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Bartholomaeus Breenberch, Joseph Selling Wheat to the People, 1655.
BARBER INSTITUTE OF FINE ARTS/VIA WIKIMEDIA COMMONS
Nothing to See Here
Olu Oguibe’s obelisk for Documenta 14 has been removed from a square in Kassel, Germany, indefinitely. Plans to return the work to the artist are now underway. [Hyperallergic]
Why did David Hockney turn down an invitation to paint Queen Elizabeth, you ask? “She has majesty,” the artist said. “How do you paint majesty today?” [The New York Times]
Money
Philanthropist Dmitry Rybolovlev has sued Sotheby’s, alleging that the auction house “materially assisted the largest art fraud in history.” The suit is merely the latest development in a protracted legal battle between Rybolovlev and the dealer Yves Bouvier, whom Rybolovlev believes overcharged him in the sale of 38 works for $2 billion. [Bloomberg]
The Brooklyn Museum
In an Instagram post, Brooklyn Museum director Anne Pasternak said that she has “been sexually assaulted numerous times from my teenage years to adulthood.” [The Art Newspaper]
Lawrence B. Benenson has gifted Do Ho Suh’s The Perfect Home II, an installation that recreates the artist’s former apartment in fabric, to the Brooklyn Museum, which will exhibit the work starting later this month. [ARTnews]
Lives
Artist Shirin Aliabadi has died, according to her gallery, the Third Line in Dubai. Her work focuses on the ways that lifestyles in Iran are influenced by laws and consumer culture. [Artforum]
Institutions
A court in New York has issued a preliminary injunction against Momacha, a store in the city’s Lower East Side neighborhood, forcing it to change its name and rebrand itself so that it no longer looks or sounds like the Museum of Modern Art. [Artnet News]
The Museo del Prado in Madrid has completed a two-year renovation of the Pieter Breugel the Elder painting The Triumph of Death (1562–63). The painting is now on loan to the Kunsthistorisches Museum in Vienna, where it features in a Breugel retrospective. [The Art Newspaper]
“Experimental Ethnography”
Discussing her latest exhibition, at Tiwani Contemporary in London, Zina Saro-Wiwa explained her interest in “experimental ethnography.” “It gives me permission to think about and comment on knowledge production and play with it—to perhaps create something new and expand the sense of self,” she said. [Artforum]
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