Noticias de interés

If you’re feeling like New York’s art fair landscape is crowded this season, you’re not wrong. Nearly a dozen of them will pop up across the city during Frieze New York (May 2–5), which returns to the Shed at Hudson Yards for its 12th edition. “The sheer number of possible experiences seems to grow exponentially,” Laura Raicovich, the former president and executive director of the Queens Museum, told the New York Times. “You can’t possibly do it all, so just pick a few things that pique your interest and go from there.” Those are wise words to avoid “fairtigue” ahead of the jam-packed NYCxDesign, which will bring hundreds of design events headlined by ICFF and WantedDesign to the city later in the month. We have the download on the events not to miss. For a rare peek inside a historic Beaux-Arts interior not often glimpsed by New Yorkers, try Esther (May 1–4). Launched by dealers Margot Samel and Olga Temnikova, the fair’s inaugural edition invites 26 international galleries to eschew the white cube and present site-specific projects that respond to the New York Estonian House’s wooden meeting rooms and ornate grand halls. A maverick spirit also pervades the free Fridge [...]

Infórmanos si has visto algún error en este contenido o eres este artista y quieres actualizarla. ARTEINFORMADO te agradece tu aportación a la comunidad del arte. Premios de Pintura a los que puedes presentarte en España · Exposiciones cercanas a este evento · Ver todas las exposiciones propuestas en Sevilla ·

“One of them is a real potato,” artist Asha Schechter teased, and for a moment I almost believed it. Adorned with a draped Palestinian flag and piles of artist books, Mexico City-based Cráter Invertido marked their first time at the fair by sharing the table with other art organizations to “practice collectivity,” co-founder Waysatta Fernández told me. She pointed out Les bian ario (2020) as a favorite, artist Andrea Fuego’s first volume, described in Spanish on the back cover as “sudden and replicable.” Sign up for our free newsletters to get the latest art news, reviews, and opinions from Hyperallergic. Across the fair, the QR codes furnished tables alongside $2 buttons, $15 zines, and $140 artist books, and were printed onto flyers hung in the stairwell and across the walls of the building. An infectious spirit suffused the upper floors especially: Visitors and publishers donned keffiyehs, Art Against Displacement distributed zine printouts of a Mahmoud Darwish poem, Tiny Splendor handed out risographs declaring “Palestine will be free,” and Pegacorn Press held a fundraiser for Gaza, all extending art’s political dimensions beyond signing a petition. Faizal and Subramanian first

Visitors are immediately met by Sarah Sense’s woven photographs at the entrance-facing booth of Bruce Silverstein Gallery. A member of the Choctaw Nation, Sense weaves contemporary images of Oklahoma with historical maps and manuscripts, entangling the histories that shaped her family’s reservation into physical representations of the ever-present nature of colonial violence. Lewis and Clark’s travel journals and a 1920 allotment map are folded into scenic landscape photographs, all arranged in the pattern of a traditional basket created by the artist’s grandmother. Sign up for our free newsletters to get the latest art news, reviews, and opinions from Hyperallergic. At the back of the fair, the research-focused MUUS Collection, which comprises more than half a million 20th-century photographs, presented a large exhibition of Polaroids by Deborah Turbeville, an artist credited with helping steer fashion photography from overtly commercial ad imagery toward fine art. Turbeville captured these images in preparation for final shoots, and nearly all of the works are marked with the tape she affixed to them decades ago. Women in couture lounge on sofas in decrepit, high-ceilinged rooms.

Other celebrities including Oprah Winfrey and Cate Blanchett have also contributed lots to the benefit sale. by  Vittoria Benzine April 26, 2024 ShareShare This Article Cindy Sherman is contributing a spectacular Op Art dress she bought from the Marc Jacobs’s Spring/Summer 2013 collection to a charity auction hosting by ReSee. Through May 2, ReSee will open online bidding for 15 fashion treasures from nearly a dozen celebrities. Sherman’s dress hits the block on April 30. The likes of Catherine Deneuve, Cate Blanchett, and Oprah Winfrey are contributing lots, but Sherman’s single dress is a twofer. Sherman bought the mod look at the brand’s SoHo store, according the lot’s page. “I wore it twice—don’t remember the first occasion (some benefit I believe in 2012 after my retrospective at MoMA),” she said. Sherman loved the dress so much that she wore it a month later to the Museum of Modern Art’s annual Party in the Garden benefit in New York. Actor and comedian Rachel Feinstein showed up in the same ensemble. Cindy Sherman at the Party In The Garden at the Museum of Modern Art in New York, 2013. Photo: Ben Gabbe/Getty Images. “It was hysterical!” Sherman recounted of seeing Feinstein

This essay originally appeared in Reframed, the Art in America newsletter about art that surprises us and works that get us worked up. Sign up here to receive it every Thursday. The French polymath Jean Cocteau (1889–1963) was never content to work in one mode—and was ostracized for it. His retrospective at the Peggy Guggenheim Collection in Venice is titled “The Juggler’s Revenge”: it makes a case for this versatility, showing a cohesive spirit across works in film, sculpture, collage, drawing, literature, and jewelry. No bother, Cocteau was unperturbed, impressively juggling this range of media. He inflected even his most commercial films with avant-garde impulses. An excerpt from his 1930 Surrealist film Le Sang d’un poète (The Blood of a Poet) features a handsome shirtless man communing with an anthropomorphic armless Classical sculpture. At one point, the man finds a pair of animate lips on his palm, which he then transfers to the sculpture. The sculpture, now equipped with a mouth, instructs the man to go through the looking glass, so he positions himself along its frame and presses his body against it. Suddenly, he splashes through, as if into a swimming pool, and falls into

In Colombian artist Carlos Motta’s 2013 video, Nefandus, an indigenous man and a Spanish man travel down Colombia’s Don Diego River telling stories of the violent sodomization against natives by the Spanish during the conquest in Latin America. “The landscape does not confess what it has witnessed; the images are out of time and veil the actions that have taken place there,” the narrator explains. This question of colonial violence against the land and the passage of time is at the center of Nefandus and Part II of “El Dorado: Myths of Gold,” the exhibition in which it is currently being shown. On view until May 18, the exhibition at Americas Society in New York features over 100 objects and artworks from 60 artists linked by El Dorado, the mythical city of gold believed to be in the deep jungles of Colombia. “From at least the sixteenth century onward, the myth of El Dorado was a central force in establishing the Americas as a “utopian” place, a venue of desire and a land ripe for conquest and plunder,” Edward Sullivan, co-curator of the exhibition and a ​professor of art history at New York University, told ARTnews. The works in the [...]

Now, exactly one century removed from the genesis of this art form, we find ourselves contending with the emergence of another: art made by artificial intelligence, or AI. In all kinds of little ways, the latter feels eerily evocative of the former. Like Surrealism, AI art is automatic and disembodied, at home in the space between language and image. Its schemes are described as dreams, and one of its prominent programs is named after Salvador Dalí. Even the idea of an invisible electronic apparatus that transforms ones and zeros into bizarro images sounds like something a Surrealist would cook up. It is an imperfect analogy, but it may also be an instructive one, particularly as we wade through the moral and legal repercussions of AI and the ambient anxiety that it will replace art as we know it. Can looking at the past reveal something about where the future of this form is headed? Surrealists have long been fascinated by the slippery relationship between objects and the words we use to represent them. It’s the central idea behind one of the movement’s signature images, René Magritte’s 1929 painting The Treachery of Images. Famously, the artwork features just two basic components

NEW KLIMT CLAIM. A potential heir to the legal successor of Adolf Lieser came forward with a claim they own the Gustav Klimt portrait of Fraulein Lieser, right before it sold at auction for a low estimate of $32 million, according to Der Standard. The potential heir, a Munich-based architect who is not a relative of the Lieser family, learned last week about the sale of the 1917 painting that had gone missing for a century, and lodged his claim the day before it was sold to an anonymous Hong Kong collector, on behalf of the Lieser family that commissioned the painting and its owner at the time. What does this mean for the painting’s fate, which fetched a low price (relative to Klimt’s market) at least in part out of fear something like this might happen? Patti Wong, owner of the Hong Kong–based art advisory that bid for the anonymous buyer said, “We have been assured that the seller and all Lieser heirs are covered [by the contract between the auction house and the consignor],” reports the South China Morning Post. BRONZE RETURN. The J. Paul Getty Museum in Los Angeles announced it is returning a bronze head of [...]

On the social media platform Telegram, Ostorozhno Novosti, a local news channel, said that police officers were at a building that holds the Garage Museum’s archives. The museum’s leaders and curators were reportedly being kept from using their phones and were being held until the search ended. The reasons for the search were not clear, but Ostorozhno Novosti speculated that it was related to the LGBTQ+ literature archived by the museum. Earlier this month, works put out by the left-wing publishing house Directio Liberia and tomes released by Moloko Plus, an alternative publisher that promises to provide “journalism that no longer exists,” were removed from Garage Museum’s bookstore, according to Ostorozhno Novosti. Adding further confusion to the mix was a Telegram post from Podyom, which reported that employees at the museum denied that the search was still active earlier today. A spokesperson for the museum did not immediately respond to ARTnews’s request for comment. That same year, as Russia invaded Ukraine, the Garage Museum paused its exhibition program, calling the war a “human and political tragedy.” The museum’s exhibition program has not resumed since then, although the

Works from the art collection of Iowa business leader and philanthropist John Pappajohn and his wife Mary will be offered as a group of highlights during Christie’s Spring sales in New York next month, the auction house announced Friday.  The collection, which is comprised of works by post-war and contemporary luminaries including  Bruce Nauman, Agnes Martin, and Ad Reinhardt, will be led by Jasper Johns’s 1961 work 0 through 9 (estimate $5 million – $7 million) which debuted that same year at the artist’s first European show at Galerie Rive Droite in Paris.      Johanna Flaum, Christie’s vice chairman of 20th and 21st century art, described the Pappajohns’s collection as “richly reflective of post-war and contemporary art in America” and “best in class,” and praised the couple, who began collecting art in the 1960s, for acquiring works that at the time “challenged accepted norms and pushed boundaries, proposing new concepts and ideas of what art could be.” John and Mary Pappajohn began collection art shortly after they were married in 1961. Their first purchase was a Keith Achepol print that cost $50.  The Pappajohns would eventually amass a collection worth millions and earn a re

Dani Levinas, an art collector who gained a following for interviewing other collectors, has died at 75. The Phillips Collection in Washington, D.C., where he formerly served as board chair, announced his death on Wednesday. “Dani Levinas’s passion and enthusiasm for art by living artists will have an enduring impact on The Phillips Collection,” said current board chair John Despres in a statement. “We will truly miss his inspiration and guidance.” His most lasting legacy within the art world, however, is not his collection, but his conversations with his colleagues, from the late Rosa de la Cruz to the collecting couple Don and Mera Rubell. He published these interviews in a 2023 book called The Guardians of Art: Conversations with Major Collectors and as articles in El País, where he served as a columnist. “I don’t just collect art, I collect collectors,” he said in the Times interview.

A potential heir to the legal successor of Adolf Lieser has emerged and claimed ownership of the Gustav Klimt portrait sold for $32 million in a buzzy auction in Vienna, per Der Standard. The individual, a Munich-based architect, is not a relative of the Leiser family, but lodged a claim after learning last week that the painting missing for a century had resurfaced at im Kinksy auction house. Titled Portrait of Fräulein Lieser (1917), the work was purchased by an anonymous Hong Kong dealer for its low estimate (but still an art auction record for Austria). The work is unfinished, but Klimt rarely underperforms on the block; bidders, perhaps, were afraid of this very situation, an ownership challenge supported by gaps in the portrait’s provenance.  According to Der Standard, the restitution settlement reached by the auction house only involved the seller and the heirs of Adolf Lieser and his sister-in-law Lilly Lieser. Typically, heirs declare that their decision—in this case, to give the painting to the auction house—represents the will of all possible legal heirs. When contacted for comment, the lawyers of both parties told the German news outlet that the situation was under revi

Toshiko Okanoue is an fascinating artist that I’d love more people to learn about. The surrealism inherent in the images and her mode of depicting femininity are beautiful and entrancing. Her work was rediscovered in the ‘90s after her practice was paused for many years, and it’s quite exciting to have The Third Gallery Aya present her work at the fair this year. The narrative in Resnick’s work is playful, dark, and dramatic. It’s great to present a New York–based artist that has been inspired by the cultural scene in the city at a historically New York fair. To have a female artist put her own imprint on the violence historically acted upon female bodies in horror movies, long before the current mode of reconsideration and reckoning happening now, is important to witness. Gifted to the art critic for the L.A. Times, from Weston. According to Weston’s log, only six vintage prints were done. Pictured on the cover of Amy Conger’s Edward Weston book. The classic beauty of Edward Weston’s work is iconic and deeply AIPAD. He shaped American photography, and I can’t wait to see this rare, vintage print. Simone Rosenbauer is a young artist that I’m looking forward [...]

Infórmanos si has visto algún error en este contenido o eres este artista y quieres actualizarla. O si lo prefieres, también puedes ponerte en contacto con su autor. ARTEINFORMADO te agradece tu aportación a la comunidad del arte. Exposiciones de Pintura recien inauguradas en Madrid · Premios de Pintura a los que puedes presentarte en España · Exposiciones cercanas a este evento · Ver todas las exposiciones propuestas en Fuenlabrada · [...]

Infórmanos si has visto algún error en este contenido o eres este artista y quieres actualizarla. O si lo prefieres, también puedes ponerte en contacto con su autor. ARTEINFORMADO te agradece tu aportación a la comunidad del arte.

Infórmanos si has visto algún error en este contenido o eres este artista y quieres actualizarla. ARTEINFORMADO te agradece tu aportación a la comunidad del arte. Premios de Fotografía a los que puedes presentarte en España · Premios de Instalación a los que puedes presentarte en España · Exposiciones cercanas a este evento · Ver todas las exposiciones propuestas en Madrid ·

   En ese contexto, las Becas Leonardo --cuya dotación total asciende a 22,5 millones de euros en sus primeras 10 ediciones-- han dado lugar a una "primera Generación Leonardo" que ha creado: 600 artículos científicos; 150 libros y monografías; 130 obras artísticas, 120 conciertos, 70 grabaciones y publicaciones de obras musicales, 35 composiciones originales, 50 exposiciones y 30 documentales, películas y piezas de videoarte.    Asimismo, la compositora, Raquel García Tomás, galardonada con el Premio Nacional de Música en 2020 que compuso su ópera Alexina B con el apoyo de una Beca Leonardo, ha reivindicado la contribución al patrimonio cultural del país de los proyectos apoyados por el programa de la Fundación BBVA en este campo de la creación artística: "La música, al igual que la ciencia y las humanidades, ha sido un agente fundamental en el desarrollo de la sociedad a lo largo de la historia, y debe seguir siéndolo".    En esa línea, el presidente de la Fundación BBVA, Carlos Torres Vila, ha destacado que es necesario "el mejor conocimiento" para afrontar "con éxito" el entorno actual. "Hoy, más que nunca, debemos invertir en el futuro apoyando a profesionales con una actitud

"Venimos a dar este apoyo a la iniciativa legislativa popular por la cual pretendemos que se cumpla la voluntad de la mayoría ciudadana, que no considera que la tortura, que el maltrato animal sea cultura y tenga que ser protegida como parte de nuestro patrimonio cultural. Hay una inmensa mayoría social en España que es favorable a los derechos de los animales", ha asegurado Montero en declaraciones para medios en la Plaza de Ventas de Madrid. La ILP, propuesta el pasado marzo por varios grupos animalistas, busca conseguir medio millón de firmas para derogar la Ley que considera patrimonio cultural inmaterial a la tauromaquia. La presidenta de la organización La Tortura no es Cultura y miembro de la promotora de la ILP, Marta Esteban, señalaba la necesidad de esta iniciativa porque "mientras la tauromaquia sea patrimonio cultural inmaterial, está blindada".