Noticias de interés

Qatar is planning an enormous museum of international modern and contemporary art, and will soon have its very own Art Basel fair. It is also now preparing to build the Gulf region’s largest full-service storage and logistics facility for fine art. To create the new facility, QC+, a strategic partner with Qatar Sports Investments (QSI) and Art Basel in presenting the upcoming Art Basel Qatar, has teamed up with the logistics and supply chain provider, Gulf Warehousing Company Q.P.S.C (GWC). The facility will provide art preservation, storage, conservation, and viewing rooms. In a statement, Kirstin Mearns, CEO of QC+, tied the development directly to Art Basel, pointing to the fair and the new facility as signs of a mature art market. “The Gulf is no longer an emerging market for art,” she said. “It is a global player, as demonstrated by the announcement of Art Basel Qatar.” In a separate statement, Matthew Kearns, acting group CEO of GWC, said that the “project represents a new benchmark for integrated art infrastructure and creative economy growth in the region.” Full service storage facilities often accompany a region’s growing art market. South Korea announced plans for one in

With a world in crisis and an art market spinning out of control, ace art-world consultants Chen & Lampert deliver hard truths in response to questions sent by Art in America readers from far and wide. I’m a curator at one of the world’s biggest museums, which may sound glamorous—but the truth is quite different. I am poorly paid considering my degree, and I often feel invisible. An ethics policy forbids me from working on shows or writing for other entities. There are curators at smaller museums who are not burdened with such restrictions. I’m tied to my desk and pitching proposals to committees while they’re free to moonlight for foundations, write catalog essays, curate gallery shows, and appear in documentaries. I want to pivot, but that might mean leaving what is actually one of the top jobs in my field. What should I do? Given the health insurance your museum provides, it would be prudent to have a doctor check out that itchy career rash. Wearing velvet handcuffs may not leave your wrists enough air to breathe. Those who don’t know any better romanticize the behind-the-scenes reality of being a museum curator, erroneously assuming that the position comes with autonomy and unl

The oil painting depicts a flautist seated and playing his instrument while gazing out directly at the viewer—a hallmark of Dou’s oeuvre that set him apart from his contemporaries. The sitter is surrounded by a number of worldly possessions, including a globe, books (one of which is open in front of him), an hourglass, and a violin, among other items. Each of these objects carries symbolic meaning, as is traditional in the Dutch vanitas still-life painting style that was common during the Dutch Golden Age in the early 17th century. “The unwavering interest in Dou’s paintings across the centuries is confirmed by this work,” Maja Markovic, head of the Old Masters evening sale in London, said in a statement. “Its appearance on the market for the first time in well over a century offers a new generation of collectors the opportunity to acquire an early masterpiece by an artist whose extraordinary command of the brush continues to mesmerise viewers today just as it did connoisseurs four centuries ago.”

Collectors, artists, galleries, and museums typically insure art against theft, fire, and flood. However, insuring against misattribution or forgery has proven stickier due to the inherent subjectivity involved in art authentication. In a bid to solve this problem, ArtDiscovery, a scientific art analysis firm with offices in London and New York, recently launched what it called “the world’s first insured authenticity guarantee for artworks.”ArtDiscovery’s CEO, Denis Moiseev, told ARTnews that its solution combines “connoisseurship and provenance research with laboratory science and proprietary AI, and then backs the conclusion with an insurance policy from an A+ rated global insurer.” If a certified attribution is later proven incorrect, the policy will cover financial loss to the artwork’s owner.“The market has previously relied on ‘guarantees’ offered by the selling party, with no third-party warranty in case things went wrong, so you’re either relying on the good will of the seller to return the cash, or litigation—with little success,” Moiseev said. “Authenticity has been the art market’s blind spot for too long. We built a framework that replaces belief with proof, evidence yo

The curators of the 59th Carnegie International have announced the first batch of the artists who will participate in the upcoming exhibition. These 14 artists and one foundation will present 14 new commissions as part of the exhibition. They include Torkwase Dyson, G. Peter Jemison, Arturo Kameya and Claudia Martínez Garay, Alia Farid, Brooke O’Harra, and Ginger Brooks Takahashi. The Carnegie International is staged every four years at the Carnegie Museum of Art in Pittsburg, Pennsylvania. The curators of the 59th edition are Ryan Inouye, Danielle A. Jackson, and Liz Park. For this iteration, the International will also include four partner venues were some of the exhibition’s art will be displayed. They are the Children’s Museum of Pittsburgh, the Kamin Science Center, the Mattress Factory, and the Thelma Lovette YMCA in Pittsburgh’s Historic Hill District. “The 59th Carnegie International—the most collaborative and far-reaching to date—will invite expansive inquiry into the art and ideas that define our moment as well as forge affiliations to realize new works by artists from around the globe,” Carnegie Museum director Eric Crosby said in a statement. “At the heart of this ambit

“The Motherload” series will follow Jennifer, a millennial art dealer who finds motherhood to be nothing what she expected. “Instead of joy, it is turning out to be months of rage, brain fog, self medication, and a scorched earth policy towards her husband,” per the logline. “A total surrender of sex, career and identity results, and Jennifer realizes she’ll never be able to find her way to fulfillment in parenthood without the hardest of looks at herself, her relationship to her own mother, to men, and to the condition of being a woman who despises bullshit mommy narratives.” Hoover is an author and cultural critic who moved from Indiana to New York to study art history. She worked in a gallery and married the artist Tom Sachs, “but when Hoover got pregnant, everything in her life began to unravel,” per the synopsis. “She felt like an imposter in her own body. She grew distant from her friends and husband. Anxiety, fear, guilt, and shame threatened to swallow her.” Her memoir is a rejection of the idea that mothers are pure and perfect, and an unflinchingly honest examination of postpartum depression.

Mellon, who died in 2014 at age 103, was heir to the Listerine fortune; her second husband, Paul Mellon, was an heir to the Mellon banking and oil fortune. At the 2014 Sotheby’s sale of her art collection, two Rothko paintings—Untitled (Yellow, Orange, Yellow, Light Orange), from 1955, and Untitled, from 1970—sold for a total of $76 million. This past September, when the new sale was announced, Kadakia told Town & Country, “Bunny Mellon’s legacy as a tastemaker known for designing the White House Rose Garden and curating exceptional art and jewelry elevates the Mellon Blue’s allure by tying it to her sophisticated aesthetic and cultural prominence.” 

The pieces, the agency said, are set to be deposited with Egyptian Museum, though it did not specify if this was the older museum in Cairo, or the glitzy new Grand Egyptian Museum in nearby Giza, which finally had its grand opening earlier this month after two decades in construction and $1 billion in development costs. “Any artifact that belongs to Egypt’s heritage is important. Even if it’s a small stone, it is important to bring it back to Egypt, where it belongs,” El-Aref told the broadcaster. “It is very important for Egypt to preserve its archaeological heritage and its history and pass it on to the next generations.”

Established in 1919, the museum houses thousands of antiquities spanning from prehistory through the Roman and Byzantine eras, reflecting Syria’s deep cultural heritage. Security at the museum was reinforced at the onset of Syria’s 14-year civil war and the subsequent fall of the 54-year Assad regime last December. The building closed for six years during the Syrian Civil War, and again on December 7, 2024, a day before anti-Assad forces reached Damascus, amid fears of looting. The museum reopened this January with its collection intact—only to close briefly this week following the heist. The theft reportedly took place on Sunday night and was discovered Monday morning when a door was found broken. An anonymous source close to museum management told AFP that six items were stolen, describing them as gold ingots but declining to confirm their age or provenance. A security source told the news outlet that “several employees and guards at the museum were detained” following the theft, and were “subjected to interrogation before being released.” The police chief in Damascus, Brig. Gen. Osama Atkeh, confirmed to state news agency SANA that several statues and prized collectibles were ta

The Onassis Foundation’s experimental art and tech studio Onassis ONX is doubling its size at a new location in Manhattan’s Tribeca neighborhood. It is slated to open with the multimedia exhibition “TECHNE: Homecoming” in January. Founded in 2020, Onassis ONX has supported artists working between such mediums as extended reality (XR), artificial intelligence (AI), and performance at its 645 Fifth Avenue space over the last five years. The art center has collaborated with a number of institutions including the Lincoln Center, Pioneer Works, and the MIT Open Documentary Lab. Its debut exhibition, “TECHNE: Homecoming,” will showcase new multimedia works by several artists, among them, Björk- and FKA twigs-collaborator Andrew Thomas Huang, augmented reality (AR) artist Tamiko Thiel, and self-taught microbiologist Sister Sylvester, who consider the ways in which identity is shaped by biology, mythology, and technology. Occupying the fourth floor at 390 Broadway, alongside the galleries PPOW and Matthew Brown Gallery, Onassis ONX boasts a 6,000-square-foot suite of production and exhibition spaces intended for making art using advanced technologies; the facilities include a larger motion

A church in Mexico has been reunited with a painting of Saint Francis of Assisi, its namesake, that was stolen nearly a quarter-century ago.  Thieves entered the Church of San Francisco de Asis in Teotihuacán, about 25 miles northeast of Mexico City, under cover of night on January 6, 2001, stealing some 18 works of art, including Saint Francis of Assisi (1747), which stands six feet high and had hung in the church for two centuries. Also stolen were seven 17th-century miniature paintings that were integrated in the church’s altar; those remain missing, and the unidentified perpetrators remain at large. The church promptly reported the theft to Interpol, and the work was later listed with the Art Loss Register, which lists some 700,000 missing artworks, antiques, and collectibles.  The painting had been consigned to Mexico City auction house Morton Subastas, which was established (initially as Louis C. Morton Galleries) in 1988 and deals in antiques, modern and contemporary art, jewelry, wines, and other collectibles. It was to be auctioned in 2018, but its status was revealed when the auction house submitted its catalog to the Art Loss Register as part of its standard due diligenc

In a statement, Duffield Ashmead IV MD, chair of the Wadsworth’s board, said, “Allison has had great success overseeing large-scale capital projects in New York City while demonstrating her ability to work with a broad range of stakeholders at an institution of national relevance. We look forward to her partnership with museum director Matthew Hargraves, and a bright future here at the Wadsworth.” Blais said, “Growing up outside Hartford, I came to know the Wadsworth as a place where timeless masterpieces live alongside timely discoveries. Under Jeff Brown’s leadership and the board’s guidance, the museum is embracing a renewed sense of identity and purpose, and museum director Matthew Hargraves is advancing a compelling vision that both honors its history and energizes it in powerful ways.” The Wadsworth was founded in 1842 by Daniel Wadsworth, one of the first American patrons of art, and stakes a claim as the oldest continuously operating public art museum in the U.S. In a 2024 Washington Post roundup of the 20 best American art museums (in which the Wadsworth ranked #18), art critic Sebastian Smee wrote, “Its baroque, surrealist and Hudson River School holdings are tremendous.