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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?
The Robert Rauschenberg Foundation announced today the appointment of three distinguished experts in modern and contemporary art to its Board of Directors. The newest board members include: Dr. Kelli Jones, Professor in Art History and Archaeology and the Institute for Research in African American Studies (IRAAS) at Columbia University; Dr.Glenn D. Lowry, Director of The Museum of Modern Art; andA.C. Hudgins, a well-known collector of African-American art with experience in the field of finance.
Chillida Leku, the private museum and sculpture park devoted to the work of the Spanish sculptor Eduardo Chillida (1924-2002) in the Basque countryside, will reopen fully to visitors on 17 April. Founded by Chillida and his wife Pilar Belzunce in 2000—two years before his death—in a converted 16th-century farmhouse, Chillida Leku has been open for guided tours by appointment only since January 2011. The partial closure was due to the “recurring deficit” it faced during the economic crisis, the museum said at the time.
The explosive transformation of this sector has been carefully tracked by the Washington, DC-based Aspen Institute, which has just released its latest findings for 2018. The new figures suggest that even though artist-endowed foundations represent only a small portion of all private foundations in the US, they are able to make an outsize impact in the relatively modest world of art philanthropy and have become an increasingly influential force stewarding the country’s artistic heritage.
Over the course of the more than half-century of relentless experimentation that followed, Ryman radically expanded the possibilities of abstract painting, continuously rethinking how it could be made and what it could look like, even while seeming to confine himself to a single color: white.