Picasso’s Woman in a Red Armchair (1929) painting has been vandalised at The Menil Collection. The vandalism happened on Wednesday afternoon, where footage of the vandalism was caught on video. Menil spokesman Vance Muse said that museum security officers detected the vandalism almost immediately, when the paint was barely dry. Chief conservator Brad Epley began repair work immediately, and Muse says the painting has “an excellent prognosis”.
Vandalism in action:—-Original painting:Pablo Picasso - Woman in a Red Armchair, 1929. Oil on canvas. From the Menil Collection.Watch the video and read the full article here
Cildo Meireles, Babel, 2001
Sound is another of the elements Cildo Meireles uses to create spaces. In Babel, 2001, an enormous tower of radio apparatuses, related to the biblical history of the tower of Babel, is suggestive of the incapacity to communicate as a cause of all human conflict. Due to the essentially temporal nature of a medium like the radio, in this work there are never two experiences alike. (via)
Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965
One of the artist’s most famous performances, Beuys covered his head first with honey, and then with fifty dollars worth of gold leaf. He cradles a dead hare in his arms, and strapped an iron plate to the bottom of his right shoe. Viewed from behind glass in the gallery, the audience could see Beuys walking from drawing to drawing, quietly whispering in the dead rabbit’s ear. As he walked around the room, the silence was pierced by intermittent sound of his footsteps; the loud crack of the iron on the floor, and the soundless whisper of the sole of shoe. (via)
Joseph Beuys, Green Violin, 1974
From the National Galleries of Scotland:
This is an action-object - a replica of a violin played by the Fluxus artist Henning Christiansen during a concert called ‘…Or should we change it’. The concert was staged by Beuys and Christiansen at the Städtisches Museum, Mönchengladbach on 27 March 1969. Many of Beuys’ early ‘actions’ were of a concert nature, and he participated with Fluxus events during the 1960s. These events were originally organised by people interested in experimenting with sound, such as the avant-garde composer John Cage. Beuys explores sound and silence throughout his work. This is seen in objects like ‘Noiseless Blackboard Eraser’ (1974), in his use of recorded sound and also of pianos, which are frequently muffled by his trademark rolls of felt.