Inspiration

House in Fort Worth, Texas, a masterpiece of architecture designed by the legendary architect Paul Rudolph. Art from the Bass House is a highly coveted Les Peupliers series, this painting features a powerful palette of sunset hues, in a striking vertical orientation measuring more than three feet (one full meter) high. The work has exceptional provenance, with a rich and varied international exhibition history, having first been exhibited the year after it was created in the Monet exhibition, Série des peuplier des bords de l’Epte from February – March

Jean-Michel Basquiat created during the all important year of 1982. The work is believed to be a portrayal of the artist alongside both his parents birthrates post-World War II, the work is a triple portrait believed to depict the artist alongside his parents—from left to right the

Miguel Falomir el viernes, durante la inauguración de la exposición 'El Prado en las calles' en València. / Germán Caballero El director del Museo Nacional del Prado, Miguel Falomir, ha visitado València -su ciudad natal- con motivo de la inauguración de la exposición 'El Prado en las calles' que ha aterrizado en València con motivo del bicentenario de la pinacoteca nacional, que descentraliza su archivo a través de medio centenar de reproducciones que ya han viajado por todo el mundo. En este contexto, a preguntas de este diario, Falomir ha confirmado que la relación del Prado con el resto de museos españoles es fluida y siempre abierta a la colaboración. De ahí que en 2022 se firmara un acuerdo con el Museo de Bellas Artes para la cesión de obras que sigue vigente y que podría ampliarse. Según ha especificado, en estos momentos hay 18 piezas expuestas en la pinacoteca valenciana que son propiedad del patrimonio nacional. "Forma parte de la actuación del Prado Extendido, "un programa para colaborar con todos los museos de España a través de préstamos y depósitos", ha explicado Falomir. Sobre si podría ampliarse esa cesión, ha concretado que existe la posibilidad "de depositar más

A través de esta exhibición se pone de manifiesto la enorme relevancia que este arte ha tenido en Madrid, ya que desde sus orígenes se tiene constancia de la existencia de esta actividad. La realeza, la aristocracia y, posteriormente, la burguesía y la clase media contribuyeron a su desarrollo al disputarse los mejores intérpretes e interesarse por las nuevas corrientes. Si en el siglo XVIII ya aparece al servicio de la Corte, durante el XIX será el destino predilecto del artista extranjero que soñaba con visitar España, convirtiendo a Madrid en un enclave fundamental, dando lugar a la creación de espacios tanto lúdicos como didácticos. La centuria del XIX verá nacer los primeros salones, ateneos, liceos y conservatorios, un modelo que continuará durante el XX y que sigue vigente hasta hoy.

La Fundación Ankaria ha abierto la convocatoria de Ankaria Photo 2025, cuarta edición de su Premio Internacional de Fotografía del siglo XXI, dirigido a artistas visuales de todo el mundo que trabajen con nuevas formas de expresión en el lenguaje fotográfico. Para participar, los artistas deberán enviar un dossier en formato PDF que incluya al menos 15 imágenes, junto con sus datos personales, los datos de la serie y una explicación detallada del proyecto. Las artistas galardonadas con el Premio Internacional Ankaria Photo en su tercera edición fueron María Acha y Cecilia de Val. A esta convocatoria concurrieron un total de 132 proyectos procedentes de 20 países. La Fundación Ankaria surge en 2009 como iniciativa del empresario y coleccionista de arte Javier Rosón, con el propósito de convertirse en una plataforma de pensamiento y actividades dentro de los campos relevantes en el momento actual: por un lado, la reflexión en torno a la política y su influencia determinante en el conjunto de áreas que conforman la sociedad, y por otro, la promoción de la cultura en general, y en particular del arte contemporáneo, como manifestación y medida del grado de sensibilid

Es un museo nacional y de titularidad pública, por lo que una parte del Prado es de toda la ciudadanía. En virtud de esa premisa, la pinacoteca ha traído a València su exposición 'El Prado en las calles' que finalmente llega a la capital con medio centenar de reproducciones de las obras más icónicas del patrimonio nacional. De Sorolla a Ribera, pasando por Goya, Zurbarán, El Greco o Velázquez, estas piezas referenciales del arte nacional ya pueden visitarse en el paseo Paco Domingo hasta el 24 de mayo. Una "combinación explosiva", en palabras de los organizadores, que hacen comulgar el arte con la literatura coincidiendo esta exposición con la 60 edición de la Fira del Llibre. De ahí que esta mañana, aun sin la inauguración oficial, un reguero de personas ya curioseaban las obras a tamaño real dispuestas en fila por los Jardines del Real. Como ha afirmado el director del Museo del Prado, el valenciano Miguel Falomir, la muestra es un claro ejemplo "de una idea sencilla con un resultado genial": descentralizar los grandes fondos artísticos del patrimonio nacional y darles la vuelta al mundo, una acción que se propuso para celebrar el bicentenario del museo en 2019 y [...]

Daniela Mayer is an independent researcher and curator specializing in modern and contemporary art, with a focus on transnational art networks across the Americas and the intersections of identity, race, and socio political histories. Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.

At the booth of Toronto’s Stephen Bulger Gallery, a focused solo survey traces over four decades of work by multimedia artist Shelley Niro (Bay of Quinte Mohawk, Turtle Clan), whose practice is deeply rooted in her Kanien’kehá:ka (Mohawk) heritage. Niro’s work shifts fluidly between sharp cultural critique and intimate reflection, often laced with irreverence.  Get the latest art news, reviews and opinions from Hyperallergic. “I think just making art as an Indigenous woman is political,” Niro told me at the fair. “It doesn’t matter what you do [or] what you put out there. I could be making paintings of wooden spoons and people would see it as political.”  At the booth of Scheinbaum Russek Gallery in Santa Fe, Cara Romero (Chemehuevi) showcases vibrant, theatrical digital portraiture, blending Indigenous futurism and humor. Romero’s “The Zenith” (2022) surrounds Mvskoke Creek artist George Alexander with floating white corn in the starry cosmos, offering a deceptively lighthearted meditation on the fragile future of heritage foodways. Unintentionally echoing the recent Blue Origin rocket launch by Amazon CEO (and Whole Foods mogul) Jeff Bezos, Romero’s piece reimagines the future no

Natalie Jenkins is a Chicago-based artist, writer, and educator. Her work has appeared in Newcity and the Chicago Reader. Paintings that pay tribute to the art of cosplaying, sculptures celebrating Mexican artisanship, and ethereal Korean ink drawings were among the standout works at this joy-filled fair. Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.

CHICAGO — Walking through an art fair can feel like swimming in the middle of Lake Michigan — there’s a fine line between floating through art and drowning in it. After all, these shows aren’t always made for the people trying to swim; they’re for the ones riding the yachts. But at Expo Chicago, running through this Sunday, April 27, I found little islands of hope, persistence, and affirmation.  Expo Chicago has hosted its contemporary art fair at the iconic Navy Pier every April since 2012. Now, back with more than 200 participants in its second run after being acquired by Frieze, the show is attempting to remain unique with new partnerships and fair sections. One such initiative is a collaboration with the Galleries Association of Korea (GAoK). The excitement of the GAoK participants is refreshing — a reminder that what can be a tiring corporate ritual for some can still power dreams for others.  Get the latest art news, reviews and opinions from Hyperallergic. Coming from Brooklyn, Richard Beavers Gallery allowed artists to speak to sociopolitical challenges through a themed exhibition booth titled Breaking the Simulation. Beavers told me he hopes the works will “act as a cataly

The quarterly journal October launched in 1976 with aims to counter the glossy “pictorial journalism” of arts magazines with critical rigor, documenting relationships between different art forms and assessing the social and economic drivers of contemporary art. As we celebrate its 50th birthday, here are five key titles published through October, books that embody the journal’s founding tenets, or point in new directions. Rosalind E. Krauss founded October alongside Annette Michelson and Jeremy Gilbert-Rolfe, and the journal can’t be disentangled from her own work as a critic. Even before the term “postmodernism” first appeared in October, Krauss was engaged in a critique of modernism’s claims of originality, appeals to the authority of the artist-creator, and blind faith in the purity and integrity of artistic mediums. The Optical Unconscious is Krauss’s most captivating effort to dismantle modernism from within. For a taste, see her counter straightforward readings of Jackson Pollock’s drip paintings as paintings by reminding us that they were born not on the wall but on the floor—in a state of abject horizontality and as receptacles for waste. Of the figures most closely associa

If 2024 was the year of reckoning for the art market, 2025 is shaping up to be a year of mixed messages. In a new report published this week, Art Market Trends 2025, online art marketplace Artsy surveyed over 384 gallery professionals and art dealers across 60 countries. Over 75 percent of those surveyed cited economic uncertainty as a major challenge, while 60 percent said they are worried about changing collector behavior and declining demand. Art Market Trends 2025 also surveyed over 1,200 collectors, though that data should be taken with a grain of salt, as Artsy defines the term loosely as anyone who has purchased one work of art in the past year. Still, the report found that nearly 60 percent of collectors bought art online in 2024, with 73 percent of those saying they bought the same amount or more compared to the previous year. The report highlights an admittedly self-serving takeaway: collectors are buying art online more than ever, but many galleries are still treating the internet as a showroom and an educational space, but not as a transparent, transactional marketplace. But even here, cracks show. Nearly half of collectors (46 percent) say they value educational conten

Jean-Michel Basquiat’s market remains anything but quiet. This May, a rediscovered early painting by the artist will headline Sotheby’s Contemporary Evening Auction in New York with a $10 million to $15 million estimate. The untitled 1981 work hasn’t been seen publicly in 36 years. It was acquired in 1989 and has remained tucked away in the same private collection ever since—until now. They’ll need it to: The May sales arrive at a moment of hesitation in the high end of the market. Global art sales dropped 12 percent by value in 2023, and big-ticket consignments have become harder to secure. Gone are the salad days of Macklowe and Paul Allen. But Sotheby’s is betting that what it does have—works that haven’t been offered publicly in decades, and in some cases, ever—will do more than compensate. “Because there’s less volume, you need to be more astute and bring things that are really exciting for everyone in order to get people’s attention—because people’s attention right now is very much in the news,” Grégoire Billault, Sotheby’s chairman of contemporary art, told ARTnews. In the Modern Evening Auction, set for May 13, Sotheby’s will offer Pablo Picasso’s Homme assis (1969), a flam

The somewhat late opening time by art fair standards (most international fairs open at 10 or 11 a.m.) appeared to be a pragmatic choice. Attendance was light early on but picked up steadily through the afternoon, with opening day lasting until 8 p.m. Among the visitors were several ARTnews Top 200 Collectors, including Anita Blanchard and Martin Nesbitt, Lisa Goodman and Josef Vascovitz, and Alec and Jennifer Litowitz. Speaking to ARTnews a few hours into the day, Expo Chicago president and director Tony Karman remained upbeat. “It’s gratifying to see that collectors seem enthusiastic about acquiring and inquiring about works, which gives me great optimism and hope not just for this moment but for the future,” he said. “The art world prevails.”  Earlier this month, the annual Art Basel and UBS Global Art Market Report found that global art sales shrank by 12 percent last year.  While art fair sales rose slightly, dealers cited the “rapidly escalating costs of art fairs” as a growing risk to participation, even when sales were strong. Galleries, it seems, are becoming more judicious about which fairs they participate in. ​​The exhibitor mix ultimately worked to the advantage of the

The Center, at the Santa Clarita, Calif. campus, is aimed at providing CalArts students, faculty, and visiting fellows across the creative disciplines access to leading tech for research, experimentation and education, with a focus on AI/ machine learning and digital imaging. It also aims to link museums, universities, and technology companies. A search for an executive director is currently underway. “The Chanel Center for Artists and Technology at CalArts makes real an endeavor that’s long been in our dreams,” said CalArts president Ravi S. Rajan. “At CalArts, we recognize that throughout history and across cultures, it’s the artists who consistently lead us toward a more imaginative, compelling, and just future. I’m grateful to the Chanel Culture Fund for embracing our shared vision of centering artists at the forefront of shaping the technologies that will inform our collective lives and society. It’s in CalArts’ DNA to create game-changing initiatives — since its founding by Walt and Roy Disney, CalArts’ evolution has been inseparable from that of the industries it influences. Through the Chanel Center for Artists and Technology, CalArts will continue this legacy by helping de

This May, Sotheby’s will offer a curated selection of works from the personal collection of Barbara Gladstone, the influential art dealer who died last year at 89,  Bloomberg reported Friday. The sale includes major works by artists Gladstone represented, as well as pieces she simply admired. Highlights include Man Crazy Nurse (2002–03) by Richard Prince, estimated at $4 million to $6 million, which she acquired from a 2003 exhibition at her own gallery. Another Prince painting, Are You Kidding? (1988), from his Monochromatic Joke series, carries a $2.5 million to $3.5 million estimate. Additional top lots include a black Flowers painting by Andy Warhol (est. $1 million–$1.5 million), a 2006 canvas by Rudolf Stingel (est. $1.5 million–$2 million), and Mike Kelley’s Memory Ware Flat #42 (est. $700,000–$1 million). Founded in 1980, Gladstone Gallery grew into a global presence representing artists like Alex Katz, Anicka Yi, and Carrie Mae Weems, along with the estates of Robert Mapplethorpe and Keith Haring. Speculation about the fate of her collection has been percolating around the art world for months. This auction is the first public offering from her estate, though more sales co

“It’s important to celebrate the return of these works,” Elizabeth Larison, director of NCAC’s art and culture advocacy program, said in a statement, “because it brings the last bit of closure to a sensationalized and protracted investigation, and also because it represents the rightful check on the abuse of government power. Artistic freedom won, and artists can and should continue to exercise this right.” Following complaints by locals and elected officials that characterized Mann’s work as “grossly inappropriate” and “child porn,” the photographs in question were forcibly removed from a group exhibition at the Modern Art Museum of Fort Worth and taken into custody by authorities, who held the works as evidence for alleged child abuse. The group exhibition “Diaries of Home”, which has since closed, featured the work of 13 women and nonbinary artists who, according to the museum’s website, “explore the multilayered concepts of family, community, and home.” The website included a warning that the show featured “mature themes that may be sensitive for some viewers.” The investigation drew national condemnation, as three civil liberty organizations stepped in to demand the return of

Arthur “Art” Green, a key Imagist painter and original member of the Hairy Who?, Chicago’s electrifying answer to Pop Art, died at the age of 83 on April 14. The news was announced by Garth Greenan Gallery in New York, which represented him. Green broke into the art world consciousness in the mid-1960s in a riot of color, wit, and outrage alongside five fellow recent graduates from the School of the Art Institute of Chicago who exhibited together under the moniker “the Hairy Who”. At the time, Chicago lacked an art scene with the national prestige of New York, but that seemed to work in Green’s favor. The Hairy Who? preferred humorous, hallucinatory interpretations of the times that riffed on art history—from Surrealism and Art Brut to Mayan and Aztec sculpture, to advertising conventions and the city’s architectural amalgam of Art Deco, prairie, and neoclassicism. The subjects of their paintings were unruly and oddly formed, but recognizably a human invention. Exhibition-making was treated much the same, with strange swaths of wallpaper, oversize price tags, and a complementary comic book made specially for each show. The Hairy Who?—also comprising James Falconer, Gladys Nilsson,

Kaiser joined the gallery in 2019 in a move that shocked many insiders in the art world. Kaiser had never worked at a commercial gallery before. Instead, his background was in the museum world, having been a curator at both the Museum für Gegenwartskunst Basel and the Museum of Contemporary Art in Los Angeles and then briefly serving as director of Museum Ludwig in Cologne. After departing the Ludwig, Kaiser worked independently, curating the Swiss Pavilion at the 2017 Venice Biennale and several exhibitions at LA’s Marciano Art Foundation, founded by blue-chip collectors Paul and Maurice Marciano. His high-level position, first as chief executive director of artists and programs, also meant that he had a major role in plotting out the strategy for the gallery in terms of his exhibition program and its institutional relationships. While the gallery has had an international presence, with an outpost in Paris since 1995 and a former one in London that closed in 2020, the gallery has been firmly a New York operation within the US. That changed in September 2023 when it opened an LA branch, which was likely due to Kaiser’s influence given his prominence in the city’s art community.

The sculpture garden is one of the president’s central priorities for the 250th anniversary of the Declaration of Independence next year, and was first announced in 2021. The sculpture garden will feature life-size statues of “250 great individuals from America’s past who have contributed to our cultural, scientific, economic, and political heritage,” according to a news release from the NEH. The garden’s location is still “to be determined” but intended to “create a public space where Americans can gather to learn about and honor American heroes,” the release stated.  Photographer Ansel Adams, painter John Singer Sargent, architect Frank Lloyd Wright, painter and illustrator Norman Rockwell, early American portraitist Charles Wilson Peale, and Carnegie Museum of Art founder Andrew Carnegie are also on the list. The press release confirms that the NEH and the National Endowment for the Arts “have jointly committed a total of $34 million” for the sculpture garden. The planned sculpture garden will be funded by federal grants initially distributed to arts and cultural groups across the United States, but cancelled by the Trump administration. Among the rescinded grants was the NEH Fe