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Art at the Gate festival moving online in effort to give art lovers a show – SaltWire Network

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When people can’t go and see artists there is only one recourse to making things right.

You bring art to the people instead.

Enter the 2020 version of the Art at the Gate Festival taking place virtually from the scenic coastline of Twillingate and New World Island.

After a successful first run of the Art at the Gate Festival in 2019, organizers wanted to keep things going in 2020.

That was before a global pandemic and the subsequent restrictions snuffed out any semblance of a normal festival season.

Still, organizers were keen.

“We wanted to keep the name alive,” said festival chairperson Kathy Murphy-Peddle. “We wondered if we could come up with something creative.”

This year’s Art at the Gate festival is vastly different than its first edition.

With the inability to gather in person and appreciate the work being done by artists in the province, the festival turned online.

Work started in August to put something together for this fall.

As such, the Art at the Gate Festival is giving supporters the chance to paint along — or just watch — two of the province’s finest Plein air (outdoor) painters do what they do best.

Open air painter Jean Claude Roy takes a break from his work as a part of the Art at the Gate Festival in Twillingate in September. Contributed photo

 

In September, well-known landscape artists Jean Claude Roy and Clifford George visited Twillingate and completed an outdoor session in the region.

That session was recorded for the Art at the Gate Festival. Both of those sessions will be launched in the next week as the festival kicks into gear.

Each will be free for anyone who registers at the festival’s website. After you register, you will be emailed a YouTube link to each session that you can access on and after the launch day.

Roy’s session will air virtually on Oct. 25 at 1 p.m. Newfoundland time, while the session featuring George is scheduled to go online on Nov. 1 at the same time.

At time of writing, the Art at the Gate festival had more than 300 people registered, some of them will be viewing the sessions internationally.

“The interest is amazing,” said Murphy-Peddle.

George’s session landed him in Jenkin’s Cove portion of the region. He said there was strong wind as he got about to painting and shooting.

“If there is a plus (to the pandemic) is that it forced us to think outside the box. We’ve probably reached a bigger audience.”

“It was excellent,” he said of the session. “It was a wonderful place for scenery.”

When George was asked to be a part of the event, he was quick to say yes and lend his style.

The idea is for the viewer to be completely immersed in the painting as it unfolds in front of them.

Murphy-Peddle said how people choose to enjoy the experience is completely up to them.

They are encouraging people to settle into their studios or their homes and paint along. There will be reference photos posted on the festival’s website to help with that process.

Those who do paint along are being encouraged to send in photos of their completed works.

For those who might not be artistically inclined, they’re being encouraged to sit back and enjoy watching the paintings slowly come into focus.

“If there is a plus (to the pandemic) is that it forced us to think outside the box,” said Murphy-Peddle. “We’ve probably reached a bigger audience.”

Nicholas Mercer is a local journalism initiative reporter for central Newfoundland for SaltWire Network.

nicholas.mercer@thecentralvoice.ca

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High court to decide whether Nazi art case stays in US court – North Shore News

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WASHINGTON — Jed Leiber was an adult before he learned that his family was once part-owner of a collection of centuries-old religious artworks now said to be worth at least $250 million.

Over a steak dinner at a New York City restaurant in the 1990s he had asked his mother about his grandfather, a prominent art dealer who fled Germany after Adolf Hitler came to power. “What was grandpa most proud of in his business?” he asked.

“He was very, very proud to have acquired the Guelph Treasure, and then was forced to sell it to the Nazis,” she told him.

That conversation set Leiber, of West Hollywood, California, on a decadeslong mission to reclaim some 40 pieces of the Guelph Treasure on display in a Berlin museum. It’s a pursuit that has now landed him at the Supreme Court, in a case to be argued Monday.

For centuries, the collection, called the Welfenschatz in German, was owned by German royalty. It includes elaborate containers used to store Christian relics; small, intricate altars and ornate crosses. Many are silver or gold and decorated with gems.

In 2015, Leiber’s quest for the collection led to a lawsuit against Germany and the the Prussian Cultural Heritage Foundation. The state-run foundation owns the collection and runs Berlin’s Museum of Decorative Arts, where the collection is housed. Germany and the foundation asked the trial-level court to dismiss the suit, but the court declined. An appeals court also kept the suit alive.

Now, the Supreme Court, which has been hearing arguments by telephone because of the coronavirus pandemic, will weigh in. A separate case involving Hungarian Holocaust victims is being heard the same day.

At this point, the Guelph Treasure case is not about whether Leiber’s grandfather and the two other Frankfurt art dealer firms that joined to purchase the collection in 1929 were forced to sell it, a claim Germany and the foundation dispute. It’s just about whether Leiber and two other heirs of those dealers, New Mexico resident Alan Philipp and London resident Gerald Stiebel, can continue seeking the objects’ return in U.S. courts.

In a statement, Hermann Parzinger, president of the Prussian Cultural Heritage Foundation, argued that the suit should be dismissed. The foundation and Germany have the Trump administration’s support.

“Our view is that Germany is the proper jurisdiction for a case which involves a sale of a collection of medieval German art by German art dealers to a German state,” Parzinger said.

The suit’s claim that the Guelph Treasure was sold under Nazi pressure was also diligently investigated in Germany, he said. The foundation found that the sale was made voluntarily and for fair market value. A German commission dedicated to investigating claims of property stolen by the Nazis agreed.

Parzinger said records “clearly show that there were long and tough negotiations on the price and that the two sides met exactly in the middle of their initial starting prices.”

The art dealers’ heirs, however, say the purchase price, 4.25 million Reichsmark, was about one-third of what the collection was worth. Under international law principles, sales of property by Jews in Nazi Germany are also presumed to have been done under pressure and therefore invalid, said the heirs’ attorney, Nicholas O’Donnell.

Leiber’s grandfather, Saemy Rosenberg, and the two other Frankfurt art dealer firms he joined with to purchase the Guelph Treasure did sell other pieces of the collection outside of Germany. But their timing was unfortunate. The Great Depression hit soon after they purchased the collection. Some of the pieces were sold to The Cleveland Museum of Art or private collectors. The Nazi-controlled state of Prussia bought the remaining pieces in 1935. The two sides disagree on whether the collection was ultimately presented to Hitler as a gift.

Leiber says his grandfather never said anything to him about the collection, though the two played chess together on Sundays from the time he was 5 to when he was 11.

“He never spoked of the war. He never spoke of what he lost. He never spoke of the horrors that he and the family experienced. … I think it was very important to him to keep moving on, to move forward,” Leiber said.

Rosenberg reestablished his art business in New York. When he died in 1971, The New York Times called him a “leading international art dealer,” noting that his clients had included oil tycoon Paul Getty, CBS Chairman William S. Paley and the Metropolitan Museum of Art.

In the nearly 50 years since his grandfather’s death, Leiber has had his own star-studded career. In 1992, he founded NightBird Recording Studios at the Sunset Marquis Hotel in West Hollywood, where his clients have included Madonna, U2, Miley Cyrus and Justin Bieber. He’s particularly proud of his work with guitarist Jeff Beck and the late Aretha Franklin. But his grandfather was a singular influence on him.

“He’s a super-human figure in my life,” Leiber said. “And I decided that I had to do whatever it took to have returned what was taken from him.”

Jessica Gresko, The Associated Press







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High court to decide whether Nazi art case stays in US court – The Tri-City News

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WASHINGTON — Jed Leiber was an adult before he learned that his family was once part-owner of a collection of centuries-old religious artworks now said to be worth at least $250 million.

Over a steak dinner at a New York City restaurant in the 1990s he had asked his mother about his grandfather, a prominent art dealer who fled Germany after Adolf Hitler came to power. “What was grandpa most proud of in his business?” he asked.

“He was very, very proud to have acquired the Guelph Treasure, and then was forced to sell it to the Nazis,” she told him.

That conversation set Leiber, of West Hollywood, California, on a decadeslong mission to reclaim some 40 pieces of the Guelph Treasure on display in a Berlin museum. It’s a pursuit that has now landed him at the Supreme Court, in a case to be argued Monday.

For centuries, the collection, called the Welfenschatz in German, was owned by German royalty. It includes elaborate containers used to store Christian relics; small, intricate altars and ornate crosses. Many are silver or gold and decorated with gems.

In 2015, Leiber’s quest for the collection led to a lawsuit against Germany and the the Prussian Cultural Heritage Foundation. The state-run foundation owns the collection and runs Berlin’s Museum of Decorative Arts, where the collection is housed. Germany and the foundation asked the trial-level court to dismiss the suit, but the court declined. An appeals court also kept the suit alive.

Now, the Supreme Court, which has been hearing arguments by telephone because of the coronavirus pandemic, will weigh in. A separate case involving Hungarian Holocaust victims is being heard the same day.

At this point, the Guelph Treasure case is not about whether Leiber’s grandfather and the two other Frankfurt art dealer firms that joined to purchase the collection in 1929 were forced to sell it, a claim Germany and the foundation dispute. It’s just about whether Leiber and two other heirs of those dealers, New Mexico resident Alan Philipp and London resident Gerald Stiebel, can continue seeking the objects’ return in U.S. courts.

In a statement, Hermann Parzinger, president of the Prussian Cultural Heritage Foundation, argued that the suit should be dismissed. The foundation and Germany have the Trump administration’s support.

“Our view is that Germany is the proper jurisdiction for a case which involves a sale of a collection of medieval German art by German art dealers to a German state,” Parzinger said.

The suit’s claim that the Guelph Treasure was sold under Nazi pressure was also diligently investigated in Germany, he said. The foundation found that the sale was made voluntarily and for fair market value. A German commission dedicated to investigating claims of property stolen by the Nazis agreed.

Parzinger said records “clearly show that there were long and tough negotiations on the price and that the two sides met exactly in the middle of their initial starting prices.”

The art dealers’ heirs, however, say the purchase price, 4.25 million Reichsmark, was about one-third of what the collection was worth. Under international law principles, sales of property by Jews in Nazi Germany are also presumed to have been done under pressure and therefore invalid, said the heirs’ attorney, Nicholas O’Donnell.

Leiber’s grandfather, Saemy Rosenberg, and the two other Frankfurt art dealer firms he joined with to purchase the Guelph Treasure did sell other pieces of the collection outside of Germany. But their timing was unfortunate. The Great Depression hit soon after they purchased the collection. Some of the pieces were sold to The Cleveland Museum of Art or private collectors. The Nazi-controlled state of Prussia bought the remaining pieces in 1935. The two sides disagree on whether the collection was ultimately presented to Hitler as a gift.

Leiber says his grandfather never said anything to him about the collection, though the two played chess together on Sundays from the time he was 5 to when he was 11.

“He never spoked of the war. He never spoke of what he lost. He never spoke of the horrors that he and the family experienced. … I think it was very important to him to keep moving on, to move forward,” Leiber said.

Rosenberg reestablished his art business in New York. When he died in 1971, The New York Times called him a “leading international art dealer,” noting that his clients had included oil tycoon Paul Getty, CBS Chairman William S. Paley and the Metropolitan Museum of Art.

In the nearly 50 years since his grandfather’s death, Leiber has had his own star-studded career. In 1992, he founded NightBird Recording Studios at the Sunset Marquis Hotel in West Hollywood, where his clients have included Madonna, U2, Miley Cyrus and Justin Bieber. He’s particularly proud of his work with guitarist Jeff Beck and the late Aretha Franklin. But his grandfather was a singular influence on him.

“He’s a super-human figure in my life,” Leiber said. “And I decided that I had to do whatever it took to have returned what was taken from him.”

Jessica Gresko, The Associated Press





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Toronto is getting a breathtaking new art gallery with work from Andy Warhol – blogTO

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York University is getting a new art gallery that could eventually house the school’s current collection, including works from legendary artists like Andy Warhol and Norval Morrisseau. 

The university’s Keele Campus has announced that it’s expanding its 3,000-square-foot Art Gallery of York University (AGYU) with a new building called the Joan and Martin Goldfarb Gallery.

The design proposal from Hariri Pontarini Architects, which was chosen from several submitted to the online design competition, will be located at the School of Arts, Media, Performance & Design. 

The AGYU will be expanding with a new art gallery designed by Hariri Pontarini Architects. Photo by Hariri Pontarini via York University. 

The building — which will be named after the Goldfarbs, who gifted $5 million to the gallery in October 2019 — will be home to the university’s collection of contemporary and historic art.

Included in the AGYU’s current collection of 76 pieces of artwork, donated by the Goldfarbs in the 2000s, are donations of works by Andy Warhol, Norval Morrisseau, and prominent Inuit artists like Kananginak Pootoogook. 

Though AGYU hasn’t had any permanently collection works on display up until now, the new building could have space dedicated to the permanent collection. 

Artwork will be viewable to the public over three floors and five separate wings.

The ground level will include an event space with four separate gallery areas and a xeriscape garden, which reduces water waste. 

The original AGYU, which opened in 1988, has been operating at its current location since 2006. Its collection currently includes 1,700 works ranging from prints, paintings, sculptures, films, and more. 

Lead photo by

Hariri Pontarini via York University 

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