The article provides a critic's guide to seven must-see exhibitions during the Art Brussels event. It highlights specific shows, including Richard Tuttle's assemblages at Galerie Greta Meert and an expansive presentation of Lutz Bacher's work at WIELS.
Jack Vettriano, the self-taught Scottish painter behind Britain's best-selling image of 2012, *The Singing Butler* (1992), has announced that he may never paint again after dislocating his shoulder. Vettriano told the Independent that he is undergoing physiotherapy but faces a long recovery and cannot paint in the foreseeable future. The news comes as a blow to his devoted fan base, who had been hoping for new work following his 2013–14 retrospective at Kelvingrove Art Gallery and Museum in Glasgow, which drew 123,000 visitors.
Pakistani-born, Brooklyn-based tailor and community leader Hafeez Raza was honored by Mayor Zohran Mamdani as one of six garment workers photographed by Kara McCurdy, highlighting the real faces behind the fashion industry. Meanwhile, the Los Angeles Times's Image Editor-in-Chief Elisa Wouk Almino recounts a peculiar correspondence with artist Sophie Calle, who orchestrated a fake but real exchange using pre-written texts. In other news, Ai Weiwei discusses his new exhibition in Italy, censorship in Europe, and the Venice Biennale in an interview with El País. Additionally, Jacci Gresham, the first professional Black tattoo artist in the United States, reflects on her career since 1976, including tattooing Klan members and innovating with brown paper for Black and Brown clients.
The Solomon R. Guggenheim Museum has appointed Melissa Chiu as its new director, effective September 1. Chiu joins the New York flagship after a 12-year tenure at the Smithsonian’s Hirshhorn Museum and Sculpture Garden, where she was credited with doubling attendance and significantly increasing fundraising. Her appointment is part of a leadership restructuring by Guggenheim Foundation Director and CEO Mariët Westermann, who will shift her focus toward the foundation's international outposts, including the upcoming Abu Dhabi location.
Lost for More Than a Century, the First ‘Sci-Fi’ Film Ever Made Resurfaces
A lost 1897 silent film by pioneering French director Georges Méliès, "Gugusse et l'Automate," has been rediscovered and digitally restored. The 45-second slapstick short, featuring a magician battling a robot, was found in a collection of early film reels passed down through a family of traveling showmen and has now been preserved in 4K by the Library of Congress.
The article reflects on the responsibility of critical art writing in the Southeast, sparked by the announcement that Art Papers, an international art magazine based in Atlanta, will sunset in 2026 after 50 years. The author recounts a debate among local art workers about reviewing the forthcoming Minnie Evans retrospective organized by the High Museum of Art and traveling to the Whitney Museum, which he initially declined due to a conflict of interest with curator Katherine Jentleson. He ultimately agrees to write, emphasizing the need for Black scholars to engage with self-taught Black artists. The piece examines how Evans's narrative has been mediated through the lens of white photographer and art historian Nina Howell Starr, questioning the power dynamics and what remains unknown about Evans's own agency.
The 61st Venice Biennale, titled "In Minor Keys" and curated by the late Koyo Kouoh, opens amid global turmoil and internal controversy. Kouoh, who passed away in May 2025, conceived the exhibition around the metaphor of a "creole garden," emphasizing deep affinities between 111 artists from diverse locations such as Dakar, Beirut, and Salvador. The Biennale is overshadowed by recent geopolitical events, including US-Israeli airstrikes on Iran, and faces protests: over 70 participating artists signed an open letter opposing the participation of Israel, Russia, and the US, while the Australian pavilion saw the reinstatement of Khaled Sabsabi after being dropped, and South Africa withdrew its official pavilion over Gabrielle Goliath's femicide project, which she will still present independently.
The Turner Prize 2026 shortlist has been announced, featuring four artists: Simeon Barclay, Kira Freije, Marguerite Humeau, and Tanoa Sasraku. The exhibition will be held at MIMA (Middlesbrough Institute of Modern Art) from September 26, 2026 to March 29, 2027, with the winner revealed on December 10, 2026. The jury includes Sarah Allen, Jo Hill, Suk-Kee Lee, Alona Pardo, and Alex Farquharson as chair.
Newly released surveillance footage shows masked thieves breaking into the Louvre's Apollo gallery in October 2025, using disc cutters to slice open display cases and steal France's crown jewels. The heist occurred under staff observation, with no security guards present, and police have since identified five suspects via DNA evidence, arresting four, though the jewels remain missing. The footage was broadcast on French TV on January 18, 2026, as the museum faces its third staff strike in over a month.
The Louvre Museum has installed security bars on the French window of the Apollo Gallery, the entry point used by thieves in a $102 million jewel heist on October 19. The museum announced the measure on X, showing workers installing the bars before dawn. Additional security upgrades include a mobile police base, distancing devices on the Quai François Mitterrand, and plans for 100 new perimeter cameras by 2026. These steps are part of a $92 million security master plan. Ticket prices for non-E.U. visitors will rise 45% to $37 starting January 14, 2026, to help fund the improvements. The museum also revealed that a 2018 audit sponsored by Van Cleef and Arpels had flagged the balcony's vulnerability, but then-director Jean-Luc Martinez did not act. Louvre president Laurence des Cars offered to resign after the security failures came to light but was asked to stay.
Louvre president Laurence des Cars faced a contentious Senate hearing on Wednesday, where lawmakers pressed her about ignored security warnings that preceded the October theft of $102 million in imperial jewels from the Apollo Gallery. Audits from 2017 and 2018 had flagged structural vulnerabilities, but Des Cars claimed she was not informed until after the theft. She defended the museum's response, citing new cameras, increased security training budgets, and an imminent senior security coordinator appointment. Conservative senators Jacques Grosperrin and Max Brisson demanded her resignation, with Brisson walking out when she declined to answer. Former president Jean-Luc Martinez also testified, saying he had not reinforced windows or balcony due to fire-safety concerns, a rationale security experts rejected.
A French national audit report, the Cour des Comptes, has revealed severe security deficiencies at the Louvre Museum, finding that only 39% of its rooms had cameras as of 2024 and that a security upgrade begun in 2015 only resulted in a tender at the end of last year, with completion not expected until 2032. The report was released shortly after a theft of crown jewels from the museum, and it criticizes the Louvre for prioritizing acquisitions and post-pandemic projects over essential security investments. Louvre director Laurence des Cars acknowledged the museum's "very inadequate" and "outdated" security systems during a Senate hearing, though she stated alarms functioned during the heist. Four suspects are in custody for the October 19 robbery.
A family-run German company, Böcker, launched a viral advertising campaign on Facebook and Instagram featuring the furniture lift used in a recent Louvre jewel heist. The ad, with the tagline "When you need to move fast," depicts the Agilo furniture elevator that thieves used to enter the Louvre's Apollo Gallery, stealing approximately $102 million worth of Napoleonic jewelry in seven minutes. The company's marketing chief, Julia Scharwatz, said the campaign was inspired by the widespread circulation of a photo showing the lift at the scene, and that the response has been overwhelmingly positive, reaching 1.7 million views compared to their usual 15-20,000.
Maren Hassinger, the 78-year-old artist known for her sculptural work with steel and wire rope, discusses her upcoming retrospective at the Berkeley Art Museum and Pacific Film Archive, opening in June. In an interview, she reflects on her early rejection from a dance major at Bennington College, which led her to sculpture under the mentorship of Isaac Witkin, and her long collaboration with fellow artist Senga Nengudi since the 1970s. She also talks about her current studio practice, creating large-scale vessels, and her move from Los Angeles to New York to sell her work.
The 25th Biennale of Sydney, titled 'Rememory,' opened on March 14, 2026, across multiple venues including the Art Gallery of New South Wales, White Bay Power Station, and the Sydney Opera House. Artistic director Hoor Al Qasimi curated the event around the concept of 'rememory,' inspired by Toni Morrison's novel *Beloved*, featuring over 143 works by 83 artists and collectives from 37 countries. The biennale centers First Nations voices and diasporic communities, with standout pieces like the Ngurrara Artists' *Ngurrara Canvas II* (1997) and works by Yaritji Young. However, the event has faced controversy due to Al Qasimi's opposition to the war in Gaza, leading to criticism from donors and board members, as well as logistical disruptions from the Iran war affecting the curator and artists.
The 61st Venice International Art Biennale has opened in Venice, running until November, amid unprecedented turmoil. The main exhibition, "In Minor Keys," was curated by Koyo Kouoh, who died of cancer shortly after presenting her vision featuring 111 artists including Carsten Höller, Alvaro Barrington, and Laurie Anderson. Her death has eliminated the Lifetime Achievement Award this year. Additionally, the Biennale faces a funding crisis as the EU threatens to withdraw its €2 million subsidy over Russia's participation with 38 artists following the invasion of Ukraine. Iran, Nigeria, and Israel are absent from their pavilions, while the US Pavilion, now organized by the American Arts Conservancy under inexperienced leadership, features self-taught artist Alma Allen.
Meg Webster's exhibition 'Thicket' opens May 9 at Paula Cooper Gallery, 521 West 21st Street, New York, featuring new sculptures and drawings. The centerpiece is a large spiral installation made from plant cuttings, inviting viewers inside for an immersive sensory experience. The show follows Webster's major presentation at Dia Beacon (2024–2026) and her inclusion in 'Minimal' at Bourse de Commerce - Pinault Collection, Paris (2025–2026). Also on view are monochromatic works on paper made by rubbing organic materials onto the surface, and a three-part beeswax relief.
This article profiles Henry Ossawa Tanner (1859–1937), the pioneering African American artist who achieved international fame in the 19th and early 20th centuries. Born in Pittsburgh to a bishop father and a mother who escaped slavery, Tanner studied under Thomas Eakins at the Pennsylvania Academy of Fine Arts before moving to Paris to escape racial discrimination. He studied at the Académie Julian, became a mentor to Black artists including Aaron Douglas and Hale Woodruff, and gained renown for his biblical paintings such as "Daniel in the Lions' Den" (1896). Tanner traveled widely—to Egypt, Morocco, and Palestine—and was named a chevalier of the French Legion of Honor in 1927. The article lists numerous works by Tanner held in major collections, including the first painting by an African American artist acquired for the White House Collection.
More than 70 prominent international artists have signed an open letter demanding the exclusion of the United States, Israel, and Russia from the 2026 Venice Biennale, accusing those governments of committing war crimes and atrocities. The controversy centers on the US pavilion, which will feature Mexico-based American artist Alma Allen, whose abstract, anodyne sculptures were chosen by a last-minute commissioner with no art-world experience—a luxury pet food store owner from Florida who reportedly gained the role through connections at Mar-a-Lago. The Biennale's five-person jury has already resigned amid the furor, and Russia is returning to the event for the first time since its 2022 invasion of Ukraine.
Goodman Gallery presents Carlos Garaicoa's first solo exhibition at its New York viewing room, titled 'Rituals and Liberty.' The show features eight works, including five reliefs that blend painting and photography, and sculptural models incorporating 19th-century French engravings. The exhibition precedes Garaicoa's solo show at Museo La Tertulia in Cali, Colombia, in May. Garaicoa, a Cuban-born artist based in Madrid, explores urbanism and how architecture reflects and shapes society, continuing his long-standing interest in decoding urban infrastructures.
Galerie Templon in Brussels is presenting a solo exhibition of Claude Viallat, celebrating the 60th anniversary of his signature bone-shaped motif. The show features around thirty recent experimental canvases and objects from 2024 to 2026, exploring his practice of repetition and variation on diverse fabrics and found materials.
Four Los Angeles-based artists—Kelly Akashi, Christina Quarles, Adam Ross, and Kathryn Andrews—are navigating the long-term recovery process one year after devastating wildfires destroyed their homes, studios, and archives. Despite significant losses, including Adam Ross’s archive of 5,000 drawings, the artists have demonstrated remarkable resilience by securing temporary workspaces and continuing to produce new work for major events like Frieze Los Angeles and the Whitney Biennial.
Chinese artist and activist Ai Weiwei faced a vote by the Royal Academy of Arts in London on whether to revoke his membership as an international Royal Academician. This followed a controversial tweet he posted in late 2023 about the Israel-Hamas conflict, which he later deleted and which led his gallery, Lisson Gallery, to postpone a show of his work. The RA's General Assembly ultimately voted to retain his membership.
This week's Boulder County art scene features a wide array of exhibitions and gallery events across multiple venues. Highlights include the Boulder Museum of Contemporary Art's group show "Yes &…" running through May 3, Jordan Wolfson's "Interiors" at BMoCA at Frasier, and "Black Futures in Art" at Bus Stop Gallery. Other notable shows include "Balance" by Studio Art Quilt Associates at Collective Community Arts Center, "Jamaican Portraits" by Albert Chong at East Window, and "Camp: Queer Arts and Crafts" at Kin Studio and Gallery. The Dairy Arts Center presents "Continuum" and "Polyglot," while the Museum of Boulder features "Blazing Trail for 150 Years at CU Boulder" and "Boulder Eats!"
The latest episode of The Art Newspaper's 'The Week in Art' podcast, hosted by Ben Luke, covers three major stories. It features a discussion with co-curator Kevin Dumouchelle about 'Here: Pride and Belonging in African Art,' a new exhibition at the Smithsonian’s National Museum of African Art in Washington, D.C., focusing on LGBTQ+ artists from Africa and its diaspora. The episode also examines the cultural impact of the protests and brutal crackdown in Iran, with reporter Sarvy Garenpayeh, and highlights Louise Nevelson's 'Tropical Garden II (1957)' as the Work of the Week, tied to a new survey of the sculptor's work at the Centre Pompidou-Metz.
Arnulf Rainer, a revolutionary figure in postwar Austrian art, has died at age 96. His death on 18 December was confirmed by his gallery Thaddaeus Ropac, which described him as one of the most influential artists of the post-war period. Born in 1929 in Baden, Austria, Rainer emerged as a leading figure of the Austrian avant-garde, known for his gestural paintings confronting the atrocities of the Holocaust and Hiroshima, and for his experimental self-portraiture. He was a founding member of Galerie nächst St Stephan in postwar Vienna, a vital hub for artists seeking alternatives to the conservative art world. His signature Übermalungen (overpaintings) involved painting over photographs and self-portraits with aggressive gestures, dense black strokes, and erasures, creating charged works where violence and vulnerability coexist.
This article is a weekly roundup of art exhibitions and gallery shows in Boulder County, Colorado, listing over 20 venues including the Boulder Museum of Contemporary Art, Dairy Arts Center, and various commercial and nonprofit galleries. Featured exhibitions include "MediaLive: Data Rich, Dirt Poor" at BMoCA, "Interiors" by Jordan Wolfson at BMoCA at Frasier, and "Love Letters to Life" by Roddy MacInnes at East Window, among many others spanning painting, photography, sculpture, and mixed media.
The Eli and Edythe Broad Art Museum at Michigan State University is presenting a survey exhibition titled “unbecoming” by Syrian-American artist Diana Al-Hadid, curated by Dr. Rachel Winter. The show features Al-Hadid’s sculptural wall panels made from polymer gypsum, steel, plaster, metal leaf, and pigment, many of which break rectilinear forms and reveal their fragile internal structures. The works incorporate recognizable imagery—silhouettes, bodies, art-historical references—that dissolves into the surface, creating tension and inviting viewers to question fixed meanings. The article also recounts a personal encounter with the artist, highlighting the humor and resistance embedded in her practice.
Inman Gallery in Houston is relocating to a new 8,500-square-foot space at 1502 Alabama Street in the Midtown neighborhood, after 20 years at its North Main Street location. Owner Kerry Inman will celebrate the move with a group exhibition titled *The Long View*, opening December 6, featuring 37 artists including JooYoung Choi, Erika Blumenfeld, and Angela Fraleigh. The building, originally an auto-body shop and later the Station Museum of Contemporary Art, was renovated by Dillon Kyle Architects to include three exhibition galleries, with a design concept likened to a geode—rough exterior, jewel-like interior.
This week's Boulder County art listings feature a wide array of exhibitions across more than 20 galleries and museums. Highlights include the Boulder Museum of Contemporary Art's "MediaLive: Data Rich, Dirt Poor," exploring value and values through environmental and cultural lenses, and BMoCA at Frasier's "Interiors" by Jordan Wolfson, showcasing two decades of oil paintings, graphite drawings, and charcoal works. Other notable shows include "Camp: Queer Arts and Crafts and the Beauty of Imperfection" by Allyson McDuffie at Kin Studio and Gallery, "Love Letters to Life" by Roddy MacInnes at East Window, and "Sacred Mythologies" at NoBo Art Center. The listings also include ongoing exhibitions at the Museum of Boulder, Canyon Theater and Gallery, and several commercial galleries featuring local and international artists.