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First reported in the German media, news broke yesterday of an estimated €1bn ($1.35bn) of Nazi-seized art uncovered during a raid on an octogenarian’s Munich apartment in 2011. A total of 1,500 works — paintings by Pablo Picasso, Henri Matisse, Marc Chagall, Max Beckmann, Paul Klee, Oskar Kokoschka — are reported to have been stashed in a dark room, sharing space on homemade shelves with “juice cartons and tins of food.”
The octogenarian art hoarder, Cornelius Gurlitt, is believed to have inherited the peerless collection from his father, German art collector Hildebrand Gurlitt. That Cornelius kept a meager, shabby profile, described by a German official as “a man who did not exist” may have helped keep the works under wraps, but he made one fatal mistake — traveling with a suspicious amount of cash on a train from Switzerland to Munich: €9,000 now believed to be the result of an art sale.
The money led to the raid on his small apartment, which in turn provoked the art find of the century: the largest art cache recovered in postwar history— the works were thought to have been lost forever. But they survived in Cornelius’s moldy apartment, the upshot of Nazi Germany’s policy of mass seizures of “degenerate art” and other work cadged and stolen from Jewish collectors during the 1930s and ’40s. Over 300 of the works are thought to have come from the 16,000-work catalogue of degenerate art.
The reason news has only now come out of the discovery is due to two years of careful accounting and assessment by German customs and officials. Thousands of works were stolen by the Nazis during the war; many are still sought by surviving families. According to Focus magazine, the German paper that first disclosed news of the find, international warrants have been issued for at least 200 of the works.
Evidently George Clooney’s forthcoming Monuments Men film, a dramatization of this sort of scenario, must have missed a lot.
To showcase this work exactly 500 years after Magellan’s conquest of the Philippines in a space that, 134 years ago, was a “human zoo” of Indigenous people from the Philippines, is certainly poignant.
Since 2014, Alison has been visually dissecting Monique Wittig’s novel The Lesbian Body, which theorizes the split subjectivity women experience in language, an inherently patriarchal structure.
This exhibition in Great Falls, Montana addresses the concept of intention in contemporary fiber art and its complex relationship with the history of women’s art as craft.
N.I.H., short for No Humans Involved, was an acronym used by the LAPD to refer to “young Black males who belong to the jobless category of the inner-city ghettos.”
Cha, who was murdered at 31 years old, explored the nuances of forced migration and language.
Explore new avenues in artistic practice and scholarship amongst a diverse cohort of peers while gaining leadership skills both academically and professionally.
Taping a banana wasn’t enough, so the art world had to do something even more stupid with food.
Stoner jokes, unexpected pop culture references, and an unlikely love story jangle against each other like charms on a bracelet.
In this exhibition, curated by Patrick Flores and presented by Taipei Fine Arts Museum, Paiwan artist Sakuliu reflects on interspecies co-sharing and coexistence.
The plans for Munger Hall may just be the most ruthlessly efficient way to house 4500 students.
The Mandan, Hidatsa, and Arikara (MHA) Nation says tribal leaders were not consulted regarding the relocation of the statue.
The autumn holiday of Sukkot continues to offer solace and community for new generations.