Noticias de interés

In 1982, the Museum of Modern Art staged the first-ever major retrospective dedicated to the work of Louise Bourgeois. She was 70 years old. The overdue exhibition was intended to solidify Bourgeois’s legacy, to recognize more than half a century of creative output. But Bourgeois would live another 28 years, and would make art until the day she died. What’s more, the pieces from the final stretch of her life were among her best and most innovative. Bourgeois was far from the only artist who continued to evolve right up until the end of her life. Gubar, a feminist scholar and literary critic, argues that women artists have historically found tremendous freedom in old age, liberated at last from domestic obligations, sexual objectification, and the dominion of men. Grand Finales profiles nine such women — including two visual artists, Bourgeois and Georgia O’Keeffe — to establish a lineage of creatives who reinvented themselves in their final years.  Get the latest art news, reviews and opinions from Hyperallergic. Gubar, herself 80 years old, doesn’t romanticize the experience of aging: she knows firsthand that with it comes a parade of losses, from our strength and mobility to our

When Diane Simpson was in high school in the early 1950s, she used to travel into Chicago from her family’s home in Joliet, Illinois. “On my ‘L’ train ride from the train station to the Art Institute,” she told me, “I looked forward to passing close-by to certain buildings.” Chicago had been famously dubbed the “city of the big shoulders” by poet Carl Sandburg; Louis Sullivan, Frank Lloyd Wright, and Mies Van Der Rohe all built here. To this day, seven full decades later, the lines and masses of Chicago’s formidable architecture can be seen in Simpson’s sculptures. Not, of course, in any straightforward way: for Simpson portrays the world aslant, as if she were hurtling past on elevated tracks. In the late 1970s, returning as an MFA student to the Art Institute—she had taken some years off since her BFA there, to raise a family—she was working with a printmaking technique called “collography,” which involves affixing materials on to a plate, inking the collaged surface, then printing it onto paper as if it were an intaglio etching. The compositions gradually got larger until they could no longer fit on a printing press. “At that point,” as Simpson has recalled in [...]

The arrest of a man suspected of starting the tragic Pacific Palisades fire in January was aided by the discovery of a ChatGPT image created to envision a “dystopian painting” of people fleeing a fire amid a power struggle between the rich and the poor. In July 2024, Rinderknecht also reportedly asked ChatGPT to create a “dystopian painting” of a blaze in which “hundreds of thousands of people in poverty are trying to get past a gigantic gate with a big dollar sign on it. On the other side of the gate and the entire wall is a conglomerate of the richest people. They are chilling, watching the world burn down, and watching the people struggle. They are laughing, enjoying themselves, and dancing.” Rinderknecht has been charged with destruction of property by means of fire, with the possibility of additional charges including murder, after the tragedy in which 12 people died and more than 6,000 homes were destroyed. The grounds of the Getty Villa museum caught fire as a result of the blaze, leading to four months of closure before the institution reopened in May. And the tragedy raised wrenching questions for residents of Pacific Palisades—including art collector Ron Rivlin, who [...]

The Otto Kallir family gifted more than 130 Austrian Expressionist works to the Los Angeles County Museum of Art (LACMA). The donation, with a value well in excess of $60 million, will add the first paintings by Gustav Klimt, Egon Schiele, and Richard Gerstl to LACMA’s collection.  The collection surveys the beginnings of Austrian Expressionism from the turn of the 20th century through the 1920s, with paintings, drawings, prints, posters, and mixed-medium works by artist-designers associated with the Wiener Werkstätte. A selection of 24 works from the donation will be on view in the exhibition “Austrian Expressionism and Otto Kallir” running November 23 through May 31, 2026. In January, a panel discussion with Jane Kallir and leading art historians, and a documentary screening and conversation will take place. Next year, the Kallir Research Institute will support LACMA’s study of Austrian Expressionism via the Rifkind Center’s scholar-in-residence program. A comprehensive exhibition of the Kallir donation is slated for 2030. “Although LACMA has a distinguished collection of German Expressionist paintings and sculptures, we have long felt the lack of paintings by Austrian Expression

Edi Rama, prime minister of Albania for more than a decade, is hardly an art world novice. He studied at the Academy of Arts in his native Tirana, and was a professor there as well. He was a working artist in Paris in the ‘90s, before returning to serve as Albania’s minister of culture in 1998. Rama became mayor of Tirana in 2000, and prime minister in 2013. Yet it still came as a surprise to many—even those in the know at ARTnews!—when the well-regarded contemporary art gallery Société announced that it is representing the politician/artist. Rama joins an international group of artists on Société’s roster, among them Trisha Baga, Lu Yang, and Petra Cortright. Last year, Marian Goodman exhibited his work at the gallery’s Paris space, a series of boldly colored ceramic sculptures that look like they could have been excavated from a coral reef, as well as abstract works on paper—many of which are calendar pages—and wallpaper.A 2016 profile of the PM in the Financial Times noted that Rama’s first order of business when hosting Angela Merkel, then the chancellor of Germany, was to introduce her to a group of prominent European contemporary artists, all of whom were [...]

Events for the exhibition “The Outwin 2025: American Portraiture Today”, which is slated to open at the National Portrait Gallery on October 18, have been rescheduled due to the ongoing government shutdown. Drawing from more than 3,300 entries, “The Outwin 2025: American Portraiture Today” is a juried show featuring 35 portraits by 36 artists from 14 states, Washington, D.C., and Puerto Rico, as part of the museum’s seventh triennial Outwin Boochever Portrait Competition. Though the letter cites this as “an uncertain time”, it reassuringly adds, “The National Portrait Gallery is looking forward to sharing this exhibition with you and the public and look forward to the moment when we can recognize our finalists and prizewinners. We will announce a rescheduled date for the opening events and of the exhibition following the resolution of lapsed funding.” They were selected by the 2025 guest jurors curator and writer Carla Acevedo-Yates, University of Pennsylvania professor and writer Huey Copeland, artist LaToya Ruby Frazier, and artist Daniel Lind-Ramos. This is latest change in programing amid the ongoing government shutdown, which has seen a number of museum and national park servi

The 54-year-old El-Enany served as Egypt’s minister of tourism and antiquities from 2019 to 2022 and is a professor of Egyptology at Helwan University in Cairo. He previously served as minister of antiquities from 2016 until that department was merged with tourism in 2019. He also served as director of Cairo’s Egyptian Museum and the National Museum of Egyptian Civilization. During his term in the Egyptian government, he supervised the construction and renovation of more than 20 museums, often in collaboration with UNESCO. He was integral to the development of the Grand Egyptian Museum, a $1 billion institution that partially opened last year after a decade of development. (The GEM will have its grand opening in November.) In February of this year, UNESCO reported that 341 cultural sites—including 26 religious structures, 150 buildings of historical or artistic importance, and 31 museums—across Ukraine have been damaged since the outbreak of war in February 2022. The following year, Audrey Azoulay, UNESCO’s outgoing director-general, promised more than $10 million toward rehabilitation efforts. Meanwhile, in June, an investigation by a UN commission concluded that Israeli attacks o

In a press release, the museum said the change “places Philadelphia front and center,” though, by my read, so too does the Philadelphia Museum of Art. But who am I to stand in the way of progress? “The Philadelphia Art Museum has long been the cultural heart of the city, and it’s our duty to maintain that role,” Sasha Suda, the museum’s director and CEO, said in a statement. “Our focus and vision are unabashedly Philadelphian; we’re opening our doors to become more collaborative and future-focused for all.” For the rebrand, the museum worked with branding and design studio Gretel, whose client list includes some major heavy hitters: the New York Times, CBS, Major League Soccer club New York City FC, the Museum of Modern Art in New York, the Crystal Bridges Museum of American Art in Bentonville, Arkansas. For those last two art world clients, Gretel designed a visual archive of short-form promotional content and a members-only publication, respectively. “This project is the result of more than a year of research, collaboration, creative development, and iteration,” Ryan Moore, executive creative director and partner at Gretel, said in a statement. “Our main objective was to ‘come do

“As descendants of the people who first witnessed the signs of the sea’s disappearance, we, contemporary Central Asians, have to deal with what is left in the wake of this catastrophe,” reads an artist statement from Diana T. Kudaibergen, a cultural and political sociologist, and a member of the creative advisory board that serves Tselinny in place of a head curator.   Perhaps that’s why Barsakelmes opened programming. From its history to artistic strategy, to the building it now occupies, the Tselinny Center of Contemporary Culture embodies the inverse message: Learn and live.   The audience was a mix of local and international arts patrons, professionals, and journalists, seated in a half-circle around a monumental multi-colored yurt by Berlin-based Kazakh visual artist Gulnur Mukazhanova, with additional visuals by Darya Temirkhan. The installation was like the Barsakelmes of legend: a manmade portal to the spiritual plane. Whirling dancers wrapped in white linen passed in and out, drawn by salt lines on the floor. A traditional throat singer sang of families torn apart, according to an attendee fluent in the language. Late into its 90-minute running time, horses charged in—or m

“Forces of Nature” pairs two London-based artists, Abbas Zahedi and Jamiu Agboke, who work, respectively, in conceptual installation and atmospheric painting. Zahedi’s 11&9 is a filing-cabinet-turned-archive filled with “biographical records” that visitors can swap out for personal objects—a meditation on bureaucracy, migration, and memory. Agboke’s reflective landscapes, painted on aluminum and copper, drift between Lagos and the English countryside, both familiar and dreamlike. Tanna first met Agboke at the Royal Drawing School. “He paints like a middle-class, middle-aged white man,” Tanna said, laughing. “And he behaves like one too—always in a blazer, very dapper.” Zahedi, meanwhile, is a longtime friend from the neighborhood, someone Tanna had “always wanted to work with.” For all the big talk of “rebalancing” and “territorial statements” floating around this show, what really drives Tanna is something far more direct: community. His programming has always been about making art accessible—showing work that locals recognize as theirs, not something that belongs to someone else.

Sagalassos has a rich history of more than 12,000 years of human habitation and started as a settlement along the slopes of Mount Akdağ. Dubbed the “First City of the Province” under Roman Emperor Hadrian, Sagalassos was the foremost urban center of Pisidia in its heyday. The site is on UNESCO’s World Heritage Tentative List, with a number of artifacts having been unearthed since excavations started in 1989.

Jeff Koons will return to Gagosian next month with “Porcelain Series,” his first solo show at the gallery since 2018’s “Easyfun-Ethereal” and his first major exhibition in New York in seven years. Opening November 13 at 541 West 24th Street, the show marks Koons’s first dedicated presentation of his “Porcelain” works—new and recent sculptures and paintings that trace the continuity of beauty and mythology across centuries. Koons was among Gagosian’s marquee artists for nearly two decades before leaving that gallery, and David Zwirner, in 2021 to join Pace. His move to Pace was framed at the time as a bid to focus on new work and production models, but no full-scale New York exhibition followed. After three years with Pace Koons rejoined Gagosian in 2025, debuting new work at Frieze New York this past May. Koons’s time at Pace was brief and reportedly turbulent. In 2024, Artnet News columnist Kenny Schachter wrote that a new body of porcelain-inspired sculptures—ambitious even by Koons’s standards—pushed the gallery into uncomfortable financial territory. Pace had, according to Schachter, brought on outside investors and sunk tens of millions into fabrication before the project stal

The London-and Lewes-based artist has a sense of humor when it comes to art history. Do stories and artists like this matter to you? Become a

By Fran Boulad, recent Art History graduate Part of our theme ‘video art’ Good Boy/Bad Boy marks Nauman’s return to … More

“For me, it’s important that we have 16 galleries who are new to the Art Basel fairs,” Vincenzo de Bellis, Art Basel’s chief artistic officer and global director of fairs, told ARTnews in an interview. “With this first-year fair, we wanted to give a platform to galleries that otherwise would not have that platform.” Art Basel Qatar is also the only one who has an artistic director, Doha-based artist Wael Shawky, whose appointment was announced in July. Under Shawky’s direction, Art Basel Qatar also carries a fair-wide theme, “Becoming,” which a press release describes as “[a] meditation on humanity’s constant transformation and the systems that shape how we live, believe, and create meaning.” In an unusual move for a major fair, the booths at Art Basel Qatar will all be focused on one artist, all of which are being announced ahead of the fair. Additionally, more than half of the selected artists hail from the MENASA (Middle East, North Africa, South Asia) region. De Bellis added, “One of Wael’s goals was to showcase the potential that artists from the region have and giving them a platform at the global level.” Artists from the region who will be exhibited from the [...]

The Bove show was announced on Wednesday by the New York institution, which also revealed that Taryn Simon has been tapped to take over the rotunda once Bove’s exhibition ends. Also set for 2026 is a show called “Guggenheim Pop” that will feature works by Roy Lichtenstein, Andy Warhol, Claes Oldenburg, and other members of the Pop art movement, alongside contemporary inheritors to them, such as Maurizio Cattelan, Lucia Hierro, and Josh Kline. Bove’s show, which opens March 2, 2026, features 25 years’ worth of work, including early drawings and the recent metal sculptures for which she is now best known. Those sculptures often feature vividly colored bars that appear crushed and twisted, and act as meditations on notions of weight and weightlessness. Monumental works in this format memorably appeared in the Metropolitan Museum of Art’s facade in 2021. The Guggenheim show, curated by Katherine Brinson, is being billed as Bove’s first-ever museum survey. It’s her biggest exhibition since defecting from David Zwirner to Gagosian, which also represents Simon, whose show opens after the close of Bove’s in August 2026. The museum is largely keeping details of Simon’s exhibition—opening Se

An edition (9/10) of a digital artwork titled Last Selfie (2019) by the anonymous artist XCOPY was sold for a record-breaking $3.27 million (727 ETH). It’s the highest price paid for an editioned artwork in the tokenized art space.XCOPY, whose work is highly sought after, is based in London. His style is often glitched, dystopian, and provocative, exploring themes like death, decay, and apathy through flashing imagery and distorted loops. The previous sale for an edition of Last Selfie (7/10) was in May 2025 for $1.2 million.Last Selfie was minted in 2019 as a limited edition of 10, and XCOPY released each for $20 when tokenized art was still nascent. An intermediary for the buyer who paid $3.27 million reportedly approached each collector who held an edition of the artwork. Nine out of 10 rejected their offer before one finally bowed. The identities of the seller and buyer are not yet known.Among the collectors who own an edition of the work are Raoul Pal, CozomoMedici, and punk6529.AI art collector Jediwolf is one collector who turned down the buyer’s offer. “I managed to collect my Last Selfie three years ago, and ever since, I’ve been reflecting on its meaning,” he told [...]

Their exhibition will be curated by Diane Lima, an independent curator based in São Paulo and Salvador. Lima most recently cocurated the 2023 Bienal de São Paulo, as well as organizing a survey for Paulo Nazareth at the Museo Tamayo in Mexico City. She received the social justice–focused Ford Foundation Global Fellowship in 2021 and edited the 2024 anthology Negros na Piscina: Arte Contemporânea, Curadoria e Educação (Blacks in Both artists, who are from the same generation, are known for practices that address Brazil’s colonial history, its aftereffects in the present day, and the ways in which these histories can be rewritten and reimagined as a means of liberation. “Together, Paulino and Varejão historically represent the most revolutionary aspects of the presence of women in the field of national art,” Lima said in a statement. “Their poetics, in harmony and friction, echo the struggles of social movements and democracy, without ever losing the sensitive capacity to amaze and surprise us with high-level technical quality.”   Paulino, whose practice spans painting, sculpture, drawing, printmaking, collage, and installation, focuses specifically on the experiences of Black women