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1 month ago | 
theartnewspaper.com | Elena Goukassian |Theo Belci |Torey Akers |Joe Ware
A member of a theft ring that stole numerous objects—including works by Andy Warhol and Jackson Pollock—from museums over a 20-year span was sentenced to eight years in prison on Thursday (13 March). Thomas Trotta is the fourth person sentenced out of nine total who have been charged in relation to the heists. He previously pleaded guilty to one count of theft of major artwork.
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1 month ago | 
theartnewspaper.com | Torey Akers |Theo Belci |Benjamin Sutton
On 3 March, the Art Institute of Chicago (AIC) announced the initiation of a voluntary repatriation to Nepal. The 12th-century artefact in question, a “significant sculpture” dubbed Buddha Sheltered by the Serpent King Muchalinda, will be returned to its home country after provenance research at the museum unearthed new details of its origin.
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2 months ago | 
theartnewspaper.com | Elena Goukassian |Theo Belci
Petroglyphs in Arizona dating back thousands of years will soon be digitised and reinterpreted with help from local Indigenous groups. At the Deer Valley Petroglyph Preserve, a 47-acre site in Phoenix, around 1,500 symbols created between 500 and 5,000 years ago have been recorded. The site’s petroglyphs were last inventoried in 1980 using now-antiquated methods, and archaeologists believe that more motifs could be discovered.
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2 months ago | 
theartnewspaper.com | Kealey Boyd |Martin Bailey |Lee Cheshire |Theo Belci
In music, a pause for the player can be indicated by a caesura, sometimes referred to as “railroad tracks”. Caesura is also the title of a new collaborative graphic musical score by the artists and composers Raven Chacon and Guillermo Galindo that will be performed on 1 February at the Albuquerque Rail Yards in Albuquerque, New Mexico.
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Nov 22, 2024 | 
artforum.com | Theo Belci
In the inkjet-on-canvas Never / Forever (all works 2024), a pastel-pink makeup compact lies open on a floor, its mirror propped up against a sterile baseboard and a pockmarked sheet of drywall. As with most of the works in Sara Yukiko’s “XO Show,” its reference image was found on a resale clothing site, a single snapshot in an endless assortment of eerily charming mementos deemed nonessential by their owners and put up for adoption.
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Sep 12, 2024 | 
artforum.com | Theo Belci
September 4, 2024 - October 13, 2024In “SEED,” Brian Oakes presents seventeen sculptures, filling Blade Study’s exhibition space with the diligent whirring and clicking of small contraptions. Occupying pride of place in the storefront window is ASRS 1 (all works 2024), a machine that shifts diorama-laden palettes across a miniature warehouse shelving unit. This device nervously presents and stows models of roadside billboards, gem menageries, and grayscale haunted houses.
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Jul 3, 2024 | 
artforum.com | Theo Belci
June 4, 2024 - July 20, 2024In Natacha Donzé’s painting Bird of prey (all works 2024), crows scatter before a burning sky, bordered by a grid of digital lights bathed in crimson fog. It is unclear whether the work envisions a dystopian future or an infrared view of the present, pared down to the dual processes of technological acceleration and ecological collapse.
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May 7, 2024 | 
artforum.com | Theo Belci
April 27, 2024 - June 15, 2024The eight paintings in Xingzi Gu’s exhibition “Pure Heart Hall” offer evanescent depictions of love and longing staged in gauzy landscapes of illusory depth. The artist’s figures lie in repose, stand idly in thought, or appear hauntingly incomplete, so delicate as to suggest they may fully dissolve into their surroundings at any time.
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Mar 26, 2024 | 
artforum.com | Theo Belci
March 16, 2024 - April 13, 2024Erica Baum presents twenty-one photographs in “Off the Cuff,” her sixth solo show with New York’s Bureau gallery, which recently moved to a spacious prewar storefront in TriBeCa. This exhibition, which features the first public presentation of the artist’s ongoing “Fabrications” series, 2023–, offers a meaningful expansion of Baum’s previous forays into anachronistic print techniques.
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Feb 28, 2024 | 
theartnewspaper.com | Theo Belci
The Museum of Contemporary Art’s retrospective of 25 years of Paul Pfeiffer’s wide-ranging, multi-disciplinary practice foregrounds the confluence of pop culture, identity and the spectacle. Through the precise editing and assembling of found imagery, Pfeiffer’s work turns the familiar in on itself, emphasising the desire, projection and manipulation at the heart of mass media. The Art Newspaper spoke to the Hawaii-born, New York-based artist about the themes and techniques central to his work.
