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The Art Market
Last night, the fall edition of Phillips’s closely watched “New Now” sale realized $5.8 million, with the evening’s top lots being a 2018 work by Amoako Boafo and a 2016 piece by the late Matthew Wong. [ARTnews]
Kelly Crow previews the fall auction season. [The Wall Street Journal]
Ahead of a major Tate retrospective new year, artist Paula Rego joins Victoria Miro gallery, departing the embattled Marlborough Gallery. [ARTnews]
A new online-only auction house, called Greenhouse Auctions and founded by a former Christie’s executive, will look to reduce the speculation on work by emerging artists by not publishing sales results. [The Art Newspaper]
A Sanyu Nu painting, which once held its auction record when it was sold by Pierre Chen in 2004, will be sold by Sotheby’s and is expected to sell for at least $12.9 million next week. [Art Market Monitor]
The Los Angeles County Museum of Art is downsizing. It has listed the home it provides to its director for $6.575 million and recently bought another one a few blocks away for $2.2 million. [Los Angeles Times]
As it turns 15, the POC-centered arts nonprofit, The Laundromat Project will consolidate its two spaces in Harlem and the South Bronx and move into one location in Bed-Stuy. [Hyperallergic]
The Frick Collection has revealed how it plans to use the Breuer building for its two-year stay while its Fifth Avenue building is renovated. [The New York Times]
Guston Show Controversy
Read the open letter in full. [The Brooklyn Rail]
Read about the KKK imagery in Guston’s paintings, and his return to figuration to confront racism. [ARTnews]
The Wall Street Journal ’s arts editor Eric Gibson weighs in on the matter, writing, “Beyond placing great works of art before us, this is one purpose of exhibitions like this: to allow visitors to come to reasoned judgments of their own.” [The Wall Street Journal]
Art & Artists
Jesse Darling talks about installing a new work, titled Gravity’s Rainbow, at the Kunstverein Freiburg in Germany. [Artforum]
The Museum Ludwig in Cologne has opened an exhibition on the Russian avant-garde and has included several works its scholars say have been falsely attributed to major artists. [The New York Times]
Correction, October 1, 2020: An earlier version of this article, and the emailed version “Breakfast with ARTnews,” incorrectly cited the Jesse Darling article as coming from ARTnews and included the wrong hyperlink. The article is by Artforum.
Published at Thu, 01 Oct 2020 13:09:18 +0000
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