Wallace Ludel

1 month ago | theartnewspaper.com | Hadani Ditmars |Aimee Dawson |Martin Bailey |Wallace Ludel

A team of archaeologists in Iraq, led by the British Museum’s curator of ancient Mesopotamia Sebastian Rey, has uncovered compelling evidence of the empire’s formidable bureaucracy. The discovery, first reported by the Observerearlier this week, was made at Tello in southern Iraq—once the administrative centre of the ancient city of Girsu—and includes more than 200 clay cuneiform tablets and 60 sealings. The tablets contain details about everything from scholarly texts to sheep and barley rations.

1 month ago | theartnewspaper.com | Osman Can Yerebakan |Julia Halperin |Kabir Jhala |Wallace Ludel

Anne Imhof’s largest project in the US premiered this week at the Park Avenue Armory in New York, taking over the venue’s vast Wade Thompson Drill Hall with a three-hour long performance and installation curated by Klaus Biesenbach. The immersive show, DOOM: House of Hope (until 12 March), envelopes visitors in a bleak realm of dance, sound and sculptural forms in keeping with the Golden Lion-winning German artist’s stylised visual universe.

2 months ago | theartnewspaper.com | Jori Finkel |Wallace Ludel

Unknown to each other and completely uncoordinated, the galleries Marian Goodman and Hauser & Wirth opened significant exhibitions in Los Angeles this week that have something in common: thoroughly and subversively empty rooms. At Marian Goodman, a historical survey of Bruce Nauman’s early years in the Los Angeles area, Pasadena Years (until 26 April), begins with mesmerising performance-based videos from 1969 and culminates with a 43ft-by-43ft skylit room where no art is hung or installed.

2 months ago | theartnewspaper.com | Carlie Porterfield |Riah Pryor |Wallace Ludel |Sarah Belmont

This sketch, from the collection of a noble European family, likely depicts the beach in Wieck, Germany, overlooking the Greifswalder Bodden. An inscription indicates that Caspar David Friedrich gifted the drawing to fellow artist A.V. Endres in 1821. Endres was a drawing master hired to teach an ancestor of the consignors, and it is believed Endres passed the work along to his pupil, after which point it remained in the family.

Jan 20, 2025 | theartnewspaper.com | Tim Schneider |Torey Akers |Wallace Ludel

Although an avalanche of anxiety has already been triggered by the imminent return of once-and-again US president-elect Donald J. Trump, to date much of the resulting discussion within the art trade has concentrated on only two subjects: how to brace for the impact of the stiff tariffs he is threatening to impose, and why his administration’s tax policies could unleash a surge of pent-up spending among wealthy American buyers.