Results
Can Minor Attractions Grow Without Losing Its Intimacy?
The Art Journal talks to Jacob Barnes, Minor Attractions’ co-founder, about doubling down as the art market struggles to recover
Yayoi Kusama was Part Artist, Part Luxury Branding Machine
After decades fighting for recognition, Yayoi Kusama turned a deeply personal visual language into a global luxury product. Did her commercial triumph diminish her art?
Jean-Marc Bustamante Builds a Home for His 'Fourth Daughter'
In a restored medieval church in Arles, the French artist has created a foundation to house his work, archive and artistic relationships – and to shape what survives him
Help! I Hate My... Boss
Artworld Agony Aunt Charlotte Jansen answers a gallery employee whose boss is getting a little too comfortable in the office
‘I Saw the Blood Washing Into the Sea’: Dakis Joannou on Greece’s Contemporary Art Scene
Dakis Joannou has been active in the Greek contemporary art scene since the 1980s. He tells George Nelson what’s changed and what’s happening now
Yayoi Kusama, Iconic Painter of Polka Dots, Dies at 97
The artist developed a body of work recognisable for its obsession with repetition
Forget Paris: In Marseille, a New Art Ecosystem Emerges
37 galleries, 16 countries, €3,500 a booth and twelve prizes: what Art-o-rama’s twentieth edition says about where the French market has gone
Gwangju Biennale Reinstates Taiwan Pavilion
Following accusations of censorship, the participation of Taiwanese artists will now be named the Taiwan Pavilion rather than the ‘NTMoFA Pavilion’
The Artist: Alessandra Sanguinetti Reveals the Magic of Childhood
Following the lives of two cousins in the Argentine countryside, Alessandra Sanguinetti captures childhood between documentary and fairytale
Helsinki Biennial Announces Theme and Artists for 2027 Edition
The fourth edition of the biennial will explore the ‘Unknowns’, and will take place from June to September 2027
The New Economics of the Art Book
Steidl’s troubles prompted talks of a collapse in art-book publishing. Interviews with publishers, editors and collectors suggest a different picture
Should Britain have an OBR for culture?
Should culture and the creative industries have an OBR capable of looking beyond the immediate political horizon?
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