On Wednesday, a court dismissed the fourth attempt of several French descendants of Peggy Guggenheim to gain greater control of the deceased art patron’s collection, housed in Venice and managed by the Solomon R. Guggenheim Foundation in New York.
On this week’s art crime blotter: vandals attack Lego superhero statue, New York cops blast police brutality artwork, Cuban paintings stolen in Miami heist.
Peggy Guggenheim did enough living for 10 people.
Editor’s Note: Peter Dobey published a series of photo essays (1, 2, 3) about this year’s Venice Biennale at the beginning of June. This is a long-form essay (to be published in three parts) that explores the work at the Biennale.
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PARIS — It is difficult to write about Venice, just like it is difficult to really SEE Venice. Individual experiences of art fade away into the oversaturation that is the Venice Biennale in the same way the city of Venice is sinking into the Adriatic. There is the ontological experience of Venice and the problem of one’s ability to encounter it. Then there is the physical impossibility to see everything the Biennale offers you and all the things it doesn’t, especially when in Italy.
Peggy Guggenheim’s gift to Iowa has been saved (for now), according to the Daily Iowan … On Monday, Rep. Scott Raecker, R-Urbandale, the head of the Iowa House Appropriations Committee, withdrew the controversial proposal, which would have forced the University of Iowa Museum of Art to sell the $140 million painting “Mural,” by Jackson Pollock …
Abstract Expressionist New York shines a bright and bold light on Jackson Pollock. Although the selection on view is obviously not as extensive as MoMA’s major retrospective in 1998-99, the show is still a rare and precious opportunity to see many of Pollock’s paintings under one roof.
His paintings are often crudely divided into two categories. On the hand, there are the mighty drip paintings — where splatters and splotches of paint dance across the picture plane. Then, there is everything else.