.
In a rare interview published in the December issue of Vanity Fair magazine, Ms. Moss pondered the financial value of that tattoo: “It’s an original Freud. I wonder how much a collector would pay for that? A few million? I’d skin-graft it.”
The numbers might sound surprising, but a nude portrait of Ms. Moss, painted by Mr. Freud in 2002 while the model was pregnant, sold three years later at Christie’s in London for €3.92 million, or about $5.14 million at current exchange rates. The mention of a skin graft put the spotlight on the relationship between tattoos and fine art — and by extension, art collection.
Until recently, the integration of tattoos into the art world was mostly confined to performance art. In 2000, for example, the Spanish artist Santiago Sierra paid four prostitutes the price of a hit of heroin and filmed them having single black lines tattooed across their backs. But today, tattoos — much like graffiti, which in the past decade has been transformed from cult to collectible — are increasingly being embraced by the art world, particularly in areas where art and fashion meet.
For the introduction in 2011 of Garage magazine, for instance, the editor Dasha Zhukova commissioned artists including Jeff Koons, Dinos Chapman and Richard Prince to design tattoos. One version showed part of a nude model whose private parts were covered by a green butterfly sticker created by the English artist Damien Hirst. Taking off the sticker uncovered a butterfly tattoo, also designed by Mr. Hirst.
Prestigious art institutions like the Musée du Quai Branly in Paris have taken note. The museum is planning an exhibition in May 2014 called “Tatoueurs, Tatoués,” or “Tattooists, Tattooed,” to explore tattooing as an artistic medium. The show will include “works produced specially for the event by internationally renowned artist tattooists, body suits on canvas and volumes comprising imprints taken from living models,” the museum said in a news release.
Two exponents who are bridging the art and tattoo worlds are the artist Duke Riley, based in New York, and the London-based tattooist Maxime Büchi. Mr. Riley, who trained in painting and sculpture at the Rhode Island School of Design and the Pratt Institute in New York, describes himself as a “fine artist and tattooist.” His growing success as an artist has “elevated” his status as a tattooist, he said.
Mr. Büchi, a London-based tattooist and the editor of Sang Bleu magazine, which is available at the Tate Modern in London and the Colette store in Paris, says the Internet has made it possible to browse a huge online catalog of tattoo art. While he claims to dislike the term “tattoo artist,” he said that an increasingly discerning public had bolstered demand to be inked by someone whose work in other media is sold, exhibited and recognized.
In addition to being an exhibition space, the Internet provides opportunities for marketing and self-promotion in a rapidly changing field. Twenty years ago, Mr. Riley said, tattooists learned a wide range of styles to demonstrate mastery of the craft. Today, by contrast, there is a sharp increase in tattooists seeking to establish unique artistic identities.
As with contemporary art, questions about originality and copyright have emerged. Some see imitation in the field as part of a collective tattoo tradition, while others are more protective. Mr. Riley is sanguine about the subject — when his work is copied, he said, he is flattered. Mr. Büchi said he felt “honored” when copied, but he acknowledged the complexity of the issue. “If you are creating a style which is so specific that nobody imitates it,” he said, “then you are clearly doing something wrong. But it’s a delicate thing.”
Mr. Büchi spoke of a “license” of sorts, an agreement between those who are inspired and influenced by one another. “That’s different from someone seeing a design of mine online and passing it off as their own,” he said.
As for Ms. Moss’s musings about reselling tattoos, Mr. Riley said that skin grafting had come up in conversation “at least once a week” in his Brooklyn parlor, East River Tattoo.
The preservation of skin art is already a reality. The Wellcome Collection in London and the Amsterdam Tattoo Museum both feature preserved tattooed skins. And the Irish performance artist Sandra Ann Vita Minchin, who commissioned a tattooist to recreate a 17th- century painting by Jan Davidsz. de Heem on her back, plans to have her skin preserved posthumously and auctioned to the highest bidder.
In 2006, the Belgian artist Wim Delvoye created a piece of work titled “Tim, 2006,” in which Mr. Delvoye tattooed the back of a man, Tim Steiner, and signed it. In 2008, it sold to a German art collector for €150,000, which was split between the Zurich gallery which had sold it, the artist and the model. Mr. Steiner displays his skin several times a year, and has given consent for his skin to be framed after his death.
Preserving skin posthumously is likely to become relatively common by the time the 20-year-olds of today enter old age, Mr. Riley said, particularly considering the monetary investment involved with collecting high-end tattoos.
Such thoughts can veer toward the sinister. Ilse Koch, the wife of a Nazi commandant during the Holocaust and one of the first prominent Nazis to be tried by the U.S. military, was accused of having taken souvenirs from the skin of concentration camp victims with distinctive tattoos. In Roald Dahl’s 1952 short story “Skin,” a destitute man enters a gallery and displays a portrait tattooed on his back by a now celebrated painter, leading to a bidding war and an unsettling ending.
A more likely scenario, Mr. Riley said, is that family members would choose to preserve the tattoos of loved ones. For Mr. Büchi, however, tattooing is not art to be passed on through generations. “The value of a tattoo lies in the fact that it does not belong to the artist in that way,” he said. “To preserve it would be to devalue it. Its value is that it will die with you.’
Tags: Art
The above image is the Dark Souls 2 box art for the PC version of the game, which will be available the same day as the Xbox 360 and PS3 versions.
As you can see, there is no mention of the infamous Games For Windows Live, something that many fans of the franchise were upset about when the PC port of the original Dark Soulswas released.
I asked Namco Bandai if this meant that GFWL was a thing of the past. Unfortunately, they were unable to confirm or deny. My hope is that since multiplayer will be server-based for Dark Souls 2, there will be no need for GFWL, but that’s just a hunch.
Here’s the box art for the Xbox 360 and PS3 versions as well:
I think it’s a great cover, personally. The dark, black and white look is terrific. In keeping with the rest of the game, it looks very much like a Dark Souls cover ought to look.
So far, everything from the gameplay to the in-game screenshots have been a huge relief. Nothing radically different than the original, but everything an obvious step up in terms of graphical quality and realism.
I’ll have a lot more coverage of the game today, so stay tuned for more screenshots, an interview with the developers, and more.
Be sure to read my interview with Dark Souls 2 director Yui Tanimura here.
Follow me onTwitterorFacebook.Read my Forbesbloghere.
Tags: Art
TRENTON Mel Leipzig spent his early years as an artist thinking only about painting.
He won a Fullbright Grant and a Louis Comfort Tiffany Award, and spent two years in Paris, where he began painting his friends in their own environments. It was only in 1968, when he was about to get married, that he considered becoming a teacher, he recalled.
Now, 45 years later, Leipzig is preparing to give his final lecture at Mercer County Community College so he can spend more time painting his friends and family.
It has certainly been a pleasure. Its just that its time-consuming and, though I love teaching, I love painting more, Leipzig said. Im going to be 78, and how much time does one have in life?
Leipzig has seen his paintings displayed in the White House, the National Academy and the Whitney Museum in New York, which he called his favorite. As he prepares to retire, he has been giving a series of talks looking back over a long career.
Yesterday he presented paintings of community college students, faculty and staff he has done over the years. At his final lecture on April 23, he will discuss his career and show 50 slides of artwork, including some of his earliest pieces that he painted in high school.
Leipzig continues to paint, and is currently working on a series of paintings of artists.
Its about 10 things at one time. Its getting too much, he said. I cant keep track of everything and something has got to go.
Robin Schore, dean of the colleges liberal arts division, said he still cannot believe the community colleges luck at having had Leipzig as a teacher for so long.
Who are we and what are we? And here is this giant in the art world, Schore said.
Leipzig teaches art history and until last year taught painting as well.
Hes a terrific person and hes one of those rare, rare artists, I believe, who drew great energy from teaching, and because of that was an inspired and inspiring teacher, both as an art history teacher and a painting teacher, said Trisha Fagan, the former director of the colleges art gallery.
Fagan, the historical outreach specialist for the countys Cultural Heritage Commission, said she met Leipzig through their work at the Trenton Artists Workshop Association, where he served as president for several years.
Robert Girandola, the current president of TAWA, said Leipzig is the kind of person who will offer to loan paintings for a show, then load them into the back of his van and help hang them in the gallery.
Girandola said that, years ago, Leipzig helped him create a portfolio of his work when he applied to study art at Columbia University, and later attended his graduation when he received his masters degree.
Its really amazing, when you think back on all the students he had and all the stuff he had going on with his art, that he would take the time to do that, Girandola said.
But thats just the kind of guy he is, said Dan Aubrey, a longtime friend and colleague of Leipzigs and the art editor at US 1 newspaper. Aubreys son Byron is a student of Leipzigs this semester.
This guy will drive through a snowstorm to go to a students opening to show them they are supported, Aubrey said.
With two children, five grandchildren and a niece, Leipzig said he will have plenty to paint when he heads to Cape Cod this summer.
He does not plan to take it easy during his retirement, and is looking forward to finishing some paintings he started last year, including a triptych of the Washington DC office of Rep. Rush Holt (D-Hopewell). He said he thinks everybody should lead a creative lifestyle.
Art is a hard form of pleasure, actually, and its better than watching a television set, he said.
Contact Alyssa Mease at amease@njtimes.com or (609) 989-5673.
CONNECT WITH US:
On mobile or desktop:
bull; Like Times of Trenton on Facebook
bull; Follow @TimesofTrenton on Twitter
Tags: Art
Kickstart some art: Cool projects that need cash
Are you crazy for crowd-funding? Then you may enjoy our new series that highlights independent art projects (many of them on Kickstarter) that need a little cash. Several projects from our last installment
Tags: Art
DALLAS (CBS 11 NEWS) – The Fashion Industry Gallery will host the 5th Annual Dallas Art Fair this weekend.
83 national and international contemporary art dealers and galleries will be presented at this year’s fair.
Chris Byrne co-founded of the Dallas Art Fair is pleased with the growth over the past five years, “I think what’s most important is it’s the way to see art and the people who are representing the artists.”
North Texas is receiving world recognition for its growing art scene with 14 international galleries that came for this year’s art fair.
The Arts District overall is taking part with exhibition openings at the Nasher, The Dallas Contemporary and other galleries around Dallas.
Tags: Art
Bryn Mawr’s Art Club hosted a Spring Art Exhibition Opening on April 9. Featuring a variety of student-created artwork, the exhibition includes photography, digital art, drawings, and paintings from:
Meredith Davis ’13
Amelia Light ’13
Duong Nguyen ’13
Amelia Lee Zhi Yi ’13
Elizabeth Reilly ’14
Emelie Curl ’14
Prianna Pathak ’14
Sara Gladwin ’14
Rebekah Adams ’15
Kat Darling ’16
Emily Jin ’16
Noemi Moreno ’16
The exhibition will be displayed on the second floor of Canaday throughout the month of April and is open to the Bryn Mawr community.
The Bryn Mawr Art Club is a student-run organization that aims to integrate the arts into the daily lives of students by providing the art materials, studio space, workshops, and opportunities to display work to all members of the Bryn Mawr community. Anyone interested in more information on Art Club should see their Facebook page, Tumblr, or email artclubexec@gmail.com .
Tags: Art
IN FILMS, the main purpose of paintings is to be stolen (“The Thomas Crown Affair” and “Trance”) or to unlock a ludicrous conspiracy (“The Da Vinci Code” and “Nightwatching”). But now, art and film are coming together in a different way.
In November 2011, “Leonardo Live” took cinema-goers on a guided tour of the National Gallery’s Leonardo da Vinci exhibition on its opening night. Hosted by Tim Marlow, a British art historian and presenter, it was shown simultaneously across 900 cinemas in 20 countries. The film was a “raging success” according to its producer and director, Phil Grabsky. So it is no surprise that Mr Grabsky is planning to make regular follow-ups as part of a new project called EXHIBITION. The first film, to be screened globally on April 11th, is “Manet: Portraying Life”, the current exhibition at the Royal Academy in London. Later this year Mr Grabsky will make films of “Munch 150″ in Oslo and “Vermeer and Music: The Art of Love and Leisure” at the National Gallery in London. Filming exhibitions in Australia, Japan and America is planned for next year. “We aren’t seeking to replace the experience an individual would have in front of a great work of art,” says Mr Grabsky, from his Brighton office. “But many, many thousands of people simply do not have that opportunity. But they can go to their local cinema.”
He and Mr Marlow had been collaborating on television documentaries for Channel Five and Sky Arts for years when they decided to transfer to the big screen. They were encouraged in part by the popularity of National Theatre Live. This initiative began in June 2009, when Nicholas Hytner’s production of “Phedre”, starring Helen Mirren, was beamed from the London theatre to cinemas around the world. The scheme would have been inconceivable before digital projection did away with the need to transport canisters of celluloid to individual cinemas. And it has proven to be a hit. Subsequent National Theatre Live screenings have sold almost a million tickets, and similar transmissions from the Globe, the Royal Opera House and the Royal Ballet are almost as big a draw. They are a win-win-win situation: the screenings are profitable for theatre companies; a boon to arts lovers who don’t live in capital cities; and ammunition for cinemas as they battle for survival against ever-more-advanced home-entertainment systems.
But can an idea which works so well for plays and ballets work for exhibitions too? Theatre and film have numerous similarities; both are in the business of performing arts. But visual art is a different beast. Shuffle around the Royal Academy, and, crowds permitting, you can see the paintings at your own pace. You can pore over every brushstroke or glance at a painting in passing. You can peer at the canvas from the angle of your choice, and plot your own route round the gallery. Watching EXHIBITION’s film is hardly the same.
Instead, what audiences get is a close cousin to an arts documentary. Mr Marlow and an impressive line-up of pundits spend roughly four minutes apiece discussing eight paintings, while the other works are seen only briefly, or missed out entirely. The film also includes trips to Paris to fill in Manet’s biography, as well as behind-the-scenes sequences examining the logistics of mounting the exhibition. Considering how uncomfortably packed the Royal Academy was when I visited this week, the film is an enticing alternative. But if you’re hoping to see most of Manet’s paintings on-screen, you might well feel short-changed.
“We want to give the audience the best cinematographic experience we can,” argues Mr Grabsky, “and I don’t think that’s a virtual walkthrough.” The film aims to “direct the eye and unlock some doors,” he says. “But ultimately it’s about storytelling. We want the viewer to feel as if 90 minutes have gone by in a flash because they’re constantly being entertained and informed.”
Some might object that they could be entertained and informed by a comparable documentary at home for free. But there is no doubt that watching a film on a vast screen in a dark auditorium forces you to pay attention in a way that television viewing doesn’t–especially if you have booked your ticket in advance. You are in what Mr Grabsky calls “an enveloping environment of comfort and silence”, and that might be reason enough to catch an EXHIBITION film at the cinema.
Mr Grabsky hopes so, anyway. The project is “a huge financial gamble for us,” he says. The Manet film cost his Seventh Art production company “close to £200,000″, and they are currently looking for a sponsor. But he is passionate, even evangelical, about EXHIBITION’s value. “I know we’re all busy,” he says, “but taking 90 minutes of your time to admire the work of the world’s greatest creative geniuses has to be worth it.”
“Manet: Portraying Life” will be screened globally on April 11th 2013. Check the EXHIBITION website for future screenings.
Tags: Art
A painter’s art is irreplaceable, so it was no surprise that 44 seniors at Pratt Institute were heartsick, many of them left sobbing, when their studios and the paintings they kept there went up in flames in February in a middle-of-the-night fire at the art and design school’s historic Main Building in Clinton Hill, Brooklyn.
Connect With Us on Twitter
Follow @nytimesarts for arts and entertainment news.
Arts Twitter List: Critics, Reporters and Editors
A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics.
- Go to Event Listings »
Enlarge This Image
Ángel Franco/The New York Times
Artists’ tools dotted the new studio space.
But far from despairing, the students have moved on and painted new works, and those new works, as well as some older paintings and perhaps some that survived the fire, will be put on public exhibition at the Seagram Building next month in a weeklong show arranged by the art dealer Larry Gagosian.
Mr. Gagosian, better known for trading in works by masters like Jasper Johns and Jeff Koons for tens of millions of dollars, said in an interview that he had been moved by the students’ “incredibly traumatic” story partly because he himself had almost lost many valuable paintings in a smoky fire at his Hamptons home in 2011.
Because his own galleries were all booked, Mr. Gagosian spoke to a friend and art collector, Aby Rosen, an owner of the Seagram Building, which was designed by Mies van der Rohe, and Mr. Rosen offered the empty eighth floor.
“The students wanted a show in Manhattan, and this is like a dream come true,” said Thomas F. Schutte, the college’s president.
The final selections will be made by Eugenie Tsai, curator of contemporary art at the Brooklyn Museum. Bruce Newman, a Pratt trustee emeritus, contributed $50,000 for the framing, erecting of temporary display walls, lighting, hanging of the pictures and other costs of the installation. The exhibition, which students decided to call “Flameproof,” will be open to the public May 9-14.
The show has become an exciting watershed in a healing process that many students said had changed the way they viewed their work. Several said they felt oddly renewed by the losses suffered and had taken imaginative leaps that they might not have risked before.
“Loss is part of being a painter,” said Rebecca Warlick, 21, of San Diego, whose canvases were damaged, though salvageable. “You sell a painting and it’s not yours. But everything you learn, the fire can’t take away from you. I’ve learned that painting is more about experimenting and taking risks — and not making it such a sacred object.”
Greg Drasler, a professor of fine arts, pointed out the paintings were not just whimsical creations but works they needed as senior theses for a bachelor of fine arts degree and would need for applying to graduate schools and for grants.
“They couldn’t possibly replace what was lost, but the work they had done thus far has produced a sensibility that let them move forward,” he said.
The studios were destroyed, with 35 of the 44 seniors losing all their works, and the Main Building remains closed. But in a month the school carved out new studios at an indoor gymnasium’s tennis courts. The partitioned space is far from ideal — the noise of basketball players reverberates and the lighting is not window daylight — but students are busy preparing their paintings for showing. The students were greatly helped by an outpouring of gifts from art stores and manufacturers. The school also gave them gift cards to Utrecht Art Supplies.
The Gagosian exhibition has been a particular incentive. Mr. Drasler said some students had “been burning the midnight oil.”
He told of one painter who had been lacing seeds, pods and mulch through her painting, and was now, like some Cubists, picking up urban litter to meld into her painting, often stuff she finds while jogging. Daniel Barragan, 25, of El Paso, who lost 10 paintings, said his concentration had improved.
Brittany Halpin, 23, of Scranton, Pa., said she spends more time preparing sketches ahead of a canvas. She lost all nine of her paintings, some of which she would have used for her thesis.
“After I got over the grief, I tried to learn what I had been doing wrong,” she said. “I changed how I was working, experimenting more. It’s more about creating than it is about the finished product. For most of my years at Pratt I’ve dealt with impermanence, and the fire brought me back to that thought.”
Mr. Drasler added that “the strength of the students as a group really solidified around the shared experience of this event.”
“Almost every student I work with has confided that in a funny way the event of the fire, although very difficult, has brought their work to a completely new level,” he said. “Out of the ashes something else has emerged.”
Tags: Art
ROLLDOWN STEEL MURALS
Connect With Us on Twitter
Follow @nytimesarts for arts and entertainment news.
Arts Twitter List: Critics, Reporters and Editors
A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics.
- Go to Event Listings »
Enlarge This Image
Random International
The “Rain Room” at the Barbican Center in London.
ON BOWERY STOREFRONTS
The steel roller shutters found on the front of commercial supply shops along the Bowery were once a playground for graffiti artists. But now, for a few months anyway, they are going to be used as canvases for a more upscale group of painters. There’s a catch. The art will be visible only at the end of each day, when the stores have closed and the shutters have been pulled down.
The installation, “After Hours 2: Murals on the Bowery,” starting April 25, has been organized by the nonprofit Art Production Fund. Well-known figures like Mel Bochner, Michael Craig-Martin, Laura Owens, Adam Pendleton and Dana Schutz have created works for it.
“They’re all site-specific, and they all relate to the neighborhood,” said Yvonne Force Villareal, co-founder of the fund. The project, on view through Sept. 29, is part of this year’s Ideas City Festival, a series of arts and civic events that the New Museum and other downtown cultural institutions will conduct, May 1 to 4.
Thirteen of the 14 artists whose work makes up “After Hours 2” were invited by the Art Production Fund. One, however, was chosen from an open call for submissions that was posted last month on the Web sites of the New Museum and the Art Production Fund.
A jury of arts professionals whittled more than 100 entries down to 5. The final choice was made by a group of students aged 15 to 18 who are part of after-school programs like G: Class, at the New Museum; Groundswell, a community youth organization; and University Settlement, another youth group that works with the New Museum. They selected Nao Uda, a 29-year-old artist from Tokyo who has created a cartoonlike figure holding a string of paper-doll-like figures that echo its own shape.
Most of the murals are colorful and have strong graphic images or words or both. Mr. Bochner, for example, has a created a bright blue background with “BLAH” scribbled over the entire surface in white lettering.
Colossal Media, from Brooklyn, is working from the artists’ images to do the actual painting on the shutters. Next to each mural will be a telephone number that viewers can call to hear the artist talking about the project. “It’s a cellphone audio guide,” Ms. Villareal said.
DRY IN A DOWNPOUR
Right before the “Rain Room” closed in March, crowds waited more than 12 hours outside the Barbican Center in London to see it. Visitors would walk into a space where it was pouring rain and not get wet. Created by Random International, three artists who met when they were students at the Royal College of Art in London in 2005, the installation became a sensation, attracting about 77,000 visitors in the five months it was on view.
The Museum of Modern Art is bracing for the same kind of response when the “Rain Room” arrives at a vacant lot to the west of the museum’s building on 54th Street and Avenue of the Americas from May 12 through July 28. Composed of a 5,000-square-foot field of falling water, the “Rain Room” is programmed digitally to create a carefully choreographed downpour that uses motion detectors to create a dry path for viewers.
Klaus Biesenbach, director of MoMA PS1 in Long Island City, Queens, and chief curator at large at MoMA, said the “Rain Room” was part of Expo 1, PS1’s exploration of the current state of the environment. “The ‘Rain Room’ makes you feel the forces of nature,” Mr. Biesenbach explained.
He is also initiating other projects at PS1 that deal with the environment. These will include “Your Waste of Time,” by the Icelandic artist Olafur Eliasson. That work, which will be on display from May 12 to Sept. 2, incorporates several blocks of ice harvested from a beach in Iceland after naturally separating from glaciers. The blocks contain traces of volcanic ash. Visitors will be able to walk through the installation, so they can examine them closely.
ART FROM THE ‘60S
Spring at the National Gallery of Art in Washington isn’t just about the crowds in town to see the cherry blossoms. It’s also about the crop of acquisitions made possible by the trustees and patrons who are members of its collectors committee for contemporary art.
This year’s crop is by a more familiar group of artists than those who have appeared in seasons past. “We’re continuing to fill out our collection of art from the 1960s,” said Harry Cooper, curator of modern and contemporary art. Two sculptures fall into that category. One is “Piano/Piano,” by Richard Artschwager. Conceived between 1963 and 1965 but not created until 2011, for an exhibition at the Gagosian Gallery in Rome, it is one of the artist’s lighthearted wood laminate boxes — a hybrid of Pop and Minimalism — this one with two keyboards. The Gallery also acquired the German artist Hans Haacke’s “Condensation Wall,” from 1963-66. The piece, an example of kinetic art, is composed of a transparent, boxlike environment in which viewers see drops and rivulets water evaporating. “It’s very moist and beautiful,” Mr. Cooper said.
Both works went on view recently in the gallery’s East Building. They aren’t the only new additions. Also on view is “I See a Woman Crying (Weeping Woman),” a video by the Dutch artist Rineke Dijkstra. It shows 11-year-olds at Tate Liverpool in England who have been asked to talk about a painting, Picasso’s “Weeping Woman.” Last year the video was included in a retrospective of Ms. Dijkstra’s work at the Solomon R. Guggenheim Museum in New York. It is being shown through Labor Day in the West Building Project Room.
A CUBIST PEEK
Starting Friday visitors to the Metropolitan Museum of Art will get a sneak peek at one highlight of Leonard A. Lauder’s landmark collection of Cubist art, which he has promised to the museum in one of the most important gifts in its history. Although an exhibition of the entire collection — 33 works by Picasso, 17 by Georges Braque, 14 by Fernand Léger and 14 by Juan Gris — is planned for the fall of 2014, Picasso’s “Woman in an Armchair (Eva),” his 1913 painting of his mistress Eva Gouel, will go on view for at least three months in a first-floor gallery of modern and contemporary art.
Tags: Art
Two years after buying the former American Folk Art Museum designed by Tod Williams and Billie Tsien, MoMA has decided to raze it. The 30,000-square-foot building, with its hand-tooled origami exterior, will make way for a third as much gallery space in the form of high-ceilinged interiors. For the relentlessly expansionist MoMA, thats a sliver of real estate. In 2004, Yoshio Taniguchis glossy, limo-black expansion absorbed a series of earlier renovations and additions. Eventually, it will get yet another 40,000 square feet of exhibition space in an adjacent tower that has yet to be built. The goal of this spread is, as the museum puts it, to seamlessly integrate all these structures, giving visitors an experience of unbroken uniformity.
Tags: Art
0