Cy Twombly’s Estate Accused of Overvaluation and Mismanagement
Cy Twombly in his Rome studio (Image via 032c.com / Vogue)
Artists’ estates have their jobs cut out for them. The organizations have to manage artists’ legacies, watching out for forgeries, validating works, and preserving their reputation while organizing the physical detritus artists inevitably leave behind — collections, unfinished works, studios, and homes.
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Cy Twombly Dead at 83
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Image caption: Cy Twombly in Fulton Street Studio, New York by Robert Rauschenberg (1954) (photo via cytwombly.info)
(via Making Sense of NYC’s $1.5 Billion Art Auction Week)
Listen up: $1.5 billion!
That’s mostly what you’re going to hear about this week’s auctions of Contemporary art. In five days, fewer than a thousand people traded $1.5 billion for scraps of canvas, stretched across wood frames and daubed (mostly) with oil paint.
CHICAGO — The Modern Wing of the Art Institute of Chicago, which opened in 2009, has reinstated its contemporary collection after giving over most of the space in 2015 to a much-lauded retrospective of the American sculptor Charles Ray. Rather than just reinstalling everything that was there before, the contemporary galleries are now centered around 44 works donated to the museum by Chicago collectors Stefan Edlis and Gael Neeson, touted by the museum as “the largest gift in the Art Institute’s 136-year history.” The new collection was curated by James Rondeau, today appointed as the director of the museum.
Pop Irony’s Enduring Influence in the Art Institute of Chicago’s New Contemporary Collection
A drawing/collage that Cy Twombly made on May 27, 1970, includes three disparate objects: a reproduction of his large, multi-panel painting, “Treatise on the Veil” (1968); a sheet of paper whose dimensions echoed the reproduction, with vertical creases made by folding; and another sheet containing his handwritten signature and the phrase “Study for Veil,” along with the stamped date and the number 3 written inside a stamp containing the artist’s name.
Joe Orton and Kenneth Halliwell, “Collins Guide to Roses” (1959 – 1962), book cover collage, part of “Library Vaccine”, now open at Artists Space (courtesy Islington Local History Centre)
This week, 265 artists take part in Greenpoint Open Studios, there’s an art world comedy being filmed in Williamsburg, Cy Twombly opens at the Morgan, Artist Space considers the intersection of art and books,…
Paintings in the Interzone: More from the Corridors of MoMA
Roy Lichtenstein, “Modern Painting with Bolt” (1967). Synthetic polymer paint and oil on canvas, 68…
In Venice, A Dream Reborn
Tatiana Franchetti, “Ritratto di Giorgio Franchetti” (all photographs by the author for…
While the grandest glories of the French Renaissance were the elaborate castles circling Paris and adorning the Loire Valley, down in Central France a much smaller art form flourished. The enamels of Limoges involved a painstaking technique of fusing fine glass powder to a metal-based surface, a process that peaked in the 15th and 16th centuries. The industry later declined, then resurfaced in the 19th century, just in time for American collectors like Henry Clay Frick to take an obsessive interest in the following decades.
