Art Shuttle Service
DTD Fine Art Services | www.dtdusa.com | info@dtdusa.com
T: 908-707-0077 | F: 908-707-0011
Please note we have a shuttle departing NYC on August 27th and will arrive in Miami, Florida by August 30th.
If you have any property you would like us to move, please let us know.
- DTD Fine Art Services
Other Services
Climate and temperature controlled facilities; storage, viewing & photography
Installations; private, gallery & art fairs
Packing and crating; custom made crates and solutions
Private client, Gallery, Auction House & exhibition services
Shuttle services; temperature controlled, air ride and GPS controlled vehicles
What's new in the Art Industry?
Despite Bans on Public Gatherings, Marc Glimcher’s New ‘Superblue’ Initiative Is Launching a Series of Venues Dedicated to Big, Immersive Art
In addition to commission fees, artists will share part of the profits from ticket sales.
Eileen Kinsella | news.artnet.com
A project by Krzysztof Wodiczko provides an object lesson in the power of empathy.
Before the global pandemic radically altered the potential of large public gatherings, the long lines to visit viral sensations like Japanese artist Yayoi Kusama’s “Infinity Rooms,” James Turrell’s “Skyspaces,” and Random International’s Rain Room reflected the public’s hunger for immersive art installations.
What Truths Can You Divine From Instagram Paintings?
How the act of scrutinizing art online has changed the role of the critic.
By Barry Schwabsky | thenation.com
Which is the real work of art: the one on the wall or the one in your mind after you’ve seen it? Which counts more, the object or the experience? I’ve long insisted that it is impossible to evaluate an artwork—and especially, perhaps, if it’s a painting—without seeing it firsthand. The only exceptions are works made specifically for reproduction—in other words, certain (but not all) kinds of conceptual art, but also graphic arts, comics, and the like. Otherwise, reproductions (whether printed or digital) just don’t do the trick of communicating a work’s innate materiality, however rarefied or seemingly intangible that materiality may be. As the painter Rafael Vega recently told me, reflecting on the move by galleries to take more of their business online, “Like it or not, we need physical space to show those objects, because [paintings] exist in a real time and place. At least for now, I don’t see how online shows can do the same thing.”