Noticias de interés

   El Museo Nacional del Romanticismo ha presentado la exposición 'Alice Austen.Deshacer el género', dentro del marco de PhotoEspaña, con la que se acerca a la faceta más personal de la fotógrafa, que "logró alejarse de los cánones establecidos para la mujer en la rígida sociedad victoriana" de finales del siglo XIX.    No obstante, esta exposición se centra en sus obras de carácter más cercano e íntimo, especialmente aquellas que presentan a mujeres que, "como ella, lograron vivir al margen de algunas de las barreras sociales asociadas a su género", según ha señalado el museo.    La muestra --que puede visitarse en la sala de exposiciones temporales del Museo y ha sido comisariada por Maíra Villela-- se centra en esta dimensión más privada a través de las fotografías de su círculo social de posición acomodada.

   Tal y como ha explicado el museo, este efecto es más pronunciado en los acerados y niquelados, mientras que por el momento son más estables los recubrimientos de cromo. El 2 de enero de 2023 se iniciaron los procesos sobre la colección de 80 planchas calcográficas de Los Caprichos.    En el conjunto de matrices de la colección conservada por la Calcografía, que reconstruye la historia del grabado español, destacan las 228 planchas grabadas por Francisco de Goya, que se han incorporado a la institución en diferentes etapas.

SITE Santa Fe presents internationally renowned artist Bruce Nauman’s first solo exhibition in New Mexico, His Mark, running through September 11. The show features a collection of new and recent video installations, including never-before-shown self-portrait work and 3D video. Since the 1960s, Bruce Nauman’s work has questioned the very nature of what constitutes art and being an artist. He is known for making his body — his hands in particular — the object of his art and a tool for analyzing the relationship between language and meaning. Exploring intersections between personal and historical moments of profound loss, the exhibition centers on Nauman’s video installation, “His Mark” (2021), consisting of eight large-scale 3D projections of Nauman’s hands forming an X on a table. Accompanying “His Mark” are two related works: the single-channel video projection, “Practice” (2022), and the single-channel 3D video projection, “Spider” (2021). “The works in this exhibition have nuanced autobiographical and historical origins,” says SITE Santa Fe curator Brandee Caoba. “His Mark explores the mournful implications of loss and its complicated rippling impacts through repetition and gest

In January 2022, I concluded my review of Hannah Lee’s debut exhibition, First Language at Entrance (December 2, 2021–January 30, 2022), with this observation:  This is one of the strongest debuts I have had the pleasure of experiencing in years. The obvious effort that has gone into each painting, along with the artist’s disinterest in developing a signature style, conveys an ambition and confidence that speaks well for Lee’s future.  For these reasons, I went to see her second exhibition at Entrance, Hannah Lee: Outside, a few days after it opened. I was not disappointed. Of the six paintings and one hybrid painting-sculpture, which includes a shelf and mirror, the largest work, “Walkthrough” (2023), measures 48 by 36 inches. While the press release contextualizes this painting — “a new tenant viewing the empty apartment next door to her home studio” — I saw the scene of two workers standing by the windows of this empty apartment as being in dialogue with Gustave Caillebotte’s “The Floor Planers” (1875), which is one of the first times a modern painter depicted urban workers. Caillebotte’s painting portrays three workers with bare, muscular torsos, two of whom are talking to each

This article is part of Hyperallergic’s Pride Month series, featuring an interview with a different transgender or nonbinary emerging artist every weekday throughout the month of June. For the second installment of our monthlong series, we’re shining a spotlight on the work of Tara Asgar, a Bangladeshi trans woman, asylum seeker, and artist currently based in Brooklyn. Born in Dhaka, Asgar became involved in local LGBTQIA+ community organizing to push back against the conservative and state-sponsored persecution of queer people. Asgar was involved in mobilizing Bangladesh’s first-ever Pride Parade in 2014 and creating safe spaces for at-risk individuals. She identifies herself as one of the first openly queer visual artists in the country. In 2016, the artist witnessed the murder of LGBTQIA+ activist Xulhaz Mannan and friend Mahbub Rabbi Tonoy by an Islamist militant group. She narrowly escaped the attack and spent three months in hiding before she was able to relocate to the United States through the Artist Protection Fund residency and aid program. Since then, Asgar has earned an MFA from the Art Institute of Chicago and moved to New York; she explores trans identity and her own

Art Industry News is a daily digest of the most consequential developments coming out of the art world and art market. Here’s what you need to know on this Friday, June 2.  Artist Bakhyt Bubikanova Has Died – The 1985-born Kazakhstani artist’s elaborate installation work is featured in the current edition of Gwangju Biennale in South Korea, making it the artist’s last exhibition. The biennale runs until July 9. (Instagram)  Hannah Gadsby’s Picasso Show Gets Panned – The comedian’s Netflix special Nanette, in which they took Picasso’s misogyny to task, was a triumph that won them worldwide recognition. Five years later, their new exhibition “It’s Pablo-matic” at the Brooklyn Museum attempts to reconsider the artist’s central influence on modernism—with no shortage of contemptuous quotes from Gadsby—but critics found it lacking in nuance, expertise or a coherent argument. (ARTnews)  Hermann Nitsch’s Six Day Play Continues – The late Austrian artist, who died last year aged 83, was a co-founder of the highly transgressive Vienna Actionism movement. He is being commemorated by a performance of his infamously gory Six Day Play, which shocked audiences in 1989. (The Art Newspaper)  Roy L

At this stage in the conversation, many of us understand that A.I. models were trained on data scraped from the internet, which means that they have been unwittingly codified with all sorts of age-old biases learned from humans, and tend to privilege the cis white male as society’s gold standard. So what better way is there to illustrate and subvert the flaws in the technology than through the art of drag, with its long history of bringing to light and lampooning outdated norms and rigid identity categories? That is the idea behind “The Zizi Show,” a deep fake cabaret by the London-based new media artist Jake Elwes. Although the show exists in an interactive format online—inviting viewers to pick from a list of possible drag performers and songs—an in-person version inaugurated the digital gallery at the V&A’s brand new Photography Center, which opened to the public last week. The installation features a large projection of three performers dancing while, in the opposite corner, a row of LED screens show six singing heads that periodically shape-shift into each other with each song change. “It’s a bit tongue in cheek,” said Elwes. “Right now we are talking about whether A.I. is goi

By now, stopping off at Zurich Art Weekend en route to Art Basel has become an essential art world ritual. Across 73 venues, the city is hosting more than 100 free events, all packed into just one weekend and, this year, there is a special focus on art and tech. Nonetheless, it can still be tricky to successfully bridge the art and tech worlds, with their vastly different customs and cultures. That mission has been at the heart of Zurich Art Weekend’s interdisciplinary programming since its inception in 2018. “We wanted to start a conversation between artists and scientists,” the event’s founding director Charlotte von Stotzinger told Artnet News. “We thought two years ago with NFTs that the two worlds could merge, but now we are seeing that the split is still there. The art world hasn’t changed much from a structural point of view. The old patterns are back.” Liat Grayver & Marcus Nebe, Blue Transmutations (2023) will be part of ETH Zurich’s “Data Alchemy” exhibition from June 9-24, 2023. Photo :© VG-Bildkunst / Liat Grayver. “ETH is like the MIT of Europe,” von Stotzingen said. The research university’s impressive A.I. Center has hired a small team of curators [...]

Gold Freddo bars, a bleeding ATM, and a bill printer spitting out the costs of Brexit are among the artist Imbue's creations on view in the City of London The British artist Imbue has shredded more than £1 million ($1.3 million) in cash to create a collection of money skulls as a form of protest against the cost of living crisis and the money power structure in the U.K. The skulls feature in an exhibition that opens today next to the Bank of England in the City of London, at a pop-up space at 5 Royal Exchange, as part of London Gallery Weekend. Taking its title from the two subjects said to be unavoidable, “Death + Taxes” features a new body of money-themed work by the pseudonymous artist, who often creates wry comments on aspects of contemporary society, from capitalism to religion. Among the highlights are 12 human-sized resin skulls, which contain shredded currencies in British pounds, U.S. dollars and Euro. The artist declined to reveal the sources of the cash used for the skulls, but organizations that mint and distribute currencies like the Federal Reserve do release money that has been shredded after it became too worn or damaged [...]

The internet has been flooded with A.I.-generated images for some time now, but surely nobody is mistaking these strange, viral pictures for real artistic masterpieces? If there is any confusion, it appears to be on the part of the internet itself. Google has been caught putting A.I. knockoffs of famous paintings at the very top of its search results, according to a report in Futurism. First, it happened when art-lovers typed in “Edward Hopper,” which returned an image of a woman staring wistfully out the window. The work had a few qualities familiar from the legendary American artist’s oeuvre, evoking themes of isolation, introspection, and containment within a domestic interior. Nonetheless, its flat, artificial sheen was a very poor imitation of Hopper’s brushstroke. The Vermeer imposter has, in fact, been actively endorsed by the Mauritshuis in the Netherlands, which owns the original. The museum had invited fans to produce their own imitations of the work as stand-ins while it was on loan to the Rijksmuseum, and this version, known as A Girl With Glowing Earrings, was generated by German A.I artist Julian van Dieken. Its public display was met with considerable controversy. Af

A late 16th-century painting looted by Nazis during World War II has been repatriated from Japan back to Poland.  The Baroque artwork, titled Madonna with Child, is attributed to the Italian painter Alessandro Turchi. Spotted by Polish officials at an auction in Tokyo last year, it was pulled from the block before bidding. The owner of the piece, who has not been named, agreed to give it back at no cost.  The painting was returned during a ceremony yesterday at the Polish Embassy in the Japanese capital. It’s the latest of some 600 Nazi-stolen artworks recovered through Poland’s ongoing repatriation efforts, and the first to come from Japan.  “Thanks to their work, practically every week or two we can inform about new recovered works of art—war losses that return to our country,” he said. “It should be emphasized that each case of restitution is different, and so is the legal situation, which is why we have to approach this situation in a different way each time. This time, the negotiations led to a happy ending.”  An investigation into the provenance of Turchi’s painting revealed that it was taken from the Lubomirski Palace in Przeworsk during the war and transported to Germany. T

Planning the world's most complete exhibition of the Dutch Golden Age master's work led to unexpected discoveries as well as art historical heartbreak. Since the opening of the Rijksmuseum’s Johannes Vermeer exhibition, the Amsterdam museum has been overwhelmed by visitor demand for the once-in-a-lifetime blockbuster. The institution has had to stay open late to accommodate crowds of art lovers from all over the world eager to see 28 masterpieces by the Dutch Golden Age painter—the most ever shown in one place. While the end result is undoubtedly a success, director Suzanne Raes’s new documentary from Kino Lorber, which premiered at New York’s Quad Cinema ahead of the final days of the exhibition, provides a fascinating behind-the-scenes glimpse of the drama that preceded the show’s historic run. Close to Vermeer follows Gregor Weber, the Rijksmuseum’s head of fine and decorative arts, as he embarks on his last show before retirement, curating a career-defining exhibition with Pieter Roelofs, the museum’s head of paintings and sculpture. The filmmakers are there every step of the way, from determining the optimal exhibition crowd control (a semicircular barrier that allows as many

Every month, hundreds of galleries add newly available works by thousands of artists to the Artnet Gallery Network—and every week, we shine a spotlight on one artist or exhibition you should know. Check out what we have in store, and inquire for more with one simple click. About the Artist: Tennessee-based artist Jim Collins (b. 1934) is perhaps best known for his public art, specifically his mixed-media, figurative sculptures. Commonly using the outline of people and animals fabricated in metal—such as Cor-ten steel or aluminum—his sculptures also frequently employ found and repurposed materials, like hats, furniture, and vintage ephemera. Each work contains a narrative element that references both the artist’s inner creative world as well as offering viewers the opportunity to construct their own. Mythology, literature, history, and lived experience are at the core of his creative process and act as a source of ongoing inspiration. Collins received his MFA from Ohio University and was formally an art professor at the University of Tennessee at Chattanooga. Many of his works can be found across the Southeastern United States, and, more recently, have been installed in Ireland. Wha

To stage his latest exhibition at Naked Eye Studio in Los Angeles, artist Jesse Draxler has gone all-out.  Running through June 7, “U&I” doesn’t just display his newest works from painted panels to conceptual sculptures to digital media—all of it housed in an environment specially masterminded and designed by the artist. Opening night saw live performances by the likes of industrial noise musician God Is War alongside projections of long-running videos that track Draxler’s own creative process—as well as servings of pizza. “It has been an exercise in building a world for my work to live within,” the artist told Artnet News about conceptualizing and installing the show. “I feel my works have never been shown properly, or within a place that was designed for it, or in its true breadth so that you can see it all at one time.”  According to Draxler, “U&I” was a year in the making, emerging from his desire to flesh out his “inner world” and to do so independently, not through any gallery. The result has been touted as the artist’s most important solo exhibition to date, wherein his singular aesthetic is given room to roam.  Jesse Draxler, Feed. Courtesy of the artist. Draxler’s hallmark

Soho art dealer Georges Bergès, whose eponymous gallery represents Hunter Biden, son of U.S. president Joe Biden, believes he and his gallery staffers thwarted a financial hack yesterday morning. Nevertheless, as the dealer explained in a phone conversation with Artnet News today, there are reasons to remain vigilant. The gallery has attracted much attention—and scrutiny—for its representation of Hunter Biden. It has held two solo shows of Biden’s art and included his work in another group show. Hunter Biden (left) and Conner Wright during an art opening at SFA Advisory on December 7, 2022 in New York City. (Photo by Udo Salters/Patrick McMullan via Getty Images)

Which is not to say that they’re perfect. Many are cramped and reverberant; some are dim and dilapidated from years of use. In other words, they look nothing like the sterile white cubes in which we’re used to seeing art photography.     Stephanie Mei-Ling, Portrait of Ronisha and her sons in embrace,, from her “Overpolicing Parents” series. Courtesy of the artist. A series of photographs by artist Stephanie Mei-Ling documents the impact of Child Protective Services investigations on families, while a body of work by Mackenzie Calle explores the historical exclusion of queer astronauts from the American space program. Jen White-Johnson’s “Autistic Joy” aims to give visibility to children of color in neurodiverse communities. “Guns, Love, Children, America” by Mel D. Cole depicts kids at an NRA convention wielding weapons like toys. “We’re not just showing beautiful sculptures or paintings,” Roumanos said. “These are conversations.”  

The museum hasn't made any announcements yet, but climate activists are declaring the end of the deal a 'massive victory.' The museum has not officially confirmed the end of their arrangement with the fossil fuel company, but BP’s last contract with the museum ended in February after five years. Disclosures obtained by lawyers for the activist group Culture Unstained via freedom of information requests show that “certain terms” of the deal mean that the museum is allowing BP to keep its “supporter benefits” through December. “BP is a valued long term supporter of the museum and our current partnership runs until this year,” a British Museum spokesperson told Artnet News in an email. The last exhibition sponsored by the company, “Hieroglyphs: Unlocking Ancient Egypt,” closed in February. Nevertheless, this is a “massive victory,” Culture Unstained co-director Chris Garrard told the Guardian, which first reported the news. “If it is serious about responding to the climate crisis, the museum must now confirm that there will be no future relationships with fossil fuel producers, take down BP’s name from its lecture theatre and roundly reject the climate-wrecking business it represents.

The Brazilian art exhibition "The Square" melds seamlessly into the famed architect's personal collection at her former residence.

The Brazilian art exhibition "The Square" melds seamlessly into the famed architect's personal collection at her former residence. In 1947, the Italian-born architect and designer Lina Bo Bardi fled the ruins of Europe after the Second World War and resettled in São Paulo. She built her home, a glass-walled box floating atop slender columns, on a mostly barren slope in what was then far from the city center. Today, Casa de Vidro, as it’s now known, hovers above a lush, terraced tropical garden in one of the toniest neighborhoods of South America’s largest metropolis. On May 24, an intimate invited group gathered there to inaugurate the exhibition “The Square,” to celebrate Bottega Veneta’s tenth anniversary in Brazil. It was also the kickstart and capstone to São Paulo Fashion Week, which filled event spaces across the city. The exhibition blurred into the architect Lina Bo Bardi’s personal realm. Courtesy of Bottega Veneta. Previous installments of “The Square”, in Dubai and Tokyo, convened local artists for exhibitions, screenings, and new performances in custom-built environments. The São Paulo edition, by contrast, leaned heavily on the legacy of Bo Bardi. The architect, who wo

Christie’s went overboard to play up Fineberg’s eye as a curator in the lead up to the auctions, creating a narrative that, as one observer told Katya, made it sound “like it’s the Mona Lisa coming for sale.” Yet even the screaming bargains in the Fineberg evening sale underscored art’s resilience as an asset class. Smart investors love nothing more than to pounce on a short-term deal for something with long-term value. According to Alex Branczik, senior director and chairman of modern and contemporary art for Asia at Sotheby’s, no lots by Western artists were included in the evening sales commemorating the house’s 40th anniversary in the region in 2013.