The Pinakotheken announced that Mayen Beckmann, granddaughter of Max Beckmann, has donated numerous documents and artifacts from the Beckmann estate to the Munich museums. Among the items are letters, handwritten notes, diaries, dramas, drafts, and sketches in addition to Beckmann’s six-hundred-and-fifty-volume library as well as his personal photograph-albums, Monopol reports.
The Pinakotheken comprises several institutions: Alte Pinakothek, the Neue Pinakothek, the Pinakothek der Moderne, the Museum Brandhorst, and the Sammlung Schack. Die Bayerischen Staatsgemäldesammlungen (The Bavarian State Painting Collection) contains the largest collection of paintings by Max Beckmann in Europe, spread across the individual museums. Since 1977, they have also hosted the Max Beckmann Archive.
The Albright-Knox Art Gallery in Buffalo has received the largest gift of art in its history—the entire estate of Venezuelan-American artist Marisol. After her death in 2016 at the age of eighty-five, María Sol Escobar left the museum more than one hundred sculptures spanning the artist’s sixty-year career, more than 150 works on paper, thousands of photographs and slides, and a collection of works by other artists.
“The Albright-Knox is proud to have been the first museum to acquire Marisol’s work,” director Janne Sirén said in a statement. “We are moved, and profoundly grateful, that Marisol was similarly proud of her association with the Albright-Knox and took the extraordinary step of leaving her estate to our museum.”
The museum purchased its first works by the artist in—The Generals, 1961–62, from her solo show at Stable Gallery and Baby Girl, 1963—in 1962 and 1964. Marisol’s longtime friend and co-executor of her estate Carlos Brillembourg, told the Buffalo News that the artist was incredibly grateful when Knox bought the works. He added, “I think it’s a wonderful thing for an artist to have a museum take care of their archive because it means that it will always be in public view and not dispersed among private collections.”
Highlights of the gift include The Funeral, 1996, based on the John F. Kennedy Jr.’s funerary procession, a portrait of the artist and her mother, and The Hungarians, 1955, a family portrait featuring a mother, father, toddler, and an infant with bulging eyes and shallow faces. The museum will soon begin the process of cataloguing and photographing the vast collection.
Joe Light, Untitled,1987, enamel, seashells, stones, artificial plants, wood, glass, television console, dimensions variable. Photo: Kathryn Kolb.
Atlanta’s High Museum of Art has acquired fifty-four artworks from the Souls Grown Deep Foundation, also based in Atlanta, a nonprofit organization dedicated to the preservation and distribution of artworks made by African Americans in the American South. This combined gift and purchase—made up of paintings, sculptures, and works on paper—is a major boon to the museum’s collection. Some of the artists represented in the gift/purchase include the quilt-makers of Gee’s Bend, Thorton Dial, Ronald Lockett, Joe Minter, Joe Light, Royal Robertson, Georgia Speller, Eldren Bailey, and Vernon Burwell.
Rand Suffolk, the Nancy and Holcombe T. Green, Jr. director of the High Museum of Art, said, “This gift dovetails remarkably well with our existing collection—essentially adding strength on strength to one of the most distinctive and important collections of its kind. We’re grateful to the Souls Grown Deep Foundation for the opportunity to deepen our commitment to these artists and recognize their impact on contemporary art.”
“This landmark acquisition is a capstone of years of collaboration with the High Museum of Art, the anchoring institution in the foundation’s hometown of Atlanta. We are very pleased to add dozens of significant works to the High’s collection of contemporary art and look forward to years of future collaboration through insightful programming, displays and publications,” said the President of the Souls Grown Deep Foundation, Maxwell L. Anderson.
In February, the Fine Arts Museums of San Francisco acquired sixty-two works from Souls Grown Deep—another major gift from the foundation.
Lindsay Pollock, the editor in chief of Art in America, has announced that she will resign after the release of the magazine’s June/July issue. After serving six years in the position, she “decided the moment is right to move on to other projects and possibilities.”
“It has been a great honor to work with such a talented and loyal group of editors, designers, production managers, and sales representatives at this distinguished magazine,” Pollock said in a statement. “I am also grateful for the hundreds of writers and artists who have collaborated with us over the years. Their generosity of spirit was genuinely inspiring, while the ongoing respect and support of our readers made my role rewarding each and every day.”
Prior to joining the magazine, Pollock worked as a reporter for Bloomberg News and the Art Newspaper. She earned her master’s degree in journalism from Columbia University in 2003 and her bachelor’s degree in art history from Barnard College.
Dignity Strike demand poster (left) and a second poster in Arabic (right). Photo: Decolonize This Place
Artist and activist group Decolonize This Place is campaigning on behalf of Palestinian prisoners who began a massive hunger strike on April 17 in protest of the dehumanizing conditions they face while incarcerated in detention facilities in Israel. “From now until the prisoners call off the strike, we will be posting creative contributions on a daily basis,” the group said in a statement. Dubbed “Dignity Strike!”, the effort is spearheaded by artists, writers, and scholars who want to raise awareness about the prisoners’ denial of basic rights.
The more than 1,500 Palestinians participating in the hunger strike plan to continue with the action until the government declares it will meet their thirteen demands for improved medical care, increased family visits, and an end to detaining individuals who have not yet been charged, among others.
According to the Electronic Intifada, several men have already been hospitalized, and officials are refusing to negotiate with them. “When it comes to the hunger strike by terrorists in Israeli jails, I take the approach of Margaret Thatcher,” Israeli defense minister Avigdor Lieberman wrote on Facebook. The former British prime minister ignored a hunger strike carried out by prisoners in Northern Ireland’s Maze prison in 1981—by the end of the strike ten prisoners had died.
“There is no real justification for this strike,” Israeli public security minister Gilad Erdan added. “Terrorists aren’t in prison to get good conditions. They’re there to be punished. A hunger strike shouldn’t change our behavior as the state toward the prisoners.”
Marwan Barghouti, a Palestinian prisoner who spent the last fifteen years in an Israeli prison, wrote an op-ed published in the New York Times on April 16. Barghouti said that a hunger strike is the most peaceful form of resistance for prisoners who refuse to surrender to Israel’s “inhumane system.”
He wrote: “Palestinian prisoners and detainees have suffered from torture, inhumane and degrading treatment, and medical negligence. Some have been killed while in detention. According to the latest count from the Palestinian Prisoners Club, about two hundred Palestinian prisoners have died since 1967 because of such actions . . . . There is hardly a single family in Palestine that has not endured the suffering caused by the imprisonment of one or several of its members.”
As a result of the article and for his role in spearheading the strike, Barghouti has been placed in solitary confinement. Authorities are currently investigating whether his wife or his lawyers helped smuggle the essay out of prison.
Decolonize This Place is calling for daily submissions to bring attention to the plight of these prisoners. Its website states: “Their strike for dignity and freedom calls on all of us—including cultural workers—to amplify their struggle in confronting the tyranny of jailers. Today, we begin the work of supporting them through art and action in all forms.”
The A4 Art Museum, a private institution founded by Luxelakes, a real estate development company, just reopened its new building about 2.5 miles away from its original location in the Chinese city of Chengdu, writes Lisa Movius of the Art Newspaper. The museum’s current exhibition, “Create Spaces,” which runs through July 16, is a group effort highlighting the works of thirteen contemporary Chinese and international artists. The museum was founded in 2008, and closed in late 2015 to rebuild and relocate.
The building itself is almost 38,000 square feet, and overlooks a manmade lake. An events hall, library, and children’s art center is scheduled to open next year, in addition to a new subway line that will take visitors directly to the Tianfu New Area, the district where the A4 is located. A theater will also be opening at the museum in 2019.
The A4 will put together four exhibitions a year, and host more than one hundred educational events, along with residencies, fellowships, and cultural exchanges. “Though we are not downtown, we do outreach and public art. It is not enough to just do a show, we have to make audiences understand it—through media, key opinion leaders, and reaching kids,” said Sunny Sun Li, the museum’s artistic director. In its previous spot, the museum brought in 200,000 visitors a year. Sun expects more people will be coming to the new space.
The museum is doing what it can to increase its cultural scope—it has partnered with the Yokohama Museum of Art and the Kyoto Art Center to bring Japanese artists into Chengdu in order to try and soften China’s problematic relationship with Japan. Japan’s style of public arts programming is also influencing the museum, as “a lot of public education [at Chinese art institutions] is very lazy or trendy,” said Li Jie, the A4’s assistant curator.
The National Galleries of Scotland, or NGS—which is made up of the Scottish National Gallery, the Scottish National Portrait Gallery, and the Scottish National Gallery of Modern Art—has digitized about forty thousand pieces from its vast collection of ninety-five thousand works, writes Claire Voon of Hyperallergic. An initial batch of images can be accessed on its website. NGS will work to add the rest of the images over the next five years.
Searches for works on the NGS’s site can be done via artist, subject, object type, style, century, color, school, artistic movement, and gallery. The initiative coincides with the Scottish National Gallery’s renovation project that will triple its amount of exhibition space.
In the wake of ubiquitous terrorist attacks and in the spirit of international cooperation and education—especially in the face of growing extremist and right-wing sentiment throughout the globe—Egypt, Iran, Peru, Bolivia, China, Iraq, Greece, and Italy are forming a coalition to prevent further assaults on threatened historic sites, reports the Greek Observer.
Modeled after UNESCO and other agencies tasked with protecting cultural heritage, the Ancient Civilizations Forum, or the ACForum, will guard against the destruction and deterioration of artifacts and edifices of ancient cultures. Its first ministerial meeting was held at the Zappeion Conference Hall in Athens on April 24. Greek foreign minister Nikos Kotzias, whose government is spearheading the project along with China, said the group would run joint projects to promote “dialogue in the face of fanaticism, and culture in the face of terrorism.”
The forum plans to meet on an annual basis to discuss its progress. The chairmanship of the meetings will rotate from country to country. In 2018, the ACForum will come together in Bolivia, followed by Peru in 2020 and Iraq in 2021. “We’re only just getting started,” Chinese foreign minister Wang Yi said.
The initiative comes on the heels of France and the UAE’s launch of a new UNESCO-backed global heritage fund that aims to raise $100 million by 2019. Announced in March, the International Alliance for the Protection of Heritage in Conflict Areas, or ALIPH, as the first letter in the Arabic alphabet is named—has already raised more than $75 million.
On May 6, François Ceysson and Loïc Bénétière will open their fifth location and first gallery space in New York at 956 Madison Avenue. Founded in Saint-Étienne in 2006, Ceysson & Bénétière has since expanded to Paris, Luxembourg, and Geneva. Keeping with tradition, an exhibition of works by Claude Viallat will inaugurate the space. (The dealers opened all of their galleries with shows featuring the artist.)
According to a statement released by Ceysson & Bénétière, the move to New York was “a logical next step” for the dealers, who will organize shows featuring both established and emerging artists. Following “Claude Viallat: Major Works,” exhibitions of Lauren Luloff, Patrick Saytour, Wallace Whitney, and Daniel Dezeuze will be hosted by the space.
Vienna auction house Im Kinsky is embroiled in an ownership dispute between the descendants of the Schloss family and the current owner of a seventeenth-century, Dutch old master painting, Kate Connolly of The Guardian reports. Bartholomeus van der Helst’s Portrait of a Man, 1647, was one of hundreds of works owned by Jewish-German collector Adolphe Schloss that were confiscated by the Nazis during World War II. It is now lot number 476 in Im Kinsky’s upcoming old master paintings auction on April 26. Despite the heirs’ protest of the sale and the questionable provenance of the work, the auction house claims it has the right to sell it.
“Right now what we have is a legal mess, a clash of national laws across Europe leaves private art collectors exposed and I wanted to demonstrate that,” Ernst Ploil, one of the managing directors of Im Kinsky, said when asked about the sale. While originally stolen from Schloss’s chateau in France, where it is illegal to sell artworks that were originally looted, in Austria and Germany owners of stolen works bought in good faith are not required to restitute them.
Lawyer Antoine Comte, who represents the Schloss heirs, said the family wants the painting returned to them. “As long as we don’t get the painting back that was unlawfully taken from the family, this amounts to an appalling continuation of Nazism and the crimes of Nazism. The Austrians fall back on their own legal system to say they are in the right, but they don’t give a damn about the moral aspect of this.” He added, “The only satisfaction we have is knowing that it’s unlikely to be able to leave Austria. It will not get very far.”
The work was supposed to go under the hammer in 2016, but was pulled at the request of the French culture ministry. After the descendants of Schloss failed to retrieve the painting through Austria’s legal channels, the auction house decided to allow the sale. According to Ploil, the owners of the work had offered to give the heirs half of the proceeds of the sale, but they refused.