Art-world news brings you the latest developments in the art world.
including interesting news from artists, museum, curators, connoisseurs, and enthusiasts. Reports on the art, people, issues, trends, and events shaping the international art world. Contributions from Alfred Barr, Bernard Berenson, Kenneth Clark, Robert Coles, Arthur Danto, Carlos Fuentes, Pete Hamill, Aldous Huxley, Steve Martin, Louise Nevelson, Bob Nickas, Francine Prose, Harold Rosenberg, David Salle, Jean-Paul Sartre, and William Carlos Williams.
critical insights about contemporary art and culture.
The (art) revolution may be randomised. The British mega-artist Damien Hirst has launched a new tech-heavy take on his splashy three-decades-old Spin Paintings.
It is called The Beautiful Paintings and allows collectors to use an app dashboard—developed with the art services and technology business Heni—to order a non-fungible token (NFT), minted on the Ethereum blockchain, make it round or square and have it printed out or not, in one of four sizes.
Sixty years after her first London show at the Institute of Contemporary Art (ICA), the Pop Art pioneer Jann Haworth embraces a "soft and warm" fabric-centred sensibility in new works showing in Out of the Rectangle (until 13 May), at Gazelli Art House, in Dover Street. In 1963, Haworth was one of Four Young Artists showing at the then home of the ICA in Dover Street Market, just 30 metres up the street from her latest show.
The Tudor monarchs have exerted a fascination over publishers and film/television production companies in search of a guaranteed audience. With the successful run of The Tudors: Art and Majesty in Renaissance England exhibition at the Metropolitan Museum of Art, New York and its recent opening at the Cleveland Museum of Art (until 14 May), it seems an appropriate moment to ask: is there anything more to say about the Tudors?
The Art Newspaper’s annual report on museum visitor figures around the world has been published. We talk to Lee Cheshire, who co-edited the report, and to Charles Saumarez Smith, a former director or chief executive of three London museums and galleries—the National Portrait Gallery, National Gallery and Royal Academy of Arts—about how important the figures are to museums and whether they are a valid gauge of institutions’ success.
A recently discovered sketchbook by 16-year-old Catharina Kam includes a drawing of an elderly woman peeling potatoes, a subject tackled simultaneously by Van Gogh. Catharina along with her brothers Jan and Willem knew Vincent well, and together they used to go on sketching excursions in the Dutch countryside. It was almost certainly on one of these occasions that Catharina and Vincent both drew the woman.
Chicago dealers say the Midwestern art capital is undergoing something of a renaissance as events like Expo Chicago raise the profile of the city’s experimental art scene and its connection to other local cultural traditions—like music, architecture and food—both within Chicago and beyond.
The 2023 edition of Expo Chicago, its tenth, will feature stands from more than 170 galleries, the largest number of participants in the fair’s history.
“The main ambition of the show is to reveal these artists to a 21st-century audience, and look at them through 21st-century eyes,” says Carol Jacobi, the curator of the upcoming Tate Britain exhibition The Rossettis. “There are an awful lot of myths that have entangled themselves around the Rossettis, but we want to show them in a new light.
London’s National Portrait Gallery (NPG) is set to save Joshua Reynolds’s Portrait of Mai(Omai) (around 1776) in an unusual joint acquisition with the J. Paul Getty Museum in Los Angeles. In today’s statement, the two museums announced plans “to jointly acquire and share ownership” in “a new model of international collaboration”.
The idea is that the Reynolds painting will be on display in London and Los Angeles half the time, being moved between the two museums perhaps every five years.
Simone Leigh’s stellar presentation for the US pavilion at the Venice Biennale last year will now tour America, starting at the Institute of Contemporary Art (ICA) Boston this month before travelling to Washington, DC and Los Angeles. It is “the nucleus of the larger story” of Leigh’s work, says Eva Respini, the ICA Boston curator who also organised Leigh’s Venice showing.