David Hockney is interviewed in The Guardian this week, discussing his recent practice using digital technology and his lifestyle in Los Angeles.  “It’s a reasonably sophisticated city down the hill,” he says. “It’s very nice. It’s home, really. But I’m not that interested in what’s happening outside. I like my way of life. I just work.” (more…)

Noah Horowitz, who has served as Executive Director of The Armory Show since 2011, has announced that he is accepting a position as Director Americas for Art Basel, placing him in charge of the Miami Beach edition of the fair.  “The Americas have been a leading center in the art world for many decades, and the region continues to show distinctive and ongoing growth in many different countries,” Horowitz says. “I look forward to working with collectors and arts institutions throughout the two continents – from Canada to South America, and across the entirety of the United States – in an effort to bring the fair in Miami Beach to ever-greater heights.” (more…)

Artist Shepard Fairey has turned himself in in Detroit over the arrest warrant for his vandalism in the city.  He is accused of over $9,000 in damages to properties.  “Can’t talk about anything,” Fairey said in a short comment following his arrest in Los Angeles last week. (more…)

Artist Tania Bruguera, following the return of her passport, has been named the first artist-in-residence in the New York City Mayor’s Office of Immigrant Affairs (MOIA), in part of an effort to bring more attention to the benefits for immigrants in the city, and in the ownership of a City ID Card. “This project provides a unique opportunity to enhance the notion of art as a useful tool to materialize a vision of a more inclusive society,” Bruguera says. “I’m excited to explore new ways of collaborating with New York’s immigrant communities to make a real impact on the lives of city residents.” (more…)

The Cuban government has returned artist Tania Bruguera’s passport, having held it for the past six months.  Despite its return, the artist has expressed her desire to remain in the country.  “My argument has never been about leaving Cuba; my argument is about working so there is freedom of expression and public protest in Cuba,” she says.  “People should feel free to say what they think without fear of losing their jobs or university standing, of being marginalized or imprisoned.” (more…)

Collector and former MoMA President Agnes Gund is profiled in the Wall Street Journal this week, discussing the state of the market, her focus on female artists, and her organization Studio in a School, an arts program offering training in teaching art to young students.  “If it’s taught well, art really is important to kids early on,” she says. “It helps children develop language and allows them to see themselves in a way that isn’t right or wrong, because if they draw an animal with five legs instead of four, nobody’s criticizing them for it.” (more…)

Tullio Lombardo’s Renaissance statue of Adam, which famously fell from its pedestal at The Met and was smashed to pieces, is back on view after a lengthy restoration, accompanied by a digital video project and performance that gives the work a multi-faceted, occasionally irreverent voice.  The project is a continuation of The Met’s ongoing emphasis on direct engagement of visitors with its collection through performance and new technology. (more…)

Artist Marc Quinn is interviewed in the Telegraph this week, as he prepares to show new work at White Cube this month.  “I’ve always loved beaches,” he says, noting the connections between the ocean’s form and landscape and his own work.  “I love that we come from the sea. I think that’s where my interest in liquid and solid comes from. The beach is where liquid and solid meet, so it has this incredible sense of possibility.” (more…)

Art Daily has an interview with Art Recovery Group’s founder Christopher Marinello, whose work investigating claims of Nazi-looted art and stolen works has made him a trusted authority on reclaiming lost art.  “This is one of our specialities,” Marinello says of his recent case returning a stolen Rodin to a Los Angeles family. “Getting in the middle of a case and finding a way to twist everybody’s arm to settle the case.”  (more…)

The Art News published its annual list of the Top 200 Collectors this week, featuring short profiles on the collectors on the list this year, including Roman Abramovich, Agnes Gund, Paul Allen, and Leonardo DiCaprio.   (more…)

The Art Newspaper notes that over one third of collectors in the top 20 of the Art News Top 200 Collectors List have opened museums or foundations to manage their collections, counting Bernard Arnault, Peter Brant and Eli Broad among them. (more…)

The New York Times has a feature on Dylan Brant, the son of collector and publishing magnate Peter Brant in its Style section this week, noting 25 year-old’s passion for curating and dealing, including a recent show, Rawhide, at Venus Over Manhattan.  “As a young man, I’m really aware of the standards for being a man in America, and you see a lot of that represented in cowboys,” he says. “So they’re interesting figures in relation to the disintegration of the American landscape.” (more…)

The Economist reviews the touring exhibition of the M+ Museum collection, before the Hong Kong museum opens its doors in 2019, and profiles some of the most important contributors to the emergence of Chinese contemporary art worldwide, including businessman and diplomat Uli Sigg, and Guy Ullens, founder of the Ullens Centre for Contemporary Art.  “The view was that art and culture were enshrined in the past—that Chinese art was ‘something ancient’,” says Edmund Capon, who served as head of the Art Gallery of New South Wales. (more…)

The LA Times looks at the immense efforts taken at the Broad Museum to ready the exhibition space, including the negotiations in installing and managing immense artworks like a recently purchased Takashi Murakami piece.  “Contemporary art is so varied in form, material and scale that you often need to devise new approaches for moving and installing certain pieces,” says the Broad’s director of collections management, Vicki Gambill.  “That’s what makes the work infinitely interesting and complex. Preparators love solving problems.” (more…)

Damien Hirst has installed his large-scale work, Charity, outside of the Gherkin tower in London this week, a nearly 25-foot high statue of a young girl in a leg brace, holding a vandalized collection tin.  “Charity is an iconic piece of art. It is also a symbol of changing attitudes to disability over the past 50 years, since collection boxes like the one depicted in this sculpture were seen on high streets across the country,” says Alan Gosschalk, fundraising director at Scope, the British disability charity that once used the collection tins depicted in Hirst’s work. (more…)

A group of cleaners protesting Sotheby’s low sick pay rates have been suspended from their posts, following their public demonstration during the auction house’s London sales last week.  “[A service rep] stopped them at the entrance and said ‘give me your passes, you’re no longer welcome at Sotheby’s – we’ve been instructed by Sotheby’s to not allow you on site’” says Petros Elia, the cleaner’s union general secretary. “Our argument is that Sotheby’s is massively, extremely wealthy company. Contractual sick-pay is not a crazy thing.” (more…)

Josef Helfenstein, the Director of Houston’s Menil Collection for the past 12 years, is leaving his position to head the Kunstmuseum Basel, the New York Times reports.  “It’s a very hard decision for me to leave the Menil – I love this institution enormously,” Helfenstein says. “I think we have accomplished a lot, so it was kind of a natural moment.” (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 Independent Art Fair has announced its plans to move downtown, and will open the 2016 edition of the popular Armory Week art fair at Spring Studios in TriBeCa March 3rd.  “We’re excited about the Spring/Independent partnership, as it will allow us to take the fair to a new and exciting dimension by hosting it in an extraordinary environment that the art world has yet to experience,” says fair Co-Founder, Elizabeth Dee In our new home at Spring, Independent will be even more adventurous in support of galleries’ and artists’ projects with the flexibility the space allows.” (more…)

Doug Aitken is interviewed in the Financial Times this week, as he opens the newest edition of Station to Station at The Barbican in London.  “Culture is the language that will bring us into the future,” Aitken says.  “But at the same time it is being surrounded by this conservative, capitalist system, which makes it harder than ever for individuals who have voices to push them as far as they can go.” (more…)

Collector Bert Kreuk has won his lawsuit with Danh Vo, forcing the artist the create a room-sized installation work, after the artist delivered a much smaller-sized work.  Kreuk will pay the artist $350,000 for the piece, but Vo must deliver the piece by a set date.  If not, will be fined $10,000 for each day after he fails to produce the work.     (more…)

Richard Dorment, the head arts critic at The Telegraph who is retiring after serving at the position for over 30 years, has an article in the newspaper this week, reviewing the changes in contemporary art since he began writing, and his thoughts on writers unwilling to accept the new in the world of art. “Had the same critics been writing about film, sport, or the stock market they’d have been rumbled in a week,” he notes. (more…)

Kazimir Malevich, Suprematism, 18th Construction (1915), via Sotheby’s

The Impressionist and Modern sale has concluded at Sotheby’s tonight, with 51-lot sale that failed to live up to the auction house’s pre-sale proclamations of a record breaking sale.  The auction brought a final total of £178,590,000, falling just shy of the £186.44 million record for London auctions it was expected to beat. (more…)

As London auction houses prepare for this week’s Impressionist and Modern sales, Bloomberg recaps the battles between giants Christie’s and Sotheby’s, and the aggressive stance on auction guarantees that have helped to define the massive prices achieved in recent sales.  “Our profit margin is good,” says Christie’s recently appointed CEO Patricia Barbizet. “Guarantees are risk management and offer an assurance to the seller.” (more…)