#artist-gallery-dispute

#artist-gallery-dispute

Scams involving antiques and collectibles are almost as old as some of the items. But internet sales now mean fraudsters have a much wider audience.

Kamrooz Aram is everywhere this year, from Mumbai Art Week to the Whitney Biennial, and critic Aruna D'Souza is grateful. She pens a beautiful meditation on his work, reading his abstract paintings as not simply a denunciation of Western modernism nor a reassertion of Islamic visual motifs, but something else entirely - something gestural, exuberant, riotous, and incomparably his own.

This contract, the second in the industry, sets a standard for workers at Sage and Coombe and beyond, according to Architectural Workers United, which has been instrumental in organizing efforts.

Curt Goldschmidt's fate is shared with many Jewish collectors and patrons. With this restitution, we honour Jewish collectors and remember victims of Nazi persecution.

The New York Times landed a big story about allegations that a hyped horror novel called Shy Girl, by Mia Ballard, had been written with the assistance of artificial intelligence.

The Louvre accumulated considerable delays in the deployment of its security equipment, in favour of an event-driven policy, a judgment Des Cars said was unfair.

Hong Kong's particular and seductive Metabolist city planning is an ode to consumption as a great totalizer of culture, and to contemporary art as merely a niche commodity form among many others.

"These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

The 6th edition of Earth 2026 juried awards invites artists worldwide to explore and express the power, beauty, and resilience of our wounded planet as we approach World Earth Day.

The record price in the category, $13.8m- paid last year at Christies' in New York for a painting by the Mumbai-based Modernist M.F. Husain-is more than three times what it was 20 years ago.

Pratt Shows is an annual series of public exhibitions and presentations by the Institute's graduating class, representing years of research, exploration, and creative inquiry.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

Dealers like artists with established sales records because it lowers their already considerable financial exposure. Renting a gallery space in Tribeca costs anywhere between $8,000-30,000 a month on top of staff, marketing, and daily operations. With that kind of overhead, very few business owners can afford to take on the financial risk of untested artists.

What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.

Stephen Friedman was overdue filing when he went into liquidation on 2 February, closing his London gallery immediately (his New York venue shuttered around the same date). At the time of writing, invoices remain unpaid and artists unable to retrieve works from storage companies. In a statement, Friedman says 'all matters are now subject to the administrator's consideration'.

Is there finally a market for performance art? We're seeing more and more performance in galleries, art fairs, and other commercial art spaces these days.

has threatened to commence a wholly meritless lawsuit against the company, based on the allegation that he was unlawfully and involuntarily terminated upon returning to work from paternity leave.

We knew everything we needed to know about the art world before the Epstein Files dropped. Before heinous allegations against Museum of Modern Art trustee Leon Black emerged, or School of Visual Arts chair David A. Ross's sympathetic endorsement of Epstein came out, we knew about the intimate connections between institutional heads and donors and trustees. The exchanges of money, donations, or favors that bind them.

Because they've long stopped being about just one depraved pedophile and have come to symbolize the endemic depravity of the world's richest elites. It's no surprise that the art world is implicated. There isn't much difference between a corporation's board of directors and a museum's board of trustees. It's more or less the same money, same power dynamics, and the same creeps crawling through the corridors.