Transactions is a weekly collection of sales, acquisitions, and other deals. Subscribe to receive these posts as part of the weekly Art Movements newsletter.
To mark the culmination of its A Year of Yes: Reimagining Feminism program, the Brooklyn Museum announced the acquisition of 96 works, including pieces by Emma Amos, the Guerrilla Girls, Miriam Schapiro, Betty Tompkins, Andrea Bowers, Judy Chicago, Mary Beth Edelson, Nona Faustine, Deborah Kass, An-My Lê, Joan Semmel, Sylvia Sleigh, Joan Snyder, Nancy Spero, Jana Sterbak, and Martha Wilson. The acquisitions include many works by artists who were featured in exhibitions that marked the 10th anniversary of the Elizabeth A. Sackler Center for Feminist Art, including Beverly Buchanan, Marilyn Minter, and Betye Saar.
Collector Alicia Koplowitz donated the painting “The Triumph of Love over War” (1784) by Luis Paret y Alcázar to the Bilbao Fine Arts Museum.
The J. Paul Getty Museum acquired two French bronzes: Camille Claudel‘s “Torso of a Crouching Woman” and Auguste Rodin‘s “Bust of John the Baptist.” “It is particularly gratifying to be able to acquire a major work by Claudel — Rodin’s student and lover — at a time when her achievement as an artist is receiving the recognition it deserves,” Timothy Potts, the director of the J. Paul Getty Museum, said in a statement.
Bonhams Hong Kong auction of Chinese ceramics and art brought in a total of $11.2 million. The sale’s star lot was an archaic jade ritual cong vessel from the Neolithic-era Liangzhu culture (3,300–2,250 BCE), which more than quadrupled its high estimate, selling for $2.8 million.
An ornate Chinese vase from the early 18th century that had been in the permanent collection of the Philbrook Museum of Art since 1960, but was rarely exhibited, sold for $14.5 million at Christie’s Hong Kong auction house.
The Dallas Museum of Art acquired the monumental painting “The Descent from the Cross” (ca 1480–90) by the German artist Derick Baegert. The work is the museum’s first acquisition under the auspices of the Marguerite and Robert Hoffman Fund for pre-1700 European Art.
How do we counter stereotypes about Black mothers, while stressing the importance of memory, determination, love, and corporeality?
With two stellar retrospectives, one time-based installation, and several commissions by local artists, the Phillips Collection has dedicated its galleries to highlighting abstract work by Black artists.
An expansive exhibition on Adeliza McHugh’s influential Candy Store Gallery celebrates the whimsical, irreverent aesthetic that put California’s Sacramento Valley on the art-historical map.
As we begin a new year, a small moment on Queer Eye makes me think about the profound effect our stories can have on each other.
Some have criticized the racist monument’s planned relocation to North Dakota, near land seized from Indigenous people.
Each fellow in this 10-month intensive in New Haven, Connecticut, will receive studio or office space, subsidized housing, and a generous stipend.
Still resonating with relevance, William Gropper’s incisive cartoons in defense of the WPA go on auction at New York’s Swann Galleries together with other works by celebrated WPA artists
Archeologists excavating in Nijmegen, the Netherland’s oldest city, found the bowl in pristine condition.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
A pioneer of street photography, Levitt worked in the most crowded and poorest neighborhoods of New York searching for the theater of everyday life.
Leroy’s canvases seem to be about age and decay — about the process and limits of recollection made manifest.
Classes like Anne Willieme’s are part of the burgeoning field of medical humanities, which aims to tackle the disciplinary divide between art and science.