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Germany plans photography archive to preserve ‘visual memory of our society’ – Culture minister Monika Grütters enlists international experts to help create a central institution but critics question necessity and feasibility.
There are big acquisitions and then there are truly gigantic acquisitions. The John Michael Kohler Arts Center in Sheboygan, Wisconsin, has just landed one of the latter, acquiring a bounty of works by Eugene Von Bruenchenhein from the estate of the late artist, whose output included campy but tender photographs of his wife, scrappy ceramics, and inventive paintings.
The Guggenheim Museum in New York has received an endowment from the Robert Mapplethorpe Foundation to fund a conservation fellowship for photography at the museum. Fellows will use the museum’s photography collection for research, as well as work to preserve it.
Following their successful collaboration with Hans Hartung, Perrotin & Nahmad Contemporary are pleased to announce that they now exclusively represent the estate of French artist Georges Mathieu worldwide.
If it seems that Hauser & Wirth has been taking on artists and estates left and right lately, ARTnews found that the numbers back that up. The most recent one to move to the mega-gallery—the estate of sculptor John Chamberlain, announced earlier this week—makes a total of 24 artists or estates taken on in the past three years. That slightly edges out Gagosian, 13 years older and commonly understood to be the most powerful of the megas, which took on 21 artists and estates during the same period.
The estate of the artist behind the famous “LOVE” and “HOPE” images is attempting to stop reproduction of his works. The effort is the latest development in the complicated case of Robert Indiana’s estate. The estate is making the case that licensing agreements for Indiana’s famous works ended when he died nearly a year ago.
For nine years, the Solomon R. Guggenheim Museum has been foraging for answers to some of the most confounding questions raised by Minimalist and conceptual art from the 1960s and 70s: What makes a work genuine? If an artist decides he prefers an earlier or later iteration of his original work, which one should have pride of place in a museum? If an artist disowns a work altogether, how should the museum label and classify it?