Word: guggenheimers
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...Metropolitan Museum opens its new Lila Acheson Wallace Wing for 20th century art next week, New York City's role as the world's main showplace for modern painting and sculpture may fairly be said to have reached its saturation point. After the Museum of Modern Art, the Guggenheim Museum and the Whitney Museum, this is the fourth major institution on the island of Manhattan given over to collecting, showing, classifying and presenting ideas about the art of this century -- not counting the hundreds of commercial galleries and dozens of "alternative spaces" with which the city is studded...
...Angeles can manage to support two museums of modern and contemporary art, and Powell dismisses the idea that LACMA and MOCA will end up cutting each other's throats. "Will the Met's new wing of modern art detract from the Museum of Modern Art, the Whitney or the Guggenheim?" he asks. "No -- it just creates a more fertile environment." So it will, and the indications are that Los Angeles is the place where the old reflexive assumptions about the provincialism of the rest of America vis- a-vis New York are fated to be broken down at last...
Last week's impressive collections, including those of Robert and Ethel Scull and James Johnson Sweeney, former director of the Guggenheim Museum, are probably being sold now in anticipation of the new tax law, which, beginning Jan. 1, will raise the Government's take on a seller's profit. The high prices ! owe much to the decline of the dollar, which makes even a seven-figure painting seem like a bargain to wealthy Japanese and Germans, and to the scarcity of quality works on the market...
Grants from the Guggenheim and Rockefeller Foundations during the past seven years enabled Kozol to do the research that culminated in the writing of "Illiterate America," which was published last year...
...task of putting it together fell to an American curator, Margit Rowell, formerly of the Guggenheim Museum. Her speciality is constructivism, and she is nothing if not clear about her agenda. Of late, a great deal of scholarly energy has gone into displaying the continuities between 19th and 20th century art and correcting the myth that the modern art that mattered represented a wrenching break with the past. Without the culture of the salon and the Academy, no Matisse; you cannot imagine a work like Constantin Brancusi's Caryatid, 1940, without its triple root in the peasant woodcarvings...