Art in the News: DoubleLine Capital’s Jeffrey Gundlach, Young Afghan Musicians, and the Controv…

What is the background story behind DoubleLine Capital’s Jeffrey Gundlach’s involvement in the expansion of the Buffalo AKG museum?

In a recent interview, Marion Maneker discussed the expansion of the Buffalo AKG museum with DoubleLine Capital’s Jeffrey Gundlach. Gundlach, known as the billionaire bond king, has become a driving force behind the museum’s expansion. When planning to write about the museum, Maneker had sent questions to Gundlach, but their timing didn’t align. However, Gundlach later got in touch to have a chat. Gundlach’s approach to art and museum building was candid and compelling, making his story as a collector unique and interesting.

Gundlach’s involvement in the museum’s expansion has attracted attention due to his notable position in the financial world. As a prominent figure in the finance industry, his interest in art and his support for museum building brings a unique perspective to the art world. His collaboration with the Buffalo AKG museum adds to the cultural significance of the institution and highlights the importance of patronage and support from influential individuals like Gundlach. The background story behind Gundlach’s involvement showcases the intersection of finance and art, emphasizing the impact that collectors can have on promoting and expanding the art community.

How are young Afghan musicians rebuilding their community as refugees in Portugal, and what role does music play in their identity?

After fleeing Afghanistan due to the Taliban’s rise to power, nearly 300 young Afghan musicians, along with their teachers and staff, sought refuge in Portugal. Over the past three years, these young musicians have been working together to rebuild their community in their new home. NPR visited them as they embarked on their journey to establish themselves and caught up with them again before they embarked on a tour as the Afghan Youth Orchestra in the U.S.

The Afghanistan National Institute of Music, founded by Ahmad Sarmast in 2010, played a crucial role in bringing together young musicians from diverse backgrounds and circumstances in Afghanistan. It not only provided them with a safe space to learn and cultivate their musical talents but also served as a unifying force within the community. Sarmast believes that music plays a significant role in maintaining their identity as a community, transcending nationality, language, and religion.

The shared love of music creates a bond among these young musicians, forming a mosaic that represents the diverse nature of Afghanistan itself. Their collective effort to rebuild their community in Portugal through music showcases the transformative power of art in overcoming adversity and creating unity. As they continue to grow and establish themselves as musicians, these young Afghan refugees are not only rebuilding their lives but also using music as a means to preserve and strengthen their cultural identity.

What is the controversy surrounding the African art collection owned by Sam Njunuri, and why is it being ordered to settle a legal debt?

An African art collection owned by real estate agent Sam Njunuri has become embroiled in a controversy that has led to a court order. Njunuri, who owns a collection of 1,400 African artifacts, has been ordered to surrender one or two valuable objects to settle an outstanding legal debt of nearly $1 million. The court order comes after two temporary restraining orders were issued to halt planned auctions of the collection, which has been under investigation for several years.

The controversy surrounding the art collection began when Njunuri changed the locks and removed belongings of former tenants, Darlene Jarrett and Sylvia Jones, while they were on vacation in 2015. The couple sued Njunuri, and a jury ruled in their favor, ordering Njunuri to pay them $990,000 in damages. Njunuri planned to use the profits from an auction of his art collection to settle the debt but filed for bankruptcy, halting the auctions indefinitely.

Investigators have also been trying to uncover the origins of Njunuri’s expansive collection, which was only publicly revealed in 2020. The collection includes 1,400 African artifacts of unclear provenance, raising questions about their authenticity and legality. The discovery of the collection in a discreet shed surrounded by high-end security cameras has fueled the investigation. The court order to surrender valuable objects from the collection represents the ongoing legal and ethical challenges surrounding the ownership and sale of African art.