Why Ceramics Deserve Their Own Art Fairs https://ift.tt/lFhPScC

In recent years, the market for contemporary ceramics has heated up, and the infrastructure around it has followed suit. A wave of dedicated fairs—from Ceramic Brussels and cerArtmic Madrid, which launched in 2024, to Ceramic Art Fair Paris in 2025 and this month’s inaugural NADA Ceramics in New York—show that clay is no longer operating at the margins of the contemporary art world.

The medium itself is ancient. From Paleolithic models to the pottery of the Arts and Crafts movement, the ancient “fire art” of clay is one of the most enduring forms of human expression. Still, in the contemporary art world, ceramics have long occupied an uneasy space between craft, design, and fine art. The medium has often been dismissed as “functional” or “decorative” and rarely afforded the same commercial platforms as painting or sculpture. That imbalance is now being corrected.

Studios and galleries right up to blue-chip names, including Perrotin—which represents artists including Johan Creten, Otani Workshop and Klara Kristalova—and Gagosian, home to Edmund de Waal and Setsuko, have steadily expanded their ceramics rosters. Collector demand has been rising, too.

L’Hippocampe - Library version, 2024
Johan Creten
Perrotin

Le serpent et la vigne, 2024
Setsuko
Gagosian

Work by leading 20th-century ceramists such as Dame Lucie Rie, Hans Coper, and Bernard Leach, as well as a second generation of living studio potters including Jennifer Lee and Elizabeth Fritsch, has consistently smashed estimates at major auction houses. Sotheby’s, Phillips, and Bonhams have all helped amplify the secondary market for these artists, with the latter selling Rie’s Footed Bowl (ca. 1952) in 2023 for a record €406,800 ($472,468), nearly 10 times its low estimate.

Until recently, however, the medium was lacking a dedicated structure capable of consolidating this momentum, which is where the idea for the first fair came in.

“We decided to develop an international event in the unique form of an art fair committed to promoting and defending ceramics,” Gilles Parmentier, co-director of Ceramic Brussels, told Artsy. Indeed, while the medium’s expressive range has expanded dramatically, its institutional recognition has lagged.

Today’s ceramics-based fairs aim to remove these hierarchies. Works on view span traditional techniques and 3D printing to murals and mixed-media installations. Gallerists report that sculptural, abstract, and narrative-driven ceramics are increasingly commanding attention and demand among collectors.

Rome dealer Anna Marra, who participated in Ceramic Brussels in January, observed a “deep hunger for newness” and for works that challenge the limits of clay. “Andrés Anza’s organic textures and Dana Zvulun’s delicate research on surfaces both received immense interest,” she said. “It confirmed that when technical mastery meets a strong poetic vision, the response from the international market is immediate.”

Lise Coirier, director of Brussels-based Spazio Nobile, singled out the Portuguese artist Bela Silva as another innovator who is “dripping on the stoneware like Jackson Pollock so that the clay becomes something of a canvas”.

Such experimentation, noted Parisian dealer Antonine Catzéflis, is increasingly attracting seasoned contemporary art collectors who are purchasing ceramics alongside painting and sculpture—a shift reflected in rising prices across the market.

De la serie “Memorias” II, 2025
Andrés Anza Cortés
Galleria Anna Marra

La vie en vacances #8, 2025
Bela Silva
Spazio Nobile

Such experimentation, noted Parisian dealer Antonine Catzéflis, is increasingly attracting seasoned contemporary art collectors who are purchasing ceramics alongside painting and sculpture—a shift reflected in rising prices across the market.

“Works by emerging and mid-career artists that were once considered ‘entry-level’ are now seeing significant appreciation,” said Marra. “Collectors are realizing that the complexity of firing and glazing processes justifies higher price points, comparable to other sculptural media.”

At Ceramic Brussels, prices begin at around €5,000 ($5,807), but several works sell for up to €200,000 ($232,285) each year. This broad range has made the medium accessible for younger collectors, who have become a major driving force in the market.

“This generation often finds ceramics more approachable and ‘human,’ yet intellectually stimulating,” noted Marra, who believes a “tactile revolution” has fueled broader interest in the medium: “In an increasingly digital world, both artists and collectors are drawn back to the physical, primordial nature of clay.”

Chandeliers Prairie, 2025
Clémentine de Chabaneix
Antonine Catzéflis

Pien Rademakers, founder of Amsterdam’s Rademakers Gallery, sees this shift as part of a wider recalibration within the art world. “Ceramic art speaks directly to this moment,” she said. “We see a strong return to craftsmanship—to works made by hand, with patience, attention to detail, and a deep respect for tradition. Especially, younger collectors are drawn to that authenticity. They follow trends, yes, but ceramics is more than a trend; it reflects a broader desire for tactility and meaning.”

That engagement, she added, is tangible. “At art fairs and in the gallery, we experience this growing interest firsthand. It’s not just statistics—it’s real engagement.” Part of ceramics’ strength lies in its material accessibility. “As a material, it doesn’t carry the same barrier of luxury as bronze or glass. It feels approachable, yet it holds enormous artistic depth. That combination—intimacy, material intelligence, and conceptual strength—is why ceramic art is so important today.”

The medium’s appeal extends beyond the traditional art market. Victoria Denis, co-founder of Ceramic Art Fair Paris, observed that visitors to Design Miami.Paris, held concurrently in October, frequently cross the Boulevard Saint-Germain to attend both events. “This cross-disciplinary appeal is likely to sustain the market’s growth and increase visibility for artists working in ceramics,” Coirier said.

Dit is mijn Lijf, 2023
Chris Rijk
Rademakers Gallery

Disneyland Zaandam, 2022
Chris Rijk
Rademakers Gallery

Attendance figures reflect this growing confidence. Ceramic Brussels has grown from 17,840 visitors in 2025 to 19,232 this year, bringing together almost 200 artists and a selection of 65 international galleries from 15 countries.

Nor is the trend confined to Europe. “The enthusiasm is increasingly global, with buyers from North America, Asia, and the Middle East actively participating,” Coirier noted.

Keen to capitalize on this momentum, fairs are investing in talks programs that situate ceramics within broader art market dialogues, as well as investment in emerging talent.

“There’s real momentum,” said Catzéflis. “People are increasingly recognizing that ceramics has a full place in contemporary art—it’s no longer seen merely as decorative. The field is expanding quickly, both artistically and in terms of visibility.”

Marra expects further integration of ceramics into “generalist” museum programs and more large-scale installations. But she believes the role of fairs as a space to bring galleries and collectors together is still crucial. “Behind every ceramic work, there is a risky and fascinating process involving fire and earth,” she said. “Sharing this story is what truly connects the collector to the piece.”

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At 91, Rose Wylie Is Still Breaking the Rules with Her Joyful Paintings https://ift.tt/Fz7Awg0

In Rose Wylie’s 2017 painting Park Dogs and Air Raid, warplanes hover over the Serpentine Galleries while dogs frolic in the brushy black foreground. With a graphic, childlike style, the artist deploys a limited palette of blue, black, white, and brown. A splash of yellow depicts a duck. Past and present merge in the work: The artist drew on her childhood memories of World War II bombing raids in London and took inspiration from an invitation to exhibit at the gallery. The work’s unexpected juxtapositions of past and present, light and dark, are emblematic of her extraordinary, utterly unique oeuvre.

Wylie, 91, is the archetypal late bloomer. Feminist scholar Germaine Greer dubbed her “Britain’s hottest new artist” in 2010 when Wylie was a mere 76 years old. She has since become a bona fide art world star. “Rose Wylie: The Picture Comes First” at London’s Royal Academy, on view through April 19th, is her biggest show to date. It also makes her the first British woman artist to enjoy a solo exhibition in the historic institution’s main galleries.

Themes in Rose Wylie’s paintings

Wylie’s bold, colorful paintings reference everything from art history, cinema, and celebrities to the flowers in her garden and what she had for breakfast. The subject matter is always of secondary concern to the visual details that initially captured Wylie’s vivid imagination.

Black Strap (Red Fly) (2012) is a prime example. It’s one of a series of paintings inspired by an image of Nicole Kidman on the red carpet in a backless dress, but it’s resolutely not a portrait. “She didn’t wake up and think ‘I want to paint Nicole Kidman,’” curator Katharine Stout told Artsy. “She happened across an image of a woman standing on the red carpet in a backless dress that was particularly striking who happened to be Nicole Kidman.”

As if to emphasize the point, Kidman is flanked by two large flies that hover on either side of her. Wylie often unites elements from different times and places simply because “they feel to her like they might sit well together,” Stout said. “She likes not being obvious.”

Rose Wylie’s artistic process

Although celebrities themselves hold little interest for Wylie, movies are a great passion. Her “Film Notes” series, in which she reimagines specific shots, are undoubted highlights of the exhibition. Their compositions often mirror the action of a camera, zooming in for a close-up or capturing the same scene from different perspectives, as in Kill Bill (Film Notes) (2007).

Wylie often repeats subject matter across multiple canvases. In HAND, Drawing as Central (2022), a series of three hands and accompanying text reveal how the artist transforms initial sketches into paintings; daily drawing is key to her iterative practice. “It’s a way of capturing things that visually intrigue her, whether that’s from film or something that she’s seen in a newspaper, and that becomes a mining ground for the paintings,” Stout said. “In the process of looking at a drawing and turning it into a painting, she will adapt it. The paintings are often distilling its essential qualities.”

Wylie’s pared-back approach to imagery shares an affinity with that of Philip Guston. Just as the mid-century painter has occasionally been labelled “crude,” Wylie’s work has been designated “naïve.” For Stout, this description misses the point, as Wylie’s approach “comes from a very knowing place in the sense that she’s very well versed in different art styles.”

Early career

Wylie had a traditional art school education at the Folkestone and Dover School of Art in the 1950s. Yet she found artists such as Fernand Léger, Giorgio de Chirico, and Henri Matisse more enticing than the post-war British romantic artists that her tutors revered. Wylie then trained to be a teacher at Goldsmiths and met artist Roy Oxlade, who she married in 1957. Her creative practice took a back seat while she concentrated on raising their three children. Even then, she visited exhibitions, read widely, and built up the vast stack of memories and inspirations which later fueled her work.

When Wylie’s children left home, she converted a room in her Kent, England, house into a studio, where she still works today. She also became an art student once more, enrolling in an MA degree program at the Royal College of Art in 1979 and doing a dissertation on drawing. Then, just like all recent graduates, she plugged away until she got her big break.

In Wylie’s case, this was her “Room Project” series (2003–04), four large-scale works that Stout compares to an installation. “I liken it to medieval tapestry, creating its own world,” she said. And it’s a delightfully playful world, featuring cats, paper dolls, Olympic swimmers, and even the artist herself wearing a favorite checked skirt. The paintings were selected for East International at Norwich Gallery, where they gained significant art world attention and dramatically boosted her career.

Wylie’s later career

Over the next few years, Wylie mounted solo shows at galleries in New York and London. In 2014, she was elected a Royal Academician and won the John Moores Painting Prize, after years of trying, for PV Windows and Floorboards (2014). The work was inspired by gallerist Jake Miller’s description of the Victorian floorboards and windows in his London gallery.

Wylie’s fluid practice still leaves room to explore the sheer joy of creation. In 2015 and 2016, she created a series of animal paintings derived simply from imagination. She showed some of them in her first solo exhibition with David Zwirner in 2016, and the gallery announced their representation of the artist the next year. “There’s always that sense of the process of painting and what happens in the painting determines when it’s finished,” said Stout. “With those works it is quite different, because she abandoned the paintbrush and used her hands, and you can feel that energy and tactile quality in the paintings themselves.”

The Royal Academy show makes clear that Wylie shows no signs of stopping such explorations. The works on view confirm her as one of Britain’s most uncompromising talents.

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Pace Gallery announces representation of Korean conceptual artist Anicka Yi. https://ift.tt/uUj9YCZ

Anicka Yi, the Korean-born New York-based conceptual artist known for her multisensory works, has joined Pace Gallery’s roster of artists. She will also continue to be represented by Gladstone Gallery, 47 Canal, and Esther Schipper. Her first solo exhibition with the gallery will take place in New York in 2027. In the meantime, she will debut a new painting in Pace’s booth at Art Basel Hong Kong later this month.

Yi has many projects currently on view or in the pipeline. This spring, her work will be included in the New Museum’s forthcoming group show, “New Humans: Memories of the Future,” which opens on March 21st and will christen the museum’s newly-expanded space. She will also unveil her first large-scale outdoor work on May 17th at Storm King Art Center in New York, which will create a microbiological portrait using water and soil samples sourced from the sculpture park’s pond.

“Anicka is one of the most innovative artists of our time,” said Samanthe Rubell, Pace’s president, in a press statement. “Combining materials from the natural world with cutting-edge processes and technologies, her works are extraordinary, uncanny worlds unto themselves. Grappling with relevant political and ecological questions of the present moment, her experimental practice is part of a long lineage of artists—including Robert Irwin and James Turrell—who expanded the phenomenological possibilities of art making.”

Yi is known for her biologically-forward, technologically-curious works of art that fuse rigorous research and unconventional methods and materials, including snail slime, hair gel, and potato chips. She has deep-fried flowers, created fragrances from human sweat, and shaped kelp into lighting sculptures that resemble internal organs or insect cocoons.

Born in Seoul, South Korea in 1971, Yi moved with her family to the United States when she was two years old and grew up in Southern California. She studied at the University of California in Los Angeles and Hunter College in New York before beginning her career in the fashion industry. She turned towards art in her thirties without any formal training, and made her first artwork in 2008 with a collective called Circular File.

Her first major institutional solo presentation was held at the Cleveland Museum of Art in 2014, followed by solo shows at The Kitchen in New York and the Kunsthalle Basel. In 2016 she was awarded the Guggenheim Museum’s Hugo Boss Prize, which was accompanied by a solo show with the museum in 2017. And in 2021, she was chosen for the Tate Modern’s Turbine Hall Hyundai Commission, in which she transformed the gargantuan space into an ecosystem of alien-looking sculptures powered by drones and algorithms that emitted scents.

She has also participated in the 2019 Venice Biennale and the 2017 Whitney Biennial, among other prestigious group shows, and her work is held in major collections including The Museum of Modern Art, the Los Angeles County Museum of Art, the Pinault Collection in Paris and Venice, and the Rubell Museum in Miami and Washington, D.C..

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National Portrait Gallery unveils new Catherine Opie portrait of Elton John and his family. https://ift.tt/gPHi7TN

A new portrait of Sir Elton John and his family captured by American photographer Catherine Opie has gone on view at the National Portrait Gallery in London. The work now hangs in room 30, the Mary Weston Gallery, as part of the gallery’s contemporary collection display. It marks the first time that a portrait of Elton John with his husband David Furnish, and his two teenage sons has been exhibited in public. The photograph, taken in 2025, will also be the first portrait of the family to enter a national collection.

The portrait is reminiscent of Opie’s major “Domestic” series (1995–98), in which she tenderly captured lesbian couples and families in their home environments to give visibility to underrepresented family units. Her photograph of the Furnish-John family sees the musician and his husband, David Furnish, along with their sons, Zachary and Elijah, at home in their library in Windsor. They are surrounded by their pet labradors and a wall of filled bookshelves, as well as a selection of antique objects and a sculpture.

“To have our family photographed by Catherine Opie and on display at the National Portrait Gallery is a huge honor. We are huge admirers of her work and proud to have her beautiful and poignant images in our collection,” shared Sir Elton and Furnish in a press statement.

“I arrived at Elton and David’s house three days before Christmas. I met the boys and the dogs and after a great lunch together I made this family portrait of them in their library…For me it represents the humanity of what family can be,” said Catherine Opie.

The unveiling of the work coincides with the opening of “Catherine Opie: To Be Seen,” also at the National Portrait Gallery. The show, which will run from March 5th through May 31st, will feature a survey of the artist’s photographic portraits from the past 30 years. It will be the first major exhibition of her work at an institution in the U.K..

“The National Portrait Gallery’s Collection exists to share portraits of the people who have shaped the history and culture of the UK, from the Tudor times to today,” shared the museum’s director, Victoria Siddall, in a press statement. “The people on our walls, and the stories we tell about them, are a source of inspiration for the millions of people who come through our doors, and particularly the many young people who visit every year.”

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What Sold at Frieze Los Angeles 2026 https://ift.tt/f3PF1hy

Frieze Los Angeles 2026 closed on Sunday, March 1, at the Santa Monica Airport, capping a week of unseasonably warm February weather and palpable momentum across the City of Angels’s art scene.

Now in its seventh edition, the fair once again served as the fulcrum of L.A. Art Week—and was described by observers and locals as especially strong. From a quirky pop-up show staged in 99¢ stores to a slate of standout exhibitions by major and fast-rising contemporary artists, the city offered art lovers an embarrassment of riches. Several collectors told Artsy they were willing to brave more of the city’s infamous traffic than usual to see it all. “The density of world-class museums and galleries, amplified by the energy of the fair and its satellites, made it a powerful week of discovery,” art advisor Heather Marx told Artsy. “I leave with sharper ideas and renewed momentum.”

The fair itself brought together more than 100 galleries from 24 countries with its VIP preview on Thursday, February 26th. Crowds of major collectors and art-world luminaries packed the aisles from the outset. In true Hollywood fashion, celebrities were also in steady supply: Emma Watson, Anthony Kiedis, Rami Malek, and Maya Rudolph, as well as Jeff Bezos and Lauren Sanchez, were all spotted over the course of the fair.

One year after the devastating Palisades fires, the 2026 edition clearly foregrounded the Los Angeles creative community through a range of locally focused acquisition prizes and initiatives. The collective spirit of the city’s arts ecosystem was unmistakable—felt both inside the tent and across gallery openings around town.

Early sales reinforced the upbeat mood. Galleries reported strong first-day demand spanning blue-chip names and emerging talents alike. “As a first-time exhibitor at Frieze L.A., we had a strong preview day with significant sales,” said Christian Gundin, director of El Apartamento, one of Artsy’s best booths at the fair. “There was definitely a very strong vibe and optimism at the fair, and the gallery presentations were at a high level—we’ll definitely come back next year.”

Leading the opening-day transactions was David Zwirner’s sale of a mixed-media work by Njideka Akunyili Crosby for $2.8 million, which remains the highest reported price of the fair.

Below, we round up the top sales from Frieze Los Angeles 2026.

Top sales at Frieze Los Angeles 2026

In addition to the Crosby work, David Zwirner’s reported sales included:

• A painting by Lynette Yiadom-Boakye for $1.5 million.
• A small work on paper by Lisa Yuskavage for $180,000 and a new work on paper for $280,000.
• Four new paintings by Louis Fratino for between $35,000 and $75,000 each.
• Four new paintings by Emma McIntyre for between $24,000 and $38,000 each.
• Two new paintings by Walter Price for $30,000 each.
• A Philip-Lorca diCorcia photograph for $30,000.
• A Raymond Pettibon work for $40,000.

Thaddaeus Ropac’s sales were led by a Georg Baselitz painting for €1 million ($1.17 million). Other sales included:

• An Alex Katz painting for $700,000.
• A painting by David Salle for $280,000.
• A work by Liza Lou for $225,000.
• A painting by Joan Snyder for $140,000.
• Another Baselitz painting for €85,000 ($99,503).
• A work by Martha Jungwirth for €75,000 ($87,796).

Pace Gallery’s sales were led by James Turrell’s 2021 installation Carat and Schtik for $950,000. Other sales included:

• A 1983 painting by Jean Dubuffet for $475,000.
• A painting by Emily Kame Kngwarrey for $450,000.
• A Robert Longo sculpture for $175,000 as well as two works on paper by the artist for $90,000 each.
• A new painting by Friedrich Kunath for $155,000.
• A sculpture by Leo Villareal for $125,000.
• Two works by Mika Tajima for $65,000 and $90,000 each.
• A work by Elmgreen & Dragset for €80,000 ($93,650).
• A work by Richard Misrach for $70,000.
• A mixed-media work by Alicja Kwade for €68,000 ($79,602).
• A mixed-media sculpture by Kohei Nawa for $55,000.
• A Hank Willis Thomas sculpture for $40,000.
• A work on paper by Kiki Smith for $30,000.

Silk and Musa Leaf, 2025
Ewa Juszkiewicz
Almine Rech

Almine Rech’s sales were led by a painting by Ewa Juszkiewicz for a price in the range of $800,000–$850,000. Other sales included:

• A sculpture by Aaron Curry for a price in the range of $210,000–$245,000.
• A sculpture by De Wain Valentine for a price in the range of $200,000–$230,000.
• Two paintings by Joe Andoe for prices in the range of $110,000–$120,000 each.
• A painting by Vaughn Spann for a price in the range of $110,000–$120,000.
• A painting by Alexandre Lenoir for a price in the range of $85,000–$95,000.
• A sculpture by Dustin Yellin for a price in the range of $70,000–$80,000.
• Two paintings by Genieve Figgis for prices in the range of $75,000–$85,000 each.
• A painting by Chloe Wise for a price in the range of $65,000–$70,000.
• A work on paper by Günther Förg for a price in the range of €55,000–€60,000 ($64,530–$70,400).
• Two paintings by Zio Ziegler for prices in the range of $45,000–$50,000 each.
• Two paintings by Daniel Gibson for a price in the range of $45,000–$50,000 each.

Karma’s sales were led by a Jonas Wood work for $650,000. Other sales included:

• A work by Nicolas Party for $150,000.
• A work by Ann Craven for $140,000.
• A work by Jane Dickson for $100,000.
• A work by Maja Ruznic for $90,000.
• A work by Keith Mayerson for $80,000.
• Works by Jeremy Frey, Nathaniel Oliver, and Norman Zammitt for $50,000 each.
• A work by Mathew Cerletty for $45,000.

White Cube placed three sculptures from its solo presentation of Antony Gormley for prices in the range of £500,000–£800,000 ($666,085–$1.06 million) each.

Garth Greenan Gallery’s sales included a painting by Howardena Pindell for $875,000 and a painting by Emmi Whitehorse for $150,000.

Gagosian’s sales included works by Ed Ruscha, Alex Israel, Jonas Wood, and Mary Weatherford. It is understood that these works were each sold for six- and seven-figure prices.

Sold-out booths at Frieze Los Angeles 2026

Several galleries reported selling out their presentations, including:

• Hauser & Wirth—one of Artsy’s best booths from the fair—sold out its presentation of new paintings by Conny Maier on the opening day, with large works priced at $125,000 and a smaller work at $25,000.
• Broadway sold out its solo booth of works by Jessie Henson, with works priced in the range of $22,000–$45,000 each.
• Carvalho—another of Artsy’s best booths—sold out its solo presentation of works by Élise Peroi, with works ranging in price from $9,500 to $48,000 apiece.
• Sea View sold all its sculptures by Zenobia Lee for prices in the range of $7,000–$20,000 each.
• Lyles & King placed all its new paintings by Ren Light Pan.
• Make Room sold all wall works from a solo presentation of works by Erica Mahinay, which was selected for the City of Santa Monica Art Bank x Frieze Los Angeles Acquisition Fund. Paintings sold for prices ranging from $5,500 to $35,000 apiece, and sculptures for between $14,000 and $20,000 each.
• Anthony Gallery—another of Artsy’s best booths from the fair—sold out its presentation of Andrew J. Park, with works priced in the range of $5,500–$17,000 each.
• Hannah Traore sold out its presentation of works by Turiya Adkins, with prices for works ranging from $5,000 to $11,000 apiece.

More key sales from Frieze Los Angeles 2026

Lisson Gallery’s sales were led by a Carmen Herrera painting for $380,000. Other sales reported included:

• A sculpture by Hugh Hayden for $300,000.
• A photograph by Hiroshi Sugimoto for $250,000.
• Two paintings by Leon Polk Smith for $200,000 each.
• A painting by Leiko Ikemura for €110,000 ($128,898).
• Two works by Kelly Akashi for $55,000 and $60,000 apiece.
• Two mosaic works by Pedro Reyes for $50,000 each.

Lehmann Maupin’s sales were led by a McArthur Binion painting for $250,000. Other sales reported by the gallery included:

• Seven new works by Loriel Beltrán, each for a price in the range of $40,000–$65,000.
• Two paintings by Calida Rawles for a price in the range of $60,000–$80,000 each.
• A work by Todd Gray for a price in the range of $60,000–$70,000.
• A photograph by Catherine Opie for $30,000.

Purple Mountain, 2024
Catherine Opie
Lehmann Maupin

Perrotin’s reported sales were led by a Bharti Kher painting for a price in the range of $180,000–$195,000. Other reported sales included:

• A painting by Young-Il Ahn for a price in the range of $70,000–$80,000.
• Four photographs and one video work by Paul Pfeiffer and a work by Gabriel de la Mora, each for prices in the $30,000–$60,000 range.

Sprüth Magers’s sales were led by two paintings by David Salle for $130,000 and $375,000. It also reported the sale of a UV print by Arthur Jafa for $150,000 and a work by Analia Saban for $45,000.

Mam'uNoSayini, 2023
Zizipho Poswa
Southern Guild

Amandla (Power), 2023
Zanele Muholi
Southern Guild

Kukje Gallery’s sales were led by a Ha Chong-Hyun work for a price in the range of $253,000–$303,600. The gallery also reported the sale of two paintings by Park Seo-Bo, each for a price in the $250,000–$300,000 range, and two works by Haegue Yang for prices in the $80,000–$108,000 range.

Southern Guild—another of Artsy’s best booths from the fair—led sales with a Zizipho Poswa bronze sculpture for $130,000. It also reported the sales of a bronze sculpture by Zanele Muholi for $110,000, a Romeo Mivekannin painting for $57,000, and a Gus Monday painting for $24,000.

Other notable sales from Frieze Los Angeles 2026

• Jessica Silverman sold a wall relief by Pae White for $80,000, a Hayal Pozanti painting for $75,000, and a Rebecca Manson sculpture for $65,000. It also sold five works by Beverly Fishman for $25,000 apiece, a work by Lava Thomas for $45,000, three paintings by Atsushi Kaga for prices in the range of $30,000–$50,000 each, two works by Sam Falls for $60,000 each, and a work by Andrea Bowers for $38,000. Works by Oliver Osborne, Margo Wolowiec, and GaHee Park sold for €18,000 ($21,120), $35,000, and $36,000, respectively.
• Olney Gleason—another of Artsy’s best booths from the fair—sold all its paintings by Kour Pour for prices in the range of $22,000–$65,000 apiece and a sculpture by Bosco Sodi for $72,000.
• Timothy Taylor sold a Hilary Pecis painting for $50,000 and a Daniel Crews-Chubb painting for £50,000 ($66,763).
• Jane Lombard Gallery sold nine works by various artists at its booth for a combined total of between $75,000 and $80,000.
• Superposition sold “multiple” Greg Ito works, including sculptures, for prices between $12,500 and $13,500 each and three paintings priced at $8,000 each.

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First ever Giacometti museum to open in Paris in 2028. https://ift.tt/FNBpVWj

Alberto Giacometti will be the subject of a new museum in Paris, the first ever dedicated to the Swiss sculptor’s work. The Fondation Alberto et Annette Giacometti have announced that the museum will be called Musée & École Giacometti and, as previously reported, will be located in Paris’s 7th arrondissement in the former Gare des Invalides train station. It will now open in the second half of 2028, instead of the original 2026 targeted opening.

The Musée & École Giacometti will offer the world’s largest collection of his work. The foundation’s current home at the Institut Giacometti in Paris’s quiet 14th arrondissement, which opened in 2018, has limited exhibition capacity, as the institute is just 350 square meters (3,767 square feet). The new space, along the Seine and next to the Pont Alexandre III, is far more central and will offer 6,000 square meters (64,583 square feet), half of which will be dedicated to exhibition space. The other half will be given over to a bookstore, restaurant, cafe, and educational space offering non-degree art classes.

The foundation’s collection is some 10,000 items strong, with “thousands of drawings, over 400 sculptures, 100 paintings, a whole collection of decorative objets d’art, prints, everything that was in the studio, all the archives,” its director, Catherine Grenier, said in an interview with The Art Newspaper. She explained that most of the collection has never been exhibited: “People don’t know we have masterpieces from the earliest period, when Giacometti was very young, masterpieces from the Surrealist period, masterpieces from wartime, masterpieces from after the war, masterpieces from the late period.”

The museum will include a permanent installation of several hundred works by Giacometti, various galleries and exhibition halls showcasing works by other modern and contemporary artists, and a reconstruction of the atelier where he lived and worked in the 14th arrondissement from 1926 until his death in 1966, which will be transported from the Institute where it is currently on view.

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Rijksmuseum announces discovery of new Rembrandt painting. https://ift.tt/CS1mDwB

Researchers at the Rijksmuseum in Amsterdam have announced the discovery of a new painting by Rembrandt van Rijn. The work, titled Vision of Zacharias in the Temple (1633), was confirmed to have been painted by the Dutch master following two years of research. It will be on view at the museum beginning Wednesday, March 4th.

The painting was brought to the attention of museum researchers by its current owner, who requested the study. It had disappeared from public view in 1961 after it was purchased by a private individual.

“Materials analysis, stylistic and thematic similarities, alterations made by Rembrandt, and the overall quality of the painting all support the conclusion that this painting is a genuine work by Rembrandt van Rijn,” the museum said in a statement.

A lengthy study using modern analytic tools confirmed its authenticity, including XRF scans and visual inspections. Researchers shared that all of the paint used in Vision of Zacharias in the Temple can be found in other Rembrandt works from the same period, and that the paint buildup and technique used to apply it also support their claim. The signature also confirmed the original work, as does the wooden panel with the 1633 date, which has aged appropriately since the work’s creation.

“It’s wonderful that people can now learn more about the young Rembrandt—he created this very poignant work shortly after moving from Leiden to Amsterdam. It is a beautiful example of the unique way Rembrandt depicts stories,” said Taco Dibbits, director of the Rijksmuseum, in a press statement.

The work depicts the biblical scene of high priest Zacharias receiving the news from the Archangel Gabriel that he and his wife will have a son, John the Baptist. While the angel is not shown in the work, light shining from the upper righthand corner alludes to his arrival.

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