In February of 2008, two Picasso paintings were stolen while hanging in an exhibition in the small Swiss town of Pfaeffikon. “Tete de Cheval” (Head of Horse) from 1962 and “Verre et Pichet” (Glass and Pitcher) from 1944 were on loan from the Sprengel Museum in Hannover, Germany. This past Wednesday, October 26, the Serbian Interior Minister announced that the paintings had been found in Belgrade. No information on the exact location of the paintings or possible suspects in the theft was provided, but Serbian Police released an updated photo of the work “Verre et Pichet,” as seen below.
Winston Wächter Fine Art New York is pleased to present our second solo show with sculptor Andreas Kocks, on view from October 27 – December 3, 2011.
Working solely with paper and a limited color palette, Kocks’s forms seek to evoke and balance elements of four artistic genres: the linearity of drawing, the painterly brushstroke, the site-specific element of architecture, and the physicality of sculpture. Whereas in his previous show the capacity of architecture to frame and activate space was exploited and celebrated, here it is the brushstroke that takes center stage. Recalling Lichtenstein’s iconic series of brushstrokes, and the celebration of the master’s hand within art historical traditon, Kocks gives the viewer a new way to think about this most fundamental artistic element. With sizeable dimensions and a three-dimensional corporeality, the brushstroke is given a new life.
In a new book published this week, “Van Gogh: The Life,” authors Steven Naifeh and Gregory White Smith claim that the artist did not die by a self-inflicted wound as previously thought, but rather an accidental shooting. Vincent Van Gogh’s life came to an abrupt end at the age 37 on July 29, 1890 and historians have long since accepted that Van Gogh, who suffered chronic depression, shot himself and then died two days later.
However, this book lays out a new theory in which Van Gogh’s claim that he shot himself was actually a cover up story to protect the actual shooter, a teenage brother of a friend. The teen reportedly carried a gun, was known to have teased the artist and was said to have had a “history of violent outbursts.” The Pulitzer Prize winning authors go on to point out that no physical evidence of the shooting was ever produced, no gun was ever found, the angle of the bullet would be unusual for a suicide, and finally the artist left no suicide note.
Experts at the Van Gogh Museum say they remain unconvinced by the evidence detailed in the book. Leo Jansen, the museum curator and editor of Van Gogh’s letters, said the biography, “Van Gogh, A Life,” is a “great book,” but experts “cannot yet agree” with the authors’ conclusions about the painter’s death.
Films by Alfred Hitchcock, paintings by Pablo Picasso and symphonies by great 20th-Century Russian composers are among the works that are no longer available to be freely quoted, copied, played, shared or republished without paying royalties or seeking permission. Congress said that applying protection to millions of works by foreign artists that were once in the public domain was necessary in order to comply with treaties and foreign trade agreements. Furthermore, this show of cooperation will mean copyright protection for the work of American artists overseas.
University of Denver music department professor Lawrence Golan, along with the ACLU, Google and the American Library Association, among others, say Congress’s action violates First Amendment rights, complicates efforts to digitize the world’s great libraries and obscures the original intent of the Constitution’s copyright clause: “to promote the progress of science and useful arts.”
Golan points out real world implication using the example of “Peter and the Wolf,” a piece often used to introduce kids to classical music with memorable solos in which the oboe plays the duck, the flute plays the bird, and the horns play the wolf. Golan explains, “orchestras used to be able to buy the Prokofiev symphony for $100, he said, and play it until the sheet music was worn out. Now it must be rented, at a cost of several hundred dollars for each performance. Community orchestras and others playing for youth concerts won’t do it.”
The case, Golan v. Holder, will be heard by the Supreme Court and decided by eight-member because Justice Elena Kagan is recused. A tie would uphold the 10th Circuit’s decision.
With a long-term focus on in-depth research and acquisition of post-war art, the Getty Research Institute is heading a citywide, multi-venue initiative which documents Los Angeles’s position as a hub for contemporary art after World War II. Entitled “Pacific Standard Time,” the initiative is certainly one of the most expensive, ambitious and collaborative projects that any U.S. city has ever attempted. The project scale is being compared to the Venice Biennale in terms of the costs and organizational effort that has gone into the project.
Between October 2011 and February 2012, a major exhibition at the J. Paul Getty Museum will present a survey of postwar painting and sculpture in Los Angeles, accompanied by a book on the exhibition and postwar art history in Southern California. Along with the exhibition, there will be an extensive series of oral histories with many of Los Angeles’s key artists, filmmakers, curators, collectors, and critics, as well as a concurrent exhibition at the Research Institute presenting supplemental archival material.
At the same time, over 30 additional venues citywide will present exhibitions that cover practices as diverse as ceramic sculpture, postwar design, African American art, the Light and Space movement, and the history of the Los Angeles Woman’s Building, among others. In collaboration with many of these institutions, the Getty will organize a series of public programs that will include lectures, symposia, performance art, theater, concerts, readings, and film screenings.
The Museum of Modern Art announced that it would buy “The Clock,” a 24-hour video installation by Christian Marclay that uses a montage of timepieces from movies to count down a day in real time. The film earned Mr. Marclay the Golden Lion as best artist at the Venice Biennale this year, and the work was a surprise hit with the public, drawing overflow gallery crowds at all hours when it was shown in London, Los Angeles and New York in the last year.
Glenn D. Lowry, the director of the Museum of Modern Art, observes that the piece uses “mixing, editing and montage as it draws attention to time as a multifaceted protagonist of cinematic narrative.” Sabine Breitwieser, the chief curator of media and performance art, added that it is “an inherently performative work due to the connection between the work and the visitor’s experience in real time.”