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Kehinde Wiley built an empire out of painting young Black men into art history. Can it survive accusations of sexual assault? Derrick Ingram, a well-known Black Lives Matter activist, was [...]

Jorge Colindres, a freshly cologned and shaven lawyer, handed me a hard hat to take the elevator to the 14th floor of what is now the tallest building on the [...]

I MEET THE sculptor Thomas Houseago on a sunny August day at his outdoor studio on an oceanside cliff in Malibu. He arrives late and a little manic, bursting from [...]

WHEN I ARRIVE at the 1907 Beaux Arts office building a few blocks south of the World Trade Center, a guard in the slickly renovated lobby of 101 Greenwich swipes [...]

Twenty years ago, a glamorous platinum-blond widow arrived at the Paris law office of Claude Dumont Beghi in tears. Someone was trying to take her horses -- her ''babies'' -- [...]

The article titled "LAND OF LIBERTY: OFF THE COAST OF HONDURAS, THE DREAM OF A FOR-PROFIT CITY-STATE IS RISING. WILL IT SURVIVE?" explores the development of a for-profit city-state off the coast of Honduras called Prospera. The project aims to create a haven for innovation and economic growth, attracting foreign investment and offering a unique legal and regulatory framework. However, the initiative has faced criticism for potential exploitation and concerns about the impact on local communities and the environment. The article provides an in-depth analysis of the challenges and controversies surrounding Prospera's establishment and its uncertain future. [Extracted from the article]

Sculptor Thomas Houseago, with support from Leonardo DiCaprio and Brad Pitt, is opening his first solo show in New York in a decade. Houseago, known for his intense and trauma-influenced art, takes viewers on a tour of his sculptures, including redwood owls, a Minotaur, and a child-eating Cyclops. The exhibition was originally planned for Gagosian but was moved to Lévy Gorvy Dayan Mansion due to Houseago's discomfort with the former gallery. Houseago discusses his personal struggles, including trauma and addiction, and his journey towards healing and recovery. He credits his Hollywood friends for their support and connection through shared experiences. The show is described as a reflection of Houseago's psychological transformation, starting with darkness and moving towards hope. [Extracted from the article]

Christopher Wool, a renowned artist known for his punk-rock style, has rented an empty floor of an office building to showcase his recent paintings and sculptures. The desolate and unfinished state of the space seems to delight Wool, who appreciates its history and imperfections. The show will be free and open to the public, with no artworks available for sale. Wool's decision to stage the show independently reflects his desire to do things his own way and move away from the art market's influence. He is inspired by minimalist sculptor Donald Judd's belief that galleries and museums are not adequate spaces for his work. Wool, who has had a successful career and is now in his late 60s, is uninterested in museums, music, movies, and reading criticism. He feels disconnected from the current culture and believes that the art world is not so different from the rest of society. [Extracted from the article]

The article discusses the controversy surrounding an open letter published by Artforum's website, which called for Palestinian liberation and an end to violence against civilians. The letter had already been signed by over 4,000 people, including prominent artists and collectors. However, the letter received backlash from some collectors and dealers who believed it should have condemned Hamas before supporting Palestinian causes. The controversy highlights the tension between artists and collectors in the art world, with some artists wanting collectors to stay out of politics and focus on supporting art. The article also mentions the firing of Artforum's editor, David Velasco, and the subsequent boycott by writers and artists. The controversy raises questions about editorial independence and the future of the magazine. [Extracted from the article]