Tag Archives: MoMA

Oscar Murillo Painting Goes Missing – Was it Theft or Prank?

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An Oscar Murillo canvas was taken from the exhibition “Forever Now: Painting in an Atemporal World” at MoMA last week by a visitor, a MoMA representative has officially confirmed. [This story has been updated. See below.]

“Last week, one was removed by a visitor,” press director Margaret Doyle told artnet News in an email.

Doyle further claimed that MoMA security identified the visitor and it was “quickly returned without incident or damage to the work” and that all eight of the canvases by Murillo in the show “are on view in the galleries.”

While yesterday afternoon, March 6, on our visit to MoMA, we spotted only seven of the canvases in the show. It is unclear whether or not the painting has in fact been returned to the floor. Has another one gone missing or been stolen?

artnet News’s sources also indicated that an Oscar Murillo canvas displayed on the floor in the exhibition had disappeared—that there were only seven on the floor though the wall label listed eight.

Murillo, the Colombian-born market phenom, is showing several of his trademark abstract paintings, marked with scribbles and often with the names of food items written on them, displayed on the wall. The museum has been showing eight (8) of the paintings on the floor, where visitors are free to handle them (As Instagrammers Step On Oscar Murillo at MoMA).

So what happened?
Letting visitors handle the canvases apparently left them vulnerable to, say, theft by a sticky-fingered visitor with a backpack while a guard was distracted. By comparing the paintings in the gallery with those on an illustrated checklist, a source concluded that the missing work is grid (2012-14).

Murillo has experienced a white-hot market ever since Miami collectors Mera and Don Rubell discovered his work at the Independent art fair in New York in 2012 at the booth of London dealer Stuart Shave (see 6 Weird Things the Rubells Told New York Magazine About Oscar Murillo). A show followed that winter at their collection during Art Basel in Miami Beach. In the space of a few months, in 2013, he saw his auction price soar from $37,500 (at his May 2013 auction debut at Sotheby’s) to $400,000 (at Phillips four months later). He’s represented by David Zwirner, who has galleries in New York and London.

Whether the thief knows specifically about Murillo’s high prices and hoped to cash in on the theft, or it was simply a prank, remains unknown.

Of course no scrupulous buyer would purchase the painting. If it was theft for profit, the thief would have to hope to find the sort of sinister buyer who may be displaying other priceless, stolen artworks like the Rembrandt seascape that went missing from Boston’s Isabella Stewart Gardner Museum in 1990.

UPDATE: As of March 7, at noon, there were indeed eight canvases back on view.

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Actually other fonts say:
Ms. Doyle said that the painting was unharmed, adding that “no action such as an arrest was taken.” The painting was returned to the floor of the gallery, where, she said, “the museum will assure that there is the appropriate level of security in the exhibition.” She did not say how the museum was able to identify the person who took the work, describing that as a “security matter.” Ms. Doyle cited the same reason in declining to say how long the painting was missing and whether it was returned by the same person who took it.

The removal and return of the work, which was reported by artnet.com, left lingering mysteries. Who removed the canvas? And what became of that person?

A search through emails describing serious crimes that the Police Department sends each day to news organizations did not include an indication of any theft of an artwork since the beginning of the month. A police spokesman said Saturday night that he had no immediate information about a stolen painting.

Museum officials would not identify the person who took the painting. Neither would a representative of Mr. Murillo’s dealer, David Zwirner.

Mr. Murillo, who is not yet 30 and has been referred to as “the 21st-century Basquiat,” had a rapid rise in the art world. Just a few years ago, he was waking up near dawn to clean office buildings and earn money to pay his tuition at the Royal College of Art in London. More recently, collectors have paid six figure for his paintings.

Ms. Doyle said that the painting would remain in its spot on the floor until the exhibition, “The Forever Now: Contemporary Painting in an Atemporal World,” closes on April 5.

Instagrammers Step on Oscar Murillo at MoMA
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Fuentes: artnet y ArtsBeat
Pase: Elena Vozmediano

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The Museum as Muse: Artists Reflect (MOMA)

Fuente: MOMA, 1999

The public museum, since its founding in the late eighteenth century, has enjoyed a complex, interdependent, and ever-changing relationship with the artist. This Web site was created to accompany the exhibition The Museum as Muse: Artists Reflect, which explores this rich and varied relationship through a broad-based, international survey of works about museums and their practices and policies. Focusing on the postwar period, the exhibition also features earlier artists such as American painter Charles Willson Peale, several nineteenth-century photographers, and Russian Constructivist El Lissitzky.

The artists in The Museum as Muse: Artists Reflect have studied nearly every aspect of museums–from their curatorial and administrative policies, to their exhibition strategies and priorities, to their fund-raising practices–using a range of mediums, including painting, sculpture, photography, installation, audio, video, and performance art, to frame their critiques. Many have appropriated aspects of museum practice as a conceptual or formal strategy, and some have even constructed their own personal museums.

The word museum stems from the Greek museion, meaning “house of the muses,” the nine goddesses of creative inspiration. During the twentieth century, the museum has expanded its function as a home or repository for the arts to become a locus for artistic inspiration and activity.

Ver aquí la lista de los artistas con obra en la exposición.

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Una “boda guerilla” delante de La noche estrellada de Van Gogh

Podría haber sido una boda en intimidad, por la poca afluencia de invitados al evento. Pero acabó saltando a los medios.

Y es que los cuadros más famosos de Vincent Van Gogh, además de inspirar curiosos objetos que sobrepasan al souvenir, como vaporosas faldas de tul, chanclas tipo flip flop, fundas de móbiles y de consolas, y motivos para calabazas de halloween, también hace que la gente se enamore y que hasta unos quieran casarse delante de esa misma pintura. Imparable embrujo el de este pintor!

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Martin Gee, supervisor de diseño en la Boston Globe, y Carrie Hoover, directora de arte de la revista Edible Vineyard, afirman que se conocieron y se enamoraron delante de La noche estrellada de Van Gogh, en el MOMA. Y cuando quisieron casarse, decidieron hacerlo en ese mismo lugar sin previo aviso al museo. El director, Glenn D. Lowry, afirma que tuvo que echar al guarda de seguridad para que la ceremonia pudiera tener lugar. Y es que, según él, se percató de que la cosa iba en serio.

Al menos a Martin y a Carrie les dio por esta especie de nueva religión artítistica y no por ambientar su boda en el cuadro.

Más detalles de la boda aquí y una entrevista al director sobre el asunto en este otro lugar.

 

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Ataque al Guernica de Picasso (1974)

El 28 de febrero de 1974, uno de los miembros del grupo AWC, Tony Shafrazi, realizó una acción protesta por el perdón que el presidente estadounidense Nixon había concedido a William Calley por sus acciones en la masacre de My Lai. Calley había sido sentenciado a cadena perpetua. Tras varias reducciones sólo cumplió tres años de arresto domiciliario, hasta que finalmente le fue concedido el perdón. Tony Shafrazi regresó al MOMA para pintar en el Guernica la frase “Kill lies all” (Muerte a todas las mentiras) con pintura roja. El ataque no tuvo demasiadas consecuencias para el lienzo gracias a la capa de barniz que el Moma le había dado.

Dos videos del MoMA sobre Fluxkit


Alison Knowles discusses the Fluxkit.
During the course of the exhibition, the display of Fluxkits-collective groupings of Fluxus Editions assembled by George Maciunas-will change. Artists-some who were original members of Fluxus-have been invited to select objects from the kits and determine their arrangement.
© 2011 The Museum of Modern Art, New York


“A Personal History of Curation”, Pope.L | Thing/Thought: Fluxus Editions, 1962-1978, at MoMA. Narrative involving the Fluxkit, created by Pope.L.
Filmed on December 13, 2011, in conjunction with the exhibition Thing/Thought: Fluxus Editions, 1962-1978
On view at MoMA September 21, 2011-January 16, 2012
Thanks to David Hart, Dan Phiffer, Gretchen Wagner, the artist’s sister and her husband Jim, Jim Calder, Jim Pruznick, Jim Jeffers, Tati and Mitchell-Innes and Nash, New York

The Kiss (de Maria Anwander)

“The Kiss” was given to the MoMA as a donation without asking for permission. I entered the museum as a regular visitor and gave an intense French kiss to the wall. Next to the invisible kiss I then fixed a fake label, which simulated the style of a regular MoMA caption.

Statement de Maria Anwander. Más info aquí.

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Un pase de Pau Figueres.

I went to MoMA… (He ido al MoMA)

30 Seconds at MoMA (un par de vídeos del proyecto de Thilo Hoffmann)

30 Seconds is an ongoing series created by Thilo Hoffmann. Hoffmann worked with MoMA members and staff to create short films based on their ideas and experiences in and around the museum.

30 Seconds at MoMA: Members—Claudia Drews.

30 Seconds at MoMA: Members—Elizabeth Mart.

Más vídeos del MoMA aquí:
http://www.moma.org/explore/multimedia