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      Can Adriano Pedrosa Save the Venice Biennale? No Pressure.

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      Only workaholics and delusional optimists should organize a Venice Biennale, as the Brazilian curator Adriano Pedrosa discovered during the countless flights and midnight meetings that have crammed his calendar for the past two years.“This would probably have taken five years and a team of intense researchers,” Pedrosa said in a video interview, if he hadn’t spent more than a decade mulling the possibilities, most recently as the influential artistic director of the São Paulo Museum of Art.On April 16, when the press previews begin for the 60th international exposition, others will judge whether the 58-year-old curator has captured the zeitgeist of contemporary art with his two-pronged show, “Foreigners Everywhere,” in the sprawling spaces of the Giardini and the Arsenale.The title is a provocation, weighted by the anti-immigrant agendas of Italy, Hungary and other countries in the last few years. Pedrosa, however, speaks about celebrating the foreigner and the historic waves of migration across the planet, offering a catalog of synonyms — “Immigrant, émigré, expatriate” — even as he expands the concept. “I take this image of the foreigner and unfold it into the queer, the outsider, the Indigenous,” he said.Those themes are embodied by 331 artists, most of whom will be unfamiliar to even seasoned art snobs. They are divided here between two major sections, one focusing on contemporary art and another dedicated to work made in the 20th century. Most have arrived from the Global South without major gallery representation or a foothold in the museum circuit. For many visitors, it will be the first time experiencing the splintered abstractions of Zubeida Agha (1922-1997) from Pakistan, the expressive portraiture of Hatem El Mekki (1918-2003) from Tunisia and the colorful fantasies of Emiliano di Cavalcanti (1897-1976) from Brazil, among others.From the beginning, critics noticed that “Foreigners Everywhere” would serve as a somber — some say morose — tipping point: It’s the first Venice Biennale in recent years to showcase more dead artists than living ones.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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      Artist Files Lawsuit Against Des Moines Museum to Protect Her Work

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      Mary Miss’s lawsuit claims that the planned demolition of her work violates the Visual Artists Rights Act, which empowers artists to save their work from destruction.The artist Mary Miss filed a lawsuit on Thursday against the Des Moines Art Center to halt the planned destruction of a work of land art the museum commissioned her to create less than 40 years ago.The museum has said that the artwork, an environmental installation called “Greenwood Pond: Double Site” (1989-1996), has become a safety hazard and that repairing it is beyond the museum’s means. Demolition was slated to begin as early as Monday.The Art Center said Thursday that it had no immediate comment on the lawsuit.Miss’s legal action is the latest twist in an ongoing fight over the fate of “Greenwood Pond,” which has highlighted the difficulty of preserving ambitious public artworks — especially for smaller institutions operating in environments with changing weather conditions. In the weeks since the center’s plan became public, high-profile art-world figures including the collector Agnes Gund; the art critic Lucy Lippard; and the artists Laurie Anderson, Martin Puryear and Alice Aycock have written to the museum’s director, Kelly Baum, encouraging her to reconsider.Miss’s lawsuit claims that the planned demolition of “Greenwood Pond” violates the Visual Artists Rights Act of 1990, which empowers artists to protect their work from destruction if it is of “recognized stature.” The suit also contends that the museum violated its contract with the artist by failing to protect the work from the elements in the first place.Miss has asked an Iowa federal court to issue a temporary restraining order to keep the museum from draining the pond and dismantling the installation; a hearing on her request is slated for Monday morning. “The project is an original work of art and cannot be found anywhere else on planet Earth,” the lawsuit states. “Its destruction is its extinction.”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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      Whitney Museum Names Chief Curator

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      Kim Conaty will steer exhibitions and the permanent collection, saying she will pay close attention to work by Latino and Indigenous artists.When Scott Rothkopf, the former deputy director and chief curator of the Whitney Museum of American Art, stepped up as director of the New York institution last fall, he knew he would have to hire his replacement in the curatorial area. That role — one of the most influential in the contemporary art world — will be filled, effective next week, by Kim Conaty, the museum’s curator of drawings and prints since 2017. In her new position she will steer the institution’s permanent collection and acquisitions, as well as its exhibitions and conservation activities.Conaty has a reputation for creating shows that please critics and crowds alike. Her celebrated 2022-2023 exhibition “Edward Hopper’s New York” was among the best-attended in the museum’s history, while the 2023-2024 exhibition of drawings by Ruth Asawa that she organized with another curator was lauded as “revelatory” by The New York Times. As the chief curator, Conaty said she plans to focus on Latino and Indigenous artists, who remain underrepresented in the Whitney’s collection, and invest in emerging talent. But she also intends to slow down the pace of collecting. “Gifts are not free,” she said, referring to the cost of storing and preserving artworks. “We’re being extremely intentional about how we’re building the collection.”The Whitney has seen significant turnover in recent years. In addition to the departure of its longtime director, Adam D. Weinberg, two high-profile curators — David Breslin and Jane Panetta — decamped for roles at the Metropolitan Museum of Art, while its chief advancement officer, Pamela Besnard, retired last year. Rothkopf has made several new appointments, including promoting the curator Adrienne Edwards to a newly created leadership role as senior curator and associate director of curatorial programs. The chief financial officer I.D. Aruede was promoted to deputy director.A few weeks ago, Rothkopf had his first taste of controversy as director when the museum was seemingly caught unaware that the artist Demian DinéYazhi’ had slipped a “Free Palestine” message into a flickering neon sign in the Whitney Biennial, which opened on March 20.Asked about how he and Conaty plan to navigate such bumps in the future, he said, “In appointing Kim, it was important to think about someone who had the sensitivity interpersonally and the intellectual sophistication to help navigate the times that we’re in — I’m not going to be coy about that. These are key attributes for someone at a museum like the Whitney, which is so committed to the art and the ideas of our moment.” More

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      The Revolutionary Power of Women’s Rage and Grief

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      Käthe Kollwitz’s fierce belief in social justice and her indelible images made her one of Germany’s best printmakers. A dazzling MoMA show reminds us why.An artist friend texted me recently, asking how to contend with the anger and sadness she was feeling about the state of the world. I can think of no better balm than the Museum of Modern Art’s Käthe Kollwitz retrospective, the first ever at a New York museum that encompasses this German artist’s groundbreaking prints and drawings and her sculpture, posters and magazine illustrations.Once you’re there, go straight over to her series “Peasants’ War,” which she started in 1902, to find her own outlet for her burning desire for radical change. She was about 10 years into her already successful career when she made it, a remarkable feat given that she was a woman in a country that still didn’t allow women into art schools. In 1898, she had been nominated for a gold medal at the Greater Berlin Art Exhibition for her first major print cycle, “A Weavers’ Revolt” (1893-97), but did not receive it: The Prussian minister of culture thought her subject matter — a fictional uprising based on a contemporary play about an 1844 revolt, a watershed moment for many German socialists — too politically subversive, while Kaiser Wilhelm II himself objected to the idea of a woman garnering top prize.Born in 1867, Kollwitz was an avowed socialist whose career stretched from the 1890s to the 1940s, a period of tremendous social upheaval and two world wars. Though she was a member of the progressive Berlin Secession art movement, she kept a distance from the elite art world, living in a working-class Berlin neighborhood with her husband, a doctor who tended to the poor.Display of posters by Käthe Kollwitz at MoMA, left to right: “Vienna is dying! Save its Children,” 1920; “The Survivors,” 1923; “Help Russia,” 1921; “Never Again War!” from 1924; poster to legalize abortion, from 1923; “Release our Prisoners,” 1919. Jeenah Moon for The New York TimesWith “Peasants’ War,” Kollwitz again turned to the past to share her outrage at the injustices around her “which are never ending and as large as a mountain.” The seven-part series deals with the historical revolt that swept German-speaking countries of Central Europe in the 16th century, not as a transcription of historical events but as an imagined narrative showing the exploitation of farm workers (men treated no better than animals yoked to a plow, a woman in the aftermath of a rape by a landowner), their explosive response, and the chilling repression that followed. It is a story worthy of Charles Dickens or Émile Zola, told from a woman’s point of view.The largest print, “Charge,” focuses on the figure of “Black Anna,” reputed to be a catalyst of the violence, urging a mob of peasants to action. She is no “Liberty Leading the People.” Unlike Eugène Delacroix’s 1830 image of a beautiful and bare-breasted personification of French freedom, Kollwitz’s crone is shown from the back, her sinewy arms raised and hands clenched urgently, practically launching herself into the crowd.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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      Harvard Removes Binding of Human Skin From Book in Its Library

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      The decision to find a “respectful final disposition” for human remains used for a 19th-century book comes amid growing scrutiny of their presence in museum collections.Of the roughly 20 million books in Harvard University’s libraries, one has long exerted a unique dark fascination, not for its contents, but for the material it was reputedly bound in: human skin.For years, the volume — a 19th-century French treatise on the human soul — was brought out for show and tell, and sometimes, according to library lore, used to haze new employees. In 2014, the university drew jokey news coverage around the world with the announcement that it had used new technology to confirm that the binding was in fact human skin.But on Wednesday, after years of criticism and debate, the university announced that it had removed the binding and would be exploring options for “a final respectful disposition of these human remains.”“After careful study, stakeholder engagement, and consideration, Harvard Library and the Harvard Museum Collections Returns Committee concluded that the human remains used in the book’s binding no longer belong in the Harvard Library collections, due to the ethically fraught nature of the book’s origins and subsequent history,” the university said in a statement.Harvard also said that its own handling of the book, a copy of Arsène Houssaye’s “Des Destinées de L’Ame,” or “The Destiny of Souls,” had failed to live up to the “ethical standards” of care, and had sometimes used an inappropriately “sensationalistic, morbid and humorous tone” in publicizing it.The library apologized, saying that it had “further objectified and compromised the dignity of the human being whose remains were used for its binding.”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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      British Museum Sues Former Curator for Return of Stolen Items

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      The museum accuses Peter Higgs, a former keeper of Greek and Roman antiquities, of stealing or damaging at least 1,800 artifacts and selling many on eBay.A judge has ordered a former curator who the British Museum says stole hundred of artifacts to return any gems or jewelry from the institution that are in his possession.The museum claims that the former curator, Peter Higgs, who once ran the museum’s Greek and Roman antiquities department, stole or damaged over 1,800 artifacts from its collections and sold hundreds of those items on eBay, according to court documents.Officials also want Mr. Higgs to explain the whereabouts of other artifacts that they says the former curator sold online. The court documents state that Mr. Higgs disputes the accusations against him.At a High Court hearing in London, the presiding judge, Heather Williams, ordered Mr. Higgs to return any items within four weeks. Judge Williams also ordered PayPal, the online payments company, to disclose data relating to Mr. Higgs’s eBay accounts, including his transaction history.The missing museum items include engraved gems and jewelry, some of which are thousands of years old.On Tuesday, Mr. Higgs and his family did not respond to emails and social media messages from The Times. In court papers, the museum’s lawyers said the curator was “suffering from severe mental strain” and was “unable to respond effectively to the proceedings.”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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      Met Museum Hires Its First Head of Provenance Research

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      Lucian Simmons is leaving Sotheby’s to lead the museum’s increased efforts to review its collection, which has recently returned looted artifacts, including dozens last year.As part of its more aggressive restitution investigation efforts, the Metropolitan Museum of Art on Friday announced that it had appointed a Sotheby’s executive to the newly created position of head of provenance research.Lucian Simmons will leave Sotheby’s, where he is vice chairman and worldwide head of the restitution department — and senior specialist for the Impressionist and Modern art department — to take on the role of coordinating research efforts across the museum, starting in May.Like museums all over the world, the Met has faced increased scrutiny from law enforcement officials, academics and the news media over the extent to which its collection of more than 1.5 million works includes looted artifacts. In recent years, for example, the Manhattan district attorney’s office has seized dozens of antiquities from the museum to return them to countries including Turkey, Egypt and Italy.In a telephone interview, Max Hollein, the museum’s director and chief executive, said the volume of materials an auction house must review gave Simmons the background necessary to take on a review of the Met’s encyclopedic collection.“He has a vast amount of experience understanding the level of research you need to apply and what timelines you need to set to get to a result,” Hollein said. “He probably had to deal with more issues at Sotheby’s than have many other institutions. You have to vet and scrutinize a huge number of objects. He’s someone who understands the theory but who also has a very practical attitude.”The Met last year announced a major new effort to review its holdings and policies with a view toward returning items it finds to have problematic histories.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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      Audience Snapshot: Four Years After Shutdown, a Mixed Recovery

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      Covid brought live performance to a halt. Now the audience for pop concerts and sporting events has roared back, while attendance on Broadway and at some major museums is still down.It was four years ago — on March 12, 2020 — that the coronavirus brought the curtain down on Broadway for what was initially supposed to be a monthlong shutdown, but which wound up lasting a year and a half.The pandemic brought live events and big gatherings to a halt, silencing orchestras, shutting museums and movie theaters and leaving sports teams playing to empty stadiums dotted with cardboard cutouts.Now, four years later, audiences are coming back, but the recovery has been uneven. Here is a snapshot of where things stand now:Broadway audiences are still down 17 percent from prepandemic levels.On Broadway, overall attendance is still down about 17 percent: 9.3 million seats have been filled in the current season as of March 3, down from 11.1 million at the same point in 2020. Box office grosses are down, too: Broadway shows have grossed $1.2 billion so far this season, 14 percent below the level in early March of 2020.Broadway has always had more flops than successes, and the post-pandemic period has been challenging for producers and investors, especially those involved in new musicals. Three pop productions that have opened since the pandemic — “Six,” about the wives of King Henry VIII, “MJ,” about Michael Jackson and “& Juliet,” which imagines an alternate history for Shakespeare’s tragic heroine — are ongoing hits, but far more musicals have flamed out. The industry is looking with some trepidation toward next month, when a large crop of new shows is set to open.Many nonprofit theaters around the country are also struggling — attracting fewer subscribers and producing fewer shows — and some have closed. One bright spot has been the touring Broadway market, which has been booming.— More