[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"$9ZijusqCES":3},{"single":4,"locales":311,"slices":313},{"id":5,"uid":6,"url":7,"type":8,"href":9,"tags":10,"first_publication_date":12,"last_publication_date":13,"slugs":14,"linked_documents":17,"lang":18,"alternate_languages":19,"data":20},"ZBL51xAAACIAXlKc","barbara-kruger-questions-at-moma",null,"article","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBL51xAAACIAXlKc%22%29+%5D%5D",[11],"Barbara Kruger","2023-04-05T09:38:50+0000","2024-02-12T16:31:44+0000",[15,16],"barbara-kruger-refuses-to-shy-away-from-big-questions","barbara-kruger-refuses-to-shy-away-from-big-questions-at-moma",[],"en-gb",[],{"title":21,"subtitle":22,"author":23,"copyright_cover":75,"cover_desktop":76,"cover_mobile":84,"thumbnail":89,"published_at":7,"slices":92,"meta_title":270,"meta_description":271,"og_image":272,"slices2":280},"Barbara Kruger refuses to shy away from big questions","The American artist’s collages interrogate power and consumerism",{"id":24,"type":25,"tags":26,"lang":18,"slug":27,"first_publication_date":28,"last_publication_date":29,"uid":30,"data":31,"link_type":72,"key":73,"isBroken":74},"ZBBfzBAAACgAzQAo","author",[],"william-corwin","2023-03-14T11:51:45+0000","2023-07-10T00:55:46+0000","will-corwin",{"description":32,"short_description":46,"job":50,"thumbnail":51,"cover":62,"uid":30,"title":55,"og_image":65,"meta_description":68,"meta_title":55},[33,37,40,43],{"type":34,"text":35,"spans":36},"paragraph","William Corwin covers art news and features in North America. He is a sculptor, journalist, and curator from New York. He has exhibited at The Clocktower, LaMama and Geary galleries in New York, as well as galleries in London, Hamburg, Beijing and Taipei. ",[],{"type":34,"text":38,"spans":39},"He has written regularly for The Brooklyn Rail, Artpapers, Bomb, Artcritical, Raintaxi and Canvas and formerly for Frieze. He curated and wrote the catalog for Postwar Women at The Art Students League in New York, an exhibition of the school’s alumnae active between 1945-65, and 9th Street Club, an exhibition of Perle Fine, Helen Frankenthaler, Mercedes Matter, Grace Hartigan, Lee Krasner and Elaine Dekooning at Gazelli Art House in London. ",[],{"type":34,"text":41,"spans":42},"His most recent curatorial projects were the first solo exhibition of French Mid-century painter Marguerite Louppe (1901-1989) at Rosenberg & Co gallery in New York (Corwin has been working with the estates of Marguerite Louppe, and her husband the painter Maurice Brianchon for the past decade), and The Agreement:  Chromatic presences, and exhibition of colored sculpture featuring Ugo Rondinone, Lynn Umlauf, Remy Jungerman, Kianja Strobert and Tom Doyle, among others. ",[],{"type":34,"text":44,"spans":45},"He is the editor of Formal Concerns: Collected Essays of Saul Ostrow, to be published in 2023 by Elective Affinity Press, and participated in the exhibition Anchor\u002FRoots at the Newhouse Center for Contemporary Art at Snug Harbor Cultural Center in 2021. He is the author of the book &Model (2020), a history of a Grass-roots artist-run gallery in Northern England, published by Leeds Metropolitan University.",[],[47],{"type":34,"text":48,"spans":49},"William Corwin covers North America for ArtExplored",[],"Art Writer (North America)",{"dimensions":52,"alt":55,"copyright":55,"url":56,"id":57,"edit":58},{"width":53,"height":54},2660,3012,"William Corwin","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F4bbbe5d4-21a0-489e-8fe3-96d3a471c015_William+Corwin+B%26W+Art+Explored.jpg?auto=compress,format","ZIg3ghAAACAApnDS",{"x":59,"y":59,"zoom":60,"background":61},0,1,"#fff",{"dimensions":63,"alt":55,"copyright":7,"url":56,"id":57,"edit":64},{"width":53,"height":54},{"x":59,"y":59,"zoom":60,"background":61},{"dimensions":66,"alt":55,"copyright":55,"url":56,"id":57,"edit":67},{"width":53,"height":54},{"x":59,"y":59,"zoom":60,"background":61},[69],{"type":34,"text":70,"spans":71},"Will Corwin covers North America for ArtExplored",[],"Document","19acdf15-e94e-4d9d-a876-ad49a7c35bbf",false,"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\" June 16, 2022–January 2, 2023. IN2497.6. Photograph by Emile Askey.",{"dimensions":77,"alt":75,"copyright":80,"url":81,"id":82,"edit":83},{"width":78,"height":79},3840,2160,"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\"\n\nJune 16, 2022–January 2, 2023. IN2497.6. Photograph by Emile Askey.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc450dcb5-a0cb-465d-ab61-7cf40851c730_Slide+16_9+-+77.jpg?auto=compress,format","ZC0-RBAAACQA9hc3",{"x":59,"y":59,"zoom":60,"background":61},{"dimensions":85,"alt":75,"copyright":80,"url":86,"id":87,"edit":88},{"width":79,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Feb4697c4-b039-42a6-8c85-2ae9a70e8d94_9_16.jpg?auto=compress,format","ZC08yhAAACQA9hRW",{"x":59,"y":59,"zoom":60,"background":61},{"dimensions":90,"alt":75,"copyright":80,"url":86,"id":87,"edit":91},{"width":79,"height":78},{"x":59,"y":59,"zoom":60,"background":61},[93,145,155,171,180,242],{"variation":94,"version":95,"items":96,"primary":98,"id":143,"slice_type":144,"slice_label":7},"default-slice","sktwi1xtmkfgx8626",[97],{},{"title":99,"content":100},[],[101,117,122,126],{"type":34,"text":102,"spans":103},"Thinking of You, I Mean Me, I Mean You channels the screen of a virus-infected computer: suddenly the screen lights up with disembodied, liberated windows and pop-ups vying for your attention, intrusive, unwanted, but also sneakily exciting. Barbara Kruger’s text-based installation consists of self-adhesive vinyl sheets laminated on almost every surface of the Donald and Catherine Marron Family Atrium, including the floor. The accusatory “You” is the largest word in Kruger’s poetic slogans and mantras. You are not innocent.  What does Barbara Kruger say that you have done? Well for one thing:\n\nYou. You know that women have served all these centuries as looking glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size. (After Virginia Woolf).\n\nAnd:\n\nYou. You are being seen. Caught in the mind’s eye. Caught in a world in shambles. This thing called “You.” This thing called “Me.” In this moment. In this place. Right Now. Come closer.\n\nUntil finally, you actually are dissolved by the artist herself:\n\nYou. You are here, looking through the looking glass, darkly. Seeing the unseen, the invisible, the barely there. You. Whoever you are. Wherever you are. Etched in memory. Until you, the looker, is gone. Unseen. No More. You too.\n\nThis is a show made for selfies, and that’s the point – putting a finger on the pulse of what defines, or divines, human culture at the current moment is what a good artist is supposed to do. Kruger’s words engage with the idea of the text, the tweet, the doodle, the pop-up – a kind of riotous cascade of politically triggering thoughts, words, intentions, and implications; oriented vertically:\n\nA trace of Grace,",[104,108,111,114],{"start":105,"end":106,"type":107},601,802,"em",{"start":109,"end":110,"type":107},808,995,{"start":112,"end":113,"type":107},1061,1292,{"start":115,"end":116,"type":107},1690,1707,{"type":34,"text":118,"spans":119},"A Tragic Error,",[120],{"start":59,"end":121,"type":107},15,{"type":34,"text":123,"spans":124},"A Smug Embrace,",[125],{"start":59,"end":121,"type":107},{"type":34,"text":127,"spans":128},"A Flimsy Alibi\n\nOr horizontally:\n\nWar time, war crime, war, gang war, civil war, class war, bidding war, trade war, cold war, race war, world war, war for peace, war without end, war for a world without women, war for me to become you.”\n\nAnd even underfoot:\n\nIf you want a picture of the future, imagine a boot stamping on a human face forever,” George Orwell.\n\nOn top of the multidirectional data streams crawling up and down the walls, most of the viewers were engaging with their own and others’ smartphones to further mediate the artist’s gargantuan piece. It wasn’t easy to gauge whether they were reading the text or just enjoying the spectacle of words coming at them from every direction – it might be that the artist intended the dire meanings of her words to simply sink in over time and multiple viewings of these selfies. Kruger’s immersive installation resonated with other installations in the museum: while her work is almost obsessively current, she does share her notions of formal spatial composition with artists as varied as Matisse, Nancy Spero, and Jacob Lawrence.  \n\nNancy Spero’s immersive and diagrammatic work Notes In Time (1970s) plays with legibility and retards the pace of viewing in order to force a more careful reading. Spero alternates different fonts, printing techniques, and media in order to capture the eye. In bright red her text begins with:",[129,131,134,137,140],{"start":59,"end":130,"type":107},16,{"start":132,"end":133,"type":107},34,238,{"start":135,"end":136,"type":107},259,359,{"start":138,"end":139,"type":107},1086,1087,{"start":141,"end":142,"type":107},1136,1149,"text$22af7712-8015-45a8-94e8-547d2e165b3e","text",{"variation":94,"version":95,"items":146,"primary":148,"id":153,"slice_type":154,"slice_label":7},[147],{},{"quote":149},[150],{"type":34,"text":151,"spans":152},"“Certainly childbirth is our mortality, we who are women, for it is our battle (Sahagun Aztec book II).”",[],"quote$2b6a1894-7087-4e1a-b00a-5f6fbb60b4ef","quote",{"variation":94,"version":95,"items":156,"primary":158,"id":170,"slice_type":144,"slice_label":7},[157],{},{"title":159,"content":160},[],[161],{"type":34,"text":162,"spans":163},"Then there are mythopoetic interpretations:\n\n“Throughout Male Literary History, Gorgons, Sirens, Mothers of Death and Goddesses of Night Represent Women Who Reject Passivity and Silence.”\n\nOr in different languages, grim fantasies:\n\n“Murder Hope of Women.” (Oskar Kokoshka, 1911)\n\nAnd there is also a substantial quantity of smaller texts – unlike Kruger’s piece which is quick to encompass, one could spend an hour or two with Spero. These printed texts are glued down, stencilled and printed on long scrolls and interspersed with drawings closely mimicking the standardised poses and body types of ancient Egyptian visual culture. Like Spero's and Kruger’s texts, Egyptian Hieroglyphs could move up and down, backwards and forwards; an immensely versatile writing system that could be employed to great aesthetic purpose. Like Kruger, Spero commandeers our body, more gently though, nudging us around the room, rather than jerking our head around as Kruger's works are prone to do.\n\nKruger’s atrium installation is perforated at several levels by a variety of windows and landings, offering multiple viewpoints. We can read the large text from George Orwell writ large on the floor, which we were just standing on, hopping uncomfortably back and forth from letter to letter, trying to make out the whole passage. Like Spero, Kruger is making us read in different ways – Notes in Time works diagrammatically, temporally, and as a collage of form, while Kruger is more about scale and vantage point; up close, far away. Walking up to the third floor of the museum and sitting in Matisse’s immersive paper cut-out installation for his swimming pool, from 1952, we see an odd bedfellow to Kruger’s exercise in destabilising architecture. While Kruger has placed a variety of two-dimensional elliptical and circular forms, large enough (sometimes two or three stories high) to interfere with the linearity of Tanaguchi’s architecture, Matisse similarly disrupts the flatness and linearity of his pool and jogs the movement of the eye. The room is floor-to-ceiling brown. A beige band runs horizontally at shoulder height: ostensibly the zone within which Matisse’s blue semi-figural cutouts will reside. But they don’t. They swim, soar, kick, and flip from this band, though some stay tensely within the lines. Like Kruger, Matisse toys with the notion of following the rules of linearity and containment: in one brief section of his collage, he creates a wholly inadequate bump-out for his frenetic blue shapes. This exception merely proves that they cannot be contained. Jacob Lawrence’s The Migration Series (1940-41) is a much more traditional cycle of images narrating the history of the movement of black Americans out of the south, starting with the First World War. The series of 30 images on display (of a total of 60) are stark and simple, and they gently flow along the wall, each with a text that explains the often highly symbolic and ritualised imagery in the drawings. In image 42 a police officer forms a human X, blocking off a rectangle, a waiting room or police truck, containing two black figures. The text reads:",[164,167],{"start":165,"end":166,"type":107},1372,1385,{"start":168,"end":169,"type":107},2587,2607,"text$e0215e04-f2b4-4afa-8996-54f252bee8fa",{"variation":94,"version":95,"items":172,"primary":174,"id":179,"slice_type":154,"slice_label":7},[173],{},{"quote":175},[176],{"type":34,"text":177,"spans":178},"\"They also made it very difficult for migrants leaving the South. They often went to railroad stations and arrested the Negroes wholesale, which in turn made them miss their trains.\"",[],"quote$c02bd071-3914-4113-9eb3-89c39b10280c",{"variation":94,"version":95,"items":181,"primary":183,"id":241,"slice_type":144,"slice_label":7},[182],{},{"title":184,"content":185},[],[186,192,196,201,206,210,215,220,224,229,234],{"type":34,"text":187,"spans":188},"Of all four installations, Lawrence’s is the least spatial but is arresting in its literal storytelling and its measured conceptual rhythm for each image. With the exception of Matisse, the installations are all political and use the weighty presence of the artist intruding into the real space of the viewer as a means to impress the importance of the message. Kruger is direct, confrontational, and perhaps to the benefit of the importance of her message against fascism, corruption, and control, ultimately hopeless. Perhaps after circulating from phone to phone and being reposted from Instagram-story-to-feed-to-story again, maybe it will eventually sink in. One can only hope.\n\nIn the end, something else begins",[189],{"start":190,"end":191,"type":107},685,717,{"type":34,"text":193,"spans":194},"In the end, you’ve had your chance",[195],{"start":59,"end":132,"type":107},{"type":34,"text":197,"spans":198},"In the end, you win or you lose",[199],{"start":59,"end":200,"type":107},31,{"type":34,"text":202,"spans":203},"In the end, history happens",[204],{"start":59,"end":205,"type":107},27,{"type":34,"text":207,"spans":208},"In the end, nothing matters",[209],{"start":59,"end":205,"type":107},{"type":34,"text":211,"spans":212},"In the end, all is forgotten",[213],{"start":59,"end":214,"type":107},28,{"type":34,"text":216,"spans":217},"In the end, anything goes",[218],{"start":59,"end":219,"type":107},25,{"type":34,"text":221,"spans":222},"In the end, you disappear",[223],{"start":59,"end":219,"type":107},{"type":34,"text":225,"spans":226},"In the end, Lies prevail",[227],{"start":59,"end":228,"type":107},24,{"type":34,"text":230,"spans":231},"In the end, anger fades",[232],{"start":59,"end":233,"type":107},23,{"type":34,"text":235,"spans":236},"In the end, hope is lost.\n\nBarbara Kruger: Thinking of You. I Mean Me. I Mean You\n16 July 2022 - 02 January 2023. MoMA, New York",[237,238],{"start":59,"end":205,"type":107},{"start":239,"end":240,"type":107},81,82,"text$75d8266d-9ac6-477e-8a7f-c4cf0b81306a",{"variation":243,"version":95,"items":244,"primary":257,"id":268,"slice_type":269,"slice_label":7},"centered-slice",[245],{"image":246,"title":255,"subtitle":256},{"dimensions":247,"alt":250,"copyright":251,"url":252,"id":253,"edit":254},{"width":248,"height":249},2000,1334,"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\" June 16, 2022–January 2, 2023. IN2497.20. Photograph by Emile Askey.","Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\"\n\nJune 16, 2022–January 2, 2023. IN2497.20. Photograph by Emile Askey.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F79d78241-b5d6-44e4-bc12-cfcc0c8a8199_IN2497_020_CCCR-Press-Site-2000x1334.jpg?auto=compress,format","ZC1BJxAAACQA9h1x",{"x":59,"y":59,"zoom":60,"background":61},"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\"June 16, 2022–January 2, 2023. IN2497.20. Photograph by Emile Askey.","June 16, 2022–January 2, 2023. IN2497.20. Photograph by Emile Askey.",{"image1":258,"label":7,"copyright":264},{"dimensions":259,"alt":250,"copyright":251,"url":261,"id":262,"edit":263},{"width":78,"height":260},2560,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fc6bc5bbe-3dc6-4282-81e9-442ad044b8c5_3_2.jpg?auto=compress,format","ZC1BJxAAACMA9h1z",{"x":59,"y":59,"zoom":60,"background":61},[265],{"type":34,"text":266,"spans":267},"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\"\n\nJune 16, 2022–January 2, 2023. IN2497.20. Photograph by Emile Askey.\n\n(Click for full size picture)",[],"image$6c8be031-f657-4110-95a4-7cf6aa86e160","image","Barbara Kruger refuses to shy away from big questions at MoMA","Art Explored reviews Barbara Kruger's bold exhibition in New York, featuring her thought-provoking black-and-white collages interrogating power, gender relations, and consumerism.",{"dimensions":273,"alt":276,"copyright":7,"url":277,"id":278,"edit":279},{"width":274,"height":275},2400,1200,"Installation view of the exhibition \"Barbara Kruger: Thinking of You. I Mean Me. I Mean You\"June 16, 2022–January 2, 2023. IN2497.6. Photograph by Emile Askey.","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Fca78c1d3-eae4-4693-82f3-82629ad26056_BARBARA+KRUGER+Image+Opengraph.jpg?auto=compress,format","ZK_8tRIAACAAahhR",{"x":59,"y":59,"zoom":60,"background":61},[281,292,302],{"variation":94,"version":95,"items":282,"primary":285,"id":290,"slice_type":291,"slice_label":7},[283],{"post":284},{"link_type":72},{"slides_per_view":7,"max_slides_count":7,"tag":286,"type":8,"title":289,"paralax":7},{"id":24,"type":25,"tags":287,"lang":18,"slug":27,"first_publication_date":28,"last_publication_date":29,"uid":30,"link_type":72,"key":288,"isBroken":74},[],"46219113-8b88-42bb-9397-44c340f25c26","Read more","carousel$a61bcd80-3612-4102-9391-32775326bf36","carousel",{"variation":94,"version":95,"items":293,"primary":296,"id":301,"slice_type":291,"slice_label":7},[294],{"post":295},{"link_type":72},{"slides_per_view":297,"max_slides_count":7,"tag":298,"type":299,"title":300,"paralax":7},4,{"link_type":72},"podcast","Listen to audiocasts","carousel$ccf2bb88-b1bc-498f-8f40-aea3d6766704",{"variation":94,"version":95,"items":303,"primary":306,"id":310,"slice_type":291,"slice_label":7},[304],{"post":305},{"link_type":72},{"slides_per_view":297,"max_slides_count":7,"tag":307,"type":308,"title":309,"paralax":7},{"link_type":72},"video","Discover more artists","carousel$9d5ee428-77cc-4486-a5b4-974ebd999366",{"en":312},{"slug":6},[314,1349,1923],{"slice":281,"payload":315},[316,712,955,1118],{"id":317,"uid":318,"url":7,"type":8,"href":319,"tags":320,"first_publication_date":322,"last_publication_date":323,"slugs":324,"linked_documents":326,"lang":18,"alternate_languages":327,"data":328},"ZqOmgxAAACEAyGP7","hidden-gem-at-the-nationalmusee-um-feschmaart","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZqOmgxAAACEAyGP7%22%29+%5D%5D",[321],"Gustav Klimt","2024-07-26T13:48:30+0000","2024-07-31T15:55:16+0000",[325],"a-mysterious-portrait",[],[],{"title":329,"subtitle":330,"author":331,"copyright_cover":7,"cover_desktop":379,"cover_mobile":386,"thumbnail":392,"published_at":395,"slices":396,"meta_title":612,"meta_description":613,"og_image":614,"slices2":619},"Klimt, Matsch, and a Ghanaian Prince in turn-of-the-century Vienna","Twin portraits illuminate the friendship and break-up between the painters",{"id":332,"type":25,"tags":333,"lang":18,"slug":334,"first_publication_date":335,"last_publication_date":336,"uid":334,"data":337,"link_type":72,"key":378,"isBroken":74},"ZBBz5xAAAKdKzSXy",[],"lea-nedwed","2023-03-14T13:17:30+0000","2024-07-10T17:09:39+0000",{"description":338,"short_description":354,"job":358,"thumbnail":359,"cover":368,"uid":334,"title":363,"og_image":371,"meta_description":374,"meta_title":363},[339,343,346,349,351],{"type":34,"text":340,"spans":341,"direction":342},"Léa is a managing editor at ArtExplored, where she produces in-depth art market reports and educational content. ",[],"ltr",{"type":34,"text":344,"spans":345,"direction":342}," ",[],{"type":34,"text":347,"spans":348,"direction":342},"Her prior experience includes working with an art advisory service in London and Hong Kong, focusing on Post-War and Contemporary art. There, she gained extensive knowledge of the global art market. She managed daily operations and ensured the smooth running of high-profile exhibitions held annually alongside significant fairs in London, Hong Kong, and Seoul. Léa also contributed to a Paris-based non-profit that fundraised for cultural institutions by working closely with globally renowned art collectors. ",[],{"type":34,"text":344,"spans":350,"direction":342},[],{"type":34,"text":352,"spans":353,"direction":342},"She holds degrees in Law from the Sorbonne, Art Appraisal and Trade from IESA, and an MBA in the Business of Art from ICART.",[],[355],{"type":34,"text":356,"spans":357,"direction":342},"Lea is a managing editor and content producer at ArtExplored. ",[],"Managing Editor",{"dimensions":360,"alt":363,"copyright":7,"url":364,"id":365,"edit":366},{"width":361,"height":362},533,800,"Léa Nedwed","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F6d191cd1-efb6-4857-ae83-8d44a38fb195_LC%E2%95%A0%C2%BAa+NEDWED+%28Art+Cataloguer%29+%28BW%29.png?auto=compress,format","ZHYDyhAAACYAMRXl",{"x":59,"y":59,"zoom":60,"background":367},"transparent",{"dimensions":369,"alt":363,"copyright":7,"url":364,"id":365,"edit":370},{"width":361,"height":362},{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":372,"alt":7,"copyright":7,"url":364,"id":365,"edit":373},{"width":361,"height":362},{"x":59,"y":59,"zoom":60,"background":367},[375],{"type":34,"text":376,"spans":377},"Léa Nedwed is a senior writer at ArtExplored",[],"7f3c28df-4a80-461e-9221-e92408c7f454",{"dimensions":380,"alt":7,"copyright":7,"url":383,"id":384,"edit":385},{"width":381,"height":382},16000,9000,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOfcB5LeNNTxhmF_Landscape_16.9_Web_Header_HiddenGems_V6_.jpg?auto=format,compress","ZqOfcB5LeNNTxhmF",{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":387,"alt":7,"copyright":7,"url":389,"id":390,"edit":391},{"width":388,"height":381},10667,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOgAB5LeNNTxhmY_Portrait_3.2_Web_Thumbnail_HiddenGems4.jpg?auto=format,compress","ZqOgAB5LeNNTxhmY",{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":393,"alt":7,"copyright":7,"url":389,"id":390,"edit":394},{"width":388,"height":381},{"x":59,"y":59,"zoom":60,"background":367},"2024-07-29",[397,411,424,442,459,482,491,503,525,534,551,563,590,599],{"variation":94,"version":95,"items":398,"primary":399,"id":410,"slice_type":144,"slice_label":7},[],{"title":400,"content":401},[],[402,405,407],{"type":34,"text":403,"spans":404,"direction":342},"Pablo Picasso, Giorgio de Chirico, Pierre Soulages, Richard Serra—these illustrious names in the history of art draw visitors to Luxembourg's Nationalmusée um Fëschmaart. Yet, alongside these masters, the museum also showcases long-forgotten artists who are equally deserving of our attention.",[],{"type":34,"text":344,"spans":406,"direction":342},[],{"type":34,"text":408,"spans":409,"direction":342},"Ruud Priem, the museum's Head of Department and Curator of Fine Arts, recently oversaw the acquisition of a striking portrait. With a decade at Amsterdam's Rijksmuseum and collaborations worldwide, Priem has engaged deeply with celebrated masterpieces while demonstrating a discerning eye for overlooked treasures.",[],"text$ed331b5a-ad55-419e-9cc4-6ef4d8537b08",{"variation":243,"version":95,"items":412,"primary":413,"id":423,"slice_type":269,"slice_label":7},[],{"image1":414,"label":7,"copyright":419},{"dimensions":415,"alt":7,"copyright":7,"url":416,"id":417,"edit":418},{"width":79,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOhCx5LeNNTxhnR_FranzvonMatsch-Square.jpg?auto=format,compress","ZqOhCx5LeNNTxhnR",{"x":59,"y":59,"zoom":60,"background":367},[420],{"type":34,"text":421,"spans":422,"direction":342},"Franz von Matsch (1861-1942), Portrait of William Nii Nortey Dowuona, Prince of the Ga people from Osu in the Grand Accra region of Ghana, West Africa, 1897, oil on canvas, Collection MNAHA",[],"image$581a16cf-b400-443f-95ef-696551be2e71",{"variation":94,"version":95,"items":425,"primary":426,"id":441,"slice_type":144,"slice_label":7},[],{"title":427,"content":432},[428],{"type":429,"text":430,"spans":431,"direction":342},"heading1","A mysterious portrait",[],[433,436,438],{"type":34,"text":434,"spans":435,"direction":342},"The newly acquired painting is presented in its (presumably) original, beautifully crafted bamboo frame. From the corners of the frame protrude four tubers–the roots of the bamboo–enhancing its exotic allure. Its quasi-photographic quality and frontal, naturalistic depiction of a black man in bust form make it challenging to date at first glance. The painting appears academic with its polished finish and the model’s classical pose, yet it diverges from tradition through its unconventional choice of subject.",[],{"type":34,"text":344,"spans":437,"direction":342},[],{"type":34,"text":439,"spans":440,"direction":342},"A black figure wears a piece of cloth in a toga-like fashion, draped over his left shoulder and leaving the right one bare. Set against a simple clay-green background, he lacks contextual markers. The museum acquired it at a 2021 Sotheby's auction, simply as “Portrait of an African Man”. Its author, Austrian painter Franz von Matsch (1861-1942), was active in Vienna from the late 19th to the mid-20th century. Reflecting an era when Black representation in European art expanded alongside migration from Africa and Haiti, such works broke away from prevailing stereotypes. However, the context in which this portrait was created unveils more complex realities. While interpreting the artist’s perspective solely through the painting proves challenging, it nevertheless offers profound insights into anthropology and social relations in modern Europe.",[],"text$b4cb4442-fba2-4a3d-9ed3-7f3a2a3ca55a",{"variation":94,"version":95,"items":443,"primary":444,"id":458,"slice_type":144,"slice_label":7},[],{"title":445,"content":449},[446],{"type":429,"text":447,"spans":448,"direction":342},"Matsch and Klimt: partners in art",[],[450,453,455],{"type":34,"text":451,"spans":452,"direction":342},"In the 1870s, Franz von Matsch trained alongside Gustav Klimt and his brother Ernst at Vienna's School of Applied Arts, all steeped in conservative academic traditions. After their studies, in 1883, the trio collaborated on public commissions until Gustav Klimt distanced himself from the traditional painting style. Favouring artistic innovation, Klimt's art underwent a major shift in 1895, and two years later, he co-founded the Vienna Secession, one of the most avant-garde movements of the time.",[],{"type":34,"text":344,"spans":454,"direction":342},[],{"type":34,"text":456,"spans":457,"direction":342},"Despite their diverging paths, Klimt and Matsch appear to have maintained a close relationship, as evidenced by their joint portrayal of the man in a toga. This enigmatic sitter is also the subject of one of Klimt's paintings, which depicts him in three-quarter view. The portrait itself is shrouded in mystery, having last been seen in public at a 1928 retrospective marking the 10th anniversary of Klimt's death. A black-and-white photograph from a 1923 auction catalogue is the only visual trace of the painting that exists today.",[],"text$5f3b82d7-a73d-4039-9852-2a47bf8110de",{"variation":243,"version":95,"items":460,"primary":471,"id":481,"slice_type":269,"slice_label":7},[461],{"image":462,"title":469,"subtitle":470},{"dimensions":463,"alt":7,"copyright":7,"url":466,"id":467,"edit":468},{"width":464,"height":465},1920,2413,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjhB5LeNNTxhoK_Klimtpainting2.png?auto=format,compress","ZqOjhB5LeNNTxhoK",{"x":59,"y":59,"zoom":60,"background":367},"Gustav Klimt (1862-1918)","Portrait of William Nii Nortey Dowuona, c. 1897",{"image1":472,"label":7,"copyright":477},{"dimensions":473,"alt":7,"copyright":7,"url":474,"id":475,"edit":476},{"width":78,"height":260},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOqcR5LeNNTxhrQ_GustavKlimtlandscape3_2.jpg?auto=format,compress","ZqOqcR5LeNNTxhrQ",{"x":59,"y":59,"zoom":60,"background":367},[478],{"type":34,"text":479,"spans":480,"direction":342},"Gustav Klimt (1862-1918), Portrait of William Nii Nortey Dowuona, c. 1897\n\n(Click to view the full image)",[],"image$d8c5583d-c0ef-4f3e-a78c-a493b58b6b37",{"variation":94,"version":95,"items":483,"primary":484,"id":490,"slice_type":144,"slice_label":7},[],{"title":485,"content":486},[],[487],{"type":34,"text":488,"spans":489,"direction":342},"Priem highlights these portraits as testaments not only to artistic camaraderie but also to the rift that possibly fractured the painters’ bond—a bullet hole in Matsch's work mirrors a dagger gash in Klimt's. An eye for an eye...",[],"text$c4881e79-a305-4079-bf28-d01b6806f52b",{"variation":94,"version":95,"items":492,"primary":493,"id":502,"slice_type":144,"slice_label":7},[],{"title":494,"content":498},[495],{"type":429,"text":496,"spans":497,"direction":342},"Investigating identity",[],[499],{"type":34,"text":500,"spans":501,"direction":342},"In a 2012 publication, art historian Tobias Natter questioned the dating and subject of Klimt’s portrait. Natter speculated that it might depict an African sculpture Klimt admired at Brussels’ Musée du Congo in 1914. Enter Alfred Weidinger, Vienna’s Belvedere Museum’s former vice-president, who established the link between Klimt’s and Matsch’s portraits to around 1897. This was not only the year when Klimt began incorporating flowers into the backgrounds of his works, but also the year a group of Ga people from Ghana were “hired” to “perform” in Vienna’s “Tiergarten” (German for “zoo”).",[],"text$4a43e929-6358-422a-bc1e-5fa06cd95e72",{"variation":94,"version":95,"items":504,"primary":514,"id":524,"slice_type":269,"slice_label":7},[505],{"image":506,"title":513,"subtitle":7},{"dimensions":507,"alt":7,"copyright":7,"url":510,"id":511,"edit":512},{"width":508,"height":509},2634,1517,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk8h5LeNNTxhpX_printWienerTiergarten1897_SMK%5B31%5D2.png?auto=format,compress","ZqOk8h5LeNNTxhpX",{"x":59,"y":59,"zoom":60,"background":367},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.",{"image1":515,"label":7,"copyright":520},{"dimensions":516,"alt":7,"copyright":7,"url":517,"id":518,"edit":519},{"width":78,"height":260},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOk6h5LeNNTxhpW_GapeopleLandscape3_2.jpg?auto=format,compress","ZqOk6h5LeNNTxhpW",{"x":59,"y":59,"zoom":60,"background":367},[521],{"type":34,"text":522,"spans":523,"direction":342},"A group of Ga people from Ghana at Vienna’s Tiergarten circa 1897.\n\n(Click to view the full image.)",[],"image$f6b14082-d44d-4c8d-8b4b-a272c5c292e3",{"variation":94,"version":95,"items":526,"primary":527,"id":533,"slice_type":144,"slice_label":7},[],{"title":528,"content":529},[],[530],{"type":34,"text":531,"spans":532,"direction":342},"During the late 19th century, “human zoos” sprang up across Europe, fuelling a fascination with the exotic at the height of colonial rule, explains Charline Zeitoun, science journalist and deputy editor-in-chief at CNRS. German wild animal importer Carl Hagenberg, known as the “King of the Zoos”, also popularised “ethnic shows”. Inuits, Nubians, Dahomeans, Amerindians, Koreans and other peoples were exhibited in reconstructed villages and asked to perform dances, wear imaginary costumes and even embody cannibalistic and brutal personas. This dehumanising industry aimed to attract an ever-growing audience while trying to legitimise the colonial and civilising enterprise. Such stagings were a resounding success with a Western public that could be described as voyeuristic, fascinated by the unusual and the exotic. “More than a billion visitors are said to have flocked to see this type of exhibition between 1870 and 1940” (“Plus d’un milliard de visiteurs se seraient pressés pour voir ce type d’exhibitions entre 1870 et 1940”), states Zeitoun.",[],"text$fef5c538-5ed3-48be-b23e-be746761f777",{"variation":94,"version":95,"items":535,"primary":536,"id":550,"slice_type":144,"slice_label":7},[],{"title":537,"content":541},[538],{"type":429,"text":539,"spans":540,"direction":342},"Breaking with artistic conventions",[],[542,545,547],{"type":34,"text":543,"spans":544,"direction":342},"Returning to Weidinger, he, along with one of the Belvedere’s Curators Markus Fellinger, identified the figure in both portraits as William Nii Nortey Dowuona, the leader of the Ga people from Osu in Ghana. Dowuona came to Vienna’s “Tiergarten” to perform with a group of 70 warriors and about 50 women and children, all for a modest fee. At the time, the world of show business provided a fertile ground for artists seeking life models that were both affordable and challenged academic conventions. In the catalogue accompanying the 2019 exhibition “Le modèle noir, de Géricault à Matisse” at the Musée d’Orsay in Paris, Estelle Béhué and Isolde Pludermacher note that for 19th-century artists, depicting a Black model marked a significant departure from the beauty standards of the time, which were anchored in the facial features and whiteness of Greek statues.",[],{"type":34,"text":344,"spans":546,"direction":342},[],{"type":34,"text":548,"spans":549,"direction":342},"Matsch’s portrayal sharply contrasts with long-prevailing depictions of young African men and women in orientalist attire or as domestic pages, emphasising the absolute domination and prosperity of their masters. Instead, the man here is neither a mere decorative motif nor a stereotype; he is presented in a dignified and attentive portrait. As the Orsay exhibition catalogue highlights, artists of this era played a key role in challenging racist and colonial ideologies.",[],"text$657902fd-4faf-4c2e-881d-e6527ceccc5d",{"variation":94,"version":95,"items":552,"primary":553,"id":562,"slice_type":144,"slice_label":7},[],{"title":554,"content":558},[555],{"type":429,"text":556,"spans":557,"direction":342},"The Ghanaian Prince awaits his twin portrait",[],[559],{"type":34,"text":560,"spans":561,"direction":342},"While most black models from this period remain nameless, William Nii Nortey Dowuona’s identity is now memorialised at the Nationalmusée um Fëschmaart. He was Prince of the Ga people from Osu in the Grand Accra region of Ghana, West Africa. Priem hopes to one day reunite this portrait with Klimt’s missing piece, should it still exist and resurface. The twin portraits not only share the same subject but also the same palette, with “the two painters having used the exact same colours”, Priem further explains. Their reunion, if it ever happens, would certainly add an exciting chapter to this story and perhaps unveil further details.",[],"text$49b51a06-a118-446d-962b-15e468711c46",{"variation":564,"version":95,"items":565,"primary":578,"id":589,"slice_type":269,"slice_label":7},"double-slice",[566,571],{"image":567,"title":570,"subtitle":7},{"dimensions":568,"alt":7,"copyright":7,"url":389,"id":390,"edit":569},{"width":388,"height":381},{"x":59,"y":59,"zoom":60,"background":367},"Matsch",{"image":572,"title":577,"subtitle":7},{"dimensions":573,"alt":7,"copyright":7,"url":574,"id":575,"edit":576},{"width":260,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOjRB5LeNNTxhoC_GustavKlimt-3_2portrait.jpg?auto=format,compress","ZqOjRB5LeNNTxhoC",{"x":59,"y":59,"zoom":60,"background":367},"Klimt",{"image1":579,"image2":582,"label":7,"copyright":585},{"dimensions":580,"alt":7,"copyright":7,"url":389,"id":390,"edit":581},{"width":388,"height":381},{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":583,"alt":7,"copyright":7,"url":574,"id":575,"edit":584},{"width":260,"height":78},{"x":59,"y":59,"zoom":60,"background":367},[586],{"type":34,"text":587,"spans":588,"direction":342},"Franz von Matsch’s and Gustav Klimt’s portraits of William Nii Nortey Dowuona circa 1897 (Matsch: left \u002F Klimt: right).\n\n(Click to view the full image)",[],"image$bd4ac8de-e7ea-4a73-b1b5-4ca49000c0b3",{"variation":94,"version":95,"items":591,"primary":592,"id":598,"slice_type":144,"slice_label":7},[],{"title":593,"content":594},[],[595],{"type":34,"text":596,"spans":597,"direction":342},"Exceptionally, the travel diaries of these Ghanaian \"actors\" have survived and, along with the two portraits, will be the focus of an Austrian documentary set for release in 2025, states the Nationalmusée’s Curator. This might allow the model to shift from being an observed subject to becoming an observer, providing us with a most interesting testimony.",[],"text$d70576b5-f405-435e-8a30-2e6013de9b76",{"variation":94,"version":95,"items":600,"primary":601,"id":611,"slice_type":269,"slice_label":7},[],{"image1":602,"label":7,"copyright":607},{"dimensions":603,"alt":7,"copyright":7,"url":604,"id":605,"edit":606},{"width":78,"height":260},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZqOmbx5LeNNTxhpv_Nationalmus%C3%A9eumF%C3%ABschmaart-landscape3_2.jpg?auto=format,compress","ZqOmbx5LeNNTxhpv",{"x":59,"y":59,"zoom":60,"background":367},[608],{"type":34,"text":609,"spans":610,"direction":342},"Nationalmusée um Fëschmaart, Luxembourg © Sophie Whaley",[],"image$60e6c030-caa3-475e-9b8b-dc7f2ca2aff8","How Klimt and Matsch rendered a Ghanaian Prince in turn-of-the-century Vienna","At the Nationalmusée um Fëschmaart in Luxembourg, visitors can discover a mysterious portrait by Franz von Matsch. The Austrian painter, active in Vienna at the turn of the century, was once part of iconic artist Gustav Klimt's inner circle. Both painters seemingly sat side-by-side to portray this enigmatic sitter, recently identified as a Ghanaian Prince. He is also the subject of a long-lost painting by Gustav Klimt, unseen for a century. 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his career, German artist Gerhard Richter (b. 1932) continually pushed the boundaries of painting, skillfully transitioning between abstract forms and representational images to create a diverse body of work. The late 1980s and early 1990s marked a pivotal period for Richter, as he developed his signature squeegee technique and rose to international acclaim.",[751,761],{"start":752,"end":753,"type":754,"data":755},308,337,"hyperlink",{"id":756,"type":757,"tags":758,"lang":18,"slug":759,"first_publication_date":760,"last_publication_date":760,"link_type":72,"isBroken":74},"ZmxKyxIAACEAJeVC","definition",[],"signature-squeegee-technique","2024-06-14T13:51:09+0000",{"start":752,"end":762,"type":763},336,"strong",{"type":34,"text":765,"spans":766,"direction":342},"Consequently, paintings created between 1985 and 1994 are highly coveted in Richter's market, generating an impressive $2.1 billion from 295 lots sold between 2004 and 2023. This segment's value nearly doubles Van Gogh's auction market which stands at $1.3 billion from just 66 lots sold over the past two decades.",[],"text$70e5d07e-6002-443b-907d-2b4441f2272c",{"variation":243,"version":95,"items":769,"primary":781,"id":791,"slice_type":269,"slice_label":7},[770],{"image":771,"title":7,"subtitle":7},{"dimensions":772,"alt":7,"copyright":7,"url":775,"id":776,"edit":777},{"width":773,"height":774},2947,1992,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmwFMZm069VX1v1f_RichterVisualsforArticles-28.jpg?auto=format%2Ccompress&rect=181%2C122%2C2585%2C1747&w=2947&h=1992","ZmwFMZm069VX1v1f",{"x":778,"y":779,"zoom":780,"background":367},181,122,1.14,{"image1":782,"label":7,"copyright":790},{"dimensions":783,"alt":7,"copyright":7,"url":784,"id":785,"edit":786},{"width":78,"height":260},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmwFHJm069VX1v1d_VanGogh%27svsRichterlandscape3_2.jpg?auto=format%2Ccompress&rect=384%2C256%2C3072%2C2048&w=3840&h=2560","ZmwFHJm069VX1v1d",{"x":787,"y":788,"zoom":789,"background":367},384,256,1.25,[],"image$19a02077-12cb-4921-a909-1bdc1a62fbcb",{"variation":94,"version":95,"items":793,"primary":794,"id":803,"slice_type":144,"slice_label":7},[],{"title":795,"content":796},[],[797],{"type":34,"text":798,"spans":799,"direction":342},"Richter's works from this period particularly captivated buyers between 2008 and 2012. Notably, Abstraktes Bild (809-4), a painting from 1994, made Richter the most expensive living artist in 2012. Having set several auction records for the artist, these works now occupy nine of his top ten sales.",[800],{"start":801,"end":802,"type":107},96,119,"text$ee13476c-9a3e-4d89-88b8-8238b36170b0",{"variation":243,"version":95,"items":805,"primary":814,"id":821,"slice_type":269,"slice_label":7},[806],{"image":807,"title":7,"subtitle":7},{"dimensions":808,"alt":7,"copyright":7,"url":811,"id":812,"edit":813},{"width":809,"height":810},1822,2356,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmsJr5m069VX1uYh_RichterVisualsforArticles-21.jpg?auto=format,compress","ZmsJr5m069VX1uYh",{"x":59,"y":59,"zoom":60,"background":367},{"image1":815,"label":7,"copyright":820},{"dimensions":816,"alt":7,"copyright":7,"url":817,"id":818,"edit":819},{"width":260,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmsIppm069VX1uXx_Richter3_2.jpg?auto=format,compress","ZmsIppm069VX1uXx",{"x":59,"y":59,"zoom":60,"background":367},[],"image$9218cfd6-ae59-45d9-9b61-646d8053d5d9",{"variation":94,"version":95,"items":823,"primary":824,"id":830,"slice_type":144,"slice_label":7},[],{"title":825,"content":826},[],[827],{"type":34,"text":828,"spans":829,"direction":342},"The market for Richter’s 1985-1994 paintings has shown remarkable resilience, even during the pandemic downturn. In 2020, \"Abstraktes Bild (649-2),\" a 1987 painting, made Richter the most expensive Western artist at an Asian auction when it was acquired by the Pola Museum in Hakone, Japan. By 2021, annual sales in this segment reached their highest level in six years.",[],"text$7275b4de-13b5-4e81-bee5-3e0d41cfb077",{"variation":243,"version":95,"items":832,"primary":841,"id":846,"slice_type":269,"slice_label":7},[833],{"image":834,"title":7,"subtitle":7},{"dimensions":835,"alt":7,"copyright":7,"url":838,"id":839,"edit":840},{"width":836,"height":837},2320,1450,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoa42h5LeNNTwzGK_Richter_AnalysisArticle_Graph_V1.jpg?auto=format,compress","Zoa42h5LeNNTwzGK",{"x":59,"y":59,"zoom":60,"background":367},{"image1":842,"label":7,"copyright":845},{"dimensions":843,"alt":7,"copyright":7,"url":838,"id":839,"edit":844},{"width":836,"height":837},{"x":59,"y":59,"zoom":60,"background":367},[],"image$a61a6c61-9b4c-4c70-a5db-73eb386d5b0a",{"variation":94,"version":95,"items":848,"primary":849,"id":868,"slice_type":144,"slice_label":7},[],{"title":850,"content":851},[],[852,862],{"type":34,"text":853,"spans":854,"direction":342},"Richter's auction records in this category are consistently set by monumental \"Abstrakte Bilder\" (abstract paintings) measuring 200 cm or more. These works have solidified Richter’s status as a central figure in the art market since the 2010s. For more insights, ArtExplored's Focus Report, highlights the evolution of the market for these specific paintings over the last twenty years.",[855],{"start":856,"end":857,"type":754,"data":858},263,289,{"link_type":859,"url":860,"target":861},"Web","https:\u002F\u002Fartexplored.com\u002Farticle\u002Fartist-report-gerhard-richter","_self",{"type":34,"text":863,"spans":864,"direction":342},"In 2017, Richter announced his retirement from painting, concentrating instead on works on paper. He leaves behind an impressive oeuvre, comprising 3,819 paintings created over six decades, a quarter of them between 1985 and 1994. His reputation remains so well-established that for the past decade, at least one museum exhibition featuring his work has been organised worldwide each year.",[865],{"start":866,"end":867,"type":107},129,135,"text$5f9b1e63-e6bb-4f77-8396-1934978a98cb",{"variation":243,"version":95,"items":870,"primary":879,"id":884,"slice_type":269,"slice_label":7},[871],{"image":872,"title":7,"subtitle":7},{"dimensions":873,"alt":7,"copyright":7,"url":876,"id":877,"edit":878},{"width":874,"height":875},1811,1641,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZmsKEpm069VX1uYw_RichterVisualsforArticles.jpg?auto=format,compress","ZmsKEpm069VX1uYw",{"x":59,"y":59,"zoom":60,"background":367},{"image1":880,"label":7,"copyright":883},{"dimensions":881,"alt":7,"copyright":7,"url":876,"id":877,"edit":882},{"width":874,"height":875},{"x":59,"y":59,"zoom":60,"background":367},[],"image$34d5dc5f-c92a-438d-8d0f-03d3e4897ef6",{"variation":94,"version":95,"items":886,"primary":887,"id":893,"slice_type":144,"slice_label":7},[],{"title":888,"content":889},[],[890],{"type":34,"text":891,"spans":892,"direction":342},"The information in this article has been analysed by ArtExplored and is based on proprietary data.",[],"text$c9d09c01-d732-49d0-9051-f790ca199b2b","Gerhard Richter’s Market Milestones Late Eighties to Early Nineties","Richter’s paintings created between 1985 and 1994 are highly coveted in the art market. Read the ArtExplored Focus Report to find out more about the paintings that consistently set auction records in this category: monumental Abstrakte Bilder.",{"dimensions":897,"alt":7,"copyright":7,"url":899,"id":900,"edit":901},{"width":898,"height":275},2388,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZnwHGJbWFbowe3z2_Richter_AnalysisArticle_Opengraph.jpg?auto=format,compress","ZnwHGJbWFbowe3z2",{"x":59,"y":59,"zoom":60,"background":367},[903],{"variation":94,"version":95,"items":904,"primary":944,"id":954,"slice_type":291,"slice_label":7},[905,914,918,927,935],{"post":906},{"id":907,"type":8,"tags":908,"lang":18,"slug":909,"first_publication_date":910,"last_publication_date":911,"uid":912,"link_type":72,"key":913,"isBroken":74},"ZnwEZhMAAB8ALXHW",[635,636],"evaluating-the-market-for-richters-iconic-abstrakte-bilder","2024-07-02T17:11:07+0000","2024-07-04T09:16:04+0000","artist-report-gerhard-richter","dc5fb3af-ee31-46ab-99bf-980bf2967d14",{"post":915},{"id":664,"type":8,"tags":916,"lang":18,"slug":666,"first_publication_date":667,"last_publication_date":668,"uid":669,"link_type":72,"key":917,"isBroken":74},[635,656],"1f582f43-adb6-40ca-a0df-5c85b95df93f",{"post":919},{"id":920,"type":8,"tags":921,"lang":18,"slug":922,"first_publication_date":923,"last_publication_date":924,"uid":925,"link_type":72,"key":926,"isBroken":74},"ZOShthIAACYA1xCI",[626,635],"first-artist-report-sheds-light-on-francis-bacons-market","2023-08-24T13:17:37+0000","2023-08-29T15:59:39+0000","artist-report-francis-bacon","8ba5c85b-a674-4094-80ef-206df16c19f9",{"post":928},{"id":929,"type":8,"tags":930,"lang":18,"slug":931,"first_publication_date":932,"last_publication_date":933,"uid":931,"link_type":72,"key":934,"isBroken":74},"ZBmoCREAACIAZDGt",[635],"the-art-of-diversification","2023-03-21T12:52:11+0000","2024-02-12T16:32:14+0000","d21174a9-b3f3-4142-b68f-031e9e693cf2",{"post":936},{"id":937,"type":8,"tags":938,"lang":18,"slug":939,"first_publication_date":940,"last_publication_date":941,"uid":942,"link_type":72,"key":943,"isBroken":74},"ZBmiNxEAACUAZCbn",[635],"is-art-a-sound-investment","2023-03-21T12:40:31+0000","2024-02-12T16:32:00+0000","investment-art-market-assets-painting","36e0a44e-d648-4d8b-a306-02b1053fdc53",{"slides_per_view":945,"max_slides_count":297,"tag":946,"type":8,"title":289,"paralax":74},3,{"id":947,"type":948,"tags":949,"lang":18,"slug":950,"first_publication_date":951,"last_publication_date":952,"uid":950,"link_type":72,"key":953,"isBroken":74},"ZBnnjBIAACIAc6Df","tag",[635],"art-investment","2023-03-21T17:21:31+0000","2023-06-12T15:34:07+0000","e7b727e4-37a7-4c0d-90fe-f919a7b0234a","carousel$4b20f160-2667-4f75-b8c5-099514bb50d0",{"id":624,"uid":627,"url":7,"type":8,"href":956,"tags":957,"first_publication_date":628,"last_publication_date":629,"slugs":958,"linked_documents":959,"lang":18,"alternate_languages":960,"data":961},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZoZklBMAACIAPKk1%22%29+%5D%5D",[626],[627],[],[],{"title":962,"subtitle":963,"author":964,"copyright_cover":994,"cover_desktop":995,"cover_mobile":1000,"thumbnail":1005,"published_at":1008,"slices":1009,"meta_title":1110,"meta_description":1111,"og_image":1112,"slices2":1117},"A new face at Luxembourg's Nationalmusée um Fëschmaart","The only publicly exhibited Francis Bacon in the country is also publicly listed",{"id":332,"type":25,"tags":965,"lang":18,"slug":334,"first_publication_date":335,"last_publication_date":336,"uid":334,"data":966,"link_type":72,"key":993,"isBroken":74},[],{"description":967,"short_description":978,"job":358,"thumbnail":981,"cover":984,"uid":334,"title":363,"og_image":987,"meta_description":990,"meta_title":363},[968,970,972,974,976],{"type":34,"text":340,"spans":969,"direction":342},[],{"type":34,"text":344,"spans":971,"direction":342},[],{"type":34,"text":347,"spans":973,"direction":342},[],{"type":34,"text":344,"spans":975,"direction":342},[],{"type":34,"text":352,"spans":977,"direction":342},[],[979],{"type":34,"text":356,"spans":980,"direction":342},[],{"dimensions":982,"alt":363,"copyright":7,"url":364,"id":365,"edit":983},{"width":361,"height":362},{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":985,"alt":363,"copyright":7,"url":364,"id":365,"edit":986},{"width":361,"height":362},{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":988,"alt":7,"copyright":7,"url":364,"id":365,"edit":989},{"width":361,"height":362},{"x":59,"y":59,"zoom":60,"background":367},[991],{"type":34,"text":376,"spans":992},[],"35757381-cdb8-4d07-bf3f-6e5169af5254","Francis Bacon (1909-1992), Three Studies for Portrait of George Dyer, 1963, oil on canvas, in three parts, 35.5 x 30.5 cm (each). The first publicly listed Masterpiece on Artex Global Markets. Owned by Art Share 002. © The Estate of Francis Bacon. All right reserved, DACS 2024 \u002F Photo : Tom Lucas \u002F MNAHA",{"dimensions":996,"alt":7,"copyright":7,"url":997,"id":998,"edit":999},{"width":78,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZjCB5LeNNTwyJp_Slide16_9-5-.jpg?auto=format,compress","ZoZjCB5LeNNTwyJp",{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":1001,"alt":7,"copyright":7,"url":1002,"id":1003,"edit":1004},{"width":79,"height":78},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoamfR5LeNNTwy5c_9_16-2-.jpg?auto=format,compress","ZoamfR5LeNNTwy5c",{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":1006,"alt":7,"copyright":7,"url":1002,"id":1003,"edit":1007},{"width":79,"height":78},{"x":59,"y":59,"zoom":60,"background":367},"2024-07-04",[1010,1030,1053,1074,1092],{"variation":94,"version":95,"items":1011,"primary":1012,"id":1029,"slice_type":144,"slice_label":7},[],{"title":1013,"content":1014},[],[1015,1018,1023,1026],{"type":34,"text":1016,"spans":1017,"direction":342},"“Three Studies for Portrait of George Dyer” (1963), a triptych by Francis Bacon (1909-1992), joined the MNAHA’s Nationalmusée um Fëschmaart’s extensive Modern and Contemporary art collection on 25th June 2024. On loan to the institution for the next two years, this is the only work by the British painter to be exhibited in Luxembourg.",[],{"type":34,"text":1019,"spans":1020,"direction":342},"Art connections reimagined",[1021],{"start":59,"end":1022,"type":107},26,{"type":34,"text":1024,"spans":1025,"direction":342},"After years of renovation, the museum’s Modern and Contemporary section reopened in March 2024 with a new thematic display entitled “Collections\u002FRevelations”. Instead of adhering to a typical chronological approach, curator Ruud Priem aimed to foster dialogue among artworks spanning different periods. Observant visitors will notice the connections between pieces that resonate with each other in one way or the other. For instance, juxtaposed bourgeois portraits from the late 19th century, highlighting a certain wealth and social status, face Aida Silvestri’s blurred photographs of Eritrean refugees who lost all their possessions and relationships when fleeing their homeland, explains Priem.",[],{"type":34,"text":1027,"spans":1028,"direction":342},"Together, works from the collection take on a new dimension and offer an overall narrative around five themes: Chaos, Nature, Forms and Shapes, Colour, and Faces.",[],"text$77aa420a-ca9c-439c-bfee-4c8e3fd8e774",{"variation":564,"version":95,"items":1031,"primary":1032,"id":1052,"slice_type":269,"slice_label":7},[],{"image1":1033,"image2":1040,"label":1047,"copyright":1048},{"dimensions":1034,"alt":7,"copyright":7,"url":1037,"id":1038,"edit":1039},{"width":1035,"height":1036},4423,6463,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6XR5LeNNTwyb6_2017-246-002a--.jpg?auto=format,compress","ZoZ6XR5LeNNTwyb6",{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":1041,"alt":7,"copyright":7,"url":1044,"id":1045,"edit":1046},{"width":1042,"height":1043},4380,6324,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ6Sh5LeNNTwyb4_2017-246-001a--.jpg?auto=format,compress","ZoZ6Sh5LeNNTwyb4",{"x":59,"y":59,"zoom":60,"background":367},"From left to right",[1049],{"type":34,"text":1050,"spans":1051,"direction":342},"Aida Silvestri (b. 1978), Kidan. Eritrea to London on foot, by car, lorry, boat train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas; Aida Silvestri (b. 1978), Biniam. Eritrea to London by car, boat, lorry, train and aeroplane, 2017 © Collection MNAHA, Photo: Tom Lucas",[],"image$af33763b-bb06-4f72-8234-5c3a44222c01",{"variation":94,"version":95,"items":1054,"primary":1055,"id":1073,"slice_type":144,"slice_label":7},[],{"title":1056,"content":1057},[],[1058,1062,1065,1070],{"type":34,"text":1059,"spans":1060,"direction":342},"A Francis Bacon in resonance",[1061],{"start":59,"end":214,"type":107},{"type":34,"text":1063,"spans":1064,"direction":342},"In this latest chapter, one of the new faces is Francis Bacon’s muse and lover, George Dyer—portrayed three times over. This emotionally charged triptych goes beyond the model’s physical appearance to explore the complexities of his inner self. Severely contorted, the shifting faces have much to say about Dyer’s personality. He looks simultaneously strong, almost raging, yet also fragile and profoundly distressed. This painting is also a key element in the artist’s relationship with his muse. Bacon had met Dyer a few months prior, and this work marks the very first portrait he created of him. More reminiscent of muscle and tissue than skin, the painting’s raw, carnal quality aligns with Bacon’s general concerns about human mortality. Deviating from traditional representations, this troubling depiction is positioned near the “Chaos” section, resonating with its thematic surroundings.",[],{"type":34,"text":1066,"spans":1067,"direction":342},"Portraits in the post-war era",[1068],{"start":59,"end":1069,"type":107},29,{"type":34,"text":1071,"spans":1072,"direction":342},"Portraits were central to Bacon’s practice. However, after the Second World War, this age-old genre was not widespread among celebrated artists who mainly explored non-figurative tendencies. A self-taught painter, Francis Bacon managed to revive the art of portraiture, which, as well as being out of fashion, had been severely impacted by the growing accessibility of photography. Bacon’s disturbing imagery is among the most poignant portrayals of humankind and earned him widespread acclaim early in his career. Meanwhile, other artists who adopted a more traditional approach to portraiture found their works less popular and often overlooked, despite their inherent quality. Such is the case of Swedish painter Owe Zerge (1894-1983) whose outdated aesthetic of smooth, ultra-realistic painting failed to win him recognition. Today, one of Zerge’s well-dressed young boys sits next to Bacon's triptych portrait but appears too absorbed in introspection to even notice Dyer's recent arrival.",[],"text$aa285098-521e-418b-b095-04ce0110d44c",{"variation":243,"version":95,"items":1075,"primary":1076,"id":1091,"slice_type":269,"slice_label":7},[],{"image1":1077,"label":7,"copyright":1087},{"dimensions":1078,"alt":7,"copyright":7,"url":1081,"id":1082,"edit":1083},{"width":1079,"height":1080},5315,4100,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZoZ64h5LeNNTwycI__TOM7054.jpg?auto=format%2Ccompress&rect=1519%2C315%2C3796%2C2928&w=5315&h=4100","ZoZ64h5LeNNTwycI",{"x":1084,"y":1085,"zoom":1086,"background":367},1519,315,1.21,[1088],{"type":34,"text":1089,"spans":1090,"direction":342},"Francis Bacon (1909-1992), Three Studies for Portrait of George Dyer, 1963, oil on canvas, in three parts, 35.5 x 30.5 cm (each) © The Estate of Francis Bacon. All right reserved, DACS 2024 (left) and Owe Zerge (1894-1983), Portrait représentant Bertil (right). Photo : Tom Lucas \u002F MNAHA",[],"image$67cd7379-8d83-496e-a923-017578121246",{"variation":94,"version":95,"items":1093,"primary":1094,"id":1109,"slice_type":144,"slice_label":7},[],{"title":1095,"content":1096},[],[1097,1101],{"type":34,"text":1098,"spans":1099,"direction":342},"An artwork loaned by the public",[1100],{"start":59,"end":200,"type":107},{"type":34,"text":1102,"spans":1103,"direction":342},"On loan from Art Share 002, “Three Studies for Portrait of George Dyer” (1963) is the first publicly owned artwork, with its shares trading on a regulated exchange compliant with the European MiFID II legislative framework. A new initiative to democratise art and broaden access to investing in iconic masterpieces is now complemented by the physical artwork's accessibility to all. As visitors stroll through the galleries of the Nationalmusée um Fëschmaart, they can contemplate a public collection of art. For the first time, they also can appreciate a painting they can choose to co-own.",[1104],{"start":1105,"end":1106,"type":754,"data":1107},224,240,{"link_type":859,"url":1108,"target":861},"https:\u002F\u002Fwww.artexgm.com","text$70395200-3677-4f7f-bc3b-bbed1b241602","Francis Bacon's portrait of George Dyer is the new face at Luxembourg's Nationalmusée um Fëschmaart","“Three Studies for Portrait of George Dyer” (1963), a triptych by Francis Bacon (1909-1992), joined the MNAHA’s Nationalmusée um Fëschmaart’s extensive Modern and Contemporary art collection on 25th June 2024. On loan to the institution for the next two years, this is the only work by the British painter to be exhibited in Luxembourg. On loan from Art Share 002, “Three Studies for Portrait of George Dyer” (1963) is the first publicly owned artwork, with its shares trading on ARTEX Global Markets, a regulated exchange. This new initiative to democratise art and broaden access to investing in iconic masterpieces is now complemented by the physical artwork's accessibility to all.",{"dimensions":1113,"alt":7,"copyright":7,"url":1114,"id":1115,"edit":1116},{"width":274,"height":275},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZpTyAB5LeNNTxJwp_FrancisBaconnationalmus%C3%A9eImageOpengraph.jpg?auto=format,compress","ZpTyAB5LeNNTxJwp",{"x":59,"y":59,"zoom":60,"background":367},[],{"id":1119,"uid":1120,"url":7,"type":8,"href":1121,"tags":1122,"first_publication_date":1126,"last_publication_date":1127,"slugs":1128,"linked_documents":1130,"lang":18,"alternate_languages":1131,"data":1132},"ZurRuhAAACEAByVL","are-rothko-rooms-facing-extinction","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZurRuhAAACEAByVL%22%29+%5D%5D",[1123,1124,1125],"Rothko","Mark Rothko","Rothko Rooms","2024-09-18T13:51:01+0000","2024-10-16T14:19:35+0000",[1129],"a-natural-disaster-strikes-the-rothko-chapel",[],[],{"title":1133,"subtitle":1134,"author":1135,"copyright_cover":7,"cover_desktop":1165,"cover_mobile":1171,"thumbnail":1176,"published_at":1179,"slices":1180,"meta_title":1320,"meta_description":1321,"og_image":1322,"slices2":1327},"Are Rothko Rooms facing extinction?","Rare ensembles by the American painter are especially prone to damage",{"id":332,"type":25,"tags":1136,"lang":18,"slug":334,"first_publication_date":335,"last_publication_date":336,"uid":334,"data":1137,"link_type":72,"key":1164,"isBroken":74},[],{"description":1138,"short_description":1149,"job":358,"thumbnail":1152,"cover":1155,"uid":334,"title":363,"og_image":1158,"meta_description":1161,"meta_title":363},[1139,1141,1143,1145,1147],{"type":34,"text":340,"spans":1140,"direction":342},[],{"type":34,"text":344,"spans":1142,"direction":342},[],{"type":34,"text":347,"spans":1144,"direction":342},[],{"type":34,"text":344,"spans":1146,"direction":342},[],{"type":34,"text":352,"spans":1148,"direction":342},[],[1150],{"type":34,"text":356,"spans":1151,"direction":342},[],{"dimensions":1153,"alt":363,"copyright":7,"url":364,"id":365,"edit":1154},{"width":361,"height":362},{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":1156,"alt":363,"copyright":7,"url":364,"id":365,"edit":1157},{"width":361,"height":362},{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":1159,"alt":7,"copyright":7,"url":364,"id":365,"edit":1160},{"width":361,"height":362},{"x":59,"y":59,"zoom":60,"background":367},[1162],{"type":34,"text":376,"spans":1163},[],"8dd0f5b6-73f2-4210-bf4f-b64c9bd9c3a3",{"dimensions":1166,"alt":1167,"copyright":7,"url":1168,"id":1169,"edit":1170},{"width":381,"height":382},"The Rothko Chapel, Houston (Texas) (left) and the Rothko Room at Japan’s Kawamura Memorial DIC Museum of Art (right) © Sophie Whaley ","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurQu7VsGrYSvilj_Landscape_16.9_Web_Header_Rothko3.png?auto=format,compress","ZurQu7VsGrYSvilj",{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":1172,"alt":7,"copyright":7,"url":1173,"id":1174,"edit":1175},{"width":388,"height":381},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurii7VsGrYSvjb9_Thumbnail_Portrait_3.2_Rothko_V4.jpg?auto=format,compress","Zurii7VsGrYSvjb9",{"x":59,"y":59,"zoom":60,"background":367},{"dimensions":1177,"alt":7,"copyright":7,"url":1173,"id":1174,"edit":1178},{"width":388,"height":381},{"x":59,"y":59,"zoom":60,"background":367},"2024-10-05",[1181,1193,1205,1220,1232,1263,1278,1296],{"variation":94,"version":95,"items":1182,"primary":1183,"id":1192,"slice_type":144,"slice_label":7},[],{"title":1184,"content":1185},[],[1186,1189],{"type":34,"text":1187,"spans":1188,"direction":342},"In the mid-twentieth century, American painter Mark Rothko unveiled what would become his signature style: vertical stacks of rectangular shapes that seem to float mysteriously on a field of colour. The sublime, captured on canvas. With their velvety textures, diffused contours, and radiant inner light, Rothko’s paintings elude reproduction in photographs; they demand to be seen in person, up close. The artist originally intended for them to be displayed without frames or protective glass, encouraging viewers to stand as near as possible, to lose themselves in the work. This intimacy, however, comes at a cost, leaving the delicate surfaces especially prone to damage.",[],{"type":34,"text":1190,"spans":1191,"direction":342},"Compounding the issue, Rothko’s complex painting technique also defies conventional restoration methods. The artist was famously secretive about his process, layering multiple thin coats of paint that fused into one another, often employing a wide range of media. As a result, his work has been studied in greater detail by painting conservators, using increasingly sophisticated techniques over the years. Only through a deeper understanding of the artist’s methods can conservation efforts be both effective and successful.   ",[],"text$30b164fa-2695-45f9-bb94-fad49df69004",{"variation":94,"version":95,"items":1194,"primary":1195,"id":1204,"slice_type":144,"slice_label":7},[],{"title":1196,"content":1200},[1197],{"type":429,"text":1198,"spans":1199,"direction":342},"A natural disaster strikes the Rothko Chapel",[],[1201],{"type":34,"text":1202,"spans":1203,"direction":342},"This summer, the Rothko Chapel in Houston, Texas, was critically impacted by a severe storm, which caused water to leak through the roof and damage three of the fourteen paintings housed within. Ironically, the skylight—designed to provide ideal lighting in keeping with Rothko’s vision—became the very entry point for the water that compromised the works it was intended to illuminate. ",[],"text$b918ede1-594c-4be7-a108-8053e6571783",{"variation":243,"version":95,"items":1206,"primary":1214,"id":1219,"slice_type":269,"slice_label":7},[1207],{"image":1208,"title":1213,"subtitle":7},{"dimensions":1209,"alt":7,"copyright":7,"url":1210,"id":1211,"edit":1212},{"width":381,"height":388},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurQ7rVsGrYSvimS_Visuals_Landscape_3.2_Rothko_.jpg?auto=format,compress","ZurQ7rVsGrYSvimS",{"x":59,"y":59,"zoom":60,"background":367},"Interior of the Rothko Chapel, Houston (Texas) © Sophie Whaley",{"image1":1215,"label":1213,"copyright":1218},{"dimensions":1216,"alt":7,"copyright":7,"url":1210,"id":1211,"edit":1217},{"width":381,"height":388},{"x":59,"y":59,"zoom":60,"background":367},[],"image$c974a3ca-921e-4225-8516-3bd5d9b96291",{"variation":94,"version":95,"items":1221,"primary":1222,"id":1231,"slice_type":144,"slice_label":7},[],{"title":1223,"content":1224},[],[1225,1228],{"type":34,"text":1226,"spans":1227,"direction":342},"One of only a few ‘Rothko Rooms’ in the world, the chapel is a non-denominational sanctuary, open to all religions; a quiet space for reflection and spiritual growth. Commissioned in the 1960s by art patrons John and Dominique de Menil, Rothko himself oversaw every detail of its design, from the tiled floor to the skylight, and, of course, the paintings inside. Completed in 1971, a year after Rothko's death, the chapel now draws over 100,000 visitors annually. ",[],{"type":34,"text":1229,"spans":1230,"direction":342},"In preparation for its 50th anniversary, the Rothko Chapel underwent a complete renovation starting in 2019, ensuring it was ready for the 2021 jubilee. The $35 million project, which included a new glass roof to better protect the artworks, also saw the redevelopment of the chapel’s campus with the addition of new buildings due for completion in 2026. Despite these extensive efforts—and what executive director David Leslie described as “several measures (...) to address climate change” as reported in the Washington Post— the chapel could not withstand the recent storm. After all, the region has long been vulnerable to natural disasters. ",[],"text$9620b58d-0a95-4cbc-b315-df3effc9dfa6",{"variation":94,"version":95,"items":1233,"primary":1234,"id":1262,"slice_type":144,"slice_label":7},[],{"title":1235,"content":1239},[1236],{"type":429,"text":1237,"spans":1238,"direction":342},"Water incident previously damaged Menil Rothko",[],[1240,1253],{"type":34,"text":1241,"spans":1242,"direction":342},"Before the Chapel's 50th anniversary, another Rothko painting from the Menil Collection was marred by water damage, leaving a drip mark across the two-meter-high canvas. The impact was intensified by Rothko’s choice not to use protective varnish, leaving the delicate paint layers exposed, coupled with his use of water-sensitive media to build his complex surfaces. Paintings Conservator Anne Schmid, then a Mellon Fellow in Painting Conservation at the Menil Collection, restored the artwork in 2020 after an extensive period of research, examination, and testing. In her observations for the American Institute of Conservation’s 50th Annual Meeting in 2022, she noted that each section of the painting—the fields of different colour and materiality—had responded differently to the damage, requiring a bespoke approach for each one. As a result, the painstaking process successfully returned the painting to a condition suitable for display.  ",[1243,1248],{"start":1244,"end":1245,"type":754,"data":1246},46,87,{"link_type":859,"url":1247,"target":861},"https:\u002F\u002Fwww.menil.org\u002Fcollection\u002Fobjects\u002F7811-untitled",{"start":1249,"end":1250,"type":754,"data":1251},567,659,{"link_type":859,"url":1252,"target":861},"https:\u002F\u002Fwww.culturalheritage.org\u002Fdocs\u002Fdefault-source\u002Fpublications\u002Fperiodicals\u002Fannual-meeting\u002F2022-program-and-abstract-book.pdf?sfvrsn=4f021720_16",{"type":34,"text":1254,"spans":1255,"direction":342},"While the full extent of the recent damage to the chapel's panels remains unclear, it is evident that the climate crisis is putting artworks at risk. According to  Ithaka S+R’s 2022 Art Museum Director Survey Report, which included about 180 U.S. participants, thirty-five percent said their museums had suffered damage due to climate change, while only half had taken steps to prepare for such risks.  ",[1256],{"start":1257,"end":1258,"type":754,"data":1259},164,215,{"link_type":859,"url":1260,"target":1261},"https:\u002F\u002Farchive.is\u002Fo\u002FyKci6\u002Fhttps:\u002Fsr.ithaka.org\u002Fpublications\u002Fhow-have-art-museums-been-impacted-by-climate-change\u002F","_blank","text$49ad930f-dc02-4270-9675-88e0e88fd5c7",{"variation":243,"version":95,"items":1264,"primary":1272,"id":1277,"slice_type":269,"slice_label":7},[1265],{"image":1266,"title":1271,"subtitle":7},{"dimensions":1267,"alt":7,"copyright":7,"url":1268,"id":1269,"edit":1270},{"width":381,"height":388},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurUo7VsGrYSvi0K_Visuals_Landscape_3.2_Rothko_2.jpg?auto=format,compress","ZurUo7VsGrYSvi0K",{"x":59,"y":59,"zoom":60,"background":367},"Rothko Room at Japan’s Kawamura Memorial DIC Museum of Art © Sophie Whaley",{"image1":1273,"label":1271,"copyright":1276},{"dimensions":1274,"alt":7,"copyright":7,"url":1268,"id":1269,"edit":1275},{"width":381,"height":388},{"x":59,"y":59,"zoom":60,"background":367},[],"image$d5d726cd-5921-47cd-8463-a1796e7e5de2",{"variation":94,"version":95,"items":1279,"primary":1280,"id":1295,"slice_type":144,"slice_label":7},[],{"title":1281,"content":1285},[1282],{"type":429,"text":1283,"spans":1284,"direction":342},"Uncertain fate for Japan's Rothko Room",[],[1286],{"type":34,"text":1287,"spans":1288,"direction":342},"Only five public spaces in the world permanently house groups of Rothko paintings conceived as sets—and now, yet another of these spaces faces an uncertain future. Japan’s Kawamura Memorial DIC Museum of Art, home to part of Rothko’s Seagram Murals, recently announced it will temporarily close in January 2025. Its owner, DIC Global, is considering downsizing the collection or shuttering the museum altogether. Either scenario could result in the liquidation of assets, potentially jeopardising the paintings’ integrity as a group. The Seagram Murals, originally commissioned for the Four Seasons restaurant in New York’s Seagram Building, were once part of an even larger ensemble. Beyond the DIC Museum, they are now divided among the Tate, Washington’s National Gallery of Art, and Rothko’s heirs. Of these, only the Tate offers a permanent display, though it too faced significant challenges. ",[1289,1292],{"start":1290,"end":1291,"type":107},234,248,{"start":1293,"end":1294,"type":107},538,553,"text$24c83861-a478-4a64-bf16-d97804570695",{"variation":94,"version":95,"items":1297,"primary":1298,"id":1319,"slice_type":144,"slice_label":7},[],{"title":1299,"content":1303},[1300],{"type":429,"text":1301,"spans":1302,"direction":342},"From vandalism to digital revival: efforts in the UK and the US ",[],[1304,1307,1316],{"type":34,"text":1305,"spans":1306,"direction":342},"Over a decade ago, the British institution endured a severe act of vandalism when a painting was tagged with ink in its bottom right-hand corner, the ink seeping through to the canvas. It took nearly twenty months to “eradicate all visible evidence of the ink under normal gallery conditions.”  ",[],{"type":34,"text":1308,"spans":1309,"direction":342},"But more unconventional techniques were employed in an effort to restore—at least to some degree—the lost vibrancy of Rothko’s compromised paintings. The Harvard Murals, one of three ensembles commissioned to Rothko alongside the chapel and the Seagram Murals, had mysteriously shifted from red to blue. Hidden away in storage for nearly thirty years, the five panels were reintroduced to the public with a novel approach: projecting coloured light onto them. This digital reconstruction, painstakingly assembled pixel by pixel, aimed to create the illusion of the original. One might question how this differs from immersive art experiences that project paintings onto walls. Yet, it involves far more: it meticulously considers factors such as reflectance, ambient light blending with the projector’s beam, and various other variables. Meanwhile, the materiality of the paint persists, creating a compelling interplay between the physical and the digital.  ",[1310,1313],{"start":1311,"end":1312,"type":107},154,168,{"start":1314,"end":1315,"type":107},245,261,{"type":34,"text":1317,"spans":1318,"direction":342},"Regardless of the nature of the damage, Rothko rooms are particularly vulnerable. Designed as cohesive units, these ensembles are compromised the moment even a single canvas is affected. Conservators have gone to extraordinary lengths, sometimes employing groundbreaking techniques, to preserve these invaluable works and ensure the artist’s vision remains intact for the public. ",[],"text$6e69228b-5ffe-4a5e-8224-71cd3e92f45c","Are Rothko Rooms Facing Extinction?","Mark Rothko, one of the most influential painters of the post-war era, is celebrated globally, with his artworks held in major museums. Yet, there are only five Rothko rooms in public institutions worldwide—spaces that permanently display groups of his paintings conceived as cohesive sets. These ensembles, however, have been particularly vulnerable to damage over time. Conservators have spared no efforts, often employing innovative techniques, to preserve Rothko’s invaluable artworks and maintain the integrity of these iconic collections.",{"dimensions":1323,"alt":7,"copyright":7,"url":1324,"id":1325,"edit":1326},{"width":274,"height":275},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002FZurUBLVsGrYSvix-_ImageOpengraph-1-.jpg?auto=format,compress","ZurUBLVsGrYSvix-",{"x":59,"y":59,"zoom":60,"background":367},[1328],{"variation":94,"version":95,"items":1329,"primary":1346,"id":1348,"slice_type":291,"slice_label":7},[1330,1334,1338,1342],{"post":1331},{"id":317,"type":8,"tags":1332,"lang":18,"slug":325,"first_publication_date":322,"last_publication_date":323,"uid":318,"link_type":72,"key":1333,"isBroken":74},[321],"e9ad8576-618e-49ee-9dc0-b36a37c3a6db",{"post":1335},{"id":624,"type":8,"tags":1336,"lang":18,"slug":627,"first_publication_date":628,"last_publication_date":629,"uid":627,"link_type":72,"key":1337,"isBroken":74},[626],"7503c651-dc60-4f06-b422-e63cc4c194d0",{"post":1339},{"id":643,"type":8,"tags":1340,"lang":18,"slug":647,"first_publication_date":648,"last_publication_date":649,"uid":650,"link_type":72,"key":1341,"isBroken":74},[645,646],"75a79020-ea87-490b-b8fc-b71d52860a03",{"post":1343},{"id":654,"type":8,"tags":1344,"lang":18,"slug":657,"first_publication_date":658,"last_publication_date":659,"uid":660,"link_type":72,"key":1345,"isBroken":74},[635,656],"60333501-efaa-4c56-a228-1686de590792",{"slides_per_view":7,"max_slides_count":7,"tag":1347,"type":8,"title":7,"paralax":74},{"link_type":72},"carousel$313e3ddb-40c3-4c7f-8a0c-5dd8b3ae85a9",{"slice":292,"payload":1350},[1351,1516,1616,1768],{"id":1352,"uid":1353,"url":7,"type":299,"href":1354,"tags":1355,"first_publication_date":1356,"last_publication_date":1357,"slugs":1358,"linked_documents":1364,"lang":18,"alternate_languages":1365,"data":1366},"ZBGaLhAAACgAzxTK","conservator-julia-nagal-discusses-how-restoring-paintings","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBGaLhAAACgAzxTK%22%29+%5D%5D",[693],"2023-03-16T16:45:51+0000","2023-08-31T21:35:17+0000",[1359,1360,1361,1362,1363],"julia-nagle-how-is-science-improving-art-conservation-techniques","how-is-science-improving-art-conservation-techniques","how-is-science-improving-art-restoration-techniques","how-has-the-art-restoration-industry-changed-over-the-last-couple-of-decades","how-restoring-paintings-has-changed-over-the-last-couple-of-decades",[],[],{"title":1367,"subtitle":7,"color":7,"source":1368,"published_at":1376,"duration":1377,"cover":1378,"copyright_cover":7,"description":1383,"narrator_copyright":1387,"music_copyright":7,"mixing_copyright":7,"deezer_external":1388,"spotify_external":1390,"apple_podcast_external":1393,"slices":1394,"meta_title":1454,"meta_description":1455,"og_image":1456,"slices2":1462},"Julia Nagle: How is science improving art conservation techniques?",{"link_type":1369,"key":1370,"kind":1371,"id":1372,"url":1373,"name":1374,"size":1375},"Media","8c69021d-e7d2-4b86-a666-c5f5321d6575","file","ZJL5khEAACkAEYIk","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002F20903495-2838-423f-86f5-5007e709f134_230616_ARTEXPLORED_AUDIOCAST_JULIA_NAGEL.mp3","230616_ARTEXPLORED_AUDIOCAST_JULIA_NAGEL.mp3","8512043","2023-08-10",713,{"dimensions":1379,"alt":7,"copyright":7,"url":1380,"id":1381,"edit":1382},{"width":79,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff5376d69-fccc-487a-bbe5-8e4c2e0e37eb_carr%C3%A9.jpg?auto=compress,format","ZK_u3hIAACMAafCn",{"x":59,"y":59,"zoom":60,"background":61},[1384],{"type":34,"text":1385,"spans":1386},"Julia Nagle set up her own studio in 2009 (Julia Nagle Conservation) and it is now the official conservator for Frieze Masters and Frieze London art fairs, while it also works with private collectors, insurers, commercial galleries, and public institutions worldwide. Julia explains how restoration and conservation techniques have advanced over the years.",[],"George Nelson, Julia Nagle",{"link_type":1389},"Any",{"link_type":859,"key":1391,"url":1392},"2531dc00-3195-417a-b368-e3efdfc12181","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F6m3DK4JetPQ5UJnx0GVG0x",{"link_type":1389},[1395],{"variation":94,"version":95,"items":1396,"primary":1451,"id":1452,"slice_type":1453,"slice_label":7},[1397,1403,1409,1415,1421,1426,1431,1436,1441,1446],{"speaker":1398,"content":1399},"GN ",[1400],{"type":34,"text":1401,"spans":1402},"Hi Julia, thanks for talking to me today. Before we start, just to avoid any confusion, could you please explain the difference between a conservator and a restorer? ",[],{"speaker":1404,"content":1405},"JN ",[1406],{"type":34,"text":1407,"spans":1408},"A conservator is just a bit more of a modern term, but we also say restorer as well because people often don’t know what you mean. So, it’s just a more modern term because what we’re trying to do is really preserve things and sort of protect them as opposed to actually take them back in time to some previous state, so we sort of acknowledge the fact that ageing happens for example, by calling ourselves conservators a bit more than restorers.  ",[],{"speaker":1410,"content":1411},"GN",[1412],{"type":34,"text":1413,"spans":1414},"How quickly is conservation developing and have there been any scientific or technological breakthroughs in the last few years, few decades, that have been real game changers for the industry? ",[],{"speaker":1416,"content":1417},"JN",[1418],{"type":34,"text":1419,"spans":1420},"Technical art history is a discipline that has grown over the last 20 years, 30 years possibly and we’ve got all sorts of methods of analysing paint films without destroying the painting itself and imaging and things like using X-rays, all sorts of different technologies to understand what’s actually in a painting in the first place. And also to see when we’ve cleaned a surface, for example, you can look at it with a scanning electron microscope and you can see on a massively enlarged image, quite what you’ve actually done to the surface of the painting that might not be visible to the naked eye. So, you can really fine-tune your own techniques to ensure that what you’ve done hasn’t sort of leached a paint film or scratched it microscopically or anything like that. So, I think, possibly, for me anyway, I would say, the kind of analysis and the imaging and the understanding of what you’re actually doing on a much finer level than what the eye can just see is just huge. I mean there have been really important breakthroughs on how to clean acrylic paints because they’re fairly new, they’ve really been in use since about the 1950s and they do respond very differently to water compared to oil paints, for example. So, there’s been a huge amount of research there. A lot of it was EU-funded so I don’t know how that will carry on now, but there’ve been some interesting breakthroughs in nanotechnology and introducing gels for using water in a safe way, not as a liquid, but you can take dirt off of very complex surfaces using gels rather than using liquid water, so yeah, just even sort of technologies on how to safely use water and how to adjust, very finely tune the PH of water so that you can safely clean a film that you might not be able to clean otherwise and so really sort of fine adjustments with our own materials.  ",[],{"speaker":1410,"content":1422},[1423],{"type":34,"text":1424,"spans":1425},"Do you have a preference regarding a particular period or movement when it comes to conservation?  ",[],{"speaker":1416,"content":1427},[1428],{"type":34,"text":1429,"spans":1430},"I really loved working with older paintings, I really, really enjoyed my time doing that. I did it for about 10 years so it’s not that I dislike it, but it’s just fascinating working with modern artists and contemporary artists, and I think as a female, there are fantastic older ladies working… it’s a much less sort of a sexist world I think nowadays, and you know there are many, many more artists from different backgrounds and a lot, lot more women artists now who are recognised and that’s been fantastic working with them. I find a lot of the older women really, really inspiring. So, we’ve worked with Faith Ringgold at the Serpentine and Caroline Kunsman we worked with recently, and I think it’s really interesting the messages that people have got. I mean they are, the art there is, it's expressing our modern culture and expressing kind of issues of the day, and so as I really enjoy that side of it as well and understanding what messages people are trying to put forward and helping them to do that where we can. Also, there’s a lot of research that has to go into understanding what the artist’s intention was. Which is all really interesting and fun to do but it’s also great when you can just ask the artist and they’re there as well. I think it’s a really nice collaboration and I think one thing that I found which I think would surprise quite a lot of people is how much contemporary artists are really interested in their materials and interested in their techniques. And I really want to support artists, that’s what we are trying to do. We’re trying to get the art out there, trying to support artists and having their work exhibited in the way they want it to be seen and there are some really important messages to be understood from it.",[],{"speaker":1410,"content":1432},[1433],{"type":34,"text":1434,"spans":1435},"You mentioned to me before we started speaking, Julia, that you once worked on a painting that had been vandalised by someone’s lover in a jealous fit of rage, like a very intense lovers’ tiff I think. Can you just explain a bit more about that story? ",[],{"speaker":1416,"content":1437},[1438],{"type":34,"text":1439,"spans":1440},"A lovers’ tiff..... the person took bathroom paint, red bathroom paint and painted in big letters, big angry letters all over a painting, so that took a huge amount of time to remove the paint from the original painting but we did manage to do that. But yes, when someone’s angry as well they really press the paint in. So, we ended up using a porcupine spine to pick out tiny bits of paint from bubbles in the paint film where it kind of got pressed into these little crevasses in the paint film so we used a porcupine spine under the microscope to pick out all these little spots of paint to clean it. ",[],{"speaker":1410,"content":1442},[1443],{"type":34,"text":1444,"spans":1445},"Do you have a favourite painting that you’ve ever restored or conserved and if so, why, why is it that painting? ",[],{"speaker":1416,"content":1447},[1448],{"type":34,"text":1449,"spans":1450},"It’s very hard to say because you because it’s very hard to have a favourite and to pick out a favourite. It’s a great privilege to be able to touch what we can’t afford and to spend that one-on-one time, intimate time with great artists. So, you know, sitting in front of a Picasso, I had to clean off fly spots, fly faeces basically for a whole day but you’re sitting with a wonderful painting and so it’s always a privilege to work with wonderful art, and to have that one-on-one relationship, even if it’s for a temporary period.  ",[],{},"text_interview$78ced8c2-13ce-4812-b9d5-51bfdc9511f9","text_interview","How is science improving art restoration techniques?","Conservator Julia Nagle discusses how restoring paintings has changed over the the last couple of decades.",{"dimensions":1457,"alt":1458,"copyright":7,"url":1459,"id":1460,"edit":1461},{"width":274,"height":275},"ArtExplored audiocast with art conservator Julia 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","curtis-dowling-fakes-and-forgeries-in-art","2023-03-13T11:44:46+0000","2023-08-31T21:34:49+0000","curtis-dowling-art-forgery-fakes","711747af-eeb9-4c96-97ff-07fc86220bf2",{"post":1485},{"id":1486,"type":299,"tags":1487,"lang":18,"slug":1489,"first_publication_date":1490,"last_publication_date":1491,"uid":1492,"link_type":72,"key":1493,"isBroken":74},"ZB3OZRAAACIAzkAv",[1478,1488],"Paul Cezanne","jorella-andrews-a-phenomenological-take-on-paul-cezanne","2023-03-24T16:23:05+0000","2023-08-31T21:35:53+0000","a-phenomenological-take-on-cezanne","ba5d08c2-33f6-41e6-9140-b21c37ae3e2d",{"post":1495},{"id":1496,"type":299,"tags":1497,"lang":18,"slug":1499,"first_publication_date":1500,"last_publication_date":1501,"uid":1502,"link_type":72,"key":1503,"isBroken":74},"ZBNBcxAAACMAXuYT",[1498],"Amedeo 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Subran: Is art a good hedge against inflation?",{"link_type":1369,"key":1526,"kind":1371,"id":1527,"url":1528,"name":1529,"size":1530},"7fa8ae55-8590-4af5-86f7-7dd025f71e80","ZJL3CBEAACgAEXYE","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002Fafad441f-2150-4d4b-9fec-c1f9d51604ea_230616_ARTEXPLORED_AUDIOCAST_LUDOVIC_SUBRAN.mp3","230616_ARTEXPLORED_AUDIOCAST_LUDOVIC_SUBRAN.mp3","9661355",603,{"dimensions":1533,"alt":7,"copyright":7,"url":1534,"id":1535,"edit":1536},{"width":79,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F1d826534-1e01-4f9b-a802-3e4c69cf46f5_carr%C3%A9-4.jpg?auto=compress,format","ZK_u3hIAACIAafCl",{"x":59,"y":59,"zoom":60,"background":61},[1538],{"type":34,"text":1539,"spans":1540},"ArtExplored's finance and markets editor Robert Budden talks to Ludovic Subran, the chief economist at Allianz SE, about the damaging effects inflation can have on investment strategies and art's proven record as a hedge against rising prices. ",[],"Robert Budden, Ludovic Subran",{"link_type":1389},{"link_type":859,"key":1544,"url":1545},"c548a504-03e8-44b6-86cb-169f1613dd7a","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F7EDbEuCntvDhUUUYH5lfMh",{"link_type":1389},[1548],{"variation":94,"version":95,"items":1549,"primary":1597,"id":1598,"slice_type":1453,"slice_label":7},[1550,1556,1562,1567,1572,1577,1584,1589],{"speaker":1551,"content":1552},"RB",[1553],{"type":34,"text":1554,"spans":1555},"Inflation is something we’ve forgotten about for quite a long time because we haven’t had much of it. Then, it came back with a vengeance. Can you remind us why inflation is important and why investors should be concerned about it?",[],{"speaker":1557,"content":1558},"LS",[1559],{"type":34,"text":1560,"spans":1561},"Inflation is significant because it complicates everybody’s job. It complicates the investor’s job to yield returns. It complicates the household spending budget. It makes policymakers worried about how to finance social protection. It makes companies look after their margins like a hawk. Inflation is bad because it means the price of money is decreasing.\n\nIt’s true for the past ten years, and some may say since the 70s, at least in our part of the world, like in the US and Europe, that we haven’t seen much inflation. Recently, it has become a concern for investors because inflation can impact the value of their investments. When prices rise, the purchasing power of money decreases, which can lead to a loss in the real value of your investments. Even if an investment rises in price, if that price rise is less than the inflation rate, then the investor has lost money. That’s the direct effect. \n\nThe response to inflation is also through an increase in interest rates. Of course, an increase in interest rates leads to higher financing costs. If you want to use a bit of a mortgage to buy a house, or if you want to use some debt to invest, you’re also losing on that front, which is the overall cost of financing is much higher these days than it used to be just 12 months ago. It’s mostly through the value and the returns and, maybe, through the leverage angle that we see inflation bite investors. It’s creating concerns today about the future returns of investments.",[],{"speaker":1551,"content":1563},[1564],{"type":34,"text":1565,"spans":1566},"If you are a long-term investor, ideally, you want an investment that will give you a good real return above inflation. What investments are best to protect you in an inflation environment? And would you include our investments in those?",[],{"speaker":1557,"content":1568},[1569],{"type":34,"text":1570,"spans":1571},"There are many ways of investing during inflation. Beyond the more alternative investment space, like art or good wine, you have real estate, for example. Investing in a property with rental income is a good hedge against inflation because rental spaces are indexed on inflation (because the rent price is indexed on inflation). Even in the bond markets, with so-called inflation-linked bonds, you can buy a protection, a hedge. \n \n Also, in the vanilla bond market, to protect your returns and your payment of coupons from inflation, the equity market is known to be – when inflation is not too high – a good hedge against inflation. This is because you expect that those companies in the stock market should outperform the cost of inflation. They should pass on some of the increasing costs to the customers through pricing power and still make margins. Your investments should benefit from that. Many investments can be tweaked to become inflation-proof in a way. \n \n What I find interesting is that when you look historically, art has been a good hedge against inflation. The numbers are there to show it. It depends on the geography and how you account for it because there are different costs associated with it and various types of art. But if you go for quality and a buy-and-hold strategy and manage the overall cost of the transaction, art has proven to be quite resilient to higher inflation periods.",[],{"speaker":1551,"content":1573},[1574],{"type":34,"text":1575,"spans":1576},"Was that also true in higher inflation periods like the 70s?",[],{"speaker":1557,"content":1578},[1579,1582],{"type":34,"text":1580,"spans":1581},"It’s hard to know. There are a few long-term studies. Christoph Spaniers, a researcher at the University of Leeds, says you can look at art as giving good returns but there will be differences between countries and areas of art. \n\nOverall, it has worked over the past 30, 40, and 50 years. As you can imagine, the art market is less liquid than others. You don’t see as much price discovery as in the SP500, the FTSE, or some of the indices that have been there for some time. \n\nMore recently, in the last year, we’ve seen a surge in inflation. It’s spectacular - that’s why people have been talking about the 70s. But it’s a very different moment. \n\nCentral banks are much more serious about killing inflation. We don’t have the same competitive environment or wage indexation. There is no wage-price spiral we saw in the 70s. Maybe we will also be more cognisant of fiscal spending than in the 70s. \n\nBut who would have thought that we would have 10% inflation in the Western Hemisphere, right? It has made many people look back into, for example, the performance of art in the long run when diversifying the portfolio and how much people have been making from this investment. \n\nIn the long run, contemporary art has shown a strong price appreciation of close to 15% over the past 30 years. Even during periods of high inflation, it does compare quite well to the equity market, which is usually ten, or real estate, which is also ten, and also for gold, which is in the tune of seven or eight. \n\nThere is a form of resilience and a good investment in periods of high inflation of blue chip art compared to the variability of the overall transaction.",[],{"type":34,"text":344,"spans":1583},[],{"speaker":1551,"content":1585},[1586],{"type":34,"text":1587,"spans":1588},"It’s unusual where we are now, with the economies slowing in many countries worldwide, with interest rates rising and the edging away of central banks pumping money into the economy. What does all this mean for art markets and investment markets?",[],{"speaker":1557,"content":1590},[1591],{"type":34,"text":1592,"spans":1593},"This is where you get the second aspect of inflation that could worry people. When you have lower growth and high inflation, people worry about their income’s purchasing power. \n\nArt is an investment you usually make after investing in more traditional things. It’s more something you do in a layered and structured approach, like with residual savings. \n\nWe’ve seen, for example, people turning to art because they had excess hoarding from COVID. They weren’t going out or travelling. They had extra savings to put into art. Of course, since then, inflation has eroded some of these excess savings and they had to tap into their more liquid investments to ensure they could protect their living standards.\n\nThe good news for the art market is this hedonistic dividend. The idea is that you put money into art not only because you expect solid, regular returns, like in the bond market. You don’t invest in art as you invest in the equity market because you believe in a company’s strategy and you’ve seen this company and its management making good decisions. \n\nWhen you invest in art there is a sense of je ne sais quoi, as we say in French, which is emotional, refined and one of the reasons why it is a resilient segment. It has continued to attract Gen Z, for example. We’ve seen several new platforms that show, just like the Robin Hood generation when it came to equity investment in the US, more young people are interested in this form of investment. This is despite the income and wealth shock of ’22 and relative fears about the recession, higher financing costs and central banks not being done with increasing interest rates. \n\nThe sentiment is not as good, but there is a form of resilience among investors, especially in the segment of investors educated about art. They know why they go there and are not necessarily looking for high-frequency trading, trying to time the market, but more into a buy-and-hold strategy. They know this investment will be a positive one for their portfolio in the long run, a bit diversifying because it’s not as correlated as the other asset classes.",[1594],{"start":1595,"end":1596,"type":107},1106,1122,{},"text_interview$3b969a72-6120-4632-baed-d07430cdce58","Is art a good hedge against inflation?","Ludovic Subran highlights art's proven record as a hedge against rising prices",{"dimensions":1602,"alt":1603,"copyright":7,"url":1604,"id":1605,"edit":1606},{"width":274,"height":275},"Art Explored audiocast with Ludovic Subran, the chief economist at Allianz SE","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002Ff4eafce7-614a-469a-8ea3-2f61431c4c1d_Audiocast+Opengraph+Is+art+a+good+hedge+against+inflation+_.jpg?auto=compress,format","ZK_XhhIAACMAaY5F",{"x":59,"y":59,"zoom":60,"background":61},[1608],{"variation":94,"version":95,"items":1609,"primary":1612,"id":1615,"slice_type":291,"slice_label":7},[1610],{"post":1611},{"link_type":72},{"slides_per_view":7,"max_slides_count":7,"tag":1613,"type":299,"title":1614,"paralax":7},{"link_type":72},"Explore Audiocasts","carousel$ee4f582c-a0fd-486b-99f6-2ee753e8198d",{"id":1496,"uid":1502,"url":7,"type":299,"href":1617,"tags":1618,"first_publication_date":1500,"last_publication_date":1501,"slugs":1619,"linked_documents":1625,"lang":18,"alternate_languages":1626,"data":1627},"https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZBNBcxAAACMAXuYT%22%29+%5D%5D",[1498],[1499,1620,1621,1622,1623,1624],"why-are-the-eyes-in-modiglianis-paintings-so-mysterious","modiglianis-enduring-appeal-and-spotting-his-fakes","why-are-amedeo-modiglianis-paintings-so-captivating","why-is-amedeo-modiglianis-work-so-captivating-and-why-do-so-many-art-forgers-copy-his-work","why-does-amedeo-modigliani-have-such-enduring-appeal...-and-why-do-so-many-art-forgers-copy-his-work",[],[],{"title":1628,"subtitle":7,"color":1629,"source":1630,"published_at":7,"duration":1636,"cover":1637,"copyright_cover":7,"description":1642,"narrator_copyright":1646,"music_copyright":7,"mixing_copyright":7,"deezer_external":1647,"spotify_external":1648,"apple_podcast_external":1651,"slices":1652,"meta_title":1728,"meta_description":1729,"og_image":1730,"slices2":1736},"Simonetta Fraquelli & Annette King: Modigliani's enduring appeal and spotting his fakes!","#ffd9a5",{"link_type":1369,"key":1631,"kind":1371,"id":1632,"url":1633,"name":1634,"size":1635},"d823dcd3-c84c-4065-857d-92c552cbbe33","ZJQkvhEAACkAFt8n","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002Fa63fe7fc-00bf-448e-b33f-17349a947691_230616_ARTEXPLORED_AUDIOCAST_SIMONETTA_FRAQUELLI.mp3","230616_ARTEXPLORED_AUDIOCAST_SIMONETTA_FRAQUELLI.mp3","9859499",600,{"dimensions":1638,"alt":7,"copyright":7,"url":1639,"id":1640,"edit":1641},{"width":79,"height":79},"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7e5f9781-4dfb-4dcc-9c8c-93373690ccd5_carr%C3%A9-1.jpg?auto=compress,format","ZK_u3hIAACEAafCo",{"x":59,"y":59,"zoom":60,"background":61},[1643],{"type":34,"text":1644,"spans":1645},"ArtExplored's North American art writer Will Corwin discusses why Modigliani's work continues to be so popular, his use of colour, and his subjects' mysterious eyes with Simonetta Fraquelli and Annette King, the co-curators of Modigliani Up Close, the artist's retrospective at the Barnes Foundation in Philadelphia. ",[],"George Nelson, William Corwin, Simonetta Fraquelli, and Annette King",{"link_type":1389},{"link_type":859,"key":1649,"url":1650},"07d80b36-a779-4f2b-a26d-6c64c1999b5f","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3hgiJBJvW5wc5Xtl7Jsz5f",{"link_type":1389},[1653],{"variation":94,"version":95,"items":1654,"primary":1726,"id":1727,"slice_type":1453,"slice_label":7},[1655,1661,1667,1672,1680,1686,1691,1696,1701,1706,1711,1716,1721],{"speaker":1656,"content":1657},"WC",[1658],{"type":34,"text":1659,"spans":1660},"Hi Simonetta and Annette, can you start by telling us why now is the right time for a Modigliani exhibition at the Barnes Foundation?",[],{"speaker":1662,"content":1663},"SF",[1664],{"type":34,"text":1665,"spans":1666},"Annette and I both contributed and worked on an exhibition that was held at the Tate in 2017, a major Modigliani retrospective. And when we were working on that together with our colleague Nancy Ireson, we started looking at the technical conservation aspects of all the paintings, and we convinced the lenders to that exhibition to also look at their works. And from there came a series of articles that were published in the Burlington and further studies. And when the opportunity came at the Barnes to do a show, we felt that given that they had such a great collection of Modiglianis which had hitherto not been studied and which could benefit from being in a way catalogued and looked at carefully, also from a conservator’s point of view, we thought this was kind of a unique opportunity to build on what we had already done with the previous show and the previous research and to bring together a new group of paintings and to kind of further this work on the artist, which does open new kinds of avenues of research and understanding and really to be able to move forward with the artist in a way that had hitherto not be done, at least prior to the Tate show.",[],{"speaker":1656,"content":1668},[1669],{"type":34,"text":1670,"spans":1671},"So, what is it about Modigliani’s work that gives him such enduring appeal?",[],{"speaker":1673,"content":1674},"AK",[1675,1678],{"type":34,"text":1676,"spans":1677},"He's an amazing colourist, so the colours really appeal and he seems to capture the essence of the subject without being too realistic or too representational but also there's a real elegance of form and because he was a classically trained artist, the more we looked at these paintings, the more we realised that he was bringing that to the paintings so they have a very pleasing harmony which may not first be evident. So, I think there's a lot about his paintings that really do appeal. And the sculptures.  ",[],{"type":34,"text":344,"spans":1679},[],{"speaker":1681,"content":1682},"SM",[1683],{"type":34,"text":1684,"spans":1685},"If I can also add to that in terms of his appeal, I mean, he's an artist who since the early 1920s and shortly after his death became a favourite both with collectors and with the public. And that has endured, as Annette says, all the way through. He was always a little bit outside of any specific group. I mean, he wasn't connected with the Futurists or the Surrealists or the Cubists, and he forged his own path, which I think has been one that the general viewer has been able to connect with in a way that perhaps other artists have not been so accessible. His art is in many ways, even though I think it seems very on the surface, simple and direct, is actually, as our conservation studies have shown, much more sophisticated and much more worked out than maybe one would immediately think.",[],{"speaker":1656,"content":1687},[1688],{"type":34,"text":1689,"spans":1690},"As curators, how did you strike a balance between the formal assessment of his artworks and the technical scientific viewpoints, which have such a strong focus in the show?",[],{"speaker":1673,"content":1692},[1693],{"type":34,"text":1694,"spans":1695},"So, as we mentioned, the Tate exhibition was the beginning of this project and close looking has always been an important part of the conservator’s role, but also an art historian's role. And as we discussed the paintings, we were looking at very different aspects of the paintings, but bringing them together gave us a much more rounded view of each work and then connecting with all the other conservators and curators from the lending institutions we realised that we could then extend the story of each painting into a much more rounded view of his development, his career. And it just made sense for us all to share our findings and look for patterns of material use techniques that emerged throughout his career, creating a bigger picture of how he was working and how his working methods changed, and for example, you bring up the canvas project. It was called the Thread Count Automation Project run by Don Johnson in Texas. He developed software that could sort of look at digital X-rays and match canvas weave anomalies, placing paintings on the same role of canvas, which is fascinating in itself, but it gave us an insight into the materials he was using. So, we realised there were practically no matches before 1917 and then after Zborowski began supporting him, there was much more consistency. So, it seems that the supplies are coming through to the Zborowski, he's buying them and supplying Modigliani. Also, he favoured certain formats, the marine format. It also gave us an insight into colour makers and how they were producing these canvases. So, producing different sizes and formats on each role to get the maximum number of canvases from each role and there are lots of intricacies within those findings that we were still trying to work out, but it was a fascinating insight into his use of canvases and where they were coming from. And in terms of the balance, it was quite difficult, and it took a lot of discussion between us. So, I'll hand over Sim now.",[],{"speaker":1662,"content":1697},[1698],{"type":34,"text":1699,"spans":1700},"I think that both Nancy and I were very keen that we wanted to work with Annette and with Barbara and have them, as conservators, be part of the curatorial team. But we were also very concerned – not concerned – it’s not the right word. conscious of the fact that when you present an exhibition, you have to do it in such a way to engage the viewer. And I think I could speak for Nancy as well. We wanted the conservation material to be accessible and to be present in the presentation, but we also wanted the show to work visually as an exhibition. And we wanted to draw out certain kinds of visual connections between the individual, for example, between the sculptures and the paintings, or between the group of nudes in a way that allowed the conservation material to be present, but at the same time didn't detract from the paintings themselves. Because one of the problems sometimes with exhibitions where they do have a lot of conservation material is that you find that the viewers end up looking just at the conservation material, not at the paintings themselves. So, I think we were very conscious, all four of us, of creating kind of a visual balance within the exhibition that still allowed you to appreciate the works, but then had this other layer of conservation information available to you. Of course, the catalogue has much more than the exhibition does, and perhaps one could find in other exhibitions or other projects ways of including more technical information through digital ways or whatever into the exhibition itself, but very keen that the paintings and the sculptures would stand in their own right as well.",[],{"speaker":1656,"content":1702},[1703],{"type":34,"text":1704,"spans":1705},"And my penultimate question, why have there been so many forgeries of his work?",[],{"speaker":1662,"content":1707},[1708],{"type":34,"text":1709,"spans":1710},"I think that when you have an artist who has a market, inevitably there are forgeries. And his market has been very strong since almost after the day he died. And he wasn't super prolific. He painted a number of paintings, but nowhere near like Picasso’s output. But, where there's a great market, I think there are always forgeries, and unfortunately, his market has always been very strong, and consequently, there have been many forgeries over the decades.",[],{"speaker":1656,"content":1712},[1713],{"type":34,"text":1714,"spans":1715},"And finally, why are the eyes in Modigliani's paintings so mysterious?",[],{"speaker":1662,"content":1717},[1718],{"type":34,"text":1719,"spans":1720},"This is a question that practically every single person that comes to the Modigliani exhibition asks. So, obviously it does strike a chord. I mean, personally, I think it has to do with his looking at perhaps African masks or sculptures, he does write about looking into the inside person through the eye and sometimes you have an eye that’s open and another one that’s crosshatched. Sometimes you have very ordinary eyes. So, I think there’s a great variety. But I think that the relationship with African artefacts may well be the key to this, but I haven’t really come across really a satisfactory answer to it over the years even though it’s a question that comes up all the time.",[],{"speaker":1673,"content":1722},[1723],{"type":34,"text":1724,"spans":1725},"And frustratingly he never expressed that in writing or in interviews so we don’t know, but if you do look at the sculptures and panitings you can see a similarity in the eyes of the sculptures and as Simonetta said they were influenced by African art. So, yes, it’s a long-lasting mystery really.",[],{},"text_interview$7a8ae707-b642-460b-b0b5-6e939d3a68f4","Modigliani's enduring appeal and spotting his fakes!","Co-curators of Modigliani Up Close – the artist's retrospective at the Barnes Foundation in Philadelphia – Simonetta Fraquelli and Anette King talk to ArtExplored.",{"dimensions":1731,"alt":1732,"copyright":7,"url":1733,"id":1734,"edit":1735},{"width":274,"height":275},"ArtExplored audiocast with the co-curators of Modigliani Up Close Simonetta Fraquelli and Annette King","https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F74b29019-9ccc-4141-bd26-8eb960af3714_Audiocast+Opengraph+Modigliani%27s+enduring+appeal+and+spotting+his+fakes%21.jpg?auto=compress,format","ZK_XhhIAACMAaY5H",{"x":59,"y":59,"zoom":60,"background":61},[1737,1754],{"variation":94,"version":95,"items":1738,"primary":1751,"id":1753,"slice_type":291,"slice_label":7},[1739,1743,1747],{"post":1740},{"id":1352,"type":299,"tags":1741,"lang":18,"slug":1359,"first_publication_date":1356,"last_publication_date":1357,"uid":1353,"link_type":72,"key":1742,"isBroken":74},[693],"cc9634a8-e0e5-4fd9-b0da-df8619c02af3",{"post":1744},{"id":1476,"type":299,"tags":1745,"lang":18,"slug":1479,"first_publication_date":1480,"last_publication_date":1481,"uid":1482,"link_type":72,"key":1746,"isBroken":74},[1478],"06dbce65-3f06-4a73-8bbb-1ee2904100f5",{"post":1748},{"id":1486,"type":299,"tags":1749,"lang":18,"slug":1489,"first_publication_date":1490,"last_publication_date":1491,"uid":1492,"link_type":72,"key":1750,"isBroken":74},[1478,1488],"fc7fb871-4bda-440e-88d7-efa9d52e76d9",{"slides_per_view":945,"max_slides_count":7,"tag":1752,"type":299,"title":1506,"paralax":7},{"link_type":72},"carousel$18625f0d-cea1-4b21-98e1-454e17a02310",{"variation":94,"version":95,"items":1755,"primary":1758,"id":1767,"slice_type":291,"slice_label":7},[1756],{"post":1757},{"link_type":72},{"slides_per_view":297,"max_slides_count":7,"tag":1759,"type":8,"title":1766,"paralax":7},{"id":1760,"type":948,"tags":1761,"lang":18,"slug":1762,"first_publication_date":1763,"last_publication_date":1764,"uid":1762,"link_type":72,"key":1765,"isBroken":74},"ZA9CHxAAAKdKyyuy",[1498],"amedeo-modigliani","2023-03-13T15:44:44+0000","2023-03-20T16:55:09+0000","680be898-66ae-457b-a11a-0f8eab361541","Related Articles","carousel$5a8cbd87-eb7f-4250-8101-f425a76ddcac",{"id":1769,"uid":1770,"url":7,"type":299,"href":1771,"tags":1772,"first_publication_date":1773,"last_publication_date":1774,"slugs":1775,"linked_documents":1778,"lang":18,"alternate_languages":1779,"data":1780},"ZNY85BEAAB4AqwCv","samantha-friedman-moma","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fapi\u002Fv2\u002Fdocuments\u002Fsearch?ref=aCb60BIAACEA00zN&q=%5B%5B%3Ad+%3D+at%28document.id%2C+%22ZNY85BEAAB4AqwCv%22%29+%5D%5D",[],"2023-08-11T14:08:08+0000","2023-09-12T10:38:08+0000",[1776,1777,1770],"samantha-friedman-moma-a-rare-glimpse-of-georgia-okeeffe","samantha-friedman-moma-a-rare-glimpse-of-goergia-okeeffe",[],[],{"title":1781,"subtitle":7,"color":1782,"source":1783,"published_at":1376,"duration":1789,"cover":1790,"copyright_cover":1796,"description":1797,"narrator_copyright":1801,"music_copyright":7,"mixing_copyright":7,"deezer_external":1802,"spotify_external":1803,"apple_podcast_external":1806,"slices":1807,"meta_title":1781,"meta_description":1799,"og_image":1893,"slices2":1899},"Samantha Friedman (MoMA): A rare glimpse of Georgia O'Keeffe","#ee5d5d",{"link_type":1369,"key":1784,"kind":1371,"id":1785,"url":1786,"name":1787,"size":1788},"6eb1318b-0d2d-432c-8158-3a12ac9fab84","ZNY9OBEAAB8AqwJL","https:\u002F\u002Fartexplorer-prod.cdn.prismic.io\u002Fartexplorer-prod\u002F6eae61fd-54d3-4481-9a1d-c0cf9ed55baa_230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.mp3","230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.mp3","15494337",1020,{"dimensions":1791,"alt":1781,"copyright":7,"url":1793,"id":1794,"edit":1795},{"width":1792,"height":1792},1080,"https:\u002F\u002Fimages.prismic.io\u002Fartexplorer-prod\u002F7874436e-6b77-4ac5-bf7a-90351fc27438_230811_ARTEXPLORED_AUDIOCAST_SAMANTHA_FRIEDMAN.jpg?auto=compress,format","ZNY9rBEAACAAqwRq",{"x":59,"y":59,"zoom":60,"background":61},"Georgia O’Keeffe. Evening Star No.III, 1917. Watercolor on paper mounted on board. 8 7\u002F8 x 11 7\u002F8″ (22.7 x 30.4 cm). The Museum of Modern Art, New York. Mr. and Mrs. Donald B. Straus Fund, 1958. © 2022 Georgia O’Keeffe Museum \u002F Artists Rights Society (ARS), New York\u002F",[1798],{"type":34,"text":1799,"spans":1800},"MoMA’s Associate Curator, Department of Drawings and Prints Samantha Friedman, who curated Georgia O’Keeffe: To See Takes Time at MoMA, talks to ArtExplored about why the artist is one of the most significant painters of the 20th century.",[],"Will Corwin, Samantha Freidman",{"link_type":1389},{"link_type":859,"key":1804,"url":1805},"2d512a63-af04-4df0-bda5-541d755dd3ef","https:\u002F\u002Fopen.spotify.com\u002Fepisode\u002F3mGpDNBundMZ0r8Dquj5Ft",{"link_type":1389},[1808],{"variation":94,"version":95,"items":1809,"primary":1891,"id":1892,"slice_type":1453,"slice_label":7},[1810,1815,1820,1825,1841,1846,1851,1856,1861,1866,1871,1876,1881,1886],{"speaker":1656,"content":1811},[1812],{"type":34,"text":1813,"spans":1814},"Hi Samantha. Thank you for joining me today to discuss Georgia O'Keeffe and her exhibition To See Takes Time at MoMA. My first question is this. George O'Keeffe was born in Wisconsin to Irish-Hungarian parents and brought up on a farm. How much did this shape her interest in art, and did the landscape and environment in Wisconsin influence her choosing nature as the main subject matter of her work?",[],{"speaker":1662,"content":1816},[1817],{"type":34,"text":1818,"spans":1819},"I think it's a great way to start in her early days. And I guess I would say I don't know that the landscape of Wisconsin per se shaped her interest in the landscape as a subject for her work specifically. But I will say that that upbringing was crucial in other ways to the artist that she became. Being from a big farm family of seven kids, being extremely self-sufficient, being comfortable in nature, I think were all qualities that very much shaped the person and artist that O'Keeffe would become. Her kind of comfort with the outdoors, her desire for adventure. You know, her family moved to Virginia when she was in her mid-teens so her landscape would shift. But I think from the very beginning, there was a kind of comfort within different landscapes and you know, that she would move across the country in those early years as she was growing as a young artist and a teacher. So I think that was really important for making her the artist she was. ",[],{"speaker":1656,"content":1821},[1822],{"type":34,"text":1823,"spans":1824},"Why did MoMA choose to organise an exhibition focusing solely on O'Keeffe's works on paper?",[],{"speaker":1662,"content":1826},[1827],{"type":34,"text":1828,"spans":1829},"I had organised a smaller exhibition a few years ago of post-war drawings from MoMA's collection called Degree Zero Drawing at Mid-Century and among the 80 some works from our collection I included in that show of drawings that were made between 1948 and 1961 was our latest O'Keeffe drawing, which is a 1959 charcoal that's in this exhibition. And when I hung it in that show, I hung it with an Ellsworth Kelly. It looked very at home and happy. And when I would take people through, they were very shocked to learn that this was an O'Keeffe drawing because it didn't conform to people's expectations of the artist. And I found that to be really exciting, that an artist who is so well known could still surprise people with her work that she made work not at the moment we consider to be her heyday of the 20s, and that it looked quite different from the blown-up flower paintings that are maybe the works that people most quickly and easily conjure in their heads when they're thinking of the artist. So, when I researched that drawing, I realised it was part of a series and that in fact most of the works on paper O'Keeffe made were themselves parts of a series, and there hadn't really been an exhibition that looked at bringing her series on paper together. I've been at MoMA for a long time. I'm well acquainted with some of our wonderful works on paper, the Evening Star watercolour, for example, the Train watercolour. I'd seen those works exhibited over the years, but I hadn't known that there were eight Evening Stars, and that there were three Trains. And I figured if I didn't know that, a lot of people probably didn't know that. And then the kind of last piece of the puzzle was realising that it had been 77 years since MoMA had given Georgia O'Keeffe a monographic exhibition. The last one was in 1946. I found that quite shocking, really surprising. It was a fact I had to check numerous times to make sure I had it right. So it seemed it was high time to honour her in that way. And that path that the previous project had led me down through that drawing seemed like an ideal way to do it, to show her in a different light, to shift the focus, to see a side of the artist that was maybe a bit fresh and showed her in a way that was quite different from how many of us encounter her.",[1830,1833,1836,1838],{"start":1831,"end":1832,"type":107},1367,1379,{"start":1834,"end":1835,"type":107},1410,1415,{"start":509,"end":1837,"type":107},1530,{"start":1839,"end":1840,"type":107},1558,1564,{"speaker":1656,"content":1842},[1843],{"type":34,"text":1844,"spans":1845},"What is it about O'Keeffe's painting techniques and subject matter that established her reputation as an innovative modernist?",[],{"speaker":1662,"content":1847},[1848],{"type":34,"text":1849,"spans":1850},"I would say that in these key early years of her developing her visual language – and we're talking about really 1915 to 1917 – we have an artist who is working both within the realm of radical abstraction that many artists in those early decades of the 20th century are embracing. But she's doing it in quite a personal way also. So she trains to be an artist, she trains with different teachers. She's absorbing all of these theories of the day. And at a certain point, she says, 'I have shapes in my head that are not like what anyone taught me.' And so she steps back to listen to those shapes. So she's working in a kind of radically abstract visual language that is resonant with a lot of the innovations that are going on in those decades of the early 20th century. But she's doing it in a way that feels very deeply personal to her. And I think it's that combination, you know, that really makes her language innovative and modern at that at that moment. ",[],{"speaker":1656,"content":1852},[1853],{"type":34,"text":1854,"spans":1855},"Which artists influenced O’Keeffe throughout her career?",[],{"speaker":1662,"content":1857},[1858],{"type":34,"text":1859,"spans":1860},"She talks about, in these key years which we're discussing, reading Kandisnky's Concerning the Spiritual in Art, I think Kandinsky was a touchstone for a lot of artists at this moment, talking about these almost synaesthesia qualities of the different arts, the way that visual art might aspire to the condition of music, the idea of different forms of being associated with different sounds, being associated with different colours. And this is really moving for O'Keeffe, really influential. Within the kind of American vein of artists that Alfred Stieglitz is kind of building up, it's Arthur Dove who is the most resonant for O'Keeffe and indeed who are most resonant for each other. O'Keeffe is equally influential to Dove. I think this ability to kind of live in the grey area between nature and abstraction is something that's really important for both of them. And she sees the work by Dove reproduced in an important book, and that kind of sends her on a path of really admiring him. And they would become, you know, close peers and co-admirers. I think it's interesting to note that it's not only draughtsmen and painters who were exciting for O'Keeffe. You know, of course, Alfred Stieglitz, the photographer and gallerist who would become her husband, is introducing her to many circles of photography in this moment. And his younger acolyte, Paul Strand, is someone whose work is really influential to O'Keeffe. She talks about a moment when he showed her lots and lots of his prints and she says, 'I almost lost my mind over them, photographs that are as queer in shapes as Picasso drawings.' She's actually referring to a very particular Picasso drawing. I don't think she was a very general overall admirer of him necessarily, but there was one particular Cubist Picasso drawing that Stieglitz was showing in his gallery that she really took a liking to. So I think, you know, it really runs the gamut. And then, of course, this wasn't really what you were asking, but of course, it goes both ways. She continues to also be really influential for many artists of the next generation. You know, we have letters between her and Yayoi Kusama, between Agnes Martin, this younger generation of artists who are equally influenced by her. So those conversations are very active in both directions. ",[],{"speaker":1656,"content":1862},[1863],{"type":34,"text":1864,"spans":1865},"How significant is the relationship between O'Keeffe and MoMA, given that she was the first female artist to receive a proper retrospective at the museum? ",[],{"speaker":1662,"content":1867},[1868],{"type":34,"text":1869,"spans":1870},"Interestingly, I think it's been a complicated relationship over time, right? I mean, it would have to be the first woman artist to receive a retrospective in 1946 and then to go 77 years without another monograph. I thought a lot about whether that's O'Keeffe specific, whether that has to do again with the fact that her popularity or her presence as a kind of an icon might have overshadowed a sense of her seriousness at a certain point. But I think also it has to do with MoMA's complex history with American art pre-1945. Right? We all know that in MoMA's earlier decades, so many curators invited American art, whether it was the Stieglitz circle of modernism, whether it was self-taught or folk art over the years as that kind of canon became more entrenched of this linear story of modernism with which the museum had become associated, the idea of American art pre-1945, this realism or these kinds of realisms that preceded abstraction and abstract expressionism, were a little bit sidelined, right? They didn't fit into this story. And so I think that those priorities complicated MoMA's relationship to the artist and to her work. I think that it's really exciting and great news that in the last decade or so, we've really complicated the stories that we're telling such that an artist needn't fit into some of those linear trajectories, and I think that's part of what opens up a place for her in a really exciting way. That being said, I think it really is interesting to look back and even if she hadn't received a monograph in all those years, to look back at some of the group exhibitions in which she was included, there's one in particular that I found to be really interesting an exhibition from 1968 called The Art of the Real that a curator named E.C. Goosen organised. And if you read his catalogue essay for that show, which is available on MoMA's website in the form, he holds her up as a kind of a precursor to Ellsworth Kelly to Jasper Johns in this way that feels at first really strange to the stories we've crafted about modernism but are really exciting. And so it's really interesting to look back at the moments in which she was, you know, held up for her innovations, even if she hadn't received a monograph in all those years. ",[],{"speaker":1656,"content":1872},[1873],{"type":34,"text":1874,"spans":1875},"What is it about the charcoal drawings O’Keeffe made between 1911 and 1918 that propelled her career in a new direction and brought her work to the attention of the American public? ",[],{"speaker":1662,"content":1877},[1878],{"type":34,"text":1879,"spans":1880},"These charcoal drawings are just amazing. I mean, the exhibition begins with a number of them, many of which she called specials a kind of loving nickname she would give to these early works when she found them to be particularly successful. They are so bold, they're so abstract. And they also contain the kind of blueprints for her visual language, for her whole career, these kinds of spiral forms, this repertory of marks, the way that she negotiates value, the way that she wipes away areas of mid-tone to achieve bright highlights. Like they're just, um, I mean, in addition to being really innovative, they're absolutely lush and gorgeous. Some of them feel very mysterious. Some of them feel very strange. Critics, even in those years struggled to describe them. Um, you know, they, they talked about a scarecrow or, you know, grasping at different ways to to describe them. There's one special from 1915 that she herself described as the drawing of a headache. So the idea that you might describe a physical sensation in visual terms. So just really radical investigation and exploration. And she was sending a lot of these works. She was rolling them up and sending them in the mail in a tube, which of course, not a method we would use to travel them today to her good friend Anita Pulitzer in New York and really wanting validation, wanting to show these works. Anita shows them to Stieglitz and he includes three of them in an exhibition in 1916 and then gives her a solo show in 1917 and that is what brings her work to the attention of the public. It really is through these charcoal drawings that the public sees O’Keeffe and finds her so captivating. ",[],{"speaker":1656,"content":1882},[1883],{"type":34,"text":1884,"spans":1885},"Have you personally learned anything new about O’Keeffe during your time curating the exhibition?",[],{"speaker":1662,"content":1887},[1888],{"type":34,"text":1889,"spans":1890},"I have to say, I don’t even know where to begin with that question because pretty much everything I’ve learned during the making of this show, which I collaborated on with some wonderful colleagues.... If you had asked me five years if O’Keeffe was an artist I even cared about, I would have said no. The idea of her being a very popular artist turned me off. So, the kind of process about learning about her work and her work on paper that I experienced, I hope people who see the show will also experience that same learning curve. I wasn’t coming as an expert, I was coming as a convert and so really, everything was new for me. The most gratifying response to the show that I’ve heard has been ‘I had no idea that O’Keeffe made this work’ because that was my response too. So, it’s really all been new. 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