Pope Leo XIV, in his first general address, referenced Vincent van Gogh's 1888 painting *The Sower at Sunset* as a metaphor for faith and divine guidance. He noted that behind the sower, van Gogh painted the grain already ripe, interpreting the sun as the central figure of the biblical parable. The address highlighted the Pope's engagement with art as a means of spiritual reflection.
Bill Horrigan, a pioneering curator who transformed Ohio's Wexner Center for the Arts into a leading destination for film and video art, died on May 15 after a long battle with amyloidosis. Over 34 years at the Columbus museum, he built a celebrated film and video program that attracted world-renowned artists like Chris Marker and Julia Scher, and organized landmark exhibitions for Mark Dion, Gretchen Bender, and Shirin Neshat. He also served as a curatorial adviser for the 2008 Whitney Biennial, helped program the Video Data Bank, and led the 1989 edition of Video Against AIDS.
Artnet News highlights the enduring public fascination with Vincent van Gogh, 135 years after his death, by compiling 10 recent stories that demonstrate "Van Gogh Mania." Examples include the National Gallery in London's major exhibition "Van Gogh: Poets and Lovers," the Museum of Fine Arts in Boston's "Van Gogh: The Roulin Family Portraits," and a legal dispute over the garden that inspired his final painting, Tree Roots (1890). Other stories cover a van Gogh portrait kept in a chicken coop for over a decade and Lego's release of a Sunflowers-themed building set in collaboration with the Van Gogh Museum.
The Whitney Museum of American Art canceled a performance piece titled "No Aesthetics Outside My Freedom: Mourning, Militancy, and Performance" scheduled for May 14 as part of the Independent Study Program's exhibition "A Grammar of Attention." The performance, by artists Fadl Fakhouri, Noel Maghathe, and Fargo Tbakhi, was grounded in the struggle for Palestinian freedom. The museum cited a zero-tolerance policy for harassment after reviewing a video of a previous iteration where an artist called for anyone who believes in Israel or America to leave the audience and valorized specific acts of violence. Participants and the program's associate director accuse the museum of censorship and seeking greater control over the historically autonomous program.
The Fine Arts Museums of San Francisco will present "Manet and Morisot," the first major museum exhibition dedicated to the artistic exchange between French Impressionists Édouard Manet and Berthe Morisot. Opening October 11 at the Legion of Honor, the show traces their relationship from 1868 to 1883, pairing works to reveal mutual influence. Lenders include the National Gallery of Art, Musée d'Orsay, J. Paul Getty Museum, and Cleveland Museum of Art, where the exhibition will travel next year.
A child under the age of five recently scratched a Mark Rothko painting at a museum in the Netherlands, forcing its removal for restoration. The article compiles several notorious incidents of children accidentally damaging artworks, including a 12-year-old boy punching a hole through a $1.5 million Baroque painting by Paolo Porpora in Taipei, a 4-year-old shattering a 3,500-year-old vase at the Hecht Museum in Israel, a girl climbing a Donald Judd sculpture at Tate Modern, and kids breaking a glass artwork by Shelley Xue at the Shanghai Museum of Glass. In most cases, the damage was accidental, driven by curiosity or misinterpretation, and often involved lapses in adult supervision.
Valparaiso University in Indiana has finalized the sale of two valuable paintings from the Brauer Museum of Art—Childe Hassam's *The Silver Veil and the Golden Gate* (1914) and Georgia O'Keeffe's *Rust Red Hills* (1930)—and is in the process of selling a third, Frederic Edwin Church's *Mountain Landscape* (c. 1849). The sales, collectively valued at up to $20 million, are intended to fund renovations of freshman dormitories amid budget shortfalls. The decision has sparked vocal protests, a lawsuit, and a vote of no confidence from the faculty senate against university president José Padilla, who announced his retirement. Moody's Ratings downgraded the school's credit rating to junk status, partly due to the controversy.
The Metropolitan Museum of Art has received a promised gift of more than 6,500 photographic works from German American collector Artur Walther and the Walther Family Foundation. The collection spans 19th-century vernacular photography to contemporary video, with strengths in African studio photography, German post-war photography, Chinese conceptual art, and early vernacular images. Artists represented include Malick Sidibé, Zanele Muholi, Ai Weiwei, Thomas Struth, and Bernd and Hilla Becher. A selection will debut when the Michael C. Rockefeller Wing reopens this month, with further displays planned for the Oscar L. Tang and H.M. Agnes Hsu-Tang Wing opening in 2030.
The Porter County Superior Court has approved Valparaiso University's plan to sell three valuable paintings from the Brauer Museum of Art—works by Frederic Edwin Church, Childe Hassam, and Georgia O'Keeffe valued at around $20 million—to fund renovations to freshman dormitories. The decision follows a year and a half of controversy, including a lawsuit from the museum's founding director Richard Brauer and condemnation from major museum professional organizations, who argue that deaccessioning art for non-collection purposes violates ethical standards.
Lupe Fiasco, the Grammy-winning rapper and MIT visiting scholar, has created "GHOTIING MIT," an audio tour featuring seven tracks improvised and recorded on-site at public artworks around the MIT List Visual Arts Center campus in Cambridge, Massachusetts. Using an iPad, microphone, and solar panels, Fiasco responds to sculptures by Alexander Calder, Antony Gormley, Jacques Lipchitz, and Jaume Plensa, among others, blending rap with field recordings to capture the immediacy of each piece. He terms this spontaneous creative process "ghotiing" (pronounced "fishing"), likening it to the Impressionist practice of painting en plein air.
Frieze Week in New York has arrived, drawing tens of thousands of visitors to The Shed for displays from over 65 international galleries. The article offers a collection of art historical trivia to help attendees impress peers, including tales of a potentially fake Picasso gifted to Robin Williams by Disney, Piet Mondrian's fondness for Disney's *Snow White and the Seven Dwarfs*, and a legend that Raphael's pupil Giulio Romano created erotic frescos in the Vatican's Sala di Constantino out of anger over delayed payment from Pope Clement VII.
London's National Gallery has reopened its Sainsbury Wing after a three-year, $113 million renovation, timed to the museum's 200th anniversary. Director Gabriele Finaldi, who was knighted this year, oversaw the project, which was designed by architect Annabelle Selldorf and faced criticism from original architect Denise Scott Brown. The revamped wing features a light-filled foyer, 17 galleries with no prescribed route, and a rehang titled “The Wonder of Art.” The museum also acquired a mysterious painting by an unknown artist, The Virgin and Child with Saints Louis and Margaret and Two Angels (1500–10), for $20 million through Sotheby's.
The Art Institute of Chicago is appealing a New York court order to return Egon Schiele's drawing *Russian War Prisoner* (1916) to the heirs of its original owner, Fritz Grünbaum, a Jewish art collector who died in a Nazi concentration camp. The museum secured a temporary stay while it pursues the appeal, following an April ruling by Justice Althea Drysdale that found credible evidence the 1956 sale to Swiss dealer Eberhard Kornfeld was illegitimate. The drawing was seized from the museum in September 2023 and remains off view.
A comprehensive new documentary on Eva Hesse, the innovative 1960s artist, will premiere in New York in April. Directed by Marcie Begleiter, the film explores Hesse's life as a German-born American who fled Nazi Germany, her difficult childhood as an immigrant, and her rise in New York's art scene. It features interviews with artists like Robert Mangold and examines her pioneering use of materials such as plastic, latex, and fiberglass. Hesse's career was cut short when she died of a brain tumor at age 34 in 1970, but her legacy has grown through posthumous retrospectives at major museums.
The Art Institute of Chicago has been granted an emergency stay by an appellate judge, pausing the restitution of Egon Schiele's drawing "Russian War Prisoner" (1916) to the heirs of Fritz Grünbaum, a Jewish cabaret performer and art collector who died in a Nazi concentration camp. The museum is appealing a New York Supreme Court judge's April 23 order to surrender the artwork, which has been off view since September 2023 when it was seized by the Manhattan District Attorney's office. The museum disputes that the work was looted, citing evidence that Grünbaum's sister-in-law recovered the collection after the war and sold it to a dealer.
The Frick Collection has reopened after a $220 million, five-year renovation, featuring a new installation called "Porcelain Garden" by Ukrainian-born artist Vladimir Kanevsky. The display includes over 30 handcrafted porcelain floral pieces, such as a lemon tree, lilies of the valley, and a wild artichoke, placed alongside masterpieces by Vermeer, Rembrandt, Goya, and Bellini. Kanevsky, a 74-year-old Jewish-Ukrainian émigré who moved to New York in 1989, originally trained as an architect and turned to porcelain as a side project, which unexpectedly became his career. All the flowers at the Frick have been sold, with prices ranging from $5,000 to $500,000, though his secondary market remains minimal.
German collector Reinhard Ernst, 79, opened Museum Reinhard Ernst in Wiesbaden last year to house his collection of nearly 1,000 abstract works. The museum recently launched “Helen Frankenthaler. Move and Make,” the first major solo show of the Abstract Expressionist painter in Germany in two decades, featuring works from Ernst’s extensive Frankenthaler holdings. Ernst, who built his wealth through high-precision gear manufacturing, discusses his collecting journey, noting that 80% of his purchases come from auctions.
California Institute of the Arts (CalArts) will establish the Chanel Center for Artists and Technology, funded by the Chanel Culture Fund. The initiative focuses on artificial intelligence, machine learning, and digital imaging, creating dozens of new roles, fellowships for artists and technologists-in-residence, and graduate student support, along with cutting-edge equipment. CalArts president Ravi S. Rajan described it as among the largest corporate partnerships the school has had, potentially the largest for any art school.
Kent Monkman, a member of the Fisher River Cree Nation and a leading contemporary painter based between Toronto and New York, is the subject of a feature article discussing his career and his first major U.S. museum exhibition, "History is Painted by the Victors," opening at the Denver Art Museum. Monkman is known for epic, genre-bending canvases that subvert classical European painting traditions, particularly 19th- and 20th-century history painting, to expose colonial distortions and omissions. Central to his work is Miss Chief Eagle Testickle, his time-traveling alter ego who queers history and repositions Indigenous presence and agency. The article includes an interview where Monkman reflects on his upbringing in Winnipeg, his relationship to museums, and how painting serves as both a political tool and a method for processing historical trauma.
This year marks the 150th anniversary of Impressionism, which began in 1874 when 31 artists including Paul Cézanne, Claude Monet, and Berthe Morisot staged a groundbreaking exhibition in Paris. To commemorate the sesquicentennial, international institutions are hosting exhibitions such as the Musée d'Orsay's "Paris 1874: Inventing Impressionism," while Artnet and Morgan Stanley have collaborated to analyze auction data from 2014 to 2023, examining the market for works by approximately 120 Impressionist and Post-Impressionist artists. Despite perceptions that Impressionism has lost its luster, the number of lots offered at auction has remained steady, averaging 6,091 annually over the decade.
The Seattle Art Museum and the Clark Art Institute in New England have placed a wager on the Super Bowl, each betting a major landscape painting from their collection on their respective home teams. Seattle Art Museum director Kimerly Rorschach has offered Albert Bierstadt's "Puget Sound on the Pacific Coast" (1870), while Clark Art Institute director Michael Conforti has put up Winslow Homer's "West Point, Prout's Neck" (1900). The losing museum will loan its painting to the winner for three months, covering all shipping and expenses.
This article from Artnet News compiles a list of notable accidents in museums, where visitors, children, or even curators have inadvertently damaged valuable artworks and artifacts. Incidents include a four-year-old boy shattering a $15,000 Lego sculpture of a Zootopia character, a 12-year-old boy punching a $1.5 million Baroque painting by Paolo Porpora at Huashan 1914 Creative Park in Taipei, a Cy Twombly sculpture knocked over at the Menil Collection in Houston, and a visitor breaking a 4,000-year-old Minoan vase at the Heraklion Archaeological Museum in Crete. The article is framed as a lighthearted yet cautionary look at the fragility of museum objects and the human errors that lead to their damage.
Texas police officers traveled to New York museums in February as part of a failed child pornography investigation against photographer Sally Mann and the Modern Art Museum of Fort Worth. The investigation stemmed from Mann's photographs of her nude underage children, displayed in the exhibition "Diaries of Home," which some local viewers and officials deemed harmful. The officers visited the Guggenheim, Metropolitan Museum of Art, Museum of Modern Art, and Whitney Museum, spending nearly $7,000 on the trip. A grand jury declined to take action in March, and the photos were returned. Museums reported no recent communication with the police and stated Mann's works had not been on view for years.
The Vatican Museums, including the Sistine Chapel, have closed to the public as Vatican City prepares for a conclave to elect a new pope following the death of Pope Francis on April 28. The reopening date is uncertain, as conclaves have historically lasted from days to weeks, though modern elections for Pope Francis and Pope Benedict XVI closed the city for less than a week. The Museums house a vast collection of Renaissance and Baroque art, as well as modern works by artists like Paul Gauguin, Salvador Dalí, and Pablo Picasso, and attracted 6.8 million visitors in 2024.
The Fort Worth Police Department spent nearly $7,000 to send five officers to New York City to investigate child pornography allegations against photographer Sally Mann. The officers visited four major museums—the Metropolitan Museum of Art, the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Whitney Museum of American Art—to examine Mann's photographs in their collections and speak with curators. The trip, which cost $6,988.77, came after Mann's works were seized from a group exhibition at the Modern Art Museum of Fort Worth following complaints from locals and elected officials who deemed the images "grossly inappropriate." The investigation was later dropped and the photographs returned.
Kent Monkman, a contemporary artist from the Fisher River Cree Nation, is preparing for his first major U.S. museum exhibition, “Kent Monkman: History is Painted by the Victors,” at the Denver Art Museum. In an interview, Monkman discusses his career-long practice of reimagining Western art history from an Indigenous perspective, using beauty, humor, and theatricality to expose colonial violence and systemic injustices. The exhibition, which began planning in 2018 and was delayed by the pandemic, will later travel to Canada, and Monkman reflects on the rare opportunity to see his dispersed works reunited and the liberating experience of trusting curators with the presentation.
The Fine Arts Museums of San Francisco (FAMSF) will host the 2025 Museums of Tomorrow Roundtable (MTR) from May 11-17, bringing together 14 global museum leaders and technology firms including Adobe, Anthropic, Bloomberg, and Salesforce. Participants include directors such as Marion Ackermann (Stiftung Preußischer Kulturbesitz), Stephanie Rosenthal (Guggenheim Abu Dhabi), Eike Schmidt (Museo di Capodimonte), Mami Kataoka (Mori Art Museum), and others, alongside Bay Area museum heads and AI artist Refik Anadol, who will speak in a free public program at the de Young Museum. The forum aims to bridge the museum and technology communities, exploring how advanced technologies can enrich operations and visitor experiences while supporting artists working with technology.
Fort Worth police have returned photographs by Sally Mann that were seized from the Modern Art Museum of Fort Worth in January. The artworks were taken from the group exhibition “Diaries of Home” following complaints from locals and elected officials who characterized Mann’s work as “grossly inappropriate” and “child porn.” The seizure sparked national condemnation, with the National Coalition Against Censorship (NCAC), the Foundation for Individual Rights and Expression (FIRE), and the American Civil Liberties Union of Texas (ACLU of Texas) intervening to demand the works’ return. Charges against the museum were dropped, and the photographs have now been returned, bringing closure to the investigation.
A New York judge has ordered the Art Institute of Chicago to return Egon Schiele's 1916 drawing to the heirs of Fritz Grünbaum, an Austrian Jewish art collector persecuted during the Holocaust. The ruling, issued by Judge Althea Drysdale, determined that the work was looted by the Nazis and that the museum failed to properly scrutinize its provenance, relying on discredited records from Swiss dealer Eberhard Kornfeld. The drawing had been in the museum's collection since 1966 and was seized in 2023; the museum plans to appeal.
Singer-songwriter Lucy Dacus discusses her new album "Forever Is A Feeling" and its deep connections to visual art, including a cover portrait by artist Will St. John and a song titled "Modigliani" inspired by visits to the Barnes Foundation in Philadelphia. In an interview with ARTnews at the Barnes, Dacus explains how museums serve as creative spaces for her songwriting and how the Barnes's unique salon-style arrangement without title cards allows her to make personal connections with artworks.