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What exactly does it mean to collect art in uncertain times? The members of the 2024 ARTnews Top 200 list are reacting to the state of today’s uncertain art market.⁠Check the link in our bio or on newsstands today to see what they have to say.⁠Image: Cover of the 2024 ARTnews Top 200 Collector issue.⁠Credit: ©ARTnews⁠ / Luana Oliva⁠⁠[ID: An Art Deco-inspired magazine cover defined by a primarily dark green background and gold details reminiscent of hardware. Text, in varying shades of gold, reads: ARTnews: Top 200 Collectors, Sotheby’s Next Chapter, Art & Law, India’s Mega-Collectors. 2024.“]

Lorraine O’Grady, an artist who bravely used her conceptual pieces and performance art to critique systems of power, incisively underlining the ways that class, race, and gender influence one another, died at her home in New York on Friday.⁠⁠O’Grady developed a loyal following for artworks that often proved unclassifiable. She produced photographs, collages, and performances, and wrote frequently, on topics ranging from her own work to Édouard Manet’s 'Olympia,' from feminism to Surrealism, from rock music to her own biography. Across much of her work, she dedicated herself to prioritizing the perspectives of Black women.⁠⁠Her art critiqued racism, misogyny, and privilege, but it did so using methods that were ambiguous and occasionally even tough to interpret. She spoke frequently of wanting to use what she called “both/and thinking” that stood against Western systems, which she wrote are “continuously birthing supremacies from the intimate to the political, of which white supremacy may be only the most all-inclusive.”⁠⁠O’Grady’s defining artworks are the performances she did during the early ’80s in which she took up a character called Mlle Bourgeoise Noire, a vampy pageant queen who wore a sash bearing her name and brought with her a cat-o’-nine-tails. Without invitation and performing in character, O’Grady arrived at New York gallery openings, where she whipped herself and read aloud a brief statement. It culminated in an abrasive diagnosis of the cultural scene: “Black Art Must Take More Risks!” Few could accuse O’Grady of failing to fulfill her own directive.⁠⁠Click the link in bio to read more.

Delcy Morelos is the winner of the ARTnews Awards' inaugural Established Artist of the Year award for her exhibition “Delcy Morelos: El abrazo” at the Dia Art Foundation in New York.⁠⁠Cecilia Alemani, director and chief curator of High Line Art in New York, was one of the members of our eight-person jury. In the clip above, Alemani speaks about the way Morelos "stresses the bodily feeling or sensual relationship" with materials like earth, spices, and aromas.⁠⁠Click the link in our bio to watch the full video, which also features commentary from jury members María Elena Ortiz (Modern Art Museum of Forth Worth) and Pilar Tompkins Rivas (Lucas Museum of Narrative Art).

Samia Osseiran Junblatt, a leading Lebanese artist who took up painting as a way of responding to events from her personal life, has died at 80.⁠⁠One of her artworks, "Sunset" (1968), of a red sun hanging above a long corridor leading to nowhere, recently appeared in this year's Venice Biennale in a section focusing on historical abstraction. A major figure in Lebanese contemporary art, it was Osseiran Junblatt’s first time showing at the storied international exhibition.⁠⁠"I love the sunset the most," she said in 2016. "I watch the sun dip into the sea every evening and like it most in the winter when the forms are more varied and beautiful."⁠⁠Click the link in bio to learn more.

Eddie Rodolfo Aparicio is the winner of the ARTnews Awards' inaugural Emerging Artist of the Year award for his "MOCA Focus" exhibition at the Museum of Contemporary Art in Los Angeles.⁠⁠Pilar Tompkins Rivas, chief curator and deputy director of the Lucas Museum of Narrative Art in Los Angeles, was one of the members of our eight-person jury. In the clip above, Rivas speaks about Aparicio's ability to tap into the "specificity of the communities and the micro-geographies in Los Angeles."⁠⁠Click the link in our bio to watch the full video, which also features commentary from jury members Cecilia Alemani (High Line Art), María Elena Ortiz (Modern Art Museum of Forth Worth), and Alex Greenberger and Maximilíano Durón (ARTnews senior editors).

María Magdalena Camps-Pons is the winner of the ARTnews Awards' inaugural Lifetime Achievement award for her exhibition "Behold" at the Brooklyn Museum.⁠⁠María Elena Ortiz, curator at the Modern Art Museum of Fort Worth, was one of the members of our eight-person jury. In the clip above, Ortiz speaks about Campos-Pons's commitment to community and landscape in relation to the female body.⁠⁠Click the link in our bio to watch the full video, which also features commentary by jury members Pilar Tompkin Rivas (Lucas Museum of American Art), Cecilia Alemani (High Line Art), and Alex Greenberger (ARTnews senior editor).

The Metropolitan Museum of Art has finally revealed its designs for a five-story wing dedicated to modern and contemporary art, an addition that has been in the planning stages for about a decade.⁠⁠That wing will span 126,000 square feet, and is being designed by Frida Escobedo, the first woman ever to envision a wing at the 154-year-old New York museum. Some $550 million in private donations have been raised to support the creation of the wing, which is officially set to open in 2030.⁠⁠Officially titled the Oscar L. Tang and H.M. Agnes Hsu-Tang Wing after two donors who gave the Met $125 million, the wing has been in the works since 2014. Its towering cost kept the museum from realizing its vision for a renovated home for modern and contemporary art, though at long last, the Met appears to have raised enough money to see the project through.⁠⁠Masterpieces from the 20th and 21st centuries will be on view in some 70,000 square feet of gallery space. In its current plan, the wing will vastly expand the Met’s space for modern and contemporary art, growing the existing wing’s gallery space by about 50 percent.⁠⁠Beyond the monumental scale of the addition, the wing will also allow the museum to do some behind-the-scenes upkeep. Accessibility will be prioritized during the creation of this new wing, the museum said, highlighting the fact that the current of the modern and contemporary galleries hinder both visitors and Met workers alike in certain areas, whether because of lighting issues, spatial constraints, or stairs. Moreover, its construction will enable the Met to bring on 4,000 union workers.⁠⁠Eric Adams, New York City’s Mayor, praised the planned wing as “a bold endeavor to expand our understanding of the role of art in New York’s culture and our society.”⁠⁠Click the link in bio to learn more.

In April 2019, Parisians saw Notre-Dame de Paris, one of their most emblematic monuments and one of the world’s most elaborate examples of Gothic architecture, go up in flames. Built between 1163 and 1345, the Catholic cathedral had been desecrated once before, in 1789 during the French Revolution, and restored in the 19th century under the aegis of Eugène Viollet-le-Duc.⁠⁠Now, five years later, Notre-Dame has been brought back to life, opening its doors to the public over the weekend after an opening ceremony attended by world leaders and celebrities.⁠⁠“I have always felt close to Notre-Dame because I am Parisian, Catholic, and mostly passionate about heritage,” said Philippe Jost, the recently appointed president of Rebâtir Notre-Dame de Paris, the government organization responsible for the site’s conservation and restoration. “Now, it’s different, the building has almost become a part of me.”⁠⁠After the fire, when President Emmanuel Macron vowed that the renovation would take only five years, many thought that timeline impossible. But thanks to the generosity of 340,000 donors and the labor of some 2,000 workers— stonemasons, roofers, carpenters, stained glass artists—the deadline was met.⁠⁠Click the link in bio to learn more about the restoration.

Have you ever heard of, or even been to Lens before?⁠⁠This small coal town in northern France was active from 1849 to 1986, when its last mine was shut down. Then, in 2012, after the Nord-Pas-de-Calais Mining Basin became a UNESCO World Heritage site, the French Ministry of Culture moved to revive the region with a satellite Louvre museum, drawing inspiration from the economic transformation of the industrial city of Bilbao, Spain, which has been home to a Guggenheim satellite since 1997.⁠⁠And so, the Louvre-Lens was born, with temporary exhibition galleries and its emblematic Galerie du Temps (Gallery of Time), a 32,000 square-foot open space reserved for some 200 loans from its Parisian big brother.⁠⁠After over a decade of success, museum officials decided to rethink the Louvre-Lens’ flagship gallery and to welcome new works from the Louvre.⁠⁠“The idea was to keep innovating, as well as the initial promise to let the public move around freely and to not prioritize any medium or civilization in the display,” Louvre-Lens director Annabelle Ténèze told ARTnews.⁠⁠Click the link in bio to learn more about the rehang.

On Wednesday morning, Art Basel opened its 22nd edition at the Miami Beach Convention Center, and the mood was buoyant. By the end of the day, several blue-chip galleries reported strong sales, befitting the cautiously optimistic performance of last month’s marquee sales.⁠⁠David Zwirner reported selling 24 works, 13 of which were paintings, for a total of $12.9 million. The top work sold was a Yayoi Kusama Infinity Nets painting from 2017 for $3.5 million. Other top works sold included a Noah Davis painting for $2 million, two new works by Lisa Yuskavage for $1.4 million and $600,000, two new works by Elizabeth Peyton for $1.1 million and $900,000, and two Josef Albers paintings for $800,000 and $600,000. The gallery also sold works between $180,000 and $400,000 by Oscar Murillo, Raymond Pettibon, Wolfgang Tilmans, Andra Ursuța, and Katherine Bernhardt.⁠⁠Hauser & Wirth, meanwhile, said that it had sold a total of 20 works for its presentation for a sum of $15.16 million. The top sellers included a 2014 canvas and tarp piece by David Hammons for $4.75 million, a 2024 pastel and acrylic on linen Female Portrait Abstraction by George Condo for $2.5 million, and two untitled acrylic on canvas works by Ed Clark for $1.4 million and $1 million. The gallery also sold works in the $375,000 to $750,000 range by Rashid Johnson, William Kentridge, Avery Singer, Jeffrey Gibson, and Firelei Baez, among others.⁠⁠Click the link in bio read more about Art Basel's bounce-back performance in Miami.

We're thrilled to annouce the winners of the first-ever ARTnews Awards! After months of deliberation, our jury—Cecilia Alemani, Naomi Beckwith, Candice Hopkins, Tina Kukielski, María Elena Ortiz, and Pilar Tompkins Rivas, along with ARTnews senior editors Maximilíano Durón and Alex Greenberger—has chosen the following artists and exhibitions as our inaugural award winners.⁠⁠Click the link in our bio to read more about each winner and to learn more about our esteemed jury.⁠⁠Emerging Artist of the Year: Eddie Rodolfo Aparicio⁠Established Artist of the Year: Delcy Morelos⁠Lifetime Achievement: María Magdalena Campos-Pons⁠Best Thematic Museum Show: "Scratching at the Moon" at the ICA, Los Angeles⁠Best Gallery Group Show: "At the Edge of the Sun" at Jeffrey Deitch, Los Angeles

Jasleen Kauer has won the 2024 Turner Prize for her work reflecting her childhood in Glasgow, including a Ford Escort Cabriolet Mk3 draped in a massive doily titled Sociomobile. At 38 years old, Kauer was the youngest contestant on this year’s shortlist. The judges were impressed by what they described as Kauer’s “unexpected and playful combinations of material.”⁠⁠The Turner Prize is the United Kingdom’s most prestigious visual arts honor. It carries a £25,000 purse; shortlisted artists are awarded £10,000. Shortlisted artists present works in an exhibition at London’s Tate Britain; this year’s exhibition opened on September 25 and runs through 16 February, 2025. ⁠⁠The headline act of “Alter Altar,” her installation at Tate Britain—where the prize returned after being held in Sussex last year—is comprised of the vintage car blasting out a mix of pop, hip-hop, and qawwali devotional music from its speakers. The work also features worship bells and the quintessential Scottish soda, Irn-Bru, to celebrate the Glaswegian Sikh community from which Kaur hails.⁠⁠Alex Farquharson, Tate Britain’s director, was on the Turner Prize’s jury alongside Rosie Cooper, director of Wysing Arts Centre; Lydia Yee, curator and art historian; Ekow Eshun, writer, broadcaster and curator; and Sam Thorne, director general and CEO at Japan House London. Farquharson said they were impressed by how Kauer “transforms a whole range of everyday objects, some vernacular and throwaway, into animated environments.”⁠⁠Click the link in bio to learn more. ⁠⁠#turnerprize #tatebritain #tate #ukart