Displaying items by tag: Museum

Members of the Los Angeles County of Museum of Art currently pay $400 a year for exclusive access at the institution. All of that is about to change as museum director, Michael Govan, announced that he will be raising annual fees for members to $1,000 a year. A $250-level museum membership must be purchased separately annually. The announcement has council members as well as art enthusiasts and professionals threatening to leave the institution.

While Govan stands behind his decision, some feel he is jeopardizing the support of smaller donors and will scare off younger people from becoming members. At a meeting for council members on Tuesday, November 27, Govan explained his decision, stating that the changes are part of a larger restructuring plan to simplify the museum’s system and make it more professional. Govan also plans to dismantle each of the ten museum council boards, leaving only a chairperson to assist the department curator and development staff.

The fee increase will go into effect in January for new members and in June for existing ones.

Designed by Renzo Piano, the museum that houses the collection of John de Menil and Dominique de Menil opened to the public 25 years ago. A sold-out gala is being held tonight, November 29, to celebrate. The fete has raised $2.2 million, exceeding its $1.5 million goal. This is only the third gala held by the Menil Collection as the institution already boasts an endowment of approximately $200 million thanks to support from the board, donors, and corporate sponsors.

The theme of the night will be “Celebration in Blue,” a tribute to Yves Klein, an important figure in post-war European art and a personal friend of the Menils. Among the 700 guests will be Pablo Picasso’s grandson, Bernard Ruiz-Picasso, philanthropist Agnes Gund, president emerita of the Museum of Modern Art, and hedge fund chief John D. Arnold.

A silent auction will also be held at the gala. The 31 lots include works by Ed Ruscha, Olafur Eliasson, and Richard Serra. Proceeds will support operations and exhibitions. The museum plans to expand their contemporary art collection and hope to build the Menil Drawing Institute to house and exhibit modern and contemporary works.

The free museum features over 15,000 paintings, sculptures, prints, drawings, photographs, and rare books from the 20^th century, all of which were once part of the Menils extensive private art holdings. Included in the impressive collection are works by Paul Cezanne, Mark Rothko, Andy Warhol, Rene Magritte, Max Ernst, Henri Matisse, Pablo Picasso, and Jackson Pollack.

The Dallas Museum of Art announced today that it will nullify its $10 general admission fee, effective January 21, 2013. The museum will also launch an online rewards program that could even make membership free.

In recent years, many institutions have reversed their decision to charge visitors and are now free to the public. The Nelson-Atkins Museum of Art in Kansas City, Missouri, the Indianapolis Museum of Art, the Baltimore Museum of Art, the Walters Museum of Art in Baltimore, and the Detroit Institute of the Arts have all decided that free admission will help their institutions become more widely accessible, which, in turn, will keep visitor numbers up.

While it appears that the aforementioned museums have started a trend, many institutions in major tourist destinations are not so quick to jump on the free entry bandwagon. In New York, the Museum of Modern Art charges $25 and the Guggenheim Museum charges $22. San Francisco’s Museum of Modern Art, another major tourist attraction, charges $18. Other big-name museums that require visitors to pay are the Los Angeles County Museum of Art, the Art Institute of Chicago, the Philadelphia Museum of Art, and the Carnegie Museum of Art.

Earlier this month the Parrish Art Museum opened its new 34,400 square-foot building in Water Mill, NY to the public. Founded in 1898 by New York lawyer, Samuel Longstreth Parrish, to house his growing art collection, the museum had been a staple in Southampton, NY before moving to its new location that boasts seven sky-lit galleries and three times the exhibition space than that of the museum’s former home.

Now that the $26.2 million move is complete, the result of years of painstaking fund-raising, the Parrish hopes to become the area’s artistic epicenter. Designed by the Swiss architectural firm Herzog & Meuron in collaboration with the landscape architecture firm Reed Hilderbrand, the new Parrish building sits on 14 acres of land right off of the Montauk Highway. The building is meant to blend into the landscape and consists of connected, stretching barn-like structures that sit under a white corrugated metal roof. Large sections of glass allow the line between the natural and artificial worlds to blend.

An American art museum with about 2,600 paintings, sculptures, and works on paper in its collection, the Parrish pays extra attention to the art of the East End of Long Island. The former Southampton location was simply too small to exhibit many of the exemplary works from the museum’s permanent collection that spans from the 19^th century to the present. Now, American Impressionist William Merritt Chase and the realist Fairfield Porter each have their own permanent galleries and there are three galleries just for temporary exhibitions.

Inaugurating the space is Malcolm Morley: Painting, Paper, Process, an exhibition devoted to the English-born artist known for exploring paper’s many artistic possibilities including watercolors, scale models, and freestanding sculptures. Approximately 50 works from the 1980s to present will be on view through January 13, 2013.

The Parrish’s new building also includes offices, a café, an expanded lobby, and a theater where film screenings, lectures, and performances will be held.

A member of the canine unit recovered four paintings stolen from South Africa’s Pretoria Art Museum in a private cemetery on Tuesday, November 13. While the paintings still need to be verified, police officials are almost certain they are Maggie Laubser’s Cat and Petunias (1936), JH Pierneef’s Eland and Bird (1961), Irma Stern’s Fishing Boats (1931), and Hugo Naude’s Hottentot Chief, all of which disappeared after an armed robbery took place at the museum on November 11. Gerard Sekoto’s Street Scene (1939) is still missing.

The Pretoria Museum closed after the heist and will re-open on November 20 after officials finish a number of updates to the institution’s security system. The robbers entered the museum as paying visitors on Sunday but there is no surveillance footage as the museum’s security cameras had stopped working earlier in the week.

The renovated Mary and Michael Jaharis Galleries of Greek, Roman, and Byzantine Art opened to the public yesterday. The inaugural exhibition, Gods and Glamour, features 150 loans from both private collections and public institution as well as pieces from the museum’s collection. Objects such as marble sculptures, paintings, Greek pottery, jewelry, and silver come together to illustrate what life in the ancient and medieval Mediterranean world was like. A second inaugural exhibition of late Roman and early Byzantine art loaned by the British Museum is also on view through August 25, 2013.

Designed by the architectural firm, Why, the $10 million renovation was made possible by a gift from the Jaharis Family Foundation with some funds going to acquisitions and educational programs. The new 13,707 square-foot galleries include state-of-the-art display cases by Goppian Museum Workshop in Milan.

The updated Greek, Roman, and Byzantine galleries represent the final phase of the complete reinstallation of the Institute, which began in 2008 after the then new modern wing was constructed.

Xavier Salomon, a curator in The Metropolitan Museum of Art’s European paintings department, announced that the institution has acquired The Penitent Saint Peter by Jusepe de Ribera. The early work by the 17^th-century painter is the first Spanish painting purchased by the museum in over 40 years. One of the Met’s most esteemed artworks, Diego Velazquez’s portrait, Juan de Pareja (1650), had been the most recent Spanish acquisition.

The painting by Ribera is a full-length portrait of St. Peter from 1612-13, when the artist was in his early 20s. Up until about 10 years ago when the Italian scholar Gianni Papi realized that a group of paintings once attributed to an anonymous artist were in fact Ribera’s, none of the artist’s early works were known. Juan de Pareja wasn’t identified as a Ribera painting until last year.

Purchased from Madrid dealers Coll & Cortes, this is the second work by Ribera in the Met’s permanent collection. Officials declined to say what they paid for the painting, but experts value the work at around $1.3 million. The other Ribera painting in the museum’s collection is a late work from 1648, four years before the artist’s death, titled The Holy Family with Saints Anne and Catherine of Alexandria.

This past Sunday, Montreal's Place des Arts and the stage troupe Finzi Pasca unveiled a mural by Salvador Dali that has remained out of public view for sixty years. Measuring 29 ½ feet by 40 feet, the backdrop was painted for the 1944 ballet production “Le Tristan Fou (Mad Tristan),” a take on “Tristan und Isolde,” while the Surrealist artist was in exile in New York. The backdrop made an appearance in London in 1949 and then fell out of sight until an anonymous European foundation re-discovered it three years ago.

The rare piece was restored but rather than exhibit it in a museum of gallery, the foundation offered it to theater creator and circus master Daniele Finzi Pasca for use in an upcoming acrobatic stage production. Pasca decided to incorporate the painting into “La Vérità,” a story inspired by “Tristan und Isolde” as well as Dali’s exile, the 1940s cabaret scene, and the Dali’s wife and muse, Gala.

Members of the public can take a closer look at the Dali backdrop at Théâtre Maisonneuve in Place des Arts on Wednesday, November 7. La Vérità, featuring the Dali backdrop will premiere at the theater on January 17, 2013.

The Smithsonian’s plan to build an inflatable pavilion that will bubble out of the Hirshhorn Museum may be put on hold. Announced by Richard Koshalek, the museum’s director, in 2009, costs for the project have tripled from $5 million to $15.5 million over time. If the project comes to fruition, it won’t be completed until 2014. The structure, designed by the architectural firm Diller Scolfidio + Renfro was originally slated to open at the end of this year.

Smithsonian Undersecretary, Richard Kurin, says half of the funds needed for construction have been raised. However, the project won’t move forward without full funding.

Pedro Antonio Marcuello Guzman of Miami and Maria Martha Elisa Ornelas Lazo of Mexico City have pled guilty to selling a stolen Henri Matisse painting on Miami’s black market. The duo admitted to FBI agents that they knew the $3 million painting, Odalisque in Red Pants (1925), had been stolen before making a deal to sell it to an undercover officer who was part of a sting operation. The pair was arrested after the sale was made.

The painting has been missing from Venezuela’s Sofia Imber Contemporary Art Museum since approximately 2002 when it was swapped for a fake. Some speculate the switch went unnoticed for years. Even though Interpol, the FBI, and police in France and Spain have investigated the case, the details of the theft remain a mystery. However, Guzman and Lazo said in court that they were told museum employees hung the forgery in place of the original.

Although the painting has been recovered, it has not been returned to Venezuela. Guzman faces 10 years in prison for conspiracy to transport and sell stolen property, while Lazo faces five years. The pair is scheduled to be sentenced in January.