Eli Broad Philanthropist And Art Collector Dies Age 87 / /
The Philanthropist and entrepreneur Eli Broad, who co-founded with his wife Edye the contemporary art museum, The Broad in LA has died age 87.
“Eli saw the arts as a way to strive to build a better world for all. He was a fiercely committed civic leader, and his tenacity and advocacy for the arts indelibly changed Los Angeles. He will long be remembered for his unmatched generosity in sharing the arts passionately and widely,” said Joanne Heyler, Founding Director of The Broad.
In 1963, the Broads moved to Los Angeles, which became their adopted hometown and the central focus of much of their philanthropy and civic activism. Since moving to Los Angeles, the Broads have played two leading roles in making contemporary art and world-class architecture essential to life in the city for residents and visitors. Over his lifetime, Broad and his wife Edye, have given so much to the city of Los Angeles including, The Broad
The game features 150 works from Gund s collection.
April 29, 2021
Words of Art, a card game
based on the art collection of Agnes Gund. Photo courtesy of Catherine Gund.
Among art world
cognoscenti, Agnes Gund is legendary as an art collector and philanthropist. Now, Gund and her illustrious art collection is also the subject of a card game.
Titled Words of Art, the game is the brainchild of the collector’s daughter Catherine Gund, who last year directed a documentary film,
Aggie, about her mother’s lifelong support of the arts in New York City. Catherine and her children devised the card game years ago, as a present for the collector.
This week, the editors celebrate Wayne Koestenbaum’s essay on the art of the fugue, “Notes on Not Now,” which appeared in the magazine’s pages in December 1995. Koestenbaum’s conversation with countertenor Anthony Roth Costanzo will be released tomorrow as part of the online video series “Artists On Writers | Writers On Artists,” a copresentation of Artforum
and Bookforum.
“I am confused about the spirit of the age,” Wayne Koestenbaum confesses in his incandescent and hilarious he would likely prefer the word hysterical essay “Notes on Not Now.” Playing inside the form of the fugue both the musical composition and that muggy state of mind the piece muses on what, or who, signals the contemporary. In a culture that embroiders its currency with revivals and republications, comebacks and recirculations, is there no time not like the present? As ever, Koestenbaum’s measure of a moment is prompted by matters of language. Here, a scholar’s mention of “iconoph
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