Wednesday, November 6, 2024

Four Art Powerhouses Expand to Tokyo’s New Cultural Hub https://ift.tt/6x4XpJk

Just in time for Tokyo Art Week, a glistening 32-story structure for art and commerce has opened its doors in the historic neighborhood of Kyobashi, just seven minutes on foot from the city’s main transit station. The multipurpose space belongs to Toda Corporation, which describes its headquarters as “a new crossroads of art and business.”

Offices will occupy its higher levels, while the bottom six floors will house restaurants, shops, and a museum. At the heart is a new gallery complex, comprising four of Tokyo’s leading contemporary art galleries: Taka Ishii Gallery, Yutaka Kikutake Gallery, Tomio Koyama Gallery, and KOSAKU KANECHIKA.

Similar complexes exist in Tokyo already, namely the Terrada Art Complex in Tennozu and complex365 in Roppongi. But the arrangement at Toda is unique because the four gallerists’ relationships run far deeper than simply sharing four walls: Yutaka Kikutake previously worked for Taka Ishii, and Kosaku Kanechika for Tomio Koyama. It is an unusual coming together of intertwined histories, highlighting a distinct aspect of some of the Japanese art scene’s major players, where mutual support often outweighs competition.

Four of Japan’s leading galleries come together

This week, the galleries are showcasing a breadth of mediums and artists. Taka Ishii will present a group show of 14 works by 11 local and international names, while Yutaka Kikutake will show a mixed-media exhibition curated by Yoshitomo Nara. Tomio Koyama will exhibit paintings and sculptures by Hiroshi Sugito, and Kosaku Kanechika will display Miwa Kyusetsu XIII’s evocative ceramics. Taken together, the works on view in the space reflect each gallery’s distinct voice while showcasing a shared dedication to promoting both local and international talent on a global stage.

Japan is the world’s fourth-largest economy and boasts a rich history of art and craft, as well as world-renowned contemporary artists. Its art scene today is characterized by collaboration over competition, noted Kikutake, who founded his gallery in 2015 with the aim of fostering a cross-cultural exchange for emerging artists in Japan and abroad. “The more competitive the industry, the larger and more active it becomes,” he said. “Unfortunately, Japan’s art market isn’t competitive but rather friendly.” Tokyo’s community is close-knit, where collectors and institutions have typically focused on collective growth.

For many years, Kanechika and Kikutake worked for Tomio Koyama and Taka Ishii, respectively. Both Koyama and Ishii have been stalwarts of Tokyo’s gallery scene since the 1990s, nurturing dialogues between Japanese artists and the international art world thanks to a regular and established track record of international art fair appearances.

Since setting up in 1997, Tomio Koyama Gallery has acquired two spaces in Tokyo, and introduced many Japanese artists to the international stage; Kishio Suga, Mika Ninagawa, and Hiroshi Sugito are among a few of the names it currently represents. Taka Ishii, which first opened in 1994, has been particularly influential in exhibiting Japanese photographers, most notably post-war names such as Daido Moriyama and Nobuyoshi Araki.

“The lessons that I brought over from my time working at Tomio Koyama Gallery are plenty; they’re evident in the day-to-day decisions that I make,” said Kanechika, who founded his eponymous gallery in 2017 and has since exhibited both local and international artists such as Yutaka Aoki, Takuro Kuwata, Dan McCarthy and Ruby Neri. The gallerists have existed alongside one another at art fairs, and on separate floors at the Terrada Art Complex, but sharing a wall at the Toda building will foster greater collaboration, too, he noted: “It will be even easier to communicate between galleries and to be part of projects that I had not imagined before.”

Kikutake agreed. “I learned everything I know about running a gallery at Taka Ishii Gallery,” he said. “It still feels like my home, and I am very happy to have a space beside such a gallery.” Kikutake also highlighted the importance of sharing knowledge in appealing to a global market: “The biggest benefit is to know where Japanese galleries stand from a global perspective, to know how to present our work in the most meaningful and influential way to a global platform,” he added.

A new hub for art in Tokyo

Spaces like the Toda building are vital, allowing international collectors to discover multiple galleries in a single swoop. “It’s about creating an opportunity for many people to see the shows and to clearly show the difference between each gallery,” said Koyama, who also sees increasing opportunities for the younger generation of artists, gallerists, and collectors. “The Japanese market has recently become more connected, not only to the West but also to Asia, which is a big difference from the ’90s,” he told Artsy. “Since around 2015, there have been more collectors from the new generations in Japan, and that makes a lot of difference, too.”

The building is the latest development in Japan’s fast-moving art scene. Earlier this year, the second edition of Tokyo Gendai showed signs of strong momentum, while the fourth edition of Art Collaboration Kyoto wrapped up its largest edition yet last week. This week, the fourth edition of Art Week Tokyo spans 53 of the city’s leading museums, galleries, and art spaces in its most ambitious edition yet.

The Toda building will contribute to Tokyo’s burgeoning landscape, particularly in the local neighborhood of Kyobashi, one of Tokyo’s most historic districts with rich traditions in art, craft, and commerce. Its history dates back to the Edo period (1603–1868), where it served as a vibrant hub where craftsmen and artisans gathered to capture the bustling urban landscape of Edo. Now, the tranquil scenes from the ukiyo-e prints of the 1600s are hardly recognizable. Kyobashi was bolstered into a center for commerce in Japan’s early modernization in the 1960s and ’70s, and in the last two decades, the neighborhood has undergone a complete architectural overhaul. Modernist structures are being replaced by skyscrapers offering dining, retail, and cultural experiences.

Despite the growth of corporate entities in the area, Kyobashi has retained its cultural roots. Permanent institutions such as the Artizon Museum and National Film Archive of Japan hold year-round exhibitions and events, and the popular T3 Photo Festival takes over various old and new venues across the district every autumn.

As the Toda building opens its doors and Art Week Tokyo unfolds across the city, Tokyo’s art market feels more vibrant than ever. “Growth remains a central goal for all of us, and it’s something we’re continually thinking about,” said Kikutake. Expansion can breed rivalry, but for these Tokyo gallerists, it’s a renewed commitment to preserving the spirit of collaboration, mutual respect, and tradition that has defined its art scene throughout history.



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Tuesday, November 5, 2024

5 Artists on Our Radar This November https://ift.tt/kWBPU6s

“Artists on Our Radar” is a monthly series focused on five artists who have our attention. Utilizing our art expertise and Artsy data, we’ve determined which artists made an impact this past month through new gallery representation, exhibitions, auctions, art fairs, or fresh works on Artsy.


ASMA

Matias Armendaris: B. 1990, Ecuador. Lives and works in Mexico City.

Hanya Beliá: B. 1994, Mexico. Lives and works in Mexico City.

Felt, wool, fabric scraps, belts, metallic studs and pins, 2021
ASMA
Pangée

Oct, 10., 2023
ASMA
Everyday Gallery

Long, spindly forms, like tendrils or tentacles, stretch across the experimental, wide-ranging practice of the artist duo ASMA, whose work encompasses painting, sculpture, and design. These tangles result in intricate objects and canvases, which are often seductive and a touch surrealistic. See, for instance, two works they showed at Paris Internationale last month with their representing gallery, House of Gaga: a muted still-life painting encased in a metallic lattice cage; and the warped, plated-silver shape of a pistol latched to a vase containing a single stem.

ASMA is made up of Matias Armendaris and Hanya Beliá, who met in Mexico City and began collaborating creatively while completing their MFAs at the School of the Art Institute of Chicago. Their partnership is grounded in a shared commitment to using materials in unexpected ways, like “painting” with silicone, or sculpting with steel wool.

The pair marked a major milestone this fall with the opening of their first institutional exhibition in the United States: “Ideal Space for Music,” on view at New York’s SculptureCenter through February 3, 2025. They have had previous solo shows at galleries including PEANA in Mexico City, Everyday Gallery in Antwerp, and Pangée in Montreal.

—Olivia Horn


Patrick H Jones

B. 1987, London. Lives and works in London.

23388, 2024
Patrick H Jones
Duarte Sequeira

In “Target,” a new exhibition of work by Patrick H Jones at Duarte Sequeira in Braga, Portugal, herds of racehorses hurtle towards the finish line. The steeds blend together in thick layers of paint, teetering on the edge of abstraction as each painting bleeds into the next to create a dreamlike sequence.

Here, as in previous work by the London-based artist, animals act as symbols of human emotion. They appear in blurred scenes and chaotic formations, suggesting the turbulence and ferality that lives inside of us. In this new body of work, however, the artist applies striking shades of red and green oil paint over a muted palette. This brightness marks a departure from his earlier work, which was characterized by more somber hues.

5356, 2024
Patrick H Jones
Duarte Sequeira

Self 7, 2023
Patrick H Jones
The Sunday Painter

6653, 2024
Patrick H Jones
Duarte Sequeira

Jones studied at the alternative art school Turps Banana in London. His work has been exhibited across London and internationally in both solo and group exhibitions at Flowers, Timothy Taylor, Linseed Projects, Galerie PCP, South London Gallery, and The Sunday Painter, the latter of which represents him.

—Adeola Gay


Daniel Correa Mejía

B. 1986, Medellín, Colombia. Lives and works in Berlin.

El duelo, 2023
Daniel Correa Mejía
P.P.O.W

Amor y existencia (Love and existence), 2020
Daniel Correa Mejía
Public Gallery

Daniel Correa Mejía uses a consistent palette of deep azure and sharp crimson in his dreamy paintings. On rough jute fabric, the artist depicts flowing human bodies in darkened, void-like settings, often using his subjects to stand in for specific emotions. For instance, in El duelo (2023)—featured in “Soy el dueño de mi casa,” his solo show at P.P.O.W last year—a contemplative red figure, his legs twisted like a corkscrew, hovers as if in the sky. The title, meaning “the mourning” in Spanish, illuminates the painting’s symbolism: The figure’s edges are blurred, as if he is disintegrating, representing the spiritual loss of self that can accompany grief.

Many of Mejía’s works also depict queer bodies in intimate settings, curled up nude in repose or deep in sexual communion. These couples appear unconcerned with the viewer’s gaze, creating their own, private universe of love.

Nuestros límites (Our limits), 2021
Daniel Correa Mejía
New Discretions

Nos cuidamos, 2023
Daniel Correa Mejía
P.P.O.W

Espacio habitado, 2023
Daniel Correa Mejía
P.P.O.W

Der Tot ist Frühling bei Nacht, 2023
Daniel Correa Mejía
P.P.O.W

P.P.O.W recently added the artist to its roster, and will present work by him at Art SG in January. His work is on view through December 7th in a solo show at Mor Charpentier in Bogotá, following a solo show with Maureen Paley in London this summer. He was also included in group shows at Galerie Judin in Berlin and Museum More in Holland this year.

—Josie Thaddeus-Johns


Nastaran Shahbazi

B. 1982, Tehran. Lives and works in Paris.

Cyprès de toi, 2024
Nastaran Shahbazi
The Hole

Strangers come together in scenes of quiet connection—dancing, peeling fruit, playing cards, resting on hillsides—in Nastaran Shahbazi’s dreamlike tableaus. Her work, which contains echoes of Impressionist imagery and the expressive color palette of the Fauves, was the focus of a pop-up staged by The Hole during Art Basel Paris last month. One standout work, Cyprès de toi (2024), uses vibrant shades of blue, green, and purple to depict couples at café tables and a rolling, dusky landscape, nodding to the preferred subjects of masters like Renoir and Pissarro.

Originally from Tehran, where she earned a degree in graphic design from Azad University, Shahbazi moved to Paris to study printmaking and later turned to oil painting. After spending three years in Hong Kong, she returned to Paris—her current home. The artist often layers memories from her life and travels into her art historical references, resulting in work that feels nostalgic and sentimental.

Lunch Break, 2024
Nastaran Shahbazi
The Hole

In The Red Room, 2023
Nastaran Shahbazi
The Hole

On The Balcony, 2024
Nastaran Shahbazi
The Hole

Blue Lobster, 2024
Nastaran Shahbazi
The Hole

The Hole’s “Open Studio” pop-up exhibition for Shahbazi followed “Wild Roses,” her solo show at the New York gallery earlier this year. Her work was recently featured in another solo exhibition at Scroll in New York and a group show at Ojiri Gallery in London.

—Maxwell Rabb


Daniel Terna

B. 1987, New York. Lives and works in New York.

Monastery, 2023-2024
Daniel Terna
Jack Barrett

Joe, Philadelphia, PA; President Trump’s Inauguration, Washington, D.C., 2017-2024
Daniel Terna
Jack Barrett

Daniel Terna’s photography blends personal experience with historical narratives, documenting pivotal cultural moments alongside intimate, seemingly mundane scenes. His latest exhibition, “The Terrain,” is on view at Tribeca gallery Jack Barrett through December 14th. The solo show features photographs from the past seven years, spanning political events—such as the 2017 U.S. presidential inauguration, the Women’s March, the Global Climate Strike, and recent pro-Palestine protests—as well as quiet observations from Terna’s own day-to-day. His approach is marked by an impartial, observant lens, allowing subjects to appear in their own element.

Some of these works recall the artist’s forebears, containing echoes of Wolfgang Tillmans’s poetic still lifes and Rineke Dijkstra’s unflinching portraiture, but Terna’s work is certainly distinctive. As the son of a Holocaust survivor, he draws on his own personal history to inform his work, often examining inherited trauma and family history. For example, the photograph Monastery (2023–24)—an image of a fluffy, bright-white comforter bathed in natural light—was taken at St. Ottilien Archabbey, a Benedictine monastery near the site of the Dachau concentration camp, where his father was imprisoned. The peaceful scene is transformed by its context, invoking the weight of memory and survival.

The Barricade, 2024
Daniel Terna
Jack Barrett

Holocaust Researchers Andrea Heller and Helga Deiler, Kaufering IV, Bavaria, DE, 2023-2024
Daniel Terna
Jack Barrett

Northern Wildfires, 2023-2024
Daniel Terna
Jack Barrett

Terna holds a BA in photography from Bard College and an MFA from the International Center of Photography–Bard program. His work has recently been exhibited at the St. Ottilien Archabbey in Germany and the Jewish Museum of Maryland, and he will be featured in an upcoming show at the Smithsonian National Portrait Gallery in 2025.

—Casey Lesser



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Rising painter Sarah Cunningham has died. https://ift.tt/pI9uTQj

British painter Sarah Cunningham—an alum of the Artsy Vanguard 2023–24—has died at 31. Lisson Gallery, which represents her, confirmed her death, following her disappearance in London this past weekend.

On Sunday, Lisson Gallery announced that Cunningham was missing, having been last seen on Saturday. The following day, Camden Police reported a casualty on the tracks of the London Underground. The police are treating her death as “unexpected, but at this time, it is not considered suspicious,” they wrote in their statement.

“We are devastated to confirm the death of Sarah Cunningham. Sarah was an incredibly talented, intelligent, and original artist who we all called a friend,” Lisson Gallery wrote in a statement on their website. “Her paintings are authentic, intuitive, and pure with the raw power to immediately foster connections with others—qualities reflected in Sarah’s own indomitable character.”

Born in 1993 in Nottingham in England, Cunningham attended Loughborough University. Her childhood home neighbored woodlands, where she nurtured a bond with nature that greatly influenced her work. Ignoring her mother’s wishes not to pursue a career as an artist, Cunningham started off making collages and, most significantly, paintings, that critiqued the fixed categories invented by scientists and celebrated nature as a unified system.

Cunningham was celebrated for her kaleidoscopic landscapes, characterized by her expressive mark making and explosive color palette. Often focusing on forests, her dense, gestural paintings veered into abstraction as swathes of blue, green, red, yellow, white, or black intentionally obscured the details of these natural scenes. “I am interested in creating this sense of place only to tear it down—and then build it up again,” Cunningham said in her Artsy Vanguard 2023–24 interview. “The way you ontologically separate these things—animal, human, tree—I’ve always found that way of thinking problematic.”

After attending the La Wayaka Current Artist Residency in Panama, she attended the Royal College of Art in London, where she graduated in 2022.

Cunningham mounted her first solo show with Almine Rech in New York just months after graduating from the Royal College. By 2023, Lisson Gallery had announced its representation of the artist, giving Cunningham a London solo show, “The Crystal Forest,” in November.



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Monday, November 4, 2024

At the Pyramids of Giza, Ancient Art and Cutting-Edge AI Converge https://ift.tt/MXfZijJ

Blue laser beams shot through the evening sky, illuminating the reception dinner of “Forever Is Now,” a contemporary exhibition at the Pyramids of Giza. Here, VIP guests had gathered to watch the first screening of AI artworks at the historical monument. Behind the screen, the pyramids glowed—some parts radiant and others silhouetted like a crescent moon—with the Great Sphinx in the foreground, creating a fascinating contrast between the innovation of the past and the potential of the future.

On October 23rd, Egyptian art consultancy Art D’Egypte opened the fourth edition of its “Forever Is Now” exhibition, featuring 12 local and international artists. Notably, this year marks the first inclusion of AI art at the exhibition—an increasingly relevant topic as the technology rapidly advances. It’s a notable inclusion, since, much like the present development of AI, there are, even today, still mysteries remaining around the creation of the pyramids.

Rather than try to separate Egypt’s history from the contemporary arts scene, Nadine Abdel Ghaffar, the consultancy’s founder, hoped to center Egypt as a space for international artistic exchange without the barriers of time, as hinted at in the exhibition’s name. For example, Four Temples (2024) by Korean American artist Ik-Joong Kang was inspired by his 2023 visit to Egypt. The four huge multicolored sculptures are reminiscent of gigantic Rubik’s cubes, and are an ode to ancient Egyptian temples.

Meanwhile, several large brass and cotton lotus flower sculptures make up Padma/Pulse and Bloom (2024) by Indian artist Shilo Shiv Suleman. With soft, subdued hues like blues and pinks, they create a dainty silhouette against the pyramids’ historical might.

Italian artist Luca Boffi’s Monochrome RGB (2024) is a three-part installation featuring red, green, and blue squared stainless steel panels set directly across from the pyramids. Each frame offers a tinted view of the ancient structures, subtly altering the viewer’s perception of these structures through the contrast of colors and shapes. Through the red panel, the pyramids take on an almost nostalgic tone; the blue complements the sky, pulling the pyramids into a closer, cooler focus; while green emphasizes the earthy presence of the desert. Monochrome RGB explores themes of perception, space, and time, creating a striking contrast between the square frames and the pyramids.

In the AI works on view in the screening, a similar interaction between past and present was visible. For example, multidisciplinary artist Hassan Ragab’s saturated and surreal video Identity Oblivious (2024) depicted the same Sphinx before the viewer in the desert, holding an iPhone. At another point, a man carries a pyramid through Cairo’s bustling streets. Developed using tools like MidJourney, Stable Diffusion, and Runway, the work is an eerie yet provocative reflection on the convergence of Egypt’s ancient heritage and the modern world.

“It was essential to illustrate the connection between the past, present, and future—the core of ‘Forever Is Now,’” Ghaffar told Artsy. “We exist in this moment, fully immersed in the AI and digital realms, so it’s crucial for us to engage with the world around us.”

“Most Ancient Egyptian history was theorized scientifically by the British from a materialistic viewpoint. Unfortunately, I think we inherited that,” Ragab said. One striking moment in his video shows a CGI modern Egyptian repainting historic statues to preserve their colors. It’s a beautiful yet eerie sight, challenging viewers’ perception of history as something observable and untouchable.

In another artwork made using AI tools, Evanesce (2024), Saudi Arabian contemporary artist Daniah Al Saleh explores themes of nostalgia and collective memory. Her silent, 10-minute video project explores the golden age of Egyptian cinema (1940s–60s), examining how this period, often idealized as a cultural high point, continues to shape identity and memory in the Middle East. Here, iconic Egyptian pop culture moments morph into one another, creating cultural throughlines across the decades.

While the advent of AI in the arts has been met with suspicion, “Forever Is Now” explores how generative artworks—among others—connect to a pioneering history of technology in art and design. With the Great Pyramids as an impressive backdrop, the exhibition creates a fascinating dialogue between the past, present, and future of art offering new ways to interact, connect, and reimagine our history.



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Relief fund announced for artists affected by Hurricanes Helene and Milton. https://ift.tt/yk81Ddi

In response to the devastation of Hurricanes Helene and Milton, Atlanta-based non-profit South Arts has launched the Southern Arts Relief & Recovery Fund. The new initiative aims to provide immediate financial assistance to artists across multiple states in the South, followed by longer-term recovery efforts within the arts community.

North Carolina alone suffered approximately $53.6 billion in damages from Hurricane Helene—a category four storm—according to the state’s Governor Roy Cooper. In particular, Asheville’s River Arts District faced significant damages, with approximately 80% of its buildings destroyed or damaged, the New York Times reported.

The fund was inaugurated in collaboration with regional partners such as Alternate ROOTS, Mid Atlantic Arts, and the National Performance Network. Artists across multiple disciplines residing in Florida, Georgia, North Carolina, South Carolina, Tennessee, and Virginia can apply for grants starting at $500. South Arts will distribute the grants for all states except North Carolina, where Arts AVL and the North Carolina Arts Council will manage them.

“This is a pivotal moment for our region’s cultural landscape. While we are providing immediate relief through this program, we recognize there is still much work ahead,” said Susie Surkamer, president & CEO of South Arts. “Our goal with this emergency fund is to act swiftly in supporting the artists that are vital to the South and also directly impacted by recent devastation. To fully realize this mission, we hope to engage both applicants and potential donors who can help strengthen and sustain these efforts.”

In addition to grant applications, South Arts is also soliciting donations to bolster the fund. Contributions can be made through the website, with all proceeds directed towards artists in designated disaster areas as determined by FEMA. The organization has shown the importance of community support in enhancing the stability of the regional arts sector.

“We are fortunate to have strong partners on the local, state, regional, and national level who have mobilized to provide resources for those affected by Hurricane Helene,” said Jeff Bell, executive director of the North Carolina Arts Council. “Together, we will continue to prioritize smart investment to stabilize and strengthen this region, where art is so vital.”



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Friday, November 1, 2024

Keith Haring subway drawings to be auctioned at Sotheby’s. https://ift.tt/3lSIcKo

On November 21st, Sotheby’s in New York will auction off 31 subway drawings by Keith Haring at its contemporary day sale. These works, estimated to fetch between $6.3 and $9 million in total, will be presented at Sotheby’s York Avenue galleries in the exhibition “Art in Transit: 31 Keith Haring Subway Drawings from the Collection of Larry Warsh” from November 8th to 20th.

The auction comprises 31 of Haring’s subway drawings executed from 1980 to 1985. These pieces, which will make their auction debut in November, originated from the private collection of Larry Warsh, a prominent collector and published author who has maintained these works for the last four decades.

Haring began creating these artworks in chalk on black advertising panels that had been left blank throughout New York City’s subway stations. This earned him the anonymous moniker “Chalkman.” For five years, this practice became a daily ritual for the artist. His early drawings often featured simplistic motifs that would become familiar in his later work, like UFOs and radiant babies. After partnering with art dealer Tony Shafrazi in 1982, Haring wrote: “I have been drawing in the subway for three years now, and although my career aboveground has skyrocketed, the subway is still my favorite place to draw.”

“Keith Haring’s subway drawings are his ultimate, years-long love letters to New York City,” said Ashkan Baghestani, head of Sotheby’s contemporary art day auction in New York. “Drawing dozens of works almost daily, Haring’s legacy unfolded in front of millions, as he transformed the everyday experience into the extraordinary through his lexicon of instantly identifiable imagery. They sometimes stemmed from world events and other times from new technologies or were about life, love, and death.”

The full suite of these subway drawings was last exhibited in 2012 at the Brooklyn Museum for “Keith Haring: 1978-1982.” Following the exhibition, the drawings were also featured in the book Keith Haring: 31 Subway Drawings, published in partnership with the Keith Haring Foundation.

The upcoming exhibition at Sotheby’s will recreate the 1980s New York City subway environment, complete with turnstiles and subway benches. Alongside the 31 drawings, the auction house will also present archival footage of Haring at work.



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The Trending Artists from Past Editions of The Artsy Vanguard https://ift.tt/ZbKyTFH

On October 21st, we launched the seventh edition of The Artsy Vanguard, which features 10 of the most promising artists working today across various geographies and mediums. Since Artsy started the Vanguard in 2018, many of its alumni have gone on to become leading names in contemporary art. To mark the occasion of this year’s Vanguard, we are featuring two data spotlights. The first looks at trending artists from last year’s Vanguard, while the second offers a glimpse into the growth in commercial interest in works by artists featured in Vanguard from 2020 to 2022.


Trending Artists, The Artsy Vanguard 2023–2024

Year-over-year growth in followers, 2024

The above chart shows the artists from The Artsy Vanguard 2023–2024 who have experienced the most growth in followers on Artsy this year so far.

Topping the list is Cinthia Sifa Mulanga. The Congolese artist paints, as my colleague Olivia Horn wrote in her wonderful profile of the artist, “richly colored, densely referential images that place Black women in luxe, [Barbie] Dreamhouse–like interiors, surrounded by objects of consumerist desire and emblems of capitalist anxiety.” Mulanga was the subject of a solo booth at Investec Cape Town art fair earlier this year with Bode, which represents her, and was also featured in a group show at Chilli Art Projects in London.

Referred Occupation I, 2024
Cinthia Sifa Mulanga
Kalashnikovv Gallery

Zahlen und Daten 2, 2024
Tesfaye Urgessa
Saatchi Yates

Following Mulanga is Tesfaye Urgessa. A painter of bodies “both potent and vulnerable,” as Emily Steer wrote in her profile, Urgessa represented Ethiopia at the country’s first Venice Biennale pavilion this year. He also had a solo show in London coinciding with the Biennale with Saatchi Yates, which represents him.

Third is Soumya Netrabile. The Indian American artist was recognized in last year’s Vanguard for her “lush, whimsical oil paintings, typically depicting swirling nature scenes,” as writer Kerry Cardoza noted in her profile of the artist. But, Cardoza wrote, Netrabile’s paintings “aren’t meant to be representational; instead, they are phenomenological recreations of things she’s experienced.” It’s been a busy year for the artist, who has had a pair of solo shows with Rachel Uffner in New York and Andrew Rafacz in Chicago, as well as group shows at galleries including Anat Ebgi.


The Artsy Vanguard: In-Demand

Year-over-year inquiry growth for The Artsy Vanguard 2020–2022, Jan–Sep 2024

The above chart shows The Artsy Vanguard alumni from 2020 through 2022 whose works have experienced the most growth in inquirers on Artsy over the first nine months of this year, compared to the previous nine months.

Topping this list is Alteronce Gumby, who was featured in The Artsy Vanguard 2021. The artist was recognized by writer Jewels Dodson for his abstract paintings that take “viewers on an odyssey beyond the provincial politics of the present, nudging open the door to worlds both within ourselves and well beyond this one.” Since being featured in Vanguard, Gumby has continued to ascend in the art world. This year, for instance, he’s been featured in group shows at galleries including Gagosian and Lehmann Maupin as well as in solo shows with Nicola Vassell and Bode.

Blue Colored Mountain, 2024
Alteronce Gumby
Bode

Tide, 2024
Louise Giovanelli
White Cube

Next is Dominic Chambers, an alumnus of The Artsy Vanguard 2022. A painter who, as Neyat Yohannes wrote, “subverts narratives focused on work and expectations of productivity,” Chambers is an artist who continues to go from strength to strength. This year has seen the artist mount two solo shows with his representing gallery Lehmann Maupin in New York and London, the latter of which is still on view. He’s also been featured in a string of notable group shows, including at the X Museum in Beijing, the Kunstmuseum in Basel, and Zeitz MOCAA in Cape Town.

Third is Louise Giovanelli. The British painter, known for her “absorbingly mysterious and lushly tactile” paintings—as Osman Can Yerebakan put it in her Artsy Vanguard profile—has been on quite the ascent since being featured in 2021. In 2022, the Giovanelli joined the roster of White Cube, and subsequently had solo shows at the gallery’s Bermondsey, London and Hong Kong locations in 2023 and 2024, respectively. This year, Giovanelli was also the subject of a solo museum exhibition at the He Art Museum in Foshan, China. And in March, a new auction record for a work by the artist was set at Christie’s when Ether (2022) sold for £85,680 ($107,225).



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Four Art Powerhouses Expand to Tokyo’s New Cultural Hub https://ift.tt/6x4XpJk

Just in time for Tokyo Art Week, a glistening 32-story structure for art and commerce has opened its doors in the historic neighborhood of ...

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