This issue of Le Journal des Arts (No. 676, May 2, 2026) covers a range of visual art news: the Whitney Biennial's perceived neutrality, the increasing complexity of art taxation in 2025, an interview with Bourges mayor Yann Galut about scaling back the Bourges 2028 project, the opening of a contemporary gallery at Angers Cathedral, the abandonment of the Frigos artist site in Paris, and a profile of auctioneer Hubert L'Huillier.
The article covers several art news items from the May 2, 2026 issue of Le Journal des Arts, including the Whitney Biennial's perceived neutrality, the increasing complexity of art taxation in 2025, an interview with Bourges mayor Yann Galut about the resized Bourges 2028 project, the unveiling of a contemporary gallery at Angers Cathedral, the abandonment of the Frigos artist site in Paris, and a profile of auctioneer Hubert L'Huillier.
This article explores the work of artist Mierle Laderman Ukeles, who in 1969 wrote her "Manifesto for Maintenance Art" after experiencing a crisis of meaning following the birth of her first child. She proposed that routine maintenance tasks—like cleaning, cooking, and laundry—could be redefined as art when performed in public, particularly in museums. The article traces her early exhibitions at the Wadsworth Athenaeum, where she swept and mopped as performance, and her later projects interviewing passersby on New York City sidewalks and embedding herself in a Manhattan office building, where she invited workers to declare their maintenance tasks art.
British-Indian sculptor Anish Kapoor, best known for Chicago's 'Cloud Gate' sculpture (commonly called 'The Bean'), publicly criticized American politics in a recent interview, denouncing what he described as a 'politics of hate' and 'warmongering.' Kapoor, whose monumental public artworks have become global icons, did not specify particular events but spoke broadly about the current political climate in the United States.
The Helmut Newton Foundation at Berlin's Museum für Fotografie is overhauling its permanent exhibition after more than 20 years, introducing a cinematic installation called "Intermezzo" that uses eight video projectors across four screens to present a film portrait of Helmut Newton. The film incorporates previously unreleased material, including personal recordings by his wife June Newton, and features interviews with figures from Newton's world such as Philippe Garner, Carla Sozzani, and Matthias Harder. Alongside the immersive film, the ground-floor gallery displays nearly 100 of Newton's exhibition posters and launches a new curatorial series, "Spotlight: behind the frame," which will focus on iconic photographs by Helmut Newton or Alice Springs, starting with Newton's 1975 "Rue Aubriot" and Alice Springs' 1970 Gitanes advertisement.
Janet Werner, an artist with a nearly four-decade career, has created a new body of work titled "Landscape with Legs" that distorts fashion imagery from Vogue archives and vintage campaigns by Marc Jacobs. Her paintings transform archetypal fashion models—thin, blonde, and emblematic of privilege—into unsettling, complex figures that expose a tension between glamor and the grotesque. The exhibition runs from May 1 to June 12, 2026, at Anat Ebgi Gallery in New York, marking her second solo show there. In an interview, Werner discusses her background as a dancer, her creative process of collaging photographic images with art historical references like Watteau and Caspar David Friedrich, and the political moment that makes the show feel urgent.
A 20-something intern at a small Seoul gallery, identified as Park, accepted a job paying 1.35 million won ($910) per month after taxes—below South Korea's minimum wage—because she believed early experience was essential for career advancement in the art world. The article, based on interviews with the Korea JoongAng Daily, reveals that many entry-level workers face low pay and precarious conditions, exacerbated by a severe oversupply of arts graduates (48,000 annually) versus only about 3,523 job postings per year on the industry site Art More, leading to reliance on personal connections and informal hiring.
German artist and future astronaut Michael Najjar has partnered with the Samsung Art Store to feature his work "europa" (2016) as part of the Art Basel Hong Kong 2026 Collection. Najjar, who is scheduled to become the first contemporary artist in space via a 2027 Virgin Galactic flight, uses his practice to explore the intersection of technology, space exploration, and human ambition. The collaboration allows his large-scale digital constructions to be displayed on Samsung Art TVs, bridging the gap between the physical art fair and domestic environments.
Artist Bria Edwards has debuted a solo exhibition titled "What We Do, We've Always Done" at the Julio Fine Arts Gallery at Loyola University Maryland. The multidisciplinary showcase features oil paintings, photography, and video work resulting from two years of fieldwork and interviews with Black equestrians across Maryland. Curated by Lauren Davidson of Museum Nectar Art Consultancy, the exhibition explores the historical and contemporary presence of Black horse riders, moving from the era of enslavement to modern-day leisure and competitive spaces.
A new documentary, *Once Upon a Time in Harlem*, is screening at the Sundance Film Festival in Utah, offering an intimate look at the Harlem Renaissance. The film is assembled from 28 hours of 16mm footage shot in 1972 by the late filmmaker William Greaves at Duke Ellington's home in Harlem, capturing a gathering of key figures from the movement. Greaves's son David, who was one of the original cameramen, completed the film after his father's death. The footage includes interviews and reflections from artists, writers, musicians, and activists such as Romare Bearden, Aaron Douglas, James Van Der Zee, Eubie Blake, and Arna Bontemps.
Art sales are surging after a two-year slump, according to prominent Canadian art advisor Barbara Guggenheim, CEO of Barbara Guggenheim Associates. In an interview with BNN Bloomberg, Guggenheim noted that collectors are now prioritizing quality, seeking established artists like Picasso and Warhol, and that fresh-to-market works are attracting strong bids. Recent record-breaking sales include Frida Kahlo's self-portrait for $54.7 million and Gustav Klimt's 'Portrait of Elisabeth Lederer' for $236.4 million at Sotheby's. The middle market remains robust, with works like Stuart Davis's 'Municipal' selling for $1.5 million, while lower-priced pieces under $30,000 are harder to guarantee as investments.
Cristina Chacón and Diego Uribe, a Colombian couple who have been together since their teens, discuss their art collection and philanthropic work. They serve on the chairman’s council of the Institute of Contemporary Art Miami and founded the DC Art Foundation in 2021, which supports mid-career and established artists through exhibitions and residencies. Their collection spans Miami, Bogotá, and Madrid, focusing on Modern and contemporary art from Latin America, with additional works by artists like Christian Boltanski, Ugo Rondinone, and Chiharu Shiota. In an interview, they share their first purchase (a still-life by Alberto Nuño from 1992), a recent acquisition (Gabriel Orozco’s 1999 painted-plywood construction), and regret over not buying a Ruth Asawa piece earlier.
Marge Dean, an Emmy-winning animation producer and head of Skybound Entertainment, opens a new conceptual art exhibition titled "The Sweepers" at Automata gallery in Los Angeles' Chinatown on November 7. The show imagines a world where housework is valued as highly as fine art, presenting the fictional "Floor Field Cleaning" art movement (1940-1975) through portraits, floor samples, biographies, and an animated interview with a housewife named Laurie Poons. Dean, who is also founder of Women in Animation, created the work during the COVID lockdown, using rotoscoping and Photoshop to explore the intersection of domestic labor and artistic value.
Andrew Lambirth's new book, *The Uglow Papers*, takes an unconventional approach to the monograph on British painter Euan Uglow (1932-2000). Instead of a traditional narrative, Lambirth compiles around 30 personal memoirs, papers, and contributions from friends, students, and colleagues—gathered through interviews, phone calls, emails, and letters. These firsthand accounts, paired with a concise introduction and a glossary of names, offer intimate recollections of Uglow's rigorous studio practice, his teaching methods, and his social life, including details about his Sunday night open houses and shared meals. The book also traces Uglow's artistic development from his studies at Camberwell School of Arts and Crafts and the Slade School of Fine Art, through his mentorship under William Coldstream, to his own distinctive geometric and emotionally charged works like *The Diagonal* (1971-77) and *Pyramid* (1993-96).
Kyongho Kim, a Seoul-based dentist and art collector, discusses his journey into collecting contemporary art, which began in 2019 when he bought his first painting to fill bare walls in his new home. He now owns around 250 works, including pieces by Hernan Bas, Genieve Figgis, Scott Kahn, and Jack Kabangu, and describes his philosophy as stewardship rather than ownership. The interview, published by The Art Newspaper, covers his first purchase (Byung-Rock Yoon's *Scent of Autumn*), his regret over missing a George Condo piece, and his love for art fairs like Frieze Seoul, where he acquired a work by Marina Perez Simão.
The article recounts a personal visit to 'The Art of Banksy' exhibition at the Aotea Centre in Auckland, New Zealand, on July 7, 2024. The author, initially hesitant due to past awkward experiences at art shows, attends the opening and describes the immersive, gritty atmosphere of the 909 sqm space featuring 160 authenticated Banksy pieces. The exhibition includes iconic works like a girl with a heart-shaped balloon and anti-royalist pieces, and the author interviews curator Michel Boersma, who explains the show's growth from 65 pieces in 2018 to its current scale, touring 19 cities and attracting over 1.5 million visitors.
Visual artist Ingeborg Lüscher, celebrated as the grand dame of contemporary art, opens an exhibition at SLEEK Art Space on 26 June. In an interview with art historian Sebastian C. Strenger, she discusses her career trajectory from actress to artist, her influences from Fluxus and Nouveau Réalistes, and pivotal moments such as the Prague Spring in 1968 and encountering Joseph Beuys's work. Lüscher was featured at Documenta in 1972 and 1992, the Venice Biennale in 2001, and recently received the Hans Platschek Prize for Art and Writing. Her current exhibition, The Magnificent Seven⁺, is also on view at Galerie BASTIAN Paris, with a forthcoming show at the Centre Culturel Suisse.
Augmented reality (AR) headsets like the Apple Vision Pro and Meta Quest II are gaining traction as tools for the art trade, according to experts interviewed in this article. Gallerists Will Shott and Hal Bromm see potential for virtual tours, studio visits, and previewing artworks in situ, while adviser India Price notes that seeing works at scale in one's own space could boost buyer confidence. However, Martin Murphy of Ringling College of Art and Design argues that practical barriers—such as device personalization and generational divides—may limit adoption among traditional collectors.
New York restaurateur Keith McNally, known for founding Balthazar and the Odeon, discusses his art-buying habits and regrets in a new memoir titled *I Regret Almost Everything*. In an interview with The Art Newspaper, McNally recounts his first serious purchase—a $500 painting by Albert Montmerot in 1989—and his most recent acquisitions, including works by Élisabeth Ronget and Walter Steggles. He describes his instant attraction to paintings, his tendency to agonize over purchases just beyond his budget, and the persistent regret of not buying certain works he now covets.
On Saturday, 3 May, multidisciplinary artist Tara M Khanna presented her first solo exhibition, 'Still, it Moves', at IFBE (Ice Factory) in Ballard Estate, Mumbai. The one-day show featured contemporary paintings exploring themes of nature, movement, stillness, and spirituality, including works such as 'Sacred Sway' depicting Lord Krishna. In an interview, Khanna described her art as rooted in devotion to god and influenced by artists like M.F. Husain and Raja Ravi Varma.
Rob Franklin, a professor, poet, critic, and co-founder of Art for Black Lives, has released his debut novel "Great Black Hope" on June 10. The book follows Smith, a queer Black Stanford graduate, who is arrested for cocaine possession in the Hamptons after his best friend's death, leading him through New York's nightclubs, courtrooms, and recovery meetings. The novel is described as a satirical, intellectually incisive, and mournful addition to the canon of New York party literature, blending social commentary with a bildungsroman and elegy.
In an intimate interview with Carlo Antonelli, German artist Kai Althoff discusses the psychological origins of the figures that populate his paintings and his collaborative history with Isa Genzken. Althoff describes his characters as a mix of imagined friends, despicable archetypes, and spirits that emerge subconsciously to outshine his own perceived mediocrity. He also reflects on his early influences, ranging from German-localized Marvel horror comics to the improvisational 'home video' skits he produced with Genzken, which he characterizes as a film about love.
Bengaluru-based artist Mohit Mahato has opened his debut solo exhibition, "Bring Me Flowers," at an undisclosed venue in Bengaluru. The series features drawings and bookforms that explore the quiet journeys of plants and people amid a rapidly changing urban landscape, with delicate lines and technical accuracy that evoke an ethereal realm. In an interview, Mahato discusses the emotional power of flowers, the role of time and night-time creation, and his choice of drawing as a foundational medium.
La delicatezza come resistenza. Intervista alla curatrice del Padiglione Turchia alla Biennale di Venezia
For the 2026 Venice Biennale, the Turkey Pavilion, commissioned by the Istanbul Foundation for Culture and Arts (İKSV), will present "A Kiss on the Eyes" by artist Nilbar Güreş, curated by Başak Doğa Temür. The exhibition takes its title from a Turkish expression conveying affectionate closeness without intrusion, and features a mix of new productions and earlier works spanning sculpture, installation, painting, and works on paper and fabric. In an interview, curator Temür explains that the project avoids a retrospective or didactic approach, instead creating a spatial rhythm of approach, pause, and slight withdrawal, where intimacy, politics, irony, and fragility press against one another.
Intervista per scoprire Theo Eshetu, unico artista italiano alla Biennale di Venezia 2026
Theo Eshetu (London, 1958), the only Italian artist invited to the central exhibition "In Minor Keys" of the 2026 Venice Biennale curated by Koyo Kouoh, is profiled in an interview. Born to an Ethiopian father and Dutch mother, Eshetu trained in the Netherlands and London before settling in Rome in the early 1980s. He discusses his cosmopolitan background, his early struggles with belonging, and how he transformed that into artistic strength. The interview covers his career, his memories of the Roman art scene in the 1980s and 1990s, and his current work presented at the Biennale, including the piece "The Return of the Axum Obelisk" (2010).
Ilker Çatak's fifth film, "Yellow Letters," premieres on April 30, 2026, distributed by Lucky Red. The story follows Derya and Aziz, a Turkish artist couple whose lives unravel after Aziz, a professor at Ankara University, receives a "yellow letter" terminating his employment. The film, inspired by post-2016 coup purges in Turkey, shifts to Berlin and Hamburg, where the director deliberately avoids mimicking Turkish locations, instead using explicit captions like "Berlin as Ankara" to create a Brechtian alienation effect. Çatak explores how arbitrary state repression fractures personal relationships and moral boundaries, drawing on interviews with artists who faced unjust dismissals.
Provincia Cosmica. Tra bar e studio, ovvero la vita punk di Jacopo Benassi
Italian artist Jacopo Benassi, born in 1970 and shaped by the punk scene, discusses his return to his hometown of La Spezia after years in Milan, where he worked as a photographer for Rolling Stone. He describes his life revolving around his studio and local bars, and reflects on founding the underground club B-Tomic in 2011, which became a hub for his artistic and photographic work blending music and performance. He also mentions an upcoming book of drawings and texts by Renzo Daveti (alias Benzo), a formative figure from the Italian punk scene.
Amato dal pubblico, ma non dai critici d’arte. Jack Vettriano in mostra a Roma (intervista alla curatrice)
A major retrospective exhibition of Scottish painter Jack Vettriano has opened at Palazzo Velli in Rome. The show, which originated in Bologna at Palazzo Pallavicini, was transformed into a posthumous retrospective following the artist's death in March 2025. It features both original oil paintings and high-quality, limited-edition reproductions on museum paper, a curatorial choice made by Vettriano himself to make his work more accessible.
Abbiamo intervistato la storica archivista della Pixar: storia e segreti della mitica casa di produzione
Christine Freeman, Senior Historian and Archivist at Pixar Animation Studios, provides an inside look at the evolution of the pioneering animation house. The interview traces Pixar's origins from Ed Catmull’s early work at Lucasfilm and the development of the Pixar Image Computer to the pivotal meeting with animator John Lasseter and the eventual acquisition by Steve Jobs. Freeman details the preservation of early CGI milestones, including the first computer-animated short, 'The Adventures of André & Wally B.', and the transition from proprietary secrets to open-source contributions like RenderMan.
Lebanese artist and Bard College professor Tania El Khoury discusses her multidisciplinary practice and her recent experience living through the escalation of conflict in Beirut. The interview highlights her interactive performance piece, "The Search for Power," which uses her own 2018 wedding blackout as a jumping-off point to investigate the colonial roots of Lebanon's systemic infrastructure failures. Originally set for a Beirut run in March, the production was postponed due to the outbreak of war.