Art in Print
Expert claims to discover 65 ‘lost’ Van Gogh sketches, sparking art world controversy
A lost sketchbook containing 65 drawings by Van Gogh has been discovered 130 years after he used it to perfect some of his most famous works of art, an expert has claimed, as a high-profile row threatens to rock the art world.
Professor Bogomila Welsh-Ovcharov believes she has uncovered a ledger of lost works which passed from Van Gogh’s home in Arles to its current owner without anyone realising their significance. In an announcement billed as “truly momentous discovery”, she today told the art world she would be publishing the 65 sketches for the first time, after working for three years to verify their authenticity.
In an extraordinary statement, the Van Gogh Museum in Amsterdam argued the sketches were not by the artist, calling them mere “imitations” containing topographical errors, strange provenance and none of his characteristic style.
If real, they make up the eighth Van Gogh sketchbook in existence, four of which are in the Amsterdam museum. But despite having the ink tested by Dr Nicholas Eastaugh, Art Access & Research to establish the dates, the sketches have not been accepted into the Van Gogh cannon yet.
Via: The Telegraph
The Line co-founder Megan Piper explains why London City Island is a treasure trove for creatives
Even post-Olympics there’s still a side of the East End that remains an alien no-man’s land to many Londoners. But the opening last week of London City Island, which developer Ecoworld Ballymore refers to as a 12-acre “mini Manhattan”, on the Leamouth Peninsula just a pillar-box-red pedestrian bridge from Canning Town, is a step forward in the push to regenerate some of the capital’s most deprived industrial sites.
Megan Piper, a 31-year-old art dealer and co-founder of The Line, London’s first dedicated contemporary sculpture walk, has long seen the potential of the area. “We’ll be developing and delivering public art as well as establishing an artist- in-residence programme,” says Piper. “It’s so exciting to play a part in turning the island into a multidisciplinary cultural hub.”
The English National Ballet and the London Film School will be relocating to London City Island, with the Film School due to open in late 2017 and the English National Ballet in 2018.
Via: Evening Standard
Julio Le Parc and Art That Won’t Stand Still
Argentinian artist Julio Le Parc is widely considered a pioneer of Op Art and Kinetic Art. “I have never really been viewed as an artist,” said Mr. Le Parc, 88. “I create different experiences and I do research, about form and space and light. What I do is very different from an artist who wants to create his artworks as unique objects.” Based in France since 1958, Mr. Le Parc is one of Latin America’s foremost proponents of Kinetic Art, which he discovered while a student at the Escuela de Bellas Artes in Buenos Aires through the work of the Hungarian-French artist Victor Vasarely.
Although Mr. Le Parc won the Golden Lion award in painting at the 1966 Venice Biennale, and has had exhibitions in major institutions around the world, including Serpentine Gallery in London and the Palais de Tokyo in Paris, he is little known to American audiences. That is changing this month with New York gallery shows at Galerie Perrotin (until Saturday) and Nara Roesler (until Dec. 19), followed by his first-ever solo museum exhibition in the United States, starting Friday at the Pérez Art Museum Miami, or PAMM. The retrospective, “Form Into Action,” has been organized to coincide with Art Basel Miami, and includes over 100 artworks spanning 60 years.
The curator of the show in Miami, Estrellita Brodsky, has written extensively on Mr. Le Parc, emphasizing the importance of his often overlooked contributions to art history. Other experts in his work echo her perspective, and say the new attention in North America to his work is reflective of an increasing openness to global cultures.
“Le Parc is having a real moment,” Melissa Chiu, the director of the Hirshhorn Museum and Sculpture Garden in Washington, which has several of his works in its collection, said in an email. “It’s part of the current re-evaluation of 20th-century art history to include voices other than the two or three we find in historical accounts.”
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