Monster Mash: L.A. mural skirmish; Leonardo Da Vinci mystery
This article was originally on a blog post platform and may be missing photos, graphics or links. See About archive blog posts.
Public dispute: A nonprofit group in L.A. has apologized for pasting their campaign posters over one of the city’s best known street murals. (Los Angeles Times)
Authentic?: An art expert in Britain claims that a painting that was once dismissed as a Leonardo Da Vinci forgery is actually genuine. (New York Post)
Desperate: The Philadelphia Orchestra, is seeking $3.1 million in loans to help fund operations through the end of its bankruptcy case, or risks shutting down. (Philadelphia Inquirer)
Public outcry: The appointment of a former journalist as the director of the Palace of Versailles in France has caused a wave of criticism. (The Art Newspaper)
Keeping time: The Museum of Modern Art in New York is the latest institution to purchase Christian Marclay’s popular video installation ‘The Clock.’ (New York Times)
Legal battle: Julie Taymor’s arbitration proceedings against the producers of ‘Spider-Man: Turn Off the Dark’ is scheduled to start next week. (New York Times)
Blockbuster potential: The Victoria & Albert Museum in London is in discussions to host a show dedicated to the late fashion designer Alexander McQueen. (The Art Newspaper)
Valuable: A donor is asking the bankrupt U.S. National Slavery Museum to return artifacts worth an estimated $75,000. (Virginia-Pilot)
Weepy: ‘Ghost: The Musical’ will open on Broadway at the Lunt-Fontanne Theatre in April. (Broadway World)
Keeping busy: Shepard Fairey was at the Jersey shore recently installing a mural at Asbury Park. (Newark Star-Ledger)
On the brink: The historic Lincoln Theatre in Washington could shut its doors if it doesn’t receive a government bailout. (Washington Post)
In with the new: Alexander Pereira, the new director of the Salzburg Festival, said he wants most opera performed there to be new productions. (Associated Press, via Washington Post)
Also in the L.A. Times: Art critic Christopher Knight reviews ‘Crosscurrents in L.A. Painting and Sculpture, 1950-1970’ at the Getty.
-- David Ng
