Morning Links: $200,000-for-Two-Nights Damien Hirst Vegas Suite Edition - Recent News from USA
Morning Links: $200,000-for-Two-Nights Damien Hirst Vegas Suite Edition -

Morning Links: $200,000-for-Two-Nights Damien Hirst Vegas Suite Edition –

William Michael Harnett, Memento Mori, “To This Favour,” 1879.


Peak Hirst

Have a first look at the new suite Damien Hirst has designed at the Palms Casino Resort in Las Vegas. A two-night stay is $200,000. [ARTnews]

On the Market

Judd Tully reported from the ADAA Art Show in New York, where works by Thomas Lanigan-Schmidt, George Copeland Ault, and Irene Rice Pereira were finding buyers. The fair runs through Sunday at the Park Avenue Armory. [ARTnews]

Christie’s will offer Robert Rauschenberg’s Buffalo II (1964) in New York in May with an estimate of $50 million. That’s nearly three times the artist’s auction record, Katya Kazakina reports. [Bloomberg]

In a new partnership, the Masterpiece London art fair will occupy a “pavilion” at Hong Kong’s Fine Art Asia fair in October, presenting 20 to 25 exhibitors. In June, Fine Art Asia will also stage a group exhibition at Masterpiece London. [The Art Newspaper]

The Armory Show, which arrives in New York next week on Piers 90, 92, and 94 along the Hudson River, will present two new prizes. [ARTnews]

The Artists

For its “It’s No Secret” column on couples and commitment, the Times checked in with the inimitable artists Jen Catron and Paul Outlaw. Said Catron: “Together we’ve learned to become bolder and much less sensible, which has led to impulse artistic creations and collaborations. We bought a hot-air balloon for a piece we were creating, and an oversize spaghetti machine, which we keep in storage.” [The New York Times]

Matthew Barney sat down with Andy Battaglia to discuss “Redoubt,” his new show at the Yale University Art Gallery in New Haven. Barney said, “I’ve tried to avoid doing retrospective exhibitions and instead have made project shows, which always feel like new territory for me—how the dots can be connected within a body of work, how relationships between narrative and objects can be explored.” [ARTnews]

The Critics

Jason Farago filed an expansive roundup from Los Angeles. “Is Los Angeles, in 2019, the equal of New York as a center for contemporary art?” he writes. “Sure, of course it is. But the more pressing inquiry is: In what ways does Los Angeles now stand out in the global art system?” [The New York Times]

Alex Abramovich wrote about “One Day at a Time: Manny Farber and Termite Art,” which was curated by Helen Molesworth at the Museum of Contemporary Art in Los Angeles: “In Molesworth’s hands . . . the show becomes an argument cast in the form of a question: What is the proper place for minor-key, handmade, pictorial works that ignore, dance around, or deplore the spectacle side of today’s garish, moneyed art world?” [The New Yorker]


Pomona College has received a gift of $15 million from Janet Inskeep Benton for its new art museum. The Benton Museum of Art is slated to open in the fall of 2020 with 33,000 square feet of space. [Artforum]

The St. Louis Art Museum said that it has paid off the debt from its 2013 David Chipperfield–designed expansion 31 years early. [St. Louis Dispatch]

Stephen A. Schwarzman, the finance maven who gave $100 million to the New York Public Library in 2008, will have his name engraved for a sixth time outside its flagship branch, the Stephen A. Schwarzman Building. Not all are happy about the new signage. [The New York Times]

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