Inspiración

Editor’s Note: This story originally appeared in On Balance, the ARTnews newsletter about the art market and beyond. Sign up here to receive it every Wednesday. A high level of energy was palpable at the preview day of the Frieze New York art fair on Wednesday. Many attendees at the Shed, on Manhattan’s West Side, were fresh off a return trip from Italy, where the Venice Biennale opened to the public on Saturday, and many were still comparing notes on best national pavilions and most heated protests.  But the order of the day was art sales, and for some of the 65 or so international galleries exhibiting, they were in full swing before the paintings were even hung on the walls and the doors opened to VIPs at 11 a.m. Tif Sigfrids, of New York’s Canada gallery, told ARTnews that presales had already been good the week leading up to the fair. Over coffee and pastries at the 10 a.m. breakfast event, advisor Lowell Pettit said that he had already placed a Stephen Shore photograph from New York’s 303 Gallery, and had heard—correctly as it turned out—that New York’s James Cohan Gallery had just about sold out of its booth of paintings by Kelly Sinnapah Mary.  [...]

Editor’s Note: This story originally appeared in On Balance, the ARTnews newsletter about the art market and beyond. Sign up here to receive it every Wednesday. Happy Wednesday! Here’s a round-up of who’s moving and shaking in the art trade this week. Hamptons Black Arts Council Announces Plans for Sag Harbor Artist Residency: Founded in 2023 by artist and curator Storm Ascher, the nonprofit is raising funds to establish a permanent artist residency on Black-owned land in one of America’s oldest free Black settlements. Xavier Hufkens Takes on Richard Aldrich: The New York–based painter will show with the Brussels gallery at Art Basel in June before a first solo exhibition there in spring 2027. Galatea Announces Representation of Grauben do Monte Lima’s Estate: The Brazilian gallery will represent the legacy of the late self-taught painter, who began painting at 70 and went on to produce an estimated 3,000 works before her death in 1972. Green Art Gallery Adds Fatma Al Ali to Roster: The Sharjah-based artist works across sculpture, installation, and the moving image, drawing on archival research and oral histories to examine land, memory, and colonial frameworks in the Gulf region.

«Museos uniendo un mundo dividido» es el lema propuesto por el ICOM para celebrar el Día Internacional de los Museos en 2026, destacando el papel que estas instituciones juegan como espacios que ayudan a tender puentes entre culturas, fomentan el diálogo y promueven la paz, en un contexto global marcado por las divisiones sociales y culturales. Ante las fracturas sociales (desigualdad, exclusión), culturales (choque de identidades, prejuicios), políticas (polarización, conflictos), además de las generacionales y tecnológicas, el ICOM plantea que los museos puedan actuar como: Por lo tanto, pasan a ser actores activos adoptando el papel de factor de cohesión social. No obstante, dicho planteamiento no debe hacernos olvidar que la esencia de los museos son las colecciones y que fueron, son y seguirán siendo un «lugar donde se guardan cosas», por lo que una de sus funciones esenciales es la de clasificar y ordenar, en los diferentes niveles descriptivos —inventario, catálogo, ubicación en la exposición—, todas esas «cosas» que conforman sus colecciones. Los museos exponen porciones del mundo a través de objetos que llegan descontextualizados. Y, al clasificarlos, creando un imaginario

This exhibition showcases the culmination of the graduate candidates' work in the Master of Fine Arts in Studio Art program at MECA&D. Opening May 9 at Louis K. Meisel Gallery in New York City, this exhibition invites viewers to reconsider sculpture and perception.

Were this simply a bronze statue of Trump, I suspect that the criticism wouldn’t take the specific form that it has; the president’s envy of autocratic leaders who use their faces as civic decoration is already well known. Whether putting his face on currency, passports, or banners outside of the State Department, Trump appears to enjoy emulating Saddam Hussein or Kim Jong Un. Dismissing such objections, Burns is quoted in Newsweek as claiming that the statue was merely a “moment of gratitude, honor, and remembrance,” as well as a symbol of “resilience,” “patriotism,” and “courage,” while countering the claim that this was an exercise in idolatry with the fact that there are numerous monuments to presidents and other political figures throughout the United States. Ignoring the disingenuousness of that assertion, whereby the Lincoln Memorial wasn’t installed as tribute at the 16th president’s private golf course, and the fact that the vast majority of these memorials were installed long after their subjects were already dead and thus fit to be memorialized, all of that tacky gold-leaf emblazoned about Cottril’s statue puts the issue into a glowing perspecti

Cashing in typically comes before supporting artists at art fairs, and Frieze New York is no different from the rest in that regard. The main priority for dealers is to make money, and the point for attendees is to spend it, if not on art, then at least on overpriced coffees and sandwiches. Which is to say little of the entrance fee, which can reach $200, a sum I was fortunate not to have paid as an industry professional. There are, in any case, plenty of better places to see art in New York than a fair, and many of them are free. But, as the finest dealers are aware, there is a way to show good art and monetize it, and some of the 68 galleries in this year’s just-opened Frieze, at the Shed in Hudson Yards, know just that. To this well-capitalized event, these select few have brought ambitious photography, eccentric paintings by self-taught artists, and sculptures that are downright weird. Dealers, a word of advice: If you must present a multi-artist booth, at least bind the works by a theme. (Do not simply clear inventory.) Take notes from Andrew Edlin Gallery, whose smart Frieze booth convenes four [...]

VEXED IN VENICE. News from this year’s politically mired Venice Biennale keeps coming. For starters, the Art Newspaper  reports that Iran is still negotiating its participation in the Biennale. The general director of visual arts at Iran’s Ministry of Culture and Islamic Guidance—Mahdizadeh Tehrani— denied that the state ever withdrew from the exhibition this year, and said the country still hopes to take part in some capacity. Last week, Biennale organizers announced Iran would not be represented at its pavilion. Elsewhere, according to ArtReview, Somali artists and cultural workers have expressed “deep disappointment and concern” about the Somalia Pavilion. In one open letter, the Somali Arts Foundation(SAF) alleged the exhibition was “led and organized by Somali diaspora figures in collaboration with their European colleagues … while artists and arts organizations based in Somalia were neither meaningfully consulted nor included.” On social media, the Somali queer collective Warbixinta Cidda also demanded the removal of an Italian co-curator because of Italy’s colonial history in Somalia.Related ArticlesStudy Says Enjoying Art Makes You Younger, Nonprofit Sues Trump Administrati

The acquisitions range from large-scale mixed-media works by Lorna Simpson and Mickalene Thomas to documentary photography by Danny Lyon and Graciela Iturbide, as well as major gifts tied to the museum’s current exhibitions, including works by Adam Pendleton and Mark Bradford.  “There has been a deliberate effort over the last few years to deepen certain areas of the Hirshhorn collection, particularly photography, mixed media practices, and the artists who are defining American visual culture including Marilyn Minter, Lorna Simpson and Mickalene Thomas,” museum director Melissa Chiu told ARTnews. “What made 2025 significant was that those priorities converged with the momentum of the Hirshhorn’s 50th anniversary.” Chiu said the anniversary helped spur major gifts from artists and longtime supporters, many of whom already had deep relationships with the museum. “Several acquisitions also grew organically out of artists’ ongoing engagement with the Hirshhorn,” she said, pointing specifically to Bradford’s Shattered Lightbulb and Pendleton’s Spray Paint Originals Archive. “So, while the year saw an extraordinary number of important acquisitions, it was very much the result of long-ter

Last week, the Venice Biennale announced that Iran had dropped out of the exhibition. Now, it appears, that report was incorrect. “Iran never withdrew from participating in the Venice Biennale,” Tehrani said, as translated by Google Translate. “Incidentally, we had the initial agreement to participate in Venice and we are still in consultation. We have submitted a plan to participate in the Biennale as an exhibition, and we will probably receive a receive a response in the next few days.” Tehrani suggested that proposed exhibition may travel after its time in Venice to other European cities. While Tehrani was somewhat cagey on what form exactly the proposed Iranian Pavilion, the entire interview is worth the read for a close look at how he views arts within Iran. Meawhile, a group purporting to represent the Iran Pavilion announced last week the Hyperstitional Pavilion of Iran, with the exhibition, “Hulul: On Incarnation and Incantation,” which said it was being staged on behalf of Iranian artists and curators at risk. Curated by  Pouya Jafari and Nazli Jan Parvar, the pavilion features work by Iranian artists Real Iran, Dast Dastan, Zendan-e Eskandar, Mogh Kouh, and Dorna. The pav

Alexis Corbière and Alexandre Portier, the French MPs overseeing the government commission investigating the shocking October 19, 2025, Louvre jewel heist, have accused the museum of deprioritizing security at the museum. The full parliamentary report was released today and also casts doubt on French president Emmanuel Macron’s nearly $1 billion plan to revamp the Louvre, which he announced in January 2025 (nine months before the heist) and referred to as a “new renaissance” for the museum, the world’s most-visited art museum.   Macron’s visit followed the release of a leaked memo written by Laurence de Cars, then the director of the Louvre (she resigned in February of this year), alerting French culture minister Rachida Dati (who also stepped down in February) of a “proliferation of damage in museum spaces, some of which are in very poor condition.”  As noted in Le Figaro, the damning May 13 report is based on over 20 hearings and roundtables with some 100 insiders, conducted over the past five months. The commission spoke with museum professionals, local officials, and former ministers who collectively sounded the alarm regarding the Louvre’s ongoing security issues, which led to

An artist has accused Andrew Bolton, curator of the Metropolitan Museum of Art Costume Institute’s spring 2026 exhibition, of displaying and collecting what she has described as a “counterfeit” of her work, without credit or compensation. Hadari described their meeting in an interview he gave to Flanelle Magazine in 2023, saying: “I met Anoushka, and I just went into her studio and saw a woven sample on the wall…Part of what makes [Samms’s] work so unique is that she weaves with hair…then we did this art piece together. The ‘Hair Dress’ was super important for me in that collection.” In 2025, the Metropolitan Museum of Art expressed interest in acquiring the original hair dress for inclusion in the museum’s upcoming Costume Institute exhibition, according to Samms’s lawyer, Jon Sharples, a commercial intellectual property and art lawyer. The discussion allegedly then shifted toward a remake of the original after Hadari—who now works under his New York City-based atelier Y H Studios—said the piece had suffered water damage, according to Sharples. However, by the end of the year, that agreement had stalled. When Samms’s lawyer followed up, Andrew Bolton informed her over email that t

As first reported by Haaretz, the Likud-backed bill would empower a new government body under the purview of the Israeli heritage minister to purchase and expropriate land. The proposed “Judea and Samaria Heritage Authority”—using the biblical term favored by the Israeli government for the occupied West Bank—“will hold exclusive responsibility for all matters relating to heritage, antiquities and archaeology in the area.” Those responsibilities would reportedly include excavating and overseeing heritage sites and archaeological digs, including those currently managed by the IDF-appointed archaeology staff officer in the West Bank Civil Administration. Also proposed is a new public council for the heritage authority, whose members would be appointed by the heritage minister. The authority would also be able to delegate administration of specified sites to local authorities or corporations, subject to the council’s approval. Emek Shaveh, an Israeli NGO focused on archaeology, said in a statement following the vote that “the legislation structurally precludes Palestinian participation in the governance and management of heritage sites.” The statement added that if enacted, “the bill w

Mary Lovelace O’Neal, whose gestural abstractions consistently ran against the grain, defying the demands placed upon Black painters by critics and artists alike, died on Sunday in Mérida, Mexico. She was 84. Her galleries, Jenkins Johnson and Marianne Boesky, announced her passing on Wednesday. Lovelace O’Neal produced sprawling paints defined by tangles of drippy, roiled strokes. This was a style that placed her outside the orthodoxy of Minimalism, the dominant movement when she was maturing as an artist during the 1960s. She also arrived too late to be classified as an Abstract Expressionist. But she did not consider herself an adherent of either movement, anyway, and in interviews, she said she enjoyed standing apart from any fashionable style or school of artistic thought. “I’m reluctant to call myself an abstract expressionist or a minimalist. I call myself a painter,” she told the New York Times in 2020, adding, “Being unruly is my nature.” Many of her most famous works were produced during the ’60s, when Lovelace O’Neal walked into a paint store in New York and purchased five bags of lamp black, a dark powder. She was an MFA student at Columbia University at the time, and o

Una conferencia sobre la historia del antiguo Hospital de los Desamparados, fundado el 11 de febrero de 1746 por los hermanos Logman, pasando posteriormente por el nuevo Hospital de los Desamparados como Hospital Civil de la provincia única de Canarias, según el proyecto aprobado el 6 de febrero de 1854 por el arquitecto provincial Manuel de Oraá y Arcocha. Las obras comenzaron a ejecutarse en 1864 con la construcción de la fachada. Tras décadas de trabajos y después del incendio sufrido en 1888, el edificio sería remodelado por Manuel de Cámara y Cruz, primer arquitecto canario titulado, hasta su terminación en 1889. Ya en el siglo XX, en 1920 se aprobó el proyecto de ampliación del Hospital Civil, obra del arquitecto Antonio Pintor y Ocete, cuyas obras finalizarían hacia finales de 1927. En los años cincuenta, el arquitecto Tomás Machado y Méndez Fernández de Lugo volvería a realizar reformas y la remonta de una nueva planta.

MUSEOS DE TENERIFE NATURALEZA Y ARQUEOLOGÍA LA CIENCIA Y EL COSMOS HISTORIA Y ANTROPOLOGÍA CENTRO DE DOCUMENTACIÓN DE CANARIAS Y AMÉRICA CUEVA DEL VIENTO Centro de Interpretación «Castillo de San Cristóbal» Día 18 de mayo de 2026 Entrada gratuita (sin inscripción previa) Desde el Centro de Interpretación «Castillo de San Cristóbal» nos sumamos a la celebración del Día Internacional de los Museos con la acción «Vivir sin dividir», una visita guiada en la que trataremos de dar a conocer el espacio proyectándolo como lugar de diálogo y memoria compartida. Recibe semanalmente todas nuestras novedades

La actividad consistirá en una breve exposición en la que se presentará, acompañada  de una detallada explicación, una selección de ejemplares singulares conservados en los almacenes del Museo de Ciencias Naturales de Tenerife, piezas que habitualmente no se exhiben al público visitante. Esta iniciativa ofrece una oportunidad excepcional para acercarse a materiales de gran valor científico y divulgativo que, por cuestiones de conservación y espacio expositivo, permanecen normalmente fuera de las salas abiertas al público. En conjunto, la exposición propone un recorrido por piezas únicas que ponen de relieve la riqueza y diversidad de las colecciones científicas del museo, acercando al público algunos de sus fondos menos conocidos.