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Venus Over Manhattan opened it’s doors for the first time on May 9, with a swanky opening reception for À rebours. Inspired by J.K. Huysmans’s famously decadent novel of the same name, it is a ballsy show of works ranging across centuries and continents, lit and displayed with gallery upstart Adam Lindemann’s own defiant whimsy.
On Tuesday, June 19, an equally defiant thief, posing as a customer, lifted a $150,000 Salvador Dalí watercolor-and-ink painting right off the gallery wall and blithely walked out with it poking out of a black shopping bag.
He’d simply entered the gallery during regular business hours, dressed in a check shirt and black jeans, told the security guard that he wanted to photograph the small “Cartel des Don Juan Tenorio,” a 1949 Dali original that hung advantageously at the back of the dimly lit gallery, waited for the guard to be called away momentarily, and then lifted the piece pretty as you please.
His exit at 4:38pm is marked by the gallery’s security camera.
The New York Times reports that gallery owner, Adam Lindemann, responded with befuddlement. Marveling that the theft took place during normal business hours with a security guard present. He’s quoted as asking:
“What do you do with a stolen drawing by Dalí?”
Answer: apparently you mail it back!
The mystery was deepened on Monday when the pranked gallery received an email telling them that the painting was enroute from Europe; the whimsical informant even offered a tracking number.
So the gallery called police and police contacted postal inspectors. Dispatched to New York’s Kennedy International Airport, the inspectors were able to intercept the package on Friday and return “Don Juan” safely to the Venus. Lindemann, who said that VoM is cooperating with police on the case, has offered no further word to the press.
The peculiar art theft and the speed of its return makes you almost wonder if the painting was stolen or simply taking a short European vacation.
Legal Precedents or Reparations? Lawsuit Against Harvard May Decide Who Owns Images of Enslaved People
Tamara Lanier’s battle for the ownership of her ancestors’ images is forcing the law to contend with the the institution of chattel slavery in interpreting intellectual property parameters.
Over the last few years, Hyperallergic has reported on the continuing quest of Tamara Lanier to retrieve daguerreotypes of her ancestors Renty and Delia Taylor. In March 2019, Lanier filed a lawsuit in Massachusetts to obtain rights to photographs in the collection of Harvard University’s Peabody Museum of Archeology and Ethnology, which were commissioned by…
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Every utopia is a social experiment, the artist suggests in this commission for the Performa performance art biennial, and we’re ultimately the guinea pigs.
“You can’t live in a house that’s built upon your back.” This is one of the more memorable phrases spoken by the scripted lovers of Tschabalala Self’s Sounding Board, what Performa describes in its promotional materials as an “experimental play.” That phrase, uttered by one romantic partner to the other, operates as guidance, warning, dictate,…
A commitment to trans subjects, and their queer communities, is manifested as a holding environment made approachable by our concern, grounded in intimacy and legacy, enfolding any viewer who will stop, listen, and receive love.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
As a free, powerful, and unpredictable woman, the witch has long been a crucible for mainstream society’s darkest fears.
The artists released the risograph-printed booklet series Organizing Power to assist in the arduous process of assembling a bargaining unit and negotiating.