Barack and Michelle Obama have added several modern and contemporary artworks to the White House collection during their final year in residence. New acquisitions include works by Mark Rothko, Edward Hopper, Sam Francis, Josef Albers, Robert Rauschenberg, and Alma Thomas, replacing traditional portraits of former first ladies. The pieces were sourced partly through museum loans, such as two Hopper paintings from the Whitney Museum of American Art for the Oval Office.
An exhibition titled “The Women of Klimt, Schiele and Kokoschka” has opened at the Belvedere Palace & Museum in Vienna, running from October 22, 2015 to February 28, 2016. The show examines how Gustav Klimt, Egon Schiele, and Oskar Kokoschka depicted women, highlighting the artists' obsessive focus on female subjects against the backdrop of Vienna's changing society and the early 20th-century revolution in gender politics and sexuality.
The article presents a curated selection of presidential portraits from the Smithsonian National Portrait Gallery's permanent exhibition "America's Presidents," spanning the last century from Woodrow Wilson to Barack Obama. It highlights the evolution of the form, from traditional depictions of Harding and Hoover to Norman Rockwell's beaming Nixon, Elaine de Kooning's artful Kennedy, and culminating in Kehinde Wiley's vibrant, almost-surrealist 2018 portrait of Barack Obama, which generated significant public excitement.
The Académie de la Grande Chaumière, a historic Paris art school founded in 1904 that taught artists like Balthus, Joan Miró, and Louise Bourgeois, faces eviction by July 31 after its owner Alexandre Garèse declined to renew its lease. Garèse plans to redevelop the Montparnasse site into a mixed-use complex with commercial and cultural spaces, hiring architect Franklin Azzi for the project. Over 21,000 people have signed a petition to save the school, and local heritage groups SOS Paris and Monts 14 have rallied against the closure.
Several major French cultural institutions, including the Louvre, the Château de Versailles, and potentially the Arc de Triomphe, have implemented a "differential tariff" that raises ticket prices for non-European Union visitors. Starting January 1, 2026, non-E.U. tourists will pay €30 ($35) to enter the Louvre, up from €22 ($25). The policy, first reported by Le Monde, is expected to generate up to €20 million annually for the Louvre alone, helping to fund urgent renovations estimated at €400 million over 15 years. The move follows a leaked letter from Louvre director Laurence des Cars to culture minister Rachida Dati warning of severe building deterioration, including temperature fluctuations endangering artworks and water damage. French president Emmanuel Macron has announced a sweeping restoration, but state funding will cover only a fraction of the cost.
The Frick Collection in New York has opened its first-ever restaurant, Westmoreland, named after founder Henry Clay Frick's private train car. Located on the museum's newly renovated second floor, the 50-seat dining room features interiors by Bryan O'Sullivan Studio, a mural by artist Darren Waterston, and a menu of comforting, unadventurous fare like caesar salad, club sandwich, and avocado toast. The kitchen is led by Skyllar Hughes, a veteran of Danny Meyer's Ci Siamo, and operated by Union Square Events. Only museum ticket holders can dine, and reservations must be made in person.
Artist Jennie C. Jones has unveiled "Ensemble" (2025), a rooftop commission at New York's Metropolitan Museum of Art featuring three monumental, wind-activated stringed instruments—an Aeolian harp, zither, and one-string—that visitors are asked not to touch. The sculptures, coated in deep red powdered aluminum and concrete panels, are designed to be played by the breeze, though wind did not cooperate during the press preview. Jones drew inspiration from the Met's collection of 5,000 musical instruments, African American folk instrument makers like Moses Williams and Louis Dotson, and Minimalist abstraction, creating a work that explores anticipation and the sonic potential of untouchable objects.
The Kunstmuseum Den Haag in the Netherlands is presenting "Grand Dessert," an exhibition that explores the social significance of sweets through a mix of historical artifacts, contemporary painting, video, and sculpture. Guest curated by dessert expert Janny van der Heijden—host of the Great Dutch Bake Off—alongside curator Suzanne Lambooy, the show features works by Wayne Thiebaud, Piet Mondrian, and Natasja Sadi, among others, and includes sections on pudding, chocolate, cake, and ice cream. The exhibition has been extended by six months due to its popularity, drawing over 250,000 visitors.
Curator Klaus Biesenbach, now director of the Neue Nationalgalerie in Berlin, gave a lengthy interview to Der Spiegel in which he explained his decision to leave the American art scene, citing what he described as an oppressive climate of "political correctness." He claimed that DEI (diversity, equity, inclusion) initiatives in U.S. museums had become "unbearable" quota requirements, and recounted a story about mandatory Zoom meetings after George Floyd's murder where he felt pressured to share personal experiences of discrimination. He also referenced the resignation of SFMOMA curator Gary Garrels over "reverse discrimination" comments and acknowledged his own controversial tenure at MOCA Los Angeles, which saw two high-profile resignations and a leadership restructuring.
The V&A East Storehouse, a new museum space in London's Queen Elizabeth Olympic Park, opens to the public on May 31, 2025, offering free admission seven days a week. Housed in the former London 2012 Olympics Media and Broadcast Centre, the 172,222-square-foot facility displays over 250,000 objects, 350,000 books, and 1,000 archives from the Victoria and Albert Museum's collection. Designed by Diller, Scofidio + Renfro, the Storehouse features a glass-floored Collections Hall where visitors can freely explore shelves and mini-curated displays, with objects changed frequently. Highlights include the Agra Colonnade (1630s) from Shah Jahan's bathhouse and a section of the Robin Hood Gardens housing estate by Alison and Peter Smithson.
Stanford University's libraries and Cantor Arts Center have acquired the archives of Filipina American artist Pacita Abad, who died in 2004 at age 58. The 120-foot-long collection, a gift from her estate managed by her husband Jack Garrity, includes correspondence with artists like Faith Ringgold, photographs from her childhood in Manila, and materials from her global travels and exhibitions. The acquisition comes with a donation to support processing, and is seen as a homecoming for Abad, who left the Philippines in 1969 after student protests and later settled in the Bay Area, where she studied and began her art career.
A legal and public battle has erupted in Norway over Kunsthall Stavanger's decision to sell Barbara Hepworth's sculpture *Figure for Landscape* (1960) at Christie's London, with an estimate of £1-2 million. The sale is intended to fund the institution's operating and exhibition budget, as the Kunsthall faces potential closure without the proceeds. Local group Stavanger Byselskap filed a lawsuit to block the sale, which was settled in the Kunsthall's favor, but over 260 community members have signed a petition against the deaccession. The Hepworth estate has also condemned the sale as unethical, noting the work was sold to the institution at a reduced price due to Hepworth's wish to have her work in a Norwegian public collection.
The Italian government has successfully revived a program allowing citizens to use cultural treasures, fine art, antique books, and villas to satisfy tax bills. Culture and Tourism Minister Dario Franceschini named a panel to tally the value of works offered for income and inheritance taxes, aiming to reinvigorate a scheme established in 1982 that previously attracted little interest. The program mirrors similar initiatives in other EU countries, notably Britain, where a comparable plan drew works worth $80.4 million in 2012–13.
The National Portrait Gallery in London and the J. Paul Getty Museum in Los Angeles have jointly acquired Joshua Reynolds's 1776 painting *Portrait of Omai* for an estimated £50 million ($62 million). This marks the first time museums in the UK and US have partnered on a single acquisition, with each institution paying half and sharing ownership of the artwork, which will be displayed alternately in both countries. The painting depicts Mai (Omai), a young Tahitian man who visited Britain in 1774 with explorer James Cook, and had never before been held in a museum collection.
The Hepworth Wakefield museum, supported by the Art Fund, has launched a public appeal to raise £3.8 million ($5 million) to acquire Barbara Hepworth's rare 1943 sculpture *Sculpture with Colour (Oval Form) Pale Blue and Red*. The work was purchased by a private collector at Christie's London in March 2024 for the same amount, but the UK government imposed a temporary export ban in December 2024, citing its outstanding historical and aesthetic significance. The museum has until August 27 to raise the remaining £2.9 million; the Art Fund has already contributed £750,000. If the goal is not met, the collector may export the piece.
The American Museum of Natural History in New York City will remove human remains from its public displays over the next eight weeks and update its policies regarding the collection. The decision follows an investigation by Erin Thompson, a professor of art crime at John Jay College, whose report for Hyperallergic raised ethical and legal concerns about the acquisition of approximately 12,000 individuals' remains held by the museum. Museum president Sean Decatur announced the removal as the "right course of action," acknowledging that the remains were collected without consent and often used to advance racist scientific agendas.
Adam Pendleton's exhibition "Love Queen" is on view at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., through January 3, 2027. The show features his distinctive abstract works that blend mark-making, pictographs, and all-caps texts, including pieces from his "Untitled (Days)" series and "Black Dada" series, as well as a single-channel video titled "Resurrection City Revisited (Who Owns Geometry Anyway?)" that documents the 1968 Poor People's Campaign.
The article explores the artistic friendship between Renaissance masters Raphael and Albrecht Dürer, who never met but exchanged letters and artworks across 600 miles. Initiated when both were at the height of their careers, the correspondence began with Dürer sending Raphael a gouache self-portrait, to which Raphael responded with drawings, including "Two male nude studies" (1515) and "Three Standing Men" (1514-16). The friendship lasted only five years, ending with Raphael's death in 1520 at age 37. The exchange is documented by Giorgio Vasari in "The Lives of the Artists," and one surviving drawing bears an inscription by Dürer acknowledging Raphael's gift.
Katsushika Hokusai's iconic woodblock print "The Great Wave" (officially *Under the Wave off Kanagawa*) is examined through three lesser-known facts. The article notes that the print, created between 1830 and 1832, is surprisingly small—less than 15 inches wide—and that its vivid blue pigment, Prussian blue, was a recent European import that revolutionized Japanese ukiyo-e prints. It also highlights Hokusai's practice of adopting over 30 different names throughout his career, which now helps scholars periodize his work.
Two halves of an Édouard Manet painting, originally a single canvas that the artist split in 1874, have been temporarily reunited at London’s National Gallery for the first time in over a century. The works, *Au café* (1878) and *Corner of a Café-Concert* (probably 1878-80), depict different sides of the same bar at the Brasserie Reichshoffen in Montmartre. They were separated after the death of collector Étienne Barroil in 1887, with *Corner of a Café-Concert* entering the National Gallery in 1924 and *Au café* acquired by Swiss collector Oskar Reinhart in 1953. The reunion, on view through December 15, includes a display of Manet’s original sketch and explores his evolving creative process.
A rare self-portrait by 17th-century British painter William Dobson has been jointly acquired by London's Tate and the National Portrait Gallery for £2.37 million ($3.2 million), setting a new record for the artist. The painting, considered the first known self-portrait by a British-born painter, was created in the late 1630s and last sold at Bonhams London in 2016 for just over £1.1 million. It will go on view in London before embarking on a national tour in 2026.
Lorde's new single "Man of the Year" from her upcoming album *Virgin* (released June 27) features a music video that visually references Walter De Maria's *New York Earth Room* (1977), a minimalist installation of 280,000 pounds of soil filling a SoHo loft. The video shows Lorde stripping, taping her breasts, and rolling in dirt, while the song's lyrics explore her fluid gender identity. Lorde also cites Italian artist Lucio Fontana and includes an X-ray cover image by photographer Heji Shin.
The trial between billionaire collector Ron Perelman and a group of insurers began Monday in New York Supreme Court, nearly seven years after a 2018 fire at his Hamptons estate, the Creeks. Perelman claims the fire damaged five paintings—two by Andy Warhol, two by Ed Ruscha, and one by Cy Twombly—insured for a collective $400 million, arguing the works lost their "oomph" due to smoke, humidity, and relocation during the fire. The insurers, including Lloyd's of London, Chubb, and AIG, contend the works sustained no detectable damage and that Perelman's claim is a "money grab" filed amid serious financial difficulties, including margin calls and the sale of 71 artworks for $963 million between 2020 and 2022.
The Rijksmuseum in Amsterdam has announced that a rare condom dating from 1830 will go on display in its print room as part of an exhibition on 19th-century sex work and sexuality. The nearly 200-year-old condom, likely made from a sheep's appendix and featuring an erotic image of a nun and three clergymen with the inscription "Voilà mon choix" ("This is my choice"), is one of only two such surviving objects and was purchased by the museum at auction six months ago.
MoMA PS1 has opened its marquee spring exhibition, “The Gatherers,” a group show featuring 14 artists from around the world who explore the psychic and material burdens of climate change, globalization, and neoliberalism. Curated by Ruba Katrib, the exhibition includes works in sculpture, video, assemblage, and installation, spanning regions from the Democratic Republic of Congo to Lithuania, and is on view through October 6. Katrib, PS1’s chief curator and director of curatorial affairs, emphasizes that the show lets the artworks speak for themselves through form and material rather than delivering a direct lecture.
The Whitney Museum of American Art has suspended its storied Independent Study Program (ISP) for the 2025–2026 academic year, following widespread outcry over the censorship of a performance titled "No Aesthetic Outside My Freedom: Mourning, Militancy, and Performance" by artists Fadl Fakhouri, Noel Maghathe, and Fargo Tbakhi. The performance, scheduled for May 14, was canceled by museum leadership after reviewing a video in which Tbakhi made demands that supporters of Israel or America leave the venue. Director Scott Rothkopf informed the ISP community of the pause in an email, citing the need to search for a new director. The museum also confirmed that Sara Nadal-Melsió, hired in 2024 as the ISP's first associate director, will not retain her position. The cancellation drew condemnation from free speech advocates, including the National Coalition Against Censorship (NCAC), which likened the museum's actions to an authoritarian approach.
On Monday, Whitney Museum director Scott Rothkopf announced via email that the museum would "pause" the 2025–26 academic year of its Independent Study Program (ISP), citing a lack of a director and strained operations. The announcement coincided with an open letter from high-profile ISP alumni—including artists Emily Jacir, Andrea Fraser, Mark Dion, and others—denouncing the museum's cancellation of a pro-Palestine performance titled "No Aesthetics Outside My Freedom: Mourning, Militancy, and Performance" by artists Fadl Fakhouri, Noel Maghathe, and Fargo Tbakhi. The performance was canceled two days before it was to be part of an ISP curatorial exhibition, after the museum accused the artists of "valorizing specific acts of violence" and singling out community members based on belief systems. The letter also referenced the earlier demotion of ISP director Gregg Bordowitz in February.
The Château de Wargemont, a 19th-century seaside castle in Normandy where Pierre-Auguste Renoir summered and painted, has been listed for sale by Sotheby’s International Realty for €4 million ($4.5 million). The 17-room property, set on 25 acres, is the last great Impressionist site still in private hands and retains original features including Renoir’s dining room mural The Two Hunts, the only in-situ decor by an Impressionist. Renoir was invited there by diplomat and banker Paul Bérard, and the estate appears in several of his works, including Les rosiers à Wargemont (1879), which sold for $7.5 million at Sotheby’s in 2004.
In 2013, visitors to New York's Museum of Modern Art encountered actress Tilda Swinton sleeping in a raised glass box in the lobby, a performance piece titled *The Maybe*. Swinton first performed the work at London's Serpentine Gallery in 1995, developed with Joanna Scanlan, and has reprised it only twice: at Rome's Museo Baracco in 1996 and at MoMA in 2013. The MoMA iteration, curated by Klaus Biesenbach, featured Swinton alone in the glass case for eight hours a day over seven days, without the historical curiosities that accompanied the original Serpentine installation. Swinton has stated in a 2024 interview that she intends to perform *The Maybe* again "when least expected."
Lorde released a music video for her song "Man Of The Year," the second single from her upcoming album *Virgin*. The video features the singer in a room filled with dirt, which fans quickly noted resembles Walter De Maria's iconic installation *New York Earth Room*. Lorde has acknowledged the homage, describing the work as an inspiration for the song's sound and her personal rebirth. The video was not filmed in the actual installation, which is permanently housed in SoHo and managed by the Dia Art Foundation.