#collections-access

#collections-access

Marsden's introduction is very lucid, setting out the development of sculpture at court; royal involvement with sculptors; displaying sculpture in galleries, state rooms, libraries and gardens; and stewardship of the collection.

Art UK has taken it as its mission to digitally unite one million artworks from 3,500 institutions. This free-to-all portal connects everyone with the UK's public art collections.

"Money and power," was his answer. "Only the Met could do such a show."

Scams involving antiques and collectibles are almost as old as some of the items. But internet sales now mean fraudsters have a much wider audience.

In many works, sturdy, almost sculptural nude women appear alongside children and dogs, suggesting an untamed intimacy. The rust-colored painting is Barry's interpretation of the famed Capitoline Wolf, a centuries-old sculpture depicting Romulus and Remus, the mythical twin founders of Rome who were suckled by a she-wolf after being abandoned.

This captivating photo depicts not an isolated incident, nor accident, nor allegory, but rather an ongoing war crime, underscoring the importance of not looking away.

"The idea for a dedicated consultancy arm actually predates GCC's launch in 2020. Right from the beginning, it was clear that while shared standards, tools and advocacy are essential, many organisations would require hands-on, tailored support to implement meaningful change."

Knowles's performances, such as Make a Salad and Identical Lunch, showcased her unique approach to art through food, engaging audiences in the experience of preparation and consumption.

Artnet was founded to bring transparency to the art world, and Artsy-to make discovering and buying art more accessible. Connecting the businesses opens up new possibilities, including modernizing and building upon the art world's most trusted pricing tools.

Private auctions are characterized by their curated nature, taking place outside the traditional public auction format, which allows for a more controlled and quieter sales environment.

The new webpage, entitled 'How have objects come to be in the V&A?', points out that for some objects, their journeys have involved known histories of violence, coercion or injustice, while for others there remains uncertainty over exactly how they came to be here.

Kamrooz Aram is everywhere this year, from Mumbai Art Week to the Whitney Biennial, and critic Aruna D'Souza is grateful. She pens a beautiful meditation on his work, reading his abstract paintings as not simply a denunciation of Western modernism nor a reassertion of Islamic visual motifs, but something else entirely - something gestural, exuberant, riotous, and incomparably his own.

Bregman claims, 'Today the whole of Europe risks turning into one big Venice, a beautiful open-air museum. A great destination for Chinese and American tourists. A place to admire what was once the centre of the world.' This statement encapsulates the concern that Europe is losing its cultural significance.

Is there finally a market for performance art? We're seeing more and more performance in galleries, art fairs, and other commercial art spaces these days.

An analysis of two paintings in museums in the US and Italy by the 15th-century Flemish artist Jan van Eyck has raised a profound question: what if neither were by Van Eyck? Saint Francis of Assisi Receiving the Stigmata, the name given to near-identical unsigned paintings hanging in the Philadelphia Museum of Art and the Royal Museums of Turin, represent two of the small number of surviving works by one of western art's greatest masters, revered for his naturalistic portraits and religious subjects.

When Thomas Jefferson wrote about the "inalienable" rights of man in the US Declaration of Independence 250 years ago, it's possible he lifted the term from the French. And long before it was ever used as an adjective to describe human rights, it defined royal property. To this day, "inalienability" remains a cornerstone of public collections in France-and many other countries-impacting museums and their ability to deaccession, including for purposes of restitution.

Stephen Friedman was overdue filing when he went into liquidation on 2 February, closing his London gallery immediately (his New York venue shuttered around the same date). At the time of writing, invoices remain unpaid and artists unable to retrieve works from storage companies. In a statement, Friedman says 'all matters are now subject to the administrator's consideration'.

For some eminently wealthy individuals, amassing a first-class art collection is an ideal way to spend their money. And while some high-profile art collectors end up donating their collections to museums or other cultural institutions, others take a different approach, reselling their art after a certain amount of time. Which brings us to this week, when billionaire David I. Koch's collection of Western art hit the auction block at Christie's, setting a number of records in the process.

The terms are often conflated to portray an air of desirability and a limited opportunity. Rarity generally refers to the unusualness of an object—something that is infrequently encountered or 'rare to market.' With modern works from the past century, rarity can stem from limited original production, or the fact that many examples are held in museum or institutional collections, reducing their availability in the marketplace.