Artist Liza Lou is presenting a new body of work that merges the legacy of Abstract Expressionist brushstrokes with intricate beadwork. Her solo exhibition, 'FAQ,' at Thaddaeus Ropac in London features mixed-media paintings where thousands of glass beads are meticulously placed atop fields of oil paint, creating textured, chromatic topographies that transform gestural marks into sculptural forms.
Artist and activist Michele Pred has opened a solo exhibition at Nancy Hoffman Gallery in New York, showcasing a body of work that addresses the erosion of civil and reproductive rights. The exhibition features her signature electroluminescent wire-stitched vintage handbags, sculptures made from found objects like wooden gavels and disarmed bullets, and large-scale inflatable abortion pill sculptures. Pred’s practice, rooted in her upbringing between California and Sweden, utilizes approachable domestic objects to deliver urgent political messages regarding bodily autonomy and social justice.
Tim Blum, co-founder of the influential Blum & Poe gallery, is stepping away from the traditional gallery model after more than 30 years. He told ARTnews that the decision was driven by burnout with the relentless cycle of art fairs, openings, and obligations, not by financial strain. His Tokyo and Los Angeles locations will close after summer exhibitions, and a planned New York space may not open as a conventional gallery. Blum will instead pursue a more flexible model involving special projects and collaborations, while continuing to buy and sell art personally.
Hyperallergic's weekly 'In Memoriam' column honors eight recently deceased figures from the art world, including Indian photojournalist Raghu Rai (1942–2026), Argentine abstract painter Ides Kihlen (1917–2026), Israeli painter and activist Yair Garbuz (1945–2026), British photographer Mark Gerson (1921–2026), Japanese art collector Kurt Gitter (1937–2026), Danish antiquities dealer Ittai Gradel (1965–2026), indigo textile artist Leigh Magar (1968–2026), and Kenyan muralist Patrick Mukabi (1967–2026). Each entry summarizes their life, career highlights, and contributions to visual art and photography.
Susan Fisher Sterling, director of the National Museum of Women in the Arts (NMWA) in Washington, D.C., will retire at the end of 2024 after 18 years in the role and nearly four decades at the institution. Sterling joined NMWA as an associate curator in 1988, rose through the ranks to become director in 2008, and oversaw a $67.5 million renovation completed in 2023, expansion of the collection to over 6,000 works, and partnerships with the Louvre, the State Hermitage Museum, and Tate Modern. The board of trustees has begun a search for her successor with executive search firm Howe-Lewis International.
Kerry James Marshall's retrospective 'The Histories' opens at the Royal Academy of Arts in London, featuring over 80 works spanning his career. The exhibition, co-curated by Mark Godfrey and Adrian Locke, includes early pieces like 'A Portrait of the Artist as a Shadow of His Former Self' (1980) and recent paintings exploring African history and the transatlantic slave trade. After London, the show travels to Kunsthaus Zürich and the Musée d'Art Moderne in Paris, timed to Marshall's 70th birthday.
The article is a first-person diary of an art critic's trip to Aspen for ArtWeek, centered around Matthew Barney's performance "TACTICAL parallax" (2025) at the Aspen Art Museum. The author navigates travel delays, attends the dress rehearsal, and participates in a whirlwind of events including the Aspen Art Museum's AIR festival, a public conversation with artist Issy Wood, and dinners with art-world figures like MoMA board president Sarah Arison and artists Paul Chan and Aria Dean. The narrative weaves personal observations with the broader art scene in Aspen, touching on themes of the American West and contemporary art.
The Holy See's pavilion at the Venice Biennale has opened, featuring a sound-based exhibition titled "The Ear is the Eye of the Soul" (9 May–22 November). The show, inspired by the medieval Benedictine nun Saint Hildegard of Bingen, includes commissioned audio works by high-profile artists and musicians such as Brian Eno, FKA Twigs, Patti Smith, Jim Jarmusch, and Precious Okoyomon. The exhibition takes place across two Venetian sites—the Mystical Garden of the Discalced Carmelite and the Santa Maria Ausiliatrice complex—and is co-organized by Hans Ulrich Obrist, artistic director of the Serpentine Gallery, and curator Ben Vickers, in collaboration with Soundwalk Collective.
The Metropolitan Museum of Art's Costume Institute spring exhibition, "Costume Art," pairs fashion with artworks from the Met's collection, including ancient Greek statues and Andy Warhol screenprints, alongside garments by designers from Charles James to CFGNY. Curator Andrew Bolton aims to suggest that fashion can expand understanding of art, but the show's juxtapositions often feel vague and sloppy, with only occasional resonant pairings like a Jean Paul Gaultier shirt and Joe Brainard drawing linked by queer artist lineage.
Diedrick Brackens presents his first solo exhibition in the Bay Area, "gather tender night," at Yerba Buena Center for the Arts in San Francisco. Guest-curated by Eungie Joo, the show features 15 tapestries from 2020 onward and three new works from 2026, including the immersive installation "clearing (2026)." Brackens, a Black queer artist and CCA professor, uses hand-dyed cotton and acrylic yarn to weave narratives of personal memory, myth, and the natural world, drawing from West African weaving, California fiber art, European tapestry, and Gee's Bend quilting. His approach, influenced by the "sloppy craft" ethos of his mentor Josh Faught, embraces unfinished edges and visible process as acts of refusal against polished traditions.
A new museum called Muzeu—Thought and Contemporary Art DST has opened in Braga, northern Portugal, housed in a former courthouse and built by the DST Group, a Portuguese industrial conglomerate. The inaugural exhibition, titled "Let Us Be Realistic, Let Us Demand the Impossible," features over 100 works by 96 artists including Alex Katz, Francesco Clemente, Franz West, and Nan Goldin. The museum prioritizes workers, opening first exclusively for company employees on 24 April, then to the public on Freedom Day (25 April), with free admission for the first week and closure on International Workers' Day (1 May).
The Toronto Biennial of Art has announced the details for its fourth edition, titled "Things Fall Apart," scheduled to run from September 26 to December 20. Curated by Allison Glenn, the exhibition will feature 30 artists and collectives, including Kent Monkman, Rebecca Belmore, and Dawoud Bey, with a heavy emphasis on new commissions. For the first time, the biennial is expanding its footprint beyond the Greater Toronto Area to include partnerships with institutions across Canada and international sites like Times Square in New York and the Anchorage Museum in Alaska.
The John Simon Guggenheim Memorial Foundation has announced its 101st class of fellows, awarding 223 scholars and artists across 55 disciplines for 2026. Selected from a pool of nearly 5,000 applicants, the new cohort includes prominent visual artists such as Sonya Clark, John Miller, American Artist, and Kota Ezawa. The fellowships provide significant financial grants to individuals who have demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts.
The Solomon R. Guggenheim Museum has launched a major retrospective of Carol Bove, filling the iconic Frank Lloyd Wright rotunda with approximately 100 works spanning her career. The exhibition showcases Bove’s evolution from her early assemblages of driftwood, peacock feathers, and vintage books to her more recent large-scale, brightly colored steel sculptures. A defining feature of the show is Bove’s inclusion of "para-artworks"—pieces by other artists such as Lionel Ziprin, Agnes Martin, and Arnaldo Pomodoro—integrated into her own installations to highlight the influences and histories that inform her practice.
its time to give annibale carracci some of rembrandts spotlight 2742854
This article advocates for a critical re-evaluation of the Italian Baroque painter Annibale Carracci, arguing that his historical significance and artistic influence rival that of the more widely celebrated Rembrandt van Rijn. While Rembrandt has dominated recent museum headlines and auction records, the author highlights Carracci’s foundational role in establishing the Accademia degli Incamminati in Bologna, which revolutionized art education by prioritizing life drawing and elevating the social status of artists from mere craftsmen to intellectual creators.
Martin Parr, the acclaimed British photographer known for his wry, colorful images of tourists and leisure culture, died on December 6 at his home in Bristol, England, at age 73. His death was announced by the Martin Parr Foundation, which noted he had been diagnosed with myeloma in 2021. Parr was a longtime member of Magnum Photos and published countless photobooks, shot fashion campaigns for Vogue and Gucci, and created iconic series such as "The Last Resort" (1983–85) and "Small World" (1987–94). A retrospective themed around climate change and overtourism is planned for 2025 at the Jeu de Paume in Paris.
Artnet News asked several working artists—Manuel Mathieu, Hanna Salomonsson, Aki Sasamoto, Nigel Hall, Sharmistha Ray, and Miljohn Ruperto—to share the practical and philosophical lessons that sustain their creative practices. Topics include building trust with collaborators, navigating financial uncertainty, setting up shared studio spaces, using recycled materials, maintaining optimism at age 82, reframing rejection, and adapting to the expectation that artists must act as entrepreneurs before their first gallery show.
Maria Balshaw, the director of Tate, will step down in the new year after nine years at the helm, the museum announced Friday. Appointed in 2017, Balshaw was the first woman to lead the institutional network, which includes Tate Modern and Tate Britain. Her tenure was marked by a substantial diversification of Tate’s collection and programming to spotlight new art forms, indigenous artists, and artists from the Global South. She also oversaw the launch of a landmark £150 million endowment fund for Tate Modern to address financial woes. Memorable exhibitions included surveys of pre-internet digital artists, modern art in Nigeria, and retrospectives for Leigh Bowery, Isaac Julien, Yoko Ono, and Emily Kam Kngwarray.
Maria Balshaw, director of London’s Tate, has announced she will step down in spring 2026 after nearly a decade leading the museum network. She joined in 2017, succeeding Nicholas Serota, and previously directed the Manchester Art Gallery and the Whitworth Art Gallery. During her tenure, she oversaw major exhibitions including “The EY Exhibition: Van Gogh and Britain” (2019), a Yoko Ono retrospective, and “Sargent and Fashion.” Her final project will be co-curating the largest-ever survey of Tracey Emin at Tate Modern, running from February 27 to August 31, 2026.
The Palace of Versailles has agreed to reexamine the provenance of a Jacques-Louis David sketchbook from 1790 after a Radio France investigation revealed it was looted by the Nazis during World War II. The sketchbook was stolen from Professor Lereboullet in July 1940, sold by Munich's Karl and Faber gallery in 1943, then acquired by dealer Otto Wertheimer before being purchased by Versailles in 1951. The museum claims it was unaware of the theft, and France's ministry of culture has promised further research and discussions with the descendants.
Wafaa Bilal has been named the recipient of the 2025 ARTnews Award for Established Artist, recognizing his survey exhibition “Wafaa Bilal: Indulge Me” at the Museum of Contemporary Art, Chicago (February 1–October 19, 2025). The show is the first major retrospective for the Iraqi American artist, featuring works that put his body at risk, including the iconic performance *Domestic Tension* (2007), in which remote participants fired a paintball gun at him over the internet, and *Virtual Jihadi* (2008), a modified video game that blurs the lines between aggressor and victim. Curated by Bana Kattan, the exhibition restages elements of Bilal’s original performance and presents his ongoing critique of U.S. involvement in the Middle East, particularly the Iraq War and the use of drone warfare.
California Attorney General Rob Bonta filed a motion on November 17 to intervene in the Cassirer family's two-decade-long restitution case for a Camille Pissarro painting stolen by the Nazis. The artwork, *Rue Saint Honore, Apres Midi, Effet De Pluie* (1897), is owned by Spain's Thyssen-Bornemisza Collection Foundation. The U.S. Court of Appeals for the Ninth Circuit had previously ruled that Spanish law applied, allowing the museum to keep the painting, but California's Assembly Bill 2867, signed into law in September, now seeks to apply California law to protect victims of art theft. The case has been sent back to the U.S. District Court for the Central District of California for reconsideration.
The Louvre's blockbuster exhibition "Louvre Couture," which drew over one million visitors in Paris, has opened at the Museum of Fine Arts, Houston (MFAH). The show pairs high-fashion garments and accessories—from Yves Saint Laurent to Jacquemus—with artworks and decorative objects, illustrating how designers draw from art history. The Houston edition features 36 objects from 23 designers, including pieces by Jean Paul Gaultier, Iris van Herpen, Schiaparelli, and a John Galliano-designed Dior gown, displayed across two buildings and over a dozen galleries.
The Fondation Cartier pour l’art contemporain will reopen its new space at 2 Place du Palais-Royal in Paris on October 25, 2025, during Paris Art Week. Designed by architect Jean Nouvel, the building—originally constructed for the 1855 Exposition Universelle and later a hotel, department store, and antiques center—has been transformed with a modular system of five movable platforms, a glass canopy, and transparent ground-floor windows to create an open, flexible exhibition environment. The inaugural show, titled “Exposition Générale,” features nearly 600 works by over 100 artists from the foundation’s history.
The Getty has appointed Joan Weinstein, current director of the Getty Foundation, to the newly created role of vice president for Getty-wide program planning. Weinstein will continue as foundation director until a successor is named, and in her new position she will develop strategy across the institution’s four divisions: the Museum, Research Institute, Conservation Institute, and Foundation, focusing on art historical scholarship and community partnerships. She is best known for co-directing PST ART, a major Southern California cultural collaboration, and has overseen significant relief funds for artists affected by wildfires and the COVID-19 pandemic.
Lisa Phillips, director of New York's New Museum, will retire after more than 25 years in the role, as reported by the New York Times. The museum is currently in the midst of a 62,000-square-foot expansion expected to open this fall, though no date has been set. Phillips, 71, oversaw the museum's relocation to the Bowery in 2007, launched the influential New Museum Triennial in 2010, and added initiatives like New Inc and Rhizome. Her tenure also included controversies, such as criticism over a 2010 show of works owned by a trustee, staff complaints about her $900,000 salary, and tensions around the museum's unionization in 2019.
The Aspen Art Museum is undergoing a strategic shift under director Nicola Lees, moving away from its reputation as a collector's clubhouse toward becoming a global institution. The museum's annual ArtCrush gala and fundraiser week, once centered on wealth-displaying collector home visits and glitzy parties, now emphasizes intellectual programming like the inaugural AIR festival, a $20 million artist-led interdisciplinary initiative featuring talks by Werner Herzog and Hans Ulrich Obrist. This change comes amid soaring local real estate prices, including a $108 million home co-purchased by Steve Wynn and Thomas Peterffy, and contrasts the area's deep pockets with the museum's free admission since 2008.
Heirs of German Jewish banker and art collector Paul von Mendelssohn-Bartholdy have urged the US Seventh Circuit Court of Appeals in Chicago to revive their lawsuit seeking the return of Vincent van Gogh's *Sunflowers* (1888), which they claim was sold under Nazi duress. The lawsuit, filed in 2022 against Japanese insurer Sompo Holdings, argues that the painting was purchased at a 1987 Christie's auction by Sompo's predecessor, Yasuda, despite provenance indicating Mendelssohn-Bartholdy was a Nazi victim. A lower court dismissed the case in 2024 for lack of jurisdiction, but the heirs contend that the painting's exhibition in Chicago in 2001 establishes sufficient legal ties to Illinois.
Glenn Lowry, the longtime director of the Museum of Modern Art (MoMA), delivered a farewell speech in June 2025 at MoMA's Party in the Garden, implicitly addressing the Trump administration's attacks on cultural institutions. He urged the museum to defend values of pluralism, freedom of expression, and minority rights, warning that the coming years would present consequential choices not seen since World War II. The article notes that while Trump has not directly targeted MoMA, he has threatened the Smithsonian Institution, and artist Amy Sherald canceled a National Portrait Gallery survey alleging censorship. Under Lowry, MoMA mounted a 2017 exhibition critical of Trump's travel ban, but has otherwise avoided explicit political programming.
Sylvio Perlstein, the legendary art collector, patron, and impresario, died on August 6. Hauser & Wirth confirmed the news, calling him a visionary who shaped one of the most important art collections of the past century. In 2018, the gallery exhibited 380 pieces from his collection across its Chelsea and Hong Kong locations in the show 'The Sylvio Perlstein Collection – A Luta Continua'. Perlstein was born in Belgium in the 1930s, fled to Brazil with his family during World War II, and later joined the diamond business in Antwerp. His collection spanned Dada, Surrealism, American minimalism, and Land art, featuring works by Man Ray, René Magritte, Donald Judd, and many others. He maintained close friendships with artists and displayed works throughout his Paris home, which cultural critic Arthur Lubow described as 'a contemporary version of Ali Baba's cave'.