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The sixth edition of Upstate Art Weekend (UAW) launched with a party at Assembly in Kingston, New York, founded by Helen Toomer in 2020. The festival has grown from 23 participants to 158 across 6,000 square miles, reflecting the pandemic-era exodus of artists and collectors from New York City to the Hudson Valley region. The event featured a fundraiser for abortion-rights nonprofit Noise for Now and drew a diverse crowd of attendees.

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The article reflects on the final 2025 edition of the Museum Artists list, which tracks the most exhibited artists in U.S. museums each quarter. The author notes that the top artists—such as Marie Watt, Jeffrey Gibson, and Rose B. Simpson—have remained consistent throughout the year, with a narrow band of stars appearing in many shows while a long tail of artists have limited visibility. Below the top 15, notable names include Julie Mehretu, Wangechi Mutu, and Jean Shin, with a cluster of older white female artists like Petah Coyne and Joyce Kozloff also gaining recognition.

The Venice Biennale’s Polite Fiction of Being ‘Above the Market’ Is Wearing Thin

The 61st Venice Biennale is underway, with art world figures flocking to Venice for the opening. While the Biennale is officially a non-selling curatorial platform, commercial interests are increasingly visible: galleries are funding artists' projects to recoup investments, auction houses like Christie's are hosting private selling exhibitions (including a 'Ghost Pavilion' at the Ca' Dario Palazzo), and fashion houses such as Bottega Veneta and Chanel are sponsoring events. Sotheby's has pulled support for the U.S. Pavilion, which is now crowdfunding, while Frieze is bankrolling the British Pavilion for a second time.

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The 30th edition of the International Fine Print Dealers Association (IFPDA) Print Fair concluded at New York’s Javits Center, featuring 77 international exhibitors. The fair showcased a vast chronological range of works, from $2 million Edvard Munch prints to contemporary editions priced at $200, attracting a diverse crowd of collectors and institutional buyers.

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Alma Allen, a Utah-born, Mexico-based sculptor, has been selected to represent the United States at the 2026 Venice Biennale, according to ARTnews sources. The pavilion's commissioning curator is Jeffrey Uslip, who previously curated the Malta Pavilion in 2022. The official announcement is pending the end of the government shutdown. Allen, known for large-scale stone, wood, and bronze sculptures, is in talks with Perrotin gallery for representation after his previous gallery, Kasmin, closed and rebranded as Olney Gleason.

U.S. Crowdfunds Its Venice Biennale Pavilion

The United States is crowdfunding its pavilion at the 61st Venice Biennale, which opens in ten days, due to the absence of major sponsors like the Ford Foundation and the Mellon Foundation. The pavilion, featuring sculptures by Alma Allen, is being organized by the American Arts Conservancy (AAC), which is soliciting donations through a campaign that has been live since at least November. The U.S. government contributes $375,000, but the installation costs significantly exceed that amount. Donors include Nevada-based Republican donors Jim and Aimee Battista, talent manager Tom Ierna, and actor Alex Pita. The AAC has not disclosed the campaign's fundraising goal, amount raised, or end date.

Alma Allen Speaks Out on Backlash Over U.S. Pavilion Commission: ‘A Little Stressful’

Sculptor Alma Allen has spoken out for the first time about the backlash he faced after accepting the commission to represent the United States at the Venice Biennale. In a rare interview on the podcast *Time Sensitive*, recorded at his home in Tepotzlán, Mexico, Allen described the response as “a little stressful” but said he never hesitated when curator Jeffrey Uslip invited him last fall. His selection sparked controversy because the State Department’s requirement that proposals “reflect and promote American values” while not promoting DEI initiatives led higher-profile artists like William Eggleston and Barbara Chase-Riboud to refuse. Allen’s former galleries, Mendes Wood and Olney Gleason, dropped him after he accepted, though he has since joined Perrotin. He also hinted that his exhibition, “Call Me the Breeze,” will include work about conflict and surveillance.

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Artnet News published its quarterly list of the most exhibited living artists in U.S. museums for December 2025, compiled by tracking temporary exhibitions across hundreds of institutions. The list ranks artists based on the number and type of shows they appear in, prioritizing career retrospectives, dedicated exhibitions, and biennial appearances. Among the top artists featured are Marie Watt, whose touring print exhibition "Storywork" and numerous group show appearances earned her a high ranking, and Jeffrey Gibson, known for his installation at MASS MoCA. The article notes that Watt also won the $250,000 Heinz Award in September 2025.

Alma Allen Flops in Venice

Hyperallergic reports on the 2026 Venice Biennale, with Editor-in-Chief Hakim Bishara criticizing the U.S. pavilion's exhibition of Alma Allen's work as a disappointing departure from the previous editions' profound explorations of Indigenous life and Black sovereignty. Editor-at-Large Hrag Vartanian offers a positive review of the main exhibition "In Minor Keys," while Greta Rainbow covers a poetry procession honoring the late artistic director Koyo Kouoh. Additional stories include a review of the film "The Christophers" about an artist and forger, and news of workers at the American Folk Art Museum picketing for higher wages.

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President Donald Trump has proposed eliminating the National Endowment for the Arts (NEA), and arts organizations across the U.S. are already feeling the impact. After a White House budget request in May that excluded the NEA, dozens of institutions received abrupt termination notices for their grant applications, with the NEA citing a shift in policy priorities to focus on projects reflecting the nation's artistic heritage as prioritized by the President. In protest, many senior NEA staff resigned or were asked to retire, leaving the agency in disarray. The cuts are part of broader federal efforts to defund cultural agencies, including the Kennedy Center, the Smithsonian, and the National Endowment for the Humanities, which has seen a 70-80 percent staff reduction and canceled over a thousand grants. Private foundations like the Mellon Foundation and the Helen Frankenthaler and Andy Warhol Foundations have launched emergency funding programs, but the consequences for artists, educators, and community organizations are immediate and destabilizing.

How This Cannabis CEO Brings an Edge to Art Collecting

How This Cannabis CEO Brings an Edge to Art Collecting

A cannabis industry CEO is applying the aggressive, data-driven tactics of his business to the art market, building a significant collection focused on underrepresented artists. Steve DeAngelo, co-founder of Harborside Inc., leverages his company's analytical approach to identify value and emerging trends, targeting works by artists of color, women, and LGBTQ+ creators that he believes are undervalued by the traditional market.

New catalogues reveal Royal Collection's vast sculpture holdings—and Queen Victoria's acquisition spree

A new four-volume catalogue, authored by former royal surveyor Jonathan Marsden, documents approximately 1,800 sculptures in the Royal Collection. The publication reveals the unsystematic nature of the collection's growth, driven by royal tastes and historical opportunities, and highlights significant discoveries like a previously unknown bronze satyr by Benvenuto Cellini.

The US Pavilion Is Taking Online Donations

The American Arts Conservancy (AAC), the nonprofit tasked with executing Alma Allen's 2026 US Pavilion at the Venice Biennale, is soliciting online donations from the public after receiving no corporate or foundation funding. Unlike previous pavilions backed by major foundations like Ford and Mellon, AAC's fundraising relies on private citizens, with a minimum $100 donation requested via its website. The State Department provided $375,000 but requires additional funding, and AAC's Executive Director Jenni Parido, a former pet food store owner, declined to name specific donors, though Instagram posts suggest wealthy Trump allies attended benefit events. Perrotin Gallery, which represents Allen, is providing operational support but not funding.

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The US Department of State confirmed that Mexico-based artist Alma Allen will represent the United States at the 2026 Venice Biennale, opening next May. Jeffrey Uslip will serve as curator, and the commissioning institution is the American Arts Conservancy (AAC), with its executive director Jenni Parido as official commissioner. Allen, who has had only two museum solo shows in three decades, was approached directly by Uslip in October after the State Department had already approved him. The selection process broke from tradition: the National Endowment for the Arts was not involved due to time constraints and staffing transitions, and a prior proposal by artist Robert Lazzarini and curator John Ravenal fell through after negotiations with the University of South Florida’s Contemporary Art Museum collapsed. Allen’s pavilion, titled "Call Me the Breeze," will feature about 30 works exploring elevation and transformation, framed by the State Department as furthering the Trump Administration’s focus on American excellence.

At the ‘art world Olympics,’ Team USA is chaotic

The US Pavilion at the 2026 Venice Biennale, often called the 'art world Olympics,' is mired in controversy and delays under the Trump administration. Curator Jeffrey Uslip insists the process has been smooth and artistically autonomous, but the selection of sculptor Alma Allen and commissioner Jenni Parido—a former pet supply shop owner with a new nonprofit—has raised eyebrows. The usual vetting process by the National Endowment for the Arts was disrupted, new language banning diversity, equity, and inclusion efforts was added to applications, and a government shutdown left only six months to fundraise and plan the exhibition, which coincides with the US's 250th anniversary.

Artists Gala Porras-Kim, Jeremy Frey and Tuan Andrew Nguyen among winners of 2025 MacArthur ‘genius grants'

The John D. and Catherine T. MacArthur Foundation has announced its 2025 cohort of MacArthur Fellows, awarding 27 recipients—including visual artists Gala Porras-Kim, Jeremy Frey, Matt Black, Garrett Bradley, Tonika Lewis Johnson, and Tuan Andrew Nguyen—with $800,000 each over five years. The artists span conceptual institutional critique, Indigenous basketry, documentary photography, film, and social practice, with several currently holding major solo exhibitions or biennial features.

Montclair Art Museum Hires Esteemed Curator Kate Kraczon After Layoffs at Brown University

The Montclair Art Museum in New Jersey has appointed Kate Kraczon as its new chief curator, effective June 15. Kraczon previously served as director of exhibitions and chief curator at the David Winton Bell Gallery at Brown University, where she was laid off in late 2024 amid a wave of cuts. She succeeds Gail Stavitsky, who held the post since 1994. The museum also recently hired Todd Caissie, an enrolled member of the Osage Nation and former director of Canada’s New Brunswick Internment Camp Museum, as its director.

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The Intuit Art Museum in Chicago has received a major gift of 61 artworks through two donations, one from the estate of founding supporter Jan Petry and another from scholar and collector Gordon W. Bailey. The works, by artists like Emery Blagdon and Mose Tolliver, will help the museum expand its presentation of works by women artists of color.

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The Institute of Contemporary Art San Francisco announced a major public art commission by Jeffrey Gibson for Super Bowl LX festivities. The work, an adaptation of Gibson's 2022 video installation "THIS BURNING WORLD," will be installed as a 433-foot-long vinyl mural on the former Bloomingdale's building at San Francisco Centre, wrapping an entire city block. It will be fully unveiled on February 2, 2026, coinciding with the FOG Design+Art Fair. The project is funded by the San Francisco Downtown Development Corporation and the Yerba Buena Partnership, which have previously supported public art by Sarah Sze and Hank Willis Thomas.

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New York City Mayor-elect Zohran Mamdani declared in a New York Times interview that the city's best museum is its subway system, citing the public artworks by artists like Vito Acconci, Nick Cave, Yoko Ono, Faith Ringgold, and Jeffrey Gibson that are accessible to all riders. He praised the MTA for making art available regardless of income, while also expressing interest in visiting the Museum of the Moving Image in Astoria, Queens, and crediting his wife, illustrator Rama Duwaji, for expanding his appreciation of art beyond formal settings.

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The United States Pavilion at the upcoming Venice Biennale faces an uncertain future after a proposal by artist Robert Lazzarini and independent curator John Ravenal collapsed. The proposal, selected by the US State Department in early September, fell through when the University of South Florida’s Contemporary Art Museum declined to sign the contract, citing a shortened timeline and financial obligations. Ravenal attributed the breakdown to bureaucratic misalignment rather than ideological disagreement, while the State Department declined to comment. The selection process also shifted this year, with the National Endowment for the Arts excluding itself due to staffing transitions, leaving the State Department to handle it alone.

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The John D. and Catherine T. MacArthur Foundation announced its 2025 class of 22 MacArthur Fellows, each receiving an $800,000 no-strings-attached grant. Among the winners are several visual artists: Garrett Bradley, known for her Oscar-nominated documentary *Time* (2020) and works centering Black resistance; Gala Porras-Kim, whose practice questions how art institutions convey or conceal information about objects; Tuan Andrew Nguyen, whose films and installations explore trauma and colonization; and Jeremy Frey, a seventh-generation Passamaquoddy basket maker whose midcareer survey is on view at the Bruce Museum. Photographers Matt Black and Tonika Lewis Johnson also received fellowships, along with archaeologist Kristina Douglass and non-artists such as novelist Tommy Orange and astrophysicist Kareem El-Badry.

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Jeffrey Gibson has installed four large bronze animal sculptures—a deer, a coyote, a squirrel, and a hawk—on the facade of the Metropolitan Museum of Art in New York, collectively titled “The Animal That Therefore I Am.” At a talk with Met curator Jane Panetta, Gibson explained that the works draw on his early paintings on brain-tanned elk hides and his ongoing exploration of Indigenous kinship philosophies, which honor all living beings as extensions of ourselves. The sculptures, each adorned with ceremonial regalia inspired by Native American traditions, are designed to be viewed as four-sided paintings and connect the museum’s Central Park location to Gibson’s home in the Hudson River Valley.

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The Dallas Museum of Art (DMA) has appointed Brian Ferriso, the longtime director of the Portland Art Museum (PAM), as its next director, effective December 1. Ferriso succeeds Agustín Arteaga, who left last year to lead the Crocker Art Museum in Sacramento. During his 18-year tenure at PAM, Ferriso grew the endowment by $40 million, eliminated $7 million in debt, doubled curatorial staff, and made the museum free for visitors 17 and under. He also oversaw major collection diversification, co-commissioned Jeffrey Gibson’s U.S. Pavilion at the 2024 Venice Biennale, and will open a 100,000-square-foot expansion funded by a $140 million capital campaign.

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Curtis Yarvin, a computer engineer and far-right political thinker, has proposed a controversial US Pavilion for the 2026 Venice Biennale centered on Titian's *Rape of Europa* (1559–62), on loan from the Isabella Stewart Gardner Museum in Boston. Yarvin is collaborating with Dutch Egyptian artist Tarik Sadouma on the concept, which he describes as "rape-themed," though he notes room for feminist perspectives. The proposal, first reported by the *New Yorker* and detailed further by *Vanity Fair*, includes alternative plans such as forging and burning the painting or using AI if the loan is denied. Applications for the pavilion close July 30, with a final decision expected later in the summer.

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As President Donald Trump cuts U.S. art programs and funding, questions surround the country's participation in the 2026 Venice Biennale. A Vanity Fair piece by Nate Freeman reports that the selection process is already behind schedule, with the U.S. State Department's typical 18-month lead time now reduced to just one year. The National Endowment for the Arts, which convenes the advisory committee for the pavilion, has been halted, and a key assistant secretary position is vacant. The application portal remains open but now includes new language requiring art that "reflects and promotes American values" and scrubbing references to diversity, equity, and inclusion (DEI).

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Cultured magazine published a guide to gallery exhibitions opening during Art Basel Paris, highlighting six shows across Paris galleries. Featured artists include Shelby Jackson (founder of 15 Orient) with his first solo show at Lo Brutto Stahl, Rirkrit Tiravanija at Galerie Chantal Crousel exploring the concept of 'alien,' Tomasz Kowalski at Crèvecoeur, a group show curated by Reena Spaulings at Galerie Hussenot, Yann Stéphane Bisso at Exo Exo, and Walter De Maria at Gagosian Le Bourget. Each entry includes dates, a brief description, and why the show is worth seeing.

art criticism new york upper east side guide

The article presents a walking tour of art exhibitions on Manhattan's Upper East Side, led by a critic. It highlights Jeffrey Gibson's monumental bronze sculptures "The Animal That Therefore I Am" (2025) installed on the Metropolitan Museum of Art's façade, depicting four anthropomorphized Hudson Valley animals. The tour also covers Alix Cléo Roubaud's first solo show outside France, "Correction of perspective in my bedroom" at Galerie Buchholz, featuring intimate black-and-white photographs from 1979–1983, and Nancy Holt's work at Sprüth Magers, including a historic photograph of her in the Sun Tunnels.

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Cultured magazine profiles Houston collectors Leigh and Reggie Smith as the city's Untitled Art Fair opens. The couple, who have collected contemporary art for over 30 years, discuss their diverse collection spanning international and local artists, including works by Yinka Shonibare, Francis Picabia, and overlooked mid-century women artists. They highlight Houston's collaborative art ecosystem, public art funding, and the distinct character of its scattered venues.

Thomas J. Price’s Monumental Sculpture Anchors V&A East’s Opening in London

The V&A East Museum, the Victoria and Albert Museum's second site in East London, opened to the public on April 18. The inaugural presentation features new site-specific commissions by artists Rene Matić, Carrie Mae Weems, and Tania Bruguera, with Thomas J. Price's monumental sculpture serving as a key anchor piece for the new institution.