#Knoedler Publishing

[literarytourist-blog-blog]

Scott Ferris on Artist and Book Illustrator Rockwell Kent

Scott R Ferris, is a  researcher, writer and specialist in the art of Rockwell Kent (1882-1971). He has conducted many lectures on Kent and has served as curator for a lot of Kent exhibitions.

  Here's a thumbnail of Kent culled from what Zoë Samels has written on the U.S. National Gallery website:

  He attended the Horace Mann School in New York City where he excelled at mechanical drawing. After graduating he decided to study architecture at Columbia University. In 1905 he moved from New York to Monhegan Island in Maine home to a summer art colony where he found inspiration in the natural world.

  He found success exhibiting and selling his paintings in New York and in 1907 was given his first solo show at Claussen Galleries. The following year he married his first wife, Kathleen Whiting, with whom he had five children.  For the next several decades he lived a peripatetic life, chilling in Connecticut, Maine, and New York. During this time he took  extended voyages to remote, often ice-filled, corners of the globe: Newfoundland, Alaska, Tierra del Fuego, and Greenland, to which he made three separate trips. For Kent, exploration and artistic production were twinned endeavors. His travels to these rugged, rural locales provided inspiration for both his visual art and his writings. He developed a stark, realist landscape style that expressed both nature’s harshness and its sublimity. Kent’s human figures, which appear sparingly, often signify mythic themes, such as heroism, loneliness, and individualism. Important exhibitions of works from these travels include the Knoedler Gallery’s shows in 1919 and 1920. Kent wrote a number of illustrated memoirs about his adventures abroad, including Wilderness: A Journal of Quiet Adventure in Alaska (1920)

  By 1920 he had taken up wood engraving and quickly established himself as one of the preeminent graphic artists of his time. His striking illustrations for two editions of Herman Melville’s Moby Dick—  precise and abstract images that drew on his architect’s eye for spatial relations and his years of maritime adventures—proved extremely popular and remain some of his best-known work. Throughout the 1920s and 1930s his print output included advertisements, bookplates, and Christmas cards. His satirical drawings, created under the pseudonym “Hogarth Jr.,” were published in magazines such as Vanity Fair, Harper’s Weekly, and Life. 

By the onset of World War II, Kent was focusing energy on progressive political causes, including labor rights and preventing the spread of fascism in Europe. Though he never joined the communist party his support of leftist causes made him a target of the State Department which revoked his passport after his first visit to Moscow in 1950 (though Kent successfully sued to have it reinstated). As his reputation declined at home and his work fell out of favor, Kent found new popularity in the Soviet Union, where his works were exhibited frequently in the 1950s. 

  I visited Scott at his book-filled home in Boonville, in upstate New York, to trace the arc of Kent's life through the lens of various items in Scott's extensive collection of Kentiana

Check out this episode!

[usafphantom2]

DARPA confirms successful tests of the HAWC hypersonic missile

Fernando Valduga By Fernando Valduga 04/05/2022 - 19:39 in Armaments, Military

After the first reports of a secret hypersonic missile test, the U.S. Defense Advanced Research Projects Agency (DARPA) confirmed that it has performed the second successful flight test of the Hypersonic Air-breathing Weapon Concept (HAWC).

Working with the U.S. Air Force Research Laboratory (AFRL), Lockheed Martin and Aerojet Rocketdyne, DARPA tested the missile at speeds above Mach 5 and altitudes above 65,000 feet.

The HAWC concept test, which has so far been significantly more successful than the AGM-183A Air-Launched Rapid Response Weapon (AARRW) hypersonic missile, has increased understanding of operations in the high-speed flight regime, DARPA said.

As explained by DARPA, the vehicle was driven into the ignition envelope of the Aerojet Rocketdyne scramjet engine after the release of a carrier aircraft. From then on, it accelerated quickly and maintained the cruise faster than Mach 5 (five times the speed of sound) for a long period of time. The vehicle reached altitudes above 65,000 feet and flew for more than 300 nautical miles.

Although DARPA did not specify when the test took place, a CNN report said that the event took place in mid-March, but was not publicly announced immediately after Russia's invasion of Ukraine.

This is the second successful flight in DARPA's HAWC program. Last September, a different vehicle configuration from another contracted team also achieved hypersonic flight.

"This Lockheed Martin HAWC flight test successfully demonstrated a second project that will allow our fighters to competitively select the right capabilities to dominate the battlefield," said Andrew "Tippy" Knoedler, HAWC program manager at DARPA's Tactical Technology Office. "These achievements increase the level of technical maturity for HAWC's transition to a service purchase program."

Air-breathing vehicles use the air captured from the atmosphere to obtain sustained propulsion. The speed and maneuverability of such hypersonic cruise missiles allow both defense evasion and rapid attacks. Its kinetic energy can effectively destroy targets even without high explosives.

“We are still analyzing the flight test data, but we are confident that we will provide the U.S. Air Force and Navy with excellent options to diversify the technology available for their future missions,” Knoedler said.

Tags: AFRLarmamentsMilitary AviationDARPAHAWChypersonicLockheed MartinUSAF - United States Air Force / U.S. Air Force

Fernando Valduga

Aviation photographer and pilot since 1992, he has participated in several events and air operations, such as Cruzex, AirVenture, Dayton Airshow and FIDAE. He has works published in a specialized aviation magazine in Brazil and abroad. He uses Canon equipment during his photographic work in the world of aviation

Cavok Brasil - Digital Tchê Web Creation

[bm2ab]

Arrivals & Departures 06 January 1883 – 10 April 1931 Gibran Khalil Gibran

Gibran Khalil Gibran (Arabic: جبران خليل جبران‎, ALA-LC: Jubrān Khalīl Jubrān, pronounced [ʒʊˈbraːn xaˈliːl ʒʊˈbraːn], or Jibrān Khalīl Jibrān, pronounced [ʒɪˈbraːn xaˈliːl ʒɪˈbraːn]), usually referred to in English as Kahlil Gibran (pronounced /kɑːˈliːl dʒɪˈbrɑːn/ kah-LEEL ji-BRAHN), was a Lebanese-American writer, poet and visual artist, also considered a philosopher although he himself rejected the title. He is best known as the author of The Prophet, which was first published in the United States in 1923 and has since become one of the best-selling books of all time, having been translated into more than 100 languages. Born in a village of the Ottoman-ruled Mount Lebanon Mutasarrifate to a Maronite family, the young Gibran immigrated with his mother and siblings to the United States in 1895. As his mother worked as a seamstress, he was enrolled at a school in Boston, where his creative abilities were quickly noticed by a teacher who presented him to photographer and publisher F. Holland Day. Gibran was sent back to his native land by his family at the age of fifteen to enroll at the Collège de la Sagesse in Beirut. Returning to Boston upon his youngest sister's death in 1902, he lost his older half-brother and his mother the following year, seemingly relying afterwards on his remaining sister's income from her work at a dressmaker's shop for some time.

In 1904, Gibran's drawings were displayed for the first time at Day's studio in Boston, and his first book in Arabic was published in 1905 in New York City. With the financial help of a newly met benefactress, Mary Haskell, Gibran studied art in Paris from 1908 to 1910. While there, he came in contact with Syrian political thinkers promoting rebellion in the Ottoman Empire after the Young Turk Revolution; some of Gibran's writings, voicing the same ideas as well as anti-clericalism, would eventually be banned by the Ottoman authorities. In 1911, Gibran settled in New York, where his first book in English, The Madman, would be published by Alfred A. Knopf in 1918, with writing of The Prophet or The Earth Gods also underway. His visual artwork was shown at Montross Gallery in 1914, and at the galleries of M. Knoedler & Co. in 1917. He had also been corresponding remarkably with May Ziadeh since 1912. In 1920, Gibran re-founded the Pen League with fellow Mahjari poets. By the time of his death at the age of 48 from cirrhosis and incipient tuberculosis in one lung, he had achieved literary fame on "both sides of the Atlantic Ocean," and The Prophet had already been translated into German and French. His body was transferred to his birth village of Bsharri (in present-day Lebanon), to which he had bequeathed all future royalties on his books, and where a museum dedicated to his works now stands.

As worded by Suheil Bushrui and Joe Jenkins, Gibran's life has been described as one "often caught between Nietzschean rebellion, Blakean pantheism and Sufi mysticism." Gibran discussed different themes in his writings, and explored diverse literary forms. Salma Khadra Jayyusi has called him "the single most important influence on Arabic poetry and literature during the first half of [the twentieth] century," and he is still celebrated as a literary hero in Lebanon. At the same time, "most of Gibran's paintings expressed his personal vision, incorporating spiritual and mythological symbolism," with art critic Alice Raphael recognizing in the painter a classicist, whose work owed "more to the findings of Da Vinci than it [did] to any modern insurgent." His "prodigious body of work" has been described as "an artistic legacy to people of all nations."

[artthroughtime]

Emanuel Leutze - Washington Crossing the Delaware, 1851.

Leutze’s  depiction of Washington's attack on the Hessians at Trenton on December 25, 1776, was a great success in America and in Germany. Leutze began his first version of this subject in 1849. It was damaged in his studio by fire in 1850 and, although restored and acquired by the Bremen Kunsthalle, was again destroyed in a bombing raid in 1942. In 1850, Leutze began this version of the subject, which was placed on exhibition in New York during October of 1851. At this showing, Marshall O. Roberts bought the canvas for the then-enormous sum of $10,000. In 1853, M. Knoedler published an engraving of it. Many studies for the painting exist, as do copies by other artists.

Credit: The Metropolitan Museum of Art

Art Through Time

[creativinn]

How a Network of Fake Art Collectors Used Instagram to Boost a Fictional Artist's Career—and Make Money in the Process | Artnet News

Recently, when sorting through emails with offers from galleries, Alex D., an art collector with an interest in emerging artists, came across some images of work by Moritz Kraus, a minimalist painter, that piqued the buyer’s interest.

Kraus’s prices were good, and the artist was well regarded by a collector-friend of Alex D.’s who owned another work. There wasn’t much about the artist online, but a tight-knit group of active Instagram users, all Italian art collectors, were hyping his work. Alex D. felt in the right mood and closed the deal. The painting arrived shortly thereafter.

There is nothing unusual about this. Shopping for art is, like other consumer pursuits, sometimes laborious and other times intuitive and quick. But what makes this different is that neither Kraus, nor the collectors who seemed to love him, actually exist.

Profile of Carlo Alberto Ferri.

Scam or Prank?

With its main arteries of business being not only wealth, but, more importantly, conspicuous displays of it, the art world leaves quite a bit of room for schemers and hucksters. In 2011, New York’s 165-year-old Knoedler gallery collapsed after it was revealed to have been a conduit for fake works by Abstract Expressionist stars.

The rise of social media introduced new problems. Less than 10 years later, Anna Delvey took advantage of a distracted, image-hungry art world and cunningly used Instagram to gain the trust of industry high-rollers and rack up credit card debts.

So it’s not a complete surprise that Kraus and his biggest boosters—a group of supposed art collectors including a Verona winegrower named Raffaele Sartori; a fashion entrepreneur called Beatrice Rinaldi; a young heir, Carlo Alberto Ferri; and Italian-born, Switzerland-based businessman Pier Paolo Lonati—never really existed. What’s surprising is the inventiveness of the ruse, and how quickly and easily a social media system of peer review managed to entrench the collectors in the art world.

While the Italian art world is teeming with gossip, it has not been confirmed who was behind the four accounts: one person—or a small group of people—appears to have created a network of artificial characters to boost the career—and sales figures—of a single imaginary artist, as well as at least one imaginary work by a real artist. It matters that real money changed hands: two European collectors, including Alex D. (this is not their real name) confirmed to Artnet News that they bought works by Kraus for five-figure sums; in one case, it was after Ferri and Lonati made the suggestion through Instagram. According to price sheets shared by one of the collectors, Kraus’s paintings went for about €1,000 for small pieces, and up to €3,000 for larger canvases.

So was it just an insider art project aimed at showing the art world its shallowness? Or is this a case of out-and-out fraud and potential copyright infringement?

Into the Rabbit Hole

The elaborate, short-lived troll, which appears to have begun last summer, started to unravel in late 2021 when Milan dealer Federico Vavassori spotted what appeared to be an artwork by one of his artists on the Instagram account of a collector he did not know: Lonati, an Italian, Switzerland-based businessman.

Curious, Vavassori sent the image to his artist, who confirmed that it was his, but that it had been digitally manipulated. Combing Lonati’s profile for clues, Vavassori noticed a little network of collectors that seemed to know one another (Lonati, Sartori, Rinaldi, and Ferri) and who routinely replied, commented on, and liked each other’s posts. They wrote to emerging artists expressing interest in their work, and they even published interviews in the press.

Vavassori began to contact each individually and ask about their collections. It didn’t take long for whomever was behind the account to give up the scheme: the person admitted to Vavassori that the four collectors were not real, and that the accounts were all just a bit of “entertainment.” The accounts then disappeared.

Vavassori didn’t know it at the time, but pictured on those accounts’ social media pages were not only fake works by real artists; there were also fake works by a fake artist: the supposed German painter by the name of Moritz Kraus, whose works were being pumped for a short time by this network of fake collectors.

Photo: Dan Kitwood/Getty Images.

It’s All in the Image

Even after the collectors’ Instagram accounts disappeared, it wasn’t hard to find images of Kraus’s silk-screened paintings or works on aluminum, all reminiscent of the zombie formalist wave of the 2010s. The artist, it seemed, also had a recent show at a venue called Lab Shimokitazawa, but, then again, that gallery may not exist. It appears to have no online presence, no physical address, nor any real exhibition history. (Conveniently, Shimokitazawa is the name of buzzy neighborhood in Tokyo, so it has the name equivalent of Lab Williamsburg.)

Yet Kraus did apparently have one show at a real-life venue: Spazio Orr, a space in Brescia that has worked in the past with artists such as David Ostrowski. Two of the collectors Artnet News spoke to had bought works by Kraus from the gallery. Yet the majority of the people who spoke to Artnet News, who had either done business with the space or collaborated with them, had never actually been there—strange in retrospect, but far from unusual for a globally stratified art world.

Whether the space still exists is unclear. Its website is down, and an upcoming show it had planned with Paul Czerlitzki was cancelled by the artist. But it did, at least once, have a real address, and was run by two artists: Federica Francesconi and Francesco de Prezzo. The pair frequently collaborated with up-and-coming curators, and participated in a few small art fairs. Their gallery opened in 2019 with a show titled “Champagne Taste on a Beer Budget.”

A work by Federica Francesconi at the Saito Private Art Collection, which has no online presence. Via ArtViewer.

There is an email address for Spazio Orr, barely retrievable via some meta data on Google. I sent the gallery a note, requesting confirmation on the sales of Kraus’s works.

I also asked if Francesconi would confirm details about her own recent art exhibition in Tokyo at the Saito Art Collection. Though it cropped up on Art Viewer (the page has now been deleted), an exhibition listing website that’s a favorite of artists, the Japanese collection itself has no trace of existing on the web or physically. Francesconi’s cloudy abstract paintings occur in grey hues, large canvases for extremely little content. The artist also seems to have purchased herself a full-page ad in the front pages of Mousse Magazine‘s January issue—unlike everything that was posted online, the latter was likely a gesture a little harder to undo.

I wondered, momentarily, if I was speaking into a void. But someone replied to my email rather quickly, suggesting I take a look at the text that accompanied the Saito Art Collection show. One line from the press release struck me in particular: “It is not an exaggeration … to think of the famous Schrodinger’s cat, the one that taught us that there is no stable and material reality that we simply accept, but that our gaze also determines the real.”

I pinged Spazio Orr’s email again: “Can we think of Moritz Kraus along the lines of Schrödinger’s cat?”

Back came a cryptic response with a slew of questions, some oddly worded. “Is it necessary to physically see a work of art to believe in its existence? Have you ever heard of the invisible cube by Gino de Dominicis? How much do you get influenced by the narrative of a work you have never seen?”

And then: “We don’t have any answers at the moment to these questions.”

A screenshot of what remains of Spazio Orr’s Facebook account.

The Same Way Back in

Which brings me back: scam or art project? And if it is an art project, is it any good?

Earlier this month, Milan lawyer Francesco Francica filed a claim with Italian authorities on behalf of Vavassori, the Milan dealer, asking them to investigate who is behind the accounts while pursuing damages for copyright infringement on behalf of his artist whose work popped up on a fake collector’s account.

Francica believes that laws have been broken. Yet for the most part, those looking from the outside in felt much more magnanimous.

“If it’s an art project, it is interesting to me,” said Aurélien Le Genissel, a Barcelona-based curator who wrote the referenced text for Francesconi’s fake show (Le Genissel said he had been contacted for the job over email by Francesconi who had seen images of his curatorial work on Instagram—he did not realize the exhibition in Tokyo did not exist). “It raises questions about the legitimization of art and artists on Instagram,” he added.

Even one of the duped collectors who bought a work by Kraus said it was a clever demonstration of “how easy it is to manipulate the art market. “Similar things happen all the time, and also higher up in the food chain,” the Europe-based art buyer said. “This was just a new way of doing it.” They even plan to keep the work because the story “makes [the work] more interesting.”

Lawyer Till Dunckle says that, legally, an artist can call themselves whatever they want. “So if the name ‘Moritz Kraus’ is only a fictitious designation for the true author, this is not only legally irrelevant, but also widespread,” he said. He said that use of a pseudonym by several, cooperating authors, however, could enter dubious legal ground because “a buyer will usually assume that the same author is always concealed behind ‘Moritz Kraus.'”

A screenshot of a work purportedly by Moritz Kraus on Instagram.

One thing, at least, seems plain: a couple years lived largely online is ripe ground for creative schemes that bend definitions of reality, especially when all us need to pump ourselves up once in a while.

If this whole thing is an art project, it isn’t a great one—it is rather the sum of a few tricks made on other individuals, which is deceitful, self-serving, and not entirely conceptual. 

But it does reveal the fact that our behaviors and socializing habits on Instagram are a confidence trick, even as the platform grows in relevance for art dealers doing real business. Dealers, artists, and journalists, for that matter, are getting very used to DMs with all kinds of opportunities and “opportunities.” As we float off into this epoch of bored ape profile pics and cryptic usernames, let’s just not forget that we’ve been lying to ourselves and one another for quite some time now.

I went back to look at the text Le Genissel wrote about Francesconi, which, per his request, Francesconi removed from the internet. Instead, Francesconi has appended a new quote, one she attributes to the physicist and author Carlo Rovelli: “When we look around we are not really ‘observing’: we are rather dreaming of an image of the world based on what we knew.”

This content was originally published here.

[domenicodelnegro]

Buona Domenica friend's by William Adolphe Bouguereau (French, 1825-1905) Le jour signed and dated 'W. Bouguereau 84' (lower left) oil on canvas 82 x 43 in. (208.3 x 109.2 cm.) Painted in 1884. Provenance with Goupil & Cie., Paris (acquired directly from the artist). with Knoedler & Co., New York. Robert Graves; American Art Association, New York, 9-10 February 1887, lot 199. with Knoedler & Co., New York. with F. Schnitter & Son. Anonymous sale; Parke Bernet Galleries, Inc., New York, 14 January, 1943, lot, 92. Julius Weitzner. Private Collection, Connecticut. Lot Essay: This work reveals Bouguereau at the height of his artistic ability. By now a member of the Institute, recognized and respected by his peers, he had at last reached the apogee of his career and found himself inundated with numerous official honors. The recent birth of his grandson was a further reason for joy. Following the resounding success of the Birth of Venus at the 1879 Salon, Bouguereau embarked on a series of four allegorical works, all of them glorifications of feminine grace and symbols of the various hours of the day; Dawn, painted in (1881), Dusk (1882), Night (1883) (fig. 1), and finally Day, painted in 1884. Four other works also relate to the series: The Fallen Star; The Two Bathers; Crouching Bather, and, finally, Bouguereau's favorite painting of his oeuvre, the famous Byblis, all of which date from 1884. Bouguereau's sole aim in this group of works was the celebration of feminine beauty, of form, and of the rhythm of color. Such a prolific output of nudes over such a short period of time is exceptional for Bouguereau, whose oeuvre comprises only a very small number of them. All of the figures in this group derive from the academic nude, but also anticipate the host of fantaisies inspired by the ancient world. An engraving on wood depicting Bouguereau working on Day in front of his model who stands on a table, holding on to a piece of rope to help her maintian her pose, was published in L'Illustration. The engraving was based on a photograph now in a private collection. Both Vachon, Bouguereau's biographer, and Goupil's sales ledgers list two paintings entitled Day; the fir https://www.instagram.com/p/CFE3W4CoTFO/?igshid=h6tl2kcsqxq8

[toldnews-blog]

New Post has been published on https://toldnews.com/lifestyle/how-to-move-a-masterpiece-if-its-this-big-very-carefully/

How to Move a Masterpiece? If It’s This Big, Very Carefully

It sounds like an old joke: How do you pack up, ship and then unfurl a massive — and massively valuable — painting?

Very carefully, of course.

William-Adolphe Bouguereau’s “La Jeunesse de Bacchus” (The Youth of Bacchus), a joyful scene of mythological frolic, measures a whopping 20 feet long and nearly 11 feet high, and it was the biggest canvas he ever painted.

The 1884 work, with an estimate of $25 million to $35 million, will be a marquee offering at Sotheby’s Impressionist and Modern Art Evening Sale on May 14 in New York. (It will be on display from Friday through the 14th.)

May events like the art fair Frieze New York and two prominent biennials — in Venice and at the Whitney Museum of American Art — keep the focus on contemporary art, but “La Jeunesse de Bacchus” is evidence of strong offerings of older works.

It will also rank as one of the largest pre-Modern works offered in the history of Sotheby’s, sure to garner attention just for that fact, but also because it’s by a beloved 19th-century French painter who has a sterling sales record and legions of fans among museumgoers. (There’s a major exhibition of his work at the Milwaukee Art Museum on view until May 12.)

But to be viewed by prospective bidders and put on the block, it first had to travel from Paris.

Consigned by the painter’s heirs, the work hung in the same place for 135 years — Bouguereau’s studio in Paris’s Sixth Arrondissement — and has been moved only three times previously, for exhibitions.

Over all, the job required around 20 people between the two locations, including a crane operator to get it out of the third-floor studio window and into a truck.

One of the conservators involved in the New York unpacking and restretching, Haley Parkes, called the whole process a “Bouguer-rodeo.”

Paintings of this size don’t wrangle easily.

Mr. Parkes’s father and business partner, Simon Parkes, a longtime expert in the field, said it was the second biggest painting he had ever worked on, after a canvas by Jean-Michel Basquiat, and that the custom roller used to hold it in transit was the largest he had ever seen.

With “La Jeunesse de Bacchus,” Sotheby’s had a few built-in advantages.

Unusually for a painting of its age, “It has the original stretcher and hardware,” said Benjamin Doller, Sotheby’s chairman of the Americas and a longtime expert at the auction house specializing in 19th-century art. (To keep them taut, paintings are usually stretched onto a wooden armature in back.)

That meant that the wear and tear on it had likely been minimal, especially given that it had rarely been moved.

Mr. Doller had every reason to want the painting in good condition. He had big plans for the work, which is why he placed it in the Impressionist and Modern sale, despite it technically fitting into neither of those categories.

“We need to make sure the world’s wealthiest buyers have access to it,” Mr. Doller said of the sale placement. “It’s another level of validation.”

Bouguereau was the most important of the so-called academic painters of France in his day, those who adhered to traditional styles and techniques.

The artist painted around 750 works, said Louise d’Argencourt, an independent curator and expert in his work.

“Not a lot of them exist in private collections,” Ms. d’Argencourt said, adding that they have largely made their way to museums.

Bouguereau was the opposite of a starving artist. He was from a well-off family, and he made it even richer with his success.

“Americans were his biggest market, and for Knoedler Gallery, he was the No. 1 seller,” Mr. Doller said, referring to the now-defunct New York dealer that was once a dominant force.

“La Jeunesse de Bacchus” took Bouguereau almost three years to paint, and he did it without the benefit of assistants. He priced the work at 100,000 francs — an astronomical sum at the time that would have made it one of the most expensive paintings ever sold, Mr. Doller said — and he received an offer of 70,000 francs, but rejected it.

“He said, ‘I get so much enjoyment, I’ll just keep it,’” Mr. Doller said. His descendants were wealthy enough to leave it where it was, but eventually the current generation decided to sell.

That led to the beginning of the Bouguer-rodeo in January.

It took two and a half days for a Paris-based conservator and shipping crew to pack it up, starting with building scaffolding just to get the painting off the wall. The process was almost delayed by snow, which stopped just in time for the crane operator to lift the components outside.

Three crates were necessitated — one each for the frame, stretcher and canvas — and together they weighed almost two tons.

When they arrived in New York, the crate holding the canvas was opened by Sotheby’s art handlers, and a group peered inside. Concerned looks turned to smiles. The painting roller had a thin white plastic covering to protect it, and it was tied with five perfect bows.

“Only the French would do bows like that,” Mr. Doller said.

The elder Mr. Parkes proclaimed it “the Louis Vuitton of packing jobs.”

He added of the thick, ornately carved and gilded frame, which was packed in several pieces: “It’s in great condition. To make this frame today would cost half a million dollars.”

Then his son said, “Can we get the muscle men?” referring to the art handlers, and the roll was taken out and unfurled slowly so the image was facedown on the floor, with the white plastic providing a protective layer between the painting and the carpet.

The process was delicate enough that Sotheby’s chief executive, Tad Smith, stopped in to watch for a while.

The painting was deemed admirably even — no bumps or distorted areas — and was left to lie flat for a while.

The back of the canvas would tell the tale. “Dust can accumulate under the stretcher bar, and it can hold moisture,” Simon Parkes said. “Water is the biggest problem.”

Of great concern were the “tacking edges” — the extra part of the canvas beyond the image that folds around the back and is tacked to the stretcher.

“It carries all the weight,” Simon Parkes said, but added that the artist seemed to have put on his paint rather thinly.

He added that his job required a certain worrywart quality.

“Sometimes paint cracks or becomes unstable, those are common problems,” he said. “I’m only really interested in the stuff that can go wrong. We have to stay a step ahead.”

Then they were joined by Jamie Martin, the head of Sotheby’s scientific research department, who was carrying an ultraviolet light.

Mr. Martin noted that the lining had been reinforced and patched, and he took a tiny sample.

“We have to know what will stick to what,” Mr. Martin said of the painting’s eventual restretching. “The question is, is it wax resin or glue paste? And I don’t guess — I analyze it with straight-up science.” (It turned out there were two waxes and one synthetic adhesive.)

A few days later, the painting was placed back on its stretcher, and it went on view in March for the first time.

Now the only issue is finding a buyer with ambitions big enough to match the painterly craft behind “La Jeunesse de Bacchus” — not to mention the effort it took just to get it on the block.

[thegetty]

5 Books on Art Provenance A Shelfie from Kelly Davis, Research Assistant at the Getty Research Institute

Hi, I’m Kelly Davis, research assistant in the Getty Provenance Index at the Getty Research Institute. My background is in English, but I graduated with a master’s of library science and a master’s in art history from Pratt Institute in 2014. Books have been an important part of my life since I can remember. These are 5 that inspire and aid me in my work.

1. The Rape of Europa: The Fate of Europe’s Treasures in the Third Reich and the Second World War by Lynn H. Nicholas (Vintage Books, 1994).

One of the first books to focus on Nazi-era provenance and also one of the most famous. The publication of this book in the early ‘90s launched an international interest in the repatriation of art looted from Jewish art dealers and families during World War II and encouraged organizations to create guidelines such as the Washington Conference Principles on Nazi-era Confiscated Art (1998) and the AAM Guidelines Concerning the Unlawful Appropriation of Objects During the Nazi Era (2001). It inspired me to focus on provenance in my art historical studies and might have been the first step to where I am today.

2. Rogues’ Gallery: The Secret Story of the Lust, Lies, Greed and Betrayals that Made the Metropolitan Museum of Art by Michael Gross (Broadway Books, 2009).

While at the Last Bookstore in DTLA a few years back, a good friend of mine pulled this book out and handed it to me, exclaiming that she loved it and I had to read it. Somehow I hadn’t heard of it, but it piqued my interest as I enjoy nothing more than a gossipy read about the inner workings of established museums. While this isn’t about provenance specifically, and is more “pop” than some of the other academic texts on this list, it’s a fun and fascinating story and will certainly intrigue any lover of museums.

3. Memories of Duveen Brothers by Edward Fowles (Times Books, 1976).

This, along with a small stack of other books written by J.H. Duveen, or about the House of Duveen by those with intimate knowledge of it, have been gracing my desk for months. Like Knoedler & Co., Duveen was instrumental in the migration of European art to America in the early 20th century, and also like Knoedler, the Getty Research Institute owns the Duveen archive. Here in the Provenance Index, we’re interested in seeing what more we can do with stock book records we have on site, so I’m boning up on my knowledge of this great firm. These books are older primary sources, meaning what is said in them could be quite subjective. Of course, this is also what makes them so delightful.

4. Provenance: An Alternate History of Art edited by Gail Feigenbaum and Inge Reist (Getty Publications, 2012).

This book was a gift from Dr. Frima Hofrichter, one of my mentors in graduate school. Frima knew I had been accepted to the internship program here at the Getty, and what gift better than one on provenance published by the GRI and edited by Gail Feigenbaum, one of our esteemed associate directors? If Nicholas’s book was my introduction to “pop” provenance, this was my introduction to the academic career path ahead of me. A collection of essays on topics from collector’s marks to provenance in the Third Reich, reading this acquainted me with a number of respected scholars in the field, and names I would encounter during my time at the Getty.

5. The AAM Guide to Provenance Research by Nancy Yeide, Konstantin Akinsha and Amy Walsh (American Alliance of Museums, 2001).

The quintessential reference for provenance research, not so much a book you read but one you keep coming back to. Although the guide is being refined as we move forward in the 21st century (see the ArtTracks project at the Carnegie Museum of Art for more info), this book is still the standard for curators, librarians, collectors, and anyone else involved in provenance and the history of collecting. It’s been invaluable for the past few years as I’ve worked on the Knoedler & Co. stock books database. The appendices are particularly useful to a researcher, with information on dealer archives and locations, as well as a list of “red-flag” names to watch out for when dealing with World War II provenance.

[wallpaperpainting]

Is How Much Do Mark Rothko Paintings Sell For? The Most Trending Thing Now? | how much do mark rothko paintings sell for?

In the blur Made You Look: A True Story About Affected Art, Ann Freedman, the above admiral of Knoedler, restates her acceptance in the actuality of the works declared to be by Jackson Pollock, Robert Motherwell, Mark Rothko and others that lacked bright ancestry and were doubted by experts

A new documentary appear online alone in Canada examines the aspersion involving fakes awash through the New York arcade Knoedler & Company for added than 14 years. But clashing added films that accept focused on this art apple drama, Made You Look: A True Story About Affected Art, bent up with three above players at the centre of the altercation who until now accept abhorred speaking about about it. And the documentary’s director, Barry Avrich, tells The Art Newspaper how he anchored such difficult on-camera interviews.

In the film, Ann Freedman, the above admiral of Knoedler, restates her acceptance in the actuality of the works declared to be by Jackson Pollock, Robert Motherwell, Mark Rothko and others that lacked bright ancestry and were doubted by experts—but which were awash to collectors through Knoedler over the years for an estimated $80m in total. Freedman says that she was abashed aback the banker who awash her those works, Glafira Rosales, accepted in cloister that the paintings were absolutely commissioned from a Chinese-born artisan who lived for decades in Queens.

“Do I accept that Ann Freedman is a criminal? No.” Avrich says. “Do I accept that she got bent up in the work, and couldn’t about-face back? Yes. But accepting these paintings be absolute formed so able-bodied for everybody, not aloof Ann Freedman.” Freedman gives an affecting annual in the blur of her adjournment from Knoedler afterwards three decades by its owner, Michael Hammer. She recalls abrogation with annihilation but her pocketbook.

Moving forth the accumulation chain, Avrich flew to Lugo, Spain to catechism José Carlos Bergantiños Diaz, Rosales’s above boyfriend. Rosales testified that Bergantiños recruited the artisan Pei-Shen Qian, who peddled copies of added artists’ assignment on the artery in Chinatown, to actualize the forgeries.

“Carlos’s advocate had a austere tobacco addiction and larboard the allowance every bristles minutes,” says Avrich, and so the film-maker deviated from pre-approved questions. Afore leaving, Bergantiños tries on camera to advertise Avrich a harmonica.

Avrich additionally journeyed to China to acquisition Qian at an accommodation in Shanghai. “He and his wife were abashed aback we showed up,” Avrich recalls. “She insisted on actuality his spokesperson. She could accept airtight

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[usafphantom2]

DARPA concludes second flight test of the secret HAWC missile

The test achieved all primary and secondary objectives, including a demonstration of tactical outreach capabilities.

Fernando Valduga By Fernando Valduga 07/20/2022 - 07:00 in Armaments, Military

Artistic representation of the Hypersonic Air-breathing Weapons Concept (HAWC) missile. (Photo: Raytheon Technologies Corporation)

The U.S. Defense Advanced Research Projects Agency (DARPA) has successfully completed the second flight test for the Hypersonic Air-breathing Weapon Concept (HAWC) missile with scramjet engine.

The test was carried out in collaboration with Raytheon Missiles & Defense and Northrop Grumman.

During the test, Raytheon's HAWC project was released from the aircraft and was driven into the expected ignition envelope, using Northrop Grumman's scramjet engine.

The cruise rocket was driven at a speed of Mach 5 to reach altitudes above 60,000 feet for more than 300 nautical miles.

"This latest test allowed the exploration of more operational flight envelopes and scramjet engines," Andrew "Tippy" Knoedler, HAWC program manager at DARPA's Tactical Technology Office. "DARPA's demonstrations are always about learning, whether for the interest of feasibility or practicality, and this time we certainly got new information that will further improve performance."

The test achieved all primary and secondary objectives, including a demonstration of tactical outreach capabilities. Data from the first flight test, carried out in 2021, were used to mature the operationally relevant weapon concept project.

Raytheon Missiles & Defense Advanced Technology president Colin Whelan said: "The test demonstrated how quickly we matured affordable scramjet technology, which is the basis for aerial breathing weapons."

Vehicles that "breathe air" use the air captured from the atmosphere to obtain sustained propulsion. The speed and maneuverability of such hypersonic cruise missiles allow both defense evasion and rapid attacks.

“The Navy and Air Force will have access to the data we collect while making development decisions for future high-speed weapons,” Knoedler said.

The HAWC test follows a number of successes with hypersonic weapons tests in recent months for the US. The U.S. Air Force's AGM-183A Rapid Response Weapon (ARRW) finally completed a successful flight test in May of this year after a series of failures, repeating the achievement two months later.

Tags: armamentsMilitary AviationHAWCNorthrop GrummanRaytheonUSAF - United States Air Force / U.S. Air Force

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Fernando Valduga

Fernando Valduga

Aviation photographer and pilot since 1992, he has participated in several events and air operations, such as Cruzex, AirVenture, Dayton Airshow and FIDAE. He has works published in a specialized aviation magazine in Brazil and abroad. He uses Canon equipment during his photographic work in the world of aviation.

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[nofomoartworld]

Hyperallergic: Art Movements

One of 25 landscape drawings recently reattributed to Thomas Gainsborough (courtesy Royal Collection Trust / © Her Majesty Queen Elizabeth II, 2017)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

A federal judge ordered Glafira Rosales to pay $81 million in restitution to the victims of the Knoedler Gallery art forgery. The art dealer — the only person who was detained in connection with the scandal — pled guilty to charges of wire fraud, money laundering, and tax evasion in 2013.

Art investigator Arthur Brand stated that he is “100 percent sure” that the works stolen from the Isabella Stewart Gardner Museum in 1990 are in Ireland. “We have had talks with … former members of the IRA — and after a few Guinnesses, after a few talks — you can see in their eyes that they know more,” Brand told CBS News. The Museum dismissed Brand’s claims, stating that his leads are “not new.”

An album of 25 landscape drawings in the Royal Collection were re-attributed to Thomas Gainsborough after scholar Lindsay Stainton confirmed that one of the drawings is a squared-up study of the artist’s 1748 painting, “Cornard Wood.”

Over 500 individuals and organizations backed “Our Shared European Future,” a list of post-Brexit recommendations published by the British Council. The document, which is endorsed by museums including the Tate, British Museum, and the Victoria & Albert Museum, includes recommendations on travel and working rights.

A federal appeals court in California revived a Holocaust-related lawsuit seeking a Camille Pissarro painting from the Thyssen-Bornemisza Collection Foundation in Madrid.

The Museum Kunstpalast in Dusseldorf pulled a painting by Andreas Achenbach from display following an ownership claim filed by the heirs of Jewish art dealer Max Stern.

The Maurice Sendak Foundation discovered an unpublished and fully illustrated book by the author entitled Presto and Zesto in Limboland. The manuscript was co-authored with Sendak’s regular collaborator Arthur Yorinks.

Julia Venske and Gregor Spänle, “Autoeater” (2017) (courtesy Midtown Alliance, Atlanta)

Atlanta’s Midtown Alliance unveiled “Autoeater,” a new public sculpture by Julia Venske and Gregor Spänle.

According to The New York Post, ArtInfo published articles under fictional bylines after outsourcing editorial work to India.

South African filmmaker Sibahle Nkumbi was shoved down a flight of stairs by the husband of an Airbnb host in Amsterdam in what was allegedly a racially motivated attack. Nkumbi’s unnamed assailant has been charged with attempted manslaughter according to Huffington Post South Africa.

A report commissioned by the board of San Francisco’s Mexican Museum concluded that only 83 of the 2,000 objects in its collection could be authenticated and classed as “museum quality.”

Charles Saatchi began a weekly column at The Telegraph.

Visitors who wish to attend David Choe‘s newest installation, The Choe Show, will be selected for tickets only after completing an online application form comprised of personal questions. The artist’s mural on the corner of Houston Street and Bowery on Manhattan’s Lower East Side was defaced multiple times and eventually whitewashed last month. In one instance, an unknown person/persons scrawled “rapist,” a reference to a 2014 podcast in which Choe claimed to have sexually assaulted a masseuse, an event he later described as a fabrication.

Jay Z unveiled the music video for “4:44,” the title track on his new eponymous album. The video is directed by artist Arthur Jafa and his production partner, Elissa Blount-Moorhead.

Four suspects were arrested in connection with the theft of the “Big Maple Leaf.” The 221-pound Canadian gold coin was stolen from the Bode museum in March.

IKEA will release its first 3D printed collection, OMEDELBAR, next year.

Transactions

Yayoi Kusama, “All the Eternal Love I Have for the Pumpkins” (2016), wood, mirror, plastic, acrylic, LED (courtesy YAYOI KUSAMA Inc., Ota Fine Arts, Tokyo / Singapore and Victoria Miro, London. Photo by Thierry Bal, © Yayoi Kusama)

The Dallas Museum of Art acquired one of Yayoi Kusama’s mirror infinity rooms, “All the Eternal Love I Have for the Pumpkins” (2016).

The Castello di Rivoli absorbed the $570 million collection of the Fondazine Francesco Federico Cerruti as part of a partnership deal.

The Dia Art Foundation acquired works by Lee Ufan and Kishio Suga.

Chris Ofili donated his 2003 reimagining of the Union Jack flag, “Union Black,” to Tate Britain.

The Ringling acquired a portrait by Guercino (1591–1666).

Lisa and Steven Tananbaum donated $1 million to the Block Museum of Art at Northwestern University. The gift will endow a curatorial position in modern and contemporary art.

Josiah Wedgwood’s “First Day’s Vase” will return to the Potteries Museum & Art Gallery following a successful £482,500 (~ $624,500) fundraising campaign.

A letter by Jane Austen in which the author ridicules a book by one of her contemporaries sold for $209,000 at Sotheby’s.

The Pérez Art Museum Miami (PAMM) received a grant from Bank of America for the restoration of George Segal’s sculpture “Abraham’s Farewell to Ishmael.”

The Ateneum Art Museum acquired sculptures by Heikki W. Virolainen, Helena Pylkkänen, and Marjo Lahtinen.

The Contemporary Art Museum St. Louis received a $25,000 grant from the PNC Foundation to support a new fellowship program to promote diversity and equity at the museum.

The Art Museums of Colonial Williamsburg acquired a rare depiction of pre-Revolutionary Charleston, South Carolina. The 1774 engraving is by Samuel Smith after a painting by Thomas Leitch.

“A View of CHARLES-TOWN, the Capital of SOUTH CAROLINA,” engraved by Samuel Smith after Thomas Leitch, hand-colored line engraving, London, England, June 3, 1776, museum Purchase, The Friends of Colonial Williamsburg Collections Fund (photo courtesy the Art Museums of Colonial Williamsburg)

Transitions

William D. Adams, the former chairman of the National Endowment for the Humanities (NEH), and Michael S. McPherson, outgoing president of the Spencer Foundation, were appointed senior fellows at the Andrew W. Mellon Foundation.

Author and art critic Michael Bonesteel cited a “toxic environment” as the reason for his resignation from the School of the Art Institute of Chicago (SAIC). Bonesteel, an adjunct professor, had taught at the school for 14 years.

Claude Grunitzky was appointed president of the Byrd Hoffman Water Mill Foundation.

Brian Wilk and Dan Poteet were appointed chair and vice chair of the Maine College of Art’s board of trustees, respectively.

Elizabeth Chodos was appointed director of Carnegie Mellon University’s Regina Gouger Miller Gallery.

Emma Enderby was appointed curator at The Shed.

Mary Statzer was appointed curator of prints and photographs at the University of New Mexico Art Museum.

Nanne Dekking will succeed Willem van Roijen as chair of the European Fine Art Foundation (TEFAF).

Christie’s appointed Giovanna Bertazzoni and Adrien Meyer as co-chairs of its Impressionist and modern art department.

Phillips promoted Jean-Paul Engelen to deputy chairman of the Americas.

New York’s Washburn Gallery relocated to Chelsea. The gallery’s owner, Joan Washburn, cited the security presence around Trump Tower as the reason for the move.

Queer|Art established the Barbara Hammer Lesbian Experimental Filmmaking Grant.

The Newspace Center for Photography in Portland, Oregon, abruptly closed.

The Video Game Art Gallery will open in Chicago next month.

Accolades

The Library of Congress will posthumously award Denis Johnson its annual Prize for American Fiction.

The Robert Rauschenberg Foundation announced the recipients of its 2017 Artist as Activist fellowship.

Obituaries

Pierrette Bloch, “Sans titre / Untitled” (1976), ink on paper, 79.5 x 58 cm (© Pierrette Bloch. Courtesy Galerie Karsten Greve Cologne, Paris, St Moritz. Photo by Adam Rzepka)

Tom Black (unconfirmed–2017), founder of T.E. Black Studio.

Pierrette Bloch (1928–2017), artist.

Ilya Glazunov (1930–2017), painter. Founder and rector of the Russian Academy of Painting, Sculpture, and Architecture.

Irina Ratushinskaya (1954–2017), poet and human rights activist.

Lala Rukh (1948–2017), artist and activist. Founding member of the Women’s Action Forum.

Richard Gilbert Scott (1923–2017), architect. Son of Sir Giles Gilbert Scott.

Kenneth Silverman (1936–2017), author. Awarded the Pulitzer Prize for The Life and Times of Cotton Mather.

Jon Underwood (1972–2017), founder of the Death Cafe movement.

Liu Xiaobo (1955–2017), Chinese dissident, activist, and Nobel Peace laureate.

The post Art Movements appeared first on Hyperallergic.

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Nocturne in Black and Gold, The Falling Rocket James Abbott McNeill Whistler 1875 From the collection of Detroit Institute of Arts Details Title: Nocturne in Black and Gold, The Falling Rocket Creator: James Abbott McNeill Whistler Date: 1875 Location: Detroit, MI, U.S.A. Physical Dimensions: w18.38 x h23.75 in (without frame) Provenance: Gift of Dexter M. Ferry, Jr., Artist sold to Samuel Untermyer, New York, 1892; Untermyer family’s sale, Parke-Bernet, New York, May 10, 1940, lot 29. Charles Sessler, Knoedler, New York. Scott and Fowles, New York, 1946 Acquired in 1946 – See more at: http://www.dia.org/object-info/7d1a59d3-6163-440a-925a-b0978f1f8811.aspx?position=1#sthash.eML3dOKG.dpuf Type: Painting Rights: Detroit Institute of Arts External Link: Detroit Institute of Arts Medium: oil on panel

James Abbott McNeill Whistler Jul 11, 1834 – Jul 17, 1903

James Abbott McNeill Whistler was an American-born, British-based artist active during the American Gilded Age. He was averse to sentimentality and moral allusion in painting, and was a leading proponent of the credo “art for art’s sake”. His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail. The symbol was apt, for it combined both aspects of his personality—his art was characterized by a subtle delicacy, while his public persona was combative. Finding a parallel between painting and music, Whistler entitled many of his paintings “arrangements”, “harmonies”, and “nocturnes”, emphasizing the primacy of tonal harmony. His most famous painting is “Arrangement in Grey and Black No. 1”, commonly known as Whistler’s Mother, the revered and oft-parodied portrait of motherhood. Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers.

James Abbott McNeill Whistler Nocturne in Black and Gold, The Falling Rocket was originally published on HiSoUR共享艺术

[newstwitter-blog]

New Post has been published on News Twitter

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La Times: Essential Arts & Culture: 'Zoot Suit' anew, art and the travel ban, Jimmie Durham's timely sculptures

Art, theater, music and performance that resonate with this tumultuous moment in world history. I’m Carolina A. Miranda, staff writer at the Los Angeles Times, and your friendly neighborhood newsletter writer with the week’s most intriguing culture stories:

Art that throws stones

A new retrospective at the Hammer Museum of Arkansas-born artist Jimmie Durham (who claims Cherokee heritage) couldn’t be better timed, writes Times art critic Christopher Knight, “given deplorable declarations of American xenophobia now splashed across newspaper front pages.” Durham’s work — visceral assemblages that combine “cheekiness and humility” — hasn’t been shown in a significant way in the U.S. for two decades. But his art, Knight says, “speaks with a voice that is otherwise only heard in American life at times of profound crisis.” Los Angeles Times

Art, architecture and the travel ban

Airports around the country, including LAX, became sites of protest in the wake of Donald Trump’s travel ban. Times architecture critic Christopher Hawthorne looked at how the design infrastructure of these ports of entry served as curious stages for acts of civil disobedience. “Airports,” he writes, “are conveners for the kind of cosmopolitanism and multiculturalism that Trump’s nativist, ‘America first’ rhetoric has put squarely in the cross-hairs.” Los Angeles Times

I wrote about how artists and arts institutions are being affected by the travel ban. As artists poured into LAX to protest, organizations around Los Angeles are bracing themselves for a chill on cultural exchange. In an impassioned statement on the travel ban, James Cuno, president of the J. Paul Getty Trust, wrote: “The Getty stands against it and adds its voice in favor of established American principles of freedom and engagement.” Los Angeles Times

Times culture writer Jessica Gelt reported on a group of artists wielding their art as protest: the activist theater group Artists Rise Up Los Angeles, which was formed by producer and director Sue Hamilton in the wake of the 2016 election. In a performance that incorporated song, dance, spoken word and poetry earlier this week, the troupe took on some of the political issues of our age. “One can imagine these shows,” writes Gelt, “beginning to resemble the famously lewd, satirical and politically subversive cabarets of Weimar Berlin.” Los Angeles Times

Plus, Oscar-nominated Iranian film director Asghar Farhadi, of “The Salesman,” has announced he won’t attend the Academy Awards in protest of the ban, even if an exception were made for him. Times film and culture writer Jeffrey Fleishman, who has served as foreign correspondent in Iran, uses the news as a jumping-off point to explore his journeys through the region, and the issue of art in an era of divisive politics. Make this a must-read. Los Angeles Times

Meanwhile, The Times’ Deborah Vankin pays a visit to the exhibition “Focus Iran 2: Contemporary Photography and Video,” at the Craft and Folk Art Museum in Los Angeles — a juried biennial organized by the nonprofit Farhang Foundation. “We wanted to show different aspects of Iran than what’s typically covered in mainstream media,” director Alireza Rex Ardekani tells Vankin. “The more people know about a particular culture, and understand it, the less fear they will have about it.” Los Angeles Times

The return of ‘Zoot Suit’

“Zoot Suit,” the fabled musical by Luis Valdez, inspired by key moments in L.A. history — including the 1942 Sleepy Lagoon Murder and the Zoot Suit Riots of the ’40s — has returned to the stage at the Mark Taper Forum. In the role of the mythical character of El Pachuco: Oscar-nominated actor Demian Bichir. The Times’ Daryl H. Miller sat down with Bichir to discuss his approach to this otherworldly character. El Pachuco, says Bichir, is “a wise man, a wizard, a shaman. He’s good and he’s bad and he’s hideous and virtuous and he’s profane and reverential. He’s a trickster, a joker; he’s life and death.” Los Angeles Times

Plus: Times contributor Sylvie Drake speaks with Valdez, who talks about the childhood inspirations that drew him to theater, the roots of El Teatro Campesino, the roving theater troupe he established in the heady days of the farmworker movement, and the play that brought him international fame: “Zoot Suit.” His early work, writes Drake, represented a “combustion of raw energy, defiance, irony and joy.” Los Angeles Times

Gravity-defying Moby Dick and more

Herman Melville’s “Moby Dick” checks in at more than 500 pages — but Chicago’s Lookgglass Theatre Company has shrunken down this literary behemoth into a buoyant two hours of stage time that offer an impressionistic, yet stunning, view of Ahab’s obsessions. The production is now on view at South Coast Repertory through Feb. 19, and Times theater critic Charles McNulty describes it as a work of art that is well-suited to the moment. “A voyage into the heart of darkness,” he writes, “‘Moby Dick’ is still the most incisive guide to the lure of destruction that threatens to capsize all that our civilization has built up in its defense.” Los Angeles Times

McNulty also checked out Keith A. Wallace’s powerful solo performance piece “The Bitter Game” at the Skirball Center last week — a work that “brings the theatrical tool of emotional enlightenment to the issues that have given rise to the Black Lives Matter movement.” The story touches on well-covered subjects of gun violence and police brutality, writes McNulty, “but it’s how Wallace personalized the words and individualized the experiences that made the difference.” Los Angeles Times

And because too much theater is never, ever enough: The KOAN Unit ensemble has been staging a series of short plays by Samuel Beckett at the Odyssey Theatre in Los Angeles. In these five works — which include “Act Without Words II,” “Come and Go,” “Catastrophe,” “Footfalls” and “Krapp’s Last Tape” — McNulty says he found “resonances and divergences” and at least one piece that “resonated with our politically own turbulent moment.” But in staging so many plays at one go, he writes, there were signs of haste that would have driven “the famously stringent Beckett mad.” Los Angeles Times

A cry for a beloved country

Kurt Weill’s “Lost in the Stars,” inspired by the South African novelist Alan Paton’s anti-apartheid bestseller, “Cry, the Beloved Country,” was hailed for ushering in a new era in American opera when it first premiered on Broadway in 1950. Times classical music critic Mark Swed caught a rare revival staged by Anne Bogart and co-produced by UCLA’s Center for the Art of Performance. A work that examines the ways in which injustice thrives, “‘Lost in the Stars,’” writes Swed, “fit the mood of its time, and though rarely revived, it fits the mood of our own.” Los Angeles Times

A ballet competition fuels ambition

The Youth America Grand Prix, a national competition for young ballet dancers, landed in Huntington Beach last week, where children and teens staged their best choreographies for the possibility of landing scholarship money for a top dance school. The Times’ Gelt sat it in on the performances, where hundreds of young girls took to the stage as “little women” — “but offstage they are as small as their age would indicate.” Los Angeles Times

In other news…

— New York’s Museum of Modern Art is protesting the Trump administration’s travel ban by rehanging part of its permanent collection to feature works created by artists from Muslim nations — including pieces by the late Iraqi-born architect Zaha Hadid and L.A.-based painter Tala Madani, who was born in Iran. New York Times

— How the travel ban has affected the architecture community. Architectural Record

— New York City’s security estimate for protecting the Trumps in New York is more than double the budget for the National Endowment for the Arts. Hyperallergic

— Plus, the best visualization I’ve seen yet of the relative smallness of the NEA’s budget. New York Times

— A musical version of George Orwell’s “1984” is coming to Broadway. Huffington Post

— Marta Becket, the desert icon who made the Amargosa Opera House at Death Valley Junction a destination for performance, has died at the age of 92. Los Angeles Times

— Glafira Rosales, the woman at the center of an art fraud scheme that passed off works by an unknown artist as Modernist masters, and brought down the famed Knoedler & Company gallery, has been sentenced to time served. New York Times

— How Japanese American designers shaped American art and architecture in the post-World War II era — and how their World War II internment experiences shaped their lives and work. Essential reading from design writer Alexandra Lange. Curbed

— Enough with the obtuse dance titles, writes Lindsey Winship. The Guardian

— One word: Puppets. New York Times

— LACMA has acquired Random International’s popular “Rain Room” installation for its permanent collection. Los Angeles Times

— Plus, the Getty Research Institute has acquired artist Miranda July’s feminist DIY video archive, “Joanie 4 Jackie.” Curator Astria Superak writes about what it was like to be part of that unusual video network. Los Angeles Times, The Iris

— The Times’ Makeda Easter looks at an exhibition at Inglewood’s Residency gallery, which offers a different way of picturing black men. Los Angeles Times

— And, an art critic has a go at Beyoncé’s pregnancy portrait. Plus, a little bit about Awol Erizku, the artist who made the pic. The Guardian, ARTnews

And last but not least…

Trump Tweets the classics. This is bigly funny. New Yorker

Sign up for our weekly Essential Arts & Culture newsletter »

carolina.miranda@latimes.com

@cmonstah

ALSO

Artist Theaster Gates on W.E.B. DuBois and what Donald Trump doesn’t get about Chicago

With vigils, a film, a comic and plenty of marching: How the L.A. art world faced Trump’s inauguration

As Trump talks building a wall, a Japanese art collective’s Tijuana treehouse peeks across the border

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[fansshare]

Armie Hammer reveals acting sacrifices

Armie Hammer reveals acting sacrifices

Mirror Mirror actor Armie Hammer, who is set to play Prince Alcott in the upcoming, Tarsem Singh directed, Snow White movie, has revealed how he had to give up being rich to pursue his dream of becoming an actor. Armie’s father is Michael Armand Hammer, the owner of Knoedler Publishing and film and television company Armand Hammer Productions.

Hammer explained to Chicago Sun-Times, "That's because when I decided to do this and decided to get into it, I had to give up one of those things that you mentioned, which was being rich. It was a very difficult decision for my parents to accept, for me to drop out of high school to start acting.

  He added, "They thought, 'You're dropping out of high school? No Hammer man has even dropped out of college without getting an MBA or a PhD', or this and that. They wanted me to go to Columbia. That was the goal.”

  Armie continued, "'You're going to go to Columbia! There's a building there!' 'No, I'm really not. Sorry. I'm glad that works for you but I've got to do this'."

  Mirror Mirror is out now in the US and is released in the UK on April 2.

[toldnews-blog]

New Post has been published on https://toldnews.com/world/anna-delvey-the-trial-of-new-yorks-fake-heiress/

Anna Delvey: The trial of New York's fake heiress

Image copyright BFA

Just how far can you get in the New York City socialite scene without a real fortune of your own?

Incredibly far, in the case of Anna Delvey – real name Anna Sorokin – who allegedly tricked the city’s elite into thinking she was a billionaire heiress. She reportedly hired a private jet, went to all the best parties, and threw cash at everyone she saw – a $100 (£78) tip if you carried her bag or were her Uber driver.

Yet, ultimately, her time at the top was short-lived. And it unravelled spectacularly.

In real life, Ms Sorokin had no multi-million-dollar trust fund. According to New York Magazine, her father is a former trucker, who runs a heating-and-cooling business.

After her credit cards began to fail – repeatedly – and she was kicked out of the luxury hotels she lived in, other people were left to pick up the extortionate bills, according to the Manhattan District Attorney’s office.

Following a month-long trial, Ms Sorokin has now been found guilty of multiple offences, including stealing more than $200,000 – after racking up debts and fraudulently trying to secure major bank loans.

“As proven at trial, Anna Sorokin committed real white-collar felonies over the course of her lengthy masquerade,” District Attorney Cyrus Vance said in a statement announcing the conviction.

Ms Sorokin, who chose not to testify and pleaded not guilty, now faces up to 15 years in prison and will be sentenced on 9 May.

So how did this woman in her mid-20s allegedly cause financial chaos across a city, leaving people picking up her tabs in the US and beyond?

‘Faking it’

Anna Delvey came to New York City on a mission. At least that is what she told people.

She wanted to start an arts centre, with a chic Soho House ethos. She was considering calling it the Anna Delvey Foundation, according to New York Magazine, and she claimed to have lined up renowned artist Christo for the inauguration. For the venue, she had her eye on a six-floor space – 45,000 sq ft (4,200 sq m) – in Church Missions House, a prestigious, late 19th Century building, on the corner of Park Avenue and 22nd Street.

There is a certain lifestyle that goes with such bold claims – and she was living it.

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Speaking at the trial’s opening, defence lawyer Todd Spodek said: “Anna had to fake it until she could make it.”

He told jurors that Ms Sorokin was “easily seduced by glamour and glitz” when she saw how wealth – or the illusion of wealth – opened doors.

Image copyright Getty Images

Image caption Anna Sorokin (right), then known as Anna Delvey, at a fashion event at a New York hotel in 2014

According to court documents, Ms Sorokin represented herself as a German heiress with $60m in assets to try to get a loan of $20m for her foundation. She allegedly presented forged bank statements and would also deposit bad cheques, then withdraw the money before they bounced.

Prosecutors said that, while she never managed to secure millions, she did get a temporary $100,000 overdraft with City National Bank – based on forged proof of foreign assets – but she failed to repay it with a wire transfer, as promised.

Instead, they say, she went on a one-month shopping spree, spending $55,000 on “her upkeep at 11 Howard (a luxury hotel), high-end fashion purchases from Net-a-Porter and Forward by Elyse Walker, sessions with a personal trainer, Apple, and other personal expenses”.

Her lawyer said she never intended to commit a crime.

“In her world, this is what her social circle did,” he told the jury. “Everyone’s life was perfectly curated for social media. People were fake. People were phoney. And money was made on hype alone.”

How it unfolded

“Wannabe socialite busted for skipping out on pricey hotel bills”, read a July 2017 headline in the New York Post.

This was followed, in April 2018, by a confessional first-person piece in Vanity Fair by one of the magazine’s photojournalists, saying she had been hoodwinked by Ms Sorokin.

Rachel DeLoache Williams became a key witness in the trial. “I wish I had never met Anna,” she said in the courtroom during a tear-soaked testimony.

She said she had met her at Manhattan nightclub Happy Ending. She said Ms Sorokin held court with tales of her proposed arts foundation and then picked up the tab for a bottle of vodka.

They became friends. Ms Williams wrote in her article about being seduced by the apparent “glamorous, frictionless” lifestyle. She enjoyed going out for espresso martinis and fancy dinners. Anna usually paid, referring to her trust fund, and this culminated in her inviting Ms Williams on a trip to Morocco.

Ms Williams wrote: “Anna also invited her personal trainer, along with a friend of mine – a photographer – whom, at a dinner the week before our trip, Anna had asked to come as a documentarian, someone to capture video.”

Getty Images

Anna’s was a beautiful dream of New York, like one of those nights that never seems to end. And then the bill arrives.

The photo editor was a key witness in the trial. One of the counts of larceny was directly linked to her experiences.

She told how Ms Sorokin asked her to reserve a luxury, $7,000-per-night riad in Marrakesh, complete with three bedrooms, a private swimming pool and a dedicated butler.

She said it was always intended that Ms Sorokin would pay the bill, but when they came to check out, her credit cards did not work.

Put on the spot, Ms Williams ended up footing the bill for the entire trip, which, including extras, came to approximately $62,000 for a six-night stay. Sorokin was acquitted of the charge related to that bill.

The photojournalist said she was left in tears and suffering regular panic attacks, consumed by the stress of trying to retrieve the money.

“It was a magic trick,” she wrote at the conclusion of her story. “I’m embarrassed to say that I was one of the props, and the audience, too. Anna’s was a beautiful dream of New York, like one of those nights that never seems to end. And then the bill arrives.”

Though Ms Williams’ magazine article had had people talking, it was an an article in New York Magazine in May 2018, by journalist Jessica Pressler, that really blew the lid on the scandal. She interviewed various people who had come across Ms Sorokin, including a concierge, Neffatari “Neff” Davis, also in her mid-20s, who worked at the 11 Howard hotel.

Ms Davis said Ms Sorokin arrived at the newly opened Soho hotel like a whirlwind in April 2017, block-booking a deluxe room (around $400 a night). Gestures, such as allegedly paying a personal trainer $4,500 in a cash advance, gave the impression she was wallowing in money. She also spent an inordinate amount of time at the concierge desk, said Ms Davis.

“Usually tourists just come in and ask how to get to the Statue of Liberty,” Ms Davis later told New York art and fashion magazine Paper. “But then, you have this girl who’s draped in Rick Owens, huge Céline glasses, messy hair, European accent, hundreds of dollars of bills on her and she’s literally just giving it to me, for my time?” She said she was used to being a makeshift therapist for guests travelling on their own. “It’s really none of my business where the money comes from,” she said.

But somewhere along the line, 11 Howard had made an apparent error of judgement. Staff had not got a credit card on file for Ms Sorokin. A major dispute broke out, according to Ms Davis.

However – perhaps surprisingly – Ms Sorokin did eventually settle that debt. She used the money from the City Bank overdraft.

In court, her lawyer said that his client “believed that she would have the funds to pay every single person back”. This was the crux of her case.

But jurors were not convinced.

An age-old ruse in a modern world

Many people have said this whole story is so specific to New York’s young socialites; how some people move in circles where they don’t know their friends’ surnames or background; how what matters most is the night out, the connections, the name-drops, the moment.

Ms Sorokin’s lawyer was keen to play into this. “Any millennial will tell you, it is not uncommon to have delusions of grandeur,” he said in court.

But writer and psychologist Maria Konnikova, the author of The Confidence Game – a book about con artistry – believes the case is full of elements that are both timeless and universal. “People love to think they are idiosyncratic, but this has happened over and over and over again, everywhere. Anna Delvey fit the New York scene, but this could have happened in London and even in a small town, if certain things were adapted.”

“Claiming to have an aristocratic edge is something that has been done for hundreds of years,” she says. “In the past, people would take out newspaper adverts, or befriend gossip columnists, or get photographed with the right people to bolster their credibility.”

But social media has made it easier, she concedes. “The barrier of entry is so much lower. We accept so much at face value, and we put so much out there.” Theoretically you should be able to vet people better, she says, but people are not being savvy.

Ms Sorokin was an active Instagram user, building a profile that made her look like a mover on the arts scene.

An arts story

Eileen Kinsella has been covering the story from the courtroom for New York-based art market website, Artnet.

She says it has made the art world sit up because there are always concerns about being duped. “You often don’t know who is on the other side of a transaction, and people do buy things they can’t afford,” she says.

She also says the city has been on a particularly high alert since a 2012 exposé of one of its most-established galleries – Knoedler – was exposed for selling fake works, supposedly by the likes of Jason Pollock and Mark Rothko. “People went to incredible lengths to make things seem authentic. It had huge implications.”

One of her Artnet colleagues, critic Ben Davis, also wrote a piece analysing the art content of Ms Sorokin’s Instagram account, noting her use of familiar hashtags, and posting works from major events: Frieze, Art Basel, the Venice Biennale and the openings at Pace Gallery.

It was, he concluded, a “thin tissue of celebrity and scene-y artists”. However, he added that the envy generated by social media has become a kind of currency of its own, and she had managed to create “crisply curated fabulousness”.

The ongoing season of scammers

The New York Magazine story about Ms Sorokin’s ruse was almost instantly optioned by Netflix, and linked with producer Shonda Rimes (Grey’s Anatomy, Scandal).

Ms Williams’ story is being adapted for HBO, with writer Lena Dunham working on the screenplay. Ms Williams has also signed a book deal with Simon and Schuster.

People have been captivated by the idea of Ms Sorokin’s apparent audacity, and yet also left with so many questions: Why? What was the end game? Where did she come from? How come no-one guessed sooner? (Some have said that her unkempt hair should have been a giveaway. People who live in hotels have time on their hands for daily blow-dries. In court, Ms Williams said there were, in hindsight, plenty of “red flags”.)

There were rumours that Jennifer Lawrence might take the title role in the adaptation, however, the Oscar winner was then signed up to play up another so-called “millennial scammer” – Elizabeth Holmes, the deep-voiced entrepreneur who fraudulently built up the Silicon Valley company, Theranos.

Ms Holmes’ story has become the subject of various documentaries and podcasts. As has that of Billy McFarland, who created the infamous and completely hollow Fyre Festival. Both characters have been the subject of hit documentaries.

Image copyright Patrick McMullan

Image caption Billy McFarland (R) with former Fyre Festival employee Andy King, who became a memorable character in the Netflix documentary

TV critic Scott Bryan, who co-hosts BBC Must Watch, says such documentaries have become huge hits because they explore social media stories in such depth.

“The documentary that followed then provided a great amount of context and insight into how it all spiralled out of control and viewers learnt so much more than what they did from the original news story, when they initially thought that they weren’t going to do so. When these documentaries are done well, they can be equally, if not more compelling, than when we heard the story first time round,” he says.

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In the case of Ms Sorokin, some already view her as a sort of antihero. They admire her for gaming a system that few people will ever have access to.

Last summer, T-shirts saying Free Anna Delvey became the ironic must-have for Brooklynites. New York Magazine – via its website The Cut – also also saw an opportunity to profit off the story it had made viral and added a range of slogan tees to its online shop: “Fake German Heiress”; “My other shirt will wire you $30,000”.

Marie Claire magazine also explored the outpouring of enthusiasm for the story. “No-one died as a result of her actions, she just made rich people look like idiots,” it said. However, it also recognised the story’s alleged victims, notably Ms Williams.

A trial as a fashion show

Anna Sorokin was held in New York’s notoriously tough Rikers Island jail ahead of her trial.

Image copyright AFP

Since her detention, she has not been Instagramming from the inside, according to jail officials. After her detention, one of her posts was tagged with a Rikers location (“Throwback Thursday to @LeCouCou_NYC”), but the authorities say someone else must be managing the account.

She appears, however, to still be curating her image. She reportedly told Ms Davis – who remains a friend – that she would prefer if Margot Robbie played her in the Netflix production.

And she also worked with a stylist, Anastasia Walker, to get her courtroom look during the trial.

She arrived in the court room on the first day dressed in stylish black glasses and a matching choker, and went on to parade a number of other designer outfits: Saint Laurent, Michael Kors, Victoria Beckham.

Ms Walker told Elle magazine the look was “mysterious chic“. It won plenty of headlines.

One day, the proceedings were delayed because of wardrobe troubles and Justice Diane Kiesel gave her a verbal dressing down. “This is unacceptable and inappropriate,” she said. “This is not a fashion show.”

Yet multiple media outlets pulled together galleries of her in-court fashion, and an Instagram account (@annadelveycourtlooks) has picked up a few thousand followers.

Ultimately her lawyer, Todd Spodek, was keen to paint this as New York story, referencing the Frank Sinatra song in his opening and closing statements.

“In a city that favours money and the appearance of money… they both created their own opportunities,” he said.

“She was creating a business that she believed would work and she was buying time,” he argued.

Anna Sorokin was a part of it. But not for long.

Guilty of multiple crimes

She was found guilty on Thursday of four counts of theft of services, three counts of grand larceny and one count of attempted grand larceny, and acquitted of one count of grand larceny and one count of attempted grand larceny.

She also declined a plea deal, which could have resulted in a more lenient sentence if she agreed to return to Germany, where she lived after the age of 16, having been born in Russia.

She now faces deportation to Germany because she has overstayed her visa.