Curator Q&A: The Art of German Stoneware
Drinking jugs and tankards, storage jars and pitchers, not to mention masterpieces of Dutch painting are some of the objects you’ll find on view in the exhibition The Art of German Stoneware. We were lucky enough to catch up with Jack Hinton (pictured…
It could be(/is probably to do with) the fact that I follow news about mobile tech and social media in museums more than I do, well, anything else pertaining to my career.* But these last few days, I have seen an overwhelming amount of discussions and events related to the topic. I find it really exciting to follow. A few examples below..
1) The Museums Association’s May issue is going to be all about how museums, galleries, and heritage organisations are using mobile technology. They are currently calling for case studies. Check it out! I should really become a member so that I have access to the May edition.
2) Someone posted a link to this MuseumID discussion by leading museum professionals on the benefits and challenges of using social media. Read it here. Kathy Jaller of the Contemporary Jewish Museum says it best:
Such an open field is rare in a Museum context, as is the level of direct interaction with one’s audience. This technology, far from making things cold and automated, humanizes institutions that might otherwise seem impenetrable, and facilitates conversation that is available to the public and to the institution, as opposed to being contained within tour groups, classrooms, or visitors on date night.
Morris Louis, Saraband, 1959
From the Guggenheim:
The Veils cannot be traced to an objective referent, and it is this removal of any concrete figural source that allowed Louis to concentrate entirely on the visual. By handling paint as a dye that penetrates the fibers of the canvas rather than as a topical layer brushed over it, he made figure and ground one and the same, uniting them through color. Furthermore, his pouring technique eliminated the gestural stroke that had been central to Abstract Expressionism, as in Jackson Pollock’s signature drip or Willem de Kooning’s frenetic brushwork, allowing the velvety saturated canvas to radiate color in uninflected expanses paced only by the chromatic rhythm of vertical bands.
Some debate has surrounded the orientation of Louis’s Veils, and this is true of the Guggenheim work in particular. Most of the Veils are hung in accordance with the way Louis made them, with a blank margin above where the pigment began its course down the canvas. According to critic Clement Greenberg, however, the artist was willing to experiment with inverted hangings and was loath to prescribe a particular orientation to a picture by signing it. Saraband’s lengths of color, poured from the top as well as from the sides of the canvas, have been flipped on end, moving the pools of collected pigment to the top of the painting and reversing the gravitational flow. A faint, tentative signature in the bottom left corner of the painting has always served to guide its “upside-down” hanging, although several of Louis’s closest contacts believe he preferred it the other way and was encouraged to sign it to support the preference of curator William Rubin, who owned the painting at the time it was first exhibited in 1960.
i know if i saw this in person i’d cry and sob and wail all day.
At first, it’s the hair that gets me, then it’s the hands. Bernini is the god of hands. I’m convinced he wasn’t human.
(Source: ednodo)
We are entering an age in which people don’t just want to be lectured to by experts, they want to contribute and curate their own content. In this environment, curators may evolve from being lecturers and authors to being moderators of discussions and editors of content. This requires a…
A good read for arts managers, reminding us of some basics to follow.
I wanted to check to make sure that when we hang our exhibit, nothing is too high or too low. I found this handy guide, and thought I would share it with you!
I demand that the Tom Gaskins Cypress Knee Museum be added to this list!
Surprised the Museum of Jurassic Technology didn’t make the cut…
I love the idea of third spaces. Third spaces are places where people can come together to socialize, be inspired, and think. They are places where people can be engaged in group activities, or on their own. Coffee shops are a great example, and I love the trend towards museums including areas for social gathering.
I would love to see more and more museums offering a space for their members to come and just sit. Maybe they are surrounded by art or artifacts, but the museum isn’t necessarily engaging them. The museum I’m at now used to have a group of moms that would bring their kids one day every week and just sit together. I love this idea of museums as being a community center. I don’t feel that this takes away from the mission of a museum, but maybe that is just me. What do you think?
The year 1869 is generally thought to be when Rossetti reconciled his grief for Siddall with his love for Jane Morris. Though gossip levels ran high, lack of documentary evidence has left historians guessing at the degree of intimacy achieved between them.
Each destroyed the correspondence with the other during those crucial years. The title of the painting, ‘The Salutation of Beatrice’, associates Jane with Dante’s Beatrice, the incarnation of beatific love and the object of Dante’s courtly love. A sonnet by Dante pinned to the wall extols the virtues of courtly love: ‘My lady looks so gentle and so pure…’
I love how stuff continues to crop up 150 years on! Even though any depiction of Jane as Beatrice makes me irrationally cranky. ;-)
(via arthistorianmindswirls)
Swiss prosecutors say a painting seized in Serbia has been confirmed as a stolen masterpiece by French impressionist Paul Cézanne.
BELGRADE/ZURICH — Police in Serbia have recovered a painting by the French artist Paul Cezanne that was stolen at gunpoint from a Swiss museum four years ago, officials said on Thursday.
Cezanne’s Boy in a Red Waistcoat, which media said was worth more than $100 million, was one of four paintings stolen from the E. G. Buehrle Collection in Zurich in 2008 by a trio of masked robbers who burst in just before closing time and told staff to lie on the floor while they took what they wanted.
The heist was one of the largest in the world at the time.
Four men were arrested in the capital Belgrade and the southwestern town of Cacak on Wednesday in connection with the theft and the director of the Buehrle collection confirmed the authenticity of the painting, the Zurich state prosecutor’s office said.
At a press conference in Belgrade, Miljko Radisavljevic, the special prosecutor for organized crime, said the suspects wanted to sell the painting, found in the door panel of a car, for as little as 3.5 million euros.
“They received 2.8 million euros before the arrest,” he said.
Boy in a Red Waistcoat, thought to have been painted in 1888, depicts a boy in traditional Italian dress wearing a red waistcoat, a blue handkerchief and a blue belt. Three other versions of the painting are in museums in the United States.
Two of the stolen canvasses, one by Claude Monet and the other by Vincent Van Gogh, were recovered not long after the robbery, abandoned in a car. A work by Edgar Degas is still missing.
At the same press conference, Serbian Interior Minister Ivica Dacic said during the action dubbed Operation Waistcoat, police also seized about 1.5 million euros in cash, four vehicles, weapons and ammunition.
“I don’t think we have ever had a more valuable arrest,” Dacic said. “The painting will now be guarded by police and returned to its owner.”
The Buehrle collection, one of the most important 20th-century private holdings of European art, was amassed by the industrialist Emil Georg Buehrle, who derived his wealth from producing and selling anti-aircraft guns.
Last October, Serbian police recovered two paintings by Pablo Picasso - Tete de Cheval (Horse’s Head) and Verre et Pichet (Glass and Pitcher) - stolen in 2008 from a gallery in the Swiss town of Pfaeffikon, near Zurich
He was arrested and a fourth robber Cézanne, the weapons and 1.6 million
Picture Paul Cézanne, “Boy in a red vest” worth 100 million euros, which was stolen by three Serbian nationals were found last night in Belgrade SBPOK spectacular action and prosecution of organized crime. The leader of this group is Ivan Peković from Belgrade, for which they are involved in the pursuit noćašnjoj Special “interceptors” traffic police. As the exclusive ‘Blic’ learns, was arrested and a fourth gang member, was arrested at a found 1.6 million firearms.
Besides Pekovića, in the same action are still arrested two of his accomplices in Belgrade and Cacak.
- Peković is located near the stadium, and as he was driving very fast car in hot pursuit of njiim included interceptors. Chasing after him played along Ustanicka street to the hotel “Radmilovac” and then in the direction Lestane where he cut two interceptors at one time the parking lot when he was arrested. He was then taken to a room SBPOK the hearing - the source said, “Blic” from the Serbian Interior Ministry.Names of those arrested will be announced at the press conference held by the Interior Minister Ivica Dacic, the special prosecutor Miljko Radisavljević.
Looking for pictures and thieves, our police collaborated with colleagues from several countries, and action itself was prepared several months.
Recall, “Flash” is still 2009th he wrote about two Serbian nationals who were suspected of the theft of the largest paintings in Europe - the robbery of four paintings of Vincent van Gogh, Claude Monet, Edgar Degas and Paul Cézanne (including the “boy in a red vest”), estimated at 112 million, which are in an armed attack in February 2008. was stolen from a museum in Zurich.
In a spectacular robbery of 10th February 2008. year, Emile Birlea collection in Zurich, three masked robbers half an hour before closing time entered the museum, forced staff to lie on the floor, and then enter the main exhibition hall on the ground floor and download the pictures off the wall.
It’s been committing the largest fraud in Switzerland, and certainly in Europe. The thieves fled after stealing the direction of Colikon, southeast of Zurich. Museum staff, fortunately, was not injured - he said in the police spokesman Mario Cortez.
He said that the police arrived at the place of theft within minutes of leaving the thief and said that one of the thieves spoke German with a Slavic accent.
Two stolen paintings, estimated at 44 million euros, were found two days after the robbery.Discovery of the “boys in red vests” Paul Cezanne in Belgrade is the first large step in the investigation since then.
Belgrade police last year in a safe in Belgrade found the image of Spanish painter Pablo Picasso’s “Head of horse” and “Glass and pitcher”, whose value is estimated at about three million dollars , and that the sixth February 2008. was stolen from an exhibition in the Swiss towns Fefkonu
Serb police find painting believed stolen Cezannehttp://www.seattlepi.com/news/article/Serb-police-find-painting-believed-stolen-Cezanne-3476884.php
BELGRADE, Serbia (AP) — Serbian police say they have uncovered a painting believed to be by French impressionist Paul Cezanne, which was stolen from a private Swiss museum in 2008.
The operation was organized by the Service for the Fight Against Organized Crime (SBPOK) and the Organized Crime Prosecution. The three suspects were arrested in the operation that was carried out in Belgrade and Čačak.
The Serbian police cooperated with their colleagues from several states and the operation was prepared for several months.
Police did not name the painting, but Serbian media says it is likely “The Boy in the Red Vest” stolen from E. G. Buhrle Collection in Zurich.
The painting was worth 100 million Swiss franks ($110 million) when it was stolen. Serbian police said Thursday three people were arrested overnight in connection with the robbery.
A police official, who could not be identified under standing rules, said that an art expert is being flown in from abroad to confirm the authenticity of the painting.
Last October, the Serbian police recovered two paintings by Pablo Picasso - Tête de Cheval (Horse’s Head) and Verre et Pichet (Glass and Pitcher) - stolen in 2008 from a gallery in the Swiss town of Pfaeffikon, near Zurich.
The police official said law enforcement agencies from several countries had cooperated in the latest investigation that led to the apparent recovery of the Cezanne masterpiece.
Art Hostage Comments:
The arguing has already started as to who gets paid how much. The actual amount used for the buy-back was 3 million Euros, so 1.5 million Euros has gone walkabout/AWOL already.
At this rate the recovered monies from old Crooner Ivan Peković will be just a couple of hundred Euros.
On a lighter note: “When asked how he could mastermind such a crime and then make such an obvious error, Ivan Peković replied, “Monsieur, that is the reason I stole the paintings. I had no Monet to buy Degas to make the Van Gogh.”
Buy-Back Explained:
http://arthostage.blogspot.co.uk/2011/10/stolen-art-watch-sprengel-picassos-buy.html
Back-Story, Road To Cezanne:
http://arthostage.blogspot.co.uk/2012/01/stolen-art-watch-balkans-stolen-art-buy.html
posted by art hostage at 11:19 am 0 comments links to this post
Stolen Art Watch, Durham Museum Heist, Police, Prosecutors & Perpetrators Go Dutch
Police in Serbia have recovered a painting by the French artist Paul Cezanne that was stolen at gunpoint from a Swiss museum four years ago, officials said on Thursday.
Cezanne’s Boy in a Red Waistcoat, which media said was worth more than $100 million, was one of four paintings stolen from the E. G. Buehrle Collection in Zurich in 2008 by a trio of masked robbers who burst in just before closing time and told staff to lie on the floor while they took what they wanted.
The heist was one of the largest in the world at the time.
Four men were arrested in the capital Belgrade and the southwestern town of Cacak on Wednesday in connection with the theft and the director of the Buehrle collection confirmed the authenticity of the painting, the Zurich state prosecutor’s office said.
At a press conference in Belgrade, Miljko Radisavljevic, the special prosecutor for organized crime, said the suspects wanted to sell the painting, found in the door panel of a car, for as little as 3.5 million euros ($4.62 million).
“They received 2.8 million euros before the arrest,” he said.
…Two of the stolen canvases, one by Claude Monet and the other by Vincent Van Gogh, were recovered not long after the robbery, abandoned in a car. A work by Edgar Degas is still missing.
At the same press conference, Serbian Interior Minister Ivica Dacic said during the action dubbed Operation Waistcoat, police also seized about 1.5 million euros in cash, four vehicles, weapons and ammunition.
“I don’t think we have ever had a more valuable arrest,” Dacic said. “The painting will now be guarded by police and returned to its owner.”
…Last October, Serbian police recovered two paintings by Pablo Picasso - Tete de Cheval (Horse’s Head) and Verre et Pichet (Glass and Pitcher) - stolen in 2008 from a gallery in the Swiss town of Pfaeffikon, near Zurich.
(via cavetocanvas)
