Noticias de interés

Since its founding in 1982, the Henry Luce Foundation’s American Art Program has supported wide-ranging collection projects and exhibitions at art museums in all 50 states. In commemoration of the program’s 40th anniversary, the foundation organized a yearlong series of virtual conversations moderated by field leaders and Luce grantees, past and present. Deliberately forward-facing rather than retrospective, the Henry Luce Foundation Conversations on American Art and Museums explore what the best futures of American art and museums might look like. Participants delve into the role of the visual arts in an open and equitable society, and the capacity of art museums to challenge accepted histories, elevate under-represented voices, and host the critical conversations in which we need to engage. A new exhibition at the Roswell Museum in New Mexico honors the underrecognized legacy of the self-taught wood carver. An art gallery and several historic buildings in the small town of Port Clyde were also damaged in last week’s blaze. Master new skills, set new goals, and grow as an artist at the Philadelphia school. From residencies, fellowships, and workshops to grants, open calls, and com

It may seem like a stretch for an artist eking out a living to compare themselves to the likes of Taylor Swift or A-listers picketing Hollywood studios, but that is exactly what a coalition led by digital rights group Fight for the Future proposes for the AI Day Of Action against corporate AI profiteering, held today, October 2. To keep large corporations from gaining copyrights over art made with AI, artists and allies are being called upon to post about the AI Day Of Action on their social media accounts today and to contact their congresspeople using links and scripts provided by Fight for the Future. Artists’ rights over their work have long been contested, yet nothing has brought the conversation to such a head as the advent of generative AI and its potential for corporate exploitation. While creatives from all fields are feeling the squeeze, few are at more risk than independent visual artists who lack funds and unions to fight for their interests. At the center of the current issue, and the focus of today’s action, is copyright. The term refers to legal ownership of intellectual property and has heretofore applied only to content made by a “human [...]

In Brooklyn Art Cluster, one of the building’s other basement studio complexes, painter and printmaker Ella Hepner lost works and art materials that she had left on the floor before the flooding.  “I had a lot of paintings wrapped in plastic separated with cardboard, and the water had gone through all of that,” Hepner told Hyperallergic, explaining that while “a lot of it was salvageable,” the wooden framings split as a result of structural water damage.  Hepner said that when moved into the affordable Gowanus studios, she refused the recommended flood insurance to cut rent costs. Working a full-time job to support her art, she said that “the possibility of paying more for a studio is out of the question.” As Gowanus undergoes widespread housing development projects after it was rezoned, the city has taken measures to alleviate flooding in the area, such as investing in resilient waterfront architecture that is adaptable to sea-level rise and daily tidal flooding and passing new regulations that mandate on-site stormwater management systems for emerging developments.  A new exhibition at the Roswell Museum in New Mexico honors the underrecognized legacy of the self-taught wood carv

Azerbaijani forces are also actively expunging any records of Armenian identity and history through the destruction of cultural landmarks and artifacts across the regions of Azerbaijan, including the newly conquered Artsakh region, putting one of the territory’s most symbolic monuments at risk of demolition. Among the many landmarks at risk is “We Are Our Mountains” (1967), referred to colloquially as “Tatik-Papik” (“Grandmother-Grandfather” in Eastern Armenian), an enormous mountainside sculpture just outside of Stepanakert, the capital city of the Republic of Artsakh. Designed and built during the Soviet period from red volcanic tufa stone by Armenian sculptor Sargis Baghdasaryan and architect Yuri Hakobyan, the monument depicts an old man and woman emerging from the earth, symbolizing the intrinsic connection between the people of Artsakh and the mountainous terrain they inhabit. Prior to the Second Nagorno-Karabakh War in 2020, “We Are Our Mountains” was a popular tourism destination and a point of pride for Artsakhi Armenians who would visit casually or host important milestone events such as weddings at the site. A photo of an Azerbaijani soldier standing in front of “We Are

A fire in Port Clyde, Maine, destroyed three paintings by Jamie Wyeth and one illustration by N.C. Wyeth. The fire on the night of Wednesday, September 27 wreaked havoc on the town’s idyllic dockside, destroying the Dip Net Restaurant, a general store, and the Wyeth Art Gallery. The downtown space serves as a community gathering place and a functional harbor for lobster fishing. All of the gallery’s contents were destroyed, including an illustration by 20th-century American artist N.C. Wyeth from the 12-painting series Men of Concord (1936), which originally accompanied a book of Henry David Thoreau journal selections, and three original paintings by Jamie Wyeth, the artist’s grandson. The Wyeth family has close ties to Maine. Illustrator N.C. Wyeth frequently depicted the state’s midcoast region from his summer home in Port Clyde, as did his son Andrew Wyeth. The latter’s famous painting “Christina’s World” (1948), on view at the Museum of Modern Art in New York, is set in South Cushing, a small town on the neighboring peninsula. Andrew Wyeth’s son Jamie is a realist painter who frequently depicts iconic scenes from the New England state and owns a home in the area. “My family was

British artist Harland Miller is best known for his paintings and screen prints that resemble worn Penguin book covers, and which bear invented ironic titles created by Miller. In this hand-finished screen print of Wherever You Are Whatever You’re Doing This One’s For You, Miller silhouettes the cover against a white background, adding a yellow band and light pink fingerprint-like details across its center. Deeply influenced by Abstract Expressionism, the artist came into contact with urban art in New York, where he moved to in 1986, even writing his master’s thesis on the transition of graffiti art from street to gallery. Traces of these influences can be felt in his bold use of text echoing and twisting vernacular phrases. An icon of the 1980s New York art scene along with Keith Haring, Jean-Michel Basquiat, and Jenny Holzer, Kenny Scharf continues to create works that reference popular culture and expand his distinctive visual universe. Scharf’s grinning figures, which reference cartoons like The Jetsons and Peanuts, are seen orbiting three central stars in Turnstar. This bronze sculpture is rare to auction as well; it is part of an edition of four. Stik, an anonymous London-bas

The museum claims the pavilion required costly repairs before it could even open. The pavilion “was delivered late, and as originally constructed, it failed to meet even the minimum museum-quality standards: it leaked in multiple locations, its interior environment was of inadequate quality, and its rooftop terrace was unusable,” wrote the museum in a statement. “It was only through substantial intervention by the [Asian Art Museum] Foundation, at its own significant cost, that these major issues were identified and corrected, and a first-class, museum-quality pavilion was finally achieved.” The museum said that it “is trapped in the middle” of the dispute over who should be responsible for paying for the additional costs incurred by the necessary repairs and interventions to the original design. The $38 million project was first announced in 2016. “Swinerton claims that it is not responsible, and points to what it contends were incomplete and inadequate plans prepared by Why,” the museum added. “Why denies those claims, and asserts that Swinerton failed to follow Why’s designs and basic, standard construction practices.” Founded by creative director Kulapat Yantrasast, Why has des

We visited the much-hyped exhibition at the Van Gogh Museum in Amsterdam. On Saturday morning at the Van Gogh Museum in Amsterdam, a healthy throng gathered as is usual in front of the post-Impressionist master’s famous Sunflowers. A decent measure of shoulder-bumping was needed to catch a glimpse of The Potato Eaters. But the biggest crowd at the world-famous museum, by far, was the one that had formed an orderly queue outside the gift shop before 10.30 a.m. This behaviour was, if nothing else, a marked improvement on what was seen in viral video footage of the frenzy on opening day of the institution’s much-hyped “Pokémon x Van Gogh Museum” exhibition. The collaboration was announced earlier this month with the kind of high-budget trailer Nintendo would use to launch a new video game. You might have seen the footage of museum visitors picking clean the gift shop of its Pokémon merchandise in a manner reminiscent of a Black Friday Walmart stampede. Shoppers were clamoring for a number of limited edition t-shirts, postcards, tote bags and teddy bears mashing up the beloved pocket monsters with the famous Dutch painter’s works. What you might have missed, however, is that “Pokémon x

How did a valuable sculpture end up on TV? An Isa Genzken sculpture found itself in a bizarre turn of events last month. First, it appeared on a popular German television program akin to the U.S. series Antiques Roadshow, then was almost immediately put up for auction—before being swiftly yanked from the block. According to Monopol, the September 6 episode featured an intensive care nurse identified only as Jörg F., who presented a Genzken sculpture that he said he’d received as a gift from the artist, during a period in which she was battling health issues and he cared for her. The work in question was identified as World Receiver (2011) and consists of a concrete block with two antennae. Jörg F. reportedly said the work was not to his liking and he wanted to sell it. The next day, the sculpture appeared for sale at Sotheby’s Cologne, with a much higher estimate of €30,000 to €50,000 ($31,500 to $52,550), bearing the provenance of “an important private collection from North Rhine-Westphalia.” According to the Sotheby’s lot description: “This work is registered under the no. IG/S 2011/14 in the archive of works by Isa Genzken, Galerie Buchholz Cologne, Berlin.” Galerie Buchholz [..

A work by Rashid Johnson also raked in $1.1 million at the charity art auction. Kim Kardashian and Tom Brady duked it out at a charity art auction in Atlantic City over the weekend, competing for who would take home an original George Condo artwork. Brady eventually outbid Kardashian with an offer of $2 million. However, when the artist was contacted, he agreed to create a second, matching work for Kardashian, for another charitable gift of $2 million. That sounds like a deal, if not a steal, considering the record for a Condo work is nearly $7 million, set in 2020 at Christie’s Hong Kong for Force Field (2010). Kardashian is no doubt familiar with Condo’s work—he painted multiple cover designs for her ex-husband Kanye West’s album My Beautiful Dark Twisted Fantasy. He and West met up at the artist’s New York studio in 2010 and listened to the album, after which Condo created nine paintings to be used as cover art. 

The London-based gallery has championed contemporary figurative art since 2001. Founded in 2001 by Colin Petit and Maggie Bollaert, London’s Plus One Gallery specializes in contemporary hyperrealism and photorealist art from the 1960s. With a mission centered on fostering and promoting both British and international artists working within the hyperrealist style, Plus One Gallery’s roster of artists features a diverse array of emerging and established artists working in the style. In 2018 the gallery moved into the Piper Building in Fulham, a primarily residential building, allowing the gallery the ability to provide a private and personalized experience for visitors and collectors. Collaborating on institutional exhibitions, hosting pop-ups, and offering private viewings, as well as maintaining a rigorous exhibition program (in-person and online), Plus One Gallery is able to platform and create a focus for a wide variety of hyperrealist art—from still life, urban and natural landscape, and figurative—illustrating the breadth of the style. We reached out to the gallery’s owner and director Maggie Bollaert to learn more about the decision to focus on hyperrealist art as well as the s

It is the only wartime document in which the President invoked "Heaven." Artnet News, October 2, 2023 Long believed lost, a historical letter written by George Washington during the throes of the American Revolutionary War has come up for sale in Pennsylvania.  The letter was addressed to Brigadier General James Potter, dated October 18, 1777, and penned the same day the U.S. president received news about the surrender of British troops led by General John Burgoyne, at Saratoga in New York. The battle marked the first Revolutionary victory over the British.  Potter served in the Pennsylvania militia during the war, when he maintained an intelligence network with a direct line to Washington. The artifact has been in the hands of his descendants for more than two centuries and is now being sold by Raab Collection, a private firm that deals with historical documents. It is valued at $275,000.  The October 18, 1777 letter written by George Washington to Brigadier General James Potter. Photo courtesy of Raab Collection. In the correspondence, the president, likely swayed by the victory, wrote to Potter with uncharacteristic emotion, mentioning both “Providence” and “Heaven” in its openi

You’d be hard-pressed to find a more dedicated and knowledgeable expert in the field of printmaking than Judy Hecker. Since 2016, she’s served as the director of Print Center New York, the city’s leading nonprofit exhibition space for the paper-based medium. As such, she brings her passion for printmaking to bear on the institution’s programming, broadening the public’s understanding of prints and multiples as a discrete art form that offers real experimentation. She is the first Print Center director to be appointed by its board—which could be confident in its decision. Going back to 1997, Hecker served as assistant curator in the Drawings and Prints department at the Museum of Modern Art, where she helped the curatorial team with acquisitions and organized numerous print-based exhibitions, most recently “Impressions from South Africa: 1965 to Now” and “William Kentridge: Five Themes.” Before that she cut her teeth as a curatorial assistant at the Whitney. There’s a lot to love about prints, Hecker is quick to point out. “The thing about prints is that they rarely disappear altogether,” she said. “When a painting sells, you may never see it again, unless on loan or gifted to a mus

Within France and far beyond, Arnault is well-known both for his business acumen and for using his vast fortune to buy and support art. He has used his vast wealth to buy blue-chip art and has ranked on the ARTnews Top 200 Collectors list regularly.

Ahead of the opening of its Paris space later this month, the mega-gallery Hauser & Wirth said last week that it had taken on representation of Hélène Delprat, an artist based in the French capital whom it will show and exhibit in collaboration with Galerie Christophe Gaillard. She had been formerly represented by Carlier | Gebauer, of Berlin and Madrid. Delprat first became famous in the ’80s for producing figurative paintings, and has since shifted into less classifiable modes, merging drawing, photography, film, installation, sculpture, and more for works that have been seen widely in France. In a statement, Marc Payot, president of Hauser & Wirth, said that Delprat’s work “ignores conventional boundaries between visual typologies and expands what it means to be an artist who has inherited centuries of cultural history and received knowledge in a world where such things evaporate too fast and too easily. She draws upon that maelstrom to make art that combines humor and sadness with exquisite intelligence. The great diversity within Hélène’s oeuvre speaks to human experience in the world right now.” Hauser & Wirth’s Paris gallery will be inaugurated on October 14 by a Henry Taylo

He’d rather talk about art. “No-one ever applauds at an art gallery,” Williams, who has directed U2’s live performances for more than four decades told ARTnews. “That’s one of of the greatest things about these shows. The artists involved, and the band, will have instant feedback. When their installations start moving across the inside of Sphere the audience immediately becomes part of this extraordinary thing.” Experiential or immersive art isn’t new. But Sphere is. Without being hyperbolic, nothing else like it exists. The closest thing is a mini-Sphere testing site, one quarter of the scale of the modern Las Vegas megalith, that was built in Burbank, California. The smaller version is where the band and the artists that they’ve invited to participate in their 20-day residency—Eno, Marco Brambilla, Es Devlin, John Gerrard, and the company Industrial Light and Magic—could see the futuristic venue they were working with. Even the stage is, in a way, an experience. A monumental version of Brian Eno’s LED Turntable (2021), the stage uses an algorithm to slowly change colors, seemingly at will, throughout the show. (Williams admits to asking Eno if he could adjust the algorithm slight

After updating its policies on the handling and display of human remains, the University of Pennsylvania’s Penn Museum will no longer put exposed remains on view. Wrapped mummified bodies enclosed in a vessel, however, may still appear in exhibitions at the Philadelphia museum, where they will be displayed with warning signs. “It’s about prioritizing human dignity and the wishes of descent communities,” Penn Museum director Christopher Woods told WHYY News. “We want to make sure that these are our front and center of how the museum operates.” The museum changed its policy after a 2021 independent report on the MOVE remains revealed their continued mishandling. The report resulted in the termination of two anthropologists. It recommended the hiring of an expert in human remains and repatriation issues, as well as the establishment of a permanent installation providing necessary context about the human remains. Additionally, it urged the University of Pennsylvania to review its holdings and collection practices. Pending court approval, the museum plans to inter 23 skulls of Black people who resided in Philadelphia next spring. Most major institutions have policies on the ethical trea

After a 76-year-old man attacked the facade of the Wing Luke Museum in Seattle using a sledgehammer, the Washington State Department and the city have donated $100,000 to the museum for repairs, according to KOMO News. The funds will also help the museum upgrade its security and support the mental and emotional health of its staff. The attack took place at around 6 p.m. on September 14. Craig Milne, who had been accused of hate crimes in the past, took a sledgehammer to the museum’s windows while a group was inside touring an exhibition. All the while, Milne shouted racist slurs. After he was arrested, Milne told the police that he did not regret the damage he’d caused to the museum, which is the only “pan-Asian Pacific American community-based museum in the country,” according to KOMO News.  The museum’s executive director Joël Barraquiel Tan told KOMO News that while the attack brought out the best in the community, he was still shocked someone could harbor such hate against Pan-Asian Pacific Americans. “There’s considerable damage but we are demonstrating as a neighborhood and as a museum that while our glass is breakable, we are an unbreakable community,” said Tan.

Judging by the last decade of Fashion Week offerings, visual art and couture clothing have never been cozier. Paris Fashion Week, which wraps tomorrow, proved that such collaborations are escalating from fabric styled after art to art exhibitions.  Lynda Benglis, whose poured latex pieces can be seen in museums the world over, debuted six new large-scale bronze pieces on Loewe’s runway on September 29. Benglis rose to prominence in the ’60s for process-driven works and ended up finding a key place within feminist art history for a 1974 Artforum ad featuring herself holding a dildo to her nude body. At the Loewe Spring/Summer ’24 show—which was attended by global editorial director of Vogue, Anna Wintour—sticky-looking clay sculptures and jewelry by Benglis were coiled around crisp, flowing capes and high-waisted trousers. Elongated, swirling sculptures hung in the air; from the pictures, they made a nice, unearthly effect. According to the Art Newspaper, the sculptures on display in the show included Black Widow (2021) and Yellow Tail (2020). Curator Andrew Bonacina, an art consultant for Loewe who managed the Benglis presentation, told the Art Newspaper that some had been in the w

Last week, Goldstein announced the end of his seven-year tenure at Artnet News in an email addressing his colleagues. “It has been the pride and privilege of my career to work with the extraordinary team of journalists at Artnet News,” Goldstein wrote, “and I owe them my deepest gratitude. In a time of constant, destabilizing change in the art world and the world at large, Artnet’s rigorous reporting has exposed the inner workings of the art market, helped guide the industry through the Covid pandemic, and chronicled the earth-shaking reckonings that the art establishment has faced when it comes to issues of racism, sexism, and colonialism.” “We also charted a path forward, shining the Klieg light of our audience on the artists, dealers, collectors, museum directors, and other innovators who are changing things for the better, and bringing the best art into the world,” Goldstein added. It isn’t clear where he is headed next. “Alison took on the challenging task of leading the newspaper’s cultural strategy and its success as the medium of record for the art world,” said the Art Newspaper‘s publisher Inna Bazhenova in a statement. “I look forward to our continued association with Ali