Art-world insiders share their best and worst experiences at gallery dinners, from seating disasters and VIP-only food queues to intimate gatherings and haunted-house Halloween parties. Contributors include collectors, artists, curators, writers, and gallerists who recount memorable evenings hosted by figures like Jose Martos and White Cube, revealing the social dynamics that define these events.
Friedrich Kunath, a contemporary artist known for blending German romanticism with pop culture, has a new solo exhibition titled "Aimless Love" at Pace Gallery in Chelsea, New York, on view through December 20. The show marks his first with the mega-gallery since Pace announced representation in May, and his first New York show since 2019. Kunath, who also co-wrote Liam Gallagher's song "Everything's Electric" in 2022, gave an interview from his Los Angeles studio, discussing his creative process, studio habits, and inspirations. The article includes a studio visit format with questions about his routines, influences, and the eclectic environment he works in, featuring vintage cars, a private bar, and multiple rooms each with its own music, film, and scent.
CULTURED magazine hosted its third annual Frieze London breakfast at the Dorchester hotel, co-hosted by Editor-in-Chief Sarah Harrelson, European Contributor Georgina Cohen, and photographer Mary McCartney. The event drew a mix of art-world figures, celebrities, and cultural tastemakers, including actor Richard E. Grant, Tate director Maria Balshaw, musicians Jess Glynne and Sophie Ellis-Bextor, gallerists Lucy Chadwick and Pilar Corrias, and collectors Laura de Gunzburg and George Wells. Guests enjoyed a plant-based breakfast and copies of CULTURED's September issue amid the buzz of Frieze London.
CULTURED magazine partnered with Samsung to launch the "CULTURED Collection," a series of contemporary artworks available on the Samsung Art Store for owners of Samsung's The Frame and QLED TVs. A pop-up gallery in Chelsea, New York, and a dinner event celebrated the launch, featuring works by artists including Adam Pendleton, Dominique Fung, Oscar yi Hou, Theresa Chromati, Andrea Marie Breiling, Chris Martin, and Emma Webster. The event drew a cross-section of art and tech insiders, including Art Basel CEO Noah Horowitz, Samsung executives, and collectors.
Cultured magazine highlights several fall gallery shows in Los Angeles, featuring solo exhibitions by Mire Lee at Sprüth Magers, Rebecca Morris at Regen Projects, Lukas Geronimas at Parker Gallery, Christina Kimeze at Hauser & Wirth, and Herman Cherry at Sebastian Gladstone. The shows run through October and November 2025, showcasing a range of media from Lee's industrial paintings and Morris's abstract compositions to Geronimas's architectural sculptures, Kimeze's mystical figurative works, and Cherry's abstract expressionist paintings.
Raúl de Nieves, a queer Mexico-born artist based in Williamsburg, Brooklyn, is preparing for his latest institutional exhibition, “In Light of Innocence,” opening September 12 at Pioneer Works in Red Hook. The show features 40 new stained glass assemblages made from tape, acetate, and inexpensive materials, installed above a single floor-bound work—a departure from his typically maximalist style. De Nieves, who has exhibited at the ICA Boston, the Baltimore Museum of Art, and the Cleveland Museum of Art, and gained prominence after the 2017 Whitney Biennial, describes the exhibition as a valediction, stating it will be the last time he creates this kind of work.
Art Basel has appointed Ruba Katrib, Chief Curator and Director of Curatorial Affairs at MoMA PS1, as the curator for the Unlimited sector at its 2026 Swiss edition. Katrib succeeds Giovanni Carmine, who held the role since 2021. Known for championing emerging and cult artists like Jumana Manna and Rirkrit Tiravanija, Katrib has shaped MoMA PS1's curatorial direction for eight years, with prior experience at SculptureCenter and SITE Santa Fe's biennial. Unlimited is a platform for large-scale works beyond traditional booths, and Katrib will oversee installations, sculptures, and ambitious new projects. Art Basel 2026 runs June 18-21 at Messe Basel, with preview days June 16-17.
Alison Saar, a Los Angeles-based sculptor known for works rooted in the African diaspora and spirituality, is featured in a studio visit interview. She discusses her creative process, use of salvaged materials, and recent achievements, including a monumental commission for the 2024 Paris Olympics and the 2025 David C. Driskell Prize from the High Museum of Art. The interview covers her daily routines, tool preferences, and reflections on the art world.
Tanya Fileva, a 34-year-old aerospace entrepreneur born in Siberia and based in San Francisco, discusses her art collection and the Lyra Art Foundation she founded to support boundary-pushing artists. She highlights works by Yoko Ono, Sylvia Sleigh, Jenny Saville, Dominique Fung, Sarah Lucas, and Agnes Denes, emphasizing her interest in overlooked voices and artists who experiment relentlessly.
Site Santa Fe has announced its 12th International exhibition, titled "Once Within a Time," opening June 27 and running through January 2026. Curated by Cecilia Alemani, who previously curated the 59th Venice Biennale, the show draws its name and dreamlike logic from a 2022 film by Santa Fe artist Godfrey Reggio. Featuring over 70 artists and more than 300 works—including new commissions, archival interventions, and contemporary selections—the exhibition uses 20 figures with ties to New Mexico as narrative catalysts, among them Navajo code talker Chester Nez, novelist Willa Cather, and the Fire Spirit from local folklore. For the first time, the International will be fully embedded within Santa Fe's urban fabric, activating sites such as a historic foundry, a toy store, and a dispensary alongside traditional cultural partners. Participating artists include Simone Leigh, David Horvitz, and Dominique Knowles, with contributions from writers Tommy Orange, Lucy R. Lippard, and Estevan Rael-Gálvez.
Marat Guelman's exhibition at Ethan Cohen Gallery in New York (April 23–May 30, 2026) features AI-generated monoprints created in collaboration with the Montenegrin digital art group + - Komma. None of the works were painted by Guelman himself; instead, he programmed AI outputs based on historical models by artists like Picasso, Gauguin, Monet, Warhol, Lichtenstein, Turner, Matisse, and Richter. Every piece in the show incorporates an image of an atomic mushroom cloud, a motif Guelman uses to respond to Vladimir Putin's nuclear threats during the Ukraine war.
Emmanuel Perrotin, the founder of the global Perrotin gallery network, reflects on a career defined by disruption and the democratization of contemporary art. From his early days as an outsider without industry connections to managing 160 employees across four continents, Perrotin has utilized high-profile stunts—such as Maurizio Cattelan’s $120,000 taped banana—and celebrity collaborations with figures like Pharrell Williams to build a powerhouse brand. His current focus involves institutionalizing his internal operations through digital tools and employee tutorials to maintain the gallery's momentum.
ArtTactic's Global Art Market Outlook 2026 report reveals renewed confidence in the art market, with 51% of participants expecting growth and 42% anticipating stability. Strong sales in London, Paris, and Miami Beach, along with multi-billion-dollar November auction results, have buoyed sentiment. The recovery is uneven but meaningful, driven by selective demand for established names: Impressionist art rose 80.4%, Modern art 19.4%, and Old Masters 68.7%. The K-shaped divide is sharpening, with robust performance at the top end (above $1 million) and accessible tiers (below $50,000), while the middle market remains sluggish. Top performers include Klimt, Picasso, Rothko, and Calder, while ultracontemporary artists like Nicolas Party and Matthew Wong have seen significant declines.
Collector Patricia Poon and artist Angel Hui are among the figures highlighted in a series examining how Hong Kong women artists are gaining market share and recognition. The article reports that major auction houses Christie's, Sotheby's, and Phillips have moved their Asia headquarters to Hong Kong and now employ young women in key auctioneering roles. It notes a sharp increase in women artists featured in Chinese auctions, from 79 in 2019 to 231 in 2024, with 201 of those in Hong Kong. Works by artists like Firenze Lai, Elaine Chiu, and Kristy M Chan have performed strongly at auction, and Phillips has made promoting Hong Kong women artists a key priority.
London gallerist David Juda of Annely Juda, one of the city's longest-operating dealers, shares his strategies for keeping a gallery open amid a wave of closures. He emphasizes staying small, avoiding expensive art fairs for newcomers, and planning succession—handing responsibilities to co-director Nina Fellmann as he approaches 80. The gallery is moving to a new space on Hanover Square, inaugurating with new paintings by David Hockney.
American painter Karyn Lyons explores the longing and desolation of adolescent girlhood in her solo exhibition “Day for Night” at Stems Gallery in Paris, which opened ahead of Art Basel Paris. The show features paintings of an adolescent girl in affluent yet lonely settings, which Lyons describes as metaphoric pages from her diary. After studying journalism and working in advertising and fashion, Lyons earned a post-baccalaureate degree from the School of the Museum of Fine Arts in Boston in 2003, but kept her work private for nearly two decades until a creative breakthrough during the pandemic led her to explore her own adolescence more psychologically.
A growing number of artists are bypassing traditional galleries to sell their work directly to collectors, a trend that echoes pre-19th-century practices when artists like Michelangelo and Rembrandt dealt directly with patrons. High-profile examples include Damien Hirst's 2008 Sotheby's auction that raised £111.4m without dealer commissions, Banksy's Pest Control system, and Marina Abramović's independent collaborations during Frieze Week and at Glastonbury. Emerging and mid-tier artists, such as Bristol-based Matthew Callaby, are also selling via Instagram and organizing their own pop-up shows, often keeping more profit than the typical 50% gallery commission.
Tim Blum, co-founder of the influential Los Angeles gallery Blum (formerly Blum & Poe), announced he will phase out the traditional gallery model, closing the gallery's permanent public spaces in Los Angeles and Tokyo. Blum cited burnout from the relentless demands of art fairs and gallery openings, emphasizing the decision is about the system, not the market. The gallery, which introduced American audiences to Japanese artists like Yoshitomo Nara and Takashi Murakami and gave early shows to Mark Grotjahn and Anna Weyant, will shift to a more flexible model involving collaborations and special projects. A previous New York space closed in 2023, and a Tribeca space's future remains undetermined.
Germany is the second-most represented country at Art Basel in Switzerland this year, with over 40 galleries participating, trailing only the United States. The fair is led by German-born director Maike Cruse, and features prominent German artists including Katharina Grosse, Martin Kippenberger, Tim Eitel, and Jana Schröder. Despite lacking mega-galleries, Germany boasts respected spaces like Galerie Max Hetzler and renowned collectors such as Reinhard Ernst, Julia Stoschek, and the Plattner family. Dealer Gerd Harry Lybke notes Germany's art market is 'very stable' compared to other locations.
Two top executives at Phillips auction house, global chairwoman Cheyenne Westphal and president of the Americas Jean-Paul Engelen, are stepping down. Westphal, who joined Phillips from Sotheby's in 2016 and has been called the most powerful woman in contemporary art, plans to start her own business working directly with private collectors and artists. Engelen is moving to Acquavella Galleries in New York. Their departures follow the resignation of executive chairman Ed Dolman in December and deputy CEO Amanda Lo Iacono at the end of last year, marking a significant leadership exodus.
"Ein alter Mann, dessen Ich-Sucht keine Grenzen kennt"
More than 30 current and former jury members of the Stiftung Kunstfonds have issued a formal protest against German Culture Minister Wolfram Weimer, accusing his office of political interference and intimidation. The controversy stems from reports that the ministry requested lists of all jury members across various art institutions and bypassed jury decisions to exclude specific recipients from awards based on intelligence service reports.
Belu-Simion Fainaru, the artist representing Israel at the 2026 Venice Biennale, issued legal warnings to the Biennale, the Italian Ministry of Culture, and the Italian Prime Minister’s office after the Golden Lion jury announced it would not consider pavilions from countries whose leaders are charged with crimes against humanity by the International Criminal Court, including Israel and Russia. Fainaru’s legal threats cited alleged antisemitism and nationality-based discrimination. Shortly after, the Biennale jury resigned, prompting organizers to postpone the awards ceremony to the closing day and replace the Golden and Silver Lions with two 'Visitors’ Lions' voted on by attendees, with all national participations eligible.
Russian-born, New York-based artist Sanya Kantarovsky presents his new exhibition "Basic Failure" at Venice's Institute of Sciences, Letters and Arts, timed to coincide with the Venice Biennale. The show features his signature dishevelled, otherworldly figures—including a pallid boy with a cigarette, a child spinning in innocence, and a glass bust of a young boy with a dead spider under its eye—that explore tension, alienation, and the supernatural. Kantarovsky describes his process as listening to the painting like a Ouija board, and the exhibition includes works that confound narrative expectations, such as a scruffy toy panda and a recreation of Antonello Gagini's 16th-century sculpture.
Marisol Mendez, a Bolivian photographer based in Paris, describes the creation of her striking 2019 photograph featuring Marta Salinas, a theatre actor, holding a bull costume in a field. The image is part of Mendez's series "Madre," which explores womanhood and challenges traditional feminine depictions in Bolivia. Mendez explains that the bull costume, inspired by the Bolivian dance waka tokori, symbolizes masculinity, and the photograph aims to portray a woman comfortable with her masculine energy. The work was inspired by a dream and executed with the help of Mendez's mother, who scouted the location. Mendez is the winner of this year's Saltzman-Leibovitz prize, and her work is featured at Photo London.
The article analyzes the shifting dynamics of the global art market, reporting that regions outside the traditional 'big three' hubs of the US, UK, and China have increased their market share from 17% in 2015 to 24% in 2025. This shift is driven by nationally protective regulations like Brexit and tariffs, which have stifled the free circulation of contemporary art. While the US market remains dominant at 44%, countries such as South Korea, Switzerland, Japan, and Australia have seen growth, and emerging cultural energy is noted in places like Bangkok, Warsaw, Margate, and Qatar.
An unprecedented 24-hour strike is set to interrupt the Venice Biennale's opening week on Friday, May 8, in protest of Israel's participation in the global art event. The action, organized by the activist group Art Not Genocide Alliance (ANGA), follows a letter signed by over 230 Biennale participants demanding Israel's exclusion. The strike has exposed divisions among participants, with some artists and pavilion teams weighing solidarity against the rare opportunity to platform their own political messages. The Slovenian pavilion, represented by Nika Grabar of the Nonument Group, has committed to the strike, while others like Ecuador's Tawna Collective remain undecided, balancing protest with their mission to highlight ecological crises in the Amazon.
The Art Not Genocide Alliance (ANGA) has announced a 24-hour strike and rally on May 8, the day before the 2026 Venice Biennale opens to the public, in protest of the Israeli Pavilion. ANGA, formed in opposition to Israel's inclusion in the 2024 Biennale, refers to the current Israeli presentation—featuring Haifa-based artist Belu-Simion Fainaru—as the "Genocide Pavilion." Over 200 artists, curators, and culture workers have signed an open letter demanding Israel's exclusion, and a separate action called Solidarity Drone Chorus involved 60 artists. ANGA is collaborating with local labor and culture organizations including Biennalocene, Vogliamo Tutt'altro, S.a.L.E. Docks, and Mi Riconosci.
David Nahmad is continuing his legal battle to prove that his Modigliani painting, *Seated Man with a Cane* (1918), was not looted by the Nazis from the Jewish dealer Oscar Stettiner. Despite a recent New York ruling against him, Nahmad’s lawyers have filed a motion to review the case based on new eyewitness testimony. Two witnesses claim the painting they saw in the Van der Klip family—which bought the Nazi-looted work in 1944—is completely different from Nahmad’s painting, lacking a seated man or a cane. Nahmad’s legal team also cites a 1946 French bailiff report and a recent catalogue raisonné by Marc Restellini to argue that Mondex, the restitution firm working for Stettiner’s heirs, misidentified the work.
Heritage Auctions will sell a trove of artifacts from Matthew Perry's estate starting June 5, including scripts and memorabilia from the sitcom *Friends*, artworks by Banksy and Mel Bochner, and personal items like a 3D portrait of his invented superhero "Mattman." Proceeds benefit the Matthew Perry Foundation, a nonprofit focused on ending addiction stigma and expanding access to evidence-based care, founded after the actor's death in 2023.
A Houston man, Robert Dunlap, was sentenced to 23 years in federal prison for orchestrating a $20 million cryptocurrency scam. Between 2018 and 2023, Dunlap defrauded nearly 1,000 investors by promoting a digital asset called “Meta-1 Coin,” falsely claiming it was backed by a $1 billion art collection featuring works by Salvador Dalí, Vincent van Gogh, and Pablo Picasso, as well as $44 billion in gold. He used forged legal and insurance documents to conceal that he owned neither the art nor the gold. A federal jury in the Northern District of Illinois convicted him on mail fraud charges in 2025, and US District Judge LaShonda A. Hunt imposed the sentence, also ordering restitution.