Linda Christas College, one of the world's most prestigious online institutions, is currently developing bachelors degrees in a variety of art oriented disciplines, including film, stage, scenery design, and production.
These majors will be available to current and incoming students no later than September, 2009. read more »
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These majors will be available to current and incoming students no later than September, 2009. read more »
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Art, is not only a label or a title; it is feelings, passion, force, words, sounds, emotions, dreams, lies or truths and even more... This is the art of Francis Piep.
The article is bilingual (English- Spanish). read more »
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The article is bilingual (English- Spanish). read more »
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The Muscarelle Museum of Art , in Williamsburg, Virginia, will be the initial site for the national tour of the major exhibition of Old Master paintings.
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The Bicentennial Art Center is celebrating its 54th year showcasing the Annual Fall Show.
The Art Center, located at 132 S. Central Ave., Paris, is hosting the show in its main floor galleries now through Nov. 14.
The long tradition of the Annual Fall Show brings forth the works of artists residing within a 100-mile radius of Paris. Because the show is open to all art media, except photography, the exhibit is diverse in content, and this year 120 works were submitted by 46 artists.
Joan Stolz, associate professor of art and design at Parkland College, was the juror for this show and selected 63 works of art for inclusion in the exhibit.
The judge awarded the following awards: Judge’s Choice Award: J. Anna Roberts, Brownsburg, Ind., for her watercolor painting, “Got Milk?”.
The five merit awards were given to John Gabb, Effingham, for his oil painting “The Faces of Aids: Alone”; Mary Ann Lipousky-Butikas, Westville, for her pencil drawing, “Boattail Speedster”; Betty Lusk Hughes, Champaign, for her oil painting, “Antique Plate with Pomegranates”; Deborah Anderson, Carbon, Ind., for her wood piece “Fall Colors”; and Tom David, Mattoon, for his acrylic and oil painting “Cathy.”
Honorable mention awards were given to Tom Swopes, Dennison; Kari Rajkumar, Paris; Louis Ballard, Seymour; Martha Seif, Urbana; and Louise Hansen, Terre Haute.
Local businesses and individuals sponsored the awards for the Annual Fall Show.
The art center is handicapped accessible. Hours are 10 a.m. to 4 p.m. Tuesday through Friday, or by appointment. For more information contact the art center at 466-8130. read more »
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The Art Center, located at 132 S. Central Ave., Paris, is hosting the show in its main floor galleries now through Nov. 14.
The long tradition of the Annual Fall Show brings forth the works of artists residing within a 100-mile radius of Paris. Because the show is open to all art media, except photography, the exhibit is diverse in content, and this year 120 works were submitted by 46 artists.
Joan Stolz, associate professor of art and design at Parkland College, was the juror for this show and selected 63 works of art for inclusion in the exhibit.
The judge awarded the following awards: Judge’s Choice Award: J. Anna Roberts, Brownsburg, Ind., for her watercolor painting, “Got Milk?”.
The five merit awards were given to John Gabb, Effingham, for his oil painting “The Faces of Aids: Alone”; Mary Ann Lipousky-Butikas, Westville, for her pencil drawing, “Boattail Speedster”; Betty Lusk Hughes, Champaign, for her oil painting, “Antique Plate with Pomegranates”; Deborah Anderson, Carbon, Ind., for her wood piece “Fall Colors”; and Tom David, Mattoon, for his acrylic and oil painting “Cathy.”
Honorable mention awards were given to Tom Swopes, Dennison; Kari Rajkumar, Paris; Louis Ballard, Seymour; Martha Seif, Urbana; and Louise Hansen, Terre Haute.
Local businesses and individuals sponsored the awards for the Annual Fall Show.
The art center is handicapped accessible. Hours are 10 a.m. to 4 p.m. Tuesday through Friday, or by appointment. For more information contact the art center at 466-8130. read more »
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An effigy of an art gallery has been burnt in Hastings in protest against plans for the multi-million pound Jerwood project in the town.
Under the plans, the Jerwood Foundation would build a gallery on the East Sussex seafront and invest up to £4m.
But in a protest over local democracy, Hastings Bonfire Society said people would not be driven into accepting it.
Hastings Borough Council has approved the plans. The Jerwood Foundation said it had "consulted widely".
Bonfire societies across Sussex stage processions and fireworks in the autumn and traditionally burn effigies.
Keith Leech, from Hastings Bonfire Society, said members were "not against this particular project as such".
He said: "This is just another one in a long string of things that people are trying to foist upon us."
But Hastings Borough Council spokesman Kevin Boorman said: "Hastings Old Town is unique in lots and lots of ways and I think it's good that people have strong local opinions.
"I absolutely believe that this is right for Hastings Old Town.
"Clearly, not everyone agrees with me, but let's have a proper debate."
Alan Grieve, chairman of the Jerwood Foundation, said the plans had been "welcomed and supported" by the majority of Hastings residents and the council.
He said the project would "make a major and unique contribution to regenerating an historic and important site close to the Old Town and the Fishermen's Heritage site".
He added: "We have consulted widely and continue to meet representatives of local groups and the community. A public exhibition was held in May which was widely publicised.
"We can listen but cannot please everybody."
He said the gallery would offer an "outstanding collection" and the town would "benefit enormously". read more »
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Under the plans, the Jerwood Foundation would build a gallery on the East Sussex seafront and invest up to £4m.
But in a protest over local democracy, Hastings Bonfire Society said people would not be driven into accepting it.
Hastings Borough Council has approved the plans. The Jerwood Foundation said it had "consulted widely".
Bonfire societies across Sussex stage processions and fireworks in the autumn and traditionally burn effigies.
Keith Leech, from Hastings Bonfire Society, said members were "not against this particular project as such".
He said: "This is just another one in a long string of things that people are trying to foist upon us."
But Hastings Borough Council spokesman Kevin Boorman said: "Hastings Old Town is unique in lots and lots of ways and I think it's good that people have strong local opinions.
"I absolutely believe that this is right for Hastings Old Town.
"Clearly, not everyone agrees with me, but let's have a proper debate."
Alan Grieve, chairman of the Jerwood Foundation, said the plans had been "welcomed and supported" by the majority of Hastings residents and the council.
He said the project would "make a major and unique contribution to regenerating an historic and important site close to the Old Town and the Fishermen's Heritage site".
He added: "We have consulted widely and continue to meet representatives of local groups and the community. A public exhibition was held in May which was widely publicised.
"We can listen but cannot please everybody."
He said the gallery would offer an "outstanding collection" and the town would "benefit enormously". read more »
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Somewhere between Pollock and Pop, new art developed an allergy to the word spiritual unless it was attached to ethnicity. It was O.K. to make altars in galleries if you were Mexican-American — in fact, you were sort of required to — but if you were plain old American, no.
Yet on the fringes, where the most together thinking tends to take place, there was resistance to this bias. In the late 1960s the American poet Ishmael Reed coined the term Neo-HooDoo to describe an aesthetic that was devotional without being dogmatically religious, ritual-related without having prescribed forms, and rooted both outside and inside the Western mainstream.
Reed's concept, which riffed on African religious practices transmitted to the New World, embraced incantatory poetry, hypnotic popular music and art that was activist in an emotional, political and formal sense. Now it lends its name to a quiet, meditative, spare-to-the-point-of-thin-looking exhibition, "NeoHooDoo: Art for a Forgotten Faith," at the P.S. 1 Contemporary Art Center in New York.
The 30 artists in the show cover three generations and a wide swath of the Americas, from Brazil to Canada. Most are familiar from other shows on similar themes; more fresh faces would have been welcome. And although all the work is secular, some of it draws heavily on religious imagery.
Amalia Mesa-Bains, a Chicana artist living in California, has assembled a room-size altar adorned with family photographs, fragrant herbs, bottled elixirs and images of the Virgin of Guadalupe, on an art-as-healing model that she has been developing for years.
José Bedia, a practitioner of the Afro-Cuban religion Palo Monte, contributes a different kind of altar, "Things That Drag Me Along." An elaborated version of a piece he first created years ago, it has two parts. A painting of a double-headed deity fills a wall. Iron chains extend from its chest to a wooden boat sitting on the gallery floor and packed with symbolic objects — African, Christian and American Indian — as if for a journey.
Michael Tracy's "Cross of the Sacred Peace" (1980) is also a carrier of spiritual matter. A bulky wooden cruciform on a gilded base, it is encrusted with Mexican votive charms and pierced, like an African power figure, with energy-releasing spikes and swords.
Tracy, who lives in Texas near the Mexican border and whose work comes straight from a Roman Catholic upbringing, had a retrospective at P.S. 1 in the late 1980s. A lot of pe read more »
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Yet on the fringes, where the most together thinking tends to take place, there was resistance to this bias. In the late 1960s the American poet Ishmael Reed coined the term Neo-HooDoo to describe an aesthetic that was devotional without being dogmatically religious, ritual-related without having prescribed forms, and rooted both outside and inside the Western mainstream.
Reed's concept, which riffed on African religious practices transmitted to the New World, embraced incantatory poetry, hypnotic popular music and art that was activist in an emotional, political and formal sense. Now it lends its name to a quiet, meditative, spare-to-the-point-of-thin-looking exhibition, "NeoHooDoo: Art for a Forgotten Faith," at the P.S. 1 Contemporary Art Center in New York.
The 30 artists in the show cover three generations and a wide swath of the Americas, from Brazil to Canada. Most are familiar from other shows on similar themes; more fresh faces would have been welcome. And although all the work is secular, some of it draws heavily on religious imagery.
Amalia Mesa-Bains, a Chicana artist living in California, has assembled a room-size altar adorned with family photographs, fragrant herbs, bottled elixirs and images of the Virgin of Guadalupe, on an art-as-healing model that she has been developing for years.
José Bedia, a practitioner of the Afro-Cuban religion Palo Monte, contributes a different kind of altar, "Things That Drag Me Along." An elaborated version of a piece he first created years ago, it has two parts. A painting of a double-headed deity fills a wall. Iron chains extend from its chest to a wooden boat sitting on the gallery floor and packed with symbolic objects — African, Christian and American Indian — as if for a journey.
Michael Tracy's "Cross of the Sacred Peace" (1980) is also a carrier of spiritual matter. A bulky wooden cruciform on a gilded base, it is encrusted with Mexican votive charms and pierced, like an African power figure, with energy-releasing spikes and swords.
Tracy, who lives in Texas near the Mexican border and whose work comes straight from a Roman Catholic upbringing, had a retrospective at P.S. 1 in the late 1980s. A lot of pe read more »
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NEW YORK, NY - On January 29, 2009, Sotheby’s New York will offer a magnificent work by Joseph Mallord William Turner, The Temple of Jupiter Panellenius – one of the most important oil paintings by the artist remaining in private hands. The work, estimated to bring $12/16 million, has been in the private collection of prominent fine art dealer Richard L. Feigen for over twenty-five years, and was a highlight of the retrospective of the work of JMW Turner RA presented in 2008 by The Metropolitan Museum of Art in New York, The National Gallery of Art in Washington, D.C., and the Dallas Museum of Art. The Temple of Jupiter Panellenius, will be on view at Sotheby’s New York October 29 through November 3, followed by exhibitions in London, Paris and Los Angeles.
George Wachter, Vice Chairman and Co-Chairman of Sotheby’s Old Master Paintings Department Worldwide said, “This work is one of the most significant paintings by Turner to come on to the market in many years. It is remarkable not only for its magnificent beauty, but also for its scale, fantastic state of presentation and distinguished history."
The Temple of Jupiter Panellenius is one of only three oil landscapes concerned with ancient Greece painted by Turner, and is one of less than twenty significant paintings by the artist still held in private hands. First exhibited in 1816, when Turner was at the height of his popularity as a British landscape painter, the canvas was paired with an early 19th century depiction of the same scene illustrating the temple in ruin and was received with great acclaim. In this painting Turner skillfully indulges his passion for painting landscapes enlivened with historical significance. The picture depicts figures rejoicing in the foreground against a rising sun and the Temple to Jupiter Panellenius – approximately translated as Jupiter the God of all Greeks and located on the island of Aegina. Jupiter was also known as the bringer of light and the patron of communal life, and in the sunlight-infused picture Turner depicts a roman read more »
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Detectives say someone swiped an original painting of President George Washington from a home in Sarasota.
The work is by James Sharples, who made several portraits of Washington in the late 1700's.
While the actual value of the work is undetermined, experts say it would be very high. The owner says the portrait was likely stolen in early September.
Anyone with information should contact the Sarasota County Sheriff's Office District I Criminal Investigations Bureau at (941) 861-4900, or Detective Kim McGath at (941) 861-4928. They may also leave anonymous information on the Crime Stoppers Tip Line at (941) 366-TIPS (8477) or online at www.sarasotacrimestoppers.com or text "TIP109" and a message to CRIMES (274637). read more »
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The work is by James Sharples, who made several portraits of Washington in the late 1700's.
While the actual value of the work is undetermined, experts say it would be very high. The owner says the portrait was likely stolen in early September.
Anyone with information should contact the Sarasota County Sheriff's Office District I Criminal Investigations Bureau at (941) 861-4900, or Detective Kim McGath at (941) 861-4928. They may also leave anonymous information on the Crime Stoppers Tip Line at (941) 366-TIPS (8477) or online at www.sarasotacrimestoppers.com or text "TIP109" and a message to CRIMES (274637). read more »
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Detroit, MI - Nearly a year ago the Detroit Institute of Arts (DIA) reopened with a new look and philosophy that was all about helping visitors make personal connections with the art. The resulting larger crowds, increased media attention, awards, and recognition by other museums are evidence that we're making that connection. Annual attendance for the DIA averaged about 350,000 a year. But since last year's Nov. 10 gala grand opening, 532,273 visitors have explored the new DIA as of Oct. 26. Memberships are up by 23 percent, and there has been a significant increase in earned revenue from the Museum Shop, CaféDIA, group sales and third party events.
The six-year, $158 million, renovation and gallery reinstallation began in 2001, originally to make structural upgrades. Since this necessitated emptying the galleries and putting the art back when finished, Director Graham W.J. Beal saw this as a once-in-a-lifetime opportunity to rethink how the DIA presents its collection to the public, resulting in an unprecedented focus on the general museum visitor. Visitors can now find many more ways to engage with the art, as the DIA's renowned collection is presented in its historical, social, political, and spiritual contexts with improved labels, numerous interactive devices and a small number of high-tech, interpretive stations.
"Our goal was to engage visitors and help them find personal meaning in art," Beal said. "We broke with the time-honored and intellectually-based framework of art history and presented art in the context of the human needs it fulfilled. In the different kinds of labels and interactive stations, we avoid specialist terminology and employ straightforward language that directly connects the viewer to the art. Everywhere, we strove to give the visitor a sense of comfort and control."
The response to the new DIA has been overwhelmingly positive and enthusiastic. The comments below are typical of the feedback received from visitors.
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Visitors who come to the museum this fall and winter will find the art works in the Cannon and Operhall galleries reconfigured on a thematic basis, rather than being arranged by where the artists and works originated.
The Cannon gallery traditionally housed the museum's most significant collection of American art and the Operhall was devoted to European works.
Back in early September, as the pretty paintings on loan for Muskegon Museum of Art's "Sunlight in a Paintbrush" summer exhibition were packed and shipped to their owners, museum staffers gathered in the Bettye Clark Cannon gallery to discuss the space's new look and layout.
E. Jane Connell, director of collections and exhibitions and senior curator, stood over a folding table covered with snapshots of the museum's major masterpieces sorting them by look and theme. She actually spent part of her vacation studying them, trying to decide which ones would make the cut for the new exhibits in the Cannon and Ted and Joan Operhall galleries.
Three of the portable walls used for the summer exhibit had been painted -- from light green to light blue -- and rearranged in the center of the room. Along with scattered rolling carts and ladders, the art museum's most notable works sat propped against the walls around the gallery's perimeter.
The museum's key holdings have returned to prominent positions: Edward Hopper's "New York Restaurant" and Frederick William MacMonnies' bronze "Diana" sculpture are two of the first pieces people see as they walk into the Cannon gallery.
Other big names are displayed throughout, such as Elizabeth Catlett's bronze sculpture "Glory," John Steuart Curry's "Tornado Over Kansas," James Abbott Whistler's "Study in Rose and Brown," Pierre Bonnard's "La Porte De La Villa Du Bosquet Au Cannet," Winslow Homer's "Answering the Horn," and Henry Ossawa Tanner's "The Holy Family."
Installation a team effort
There is a lot of behind-the-scenes work that goes into building any museum exhibit -- from simple aesthetic considerations to constructing walls to making sure the works are hung straight and adjusting the intensity and direction of the lights.
"It keeps the look of the museum fresh, the visitor experience new and it also helps us as staff," Connell said. "We all start talking, then we start moving things around. Then we move them around some more. You start seeing relationships.
"There's a constant give and take. Some read more »
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The Cannon gallery traditionally housed the museum's most significant collection of American art and the Operhall was devoted to European works.
Back in early September, as the pretty paintings on loan for Muskegon Museum of Art's "Sunlight in a Paintbrush" summer exhibition were packed and shipped to their owners, museum staffers gathered in the Bettye Clark Cannon gallery to discuss the space's new look and layout.
E. Jane Connell, director of collections and exhibitions and senior curator, stood over a folding table covered with snapshots of the museum's major masterpieces sorting them by look and theme. She actually spent part of her vacation studying them, trying to decide which ones would make the cut for the new exhibits in the Cannon and Ted and Joan Operhall galleries.
Three of the portable walls used for the summer exhibit had been painted -- from light green to light blue -- and rearranged in the center of the room. Along with scattered rolling carts and ladders, the art museum's most notable works sat propped against the walls around the gallery's perimeter.
The museum's key holdings have returned to prominent positions: Edward Hopper's "New York Restaurant" and Frederick William MacMonnies' bronze "Diana" sculpture are two of the first pieces people see as they walk into the Cannon gallery.
Other big names are displayed throughout, such as Elizabeth Catlett's bronze sculpture "Glory," John Steuart Curry's "Tornado Over Kansas," James Abbott Whistler's "Study in Rose and Brown," Pierre Bonnard's "La Porte De La Villa Du Bosquet Au Cannet," Winslow Homer's "Answering the Horn," and Henry Ossawa Tanner's "The Holy Family."
Installation a team effort
There is a lot of behind-the-scenes work that goes into building any museum exhibit -- from simple aesthetic considerations to constructing walls to making sure the works are hung straight and adjusting the intensity and direction of the lights.
"It keeps the look of the museum fresh, the visitor experience new and it also helps us as staff," Connell said. "We all start talking, then we start moving things around. Then we move them around some more. You start seeing relationships.
"There's a constant give and take. Some read more »
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The Yale Center for British Art will integrate performance art into its galleries this week with the a new work by the British playwright Tim Crouch. England, the first show in the World Performance Project fall season, explores themes of art, medicine and wealth in an unconventional two-man show, the first half of which invites audience members to stand in the YCBA’s famous J.M.W. Turner collection as the actors respond to the art on the walls.
The play’s first act features the actors as docents, guiding the audience through the museum space while discussing the art on view and an upcoming heart transplant. The second act restores the traditional actor-audience relationship as the viewers watch the story unfold from the comfort of their seats in the gallery theater.
One of the unique aspects of the show is the intimacy afforded by the unconventional location. In the Turner Bay gallery, the first act will form a conversation with the artistic masterpieces, said Jane Nowosadko, YCBA program director.
“The Turners are signature pieces here at the center, so it’s really fabulous to highlight those as well as the space itself,” said Nowosadko. Curator Angus Trumbull had several conversations with the playwright about how best to incorporate the galleries unique art and architecture into the script, she said.
Crouch, who re-writes portions of the show to correspond to each new venue, said he was captivated by the location and the history of its architect, Louis Kahn. He said the designer’s immigrant past and personal philosophy resonated strongly with England’s themes of transplantation and implantation. These ideas, he said, have been particularly relevant in the past months as the show toured across America, a country famous for its immigrants.
One down side to the intimate venue is decreased ticket availability — the four Tuesday and Thursday night shows were sold out weeks in advance, with audiences capped at 30 to abide by gallery regulations. Rehearsal time was also a challenge. The cast and crew had only one marathon day of rehearsal to adjust to the new space when the gallery was closed on Monday.
WPP artistic director Emily Coates invited the show to Yale after seeing it premier at the 2007 Edinburgh Fringe Festival. After reading about the must-see show in local papers and hearing rave reviews, Coates said she waited outside for an hour hoping to get into the sold-ou read more »
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The play’s first act features the actors as docents, guiding the audience through the museum space while discussing the art on view and an upcoming heart transplant. The second act restores the traditional actor-audience relationship as the viewers watch the story unfold from the comfort of their seats in the gallery theater.
One of the unique aspects of the show is the intimacy afforded by the unconventional location. In the Turner Bay gallery, the first act will form a conversation with the artistic masterpieces, said Jane Nowosadko, YCBA program director.
“The Turners are signature pieces here at the center, so it’s really fabulous to highlight those as well as the space itself,” said Nowosadko. Curator Angus Trumbull had several conversations with the playwright about how best to incorporate the galleries unique art and architecture into the script, she said.
Crouch, who re-writes portions of the show to correspond to each new venue, said he was captivated by the location and the history of its architect, Louis Kahn. He said the designer’s immigrant past and personal philosophy resonated strongly with England’s themes of transplantation and implantation. These ideas, he said, have been particularly relevant in the past months as the show toured across America, a country famous for its immigrants.
One down side to the intimate venue is decreased ticket availability — the four Tuesday and Thursday night shows were sold out weeks in advance, with audiences capped at 30 to abide by gallery regulations. Rehearsal time was also a challenge. The cast and crew had only one marathon day of rehearsal to adjust to the new space when the gallery was closed on Monday.
WPP artistic director Emily Coates invited the show to Yale after seeing it premier at the 2007 Edinburgh Fringe Festival. After reading about the must-see show in local papers and hearing rave reviews, Coates said she waited outside for an hour hoping to get into the sold-ou read more »
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On October 30, 2008, ART FORUM BERLIN - the international fair for contemporary art presents for the 13th time a magnificent selection of galleries from Berlin, as well as national and international galleries, and opens its doors to collectors and lovers of contemporary art. In recent years, the constant growth of the fair's profile, and the focus on contemporary art, has enabled ART FORUM BERLIN to become Germany's leading art fair. 127 galleries from 26 countries, three fine art publishers, 13 institutions and 21 publishing houses from all parts of Europe, Asia, the USA, Central America and, for the first time, South Africa will show the current production of their stars and newcomers. New discoveries, exciting re-encounters with artists, spectacular stand presentations, unusual gallery concepts and - last but not least - the special exhibition accompanying ART FORUM BERLIN as well as the lounges designed by artists demonstrate for another year the exceptional position of the Berlin fair for contemporary art.
The proven will stay; the new will come. Still here is the A-Z tour of the galleries, made possible by a precise presentation in the bright, listed halls on the grounds of the Berlin Messe. A series of innovations enriches the programme. For the freestyle gallery-stands, the Berlin-based architect Roger Bundschuh has developed a new type of hall architecture. The PROFESSIONAL MONDAY for curators, art theorists and critics will take place for the fist time, on the last day of the fair. In addition, the Collectors' Programme will be extended to allow more contact between exhibitors and new collectors. A format full of surprises has been devised by Hans-Jürgen Hafner, curator of the special exhibition for ART FORUM BERLIN - "difference, what difference?" examines the model "exhibition", while focussing on the artwork as an object of desire.
As in previous years, more than half of the galleries come from abroad. Berlin - the gallery location in Germany - is represented by 28 galleries. There will also be exciting new encounters with exhibitors from Spain, Austria, Russia, India and, for the first time, South Africa. Strongly represented this year again are exhibitors from the Nordic countries. The growth of galleries particularly from the Benelux states is interesting, while the USA is generally represented by young, up-and-coming positions. At ART FORUM BERLIN, 31 galleries (24 %) are first-time participants. 25 projects with up to three read more »
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The proven will stay; the new will come. Still here is the A-Z tour of the galleries, made possible by a precise presentation in the bright, listed halls on the grounds of the Berlin Messe. A series of innovations enriches the programme. For the freestyle gallery-stands, the Berlin-based architect Roger Bundschuh has developed a new type of hall architecture. The PROFESSIONAL MONDAY for curators, art theorists and critics will take place for the fist time, on the last day of the fair. In addition, the Collectors' Programme will be extended to allow more contact between exhibitors and new collectors. A format full of surprises has been devised by Hans-Jürgen Hafner, curator of the special exhibition for ART FORUM BERLIN - "difference, what difference?" examines the model "exhibition", while focussing on the artwork as an object of desire.
As in previous years, more than half of the galleries come from abroad. Berlin - the gallery location in Germany - is represented by 28 galleries. There will also be exciting new encounters with exhibitors from Spain, Austria, Russia, India and, for the first time, South Africa. Strongly represented this year again are exhibitors from the Nordic countries. The growth of galleries particularly from the Benelux states is interesting, while the USA is generally represented by young, up-and-coming positions. At ART FORUM BERLIN, 31 galleries (24 %) are first-time participants. 25 projects with up to three read more »
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A woman passes by a sculpture of an open Koran. Sunni Islam's highest authority has approved a woman's right to fight back if her husband uses violence against her, Egypt's Al-Masry al-Youm newspaper has reported.
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An ambitious new exhibition at the Field Museum reassembles some fragments of a world that was shattered forever on Aug. 31, 1521.
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As many anxiously eye the daily rise and fall of stock markets around the world, some experts are advising their clients to look into alternative investments like fine art.
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Raunchy singer Katy Perry has donated a sculpture of her bust to raise money for a breast cancer charity.
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Talk about a once-in-a-lifetime experience. If the Cleveland Museum of Art's current exhibit, Artistic Luxury: Faberge, Tiffany, Lalique, doesn't fall into that category, I don't know what does.
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"The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions" at the Metropolitan Museum of Art in New York catches a monumental institution at a moment of major change.
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Mr Krens, with a budget of €96m (£76m) provided mostly by Basque regional authorities, paid more than the market value for the works, offering whatever price the artists demanded, a Basque regional MP who is examining the museum's records said yesterday....
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"Done right, a spire makes its leap so deftly and so inevitably that a skyscraper would seem incomplete without it. Done wrong, it's a clunky afterword, an unnecessary bit of embroidery, a vainglorious flagpole that's simply trying to set a record."...
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