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Happy Wednesday! A review of who moves and shakes in art deals this week:
- Marian Goodman Gallery attends Edith Dekyndt: Dekyndt has a multidisciplinary practice that explores time, light and space with minimalist video, sculpture, installation and performance. The gallery will debut in Paris Art in October.
- Salon 94 represents the Crow Half Moon: Half-Monoon (Caddo Nation) is known for blending traditional scrolls with bold glazes and inscribed texts, which work in collections of MFA Houston, Crystal Bridges, ICA Miami and Forge Project.
- Stevie Soares joins Los Angeles director Sebastian Gladstone: Soares brings experience from Blum and La’s Ceradon gallery, and she will continue to connect with it.
- Templon added martial arts rays: The gallery’s Paris location will host an exhibition of new works by the iconic Nouveau Réalisme artist in January.
- Timothy Taylor now stands for Martha Tuttle: In November, the gallery will hold an exhibition of new works in its London space at Tuttle. Some of the works combine materials collected during a month’s residence in Somerset, England last summer.
- Aaron Baldinger joins Gagosian as director: Bardinger will live in New York after spending 12 years at Gladstone, where he oversaw the Fair Plan and worked closely with artists including Ugo Rondinone and Claudia Comte.
- Accuavella Galleries now stands for Harumi Klossowska de Rola: The Swiss sculptor will be represented exclusively in the United States by the gallery, which plans to hold a solo exhibition at its New York location in the fall of 2026.
- Jennie Goldstein The curatorial role is a new role given by the Stroud Foundation. Goldstein will oversee the museum’s 26,000 work collections and continue to curate exhibitions.
Large quantity: $400.
Here is the total estimated value of a set of art collected by Sotheby’s from Leonard Lauder in November, after Portrait of Elizabeth Ledler (1914-16), the net amount is expected to exceed US$150 million. This is by far the most expensive piece announced for sale at auction houses this fall.
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Sometimes it is difficult to see the tangible impact of AI on the creative world. In the art world, more and more artists have made AI an indispensable tool and a medium. Refik Anadol is the standard driver of the method, thanks to what he calls “data drawing.” But the author of tech journalist Brian Merchant Blood on the machine During the Luddite rebellion in the 19th century, the influence of AI on the repeated performance of workers in his newsletters has been documented. On Tuesday, he focused on artists – especially illustrators and graphic designers who do not sell their works in major galleries or Art Basel. There, he shares stories of readers who have seen steady work in advertising agencies, publishers and TV production studios, as cost-cutting executives rely on “good enough” output from Chatgpt and other image generators. This is the bleak but necessary corrective action for Anadol and his fellow artists.
