Whiteread has made two full-size structures over the course of the lockdown that suggest a candid act of emotional unburdening.
Mary Weatherford’s new paintings confront us with a sense of place, a remembered moment, a hidden story.
Gates reminds us of the many hidden, unacknowledged, and under-recognized histories of Black culture in America.
The private museum has two more months to forge a new direction before its tax-exempt status could be revoked.
David Reed has figured out how to bring illusionism back into an abstract painting while remaining committed to paint-as-paint.
In BOOM: Mad Money, Mega Dealers, and the Rise of Contemporary Art, Michael Shnayerson paints a vivid portrait of the dizzying ascent of the contemporary art market and the powerful succession of dealers responsible for its rise.
Gallerists and art advisors suspect there could be ulterior motives to the industry leader’s latest power play, but Gagosian would beg to differ.
Galleries including Gagosian and Marian Goodman have been accused of violating the Americans with Disabilities Act by failing to make their websites accessible to the blind or visually impaired.
On Monday, artist Robert Cenedella’s lawyers appeared before a Manhattan judge to argue that a conspiracy exists between New York’s top museums and galleries to celebrate the Warhols of the world at the expense of the “Anti-Warhols.” [UPDATE: Cenedella’s case has been dismissed by a judge for insufficient evidence, though a representative for the artist says he is in discussions to refile his claim.]
One or two of the paintings in Grotjahn’s latest show might be interesting to look at, but a giant gallery space full of them becomes overbearing and tedious.
The artist spoke candidly about the emotional, financial, and artistic strain he experiences.
The artist’s massive aluminum sculpture “Things” commands a former bank space in Midtown Manhattan.