This week, Ann Freeman says she was a victim of the Knoedler art fraud, opera in Beirut, the walk-in prison vagina in Johannesburg, the YouTube war, fashion’s 3D printing moment, and more.
“They were very credible in so many respects,” says Freedman. “I had the best conservation studio examine them. One of the Rothkos had a Sgroi stretcher. He made the stretchers for Rothko. They clearly had the right materials. I got a consensus. Some of the paintings were featured on museum walls,” she continued. “The Rothko went to the Beyeler [Foundation], and the Newman went to Guggenheim Bilbao for the tenth anniversary exhibition. The most knowledgeable in the art establishment gave me no reason to doubt the paintings.”
… “Imagine people coming to someone and saying every painting you sold me is a fake. It is an unthinkable situation. It is completely insane. A gallery person has an absolute responsibility to do due diligence, and I don’t think she did it. The story of the paintings is so totally kooky. I mean, really. It was a great story and she just said, ‘this is great.’”
Lebanon’s fledgling opera scene is emerging from desperate Civil War days with the help of bold philanthropists and (sometimes) harmonious sopranos — but not everyone is singing from the same libretto.
The local activists who filmed these videos, then, have accomplished what years of hectoring from the official Syrian opposition have been unable to do — bring the world to the brink of military intervention against Bashar al-Assad’s regime … And the sense of outrage may be so great that it will propel the United States into war … the amateur Syrian videographers’ accomplishment, however, came at a high cost … the media staff of Zamalka’s local coordination committee, which is responsible for filming videos in the area and uploading them to the world, also sped to the scene. According to Zaitouneh, all but one of them paid with their lives.
When entertainment frames the future, it becomes a self-fulfilling prophecy. We create the world that we watched on screen as children. Everyday technology thrusts us into science fiction, because the aspirational promise of capitalism asserts that someday is always better than today.
Fashion must react quickly to changes in technology and make do-it-yourself, 3D-printable designs in order to avoid a coming flood of infringement and, instead, benefit from the rise of 3D printing …
The book and film have been marketed with the promise of revelations about Mr. Salinger, whose penchant for privacy became a hallmark. Last week, Weinstein and Simon & Schuster began a promotional campaign that includes a poster image of Mr. Salinger with a finger to his lips, beneath an admonition: “Uncover the Mystery but Don’t Spoil the Secrets!” The book, a 698-page companion to the film, is written in an oral history style with snippets of text from dozens of people who were interviewed for the project.
Required Reading is published every Sunday morning EST, and it is comprised of a short list of art-related links to long-form articles, videos, blog posts or photo essays worth a second look.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.
The 18-month fellowship aims to provide artists with “as much access as possible” to the club’s facilities and networks “at a time and place convenient to artists.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
A coalition of investors raised funds to purchase the film’s storyboard and announced they would “make the book public.”
A new project, “Emoji to Scale,” orders every mini-object by their real-world dimensions.
Although Khedoori does not depict living beings, their presence is evoked in the traces they leave behind.
The Bronx Museum’s fifth biennial continues to focus its programming on individual identity, eliding the ever-divergent interests of the art market and local communities.
While it may be strange to think of food insecurity as a basis for art, the works in Food Justice reveal barriers and injustices in food access.