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      Art Institute of Chicago Receives $75 Million Gift

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      The donation from Aaron I. Fleischman and Lin Lougheed will support the museum’s new galleries.The Art Institute of Chicago on Tuesday announced a gift of $75 million that will support new galleries for its collection of late-19th-century, modern and contemporary art.The new building will bear the names of Aaron I. Fleischman and Lin Lougheed, the married couple whose donation is the largest individual naming gift in the museum’s history.“This converts what has been an aspiration into a reality,” said James Rondeau, the president and director of the Art Institute.“It is just about access to collections,” he continued. “Only about 16 percent of our modern and contemporary collection is on view.”The museum has yet to announce the total cost of the building project, the square footage or a completion date, Rondeau said. While the addition will increase the Art Institute’s $115 million annual operating budget, Rondeau said the museum had prepared for that by building its endowment by $200 million over the past five years.The new galleries are part of a project that began in 2019 to enhance existing spaces and explore how to make the most of the museum’s campus. The Art Institute is working with the architecture firm Barozzi Veiga.Fleischman, formerly a prominent lawyer in Washington, began collecting in the mid-1980s and has been a trustee of the Art Institute for nearly 15 years. Lougheed received a doctorate from Teachers College, Columbia University, and he has specialized in international education.“Touring the collections on view and in storage I came to believe that more of the museum’s extraordinary collection needed to be available to visitors and presented in world-class architecture,” Fleischman said in a statement, adding that he was excited “for the museum to tell a more complete story of modern and contemporary art.” More

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      Gao Zhen, Artist Who Critiqued the Cultural Revolution, Is Detained in China

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      Mr. Gao is being held on suspicion of slandering China’s heroes and martyrs, an offense punishable by up to three years in prison, his brother said.Gao Zhen, a Chinese artist who has drawn international acclaim for works critiquing the Cultural Revolution, has been detained in China, his brother and artistic partner Gao Qiang said on Monday.The Gao brothers are best known for their statues depicting Mao Zedong in provocative or irreverent ways, such as “Mao’s Guilt,” a bronze statue depicting the leader on his knees, supplicant and remorseful.The police in Sanhe City detained Gao Zhen, who moved to the United States two years ago, last week while he was visiting China, his younger brother said in an email, on suspicion of slandering China’s heroes and martyrs — a criminal offense punishable by up to three years in prison.The police also confiscated several of the brothers’ artworks, all of which were created more than 10 years ago and “reassessed Mao’s Cultural Revolution,” Gao Qiang said. The works included “Mao’s Guilt”; “The Execution of Christ,” a statue depicting Jesus facing down a firing squad of Maos; and “Miss Mao,” a collection of statues of Mao with large breasts and a protruding, Pinocchio-like nose.About 30 police officers stormed the brothers’ art studio on Aug. 26 in Yanjiao, a town in Sanhe City about an hour away from Beijing, Gao Qiang said. The officers asked Gao Zhen, 68, to hand over his mobile phone, and when he refused, they handcuffed and arrested him, Gao Qiang said. Gao Zhen was in China with his wife and son, visiting relatives, his brother said.The next day, Gao Zhen’s wife was notified by the Sanhe City public security bureau that he was being detained on suspicion of slandering heroes and martyrs, Gao Qiang, 62, said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      At Los Angeles Galleries, Savoring the Waning Days of Summer

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      During an often quiet season in the art world, several outstanding solo shows and one group show offer a feast for the eye and the mind.Rick Lowe’s “Cavafy Remains,” 2024, acrylic on canvas, in the group exhibition “Social Abstraction” at Gagosian Beverly Hills.via Rick Lowe and Gagosian; Photo by Thomas DubrockThe traditional summer lull in the art gallery calendar typically spurs a rash of phoned-in group shows, a chance to drag unsold works out of storage and repackage them under limp catchall themes. Not so much this month in Los Angeles, where several eye-catching solo exhibitions feature artists who are overdue for a moment in the sun.On the evidence of these shows, there’s no single dominant trend in art right now, but rather a general sense of permission to take seriously a broad spectrum of artists and positions, especially those of older generations. In this late-summer heat, it’s a welcome respite.‘Magdalena Suarez Frimkess: The Finest Disregard’Through Jan. 25. Los Angeles County Museum of Art, 5905 Wilshire Boulevard, Los Angeles; 323-857-6000; lacma.org.Top to bottom: “Minnie Mouse Wearing Venice Canals Dress,” 2004; “Minnie Mouse Wearing Pineapple and Palm Tree Pattern,” 2005; “Minnie Mouse in a White Dress With Red Polka Dots,” 2007; “Minnie Mouse in a Green Dress With Pink Polka Dots,” 2007; and “Minnie Mouse in a Pink Dress,” undated.via Magdalena Suarez Frimkess and Los Angeles County Museum of ArtAt 95, the Venezuelan-born Magdalena Suarez Frimkess has waited a long time for her first museum retrospective. Trained in Chile as a sculptor, she came to the United States on a fellowship in 1962 and met Michael Frimkess, a classical ceramist. They were soon married, and settled in Los Angeles. After he was diagnosed with multiple sclerosis, she began applying her Pop-inflected imagery onto his elegant vessels, painting them with colored glaze.This exhibition of ceramics, furniture, paintings and drawings at LACMA, curated by José Luis Blondet, takes its title from an astute review in Art in America by Paul Harris: “The work of Magdalena Suarez Frimkess — the most daring sculptor working in Chile — is distinguished by the finest disregard for whatever is supposed to be so.” We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      The Hidden Splendors of Cleveland’s Museums

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      It’s not too late to enjoy some lake weather in Cleveland, where the ice cream is fabulous and there’s never any shortage of art to see — let our critic tell you where.In the depths of summer, while other art lovers in New York are catching the B train to Brighton Beach or busy with parties in the Hamptons, I like to enjoy a week or two of lake weather in Cleveland, where my in-laws live, where the ice cream is fabulous — and where there’s no shortage of art to see. In years past I’ve visited Praxis Fiber Workshop and the Sculpture Center — both of which make ingenious use of the huge spaces that a postindustrial city can offer — as well as the Museum of Contemporary Art Cleveland. But these are the places that caught me this time.Cleveland Museum of ArtImagine the Metropolitan Museum with free admission and not more than a comfortable sprinkling of other visitors, and you’ll get a sense of the CMA. With an encyclopedic collection of more than 65,000 objects housed in a snazzy neo-Classical palace, it’s always a great place to pass a few leisurely hours. But the Cleveland Museum of Art also hosts a constant stream of excellent temporary exhibitions. Just at the moment, they’ve got shows on Korean couture and the history of Korea’s so-called Seven Jeweled Mountain; an installation by Rose B. Simpson; and a fascinating show of photos from East Los Angeles and the U.S.-Mexico border.“Raven’s Head in Profile,” 1875, by Édouard Manet, an illustration for Edgar Allan Poe’s “The Raven.”The Cleveland Museum of Art, Charles W. Harkness Endowment Fund 1923.215The real knockout, though, is “Fairy Tales and Fables: Illustration and Storytelling in Art.” In just two modest rooms and a hallway, it covers a thrilling range of artistic styles and tones, with prints and drawings by Aubrey Beardsley, Gustave Doré, Marc Chagall and dozens of others. Picasso’s exhilarating illustrations of “Lysistrata,” the mind-bending details of Eugen Napoleon Neureuther’s Sleeping Beauty prints, and Édouard Manet’s inky, self-conscious raven, made for Mallarmé’s translation of Edgar Allan Poe’s famous poem, could all anchor exhibitions in their own right. But I was most struck by four wood engravings that Clare Leighton made to illustrate Thornton Wilder’s 1927 novel, “The Bridge of San Luis Rey.” I’ve never seen such depth and density wrung out of black and white, such virtuosic delicacy of engraving.Museum of American Porcelain Art“The Bride,” a porcelain sculpture based on a 1937 oil painting by Boleslaw Cybis, is one of an edition of 100 issued by Cybis Studio between 1980 and 1982.Carey Barone/ Museum of American Porcelain ArtA few years ago, Richard A. Barone, a retired asset manager, found himself reminiscing about the porcelain collectibles he’d once dabbled in trading, pieces made in a complex, uniquely American process in five factories in New Jersey. Shocked to discover that the factories were all closed or closing, and that there was no museum dedicated to American porcelain, he became a serious collector — buying up the remnants and archives of Edward Marshall Boehm Studio and the Cybis Studio in Trenton, along with hundreds of pieces — and opened his own.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Sharp Downturn in the Art Market

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      We explore how a slowdown is affecting a rising generation of artists.As art became a serious business over the last few decades, with record multimillion-dollar sales eclipsing one another, it seemed as though values could just rise in perpetuity. But this year has been a reality check.High-end art sales have slumped. Sellers have withdrawn prominent works from major auctions at the last minute, for fear of jeopardizing artists’ markets. More than a dozen galleries have closed in Manhattan. Layoffs have begun to creep through the $65 billion industry, as one of its largest companies, Christie’s, saw revenue plunge. It took in $2.1 billion from auctions in the first six months of this year, down from $4.1 billion during the same period in 2022.In today’s newsletter, I’ll explore some reasons the art business has slowed, and how it’s affecting a rising generation of artists.The high pointJaws dropped on a November evening in 2022, when collectors bought a record $1.5 billion worth of paintings in a single night at the Christie’s auction house. Buyers snapped up a parade of masterpieces by artists including Vincent van Gogh, Paul Cézanne and Gustav Klimt — all from the collection of the Microsoft co-founder Paul G. Allen.That frenzied night seemed to forecast a booming future for an industry that had been getting hotter by the year. But it actually marked the peak of the market.High interest rates and inflation bear some responsibility for the slowdown. Collectors who view artworks as financial assets have flinched at the rising costs of doing business and the diminished ability to get favorable loans to buy paintings they hope will appreciate in value. The supply of modern masterpieces has also decreased as potential sellers sit on their investments until economic conditions improve for the ultrawealthy.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Paula Modersohn-Becker: A Trailblazing Artist Who Died Too Young

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      An exultant sense of discovery is the propelling through line of “Paula Modersohn-Becker: Ich Bin Ich / I Am Me,” a glorious exhibition at the Neue Galerie that is, surprisingly, the German artist’s first in an American museum. (It will travel to the Art Institute of Chicago in October.)During a career cut short by her death in 1907, when she was only 31, little escaped Modersohn-Becker’s scrutiny. A paramount subject of inquiry was her own self. For some of her 60 self-portraits, which are her best-known works, she bared all: She is said to be the first Western female artist to depict herself in the nude. In many others, she holds a flower or a fruit, like a saint or a nobleman in a Renaissance painting. Either way, she looks unmistakably modern.Only a generation separates Modersohn-Becker from Mary Cassatt and Berthe Morisot, who shared her predilection for painting mothers and children. But while the Paris-based Impressionists depicted the bourgeois occupants of drawing-rooms, Modersohn-Becker, who visited Paris devotedly, homed in on the primal.Early drawings by Paula Modersohn-Becker, between 1898 and 1899, depicted the residents — particularly women and children — of Worpswede, an artist’s colony in northern Germany. They capture the harsh reality and vulnerability of their sitters, curators said. Annie SchlechterIt was on a visit to the Trocadéro ethnographic museum in Paris in 1906 that she discovered, a year before Picasso, the power of African masks. She was also looking at Courbet, Cézanne and Gauguin. All of these influences converge in such paintings as “Kneeling Mother With Child at Her Breast” from 1906, where a dark-skinned, blocky woman suckles a white infant (might Modersohn-Becker be alluding to the nourishment she derives from African art?), and “Reclining Mother with Child II” from the same year, of a nude woman lying on her side in a fetal position nursing a naked baby.Those were produced near the end of her life. Yet even at the outset, she showed a gift for channeling traditional methods and tropes to suit her sensibility. In 1898 and 1899, while sketching nude models in the way that art students had done for centuries, she also used charcoal to memorialize the farmers, peat diggers and charity cases in Worpswede, the rural village in northern Germany that she inhabited on and off for the rest of her life.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      This Enormous Artwork Turns a Palace Into a Pawnshop

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      Christoph Büchel’s vast installation in Venice is compelling, obsessive and sometimes hilarious. Ascending the grand marble staircase in the center of the Venetian palazzo, you encounter a selection of fake Gucci, Hermes and other luxury handbags laid out on a blanket. A street hawker seems to have been disturbed, leaving their knockoff wares behind.Then, turning right on the mezzanine level, you climb another staircase into a control room. A bank of live CCTV monitors flicker above an empty office chair and espresso-stained plastic coffee cup.Next, a room for cryptocurrency traders with whirring servers, and a fridge, quarter-filled with tins of Red Bull; followed by the recording studio of a grandmother-aged TikTok influencer; a washroom with a print of Leonardo’s $450.3 million “Salvator Mundi” pasted to the wall; a 1950s-style cocktail bar; a pole dancing den; a kitchen filled with untouched trash. Room after room looks recently abandoned.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      An Artist Faces Climate Disaster With Hard Data and Ancient Wisdom

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      Research meets poetry in Imani Jacqueline Brown’s exploration of oil extraction and its consequences for her native New Orleans — and for the planet.Every Mardi Gras in New Orleans, the members of the North Side Skull and Bone Gang emerge onto the streets of the Tremé neighborhood in a dawn ritual that dates back more than 200 years. Clad in black-and-white skeleton suits and ornamented papier-mâché masks, they wake the city to the sound of drums and bells summoning the ancestors.Their ritual carries deep significance, even lessons for the whole planet, said the artist and activist Imani Jacqueline Brown, who filmed the procession this year. “They’re breaching the divide between the world of the spirits and the world of the living,” she said. “They are singing to us that we’ve got to live today because tomorrow we might die.”Brown, 36, grew up in New Orleans; she now lives in London, a member of the research and visual investigations group Forensic Architecture. An exhibition at Storefront for Art and Architecture in Manhattan through Aug. 31 combines her research chops with the poetry and spirituality that she sees in the grass-roots culture in her hometown.Les Cenelles, a contemporary string ensemble from New Orleans, performed at the opening of Brown’s show, in late June.via Imani Jacqueline Brown, Storefront for Art and Architecture; Hatnim LeeThe show, titled “Gulf,” is written with a strike-through and pronounced “Strike Gulf.” Its central focus is the impact of the oil and gas industry on South Louisiana. But the more sources Brown mines — including core samples of deep-sea drilling by geologists in the Gulf of Mexico and archives of oil boycott campaigns in the 1970s and 1980s, along with her own footage from New Orleans — the broader the scope of her project becomes. It reaches back into geological time while linking to the climate emergency today.The resulting works bring some welcome lyricism to the field of “research art.” The exhibition includes a video installation in which the Skull and Bone Gang procession, bathed in bluish light, is overlaid on footage she made at the city’s aquarium, where sharks and rays float around a model of an offshore rig in a display about the Gulf of Mexico that is sponsored by oil corporations.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More