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Transactions is a weekly collection of sales, acquisitions, and other deals. Subscribe to receive these posts as part of the weekly Art Movements newsletter.
The Virginia Museum of Fine Arts (VMFA) acquired 34 works from the Souls Grown Deep Foundation (SGDF), including works by Purvis Young, Thornton Dial, Jesse Aaron, and the Gee’s Bend Quiltmakers. The acquisition, part gift and part purchase, is the latest in the SGDF’s initiative to deepen the collections of works by African American artists from the South at major museums, and follows previous acquisitions by the Metropolitan Museum, the High Museum of Art in Atlanta, the Philadelphia Museum of Art, and others. “These artworks will help to tell a story that for too long has been overlooked by museums and art historians,” VMFA Director Alex Nyerges said in a statement. A special exhibition featuring the newly acquired works will open at the VMFA on June 8.
A 1984 work by Jean-Michel Basquiat that he painted on a found section of a white picket fence was the top lot in Phillips‘s evening sale of 20th century and contemporary art on May 17. The Basquiat, “Flexible,” brought in $45.3 million toward the sale’s total haul of $131.6 million, which also set new auction records for Robert Motherwell, Pat Steir, and Cory Arcangel.
The Calder Foundation bought “Double Arc and Sphere,” an Alexander Calder sculpture from 1932 that was one of the works controversially deaccessioned by the Berkshire Museum, for $1 million at a Sotheby’s evening sale last week.
Christie’s evening sale of contemporary art on May 17 brought in a total of $397.1 million, with Francis Bacon‘s 1977 painting “Study for Portrait” leading the way at $49.8 million. The sale brought the grand total for Christie’s spring auctions in New York to a whopping $1.79 billion.
The city of Jacksonville, Florida, and the Museum of Contemporary Art Jacksonville will split the proceeds from the sale of a monumental work by Joan Mitchell. “Iva” (1973), a 21-foot-wide triptych that was donated to the city in 1997, fetched $2.7 million ($3.25 with buyer’s premium) at a Christie’s morning sale on May 18; factoring in a 4% bonus, the city and museum will each get $1.4 million.
The Pennsylvania Academy of Fine Arts acquired Hudson River School painter Frederic Edwin Church’s “Valley of Santa Isabel, New Granada” (1875) from Sotheby’s for an undisclosed price (its pre-sale estimate was $5–7 million). The painting was one of the works recently deaccessioned by the Berkshire Museum.
The filmmaker, writer, and producer George Stevens, Jr. donated papers and films documenting his career to the Margaret Herrick Library and the Academy Film Archive.
The Clark Art Institute acquired Guillaume Guillon Lethière‘s painting “Brutus Condemning His Sons to Death” (1788), as well as one of the artist’s preparatory sketches for the work and a 1794 engraving based on it by Pierre Charles Coqueret.
While staying as a house guest, a naked Le Corbusier defiled Gray’s minimalist, color-blocked walls that were only restored in 2015.
Keep your friends close and your bad art friends closer.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
In his new book, Tyler Green argues that landscape was Emerson’s method of glorifying territories shaped and bordered by white men.
“The 52-hertz Whale,” which sings a song at a frequency no other whale uses, is a social media phenomenon. But this film shows that the phenomenon says more about us than whales.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
The unvarnished photographs celebrate the lives, beauty, and resilience of an oppressed group at Chile’s social peripheries in the 1980s, and the series was recently acquired by MOCA in Los Angeles.
51 international publishers and galleries showcase their latest editions in prints and artists’ books at this free public fair, which is fully online this year.
The University of Virginia researchers wrote that the data “provides compelling evidence that these symbols are associated with hate.”
We are waiting for spectacle and when the quotidian, yet incongruous actions occur I wonder whether there is any real payoff coming.
Tanega’s approach to mark-making comes across as stream of consciousness, as if she’s engaged in a conversation with herself.