Chancellor Angela Merkel’s decision to take down two paintings by Emil Nolde from her office walls has touched off a heated German debate as an exhibition on the Expressionist painter and his links to the Nazis opened in Berlin. Organisers of the show “Emil Nolde, a German Legend: The Artist During National Socialism,” had asked Merkel for one of two paintings on loan to her. But she decided to send both — a 1915 painting of flowers in a garden and the 1936 work “Breakers”, her spokesman Steffen Seibert said. No explanation was given for the decision. Neither was an official reason offered as to why Merkel would not want them back when the exhibition closes in September. But the move was quickly interpreted by German media as a belated rejection by Merkel of the artist over his anti-Sem
Thursday, April 11, 2019 – 17:45Arts Catalyst is delighted to announce the appointment of Fabienne Nicholas as the new Chair of Arts Catalyst’s Board of Trustees. She takes over the role from outgoing Chair Elizabeth Lynch who has been a Trustee on Arts Catalyst’s Board for twenty years, ten of which she has been the Chair. She will continue to serve as a Trustee on the Board. Fabienne said “This is an exciting time to be joining an organisation that I have long admired for its pioneering models of creative collaboration and for its foresight in tackling some of the biggest issues facing our world today. As we enter a new phase in its development I look forward to working with the fantastic team at Arts Catalyst to forge new directions.” She is currently Head of Consultancy for the Contemporary Art Society, where she directs a portfolio of art commissions, corporate art collections and curatorial initiatives. Prior to this she was Project Director for Future City, working on public art commissions and high-profile cultural regeneration projects in London. In 2017, she was invited by the Mayor of London Sadiq Khan to become one of 50 Mayor’s Design Advocates, advising the GLA’s various agencies to ensure that London’s growth is socially and economically inclusive, as well as environmentally sustainable. Based in Australia until 2003, Fabienne was previously Executive Director of Experimenta, Australia’s leading media arts agency. During her time with the organisation she was instrumental in setting up the Experimenta Biennale and a regional and international touring exhibition programme. Fabienne is currently a trustee of Forma Productions in London. In 2007 Fabienne was nominated as Art Advisor of the Year in the Spears Wealth Management Annual Awards.
Organized by the McNay Art Museum and drawn from the renowned Tobin Collection of Theatre Arts, America on Stage celebrates the vision of the nation’s 20th- and 21st-century master designers on stages across the U.S. and around the world. From the windswept plains of Rodgers and Hammerstein’s Oklahoma! to densely packed apartments in New York City’s Washington Heights featured in Lin-Manuel Miranda’s In the Heights, our country’s growing diversity remains a continuous source of inspiration for landmark musicals, plays, ballets, and operas. America on Stage offers bursts of awe, wonder, and nostalgia at every turn. The artistry of designing for the stage is reflected in innovative ballet and opera productions, musicals, dance, film, video, drawings, and paintings. Interactive opportunities throughout the exhibition invite visitors to take center stage in a recreated stage set—and even tap dance.
This April, the British Museum will present a major new exhibition on the work of Norwegian artist Edvard Munch (1863-1944). Edvard Munch: love and angst will focus on Munch’s remarkable and experimental prints – an art form which made his name and at which he excelled throughout his life – and will examine his unparalleled ability to depict raw human emotion. It will be the largest exhibition of Munch’s prints in the UK for 45 years. The exhibition is a collaboration with Norway’s Munch Museum, and includes nearly 50 prints from their collection, one of the biggest loans of prints the Oslo-based Museum has given internationally. Displayed alongside important Munch works from the British Museum collection and other loans from the UK and Europe, the 83 artworks on show will together demonstrate the artist’s skill and creativity in expressing the feelings and experiences of the human condition –
A German museum handed over the remains of an Aboriginal ancestral king to Australia on Tuesday in the first of three such ceremonies across Germany this month, which Canberra called a record return. The Australian ambassador to Germany, Lynette Wood, and elder Gudju Gudju Fourmile of the Yidinji people received the skeletal remains at Munich’s Five Continents museum where they have been stored since 1889. “His journey now will be to be taken back home to Yidinji country,” Fourmile said. Yidinji representatives draped a black, yellow and red Aboriginal flag over the box containing the remains. Skulls and bones from Australia’s native peoples were removed by scientists in the late 19th and early 20th centuries and taken to museums, universities and collections in Australia and around the world. There they were subjected to “research” purporting to explain human biological variety. In a statement, Austra