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HEADING TO AUCTION. Melanie Gerlis at the Financial Times reports on two forthcoming sales. First, major works from the collection of Roger Sant and his late wife Vicki Sant will head to Christie’s this November. While the couple has promised its stellar holdings of Les Nabis to the Phillips Collection, these 30 works are “pieces we bought just because we loved them,” Roger said. Highlights include Joan Mitchell’s dazzling 1989 Untitled, Diptych , which carries an estimate of $10 million to $15 million, and Gauguin’s Pêcheur et baigneurs sur l’Aven (1888), with an estimate of $6 million to $8 million. Meanwhile, Stanley Whitney has donated his 2022 abstraction The Freedom We Fight For to benefit the Art for Justice Fund and Planned Parenthood of Greater New York as part of a single-lot sale on Artsy. The work is to go on view at Gagosian’s Park & 75th space next week. And, Barron’s reports that a 1989–91 painting from Alighiero Boetti’s “Mappa” series will head to Sotheby’s in November. With an estimate in excess of $8 million, it could break a record for the Arte Povera artist.
ARTISTS. A bevy of recently published profiles and reviews are worth checking out. First up, Tyler Mitchell gets the profile treatment courtesy the New York Times, ahead of his solo show at Gagosian in London. Carolina A. Miranda speaks with L.A.-based painter Carolyn Castaño, currently the subject a solo outing at Walter Maciel Gallery near Culver City. The Art Newspaper previews the latest exhibition of Zineb Sedira, who is currently representing France at the Venice Biennale. For his “Great Works, In Focus,” critic Sebastian Smee writes about an Adolph Menzel work at the Met. And the Guardian and FT both have reviews about William Kentridge’s latest show at the Royal Academy in London.
The Madison Arts Commission and Seein is Believin sponsored a panel at Madison College earlier this week with five artists who recently signed an open letter accusing the Madison Museum of Contemporary Art of “institutional racist violence.” [The Cap Times]
Ahead of Documenta 15’s end on Sunday, ruangrupa, the collective that organized the exhibition, reflected on its 100 days: “What happened was that it became too big for a lot of people, including ourselves: 1,500 names with 32 venues and 1,200 and counting events. It’s not that we want to cover and know everything, but it does seem the intimacy of experience was affected.” [Artnet News]
Njideka Akunyili Crosby is the first alum from Yale’s M.F.A. program to have an exhibition at the esteemed Yale Center for British Art, which happens to be organized by writer Hilton Als. [Yale Daily News]
The Holt/Smithson Foundation, dedicated to the work of Nancy Holt and Robert Smithson, will organize an annual lecture series for the next 10 years. First up art historian Anne M. Wagner will discuss the politics in their work at the Whitney Museum on November 3. [The Art Newspaper]
Tonya Matthews, the executive director of the forthcoming International African American Museum in Charleston, South Carolina, previews the new institution. [The New York Times]
Critic Jonathan Jones gives a rare five-star review to the blockbuster exhibition “Hallyu! The Korean Wave” at the V&A in London, opening this weekend. [The Guardian]
FAIR USE. Cleveland-based tattoo artist James Hayden has been a go-to for some of the NBA’s top players, including LeBron James, Tristan Thompson, and Danny Green. He’s now part of a lawsuit against 2K Games, citing that the video game developer has reproduced six of his tattoos without authorization. An Ohio judge agreed that the tattoos are indeed subject to copyright, and now a jury will decide if their realistic reproduction on the athlete’s bodies 2k’s playable games is fair use. [Artnet News]