Following the announcement of the single-owner sale, “Ravishing Blue: Imperial Porcelains from an Important Private Collection”, Christie’s is proud to present “Important Chinese Ceramics and Works of Art”, a meticulously curated selection of nearly 150 rare Chinese ceramics.
The show, featuring 30 paintings and two sculptures, opened its doors after a highly successful stint at the Museum of Fine Arts of Seville, where it drew an impressive 115,808 visitors between December 2, 2024, and March 16th of this year.
Christie’s will begin its first Hong Kong Asian Art Week in 2025 with two carefully curated sales: Fine Chinese Classical Paintings and Calligraphy on 31 April, and Fine Chinese Modern and Contemporary Ink Paintings on 1 May.
The Parrish Art Museum introduces Shirin Neshat: Born of Fire, the internationally renowned Iranian-born artist’s first solo museum exhibition in the New York area in 20 years and first ever on the East End of Long Island.
In her exhibition “Funny Bone,” Jenny Brosinski presented sixteen large paintings, some including collage elements, as well as several groups of drawings and an ensemble of sixteen imaginative, figurative ceramic pieces.
A palette of faded, sometimes aqueous colors prevails in Noah Davis’s work. The oil paints are often translucent, like watercolors; the muted hues never meet in hard contrasts.
It’s hard to stay hopeful these days, in the face of ever-increasing inequality, scarcity, and war. Thankfully, with his exhibition “Ricochets,” Francis Alÿs presented an antidote to pessimism.
For the first time, the Carnegie Mellon School of Art MFA Program co-presents a joint exhibition with The Andy Warhol Museum—one of the four Carnegie Museums of Pittsburgh and the largest and most comprehensive single-artist museum in North America.
From April 2 to June 29, Hoam Museum of Art proudly presents Gyeomjae Jeong Seon, a landmark special exhibition that offers a comprehensive look into the artistic legacy of Jeong Seon—one of the most revered painters of the Joseon Dynasty.
Blanche Hoschedé-Monet has barely been acknowledged in art history. But not only did she help her stepfather Claude, she created her own fine works – often of the same scenes as him.