‘The Large Glass’ Edition -ARTnews

Marcel Duchamp, The Bride Stripped Bare by her Bachelors, Even (The Large Glass), 1915–23.

VIA CREATIVE COMMONS/COURTESY PHILADELPHIA MUSEUM OF ART

Glass

Some artworks produced in the year 1923 have entered the public domain as of January 1. This means that anyone can freely publish images of Marcel Duchamp’s The Bride Stripped Bare By Her Bachelors, Even (The Large Glass), among other works. [Hyperallergic]

Here’s a look inside the collection of Harlan and Olivia Fischer, who own more than 200 glass works by contemporary artists. [The New York Times]

Theft

“The U.S. art market for stolen antiquities from Yemen must be shut down.” [The Washington Post]

Court

Artist Lina Iris Viktor has settled her copyright infringement lawsuit against rapper Kendrick Lamar, who she alleged drew too liberally on the look of her work for one of his and SZA’s music videos. [The Art Newspaper]

According to a new decision by French supreme court, Christie’s branch in the country is allowed to charge buyers droit de suite—resale royalties that are ultimately given to artists or their heirs. [The Art Newspaper]

Cady Noland

On the occasion of the artist’s retrospective at the Museum für Moderne Kunst, Bruce Hainley writes on the art of Cady Noland. [Artforum]

Museums

Peter Schjeldahl on a survey that aims to redefine the canon of abstraction at the Metropolitan Museum of Art: “A desire to shake up received art history is more than admirable today—it’s urgent for a future of pluralist values. But this show effectively reinforces the old status quo.” [The New Yorker]

The Stedelijk Museum has added four new board members: Carla Aalse, Henriëtte Prast, Maarten Doorman, and Homme ten Have. [Artforum]

“I certainly didn’t think I would stay on for 35 years,” Deborah Marrow, the former executive of the J. Paul Getty Trust, who retired in December, said in a new interview. “I thought I would be a university professor or museum curator, but when the Getty came my way, it seemed too interesting an opportunity to pass by, and it has been amazing.” [The Art Newspaper]

Lives

Sam Dolnick writes on Phyllis Kind, the late Chicago gallerist who did not shy away from showing work by artists with mental disabilities. “Kind was awed by their passion, their single-minded focus,” he notes. [The New York Times Magazine]