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Amy Sherald speaks about her new solo show at Hauser & Wirth in New York. The show, titled the heart of the matter… runs, features large-scale canvases and runs September 10 through October 26. [Wall Street Journal]
Roberta Smith on the reopening of MoMA on October 21: “Visitors expecting the wall-to-wall masterpieces will be disappointed. Many others, especially in the art world, may find it necessary to drop by more regularly to see what’s going on. Here’s hoping that the new design will make it easier to do so.” [New York Times]
Filmmaker Gus Van Sant will present his first solo show of watercolor paintings at Vito Schnabel Projects in New York, beginning September 12. Of the art world, Van Sant said, “I always feel that filmmaking is a little less perfect, [whereas] the painting and the literature worlds have been perfected.” [New York Times]
The six-year-old child who was thrown from the 10th-floor viewing platform at the Tate Modern is on the mend according to his family. “He is an incredible fighter,” his family noted. [New York Times]
Architectural Record has named five winners of this year’s Women in Architecture Awards: Toshiko Mori, Sharon Johnston, Claire Weisz, Mabel O. Wilson, and Dana Cuff.
The Fuji Art Museum in Tokyo has declined to return a stolen painting by Joshua Reynolds to its original owner unless it is provided “just and reasonable compensation.” The piece is valued at £1 million, or about $1.2 million. [The Telegraph]
A look back at influential advertisements shot by Richard Avedon, ahead of a new book that will be released on the topic, Avedon Advertising. [The Cut]
Here’s what ARTnews writers had to say about MoMA exhibitions through the 1930s, the institution’s first full decade in existence (it opened in 1929). [ARTnews]
In a profile for Vogue, Tom Ford notes that an Alexander Calder mobile that once belonged to Georgia O’Keeffe is the only piece of art he could “never imagine parting with.” [ARTnews]
Carolina A. Miranda speaks with Judy Chicago on her place in the lexicon of art produced in Southern California. Asked if she’s frustrated that it’s taken her until late in her career to find widespread acclaim: “‘No! I’ve had six decades of being in the studio. Making art is what’s important to me.” [Los Angeles Times]
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