Asa O. Tavitian grew up poor but at age 64 he began an ‘‘explosion of buying.” Under the radar, he amassed Old Masters, leaving 331 to the Clark Art Institute while others will be auctioned at Sotheby’s New York in February.
The family of the Swedish artist Hilma af Klint claim that a potential agreement between the foundation responsible for preserving her work and the gallerist David Zwirner could lead to a “plundering” of her abstract art.
“Rudolf Wacker: Magic and Abysses of Reality” at the Leopold Museum offers a comprehensive view of the prolific Neue Sachlichkeit painter, while Albertina Modern presents “Erwin Wurm: A 70th-Birthday Retrospective”.
Zaha Hadid Architects has lost its legal battle with the late architect's charitable foundation over royalty payments for the use of her name, which the company claimed had become a "financial burden".
There was much more to 2024 than Maurizio Cattelan’s Comedian making a scene stealing comeback. Here are the highlights (and some low points) in the year in which the art world said farewell to several influential artists, flocked to the Venice Biennale, experienced the fall-out from the ongoing conflict in the Middle East and braced itself, or cheered, Donald Trump's imminent return to the White House.
To coincide with Elliott Puckette’s recent solo exhibition at the gallery, "Unfolding", The Kasmin Review shares the late curator David Anfam's essay on the artist.
Director Brady Corbet’s film “The Brutalist,” is an imposing portrait of fictional architect László Tóth, a Holocaust survivor starting over in the US, has already achieved near-universal acclaim.