This week the Corcoran’s board announced that over 99% of the works from the gallery’s collection will stay in DC, with the vast majority going to the museum at American University.
WASHINGTON, DC — Maeve McCool vividly remembers when she first learned that the Corcoran Gallery of Art and the conjoining Corcoran College of Art and Design would be no more.
In Wagstaff: Before and After Mapplethorpe, Philip Gefter’s new biography of collector, curator, and market force Sam Wagstaff, the author argues that it was not only his subject’s life that was transformed by his relationship with Robert Mapplethorpe.
The chief of exhibitions at the National Gallery of Art told a philanthropist that absorbing the failing Corcoran would make “his collection at the National Gallery … greater than the collection at the Metropolitan Museum of Art.”
Several concerned parties, including the Save the Corcoran advocacy group, have filed legal briefs seeking to block the Corcoran Gallery of Art’s planned integration with the National Gallery, Washington City Paper reported.
The Corcoran Gallery of Art’s absorption into George Washington University (GWU) and the National Gallery of Art in Washington, first announced in February, has been finalized, the Washington Post reported.
After years of financial crisis, Washington, DC’s Corcoran Gallery of Art — the city’s largest and oldest private museum, which focuses on American art — has announced a plan that would see it “cease to exist as an independent institution,” the Washington Post reports.
“At the height of my career covering conflicts,” reflects American photojournalist David Leeson (b. 1957), “I truly believed, deeply and passionately, that there existed a series of photographs, or a single photograph, that could end war. I wanted to find that one photo.”
Washington, D.C.’s Corcoran Gallery of Art will be remaining in its historic building after all, backing off from plans it had been developing to sell its aging Beaux-Arts structure, which it has resided in since 1897, and move out to the city’s suburbs.
A series of photos posted on Tumblr a few hours ago show a creative protest against the Corcoran’s plan to sell its Beaux-Arts palazzo building across from the White House in exchange for a new center in the DC suburbs. In the guerrilla installation, signs attached to the building spell out “4 SALE.”
Beginning in 1968, in an act of governmental largesse unlikely to be repeated any time soon, the Bureau of Reclamation of the U.S. Department of the Interior invited forty artists, all expenses paid, to create works documenting its water reclamation efforts in the West. Among those asked to participate was Richard Diebenkorn, who traveled in 1970 to the Columbia River valley and Salt River in Arizona for five days of expansive looking, taking in landscape views from a promontory and making several overhead passes in a helicopter. Long fascinated by aerial perspective, he found himself “boggled” by what he saw. “Whenever there was agriculture going on,” he later recalled, “you could see process — ghosts of former tilled fields, patches of land being eroded.”
I’m as big of a Chris Martin fan as vlogger and writer James Kalm (aka painter Loren Munk), so the video he just uploaded on YouTube of Martin’s new solo person museum show — his first — at the Corcoran Gallery of Artin Washington, DC, is a treat.