The Van Gogh Museum in Amsterdam has acquired Maurice Denis’s “Motherhood (Vierge au baiser)” (1896–97). The painting has been part of a private collection for years and has never before been on display in the Netherlands. The work is currently being exhibited in the museum’s permanent collection on the third floor.
The Oklahoma City Museum of Art (OKCMOA) has acquired Kehinde Wiley’s “Jacob de Graeff” (2018) and Jan van Kessel the Elder’s “Still Life with Fruits, Flowers, Game and Fish (Vase of flowers, furred and feathered game, fruit cups with a guinea pig and a parrot)” (mid-17th century). Wiley’s painting will go on display March 1, with Kessel’s being shown later in the spring. “Wiley’s ‘Jacob de Graeff’ adds a significant work by one of America’s most prominent young artists,” said E. Michael Whittington, president and CEO of the museum. “With our 2017 special exhibition, Kehinde Wiley: A New Republic, we immediately set our sights on acquiring a work for our collection. When we saw this painting, it was love at first sight.”
The San Antonio Museum of Art has received three gifts of contemporary art. The Dallas Consortium has gifted Nic Nicosia’s “Space Time Light” (2008–2009), a series of 10 large-scale archival inkjet images on canvas. In addition, the Alex Katz Foundation has donated Katherine Bernhardt’s “Untitled” (2017), Richard Bosman’s “Crazy Cats 9” (2017–18) , Juan Gomez’s “Flower 2” (2015), Lauren Nickou’s “Unicorn from Tapestry” (2017), and Virginia Overton’s “Untitled (Quartered Pine)” (2016). Finally, an anonymous donor has given a large-scale bronze sculpture, “Steel Clad” (2008) by Catherine Lee, to the museum. Several of the newly acquired pieces are already up on display in the newly reinstalled galleries of contemporary art. [via email announcement]
The Blanton Museum of Art at The University of Texas at Austin has acquired the collection of Roberta and Richard Huber, consisting of 119 works of art from the Spanish and Portuguese Americas. The work ranges from paintings and sculpture to furniture and silverwork and has been accumulated by the Hubers for the past 45 years. “My wife, Roberta, and I couldn’t have hoped for a better steward for our collection than the Blanton, an institution with a long legacy of leadership in the field of Latin American art,” said Richard Huber. “We’re thrilled for the Blanton to present the works to audiences from Austin, the rest of the country, and abroad, and for them to be used in the museum’s robust teaching program on campus and in the community.”
The Georgia O’Keeffe Museum has acquired Georgia O’Keeffe’s painting “Ritz Tower” (1928). The painting was acquired through the Owings Gallery in Santa Fe, New Mexico and will be on view in the Museum’s galleries beginning March 1. On February 28, a special museum members-only preview event celebrating “Ritz Tower” will take place. “This is a painting as dazzling as the modern city itself,” said Ariel Plotek, Curator of Fine Art at the O’Keeffe Museum.
Christie’s sale of Old Master & British Drawings in New York brought in a total of $2,671,875 on January 31. The sale’s top lot, Giovanni Antonia Canal’s (called Canaletto) “A capriccio with an ancient tomb monument to the left, and a watermill to the right,” sold for $396,500.
Sotheby’s The Fine Art Society: 142 Years on New Bond Street sale in London brought in a total of £2,692,695 (~$3,486,000) on February 5. The sale’s top lot, George James Frampton’s “Peter Pan” (1987), sold for £346,000 (~$448,000).
Sotheby’s Master Paintings & Sculpture Day sale in New York brought in a total of $10,826,500 on January 31. The sale’s top lot, “Mona Lisa” (17th century), by a follower of Leonardo da Vinci, sold for $1,695,000.
Some museums are opting for new language to describe the preserved individuals in their collections who were once living humans.
Presented by Northwestern’s Block Museum and McCormick School of Engineering, this new exhibition seeks empathy at the boundaries of life. On view in Evanston, Illinois.
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Fayneese Miller is under fire after the school failed to renew the contract of an adjunct who showed artworks depicting the Muslim Prophet Muhammad.
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The artist’s works resonate in West Texas, where the story of dehumanized and exploited migrant laborers is tangible and ever-present.
A posthumous show of Price’s work is curated by James Hart of Phil Space, the self-proclaimed “gallerist of death.”
She has raised generations of Bay Area artists and changed the local landscape with her public artworks, colleagues tell Hyperallergic.