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presssorg · 5 years ago

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Da Vinci fiasco casts glare on opaque art market | Louvre to mark five centuries passing of Leonardo da Vinci with exhibition

Da Vinci fiasco casts glare on opaque art market As the Louvre prepares to mark five centuries since the passing of Leonardo da Vinci with a major exhibition of the Renaissance master’s work, inclusion of the world’s most notorious painting – the Salvator Mundi – is in doubt. The painting of Jesus Christ, which sold in 2017 for an unprecedented sum of $450 million dollars, had been billed by the storied auction house Christie’s as “the last Leonardo.” This description built on credence gained six years earlier when the National Gallery of London unveiled the work to the public as a genuine Da Vinci, ostensibly putting it among the ranks of an exclusive club of some 20 paintings accepted to have been done by the artist’s own hand. The prospect of owning this rare depiction of the Christ, a figure also revered in Islam as a messenger preceding Prophet Mohammed, was enough to drive up bidding to ungodly sums in a matter of minutes. Saudi Crown Prince Mohammed bin Salman is believed to have been behind the gargantuan acquisition, although the Saudi embassy in Washington insisted the buyer was an obscure member of the royal family acting on behalf of the Louvre Abu Dhabi. But what promised to be the jewel in the crown of the interfaith-obsessed Emirati museum never arrived for its promised October 2018 unveiling. Instead, the painting has yet to see the light of day, or at least the glare of the public eye. And that, art experts say, is for a very good reason.

Visitors stand with their mobile phones and smartphones in front of Leonardo da Vinci’s “Mona Lisa” in the Louvre in April 2019. Photo: Sabine Glaubitz/dpa Louvre expo looms The biggest issue at stake, as the Louvre expo looms, is how the Salvator Mundi would be labeled in a charged environment of colliding geopolitics, business interests and reputations at stake. Carmen Bambach of the Metropolitan Museum of Art in New York, one of the foremost scholars of Italian Renaissance art and Da Vinci, believes the master at most carried out minor retouches on the painting, which as a whole she says would have been the work of one of his assistants. Bambach was listed by Christie’s as one of just over a dozen art historians who had been consulted in order to establish “broad consensus that the Salvator Mundi was painted by Leonardo da Vinci.” The Met curator told the Guardian that this was not an accurate representation of her conclusions. Other key Da Vinci experts, notably Oxford University’s Martin Kemp, have thrown their academic weight behind the painting. But art history professor David Nolta of the Massachusetts College of Art says the “reputational damage” to the piece has already been done. “The money is the problem. It’s the reason everyone wants to see it,” he says. “There’s a complete disconnect between value and authenticity. “I don’t think you can show that picture other than as being the most expensive painting in the world. People like myself have serious questions about whether this is a real Leonardo,” Nolta told Asia Times. According to art critic Ben Lewis – whose book The Last Leonardo: The Secret Lives of the World’s Most Expensive Painting seeks to trace Salvator Mundi’s journey – a number of Louvre curators have similar questions. “Sources inside the Louvre attested to me that many Louvre curators don’t think Salvator Mundi is an autographed Leonardo,” he told Asia Times. With that in mind, Lewis says there is the possibility the French may insist that the work is exhibited as the product of the Da Vinci “workshop,” denoting that it was painted largely by the master’s followers. “No one knows whether the Louvre Paris is going to show Salvator Mundi,” Lewis says. “if they do that, it will anoint the picture. If not, I think the picture is condemned.” To show the painting as “Da Vinci workshop” would put its market value close to the lower millions, and $20 million if you are being generous, according to Lewis. “There’s no comparison” between the categories, he says. The stakes and sensitivities are raised due to the relationship between the Louvre in Paris and the announced owner, the Louvre Abu Dhabi. “The Louvre could never risk its reputation by agreeing to modify its art history opinion based on money,” Nolta of MassArt said. If the painting is exhibited as a true Da Vinci, “that’s what it would look like because of its huge price. They could just show it” – without attribution — “but I imagine the buyer is not going to allow anything that makes it look in question.” The era of big-name museums like the Louvre and Guggenheim selling their brands abroad may be headed for a reckoning, he suggests. “This may be a wake-up call — if you’re going to spread your influence that far, you’re going to get into situations where politics play a bigger role than museum studies or art history.” In this case, the connections between the Louvre and its new sister the Louvre Abu Dhabi, and between the crown princes in Abu Dhabi and Riyadh, have put the fate of the painting and the reputations of multiple museums and governments at stake. Amid the fiasco, one would imagine that the previous owner who’d bought the painting for a mere $127.5 million four years prior to reselling it at the record auction would be pleased. But one would be wrong.

Christie’s employees take bids for the Leonardo da Vinci attributed work “Salvator Mundi” at Christie’s New York on November 15, 2017. Photo: Timothy A. Clary / AFP Blue chip blues Russian billionaire Dmitry Rybolovlev was on a quest to build up the perfect art collection for his home in exile when he met Yves Bouvier. Dubbed the “Freeport King,” the Swiss art dealer and shipper had prized inside knowledge of the possessions and liquidations of the world’s stealth wealth, kept in storage in facilities out of the public eye. In theory, he was the ideal link for a private collector in the top 1% looking to accumulate blue chip art. When old money needed cash, and decided to sell a high-value piece, Bouvier began to inform Rybolovlev. The two developed trust, with Bouvier convincing Rybolovlev that in order to keep the prices fair, the Russian oligarch should keep his identity out of the process and go through Bouvier’s Hong Kong-based company. Over the span of a decade, Bouvier facilitated the purchase of millions of dollars worth of art – with a humble stated commission averaging 2%, according to Southern District of New York court filings obtained by Asia Times. The Salvator Mundi, which Rybolovlev purchased in 2013, was to be the “pearl of the collection,” with the perfect combination of personality, intrigue and investment value, according to a source close to the Rybolovlev camp who spoke to Asia Times on condition of anonymity. The main salon of Rybolovlev’s home was prepared to feature the rare work, which had captivated him during a private viewing. Then, by chance, Rybolovlev met the prior owner of one of his paintings at a New Year’s Eve party. The man revealed the price he had sold the piece for – millions less than the price for which Rybolovlev had bought it. It would be the end of his collaboration with Bouvier, and the prod for him to get rid of the now-tainted Da Vinci as fast as he had bought it. A lawsuit brought by two companies owned by Rybolovlev alleges Bouvier included kick-backs as high as 145% in the prices of 38 separate masterworks – representing fraud of more than $1 billion. The scale of the claim helps explain why even the windfall profit Rybolovlev gained from his 2017 sale of the Salvator Mundi did nothing to dull his fury with Bouvier. The suit further claims that auction house Sotheby’s was in on the fraud, and that its vice chairman for private sales had emailed descriptions of paintings to Bouvier that were intended to be passed on to Rybolovlev. Bouvier in turn would allegedly misrepresent these emails to his client as insider information on high-value works. Sotheby’s in an October 2018 interview with Reuters called the suit a “desperate” one, adding that it would “vigorously defend the company and our employees against these baseless claims.” The murky situation is characteristic of a sector that has “no transparency, almost no regulation and a culture of almost obsessional secrecy,” as Jan Dalley of the Financial Times characterized it following the sale of the Salvator Mundi. “We don’t usually know the names of either buyer or seller in auction transactions, and in private sales not even the price — or indeed whether a sale has taken place at all. There is no register of transactions, or of ownership of works. The term ‘insider trading’ does not apply — in fact you could say that all art trading depends on insider knowledge of some sort,” Dalley wrote at the time. While Rybolovlev wages his crusade in the United States, the heir to a certain Gulf throne may be weighing whether to take matters up with Christie’s over its characterization of the Salvator Mundi. “This would not be the first time a major auction house has the buyer sue over misrepresentation,” said Nolta. “Lawsuits take place even over jewelry.” For the owner of the Salvator Mundi, however, it’s possible there will be enough scholars attesting to the painting’s authenticity that “he chooses not to sue.” Typically, according to the art professor, a buyer and auction house will come to an arrangement outside the public eye. In July 2018, for example, Emirati collector Sultan Sooud Al Qassemi settled a lawsuit with Sotheby’s over a bronze sculpture the auction house catalogue had attributed to Egyptian modernist Mahmoud Mokhtar, although a foundry report provided at the time of sale said it was cast a year after the artist’s death – significantly reducing its worth and meaning. In the end, Al Qassemi said the suit was “amicably settled by the two parties on confidential terms.” “Auction houses are pretty clear about absolving themselves of responsibility in their documentation,” Nolta points out. “The famous phrase is caveat emptor: the buyer has to beware.” He doubts that a leading auction house would lose such a lawsuit. With the amount of cash changing hands, even a significant price reduction for a prized client could mean the auction house comes out on top. Sued by monks The saga of the Salvator Mundi seems only fitting when one considers Da Vinci’s own troubles to keep up with demand during his lifetime. According to Nolta, the master painter frequently ran into problems with patrons over over works that he never finished, or that he was accused of delegating to assistants. Take the Virgin of the Rocks, commissioned for a church in Milan. “The monks said he didn’t paint as much of the picture as he said he would. One of them said he was clearly working with an established Milanese painting firm,” chuckled Nolta. At various stages, Leonardo suffered the plight of a freelancer: “Leonardo was constantly having to beg for money, go to the authorities. He wouldn’t get paid, wouldn’t get paid, go to the patron. Try to get his money back.” Da Vinci found security in his later years at a chateau granted to him by French King Francis I in Amboise in the Loire Valley, passing away there in 1519. France was the final home for the bulk of his paintings and drawings, which in a matter of months will go on display in the Louvre as a grand exhibition. Ahead of the October 2019 – February 2020 exposition, it is confirmed that the Louvre has officially requested a loan of the Salvator Mundi from its partner in Abu Dhabi. What is not known is whether the work can be exhibited in a manner acceptable to the owner, and whether all parties involved, from Paris to Abu Dhabi, can find redemption in its showing. Read the full article

#christies #davinci #exhibition #fiasco #jesuschrist #louvre #renaissance #salvatormundi

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nofomoartworld · 7 years ago

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Hyperallergic: Art Movements

Norman Rockwell, “Shuffleton’s Barbershop” (1950). The painting is one of two Rockwell’s owned by the Berkshire Museum (image via wikiart.org)

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

According to Le Monde, authorities are investigating three individuals following the abrupt closure of the Amedeo Modigliani exhibition at the Doge’s Palace in Genoa. Twenty-one works, all considered likely forgeries, were confiscated by authorities last week after art critic and collector Carlo Pepi filed a formal complaint with the Carabinieri art fraud unit. Those under investigation include curator Rudy Chiappini, Massimo Vitta Zelman (president of Mondo Mostre Skira, the organizer of the exhibition), and art dealer Joseph Guttmann.

In a joint statement, the American Alliance of Museums (AAM) and the Association of Art Museum Directors (AAMD) criticized the Berkshire Museum’s decision to auction 40 works of art from its collection, including two paintings by Norman Rockwell. “Actions such as those being proposed by the Berkshire Museum undermine the public’s trust in the mission of nonprofit museums,” the statement reads, “and museums’ ability to collect, teach, study, and preserve works for their communities now and into the future.” The museum — an accredited member of the AAM — plans to deaccession the works to fund a $40m endowment and $20m refurbishment rather than fund future acquisitions — a direct violation of the AAM’s code of ethics.

A number of arts journalists, writers, and cultural figures signed an open letter to Peter Barbey, the billionaire owner of The Village Voice, accusing him of attempting to weaken the paper’s historic union. Barbey’s management team have purportedly sought to eliminate the paper’s diversity and affirmative-action commitments, reduce the amount of leave for new parents, and terminate the union’s ability to negotiate over healthcare. Signatories of the open letter include Hilton Als, Ta-Nehisi Coates, Jerry Saltz, Peter Schjeldahl, and Amy Taubin.

A group of local artists and activists published an open letter to the ICA Boston requesting that the museum pull its Dana Schutz exhibition.

Architect Shigeru Ban signed an agreement with the United Nations to design 20,000 new homes for refugees at Kenya’s Kalobeyei Refugee Settlement.

Vogue commissioned Elizabeth Peyton to paint a portrait of Angela Merkel. The work appears as part of a profile on the German Chancellor.

Alan Boyson, “Three Ships” (early 1960s), Hull, England (via Flickr/El Toñio)

According to the Hull Daily Mail, a request has been submitted to review the decision not to include Alan Boyson‘s “Three Ships” (aka the Co-Op Mosaic) to the UK’s national register of historic listed sites. The mosaic, which contains over one million cubes of colored Italian glass, is thought to be the largest of its kind in the country.

Germany’s State Paintings Collection agreed to retain a Renaissance painting from its holdings by purchasing it from the heirs of its Jewish owner. The work was looted by the Nazis and was later acquired by Hermann Goering.

Brothers Irving and Samuel Morano, the owners of Metropolitan Fine Arts and Antiques, pled guilty to illegally selling and offering to sell over $4.5 million in ivory. According to Cyrus R. Vance Jr., the Manhattan district attorney, the ivory recovered from the Morano’s store was the largest seizure of illegal elephant ivory in New York State history.

An Andy Warhol painting owned by rock star Alice Cooper was rediscovered in a storage locker where it lay forgotten for over 40 years. Cooper’s ex-girlfriend, Cindy Lang, gave Warhol $2,500 for the work — a red silkscreen of “Little Electric Chair” (1964) — in 1972. The painting, which is unsigned, has never been stretched on a frame.

Author Richard Polsky published an unofficial “addendum” to the Andy Warhol Catalogue Raisonné. According to an announcement, the addendum will focus “on genuine paintings that, for various reasons, were not included in the official Andy Warhol Catalogue Raisonné.” The Andy Warhol Foundation for the Visual Arts ceased to authenticate artworks in 2011 after a number of protracted legal battles with collectors who fought against the foundation’s rulings on the provenance and authenticity of their works.

Cady Noland filed a copyright infringement lawsuit against art dealers Chris D’Amelio and Michael Janssen, collector Wilhelm Schurmann, and Berlin’s KOW Gallery. Noland claims that the group is responsible for a “forgery” of her sculpture “Log Cabin Blank with Screw Eyes and Café Door (Memorial to John Caldwell)” (1990). Noland disowned the work in 2014 after claiming that she was not consulted about its restoration. Her suit describes the work as a “reproduction,” arguing that the restoration process effectively destroyed the work’s original state.

Sydney’s Sirius building, widely considered an outstanding example of Brutalist architecture, was spared from impending demolition after a judge ruled that the former heritage minister Mark Speakman made legal errors when he decided not to include the structure on the State Heritage Register. Campaign group Save Our Sirius have fought against plans to replace the building with a new housing complex for well over a year.

Sirius building, Sydney, Australia (via Flickr/coffee shop soulja)

Paula Pape, the daughter of artist Lygia Pape, filed a lawsuit against LG Electronics, alleging that a cellphone wallpaper created by the company is an “unauthorized derivation” of her mother’s 2003 installation “Ttéia.”

Ken Simons, Tate Liverpool’s art handling manager, will curate a show of work drawn from the museum’s collection prior to his retirement. The exhibition, Ken’s Show: Exploring the Unseen, is slated to open at the museum on April 2, 2018.

Microsoft made MS Paint available as a free app following reports that the program would be discontinued in Windows 10.

The National Museum of American History digitized 80 of Crocket Johnson’s Mathematical paintings.

The British Museum published the first 3D model of the Rosetta Stone.

The British Museum‘s annual accounts revealed that it lost a £750,000 (~$979,939) Cartier ring in 2011.

Transactions

Marcel Sternberger, Frida Kahlo and Diego Rivera, 1952, Mexico City (image date 1952, print date 2017), silver gelatin print, gift of Robert and Malena Puterbaugh in memory of Anne Tucker, recipient of the 2008 Harrison-Hooks Lifetime Achievement Award, Polk Museum of Art

Robert and Malena Puterbaugh donated a Marcel Sternberger photograph of Frida Kahlo and Diego Rivera to the Polk Museum of Art.

Telfair Museums acquired a Nick Cave soundsuit for its permanent collection.

Jack and Sandra Guthman donated 50 photographs by contemporary women photographers to the Museum of Contemporary Art Chicago.

The South Street Seaport Museum received a $200,000 Maritime Heritage Grant from the National Park Service. The grant will be used to fund the restoration of the 1930 Tugboat W.O. Decker, the last surviving New York-built wooden tugboat.

The Robert David Lion Gardiner Foundation awarded a $100,000 grant to the Parrish Art Museum [via email announcement].

The Getty Museum announced a major acquisition of drawings, including works by Michelangelo, del Sarto, Parmigianino, Rubens, Goya, and Degas.

The San Antonio Museum of Art acquired 31 photographic portraits from Timothy Greenfield-Sanders’s Latino List series.

The Nationalmuseum acquired two Italian scenes by Martinus Rørbye (1803–1848) and Constantin Hansen (1804–1880).

Constantin Hansen, “The Temple of Minerva at the Forum Nervae” (c. 1840) (courtesy Nationalmuseum)

Transitions

Janice Monger was appointed president and CEO of the Staten Island Museum.

Christina Olsen was appointed director of the University of Michigan Museum of Art.

Amy Gilman was appointed director of the Chazen Museum of Art.

Philippe de Montebello, the former director of the Metropolitan Museum of Art, was appointed director of Acquavella Galleries in New York.

Neil MacGregor extended his contract as director of the Humboldt Forum.

Sheikh Sultan Sooud Al Qassemi was appointed to the Museum of Contemporary Art Chicago’s board of trustees.

Barry Till, the curator of Asian art at the Art Gallery of Greater Victoria, will retire at the end of September.

Katherine Brinson was appointed curator of contemporary art at the Guggenheim Museum.

Amanda Donnan was appointed curator of the Frye Art Museum.

Rhiannon Paget was appointed curator of Asian art at the John & Mable Ringling Museum of Art.

Karen Lautanen was appointed director of strategic initiatives at the Andy Warhol Museum.

Christopher Turner was appointed keeper of design, architecture, and digital (DAD) at the Victoria and Albert Museum.

Ashley Clark was appointed senior programmer of cinema at the Brooklyn Academy of Music.

Laura Paulson was appointed vice chair of Christie’s Americas advisory board.

Accolades

Peter Smeeth, “Lisa Wilkinson AM” (2017), oil on linen, 100 x 150 cm (© the artist, photo by Felicity Jenkins, AGNSW)

The Art Gallery of New South Wales awarded its 2017 Packing Room Prize to Peter Smeeth.

The City of Houston awarded total of $3,463,217 in arts grants for the programming and activities between July 2017 and June 2018.

Merion Estes and Mario Martinez each received the 2017 Murray Reich Distinguished Artist Award.

Sam Durant was awarded the Rappaport Prize.

Jade Powers was appointed the Saint Louis Art Museum’s 2017–2018 Romare Bearden Graduate Minority Fellow.

Galit Eilat was appointed the 2017–18 recipient of the Keith Haring Fellowship in Art and Activism.

Pat Brassington was awarded the inaugural Don Macfarlane Prize.

The recipients of the 2017 Eisner Awards were announced.

Thomas P. Campbell was awarded the Getty Rothschild Fellowship, a scholarship that provides housing and resources to one scholar per year.

Obituaries

David Newell-Smith, a crush of commuters at Charing Cross railway station, London (c. 1965) (courtesy Tadema Gallery, London)

Dina Bangdel (1963–2017), art historian. Specialist in South Asian, Indian, and Himalayan arts.

Keith Bard (1923–2017), linguist and educator. Argued against the use of ‘negro’ in favor of ‘Afro-American.’

Chester Bennington (1976–2017), lead singer of Linkin Park.

Nathan David (unconfirmed–2017), sculptor.

Thomas Fleming (1927–2017), historian.

Sam Glanzman (1924–2017), comic-book artist and writer.

Kenneth Jay Lane (1932–2017), jewelry designer.

Robert Loder (1934–2017), collector, philanthropist, and cofounder of the Triangle Network.

Kitty Lux (1957–2017), musician. Co-founder of the Ukulele Orchestra of Great Britain.

Denis Mack Smith (1920–2017), historian of modern Italy.

David Newell-Smith (1937–2017), photographer.

Clancy Sigal (1926–2017), writer and activist. Included on the Hollywood Blacklist.

Dr G Yunupingu (1971–2017), singer and guitarist.

The post Art Movements appeared first on Hyperallergic.

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tkwc · 8 years ago

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How the CIA Secretly Funded Arab Art to Fight Communism

“The CIA has a well-known history of funding art for propaganda purposes during the Cold War, most famously in its support for US artists like Jackson Pollock, Robert Motherwell, and Mark Rothko through the Congress for Cultural Freedom. But as Sultan Sooud Al Qassemi writes in Newsweek, there is a less famous chapter in the CIA's art-as-propaganda strategy: its funding of the organization American Friends of the Middle East (AFME), which in the 1950s and '60s brought major exhibitions of Middle Eastern and North African art to the US. Unlike the Congress for Cultural Freedom, which targeted foreign populations with its pro-US propaganda, the AFME targeted American's themselves, using art as a tool to build "stronger cultural bonds" between the US and the Middle East, writes Al Qassemi. Read an excerpt from the piece below, or the full text here.

In his 2013 book America's Great Game: The CIA's Secret Arabists and the Shaping of the Modern Middle East, Hugh Wilford documents the extent of the relationship between the spy agency and a "pro-Arabist" organization known as the American Friends of the Middle East (AFME).

One of the 24 Americans that founded the AFME in 1951 was Kermit Roosevelt Jr., a career intelligence officer who played a leading role in the CIA-backed coup to remove the democratically-elected Iranian Prime Minister Mohammad Mosaddegh in 1953.

Unlike the Congress for Cultural Freedom, however, the AFME’s goals were primarily internal, seeking to “get the truth about the Middle East before the American public," according to its first annual report. Wilford’s book notes that Roosevelt channeled the CIA funding to the AFME to "foster American appreciation for Arab society and culture, and to counteract the pro-Israel influence of US Zionists on American foreign policy regarding the Arab-Israeli conflict."

The financing allowed the AFME to conduct numerous non-oil and trade activities including funding student exchanges, lectures, promoting diplomatic ties and holding cultural activities. The AFME soon established a Department of Intercultural Relations that oversaw the funding of art exhibitions and visits by Arab artists to the U.S..

In 1954, the AFME funded a major touring exhibition, lecture series and media appearances by Jewad Selim, one of Iraq's most celebrated artists, which saw 21 paintings and drawings and seven sculptures flown in from Baghdad and displayed in the L. D. M. Sweat Museum in Portland, Maine, the de Braux Gallery in Philadelphia, the Bellefield Avenue Gallery in Pittsburgh and the headquarters of the Mid-western office in Chicago.

The tour finished with an exhibition at the AFME's newly leased headquarters, which was known as Middle East House in New York City (the AFME eventually relocated to Washington D.C. in 1958). Selim sold a number of works in the U.S. and gave a painting titled "Woman with Watermelon to Middle East House" that was then hung in their offices.

Image: A man walks past Baghdadiat by Jewad Selim at the Mathaf: Arab Museum of Modern Art in Doha December 14, 2010. Selim was one of a number of Arab artists promoted in the US by the AFME. Via Newsweek.”

source: e-flux

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thegulfindians · 4 years ago

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Visionary financial pundit and investment guru celebrates 50 years in UAE

Our Correspondent

K.V. Shamsudheen, Founder Director of Barjeel Geojit Financial Services, LLC, recently organised a webinar to express his gratitude on the occasion of his golden jubilee celebration in the United Arab Emirates as a visionary, financial pundit and investment guru, in the presence of Sheikh Sultan Bin Sooud Al Qassemi, Member of Sharjah’s ruling family, C.J, George, Managing…

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chachacorner · 6 years ago

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Barjeel Global Fellowship 2019 for Budding Africans Curators

The Barjeel Global Fellowship was established in collaboration with Sultan Sooud Al Qassemi and the Barjeel Art Foundation.

The Museum of Contemporary Art Chicago is an artist-activated, audience-engaged contemporary art museum. We generate art, ideas, and conversation around the creative process.

Application Deadline: March 15th 2019

T…

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#Barjeel Global Fellowship 2019 #Museum of Contemporary Art Chicago

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abwwia · 11 months ago

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Menhat Helmy, Space Exploration, Universe, 1973, Collection of Barjeel Art Foundation

#art by women #Menhat Helmy #arab #arab women #arab art

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aaconteh · 6 years ago

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"Luckie" (2015) Acrylic on Canvas 40 in. x 40 in. Private Collection of Sultan Sooud Al-Qassemi #alfredconteh #twofronts #painting #acrylic #portraiture #blackfolks #negritude #acrylics #contemporaryart #realism #africanamericanartists #africanamericanart #mixedmediaart #canvaspainting #atlanta #ga #acrylicpainting #textures #patina #oxidized #urban #africandiaspora #artistsoninstagram #fineart #artcurator. #artmuseum #artists #contemporarypainting #people

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artriposte · 7 years ago

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Sheikh Sultan Sooud Al Qassemi Joins Board of Trustees at the MCA Chicago http://lnk.al/4Tat

#artnews

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dorierowe · 7 years ago

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Shifting Global Perspectives on the Private Art Museum: From Private Delectation to Public Benefit and Beyond

Venue: Forum Lecture Theatre, Arts West

Presenters: Dr Georgina Walker

The Barjeel Art Foundation in the United Arab Emirates (2010) belongs to a new model of private art museums that have emerged in the 21st century and indicate an acceleration of the privatisation of art and culture on a global scale. Founded by Sultan Sooud Al-Qassemi, it holds an extensive collection of modern and contemporary Arab art, dating from the 1900s to the present day.

The fast-growing number of art collectors emerging in the Persian Gulf region and many parts of Asia, continue in an upward trajectory. This is due to a broader economic context, the growth in newly wealthy individuals, and the rapidly changing global centres of commerce, power and influence that are shifting away from the West. The continuing growth in the wealthy middle classes places greater emphasis on art collecting as an elite activity. Therefore we can expect to find increasingly more significant private museums and collections situated outside the West – hence the rise of private art museums in the Persian Gulf region and Asia.

This lecture will seek to situate the Barjeel Art Foundation, and other cultural institutions of its type, within the global enterprise of the ‘private’ museum in this rapidly emerging cultural landscape. This will allow for a critical and informed examination of the history and future direction of the private museum and the relationship between private, public and corporate.

Dr Georgina Walker is Sessional Subject Coordinator in Art History and Museum Studies at The University of Melbourne. Her research connects the rising popularity of private museums with new models of philanthropy and a reconfigured relationship between private and public space.

from Australia & Canada https://events.unimelb.edu.au/events/9017-shifting-global-perspectives-on-the-private-art-museum-from-private

#Australia & Canada

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hellobazilpatel-blog · 7 years ago

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The Artistic Face of Dubai: Art-Dubai

While many of the travelers may not be aware of the art scene in Dubai and others might complain that it completely lacks any art, there is one thing that I am going to clear one in all your minds today and it is that you guys still have not had a full glimpse of the artistic face of Dubai. While Dubai is dripping shopping and skyscrapers, there is art and culture mixed well in its juices as well. And here is a curtain raiser to all the fabulous art galleries in this Emirati land. To begin with, let's talk about art galleries first. These are places or rather a portal to a whole new level of fascinating pieces. Art is a window to the soul, an in-depth study of the thoughts and feelings that float in the mind of the artists, which makes art galleries a magical entryway into the mind zones of the artists.

For some of us, art might not make sense. Like we may just go in from one entry point and go out from another exit point with the ‘in between journey’ being a secret joke that one share with their buddy that the art pieces really don’t make that much sense.

However, a close inspection can always be a fascinating factor, as art is a measure that gives wings to the soul. So, whatever art means to you'll, funny or fascinating, a superficial play of colors or a deep blend of shades, it’s completely up to you. My duty, as a fellow traveler and Dubai blogger, is to inform where you find these art magical portal galleries in Dubai, and here we go: The Meem Gallery: Uno, the Meem Gallery, the first witness and construct that beautifully proves that there is more to art than Instagram posts. This gallery was founded in 2007 and is located in Al Quoz. The artistic initiative was taken by Mishal Hamed Kanno, Sultan Sooud Al- Qassemi, and Charles Pocock who started Meem. It showcases the works of new talents in the traditional field of Islamic art that boasts features such as beautiful calligraphy, just a pick from my mind. Contemporary artists of the Middle East are championed in this ring of an art exhibition. The exhibitions conducted at the Meem Gallery are often a mesmerizing reflection of the Arab heritage and history, something that you wouldn’t want to miss. https://www.meemartgallery.com/ Art Space: This is another space dedicated to art in Dubai where you can chill and relax for the day, watching and contemplating the Middle Eastern contemporary art. The Art Space Gallery was started in 2003 by an enthusiast who has remained so passionate about his love for art that he extended the veins of Art Space to London in 2012. This passionate promotion of Middle Eastern Art to the world was an attempt to sew the space between the art of East and West. Top the amazing experience of Art Space with hosting of contemporary, popular art personalities such as Saad Yagan, the Syrian artists. https://www.artspace-dubai.com/ Opera Gallery Oh, yes the name is familiar, and you are thinking right. Opera Gallery rings a bell in your mind because this gallery has partners opened up in other capitals of the world such as in Paris, London, Geneva, Miami, New York and Seoul. And just these opera galleries are rocking around the globe, the Opera Gallery in Dubai is also out bursting with creativity. There is a regular show of some of the most expensive art piece, and by costly, I am talking MULTIMILLION DIRHAMS here. There are orderly auctions in Dubai with the works ranging from names such as Matisse, Chagall, and Botero. http://www.operagallery.com/dubai/ The Miraj Islamic Art Centre This art aura is located on the Jumeirah Beach Road, close to the belt of beach hotels in Dubai, so it adds convenience to its list of attributes. It is really a place dedicated fully to the wide spectrum of creativity with works drawn from all over the Islamic world. You might even end up emptying your pocket for the day, keeping in view the lovely art pieces and budget friendly prices. http://www.mirajislamicartcentre.com/ Bastakiya Present in Bur Dubai, this is the historical place to visit to get a touch of the originality of Dubai. All the skyscrapers went up to kiss the skies; this area remained humbly on the ground to maintain a mirror look of the old Dubai, its art, and culture. Bastakiya boasts several galleries, and quaint cafes that are a must-see for the artworks present here are truly impressive. https://en.wikipedia.org/wiki/Al_Bastakiya Alserkal Avenue As the name suggest, this isn’t a four-walled art gallery as such. Instead, it is a home collection of the best of the best, underground art in Dubai. It is more a peak into the upcoming, emerging names in art than the established ones and you would go oh-la-la. https://alserkalavenue.ae/ Now you know that there are several art places to explore in Dubai then you previously imagined. So here’s to shopping, skyscrapers, and art *cheers* Click to Post

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