Word: museume
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...Comprising 68 artists, from earnest Abstract Expressionists to punning Postmodernists, the show follows a similar pattern to the one seen in Bonn earlier this year, and commemorates the 70th anniversary of the Solomon R. Guggenheim Foundation, the New York-based art behemoth that has spread its museum tentacles to Bilbao, Berlin, Las Vegas and, perhaps next, Abu Dhabi. But what makes these five works stand out is not only the fascinating fingerprint of one of the 20th century's most influential collectors but the almost unbelievable logistics of bringing the works (conservatively valued at $15.3 million) by crane, boat, truck...
...steam, each of the works had to be wrapped in waterproof tar paper, thermally insulating polystyrene and shock-absorbent polyethylene before being packed in its own custom-built fireproof pine case. In Venice, the five boxes were lifted by crane onto a barge in front of the museum and borne to the port of Tronchetto, from where they were trucked to Frankfurt to join a cargo flight with about 50 crates from Guggenheim Museum Bilbao. Watching every inch of the way to Melbourne was Rosin-"kind of like a dog," he says. When his prizes were delivered...
...contemporary. It was back in New York, where she and then husband Max Ernst had decamped to escape the war, that she hit the jackpot. One of the young artists she set her sights on was a custodian and art preparator at her uncle's then-budding museum. She put him on a monthly stipend and encouraged him to explore his uniquely abstract style. "Jackson Pollock was Peggy's greatest achievement," Rylands says. "He was to Peggy what Kandinsky was to Solomon. She did everything...
Except the tourists. Even without their bright orange fanny packs and Texas accents (“Mercy bu-cups, garsone!”), they'd stand out by their total asexuality. They’re set on business; they'll get the most out of their two day museum-passes, and have no time for handholding, suggestive glances, and, above all, kissing. What's more, tourists often travel in families—not conducive to public romance...
...think of arthistory as something made chiefly by artists, and it is. But sometimes there are figures from related walks of life whose impact is no less important. One of those was John Szarkowski. For 29 years, starting in 1962, he was chief curator of photography at the Museum of Modern Art in New York City. In that role he turned out shows and books that powerfully influenced our understanding of what the camera could do. In particular he championed the groundbreaking work of Diane Arbus, Garry Winogrand, Lee Friedlander and William Eggleston, photographers who, as he wrote...