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In The Christophers, an aging artist’s unfinished masterpieces are subjects of speculation and scheming

The Christophers is a new film starring Ian McKellen as Julian Sklar, a once-celebrated 1970s painter who has become a social pariah and reality TV villain. The plot follows a 'reverse art heist' where Sklar’s estranged children hire a restorer and former forger, played by Michaela Coel, to secretly finish a series of nine incomplete portraits of his former lover. The goal is to inflate the works' market value so they can be 'discovered' as masterpieces upon the aging artist's death.

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Cem A., an artist and anthropologist known for the art meme page @freeze_magazine, argues that the art world is suffering from an oversupply of graduates trained by art schools that cannot sustain them. He describes a paradox where art graduates face high unemployment and are dismissed as unqualified for non-art jobs, while those who remain in the field must align with market trends and the attention economy, risking burnout and compromised creativity. Cem A. shares his own experience of being rejected for being "too artsy" before finding success through his Instagram page, which opened doors that traditional career paths could not.

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CULTURED editor-in-chief Sarah Harrelson and Legacy Investing co-founder Daniel English hosted an intimate dinner at Jean's in New York, bringing together leaders from art, finance, and real estate. Guests included Frieze's Julie Kim, Wells Group founder George Wells, Art Intelligence global director Rick Cappellazzo, and others. The evening featured Oscar Wilde's quote about artists and money printed on bookmarks, and guests received copies of Michael Craig-Martin's On Being an Artist and Michael Findlay's The Value of Art, along with CULT100 totes filled with magazines and products.

6 Exhibitions to See During EXPO Chicago 2026

The art world is witnessing a significant shift toward 'one-work exhibitions,' where entire gallery or museum spaces are dedicated to a single object. This curatorial trend, often referred to as 'slow looking,' prioritizes deep engagement and spatial experience over the traditional model of high-volume, rapid-fire viewing. By isolating a single masterpiece or installation, institutions are challenging the 'speed and glut' that defines modern digital and visual consumption.