The Rauschenberg Foundation is profiled in ArtNews this week, following the institution’s ambitious Marfa Dialogues event last fall, and its ongoing commitment to ambitious commissions and artist projects.  ““We look at our grant making through the lens of the values that defined Bob,” says Executive Director  Christy MacLear.  “So you don’t only say, ‘What would Bob do?’ Instead, you set up a framework so that a hundred years from now you can ask: Is it collaborative? Is it boundary-breaking? Is it risk-taking?”  (more…)

Kiki Smith, Rogue Stars (2012), all images courtesy Pace Gallery

On view at New York’s Pace Gallery is artist Kiki Smith’s first major New York exhibition in four years, presenting new works made from aluminium, bronze, fine silver, textile, stained and hand-blown antique glass, and paint.

Kiki Smith, Crescent Bird (2011), (more…)

Opening Ceremony has unveiled its collection of designs influenced by Rene Magritte, featuring a full line of apparel and footwear branded with the artist’s signature surrealist exercises.  The capsule collection was launched during London Fashion Week, and will be available starting in May 2014. (more…)

W Magazine has published a profile on dealer Maxwell Graham and his Essex Street Gallery space.  Having worked previously with Greene Naftali, Graham has run Essex Street for the past several years, and discusses his approach to running his space.  “It’s good to not do things properly sometimes,” he says. “I don’t always like the shows that happen here—but sometimes it’s not about me. It’s okay if something fails, as long as it’s taking a risk. I don’t want my artists to rely on art to make a living. I almost wish my younger artists would take after the older ones and disappear for 30 years. And, hopefully, I’ll be here for them to come back to.”  (more…)

Martin Creed is interviewed in The Guardian this week, giving a typically elusive, cheeky interview covering his greatest fears, his most embarrassing moment, and his thoughts on dinner parties: “I hate dinner parties,” he says. “I don’t even like dinners particularly. I hate eating because I am scared of most food a lot of the time. I am disgusted by meat and fish.” (more…)

Larry Gagosian is preparing to add another pair of New York exhibition spaces to his already impressive set of spaces, including a new space at Park Avenue and 75th, and a temporary exhibition space on Delancey Street in the Lower East Side, both of which will open next month with shows of new sculpture by Urs Fischer.   (more…)

Hans Ulrich Obrist has published an essay in The Guardian this week, discussing the current state of curatorial practice, and the importance he sees for curators in contemporary arts.  “When I became a curator,” he writes, “I wanted to be helpful to artists. I think of my work as that of a catalyst – and sparring partner.” (more…)

The British Pavilion at next year’s Venice Biennale will spotlight the work of Sarah Lucas, the BBC reports.  “Having consistently pushed the limits of her practice, there’s a sense that Lucas – seemingly more active than ever – is coming into her own,” says Gregor Muir, executive director of the Institute of Contemporary Arts in London, and a member of the selection committee. (more…)

The upcoming vote on an artist resale royalty in the United States has major auction houses sending high-powered lobbyists to Washington, in an attempt to prevent the bill from passing.  The bill, which would pay artists a percentage of any auction sale, has many resellers nervous over the ostensible impact the additional charges would have on growing sale prices, while advocates are pushing the bill’s inclusion of artists in the creation of new wealth.  “To me, the bill is a question of fundamental fairness,” says Representative Jerrold Nadler (D-NY), who introduced the bill. (more…)

Photographer Nan Goldin is profiled in The Guardian this week, as the artist prepares for the release of her new book, Eden and After.  Reviewing the impact of her early series The Ballad of Sexual Dependency, Goldin discusses ties between her work and the ubiquitous nightlife photography present on Instagram today.   “Most of that stuff is so easy and lacking in any kind of emotional depth or context,” she says. “Nowadays, people forget how radical my work was when it first appeared. Nobody else was doing what I did.” (more…)

One of two paintings exchanged by artist Jackson Pollock for the convertible he ultimately crashed and died in will be on sale at Christie’s later this year, the Wall Street Journal reports.  Pollock reportedly exchanged his work Number 5 (Elegant Lady) for art dealer Martha Jackson’s Green Oldsmobile, which he crashed two years later.  The work is valued between $15 million and $20 million.   (more…)

Sentencing for the convicted Knoedler Gallery defrauder Glafira Rosales has been postponed until September, following the March 14th filing of a secret court document with Manhattan federal court.  Analysts speculate that Rosales, who has already agreed to forfeit $33.2 million, which includes her Sands Point home and $81m in restitution, is negotiating with federal officials in building a larger criminal case for her co-conspirators. (more…)

A Rembrandt stolen over 15 years ago from a French museum has been recovered, the Art Newspaper reports.  L’enfant à la bulle de savon was stolen from the Musée d’art et d’histoire in Draguignan in 1999, during the Bastille Day parade.  The work is believed to be valued at â‚¬4m today. (more…)

Dustin Yellin is profiled in the New York Times this week, focusing on the artist’s close ties among the expansive New York arts scene, and his work founding the Pioneer Works exhibition space in Red Hook.  “Dustin does amazing things for the community,” says Red Hook resident and friend Billy Durney. “The amount of charity he does would set a record.” (more…)

Long-time collector and founder of Exis Capital Management Adam Sender is selling off his monumental art collection over the next year and a half through Sotheby’s, the New York Times reports.  The collection of works, including pieces by Dan Flavin, Martin Kippenberger and Cindy Sherman, is valued at $70 to $80 million.  “I grew up Jewish, but more and more I find myself embracing a Buddhist philosophy,” Sender says. “I will still be lucky enough to live with a lot of art.”  (more…)

Tom Gidley, Everything Is Permitted Within the Circle (2012), all images courtesy Saatchi Gallery

Following up on Saatchi Gallery’s look at the contemporary landscape of British artists practicing today, New Order II marks a continuation of the institution’s 25-year-long investment in and support of new faces to the British contemporary art scene. The exhibition will run through March 23, 2014.

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Marianne Boesky and Dominique Lévy have announced their official co-representation of artist Frank Stella.  The two galleries will take over for the artist’s somewhat scattered representation of the past few years, representing him jointly worldwide. (more…)

Skarstedt Gallery will open its new Chelsea space on May 8th, the gallery reports.  Designed by Selldorf Architects, the exhibition space will take over the previous home of Haunch of Venison on 21st Street.  “We have an ongoing commitment to mounting key historical exhibitions,” founder Per Skarstedt said in a statement. “I’m delighted to open this new gallery space in Chelsea with an exhibition of incredible works by these quintessential modern masters. This approach suits the collaborative way we have always worked with artists and their estates.” (more…)

The New York Times reports on the growing practice for museums to live-stream and archive lectures online, allowing interested parties to view them around the world.  The article also explores MoMA’s recently initiated online tours and courses, and a recent collaboration by the Metropolitan Museum of Art with the TED lectures brand. (more…)

A German student has discovered the composition of Joseph Beuys’s iconic brown-hued paint Braunkreuz (brown cross), the Art Newspaper reports.  Beuys used a special rust-proofing agent in his paints, giving them their signature sheen, reports Ole Valler of the Hochschule Rhein-Waal.  “This shows his belief in the strong connection between art and everyday life. Materials have a special meaning in Beuys’s work,” says Barbara Strieder, of the Museum Schloss Moyland.  (more…)

Douglas Gordon is interviewed in The Guardian this week, as he prepares to exhibit his work at this year’s Sydney Biennial.  “The idea of art is to be as free as possible,” he says. “I am the least hippy person. I am an extremely hardcore dogmatic bastard, actually. But I retain the right to do whatever I want.” (more…)

The New Yorker reviews the career of Ryan Trecartin this month, taking a look back at the artist’s series of videos from the past ten years, and examining his depictions of youth culture, internet dialects and his “breaking news about the future.” (more…)

Crain’s Business takes an inside look at the growing trend of high-end pawnshops, accommodating wealthy collectors interested in quickly monetizing their artworks.  The growing popularity of personal asset loan companies like Borro has seen more art collectors in particular using the site, like one Marc Kaye, who used the site to get a loan on a $64,000 Picasso drawing during a dry spell.  “I was in just a little pinch, and this was an elegant and discreet way to get cash,” he says. (more…)

New research has shown that a set of watercolors by J.M.W. Turner, previously thought to depict the burning of Parliament, are in fact paintings of a fire at the Tower of London.  The note was discovered by Matthew Imms, a cataloguer at the Tate.  “We could tell that the works were fairly late in Turner’s career so I cast around for other events at that time, and came across various images, popular prints and so on of the Tower of London fire in 1841,” Imms says. “It immediately clicked, because the various uncertain features of the architecture and so on matched quite well.” (more…)