Documentary About Art Collection 700ad From Bottom of Sea
| The Art of the Steal | |
|---|---|
 Theatrical release poster past Neil Kellerhouse and Erik Buckham | |
| Directed by | Don Argott |
| Produced by | Sheena M. Joyce |
| Cinematography | Don Argott |
| Edited by | Demian Fenton |
| Music by | Westward Dylan Thordson |
| Production | Maj Productions |
| Distributed by | IFC in Theaters |
| Release dates |
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| Running fourth dimension | 101 minutes |
| Country | Usa |
| Linguistic communication | English |
The Art of the Steal is a 2009 documentary film directed by Don Argott, about the controversial move of the Barnes Foundation, generally considered to be the globe's best drove of post-Impressionist art and valued in 2009 to exist worth at least $25-billion, from Merion, Pennsylvania to Philadelphia. The motion was disputed because Dr. Albert C. Barnes, who died in 1951, had specifically selected Lower Merion Township for its location. The collection was moved in 2012 to Philadelphia.[one] The flick presents an business relationship of the claimed breaking of Barnes' volition, which it presents as a decades-long process that was initiated by Philadelphians who were enemies of Barnes while he was alive, and that was continued by their heirs.
Subject and making of the film [edit]
The will of Dr. Barnes established the Foundation with strict rules against ever moving the collection or any of its paintings away from its location, and to serve primarily as a school for the pedagogy of fine art, art criticism, and fine art appreciation, and non primarily as a museum for the general public. The people who supported the motility argued that the collection should instead become a major tourist-attraction for Philadelphia. The supporters of Merion claimed that the Philadelphians were less interested in Dr. Barnes's will than in enhancing their ability by taking over the command of a $25+ billion asset.
The collection was located in a residential neighborhood virtually five miles from Philadelphia. Because of the abiding efforts by the Philadelphia aristocracy to seize the drove, the Commonwealth of Pennsylvania refrained from contributing funds to make its endowment sufficient, but secretly arranged to provide $100 million of taxpayer funds just once the command of the Foundation was taken over by the new lath.[ commendation needed ] The new president and officers of the lath succeeded in challenging the volition to enable it to send some pieces on tour to earn enough money for needed renovations to the facility to preserve the artwork and provide security. But trivial went to the upkeep of the facility, considering the funds were tuckered away past the legal contest of the will.[ citation needed ]
The 9,000-piece collection of generally late-19th- and early-20th-century art includes 181 Renoirs, 69 Cézannes, threescore Matisses, 44 Picassos, and fourteen Modiglianis. What makes the collection boggling is not just the artists, simply that Dr. Barnes acquired so many of the very best works of each of those masters. The extraordinarily high overall quality of the works is the chief special aspect of the collection.
While the film includes journalists, art historians and public figures on both sides of the long argue, many of the figures discussed in information technology, such as Rebecca Rimel (CEO of the Pew Charitable Trusts, the group which purportedly benefited financially from the Barnes's motion), Raymond G. Perelman (a powerful local billionaire alleged to have orchestrated the move); and Bernard C. Watson (the president of the Barnes Foundation, who was accused of giving over its control to the Philadelphia authorities), declined to be interviewed for the documentary.
Reception and distribution [edit]
The film was met with mixed and emotional reactions when information technology was shown at the New York Film Festival. Managing director Don Argott described the Q&A session that followed the movie: "People were yelling, screaming at each other. These issues bring out these emotions. I'g not sure why. Just for some reason the Barnes stirs something upwards in people."[2] Executive Producer Lenny Feinberg said "[Nosotros had] no thought we would ever be where we are today ... everywhere we go, in that location's lines of people. We've non had a Q&A session where they haven't had to throw the states out, considering it went on too long."[3]
Ten days after its premiere at the 2009 Toronto International Film Festival, the film was acquired past Rainbow Media, now AMC Networks, and owner of IFC Films.[four] The motion picture was ultimately distributed to more than 100 theaters in North America and made available for online streaming through SundanceNow.[5] [6]
In addition to the New York Motion-picture show Festival and Toronto International Pic Festival, the film was also named an Official Selection of the AFI Film Festival 2009.[vii]
In response to the moving picture's release, Bernard C. Watson, chairman of the Barnes Foundation lath of trustees and 1 of the figures criticized in the film, published an editorial letter in The Philadelphia Inquirer claiming the film "lacks objectivity and perspective."[8] Derek Gillman, president and executive director of the foundation, said, "The pic was full of unsubstantiated allegations and very one-sided. It was made by people who were hostile to the motion and very angry nearly it. That's why we didn't cooperate with the filmmakers. It was non in our interests to do so."[9]
Director Don Argott argued that presenting the story unfairly was not his intention, maxim that he wanted supporters of the motion to have a vocalism in the film. He added, "at that place are a lot of allegations and accusations and ... I think in fairness, certainly equally a documentary filmmaker you lot desire to have everybody's point of view come across in the well-nigh fair mode that yous tin and we tried."[ten]
Critical response [edit]
Roger Ebert of the Chicago Sun-Times gave the moving-picture show 3 1/ii out of four stars and wrote, "It is perfectly clear exactly what Barnes specified in his will. It was drawn up by the best legal minds. Information technology is clear that what happened to his collection was against his wishes. It is clear that the metropolis fathers acted in obviation of those wishes, and were upheld in a court of appeals. What is finally clear: It doesn't matter a damn what your will says if you have $25 billion, and politicians and the establishment want information technology."[11]
Owen Gleiberman of Entertainment Weekly gave the film a B+ and noted that "at times, The Art of the Steal is a scrap too shocked by the vulgarity of commerce, but it's memorable when it meditates on the changing face of where we look at art, and how that changes the fine art itself."[12]
Equally of October 2016, the review aggregator website Rotten Tomatoes reported that 85% of critics gave the film positive reviews, based on lx reviews with an average score of 7.2/10. The site's consensus of reviews was: "Deeply esoteric and unapologetically one-sided, The Art of the Steal proves a documentary doesn't have to make an objective statement as long as information technology argues well."[13]
References [edit]
- ^ "The Art of Stealing from the Rich and Dead". Vanity Fair. March 2, 2010. Retrieved March 12, 2010.
- ^ "Requiem for a Jumble of Artworks". nytimes.com.
- ^ "'Art Of The Steal': Actual Heist Or Conspiracy Theory?". npr.org.
- ^ Knegt, Peter (2009-07-21). "Toronto Bargain: "Art" Stolen For New Sundance Characterization". IndieWire.
- ^ "Virtually MAJ Productions". MAJ Productions . Retrieved 2015-07-15 .
- ^ "The Art of the Steal". SundanceNow . Retrieved 2015-07-15 .
- ^ "The Fine art of the Steal". IFC Films. Archived from the original on 2015-07-16.
- ^ "New movie misrepresents the Barnes Collection and its movement to Philadelphia." Archived 2010-12-12 at the Wayback Machine The Barnes Foundation
- ^ Rosenblum, Constance (Feb xix, 2010). "Requiem for a Jumble of Artworks". The New York Times . Retrieved March 12, 2010.
- ^ "Within the Barnes Foundation Don Argott Discusses 'The Art of the Steal'". nytimes.com.
- ^ "The Art of the Steal". Chicago Sunday-Times. March 10, 2010. Retrieved March 18, 2010.
- ^ "The Art of the Steal". ew.com.
- ^ "The Art of the Steal (2009) ! Movie Reviews, Pictures". Rotten Tomatoes . Retrieved 2016-02-14 .
External links [edit]
- Official website
- The Art of the Steal at IMDb
- The Fine art of the Steal at AllMovie
- The Art of the Steal at Metacritic
- The Art of the Steal at Rotten Tomatoes
- "Barnes $25 Billion Art Trove, Boardroom Fight Bulldoze Documentary". bloomberg.com. February 26, 2010. Retrieved March 12, 2010.
- Why Lenny Feinberg funded 'Art of the Steal', San Francisco Chronicle
Source: https://en.wikipedia.org/wiki/The_Art_of_the_Steal_(2009_film)
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