Noticias de interés

A death stare greets me as I enter peter campus’s exhibition at The Phillips Collection in Washington, D.C. A man looks right at me, dead on—or at the camera, really. His harsh eyebrows, thick yet articulated, add to the intensity. In the next room, there are four videos of the landscape where campus lives on Long Island. These too are still-yet-moving images played on a loop. Immediately, I feel the ways that time passes differently for the rocks and the rivers than for that man, the one with death on his mind. Together, the four videos comprise the philips quartet (2023–24) and consider “the special light on eastern long island,” per campus’s statement in the accompanying catalog. The artist has long been concerned with self-reflection, but also self-effacement—as seen in his lowercase letters and in his most iconic work, Three Transitions (1973). In one scene from that greatest hit, he appears to erase his own face, only for another video of his face to appear underneath. The video shows the artist using editing tricks in obvious yet magical ways. He keeps disappearing, as if made of and returning to dust. The special effects are seductive without feeling tricky: you are [...]

The Lower East Side gallery presents new works by an artist who has shown in major US museums since the 1960s. The exhibition is open through February 22. Transform your art practice with access to internationally-recognized faculty and state-of-the-art facilities in downtown Vancouver. MFA and MA applications are accepted through February 15.

This spring, Gagosian will open its 14th exhibition dedicated to Roy Lichtenstein. Titled “Painting with Scattered Brushstrokes,” the exhibition draws exclusively from the Lichtenstein family collection and will feature paintings, sculpture, watercolors, and works on paper from the 1970s and ’80s. Opening March 19 at the gallery’s 541 West 24th Street space, the show lands in the middle of a frenzied run of market activity for the late Pop artist, alongside a major Whitney Museum retrospective for Lichtenstein opening later this year. Last April, Sotheby’s announced a consignment of more than 40 works from the artist’s family, estimated above $35 million. In September, it staged a dedicated single-owner sale of more than 90 works from the Dorothy and Roy Lichtenstein Collection. Then in November, as part of the house’s contemporary evening sale, it sold eight works from the collection, achieving $20.7 million and a 100 percent sell-through rate. In total, Sotheby’s sold nearly $150 million worth of art by Lichtenstein. The Gagosian show focuses on a motif that Lichtenstein would return to again and again: the brushstroke. In the 1960s, with Abstract Expressionism fully established

The cohort will be the first to be in residence in the museum’s new building, which opened last fall. For the building’s inauguration, the Studio Museum mounted an exhibition titled “From the Studio: Fifty-Eight Years of Artists in Residence,” in the very space, officially called the Bruce Llewellyn Artist in Residence Center, where future artists in residences would soon work. Closing on Sunday, that exhibition featured work from nearly every one of the more than 150 artists in residence it has hosted since the program launched in 1969. Past participants include Njideka Akunyili Crosby, Jordan Casteel, Lauren Halsey, David Hammons, Maren Hassinger, Titus Kaphar, Simone Leigh, Kerry James Marshall, Julie Mehretu, Wangechi Mutu, and Tschabalala Self. Pharr, Quamina, and Simmons will be in residence from March 15 until October 15 of this year. Funded by the Glenstone Foundation, the residency culminates in an exhibition, with an accompanying publication, at the Studio Museum. Additionally, residents receive institutional and material support, professional development guidance, and access to the wider Studio Museum community, from its curators to past residents. “Our new Artist in Res

With a beloved statue of Rocky Balboa being moved from the bottom of the Philadelphia Museum of Art‘s steps to its top, the Philadelphia Art Commission has officially selected a replacement artwork: a monument to Joe Frazier, an actual Philadelphian boxer (unlike Rocky, who is fictional). The Frazier statue is currently exhibited outside the Sports Complex in South Philadelphia, where the monument has been located since 2015. Before the art commission formally approved the plan on Wednesday, city officials argued that it could offer a chance for Frazier to assume greater visibility in Philadelphia, where Rocky, a character who was created for the titular film series, can hog the spotlight in the eyes of tourists. “Relocating the Joe Frazier statue to this prominent civic and cultural space would increase public visibility for the statue, deepen educational opportunities, and create a respectful dialogue between two complementary representations of Philadelphia’s spirit: Rocky Balboa as a symbol of hard work and aspiration, and Joe Frazier as the embodiment of those values lived out in real life,” Marguerite Anglin, public art director of Creative Philadelphia, wrote in a proposal t

A sculpture by English artist Henry Moore that’s fresh to the auction block is headlining Christie’s 20th/21st Century evening sale in London on March 5. Titled King and Queen (1952-53), the 64-inch-tall bronze has a £15 million ($20.5 million) high estimate.Katherine Arnold, Christie’s vice chairman of 20th/21st century art and head of post-war and contemporary art for Europe, told ARTnews that the bronze is “the most exciting sculpture I’ve ever seen brought to market.”She added that the work was acquired directly from the artist by the anonymous current owner: “It is the first cast in an edition of four plus an artist’s cast, and it is the only remaining example in private hands.”All the other casts of King and Queen are now in major public museums including the MOA Museum of Art in Atami, the Hirshhorn Museum and Sculpture Garden in Washington, D.C., the Middelheim Museum in Antwerp, and the Norton Simon Museum in Pasadena. Two additional casts were later made especially for the Tate (in 1957) and for the Henry Moore Foundation (in 1985).“Moore worked directly in wax and plaster rather than through extensive preparatory drawings, which gives the sculpture a wonderful immediacy,

A museum devoted to Belgium’s colonial history in Africa has found itself involved in a dispute over access to documents pertaining to rich mineral deposits in what is now the Democratic Republic of Congo, formerly colonized by the European country. The Royal Museum for Central Africa opened in 1897 in Tervuren, near Brussels, as a means for King Leopold II to demonstrate the wealth of cultural artifacts as well as natural resources obtained from the region. Reviewing a prominent display currently on view at the museum, the New York Times notes that “millions of Congolese people were subjected to starvation, mutilation and death while enslaved or otherwise forced to submit to Leopold’s extractive regime.” The museum re-branded in 2018 as part of a $73 million renovation. In 2021, Belgium said it would transfer ownership of hundreds of objects from the DRC that were illegally added to the museum’s holdings, principally works from the collection of the Africa Museum. About one percent of its collection was obtained illegally, said the Belgian authorities at the time. The museum found itself under harsh criticism in 2019, when people attending a party at the museum wore blackface and

High Line Art, the Cecilia Alemani–curated enterprise the programs and commissions public artworks for the reimagined elevated-train-track park in New York, announced its next season, to start in the spring and continue (in most cases) for around a year. Patricia Ayres will present an installation of sculptures that “resemble a patchworked-cadaver version of a dress form,” per a press release, in ways that reference the New York–based artist’s “upbringing in the Catholic church, women’s fashion standards, and the carceral system.” Lastly, Derek Fordjour will show painted bronze sculptures of Black figures including a boxer and a waiter to accompany his mural Backbreaker Double (which premiered in December). As the release describes, “Fordjour positions sportsmanship and service work as forms of performanceship and as an assertion of individual agency and a demand for endurance.” In a statement, Alemani—High Line Art’s director and chief curator, who has also curated high-profile exhibitions including the 2022 Venice Biennale—said, “With each new commission and each artist’s unique way of interpreting the world we live in and shape, I learn so much, from topics as wide-ranging yet s

The stitched-together hides were originally excavated, along with other materials (braided cords, knotted bark, and other fiber objects), by an amateur archaeologist named John Cowles from Cougar Mountain Cave in western Oregon in 1958, according to the study published in Science Advances. Cowles kept his findings until his death in the 1980s, at which point they were transferred to the Favell Museum, which collects Indigenous artifacts and contemporary western art, in Klamath Falls, Ore. Some of the objects in the study (wooden and fiber artifacts) were originally discovered in the nearby Paisley Cave.

The building does much of the talking. Visitors enter through an 80-foot glass atrium that opens onto a grand staircase, a triple-height gallery, and two sizable auction rooms. The historic Steinway Rotunda has been restored and folded into the mix, giving the place a sense of old New York glamour without feeling dusty. It is polished, vertical, and designed to be seen from the street, encouraging passersby to look in and actually glimpse what is happening. In the atrium, an exhibition titled “Striking a Chord” brings together 20th- and 21st-century heavyweights, including a rare Constantin Brancusi sculpture, La Muse endormie II, alongside works by Francis Bacon, Lee Krasner, and John Chamberlain. The theme riffs on the building’s Steinway history, leaning into the idea that art can hit you like a piece of music. It makes clear that Bonhams wants to play confidently in the blue-chip arena. Down in the Rotunda, a 1910 Steinway Model B grand piano, played by Elton John during the recording of his 1974 album Caribou, sits like a gilded rock-star relic. Estimated at $250,000 to $350,000, it will anchor a series of guest performances before heading to a spring online sale. It is part m

Among the works on offer is a tapestry by El Anatsui (estimate £800,000-£1.2 million) and an oil painting by Sean Scully (estimate £600,000-£800,000)—both scheduled to hit the block during the contemporary evening sale on March 4—along with works by William Kentridge, Tony Cragg, Georg Baselitz, Anish Kapoor, Mimmo Paladino and Jeff Koons. Those works will appear in the day sale on March 5.

The Stonewall National Monument is the first national monument in the US dedicated to LGBTQ+ rights and history, having been designated in 2016. It encompasses Christopher Park, where the flagpole is, and the Stonewall Inn, where protestors called for change in June 1969 via an uprising after a police raid on the bar. That action has often been considered the catalyst for the LGBTQ+ rights movement, with Stonewall becoming synonymous with the struggle. On X, Mamdani said, “I am outraged by the removal of the Rainbow Pride Flag from Stonewall National Monument. New York is the birthplace of the modern LGBTQ+ rights movement, and no act of erasure will ever change, or silence, that history. Our city has a duty not just to honor this legacy, but to live up to it. I will always fight for a New York City that invests in our LGBTQ+ community, defends their dignity, and protects every one of our neighbors—without exception.” The removal comes at a time when the Trump administration has continued its crackdown on national monuments, including Stonewall. Last February, the Trump administration removed the word “transgender” from the website for the Stonewall National Monument, which led to

Following its debut at Art Basel Miami Beach in December, Zero 10’s first Hong Kong outing will feature 14 exhibitors with a program that includes digital animations by DeeKay examining psychological states through the lens of early video games (via a presentation by AOTM); a meeting of AI, sculpture, installation, and traditional ink painting featuring works by Seneca, Qu Leilei, Tim Yip (at Asprey Studio); and a “participatory blockchain -based work” by Robert Alice (at Onkaos). For this year’s edition, Encounters will be organized by curatorial team led by Mami Kataoka, director of the Mori Art Museum in Tokyo. She will work with curators Isabella Tam, Alia Swastika, and Hirokazu Tokuyama on the section, which will feature 12 large-scale sculptures, installations, and performances designed to “transcend” the conventional gallery booth, according to a release. The curatorial vision draws on the Five Elements, an ancient Chinese cosmological framework in which the universe is structured around space (or ether), water, fire, wind, and earth. Reflecting this theme, the section will be dispersed throughout the Hong Kong Convention and Exhibition Centre, where the fair takes place. On