Curatorialista

Tumblring for Micaela Contemporary Projects, a fine art advisory + independent project curator. Based in San Francisco, California, occasionally found in your neighborhood. http://micaela.com

[curatorialista]

Closing Statement: Micaëla Gallery | Micaëla Contemporary Projects

For twenty-five years, Micaëla Gallery and Micaëla Contemporary Projects existed at the intersection of art, trust, and discovery. What began in 1997 in San Francisco's Hayes Valley as a beautiful and award winning gallery space — a room where artists and ideas could be encountered in person — grew into something rarer: a sustained community built on deep friendships with artists, collectors, and the people who understood that contemporary American art deserved to be seen, placed with care, and carried into the world.

From its founding through 2010, Micaëla Gallery presented contemporary artists alongside figures whose work had already shaped the history of American art — among them David Gilhooly, one of the great pioneers of the Bay Area Funk Ceramic Movement, whose irreverent and visionary ceramics challenged everything the art world thought art was supposed to be; and Marvin Lipofsky, who brought the Studio Glass movement to California, establishing the programs at UC Berkeley and the California College of Arts and Crafts that trained generations of glass artists and elevated the medium to the level of fine art. Among the contemporary artists who defined Micaëla from its earliest days was Robert Dunahay, an inaugural painter whose luminous and decorative works centered on the palm tree — an image that resonated on multiple levels with private and corporate collectors around the world. And throughout the full arc of the gallery's life, Martine Jardel remained a constant and cherished presence — her rigorously conceived work on the abstract plane a continuous reminder of why the gallery existed in the first place. To represent artists of this range and stature was not simply a privilege — it was a responsibility, and one Micaëla carried with seriousness and devotion.

When the gallery's physical doors closed in 2010, the work did not stop. From 2010 through 2022, Micaëla Contemporary Projects carried that mission forward as an art consultancy — built on rigorous connoisseurship, refined valuation, and the conviction that the right work of art, placed with the right person, changes both.

Over the years, Micaëla introduced contemporary American art to the international art world — in Los Angeles, Chicago, and New York, in London, Basel, and Miami — forging connections that crossed borders and outlasted any single exhibition.

We are proud of the artists we championed, the collectors we served, and the friendships that made all of it meaningful. The relationships we were fortunate enough to build over these twenty-five years remain the truest measure of this work.

With gratitude and admiration for everyone who made Micaëla what it was —

Micaëla Gallery, 1997–2010 Micaëla Contemporary Projects, 2010–2022 San Francisco, California

This site is maintained as a historical archive for Micaëla Gallery and Micaëla Contemporary Projects. No services or appointments are offered.

[curatorialista]

6 Quick Tips: How to Begin an Art Collection

What are the 6 Quick Tips to begin an art collection … during a pandemic? This short video spells it out for you from Why (why do you want an art collection) to How (what do you need to know) and Where (where would you start).

[curatorialista]

Remembering Marvin Lipofsky (1938-2016), personally

Some artists change the way we see materials; a rare few also change the way we see ourselves. Marvin Lipofsky did both. What follows is not a formal obituary, but a personal remembrance of an artist, friend, and mentor whose influence continues to ripple through the world of glass and through my own life.

Last Friday morning, I received the call that Marvin Lipofsky had left this world. Though he was 77 and burdened by age and illness, the news still arrived with a sharp and unexpected sadness.

To understand Marvin’s extraordinary place in the international world of glass, one could begin with his résumé — a vibrant record that stretches unbroken from 1962 through 2016. He was an artist’s artist: intellectual, passionate, and deeply committed to his community. Many tributes and obituaries will rightly celebrate his influence and his formidable body of work. He achieved so much, yet what lingers most vividly for those who knew him is his indomitable spirit and generosity of heart.

I first met Marvin in 2000, when I owned a small café in Berkeley, California. Every Friday morning at 8 a.m. sharp, he and his group of artist friends — affectionately known as the Breakfast Club — would come for breakfast. I was young then, as was my staff: enthusiastic but inexperienced, unprepared for this lively crew of proud and opinionated artists. Those mornings are etched forever in my memory.

One day, emboldened by curiosity, I mentioned to Marvin that I also owned a small gallery in San Francisco where I showed glass objects. He smiled kindly and, with characteristic directness, said he didn’t think it was the right place for his work.

Years later, our paths crossed often — at art fairs, openings, and in his studio. His work never failed to astonish: vivid, sculptural, full of life. Over time, he changed his mind and allowed me to represent him. Together, we showed his work in Miami, Los Angeles, and, memorably, at Art Basel in Basel — the first time contemporary glass had ever been presented there. We held two solo exhibitions, one a sweeping retrospective spanning 1969 to 2009. Working with him, whether in group installations or solo exhibitions, was always an unforgettable education: an encounter with a proud, mentoring master who cared deeply about craftsmanship, concept, and community. Our final collaboration — the commemorative exhibition of the American Studio Glass movement at the Oakland Museum — remains one of my most cherished memories.

Marvin’s admirers formed an extraordinary constellation of artists, collectors, and friends. They included his students, critics, and fellow innovators; curious travelers who paused to admire his work at SFO’s Terminal Two; and even Hollywood luminaries. He was friends with Richard Arneson; Chuck Close sought him out at one of our Miami presentations; and Jack Nicholson and Halle Berry inquired about his pieces when we showed them in Los Angeles.

He was also a collector — not only of objects but of stories and moments. His memory was sharp and his storytelling unmatched. One of his favorites recalled his early years as one of Harvey Littleton’s first students at the University of Wisconsin, Madison — where the American Studio Glass movement took root. Later, as a young professor at UC Berkeley, he helped build the university’s first glass kiln with his inaugural class of students — all young women, to his amused delight, arriving to work in dresses. His eyes would twinkle behind his thick black frames as he remembered those days, his laugh half chuckle, half growl.

It was at Berkeley that Marvin began to explore the global landscape of glassmaking. Armed with only a letter of introduction from the university, he traveled across continents — the Soviet Union, China, France, Japan — forging friendships, exchanging ideas, and developing a method of collaborative creation that became his unique signature. He carried no tools, instead carving wooden implements by hand, collecting fragments of local glass, and allowing each environment’s colors and textures to shape his work. His Soviet series, for example, reflected the charged hues of the Cold War era.

As critic James Yood once observed, Marvin’s sculptures were “prized for their rhythmic forms and complex concave and convex shapes,” their color “a testament to his consummate artistry with hot glass.” The titles of his works, dedicated to the people and places that inspired them, were gestures of gratitude. Through these journeys, Marvin built a worldwide network of artists bound by shared respect and affection — his living legacy.

He also founded and developed the glass program at what is now California College of the Arts in Oakland, nurturing generations of glass artists who carry his influence forward.

Marvin Lipofsky was a formidable figure — visionary, uncompromising, and endlessly generous. His humor, often dry and mischievous, could soften any moment of tension. His longtime friend and Murano collaborator, Gianni Toso, once said Marvin’s greatness sprang from “his inability to tolerate mediocrity, his intellectual honesty, and his generous heart.” Collector Dorothy Saxe called him “a giant in the art world,” whose impact will be felt for years to come.

I was privileged to call him a friend. Marvin, we miss you deeply — but your brilliance, laughter, and spirit will always remain close by.

In loving memory of Marvin Lipofsky (1938–2016), artist, teacher, traveler, and friend — may his glass continue to catch the light for all of us.

[curatorialista]

Thoughts About Collecting and Value

Collecting artwork can be challenging and fun. For experienced and novice collectors alike, it's about aesthetics and personal value, the search for artwork that represents a collector's aesthetic and illustrates what she values. It’s a declarative emotional event colored by acquisitive desire and perceived value, two subjective elements that define personal aesthetic, or, in other words, “I want it” and “it’s worth it."

As an appraiser and art consultant, I receive a lot of questions about artwork value. Inquiries come in from clients about adding or reducing their collections, their new acquisitions, or from emerging artists asking about pricing their own work. Insurance companies, tax attorneys, and people who want to sell artwork after a loss (or damage) has occurred, or, when they prepare their estates, reach out to me for appraisals or opinions of value.

As an art consultant, the elements I use to judge value are objective. I look at the artist’s technical merit (choice of medium, skill, concept), condition, the artist's professional resume, and lastly, price. Professionally, an artwork’s value is dependent on a trifecta of factors: medium, making, and concept. What medium was used to make it, how was it made, and whether the artist’s ideas were successfully conveyed. Medium (the materials artwork is made of) is important to consider the life of the artwork in terms of its conservation (and related costs). Knowing what an artwork is made of determines how to care for it under various conditions (for example: is it an oil painting on canvas or paper), and medium is the first informative element the artist gives us to keep his work pristine and protected from age and deterioration. Technical merit, or mastery of the medium, is the skill employed by the artist when making the work. It's a measure of the artist's creative and making process, and defines how well made it is. Mastery is the third step: considering the artist's intent, or underlying concept — did the artist successfully convey his ideas?

As an appraiser, when determining value for works of art, the first measure I look at is condition, or how perfect is the work compared to the original state it was in at the time it was bought. This is when it’s assessed for damage or renewed value. Damage can take many forms, and when determining value, it’s defined by any event taking place after the artwork’s sale that changed the original nature of the artwork when it was offered for sale. The damage could be as small as a tear to a work on paper or canvas, smoke or faded colors, or in the case of sculpture, a break or crack. For work based on multiple pieces, a single missing piece in an otherwise perfect set creates loss. Damaged artwork is a reduced in value because it possesses change to the work so that doesn’t match the artist’s original artwork, making it less perfect. Renewed value is what we always hope for, that over the course of time, the artwork has increased in value and is worth more than its original price.

My second measure for value is the artist. Has he maintained his practice, or was he a one hit wonder? Does his work continue to be sold in galleries and is it shown at exhibitions? Can his work be found in important collections and museums? Does his work demonstrate a trajectory of professional growth in terms of creative process? If the artist is retired, has his work been shown at auction and if so, has it retained or grown in value? Can the dealer who represented the artist, or sold the artwork represent it for resale or resell it on your behalf? These are the true elements of an artist’s resume — his work’s valuation trajectory and what determines price. It’s important for artists who wish to retain value to consider how they sell their work, and for collectors to consider how they acquire artwork to maintain the value of their collection.

Good work is always defined by a set of standards, and its final price is the price what brings it home. Collecting artwork is the acquisition of luxury. It won’t feed your children or protect you from the elements — but it nourishes the soul and, if you’re lucky, it will give you pleasure — it will be special, worthy of care, protection from theft and damage. Until it's time to sell.

And that’s a thought for another day.

[curatorialista]

How to Sell Art on Consignment: 10 Tips

Do you have art or other treasures that need a new home? Perhaps you acquired something from an inheritance, as was a gift, or you bought it and don’t want it anymore? Is it something that’s been passed down through the generations, or something that you’ve kept wrapped up from your last move and don’t have a place for? You’re not alone. Sellers ranging from private individuals to institutions frequently look for the best way to capitalize on artwork they no longer want.

We’ve put together 10 tips to help you decide what to do with your unwanted artwork. These tips are thoughts and questions everyone should consider before selling art on consignment. Here’s what you should know:

Why do you want to sell the artwork? You’re not alone in trying to decide what to do with art that you don’t want anymore. Finding a new home for artwork is known in the art profession as placing an artwork on the secondary market (the first market being the gallery or artist who sold it to you). There are many reasons that people try to sell artwork. Perhaps it was passed down through the generations and it’s not wanted (it’s just not you). Perhaps you know it has value and you want to capitalize on its value (flipping or reselling). Perhaps you just want to refresh a collection you have and make room for new artwork (museums regularly deaccession). Or, perhaps you have an artwork that is so valuable you don’t have the means to take care of it properly (insurance, storage, care). These are all excellent reasons to sell (or resell) an artwork.

How do you sell your artwork? Unless you’re a professional dealer, most people trust or consign, their artwork to an auction house or secondary market dealer.

What does consign mean? Consign means that you, the consignor, entrust your artwork to someone else (a consignee) to sell on your behalf. That is a consignment. When your artwork has been sold, based on the terms of a consignment agreement you have signed with your consignee, you will receive payment for your sold artwork.

It is important to understand what is the secondary market and what it means for you. In the artworld, the secondary market is the dealer or auction house that will resell an artwork that was previously sold by the artist or an art dealer (or art gallery).

What is your artwork worth? The easiest way to do this is from the comfort of the internet. Look up your artwork and research which galleries and/or auction houses sell work like the one you wish to sell. Three of our favorite resources are artsy.net, artnet.com and artprice.com, databases that sell information about art sales in terms of which galleries are currently selling or have sold them, and the prices listed artworks have historically fetched at auction. These databases will describe artworks in great detail and occasionally, with images.

Questions related to your artwork’s value include whether it was made by a known artist or whether it represents a moment in art history (for example, Funk, Society of Six, or Mission School). Do a little research to understand how much it would sell for at an auction. A fine art appraiser is an excellent resource to determine the quality and value of your artwork.

Do your homework. When offering your artwork for sale, you will be asked whether you are the legal owner with title, or the right, to sell it. Do you have documents to prove it? How did you acquire it? This is called provenance and contributes to the value of the artwork by showing its ownership history. In some cases, an artwork’s provenance adds great value to the piece when its provenance shows ownership by an esteemed collector (such as Peggy and David Rockefeller) or prominent celebrity (David Bowie).

Who will sell it for you? While the obvious place to consign artwork seems to be with an auction house, other prospective sellers of your artwork include the gallery it was purchased from, other galleries who sell artwork by the artist who made your work (or similar work), art consultants, and sometimes even the artist. Consignment enterprises such as 1stDibs, Chairish, and the RealReal are great for reselling contemporary and decorative artworks.

When considering auction houses (the three most prominent in the United States are Bonhams, Christie’s, and Sotheby’s), search their web links and sign up for newsletters, look them up on social media (Instagram and Twitter are our favorites), research recent sales, and do your best to understand who your potential buyer is.

What are key questions should you ask when choosing whom to consign your artwork with? Start asking some of these:

Does the seller have the tools – from attorneys to lending agencies – you need to sell your items?

How much experience do they have in selling works like yours? Your appraiser should be able to help you determine whether your work should be sold at a low-range, mid-range, or high-end seller.

Does the seller specialize in the type of item you’re selling? A dealer or auction house that specializes in your artwork will have the means to maximize price. For example, if your artwork is a signed and numbered lithograph, with provenance documents, by Henri Matisse - who would you entrust it to - a seasoned art consultant or an international auction house?

How many secondary market sales has it participated with in the past?

What types of buyers make up their clientele?

What are the guidelines for quality?

Before you enter a consignment agreement, look at your artwork objectively, photograph it and make a list of what to sell. If you’re selling a group of artworks at once, be sure to tag each one properly. Make and store copies of all necessary paperwork associated with the value of your piece.

As you negotiate your consignment agreement, ask how they plan to market your art work. Do they have a website that is attractive, easy to find, and dedicated to sales? Will they print a catalogue, and will it include a photo of your work?

Other questions include:

What other artworks does the seller offer for sale? If your artwork is the most expensive of the seller (or auction), that may not be good for you.

Will the seller pick up your artwork in a professional manner? Some dealers will ask you to drop off your artwork if it’s manageable and can be done without damage to the artwork. Otherwise, arrange for an art handler or professional art shipper, through the seller or auction house, to pick up your piece.

What are the consignment fees and sales split? Your seller, the person you will consign your artwork with, will charge fees that come out of total sales. You may have some leverage to negotiate favorable fees if you have several items, or if your piece is wanted for a specific sale.

How likely is it that your item will sell?

Who insures your item while it’s in the seller’s possession? If your insurance is the one that will cover it, double check with your insurer to make sure it is in fact covered.

What will the payout period for items be? This varies broadly, and payout can take from one week to over a month. Art consultants and auction houses typically wait until a buyer’s payment goes through before paying sellers. Verifying a buyer’s payment might take as little as 3 days to as long as 45 days before a seller receives a check.

What happens if your artwork doesn’t sell? If your piece does not sell, know when and where to pick-up your item after a sale period ends.

Your consignment agreement is a contract. Read it carefully. Once you’ve chosen a seller or an auction house, you are bound to each other by the terms of your agreement. Be aware that each seller and auction house has its own contract for consignors. Your agreement should outline every detail regarding the sale of your artwork. It’s important for you to know what happens to your artwork when it’s sold or not sold.

We like to attend auction sales. They’re fun, and if you’re consigning to an auction house, they are an good resource if you need an in person, full experience of the auction process. You’ll understand how your work will be reviewed, valued, and sold.

Know the season you’re selling in, and sell what’s in demand. With certain types of art or painting consignment, selling during certain seasons may be appropriate than others, drawing a more relevant group of buyers and a potentially higher profit for you. 

10. Consult with other collectors or art professionals. Your fine art appraiser will be a good resource. If you’re unsure about whether or not to consign your artwork, or if you need extra advice about the process, consult with a consignor friend or art professional to get the reassurance and tips you need.

Consigning your artwork with confidence.

Whether you’re dealing with an extraordinarily rare work of art at a Sotheby’s sale, or opting to work with a more local, family-run auction house, the entire art consignment process is exhilarating. 

While these 10 important tips are certainly not exhaustive, we hope we’ve provided you with a place to start and peace of mind in being aware of the considerations to consign with an auction company. Remember to do your research, appraise and document your items, ask key questions to auctioneers, sell in season, know the fees and conditions of your contract, get insured, and consult with art consignment veterans.

[curatorialista]

Corona Virus Times in 5 Lines (and more)

There’s a virus with weird DNA It has us all staying away Coronavirus Highly contagious Not funny, but we’re shut in all day.

We’ve been hit by a pandemic of historical proportions that’s changed our culture and our lives. It’s changed everything: art, families, people, time, and the way we think.

Since its emergence in Wuhan, China, last December, the novel coronavirus COVID-19 has upended numerous cities and countries across the globe. Among the various sectors that have been heavily affected is the art world—an industry fueled by perpetual itinerancy as well as social gatherings of mass scale and close proximity. As the public health crisis escalates, art organizations have shut down events, have announced postponements, or are carefully trying to trudge forward. Here is a continually refreshed list of major events and institutions that have made such decisions due to the virus, which the World Health Organization (WHO) has declared a pandemic:

[Last updated at 2:52 PM on March 23]

CANCELED EVENTS 

Metropolitan Opera House, New York: The theater has canceled the rest of its 2020 season. 

Frieze New York: The fair has canceled its ninth edition, which was originally scheduled for May 6–10. The satellite event Frieze Sculpture at Rockefeller Center will still be held but will be moved to the summer.

Park Avenue Armory, New York: All performances of Deep Blue Sea, originally scheduled to run April 14–25, have been canceled. 

Cleveland International Film Festival: Originally scheduled for March 25–April 5. The event will be back next year.

Brooklyn Academy of Live Music, New York: All live programming has been suspended through March 29.

Lincoln Center, New York: All programming has been suspended for the month of March. 

LA Art Book Fair: Originally scheduled for April 3–April 5.

TEFAF Maastricht, the Netherlands: Originally scheduled for March 7–March 15. The fair opened as planned but called off the event on March 11 after an exhibitor tested positive for the virus.

South by Southwest, Austin, Texas: The thirty-fourth annual festival was originally scheduled for March 13–March 22.

John F. Kennedy Center for the Performing Arts, Washington, DC: All events have been canceled through the end of March.

Yale Architecture: The school announced on March 11 that it is suspending all events and programming through at least April 5.

London Book Fair: Originally scheduled for March 10–March 12.

Salon du Livre Paris 2020: Originally scheduled for March 20–March 23.

Tucson Festival of Books, Arizona: Originally scheduled for March 14–March 15. 

Jingart, Beijing: Originally scheduled for May 21–May 24.

Art Central Hong Kong: Originally scheduled for March 18–March 22.

Art Basel Hong Kong: Originally scheduled for March 19–March 21.

 RESCHEDULED EVENTS

Riga International Biennial of Contemporary Art (RIBOCA2): Originally scheduled for May 16–October 11, the exhibition has been postponed. 

Biennale de Sydney: The twenty-second edition of the exhibition, which opened on March 14, has closed. Organizers are teaming up with Google to launch a virtual edition of the biennial for the public, which will remain live until the physical exhibition is able to reopen. 

Manifesta 13, Marseille: The biennial which was set to open on June 7 has been indefinitely postponed. Organizers have also closed the event’s two project spaces in Marseille—Espace Manifesta 13 at 42 La Canebière and Tiers QG at 57 rue Bernard du Bois—until at least April 15 and closed the show at its headquarters in Amsterdam until further notice. 

TEFAF New York: Originally scheduled for May 8–11, the fair will now take place October 31–November 4, with a preview day on October 30.

Cannes Film Festival, France: Originally scheduled for May 12–May 23, the festival will announce new dates in the coming weeks. 

sonsbeek 20→24, Arnhem, the Netherlands: Originally scheduled for June 5–September 13, the twelfth edition of sonsbeek will now be held in 2021. 

1-54 New York: Originally scheduled for May 8–10, the fair will now take place in 2021.

Photo London: Originally scheduled for May 14–17, the fair will be held in the fall. 

Object & Thing, New York: Originally scheduled for May 7–10, the fair has been moved to November 13–15.

MIA Photo Fair, Milan: Originally scheduled for March 19–22, the fair will now be held September 10–September 13.

Art on theMART, Chicago: The fair’s spring launch has been postponed.

Glasgow International: Originally scheduled for April 24–May 10. The visual arts festival will be restaged in 2021.

NYCxDESIGN: The May festival will instead present programming in October. 

Sotheby’s: The auction house has closed its auction houses in Dubai, Geneva, Hong Kong, London, Milan, New York, Paris, and Zurich until further notice and has announced changes in its spring sales schedule. 

The Met Gala: The Metropolitan Museum of Art has indefinitely postponed its biggest annual fundraiser. The event, which is one of New York’s biggest annual fashion events, was supposed to take place on May 4.

Christie’s, New York and Europe: The auction house has postponed sales scheduled for March and April. New dates have yet to be determined.

Phillips: The auction house has postponed all of its sales and events globally until May. 

Art Brussels: Originally scheduled for April 23–April 26. The fair will now take place June 25–June 28.

SP–Arte, São Paulo: Originally scheduled for April 1–April 5. New dates have yet to be announced.

Affordable Art Fair, Brussels: Originally scheduled for March 20–March 22. New dates have yet to be announced.

Affordable Art Fair, New York: Originally scheduled for March 26–March 29. New dates have yet to be announced.

Eye of the Collector, London: Originally scheduled for May 13–May 16. The inaugural fair will be staged September 8–September 11.

Dallas Art Fair: Originally scheduled for April 16–April 19. The fair has been moved to October 1–October 4.

ART COLOGNE: Originally scheduled for April 23–April 26. The fair will now be held November 19–November 22.

Paris Photo New York: Originally scheduled for April 2–April 5. New dates to be announced.

Sharjah Art Foundation’s 2020 March Meeting, UAE: Originally scheduled for March 21–March 23. The event will be postponed until further notice.

Coachella Valley Music and Arts Festival, California: Originally scheduled for April 10–April 12 and April 17–April 19. The festival will now take place October 9–October 11 and October 16–October 18.

DRAWING NOW Art Fair, Paris: Originally scheduled for March 26–March 29. The fair has been moved to May 29 through June 1.

Berlin Gallery Weekend: Organizers have downsized the event, which is scheduled for May 1–May 3, and have moved large-scale programming to September 11–September 13, coinciding with Berlin Art Week.

The Photography Show and the Video Show, Birmingham, UK: Originally scheduled for March 14–March 17. The event will now be held September 19–September 22.

MiArt, Milan: Originally scheduled for April 17–April 19. The fair will now take place September 11–September 13, with a VIP preview day on September 10.

Málaga Film Festival: Originally scheduled for March 13–March 22. The twenty-third edition of the festival has yet to announce new dates.

Art Paris: Originally scheduled for April 2–April 5. The fair has been moved to May 28–May 31.

Venice Architecture Biennale: The opening of the seventeenth edition of the biennial has been pushed back three months; the event will now kick off on August 29 and run until November 29.

Art Dubai: Originally scheduled for March 25–March 28. New dates to be announced.

Lille Art Up!, France: Originally scheduled for March 5–March 8. It will now take place June 25–June 28.

Salon del Mobile, Milan: Originally scheduled for April 21–April 26. The exhibition has been moved to June 16–June 21.

Gallery Weekend Beijing: Originally scheduled to take place from March 13–March 20. The event will announce whether it will cancel this year’s edition or reschedule it on March 15.

Design Shanghai Fair: Originally scheduled for March 12–March 15. The fair will now be held May 26–May 29.

CAFAM Techne Triennial, Beijing: Originally supposed to begin on January 18, the inaugural edition has been suspended.

UNITED STATES: TEMPORARY MUSEUM AND GALLERY CLOSURES 

NORTHEAST

Albright-Knox Northland, New York: Closed until further notice, beginning March 13.  American Folk Art Museum, New York: Closed March 13–March 31.  Andrew Kreps Gallery, New York: Closed March 14–March 24. Artists Space, New York: Closed until further notice, beginning March 13.  Bowdoin College Museum of Art, Brunswick, Maine: Closed until further notice, beginning March 16.  Brooklyn Museum, New York: Closed until further notice, beginning March 13.  Carnegie Museums of Pittsburgh: Closed for a minimum of fourteen days, beginning March 14. Casey Kaplan, New York: Closed until further notice.  Center for Italian Modern Art, New York: Closed March 13–March 31.  Chart, New York: Closed until further notice, beginning March 14. The Clark, Williamstown, Massachusetts: Closed until at least April 1.  Colby College Museum of Art, Waterville, Maine: Closed until further notice, beginning March 13.  Currier Museum of Art, Manchester, New Hampshire: Closed March 16–April 3. David Zwirner, New York: Closed until further notice, beginning March 13. Dia Art Foundation, New York: Closed March 13–31. The Drawing Center, New York: Closed until further notice, beginning March 13.  Edward Hopper House, Nyack, New York: Closed March 14–March 22.  El Museo del Barrio, New York: Closed until further notice, beginning March 13.  Farnsworth Art Museum, Rockland, Maine: Closed through April 5.  The Frick Collection, New York: Closed until further notice, beginning March 12. Gagosian, New York: Closed until further notice, beginning March 13. Grey Art Gallery at New York University: Closed until further notice, beginning March 14. Harvard Art Museums, Cambridge, Massachusetts: Closed until further notice, beginning March 13. Hauser & Wirth, New York: Closed until further notice, beginning March 13. The gallery will receive visitors by appointment only. The High Line, New York: Closed until further notice, beginning March 16. Institute of Contemporary Art, Boston: Closed until further notice, beginning March 13. Institute of Contemporary Art at the University of Pennsylvania, Philadelphia: Closed until further notice, beginning March 13. Institute for the Study of the Ancient World, New York: Closed until further notice, beginning March 13. International Center of Photography, New York: Closed for at least two weeks, beginning March 13; the ICP’s school will close on March 15 and its classes will be moved online as of March 16.  Isabella Stewart Gardner Museum, Boston: Closed for a minimum of fourteen days, beginning March 13. Japan Society, New York: Closed March 13–March 31.  Jewish Museum, New York: Closed until further notice, beginning March 13. Judd Foundation, New York: Closed for a minimum of four weeks, beginning March 13.  Kasmin, New York: Closed until further notice, beginning March 14. Katonah Museum of Art, Katonah, New York: Closed until further notice, beginning March 13. Lehmann Maupin, New York: Closed until further notice, beginning March 13.  Lesley Heller Gallery, New York: Open by appointment only, beginning Sunday, March 15. Leslie Lohman Museum of Art, New York: Closed until further notice, beginning March 14. MacDowell Colony, Peterborough, New Hampshire: On March 13, the residency program announced that current artists-in-residence will be assisted with early departures and no new fellows would arrive until the “danger of virus transmission is contained.” Magazzino Italian Art, Cold Spring, New York: Closed March 12–March 26. Mana Contemporary, Jersey City: Closed until further notice, beginning March 13. Massachusetts Museum of Contemporary Art, North Adams: Closed through March 31.  MassArt Art Museum, Boston: Closed March 12–March 24. Metropolitan Museum of Art, New York: Closed until further notice, beginning March 13. Michael Rosenfeld Gallery, New York: Open by appointment only, beginning Sunday, March 15. Michael Werner Gallery, New York: Closed until further notice, beginning March 13. MIT List Visual Arts Center, Cambridge, Massachusetts: Closed until further notice, beginning March 13. Morgan Library and Museum, New York: Closed March 13–March 30. Museum of Arts and Design, New York: Closed until further notice, beginning March 14. Museum of the City of New York: Closed until further notice, beginning March 13.  Museum of Fine Arts, Boston: Closed for a minimum of thirty days, beginning March 13.  Museum of the Moving Image, New York: Closed March 14–March 29.  Museum of Modern Art, MoMA PS1, and MoMA Design Stores, New York: Closed March 13–March 30. Nassau County Museum of Art, New York: Closed until further notice.  Neue Galerie, New York: Closed until further notice, beginning March 12.  New Museum, New York: Closed for a minimum of two weeks, beginning March 13.  New York Historical Society Museum and Library: Closed March 13–March 31. Noguchi Museum, New York: Closed until further notice, beginning March 12. Norman Rockwell Museum, Stockbridge, Massachusetts: Closed from March 13 until at least April 1.  Pace Gallery, New York: Closed until further notice, beginning March 13. Paula Cooper Gallery, New York: Closed until further notice, beginning March 14. Peabody Essex Museum, Salem, Massachusetts: Closed until further notice, beginning March 13. Perrotin, New York: Closed until further notice, beginning March 13. Peter Blum Gallery, New York: Closed until further notice, beginning March 14. Philadelphia Museum of Art: Closed March 13–March 30.  Pioneer Works, New York: Closed March 14–March 31. Portland Museum of Art, Maine: Closed through April 13. Queens Museum, New York: Closed March 13–March 20. Rhode Island School of Design Museum: Closed until further notice, beginning March 13. Rose Art Museum at Brandeis University, Waltham, Massachusetts: Closed until further notice, beginning March 16. Rubin Museum of Art, New York: Closed March 13–March 31. SculptureCenter, New York: Closed until further notice, beginning March 12. signs and symbols, New York: Open by appointment only, beginning Sunday, March 15. The Shed, New York: Closed March 12–March 30. Solomon R. Guggenheim Museum, New York: Closed until further notice, beginning March 13.  Studio Museum in Harlem, New York: Closed until further notice, beginning March 13. Swiss Institute, New York: Closed until further notice, beginning March 13. Van Doren Waxter, New York: Closed until further notice, beginning March 13.  Wallach Art Gallery at Columbia University: Closed until further notice, beginning March 14.  Whitney Museum of American Art, New York: Closed, beginning at 5 PM on March 13, for a minimum of fourteen days. The Yale Center for British Art, New Haven, Connecticut: Closed until further notice, beginning March 12. Yale University Art Gallery, New Haven, Connecticut: Closed March 13–April 15.

MIDWEST

Akron Art Museum, Ohio: Closed until further notice, beginning March 14. Art Institute of Chicago: Closed March 14–March 27. Chicago Architecture Center: Closed March 14–March 31.  Children’s Museum of Cleveland: Closed through April 5. Cincinnati Art Museum: Closed March 13–April 3.  Cleveland Museum of Art: Closed March 13–March 30.  Contemporary Arts Center, Cincinnati: Closed March 13–April 3.  Contemporary Art Museum St. Louis, Missouri: Closed until further notice, beginning March 16. Detroit Institute of Arts: Closed March 13–April 5. DuSable Museum of African American History, Chicago: Closed until March 31.  Hyde Park Art Center, Chicago: Closed until further notice, beginning March 14. Intuit: The Center For Intuitive And Outsider Art, Chicago: Closed March 15–March 31. Joslyn Art Museum, Omaha: Closed March 16–April 6.  Mana Contemporary, Chicago: Closed until further notice, beginning March 13. Museum of Contemporary Art Chicago: Closed March 13–March 29. Museum of Contemporary Art Cleveland: Closed March 16–April 6.  Museum of Contemporary Photography at Columbia College Chicago: Closed March 14–April 8. Nelson-Atkins Museum of Art, Kansas City, Missouri: Closed through April 3.  Sidney and Lois Eskenazi Museum of Art at Indiana University, Bloomington: Closed until further notice. Smart Museum, Chicago: Closed March 15–March 30.  Taft Museum of Art, Cincinnati: Closed March 13–April 3.  The Arts Club of Chicago: Closed until further notice, beginning March 13.  The Renaissance Society, Chicago: Closed until further notice, beginning March 15.  Toledo Museum of Art, Ohio: Closed March 15–April 3.  Urban Institute for Contemporary Arts, Grand Rapids, Michigan: Closed March 12–March 31. The Walker Art Center, Minneapolis: Closed until further notice, beginning March 14. Wexner Art Center at Ohio State University: Closed March 13–April 6.

SOUTH

Arkansas Arts Center, Riverdale: Closed until further notice, beginning March 13. Ballroom Marfa, Texas: Closed March 12–March 31. The Bass Museum of Art, Miami Beach: Closed until further notice, beginning March 14. Birmingham Museum of Art, Alabama: Closed until further notice.  Memphis Brooks Museum of Art: Closed March 15–March 31. Chinati, Marfa, Texas: Closed March 12–March 24. Chrysler Museum of Art, Norfolk, Virginia: Closed March 14–March 29. Contemporary Arts Museum Houston: Closed until further notice, beginning March 16. Crystal Bridges Museum of American Art, Bentonville, Arkansas: Closed March 16–March 31.  Dallas Contemporary, Texas: Closed until further notice, beginning March 13. Dallas Museum of Art, Texas: Closed until further notice, beginning March 14. Denver Art Museum: Closed March 14–March 31. Frist Art Museum, Nashville: Closed March 16–March 31.  The Gallery at University of Texas at Arlington: Closed until March 22. Georgia Museum of Art at the University of Georgia: Closed until further notice, beginning March 17.  Greater Reston Arts Center, Virginia: Closed March 13–March 16. High Museum, Atlanta: Closed until further notice, beginning March 12.  Institute for Contemporary Art at Virginia Commonwealth University, Richmond: Closed March 14–April 1. Judd Foundation, Marfa, Texas: Closed for a minimum of four weeks, beginning March 13.  Knoxville Museum of Art, Tennessee: Closed until further notice, beginning March 16.  Mana Contemporary, Miami: Closed until further notice, beginning March 13. Museum of Contemporary Art North Miami: Closed until further notice.  Museum of Contemporary Art, Virginia, Virginia Beach: Closed March 15–April 1.  National Gallery of Art, Washington, DC: Closed March 14–April 4. National Museum of Women in the Arts, Washington, DC: Closed March 14–31.  New Orleans Museum of Art: Closed until further notice, beginning March 16. Oolite Arts, Miami Beach: Closed March 13–April 1.  Pérez Art Museum Miami: Closed until further notice, beginning March 16. Salvador Dalí Museum, Saint Petersburg, Florida: Closed until March 31. Smithsonian Institution, Washington, DC, and New York: Closed until further notice, beginning March 14. Speed Art Museum, Louisville: Closed through March 31.  Telfair Museums, Savannah, Georgia: Closed until March 31.  Virginia Museum of Fine Arts, Richmond: Closed March 14–March 27.  The Wolfsonian at Florida International University, Miami Beach: Closed unitl further notice. 

WEST

Annenberg Space for Photography, Los Angeles: Closed March 12–March 31.  Asian Art Museum, San Francisco: Closed March 14–March 27. Bowers Museum, Santa Ana, California: Closed March 17–March 31. The Broad, Los Angeles: Closed March 13–March 31. Burke Museum at the University of Washington, Seattle: Closed March 12–March 31. CCA Wattis Institute for Contemporary Arts and the Yerba Buena Center for the Arts, San Francisco: Closed until further notice, beginning March 13.  The Contemporary Jewish Museum, San Francisco: Closed until further notice, beginning March 13. Frye Art Museum, Seattle: Closed March 12–March 31.  The Getty Center and Villa, Los Angeles and Pacific Palisades: Closed until further notice, beginning March 14.  Hammer Museum, Los Angeles: Closed until further notice, beginning March 14. Hauser & Wirth, Los Angeles: Closed until further notice, beginning March 13. The gallery will receive visitors by appointment only. The Huntington Library, Art Museum, and Botanical Gardens, Greater Los Angeles: Indoor spaces closed until further notice, beginning March 14. Los Angeles County Museum of Art: Closed until further notice, beginning March 14. MoPOP, Seattle: Closed until further notice, beginning March 12. Museum of Contemporary Art, Los Angeles: Closed until further notice, beginning March 13. Norton Simon Museum, Pasadena, California: Closed until further notice, beginning March 15. Orange County Museum of Art, Santa Ana, California: Closed until April 28. Oakland Museum of California: Closed March 13–March 27. Palm Springs Art Museum, California: Closed until further notice, beginning March 13. Palm Springs Art Museum Architecture and Design Center, California: Closed until further notice, beginning March 13. Portland Art Museum and Northwest Film Center, Portland, Oregon: Closed March 14–March 31.  Roberts Projects, Los Angeles: Closed until further notice, beginning March 13. San Diego Museum of Art, California: Closed until further notice, beginning March 14. Seattle Art Museum and Asian Art Museum: Closed March 13–March 31. SFMoMA, San Francisco: Closed until March 28.  Skirball Cultural Center, Los Angeles: Closed March 14–May 3. Sonoma Valley Museum of Art, California: Closed through April 5.  USC Pacific Asia Museum, Pasadena, California: Closed March 16–April 14.  Utah Museum of Fine Arts, Salt Lake City: Closed March 13–March 27.

GLOBAL UPDATES:

[List includes countries with the highest number of confirmed cases of COVID-19]

Austria - All federal public museums have been closed and will remain shuttered until the end of March. The grand opening of the new Albertina Modern has also been postponed. As of March 11, the country has decided to close schools until April and has implemented border checks—travelers from Italy, the epicenter of the virus in Europe, will not be permitted to enter Austria. On Tuesday, the government banned gatherings of one hundred people or more.

[Update:] On Sunday, March 15, the government banned gatherings of more than five people. Restaurants have closed, and Chancellor Sebastian Kurz is urging people to self-isolate. Parliament will meet in Vienna to vote on a $4.4 billion financial package.

Belgium - On Thursday, March 12, the federal government ordered the closure of schools, cafes, and restaurants and urged businesses and shops to reduce their hours in response to the coronavirus. Prime Minister Sophie Wilmes stressed that the country is not under lockdown—as of March 16 it reported that the number of coronavirus cases surpassed 1,000. The country’s culture ministry suspended all cultural activities that were scheduled to take place between March 14 and April 3. Among the institutions that have closed are the Museum of Fine Arts, Ghent, where the blockbuster exhibition “Van Eyck. An Optical Revolution,” billed as the largest exhibition ever dedicated to the Flemish Old Master, was on view; the Magritte Museum in Brussels; and S.M.A.K., Ghent’s municipal museum of contemporary art.

Canada - As of Wednesday, March 11, Canada reported having just over one hundred cases of the coronavirus. The majority of those who tested positive recently traveled to countries with outbreaks. Art Vancouver currently plans to stay on schedule, running from April 16 to April 19. The contemporary art fair welcomes approximately ten thousand people each year from around the world.

[Update:] As of March 16, Canada has 370 presumptive and confirmed cases and is closing its borders to most non-citizens. On Sunday, March 15, Canada’s chief public health officer, Dr. Theresa Tam, urged Canadians to “act now and act together.” 

China - While the spread of the coronavirus in China has slowed—the country still has more than eighty thousand confirmed cases—it is now concerned about the possibility of sparking a new wave of infections from Chinese nationals returning from trips abroad and foreigners traveling to the country. Arts institutions across the mainland remain closed, but many have committed their resources to opening online viewing rooms and launching digital exhibitions such as the M Woods Museum in Beijing, which has staged the online show “Art Is Still Here: A Hypothetical Show for a Closed Museum.” Curated by artistic director and chief curator Victor Wang, the show is a long-term visual project that will allow visitors to virtually visit both of its locations over the course of several weeks. According to The Guardian, experts are worried that the state, which has increased mass surveillance in an attempt to contain COVID-19, will not reduce the heightened government scrutiny once the number of cases starts to fall.

[Update:] The number of infectees in China has slowed. While the number of cases is more than 80,860, as of March 16, only sixteen new cases were reported. Some museums in the country have tentatively begun reopening. The government is now trying to roll out relief measures to counter the virus’s devastating impact on the economy. 

Hong Kong - After months of political unrest due to the continuous, large-scale anti-extradition and pro-democracy protests in Hong Kong, the demonstrators were forced to curb their activism following COVID-19’s arrival in the region. The virus led to one of the first major cancelations when Art Basel Hong Kong pulled the plug on its 2020 edition. Earlier today, the fair announced the participants in its new Online Viewing Rooms, which will be live from March 20 to March 25. Hong Kong’s public museums have been shuttered since January 29, the same week that China was initiating a lockdown in Wuhan. Sotheby’s has since relocated its modern and contemporary auctions in Hong Kong to New York; they will take place in April.

France - The country, which has the second highest number of cases in Europe after Italy, is preparing for that number to continue to climb. Gatherings of more than one thousand people have been prohibited. The outbreak, which reached parliament, has also affected French Culture Minister Franck Riester, who tested positive for the virus on Monday, March 9. While fears of the coronavirus shuttered the Louvre for three days, the institution reopened last week after addressing the staff’s safety concerns. It is now going cashless and restricting entry to online ticket holders. Other major museums are still welcoming people but have capped the number of visitors; the Paris Philharmonie, the largest classical music venue in France, has canceled all upcoming events; and the Paris Opera, which suspended a series of ballets and other performances, is intending to continue to operate by filming programming behind closed doors. Madonna also announced that she has called off the last two dates of her “Madame X” tour. The Cannes Film Festival’s president, Pierre Lescure, said that the festival, which is supposed to take place from May 12 to May 23, will go on as planned. “We remain reasonably optimistic in the hope that the peak of the epidemic will be reached at the end of March and that we will breathe a little better in April,” he told Le Figaro. 

[Update:] On March 13, the Louvre and the Musée d’Orsay closed their doors to the public until further notice. The announcements followed new restrictions on public gatherings implemented by the Ministry of Culture. As of Friday, all museums and libraries cannot have more than one hundred people in attendance. Those who have already purchased tickets to the Louvre will be reimbursed. 

Germany - All cultural institutions in Berlin—including the Berlinische Galerie, the State Museums of Berlin, and the Volksbühne—will shut down on Friday, March 13, and will remain closed until at least April 19. Art Cologne, which was slated to kick off in the third week of April has been pushed back to November. As of Thursday, the cases in Germany have surpassed two thousand. The German culture minister, Monika Grütters, has pledged financial assistance to arts museums and organizations as well as to artists and arts professionals. “It’s clear to me that the situation is a massive burden for the cultural and creative sectors and that small institutions and freelance artists could face considerable distress,” Grütters said in a statement. “I won’t leave you in the lurch!”

Iran - Of all the countries in the Middle East, Iran has been hit the hardest by COVID-19, with over nine thousand confirmed cases—a number surpassed only in China. On March 12, the Iranian minister of cultural heritage, handicrafts, and tourism, Ali-Asghar Mounesan, ordered that all museums be shut down during the country’s new year Nowruz festivals, which begin on March 20 and last a couple of weeks. Museum hours will be severely restricted before then.

Italy - The country currently has the largest number of cases in all of Europe, with more than twelve thousand cases as of Thursday, March 12. The Italian government made an unprecedented decision on Monday, March 9, to restrict the movement of sixty million people. Nearly all commercial activity throughout the country has come to a halt—supermarkets and pharmacies remain open—bringing the economy to a near standstill. Major museums and historic sites, including the Colosseum, the Vatican Museums, the Galleria Borghese, the Uffizi, the Fondazione Prada, the Pirelli HangarBicocca, the Palazzo Grassi, and the Punta della Doganaare, are closed. According to the Washington Post, Prime Minister Giuseppe Conte said, “Right now the whole world is looking at us.” He is telling Italians to leave their homes “only when strictly necessary.”

Japan - All Japanese museums are closed until March 17. The crisis reached the archipelago last month and continues to deepen, with over six hundred confirmed infectees. While it’s business as usual for many Tokyo galleries (including Perrotin, whose Jean-Michel Othoniel show will remain on schedule), Blum & Poe’s Tokyo outpost decided to postpone its Asuka Anastacia Ogawa and Kenny Schachter openings. “Masterpieces From the National Gallery” at the National Museum of Western Art has been delayed until further notice. Whether the capital will still host July’s Summer Olympics—a potential boon to the country’s now-devastated economy—remains uncertain, but plans have not changed yet.

Netherlands - In a sudden turnabout, organizers of the annual Dutch TEFAF fair in Maastricht announced on March 11 that it would shut down the event, which commenced on March 7 and was expected to run through March 15. The decision arrived after organizers of the fair—a premier showcase for works by Old Masters and a pillar of the local economy—learned that an exhibitor had tested positive for COVID-19. On March 12, the country called a ban on gatherings of over one hundred people, and Amsterdam museums, including the Rijksmuseum National Gallery and the Van Gogh Museum, decided to close.

South Korea - South Korea is testing more people for COVID-19 per capita than any other country. Although Korea Centers for Disease Control & Prevention (KCDC) reported a decline in the number of new coronavirus infections in recent days, galleries and museums, including the Leeum Samsung Museum of Art, the National Museum of Modern and Contemporary Art, and the National Museum of Korea, remain closed until further notice.

Spain - Major museums—including the Museo del Prado, the Museo Nacional Centro de Arte Reina Sofía, and the Museo Nacional Thyssen-Bornemisza—in Madrid, where the country’s coronavirus is concentrated, are closed indefinitely. Other cultural destinations, including La Sagrada Familia, the Museu d’Art Contemporani de Barcelona, the Picasso Museum, and Fundació Joan Miró, in Barcelona are still open. The city’s Park Güell, the Antoni Gaudí–designed public park, which draws an average of fourteen thousand visitors a day, is also still open. Contemporary art institutions elsewhere, including Guggenheim Bilbao, are still open and are monitoring the outbreak. 

United Arab Emirates - Earlier this month, Art Dubai organizers announced that the international fair would no longer be held from March 25 to March 28; new dates haven’t been decided yet. The fair averages around twenty-eight thousand visitors from around the world each year and will now be downsized to a localized program of yet-to-be-decided talks, shows, and events. Sharjah Art Foundation’s annual March Meeting will probably not occur in March; organizers said it would reschedule its March 21–March 23 dates. The Louvre Abu Dhabi is still open, despite the UAE’s advisory against large crowds. The Middle East currently has over ten thousand confirmed cases of COVID-19, most of them in Iran.

United Kingdom - As of March 12, the BBC reports 596 confirmed COVID-19 cases in the UK. However, unlike in many other affected areas across Europe, major institutions, including the National Gallery, the British Museum, the ICA London, and the Tate Museums, will remain open as usual until government guidelines advise otherwise. The Art Newspaperreported on Thursday that one member of the Tate Modern staff is in self-quarantine after testing positive for COVID-19. A Tate spokeswoman told the publication that the employee does “not work in a front-of-house role” and that “all areas with which they have come into contact have been deep cleaned.” The Photography Show and the Video Show in Birmingham, originally slated to run from March 14 to March 17, has been postponed until September 2020 (exact dates TBA). At the time of writing, Masterpiece London is slated to go ahead as scheduled from June 25 to July 1. 

[Update:] After facing criticism for not reacting quick enough to get in front of the coronavirus, as of Monday, March 16, British Prime Minister Boris Johnson has called for everyone to work from home and to avoid restaurants and pubs. Museums and galleries are also beginning to close, including the South London Gallery and the Institute of Contemporary Arts, London, which are both shuttered until further notice, as well as David Zwirner’s, Gagosian’s, Galerie Thaddeus Ropac’s, Hauser & Wirth’s, Pace’s, and Sprüth Magers’s London outposts. On Tuesday, March 17, the Tate announced that all of its galleries are now closed and will be shut down until at least May 1. The announcement was followed by the closure of the British Museum and the National Portrait Gallery.

United States - On Wednesday, March 11, President Donald Trump announced a thirty-day suspension of travel to Europe (with the exception of the UK). The ban, which goes into effect on Friday, March 13, has sent citizens abroad scrambling to book return flights. As of March 12, COVID-19 has sickened more than one thousand people in the US, and thirty-three people have died. Congress is expected to vote on a sweeping spending aid package on Thursday that will establish a national paid leave program, expand food assistance, and offer free testing for the virus. As of this afternoon, a series of institutions have announced temporary closures, including the Metropolitan Museum of Art, the Shed, the Solomon R. Guggenheim, and the Whitney Museum of American Art in New York; the Harvard Art Museums, the Institute of Contemporary Art, the Isabella Stewart Gardner Museum, and the Museum of Fine Arts in Boston; and the Frye Art Museum in Seattle.

[Update:] As of March 16, most major museums nationwide—including the Museum of Contemporary Art, Los Angeles, the Pérez Art Museum Miami, and the Philadelphia Museum of Art—have shuttered for either a period of two weeks or until further notice. The Centers for Disease Control and Prevention (CDC), the national public health institute of the United States, has recommended all public gatherings be capped at fifty people for the next eight weeks. More than 3,700 people were confirmed to have COVID-19 at the time of publication, and the death toll has risen to sixty-nine people. 

Combating the Coronavirus at Home:

The CDC advises household members to prepare for a coronavirus outbreak in their communities. Among the steps that should be taken are creating a list of nearby aid organizations, making an emergency contact list, inquiring about workplace action plans, preparing for temporary closures of schools or childcare facilities, and educating one’s family on preventative measures.

As of now, the CDC states that the best way to prevent illness is to avoid being exposed to the virus, which is spread mainly from person to person, and recommends social distancing. It also urges people to disinfect their homes and to wash their hands with soap and water for at least twenty seconds after blowing your nose, coughing, or sneezing; before eating; and after visiting a public space. If soap and water are not readily available, hand sanitizer with 60 percent or more alcohol can be used as a substitute. If you are sick, stay home and do not go out unless it is to seek medical care. Since face masks are currently in short supply, the CDC says that only caregivers and people who are already ill need masks.

To learn more about what preventive measures you can take, you can visit the CDC’s website here.

Update link: click here

[curatorialista]

Kara Walker to Create Tate Modern’s Turbine Hall Commission

Kara Walker has been selected to create a new installation for the Tate Modern’s vast Turbine Hall, which will go on show in London on 2 October 2019 as part of the gallery’s Hyundai Commission series. The African American artist is known for her black-and-white paper cut-outs, whose silhouettes engage with the history and legacy of white supremacy and slavery in the USA. Walker is no stranger to working on a monumental scale – in 2014, she installed a sugar-coated sphinx in New York’s derelict Domino Sugar Refinery for a Creative Time commission. Tate Modern director Frances Morris said: ‘Seeing her respond to the industrial scale of the Turbine Hall – and the wider context of London and British history – is a hugely exciting proposition.’ Following on from the Turbine Hall’s 2018 commission created by the Cuban artist Tania Bruguera, Walker’s installation will run until 5 April 2020.

[curatorialista]

Banksy’s Fake £10 Note Will Become the First Work by the Artist to Enter the British Museum’s Collection

The note features the late Princess Diana in place of Queen Elizabeth II.

The British Museum has added its first piece by notorious British street artist Banksy to its collection, and the piece is a counterfeit—counterfeit currency, that is. In 2004, Banksy printed £1 million worth of fake £10 notes that replaced the visage of Queen Elizabeth II with that of late Princess Diana. Banksy then dropped the money on crowds at the Notting Hill Carnival and at the Reading Festival.

Banksy’s management company and authentication entity, Pest Control, has now donated one of these bills to the museum, according to the Art Newspaper. It is titled Di-faced Tenner, a play on the word “defaced.” Issued by the “Banksy of England,” the currency reads “trust no one” on the verso, which features Charles Darwin. The bill will join the British Museum’s department of coins and metals (rather than prints and drawings).

Although the British Museum doesn’t have any immediate plans to exhibit Di-Faced Tenner, it turns out that Banksy has already shown some of his other work there, albeit clandestinely. In 2005, he surreptitiously installed a fake cave painting, Peckham Rock, featuring a hunter pushing a supermarket cart, in the museum’s Roman Britain gallery.@@

Accompanying wall text, designed to mimic the museum wall labels, notes that “this finely preserved example of primitive art dates from the Post-Catatonic era. The artist responsible is known to have created a substantial body of work across South East of England under the moniker Banksymus Maximus but little else is known about him. Most art of this type has unfortunately not survived. The majority is destroyed by zealous municipal officials who fail to recognize the artistic merit and historical value of daubing on walls.”

The prank is said to have gone undetected for three days. “It was the cause of considerable embarrassment for the museum at the time and when Banksy asked for it back we were only too pleased to oblige,” British Museum curator Tom Hockenhull told the Guardian last May. (The museum later asked for it back on loan to include as part of a 2018 group show on dissent.)

Today, Banksy is more popular than ever, thanks in part to his recent prank at Sotheby’s London last October, in which he orchestrated his own work Girl With a Balloon to self-shred moments after the auctioneer hammered it down for £1 million ($1.4 million).

Sarah Cascone, February 1, 2019

[curatorialista]

The Science of Color Explained by Art

[curatorialista]

The drama of that Banksy sale at Sotheby's

"The urge to destroy is also a creative urge" —Picasso

Of course, everyone is asking whether the value of Banksy’s painting that sold at Sotheby’s yesterday for $1.4 million is still $1.4 million. It’s now probably more.

Banksy’s painting was not listed on Sotheby’s auction catalogue, and was a surprise entry to the auction. The work, “Girl with a Balloon,” a 2006 spray paint on canvas, was the last lot of Sotheby’s “Frieze Week” evening contemporary art sale. A gift to the seller from Banksy, it sold for more than three times the estimate and a new auction high for a work solely by the artist, according to Sotheby’s.

The drama began as soon as the painting sold and Sotheby’s staff began conducting its usual concluding rituals, and self-destructed: That is, the painting fell out from its frame, shredding itself into pieces in the process and setting off a security alarm.

The writers are all saying it was “a prank,” of course. Banksy even posted a photo of the shredding, on his Instagram account. And this afternoon, he added a short video (above) showing him building the shredder into the frame—and the moment it went into action. “A few years ago I secretly built a shredder into a painting,” Banksy writes in the video. “In case it was ever put up for auction.” The video has accrued more than 3.3 million views as of this post.

But was Sotheby’s in on the gag? Was it just coincidence that the picture was carefully placed on view in the absurdly thick frame and timed to be the last lot of the sale?

Sotheby’s would have to have known about the programmed “prank” because of standard condition reporting practices taken on for the auction of high value items. A condition report is a document that states the exact condition of an artwork received for sale. It describes dimension, medium, year of making, as well as any damage.

So then, was it intentional. “We were Banksy’d,” declared a bemused Alex Branczyk, Sotheby’s head of contemporary art in Europe. Given the report required to auction artwork, he must be playing along as now, the work that was sold is no longer the “Girl with a Balloon,” but it is the “Girl with a Balloon (shredded at Sotheby’s auction October 2018)” a staged artwork event that took place because the painting was sold at auction.

All kinds of ideas can be read into this event, nevermind that high level auctions, such as this one, are unquestionably the domain of privilege. And I remember when Banksy’s work first began to surface. Unquestionably “street art” and grafitti, it had the kind of presence and instant message imagery that made us all stop in our tracks and look. And look. And look. The images were exquisitely positioned to display power against the absence of power. We saw them in war zones in Gaza, in newly chic neighborhoods in San Francisco (Hayes Valley), in New York, Paris, London (who doesn’t remember the tilted red telephone booths?), they were inescapable and impossible to ignore. And they were all for public consumption, freely given by the artist.

We have seen entire sections of buildings and walls removed from their original locations only because they were newly possessed by a Banksy stencil. At a Miami Art Basel, it seemed obscene that a painting objecting to the Israeli occupation of Palestine was removed from its original location in Gaza to be offered for sale for huge sums. Would it be fair to surmise that Banksy’s 2006 gift of this painting to the seller came preloaded as a protest to the exploitation of his work? Maybe.

[curatorialista]

Ahhh...Banksy! Always shaking things up!

Banksy creates the improbable concept of the value of destruction: the "self-destructing" artwork. Does the artwork become a new artwork? Is it a performance? What determines new value?

Your comments are definitely welcome.

[curatorialista]

Private Collection: Beyoncé’s Mom! Here's what Tina Knowles Lawson collects:

Beyoncé and Solange clearly got their love of art from their mom.

Over lunch today, I was asked whether anyone is still collecting art. I replied that when art became a bona fide member of the asset class during the recent downturn, art collections became a thing that initiated and were developed.

[curatorialista]

Private Collection: Ivo Wessel - Berlin, Germany

Internet entrepreneur Ivo Wessel has three main obsessions—computing, literature, and art. Although he likes to combine them he decided early on that he had no interest in making money from art—just in collecting it. FAM takes a tour of Wessel’s collection and discovers his attraction for all that’s provocative!

https://fineartmultiple.com/blog/ivo-wessel

[curatorialista]

Ai Weiwei is under attack again.

The Chinese artist, Ai Weiwei, who has documented and is known as a dissident for his artwork addressing human rights is under attack, again.

[curatorialista]

Annie Leibovitz on Lance Armstrong.

Lance Armstrong isn't a thing anymore. He disgraced himself and lost his honour. But Annie Leibovitz is an American icon for her contributions to photography.

Annie Leibovitz is one of America’s best-known photographers, capturing images of some of the most influential people of her time. Known for bold contrasts and imaginative poses, her portraits capture raw and intimate moments as well as powerful arranged posses. Leibovitz started her career as a staff photographer for Rolling Stone magazine, where she was later named chief photographer. She then joined the staff at Vanity Fair and began working regularly for Vogue. She captures, here, a naked Lance Armstrong riding a bicycle. Leibovitz photographed Lance Armstrong in the fall of 1999 when he came back to cycling after defeating cancer and won his first Tour de France. This image was published in Vanity Fair in December 1999 to accompany a feature about Armstrong. Annie Leibovitz (American, b. 1949) has held positions at Rolling Stone, Vanity Fair, and Vogue shooting iconic images of celebrities in the music, film, and sports industries. Her work has been featured in hundreds of international exhibitions, including at the National Portrait Gallery, Washington, D.C.; the International Center of Photography, New York; the National Portrait Gallery, London; among others.

Would I recommend this acquisition? Yes. The black and white version was offered at auction in 2014 and again in 2015. The image records a strong story of how the mighty can fall and rise up again from disaster. It's by an iconic American photographer about an iconic American athlete who defeated all kinds of odds. It's romantic. And it addresses value.

The condition report at this link states that the photograph had "no apparent condition issues" and provenance is direct from the artist to the private collector's dealer.

[curatorialista]

What is a Lithograph? Understanding Different Types of Printing

[curatorialista]

Jay Musler Gallery