As Art Basel returns to Florida for the 20th anniversary of its Miami Beach art fair, Aimee Dawson, the acting digital editor at The Art Newspaper, talks to Anny Shaw, the acting art market editor, about the sales, news and talking points at the event that has become most synonymous with art-world excess.
December 2, 2022: Meanwhile, after Arts Council England announced its funding allocation in November, arts organisations across the country, and especially in London, are reeling. Ben Luke talks to Jenni Lomax, the former director of the Camden Art Centre—the north London non-profit gallery whose funding has been cut by more than 30%. They discuss the effect of the cuts, and why the response from the visual arts community is relatively quiet compared to the uproar in the worlds of theatre and opera.
And this episode’s Work of the Week is Oleksandr Bohomazov’s Sharpening the Saws (1927), a work from the National Art Museum of Ukraine in Kyiv. The painting is among a host of works moved from the war-torn country to the Thyssen-Bornemisza National Museum in Madrid for the exhibition In the Eye of the Storm: Modernism in Ukraine, 1900-1930s. Katia Denysova, the co-curator of the show, tells us about the picture, and the extraordinary journey it took from Kyiv to the Spanish capital.Art Basel in Miami Beach until 3 December.In the Eye of the Storm: Modernism in Ukraine, 1900-1930s, Thyssen-Bornemisza National Museum, Madrid, until 30 April 2023.
Paris+, par Art Basel is the fourth event of its kind in the portfolio of Art Basel, the world’s biggest art fair. Other, related editions are regularly held in Hong Kong, Miami Beach, and the Swiss city of Basel, where its tentpole fair is held. Expect big sales and even bigger crowds, as has long been the case with Art Basel’s other editions.
This week: why is Tate rejecting an archive of material relating to Francis Bacon, 18 years after acquiring it?
Our London correspondent Martin Bailey tells us about his recent scoop that Tate is returning a thousand documents and sketches said to have come from the studio of Francis Bacon to Barry Joule, a close friend of the artist, who donated them to Tate in 2004. We then discuss the material with Martin Harrison, the pre-eminent Bacon scholar and editor of the catalogue raisonné of Francis Bacon’s work published in 2016, and to Sophie Pretorius, the archivist at the Estate of Francis Bacon, who went through the Barry Joule archive item by item. Victoria Munro, the director of the Alice Austen House Museum in New York, discusses this still too-little-known photographer, and her documentation of immigration to the United States and the lives of queer women in the 19th and early 20th centuries. And this episode’s Work of the Week is Weißes Bild (1994), a painting by the late Luxembourg-born artist Michel Majerus, now on view at Art Basel—Aimee Dawson, acting digital editor, is at the fair and talks to Giovanni Carmine, curator of the Unlimited section, in which the painting appears.
Sophie Pretorius’s essay Work on the Barry Joule Archive is in the book Francis Bacon: Shadows published by the Estate of Francis Bacon and Thames and Hudson.
For more on the Alice Austen House Museum, visit aliceausten.org. The podcast My Dear Alice is out in the autumn.