‪‬Sheikha Mayassa Al Thani, head of Qatar Museum Authority, profiled in the Economist, works to better Doha, Qatar, with Museum of Islamic Art and record-price acquisitions “Art—even controversial art—can unlock communication between diverse nations, peoples and histories.” [AO Newslink]
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Murakami sculpture at Ego (2011) press conference, via QMA facebook
The Qatar Museums Authority (QMA) presents Murakami – Ego at the Museum of Islamic Art‘s detached Al Riwaq hall in Doha as Japanese artist Takashi Murakami‘s first solo show in the Middle East. Introducing Japanese contemporary art and animation style to a broader audience, the QMA has also published an illustrated catalog on Ego with commentary by Takashi Murakami, curator Massimiliano Gioni, and photo-documentation of the site. For Ego—referencing the retrospective’s psychological emphasis—Murakami designed sculptural pedestals, a 100-meter wall painting, and a digital animated circus tent to double as an indoor cinema. The retrospective features fifteen years’ worth of 60 works, most of which are on loan from both public and private international collections, although some art is new. Viewers entering the hall are greeted by an oversize inflatable self-portrait to personify the explained internal mindset.
Paul Cézanne, Card Players, Qatar, via Vanity Fair
The royal family of Qatar has just publicized its $250-$300 million purchase of Card Players by Paul Cézanne. The work is one in a series of five, but until now was the only one remaining in private collection. Previous owner, Greek shipping mogul George Embiricos, became receptive to the sale just prior to his death in 2011. Vanity Fair reports that William Acquavella and Larry Gagosian were outbid for Card Players, at comparable amounts rumored up to $220 million. Even the low estimate of $250 million, factoring in exchange rate and tax fees, marks the highest sum in history ever paid for a single work of art in either auction or private sale by double.
Paul Cézanne, Card Players, Metropolitan Museum of Art, via New York Times
As the title indicates, the series depicts two low-brow card players in Aix-en-Provence. The peasants idealize an old world culture, nostalgic even to the middle-aged artist when he painted from his family’s country estate in the 1890s. At the time, Cézanne was working alone, and his isolation reflects in the sparing surfaces and minimal compositions of the varying card scenes. Only the subtlest of changes differentiate one painting from the next: most notably, the cards themselves change as the games progress, while the faces and suggestively sluggish interactions do not.