Louise Nevelson Sculpture at Long Island Synagogue for Sale

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Temple Beth El, a synagogue in Great Neck, New York, has announced the sale of a monumental 55-foot-long Louise Nevelson sculpture titled "The White Flame of the Six Million." Commissioned in the 1960s as a Holocaust memorial and functional Torah ark, the white-painted wood installation has served as the centerpiece of the congregation's sanctuary for over 50 years. Due to dwindling membership and a decision to sell the synagogue property, the congregation is seeking a new home for the massive work.

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The article details the career of artist Grace Hartigan, who by 1954 had overcome self-doubt and gained critical and commercial success with her bold, figurative-abstraction paintings. It recounts her solo exhibitions at Tibor de Nagy, acquisitions by MoMA and the Whitney, and her defiance of critic Clement Greenberg. The piece then focuses on a new exhibition at the North Carolina Museum of Art, "Grace Hartigan: The Gift of Attention," curated by Jared Ledesma, which explores how her relationships with avant-garde poets like Frank O'Hara and Barbara Guest shaped her work and provided a sense of belonging in the downtown New York scene.

Are We Too Reverent of Marcel Duchamp?

The Museum of Modern Art has launched a major retrospective of Marcel Duchamp, co-organized with the Philadelphia Museum of Art. The exhibition tracks the artist's evolution from his early Cubist experiments and the scandal of 'Nude Descending a Staircase' to his radical invention of the readymade, exemplified by the infamous urinal, 'Fountain'. The show presents a comprehensive look at 'The Duch' through a reverential, church-like atmosphere, concluding with his later years as a dapper, enigmatic figure of the avant-garde.

On Curating Carnage

On Curating Carnage

The Berlin-based art journal *OnCurating* published a September 2025 issue titled "Let’s Talk About… Anti-Democratic, Anti-Queer, Misogynist, Antisemitic, Right-Wing Spaces and Their Counter-Movements." The article critiques this publication, arguing it uses the language of feminism, anti-racism, and anti-Semitism as a political tool to unconditionally support Israel and demonize the Palestinian cause, thereby aligning with German state policy and a specific strain of leftist thought known as Antideutsch.

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Helen Frankenthaler, the pioneering Color Field painter known for her luminous, stain-soaked canvases, is the subject of a renewed wave of exhibitions. The Palazzo Strozzi in Florence and the Guggenheim Museum Bilbao recently hosted a major survey of her work, while the Museum of Modern Art in New York is currently presenting "Helen Frankenthaler: A Grand Sweep" in its atrium. Next year, the Kunstmuseum Basel will open the largest exhibition of her art in Europe to date, marking her first solo museum show in Switzerland. The article also recounts her biography—her privileged upbringing on the Upper East Side, her studies at the Dalton School and Bennington College, her relationships with Clement Greenberg and Robert Motherwell, and her invention of the soak-stain technique in 1952, which helped birth Color Field painting.

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A new cultural institution called Fenix has opened in Rotterdam, Netherlands, dedicated entirely to the topic of migration. Housed in a 1923 waterfront warehouse that once served the Holland America Line—a major transporter of cargo and passengers—the museum occupies nearly 175,000 square feet in the Katendrecht neighborhood, a historic gateway for millions of immigrants in the 19th and 20th centuries. Designed by Ma Yansong of MAD Architects, the building features a central double-helix staircase nicknamed the Tornado, leading to a rooftop observation deck. Three inaugural exhibitions, including “All Directions,” showcase over 150 artworks and objects by artists such as Max Beckmann, Willem de Kooning, Sophie Calle, and Yinka Shonibare, alongside personal mementoes from local families.

‘Absolutely transformative’: Willem de Kooning exhibition uncovers raw intensity of early work

The Princeton University Art Museum is presenting "Willem de Kooning: The Breakthrough Years," an exhibition revisiting the pivotal period from 1945-1950 that led to the artist's first solo show and established his reputation. The show features 18 paintings, including key works like *Black Friday* and *Dark Pond*, highlighting his intense exploration between figuration and abstraction with a restricted palette.

I think I didn't understand many artists

"Ich glaube, ich habe viele Künstler nicht verstanden"

Adrian Searle, the long-standing chief art critic for The Guardian, is stepping down after three decades at the publication and nearly 50 years in art criticism. In a reflective interview, Searle discusses his transition from a practicing painter and educator to a critic, noting that his early interactions with students like Peter Doig and Isaac Julien helped him realize his true strength lay in writing rather than art-making. He recounts his experiences navigating the British art scene, from the decline of Greenbergian abstraction to his encounters with formidable figures like Richard Serra.

Archie Rand On the Irreducibility of Painting in a Post-Digital Age

Archie Rand, now in his late 70s, recently held his first extensive solo show in years at Jarvis Art in New York, featuring his new body of work titled "Heads." The exhibition reclaims painting's primordial function, emphasizing the connection between brain and hands, imagination and reality. Rand, who emerged from the downtown New York scene in the late 1970s and early '80s, has witnessed the full postwar evolution of American art. His career includes a pivotal synagogue mural commission that led to backlash from the Orthodox community and a break with critic Clement Greenberg, pushing him toward representational forms. He found allies in figures like Philip Guston and John Ashbery, and after his wife's death ten years ago, began reflecting on mortality and childhood influences.

art collector francis j greenburger omi awards

Francis J. Greenburger, a real estate developer, philanthropist, and literary agent, discusses his lifelong art collection and philanthropic initiatives in an interview with CULTURED. He recounts buying his first painting at age 14 for $25, navigating the 1970s SoHo art scene at Max's Kansas City, and founding the Francis J. Greenburger Awards in 1985 to honor under-recognized artists with a $12,500 prize. Greenburger also details his role at Art Omi, a nonprofit arts center in the Hudson Valley with a sculpture park, residency programs, and the upcoming Art Omi Pavilions project, which will offer 18 artists and collectors individual sites across 190 acres. He is also releasing a book, *Autobiography of a Skyscraper*, about Chicago's 1000M tower.

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Singer Ed Sheeran is presenting a series of abstract paintings titled the “Cosmic Carpark Paintings” at Heni Gallery in London, with the exhibition opening this Friday. The works, made by dripping and splashing paint onto canvases placed on the floor, closely resemble Jackson Pollock’s drip paintings. Sheeran’s foundation is selling prints for £900 each, with 50% of proceeds benefiting UK schools. Sheeran told the Guardian he painted in a disused Soho car park during tour downtime, and the gallery’s press release describes the works as “inspired by celestial patterns” without mentioning Pollock.

Frank Bowling: Seeking the Sublime review – shipwrecked Ophelia points the path to freedom

A new exhibition of Frank Bowling's work traces the artist's early struggle to find his voice within the rigid artistic categories of the 1960s. The show features paintings from his student days in London, where he grappled with expectations to be either a political 'Black artist' or a formalist 'artist' free from identity constraints, resulting in works that felt derivative of figures like Francis Bacon.

Art Museum Launches Fall 2025 Season With Dynamic, Interdisciplinary Exhibitions

The Syracuse University Art Museum will launch its Fall 2025 season on August 26 with four new exhibitions. Highlights include 'What If I Try This?', a survey of Helen Frankenthaler's printmaking career curated by Melissa Yuen, featuring loans from multiple institutions and a gift from the Helen Frankenthaler Foundation. Other exhibitions include Kevin Adonis Browne's multimedia installation 'A Sense of Arrival' on Caribbean blackness, and 'Human/Environment: 4,000 Years of Art', a permanent collection show exploring human-environment relationships. An opening reception on September 11 will feature a talk by Stanford professor Alexander Nemerov.

Wrapped for Travel: On "The American Connection" by Peter Halley and "Black Painter, White Figuration" by Maxwell Alexandre

Two simultaneous exhibitions at Almeida & Dale in São Paulo present contrasting visions: American artist Peter Halley's "The American Connection," curated by Antonio Gonçalves Filho, features his signature geometric abstractions using Roll-A-Tex and Day-Glo colors to critique digital confinement and post-industrial surfaces. Brazilian artist Maxwell Alexandre shows works from his "Clube" series, depicting Black bodies navigating exclusionary leisure spaces. The pairing is deliberate, not for aesthetic dialogue but to juxtapose an established international artist with a rising Brazilian talent, timed to coincide with SP-ARTE.

Recent NYC Exhibition Highlights: Beverly Fishman, NANNYCAM, Dena Novak, and more

The article reviews two recent New York City art exhibitions. The first, "Creators, Educators Art Show" at BASIS Independent on the Upper West Side (June 6-8, 2025), curated by Carmen Lucia Recio, featured works by 17 New York City art teachers and educators, including Noelle Salaun, Nicholas Leeper, Avani Patel, Lynne Marie Rosenberg, Chris Floyd, and Emily Linares. The second, "Samantha Thomas: Love in a Mist" at Anat Egbi Gallery in Tribeca (April 18-June 14, 2025), marks the artist's first New York solo show in over a decade, showcasing her abstract works blending Abstract Expressionism, Color Field, and Pattern & Decoration.

The Minimalist Who Didn't Want to Be One

Die Minimalistin, die keine sein wollte

The Kunstsammlung NRW in Düsseldorf is hosting a major retrospective of American artist Anne Truitt, marking the first comprehensive survey of her work in Europe. The exhibition at K20 features approximately 120 works, including her signature hand-painted wooden columns, drawings, and the late "Pith" series, tracing her unique trajectory from the early 1960s until her death in 2004.