Art dealer James Birch gets a profile in The Telegraph this week, profiling his adventurous approach to curating work, and his discovery of Grayson Perry. (more…)

Sotheby’s and Highsnobiety have partnered for a limited-edition collection of T-shirts, sweatshirts, and hoodies featuring works from the upcoming Masters Week auctions in New York. “This partnership with Highsnobiety, whose name is synonymous with streetwear and has been at the forefront of the culture for 15 years, was an opportunity to showcase Old Master paintings as remarkably modern, graphic works of art that can be enjoyed outside their mythological or historical context,” says David Pollack, Sotheby’s Senior Vice President and Specialist for Old Master Paintings. (more…)

Sophie Calle, Exquisite Pain (Count Down – 22) (2000), via Paula Cooper

Exploring divergent concepts and bodies of work in exchange over the course of a show currently on view at Paula Cooper Gallery in New York, photographers Sophie Calle, Bruce Conner and Paul Pfeiffer have gathered together under the title “Documents & Recitations.”  The show, which features a range of different images and works from each artist’s oeuvre, explores the format of the series to construct new narratives, and engage notions of individual memory and collective perception as translated through the medium of photography. (more…)

A piece in the New York Times this week charts the challenges faced by recent public arts construction in Germany, as budgets spiral out of control and other projects go unfinished due to poor planning.  “The firms that offer the highest quality and greatest flexibility are not the cheapest, so they often don’t have a chance,” says Professor Mike Gralla, head of the construction management department at the Technical University Dortmund. (more…)

Yinka Shonibare has a piece in The Guardian this week, speaking on his vision for his new residency program in Nigeria. “African artists have always been there, doing fantastic work, and the rest of the world is only just catching up,” he says. (more…)

Recovered works by Camille Pissarro and Paul Signac are set to go to auction at Sotheby’s this February, pieces looted by the Nazis during WWII and just recently returned to the descendants of their original owners from the holdings of the Musée D’Orsay.  “It’s a pity for the Musée d’Orsay to lose these paintings, but it’s a good example of a country acting in an honorable fashion. It’s the right thing to do,” says Thomas Boyd-Bowman, a director at Sotheby’s impressionist and modern art department. “Looting and vandalism should not profit others.” (more…)

Cecilia Alemani, the curator of New York’s High Line, has been tapped as the curator of the next Venice Biennale.  Alemani previously curated projects at the massive exhibition, including the 2017 Italian National Pavilion.  She is the first Italian woman to helm the Biennale. “As the first Italian woman to hold this position, I understand and appreciate the responsibility and also the opportunity offered to me,” she says. “I intend to give voice to artists to create unique projects that reflect their visions and our society.” (more…)

Artist Michael Rakowitz paused his video at MoMA PS1 this past week, part of a protest against museum board members he says are engaged in “toxic philanthropy.”  “I did not receive their permission, but it is my right as the artist and the work may not be altered without my permission,” Rakowitz says. “Removal of the statement or presenting the video unpaused would be damaging the work…. This is a destructive act.” (more…)

A piece in the NYT this week details the problems surrounding Polish artworks looted by the Nazis and held outside of the country, as well as the country’s issues with lotoed works currently held in its own collections. “The Polish government wants to have as much as possible back,” says law professor Kamil Zeidler, “but they don’t want to give anything back to others.” (more…)

French culture minister Franck Riester has announced plans for a cultural center dedicated to political cartoons. “I am convinced that today we need a meeting, training and exhibition place dedicated to press cartoons and satirical cartoons as [murdered Charlie Hebdo cartoonist] Georges Wolinski had wished,” he said in a statement. (more…)

The Financial Times profiles collector Leo Shih this week, and his vision for the future of his collection.   “A museum is quite a big thing for me,” he says when asked about possibly opening his own institution. “I used to think about this, but to build one is easier than to maintain it — that’s the hard part. I don’t think I will go that way.” (more…)

A piece in Art News looks at the teaching work of John Baldessari, asking artists who studied with him to reflect on his classes and philosophy. “[We] learned how to talk about work—and thus how to think about it,” says Matt Mullican. “It was everyone challenging everybody.” (more…)

The New York Times has a piece on Piotr Bernatowicz, the recently appointed director of Warsaw’s Ujazdowski Castle Center for Contemporary Art who has vocally opposed what he frames as a left-leaning political dogma in the art world. “We were friends — he was in my films,” says artist Karol Radziszewski, who currently has a show at the museum. “And he’s just become crazy.” (more…)

Ford Foundation head Darren Walker has joined the Board at the National Gallery, the Washington Post reports in an in-depth profile. “I think he is an important figure because he is challenging the sector to think about how we are positioned at the heart of society,” says Henry Timms, president and chief executive of the Lincoln Center for the Performing Arts. (more…)

Rachel Harrison, Hoarders (2012), via Whitney

Combining sculpture, readymades, drawing and a playful conceptual bent, artist Rachel Harrison’s work over the past 30 years has challenged easy readings of consumption, commercialism and modernity, imbuing her lumpy, peculiar objects with a sense of wry humor and situational irony.  Opening a major retrospective at The Whitney this winter, the artist’s work gets ample room to breathe, to striking result.    (more…)

A piece in the Washington Post surveys the estate of Purvis Young, and the legal wrangling that came in the wake of the artist’s death. “There’s not a lack of people who want it,” says auctioneer Steve Slotin. “Me and Christie’s fight tooth-and-nail.” (more…)

Documents in the massive 2016 Panama Papers leak have offered new evidence towards a claim on a Modigliani currently owned by David Nahmad.  “We are very pleased to have located this important new evidence, which further confirms that the Modigliani painting that was stolen from Oscar Stettiner is the exact same painting held by David Nahmad’s offshore company,” says James Palmer, the head of restitution company Mondex. (more…)

A new effort against money laundering in the UK is threatening the business of art galleries, Bloomberg reports.  “Some galleries may be blissfully unaware that this happened,” says Kenneth Mullen, a partner in intellectual property and technology at law firm Withersworldwide. “It’s given organizations very little time to react.” (more…)

Pace Gallery now represents the work of Beatriz Milhazes. “She’s a very strong and important artist who pushes the boundaries of art-making as we know them in the 20th and 21st centuries,” says Pace vice president Adam Sheffer. “Not unlike some other pioneers, like Robert Ryman and Agnes Martin, she works in her studio, quite focused on her technique and her imagery.” (more…)

Rashid Johnson, The Hikers (Installation View), via Art Observed

On view this fall in New York, Hauser & Wirth presents The Hikers, an exhibition of recent works by Rashid Johnson that unites ceramic tile mosaics, collaged paintings, and a large-scale sculpture that work together to address Johnson’s recurring interest in currents of anxiety and escapism created by the political and social turmoil felt across the United States and around the globe. (more…)

Paris’s Musée d’Orsay has launched an Instagram artist-in-residence program, inciting illustrator Jean-Philippe Delhomme to take over its account every Monday during 2020.  “It’s like doing the Instagram of Mount Olympus,” he says of the project, which depicts famed Parisian artists on social media. “Artists want to be seen – even the most serious ones. Why wouldn’t they show off like everyone else? That element was always there, but with these social platforms it’s just irresistible.” (more…)

Art Newspaper notes calls for the Palais de Tokyo to cancel a show sponsored by Qatar over the nation’s stance against homosexuality. “This is part of the Qatari government’s shameless and long-term strategy to bribe French society and soften its stance on human rights issues in the Persian Gulf region,” says philosopher Yves Michaud. (more…)

A group of art world figures, including leaders at the Metropolitan Museum of Art in New York have criticized Donald Trump’s threats to destroy cultural sites in Iran.  “The targeting of sites of global cultural heritage is abhorrent to the collective values of our society,” they write. “Our world knows precisely what is gained from protecting cultural sites, and, tragically, what is lost when destruction and chaos prevail. At this challenging time, we must remind ourselves of the global importance of protecting cultural sites—the objects and places by which individuals, communities, and nations connect to their history and heritage.” (more…)

Jessi Reaves, Going Out in Style (Installation View), via Herald St

Currently on view at Herald St Gallery in London, the New York-based artist Jessi Reaves has opened a new show of work, ‘Going out in style,’ which marks a continued evolution in her practice and her second exhibition with the London space. Presenting works that are contradictory in their forms and perceived functions, often oscillating between sculpture and furniture while never quite fitting squarely into either category, the artist’s work underscores a particularly resonant series of concepts and conundrums in the landscape of the present. (more…)