Art Movements is your go-to source for the latest updates in the art world, released every Thursday afternoon. It covers crucial news, appointments, awards, and events shaping the contemporary art scene.
Unfolding New Developments
This week, the US Department of State issued a call for proposals for the 2027 Venice Architecture Biennale. The guidelines specify a preference for designs that highlight ‘America’s exceptionalism.’ Additionally, applicants must affirm they run no programs that ‘promote Diversity, Equity, and Inclusion,’ echoing rhetoric reminiscent of the Trump era. This approach parallels the selection process for this year’s Venice Biennale pavilion, awarded to artist Alma Allen without the usual procedures.
Significant Donation to National Gallery of Art
The National Gallery of Art has acquired nearly 50 pieces from the Berezdivin Collection. This donation includes works in painting, photography, and conceptual art by contemporary artists from the US, the Caribbean, and Latin America. It introduces new artists to the museum’s collection, including Allora & Calzadilla, Chemi Rosado-Seijo, Rafael Ferrer, and Priscilla Monge.
Further Highlights
MoMA PS1 in Queens now features a stunning mural by local artist Esteban Cabeza de Baca, titled “Ancestral Dreams” (2026). The piece intertwines labor history with Aztec and Maya motifs, delivering a message of support for migrant communities. It will be on display through next spring.
New Appointments and Awards
Notable appointments include Carrie Rebora Barratt as senior curator-at-large of American Art at the Nelson-Atkins Museum, and Courtenay Finn as chief curator at the Crystal Bridges Museum. Recess, a Brooklyn arts nonprofit, announced its 2026–28 artists and groups, while the Bobby Anspach Foundation awarded its first grants, with Julianne Swartz and Bobby McElver receiving $50K each.
Modigliani’s Record-Breaking Sale
Amedeo Modigliani’s “Nu assis au collier” (1917–18) commanded £48.2 million (~$63.9 million) at Sotheby’s London auction, leading the sale of Joe Lewis’s collection. The painting, once deemed ‘indecent’ at its Paris exhibition in 1917, finds itself back in the spotlight amid the backdrop of Lewis’s recent pardon by President Trump following insider trading charges.
