Art Industry News: Robert Indiana Estate Follies Continue as D.A. Says It Overpaid Lawyers by a Whopping $3.7 Million + Other Stories
Plus, the ousted director of the Montreal Museum of Fine Arts gets a new gig and a coveted late Van Gogh could fetch $35 million at auction.
LOVE sculpture in Central Park, New York City in 1971. Photo: Jack Mitchell/Getty Images.
Art Industry News is a daily digest of the most consequential developments coming out of the art world and art market. Here’s what you need to know on this Monday, April 26.
NEED-TO-READ
Museum of Finland to Restitute 2,000 Artifacts – The National Museum of Finland is returning 2,200 objects collected by the museum between 1830 and 1992 to the Indigenous Sámi people. They will be presented in a new extension at the Sámi Museum and Nature Centre Siida. The parties first agreed on the deal back in 2017. (
Úvahy nad výkopy Umělec Alt fotografoval potrubí a kabely, vydal o tom knihu
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Victoria Miro opens an exhibition of new two- and three-dimensional works by Christian Holstad
Christian Holstad, Alpine birth, 2019-2020. Glazed ceramic, 45 x 37 x 39 cm. 17 3/4 x 14 5/8 x 15 3/8 in © Christian Holstad. Courtesy the artist and Victoria Miro.
VENICE
.-Victoria Miro is presenting an exhibition in Venice by Christian Holstad. The US artists fourth solo exhibition with the gallery, Time wounds all heels features new two- and three-dimensional works in ceramic, crochet, fabric and pencil, and an earlier Eraserhead drawing that acts as a touchstone for this body of work.
United by attitude rather than medium or method, Christian Holstads work probes received ideas about class, value, culture and society, often leading the viewer on richly evocative journeys into cycles of creation, growth, consumption and dissipation. The title of this exhibition is borrowed from a pun about comeuppance for poor behaviour (heel in this instance meaning a disreputable person), b
Above:The Three Soldiers, by Pieter Bruegel the Elder, from the Frick Collection in New York.
I’ll admit it: I fled New York for Florida’s empty beaches in the earliest days of the pandemic. My Brooklyn apartment is tiny. As an art writer and consultant, I am hardly ever home under normal circumstances. Going to galleries and museums is more than an aesthetic pursuit to me; they’re a place to meet friends, and where I go to be alone. They are the living room I do not have.
Since last March, the art world has bent over backward to bring itself online, and this has caused all of us to ask what it is we really value from art. Struggling museums now rely on detailed photography and virtual tours to accompany their physical shows, sometimes charging a fee to viewers. Meanwhile, galleries which are really just small, free museums have built bespoke virtual viewing rooms and even staged online-only shows, some with high-production introductions from the artists akin to music vide
Exhibition of new work by Doug Aitken opens at Regen Projects
Installation view of Doug Aitken Flags and Debris at Regen Projects, Los Angeles, January 16 March 13, 2021 © Doug Aitken, Courtesy Regen Projects, Los Angeles.
LOS ANGELES, CA
.-Regen Projects is presenting Flags and Debris, an exhibition of new work by Los Angeles-based artist Doug Aitken. The works form an ecosystem of interconnected mediums, mixing dance, performance, film, sculpture, and handmade objects. Each plays off the other, creating a choreography of images, language, and sound.
The exhibition comprises all new work conceived in the last 10 months, a time of profound change in the face of the pandemic. The body of work reflects the tension collectively felt between our isolation from the physical landscape of the exterior world and newly created spaces for turning inward to explore the subconscious landscape. At heart, the works are a portrait of a society moving toward the future.
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