The British Museum, London. Wikimedia Commons image, GNU Free Documentation License.
LONDON (AP) – Demonstrators have poured sticky black liquid around a statue in the British Museum to protest its sponsorship by BP PLC.
The museum says the liquid was molasses and no damage was done to the 3,000-year-old carving of a human head and torso from Easter Island.
Protest group Culture Beyond Oil said in a statement that it chose the object because it “represents the way in which civilizations once considered invincible can collapse in a short period of time.”
The huge Gulf of Mexico oil spill has emboldened environmentalists calling for arts bodies to stop taking money from oil companies. London has seen a series of small protests outside museums and galleries sponsored by BP.
The British Museum said Tuesday it was grateful for BP’s ongoing support.
Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
LANCASTER, Pa. – The premier reference book for antique, vintage and modern dolls – Jan Foulke’s Guide to Dolls – will soon be back in print with the announcement that Synapse Publishing LLC of Lancaster, Pa., is taking over publication of the title.
Authored by internationally known doll authority Jan Foulke, the illustrated price guide’s debut edition was published by Bangzoom in 2006. After the publisher went out of business, the title lay dormant for four years. Now Synapse has stepped in to revive the book, whose second edition may hit bookshelves in time for the holiday season in December. The publisher anticipates a first run of 20,000 copies and a retail price around the $25 mark.
“The name ‘Jan Foulke’ is synonymous with accurate doll information,” said Robert A. Deraco, president of Synapse Publishing. “Previously, Jan authored 16 editions of the Blue Book of Dolls & Values. She is the most quoted source in her area of expertise, and we felt it was a great loss to the doll hobby not having her knowledge out there for collectors, auctioneers and appraisers to access. Since the publication of Jan’s first edition of the Guide to Dolls, there has been a huge interest from collectors who have been asking for it. There was a definite void in the marketplace without this price guide.”
The softcover second edition of Jan Foulke’s Guide to Dolls will include professionally designed layouts with approximately 500 top-quality, full-color photographs of dolls from five of the country’s most outstanding collections. “One of the collections includes around 100 dolls, some having an individual value of more than $100,000,” said Deraco. “The owner has bought only the best of the best for a number of years, and we were honored to be invited to shoot the collection.” Additional images have been sourced from the archive of Dan Morphy Auctions, which has presented several prestigious doll collections in its past sales.
Foulke’s book is expected to be around 300 pages in length – roughly one-third larger than the first edition printed in 2006 – and will include a limited number of advertising positions. It will be available to purchase through amazon.com or by direct order from the publisher. A reduced price will be available for wholesale orders of 12 copies or more.
A feature that Deraco believes will be embraced by those who travel or conduct business via the Internet is the “one-day pass,” which will enable users to view the price guide online for any 24-hour period after paying a nominal fee. “We are in the process of building a Web site at www.jansdollbook.com where anyone can pre-order the book and, later, access content from a virtual version of the book through a searchable, constantly updated database,” said Deraco.
Author Jan Foulke, who has embraced the project with great enthusiasm, remarked, “I am extremely happy that this book is being given new life. Now I’ll be able to grant the requests of the many doll collectors who’ve told me they’re eager for a new edition to come out. The book will encompass all types of antique, vintage and modern dolls, and will cover a range of price points, not just the very high end.”
For additional information about Jan Foulke’s Guide to Dolls, e-mail Robert Deraco at rderaco@synapseresults.com or call 717-735-8311.
About Jan Foulke:
Jan Foulke began her odyssey in the doll world in 1972 when she and her husband, Howard, opened a small antique shop. With Howard by her side to handle the photography, Jan went on to write several important doll books in addition to the aforementioned “Blue Book,” which was published for 15 consecutive years. Jan has been a regular contributor to Doll Reader magazine for 33 years and currently writes the popular Antique Q&A column. The Foulkes serve as expert doll consultants to Dan Morphy Auctions, for whom they handle doll consignments and provide catalog descriptions. Additionally, the couple represents the auction house at doll shows around the United States.
Hawaiian Coat of Arms on the gates of Iolani Palace, Honolulu. 2007 photo by Paul Kao, appears through Creative Commons Share-Alike 3.0 License HONOLULU (AP) – An antique chair dropped off at the Academy Art Center by an anonymous donor turns out to have been commissioned by Queen Liliuokalani for the Iolani Palace Blue Room.
Iolani Palace Collections Manager Malia Van Heukelem spotted the chair Thursday a few hours after it was left at the center.
Van Heukelem says the red velvet has replaced the chair’s blue upholstery, so she wasn’t immediately sure if it was one of 10 chairs commissioned by the queen.
A note left with the chair said it came from the estate of Herminia Laola Ross of Honolulu. She died last year.
The Academy of Arts plans to return the 150-year-old chair to Iolani Palace next week.
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Information from: Honolulu Star-Advertiser, http://www.staradvertiser.com
Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
LOS ANGELES – On Sunday, the Museum of Contemporary Art, Los Angeles (MOCA) launched “Dennis Hopper Double Standard,” the first comprehensive survey exhibition of Dennis Hopper’s artistic career to be mounted by a North American museum. Presented in the Geffen Contemporary gallery at MOCA, the exhibition is slated to run through Sept. 26, 2010.
Best known for his work in motion pictures, Hopper (American, 1936-2010) produced an oeuvre of remarkable breadth that blurs the boundaries between art, film, and popular culture. The exhibition traces the evolution of Hopper’s artistic output and features more than 200 works spanning his prolific 60-year career in a range of media, including an early painting from 1955; photographs, sculpture, and assemblages from the 1960s; paintings from the 1980s and ’90s; graffiti-inspired wall constructions and large-scale billboard paintings from the 2000s; his most recent sculptures; and film installations.
The title of the exhibition is taken from Hopper’s iconic 1961 photograph of the two Standard Oil signs seen through an automobile windshield at the intersection of Santa Monica Boulevard, Melrose Avenue, and North Doheny Drive on historic Route 66 in Los Angeles. The image was reproduced on the invitation for Ed Ruscha’s second solo exhibition at Ferus Gallery in 1964.
Dennis Hopper Double Standard is curated by Julian Schnabel, whose work has been inspired by Hopper’s fusion of art and film.
“Dennis Hopper’s work has been a springboard for the work of many artists and filmmakers of a younger generation,” said MOCA Director Jeffrey Deitch. “His fusion of artistic media has become an inspiration for the new artistic generation who often draw on performance and film as well as painting, sculpture, and photography in the creation of their work.”
Julian Schnabel described his late friend as “a painter without a brush,” articulating a visual statement that is “beyond language.” Schnabel spoke about how Hopper “made film into art,” and described how he “[took] the viewer on a high-risk journey with him, working without a safety net.”
Hopper prefigured the union of art, life, and popular culture that characterizes much of the art of the 21st century. He was a creative connector, introducing and collaborating with artists, actors, writers, and musicians for nearly six decades. His works made in the 1960s capture the quintessential pop imagery that symbolizes Los Angeles during that time. “L.A was Pop,” Hopper recalled, in talking about that period, “L.A. was the billboards. L.A. was the automobile culture. L.A. was the movie stars and L.A. was the whole idea of what ‘Pop’ was about.” Ahead of his time in bringing the art of the street into the gallery, Hopper’s work also constructs a dialogue between abstract expressionist painting and graffiti and gang signs from Los Angeles street culture.
Dennis Hopper Double Standard assembles key selections and bodies of work examining the artist’s creative development with a focus on artworks made between 1961 and present day, as many of Hopper’s earlier paintings were destroyed in his studio by the 1961 Bel Air fire.
The exhibition is organized in several sections reflecting the cyclical and serial nature of the artist’s work. The layout brings together various groupings of work emphasizing Hopper’s interest in Duchampian appropriation of common objects and the dialogue between pop and progressive culture. It also highlights the ways in which Hopper utilized a range of styles—from abstraction, the ready-made, and pop art to conceptual and performance art—to further his investigation into the “return to the real.”
The first portion of the exhibition includes a comprehensive selection of sculpture and assemblages as well as photographs documenting the progressive, changing culture of the time and the pop-art scene in both Los Angeles and New York from the 1960s. The second section features a series of paintings from the 1980s and ’90s inspired by graffiti-covered walls and the urban Los Angeles landscape. This segment also incorporates Hopper’s set-like wall constructions. Hopper’s monumental billboard paintings from the 2000s, which borrow images from his earlier life and work, and more recent series of abstract landscape photographs will also be included in the exhibition. In the final section, a series of film installations highlighting Hopper’s career as a director and actor is presented.
Fred Hoffman, who had a long association with Dennis Hopper, is the curatorial consultant for Dennis Hopper Double Standard. Tony Shafrazi and Tony Shafrazi Gallery also collaborated in the joint effort to produce the exhibition.
For additional information call the museum at 213-621-2766 or visit MOCA online at www.moca.org.
About Dennis Hopper:
For nearly six decades, Dennis Hopper (b. 1936, Dodge City, Kansas; d. 2010, Los Angeles) was at the center of the Los Angeles creative community. He had a prolific career working in film, photography, as a painter, and as a sculptor. He directed numerous films including Easy Rider (1969), The Last Movie (1971), and Colors (1988), and acted in many more including Rebel Without a Cause (1955), Giant (1956), Cool Hand Luke (1967), Apocalypse Now (1979), Blue Velvet (1986), Speed (1994), and Basquiat (1996).
Hopper has been celebrated in monographic and group exhibitions around the world including the Corcoran Gallery of Art, Washington D.C.; The Walker Art Center, Minneapolis, Minnesota; the Stedelijk Museum, Amsterdam; the State Hermitage Museum, St. Petersburg; MAK Vienna: Austrian Museum of Applied Arts/Contemporary Art, Vienna; the Whitney Museum of American Art, New York; and most recently the Cinémathèque Française, Paris, and the Australian Centre for the Moving Image, Melbourne.
Dennis Hopper Double Standard is presented by The Eli and Edythe Broad Foundation. Major support is provided by the Graff Foundation. Generous support is provided by Tod’s and Ruth and Jake Bloom. In-kind media support is provided by Ovation and KCRW 89.9 FM.
The Girl with the Dragon Tattoo, by Stieg Larsson. Fair use image.
STOCKHOLM (AP) – Fans of the late crime novelist Stieg Larsson are getting lost in the Swedish countryside, searching for the quaint town of Hedestad featured in The Girl with the Dragon Tattoo.
The problem is, it doesn’t exist.
But international readers of Larsson’s best-selling Millennium crime trilogy could be excused for thinking otherwise, because most locations in the books are authentic.
Some of them include the Kaffebar cafe in Stockholm – a favorite haunt of Larsson’s fictional journalist Mikael Blomqvist – and the Kvarnen bar, where Larsson has tattooed computer hacker Lisbeth Salander spending evenings with her friends from the rock band Evil Fingers.
Both places are located on the trendy island of Sodermalm, a former working-class area with narrow streets where old wooden cottages are squeezed between 20th century stone houses.
The hilly Stockholm district – with popular bars, fashion stores and art galleries – is one of many islands that form the city center and the home of Larsson’s characters.
Blomqvist and Salander, the trilogy’s main characters, both have apartments there. Salander’s friendly first legal guardian Holger Palmgren also lived there before he was hospitalized.
Eager Millennium fans can take the Stockholm City Museum’s Larsson tour, an increasingly popular pastime for aficionados who visit the Swedish capital. Or they can venture out on their own, visiting the scenes of Blomqvist’s and Salander’s exploits with maps provided by the tourist office.
Starting with Blomqvist’s small apartment in the brown 19th century building at 1 Bellmansgatan, Millennium fans can relive the books’ plots in the real settings, while listening to the guide’s detailed descriptions.
“It is great to identify the addresses and see what the buildings look like,” said Roland Ojeda, a retired banker from San Francisco, who took the tour in June with his wife, Linda. “I think it brings it to life.”
Larsson’s books about a darker side of Sweden, where Blomqvist and Salander become involved in murder mysteries, sex trafficking scandals and a secret government department, have sold more than 30 million copies worldwide.
The tour has attracted visitors from as faraway as Japan, Canada and Australia, said Eva Palmqvist, who leads the museum’s tour.
“I think a lot of people want to savor the experience, the story and the characters,” Palmqvist said. “I think they want to see this and feel the atmosphere.”
During the two-hour walk, Palmqvist guides the group past the scenic Monteliusvagen, a promenade overlooking other islands that are home to some of the more dubious characters in the book. The guide makes the point that Larsson’s good characters live in one area, while the evil ones live elsewhere.
“When Stieg Larsson started to write the story in 2001, he decided that Sodermalm, where he also lived, was to become the land of the good people,” Palmqvist says, smiling.
“Those that are not presented so nicely, they live in other parts of Stockholm, like Ostermalm, for example,” she adds, pointing to the east.
Palmqvist also points out the courthouse where Blomqvist is put on trial in the first book and the home of Salander’s second guardian, the evil Nils Bjurman, located in the northern part of Stockholm by Odenplan.
The group continues past a small Lebanese eatery on 22 Tavastgatan, which is believed to be the inspiration for Samir’s, the restaurant where Blomqvist dines several times.
From there, it’s just a short walk to Kaffebar on the wide, bustling street of Hornsgatan.
The cafe, renamed Mellqvists Kaffebar in 2008, is frequently visited by coffee-quaffing Blomqvist and was also one of Larsson’s favorite spots, before he died of a heart attack in 2004 at age 50.
“This is where Lisbeth Salander will ask Mikael for a loan so that she can go to Zurich,” Palmqvist chuckled.
The picturesque, hilly streets of Sodermalm have also inspired other writers.
Leading Swedish 20th century authors, such as Ivar Lo Johansson and Per Anders Fogelstrom, both lived here and described the neighborhood’s working-class history in classics, including Fogelstrom’s City of My Dreams.
Playwright August Strindberg’s famous novel, The Red Room, also describes Stockholm as seen from a spot in Sodermalm near Salander’s 21-room luxury apartment on Fiskargatan 9, where the tour ends.
The tour doesn’t quite stretch to Salander’s other, gloomy, apartment on Lundagatan at the western end of Sodermalm, or to the Kvarnen bar on Tjarhovsgatan, which Salander regularly visits and where she once kisses another character, Miriam Wu, in front of Blomqvist.
But the places are marked on the map and are worth a visit.
Kvarnen, with its tall ceilings and arched windows, has been in the same spot for more than 100 years. A popular working-class bar and home drinking hole for fans of Hammarby football club, it serves traditional Swedish fare like pickled herring, deer stew and meatballs.
Dedicated Larsson fans may also want to visit Sandhamn in the outer Stockholm archipelago, where Blomqvist has a small cottage that acts as a refuge from his hectic city life.
Boats to the popular resort island, with its red fishing huts, bare cliffs and small sand beaches, depart daily from Strandvagen in downtown Stockholm and take roughly two hours.
Then there is always Hedestad – often vividly imagined by Larsson’s readers but nowhere to be found along the coast north of Stockholm, as described in the books.
Still, there is one way to get to know Hedestad – the sleepy town of Gnesta, 45 miles (70 kilometers) south of Stockholm.
This is the place used to illustrate Hedestad in the Swedish movie of Larsson’s books, with signs about the town showing filming locations.
“Last year, some Italian guys came here just because of the books,” says Jonathan Olsson at Gnesta’s tourist office. “We have printed a brochure about the sites.”
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If You Go…
MILLENNIUM TOUR: http://www.stadsmuseum.stockholm.se. Two-hour tour of sites associated with the Stieg Larsson Millennium crime trilogy, including The Girl with the Dragon Tattoo. Offered Wednesdays at 6 p.m. or Saturdays at 11 a.m., departing from 1 Bellmansgatan. Tickets are $16 or 120 Swedish kronor and can be purchased at Stockholm City Museum, the Stockholm Tourist Centre, or online at http://www.ticnet.se.
WALKING ON YOUR OWN: Buy the Millennium map for $5 or 40 Swedish kronor at the Stockholm City Museum, or the Stockholm Tourist Centre.
Purchase the book The Girl with the Dragon Tattoo through amazon.com.
Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
The Andrei Sakharov Museum in Moscow. The banner on the building says: "Since 1994 a war continues in Chechnia. Enough!" Image courtesy of the Sakharov Museum.
MOSCOW (AP) – Two Russian curators who angered the Russian Orthodox Church with an exhibition that included images of Jesus Christ portrayed as Mickey Mouse and Vladimir Lenin were convicted Monday of inciting religious hatred and fined, but not sentenced to prison.
The case of Yuri Samodurov, 58, and Andrei Yerofeyev, 54, has been closely watched by human rights activists. The decision by a Moscow court could sidestep the possibility of an international outcry over imprisoning the two respected art-world figures, but is unlikely to stem concerns about the growing influence of the church and the specter of Soviet-style censorship returning.
“This conviction means our government is following a dangerous path for a so-called democracy,” Samodurov said in the courtroom right after the hearing. He said he couldn’t pay the fine and would appeal the verdict, which took Judge Svetlana Alexandrova just over two hours to deliver in a packed and sweltering courtroom.
Alexandrova said she took into account the defendants’ ages and families in deciding against incarcerating them.
The curators were convicted for their 2007 exhibit titled “Forbidden Art” at the Sakharov Museum, a human rights center named after celebrated dissident physicist and Nobel peace prize laureate Andrei Sakharov.
The two could have been sentenced to up to three years in prison, but were ordered only to pay fines of up to 200,000 rubles ($6,500).
Artists and activists had appealed to the Kremlin to put a stop to the prosecution. Even Russia’s culture minister said the two men did nothing to break the law against inciting religious hatred. Other curators have promised to display the exhibit to support the two defendants.
But the prosecutors, backed by a resurgent Orthodox Church enjoying its best relations with the Kremlin since the Soviet break up, refused to back down.
After Monday’s verdict there were brief scuffles outside the court as the defendants’ supporters clashed with Orthodox activists angry that the defendants were set free.
“This can’t be allowed to stand,” said church activist Leonid Semyonovich, dressed in black and holding a silver cross nailed to a wooden plinth. “Society must be protected from these people. We wage spiritual war on them and will hound them out of Russia.”
The religious activists’ chants of “Disgrace! Disgrace!” were drowned out by “Bravo! Bravo!” from supporters.
In the years after the 1991 Soviet collapse, the Russian Orthodox Church has grown into a powerful institution that claims more than 100 million followers. It has vocally criticized tolerance of homosexuality, abortion and multiparty democracy, while critics have accused top clerics of involvement in shady business deals and corruption.
Samodurov, who was the museum’s director from its founding in 1996 until he stepped down in 2008, had once been convicted of inciting religious hatred and fined the equivalent of $3,600 for an exhibit in 2003 called “Caution: Religion!”
Yerofeyev is a former head of contemporary art at the State Tretyakov Gallery, one of Russia’s most renowned museums.
The 2007 exhibit was closed a few days after it opened after a group of altar boys defaced many of the contemporary paintings, which used religious allusions to express attitudes toward religion, culture and the state.
Religious ultranationalist groups won the support of the Russian Orthodox Church in pushing prosecutors to bring charges in 2008 and then kept up their pressure on the two curators throughout the trial.
Another court case also could be looming in Russia involving nationalists and an artist.
Moscow contemporary artist Lena Hades said she has been interrogated by district prosecutors for allegedly inciting hatred against Russia with two paintings that show the country in a negative light.
Hades said the investigator had a “huge” file with printouts of her comments in livejournal, an online diary website, and previous exhibits. She said she is being threatened with up to two years in prison, and that the case started after nationalists filed more than 300 complaints against her.
She is awaiting word of any charges.
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AP writer Khristina Narizhnaya contributed to this report.
Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
VIENNA (AP) – A commission set up by Austria’s Culture Ministry has recommended that four paintings contained in a Vienna art collection should be returned because they were seized by the Nazis.
The paintings – one by Egon Schiele and three by Anton Romako – belong to the Leopold Museum Private Foundation, which has been criticized by the Jewish community and others for allegedly containing works stolen by the Nazis.
The foundation acknowledged the recommendations – which are nonbinding and were made public Monday – and said it would seek fair solutions.
The commission said the Romako works used to belong to Oskar Reichel, a Jewish doctor who lived in Vienna. It said the Schiele painting belonged to Jenny Steiner whose assets, including art, were confiscated in the late 1930s.
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JERUSALEM (AP) – Archaeologists say a newly discovered clay fragment from the 14th century B.C. is the oldest example of writing ever found in antiquity-rich Jerusalem.
Dig director Eilat Mazar of Hebrew University says the 2-centimeter-long fragment bears an ancient form of writing known as Akkadian wedge script.
The fragment includes a partial text including the words “you,” “them,” and “later.”
It predates the next-oldest example of writing found in Jerusalem by 600 years, and dates roughly four centuries before the Bible says King David ruled a Jewish kingdom from the city.
Mazar said Monday that the fragment likely came from a royal court and suggested more could be found in the most ancient part of Jerusalem, located in the city’s predominantly Palestinian eastern sector.
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KOUTS, Ind. (AP) – The Collier Lodge site in northwestern Indiana has yielded a treasure trove over the years: old bits of pottery, arrowheads, musket balls and even a German ring from World War II.
This year, volunteers hope an annual archaeological dig provides clues about how the land was used centuries ago.
“You can find anything,” said Kankakee Valley Historical Society President John Hodson. “There’s so much stuff that happened here.”
A team of volunteers including college students and a 90-year-old Hobart woman is excavating more than 9,000 years of history buried along the Kankakee River at a site listed on the National Register of Historic Places.
“I love it,” said Sophie Wojihoski, 90, who has participated in several previous digs and last year unearthed a German ring from World War II. “There are a lot of treasures buried here that we’ll never find.”
The dig is being led by Mark Schurr, an anthropology professor at the University of Notre Dame. Schurr said he hopes to establish the dimension to a root cellar unearthed three years ago.
“We never found the western edge,” Schurr said. “It seems to go under the lodge.”
Volunteers say they appreciate the chance to dig into local history.
“You can’t go wrong helping out a little bit,” said Amanda Barron, who grew up in Valparaiso and recently graduated from Purdue University. “I’ve been to other field schools but didn’t learn as much as I have here.”
The work runs through July 22.
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Information from: The Times, http://nwitimes.com
Copyright 2010 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
James K. Polk National Historic Site, the home of the eleventh President of the United States, in Columbia, Tennessee. 2007 image by ProhibitOnions. Licensed under the GNU Free Documentation License.
COLUMBIA, Tenn. (AP) – Stars and Stripes, Stars and Bars and other flags that tell tales of America’s evolution as a country are on display at a museum at the Tennessee home of the nation’s 11th president.
The exhibit, called “Whose Broad Stripes and Bright Stars: The U.S. Flag Through History,” is housed in a renovated church at the James K. Polk Home in Columbia.
Polk was elected in 1844 and served one term in the White House. Some of the flags at the Columbia museum date to his time in office. Others were stitched in different eras, but they share a common story, said John Holtzapple, director of the Polk House.
“The flags are a reflection of our changing country,” Holtzapple said.
Polk was a big part of that, he said. Known as an expansionist president, Polk ran the country during a time when 800,000 square miles and three states were added to America.
Some flags reflect the addition of new states. Others came from battlefields; the collection includes a Spanish flag captured during the Spanish/American War, a Japanese flag from World War II and a flag flown by the Viet Cong during the Vietnam War.
All of the more than 100 flags in the collection belong to John Olson, a local doctor and collector of American flags and other historical items. Some of his pieces include:
_ A Confederate battle flag that flew over the Battle of Gettysburg in 1863
_ A World War II-era Naval flag that belonged to Adm. Chester Nimitz
_ A 1912 flag that unofficially commemorates the addition of New Mexico as a state
New Mexico and Arizona, the 47th and 48th states, were granted statehood about a month apart in the winter of that year.
Official flags are issued only once a year; the one that came out in July of 1912 recognized both states with 48 stars. But a handful of flag producers made 47-star flags that year, after New Mexico earned statehood but before Arizona did.
“It is so wonderful. It is so full of history,” said Connie McCain, a Smyrna resident who visited the exhibit Monday.
“You see so much. You know (the history) is there, you know it exists. But until you see it all, you don’t really appreciate it,” she said.
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