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The Metropolitan Museum of Art has acquired Peter Doig’s landscape painting “Two Trees” (2017). The painting was a gift from George Economou in celebration of the Met’s 150th anniversary next year. “Peter Doig is one of the most important figurative painters of our time,” said Sheena Wagstaff, the Leonard A. Lauder Chairman of Modern and Contemporary Art. “‘Two Trees’ is a masterpiece, as well as a watershed work in the artist’s oeuvre. It poses provocative questions about modern life, even as it sits within a lineage of peers such as Goya or Munch, who also touched on the rawness of contemporary life with distinctive painterly invention and strange beauty.”
The Saint Louis Museum of Art has purchased Kehinde Wiley’s large-scale painting “Charles I,” based on a 1633 portrait of the English king by Daniel Martensz. In Wiley’s painting, the subject depicted has been changed from male to female, featuring Ashley Cooper, a St. Louisan standing in the same pose as Charles I in the original Dutch painting. Wiley’s work was on display in the exhibition Kehinde Wiley: Saint Louis. Although the painting is not currently on view, it will be installed in the contemporary galleries this summer.
The Victoria & Albert Museum (V&A) has acquired the theatre photography archive of Ivan Kyncl, given to the museum by Kyncl’s family. The Ivan Kyncl Theatrical Archive includes 100,000 negatives and several prints, and a selection of works are now on display in the new exhibition Ivan Kyncl: In the Minute. [via email announcement]
Christie’s Deep Impact: Martian, Lunar and other Rare Meteorites online sale brought in a total of $801,125 from February 6–14. The sale’s top lot, a massive sculpture from outer space of an aesthetic campo del cielo iron meteorite, sold for $275,000.
Christie’s The Art of China: Including Private English Collections online sale brought in a total of £331,000 (~$432,000) from February 14–21. The sale’s top lots include a bronze censer and cover (Ming Dynasty, 17th century), a set of four small lac-burgaute “narrative” dishes (Kangxi Period, 1622–1722), a group of seven “robin’s egg” blue-glazed vessels (19th–20th century), and a carved Longquan celadon vase (Ming Dynastu, 15th–16th century), which sold for £12,500 (~$16,000) each.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.