Saturday, March 26, 2011

Artexpo New York 2011, March 25-27, New York City.


Artexpo New York 2011 is shaping up to be a phenomenal event! They are expecting hundreds of innovative exhibiting artists and hundreds of dealers and publishers from across the globe, along with more than 10,000 buyers and art enthusiasts. They will also be hosting their popular SOLO shows, with hundreds of the world’s top emerging, independent artists exhibiting original artwork.
Here’s a sneak preview of some of the top national & international dealers who will be exhibiting at their 2011 exhibition, to be held March 25-27 at Pier 94 in New York City.
Here is the exhibitors list, for reference.


A

A&E Fine Art

Abbie Kozik

Able Fine Art

Adam Colangelo

Adam Louis Grant

ADC Fine Art

Adil Akhtar

Adrian Prisecaru - Studio 2000

Agnieszka Praxmayer

Akbar Hafeez

Alecia Barry Underhill

Aleksandr Fayvisovich

Alex Fishgoyt Art

Alex Noble

Alexander and Victor Fine Art

Alexander Lyatychevskiy

Alexis Silk

Allan Langston

Alphonse Lane

AMAT ART GALLERY

Anahit Etemadi

Anand PKC

Andree Amarica

Andrei Protsouk Art & Design Publishing

Andrey Noda

Andrey Pingachev

Angelnook Publishing, Inc.

Anju Saran

Anna Art Publishing

Anna Kornycheva

Anna Steerman

Anne Raymond

Anne-Marie Beauchamp

Antoine Art

Antonio Tomas Ana

Arkom Doungchawna

Armando Pedroso Fine Art

Armineh

Art by Architect

Art Focus US

Art Garage Sakha Republic

Art Sasha

Art World News

Art-Kvartal

Arte Al Sur

Artglaz

Artion Galleries

Artisan Direct Ltd.

B

BadJupiter Gallery

Belo

Ben Angotti

Benjamin Phillip Frisch

Bernard Teiling

BERRIN TUNCEL

Bezpala Brown Gallery

Birgit Huttemann-Holz

Blazing Editions and Fine Art Printing

Bogdan Miscevic

Brazilian Group

Brazilian Group Studio

Brazilian Home Collection/Worldwide Imports

C

Caochangdi Gallery of Art

Carlo Livi Art Gallery

Carol Benoit

Carol Chen Poun Joe

Caroline Rovithi

Carolyn Stockbridge

Casarietti Studio

Casselman

Catherine Chiara

Ceart Communication: Pilar Cocero, Mery Carbonero, Angel Fuster, Teresa Orozco

Charles Harold Company

Cheval Fine Art

Chinese Cultural Promotion Society

Ching Teoh

Chinze Ojobo

Chizuco Sophia Yw

CHNG HT

Chomienne

Claudette McDermott

Cliff Kearns

Colio

Collection by VC

Conchita Pineda

Contemporary Art Network

Coral Canyon Publishing

Corey West

Cosmos Gallery

Craig Cerborino

Cristiana Catalina

Curilova L

Cushla Naegele

D

Daniel Sroka Botanical Abstracts

Daniel Stanford

Daniel Stein Photography

Darren Jones

Dave Hoke

David and Lily Hatchett

David Jaycox, Jr.

David Juter

David Oleski

Decovia, Inc.

Deepthi Alex

Deljou Art Group

Dellorco

DelrayART

Denver Art Co, Inc.

Dirk Holger - Atelier Jean Lurcat

Dominic Pangborn & Michael Indorato

Donald Greig Sculptures

Dragan Sekaric Shex

E

Edita Rojas

Eduard Gurevich

Elayne La Porta Fine Arts

Elena Kalashnikova

Elene Nesterova

Elisa Nucci

Elizabeth Williams

Elyse Art Studio

Emilio Hernandez

Eric Colorbender

Ernesto Montero

Eva Amat

F

F. Bernardi

Fabienne Bismuth

Feel My Art Bisson Art

Fierro

Floyd Elzinga

Forland (USA) Inc

Fotiou Frames

Foundation de Henri Riquet Perpignand

Frantisek Strouhal/Angelnook

G

Gabrielle Bolvari-Bergeron

Gail Comes

Galeria Quorum

Gallery 119

Gallery Archana

Gallery Kitai Kikaku

Gallery of Elena Gromova

Galya Lutzky

Gegham Aleksanyan

Gena Lysak

Gennady Ivanov

George Pali

George Sakkal, Collagist

George Searing

Georgeana Ireland

GEORGI KANDELAKI

Giancarlo Calicchia

Ginger Fox

Gladys Perez

Global Fine Art

Grzegorz

Gustavo Felizardo

H

Hambone Art

Hans Magden

Heather Offord Abstract Art

Henry Betzalel

Hobrecht Sports Art LLC

Holly Wood

Huckleberry Fine Art

Hulbert Waldroup

I

I Brewster

Iben Studios, LLC

Inam

Inna Timokhina

Interior Design Society (IDS)

International Jewelers Block & Fine Arts Insurance Services

Ioanna Efthimiou

Irwin Montlack

J

J Schepp Originals

J&D International, Inc.

Jacquie Gouveia

Jane Waterous

Japan Contemporary Art Association

Jean Beaulieu

Jeffrey A Serusa

Jennie Cooley

Jennifer Contini Enderby

Jeong Hwa Kim

Jeremy Bortz

Jeremy P. Crawford

Jerzy

Joachim "PIXEL" McMillan


J

Joanne Syrop

Johanne Tessier & Johanne Blaquiere

John-Mark Gleadow

Joseph Eschenberg

Josephine Boni'

JUDITH WEINSTEIN

Julie Satinover Fine Artist

K

Karan Raj

Kate McCavitt

Katrin Alvarez

Kavanagh

Ken Keeley Studio

Ken Marshall Metal Works

Ken Orton

Ken Tutjamnong

Kevin Burnett

Kimberly Dawn

Kimmy Cantrell and Bob Carter Studios

Kramer/Kocsis/Foti/Kalle

L

LaMantia Fine Art Inc.

Lana Greben

Leon Oks

Li-Wei Wang

Lia Sadagashvili

Liang Wei

Lianne Oost

LIBO

Lili-Ubel Gallery

Lily Lihting Li Kostrzewa

Lionel Milton

Liquid Glass Art

Lusen Usa Inc

M

Machaca de Aquino

Maggie Carberry

Magold, Rainer

Malteste Expressionist Photography

Manesta

Marcel Favreau Art Gallery

Marcella

Margaret Rose of New Zealand

Maria Paola Tallini

Mark Carson English

Mark Holt

Mark Rathinaraj

Marta Gottfried Wiley

Mary Beth Kushner

Maryanne Jespersen

MATTED LIC

MECENAVIE

Medad

Melanie Wolk

Meri Bourgard

Michael Ethridge

Michelle Roseland

Minas Halaj

Miraval Art

MIYAKO AOKI

Mona Hassan

Mondo Art

MW Gallery

Myung Gallery

N

Nadia Aït-Saïd

Nandita Jhajharia

Nani Boronat

Natalya Rudaya

Natasha Barnes

Nazli Kalayci Art Dealer

Nelleke Nix Studio Gallery Inc

Nicholas Yust | Fine Metal Art

Nick Paciorek

Nilufer Tutuncu

O

Oksana Movchan

Oksana Prokopenko

Olga Kol

Omenka Gallery

On the Avenue Marketing for The New York Times

Ozlem Baygun

P

Pasquale Cuppari

Patricia Avellan

Paul Robinson Fine Art

Paul Thatcher

Pera Art Gallery

Peter Blindt

Peter Chaing

Pio Ferretti

Piotr Frolov

Professional Marketing Services, Inc.

Progressive Fine Art

Q

qizhangstudio

R

Rainbow Gallery

Raphael Bernadin

Rascal New York

Renee Brown

Retrographics Publishing

Riverin

Robbie Brieske

Robert Lovejoy

Robert Tahar

Robin L. Washburn

Rodo Padilla Art

Rolande Magloire

Ronen Art Vision

Rosea Fine Art

Rozanna Wojcik

Rubinstein

Ryo Tomoda

S

Safori

Sammoun Fine Art

Samuel Hallaj

Sandy Wilson

Serge Fine Arts, Inc.

Sergey Cherep Art Studios

Shamira Nicolas

Sharon Matusiak

Shinn Fine Art

Silviana Zub

Sima Amid

Slaymaker Fine Art Ltd.

Smart Publishing, Inc.

So101

Sona Singh

SPS Limelight Agency

Stephanie Wain

Steve Horan

Steven Penafiel

Steven Scott

Stockflethart

Stoppert Perez Ltd.

Studio 84 West

Studio Fine Art

Studio Ilana

Studio Manhattan

Sungmo Cho

SunStorm Fine Art

Susan McLennan

Svenska Konstgalleriet

Sylvain Goudreau

Sylvain Roberge

T

Takahisa Hashimoto

Tamaz Shatirishvilli

Tandisburg Arts Zimbabwe

Ted Asnis

Tenold Peterson Studios

Teri Levine

The M. C. Escher Company

The Master League of Arts

The World of Ed Heck

Thought Pyramid Art Gallery

Tibi Hegyesi

Tim Gagnon (ArtExpo Artists Challenge Winner)

Tim Nguyen

Tim Roseborough

True African Art

U

UADC Inc.

V

V.V. Swamy

VAL

VANESSA SHELDON FINE ART

Victoria Alexander Marquez

Vitali Komarov

W

W. David Herman

Walaa El Sayed

Waylight Gallery

Wayne Le One

Wei Biao Yan

Wen Quan Studio

Wet Stone Fine Art

Whittle Creations

William Bernoir

William Rossoto

Woodrow Nash Studios

World Chinese Selected Arts Exhibition Committee

X

X ESPACIO DE ARTE

Xiao Song Jiang

Xiaoping Pei

Y

Yisa Akinbolaji

Ylenia Mino

Yong Chun Yin

Yucel Erdogan

Z

Zaluski Sculpture

Zaya

Zaza New York

Zerihun Seyoum and Fana Tadesse

Zhuo Chaohui

Zura



Sotheby's Institute of Art


Welcome to a new way to study for art professionals and art enthusiasts


PLEASE NOTE: Registration is open through Wednesday, 30 March.

For over forty years, Sotheby’s Institute of Art has been the premier provider of postgraduate programmes for students seeking a career in the international art world. Graduates gain the knowledge and credentials for success in today’s worldwide art markets and cultural institutions. Now you can access Sotheby's Institute of Art's curriculum Online. Our Online courses are fully interactive and give students access to lectures, texts, images and videos, in a discussion-driven seminar format. Click on one of our courses below to learn more.


Art as an Alternative Investment:
Making Intelligent, Data-Driven Decisions

Part I: 28 March - 22 April; Part II: 2 May - 27 May
Tuition Fee: $995 / £639 / €767 * for each of the two parts
Among seasoned investors, fine art is generally acknowledged to possess features which make it a particularly attractive alternative asset class...
Read more...

But What’s It Worth?
Understanding Trends in the Art Market

March 28 - May 27 2011 | Tuition Fee: $1995 / £1281 / €1537 *
It is a common misconception that the art market is a lottery in which prices behave in an arbitrary and unpredictable manner. This course develops the economic principles and basic statistical tools...
Read more...

Art Across Borders:
Understanding International Law in Art Business

March 28 - May 27 2011 | Tuition Fee: $1995 / £1281 / €1537 *
Art business operates in a global environment. As the law is an essential tool for the successful conduct of the market, this course examines ways in which art businesses are legally....
Read more...

Writing for the Art World:
How to Make Your Voice Matter

Four two-week sessions beginning March 28, 2011
Tuition Fee: $499 per module (minimum two modules) *
Designed as a practical introduction to various aspects of professional art writing, this course develops transferable skills that students will be able to apply to future careers in the art world.....
Read more...

How to Navigate New Works and New Markets:
Introduction to Contemporary Art

Part I: 28 March - 22 April; Part II: 2 May - 27 May
$995 / £639 / €767 * for each of the two parts
Where is contemporary art heading in the coming decade? In the past fifty years contemporary art has grown to be one of the most exciting and crowded fields in New York's cultural life...
Read more...

Inside the New York Art World:
How Contemporary Art Gets Made, Shown, and Sold

March 28 - May 27 2011 | Tuition Fee: $1995 / £1281 / €1537 *
This course will provide an inside look into the New York art world from a variety of perspectives. It will feature recorded conversations with artists, art dealers, critics, curators, auctioneers, and collectors...
Read more...

Introduction to Art History:
The Movements that Mattered

March 28 - May 27 2011 | Tuition Fee: $1995 / £1281 / €1537 *
Instead of approaching art history as a flurry of dates and names to remember, this series dives deeply into single moments - and using key objects as a means to understanding the progression of styles in Western Art...
Read more...



Frequently asked questions

Q: What is Sotheby's Institute Online?
A: Sotheby's Institute Online is a new venue developed by Sotheby's Institute of Art to provide an opportunity for people all over the world to take courses at their own convenience. Connecting through the Internet, students receive instruction, ask questions of their instructors and each other, discuss issues, and actively participate in their classes – all from their own homes or offices at times of their own choosing.


Q: What is online interaction like?
A: Participating in an Online course is intellectually challenging and personally rewarding. Each time you attend class (at your convenience, by Internet connection through your home or office computer) you find a discussion in progress. The instructor provides lectures and offers resources, gives assignments, assesses your progress and gives feedback, in class or privately by email. Fellow students (no more than 20 in any class section) discuss topics by posting comments, questions and observations just as in a traditional classroom. Your responses and contributions become a part of the ongoing interaction.

The Online system provides an environment very much like that of a traditional university. There is a library; there is an auditorium for public events; social spaces are available for extracurricular discussions or just getting to know each other; there is even a bookstore. All the Sotheby's Institute of Art administrative offices such as admissions, advice, registration, bursar, and financial aid support the online courses. Instructors are available for private conversations during regular office hours (posted online) as well as by e-mail.


Q: What about the technology?
A: Sotheby's Institute Online courses are traditional university courses – the method of instruction is the only major difference. Learning through computer conferencing is not complicated or difficult. You work independently as you read, write, and think about the subject you are studying. You log on frequently (at least three to five times each week) to be "in class." Because you can be in class at your convenience, not bound by the constraints of a weekly class meeting, full-semester courses can be completed in as little as eight weeks.

Our Online learning system is easy to find on the Internet through Sotheby's Institute of Art's website. Once you've established your connection, just point your browser to the address we'll provide you just before your classes begin. Our system supports Internet Explorer, Mozilla Firefox, and Safari, and is optimized for the iPad. You will need to log in with the username and password with which h you'll be provided before classes begin. Students are responsible for obtaining and maintaining Internet connectivity and appropriate hardware and software.

The most exciting aspect of Sotheby's Institute Online is that, while a course is online, you can be in class any time, day or night. You attend lectures, interact with teachers and other students, participate in discussions, ask and answer questions, and have access to a wide range of programs, services and events, all via computer, from your home or office. The simple preparation for participating in an online course is taught in a free, fully-online student orientation that begins the Wednesday before each session. While enrolled in an Online course, you'll also have access to telephone technical support from 12.00pm to 00.00 (noon to midnight) GMT.


Q: Do I need to apply for admission to Sotheby's Institute of Art?
A: No. These are non-credit, open enrollment courses. Simply follow the registration instructions on the website at www.sothebysinstitute.com


Q: Will I need any special training to participate?
A: If you can use a simple word processor and are familiar with email, you will not find it difficult to participate in the Online course environment. Further, we are offering a special Online Student Orientation for several days before the classes begin; you will get more information about this with your login instructions. The OSO operates the same way as the class will, so you will have the opportunity to become familiar with the technology and the dynamics of Online teaching and learning – and to "meet" your fellow students – before the class starts.


Q: How do I register?
A: Simply go to the Sotheby's Institute Online website at and click on "Register Now" for the course(s) you choose. You will be guided through the simple enrollment and payment processes, and upon completion of these you will receive a confirmation email from our system.

Please note that payment in full is required at the time of registration. All course tuition is billed in US dollars; your financial institution may charge a fee for conversion to your local currency. These non-credit courses are not eligible for state or federal financial aid, though you may seek professional development support from your employer. Furthermore, in the United States, fees paid for professional development are deductible from your personal income taxes to the extent permitted by current law.

Register early! The class you want may fill or, on the other hand, be cancelled for low enrollment.

If a course is cancelled for low enrollment or for any other reason, your payment will be credited in full to the account to which it was originally charged. Cancellation decisions will be finalized on March 25th; please allow up to six weeks for the credit to appear on your statement.


Q: How do I drop out of a course?
A: If you find that you need to drop out of a course, you will be able to do so within three business days of the course's start date. Your tuition fee will be refunded in full, although we will not reimburse for any currency conversion fees charged by your credit-card issuer.






Saturday, March 19, 2011

Chennai hosts first-ever art summit, 20 to 26th March 2011.

Seven days, 22 galleries, 27 art shows and close to 75 artists, curators, collectors, critics and historians. From March 20 to 26, the city will host Art Chennai, its first-ever art summit, where people can see the works of contemporary masters, watch artists at work, attend lectures by experts, and buy art at an auction.

Sanjay Tulsyan, convenor of Art Chennai and MD of Tulsyan NEC, is hoping that the show will become an annual feature, one that will rank alongside the Delhi Art Summit. "Right now, the Delhi Art Summit is rather commercial. Art Chennai is more about bringing artists face-to-face with the public and if we can sustain it, it can become an event on the international art calendar," says Tulsyan, who has been planning the summit for the past six months. "People find it difficult to grasp an idea like this. We have a well-developed music aesthetic in Chennai but not one for art," says Tulsyan, who has been collecting art since 1984.

Among the more exciting shows will be an exhibition to mark KCS Panicker's centenary year and a show of the original works of Rabindranath Tagore, his nephews Abanindranath and Gaganendranath Tagore, and their lesser-known but equally gifted sister Sunayani Devi. "The Bengal school of art had its own influence on the Madras Movement and we thought a special show on Tagore was important. It is also significant because it is Tagore's 150 anniversary," says Pradipto Mahapatra, one of the summit's advisors.

There will also be mixed media show, a video art exhibition and large installations, an art residency programme, seminars and lectures. The entire schedule is at www.artchennai.com.

"We're hoping this summit will bring contemporary art into everyone's lives. We have such a rich tradition of art starting with kolams. But somehow we do not pay enough attention to contemporary art," said actor Revathy, who is on the advisory board of the summit.

http://www.artchennai.com.

Information Courtesy: The Economic Times.

Friday, March 18, 2011

Helsinki named design capital of the world for 2012






A series of exhibitions, conferences and other events are being planned

Helsinki. The Finnish captial, Helsinki, which is under consideration for a satellite Guggenheim museum, has been named World Design Capital 2012 by the Montreal-based International Council of Societies of Industrial Design (ICSID).

A series of exhibitions, conferences and other events related to innovations in architecture, city planning and design are being planned by the International Design Foundation in Helsinki, with advisory board members including Helena Hyvönen, the executive dean of the Aalto University School of Art and Design, and Juulia Kauste, the director of the Museum of Finnish Architecture. “In addition, satellite events will be held around the world beginning this year,” said a Finnish consulate spokesperson in New York.

Two years ago, Seoul was the second city to be crowned World Design Captial and staged multiple events, drawing more than 1 million visitors, according to AsiaPulse News. While an economic impact study on that series of events is still under way, it is clear the financial gains as well as increased visibility for a country’s designers can be considerable.

Based in Canada, the ICSID was formed in 1957 to promote design globally and has since held numerous conferences and events. As more than half the world’s population live in cities, their World Design Capital programme, which throws a spotlight on the transformative power of design in a single city, is timely.

Information Courtsey: The Art Newspaper.

Tuesday, March 1, 2011

Treat for the virtual art lover



Roberta Smith takes us through 17 of world’s great art museums across Europe and America, which have been developed by the Google Art Project, a futuristic step to make art more accessible by putting it online.
If art is among your full-blown obsessions or just a budding interest, Google, which has already altered the collective universe in so many ways, changed your life last week. It unveiled its Art Project, a web endeavor that offers easy, if not yet seamless, access to some of the art treasures and interiors of 17 museums in the United States and Europe.

It is very much a work in progress, full of bugs and information gaps, and sometimes blurry, careering virtual tours. But it is already a mesmerizing, world-expanding tool for self-education. You can spend hours exploring it, examining paintings from far off and close up, poking around some of the world’s great museums all by your lonesome. I have, and my advice is: expect mood swings. This adventure is not without frustrations.

On the virtual tour of the Uffizi in Florence the paintings are sometimes little more than framed smudges on the wall. (The Dürer room: don’t go there.) But you can look at Botticelli’s Birth of Venus almost inch by inch. It’s nothing like standing before the real, breathing thing. What you see is a very good reproduction that offers the option to pore over the surface with an adjustable magnifying rectangle. This feels like an eerie approximation, at a clinical, digital remove, of the kind of intimacy usually granted only to the artist and his assistants, or conservators and preparators.

There are high-resolution images of more than 1,000 artworks in the Art Project (googleartproject.com) and virtual tours of several 100 galleries and other spaces inside the 17 participating institutions. In addition each museum has selected a single, usually canonical work — like the Botticelli Venus — for star treatment. These works have been painstakingly photographed for super-high, mega-pixel resolution. (Although often, to my eye, the high-resolution version seems as good as the mega-pixel one.)

The Museum of Modern Art selected Van Gogh’s Starry Night, and you can see not only the individual colors in each stroke, but also how much of the canvas he left bare. The Metropolitan Museum of Art’s star painting is Bruegel’s Harvesters, with its sloping slab of yellow wheat and peasants lunching in the foreground. Deep in the background is a group of women skinny-dipping in a pond that I had never noticed before.

In the case of Van Gogh’s famous Bedroom, the star painting chosen by the Van Gogh Museum in Amsterdam, I was able to scrutinize the five framed artworks depicted on the chamber’s walls: two portraits, one still life and two works, possibly on paper, that are so cursory they look like contemporary abstractions. And I was enthralled by the clarity of the star painting of the National Gallery in London, Hans Holbein’s Ambassadors, and especially by the wonderful pile of scientific instruments — globes, sun dials, books — that occupy the imposing two-tiered stand flanked by the two young gentlemen.

Google maintains that, beyond details you may not have noticed before, you can see things not normally visible to the human eye. And it is probably true. I could make out Bruegel’s distant bathers when I visited the Met for a comparison viewing, but not the buttocks of one skinny-dipper, visible above the waves using the Google zoom. Still, the most unusual aspects of the experience are time, quiet and stasis: you can look from a seated position in the comfort of your own home or office cubicle, for as long as you want, without being jostled or blocked by other art lovers.

At the same time, the chance to look closely at paintings, especially, as made things, really to study the way artists construct an image on a flat surface, is amazing, and great practice for looking at actual works. And while the internet makes so much in our world more immediate, it is still surprising to see what it can accomplish with the subtle physicality of painting, whether it is the nervous, fractured, tilting brush strokes of Cezanne’s Château Noir from 1903-04, at the Museum of Modern Art, or the tiny pelletlike dots that make up most of Chris Ofili’s No Woman No Cry from about a century later at the Tate Modern in London (the only postwar work among the 17 mega-pixel stars).

The Ofili surface also involves collaged images of Stephen Lawrence, whose 1993 murder in London became a turning point in Britain’s racial politics; along with scatterings of glitter that read like minuscule, oddly cubic bits of gold and silver; and three of those endlessly fussed-over clumps of elephant dung, carefully shellacked and in two cases beaded with the word no. Take a good look and see how benign they really are. (You can also see the painting glow in the dark, revealing the lines “RIP/Stephen Lawrence/1974-1993.”)

Another innovation of the Art Project is Google’s adaptation of its Street View programme for indoor use. This makes it possible, for example, to navigate through several of the spacious salons at Versailles gazing at ceiling murals — thanks to the 360-degree navigation — or to get a sharper, more immediate sense than any guidebook can provide of the light, layout and ambience of the Tretyakov Gallery in Moscow. It also means that if your skill set is shaky, you can suddenly be thrown from the museum onto the street, as I was several times while exploring the National Gallery.

Keep in mind that usually only a few of the many, many works encountered on a virtual tour are available for high-res or super-high-res viewing. And those few aren’t always seen in situ, hanging in a gallery. The architectural mise-en-scène is the main event of the virtual tours in most cases, from the Uffizi’s long, grand hallways to the gift shop of the Rijksmuseum in Amsterdam and the modest galleries of the Kampa Museum in Prague, where the star paintings is Frantisek Kupka’s 1912-13 Cathedral, the only abstraction among what could be called the Goggle 17.

The Art Project has been hailed as a great leap forward in terms of the online art experience, which seems debatable, since most museums have spent at least the last decade — and quite a bit of money — developing Web access to works in their collections. On the site of the National Gallery, for example, you can examine the lush surface of Velázquez’s Rokeby Venus with a zoom similar to the Art Project’s. Still, Google offers a distinct and extraordinary benefit in its United Nations-like gathering of different collections under one technological umbrella, enabling easy online travel among them.

When you view a work by one artist at one museum, clicking on the link “More works by this artist” will produce a list of all the others in the Art Project system. But some fine-tuning is needed here. Sometimes the link is missing, and sometimes it links only to other works in that museum. Other tweaks to consider: including the dates of the works on all pull-down lists, and providing measurements in inches as well as centimetres.

Despite the roster of world-class museums, there are notable omissions: titans like the Louvre and the Musée d’Orsay in Paris, the Prado in Madrid and the Kunsthistorisches Museum in Vienna, not to mention most major American museums, starting with the National Gallery in Washington. Without specifying who turned it down, Google says that many museums were approached, that 17 signed on, and that it hopes to add more as the project develops.

This implies an understandable wait-and-see attitude from many institutions, including some of the participants. The Museum of Modern Art, for example, has made only one large gallery available — the large room of French Post-Impressionist works that kicks off its permanent collection displays — along with 17 paintings that are all, again, examples of 19th-century Post-Impressionism. (Oh, and you can wander around the lobby.)

On first glance, this seems both unmodern in focus and a tad miserly, given that several museums offer more than 100 works and at least 15 galleries. But MoMA is being pragmatic. According to Kim Mitchell, the museum’s chief communications officer, the 17 paintings “are among the few in our collection that do not raise the copyright-related issues that affect so many works of modern and contemporary art.” In other words, if and when the Art Project is a clear success, the Modern will decide if it wants to spend the time and money to secure permission for Picasso’s Demoiselles d’Avignon and the like to appear on it.

This might also hold true for the Museo Reina Sofia in Madrid, which owns Picasso’s Guernica, but has so far limited its participation primarily to 13 paintings by the Cubist Juan Gris and 35 photographs from the Spanish Civil War. Needless to say, the works and galleries that each museum has selected for the first round of the Art Project makes for some interesting institutional psychoanalysis.

From where I sit, Google’s Art Project looks like a bandwagon everyone should jump on. It makes visual knowledge more accessible, which benefits us all.

In many ways, this new Google venture is simply the latest phase of simulation that began with the invention of photography, which is when artworks first acquired second lives as images and in a sense, started going viral. These earlier iterations — while never more than the next best thing — have been providing pleasure for more than a century through art books, as postcards, posters and art-history-lecture slides. For all that time, they have been the next best thing to being there. Now the next best thing has become better, even if it will never be more than next best. Check out the details in the link below.


Information Courtesy : The New York Times