White Cube Gallery will close its São Paulo exhibition space this August, when its three year lease ends, The Art Newspaper reports. The gallery told the paper that it will focus on “special projects” in Brazil,“as was the impetus when the gallery was first introduced to the region.”   (more…)

Damien Hirst is the subject of a lengthy profile in The Guardian this week, exploring his often overlooked role in curating and presenting the work of the YBA’s in their early years, and his soon to open London gallery.  “I’ve always wanted a gallery like Saatchi, the original Boundary Road,” he says. (more…)

The once rigid boundaries between commercial galleries and museum exhibitors are quickly diminishing today, The New York Times notes, as top galleries turn towards high profile museum curators to create historically and culturally resonant shows.  “I think galleries do it for prestige,” says John Elderfield, a former MoMA curator who has done independent work for Gagosian.  “It burnishes their image.  Of course, when one gallery does it, another one wants to do it.” (more…)

Gavin Brown’s Enterprise is finally leaving its Greenwich Village headquarters, and moving uptown to a former brewery on 126th Street in Harlem.  “In other cities people travel to see art,” Brown says.  “I’m not so far from the Upper East Side.” (more…)

The Smithsonian has acquired the complete records of New York Gallery OK Harris, the renowned downtown dealers who helped launch the careers of Andy Warhol, Roy Lichtenstein, Robert Rauschenberg, and John Chamberlain, among others.  The collection of paperwork includes exhibition files, correspondence, and other documents from the career of Ivan and Marilynn Gelfmann Karp, the gallery owners. (more…)

Maccarone Gallery is the latest New York gallery opening an exhibition space in Los Angeles, the New York Times reports.  The gallery will take up residence at 300 South Mission Road, a location that inspired gallerist Michele Maccarone.  “I saw the space and was very inspired by it,” she says. “The departure point was really the building.” (more…)

Mark Flood, Shrek Your Privilege (2015), via Art Observed

For years, Mark Flood has mined a specific aspect of the artistic vocabulary when it comes to pop culture, a sort of irreverent mirror that plays the often cloying imagery of advertising, corporate branding, and the Hollywood star machine against itself, often performed against the backdrop of more formally-oriented paintings and text-based works, a combination of styles that spreads the artist across a spectrum that seems to mix commentary with composition in any number of permutations. (more…)

Jasper Johns’s Foundation for Contemporary Arts has opened a new project space, Other Room, next to its Meatpacking District Offices, providing space for curated shows focused on young and emerging artists.  “We’re not really set up to be a gallery—we have regular office hours except for the occasional Saturday—but the idea was to do something artist-centric,” says executive director Stacy Stark. (more…)

London’s National Gallery has indicated that Ireland has some claim to a series of long disputed Impressionist masterpieces.  The collection of Hugh Lane, who died on the Lusitania explosion in 1915, had been willed to Dublin, but since the will had not been witnessed, they were legally bound to Britain.  “The National Gallery claims legal ownership of the paintings bequeathed by Sir Hugh Lane, but has long conceded that Dublin has some moral claim to them,” said National Gallery Director Nicholas Penny, during a lecture on the collection. (more…)

Bloomberg takes a look at the vast number of fairs and auctions taking place this month, and the growing move by these sellers to diversify as the art fair model matures.  “The best collectors don’t just buy contemporary art,” said Michael Plummer, whose New York-based consultancy Artvest Partners owns the Spring Masters fair. “They might have Renaissance painting and antiquities and modern art.” (more…)

Leo Fitzpatrick, the former star of Larry Clark’s film Kids, and longtime director of the Nate Lowman project space Home Alone 2, will join Marlborough Chelsea as a gallery director.  “I’m very proud of what I was able to accomplish with Home Alone over those three years, but generally it was me taking art on the subway, trying to put on these shows,” Fitzpatrick says. “I’m really excited about having help, and people to bounce ideas off of. We can really do big things. If I was able to do so much with so little, imagine what I can do here.” (more…)

Cecily Brown is profiled in New York Magazine this week, as the artist opens an exhibition of new work at Maccarone Gallery in the West Village, smaller works that mark a shift in her career after ending her relationship with Gagosian Gallery.  “People would see them and say, ‘Are they studies for the big ones?’” Brown says.  “I joked that the big ones had become studies for the small ones. The big ones seemed very fast and loose, and the small ones were very neurotic. There was a while I called them ‘The Neurotic Paintings.’ They were so intense, very painterly, the paint got thicker. You have to believe the viewer has a more intimate relationship because you have to get up close.” (more…)

Sterling Ruby will end his representation with Hauser & Wirth this year, the Art Newspaper reports, after three years with the gallery.  Marc Payot, VP of Hauser & Wirth, stated the gallery remains on “very friendly terms” with Ruby. (more…)

Adrian Ghenie will now be represented by Thaddaeus Ropac, with the news coming shortly before the artist opens his solo exhibition at the Romanian Pavilion.  Ghenie will open his first exhibition at Ropac’s Paris Marais gallery this October. (more…)

Lisa Yuskavage is interviewed in The Paris Review this week, shortly after opening a show at David Zwirner earlier this month.  In the interivew, Yuskavage reveals some unconventional aspects behind her new work, including dabbling in online dating networks.  “It’s interesting because in order to make some of these paintings of men, I did something a few years ago—I didn’t realize why I was doing it at the time. I joined Grindr. I had a Grindr persona.”  Yuskavage tells the magazine.  “You didn’t think I was going to say that today, did you?” (more…)

The Robert Rauschenberg Foundation is no longer represented by Gagosian Gallery, Artforum reports, a move which ends a partnership first started in 2008.  The organization will now look to Pace Gallery (which represented Rauschenberg later in his career), Thaddaeus Ropac, and São Paulo’s Luisa Strina for worldwide representation.   (more…)

A Cy Twombly blackboard painting may have sold for $60 million in a private sale, Marion Maneker of the Art Market Monitor reports, taking the news from active Twombly collectors.  If confirmed, the price would come close to the record-setting sale of a similar work last year by Nicola Del Roscio, Twombly’s former assistant and head of his foundation. (more…)

Alex Da Corte, Die Hexe (Installation View), via Art Observed

For the past month and a half, the 77th Street location of Luxembourg and Dayan’s townhouse location has served as a bizarre cross between retro kitsch and haunted house, part of artist Alex Da Corte’s solo exhibition at the space. (more…)

Curator Piper Marshall is profiled in W Magazine this week, as she begins her run of exhibitions in conjunction with Mary Boone Gallery, and documents her ongoing focus on female artists.  “I love female artists so much that someone recently called me an ‘international womanizer,’” Marshall jokes. (more…)

Pace Gallery has announced an ambitious architectural expansion for its 540 West 25th Street location in New York, turning the building into an 8 floor gallery and office complex with 60,000 square feet of space.  “The last ten years have seen incredible changes in the art world as creative communities from different parts of the world have started to connect. Now it’s time for the art galleries to change too. This new building gives us the chance to reimagine what we are all about and that’s exactly what we plan to do,” says President Marc Glimcher. (more…)

Bloomberg Business has published strong praise for the LA outpost of Gavin Brown’s Enterprise this week, calling it “what might be the most interesting gallery in Los Angeles right now.”  The article notes the 356 S. Mission Road location’s laid-back atmosphere and welcoming refreshments, alongside its impressive curatorial vision as major components to its success and inviting nature. (more…)

Marianne Boesky is expanding to the Colorado enclave of Aspen, where a group of newly renovated museums, new galleries and pop-ups have made the resort town into a new hotspot for the U.S. arts community.  “Our plan is to be able to invite artists to spend time in Aspen to experience the outdoor life,” Boesky says. (more…)

Daniel Keller, Stack 1 (2014), via Max Hetzler

Presenting a selection of artists working at the bleeding edge of social and economic critique, Max Hetzler’s exhibition Open Source: Art at the Eclipse of Capitalism easily clocks in as one of the season’s most unexpectedly energetic exhibitions.  Curated by Lisa Schiff, Leslie Fritz and Eugenio Re Rebaudengo, and spread between the gallery’s Paris and Berlin locations, the show places post-capitalist theory and economic transition as its central conceit, examining the material and social costs of contemporary life within systems of capital exchange.  Pulling from the works of writer Jeremy Rifkin, the exhibition explores a historical juncture at which the traditional modes of national economic and political systems are slowly giving way, and a new, digitally-accelerated model of consumption and distribution is swiftly establishing itself.

Open Source: Art at the Eclipse of Capitalism (Installation View – Paris), via Max Hetzler (more…)

Brad Troemel, Wall Mount for Vintage Furby Collection (2015), via Art Observed

For the past several years, The Jogging co-founder Brad Troemel has been pushing his focus on commodity consumption, appropriation and use to new highs.  There were his works during a residency The Still House Group, vacuum-sealed fish and wild grasses on canvas that pushed notions of the still-life to a shockingly immediate result, not to mention his first show with Zach Feuer last year, when the artist showed a series of Semiotext(e) publications combined with organic raw beans and fake dreadlocks.  For his second exhibition with the gallery, Troemel drives his work forward yet again, examining the palimpsestic ideologies of the art world from both inside and out. (more…)