Edvard Munch, tortured and brooding; Andy Warhol, detached and impenetrably cool. The two artists might not have gotten along well as studio mates, but as for aficionados of artistic repetition, they have a definite kinship.
If you live in the US, chances are you won’t to make it to Manet: Portraying Life, a retrospective exhibition of the 19th-century painter’s portraiture, on view at London’s Royal Academy for just another four days. But you might be able to make it to your local movie theater tonight, where a kind of film version of the exhibition is playing at 7:30 pm.
Smartphone pics aren’t the only source of social media buzz circulating around Edvard Munch’s “The Scream, currently at MoMA. The chatter on Twitter is pretty funny, intriguing, and sometimes revealing, even if some of it is not directly related (but funny nonetheless).
With one version of Munch’s renowned The Scream series on display at MoMA, New Yorkers and tourist are mimicking the bald figure’s extreme expression much the way tourists to Oslo have long been doing — though some aren’t very successful at it. Some people may think it’s tacky, I think it’s a scream.
Six days before all hell broke loose, I rode the subway uptown to attend the press preview of Edvard Munch: The Scream at the Museum of Modern Art. As the preview drew to a close and the already crowded room swelled with paying customers, I asked Ann Temkin, the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, why she thought Munch’s Symbolism is acceptable to contemporary taste while Ferdinand Hodler’s is not.
Could traditional Chinese artists little known in the west take over the global art market? Bloomberg notes that auction price indexes for Li Keran, a prominent 20th-century Chinese landscape painter, are growing at a faster rate than Edvard Munch, the western master behind “The Scream,” a version of which sold at Sotheby’s this year for a record $120 million.
Edvard Munch’s iconic “The Scream” (1895), among the most celebrated and recognized images in art history, will go on view at The Museum of Modern Art for a period of six months beginning October 24.
We now know who owns Edvard Munch’s 1895 pastel version “The Scream” that fetched $119.9m at auction earlier this year — New York financier Leon Black.
Today, New York Magazine critic Jerry Saltz appeared on CBS This Morning to discuss tonight’s Sotheby’s auction of Edvard Munch’s “The Scream.” Saltz isn’t a fan of the circus surrounding tonight’s sale and he dislikes that the chatter is mostly about the projected price tag and not the art itself.
Today is the day! You may have been praying your whole life for this moment and it has finally arrived. Now what? The anticipation may be getting to you but we suggest a few things you might want to try before you get whisked away to the bosom of God. Here are our top five.