Economics Professor Pier Luiggi Sacco calls our attention to a crucial tension in the way contemporary visual arts operate today.
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13 June 2018, Melanie Gerlis questions whether the art market can continue thrive in a sharing economy characterised byĀ millennial’s who are more interested in experiencing, sharing and being in the moment. Millennial’s donāt seem to have the same collecting gene as previous generations and this could have a lasting impact on the market as we know it today.
11 June 2018, Andrew Goldstein spoke to Art Basel’s Global Director, Marc Spiegler,Ā about his perspective on the marketās tumultuous landscape in the run-up to Art Baselās flagship event in Switzerland.
12 June 2018, M.H. Miller talks to four gallery owners ā Paula Cooper, Elyse Derosia, Bridget Donahue and Sean Kelly ā where they discuss art fairs, auctions and staying in business.
12 June 2018, Bonnie Greer chats to Yinka Shonibare MBE aboutĀ Talisman in the Age of Difference,Ā the exhibition that he has curated at Stephen Friedman Gallery in London.
12 June 2018, Anna Brady reports from the opening of Unlimited at Art Basel 2018 whereĀ The San Francisco Museum of Modern Art has acquired Ponte City (2008-14),Ā a photographic series and installation by the South African artist Mikhael SubotzkyĀ and the UK artist Patrick Waterhouse, from Goodman Gallery.
11 June 2018, Lisa Isaac’s reports that Haroon Gunn-Salie’s worj, Senzenina, will be among an elite group of work displayed in London’s Regents Park as part of Frieze. The work captures the ghosts of those slain in the Marikana Massacre and has recently been on exhibit as part of the New Museum Triennale in New York.
11 June 2018, Misha Krynauw reviews Dada Khanyisa’s first solo exhibition, Bamb’iphone, at Stevenson Cape Town.
8 June 2018, Emily Wilson discusses the interaction between The Deluge, a monumental J.M.W Turner painting showing a Biblical flood and John Akomfrahās Vertigo Sea which are currently paired at the San Francisco Museum of Modern Art.
8 June 2018, Pablo Larios reports on the 10th Berlin Biennale and asks the question of whether we need another specialistsā biennale.