Inigo Philbrick misrepresented the ownership of and fraudulently traded in works by Jean-Michel Basquiat, Yayoi Kusama, and others.
Shiv would definitely have a Chihuly chandelier.
Sculpture at Luhring Augustine posits contemporary sculpture as a corrective to politically regressive monuments in the United States.
Police are on the hunt for the man who walked into Aspen’s Opera Gallery and cut a $3 million painting by Christopher Wool.
The museum should be commended for shining a light on painting, but the show feels like a missed opportunity.
Opening in the shadow of the Paris attacks, the exhibition Collected by Thea Westreich Wagner and Ethan Wagner represents — as Adam Weinberg, the director of the Whitney Museum of American Art, said in his remarks at the press preview — “a celebration of what matters in life.”
I know what you’re thinking. There can’t be a ‘how to talk about Oscar Murillo’ because we don’t have a decade or so of commentary, he’s too new to have talking points. He’s 28 for God’s sake, you protest.
The 2014 Super Bowl, also known as Super Bowl XLVIII, will be held on Sunday, February 2 at MetLife Stadium in New Jersey. What’s that got to do with art? As it turns out, there are certain distinct parallels between the high-profile athletes who patrol the chalky gridiron and the art stars who exhibit in the chalky white enclaves that patrol the art world.
Even though Wool has been blue-chip long enough (since 2010) to make him a staple on a newbie collector’s wish list and the likely star of many a speculator’s wet dream, post-auction media rhapsodizing about the “record price” “achieved” by his 1988 painting “Apocalypse Now” has become the gateway to any conversation about him, at least for the next week or so — or until the show at the Guggenheim ends.
Christopher Wool is having a moment. Arguably his most famous painting, “Apocalypse Now,” will be offered on the auction block on November 12 as part of Christie’s postwar and contemporary art evening sale, with an estimate of $15–20 million. His retrospective at the Guggenheim, organized by associate curator Katherine Brinson, opened late last month to much fanfare.
Despite the best efforts of art critics and reporters, it remains inadvisable to talk about any art fair as an exhibition, or a precisely curated experience. They’re more like avalanches of information from which viewers can filter out their own message, in the manner of an aesthetic Ouija board. However, if there is one fair in Miami that most resembles an exhibition, it’s SEVEN, which collects a group of (you guessed it) seven independent-minded New York galleries.
MoMA’s latest thematic exhibition Print/Out aims to examine the ways printing has expanded and molded contemporary art practice. Is it successful?