Pace Gallery Announces Booth Highlights for Art Basel Hong Kong 2025
From Left to Right: Matta, Tail-cock party, 1970, Artwork by Roberto Sebastián Antonio Matta Echaurren © 2025 Artist Rights Society (ARS), New York/ADAGP, Paris; Yin Xiuzhen, Wall\ Instrument-Standing Waves Document No. 14, 2021-2022 © Yin Xiuzhen, courtesy Pace Gallery; Kiki Smith, Consort, 2016 © Kiki Smith, courtesy Pace Gallery; Li Hei Di, The monstrosity lies in between us, 2025 © Li Hei Di, courtesy Pace Gallery.
The gallery’s booth (#1D27) will spotlight a large-scale painting by Matta alongside contemporary works by Loie Hollowell, Alicja Kwade, Lee Ufan, Li Hei Di, Arlene Shechet, Kiki Smith, and other artists
Pace’s presentation will also bring together works by artists living and working in China, including Hong Hao, Li Songsong, Song Dong, Yin Xiuzhen, and Zhang Xiaogang Solo presentations by Alicja Kwade at Tai Kwun in Hong Kong and Kiki Smith at Yi Space in Hangzhou will be on view during this year’s edition of Art Basel Hong Kong, and a new installation by Yin Xiuzhen—commissioned by the UBS Art Collection—will be unveiled in the UBS Lounge at the fair.
An exhibition of work by American artist Robert Indiana—who emerged as a key figure in the Pop art movement in the 1960s—will be on view at Pace’s Hong Kong gallery during the run of the fair.
Highlights on Pace’s booth at Art Basel Hong Kong include:
• Tail-cock party (1970), a vibrant, large-scale painting by Matta, one of the great surrealists of the 20th century who profoundly influenced the development of Abstract Expressionism
• A 2008 painting from Lee Ufan’s Dialogue series
• A new painting by Li Hei Di, who joined Pace’s program in 2024 and will open their first solo exhibition with the gallery at its Hong Kong space in May
• A group of wall-mounted, mixed media installations by Yin Xiuzhen, whose new installation Flag Gate UBS (2024–25), commissioned by the UBS Art Collection, will be unveiled in the UBS Lounge at the fair this year
• Kiki Smith’s sculpture Consort (2016), which reflects the artist’s enduring interest in embodied experiences of nature
• A new installation by Song Dong, who often explores memory, impermanence, and transience in his work
• A new painting by Alejandro Piñeiro Bello depicting an undulating, otherworldly landscape inspired by the history, folklore, and spirit of the Caribbean
• A sculpture and multiple mixed media works by Alicja Kwade, whose exhibition at Tai Kwun in Hong Kong continues through April 6 and who will present a solo exhibition at Pace’s New York gallery in May
• A 2023 painting by Loie Hollowell, known for her works that evoke bodily landscapes
• Li Songsong’s Mindscape 1 (2025), a canvas that speaks to the artist’s imaginative and expressionistic approach to painting
• A new painting from Mika Tajima’s celebrated Art d'Ameublement series, named for composer Erik Satie’s
Furniture Music (Musique d’ameublement) and featuring vivid, radiant color gradients
• Three ceramic and steel sculptures by Arlene Shechet, who uses seemingly disparate shapes, colors, and materials to imbue her works with psychological and emotional resonances
• A 2023 sculpture by Joel Shapiro, who has pushed the boundaries of sculptural form over the past six decades with a body of work distinguished by its dynamism, complexity, and formal elegance
• A mixed media painting by Hong Hao, who, over the past decade, has increasingly focused on the expressive potential of material itself, continuing his reflection on social constructions of value
• A 1979 painting by Yoo Youngkuk, a pioneer of geometric abstract painting celebrated for his distinctive visual lexicon characterized by bold color fields and expressive applications of paint
• Role-player (2016), a surrealistic canvas by Zhang Xiaogang
• A 2023 Bodyscape painting by Lee Kun-Yong, whose work explores the ways that the body and its movements can be understood across time
Pace Gallery can be found at Booth #1D27 Presentation at the Hong Kong Convention & Exhibition Centre: March 28–30, 2025
For more information about Art Basel Hong Kong please visit their site here., please visit the Pace Gallery’s website here for more information about the Gallery and the artists it represents. Pace Gallery can be found on Instagram and Artsy, too.
Rust-Oleum debuts Rust-O
Courtesy of Artist
Rust-Oleum debuts Rust-O, a spray paint created exclusively for artists. To celebrate, the
company is hosting an exciting launch event on March 13 from 7 - 10 p.m. at the Secret
Walls Headquarters (2272 Venice Boulevard, Los Angeles, CA 90006).
The night will be an explosive artistic bash and palpable vibes as we celebrate the launch
of Rust-Oleum’s first spray paint designed by and for artists. Headlined with a classic
Secret Walls battle featuring industry OG, Persue, and rising talent, George F Baker III,
the two will bring this must-try product to life, and battle it out on the canvas for a thrilling
head-to-head spray paint bout.
Courtesy of Artist
Beyond the battle, attendees will get exclusive access to try the new Rust-O spray paint,
along with limited-edition merchandise giveaways. The celebration is more than just a
launch—it’s a tribute to the art community and a preview of the future for Rust-Oleum’s
commitment to creatives and the industry. Guests may also indulge in on-site food trucks
and dance the night away with a live DJ.
A public evite can be found here. This event is organized by Secert Walls. For more information about Secret Walls, please visit their website here. They can also be found on Instagram here.
New Museum to Open OMA-Designed Building Expansion in Fall 2025
New York, NY — The New Museum, Manhattan’s only museum dedicated exclusively to contemporary art, today announced that its 60,000 sq ft building expansion designed by OMA / Shohei Shigematsu and Rem Koolhaas in collaboration with Cooper Robertson will open in fall 2025.
Founded in 1977 in a temporary space on Hudson Street, the New Museum has experimented and evolved since its founding as a hub for new art and new ideas, expanding its footprint at key moments in its history to better serve artists and the public. Its OMA-designed expansion will complement the New Museum’s existing SANAA-designed flagship building on the Bowery at Prince Street while doubling the Museum’s gallery space; improving visitor flow through the addition of three elevators, an atrium stair, and an entrance plaza; creating new venues for artist residencies and public programs; and establishing a purpose-built home for the Museum’s cultural incubator NEW INC, among many other new and expanded features, marking a transformative moment for the Museum and the city.
“The New Museum has always been a future-facing museum—not a place for preserving and recording history, but a place where history is made,” said Lisa Phillips, Toby Devan Lewis Director of the New Museum. “We are thrilled to be working with Shohei Shigematsu and Rem Koolhaas on OMA’s first public building in New York City, ushering in a new era of possibilities for the New Museum as a vital civic resource for New Yorkers and the global arts community.”
“The New Museum is an incubator for new cultural perspectives and production, and the expansion aims to embody that attitude of openness,” said Shohei Shigematsu, OMA Partner. “Imagined as a highly connected yet distinct counterpart to the existing museum’s verticality and solidity, the new building will offer horizontally expansive galleries for curatorial variety, open vertical circulation, and a diversity of spaces for gathering, exchange, and creation. The building is further shaped to create an active public face—including an outdoor plaza at the ground, moments of transparency throughout the central atrium, and terraced openings at the top—that will openly engage the surrounding community and beyond.”
“We are extremely grateful to all of those making the New Museum’s next chapter a reality, which would not be possible without the generous support of our Board of Trustees as well as numerous individuals, foundations, and government champions of this important project,” said James-Keith Brown, President of the New Museum’s Board of Trustees. “We look forward to inaugurating the new building with the kind of ambitious exhibition for which the New Museum is known, animating our expanded home on the Bowery with a timely exploration of artists’ visions of the future.”
The OMA building will be named in honor of the late visionary philanthropist Toby Devan Lewis, a long-serving New Museum Trustee whose $30 million contribution to the Capital Campaign is the largest gift in the Museum’s history. To date, the New Museum has raised $118 million towards its Capital Campaign goal of $125 million, with $82 million in construction costs.
About the Expanded Building
Complementing the New Museum’s existing architecture, the OMA-designed expansion will appear distinct on the outside while being seamlessly integrated on the inside. The new seven-story building will double the Museum’s gallery space, aligning ceiling heights on the second, third, and fourth floors for uninterrupted connectivity across both buildings. The OMA design will improve vertical circulation for visitors through the addition of an atrium stairway, which will offer views of the surrounding neighborhood and the opportunity for site-specific art installations, as well as three additional elevators, two of which will be dedicated to gallery access.
On the ground level, the Museum’s enlarged lobby will feature an expanded bookstore as well as a full-service restaurant, while just outside a new entrance plaza will create an open-air venue for public art installations at the terminus of Bowery and Prince Street. On the Museum’s upper floors, the new building will include a dedicated studio for artists-in-residence, a 74-seat forum, and a purpose-built home for NEW INC, the first museum-born cultural incubator, which will equip its annual cohort of 120+ creative entrepreneurs with collaborative working spaces and top-of-line production facilities.
The New Museum’s seventh floor Sky Room will double in size while retaining its panoramic views of downtown Manhattan, and the expanded building will include three additional upper-floor terraces overlooking the Bowery. On the exterior, laminated glass with metal mesh will provide a simple, unified façade by using materials that recall and complement the original SANAA building while allowing for a higher degree of transparency.
About the Inaugural Exhibition
Continuing the New Museum’s long history of presenting provocative and timely thematic exhibitions, New Humans: Memories of the Future will inaugurate the expanded building with an exploration of artists’ enduring preoccupation with what it means to be human in the face of sweeping technological changes.
Spanning the entire Museum, New Humans will trace a diagonal history of the twentieth and twenty-first centuries through the work of more than 150 international artists, writers, scientists, architects, and filmmakers, highlighting key moments when dramatic technological and societal changes spurred new conceptions of humanity and new visions for its possible futures. Placing new and recent works by artists including Sofia Al-Maria, Lucy Beech, Meriem Bennani, Cyprien Gaillard, Pierre Huyghe, Tau Lewis, Daria Martin, Wangechi Mutu, Precious Okoyomon, Berenice Olmedo, Philippe Parreno, Hito Steyerl, Jamian Juliano-Villani, and Anicka Yi in the context of works by twentieth century artists and cultural figures such as Francis Bacon, Constant Nieuwenhuys, Salvador Dalí, Ibrahim El-Salahi, H.R. Giger, Kiki Kogelnik, Hannah Höch, Tatsuo Ikeda, Gyula Kosice, El Lissitzky, Lennart Nilsson, Eduardo Paolozzi, Carlo Rambaldi, Germaine Richier, and Elsa von Freytag-Loringhoven, New Humans illuminates the ways in which artists’ visions of the future have evolved throughout time. Major support for New Humans is provided by the Andy Warhol Foundation for the Visual Arts.
“Since its founding, the New Museum has looked at art as a tool that can help us understand the world around us. New Humans is an encyclopedic, interdisciplinary exhibition that continues the Museum's engagement with the most pressing issues of today. Through the work of more than 150 artists, writers, and cultural figures, New Humansreveals how our most terrifying contemporary concerns are in fact as old as humanity itself,” said Massimiliano Gioni, Edlis Neeson Artistic Director of the New Museum. “As the New Museum enters an expansive new chapter in its own history, New Humans highlights the role artists play in interpreting and confronting the critical issues that will shape our collective fate.”
In addition to New Humans, the expanded New Museum will reopen with multiple site-specific commissions enabled by new architectural spaces. Among these will be a new work entitled VENUS VICTORIA by Sarah Lucas as the first recipient of the Hostetler/Wrigley Sculpture Award, a biannual juried prize supporting the production and exhibition of new work by women artists on the Museum’s public entrance plaza.
Information about additional new commissions, residencies, public programs, institutional collaborations, and series enabled by the expanded building will be announced in the coming months.
Later this year, the New Museum will announce its 2026 exhibition schedule, which will include the first New York museum solo presentation of artist Arthur Jafa and the next edition of the New Museum Triennial, launched in 2009 as the first recurring international exhibition in New York City devoted to emerging artists from around the world.
For the latest on the New Museum’s building expansion and reopening programs, please register for updates here. The New Museum can also be found on Instagram, Facebook, TikTok, YouTube, and X.
Christie’s Unveils New Charitable Arts Initiative To Raise Vital Funds For Great Ormond Street Hospital Charity
Peter Doig, Lion in the Road (Port of Spain), 2020 (estimate: £250,000 – 350,000)
Christie’s is honoured to have partnered with Great Ormond Street Hospital Charity (GOSH Charity) to present its BUILD IT, BEAT IT charitable arts initiative, a collection of 29 artworks by 28 leading contemporary artists. The works will be offered in Christie’s upcoming Post-War and Contemporary Art Day Sale on 6 March 2025, and proceeds from the sale will help GOSH Charity build a new, world-leading Children’s Cancer Centre at GOSH.
Twenty-nine works have been donated to be auctioned during the Post-War and Contemporary Art Day Sale to raise funds to help build a new Children’s Cancer Centre at Great Ormond Street Hospital (GOSH).
Jadé Fadojutimi, Untitled, 2024 (estimate: £350,000 – 450,000)
The following artists have generously contributed to BUILD IT, BEAT IT: Rana Begum, Sara Berman, Winston Branch, Lisa Brice, Victoria Cantons, Nicolás Colón, Peter Doig, Tracey Emin, Jadé Fadojutimi, Faile, Laura Footes, Nick Goss, Arch Hades, Celia Hempton, Clementine Keith-Roach, Matthew Krishanu, Sophia Loeb, Helen Marden, Peter McDonald, Eddie Peake, Gideon Rubin, Laurie Smith, Jessie Stevenson, Pamela Phatsimo Sunstrum, Hannah Tilson, Caroline Walker, Georg Wilson, and Xu Yang.
Works being offered in the sale range from £1,200 to £350,000, with a combined estimate of £814,700 – 1,147,800
Lisa Brice, Untitled, 2023 (estimate: £20,000 – 30,000)
GOSH is one of Europe’s leading hospitals and research centres dedicated to paediatric care. GOSH Charity exists to provide funding above and beyond what the NHS covers, to help provide world-leading care, expertise and facilities. GOSH Charity is currently in the middle of its biggest-ever fundraising appeal – the Build it. Beat it. appeal - which aims to raise £300m to help build a new, state-of-the-art Children’s Cancer Centre at GOSH, which will drive transformation in children’s cancer care and save more lives.
Caroline Walker, Study for Amusements, 2024 (estimate: £20,000 – 30,000)
“Great Ormond Street Hospital (GOSH) stands at the forefront of paediatric care and research in Europe. The forthcoming Children’s Cancer Centre is envisioned as a beacon of hope, dedicated not only to treating cancer but also to nurturing the holistic well-being of each child, ensuring they thrive beyond survival. The ambition, potential, and hope embodied by this new centre are reflected in the remarkable generosity of the 28 contemporary artists contributing to BUILD IT, BEAT IT. Christie’s is honoured to have devised this collaboration to support GOSH’s critical and transformative work. We remain committed to engaging in philanthropic partnerships that leverage art and our expertise for the greater good, uniting the art world to support children facing critical illnesses.”
“ We are thrilled to be collaborating with Christie’s on this art collection which will raise vital funds for the new, world-leading Children’s Cancer Centre at GOSH. On behalf of everyone here at GOSH Charity, I also want to offer a heartfelt thank you to all of the generous artists who have donated these pieces of art. GOSH Charity believes no childhood should be lost to serious illness and every penny raised in this auction will help us in our fight to achieve that.”
100% of the hammer price for these lots will be paid to Great Ormond Street Hospital Children's Charity (charity number 1160024) and GOSH has indicated that funds will go towards building the Children’s Cancer Centre at GOSH.
*Christie’s shall donate 50% of the buyer’s premium for all lots sold to Great Ormond Street Hospital Children’s Charity.
Funds will support the vital cancer care services at GOSH, including the refurbishment of GOSH buildings, upgrading equipment, pioneering research, kinder treatments and offering vital welfare services to our families during their time at GOSH.
*In the event that the needs of the hospital or patients change, GOSH reserves the right to redirect funds for use against the hospital’s most urgent needs.
About Christie’s
Founded in 1766, Christie’s is a world-leading art and luxury business with a physical presence in 46 countries throughout the Americas, Europe, Middle East, and Asia Pacific, and flagship international sales hubs in New York, London, Hong Kong, Paris and Geneva. Renowned and trusted for our expert live and online-only auctions, as well as bespoke Private Sales, Christie’s unparalleled network of specialists offers our clients a full portfolio of global services, including art appraisal, art financing, international real estate and education. Christie’s auctions span more than 80 art and luxury categories, at price points ranging from $500 to over $100 million. Christie’s has sold 7 of the 10 most important single-owner collections in history, achieved the world record price for an artwork at auction, launched the first fully on-chain auction platform dedicated to exceptional NFT art and manages an investment fund to support innovative startups in the art market. Christie’s is also committed to advancing responsible culture throughout its business and communities worldwide. To learn more, browse, bid, discover, and join us for the best of art and luxury at christies.com or by downloading Christie’s apps. The auction house can also be found on Facebook, Instagram, YouTube, and X.
For more information about GOSH, please visit their site here. The organization can be found on X, Facebook, and Instagram.
Pace Gallery Announces Details of Upcoming Robert Indiana Exhibition in New York, Opening May 9
Robert Indiana, LOVE, 1965 PAINTING oil on canvas 12”× 12" (30.5 cm × 30.5 cm)© The Robert Indiana Legacy Initiative, courtesy Pace Gallery
Pace is pleased to announce that it will present Robert Indiana: The American Dream, a major exhibition including seminal examples of paintings and sculpture created by the artist beginning in the early 1960s and developed throughout subsequent decades of his artistic career, to be shown at its 540 West 25th Street gallery in New York from May 9 to August 15.
Robert Indiana, ONE Through ZERO (The Ten Numbers), 1978– 2003, Conceived: 1978; Executed: 2003 SCULPTURE stainless steel on steel base 18" × 18" × 10" (45.7 cm × 45.7 cm × 25.4 cm), including base © The Robert Indiana Legacy Initiative, courtesy Pace Gallery
Examining Indiana’s critique of the duality of the American Dream—both its promise and its privations—this exhibition will highlight the connections between the artist’s personal history and the social, political, and cultural realities of postwar America. Reflecting on the critical and political underpinnings of Indiana’s work, as well as his enduring impact as an artist, Pace’s presentation will include loans from several prominent institutions.
Robert Indiana, Two, 1960-62, cast 1991 SCULPTURE painted bronze 61-1/8" × 18-1/2" × 19-1/2" (155.3 cm × 47 cm × 49.5 cm) © The Robert Indiana Legacy Initiative, courtesy Pace Gallery
One of the preeminent figures in American art since the 1960s, Robert Indiana–born Robert Clark in the state of Indiana in 1928–played a central role in the development of assemblage art, hard-edge painting, and Pop art. Indiana, a self-proclaimed “American painter of signs,” created a highly original body of work that explores American identity, personal history, and the power of abstraction and language. His legacy resonates in the work of many contemporary artists who make the written word a central element of their oeuvre, making him one of the most important figures in the recent history of art.
Robert Indiana, Four Diamond Ping, 2003 PAINTING oil on canvas Four panels, overall: 102" × 102" (259.1 cm × 259.1 cm), diamond Each panel: 51" × 51" (129.5 cm × 129.5 cm) © The Robert Indiana Legacy Initiative, courtesy Pace Gallery
Pace’s exhibition in New York will be accompanied by a new catalogue from Pace Publishing, which will shed light on Indiana’s lifelong artistic engagement with both the aspirations of the American dream and its dark underbelly–the repressed dimensions of American history and society, from colonialism to materialism and commodification. Among the works on view will be the 1961 painting The Calumet, which features the names of Native American tribes, acknowledging the presence of Indigenous life and culture within the subconscious of America; The Black Marilyn (1967/1998), a painting that speaks to the commodification of celebrity and desire in American mass media in the 1960s; and the painted bronze sculpture The American Dream (1992/2015), bearing fundamental words of the human condition: “HUG,” “ERR,” “EAT,” and “DIE.”
Robert Indiana, LOVE (Red Outside Gold Inside), 1966–1999, Conceived: 1966; Executed: 1999 SCULPTURE polychrome aluminum 36" × 36" × 18" (91.4 cm × 91.4 cm × 45.7 cm) © The Robert Indiana Legacy Initiative, courtesy Pace Gallery
Pace’s presentation will also include works from Indiana’s iconic LOVE series, recontextualizing this important and well-known image within his broader practice and tying this motif to other words and ideas—including “EAT” and “DIE”—that recur across his paintings and sculptures, symbols of both personal and universal significance in Indiana’s work. An exhibition at Kasmin Gallery in New York—Robert Indiana: The Source, 1959—1969, highlighting works from the artist’s personal collection—will be presented from February 27 to March 29 in dialogue with Pace Gallery’s Robert Indiana: The American Dream. The Robert Indiana Legacy Initiative, represented by Pace Gallery, and The Star of Hope Foundation, in partnership with Kasmin Gallery, have developed these distinct exhibitions in parallel to explore different aspects of Indiana’s artistic output and offer a diverse set of perspectives on the most formative decade of his career.
Oil 60 6. 12" Robert Indiana, Ginkgo, 2000 on canvas × 50 in. (152.4 × 127 cm) Private collection © Star of Hope Foundation, Vinalhaven, Maine
Today, Indiana’s work can be found in the permanent collections of museums including the Museum of Modern Art and the Whitney Museum of American Art in New York; the Art Institute of Chicago; the National Gallery of Art, the Hirshhorn Museum and Sculpture Garden, and the Smithsonian Museum of American Art in Washington, D.C.; the San Francisco Museum of Modern Art; the Menil Collection, Houston; Tate Modern, London; the Neue National galerie, Berlin; MUMOK (Museum Moderner Kunst Stiftung Ludwig Wien), Vienna; Museum Ludwig, Cologne; the Van Abbemuseum, Eindhoven; and the Art Gallery of Ontario, Toronto, among many other institutions around the world.
In 2013, the Whitney Museum of American Art hosted the artist’s first New York retrospective, Robert Indiana: Beyond LOVE, curated by Barbara Haskell. Indiana passed away in his home in Vinalhaven, Maine, on May 19, 2018, just a few weeks before the opening of his sculpture retrospective at the Buffalo AKG Art Museum, New York (then Albright-Knox Art Gallery). Important posthumous one- artist exhibitions include, Love & Peace: A Robert Indiana Memorial Exhibition, Contemporary Art Foundation, Tokyo (2018); Robert Indiana: A Legacy of Love, McNay Art Museum, San Antonio, Texas (2020); Robert Indiana: Sculpture 1958-2018, Yorkshire Sculpture Park, West Bretton, United Kingdom (2022); Robert Indiana at Rockefeller Center, Rockefeller Center, New York (2023); and Robert Indiana: The Sweet Mystery, Procuratie Vecchie, Venice (2024), among others.
Established in 2022, The Robert Indiana Legacy Initiative aims to increase awareness of and appreciation for the depth and breadth of the work of Robert Indiana and is the leading entity dedicated to the advancement of the artist’s work. Represented worldwide by Pace Gallery, The Robert Indiana Legacy Initiative also manages the website and is responsible for The Robert Indiana Catalogue Raisonné, which is now available online here.
Pace is a leading international art gallery representing some of the most influential contemporary artists and estates from the past century, holding decades-long relationships with Alexander Calder, Jean Dubuffet, Barbara Hepworth, Agnes Martin, Louise Nevelson, and Mark Rothko. Pace enjoys a unique U.S. heritage spanning East and West coasts through its early support of artists central to the Abstract Expressionist and Light and Space movements.
Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy as an artist-first gallery that mounts seminal historical and contemporary exhibitions. Under the current leadership of CEO Marc Glimcher, Pace continues to support its artists and share their visionary work with audiences worldwide by remaining at the forefront of innovation. Now in its seventh decade, the gallery advances its mission through a robust global program— comprising exhibitions, artist projects, public installations, institutional collaborations, performances, and interdisciplinary projects. Pace has a legacy in art bookmaking and has published over five hundred titles in close collaboration with artists, with a focus on original scholarship and on introducing new voices to the art historical canon.
Today, Pace has seven locations worldwide, including European footholds in London and Geneva as well as Berlin, where the gallery established an office in 2023. Pace maintains two galleries in New York—its headquarters at 540 West 25th Street, which welcomed almost 120,000 visitors and programmed 20 shows in its first six months, and an adjacent 8,000 sq. ft. exhibition space at 510 West 25th Street. Pace’s long and pioneering history in California includes a gallery in Palo Alto, which was open from 2016 to 2022. Pace’s engagement with Silicon Valley’s technology industry has had a lasting impact on the gallery at a global level, accelerating its initiatives connecting art and technology as well as its work with experiential artists. Pace consolidated its West Coast activity through its flagship in Los Angeles, which opened in 2022. Pace was one of the first international galleries to establish outposts in Asia, where it operates permanent gallery spaces in Hong Kong and Seoul, along with an office and viewing room in Beijing. In spring 2024, Pace will open its first gallery space in Japan in Tokyo’s new Azabudai Hills development.
For more information about this exhibition and others, please visit the Pace Gallery’s website here. Pace Gallery can be found on Instagram and Artsy, too. For more information about Robert’s artwork and his legacy, please visit here. Star of Hope Foundation information can be found here. Information about the Kasmin Gallery can be found here.
FRIEZE LOS ANGELES IMPACT AWARE ANNOUNCEMENT
Victor ‘Marka27’ Quiñonez. Courtesy: the artist
Los Angeles, CA – Victor "Marka27" Quiñonez has been named the recipient of the 2025 Frieze Los Angeles Impact Prize, an award that each year recognizes an artist whose work has made a profound social impact. As part of the award, Quiñonez will present a solo project at Frieze Los Angeles 2025 and receive a $25,000 prize. The initiative, realized in collaboration with WME Impact, is a key element of the curated program at Frieze Los Angeles and is presented in partnership with The Center for Art and Advocacy.
Returning to the Santa Monica Airport from February 20–23, 2025, Frieze Los Angeles is supported by\ global lead partner Deutsche Bank, reflecting a shared commitment to artistic excellence.
A distinguished panel, including Pamela J. Joyner (collector, businesswoman, and philanthropist), and Sable Elyse Smith (interdisciplinary artist and writer), selected Quiñonez’s proposal for the award in collaboration with Taylor Renee Aldridge (curator and writer) who has joined as the 2025 Frieze Los Angeles Impact Prize curator.
Victor Quiñonez, also known as Marka27, is an acclaimed street artist celebrated for his vibrant, multidisciplinary work that combines contemporary art, graffiti, vinyl toys, fashion and design with art activism. His large-scale murals reflect his cultural heritage and pay homage to the legacy of the Mexican Masters—Diego Rivera, José Clemente Orozco and David Siqueiros, collectively known as los tres grandes (the three greats). Inspired by the empowerment of marginalized communities and the fight for representation, Quiñonez’s art serves as a powerful platform for social change.
Marka27's work spans paintings, murals, mixed-media pieces and private commissions, all reflecting his signature "Neo Indigenous" style, which blends the energy of street and pop culture with Mexican and Indigenous aesthetics. A pioneer in graffiti and street art, Quiñonez has evolved into a sought-after muralist, product designer, gallery artist and toy designer. In 2025, he is set to unveil a traveling solo exhibition with Boston University's Stone Gallery curated by Kate Fowle, a large-scale public art installation for The Shed in New York City, and a public art installation with PRISM in Cleveland, Seeing Beyond Mass Incarceration. Quiñonez received the Center for Art and Advocacy’s Right of Return Fellowship in 2022.
Frieze Los Angeles 2025 will spotlight Quiñonez’s artistic vision, debuting his I.C.E SCREAM series - a collection of paintings and sculptural installations confronting the immigrant experience and speaking to the beauty, strength, and resilience of migrant workers, street vendors, and Indigenous cultures.
ABOUT THE FRIEZE LOS ANGELES IMPACT PRIZE
The Frieze Los Angeles Impact Prize was catalyzed by Mark Bradford’s Life Size, a work created for Frieze Los Angeles 2019. Depicting a police body camera isolated on a simple, monochrome background, Life Size drew attention to the inequitable aspects of the criminal justice system. Since the establishment of the Frieze Impact Prize in 2022, the initiative has recognized artists who contribute their talents towards issues of social justice, including Gary Tyler, Mary Baxter, Maria Gaspar, Narciso Martinez and Dread Scott.
Curator Biography
Taylor Renee Aldridge is a curator and writer from Detroit, Michigan. In addition to working with living artists, she is interested in exploring, and interrogating the intimacies that are engendered, and sometimes required in artmaking. With writer Jessica Lynne, in 2014 she co-founded ARTS.BLACK, an online journal of art criticism from Black perspectives. Taylor has edited exhibition catalogs; Enunciated Life (CAAM, 2021) and Mario Moore | Enshrined: Presence + Preservation (Charles H. Wright Museum, 2021), and is the editor of All These\ Liberations: Women Artists in the Eileen Harris Norton Collection (Yale University Press, 2024). In Fall 2024, she assumed the role of Executive Director at Modern Ancient Brown Foundation, to offer resources to scholars and artists of color. She is the former Visual Arts Curator and Program Manager at the California African American Museum (CAAM), and has organized critically acclaimed exhibitions with CAAM, Detroit Institute of Arts, and Cranbrook Art Museum. Recent exhibitions include Simone Leigh (2024, CAAM & LACMA) Darol Olu Kae: Keeping Time (2023, CAAM); Chloë Bass | #sky #nofilter: Hindsight for A Future America (2023, CAAM); Mario Moore | Enshrined: Presence and Preservation (2022, CAAM; 2021 Charles H. Wright Museum); Troy Montez-Michie: Rock of Eye (2022, CAAM); Matthew Thomas: Enlightenment (2022, CAAM); LaToya Ruby Frazier: The Last Cruze (2021, CAAM); and Enunciated Life (2021, CAAM).
Her writing has appeared in Artforum , The Art Newspaper , Art21 , ARTNews , Canadian Art , Contemporary & , Detroit Metro Times , the defunct SFMOMA’s Open Space , and numerous catalogs. She is the recipient of the 2016 Creative Capital | Andy Warhol Foundation Arts Writers Grant for Short Form Writing and the 2019 Rabkin Foundation Award for Art Journalism. She holds an MLA from Harvard University with a concentration in Museum Studies and a BA from Howard University with a concentration in Art History.
Juror Biographies
Taylor Renee Aldridge has nearly 30 years of experience in the investment industry. She is the Founder of Avid Partners, LLC where her expertise has been the alternative investment arena. Currently, Ms. Joyner is focused on her philanthropic interests in the arts and education.
Ms. Joyner is a Trustee of The Art Institute of Chicago, the J. Paul Getty Trust and the San Francisco Museum of Modern Art. In 2020, she joined the board of trustees of the Museum of Modern Art in New York and in 2021 she became the co- chair of the Painting and Sculpture Committee. In 2020, with several others, she also founded the Black Trustee Alliance for Art Museums.
Previously, Ms. Joyner’s philanthropic involvements have included serving as: a member of President Obama’s Committee on the Arts and Humanities; a Trustee of Dartmouth College; a Trustee of the New York City Ballet; a Trustee and Co-Chair of the San Francisco Ballet Association; as well as other arts and educational organizations.
Sable Elyse Smith is an interdisciplinary artist and writer based in New York. Her creative practice spans the visual, literary, moving image and performing arts. Language is an ARCHITECTURE. She has built a practice tracing the threads of violence and power embedded within systems of belief, infrastructure, language, intimacy, the quotidian, and beyond. She was recently included on the 2024 TIME100 Next— The magazine's annual list of 100 individuals who are shaping the future of their fields and defining the next generation of leadership. Her work has been featured at the Museum of Modern Art, MoMA Ps1, New Museum, The Studio Museum in Harlem, Solomon R. Guggenheim Museum, Institute of Contemporary Art Boston and numerous others. In 2022 she was a participant in both the Whitney Biennial, and the 59th Venice Biennale. Most recently her first opera, If you unfolded us premiered at MoMA (July 2024). Smith has received awards from Joan Mitchell Foundation, Creative Capital, Suzanne Deal Booth / Flag Art Foundation Prize, Louis Comfort Tiffany Foundation, Fine Arts Work Center, Skowhegan School of Painting and Sculpture, and Art Matters among others.
Opening Times:
• Thursday, February 20: (invitation only)
• Friday, February 21: 11am – 7pm (invitation only 11am – 1pm, open to the public from 1pm)
• Saturday, February 22: 11am – 7pm
• Sunday, February 23: 11am – 6pm
Accessibility
The fair is fully accessible for individuals with reduced mobility. Companion or carer tickets are available
free of charge: after booking your ticket, please get in touch at frieze.seetickets.com/customerservice to
arrange. Wheelchairs and hearing loops are available at the coat check, and ADA parking slots may be
accessed via Donald Douglas Loop. The accessibility map for Frieze Los Angeles 2024, with further
information for route planning, will be made available soon.
Frieze is a leading global contemporary art organization, renowned for its art fairs, publications and
digital presence. Founded in 1991 with the launch of frieze magazine, the brand has grown to encompass
seven of the most significant art fairs worldwide in cities including Chicago, London, Los Angeles, New
York and Seoul. These events attract leading artists, galleries and collectors, fostering innovative
dialogues and practices within the art community. frieze magazine continues to set the benchmark for
insightful art criticism and commentary, while frieze.com serves as a vital online resource. Committed to
expanding the reach and understanding of contemporary art, Frieze also hosts year-round curated
programs and associated initiatives, such as No.9 Cork Street and Frieze 91, that enrich the cultural
landscape. With a dedicated team passionate about the arts, Frieze remains at the forefront of artistic
exploration and cultural discourse, connecting diverse audiences with groundbreaking artists and their
work. Frieze is part of the IMG network. For more information, visit frieze.com.
IMG is a global sports, events and representation company. It is a leader in rights management, multi- channel content production and distribution, consultancy and fan engagement; owns, produces and commercially represents hundreds of live events and experiences; and manages licensing programs for the world’s best- known brands and trademarks. IMG is a subsidiary of Endeavor, a global sports and entertainment company.
2025 marks the 22nd year of Deutsche Bank as Global Lead Partner of Frieze. As part of its social commitment to Art & Culture, Deutsche Bank has supported and collected the work of cutting-edge international artists for more than 40 years. A global leader in corporate art programs, the bank also runs an Artist of the Year program, and its own cultural center in Berlin, the PalaisPopulaire. Further Frieze collaborations include the Deutsche Bank Frieze Los Angeles Film Award, which is in its sixth year, the Frieze x Deutsche Bank Emerging Curators Fellowship in the United Kingdom, The Art of Conversation global series, and digital platform Art:LIVE. Db.com/art. Instagram: @deutschebankart
The Center for Art and Advocacy believes there is an abundance of uncultivated talent and exceptional creativity among individuals who share the lived experience of incarceration. At a time when our country leads the world in the criminalization of its most vulnerable populations, often made up of people with marginalized identities, we find that justice-impacted artists within the U.S. are especially at risk of being under-funded, under-mentored, under-resourced, and under-connected within the traditional institutions and arts communities. This is why The Center aims to improve these outcomes for our most vulnerable creatives by providing financial and community support via our catalytic flagship, the Right of Return Fellowship, mentoring and professional development through our capacity-building Academy and Arts Incubator program, and the opportunity for industry-wide recognition and dedicated time to develop their projects through our forthcoming premiere Residency and Retreat in rural Pennsylvania.
The organization’s distinctive perspective makes this community especially equipped to advance change throughout the United States through the reframing of our collective criminal legal narrative and advocacy for racial justice and equity, using the vehicle of art to build, organize, and support local and national movements.
FURTHER INFORMATION
To keep up to date on all the latest news from Frieze, sign up to the newsletter here and follow on Instagram, X and Frieze Official are on Facebook. Tickets to the fair are available on frieze.com
Book Launch and Conversation with Tacita Dean and George Baker
Courtesy of Marian Goodman Gallery
Marian Goodman Gallery Los Angeles and MACK are delighted to present an artist talk to commemorate the launch of Tacita Dean’s latest book, Base Matter and Uncommon Solvent: Drawings, Prints, Collages, and Objects 1988–2024. Tacita Dean will be in conversation with George Baker, Professor and Chair, Department of Art History at UCLA.
Base Matter and Uncommon Solvent is a comprehensive survey of drawings, prints, collages, and objects that are directly drawn, marked, or altered by Dean. The chosen works differentiate from those made using mechanical reproduction, such as photographs, purely image-based etching and screenprints, and her 16mm and 35mm films. Co-edited and designed in collaboration with her longtime friend Martyn Ridgewell, this new book coincides with Tacita Dean: Blind Folly, the first major U.S. exhibition dedicated to her drawings, on view at The Menil Collection, Houston, from 11 October 2024 to 19 April 2025.
The event will be held at 1112 Seward Street, Los Angeles 90038, on Saturday, the 22nd February, at 3 pm. This event is free and open to the public, though advanced registration is encouraged as capacity is limited. Registration for the event can be found here. For more information about the event, please visit the Marian Goodman Gallery’s site. The gallery can be found on Instagram and Artsy, too.
Pace Gallery and Galerie Judin Announce the Opening of New Berlin Art Space
Former gas station turned arts space housing Pace Gallery and Galerie Judin © Galerie Judin, courtesy Pace Gallery and Galerie Judin
This spring, a converted 1950s gas station in Berlin’s Schöneberg neighborhood will be transformed into a multifaceted new gallery space, with offices and an exhibition space for Pace Gallery and Galerie Judin as well as an adjacent cafe and bookshop headed by the publishing group Die ZEIT. The building will officially open to the public on May 1, 2025, with a group exhibition presented jointly by Pace and Galerie Judin.
Originally built in 1954 during West Berlin’s postwar reconstruction, the gas station that will house this new exhibition space was abandoned in 1986. After two decades of neglect, it underwent a massive renovation—overseen by Thomas Brakel and bfs design under the direction of Juerg Judin—in 2005. The restoration preserved distinctive modernist elements of the structure, including the red canopy, garage door, and former sales space, while adding a library, an additional wing for exhibiting art, and a garden designed by landscape architect Guido Hager. The conversion was completed in 2008, and in 2009 it was awarded the prestigious Architekturpreis Berlin. In the years since its transformative restoration, the converted gas station—which was home to the Das Kleine Grosz Museum, an institution dedicated to the work of German artist George Grosz, from 2022 to 2024—has become a modern landmark in Berlin, blending historic architecture with contemporary design.
“The opening of this new exhibition space in Berlin is so exciting, not only for Pace and Galerie Judin, but, more importantly, for the local arts community. Pace has a deep commitment to Berlin and its thriving creative community, and we feel so honored to bring our artists’ work to this very special building in the city. We look forward to strengthening our connection to Berlin, its people, and its artists with our programming at this historic site.”
The inaugural show at the new exhibition space will be presented jointly by Pace and Galerie Judin—further details will be announced closer to the opening. Following the run of this exhibition, Pace and Galerie Judin will organize their own respective presentations in the space throughout the year. Entry to the new space—which will be open to the public six days a week, Tuesday through Sunday, from 11 a.m. to 7 p.m.—will be free.
Pace—which maintains eight locations worldwide—established an office in Berlin in 2023, helmed by Senior Director Laura Attanasio, to focus on supporting institutional projects for its artists and deepening connections with collectors and arts communities in German-speaking regions. Since then, Pace has expanded its activities in the city, presenting Maysha Mohamedi’s first exhibition in Germany, showcasing works by Qiu Xiaofei in the inaugural edition of Suite Berlin, and facilitating the gifting of Alicja Kwade’s Goldelse (2021) to the Neue Nationalgalerie Sculpture Garden.
Former gas station turned arts space housing Pace Gallery and Galerie Judin © Galerie Judin, courtesy Pace Gallery and Galerie Judin
With the opening of this new space in Berlin, where Pace will mount two public exhibitions per year, the gallery will reinforce its commitment to the European market. Attanasio and her team will move Pace’s Berlin office to the Schöneberg neighborhood space in April. This announcement also builds on a longstanding relationship between Pace and Galerie Judin, both of which represent Romanian artist Adrian Ghenie.
“The evolution of this once mundane property bears witness to the constant change in this captivating city, and we are delighted to share the Tankstelle’s genius loci with Pace Gallery and ZEIT. In our wish to contribute to the Berlin art scene while expanding the gallery’s program and international outreach, we couldn’t think of a better partner and second space for the gallery.”
Galerie Judin, founded by Juerg Judin in Zurich in 2003 and resident in Berlin since 2008, operates its main exhibition in the spacious former printing facility of the Tagesspiegel in Potsdamer Straße, just a short walk away from the new space. Since its\ move there in 2011, the neighborhood has evolved into the undisputed heart of Berlin's art scene, just a stone's throw from the Neue Nationalgalerie and the future Berlin Modern. Galerie Judin, headed jointly by co-owners Juerg Judin and Pay Matthis Karstens, has distinguished itself by introducing a new generation of artists to the art world, organizing in-depth museum and academic collaborations, maintaining a distinctive publication program, and, underlining the gallery’s art historical approach, editing significant catalogues raisonnés.
“We look back on a longstanding collaboration and friendship with Pace and the Glimcher family. Among other things, we share a ‘non-territorial’ and collegial attitude towards the art market, which now finds an expression in the sharing of this unique, historic location, and the interaction of our programs.”
Pace is a leading international art gallery representing some of the most influential artists and estates of the 20th and 21st centuries, founded by Arne Glimcher in 1960. Holding decades-long relationships with Alexander Calder, Jean Dubuffet, Agnes Martin, Louise Nevelson, and Mark Rothko, Pace has a unique history that can be traced to its early support of artists central to the Abstract Expressionist and Light and Space movements. Now in its seventh decade, the gallery continues to nurture its longstanding relationships with its legacy artists and estates while also making an investment in the careers of contemporary artists, including Torkwase Dyson, Loie Hollowell, Robert Nava, Adam Pendleton, and Marina Perez Simão.
Under the current leadership of CEO Marc Glimcher and President Samanthe Rubell, Pace has established itself as a collaborative force in the art world, partnering with other galleries and nonprofit organizations around the world in recent years. The gallery advances its mission to support its artists and share their visionary work with audiences and collectors around the world through a robust global program anchored by its exhibitions of both 20th century and contemporary art and scholarly projects from its imprint Pace Publishing, which produces books introducing new voices to the art historical canon. This artist-first ethos also extends to public installations, philanthropic events, performances, and other interdisciplinary programming presented by Pace.
Today, Pace has eight locations worldwide, including two galleries in New York—its eight-story headquarters at 540 West 25th Street and an adjacent 8,000-square-foot exhibition space at 510 West 25th Street. The gallery’s history in the New York art world dates to 1963, when it opened its first space in the city on East 57th Street. A champion of Light and Space artists, Pace has also been active in California for some 60 years, opening its West Coast flagship in Los Angeles in 2022. The gallery maintains European footholds in London and Geneva as well as Berlin, where it established an office in 2023. Pace was one of the first international galleries to have a major presence in Asia, where it has been active since 2008, the year it first opened in Beijing’s vibrant 798 Art District. It now operates galleries in Hong Kong and Seoul and opened its first gallery in Japan in Tokyo’s Azabudai Hills development in 2024.
Galerie Judin was established in 2003 in Zurich, the hometown of Juerg Judin. In 2008, it relocated to the rougher but artistically much more vibrant Berlin and took on the former printing facility of the Tagesspiegel in Potsdamer Straße in 2011 – at the time, a daring move. The neighborhood has since evolved into the undisputed heart of Berlin's art scene, just a stone's throw from the Neue Nationalgalerie and the future “Berlin Modern”. The nine-meter-high, daylight-flooded halls are considered one of the most beautiful exhibition venues in the city. In 2007, the gallery acquired an abandoned 1950s petrol station, which it restored and expanded with great care, and which became a crucial part of its social DNA. From 2022 to 2024, it served as the home for a temporary museum dedicated to George Grosz, the great Berlin artist, receiving much international praise. Since 2015, Juerg Judin shares the responsibility for the gallery's artistic and commercial advancement with art historian Pay Matthis Karstens, who in 2024 became co-owner. From the start, the two partners bonded over a shared passion for books and art historical curiosity. This has led to them taking on the responsibility for three catalogues raisonnés and the management of two estates.
More news regarding Pace Gallery please visit their website here. Pace Gallery can be found on Instagram and Artsy, too. For more information about Galerie Judin, please visit their site here. The gallery can also be found on Instagram here.
PHILLIPS TO HOST CREATIVE CONFLUENCE, A SELLING EXHIBITION FEATURING WORKS BY SASHA FERRÉ, RUGIYATOU YLVA JALLOW, MARIO JOYCE, RYAN SCHNEIDER, FERRARI SHEPPARD, AND MARTHA TUTTLE, AMONG OTHERS
Mario Joyce The Stealing Of A Sacred Ember, 2024 48x 72 in.
LOS ANGELES – PhillipsX is proud to announce its first selling exhibition of the new year, Creative Confluence. Taking place at Phillips Los Angeles from 14 February to 13 March, the exhibition will celebrate the ways in which community, shared experiences, and collective intelligence shape artistic expression in contemporary culture. Featuring works by Mario Joyce, Rugiyatou Ylva Jallow, Ferrari Sheppard, Ryan Schneider, and Phillip K. Smith III, among others, a portion of the proceeds from the exhibition will be donated to wildfire relief efforts in the region.
Miety Heiden, Deputy Chairwoman and Head of Private Sales, said, “Creative Confluence centers on the concept of Scenius, which reimagines genius as a collective force that emerges when artists and thinkers collaborate within a shared cultural space. Through this exhibition, we aim to blur the lines between artist and audience, individual and collective, and process and product, presenting a diversity of voices across various mediums and practices. The city of Los Angeles has historically always been strengthened by the unity of its community. Now more than ever, at this significant moment in the city’s history, we look forward to drawing attention to the true innovation that arises from the rich interplay of individuals and shared experiences.”
Artists who will be featured in Creative Confluence include Shirin Abedinirad, Ferguson Amo, Kim Dacres, Tara Donovan, José Duran, Sasha Ferré, Rugiyatou Ylva Jallow, Mario Joyce, Samuel Nnorom, Ryan and Trevor Oakes, Ryan Schneider, Ferrari Sheppard, Phillip K. Smith III, and Martha Tuttle.
Exhibition viewing: 14 February – 13 March 2025
Location: Phillips Los Angeles, 9041 Nemo Street, West Hollywood
Click here for more information:
A Portion of Proceeds from the Los Angeles Exhibition to be Donated to Wildfire Relief Efforts in the Region.
About Phillips
Phillips: where the world’s curious and bold connect with the art, design, and luxury that inspires them. As a leading global platform for buying and selling 20th and 21st century works, Phillips offers dedicated expertise in the areas of Modern and Contemporary Art, Design, Photographs, Editions, Watches, and Jewels. Auctions and exhibitions are primarily held in New York, London, Geneva, and Hong Kong, with representative offices based throughout Europe, the United States, and Asia. Phillips offers a regular selection of live and online auctions, along with items available for immediate purchase. Phillips also offers a range of services and advice on all aspects of collecting, including private sales and assistance with appraising.
For more information about this auction and others with Phillips, please visit their site here. Also, please follow Phillips on Facebook and Instagram.
BONHAMS PARTNERS WITH PROJECT ANGEL FOOD ON ANGEL ART BENEFIT AUCTION
Alexandra Grant, Love, Love, Love (blue), 2018.
Los Angeles, CA – Bonhams will host the return of ANGEL ART, the acclaimed benefit auction, with 100% of proceeds going towards the vital work of Project Angel Food, one of California’s biggest and most recognized non-profit organizations. This pivotal event unites the art community to support critically ill individuals in the aftermath of the devastating Los Angeles fires. These fires have not only displaced residents but also compounded challenges for the city’s most vulnerable populations whom Project Angel Food serves.
The ANGEL ART event will take place at Bonhams Los Angeles on February 27 featuring a live auction of 6-8 exceptional works of art. A concurrent online auction with over 60 lots will run on Bonhams.com from February 13 – 27.
Richard Ayoub, CEO of Project Angel Food, emphasized the importance of the event: “ANGEL ART is crucial for sustaining our transformative work. In these trying times, the engagement of artists, patrons, and partners like Bonhams is more vital than ever to deliver relief and hope to those who need it most.”
Lilly Chan, Managing Director, Bonhams US, stated: “We are devoted to supporting our Los Angeles community, where we have been embedded for many years. Project Angel Food has always done vital work for our city, and their swift response in supporting and adapting to our community’s needs in the wake of the devastating fires was truly impressive. We are proud to help amplify their incredible efforts through this auction.”
Following the devastating L.A. fires, Project Angel Food experienced a 10% surge in clients served—a number that continues to grow. Partnering with the County of Los Angeles' Food Equity Roundtable, Project Angel Food is stepping in to support overburdened organizations across Los Angeles County that can no longer prepare or deliver meals. Many of its new clients are elderly and grappling with respiratory conditions worsened by lingering poor air quality. For existing clients – already vulnerable due to serious illness – this environmental crisis has further deepened their struggles. The support of the art community has never been more critical in meeting these challenges.
The resilience of the artistic community shines at this year’s ANGEL ART. Among the highlights are contributions from four artists who, despite losing their homes or being displaced due to the fires, have donated works and continue to champion the spirit of creativity and transformation. Alexandra Grant, Honorary Chair, reflected: “What Project Angel Food does every day and in days of crisis is the same - care, nourish, and feed people. Your support can help bring more deserving clients into the PAF community over a longer term. Food is LOVE!”
Event Details and Highlights:
As the largest auction house in California, Bonhams will host the benefit auction with 100% of the proceeds going to Project Angel Food. Bonhams.com will present an online auction offering over 60 lots from February 13 – 27. In addition to an exhibition preview from February 25 – 27, Bonhams Los Angeles will host the ANGEL ART event on February 27, featuring a live auction of 6–8 exceptional works of art. The auction offerings will be announced soon. Please visit bonhams.com/angelart for updates.
The art for auction features world-renowned artists including Ed Ruscha, John Baldessari, Robert Rauschenberg, Helen Frankenthaler, Richard Misrach, Peter Alexander, Jeff Koons, Louise Nevelson, Jim Dine, Herb Ritts, William Wegman, and Shepard Fairey, among others, as well as emerging artists Awol Erizku, Carmen Argote, Nao Bustamante, Todd Gray, and many more. These artists, each a pioneer in their respective mediums and movements – from Pop Art and Abstract Expressionism to conceptual photography and street art – have collectively shaped the contours of contemporary art, leaving an indelible mark on both the Californian and global art scenes.
A free artwork preview will take place at Bonhams Los Angeles:
February 25 – 26: 9:00 AM to 5:00 PM
February 27: 9:00 AM to 12:00 PM
The ANGEL ART live event and auction will culminate on February 27 with tickets available for $250. For those seeking an exclusive experience, the VIP GrantLOVE Package offers two tickets and four limited-edition GrantLOVE artworks by Alexandra Grant for $1,000.
Support and Sponsorship
ANGEL ART is made possible through the generosity of its sponsors: Bonhams, Frieze, Guess Foundation, Joybird, UTA, and the dedication of its Host Committee, led by Alexandra Grant and including Ben Bourgeois, Brian Bowman, Kipton Cronkite, Jimmy Freeman, Lisa Gelber, John Gile, John Giurini, Ayn Grinstein, Marcus Quiland Nazario, Stephanie Roach, Leah Sydney, and Ron Valdez. The creative production is managed by Elizabeth Pezza of The Culture List Inc.
For more information about ANGEL ART 2025 or to purchase tickets, visit angelfood.org/angelart2025.
100% of proceeds to benefit the organization's initiatives in the aftermath of the Los Angeles fires.
About The Bonhams Network
Bonhams is a global network of auction houses, with the largest number of international salerooms, offering the widest range of collecting categories and selling at all price points. Bonhams is recognised for its bespoke service, and a dedication to local market relationships, enhanced by a global platform. With 14 salerooms, Bonhams presents over 1,000 sales annually, across more than 60 specialist categories, including fine art, collectables, luxury, wine & spirits, and collector cars.
Founded in 1793, Bonhams has representatives in more than 30 countries and operates flagship salerooms in London, New York, Paris, Los Angeles, and Hong Kong. In 2022, Bonhams added four international auction houses to its network: Bukowskis, Stockholm; Bruun Rasmussen, Copenhagen; Cornette de Saint Cyr, Paris and Brussels; and Skinner, Massachusetts. The success of Bonhams’ global strategy is a result of recognising the shift in growing intercontinental buying and increased digital engagement.
In 2023, Bonhams achieved 14% growth with $1.14 billion in turnover. Recent important auctions and landmark single-owner collections, include the white glove sales of Sir Michael Caine: The Personal Collection, Alain Delon: Sixty Years of Passion; Sir Roger Moore: The Personal Collection; Personal Property of Justice Ruth Bader Ginsburg and The Robert & Jean-Pierre Rousset Collection of Asian Art: A Century of Collecting. Other notable single-owner sales included The Estate of Barbara Walters: American Icon; The Alan and Simone Hartman Collection; The Crown Auction: Props and Costumes and The Claude de Marteau Collection.
Top lots for 2023 include 1967 Ferrari 412P Berlinetta, Sold at Quail Lodge, US for US$30,255,000. Tipu Sultan’s Bedchamber Sword (sold in London for £14m – a world record for both an Islamic and an Indian object); Paul Signac (1863-1935), Sisteron, 1902. Sold for US$8,580,000 (estimate US$4-6 million), and Claude Monet (1840-1926), La Seine près de Giverny, 1888. Sold for US$6,352,500 (estimate US$4-6m), both from the Alan and Simone Hartman Collection; A Gilt Copper Alloy figure of Virupaksha, Central Tibet, Densatil Monastery, Early 15th century. Sold for HK$37.9m (£4,060,326) in Hong Kong. Yoshitomo Nara (born 1959) Three Stars. Sold for HK$36,754,000 (£3,930,914), also in Hong Kong.
For more information about these auctions and others featured By Bonhams, please visit their site. Bonhams can also be found on Instagram, Facebook, X, YouTube, and Pinterest.
MARINA TABASSUM AND HER FIRM, MARINA TABASSUM ARCHITECTS (MTA), SELECTED FOR THE SERPENTINE PAVILION 2025
Serpentine 2025 Pavilion A Capsule in Time, designed by Marina Tabassum, Marina Tabassum Architects (MTA). Design render, interior view. Photo: © Marina Tabassum Architects (MTA). Courtesy Serpentine.
Serpentine is delighted to announce that Bangladeshi architect and educator Marina Tabassum and her firm, Marina Tabassum Architects (MTA), have been selected to design the 2025 Pavilion, titled A Capsule in Time. Marina Tabassum’s Pavilion will be unveiled to the public at Serpentine South on 6 June 2025 with Goldman Sachs supporting the annual project for the 11th consecutive year.
This unique and ambitious commission, which began in 2000 with Dame Zaha Hadid, has presented the first UK structures by some of the most significant names and emerging talents in international architecture. Throughout its history, the Serpentine Pavilion has grown into a highly anticipated showcase for emerging talent. The Pavilion has evolved over the years as a participatory public and artistic platform for Serpentine’s experimental, interdisciplinary, community and education programmes.
Marina Tabassum Architects, which was founded following Tabassum's ten year partnership with URBANA in 2005, have completed architectural projects that are socially, politically and ecologically engaged. In addition to buildings sited in the city of Dhaka, its peripheries, and across Bangladesh, MTA’s practice extends to researching environmental degradation within Bangladesh, a country that is particularly vulnerable and facing the impacts of climate change. The studio also focuses on architecture’s role in addressing living conditions for marginalised individuals in the region with the aim to uplift the environmental and living conditions of the people they collaborate with as demonstrated by their celebrated Khudi Bari [Small House] (2020–ongoing). These modular structures were developed in 2020 for those living on the sand beds of the rivers Jamuna, Meghna and Teesta with the ability to be easily disassembled and moved when necessary.
Celebrated for her work that seeks to establish an architectural language that is contemporary while rooted and engaging with place, climate, context, culture and history, Tabassum’s design will resonate with Serpentine South and aims to prompt a dialogue between the permanent and the ephemeral nature of the commission.
Serpentine Pavilion 2025 designed by Marina Tabassum, Marina Tabassum Architects (MTA). Design render, exterior view. Photo © Marina Tabassum Architects (MTA) Courtesy: Serpentine
The 2025 Pavilion is elongated in the north-south direction and features a central court that aligns with Serpentine South’s bell tower. Inspired by the tradition of park-going and arched garden canopies that filter soft daylight through green foliage, the sculptural quality of the Pavilion is comprised of four wooden capsule forms with a translucent façade that diffuses and dapples light when infiltrating the space. Central to Tabassum’s design is a kinetic element where one of the capsule forms is able to move and connect, transforming the Pavilion into a new space.
Emphasising the sensory and spiritual possibilities of architecture through scale and the interplay of light and shadow, Tabassum’s design also draws on the history and architectural language of Shamiyana tents or awnings of South Asia. Similarly kinetic in their function, these structures are made up of an external fabric supported by bamboo poles and are commonly erected for outdoor gatherings and celebrations. The openness of Tabassum’s Pavilion welcomes the possibilities of unifying visitors through conversations and connections, live programmes and public convenings
Serpentine 2025 Pavilion A Capsule in Time, designed by Marina Tabassum, Marina Tabassum Architects (MTA). Design render, exterior view. Photo: © Marina Tabassum Architects (MTA). Courtesy Serpentine.
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Marina Tabassum, Architect, Marina Tabassum Architects (MTA) said: “We are thrilled to be selected as the architect of this year’s Serpentine Pavilion. When conceiving our design, we reflected on the transient nature of the commission which appears to us as a capsule of memory and time. The relationship between time and architecture is intriguing: between permanence and impermanence, of birth, age and ruin; architecture aspires to outlive time. Architecture is a tool to live behind legacies, fulfilling the inherent human desire for continuity beyond life. In the Bengal delta, architecture is ephemeral as dwellings change locations with the rivers shifting courses. Architecture becomes memories of the lived spaces continued through tales. The archaic volume of a half capsule, generated by geometry and wrapped in light semi-transparent material will create a play of filtered light that will pierce through the structure as if under a Shamiyana at a Bengali wedding. The Serpentine Pavilion offers a unique platform under the summer sun to unite as people rich in diversity. The stage is set, the seats are placed. We envision various events and encounters taking place in this versatile space that unifies people through conversations and connections.”
Bettina Korek, Chief Executive, and Hans Ulrich Obrist, Artistic Director, said: “A Capsule in Time will honour connections with the Earth and celebrate the spirit of community. Built around a mature tree at the centre of the structure, Tabassum’s design will bring the park inside the Pavilion. Its kinetic dimension will also harken back to the levitating element of Rem Koolhaas & Cecil Balmond with Arup’s Serpentine Pavilion 2006. We are grateful to all of our loyal supporters who make this groundbreaking commission possible and look forward to announcing a full programme of live events and public programmes that will bring people together around Tabassum’s visionary, spiritual and social structure. This is a milestone year for the Serpentine Pavilion Commission as we celebrate 25 years since the inception of this prestigious programme.”
Throughout the Summer and until October, the Serpentine Pavilion 2025 will become a platform for Serpentine’s live and events programme. It will feature Park Nights, the interdisciplinary platform for live encounters in music, film, theatre, dance, literature, philosophy, fashion and technology. Each year’s commissions respond to the unique architecture of the Pavilion, inviting audiences to experience the activated space.
Tabassum’s Pavilion will kickstart the 25th year of this historic commission and continue Dame Zaha Hadid’s ethos of pushing the boundaries of architecture. In her words: ‘There should be no end to experimentation’, and Tabassum’s Pavilion will exemplify this credo. This year, Serpentine will host a programme of events to reflect on the commission, its history and its future.
This year's Pavilion selection was made by Serpentine CEO Bettina Korek; Artistic Director Hans Ulrich Obrist; Director of Construction and Special Projects Julie Burnell; Exhibitions Curator Chris Bayley; Curator at Large, Architecture and Site-specific Projects Natalia Grabowska; and Assistant Exhibitions Curator Alexa Chow, together with advisors Sou Fujimoto and David Glover.
In June, Serpentine will publish a catalogue to accompany the Pavilion. Designed by Wolfe Hall, it will bring together new and insightful contributions from the fields of architecture, art and poetry. Generously illustrated in colour throughout, it also features an extensive conversation between Marina Tabassum and Serpentine’s Artistic Director Hans Ulrich Obrist.
The Pavilion is supported by Goldman Sachs.
Marina Tabassum. Photo: © Asif Salman
Marina Tabassum
Marina Tabassum (b. 1969, Dhaka, Bangladesh) is an acclaimed architect and educator who has received numerous international recognitions in the field of architecture. She graduated in 1995 from Bangladesh University of Engineering and Technology. Prior to founding Marina Tabassum Architects (MTA) in 2005, Tabassum was a founding partner of the Dhaka-based firm URBANA between 1995 and 2005 with Kashef Chowdhury. In 1997, URBANA won the national competition to design the Independence Monument of Bangladesh and the Museum of Independence under the Public Works Department and the Ministry of Liberation War Affairs. In her work, Tabassum seeks to establish a language of architecture that contemporary yet reflectively rooted to place and prioritising climate, context, culture and history. Tabassum's practice remains consciously contained in size, undertaking a limited number of projects per year.
Tabassum is a Professor at Delft University of Technology in the Netherlands. She held the Norman Foster Chair at Yale University in 2023 and has taught as a visiting professor at numerous universities including the Harvard University Graduate School of Design, USA; the University of Toronto, Canada; and BRAC University, Bangladesh. She received an Honorary Doctorate from the Technical University of Munich, Germany, and served as academic director at the Bengal Institute for Architecture, Landscapes and Settlements between 2015 and 2021.
Tabassum’s pursuit for the ‘architecture of relevance’ has won her numerous awards including the Soane Medal from the United Kingdom; Arnold Brunner Memorial Prize from the American Academy of Arts and Letters; the Gold Medal of the French Academy of Architecture; and the Jameel Prize from the Victoria and Albert Museum, London. She won the Aga Khan Award for Architecture in 2016 for the Bait ur Rouf Mosque and has served as a member of the Steering Committee of the Aga Khan Awards for Architecture from 2017 to 2022 and is a fellow of the Royal Society of Arts (RSA). In 2024, Tabassum was included in TIME Magazine’s ‘100 Most Influential People’.
Tabassum chairs the Executive Board of Prokritee, a fair-trade organisation that promotes crafts and provides livelihood to thousands of women artisans of Bangladesh. She is the founding chairperson of the Foundation for Architecture and Community Equity (F.A.C.E), a non-for-profit organisation that focuses on climate adaption and architecture’s agency and responsibility in providing dignified living conditions for marginalised populations. F.A.C.E is currently working with communities to build mobile modular housing (known as Khudi Bari) in various geographically and climatically challenged locations in Bangladesh.
Tabassum’s work is currently the subject of a travelling exhibition organised by Architektur Museum der TUM, Munich, showing in Lisbon and Delft. She has previously presented work at Whitechapel Gallery, London (with Rana Begum, 2019); Sharjah Architecture Triennale (2019); and Venice Architecture Biennale (2018). Her work has been published by ArchiTangle; Harvard Graduate School of Design; ORO Editions; and Lars Müller Publishers among others.
Marina Tabassum Architects (MTA)
Founded in 2005, Marina Tabassum Architects (MTA) is an internationally recognised architecture and studio-based practice located in Dhaka, Bangladesh. MTA began its journey in the quest of establishing a language of architecture that is contemporary to the world yet rooted to a specific place. Standing against the global pressure of consumer architecture – a fast breed of buildings that are out of place and context – MTA is committed to rooting architecture to a place and is informed by climate and geography. Their work is well regarded as environmentally conscious, socially responsible and historically and culturally appropriate. Every project undertaken is a sensitive and relevant response to the uniqueness of individual sites, contexts, cultures and people.
With a focus on combining research and teaching, MTA invests in extensive research work on the impacts of climate change in Bangladesh working closely with geographers, landscape architects, planners and other allied professionals. Their focus of work also extends to the marginalised low to ultra-low income population of the country with a goal to elevate the environmental and living conditions of people.
Headed by principle architect Marina Tabassum, the studio engages talented architects and professionals with an interest in self-built projects, who are willing to push the boundaries of the conventional norms of practice. The associate architects who are responsible for research, design and management of individual projects work directly under the principal architect. The practice is consciously kept and retained in an optimum size and projects undertaken are carefully chosen and are limited by number per year.
MTA's process-based practice model is well regarded in the international scene of architecture as a Twenty First Century model. As such, MTA has presented works and research to numerous institutions across Bangladesh and internationally. In 2016, MTA received the Aga Khan Award for Architecture for the Bait Ur Rouf Mosque – a building distinguished by its lack of popular mosque iconography, an emphasis on space and light and its capacity to function not only as a place of worship but also as a refuge for a dense neighbourhood on Dhaka’s periphery. The project was also listed among the top 25 postwar buildings of the world by New York Times.
Serpentine Pavilion
This pioneering commission, which began in 2000 with Dame Zaha Hadid, has presented the first UK structures by some of the biggest names in international architecture. The Pavilion is realised with the support of technical advisors AECOM. In recent years it has grown into a highly anticipated showcase for emerging talents, from Sumayya Vally, Counterspace (South Africa), the youngest architect to be commissioned, and Frida Escobedo (Mexico) to Diébédo Francis Kéré (Burkina Faso) and Bjarke Ingels (Denmark). In 2022, Black Chapel was designed by Theaster Gates (USA), in 2023 À table was designed by Lina Ghotmeh (France and Lebanon) and in 2024 Archipelagic Void was designed by Minsuk Cho and his firm, Mass Studies (South Korea).
In 2021, the Pavilion programme evolved beyond its physical location for the first time and expanded with a series of Fragments placed across London. It also saw the launch of Support Structures for Support Structures, a fellowship programme initiated by Serpentine that supports up to ten artists and collectives working at the intersection of art, spatial politics, and community practice.
About Goldman Sachs Group, Inc.
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About Serpentine
Building new connections between artists and audiences, Serpentine presents pioneering contemporary art exhibitions and cultural events with a legacy that stretches back over half a century, from a wide range of emerging practitioners to the most internationally recognised artists, writers, scientists, thinkers, and cultural thought leaders of our time.
Based in London’s Kensington Gardens, across two sites, Serpentine North and Serpentine South, Serpentine features a year-round, free programme of exhibitions, architectural showcases, education, live events and technological activations, in the park and beyond the gallery walls.
Public art has emerged as a central strand of Serpentine’s programme. Major presentations include a collection of Eduardo Paolozzi’s sculptures (1987); Anish Kapoor’s Turning the World Upside Down (2010); Lee Ufan’s Relatum – Stage (2018–19); Christo and Jeanne-Claude’s London Mastaba in the Serpentine Lake (2018); I LOVE YOU EARTH by Yoko Ono (2021); Dominique Gonzalez-Foerster In remembrance of the coming alien (Alienor)(2022); Alexandra Daisy Ginsberg’s Pollinator Pathmaker (2022–ongoing); Gerhard Richter’s STRIP-TOWER (2024); Yayoi Kusama’s Pumpkin at the Round Pound (2024); and Esther Mahlangu’s mural Umuntu ngumuntu ngabantu (2024).
Proud to maintain free access for all visitors, Serpentine also reaches an exceptionally broad audience and maintains a profound connection with its local community.
At Serpentine South
6 June – 26 October 2025
For more information about this exhibition and others, please visit Serpentine’s website. Please also visit and follow Serpentine on Instagram, Facebook, and YouTube, along with TikTok.
The Brooklyn Museum Awards UOVO Prize to Melissa Joseph
IMAGE CREDIT: Melissa Joseph, 2024. (Photo: Miguel McSongwe)
Selected from among the artists in The Brooklyn Artists Exhibition, Joseph is awarded a $25,000 cash prize, a public mural at UOVO Brooklyn, and a solo presentation at the Brooklyn Museum
The Brooklyn Museum is pleased to award the UOVO Prize, which recognizes the work of emerging Brooklyn-based artists, to Melissa Joseph (born United States, 1980). As the awardee, Joseph receives a solo presentation at the Brooklyn Museum, a commission for a fifty-by-fifty-foot public art installation on the facade of UOVO’s Brooklyn facility in Bushwick, and a $25,000 unrestricted cash grant.
Joseph was selected by a team of Brooklyn Museum curators from among the artists featured in The Brooklyn Artists Exhibition, a major group show supported by UOVO. Her work Olive’s Hair Salon (2023) is included in the exhibition, and last year, her work Getting Reuben’s tuition book (2023) was added to the Museum’s collection. In June 2025, Joseph will present a mural at UOVO Brooklyn and an installation at the Brooklyn Museum, both referencing Italy’s Siena Cathedral. The Museum’s installation will be displayed on its outdoor plaza and publicly accessible day and night.
“We are delighted to present the UOVO Prize to Melissa Joseph, whose work explores themes of memory, familial history, and the politics of how people occupy spaces,” says Kimberli Gant, Curator of Modern and Contemporary Art, Brooklyn Museum. “As her art addresses public spaces and the environment, it is fitting to present it in two major public locations in Brooklyn. Moreover, it makes Joseph an ideal artist for this opportunity. We’re looking forward to supporting Joseph’s vision for the UOVO mural and sharing her work with our audiences.”
Joseph’s practice spans genres including drawing, painting, ceramics, and fiber arts, for which she has become well known. Her portraits made of wool and felt showcase the materials’ texture along with the depth of Joseph’s subject matter. In depictions of domestic scenes and friendships, she often highlights mundane moments to reveal the importance of human interaction. The images are rich in color and range in scale from miniature to larger than life, allowing viewers to appreciate the detail of her labor-intensive process.
“I am thrilled to be awarded the UOVO Prize. For this project, I chose to reference the incredible floors of the Siena Cathedral and to think about the way public art has functioned throughout history,” says Joseph. “While the process and purpose of creating public art have both expanded and accelerated, the potential for profound human connection remains and that is what most excites and inspires me about this project. I have deep gratitude to UOVO and the Brooklyn Museum for this opportunity.”
“We’re pleased to continue our longstanding partnership with UOVO by awarding the annual UOVO Prize to our fifth recipient,” says Anne Pasternak, Shelby White and Leon Levy Director, Brooklyn Museum. “In addition, we’re excited to highlight Melissa Joseph’s work on our Iris Cantor Plaza, an important public space for gathering and reflection at the Brooklyn Museum.”
“We are pleased to continue our support of Brooklyn artists and the Brooklyn Museum,” adds Steven Guttman, UOVO Founder and Co-Chairman. “Artists are at the heart of our community, so it will be wonderful to make Melissa Joseph’s work accessible through two outdoor presentations in dialogue across the borough, from Bushwick to Prospect Heights.”
Previous UOVO Prize winners are John Edmonds, Baseera Khan, Oscar yi Hou, and Suneil Sanzgiri.
ABOUT THE ARTIST
Melissa Joseph is a New York–based artist. Her work considers themes of memory, family history, and the politics of how we occupy spaces. By using needle felting and found objects, she intentionally alludes to the labors of women as well as experiences as a second-generation American and the unique juxtapositions of diasporic life. Her work has been shown at the Brooklyn Museum, Delaware Contemporary, Woodmere Art Museum, Utah Museum of Contemporary Art, Brattleboro Museum and Art Center, Jeffrey Deitch Projects, and ICA San Francisco. She has been featured in Hyperallergic, Artforum, Artnet, ARTnews, New American Paintings, Vogue, Le Monde, CNN, WNYC, Architectural Digest, Whitewall, and Family Style. In addition, Joseph has participated in residencies at Artpace, Dieu Donné Workspace Residency, Textile Arts Center, Fountainhead, Archie Bray Foundation for Ceramic Arts, Museum of Arts and Design, and Greenwich House Pottery, among others. She was recently selected for the 2025 Artsy Vanguard, and her work is in the permanent collections of the Brooklyn Museum, Ruby City, Rhode Island School of Design, Pennsylvania Academy of the Fine Arts, and Institute of Contemporary Art, Miami. She is a regular contributor to BOMB magazine.
ABOUT THE BROOKLYN MUSEUM
For 200 years, the Brooklyn Museum has been recognized as a trailblazer. Through a vast array of exhibitions, public programs, and community-centered initiatives, it continues to broaden the narratives of art, uplift a multitude of voices, and center creative expression within important dialogues of the day. Housed in a landmark building in the heart of Brooklyn, the Museum is home to an astounding encyclopedic collection of more than 140,000 objects representing cultures worldwide and over 6,000 years of history—from ancient Egyptian masterpieces to significant American works, to groundbreaking installations presented in the only feminist art center of its kind. As one of the oldest and largest art museums in the country, the Brooklyn Museum remains committed to innovation, creating compelling experiences for its communities and celebrating the power of art to inspire awe, conversation, and joy.
ABOUT UOVO: Art, Fashion and Wine
UOVO is the premier luxury storage and logistics provider for fine art, fashion, and wine. With 30 facilities across the U.S., our expert team of industry professionals offers bespoke solutions to meet the specialized needs of any collection. UOVO offers comprehensive stewardship of both world-class commercial and personal collections at our purpose-designed, state-of-the-art facilities. From maintenance, preservation, archiving, and cataloging to shipping, storage, and installation, UOVO goes beyond storage to create a unique experience on par with elite hospitality, managed through one-to-one personal relationships and full digital optimization.
Please visit the Brooklyn Museum’s site for more information. The Museum can also be found on Instagram, TikTok, YouTube, and Facebook.
The Brooklyn Museum Expands Collection with Over 330 Acquisitions
Strengthening the Brooklyn Museum’s holdings across collections, this year’s acquisitions include over a hundred gifts commemorating the Museum’s 200th anniversary.
The Brooklyn Museum has acquired over 330 artworks this year, enriching its encyclopedic collection representing 6,000 years of creative excellence. These acquisitions strengthen institutional holdings across collection areas, including American Art, Arts of Africa, Asian Art, Contemporary Art, Feminist Art, Decorative Arts and Design, and Photography.
Gifts in honor of the 200th anniversary
More than one hundred of the acquisitions are gifts of art given by the Museum’s valued donors in honor of its 200th anniversary. They will be displayed in the upcoming exhibition Breaking the Mold: Brooklyn Museum at 200, open February 28, 2025–February 22, 2026. In particular, the exhibition will showcase extraordinary gifts of contemporary art, including paintings, photographs, video, sculpture, and ceramics. Exemplary gifts of work by well-established artists such as Julie Mehretu, Robert Frank, Alex Katz, and Coco Fusco will be joined by contributions from influential artists working today, many of whom are based in Brooklyn. Breaking the Mold will rotate works halfway through its run, displaying additional major gifts the Museum has received in honor of its bicentennial (to be announced in 2025). Other gifts are currently on display throughout the Museum, including in the reinstalled American Art galleries and on the Iris Cantor Plaza.
“We are blown away by the tremendous support of our benefactors who stepped up to celebrate our 200th anniversary with historic gifts of art, greatly enhancing a collection that inspires awe, illuminates shared histories, and connects us to one another,” says Anne Pasternak, Shelby White and Leon Levy Director, Brooklyn Museum. “We cannot think of a more meaningful way to celebrate our bicentennial than by welcoming these exceptional and important pieces to our collection and sharing them with our community.”
The gifts come from a tremendous range of donors, some of which include Sasha and Edward P. Bass, Alan L. Beller, Rona and Jeffrey Citrin, John and Miyoko U. Davey, Beth Rudin DeWoody, J.A. Forde, Dennis Freedman, Amanda and Glenn Fuhrman, Steven and Kathy Guttman, Jane Hait and Justin Beal, Stephanie, and Tim Ingrassia, Michi and Charles Jigarjian, Elizabeth and William Kahane, Alex Katz and the Alex Katz Foundation, Karen Kiehl and Peter Labbat, Miyoung Lee and Neill Simpkins, Ryan E. Lee, Linda Macklowe, Tracey and Phillip Riese, Jonathan and Debbie Rosen, Rahul Sabhnani, Regina K. Scully, Carla Shen and Christopher Schott, Jon and Denine Sherman, Colleen and Graves Tompkins, Barbara and John Vogelstein, Amanda and John Waldron, the Brooklyn Museum Contemporary Art Council, and The June Leaf and Robert Frank Foundation. Together they reflect the Museum’s distinctive position as a premier cultural institution in Brooklyn, New York, and beyond.
Acquisitions by collection
All the works acquired this year have deepened the Museum’s commitment to representing generations of emerging and established artists in a wide range of disciplines. Noteworthy feminist works by Flora Yukhnovich, Judy Chicago, Myrtle Williams, Cheryl Riley, Rachel Martin, and Sonya Kelliher-Combs have supplemented the Museum’s Arts of the Americas, Contemporary Art, Decorative Arts and Design, and Feminist Art collections. The Arts of Africa collection has grown with acquisitions by contemporary artists including Billy Monk, Trevor Stuurman, and Penny Siopis, invigorating one of the oldest collections of its kind in the United States. Significant contributions continue to build the Museum’s Asian Art collection, including works by Kondō Takahiro and Mishima Kimiyo.
The Decorative Arts and Design collection has seen tremendous growth. A gift of thirty-five icons and prototypes, including twenty-five notable works of Italian Radical Design dating from approximately 1965 to 1989, from leading design collector and creative designer Dennis Freedman builds on the Museum’s superlative holdings of Italian design. The 200th anniversary has also been an opportunity to add works of contemporary design by Jorge Lizarazo of Hechizoo and Chris Schanck.
Important gifts of American art can be seen in Toward Joy: New Frameworks for American Art, the Museum’s critically acclaimed reinstallation of its American Art galleries, such as pieces by Kyōhei Inukai the Elder. Those works, as well as new additions by Kyōhei Inukai the Younger, bolster the trailblazing collection of art by Asian American artists within the American Art collection.
The Contemporary Art collection has seen particularly notable additions that broaden the histories, narratives, and perspectives therein. The Museum has gained its first paintings by a number of artists, including Derrick Adams, Peter Halley, Nicolas Party, and Winfred Rembert. Significant early sculptures by artists such as Joel Shapiro and Carl Andre and recent work by Antony Gormley and Kennedy Yanko have also joined the collection, as well as tour de forces by Mark di Suvero, Rashid Johnson, and Nicole Eisenman. Major time-based works by Carrie Mae Weems, Doug Aitken, Isaac Julien, and Coco Fusco have entered the collection as well.
The Photography collection has been augmented by twenty-six of Robert Frank’s 1958 photographs of Coney Island, a gift from the Robert Frank Foundation. A moving gift of photographs by Joel Sternfeld tells the tragic story of David Buckel in nearby Prospect Park, expanding the Museum’s collection of photography depicting Brooklyn. Multiple works by Jimmy DeSana have entered the collection as well, acquired from the artist’s first museum survey at the Brooklyn Museum in 2022–23. In addition, a historic gift of iconic works by Irving Penn, Richard Avedon, and Bill Brandt from the estate of renowned photographer Hiro further establishes the Museum as a significant center for portrait photography.
View the Brooklyn Museum’s complete list of acquisitions in December 2023–October 2024. A selection of highlights is below, organized by collection.
American Art
Kyōhei Inukai the Elder. Dorothy, 1933. Oil on canvas. Brooklyn Museum, Gift of John and Miyoko U. Davey, in honor of the Brooklyn Museum’s 200th Anniversary, 2024.1.4. © Kyōhei Inukai the Elder. (Photo: Brooklyn Museum)
Dorothy is one of five paintings by Kyōhei Inukai the Elder (American, born Japan) given to the Museum by John and Miyoko U. Davey in honor of the Brooklyn Museum’s 200th anniversary. Currently on view in the reinstalled American Art galleries, the striking portrait depicts Dorothy Hampton, Inukai’s lover and frequent model with whom he lived in Greenwich Village from approximately 1932 until the end of his life. The acquisition of these paintings comes at an important moment, when the careers of both Inukai and his artist son, Kyōhei Inukai the Younger (born Earle Goodenow), are receiving revived attention from scholars and institutions. It also bolsters the Museum’s growing collection of Japanese American works.
Asian Art
Kondō Takahiro. Large Conical Bowl, 2020. Glazed porcelain with metallic overglaze. Brooklyn Museum, Gift of Alan Beller, in honor of the Brooklyn Museum’s 200th Anniversary, 2024.38. (Photo: by Richard Goodbody, courtesy of Joan B Mirviss LTD. Photography)
One of the most arresting objects from Porcelains in the Mist: The Kondō Family of Ceramicists (December 2023–December 2024), this large bowl is both a crowd-pleaser and a technical tour de force. A masterful example of the “silver mist” glazing that Japanese artist Kondō Takahiro invented, this object perfectly embodies the artist’s stated goal of “creating water from fire.” Given by Alan L. Beller in honor of the 200th anniversary, this object is a significant addition to the Museum’s holdings of Japanese modern and contemporary ceramics.
Arts of Africa
Billy Monk. The Catacombs, 23 December 1967, 1967. Pigment ink on archival paper. Brooklyn Museum, Gift of J. A. Forde, 2024.32. © Billy Monk Collection. (Photo: Brooklyn Museum)
This gift is one of the most iconic images from Billy Monk’s oeuvre and the first of the South African artist’s works to enter the Brooklyn Museum’s collection, bolstering the holdings that depict queer realities. With a 35 mm Pentax camera, Monk photographed both friends and strangers in underground sanctuaries and nightclubs such as the Catacombs in Cape Town, South Africa. His close connection to many of the clubs’ patrons allowed him to capture intimate moments. This piece presents a rare glimpse into a moment within Cape Town’s history of apartheid, shedding light on the lived realities of partiers of all races, LGBTQIA+ identities, and economic backgrounds.
Arts of Americas
Hayden Haynes and Samantha Jacobs. New Beginnings, 2022. Fawn hide, brain-tanned buckskin, velvet, gunmetal hardware, mother-of-pearl, Czech and vintage German beads, moose and dyed deer hair, moose and whitetail antler. Brooklyn Museum, Marie Bernice Bitzer Fund, 2024.13a-c. (Photo: Brooklyn Museum)
New Beginnings powerfully blends historic artmaking practices with a contemporary aesthetic, breaking down the boundaries between decorative arts, craft, and design. The result of a multiyear collaboration between Seneca artists Hayden Haynes (Deer Clan) and Samantha Jacobs (Turtle Clan), the piece serves as a testament to the ways that Seneca people have maintained their culture. The form of New Beginnings is inspired by beaded Seneca purses made in the early 1800s and utilizes the classic Seneca colors of red and white. Through the creation of this bag, the artists honor the life of the fawn (killed in a traffic accident) whose hide is used. This is the Brooklyn Museum’s first acquisition of work by Haynes and Jacobs, and is a major addition to the Museum’s collection of Indigenous art from New York State.
Contemporary Art
Antony Gormley. Object II, 2019. Steel. Brooklyn Museum, Gift of Barbara and John Vogelstein, in honor of the Brooklyn Museum’s 200th Anniversary, 2023.56. © Antony Gormley. (Photo: © Stephen White & Co., Courtesy White Cube)
British artist Antony Gormley is acclaimed for his sculptures, installations, and public artworks that have for over 45 years used the human figure, often his own, to challenge notions of bodies in space. This life-size scaled steel sculpture is part of the artist’s Weave Work series, which engages the question, “How can you begin to describe the indoors of the body, or the body at rest?” Examining the body in terms of architectural space, Object II reduces the human form into a metal lattice that resembles a scaffolding: a grid of straight, square-section steel bars varying in spatial density occupies the body’s volume. This is the first work by the artist to enter the collection.
Carrie Mae Weems. Leave! Leave Now!, 2022. Single-channel digital video (color, sound) installation with mixed media. Brooklyn Museum, Purchased through the generosity of Agnes Gund, the Ford Foundation, Stephanie Ingrassia, Holly Peterson, and Miyoung Lee, 2023.64. © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York. (Photo: Danny Perez)
Carrie Mae Weems. The North Star, 2022. Inkjet print. Brooklyn Museum, Purchased through the generosity of Miyoung Lee and Cary Davis with additional support from the William K. Jacobs Fund, 2023.71a-g. © Carrie Mae Weems. Courtesy of the artist and Jack Shainman Gallery, New York. (Photo: Danny Perez)
These two works by Carrie Mae Weems join the collection in commemoration of the Museum’s honoring of the American artist at the 2023 Brooklyn Artists Ball. For decades, Weems has been renowned for her photographic depictions of American experiences, especially those that sit at the intersection of race, gender, and class. Much of her work has examined the singular experiences and shared histories of African American communities, from intimate familial relationships to the generational impacts of political systems and power dynamics in the United States. In both these works, she tells the story of her grandfather Frank Weems, a member of the Southern Tenant Farmers’ Union who was subjected to retaliatory racial violence and believed to have been killed. He was later discovered in Chicago and is thought to have followed the North Star to safety.
Julie Mehretu. Treatises on the Executed (from Robin's Intimacy), 2022. Etching, aquatint. Brooklyn Museum, Purchase gift of Amanda and John Waldron in honor of the Brooklyn Museum’s 200th anniversary, 2024.12a-j. © Julie Mehretu. (Photo: Brooklyn Museum)
American artist Julie Mehretu has achieved global acclaim for her resonant, gestural manner of translating contemporary social and political experiences onto canvas and paper. The artist produced Treatises on the Executed (from Robin's Intimacy) as part of her ongoing exploration of and experimentation with technical printing processes, here in collaboration with the Los Angeles–based printmaking workshop Gemini GEL. This etching joins another print by Mehretu in the Contemporary Art collection titled Entropia, further expanding the Museum’s holdings of works by twenty-first-century icons.
Nicolas Party. Portrait with a Donkey, 2023. Soft pastel on linen. Brooklyn Museum, Purchase gift of Amanda and John Waldron, in honor of the Brooklyn Museum’s 200th Anniversary, 2024.16. © Nicolas Party. Courtesy the artist and Hauser & Wirth. (Photo: Adam Reich)
A gift from Trustee Amanda Waldron and John Waldron in honor of the Museum’s 200th anniversary, Portrait with a Donkey by Brooklyn-based Swiss artist Nicolas Party grows the Museum’s holdings of significant new talent. Noted for his enigmatic figurative works inspired by Old Master paintings, Party bridges the past and the present in his practice, using techniques and mediums long established in the Western canon of art but reinterpreted for the twenty-first century. Party’s presentation of his subjects connects to contemporary use of selfies, filters, and AI, which can make created people seem real and allow real people to represent themselves in previously unimaginable ways. This is the first work by Party to enter the Museum’s collection.
Winfred Rembert. Looking for Rembert, 2012. Dye on carved tool leather. Brooklyn Museum, Purchase gift of Stephanie and Tim Ingrassia, in honor of the Brooklyn Museum’s 200th Anniversary, 2024.25. © 2024 Estate of Winfred Rembert / Artists Rights Society (ARS), New York. (Photo: Brooklyn Museum)
A gift from Board of Trustees Vice Chair Stephanie Ingrassia and Tim Ingrassia in honor of the Brooklyn Museum’s 200th anniversary, this scene is a quintessential example of American artist Winfred Rembert’s autobiographical images: tooled leather works depicting a memory from his incarceration. Though Rembert liked to draw throughout his life, his art career officially began in middle age when, while in prison, he started crafting small billfolds; later images in leather were achieved using hammers and dyes. Along with examining his own experiences, Rembert’s pieces look to the past, highlighting the immense labor prisoners had to endure in chain gangs or picking cotton. The first work of Rembert’s to enter the collection, Looking for Rembert demonstrates the skills of a non-formally trained artist, presents an alternative narrative of art production, and expands the American Art collection’s representation of Southern history and culture.
Coco Fusco. And Then the Sea Will Talk to You, 2012. Single-channel video (color, sound). Brooklyn Museum, Gift of the Contemporary Art Committee, in honor of the Brooklyn Museum’s 200th Anniversary, 2024.44. © Coco Fusco. (Photo: Mendez Wood DM)
A major figure within contemporary art, Brooklyn-raised artist Coco Fusco has worked as an artist, scholar, professor, and curator discussing Cuban and Caribbean art for the past several decades. In And Then the Sea Will Talk to You, Fusco narrates her journey of taking her deceased mother’s ashes from New York back to Cuba. The film is a compelling and intensely personal meditation on messy, contradictory, and sentimental feelings about one’s ancestral homeland. This anniversary gift expands the Museum’s holdings of works by Caribbean and local artists.
Isaac Julien. Territories, 1984. Single-channel video (color, sound). Brooklyn Museum, Gift of the Contemporary Art Committee, in honor of the Brooklyn Museum’s 200th Anniversary, 2024.45. © Isaac Julien. (Photo: Courtesy of the artist)
This anniversary gift examines Britain’s Black community in the 1980s through Carnival, a cultural touchstone with origins in Trinidad and other Caribbean island communities. British artist Isaac Julien’s films have cemented his status as a twenty-first-century icon, whose work has been exhibited throughout New York, the United States, and the world. In Territories, Julien incorporates historical footage, Caribbean musical forms, and audio recordings from the Notting Hill Carnival, demonstrating that this event in London is about cultural agency, freedom of expression, and equality.
Currently on view in the reinstalled American Art galleries, My Friend Will Be Me is the Museum’s first acquisition of American artist Sasha Gordon’s work. The artist depicts herself in the process of painting a self-portrait. Her skin is rendered in deep, shadowy blues, purples, greens, and oranges, and she stares out at the viewer smiling, nude except for a paint-splattered apron. Gordon’s approach to self-portraiture extracts and magnifies some of her rawest, deepest emotions through partly caricatured embodiments of her personality. Building layer upon layer of oil paint, she produces sumptuous, dreamlike compositions that invite both artist and audience to reflect on complex feelings about body image and cultural representation, among other internal psychological conflicts.
Susan Chen. Chinatown Block Watch, 2022. Oil on canvas. Brooklyn Museum, Promised gift of Carla Shen and Christopher Schott, L2024.8.2. © Susan Chen. (Photo: Courtesy of Jeffrey Deitch)
Chinatown Block Watch by Susan Chen (American, born Hong Kong) leans into the nostalgia and familiarity of its titular neighborhood. Chen depicts a bustling scene in New York City’s Chinatown replete with familiar signage and sensations—dishes from Nom Wah Tea Parlor, the slogan “STOP CHINATOWN JAIL” sprayed onto the asphalt, overflowing cartons of oranges, and an almost claustrophobic density of pedestrians weaving past one another. This work builds upon the Museum’s collection of works depicting New York City, as well as its collection of works by Asian American artists.
José Parlá. La Habana Sunset, 2022. Acrylic paint, plaster, oil paint, and urethane on canvas. Brooklyn Museum, Promised gift of Michi and Charles Jigarjian, in honor of the Brooklyn Museum's 200th Anniversary, L2024.9. © José Parlá. (Photo: Courtesy of the artist)
La Habana Sunset by José Parlá, currently on view in Brooklyn Abstraction: Four Artists, Four Walls in the Beaux-Arts Court, is a gift from Brooklyn Museum Trustee Michi Jigarjian and Charles Jigarjian in honor of the 200th anniversary. This abstract landscape is part of the series Ciclos: Blooms of Mold, Parlá’s most personal work to date. In these large-scale pieces, created after a life-and-death experience with COVID, the Cuban American artist explores themes of memory and movement. La Habana Sunset represents an act of meditative healing, as well as the chaotic beauty and infinite resilience of humanity. The Museum’s first acquisition of Parlá’s work, it builds the Museum’s collection of works by Brooklyn-based artists.
Decorative Arts and Design
Gae Aulenti. Pool Lounger, from the series Locus Solus, ca. 1965. Enameled tubular and sheet steel rubber, screenprinted canvas. Brooklyn Museum, Gift of Dennis Freedman, in honor of the Brooklyn Museum's 200th Anniversary, 2023.76.1. (Photo: Brooklyn Museum)
Italian architect and industrial, interior, and theatrical designer Gae Aulenti’s Pool Lounger is one of thirty-five gifts given by renowned collector Dennis Freedman to mark the Museum’s anniversary. Pool Lounger, while not breaking from tradition in form, incorporates colors and shapes derived from Pop Art. The work suggests the bold new visuals that would become even more innovative by the end of the 1960s and come to define Italian Radical Design. Aulenti was one of the few Italian women designers to gain popularity in the latter half of the twentieth century through her projects, which include the interior of the Musée d’Orsay in the 1980s and production designs for numerous manufacturers.
Freedman’s donation also includes furniture, lighting, ceramics, sculptural objects, and drawings made in Denmark, Japan, and the Netherlands by famed designers Ib Arberg, Mathias Bengtsson, Peter Karpf, Verner Panton, Gerrit Rietveld, and Mariyo Yagi. The gift showcases the Museum’s commitment to telling global narratives about contemporary design and new technology. Pool Lounger, along with a selection of other works from Freedman’s gift, is currently installed in the Museum’s fourth-floor Decorative Arts and Design galleries.
Feminist Art
Judy Chicago. Immolation, from the suite On Fire, printed 2013 and 2018. Archival pigment print on paper. Brooklyn Museum, Gift of Regina K. Scully, 2023.72.7. © Judy Chicago / Artists Rights Society, New York. (Photo: Courtesy of the artist)
The Brooklyn Museum’s holdings of work by iconic feminist artist Judy Chicago constitute one of its most important collections. The portfolio On Fire documents twelve of Chicago’s iconic Atmospheres works, a series she began in 1969. These works were made at an important crossroads in the artist’s career, as she increasingly turned her attention to feminist politics and a related exploration of feminist artmaking. In 1968, Chicago began working with fireworks and flares, creating site-specific interventions to invite viewers to see the landscape from a female perspective.
Sonya Kelliher-Combs. Natural Idiot Strings, 2023. Reindeer and sheep rawhide, steel wire, wool, beeswax, nylon thread. Brooklyn Museum, Gift of the Contemporary Art Committee, in honor of the Brooklyn Museum’s 200th Anniversary, 2024.58. © Sonya Kelliher-Combs. (Photo: courtesy of the artist and Andrew Kreps Gallery)
With a poetic approach to space, this anniversary gift merges lived experience and art traditions of Alaska Native Peoples to create a three-dimensional, subtly moving installation. Each element carries two pouch-like shapes—references to walrus tusks and, therefore, to nature, nourishment, and kinship for Alaskan Natives. Created from reindeer and sheep rawhide, they are connected by viscera-like strands that reference traditions of hunting, gathering, and, in Sonya Kelliher-Combs’s life specifically, how mothers pass sewing and preservation skills on to their children. Like much of Kelliher-Combs’s body of work, Natural Idiot Strings reflects upon the enduring legacy of settler colonialism—particularly in regard to maintaining relationships with ancestral homelands. The piece diversifies the feminisms that are represented within the Elizabeth A. Sackler Center for Feminist Art.
Photography
Photographing figures such as David Byrne and Debbie Harry, as well as working in zines, performance art, and experimental film, American artist Jimmy DeSana was a crucial member of New York City’s punk and No Wave scenes of the late 1970s and early 1980s. This photograph was featured in the first major museum survey of the artist’s work—Jimmy DeSana: Submission, held at the Brooklyn Museum in 2022–23—and is among the first of his photographs to enter the collection. The addition of DeSana’s work marks an important expansion of the Museum’s Photography collection.
Please visit the Brooklyn Museum’s site for more information. The Museum can also be found on Instagram, TikTok, YouTube, and Facebook.
NEWSFLASH: NEW WORLD RECORD MAGNIFICENT MOSQUE LAMP MAKES £5.1 MILLION AT BONHAMS – HIGHEST PRICE ACHIEVED FOR A GLASS OBJECT AT AUCTION
A Mamluk enamelled glass mosque lamp made for Chief of Corps Saif ad-din Sarghitmish (d.1358) Egypt or Syria, 1351-1358 AD. Sold for £5,130,400 (estimate: £600,000-1,000,000)
London - The 14th-century Sarghitmish lamp from Egypt, one of the rarest and most important examples of Islamic glass ever offered at auction, sold for £5,130,400 at Bonhams Islamic and Indian Art Sale on Tuesday 12 November 2024 amid competitive bidding in the room and on the phones. The Sarghitmish lamp is now the highest priced glass object ever sold at auction. It had an estimate of £600,000-1,000,000. The lamp was consigned by a descendant of Egypt’s first Prime Minister, Nubar Pasha, having been in the family for more than a century. It had been regarded by the family as a decorative piece – it had been used as a vase for dried flowers.
Nima Sagharchi, Bonhams’ Group Head of Middle Eastern, Islamic and South Asian Art comments, “We are absolutely delighted with this result. The Sarghitmish lamp is a magnificent work of art and craftsmanship. Not only is this lamp extremely rare, it has an impressive and extensive exhibition history, having been showcased in some of Paris’ most important museums.”
Oliver White, Bonhams’ Head of Islamic and Indian Art adds, “From the mid-1800s, the lamp belonged to the prominent French collector Charles Schefer, and in 1906 it became part of the collection of Armenian aristocrat Boghos Nubar Pasha, the son of Egypt's first Prime Minister. It has been passed down in his family ever since. The rarity of the object, together with this impressive provenance, make it one of the most important pieces of Islamic glassware ever to come to market.”
A shining example of medieval glassware
Mosque lamps are considered some of the most technically accomplished examples of medieval glassware anywhere in the world. The technique of simultaneously gilding and enamelling glass was almost unique to the Mamluk court, where they were produced in the 13th and 14th centuries for decoration and provision of light in Mosques. Illuminating a Mosque was considered an act of religious patronage, so Mosque lamps were usually dedicated by Sultans and Dignitaries. This particular lamp was commissioned by the Mamluk Emir Sarghitmish, a powerful chief during the reign of al Nasir-Hasan. The lamp carries both his name and the Sultan’s name, as well as the blazon of Sarghitmish. It was most likely hung in the Madrasa of Sarghitmish, a very prominent Mosque, that still stands today in Cairo’s Medieval quarter. In 1907, the scholar Yacoub Artin Pasha celebrated the lamp’s beauty observing, “In its entirety, this lamp is on a par with the most beautiful enamelled glass lamps I have seen and studied.”
Professor Robert Hillenbrand, writing in Bonhams Magazine, explains: “Each lamp was hung by chains from the roof or tie-beams, in a place of worship, no matter what building type it adorned. Its function was practical, religious and political… In the dim penumbra of such buildings, these lamps were a practical necessity; they enclosed wicks suspended in glass oil containers and created pools of mobile yellow light amid the darkness. The light was both emitted and reflected, and as the viewer moved, so the separate colours of the lamp – blue, gold, black – came into focus one after another as they caught the light.” Read the full article here.
A powerful display of piety and politics
The lamp is inscribed with a verse from surah al-Nur (light) from the Qur’an, a reminder that Mosque lamps served as a physical manifestation of the light of Allah, and that their production was considered an important act of religious patronage by wealthy and powerful figures. It was standard practice in medieval enamelled lamps that their upper inscription was Qur’anic. Various texts were popular, none more so than the verse, “God is the Light of the heavens and the earth, the likeness of His Light is as a niche wherein is a lamp.” In the Sarghitmish Lamp more of the verse is given, with the letters closely packed together in three tiers. Patrons like Sarghitmish also squeezed every last ounce of publicity out of the objects that they ordered. Set in rows, these lamps proclaimed over and over again the name and rank of the Emir Sarghitmish, a message amplified by the emblem of his rank and his official titles ending with the name of the ruling Sultan: “His Honourable and High Excellency our Lord, the Royal, the Well-Served, the Swordsman, Sarghitmish, Chief of a Corps of Mamluks of al-Malik al-Nasir”. His titles are located nearer the viewer and are larger in scale than the upper Qur’anic inscription. The lower inscription includes Sarghitmish’s repeated emblem in the form of a shield – a red napkin(buqja) which stands out against a white field and identifies him as Master of the Robes (jamdar). Thus, his madrasa became a stage for self-display in a powerful blend of piety and politics.
Widely published and exhibited
The Mamluk enamelled glass mosque lamp is one of the largest, most extensively published and widely exhibited examples of its kind. Its exhibition history includes displays in three of Paris' major museums in the 19th century: The Musée Guimet in 1869, The Musée des Arts Décoratifs at the Louvre in 1903, and the Palais du Trocadéro in 1878. The lamp also featured in at least ten major publications dating back to 1869 including being illustrated as early as 1907 in the Bulletin de L'institut Egyptien, where it is the subject of extensive commentary by the prominent Egyptian Armenian scholar, Yacoub Artin Pasha.
About The Bonhams Network
Bonhams is a global network of auction houses, with the largest number of international salerooms, offering the widest range of collecting categories and selling at all price points. Bonhams is recognised for its bespoke service, and a dedication to local market relationships, enhanced by a global platform. With 14 salerooms, Bonhams presents over 1,000 sales annually, across more than 60 specialist categories, including fine art, collectables, luxury, wine & spirits, and collector cars.
Founded in 1793, Bonhams has representatives in more than 30 countries and operates flagship salerooms in London, New York, Paris, Los Angeles, and Hong Kong. In 2022, Bonhams added four international auction houses to its network: Bukowskis, Stockholm; Bruun Rasmussen, Copenhagen; Cornette de Saint Cyr, Paris and Brussels; and Skinner, Massachusetts. The success of Bonhams’ global strategy is a result of recognising the shift in growing intercontinental buying and increased digital engagement. More information HERE
In 2023, Bonhams achieved 14% growth with $1.14 billion in turnover. Recent important auctions and landmark single-owner collections, include the white glove sales of Sir Michael Caine: The Personal Collection, Alain Delon: Sixty Years of Passion; Sir Roger Moore: The Personal Collection; Personal Property of Justice Ruth Bader Ginsburg and The Robert & Jean-Pierre Rousset Collection of Asian Art: A Century of Collecting. Other notable single-owner sales included The Estate of Barbara Walters: American Icon; The Alan and Simone Hartman Collection; The Crown Auction: Props and Costumes and The Claude de Marteau Collection.
Top lots for 2023 include 1967 Ferrari 412P Berlinetta, Sold at Quail Lodge, US for US$30,255,000. Tipu Sultan’s Bedchamber Sword (sold in London for £14m – a world record for both an Islamic and an Indian object); Paul Signac (1863-1935), Sisteron, 1902. Sold for US$8,580,000 (estimate US$4-6 million), and Claude Monet (1840-1926), La Seine près de Giverny, 1888. Sold for US$6,352,500 (estimate US$4-6m), both from the Alan and Simone Hartman Collection; A Gilt Copper Alloy figure of Virupaksha, Central Tibet, Densatil Monastery, Early 15th century. Sold for HK$37.9m (£4,060,326) in Hong Kong. Yoshitomo Nara (born 1959) Three Stars. Sold for HK$36,754,000 (£3,930,914, also in Hong Kong
For more information about this auction and others featured By Bonhams, please visit their site. Bonhams can also be found on Instagram, Facebook, X, YouTube, and Pinterest.
David Geffen Galleries Construction Enters Final Phase Full Form of Building Revealed as Scaffolding Is Removed April 2026 Opening Planned
Image caption: The David Geffen Galleries at LACMA, photo © Museum Associates/LACMA by Gary Leonard
(Los Angeles, CA—October 25, 2024) The Los Angeles County Museum of Art (LACMA) announced today that, after four years of construction, the last of the scaffolding will be removed from the David Geffen Galleries, revealing for the first time the full form of LACMA’s new building for its permanent collection, designed by Pritzker Prize–winning architect Peter Zumthor. With the full shape of the 900-foot- long, horizontal building at last visible as it spans Wilshire Boulevard, construction will move into its final phase. With nearly 90% of construction finished to date, major construction completion will be reached by the end of 2024, and in early 2025
LACMA will start to move key operational functions into the building. After the building systems are commissioned, LACMA will install artworks from the museum’s global collections in 110,000 square feet of galleries on the exhibition level, with April 2026 set as the opening of the David Geffen Galleries. LACMA will offer select groups, including members, a once-in-a-lifetime opportunity to preview the dramatic spaces inside the building in its raw state starting in spring 2025 before artworks are installed.
“Being so close to opening our new galleries and to having so much more art on view is incredibly exciting, so many people have contributed to making this vision for LACMA and Los Angeles a reality, and we are grateful to each and every one. When the scaffolding comes down, L.A. will finally see 360 degrees of Peter Zumthor’s amazing architectural achievement and begin to sense how wonderful this building is going to be inside. We can’t wait to open to the public in April 2026.”
Marrying architectural design and program, non-hierarchical presentations of art from all cultures and eras will be brought together on the single, elevated exhibition level in the David Geffen Galleries, redefining the museum experience for visitors and offering a more inclusive perspective on art and history. On the exhibition level, floor- to-ceiling glass panels along the soaring perimeter will open some of the galleries to natural light while providing panoramic views out to the city, making every visit feel new depending on the time of day, season, and weather. The exhibition spaces vary from these light-filled terrace galleries to sheltered interior galleries suitable for installation of light-sensitive works. The subtlety of the changing light is framed by the solidity of architectural concrete, chosen for its structural and aesthetic properties. The design of the David Geffen Galleries seamlessly integrates the building with Hancock Park and opens 3.5 acres of new outdoor space, which will be activated with public art installations, educational programming, and events. At street level, below the exhibition floor, a series of pavilions will house three restaurants/cafes, the LACMA Store, a 300-seat theater, and the W.M. Keck Education Center.
The opening of the David Geffen Galleries in April 2026 will bring to a culmination a two-decade campus transformation to increase gallery space at LACMA and enhance the visitor experience. Previous phases included the opening of the Broad Contemporary Art Museum (BCAM) in 2008 and the Lynda and Stewart Resnick Exhibition Pavilion in 2010, which together added 100,000 square feet of gallery space and, critically, enabled LACMA to continue presenting exhibitions and programming while construction of the David Geffen Galleries proceeded on the east side of the campus. With the 110,000 square feet of exhibition space in the David Geffen Galleries, LACMA will have 220,000 square feet of galleries, a significant increase from its 130,000 square feet in 2007.
Development and construction of the David Geffen Galleries is funded by the Building LACMA campaign, which has raised $793 million to date, exceeding its initial $750 million fundraising goal, inclusive of the building cost of $715 million (including contingency added for tar and fossil impacts). In addition to the $125 million contribution from the County of Los Angeles and the $150 million gift from David Geffen, major donors to the historic public-private partnership include LACMA board of trustees co-chair Elaine Wynn, the W.M. Keck Foundation, LACMA’s board of trustees, and many other philanthropic leaders from a wide range of industries and creative communities. The building will be owned by the County of Los Angeles, more than 80% paid for by private donations.
LACMA COO Diana Vesga has been responsible for the building project since its inception in 2014 and has overseen Clark Construction Group, LACMA’s general contractor, and Aurora Development, LACMA’s owner’s representative and project manager, in addition to all engineering and consulting firms that have been instrumental for the realization of this monumental project. The project went through an Environmental Impact Review (EIR) process with extensive community outreach over five years before its EIR was certified and the project was unanimously approved in 2019 to move forward by L.A. County Board of Supervisors, with L.A. County as lead agency and L.A. City as responsible agency. L.A. City Council also unanimously approved the air space vacation over Wilshire Boulevard for the horizontal design of the building to be a reality. Since the beginning of the project, approximately 4,500 workers across disciplines and trades including architecture, structural engineering, geotechnical, mechanical, electrical and plumbing engineering, civil engineering, lighting, acoustics, landscape design, and sustainability consulting helped realize this project. It was estimated by Los Angeles County Economic Development Corporation in 2021 that the David Geffen Galleries project would generate more than $1.2 billion in economic benefits for Los Angeles.
About LACMA
Located on the Pacific Rim, LACMA is the largest art museum in the western United States, with a collection of more than 150,000 objects that illuminate 6,000 years of artistic expression across the globe. Committed to showcasing a multitude of art histories, LACMA exhibits and interprets works of art from new and unexpected points of view that are informed by the region’s rich cultural heritage and diverse population. LACMA’s spirit of experimentation is reflected in its work with artists, technologists, and thought leaders as well as in its regional, national, and global partnerships to share collections and programs, create pioneering initiatives, and engage new audiences.
Location: 5905 Wilshire Boulevard, Los Angeles, CA 90036.
For more updates on the progress and stages of this development at LACMA please visit their site. The museum can also be found on Instagram, Facebook, YouTube.
Marian Goodman Gallery’s Your Patience Is Appreciated: An Inaugural Show
Pierre Huyghe Timekeeper Drill Core (MGG 57th St), 2024 Paint, plasterboard 2 1/2 x 23 3/8 in.(6.3 x 59.4 cm) Courtesy of the artist and Marian Goodman Gallery Photo credit: Alex Yudzon
New York, NY Marian Goodman Gallery opens its new headquarters in Tribeca on 26 October 2024 with Your Patience Is Appreciated: An Inaugural Show. Featuring some 75 works across media, including both new and recent installations, sound and video work, sculpture, and painting, the group exhibition highlights the intellectual and artistic affinities that coalesce the 50 multi-generational and diverse artists and estates within the Gallery’s program today. On view through 21 December 2024, Your Patience is Appreciated is presented across three floors, with works activating both galleries and transitional spaces throughout the newly renovated and restored Grosvenor Building at 385 Broadway.
“The title of the exhibition addresses notions of expectations that come with moments of change and underlines the conceptual and temporal complexities of our artists’ practices, implicitly requiring patience and purpose,” stated Philipp Kaiser, President and Partner, who oversaw the exhibition’s curation. “The exhibition’s title, and indeed the exhibition itself, also reflects the Gallery’s unwavering dedication to its program that has traced distinct threads of contemporary art across several decades and continents, privileging critical thought, poetic sensibility, and artistic integrity.”
Gabriel Orozco Four Bicycles (There Is Always One Direction), 1994 Bicycles, in four parts 78 x 88 x 88 in. (198.1 x 223.5 x 223.5 cm.) Courtesy of the artist and Marian Goodman Gallery
Added Rose Lord, Managing Partner, “The opening of our Tribeca space marks the first time in nearly a decade that the full spectrum of our artists is being presented at one time and provides an unusual opportunity to explore the points of personal, aesthetic, and creative connection that have flourished among them.” Noted Managing Partner Emily-Jane Kirwan, “Our artists are at the heart of all that we do. Our new flagship building in New York, together with our galleries in Paris and Los Angeles, provide critical platforms for their international practices.”
Your Patience Is Appreciated showcases the unique cosmos of artists represented by the Gallery and reflects the rigorous program that has defined the Gallery for nearly 50 years. Conceived as a dialogue of tectonic layers that enables a meaningful conversation between artists from disparate contexts, generations, geographic locations, and sensibilities, the exhibition pays tribute to the Gallery’s programmatic focus and history—the Gallery’s inaugural show in 1977 was dedicated to Marcel Broodthaers—as well as its many longstanding artist relationships. In addition, a range of film, video, sound, and installation works, as well as an activation, emphasize the unique breadth of the Gallery’s enduring dedication to time-based, ephemeral, and radical works of art. Throughout the run of the exhibition, a film program will run continuously in one of the galleries, spotlighting five different works rotating on a daily basis.
Giuseppe Penone Unghia e foglie di alloro, 1989 Glass, Laurel leaves 76 x 49 x 22 in.(193 x 124.5 x 55.9 cm) Courtesy of the artist and Marian Goodman Gallery Photo credit: Cathy Carver
The exhibition will include work by: Eija-Liisa Ahtila, Chantal Akerman, Giovanni Anselmo, Leonor Antunes, Nairy Baghramian, Lothar Baumgarten, Dara Birnbaum, Christian Boltanski, Daniel Boyd, Marcel Broodthaers, Maurizio Cattelan, James Coleman, Tony Cragg, Richard Deacon, Tacita Dean, Rineke Dijkstra, Cerith Wyn Evans, Andrea Fraser, Bernard Frize, Gerard & Kelly, Dan Graham, Pierre Huyghe, Cristina Iglesias, Amar Kanwar, Louise Lawler, An-My Lê, Steve McQueen, Julie Mehretu, Annette Messager, Delcy Morelos, Sabine Moritz, Maria Nordman, Gabriel Orozco, Giulio Paolini, Giuseppe Penone, Edi Rama, Anri Sala, Matt Saunders, Tino Sehgal, Paul Sietsema, Robert Smithson, Ettore Spalletti, Tavares Strachan, Thomas Struth, Niele Toroni, Adrián Villar Rojas, Danh Vo, James Welling, and Yang Fudong.
From left to right: Annette Messager Malicieuse (Mischievous), 2020-2021 Fabric, various materials 61 3/8 x 44 1/8 x 8 5/8 in. (156 x 112 x 22 cm) Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele ,Rineke Dijkstra The Buzz Club, Liverpool, 6 March 1995 (Detail) Four Inkjet prints 16 1/2 x 13 in. (42 x 33 cm) each Courtesy of the artist and Marian Goodman Gallery , Thomas Struth Muon System Test Station, ATLAS, CERN, Meyrin, 2023 Inkjet print 59 x 81 in. (150 x 205.5 cm) Courtesy of the artist and Marian Goodman Gallery An-My Lê Total Solar Eclipse, Luna Island, Niagara Falls, April 8, 2024 Pigment print 40 x 71 in. (101.6 x 180.3 cm) Courtesy of the artist and Marian Goodman Gallery , Anri Sala Surface to Air XXVI (Breccia Oniciata/34°48'4"N, 133°56'34"E), 2024 Fresco painting, intonaco on aerolam, Tartaruga marble 47 1/4 x 38 3/4 x 2 1/8 in. (120 x 98.5 x 5.5 cm) Courtesy of the artist and Marian Goodman Gallery Photo credit: Francesco Squeglia ,Annette Messager Malicieuse (Mischievous), 2020-2021 Fabric, various materials 61 3/8 x 44 1/8 x 8 5/8 in. (156 x 112 x 22 cm) Courtesy of the artist and Marian Goodman Gallery Photo credit: Rebecca Fanuele , James Coleman Retake with Evidence, 2007 Projected film, performed by Harvey Keitel; 35 min. Courtesy of the artist and Marian Goodman Gallery.
Gallery History and Trajectory
Established in 1977 by Goodman, who had earlier co-founded the art publishing company, Multiples, Inc., Marian Goodman Gallery gained prominence early in its trajectory for introducing the work of seminal European artists to American audiences. Through the 1990s, the gallery deliberately enlarged its radius of attention offering a broader global perspective of the art defining our times. Synchronous with the mission at hand, the Gallery was inevitably drawn closer to Europe, and in 1995, Marian Goodman Gallery expanded, opening a gallery in Paris, now located at 79 rue du Temple, and an adjacent space for books and editions in 2017. In 1998 the Gallery inaugurated its first major renovation in New York on 57th Street, which served as its headquarters until the current relocation to Tribeca.
Following the inauguration of Marian Goodman Gallery Los Angeles last year, with two major spaces now anchoring each coast and a well-established program for almost three decades in Paris, the opening of the new Tribeca flagship reflects the Gallery’s development under the leadership of its Partners. In the past five years, the program has grown and expanded, representing a group of new artists including Daniel Boyd, Andrea Fraser, Bernard Frize, An-My Lê, Delcy Morelos, and Tavares Strachan, as well as the Holt/Smithson Foundation.
About Marian Goodman Gallery’s New Home in Tribeca
Marian Goodman Gallery’s global flagship and headquarters transforms the historic Grosvenor Building. Designed by studioMDA, the renovated and restored building retains the character and feel of the original five-story structure, including the cast-iron façade, interior archways, and exposed brick walls. With a dynamic street-level presence, the 35,000-square-foot building features two floors of light-filled exhibition space as well as viewing rooms on its first, second, and third floors, a library and archive, art storage, and administrative offices.
Originally constructed in 1875, the historic building served as an industrial warehouse for more than a century, before performing arts organizations adopted the building as a venue. Vacant for years, the renovated and restored building is being rewoven back into the cultural and civic fabric of the neighborhood with the Gallery's opening.
About studioMDA
studioMDA is a multidisciplinary design firm based in New York and founded in 2002 by Markus Dochantschi with the mission of challenging the boundaries of design. Working across typologies and with projects throughout the United States and internationally, studioMDA has emerged as an authority on cultural buildings and is highly respected for its specific and historic knowledge of the Tribeca neighborhood. www.studiomda.com
About Marian Goodman Gallery
Marian Goodman Gallery champions the work of artists who stand among the most influential of our time and represents over five generations of diverse thought and practice. The Gallery’s exhibition program, characterized by its caliber and rigor, provides international platforms for its artists to showcase their work, foster vital dialogues with new audiences, and advance their practices within nonprofit and institutional realms.
The Gallery is led by a team of partners, with Philipp Kaiser as President and Partner, Emily-Jane Kirwan and Rose Lord as Managing Partners, and Leslie Nolen and Junette Teng as Partners. Marian Goodman is Founder. For more information, please visit mariangoodman.com.
Opening reception will be held on Saturday, 26 October, 10 am – 4 pm, and the exhibition will be on view until 21 December 2024. For more information about the Inaugural Show and the new opening of the Gallery, please visit the Marian Goodman Gallery’s site. The gallery can be found on Instagram and Artsy, too.
Alexander Gray Associates announces their representation of Kang Seung Lee
Photo Credit : Dustin Aksland
Alexander Gray Associates is thrilled to announce their representation of Kang Seung Lee, whose profound work is currently on view at the 60th Venice Biennale. The announcement will go live later today.
Kang Seung Lee, born in Seoul and based in Los Angeles, is known for his deep exploration of identity, collective memory, and transnational queer histories. His meticulously crafted drawings, embroidered works, and installations often incorporate archival materials and organic elements, creating powerful narratives that resonate across generations and cultures. His work at the Venice Biennale, in particular, weaves together histories of queer figures, forging connections that challenge and inspire viewers.
““We are honored to represent Kang Seung Lee and his remarkable body of work,” Alexander Gray, the gallery’s owner, said in a statement. “Kang Seung Lee brings a compelling voice to contemporary art with his reflections on history, identity, and the archive. His work connects personal stories with broader narratives. As an artist represented by Commonwealth and Council and Gallery Hyundai, we’re excited to feature his work in upcoming exhibitions, including his show at Alexander Gray Associates in Spring 2025, and showcasing his impactful contributions to contemporary.” ”
Grimanesa Amoros presenting at the Light in Art and Architecture Symposium at Brown University
Photo credit: Grimanesa Amorós Studio
At the Light in Art and Architecture Symposium at Brown University, Grimanesa will explain the source of her artist journey with light. First, she will delve into her origins being from Lima, Peru. Then, she will share how she was inspired at a young age by the bohemian lives of figures like Hemingway, Peggy Guggenheim, and Dalí. At the age of 21, she took the bold step of leaving everything behind in Peru to pursue her artistic dreams in New York City. Grimanesa Amoros will then present her work and engage in discussion with a Brown faculty member and the audience. A roundtable discussion at the end will explore the future of art and technology. On the second day of this two-day symposium with contemporary light artists and architectural lighting designers, four of today’s most prominent light artists and lighting designers will present examples of their practice as it enhances, modifies, and interprets architecture or creates ephemeral and transitory spaces in their own right.
AMPLEXUS Year: 2022 Media: LEDs, diffusive and reflective material, custom light sequence, and electrical hardware Dimensions: (L x W x H): 85ft ft x 85 ft x 32 ft (26 m x 26 m x 10 m) Location: Cultural Palace Diplomatic Quarters, Riyadh, Saudi Arabia Photo credit: Grimanesa Amorós Studio
Grimanesa’s artistic practice revolves around two central themes: nature and light, heavily influenced by her childhood experiences along the Pacific Ocean. The ever-changing colors of the ocean foam sparked her fascination with light, which she views as ephemeral—something that can be harnessed but never truly owned. One of her most significant projects, Uros House, commissioned for Times Square, draws inspiration from the Uros people of Peru and aims to raise awareness about their diminishing way of life. Another notable work, Golden Waters, pays homage to ancient water channels and was installed under the intense heat of Arizona.
THE MIRROR CONNECTION Year: 2013 Media: LEDs, diffusion and reflective material, custom lighting sequence, electrical hardware
Dimensions: 90 ft x 70 ft x 40 ft (27.4 m x 21.3 m x 12.2 m) Location: Central Academy of Fine Arts CAFA Art Museum, Beijing, China Photo credit: Grimanesa Amorós Studio
Throughout her career, whether facing last-minute challenges with installations like Mirror Connection in Beijing or exploring themes of mental health in SCIENTIA in Bilbao, Grimanesa consistently seeks to create connections and provoke thought. Her journey has been guided by the core principles of.
SCIENTIA Year: 2022 Media: LEDs, diffusion and reflective material, custom lighting sequence, electrical hardware
Dimensions: 60 ft x 35 ft x 25 ft (18.3 m x 10.7 m x 6 m) Location: Azkuna Zentroa Alhóndiga, Bilbao, Spain Photo credit: Grimanesa Amorós Studio
““I live with a constant Romance with the Unknown, always open to new.” “I live by three letters, LPP—Love, Passion, and Perseverance.”
”
Video credit: Grimanesa Amorós Studio
The symposium will take place on Saturday, September 28th at 11 AM , at the Granoff Center for the Creative Arts, Martinos Auditorium located at 154 Angell St, Providence, RI 02906.
For more information about Grimanesa’s art and latest projects, please visit her site. You can also follow her for updates on Twitter, Instagram, and Facebook. For more information about this event and others at Brown University, please visit the University’s site here.
Obama Presidential Center Museum Building Now Features 83-Foot Tall Painted Glass Window by Artist Julie Mehretu
Uprising of the Sun by Julie Mehretu - Campus View, Credit: Lamar Johnson Collaborative and Julie Mehretu Studio
World-Renowned Ethiopian-American Artist and Activist Julie Mehretu’s Vision is Now Part of a Public Art Display at the Center to Inspire Visitors and the Surrounding South Side Community
CHICAGO – Today, the Obama Foundation announced the installation of an 83 ft. x 25 ft. commissioned work of art by world-renowned Ethiopian-American artist Julie Mehretu. The piece, titled “Uprising of the Sun,” is now featured on the north facade of the future Obama Presidential Center’s Museum Building.
Inspired by President Obama’s remarks at the 50th anniversary of the marches from Selma to Montgomery, Mehretu’s “Uprising of the Sun“ is a vibrant series of 35 abstract, painted glass panels. The piece reflects on the historical context of President Obama’s legacy, and will inspire viewers and draw visitors to the Center on the South Side of Chicago.
“Julie learned at a young age how access to public space can help shape and affect people's lives,” said President Obama. “For her to be a part of what we hope will be a transformative institution that will be unique in how it brings so many different people, ideas, and resources together is a wonderful opportunity for us.”
The daughter of an American mother and an Ethiopian father, Mehretu believes that art’s role is to provoke thought and reflection and to express the contemporary condition of the individual and society at large. In her paintings, drawings, and prints she presents a dynamic visual articulation of contemporary experience, an abstracted depiction of social behavior and the psychogeography of space. In developing her recent work, Mehretu has drawn from a process of sourcing and manipulating photographic images from broadcast media as points of departure for the social grounds of her paintings.
Uprising of the Sun by Julie Mehretu - Escalator View, Credit: Lamar Johnson Collaborative and Julie Mehretu Studio
Collaborating with Franz Mayer Studio, Mehretu created a monumental work in glass for the Center using a variety of techniques, including a combination of hand painting, freehand airbrushing, ceramic melting colors, and tape masking. “Uprising of the Sun” is Mehretu’s first work in glass.
“I wanted to honor Chicago’s history and President Obama’s legacy by telling a story about how change happens,” said Julie Mehretu. “This work is layered with history, and I’m eager to see how people will connect with it – whether you’re a grandparent from the South Side of Chicago or a kid from Addis Ababa. I hope it serves as an invitation to every visitor that they are welcome to be a part of the Center’s mission to make an impact and work towards a better future.”
From the White House to the Obama Presidential Center, President and Mrs. Obama have used the arts as a tool to inspire, empower, and connect people from around the world. This is the third commission announced by the Foundation and the first to be installed. The Foundation previously announced the late Chicago artist Richard Hunt’s “Book Bird” sculpture; and a sculptural water feature, entitled “Seeing Through the Universe,” by artist and architect Maya Lin – best known for designing the Vietnam Veterans Memorial in Washington, D.C.
Uprising of the Sun by Julie Mehretu - Stony Island View, Credit: Lamar Johnson Collaborative and Julie Mehretu Studio
"President and Mrs. Obama believe that art is an essential part of inspiring the next generation of leaders," said Obama Foundation CEO Valerie Jarrett. "In line with our mission, the Obama Presidential Center will feature arts education programs and spaces for visual art, theater, and dance, along with talks, performances, and workshops."
When open, the 19.3 acre Obama Presidential Center campus will include over 20 original artworks across the campus’ interior and exterior grounds. A majority of the artwork will be available to the public, free of charge. The Center is expected to be completed in the Spring of 2026.
Artist Julie Mehretu tours the Obama Presidential Center site during the installation of her commissioned artwork, an 83-foot-tall painted glass window titled “Uprising of the Sun,” in Chicago on Sept. 7, 2024 Credit: The Obama Foundation.
About the Artist
Julie Mehretu, (b. 1970, Addis Ababa, Ethiopia) lives and works in New York City. Mehretu is the recipient of many awards, including a MacArthur Fellowship (2005) and the Medal of Arts Award from the US Department of State in 2015. In 2020 the artist was included in TIME magazine's 100 most influential people of the year. Mehretu is a member of the American Academy of Arts and Letters, the American Academy of Arts and Sciences, the National Academy of Sciences in Ethiopia and the National Academy of Design. She sits on the board of the Whitney Museum of American Art and is a trustee and alumna of the American Academy in Berlin. Mehretu is represented by Marian Goodman Gallery, New York, Paris, and Los Angeles;
White Cube, London, Paris, New York, Seoul, and Hong Kong; and carlier | gebauer in Berlin and Madrid. To learn more about Mehretu, visit: Marian Goodman Gallery, White Cube Gallery and Denniston Hill. For more information about the Obama Foundation, please visit their site, follow them on Instagram, Facebook, YouTube.
Efraín López announces new appointment of Susie Guzman as a Partner
Headshot of Susie Guzman Courtesy of Efraín López
Efraín López is excited to announce the appointment of Susie Guzman as a Partner.
In her new role, Guzman will collaborate closely with the gallery founder to drive the gallery’s exhibitions program and artist roster. Her responsibilities will include overseeing the gallery's participation in international art fairs, cultivating relationships with both emerging and established collectors, and forging connections with global institutions. Additionally, Guzman will focus on nurturing the gallery's artist relationships and expanding its network, ensuring a dynamic and forward-thinking approach to both artist representation and collector engagement.
Guzman has had a successful career spanning over two decades, holding key positions at leading galleries. She joins Efraín López's leadership team to further its mission of celebrating and promoting meaningful and transformative practices in contemporary art.
From 2015 to 2020, Susie served as a senior director at Hauser & Wirth (NY), where she oversaw the commercial strategy, museum engagement, exhibitions, and publications for the estates of three renowned artists: Lygia Pape (1927-2004), Fausto Melotti (1901-1986), and Eduardo Chillida (1924-2002). During her time at Hauser & Wirth, Susie actively participated in major art fairs including Art Basel, ADAA in New York, Frieze, and Frieze Masters in both London and New York. Additionally, from 2017 to 2020, she personally managed the art fair in Spain, ARCOMadrid, and oversaw the reopening of Chillida Leku, the museum founded by Eduardo Chillida in Hernani, near San Sebastian. Before joining Hauser & Wirth, Susie held directorial positions at Peter Freeman Inc. in New York, and Galerie Thomas Schulte in Berlin. She studied Law and International Law at the Universidad Complutense of Madrid and Universitat de Barcelona, respectively.
“We are thrilled to welcome Susie Guzman to our team. “Her expertise and passion for art will be vital in shaping the future of the gallery. I believe that this current moment holds significant potential for exploring new horizons in the art world. Partnering with Susie feels like a natural progression, promising and fortunate. I have always greatly admired Susie’s unwavering dedication to artists and her distinctive enthusiasm, qualities that should be nurtured in all of us. I am absolutely thrilled to have the opportunity to collaborate with Susie as we embark on this exciting new chapter for the gallery.”
Guzman's partnership at Efraín López will focus on expanding the gallery's roster of artists, enhancing its exhibitions program, and deepening its engagement with the art community. Her role will also include developing new initiatives to broaden the gallery's reach and impact. A native of Spain and based in New York for the last thirteen years, Guzman will oversee the Tribeca space while working closely with European collectors and institutions to expand the gallery's global presence. This appointment highlights Guzman's impressive professional background and extensive knowledge of the art industry. Collaborating with López, Guzman will help steer the gallery towards its next phase of exciting exhibitions and curatorial distinction.
“I am honored to join Efraín López and contribute to his dynamic and forward-thinking vision. I deeply value and admire Efraín’s unique approach to our business and his great sensitivity towards art and artists. I believe we share a similar work ethos and passion for our profession, and wish to contribute to this exciting moment of expansion and growth for the gallery. I look forward to working closely with artists whose careers I deeply admire like Gisela Colón (b. 1966) and Paul Stephen Benjamin (b. 1966), alongside a younger generation who are shaping the contemporary discourse today, such as Braxton Garneau (b. 1994), Monsieur Zohore (b. 1993), and Gabriela Salazar (b. 1981). At this moment in my career, joining Efraín López feels like an unexpected and exciting turn that I am thrilled to take.”
In addition to her focus on the primary market, Susie Guzman will expand Efraín López's boutique secondary market services. Together, they intend to cater to a select group of private clients and public institutions through their network of like-minded art dealers and professionals, enhancing the creation of art collections and addressing the challenges of collecting in the 21st century.
About Efraín López
Efraín López is a Puerto Rican-American art dealer and exhibition maker based in New York City. Between 2012 and 2018, López founded and directed his eponymous gallery in Chicago, where he presented an ambitious and rigorous exhibition program, often giving artists their first solo presentation in the United States. His long-standing commitment to the career development of emerging artists has led to placements in major museum collections worldwide. In June of 2023 López opened Efraín López, a contemporary art gallery in New York's Tribeca neighborhood. The program is conceptual, multidisciplinary, and globally minded, engaging both emerging and established artists.
For media inquiries, please contact here. For more information about the gallery, please visit their site.