News

  • A Look at Los Angeles's “Erase-itechture”

    With 1,211 demolition permits in 2001, Los Angeles presses forward with its perpetual self-reinvention, writes Christopher Reynolds in the Los Angeles Times. But nobody knows just how much valuable history the wrecking balls obliterate each year, because about 85 percent of the city's standing structures have never been surveyed for historic or cultural significance, as a study by the Getty Conservation Institute found in late 2001.

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  • Corporate Collecting: Now at Risk?

    Among Enron's woes surrounding its collapse was the loss of its ambitious twenty-million-dollar program for the purchase of contemporary art, writes Tim Vincent in the Pittsburgh Post-Gazette. Lea Fastow, wife of embattled CEO Andrew Fastow, headed an acquisition committee that, by the time of Enron's bankruptcy, had spent four million dollars in the first year of the committee's operation.

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  • Glen Seator, Sculptor, Is Dead at Forty-six

    Glen Seator, who became known in the 1990s for his highly detailed sculptural installations, died on December 21 at his home in Brooklyn, writes Ken Johnson in the New York Times. One of the most talked-about works in the 1997 Whitney Biennial was Mr. Seator's B.D.O., which consisted of a life-size reconstruction of the Whitney director's office tilted at a 45 degree angle.

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  • The Rise and Stall of LACMA's Renovation

    How does a four-hundred-million-dollar project to transform the Los Angeles County Museum of Art go from fast-forward to pause in 364 days? wonders Christopher Knight in the Los Angeles Times.

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  • Herb Ritts, Photographer, Dies at Fifty

    Herb Ritts, the photographer whose images of the well known helped to further mythologize celebrity in the 1980s and '90s, died yesterday in a Los Angeles hospital, writes Ginia Bellafante in the New York Times. He was fifty and lived in Los Angeles.

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  • Museum Under Review: Too “Politically Correct”?

    Australia's National Museum is set to become an ideological battleground for the government, with the appointment of Melbourne academic John Carroll to assess whether the institution is too “politically correct,” writes Annabel Crabb in The Age. The review follows a recent decision by the board to reduce the term of museum director Dawn Casey—an Aborigine—to a one-year contract and brings to a head the conflict between the museum's council and its curatorial staff over the institution's direction.

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  • Americans for the Arts Happily Makes Plans

    Americans for the Arts, an arts advocacy group, is pondering the question of what to do with the 120 million dollars it received in November from the philanthropist Ruth Lilly, writes Stephen Kinzer in the New York Times. “Our goal is access to the arts for all Americans,” said Robert L. Lynch, the arts group's president. “The way we hope to achieve that is by putting facts and information in the hands of decision-makers.”

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  • John M. Brealey, Conservator at Met, Dies at Seventy-seven

    John M. Brealey, the chairman of paintings conservation at the Metropolitan Museum of Art from 1975 to 1989, died last Thursday at the age of seventy-seven, writes John Russell in the New York Times. Widely regarded as one of the most accomplished of living picture restorers, Brealy was also a consultant to the Yale Center for British Art and consultant and restorer to the Frick Collection.

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  • Paris Museums Prepare for Flooding

    Paris is clearing works of art from city basements and putting rescue boats on standby as it prepares for the possibility of the worst flooding from the river Seine in ninety years, reports CNN.com.

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  • Guggenheim Las Vegas Turns Out the Lights

    The Guggenheim Las Vegas, a soaring exhibition hall designed by Rem Koolhaas that opened just fifteen months ago, will go dark on January 5 for an indefinite period while the Solomon R. Guggenheim Museum in New York looks for a sponsor for the hall's next exhibition, writes Celestine Bohlen in the New York Times. In the last year, the Guggenheim's operating budget has constricted drastically, followed by an equally dramatic reduction in staff, to 181 full-time positions from 339 in November 2001.

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  • Turner Windfall Won't Go Toward Reynolds Purchase

    The Tate is unlikely to use the 14.6 million pound (twenty-three million dollar) profit it made from the recovery of its two stolen J.M.W. Turner masterpieces to save Sir Joshua Reynolds's outstanding Portrait of Omai for the nation, writes Fiachra Gibbons in The Guardian. Last week the Tate renewed its campaign to stop the spectacular painting of the Pacific islander who enthralled London society and the court of George III from going to a mystery buyer in Dublin.

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  • Art L.A.: The Year in Review

    Los Angeles Times art critic Christopher Knight blasts the boards of local art institutions for a year of lackluster giving and runs down a list of 2002's notable art events.

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