Mostafa Heddaya

Post image for São Paulo Biennial Curators Join Artists in Repudiating Israeli Sponsorship

The curators of the 31st São Paulo Biennial have supported the artists’ call on the organization to return Israeli sponsorship funds, a demand they believe “should be a trigger to think about the funding sources of major cultural events.”

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Art Movements

by Mostafa Heddaya on August 29, 2014

The National Museum of Iraq

This week in art news: National Museum of Iraq reopens with renovated galleries, embattled Cai Guo-Qiang tortoises head to secret southern climes, recently discovered Phoenician shipwreck may be Mediterranean’s oldest, and more.

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Post image for São Paulo Biennial Participants Demand Organizers Return Israel Funding (Updated)

Artists participating in the 31st São Paulo Biennial have signed an open letter calling on the organizers to return sponsorship funds accepted from the Israeli state, Hyperallergic has learned.

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Detroit Institute of Arts

A recent appraisal commissioned by Art Capital Group claims that the Detroit Institute of Arts collection is worth significantly more than previously found by both Christie’s and Artvest Partners, the two firms that had previously evaluated the collection in connection with the city of Detroit’s bankruptcy proceedings.

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Frédéric Bazille’s

A paper released earlier this month by a group of Rutgers University researchers applies computer vision and machine learning to the question of artistic influence.

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Post image for Monoskop Releases Archive of Avant-Garde and Modernist Magazines

A collection of Anglo-European avant-garde and modernist magazines dating to the late 19th and early 20th centuries has been compiled by Monoskop.

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Work by Hong Seong-dam censored at Gwangju Biennale, Korea

Gwangju Biennale Foundation President Lee Yong-woo has resigned over the censorship of an artwork by the Korean government, the Korea Herald reported.

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Delaware House Bill (HB) 345, “Fiduciary Access to Digital Assets and Digital Accounts Act”

A new law in Delaware has made digital devices and accounts inheritable, the first such measure in the United States, Ars Technica reported.

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(data via TEFAF; graph by Claire Voon/Hyperallergic)

“It’s really business as usual,” announced one Fabian Bocart in today’s New York Times, apropos the putative stability of the art market.

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Detail of Tim Schwartz,

Released to the public two weeks ago, the New York Times’s Chronicle graphing tool has been at use within the paper since it was developed in 2012 by its “Labs” research-and-development department.

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