museumVIVIEWSEWS A quarterly newsletter for small and mid-sized art museums Summer 2008 FAKES, FORGERIES...

Unfortunately, effective legal protections Amazingly, forgers are always only one step INTELLECTUAL against art forgery are not automatic. The behind. responsibility of litigating against an art forger Other industries plagued by counterfeits PROPERTY usually rests with the private party who has have come together to staunch the flow of fakes. been injured; institutions or individual rights So must the art institutions and individuals who AND THE ARTS owners must formally register trademarks and want to preserve the public trust gather forces to by Joseph C. Gioconda, Esq. copyrights, and record them with U.S. Customs legislate, litigate, and educate. But first, they to receive protection. And when infractions must educate themselves about the wider dan- [Art forgery has become an epidemic, costing (read “thefts”) occur, attorneys and private gers from art fraud and forgery. Concerted collectors, museums, galleries—and the IRS— investigators are needed in civil litigations action will begin to make a difference. hundreds of millions of dollars a year. when law enforcement is disinterested. [Joseph C. Gioconda, Esq. is a partner Intellectual property laws have been effectively However, once properly protected, current at DLA Piper US LLP.] utilized to attack similar epidemics—fake luxu- federal trademark and copyright statutes allow ry goods, counterfeit pharmaceutical products, intellectual property owners to effect swift and unauthorized CDs/DVDs. The art world seizure and ultimate destruction of illicit goods. PHONY needs to collaborate and utilize the same laws In addition, the U.S. Customs Service is legally PHINGERPRINTS?? to combat the many fakes and forgeries that are empowered to detain, seize, and destroy glutting the market.] infringing products as they are imported into The matter of the “Matter Pollocks”—the the country. paintings that were found in a Long Island stor- Art forgeries are as old as art itself. But there To help itself against theft, the art commu- age locker by Alex Matter, the son pf Herbert is a growing sense in the art community that nity should be diligent in utilizing cutting-edge and Mercedes Matter who were close friends of current laws do not meaningfully combat the techniques. For example, new technologies Jackson Pollock—has more or less receded rising tide of spurious art. Due to technological such as embedding DNA in paint can help to from memory. In its place—nature despising a detect future forgeries of newly created art. developments such as the internet, online auc- Continued on page 3 tion sites, and the ease of international distribu- tion, the number of art forgeries is steeply on the rise. Art and antiquities of questionable authenticity now proliferate on a worldwide ...AND THE LAW and unprecedented scale. The production and mass distribution of ALI-ABA Misconduct, forged art hurts the legitimate art market: museums, galleries, collectors, artists, insurance HOLDS ANNUAL companies are defrauded and duped into over- Alleged or Real valuing forgeries. The same production and dis- CONFERENCE Conflicts of interest policies regulating tribution even robs the public treasury of tens board members and employees have come into of millions of dollars when tax deductions are The 36th annual conference on Legal Issues in play due to alleged misconduct among both taken for charitable donations of inauthentic Museum Administration, offered by the museum officials and board members. Acting items. Recent audits have detected thousands American Law Institute/American Bar Vice President, General Counsel, and Secretary of such donations. Association and sponsored at the J. Paul Getty Trust Lori Unfortunately law enforcement often places by the Smithsonian Fox suggested that museums art fraud and forgery low on the list of priorities Institution in cooperation write clearly stated policies to investigate. The rarity of criminal prosecu- with the American that cover trustees’ duties tions as well as the lack of severity in sentenc- Association of Museums, regarding museum business, ing has emboldened opportunistic forgers who took place in Scottsdale in the possibility of compro- are, by nature, sophisticated thieves constantly April. Museum staff mem- mised loyalty to the museum on the lookout for opportunities to copy any- bers, lawyers, and others, due to potential conflicts, and thing for a profit. constituted a gathering of how to resolve them. We can learn from experience with a similar 200-some participants. Possible conflicts of interest problem in the commercial world—the serious AAM President Ford W. on the part of trustees come threat posed by fake automotive parts, pharma- Bell opened the conference up frequently: a trustee could ceuticals, luxury goods and CDs/DVDs. As a with a statement about the be collecting the same art in result of lobbying efforts and collaboration, challenges facing museums which the museum is interest- intellectual property laws have been strength- today: tight government ed; a trustee could use inside ened and effectively utilized to attack the epi- budgets, the perception that information to purchase deac- demic of counterfeits of these commercial non-profit organizations cessioned art; a trustee could products. The art community, however, has not serve only the rich, and neg- use inside information to pur- been as diligent or aggressive in utilizing the ative press coverage about chase work directly from an existing intellectual property laws against art abuses, both perceived and artist before the museum forgeries. In order to address this problem, the real, by certain museums. announces a purchase which art establishment should develop meaningful Subsequent sessions dealt could drive up the prices for legal strategies that have teeth vis-à-vis a with ways of handling intellectual property, that artist’s work; a trustee could receive gifts relentless adversary. corporate governance, and conflicts of interest. from the museum or its business Continued on page 9

Top left: Thomas Rowlandson, Viewing at the Royal Academy (detail), c. 1815. Pen, ink, and watercolor over graphite on wove paper. In “Great British Watercolors,”Yale Center for British Art, CT Right: A.R. Valentien, Romneya trichocalyz (Hairy Matilija Poppy), c. 1908-18. Watercolor and gouache on paper. In “Albert Valentien’s Flora of California,” Indiana University Art Museum COLLEGE CORNER of fictions that have hardened into facts, GLOBAL EYES Asian Perspective moments that highlight the distinction by Nicole M. Roylance “Exhibiting Asian Art: A Curator’s View” between our ability to meet and read and the velocity at which we see and perceive. [In an effort to explore how global influences by Melissa Chiu, Director of the Museum at the Asia Society in New York City, followed Through their deliberate physical itineran- are reshaping art history and museum prac- cy, their concomi- tice, the Smith College Museum of Art (MA) Rampley’s address. Chiu discussed recent exhibitions at the Asia Society and their con- tant artistic prac- hosted the fifth Emily Hall Tremaine tices that restage Symposium, entitled “Global Eyes: New stant participation in and confrontation with globalization. Chiu spoke of the work of sev- performances in Ways of Seeing Art,” in conjunction with the black Atlantic colo- exhibition “African Beaded Art: Power and eral contemporary artists including Michael Joo, Ah Xian, Montien Budnma, Li Shan, nial history, these Adornment.” The slate of speakers represent- artists have created ed the perspectives of academics, artists, and Peter Peyer, and Saira Walsam. Chiu recog- nized that artists who ‘figurative fictions,’ museum profes- embodiments of sionals] recast tradition get more curatorial attention than imagined realities, . to articulate the he symposium those who continue tradi- T tions. self-authored sub- began with a jectivities that are keynote address borne of multiple by Matthew The Trans- identifications and Rampley, that pledge alle- Assistant Dean of national giance to their own the School of Arts internally defined and Media at the Experience cartographies.” University of Olu Oguibe, a Teeside in Nigerian-born artist and Middlesbrough, Associate Director of the Studying Mount Washington Glass Works, the United Institute for African Pitcher, c. 1875-1890. Regent pattern. Primitive In “The Brilliant period of American Kingdom. In his American Studies at the Cut Glass,” Mint Museum of Art, NC address, entitled University of Art “Whose Identity? Connecticut, spoke about Shelly Errington, Professor of Whose his own experience with Anthropology at University of California, Difference? globalization as an art Santa Cruz concluded the symposium with Reflections on historian and trans- “Globalizing Art from the Margins.” Postcolonial Art national artist, and how Errington spoke about the changes in imagin- Criticism,” he had been asked to ing “tribal” arts. First came “Authentic Rampley offered a Arnold Friberg, Mountie and Native American. make work as an Opaque watercolor on board. In “Seeing Red,” Primitive Art,” a discourse largely about arti- series of reflections Tweed Museum of Art, MN “African” artist. A recent United facts from former colonies and predicated on on the rise of a States citizen, placing his work with- ideas and a world situation that ended defini- postcolonial and global approach to art and in the context and questions of contemporary tively with “globalization.” New narratives, visual culture. He reviewed the current art history, Oguibe posed the question, “What new markets, and shifting national imaginar- understanding of “global art” and “cultural does it mean to make something ‘African’?” ies are now emerging, she asserted, with difference” by considering contemporary He also asked how scholars of the future will implications for how we imagine and study artists and exhibitions, primarily “Magiciens account for the art created today? arts and crafts made by peoples on the mar- de la Terre” at the Pompidou Centre in Paris gins of the global economic system. in 1989. He pointed out that religious art and art that embraces reactionary values are still The African [Nicole Roylance is Academic Programs and missing from the new global understanding Intern Coordinator at the Smith College of art practice. “For in attending to such art- Diaspora Museum of Art (MA)] works,” he said, “…we run up against real In her paper, “Destabilizing Figurative difference in its obstinate, irreducible other- Fictions: Globalization and Contemporary ness. This work cannot be easily absorbed Art from the African Diaspora,” Sarah Lewis, into the purview of global art without real Visiting Professor at the Yale School of Art ideological, social, religious and asks: Does the ethnic conflict being exposed in speed at which a raw and indigestible fashion. we can now meet And this is where art criticism, and see each theory, and history cease operat- other, in the con- ing within the comfortable text of globaliza- museumVIEWS world of the art gallery and tion, match the Editor: Lila Sherman touch on real cultural and social rate at which we Publisher: Museum Views, Ltd. differences that, with the onset have learned to 2 Peter Cooper Road, New York, NY 10010 of globalization, has become the read each other so Phone: 212-677-3415 FAX: 212 533-5227 most intractable political prob- that we might On the WEB: museumviews.org begin this dis- lem of our age.” Olivier Mosset, Untitled, 1969. Acrylic on canvas. museumVIEWS is supported by grants from the Rampley suggested that art In “John Armleder and Olivier Mosset,” Contemporary Art mantling Museum St. Louis, MO Horace W. Goldsmith Foundation historians turn to the field of process? She and Bloomberg. anthropology for guidance. He used artists David concluded by recommending that the frame- Boxer, Edouard Duval Carrie, Jean-Ulrick museumVIEWS is published 4 times a year: work of the art, the culture from which it Désert, Ellen Gallagher, Wangechi Mutu, and Winter (January 1), Spring ( April 1), Summer emerges, not the art itself, be subjected to Yinka Shonibare as case studies. In each (July 1), and Fall (October 1), Deadlines for more scrutiny. case, Lewis proposes “globalization has occa- listings and art work are November 15, sioned productive moments of destabilization February 15, May 15, and August 15.

2 FAKES, FORGERIES... continued from page 1 vacuum—comes the matter of another Long According to the theory, any work said to public money. Museum experts considered it “a Island couple, Ken and Kathy Parker, who pre-date World War II should not register the jewel in the collection.” The Queen paid a visit, believe that a painting given to them by Ken’s existence of these isotopes; if traces of them are especially to see it. In fact, reports Shaun father 20 years ago is a genuine Pollock—gen- found, the painting can be “definitively” Greenhalgh, “it was knocked up in calcite in less uine by virtue of a fingerprint on the back of the declared a post-1945 forgery. than three weeks and aged with tea and mud.” stretcher. Dr. Basner plans to begin the process of Next, in 2005, Assyrian reliefs caught Experts have examined the fingerprint and authenticating Russian avant-garde works dating Shaun’s eye. “I saw these panels. I just have to do disagree—one agreeing with from 1900 to 1930. Forgeries in the it for some reason,” he told police. But this time the Parkers, three who disagree hundreds began to appear in the an acute observer from Bonhams sniffed a decep- and think the print a forgery. 1960s, flooding the market in the tion: “My immediate reaction was, don’t make A New York designer, Thelma 80s and 90s. “The number of avant- me laugh….It looked like an Assyrian relief, but Grossman, tells yet another garde fakes out there today is unbe- not a genuine Assyrian relief. It was made of the story: She claims that she lievable, probably more than the wrong stone, and it was carved in a marginally bought the painting in the number of genuine works,” says wrong style….And one of the horses had a mod- 1980s from an unnamed artist Basner. ern harness.” working with a Brooklyn Finally the police in the Arts and Antiquities group who called themselves Unit at New Scotland Yard caught up. At the the Kopy Kats, and a year later FORGER Greenhalghs’ house they found evidence in abun- gave it to Ken Parker Sr. In dance of deception and fraud. addition, about four years ago FAMILY SAGA Yet, although they had amassed more than she told Ken, Jr., that the work The story, reported in detail in an £800,000, they lived in abject poverty. Asked why was not by Jackson Pollock. article by Judith Bumpus for The Art they had not spent some of the money, George The expert, Peter Paul Biro, Newspaper and documented in a pointed to a drawer. “In that drawer there I’ve got whose fingerprint authentica- film called The Artful Codgers, takes six pairs of socks I’ve never worn. What else do I tion has muddied the waters of place in England, in a small 50-year- need?” attribution, is a restorer from Rembrandt Harmensz van Rijn, A Since money could be eliminated as motiva- Beggar Seated on a Bank (Self Portrait), old family cottage in a suburb of Montreal. His history with 1630. In “Rembrandt’s Etchings,” tion for the forgeries, what was it that drove the Chrysler Museum of Art, VA Bolton called Bromley Cross. The Pollock fingerprints is legend. father George Greenhalgh (84), his Greenhalghs? The film about the family offers Some years ago he authenticated wife Olive (83), and two sons, Shaun (47) and some conclusions: George was a compulsive a Pollock print on the back of a painting bought George Jr. (51) were residents in a neighborhood story teller. Some 50 years ago he said he’d found at a thrift shop by Teri Horton, a California truck whose occupants thought them “respectable,” Stone Age arrow heads. An astute neighbor driver, for $5.00 (see the film Who the *&!@%!! “like ghosts, disappearing into their own reflected: “I thought, there’s no bloody flint Is Jackson Pollock). More recently, he found that world”—the garden shed. It was here, in a small around here.” a fingerprint on a painting in the Matter collec- space chock full of the tools to make forgeries, In Shaun’s case: “He did it because he could, tion was attributable to Pollock. In 2005, he pro- where the nefarious acts took place. because he was an artist who had been rejected. claimed that the Parker painting was authentic George did the selling; Shaun did the “art- He had a hatred of…the art market, and felt he after comparing the print on the stretcher to one work”—“I didn’t take art at school, even. I’m was rejected by it because he was from Bolton.” on a can of Devoe blue paint that Pollock is said amazed that they fooled anyone, because they Police were dumbfounded by the amount and to have used before his death. In addition, he didn’t fool me….I just look at books…then see if variety of his work: he turned out pastels, oil said that the print on Parker’s painting was iden- I can make them.” paintings, metalwork, carvings, antiquities, as tical to the one on Horton’s $5.00 Pollock. The film tells more of the story. London deal- well as abstractions on canvas and in three Most scholars reject his findings out of hand; er Peter Nahum reported the first deception in dimensions. some question his motives. A report from the 1990, when the Greenhalghs tried to sell him a Shaun was sentenced to four years and eight Fine Art Registry, which recruited its own painting at a price that he thought was too low. months in prison. George, a fraud to the end, experts to validate or invalidate Biro’s findings, (In fairness, he thought, he added something to came to court in a wheelchair claiming advanced concluded that the print on the paint can was “of their asking price.) age and disability. He received a suspended sen- no value for identification” and that comparisons The next item to come on the market through tence. Another neighbor commented: “I’ve never between prints from Pollock’s studio and the one the Greehalghs was a Roman engravers plate that seen him in a on the painting were inconclusive. they found in an 18th-century book of engrav- wheelchair.” They Another expert in fingerprint forgery and fabri- ings. With each piece came an “authenticating” were neighbors cation detection from the Arizona Department of provenance. About the engraving: George’s for 40 years. Public Safety agreed with Biro: the prints on the “grandmother used to polish it and never allowed Olive and George paint can and on the painting were identical. him to touch it.” It went on display at the British Jr. also received Why? Because the stretcher print had been Museum after passing the museum’s metal test. suspended sen- forged by means of a rubber stamp made from a And by 1995, the British Museum was flooded tences. The fami- cast taken from the paint can print. with works from the Greehalgh workshop. ly was, however, Turning their expertise to modern art, the fam- ordered to repay ily passed off a Gauguin ceramic—“the first that buyers of some of ATOMIC RESIDUE Gauguin ever made”—faun which no one had their fake paint- ever seen. The source: a sketchbook drawing in ings. Covering DETECTS FAKES the Louvre. It was sold to a London dealer and only partial reimbursement, The newest wrinkle in the forgery prevention then bought by the Art Institute of Chicago. A piece of sculpture was described by £363,707 was arena comes out of investigations of the effects ordered as of the nuclear explosions that were rife in the George to a Bolton Museum curator as “a stat- uette.” Says the narrator: “He didn’t know what it payment to the 1940s and 50s in the USSR. Elena Basner, a for- Bolton Museum mer curator at the State Russian Museum in St. was. It was under the stairs. It looked quite old. It Pam Ingalls, Ilene’s Kitchen, 2007. Oil on had been passed down through the family and he for the “Egyptian board. In “Pam Ingalls,” Jundt Art Petersburg has invented, with scientists, a new Amarna Princess”; Museum, WA technique to detect forgeries based on the fact thought it was worth about £500….If by any chance we weren’t interested in it, well, he’d use £37,975 to Sotheby’s for the “Gauguin sculpture” that nuclear explosions released isotopes among other objects; and £2,567 to the Henry (Caesium-137 and Strontium-90) into the air, it as a garden ornament.” Subsequently, the piece was identified as the sister of Tutankhamun, the Moore Institute. The total amount represented the which then permeated the earth’s soil and plant assets retrieved during the investigation. K life, and thus, through the natural oils used as Armana princess. Christie’s valued it at half a binding agents for paints, became embedded in million pounds. The museum struggled to raise all works of art created in the postwar era. the cash to buy it. The National Heritage Memorial Fund finally came up with £370,000 of 3 SUMMER BREAK ABROAD: Happenings Around the World RUSSIA the last time, Richard Meier’s Ara Pacis BEIJING Museum. The building (opened in 2006), on the London architect Jamie Fobert (designer in The new American embassy in Beijing, one banks of the Tiber, houses the “Altar of Peace,” 2006 of the Frieze tent in Regent’s Park, of the two largest in the world, opens in August built by Roman Emperor Augustus (63 BC-14 London) has reconfigured a 1920s bus garage in before the start of the summer Olympics with a AD) to celebrate the end of the civil war that Moscow, designed originally by Constructivist complement of artwork consistent with the col- brought him to power. It was excavated in the architect Konstantin Melnikov, transforming it lection of a major museum. Works, many new 1930s. The museum is threatened with destruc- into a gallery for contemporary art and culture. commissions or site-specific, by Jeff Koons, Cai tion by the city’s newly elected mayor— The Center for Contemporary Culture Moscow Guo-Qiang, Louise Bourgeois, Robert “Meier’s building [should] be scrapped,” and (CCC), will open in September with a retrospec- Rauschenberg, Betty Woodman, Martin Puryear, perhaps relocated outside Rome. tive of the work of native Muscovites Ilya and Maya Lin, Yun-Fei Ji, Hai Bo, Ellsworth Kelly, Emilia Kabakov, whose installations, paintings, Mark di Suvero, and others, will create a dra- In Florence, the Uffizi will redisplay its col- drawings, and models, some never before seen matic backdrop for the business of Chinese- lection of self portraits, said to be the largest in Russia, will be shown (through Oct. 14) in American diplomacy. (1,630 works) and earliest (started by Leopoldo two other venues as well—the Pushkin Museum de’Medici in 1661) collection of its sort in the and the M+J Guelman Gallery. world. Many of the works were hung cheek by GERMANY Russian-born American Ilya left Russia some jowl in parallel rows in the Vasari Corridor, a The Abteiberg Contemporary Art Museum in 20 years ago, which accounts for the implied covered elevated walkway (built in 1564 for Mönchengladbach, West Germany, inaugurates theme of the exhibition: the relationship of the Cosimo de’Medici) linking the Palazzo Vecchio its new extension “End,” built by local artist émigré artist to his or her native country. “We to the Palazzo Pitti across the Arno River. Gregor Schneider, in August. With its own selected works that we personally hope will A deteriorating exterior prompted the effort entrance, the new extension is totally dark inspire people to reflect on the past they (and to restore it and its windows (not the interior). inside. “It’s a black museum. Things which are we) had and to contemplate their present and Designed by Giorgio Vasari, architect, artist, and normally in a museum—light, white spaces, think about their future. We also put emphasis art historian, the walkway goes through the windows—will all be removed. It’s a black hole on the Utopian and idealistic ideas which always Uffizi, continues above a street on the bank of of a museum, an entrance into the unknown,” were dominating Russian and Soviet mentality,” the river, above the Ponte Vecchio and its still says Schneider. It will be on site for a year. says Emilia. present gold shops, past the Church of Santa Robert Storr, dean of the Yale University Felicita, and into the Boboli Gardens. A new collection of contemporary works can School of Art; Jonathan Fineberg, a professor at Hung chronologically, the paintings include be seen at the Hamburger Bahnhof in Berlin. Yale; Russian theorist Boris Groys; and critic the Italian masters, Lippi, Andrea del Sarto, Donated to Bahnhof by collector and heir to the Katja Degot, all of whom contributed to the four Tintoretto, Giordano, Carriera, Bernini, and Mercedes fortune Friedrich Christian “Mick” catalogues that will accompany the exhibition, many more. The earliest painting is dated in the Flick, the group includes paintings and large- will also take part in a symposium at CCC 1330s. Foreign artists’ work is hung after the scale installations, among them Bruce Nauman’s Moscow (Sept. 16-17). Other symposium partic- corridor crosses theArno: here are Rubens, Room with My Soul Left Out, Room That Does ipants will be Metropolitan Museum curator Rembrandt, Ingres, Velázquez, and others. Not Care and many others. Gary Tinterow, Tate Modern director Vicente Following those come the 19th-century and for- Because of his background—a family asso- Todoli, philosopher Mikhail Ryklin, art historian eign artists. In future, the 20th century will also ciation with the Nazis, a grandfather who sup- and curator Margarita Tupitsyn, and University be represented. plied the Nazis with munitions and was convict- of Chicago art historian Matthew Jesse Jackson. Only small groups are permitted, by ed of using forced labor in his factories—he New York-based Kabakov scholar Amei Wallach appointment, into the corridor. Escorted tours wandered Western Europe in search of a muse- will serve as moderator. must make bookings months in advance. um that would accept his gift. At length, he has However, the museum is considering setting settled on the Hamburger Bahnhof as the even- POLAND aside a large gallery in the main building to tual recipient of his huge collection, which he The first collection of contemporary Western accommodate many of its historical works, hung wishes to be kept together. art to be displayed in Poland was opened for densely in the style of the 18th-century. The In 2003, a seven-year agreement between public view on May 29 in a new department of result of such a plan would be to open the col- Flick and the Bahnhof commenced. The gallery the National Museum in Krakow. Some 50 works lection to all visitors to the museum. agreed to publish and display his entire collec- were loaned to the museum by the Cologne- tion. The next year, 2,500 of his works were on based Polish-born art dealer Rafael Jablonka, view, occupying almost the entire museum as and will be on display for 18 months, after TAIWAN One of the world’s largest permanent public well as an adjacent hall, modified by Flick for which Jablonka intends to make the loan perma- artworks, a 7200 sq. ft. backlit dome, was his purposes. nent. He also intends to add to the collection unveiled in the city of Kaohsiung, Taiwan, on over the course of the next few years. “This is March 7. The dome, called Wind, Fire, and SWEDEN just a first step,” he says. Time, is the culmination of five years intensive Stockholm’s Moderna Museet has a new The collection includes pieces by ten post- labor by artist Narcissus Quagliata. Some 100 Renzo Piano designed gallery called the Pontus modern artists, each of which will be housed in square feet in diameter, the dome was installed Hultén Study. Featured in it is a two-story auto- a separate room. They are: Nobuyoshi Araki, in Formosa Boulevard Square and forms the mated storage system that enables visitors to Miquel Barceló, Francesco Clemente, Eric focal point and hub of the new Kaohsiung Mass see, close up, paintings and drawings that are Fischl, Mike Kelley, David LaChapelle, Sherrie Transit System. not currently on view. Visitors select a work on Levine, Andreas Slominski, Philip Taaffe, and Every known glass technique was utilized in the system’s computer and watch as the piece is Andy Warhol. its creation: enameled, acid edged, fused, retrieved from storage compartments on the mouth-blown, laminated, and sand-blasted, as floor above. ITALY well as Quagliata’s own leading technique that Some 700 modern and contemporary works Milan will be the venue of a new museum bonded the 1,252 disparate glass panels. The from the Pontus Hultén collection are available dedicated to the art collection of Italian fashion backlighting uses over 9,000 daylight fluores- for viewing. designer Miuccia Prada. Large-scale, specially cent tubes and 48 computer-controlled dimmers. commissioned works by the likes of Anish Two other major glass art projects in other ABU DHABI Kapoor, Louise Bourgeois, Sam Taylor-Wood, stations—Emerald Luminata by Lutz Haufschild The purchasing power of the new Frank Francesco Vezzoli, and Thomas Demand are in the Airport Station and Canopy of Light by Gehry-designed Guggenheim Museum in Abu included in the contemporary art collection of Ron Wood and Christian Karl Janssen in the Dhabi is estimated to be “potentially unlimited,” over 500 works. Half-Cliff Mountain Station—are in the works according the Abu Dhabi Authority. In fact, Dutch architect Rem Koolhaas has been in Kaohsiung, one of Taiwan’s cities of light. despite an opening scheduled for some foour commissioned to convert a large industrial site years down the road, buying has already started. in the south of Milan into a permanent exhibi- Ditto for the Jean Nouvel-designed branch of tion venue scheduled to open by the year 2012. the Louvre (opening in 2012-13). Rush to Rome in order to see, perhaps for Continued on page 8 4 summerVIEWS California Ben Haim, Gershuni, Kadishman, of fine printmaking features 76 artists an art institution in the Acadiana region. Berkeley Art Museum, University of Neustein, Ozeri, and others. from 24 countries. K “Long Overdue: Book Renewal” (Sept. K 13) In a collaboration between the California, Berkeley “Trevor Paglen: K Museum of Outdoor Arts, Englewood Block Museum of Art, Northwestern Portland Public Library and Maine The Other Night Sky” (Sept. 14) Using K astronomical tools, photographer docu- “Chris Drury: Examining Earth Works” University, Evanston “Design in the College of Art, artists create new books ments the orbit of classified American (Nov. 1) Age of Darwin: From William Morris to from volumes no longer usable at the Frank Lloyd Wright” (Aug. 24) The influ- satellites. K “Bruce Conner: Mabuhay S angre de Cristo Arts Center, Pueblo K library. Gardens” (Aug. 3) Photographs of San ence of evolutionary theory on English ’Glitz & Glamour: Art Meets Celebrity” and American architecture, design, and Maine Francisco’s thriving punk art scene in the Period costumes designed for film and K late 1970s. decorative arts in the 19th and 20th cen- Portland Museum of Art “Georgia stage; art created by celebrities; movie turies. O’ Keeffe and the Camera: The Art of Irvine Museum, Irvine K “Abundance of posters. Identity” (Sept. 7) 60 photographs of her Color: California Flowers in Art” (Aug Krannert Art Museum, University of and 15 paintings by her. Photographers Connecticut Illinois, Urbana-Champaign K Through 23) California vistas, gardens, and Bruce Museum, Greenwich K include Adams, Steiglitz, Porter, Webb still lifes. July 27: “Landscapes of Experience and and Newman. K “Urban Seen” (Aug. 17) “Reclaimed: Paintings from the Imagination: Explorations by Midwest Collection of Jacques Goudstikker” (Sept. Paintings, prints, and photographs that University Art Museum, California State Latina/Latino Artists” Chicago-based document and idealize monuments, build- University, Long Beach K “Al Held: The 7) Heirs of the Amsterdam art dealer only Latina/Latino artists address their cultural K recently were able to reclaim from the ings, streetscapes, and neighborhoods. Evolution of Style” (Aug. 10) Second- identity; “Contrasting Architectural “Contemporary Collaborations: Artist and generation Abstract Expressionist’s works Dutch government 200 of approximately Visions: Piranesi and Brenna in 18th 1,400 works of art that were looted by the Master Printer” (Aug. 10) Prints created include watercolor studies for the stained Century Rome” by artists in concert with technical spe- glass windows installed in the U.S. Nazis. Thirty five of the paintings are on display. Indiana cialists at professional fine art print Courthouse in Orlando, Florida. K presses. “art/tapes/22” (Sept. 4-Oct. 19) The Indiana University Art Museum, Yale Center for British Art, Yale Bloomington K “The Art of Assemblage” newly restored videotapes from Maria K Maryland University, New Haven “Great British (Sept.) An exploration of its history. K K Gloria Bicocchi’s pioneering media stu- Watercolors from the Paul Mellon Walters Art Museum, Baltimore dio in Florence, Italy, which operated “Albert Valentien’s Flora of California” “Faces of Ancient Arabia: the Giraud and Collection” (Aug. 17) Gainsborough, (Aug. 17) Watercolor studies. from 1973-1976 as an international resi- Sandby, Cozens, Blake, Girtin, Turner, Carolyn Foster Collection of Southern dency for artists and Europe’s first pro- Constable. K “Joseph Wright of Derby in Midwest Museum of American Art, Arabian Art” (Sept. 7) Ancient sculptures, duction and distribution studio for art Liverpool” (Aug. 31) 18th century paint- Elkhart K “Modern Images of Native relief carvings, and inscribed blocks from video. The exhibition is curated in part- Southern Arabia (Republic of Yemen), 4th ings and drawings created in the artist’s Americans: The Art of Fritz Scholder” K nership with the Venice Biennale contem- home city, then Britain’s fastest-growing (Oct. 5) Paintings, sculpture, drawings, century BC to 4th century AD. “Sonya porary art archives. port and a cultural and economic center. lithographs, and mixed media works. Clark: Loose Strands, Tight Knots” (Sept. 21) A look at shifting notions of beauty Oakland Museum of California K District of Columbia Purdue University Galleries, West and forms of adornment through sculp- “Birth of the Cool: California Art, Design Federal Reserve System K Through Lafayette K “57/1: Artists from the ture, beadwork, photography, and video and Culture at Midcentury” (Aug. 17) Sept. 26: “Light of the Southwest: Premier Edition of the PMC Guild art, together with objects from the muse- Architecture, jazz, furniture design, deco- Paintings by Cynthia Littlefield” Arizona- Annual” (Aug. 1) The work of the 57 um’s collection. rative and graphic arts, and film all reflect born artist evokes the space and colors of Precious Metal Clay artists who appeared the post-World War II dynamic of south- K Washington County Museum of Fine the desert landscape; “Selected Paintings in the 1st edition of the annual. K ern California in the 1950s. from the Kelly Collection of American Through Sept. 2: “L’il Heads, Too” Small Arts, Hagerstown Through Aug. 17: “Pastels from the Permanent Collection”; Palo Alto Art Center K “Nathan Illustration” Images that appeared in mag- portraits; “No Danger Airplane Show” azines, novels, and newspapers in the Paper airplanes by artists from the U.S. “The Iliad and the Odyssey: Paintings by Oliveira: The Painter’s Bronzes” (Sept. 7) James Robert Stewart” Large-scale paint- First survey of the painter’s sculpture. early part of the last century. and Europe that call attention to the bene- K fits of cultural interchange over violence. ings focus on the epic narratives. K Textile Museum K Through Sept. 18: “Ellen Lanyon: A Wonder Production” Crocker Art Museum, Sacramento K “The Language of the Nude: Four “The Finishing Touch: Accessories From Iowa (Aug. 10) Linking art and nature. the Bolivian Highlands” Woven and knit- Figge Art Museum, Davenport K “When “Alluring Locales” (Aug. 24) The beauty Centuries of Drawing the Human Body” K (July 27) Depictions of the ideal body ted belts and bags made in the early to Gold Blossoms: Indian Jewelry from the of far-off cities and exotic places. “Art from the early 16th century in Italy to the middle 20th century with handspun wool Susan L. Beningson Collection” (Aug. Glass of the Golden Age” (Sept. 7) late 19th century in France. yarns; “Blue” The creation and signifi- 24) Rings, anklets, earrings, necklaces, Glassware created in the late 19th and cance of the color on textiles produced hair pendants, ivory combs, and jeweled early 20th centuries. K “76th Annual San Francisco Museum of Modern Art across time and place, with particular crowns, primarily from South India, dat- Cumberland Valley Artists Exhibition” K “Frida Kahlo” (Sept. 16) Portraits, alle- emphasis on contemporary artists’ use of ing from the 17th through 19th centuries. (Sept. 28) Juried show. natural indigo dyes. gorical paintings, and still lifes. Kansas Massachusetts Cantor Arts Center, Stanford University, Florida Ulrich Museum of Art, Wichita State Institute of Contemporary Art, Boston Stanford K “Spared from the Storm: Vero Beach Museum of Art K “Florida University, Fairmount K “Larry K “Anish Kapoor” (Sept. 1) Sculptures by Masterworks from the New Orleans Visual Art Fellowship Exhibition: 2006” Schwarm: Greensburg After the Storm” the British artist, using stone and bronze, Museum of Art” (Oct. 5) Paintings, draw- (Sept. 21) Paintings, ceramics, photogra- (Aug. 10) Prompted by a middle-of-the- as well as newly applied forms of alu- ings, and sculptures from late 16th to phy and video by recipients of the 2006 night phone call from his parents, minum, pigment, enamel, resin, polymer, mid-20th century: Boucher, Kandinsky, award. K “Ecstasy: The Mystical Schwarm hurried to his hometown, and PVC. K “Momentum 11: Nicholas Miró, Monet, O’Keeffe, Picasso, Pollock, Landscapes of Walter Anderson” (Sept. 7) checked on his family, and began a series Hlobo” (Oct. 26) South African artist’s Renoir, Renoir, Sargent. Tiepolo, Le Watercolors of Horn Island off the of photographs the morning after the dev- works on paper, sculpture that harnesses Brun. K “A Decade of Collecting” (Aug. Mississippi coast. astating tornado of May 4, 2007. found materials, and performances. K 16) Highlights from the museum’s collec- “Sandra and Gerald Fineberg Art Wall: K Idaho Salina Art Center K “Leaded: The Dave Muller” (Oct. 12) Los Angeles- tion. At the Green Library: K “Experiments in Navigation: The Art of Boise Art Museum “Frederic Materiality and Metamorphosis of based artist creates a new mural incorpo- Remington Makes Tracks: Adventures Graphite” (Aug. 10) Contemporary artists rating a timeline of Rock music from the Charles Hobson” (Aug.17) Artist’s books K and preliminary works. and Artistic Impressions” (Aug. 24) utilize graphite in their two- and three- 50s to the 70s. “MK Guth: Ties of Protection and dimensional work. Safekeeping” (Sept. 14) K “Gerri Sayler: Cape Cod Museum of Art, Dennis K Colorado K Fine Arts Center, Colorado Springs K Ad Infinitum” (Oct.) Wichita Art Museum “The Art of “Sam Feinstein (1915-2003): A “Pablo Picasso: Etchings: 1966—1971” Jerry Buchanan (Sept. 28) Paintings by Retrospective” (July 27) From realism (Sept. 14) Imagery that evokes figures Illinois Wichita native. through expressionism to monumental Museum of Contemporary from the past as well as from a pantheon Louisiana abstract paintings. of favorite painters. Photography, Columbia College, Chicago K “Beyond the Backyard” (Aug. Hilliard University Art Museum, DeCordova Museum, Lincoln K K Center for Visual Art, Metropolitan 23) Group show zooms in on outdoor Lafayette Through Sept. 6: “We the “Moving Through New England” (Oct. State College of Denver K “Changing spaces in which people spend leisure People, To Form a More Perfect Union: 14) Paintings, photographs, prints, pas- Identity: Recent Works by Women Artists time, from the backyard to city parks and the Promise, the Challenge” Organized by tels, and watercolors from the museum’s from Vietnam” (Aug. 2) Drawings, paint- family farms. the School of Architecture and Design collection. ings, photography, sculpture, and video. around the concept of the U.S. Northern Illinois University Art Constitution; “Forty Works for Forty Peabody Essex Museum, Salem K Mizel Museum, Denver K “Israel at 60: Museum, DeKalb K “Global Matrix 11” Years” This summer the museum cele- “Wedded Bliss, the Marriage of Art and Art Blue & White” (Sept. 11) Lachman, (Aug. 28--Oct. 3) Contemporary review brates its evolution over four decades as Ceremony” (Sept. 14) Spanning three

5 Nathan Oliveira, Head One (detail), 1982. Bronze. In “Nathan Oliveira,” Palo Alto Art Center, CA summerVIEWS continued

centuries: the wedding ceremony as an and paintings of industrial and technologi- sive surviving group of colonial American Through Sept. 28: “West African impetus for the creation of art in cultures cal subjects. K “Fabulous Fiber–A Juried portraiture. K “Art, Image and Warhol Masquerade: Photographs by Phyllis around the world. Exhibition” (Sept. 21) Unique approaches Connections” (Aug. 3) Seven artists Galambo”; “Africas: Photographs from the to fiber arts. inspired by Warhol’s themes and tech- Permanent Collection” K “Curse of the Michigan niques: Kass, Katz, Lahav, Rolston, Black Gold: 50 Years of Oil in the Niger University of Michigan Museum of Art, Museum of the American-Hungarian Shahn, Sperber and Wayne. K Delta” (Sept. 1) K K Ann Arbor “Paul Outerbridge: Color Foundation, New Brunswick “Magyar “Action/Abstraction: Pollock, de Kooning, Photographs from Mexico and California, Grafika: Hungarian Posters, Advertising and American Art, 1940-1976” (Sept.21) North Carolina K Circa 1950” (Sept. 7) Southern California and Ephemera” (Sept. 14) Commercial, Artists who helped transform perceptions Mint Museum of Art, Charlotte “The and towns just south of the Mexican border. movie, travel, and sports posters from the of art after World War 11, when the center Brilliant Period of American Cut Glass” 1910s through the 1980s. of the art world shifted from Paris to (Aug. 17) Punch bowls, trays, vases, Kresge Art Museum, Michigan State stemware and decanters made between K New York. University, East Lansing Through Aug. New York 1880 and the outbreak of WWI. K 1: “Silk Road to Clipper Ship: Trade, University Art Museum, State University Metropolitan Museum of Art, New York Through Sept. 14: “Quiet Spirit, Skillful K Changing Markets, and East Asian of New York, Albany “Steve City K Through Sept. 1: “Framing a Hand: The Graphic Work of Clare Ceramics” How foreign trade and chang- DiBenedetto: Edge Dwelling” and “Keith Century: Master Photographers, 1840- Leighton” Wood engravings of pre-indus- ing domestic markets stimulated innova- Edmier: &” (Sept. 21) Concurrent shows 1940” Photography’s first 100 years trial life and labor; “Coming Home: tions in Chinese, Japanese, and Korean of two New York-based artists with a through the work of key figures—they’re Selections from the Schoen Collection” pottery over the course of a thousand shared interest in popular culture and sci- all included; “Superheroes: Fashion and American Scene painters depict the years; ” Works on Paper Gallery: Andy ence fiction. Fantasy” The symbolic and metaphorical changes between WWI and WWII: Warhol Photographs.” I slip Art Museum, East Islip K “Site associations of fashion with comic strip Benton, Curry, Gwathmey, Shahn, Minnesota Specifics ’08” (July 27) Installations and heroes, movies, avant-garde haute couture, and others. Tweed Museum of Art, University of mixed media work. K “A Passion for and high-performance sportswear; “Radiance from the Rain Forest: W aterworks Visual Arts Center, Minnesota, Duluth K “Seeing Red: The Pixels” (Sept. 7) Digital art. K Featherwork in Ancient Peru” A 2,000- Salisbury Through Sept. 6: Potlatch Collection of Royal Canadian K “Suspension: Color and Light” Mixed Mounted Police (Mountie) Illustrations” Heckscher Museum of Art, Huntington year-old tradition explored. “Anatomy K media wall hangings; “Embroideries”; (Sept. 7) Images of the Mounties, used for “The Heckscher Museum of Art of a Masterpiece” (Aug. 10) Details of Rediscovered: From Lucas Cranach to Chinese paintings enlarged in photographs “Domestic Goddess” Mixed media sculp- over 75 years in ads for the Northwest tures of empty dress forms. Paper Company. Olafur Eliasson” (Sept.) Celebrating its to show what makes each a masterpiece. reopening after a year in rehab, the muse- K Through Sept. 21: “J.M.W. Turner” K Ohio Goldstein Museum of Design, St. Paul um is strutting out a sampling of every First retrospective in the U.S. in over 40 Dayton Art Institute K “Ken Butler: “Sportswear to Streetwear: American aspect of its collection: expect to see Old years; “Art of the Royal Court: Treasures Hybrid Visions” (Aug. 10) Playable Innovation” (Oct. 26) 20th century inte- Masters, 19th-century landscapes, in Pietre Dure from the Palaces of musical instruments made from flash- gration of women’s athletic apparel into American Impressionists, 20th-century art Europe” Hard-stone (pietre dure) carvings lights, brooms, clocks, and other K mainstream fashion. “Techno Textiles: and photography, and their most famous from agate, lapis lazuli, and other semi- mundane objects. Inner Space to Outer Space” (July 27) work, returning after two years of conser- precious stones, a technique developed in New developments in textile engineering vation and exhibition at the Metropolitan Italy in the 16th century which spread Taft Museum of Art, Cincinnati K and fabric uses, from medical applications Museum of Art, George Grosz’s Eclipse of through Europe. K “Jeff Koons on the “Small Paintings” (Aug. 17) 18th- and to space travel. the Sun, 1926. Roof” (Oct. 26) The rabbit and other 19th-century mini art from France, sculptures create a sensation that competes Holland, Belgium, and the U.S. K “Views Mississippi Americas Society, New York City K with the view. K “Medieval and from the Uffizi: Painting the Italian K Lauren Rogers Museum of Art “Between Observation and Intervention: Renaissance Treasures from the Victoria Landscape” (Oct. 12) The evolution of “David Hayes: Sculpture” (Aug. 31) The Painted Photographs of Melvin and Albert Museum (Aug. 17) The landscape painting over three centuries: Out-of-doors. Charney” (July 31) Images in pastels Carolingian ivory cover of the Lorsch Botticelli, Guercino, Poussin, Lorrain, Missouri and paint overlaid on printed images Gospels, an ivory statuette of the crucified Canaletto, and others. of the city. Christ by Giovanni Pisano, Donatello’s Contemporary Art Museum, St. Louis K Oklahoma “John Armleder and Olivier Mosset” bronze Putto with Fish, and a pair of gilt- Guggenheim Museum, New York City K bronze statuettes of prophets by Huber Sherwin Miller Museum of Jewish Art, (Aug. 3) Conceptual artists react against K “Louise Bourgeois” (Sept. 28) Full-career Gerhard.K “Photography on Tulsa “Kristallnacht: The Night of the information saturation of the current Crystal Death” (Aug. 10) Intaglio vitreo- visual culture. retrospective (paintings, works on paper, Photography: Reflections on the Medium and sculpture) organized in association since 1960” (Oct. 19) How artists have graphs on paper that show Germany in the K with Tate Modern, London, and Centre directed the camera toward photography throes of the infamous Nov. 9, 1938 Springfield Art Museum “Watercolor K U.S.A. 2008” The 47th annual national Pompidou, Paris. K “Imageless: The itself, its claims to objectivity, and its ties pogrom against its Jews. The Jewish competitive exhibition of aqueous media Scientific Study and Experimental to consumer culture. Graphic Novel” (Aug. 17) Original works painting. Treatment of an Ad Reinhardt Black of three generations of pioneering graphic Painting” (Sept. 14) Conservation research Museum of Modern Art, New York City novelists. K “Home Delivery: Fabricating the Montana study that includes experimental restora- K Paris Gibson Square Museum of Art, K Modern Dwelling” (July 20-Oct. 20) Five Oklahoma City Museum of Art tion techniques. Through Sept. 8: “Roman Art from the Louvre” (Oct. 12) Great Falls K “Free Rein: Recent Work by “Selections from the Collection: New architects show full-scale, prefabricated Bill Drum and Carol Spielman” (Aug. 2) houses in the museum’s outdoor space. K Sculpture, sarcophagi, marble busts and York in the 1940s” A gathering of works reliefs, bronze and terracotta statuettes, The Horse—on canvas and in sculpture. K by artists who were working or showing “Dalí: Painting and Film” (Sept. 15) An “Rudi Dietrich: Echoes” (Aug. 9) Digital exploration of the central role of cinema jewelry, glass vessels, mosaics, fresco in New York during the 1940s: Baziotes, painting, and silver pieces from Pompeii, images. K “Bill Stockton: A Calder, Gottlieb, Hofmann, Kline, Lam, in Dalí’s work. Retrospective” (Sept. 13) From early 1st to 6th centuries. Matta, Pollock, and Rothko; “Toward K Modernist paintings to Bill’s drawings of Abstraction: Work on Paper from the Rubin Museum of Art, New York City Oregon the North-Central landscape. Collection” A selection of works that fol- “Buddha in Paradise” (Aug. 18) Paintings Museum of Contemporary Craft, lows the course of the early twentieth-cen- evoke concepts of paradise in Tibetan Portland K “Glass: A Site-Specific Montana Museum of Art & Culture, Buddhism. K “Nepal in Black and White: University of Montana, Missoula K “The tury avant-gardes spanning Cubism to Installation by Melissa Dyne” (Aug. 10) Orphism, Expressionism, Der Blaue Photographs by Kevin Bubriski” (Oct. 13) Industrially produced pane of skyscraper Poindexter Collection” (Aug. 16) The product of 35 years of visits to Nepal. Contemporary American painting: de Reiter, Dada, and the Bauhaus, and culmi- glass mounted on a wall slowly bends Kooning, Gorky, Kline, Diebenkorn, nating with Surrealism. Pelham Art Center K “Some Sunny Day: under its own weight, changing the light’s reflection over time. K “Emergent Forms” DeNiro, Sr. International Center of Photography, The Golden Age of American Sheet K Music” (Aug. 15) (July 31) Works by glass artists, from Missoula Art Museum K “Gaylen New York City. Through Sept. 7: sculpture to functional tableware. Hansen” (Aug. 16) Three decades of work “Heavy Light: Recent Photographs and Loeb Art Center , Vassar College, Video from Japan”; “Bill Wood’s Poughkeepsie K “Facebook: Images of Pennsylvania by painter based in southeastern K Washington. Business” Photo record of life in post- People in Photographs from the Allentown Art Museum “The Wedding WWII Fort Worth Texas from the Bill Permanent Collection” (Aug. 10) The of Cupid and Psyche and The Council of New Jersey Wood Photo Company; “Arbus, Avedon, development of the photographic portrait the Gods” (Aug. 3) 17th-century German Monmouth Museum, Lincroft K “Rick Model: Selections from the Bank of from the 19th century through today: engravings that reproduce Raphael’s fres- Buttari—Oil Paintings” (Aug. 10) One of America La Salle Collection. Sander, Evans, Arbus, Sherman, Avedon, co design made a century earlier in Rome. K K a New Jersey Emerging Artist Series. K Dijkstra, among others. Through Sept. 7: “William Wegman: “Transforming Heaven and Earth: Artistic Jewish Museum , New York City Fay” Photos of his canine muse, Fay Ray; Visions of Technology” (Aug. 3) Murals “Levy-Franks Family Portraits” (through George Eastman House, Rochester K “Linda Lee Alter: A Life in Art” Early September) A portion of the most exten- 6 fiber art, paintings, metal works, and book 1970s. K “Richard Haas: Print and Utah sculpture, videos, large-scale watercolors, illustrations. Preservation (Sept. 14) Documenting Brigham Young University Museum of and collaged photographs. K “Josiah urban architecture. Art, Provo K “Masterworks of Victorian McElhany: The Last Scattering Surface” Berman Museum of Art, Ursinus (Aug. 17) Hand-blown glass, chrome-plat- K Art from the Collection of John H. College, Collegeville “In the Moment: South Carolina ed aluminum, rigging and electric lighting K Schaeffer” (Aug. 16) Paintings and Paintings by Richard Goldberg” (Aug. 17) Gibbes Museum of Art, Charleston drawings. in a spherical sculpture. K “Matthew Self-taught artist is a retired ophthalmolo- “Landscape of Slavery: The Plantation in Buckingham: Play the Story” (Sept. 21) gist/surgeon who lectures on the impact of American Art” (April 2) Paintings, works Utah Museum of Fine Arts,e Salt Lak Film, videos, and photography that K eye disorders on perception. on paper, photographs, mixed media, and City K “Monet to Picasso” (Sept. 21) address social and political issues. “Everything I See is New & Strange: A installations, many by African-American Paintings, drawings, and sculptures by the Retrospective Exhibition of Walter Inglis artists. luminaries of Impressionism, Post- Jundt Art Museum, Gonzaga University, Anderson,” (Aug. 24) A love affair with K Impressionism, Dadaism, Cubism, and Spokane K “Pam Ingalls: Ah Life!” nature shown in watercolors, drawings, Columbia Museum of Art “Carolina Surrealism. K “A Fragile Empire: Roman Collects” (Aug. 17) Private collections by (July 31) Brightly colored interiors oils, block prints, ceramics, and carvings. Glass” (Aug. 3) Large bowls from Egypt and portraits. South Carolinians: paintings, works on and Syria, a container for kohl, a sprinkler Westmoreland Museum of American paper, sculpture, furniture, decorative arts, K for scented oils, and more. Wisconsin Art, Greensburg “Painting in the United and photographs. Kenosha Public Museums, Kenosha K States” (Oct. 19) Reconstruction of a sam- K K Salt Lake Art Center, Salt Lake City “Wisconsin Pottery” (through July) Early pling of annual exhibitions organized by Greenville County Museum of Art “Present Tense: A Post-337 Project” (Sept. K Through Sept. 28: “Masters of Watercolor: Wisconsin ceramics “Living Planet” the Carnegie Institute in Pittsburgh (now 27) Local artists, amateur and profession- (Sept. 14) New works created by Carnegie Museum of Art) from 1943 to Andrew Wyeth and His Contemporaries” al, work together on new works and instal- The Man and those who influenced him artist/members of the Lemmon Street 1949 to replace the Carnegie International lations to update the original “337 Gallery. exhibition that was suspended during early on—Benton, Hopper, and Project,” the community art project that World War II. K “Bill Wade: Waterfall Burchfield; “Joshua Shaw: A Paradise of was its predecessor. Charles Allis Art Museum, Milwaukee K Spirits” (Aug. 24) Black and white photo- Riches” Landscapes of the South by “Journey from the Secular to The K graphs show the flow of water over rocks British-born Shaw. Through Oct. 5: Virginia Spiritual: Works by George McCormick and precipices. K “Intimate Landscapes: “Stone Cold Classics” From the collec- University of Virginia Art Museum, Sr.” (July 27) Woodcarvings and metal The Gouache Paintings of Thomas tion: works that show the development of Charlottesville K “John Toole: Itinerant sculptures. K “At a Moment’s Notice: Paquette” (Oct. 19) Two by four inch American art; “Jasper Johns: Image Painter” (Aug. 9) Portraits painted in Photographs by John Heymann” (Sept. 21) paintings, often translated by the artist Duplicator!” Exploring the infinite possi- Virginia in the late 19th century. K K “Rituals & Meditations: Works by onto larger canvases. bilities of printmaking; “William H. “Himalayan Art from the Collection” Richard Bolingbroke and Imari Bowls Johnson” The artwork of this modernist (Aug. 3) Tibetan tangkas, paintings used from the Permanent Collection” (Sept. 14) K Philadelphia Art Alliance Through African-American native of South for teaching and meditation. Paintings inspired by trips to Asia. Aug. 17: “Paper (space)” A survey of East Carolina; “Andrew Wyeth: The Greenville Coast artists who use paper not only as a Collection” Paintings of people and places Danville Museum of Fine Arts K Lenné Kohler Arts Center, Sheboygan K support for paint or pencil, but also as a in Wyeth’s life K “Suitcase Paintings” Nicklaus-Ball” (Aug. 24) Painted ostrich Through Aug. 3: “Jens Gussek: Mountains sculptural medium; “New Work by Jolynn (Aug. 24) Abstract Expressionism, small- eggs ornamented with vintage and cos- of Destiny” Slip-cast ceramic images of Krystosek” Three separate bodies of work sized. tume jewelry. K “New Harmonies: prominent Alpine peaks such as the include floral relief carvings in wax, floral Celebrating American Roots Music.” Matterhorn; “Spielplatz” Ceramic sculp- paper cutouts, and watercolor and multi- Tennessee (Aug. 24) Freestanding kiosks with audio tures; “New Now: Recent Gifts from K media renderings of exotic fowl; “John Knoxville Museum of Art “Size and interactive components. Arts/Industry Artists” Works by artists Matters: XS—Recent Small-Scale Clark: Perspectives in Buoyancy” Chrysler Museum of Art, Norfolk K given access to industrial processes and Paintings” (Aug. 24) Contemporary artists materials not available to them in their K “Rembrandt’s Etchings: The Embrace of The Print Center, Philadelphia “Prints explore the expressive possibilities of own studios. K “American Masterpieces” K Darkness and Light” (Aug. 17) The mas- by Benjamin Edwards” (Aug. 2) “The small-scale painting. “Mary Lee (Aug. 2) Works in the center’s collection Triumph of Democracy: Inside the Studio: Bendolph, Gee’s Bend Quilts and Beyond” ter’s career in printmaking, from the col- K lection of the Museum of Fine Arts, by artist/environmentalists. “Vested Benjamin Edwards” Digital prints includ- (Sept. 21) Twelve quilts created by Interest” (Sept. 7) Seventeen artists who ing several studies relating to a recently Bendolph and family in Gee’s Bend (AL). Boston. K Through Aug. 31: “Prints from the David and Susan Goode Collection” A use dress to investigate issues of personal completed, epically scaled public commis- interest. K “Under Surveillance” (Sept. sion, “The Triumph of Democracy.” K Frist Center for the Visual Arts, wide variety of artists and techniques in a Nashville K “Tiffany by Design: The display ranging from the early 20th centu- 28) Viewers sit while a camera installation “82nd Annual International Competition: conveys their every move onto flat screens Photography” (Aug. 2) Neustadt Collection” (Aug. 24) Lamps ry to the present; “Ansel Adams: made by Tiffany Studios between 1900 Photography” The Yosemite and the Sierra in the gallery. K Institute of Contemporary Art, and 1925. “Tennessee Adult Artists with Nevada mountain ranges. Leigh Yawkey Woodson Art Museum, K Philadelphia “Trenton Doyle Disabilities” (Sept. 14) A selection from Wausau K Through Aug. 24: “Steam K University of Richmond Museums, Hancock—Project Space and Ramp statewide submissions. Through Sept. Power: Railroad Photographs by O. Project” (Aug. 3) Wallpaper installation on 21: “Color as Field: American Painting, Richmond K At the Robins Gallery of Design from Nature “Hester Bateman, Winston Link” The Norfolk and Western the ramp and drawings in the space. 1950-1975” Frankenthaler, Louis, Noland, railway in Virginia, West Virginia, Rothko, and Stella, among others; “Shades Queen of Silversmiths: Eighteenth Century English Silver” Silversmith’s Maryland and North Carolina, 1955-1960; Frick Art & Historical Center, of Gray: Four Artists of the Southeast” “Unknown Bridges: Pencil Drawings by Pittsburgh K “A Panorama of Pittsburgh: The return of grisaille. widow takes over husband’s small busi- ness and turns it into thriving family work- Terry Miller” Abstract and geometric man- Nineteenth-Century Printed Views” made bridges juxtaposed with images of (Oct. 5) Texas shop. Dallas Museum of Art K “On Kawara: animals and birds; “Hidden Designs: Pittsburgh Filmmakers/Pittsburgh 10 Tableaux and 16,952 Pages” (Aug. 24) Washington Sculpture by Wendy Ross” Abstract weld- Center for the Arts K “2008 Biennial” Paintings, drawings, and books that mark Maryhill Museum of Art, Goldendale K ed-steel constructions that draw on (Aug 24) A mob of artists representing the time in various ways. K “Making it New: The Maryhill Outdoor Sculpture physics, biology, and architecture. entire spectrum of mediums and tech- The Art and Style of Sara and Gerald Invitational” (Oct. 31) Large-scale works Wyoming niques, large and small: puppets, sculp- Murphy” (Sept. 14) American patrons— in a variety of mediums by Nortwest Nicolaysen Art Museum, Casper K ture, drawings, watercolors, collages, living well was their art—who influenced artists. K “Andy Warhol and Other Through Sept. 28: “Pulp Function”; installations, videos. a constellation of creative artists in Paris Famous Faces” (Nov. 15) Portraits by “Casper Collects” K and on the Riviera in the 1920s and 1930s. Warhol and other artists. Everhart Museum of Natural History, Science & Art, Scranton K “Art of the San Antonio Museum of Art K “The Frye Art Museum, Seattle K “Heaven is Land: John Willard Raught and the Powerful Hand of George Bellows: Being a Memory to Others” (Aug. 10) Continuing NEPA Landscape Tradition.” Drawings from the Boston Public Library” Site-specific installation by Dario Robleto (Sept. 1) Paintings depict both pastoral (Aug. 31) Subjects include friends, family, inspired by the life of Emma Lamp Frye, and industrial landscapes in Northeastern and sporting events. wife of Charles, the museum’s founder. K Pennsylvania. K “Dario Robleto: Alloy of Love” (Sept. 1) Museo Alameda, San Antonio “Of Survey of 10 year’s work: sculptures, Palmer Museum of Art, Pennsylvania Rage and Redemption: The Art of K installations, prints, collages, drawings, State University, University Park Oswaldo Guayasamin” (Aug. 14) and photographs. “Miniature Worlds: Art from India” (Aug. Ecuadorian artist’s paintings, drawings, 10) Watercolors, drawings, and sculpture and serigraphs. Henry Art Gallery, University of spanning 400 years of Indian history. K Washington, Seattle K “The Violet Hour” “Joel Meyerowitz: Bay Sky Porch” (Sept. (Oct. 12) Artists imagine alternative reali- 28) Photographs of Cape Cod in the ties emerging from socio-political strife:

Dragon aquamanile (detail), c. 1120. Gilded copper alloy with niello and silver overlay. In “Medieval and 7 Renaissance Treasures,” Metropolitan Museum of Art, NY summerVIEWS international

Tate Liverpool “Gustave Klimt: Painting, Kunstalle ,Vienna “Punk: No One Is Innocent” Design and Modern Life in Vienna 1900” (Aug. (Sept. 7) The effect of the 1970s Punk move- 31) His paintings and drawings are accompanied ment on visual artists. by the accessories of his era in Vienna—the furniture, silver, jewelry, and fashion. Liechtenstein Museum, Vienna “Oases of Tranquility: The Great Landscape Gardens of C entre Pompidou, Paris “Traces of the Central Europe” (Nov. 18) The British transfor- Sacred” (Aug. 11) Artists search for meaning mation of gardens from formal, geometrical while the world seems to turn away from reli- Renaissance and Baroque walled parterres to the Musée de l’Elysée, Lausanne “Teen City—The gion. The effect on art of the “disenchantment more natural look that erased the boundary Adventure of Adolescence” work done by pho- of the world” is shown in canvases, sculptures, between field and garden spread like wildfire tographers over the last ten years dealing with a installations and videos wrought by an interna- through Central Europe, most particularly variety of issues: schools as autonomous, closed tional group of some 200 artists. Germany, Austria, Moravia, and Hungary. Here spaces; the difficult balance between individual- are paintings, documents, designs, drawings, ity and belonging to a group; the interaction Musée d’Art Moderne de la Ville de Paris and sculptures that illustrate this transformation between generations; the conflict between the “Bridget Riley” (Sept. 14) A retrospective of her in the great estates—the Esterházy in Eisenstadt, search for authenticity and norms of behavior; entire career covering early paintings inspired the Schöborn at Göllersdorf, the Harrach in the end of a carefree existence and the transition by Seurat, her 1960s black-and-white op art, Bruck an der Leitha, and the Liechtenstein toward the harsh reality of adult life; the and her most recent works, many of which have house at Feldsberg, Eisgrub, Greifenstein, and dreams, fantasies and values that are often far never been seen in Europe. the garden at the museum, among others. removed from the conventions of society; the construction of a new body; the experience of Moderna Museet, Stockholm “Time and Musée d’Art Contemporain de Montréal sexuality. Place: Milano-Torino 1958-68” (Sept. 7) The “Quebec Biennial” (Sept. 7) With the theme Since the works reflect the way adults per- second of three exhibitions celebrating the “Nothing is lost, nothing is created. Everything ceive adolescence, the museum, in order to pres- museum’s 50th anniversary that focus on three is transformed,” this biennial presents the work ent a balanced look at adolescence, invited some of the world’s art centers: Rio de Janeiro, of some 30 contemporary residents of Quebec. one hundred young people to become photogra- Milan/Turin, and Los Angeles. In the current phers for the duration of the exhibition. K show, art, architecture, design, literature, film, Royal Ontario Museum, Toronto “Shanghai and music attest to the impact on the art world Kaleidoscope” (Nov. 2) The architecture, urban of these two cities. design, contemporary art, and fashion that make SUMMER BREAK Shanghai’s aesthetic the fast-moving, booming Brücke-Museum, Berlin “Ernst Ludwig community that it is today. ABROAD continued from page 4 Kirchner: Master Draughtsman” (Aug. 31) The Both are the beginnings of a newly formed first of three exhibitions that mark 70 years since Vancouver Art Gallery “Krazy! The Delirious “cultural district” on Saadiyat island. the death of the artist. For this one, the museum World of Anime + Comics + Video Games + Acquisitions will be subject to the approval focuses on works on paper: drawings from his Art” (Sept. 7) Huge exhibition covering, guess of an advisory committee, the members of early Post-Impressionist years, through his years what, animation in all its varieties. which have not yet been named. The first work as a member of the Brücke (Bridge) movement, to go under the committee’s scrutiny is the and his final experiments in Abstract art. Israel Museum, Jerusalem “Real Time: Art in already purchased 1987 Keith Haring Untitled. Israel, 1998-2008” (Aug. 30) The first of six National Gallery of Ireland, Dublin exhibitions to take place over the coming SPAIN “Impressionist Interiors” (Aug. 10) Interior months to celebrate Israel’s 60th anniversary. scenes by those who we know as plein air Each show will focus on a decade in the life of Madrid’s latest art museum, the CaizaForum, painters: Manet, Monet, Renoir, Degas, Cassatt, the country, each in a different museum. This opened in the heart of the city’s cultural dis- and Post-ImpressionistsVuillard and Bonnard. first features the most recent decade, with works trict—near the Prado, the Reina Sofia, and the by contemporary Israelis who curators say have Thyssen-Bornemisza museums. It is housed in a Palazzo Sant’Elia, Palermo “España: Spanish entered a period when “Israeli art has turned converted power station, vintage 1899, it’s exte- Art 1957-2007” (Sept. 14) The movement of very international without losing its Israeli feel.” rior walls retained, but raised on piers so that Spanish art starting with the foundation of the Director James S. Snyder goes further: “There visitors are able to walk underneath the build- El Paso group—mostly on loan from Spanish has been a kind of syntheses into modernity. ing. Two underground floors and exhibition museums. These artists grew up here and absorbed 60 space, and a two-floor rusted iron extension years of history and integrated it into their rises above the original structure. Perhaps even Gemeentemuseum Den Haag, The Hague “Ah world views.” more striking is the vertical garden—a 4- or 5- Xian” (Sept. 7) Beijing-born, Australian-based, story wall, one side of the square that the muse- this 48-year-old artist straddles two worlds with The Sixteenth Biennale of Sydney um faces, covered with some 15,000 plants of his life-size porcelain figures and busts (in the “Revolutions, Forms that Turn” (Sept. 7) 250 different species. Western tradition) decorated with butterflies and Multiple venues across the city feature works “The garden is a dialogue with the dragons (traditionally Chinese). created by a preponderance of native artists who Botanical Garden on the street and adjacent to focus on the word “revolution” and its etymology, the Prado,” says architect Jacques Herzog. “We Huis Marseille Museum Voor Fotografie, love to…experiment with materials and create a Amsterdam “Hans Scholten ‘Urban Future #2’ ” Museo Nacional del Prado, Madrid “The very unusual encounter between the rough and (Aug. 31) The theme—the future of the city— Renaissance Portrait: From Pisanello to the natural, the smooth and the artificial, to unfolds in photographs taken in huge cities in Rubens” (Sept. 7) The evolution of portraiture is incorporate nature so there can be the smell of a Asia and the Middle East where rapidly growing in evidence in this showing of Northern and garden where you would not expect it.” neighborhoods spawn chaos and anarchy. Southern European Renaissance paintings, many The museum shows selections from the commissioned, many depicting courtship, collection of the Caixa Foundation (the philan- Munch Museet, Oslo “Scream and Madonna” friendship, marriage, as well as self-portraits thropic arm of the Spanish bank Caixa (Sept. 26) Both on display again after two years and images of court jesters, dwarfs, and other d’Estalvis I Pensions de Barcelona and the of rehabilitating conservation following their satirical subjects. museum’s funder), which consists of works dat- 2004 abduction. ing from the 1980s to the present. Loans and Museo Nacional Centro de Arte Reina Sofia, special exhibitions are also scheduled. K Madrid “Edward Steichen—Lives in Photography” Rick Buttari, Wrapped Car, 2008. Oil on canvas. In “Rick Buttari,” Monmouth Museum, NJ 8 ...AND THE LAW continued from page 1 AAM partners; a trustee could solicit favors from artist’s mouth at a lecture, you might want to PROPOSES NEW museum staff in the form of private work done start the program with a disclaimer.” on his/her collection. Museums should be pre- STANDARDS pared for all these possibilities, says Fox, by drawing up the clearest possible set of rules on Copyrights, Yes The American Association of Museums policy, and following them up by annual dis- Useful information on intellectual property (AAM) announced proposed standards pertain- closure forms that expose the possibility of a was set forth by Sharon Farb of the UCLA ing to museum acquisition of archeological conflict of interest in the making. Library in Los Angeles. She expounded on the material and ancient art. The proposals were problems museums face with users of their made by a special AAM Ethics Task Force on Government images on the Web. As the number of images Cultural Property, and were subject to review and the amount of content are increased online, and comment by museum professionals Rears its Head the number of users increases proportionately. through July 11. These comments will be con- Tax laws are now being used to stop per- sidered by the task force, and a final draft will ceived abuses in non-profit organizations. be prepared by August. Revised form 990 requires more information Says Ford W. Bell, president of AAM: regarding a museum’s mission and activities, “These standards seek to address issues regard- changes in its programs, and how or whether it ing provenance and origin of these artifacts. has achieved its exempt purpose. The new guidelines emphasize transparency Deputy General Counsel to the Smithsonian and disclosure, and urge museums to go Institution Marsha Shaines discussed the new beyond legal and ethical considerations in mak- form and opined that museums should have ing determinations as to the status of artifacts. policies in place before filing. Probing ques- Sunshine is the best assurance of the upholding tions are asked such as: Do the board and com- of legal, ethical, and moral standards.” mittees document their meetings? Does the AAM was motivated to create these stan- museum have a written conflicts of interest dards by recent provenance disputes. They policy? Are employees, officers, and/or trustees embrace the UNESCO Convention on the required to disclose interests that might incur Means of Prohibiting and Preventing the Illicit conflicts? Does the museum enforce its con- Import, Export, and Transfer of Ownership of flicts policy? Does it have rules covering which Cultural Property, which holds that future documents are retained and which destroyed? museum acquisitions should have a document- Clare Leighton, Scything (detail). Wood engraving. ed provenance demonstrating that the objects How does the museum determine director com- In “Quiet Spirit, Skillful Hand,” Mint Museum of Art, NC pensation: By independent review? Using com- were out of their country of origin prior to parison data? How much money is spent on 1970, the year of the adoption of the UNESCO first-class travel? On travel for companions? With this burgeoning number of users, convention. On housing for directors and trustees? museums, she said, should not require licenses The answers, whether processed by the IRS for everything. Instead, she advised that muse- or not, will be available to both public and press. ums should indicate on their websites which Standards Regarding image or content is available to be reproduced without permission. For those that require per- Archeological Material Politics, No mission, generic license forms should be post- Complex rules govern non-profit organiza- ed. and Ancient Art tions in the realm of politics, political cam- Creative Commons (CC) is a non-profit Preamble paigns, and legislation. Non-profits are prohib- organization that supplies licenses that keep To promote public trust and accountability ited from participating in any of these areas. copyrights intact while inviting certain uses of for U.S. museums, AAM offers the following Marcus Owens, a lawyer based in the work—a “some rights reserved” copyright. standards to guide the operations of museums Washington, D.C., discussed disclaimers: a The CC license expands the regulation copy- that own or acquire archeological material “facts and right agreement by authorizing the and ancient art originating outside the circum- holder to signal when it is permissible United States. stances” test to copy, or even alter, a work. The is used to New Museum in New York, for exam- Standards determine ple, uses CC licenses to permit copy- 1. Collections Policy whether a ing. Sample CC licenses are posted on Museums should have a publicly available col- non-profit the CC website lections policy setting out the institution’s stan- organization (creativecommons.org). dards for provenance concerning new acquisi- is participat- At some websites, violating copy- tions of archeological material and ancient art. ing in a polit- right laws is normal procedure. Virtual ical cam- art, the real version of which could be 2. New Acquisitions paign. How hanging in a museum, is bought and Museums should: close in time sold every day, sometimes with virtual • Rigorously research the provenance of an is the politi- money that can be turned into the real object prior to acquisition cal cam- thing. Should a museum take steps to • Make a concerted effort to obtain accurate paign? An enforce its website copyright? Or are written documentation with respect to the his- anti-war the virtual versions protected by “fair tory of the object, including import and export exhibition use” exceptions to copyright rules? documents would be Museums, said lawyer Connie J. • Require sellers, donors, and their representa- questionable Mabelson, should face the question in tives to provide all available information and if it included Marc Chagall, Bride with Fan (detail). In “Wedded Bliss,” advance and decide what its fair use documentation. contemporary Peabody Essex Museum, MA policy should cover in the face of events and dif- infractions. The question of wiki web Museums must comply with all applicable ferentiates between political parties. Both par- sites (sites that permit editing and alterations U.S. Law, including treaties and international ties should be covered, or the subject should be by any and all users) is especially thorny to conventions of which the U.S. is a signatory, restricted to the past. “If you think a political museums and should also be dealt with in the governing ownership and title, import and other statement is going to pop out of a visiting fair use policy. K issues critical to acquisitions decisions. Continued on page 10 9 AAM PROPOSES A BOOK “LITTLE ORPHAN” NEW STANDARDS Continued from page 9 ON POINT WORKS OF ART Beyond the requirements of U.S. law, Who Owns Antiquity: Museums and the Battle The proposal before Congress that reforms museums should not acquire any object that, to over our Ancient Heritage by James Cuno copyright law regarding “orphan works” is, the knowledge of the museum, has been ille- (Princeton University Press, 2008) according to Lawrence Lessig, law professor at gally exported from its country of Stanford University, “amazingly onerous and origin or the country where it was James Cuno, president inefficient” and would “unfairly and unneces- last legally owned. and director of the Art sarily burden copyright holders with little In addition, AAM recommends Institute of Chicago and return to the public.” that museums require documenta- former director of the “Orphan works” are defined as those tion that the object was in the Courtauld Institute of Art works whose owners cannot be found. And United States or out of its probable in London and the there is a special problem connected to these country of modern origin by Harvard University Art works caused by a shift in copyright law. November 17, 1970, the date on Museums, has put togeth- Before 1978, those who wanted the protection which the UNESCO Convention on er an exploration of the would simply register for a copyright and then the Means of Prohibiting and impact of the new restric- keep it current by renewing it when required. Preventing the Illicit Import, Export, tions on the acquisition of Only a registered copyright owner was privi- and Transfer of Ownership of antiquities and how they leged to use the familiar symbol of exclusivity Cultural Property was signed. will affect the future of ©. After 1978, copyright protection became For objects exported or imported museums. automatic and long-lived—currently a copy- after November 17, 1970, AAM rec- The movement toward right is in effect for almost 100 years. ommends that museums require cultural nationalism that “The old system filtered copyright protec- documentation that the object has mandates the return of tion to those works that needed it; the new sys- been or will be legally exported cultural objects to the tem regulates indiscriminately,” writes Lessig. from its country of origin, and legally imported countries of origin, he believes, is detrimental The system maintains no registry of copyright into the United States. to museums, especially those that aspire to owners, nor of sources of permission to use a AAM recognizes that there are cases in encyclopedic universality. He explains: “No copyrighted work. “The consequence has been which it may be in the public’s interest for a culture of any consequence is free of influ- that an extraordinary chunk of culture gets museum to acquire an object, thus bringing it ences from other cultures. All cultures are mired in unnecessary copyright regulation.” In into the public domain, when there is substan- dynamic, mongrel creations, interrelated such fact, the law protecting creators automatically, tial but not full documentation that the prove- that we all have a stake in their preservation. with no action required by the holder, would be nance meets the conditions outlined above. If a National retentionist cultural property laws abandoned. Both Americans and foreign copy- museum accepts material in such cases, it deny this basic truth.” right holders, both old and new works, would should be transparent about why this is an In years past, says Cuno, had the new laws all be held to the same standards appropriate decision in alignment with the been operative, unnumbered objects of antiqui- The new bill would excuse any infringe- institution’s code of ethics and those of the ty might have been lost in wars or natural dis- ment on the condition that the infringer prove a field. asters. Thus, rather than more restrictive “diligent effort”—“reasonable and appropriate” options, he advocates a system of “partage,” as determined by a set of “best practices” 3. Existing Collections where objects are shared between source coun- In order to advance further research, public established by the government—to find the tries and the museums in foreign countries that copyright owner. Exactly what steps should be trust, and accountability museums should make can supply the expertise and financial backing available the known ownership history of taken in a “diligent effort” is not specified. for excavations, analysis, and conservation. Instead, both potential infringer and copyright archeological material and ancient art in their Collections in the world’s major museums collections, and make serious efforts to allocate owner must rely on experts who would be were, in fact, gathered together in this way and employed in libraries. time and funding to conduct research on benefit the massive publics they serve. objects where provenance is incomplete or Do restrictions work? Have they stopped uncertain. Museums may continue to respect the lucrative trade in looted artifacts? Cuno An Easier Way requests for anonymity by donors. says, “No.” Undocumented or looted antiqui- Professor Lissig proposes an easier way: 4. Claims ties still flood the marketplace. Museums, how- “Following the model of patent law, Congress Museums should respectfully and diligently ever, are more and more declining to purchase should require a copyright owner to register a address ownership claims to antiquities and antiquities without clear provenance thus work after an initial and generous term of auto- archaeological material. Each claim, whether depriving the public access to a broad and var- matic and full protection.” After 14 years of based on ethical or legal considerations, should ied intellectual and cultural experience. automatic protection, the copyrighter owner be considered on its own merits. Museums are hesitant to aspire to broaden and would have to register the work with an develop, and encyclopedic museums are threat- “approved, privately managed and competitive When appropriate and reasonably practical, registry,” and pay a fee of $1.00. museums should seek to resolve claims ened. Who Owns Antiquity? argues that the He suggests that these rules not apply to for- through voluntary discussions directly with a eign works or works created between 1978 and claimant or facilitated by a third party. focus on who can acquire what and when lim- its the discussion of the core issue—at what today. They would apply, however, to photo- 5. Fiduciary Responsibilities cost to our understanding of the world’s cul- graphs when the copyright office has the Members of the board, staff, and volunteers tures is the practice of modern nations’ nation- means to develop registration databases that who participate in the acquisition and manage- alistic claims on antiquities? How can a mod- would simplify the search process. ment of the collections should be knowledge- ern state make exclusive claims on antiquities “A hired expert,” he says, “shouldn’t be able concerning the legal compliance require- solely because they are found or presumed to required…for a small museum to know ments and ethical standards that pertain to have been found within their borders? Nations whether it can put a photograph from the New antiquities and archeological materials, as are not born, they evolve and develop—wars Deal on its Web site. In a digial age, knowing well as the collecting policies and disclosure are fought, new governments and religions take the law should be simple and cheap. Congress practices of the museum. K power, culture changes. National cultures are should be pushing for rules that encourage always political constructs. K clarity, not more work for copyright experts.” [Lawrence Lessig’s article on this subject Above: Francois Lucas, Nude Male Bending Over. Black chalk, charcoal, stumped, white chalk on blue laid paper. appeared on the op-ed page in The New York In “The Language of the Nude,” Crocker Art Museum, CA Times.] K

10 NEWNEWSBRIEFSSBRIEFS and at the Guggenheim museums in New York, task, and go on with business. After the first- Living bodies and a naked slave have come Bilbao, and Berlin. And as we planned, we five or ten minutes, the performance is entirely into view on the art scene in brought these magnificent self-perpetuating.” The performance’s unpre- the persons of Belgian tattoo collections to new interna- dictability is important; the artwork takes shape artist Wim Delvoye and Mr. tional audiences, which according to the interests and creativity of Johnny Naked. after all, is part of our mis- those on stage as well as the relationships they Delvoye’s work exists on sion. We are proud that we form with one another. the bodies of those whom he also achieved our other tattoos, one of whom was goals by creating a new he Jewish Museum held an “Off the Wall exhibited in a gallery in T platform for scholarship Artists at Work” open-studio project that fea- Zurich in 2006. Sales are not and established a new tured eleven artists working and performing in booming. model for cultural collabo- the galleries for two weeks. Experimental work And here in the U.S., Mr. ration, while fulfilling our in performance art, video, fashion, and music Naked, who calls himself “an original mission.” were featured. The program’s diverse offerings artist, an actor, a film-maker, included artists at work, impromptu discus- an attention whore,” considers n another collaboration, sions, concerts, DJ sets, salons, a poetry slam, a himself a work of art: he has I The Frye Art Museum, the fashion show, and a Purim party, all in two, advertised his services as Tacoma Art Museum, On five-day sessions. Artists received an allotment “Naked Slave for One-Year the Boards, and the Seattle of gallery space in which to exhibit already Term” at the modest price of Public Library (WA) have completed work while developing a new proj- $1,999,999.99 up front. A come together with artist ect over five days. One museum admission was product of underground publi- Oliver Herring to stage a good for multiple visits and events during the cations, U-Tube, and the Web, Ellen Lanyon, Kingfisher, 1984. Crayon and day-long “Task” perform- same week. Mr. Naked’s services as a live- acrylic. In “Ellen Lanyon,” Washington County Museum of Fine Arts, MD ance at the library. in slave are limited to exactly Herring brings together “Life on Mars,” the 2008 Carnegie 365 days. a group of strangers of various ages, profes- International at the Carnegie Museum of Art sions, and backgrounds to create a site-specific (PA) focuses on the question: What does it A three-day symposium entitled “Inception, artwork. He assigns participants simple “tasks,” mean to be human in the world today? The Intersections, Connections, Directions” will be which become the catalysts for the perform- artists in the exhibition investigate particular held at the Waterloo Center for the Arts (IA), ance. aspects of the human condition in the face of Sept. 26-28. Complementary exhibitions of the “I write a bunch of simple tasks in order to ominous world conditions—political, social, center’s Haitian collection will explore aspects get the performance going,” Herring explained. natural, and economic. The question, Is there of Afro-Caribbean art from African roots to “Each one is put in a task pool, and the per- life on Mars? is posed at a time when global current trends. formance starts with each participant taking an events challenge everyday existence and envelope, opening it, and trying to fulfill that expresses the metaphorical quest to explore Thomas Krens, director of the Guggenheim task. Once they’re done, they each write a new what it means to be human in our unmoored Foundation (NY), Mikhail Piotrovsky, director task, put it back in the task pool, grab a new world. of the State Hermitage Museum in St. Continued on back page Petersburg, and Robert Goldstein, president of the Venetian Resort-Hotel-Casino and The NOTES ABOUT JASPER JOHNS Palazzo, both in Las Vegas, announced this spring that the Guggenheim Hermitage simply drop the reserve.” Thus, his recent Museum (NV) has concluded its seven-year With the opening in 2006 of its “Jasper work is dense with references to his child- residency at the Venetian. Johns: Look Homeward” exhibition, the hood, to objects he owns, to spaces where he The partnership of the Guggenheim Greenville County Museum of Art (SC) set lives and works, and to artworks—his and Foundation in New York and the State in motion a campaign to form a collection those of others. The that would survey Hermitage Museum in St. Petersburg brought subtitle of the 2006 Johns’ career. about a “seven-year exhibition history [that exhibition, “Look Born in 1930, was] a perfect example of the value of the far- Homeward,” refers Johns spent much of reaching partnership between the Guggenheim to Johns’ late work his childhood living and The State Hermitage Museum that was in which he not only with various family launched in St. Petersburg in 2000,” said Krens. looks back over a members in several “While the partnership also includes collection rich and prolific locations in South sharing and project development initiatives, the career, but also to his alliance is collaboration, in the truest sense of Carolina. After time in roots in South the word between two world class museums Allendale and Carolina. Also evi- who have brought exceptional exhibitions and Columbia, he graduat- dent is his versatility education programs to the citizens of Las Vegas ed from high school— with a variety of and the millions of international tourists who the class valedictori- media: oil, acrylic, visit the city every year….” He went on to an—in Sumter. Then, after three semesters at watercolor, encaustic, and printmaking tech- praise the Venetian, which he said was coopera- the University of South Carolina, he left for niques including etching, silkscreen, mono- tive in every way, even to building two exhibi- New York to enroll at the Parsons School of type, and lithography. tion spaces, both designed by Rem Koolhaas. Design. Military service at Fort Jackson and a The museum’s goal is to raise more than “We had planned from the beginning that this stint in Japan followed. When Johns returned $6 million to add to its Johns collection, partnership [with the Venetian] would be set for to New York in the 1950s, he became an which will some day number more than 70 a specific term, and that has been fulfilled. We overnight success. And currently, he divides works. A new exhibition, “Jasper Johns: are now looking forward to continuing the rela- his time between homes in Connecticut and Image Duplicator!” is on view through mid- tionship [with the Hermitage] with a number of the island of Saint Martin in the Caribbean. projects that are under discussion.” October. In a 1984 interview Johns said: “In my “Our intention,” said Piotrovsky, “has been —Notes submitted by Martha R. Severens, early work I tried to hide my personality, my to use our permanent collections to create a Curator, Greenville County Museum of Art psychological state, my emotions…. I sort of unique cultural experience. The exhibitions that J stuck to my guns for a while, but eventually it we have organized for Las Vegas have also seemed like a losing battle. Finally, one must Jasper Johns, Three Flags, been shown at the Hermitage in St. Petersburg, Whitney Museum of American Art, New York 11

Non-Profit Org. museumVIEWS U.S. Postage PAID 2 Peter Cooper Road Permit No. New York, NY 10010 9513 New York, NY

Above: Richard Avedon, Oscar De La Hoya, Phoenix, October 30, 1993. Gelatin silver print. In “Facebook,” Loeb Art Center, NY

Right:Amedeo Modigliani, Portrait of a Woman, c. 1917-18. Oil on canvas. In “Monet to Picasso,” Utah Museum of Fine Arts, UT

NEWSBRIEFS continued from page 11

mitted to energizing the spirit of the art scene program aspires to raise the visibility of the “You are cordially invited to the 1st Ever in St. Louis by providing emerging artists with artists’ work by providing them with profes- Downtown San Angelo (TX) Artwalk,” said the a platform to the national art world. As many sional support from visiting critics, curators, invitation. “A Free Trolley will take you to as three artists, selected by a panel of national- and dealers, as well as connecting them to the Stops along the Artwalk.” Thus began a tradi- ly recognized jurors, are awarded a grant of St. Louis public. tion that is likely to have a future. It began at $20,000 and given the opportunity to exhibit at the San Angelo Museum of Fine Arts (free or ten days in October (10-20), Freewaves, admission for the day of the walk), and direct- the Contemporary. With exhibition space pro- F an arts organization that stages new media art ed participants through Miss Hattie’s and vided by the Contemporary, the Great Rivers festivals, will open “HollyWould” along D’vine Wine (featuring live music), and a gag- Hollywood Boulevard between gle of galleries and studios. Bus routes and Vine and Highland. All along the stops, gallery/art venues, and music venues boulevard, storefronts and build- were designated on a colorful map that ing façades will become the appeared under the invitation. screening room for experimental videos, films, and media art. Other The Great Rivers Biennial Visual Awards venues—tattoo parlors, adult Program, a collaboration between the entertainment and electronics Contemporary Art Museum St. Louis (MO) and stores, bars, restaurants, clothing the Gateway Foundation, was established in boutiques—will feature screen- 2003 with a mission to strengthen and support ings, installations, a film and the local artists of St. Louis. The goal of the musical event, and more. Web- program: to identify talented emerging and based works selected specifically mid-career local artists, provide them financial for online presentation will appear assistance, raise the visibility of their work in on the organization’s website, both the Midwest and national arts community, constituting a virtual festival run- and provide them with the professional support ning concurrent with the street of visiting critics, curators, and dealers. show. K Both the museum and the foundation are com- Salomon van Ruysdael, River Landscape with Ferry (detail), 1649. Oil on panel. In “Reclaimed,” Bruce Museum, CT