Good morning everyone, it is a cloudy Sunday here in Cleveland Ohio. As I start to make some morning coffee and turn on my computer, I see this wonderful article on my homepage of Artdaily.org.
Check it out, enjoy it and offer some thoughts. By the way, it's when I hear about great exhibits like this that I wish traveling was easier.
Rita
"Starting From Scratch: American and European art in the aftermath of World War Two (1945-1950)
Artdaily.org - The First Art Newspaper on the Net
Sunday, April 20, 2008
Saturday, April 19, 2008
Welcome to the first posting
Hello everyone, welcome to the first posting from DiCello Fine Art. Discussion about art, art history, and art sales will be the theme. Any questions and/or comments are welcome.
First topic: The scandals facing museums and curators
Recently there has been a lot of press about the questionable acquisition practices by museums and accredited curators. In response, European establishments are recalling significant works of art. The main factors for the recall?
(1) Upon sale and transfer of pieces (usually shortly after or around WWII), the items were misrepresented, meaning art by major artists were brought in under less significant or unknown artists
AND
(2) Some of the art has been posted on Art Loss Registry, a database of all artwork listed as stolen
We hold museums at such a high ethical standard. How do these artifacts slip through the cracks? What can museums and curators do in the future to prevent these situations? Proving provenance is not easy, what lessons are to be learned with art and art sales being one of the strongest markets?
First topic: The scandals facing museums and curators
Recently there has been a lot of press about the questionable acquisition practices by museums and accredited curators. In response, European establishments are recalling significant works of art. The main factors for the recall?
(1) Upon sale and transfer of pieces (usually shortly after or around WWII), the items were misrepresented, meaning art by major artists were brought in under less significant or unknown artists
AND
(2) Some of the art has been posted on Art Loss Registry, a database of all artwork listed as stolen
We hold museums at such a high ethical standard. How do these artifacts slip through the cracks? What can museums and curators do in the future to prevent these situations? Proving provenance is not easy, what lessons are to be learned with art and art sales being one of the strongest markets?
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