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"Art authentication" vs "Art appraisal"

An Art Authentication is not an Art Appraisal ... It's a common mistake in the US that people think an art appraisal equals an art authentication. It could not be more wrong. An art appraisal is an opinion of an item's value in fair market value or replacement value. It doesn't engage the art appraiser's responsibility if the painting is a fake or a copy. Fair Market vs Repalcement Value A/ Fair market value: The amount for which personal property would be sold in a voluntary transaction between a buyer and a seller. The auction value is most of the time considered as fair market value. B/ Replacement value: Replacement value or cost is the price an entity would pay to replace an existing asset at the current market price with a similar asset. Usually, the replacement asset is found in a gallery; that's why a replacement value is often compared with a gallery value. This gallery value is substantial as the value in auction, it may as well be double or triple the value of auction. An art authentication process includes: -Justification of authenticity by comparison with other works by the artist - Establish the place of the artwork in the "catalog raisonne" - Comparison with other works by the same artist of the same period. - Comparison with other artists of the same period or movement. - Research about the history, provenance, etc. - Establish and verify the history of the painting. - Graphology analysis of handwriting. ( rarely) - Signature analysis. ( always) - On-site analysis of the painting. ( if possible ) - Study of the pigments, usually when a COA was denied - Study of the support - Study of the manner. - Wood lamp test. Presentation of the file to the solely universal recognized expert for the artist. Each major artist has his own "SOLELY UNIVERSAL RECOGNIZED AUTHENTICATION EXPERT". COA & Galleries, Auction Houses Sotheby's, Christie's , whatever major gallery do not have the authority to give an authentication certificate for an artwork. Sotheby's and Christie's or any good auction house will consult the solely recognized authentication expert for an artist before accepting it in their auction. They should do so, but we know today that many fakes were sold in these major auction houses. Art expert responsibility Art experts, in general, may give an opinion at their responsibility ( Don't forget that in the US everybody can sue anybody for whatever reason..), for which they can be sued if the sole authenticator refuses to authenticate artwork. In the US because of this possibility to sue an individual or an organization several major institutions so the Warhol-Pollock-Haring-Dekooning-foundation decided to stop the service of authentication. For these painters, if you didn't receive an authentication before they decided to close the authentication service there is one solution left: making a file that proves the item's authenticity with indisputable and verifiable arguments. Art experts are reluctant to put in writing opinions because of the possibility to be sued: See Wildenstein, Warhol Foundation etc contact me for information : vwx123@gmail.com or whatsapp: 7602967175

#MeToo catches up with Picasso!

The #MeToo movement has made "violence against women" a social issue that even Pablo Picasso, who died nearly 50 years ago, seems unable to escape, a subject that museums and his grandson, Olivier, wish to approach with "accuracy." Since the 1980s, several controversial works have painted negative portraits of the icon of modern art, whose work has been nourished by his relationships with the women in his life. Fernande Olivier, Olga Khokhlova, Marie-Thérèse Walter, Dora Maar, Françoise Gilot, Jacqueline Roque... so many "muses". Their names are cited in art history, speaking of "identities, personalities very different" and "relationships on which my grandfather never spoke publicly," told Olivier Widmaier-Picasso. The latter devoted two books to the painter, born in 1881 in Malaga (Spain) and died in 1973 in France, in Mougins, "by questioning his still living entourage and the family archives" to "set the record straight". - "Missing" work - "There were ascents, descents, violent works, others very tender, very gentle, but we realize each time that after having exhausted his inspiration, he moves on to something else", adds the son of Maya Widmaier-Picasso. Maya Widmaier-Picasso was born in the union of the Spanish artist with Marie-Thérèse Walter, she was a "privileged confidante of her father until the 1950s". "Without his women, the work would be missing." "#MeToo damaged the artist", recognizes Cécile Debray, director of the Picasso museum in Paris, questioned by AFP on a feminist podcast created by Julie Beauzac, including an episode devoted to Pablo Picasso ("Separating the man from the 'artist') was followed by 250,000 people. However, there is no question of approaching the subject "in a frontal and unequivocal way", continues the museum director. This podcast gives the floor to Sophie Chauveau, journalist and author of "Picasso, the Minotaur" who describes "the irresistible and devastating hold of genius on those who loved him." Ms. Chauveau claims to have investigated "for years" without having access to the family archives. She evokes a "brilliant" painter as much as a "violent", "jealous", "perverse" and "destructive" man, "great seducer" not hesitating to conquer and abuse very young women. "Assertions without reference to historical, approximate, and anachronistic sources", deplores Ms. Debray. - "Idol to knock down" - "The attack is all the more violent because Picasso is the most famous and popular figure in modern art. An idol that must be destroyed," adds Ms. Debray. According to Olivier Widmaier-Picasso, Picasso's descendants never attacked the book, preferring "not to shed any additional light on it." "How do you resist such a personality?" he wonders. "There are those who got away with it and some who struggled. I don't think it was voluntary and conscious, I think he had such a creative force that he was devoted to his art from an early age, and finally, at the end of his life, he was facing the canvas all alone and did not need anyone. However, it is impossible to avoid a debate, he concedes, like the two representatives of the museums in Paris and Barcelona. But "you have to show the work in a didactic, rich and varied way, in its formal radicalness, through a broad presentation of the collection and by inviting contemporary looks", explains Ms. Debray. Among these looks: the French artist Orlan and her series "The crying women are angry", which offers a rereading of the work of Picasso "to put the woman-subject at the center", the Belgian visual artist Farah Atassi, who re-examines the question of the painter and his model, or the French visual artist Sophie Calle, programmed in Paris. "This reflection on Picasso and the feminist or feminine gaze on his work is an eminently current debate, which must not be diverted or caricatured", adds Mr. Guigon. In Barcelona, the Picasso Museum has launched a series of workshops inviting specialists, art historians, and sociologists to offer a diversity of points of view on the work. They are also highlighted by exhibitions devoted to Picasso's sister Lola Ruiz-Picasso, or Brigitte Baer, ​​an art historian specializing in Picasso's engravings. Seen on France24.com © AFP

$ 35 bust bought in Austin Goodwill, is priceless.

Hunting antiques in thrift stores and flea markets sometimes allows you to have surprises: buying a Roman bust for $35, only to discover a few years later that it dates from the 1st century AD. This beautiful story comes from the United States where, in 2018, an antique dealer named Laura Young decides to go in search of "something cool" in a second-hand store in Austin, Texas. She quickly sights a sculpted marble bust, slightly dirty and left abandoned under a second-hand clothes table. His price? Just 35 dollars. Laura Young decides to buy it without any idea of ​​its real value. The American, however, has a doubt. The bust, which she knows nothing about, appeared to be "really, really old , " she told the BBC . The woman then embarked on research to date and determine the character that this sculpture represents. The experts follow one another, and the verdict falls: the statue turns out to be a 2,000-year-old Roman bust, which dates back to the 1st century AD. Its value is priceless. Stolen in Bavaria Throughout the expertise, the mysteries surrounding the sculpture arise, particularly on the identity of the character it represents. It would be a Roman general named Drusus Germanicus (38-9 BC), known to have fought in German lands. However, not everyone is of the same opinion. Some believe that it is rather one of the sons of Pompey the Great (106-48 BC), who had faced Julius Caesar during the civil war (49-45 BC). -C) . Its provenance has also been clarified. The bust is believed to be from a replica of a Roman villa in Germany called Pompejanum, built in Aschaffenburg, Bavaria, and badly damaged during World War II. The sculpture would have been brought to the United States by an American soldier stationed in the German city, specifies the British media . Stolen, the bust, therefore cannot be sold by Laura Young and will soon be exhibited in a museum in San Antonio, in the southern United States. At least until 2023 . In a year, the work will indeed make the opposite journey, and will return to Germany. Seen in Slate - Robin Tutenges

10 films about "Art" to watch on Netflix

1. The last years of Vincent Van Gogh If many filmmakers (Maurice Pialat, Robert Altman, Vincente Minnelli) had already taken possession of the life of Vincent Van Gogh, Julian Schnabel - himself a painter - signs a unique biopic of its kind. Blue and yellow filters, unstable camera, twilight fields, charred sunflowers: the expressionist aesthetic of the film perfectly expresses the mystical torments of the accursed artist. Artist last years are followed in Arles, Saint-Rémy-de-Provence and Auvers- sur-Oise. Although it is always strange to hear Van Gogh speak English, the actor Willem Dafoe fits perfectly into the skin of the painter. With him, other big names from the big screen like Mads Mikkelsen (fantastic), Rupert Friend, and Niels Arestrup. At Eternity's Gate American film by Julian Schnabel • 2018 • 1 h 50 2. The provocative itinerary of Chris Burden Chris Burden was locked in a locker for five days, shot in the arm and crucified on the hood of a Volkswagen, in the name of ART. But he is also the creator of Urban Light (2008), a magical forest of lampposts installed in front of the Los Angeles County Museum of Art. Nourished by videos of the extreme performances which made him known in the 1970s, comments by art critics, glimpses of his private life and reflections from the artist himself, this documentary released the year of his death in 2016 paints a portrait of a provocative trash, whose works have calmed down over time. Burden A documentary by Timothy Marrinan and Richard Dewey • 2016 • 1 h 30 3. Experts in the kingdom of painters Monet, Rembrandt, Turner, Renoir, Chagall, and others, each episode of this British documentary series, launched in 2011 on the BBC, looks at a possible lost work by a great artist. The goal? Determine if it is an original or an excellent copy! Already at the origin of several discoveries, the English art dealer and art historian Philip Mold and the journalist Fiona Bruce are leading the investigation, assisted by Bendor Grosvenor, an art historian recognized in Great Britain, as well as of a team of scientists and archivists. Ready for a treasure hunt? Fake or Fortune British docu-series • 2011-2019 • 7 seasons each containing between 3 and 5 episodes of 1 hour each. 4. Velvet Buzzsaw: contemporary art in lint In Los Angeles, a mannered art critic, a ruthless gallery owner, and a long-toothed assistant discover the posthumous work of a marginal artist. Dark and tortured canvases that could pay big if an evil power did not inhabit them... Worn by excellent actors including Jake Gyllenhaal, Toni Collette, and John Malkovich, Velvet Buzzsaw reveals himself - despite a caricature a little too pushed - an enjoyable satire across the world of contemporary art. Nonsense, vanity, greed, perversity, fierce competition. Absolutely nothing is spared us! Velvet Buzzsaw Dan Gilroy's American film • 2019 • 1 h 52 5. An artist's fight against Kim Jong-un This superb documentary traces the poignant journey of a North Korean propaganda painter who fled his country in the 1990s to become a satirist artist whose committed works defy the Kim regime. Although one of the first North Korean artists to be able to show his work around the world freely, Sun Mu - a pseudonym meaning without borders - continues to hide his face, including during his performances in public, to protect his family who stayed in North Korea. I am Sun Mu A documentary by Adam Sjöberg • 2015 • 1 hr 27 mins 6. Diary of a Korean painter of the XVIth century In this series River, an art historian discovers the diary of Shin Saimdang (1504-1551), a famous woman painter, poet, and calligrapher Korean XVIth century. Then follows a play of mirrors between the lives of the two women (one fictitious, the other romanticized) and their respective eras. Faced with the beauty and elegance of the staging, we easily forgive the melodramatic exaggerations specific to Korean dramas. The ceremonial of color preparation lulls us, the brushes tracing their sinuous path on paper, the light filtering in through the bamboo leaves, and the ballet of fabrics stretched in the wind. Saimdang, Memoir of Colors Korean series by Yun Sang-Ho • 2017 • 1 season (28 episodes of 1 hour each) 7. Cai Guo-Qiang's pyrotechnic reveries Build a light ladder to reach the sky: everyone dreamed of it, Cai Guo-Qiang did it. This contemplative documentary traces the history of an ambitious and poetic project while painting the portrait of its author, Cai Guo-Qiang, known for his pyrotechnic performances of great beauty. Eye powder? No, because the film also evokes angry questions. Like the fact that this 61-year-old Chinese artist, living in New York since 1995, fueled the propaganda of the Chinese government by carrying out the fireworks for the opening of the Beijing Olympics in 2008. The Celestial Ladder - The Art of Cai Guo-Qiang A documentary by Kevin Macdonald • 2016 • 1 hr 19 mins 8. Art as a remedy This Brazilian story tells us a true story. In 1944, Nise da Silveira rebelled against the electroshock and lobotomy. They were performed by her colleagues on schizophrenic patients in a psychiatric hospital in the suburbs of Rio. To these barbaric methods, this woman doctor opposes art therapy by opening a clinic-workshop, then a museum dedicated to the creations of her patients. Particularly touching and soothing, the painting scenes follow the emergence of a group of self-taught artists of fascinating sincerity. One of the most powerful functions of art is the revelation of the unconscious, says one of Nise only supporters. Nise: The Heart of Madness Roberto Berliner Brazilian film • 2016 • 1 h 49 9. A Polish genius emerges from the shadows In this documentary, several artists relate the life of a forgotten genius: the Polish painter and sculptor Stanislaw Szukalski (1893–1987), who had endeavored to create an art based on the history and mythology of his country, and whose pre-war works were all destroyed by the German army. Emigrated to the United States, this eccentric had become a key figure in the Chicago Renaissance movement in the 1910s, before developing a far-fetched theory in 42 volumes on the history of humanity. Funny detail, the film was produced by Leonardo DiCaprio, Szukalski, having befriended the father of the actor during his exile in Los Angeles in the 1970s. Struggle: Szukalski life and lost art A documentary by Irek Dobrowolski • 2018 • 1 hr 45 mins 10. Contemporary design in series This original Netflix docu-series, produced by multi-award winning documentary filmmaker Morgan Neville, has offered to immerse the viewer at the heart of the work of genius contemporary designers since 2017. After a first season which was interested in the work of the German illustrator Christoph Niemann or the legendary creator of the Nike shoe, Tinker Hatfield, the second season is devoted in particular to the spectacular art of Olafur Eliasson and the costumes of Ruth Carter films. Abstract has the distinction of filming the creative process as closely as possible, letting the words of these everyday hubcaps shine.
seen in Beaux-Arts

10,000 years ago, British were black!

Analysis of the skeleton of an individual who lived in the southwest of England ten thousand years ago showed that he had black skin, brown hair, and blue eyes, thus contradicting the idea that the first Britons were white and blond. Named "Cheddar Man", this well-preserved skeleton discovered in 1903 in Cough Cave, near Cheddar's village in Somerset, underwent a comprehensive DNA analysis that allowed the faithful facial reconstruction of its owner who belonged to a group black-skinned human. Researchers eventually established that clear-skinned Europeans did not appear until around 4000 BCE. Due to genetic changes and to a change in diet, hunters moved to agriculture and a more sedentary life with climatic conditions different from those experienced by their ancestors from Africa. "Cheddar Man" therefore, belonged to a group of individuals who came to Great Britain (we could then pass on foot between France and England) after having passed through Europe 14,000 years ago. According to researchers, 10% of Brits are said to be genetically linked to them. The skeleton analysis has enabled researchers to observe that immigrants' successive waves had reached the British Islands over the millennia. Researchers were also able to find that humans were endowed with different pigmentations when they swarmed across Africa 300,000 years ago before arriving in Europe 250,000 years later. It may be recalled that the study of the fossil of a 7000-year-old individual found in Spain had already suggested that he had dark skin and blue eyes, whereas until now, we had remained in doubt concerning humans living during the Mesolithic period in Great Britain where the study of more recent skeletons showed that they belonged to farmers from the Near East, some of whom already had fair skin. Adrian Darmon for artcult.com

100% sure authenticity does it exist?

How to be sure that the painting you buy is 100 % authentic ? Unless you bought a painting directly from an artist, and that you have a certificate of authenticity emitted by him, and a bill of sale or a paper showing a gift, it is in my opinion impossible to have a 100 % certitude that the painting you buy is authentic. If you buy a painting with a certificate of authenticity, you need to: 1- have this certificate updated at the time you buy or re-sell the painting a/ an expert may change his opinion about a painting. I saw a Parisian expert for Eugene Boudin change his opinion about the painting he authenticated 30 years earlier and that he inventoried in his catalogue raisonne. b/the certificate you have has been made by Mr. X, but today Mr. X passed away and is replaced by Mr. Y. Mr. Y may or may not renew the certificate of authenticity. c/ you need to be sure that the painting has the appropriate certificate: By example a painting by Amedeo Modigliani. You need to have a certificate of authenticity made by Ceroni , only 337 paintings have been admitted as authentic by Mr. Ceroni. The problem is our important expert passed away .. You have other very important experts on Modigliani's work, Parisot, Restellini, etc By example if you have a painting with the COA from Christian Parisot, who is a very charming man, and a great historian, you will have it very difficult to have it sold because he was accused of making fake Modigliani works etc ..see links here under. Restellini ( ex secretary of Christian Parisot !)abandoned the writing of the catalogue raisonne he started since he received death threats ... yes fine art has his" Dark side" very dark... http://www.independent.co.uk/arts-entertainment/art/news/modigliani-expert-accused-of-being-arts-biggest-fraud-8463883.html http://www.nytimes.com/2014/02/03/arts/design/a-modigliani-who-says-so.html?_r=0 2- Does the certificate of authenticity made by a gallery 100 % reliable? a/ if the certificate is made by a gallery of very high standing, they will have the certificate made by the sole recognized painter in any way. Often these galleries were exhibiting the artist in the past. Those galleries are of course reliable but I will always ask the original certificate since several scandals made surface recently and especially one of the oldest gallery in the USA, the Knoedler Gallery in NY: http://www.nytimes.com/2015/10/12/arts/design/lawsuits-in-knoedler-forgery-case-are-set-for-trial.html http://www.huffingtonpost.com/2013/08/12/marc-dreier_n_3744677.html b/ if the certificate is made by a gallery that is not considered as one of the top 25 galleries in the world, just consider that this certificate is completely useless. You always should request the original updated certificate by the sole recognized authenticator and submit your buy to the contingency of providing this certificate if they don't want to see the sale canceled.

14 French museums put online 100,000 artworks photos, free to use.

From the Petit Palais to Carnavalet, from the Cognacq-Jay Museum to the Museum of Modern Art in the city of Paris, this "open content" operation aims to "promote the increase in the visibility of works and knowledge of collections in France and abroad " , explained Paris Musées in a press release. These museums, containing many treasures, suffer from the notoriety of Parisian giants like the Louvre, Orsay, the Grand Palais or the Center Pompidou. The opening of the data "guarantees free access and reuse by all of the digital files, without technical, legal or financial restrictions, for commercial or non-commercial use, " said Paris Musées. Beyond the 100,000 of today, Paris Musées will put more and freer access images as they are digitized and when they go into the public domain. It will now suffice for the Internet user to go to the Paris Musées collections site, and, using keywords - for example, Petit Palais and Claude Monet - to display all the corresponding works, accompanied by cards indicating the date of realization, the materials used, the origin. It will then suffice to download the image he has chosen to have it in high definition. Each user will receive in addition to the image and the notice of the work, an invitation to cite the source and the information on the work. "If this license is already used by international museums such as the Rijksmuseum in Amsterdam or the Metropolitan Museum in New York, Paris Musées is the first French Parisian institution to take it up," the press release said. Le journal des arts

2 Men in custody after arrest for the theft of a Banksy work in Paris

Two men, 32 and 35, were arrested in Val d'Oise and Seine-et-Marne on Tuesday morning, according to a source close to the investigation confirming information from LCI. They were taken into custody as part of the investigation opened by the Paris prosecutor's office on September 3 following the theft of a Banksy stencil near the Pompidou center, according to this source. A judicial source confirmed to AFP "police custody" on the commission of an investigating judge, who can then decide whether to put them under investigation. Banksy's works were seized during the searches; they still need to be assessed to know whether they are originals or copies. The work stolen near the Pompidou center has not been found. The British artist, who likes to keep his identity secret but is one of the most highly regarded in his community, had struck a big blow in June 2018 by disseminating a series of stencils, sometimes with a very political tone, in the capital. He had claimed authorship of eight works on his Instagram account, including a hijacking of the painting Napoleon Crossing the Alps by Jacques-Louis David, a sad-faced silhouette on a door of the Bataclan or a small masked rat holding up a pencil (or a cutter), near the Center Pompidou. It is this work "produced on the back of the entrance panel" of a parking lot which was stolen on the night of September 1 to 2. The Pompidou center had filed a complaint "for theft and damage, within a space within its perimeter" . The Paris prosecutor's office then opened an investigation, entrusted to the 1st district of the judicial police. Le Journal des Arts

2 major sculptures return to Versailles

Long research has made it possible to retrace the singular itinerary of these works commissioned by two kings, Louis XIV and Louis XV, and which finally joined the collections of the Palace of Versailles. This weekend the French will discover in Versailles two masterpieces of 18th-century sculpture commissioned by Louis XIV and Louis XV, which have become the property of Angola. The epilogue of a unique itinerary for these major works. The artwork Zephyr, Flora, and Love (begun in 1713 by Philippe Bertrand and René Firmin then completed in 1726 by Jacques Rousseau) was commissioned by Louis XIV for the gardens of the Grand Trianon. The arrival this weekend in Versailles of this group will materialize one of the last dreams of Louis XIV, who saw exhibited in his gardens only the preparatory version of this sculpture. As for Abundance, a major work that Lambert Sigisbert Adam executed between 1753 and 1758, was commissioned by Louis XV for his residence in Choisy. From the Rothschild mansion to the Angolan embassy These two sets of sculpted groups were sold in 1881 and acquired by Alphonse and Edmond de Rothschild for their mythical Parisian hotel on rue Saint-Florentin. Several archival documents, including an album of unpublished photographs, make it possible to evoke the fate of these two sculptures looted during the Occupation. Returned after the war, these works were placed in the garden of the Hôtel Ephrussi de Rothschild, which in 1979 became the seat of the Angolan Embassy in France. These two sculptures were somewhat forgotten until their identification in 2018 led to a retracing of their prestigious past. A donation from Angola materialized on February 4, 2022 Considering the historical and artistic value of the two works as well as the efforts made by the Palace of Versailles to reconstitute its artistic heritage, the Republic of Angola has decided to donate them to France so that they join the collections of the National Museum of the Palaces of Versailles and Trianon. The signing took place on Friday afternoon in the presence of the Minister of Culture Roselyn Bachelot. An exhibition at Versailles The Masterpieces exhibition sets out to place Zephyr, Flora and Love, and Abundance in their context of creation and inspiration. It also sheds light on their unique destiny: from the royal commission to today's entry into the national collections. Seen in France Culture,
Video of the sculptures

2020 is a milestone for the art world but in what way?

The Covid-19 marked the year; its human, economic and social consequences will continue to fall until vaccines allow recovery to be considered. But how has the pandemic changed our behavior, our vision of the world? We note that changes are underway without subscribing to the optimism announcing the inevitable emergence of an inevitably more responsible “next world”. For our discovery of art the pandemic has amplified our use of digital technology to consult the sites of museums, art centers, and galleries. In a matter of months, technology and editorialization made their access more attractive. So much so that the amateur, even if he believes himself convinced that the physical encounter with the work is irreplaceable, has now become accustomed to first obtaining largely virtual information to select his travel program. The discovery is made on the Web; the confirmation will eventually come on the spot. The Covid-19 has strengthened the good health of digital companies and that of GAFA (Google, Amazon, Facebook, Apple), but 2020 may also have started a turning point. Critics of their monopoly power, their nuisance, their ability to convey fake news, to stir up violence have increased. The European Commission has just presented two regulations in an attempt to regulate them. In the United States, the Federal Trade Commission (FTC) joined by 48 states has filed a complaint against Facebook to separate from its subsidiaries, Instagram and WhatsApp. The FTC recalls that American justice has already dismantled trusts, such as American Telephone & Telegraph. However, decades of proceedings had been necessary. Le Journal des Arts , Emmanuel Fessy How pandemics change the art world Video

2020, will be a dark year for the artworld.

Who would have predicted that culture would be paralyzed in Europe and in the world. Who had thought that museums, art centers, cinemas, and theaters would be closed, fairs and festivals canceled, art galleries prohibited from access, and artists, painters, photographers, musicians and actors locked away? What the art world is going through today is unprecedented, surreal even, in its capacity to go beyond the imagination. In mid-March, in a few hours, everything suddenly stopped, first for a while; then what seemed like a parenthesis ended up lasting and turning our lives upside down. "Nothing will ever be the same again", we hear all day long about health, human relations, but also culture. But what could change? A/ To start, the means granted to culture: it is accepted that the bill left by the Covid-19 will be high, and no one sees how, in the months and years to come, cultural establishments and projects could pass between the mesh of budget restrictions. B/ Then, attendance: the more than 80 million foreign tourists who visit France, its museums and monuments each year, will take time to come back. Simultaneously, the public of art and heritage lovers, such as school children, will see their visiting conditions change (by reservation, in small groups, etc.). For how long ? No one can say it today. C/ Finally, the exhibitions: the postponement and cancellation of part of the spring and summer exhibitions creates a real headache in institutions' programming for the next twelve months and a slowdown in activity. SURREAL - The Covid-19 pandemic plunged the world into a surreal situation that brought the art world to a standstill: artists, museums, galleries ... But the crisis linked to Covid-19 reveals another truth, an older one: the race for major exhibitions and attendance records which has accelerated over the past twenty years, further unbalancing the cultural offer of major cities that cannot register in the circuits of international art loans. In truth, this crisis has long been identified by museum actors. In France, several curators and directors have been calling, for several years, for a return to the local, a return to permanent collections that are sometimes forgotten, if not neglected, by a system focused exclusively on events. How many still go to a museum to take the time to admire a painting? Experiments are being carried out in this direction in Rouen, Lille, Rennes, Grenoble, Orléans, and elsewhere to revitalize the collections and give meaning to the institution. The great Parisian museums have understood this, which today play on both sides simultaneously by being part of the program of major international exhibitions while seeking to improve the reception of visitors and by being united. That is why, without denying the dark years that will befall culture, this crisis can be an opportunity to rethink our relationship to museums and the history of art and artists. Let's have a more responsible and united relationship, also more individual, based on experience and knowledge, where longer and sometimes more demanding exhibitions would rely more on the richness of the French collections and the artists working in France. For Walter Benjamin, it is necessary to create the concept of progress based on the idea of ​​catastrophe. That "things continue as before," continues the philosopher, that is the catastrophe. "
© Le Journal des arts

25 Basquiat lost works under scruteny.

Twenty-five paintings taken from a storage box in 2012 are exhibited at the Orlando Museum of Art as authentic Basquiat, forgotten for thirty years. Although experts have expressed strong doubts, the museum prides itself on an "extraordinary discovery". Orlando (Florida). It's a story worthy of a Hollywood screenplay. In 2012, two treasure hunter friends, William Force and Lee Mangin bought twenty-five paintings on cardboard and plywood from an auctioneer in Los Angeles for 15,000 dollars (11,400 euros). The lot comes from a storage box whose owner, Thaddeus Mumford (1951-2018), a ruined former screenwriter and television producer, no longer paid the bills. In style close to graffiti, these paintings feature a few recurring symbols: crowns, skulls, arrows, figures with hats. It does not take more for the duo to convince themselves of having got their hands on a set, never seen before, of authentic works by Jean-Michel Basquiat .(1960-1988). What if the artist had sold them to Mumford in 1982, when he was living and working in a studio under the house of gallery owner Larry Gagosian, in Venice (California)? The two friends immediately seek to resell them without succeeding, as the provenance of the works raises the doubts of dealers and experts. In exchange for a substantial commission on future sales, the high-profile lawyer Pierce O'Donnell agrees to search for evidence to support their fable. His file includes a graphological report, the results of an analysis by an art historian and Diego Cortez, a great sp ecialist in Basquiat, as well as a typewritten and hand-signed poem "JMB" which evokes the meeting between the artist and the screenwriter. The market, however, remains decidedly very cautious, and the trio begins to nurture an inevitable frustration while Basquiat's paintings continue to break records in auction rooms. In 2021 Pierce O'Donnell contacted Aaron De Groft, newly-appointed head of the Orlando Museum of Art (Florida). The lawyer quickly understands that the new director is looking for a "blockbuster" exhibition to put his museum on the map, and he sees there an opportunity to coat his suspicious collection with the institutional legitimacy that he still lacked: he offers to show the world , for the first time, twenty-five paintings by Basquiat lost for more than thirty years, of which he says he can provide all the guarantees of authenticity. Excited, Aaron De Groft set up the exhibition "Heroes & Monsters: Jean-Michel Basquiat, The Thaddeus Mumford Jr. Venice Collection" in just a few months. A "highly improbable" story To Aaron De Groft's great displeasure, the exhibition did not arouse the expected enthusiasm among the experts and researchers working on Basquiat. Thaddeus Mumford's family, who were not associated with the preparation of the exhibition, say they never heard the screenwriter mention the existence of the paintings. Gagosian himself finds the story "highly improbable": how could these works have been painted in his cellar without his knowledge? The visitor realizes it quickly: in this exhibition, something is wrong. The labels, too long and wordy to be honest, get bogged down in heavy quotations from specialists, endless comparisons with canonical works by Basquiat, or the results of inconclusive scientific analyses. It is as if the commissioner wanted to convince us at all costs of the integrity of his story. Not content with not answering the numerous questions raised by this preposterous scenario, the museum arbitrarily establishes the provenance of the works from the introductory text and boasts without batting an eyelid, in the frail catalog, "one of the most extraordinary discoveries of art history". According to an expert consulted by The New York Times , the questions that remain unanswered: how to explain that Untitled (Self-Portrait or Crown Face II ) is painted on the back of a FedEx box using a typography created for the carrier in 1994 when Basquiat died in 1988? Not enough to destabilize Aaron De Groft: "Our job is not to authenticate the works", he replies. His number of visits has jumped 500% since the opening of the exhibition, enough to give him assurance: "You know the funniest thing? No one said these paintings weren't by Basquiat! » Seen in Le Journal des Arts, Barthelemy Glana