Artist Sayre Gomez has opened a new solo exhibition titled "Precious Moments" at David Kordansky Gallery in Los Angeles. The show features paintings of gritty urban landscapes alongside sculptures of his own children, modeled after Precious Moments collectible figurines, dressed in the kids' actual clothes and placed in the gallery's rafters.
Sotheby's second auction in Saudi Arabia, titled 'Origins II,' achieved a strong result of $19.6 million, surpassing its presale estimate. The sale of 61 lots was bolstered by a new auction record for a Saudi artist and a significant increase in the value and volume of works by Saudi artists sold compared to the house's inaugural sale in the country last year.
Chinese artist and dissident Ai Weiwei returned to China last month for the first time in a decade, visiting Beijing for three weeks after years of exile in Europe. His passport had been confiscated in 2015, ending travel restrictions tied to his political dissent. Upon arrival, Ai was interrogated for nearly two hours at Beijing's airport before being granted entry. He documented the trip on Instagram, including a reunion between his 17-year-old son and 93-year-old mother, and described the experience as like reconnecting a long-disconnected phone call.
Artist Briony Godivala is performing a year-long piece called *The Inked Link*, in which she has a QR code tattooed on her forearm that redirects to a new link each day based on public votes. Since January 2025, the voting site has been hacked to repeatedly play an anime episode, and participants have submitted links to pornographic, fascist, and racist content, as well as footage of death. Godivala, a graduate of the Glasgow School of Art, previously explored collective responsibility in physical performances where audience members carried her until they dropped her; she now uses social media to continue these experiments in a virtual space.
Dorothy Waugh, a pioneering Modernist designer who created the U.S. government's first in-house National Parks poster campaign during the Great Depression, is the subject of her first-ever solo exhibition at New York's Poster House. Titled "Blazing a Trail: Dorothy Waugh's National Parks Posters," the show reunites all 17 posters Waugh designed for the National Park Service between 1934 and 1936, bold experimental works that helped define a new visual language for federal design. Guest curator Mark Resnick spent three decades tracking down Waugh's story, locating documents across the National Archives, the Library of Congress, the School of the Art Institute of Chicago, and the Jones Library in Amherst, Massachusetts.
Artnet's Price Database reveals signs of recovery at the top end of the art market in 2025, following three years of contraction. The article highlights gains in high-value sales, exemplified by Gustav Klimt's "Bildnis Elisabeth Lederer" pictured at Sotheby's Marquee Sales Series in New York. It also notes a growing trend of small and emerging galleries working with artists' estates, and reports that roughly half of art-backed loans by non-bank businesses defaulted in 2024.
Immigration lawyers report that social media influencers and OnlyFans models are increasingly qualifying for O-1B visas—the U.S. visa category for individuals with extraordinary ability in the arts—by presenting online metrics such as follower counts, earnings, and brand deals as evidence of distinction. Traditionally, visual artists have needed exhibition histories, recommendation letters, and press clips to apply, but attorneys say the criteria have shifted to accommodate digital fame, with some arguing that the quality of approved applicants has been "watered down."
Artnet News revisits the trend of inventive, sculptural frames in contemporary painting, originally explored in Katie White's essay "Bordercore." The article features a podcast conversation between White and editor Ben Davis, examining how artists like Stephanie Temma Hier use frames as surreal, symbolic extensions of their work, moving beyond traditional containment to comment on and disrupt the artwork's boundaries.
In this year-end roundup episode of The Art Angle, co-hosts Kate Brown and Ben Davis, joined by Artnet Pro editor and art critic Andrew Russeth, review the defining trends, themes, and stories of 2025. They cover the art market's slump and subsequent rebound in New York's fall auctions and Art Basel Miami Beach, the political impact of Trump 2.0 on arts funding and museum governance, the question of a 'post-woke' art world, the return of digital art, and the ongoing power of red chip art. The episode also highlights the multi-front crisis facing institutions due to changing public expectations, rising costs, and political shifts, alongside lighter, unusual stories from the art world.
Phillips reported global sales of $927 million for 2025, a 10% increase over the previous year. Auction sales accounted for $725 million, while private sales surged 66% to $202 million. The auction house attributed growth to the launch of Priority Bidding, a platform offering reduced buyer's premiums for early bids, which led to a 275% increase in early selling bids. Phillips achieved an 88% sell-through rate by lot, with seven white-glove auctions and over 110 world auction records. Notable sales included a Patek Philippe watch for $17.6 million and Francis Bacon's *Study for Head of Isabel Rawsthorne and George Dyer* (1967) for $16 million. The luxury watch division generated $290 million, its highest annual total, and the Dropshop platform attracted many first-time and younger buyers.
Miami Beach announced Ximena Garrido-Lecca as the winner of its 2025 Legacy Purchase Program, acquiring her copper-rope work "Modulations – Sequence XXIX" for the municipal collection. The piece, shown with Livia Benavides Gallery, was selected by public vote and has been installed at the Miami Beach Convention Center. Separately, the sixth edition of the No Vacancy public-art program placed 12 site-specific installations in hotel lobbies across the city, running from November 13 through December 20, with $35,000 in total prizes.
Artnet News analyzed the 10 most expensive lots sold at auction in 2024, drawing on the Artnet Price Database. The top lot was René Magritte's *L'Empire de Lumières* (1954), which sold for $121.2 million at Christie's New York in November, setting a new auction record for the artist and becoming the only work to break nine figures this year. Other notable sales included Ed Ruscha's *Standard Station, Ten-Cent Western Being Torn in Half* (1964) at $68.3 million, Claude Monet's *Nymphéas* (1914–17) at $65.5 million, and Jean-Michel Basquiat's *Untitled (ELMAR)* (1982) at $46.4 million. Seven of the top 10 lots sold in New York, with Hong Kong, London, and Vienna also represented.
Pantone has announced 11-4201 Cloud Dancer, a soft shade of bright white, as its 2026 Color of the Year. This marks the first time the company has chosen a white hue since launching the initiative in 1999, following last year's Mocha Mousse. The decision, announced by Pantone Color Institute vice president Laurie Pressman, is framed as a symbol of calm and a desire for a fresh start in a frenetic society, drawing comparisons to Kazimir Malevich's Suprematist compositions and Robert Ryman's white paintings. The announcement has sparked debate over its cultural and political implications, with critics noting the choice's potential elitism and its resonance amid ongoing racial tensions.
Barbra Streisand posted on Instagram expressing regret over selling Gustav Klimt's "Ria Munk on her Deathbed" (1912), which she owned for 30 years. The post came three days after another Klimt portrait set a record at auction. Streisand bought the painting in 1969 for $17,000 and sold it in 1999, explaining she had shifted her interest to Frank Lloyd Wright and the Arts & Crafts movement.
Santina Semadar Panetta, a Canadian artist, is pioneering Neo-Pointillism, a contemporary evolution of the 19th-century pointillist style. She creates vibrant, intricate paintings that blend portraiture and landscape, using bold color palettes and meticulous technique. Panetta is the only Canadian artist selected for the Biennale di Palermo, Biennale di Mantova, and the Biennale of the Nations in Venice, and her work was recently featured at the LA Art Show. In an interview, she discusses her shift from journalism to art, inspired by the events of September 11, 2001, and her academic training at Académie Art et Beaux, which led her to develop a philosophical and rhetorical approach to Neo-Pointillism.
The U.K. Crown Prosecution Service has charged Hauser & Wirth and an art shipping firm with violating criminal sanctions by making George Condo's 2021 work on paper, *Escape from Humanity*, available to a person connected to Russia in 2022. Separately, Frida Kahlo's 1940 painting *El sueño (La cama)*, estimated at $40–60 million, will be auctioned at Sotheby's on November 20, potentially yielding a 78,400 percent return for its consignor. Qatar is also planning the first duty-free art storage unit in the Gulf.
Private Client Select (PCS), an insurance partner for serious art collectors, highlights the growing complexity of protecting fine art and collectibles. The article details unusual but real claims—such as a conceptual artwork mistaken for trash, a fiber work unraveled by a cat, or a sculpture damaged by a housekeeper—alongside more common risks like climate damage, transit mishaps, and theft. PCS's Art Services team, led by Senior Vice President Muys Snijders, offers proactive risk management, coordinating conservators, appraisers, and storage solutions. Emerging threats include climate change (wildfires, floods), social media exposure, financial complexities (tariffs, collateral lending), and material degradation of contemporary works using nontraditional materials.
Sara Friedlander has been named chairman of Post-War & Contemporary Art for the Americas at Christie's. In an interview, she discusses her philosophy of prioritizing client relationships and the art itself over market speculation, criticizing the trend of 'wet paint' sales that inflate young artists' prices. She has overseen major private collection sales including the Edlis | Neeson Collection, which will anchor Christie's 21st Century Sale, and has set records for artists like Ernie Barnes and Joan Mitchell.
Dubai has announced plans for its first museum dedicated to modern and contemporary art, the Dubai Museum of Art (DUMA), designed by Pritzker Prize-winning Japanese architect Tadao Ando. Located along Dubai Creek, the five-story museum will feature a curved shell inspired by the sea and pearl, with a central roof opening, library, study rooms, and flexible spaces for art fairs. The project is developed by the Al-Futtaim Group with support from Dubai's ruler Sheikh Mohammed bin Rashid Al Maktoum. No opening date has been set.
Phillips’s Frieze Week evening sale in London totaled £10.33 million ($13.88 million) across 22 lots, a 32% decline from last year’s £15.1 million on 31 lots. The sale was 82% sold by lot and 84% by value. Highlights included a new world auction record for Emma McIntyre, whose painting *Seven Types of Ambiguity* (2021) sold for £167,700, and strong results for Martha Jungwirth and Flora Yukhnovich. However, major lots by Banksy, Andy Warhol, and Jean-Michel Basquiat underperformed or failed to sell, and four lots went unsold, including works by Andreas Gursky and Sigmar Polke.
A memorial for the late theater visionary Robert Wilson was held at the Brooklyn Academy of Music (BAM) Harvey Theater, featuring a 30-minute period of silence as requested by Wilson before his death at age 83. The gathering drew luminaries including Philip Glass, Rufus Wainwright, Laurie Anderson, ANOHNI, Christopher Knowles, Joan Jonas, and Paula Cooper, none of whom spoke during the main program. The silence was punctuated by shifting lighting and a recorded ringing telephone, followed by remarks from William Campbell, chairman of Wilson's Watermill Center, and Joseph Melillo, former BAM executive producer.
Christie’s has been consigned to sell works from the collection of the Kawamura Memorial DIC Museum of Art, including pieces by Claude Monet, Pierre-Auguste Renoir, Marc Chagall, Henri Matisse, and Henry Moore, as part of its fall marquee auctions. A top highlight is Monet’s oil painting *Nymphéas* (1907) with a low estimate of $40 million. The museum, located in Sakura, Japan, and owned by the DIC Corporation, decided last December to downsize and relocate, selling 75 percent of its 384 artworks valued at $77.5 million. The sale includes eight works in Christie’s 20th Century Evening Sale in November, with additional pieces in day sales for Impressionist and Modern Art as well as Post-War and Contemporary Art.
Nayland Blake, a conceptual artist known for blending cerebral ideas with visceral, queer sensibilities, is the subject of a major solo exhibition at Mathew Marks Gallery in New York, running through October 2025. Concurrently, a new book titled *My Studio Is a Dungeon Is the Studio: Writings and Interviews 1983–2024* is set for release next month, compiling decades of the artist's writings and interviews. The article explores Blake's unique approach to art, which combines psychoanalytic theory, queer aesthetics, and a critical stance toward institutional power, as seen in their analysis of figures like Judge Daniel Paul Schreber and artist Jack Smith.
The School of Visual Arts (SVA) in New York has transferred ownership from the Rhodes family, which owned it for nearly 80 years, to the SVA Alumni Society, a nonprofit that has funded student scholarships since 1972. The transfer took effect on September 1, with longtime president David Rhodes stating that day-to-day operations would not change. The move comes amid financial difficulties, a recent faculty unionization effort by SVA Faculty United (affiliated with United Auto Workers), and reported layoffs of around 30 workers.
Sotheby’s will auction Eddie Van Halen’s custom-built 1982 Kramer guitar, estimated at $2–3 million, as the centerpiece of its inaugural “Grails Week” in New York this October. The instrument, unseen for over 40 years, was played on tour, later owned by Mötley Crüe’s Mick Mars, and features Van Halen’s iconic red, black, and white striped design. The week-long sales series will also include Bob Dylan lyrics, Rolling Stones album artwork, and a Beatles cymbal.
Phillips auction house announced a new fee structure for fall 2025 called "priority bidding," which offers lower buyer's premium rates to bidders who place written bids at least 48 hours before a live sale. The move aims to encourage early engagement and generate more spirited bidding, while also providing certainty for sellers. The house is simultaneously raising its standard buyer's premium to as high as 29 percent on works up to $1 million, making it the highest among major auction houses. CEO Martin Wilson, who took over in January, hopes the program will mitigate risk and shore up sales of mid-priced works.
Artnet News reports that AI-generated artworks are achieving record prices at art fairs and auction houses, with increasing presence in major exhibitions like the Digital Art Mile during Art Basel and a dedicated AI art auction at Christie's. The article features commentary from Artnet's European news reporter Jo Lawson-Tancred, who discusses how artificial intelligence is transforming both the market and business practices in the art world, while noting lingering concerns about market readiness and ethics.
Kenny Schachter critiques the art market's doomsaying media narrative, coining the acronym Salsa (Scribes Always Love Sensational Apocalypse) to describe clickbait-driven hype. He contrasts current market anxieties with past downturns, notably the 1991-1996 recession when the market evaporated, citing a 1991 Roberta Smith article. Schachter observes that the Nahmads and Mugrabis, once feuding families, now invest together, and he recounts his experience at Phillips during his "Hoarder 6" exhibition, where young collectors showed genuine interest. He argues that the market, though wounded, remains healthy and calls for a less transactional, more patient approach to selling art.
Artnet News editor-in-chief Naomi Rea joins Kate Brown on The Art Angle podcast to discuss the unraveling of traditional art pricing logic. The art market has cooled beyond a typical downturn, entering what Rea calls a "danger zone" where dealers and advisors are quietly recalibrating as speculation dries up and confidence wanes. The episode examines how pricing mechanisms that once held the market together have broken down, affecting everyone from mega-galleries to emerging dealers.
Global auction sales at Christie’s, Sotheby’s, and Phillips fell 6.2% in the first half of 2025 compared to the same period last year, while the number of lots sold rose 1.3%. ArtTactic’s analysis reveals significant category shifts: post-war and contemporary art dropped 19.3% to $1.22 billion, impressionist and modern art fell 7.7% to $989.5 million, and luxury sales were nearly flat. In contrast, Old Masters surged 35.6% to $171.2 million, and design, decorative arts, and furniture rose 20.4% to $172 million. The decline in high-value trophy lots, including the withdrawal of Andy Warhol’s *Big Electric Chair* and Alberto Giacometti’s *Grande tête mince*, contributed to the slump in contemporary sales.