Big

See 10 of the Exhilarating Installations at the Spring/Break Art Show, From a Shrine to Giantesses to One Absurdly Big Ham


Spring/Break Art Show, the upstart cool kid’s fair, kicked off its 10th New York edition—yes, you read that right—in uncharacteristically subdued fashion on Wednesday, keeping crowds to a minimum during its collectors and press preview as a health precaution.

“It’s strange,” Ambre Kelly, who co-founded the fair with husband Andrew Gori, admitted to Midnight Publishing Group News. “But the curators say they’ve been having these great conversations with collectors!”

And while the fair was quieter than usual, it still delivered its usual infectious mix of immersive installations, with most curators opting to eschew the traditional white cube and embrace the quirkiness of the office building setting, even to show drawings and paintings. (The fair is taking place in Ralph Lauren’s former headquarters for the second year running.)

This year’s theme was “Hearsay:Heresy.” As always, interpretations varied widely, with artists exploring Medieval artisanship, Catholic imagery, and concepts of the plague, public shaming, and heretical beliefs. Installations ranged from meditative chapels and ornate altarpieces to a giant, self-slicing honey-baked ham. Here’s a look at ten of the highlights.

 

Meg Lionel Murphy: The Keep
curated by the Untitled Space, New York

“Meg Lionel Murphy: The Keep” curated by the Untitled Space, New York at Spring/Break Art Show. Photo by Sarah Cascone.

“Meg Lionel Murphy: The Keep” curated by the Untitled Space, New York at Spring/Break Art Show. Photo by Sarah Cascone.

Work from "Meg Lionel Murphy: The Keep" at Spring/Break Art Show. Photo courtesy of the Untitled Space.

Work from “Meg Lionel Murphy: The Keep” at Spring/Break Art Show. Photo courtesy of the Untitled Space.

In her installation of brightly colored paintings, Meg Lionel Murphy has reimagined the castle keep as a bathroom—the safest spot in the home, both from the natural threats of hurricanes and tornados and from a domestic abuser, as it is often the only room that locks from the inside.

The artist, who was raised Catholic, actually repurposed vintage religious icons with ornate gold frames to build her own shrine, painting over them with images of female giants who roam the earth, recurring characters from her work.

“I started weaving my own mythology that I’ve been building for years into Catholic imagery,” Murphy told Midnight Publishing Group News.

 

“Book of Ours: Phil Buehler
curated by Sarah Celentano

“Book of Ours: Phil Buehler” curated by Sarah Celentano at Spring/Break Art Show. Photo courtesy of Sarah Celentano.

“Book of Ours: Phil Buehler” curated by Sarah Celentano at Spring/Break Art Show. Photo courtesy of Sarah Celentano.

“Medievalists have been comparing the smart phone to the Medieval book of hours for years,” curator Sarah Celentano, a medievalist and former staffer at New York’s City Reliquary told Midnight Publishing Group News. “They are about the same size, people use them in public, and they are luxury items.”

Phil Buehler has run with that comparison, surreptitiously snapping photographs of New Yorkers engrossed in their phones and turning the images into stained glass-style images displayed on a smart TV mounted in a wooden frame shaped like an arched church window.

The meditative display, beneath a vaulted “ceiling” of blue lights, is paired with dispatches from QAnon printed in Gothic script that Celentano selected for their biblical cadence. “Smart phones give us access to limitless information, not just prayers,” she said, “but we are still prone to radicalization.”

 

Buket Savci: Wrong Side of the River (Pink Room)
curated by Maria de Los Angeles

“Buket Savci: Wrong Side of the River (Pink Room)” curated by Maria de Los Angeles at Spring/Break Art Show. Photo by Sarah Cascone.

“Buket Savci: Wrong Side of the River (Pink Room)” curated by Maria de Los Angeles at Spring/Break Art Show. Photo by Sarah Cascone.

“Buket Savci: Wrong Side of the River (Pink Room)” curated by Maria de Los Angeles at Spring/Break Art Show. Photo by Sammy Sachs, courtesy of Spring/Break Art Show.

“Buket Savci: Wrong Side of the River (Pink Room)” curated by Maria de Los Angeles at Spring/Break Art Show. Photo by Sammy Sachs, courtesy of Spring/Break Art Show.

The warm pink tones of Buket Savci’s paintings of entangled bodies sprawling on unicorn pool floats evoke two readings: friends luxuriating in each other’s company, but also migrants struggling to cross a large body of water (one painting especially recalls The Raft of the Medusa).

That’s why the paintings are installed with a “stream” running on the floor beneath them, with three of the cheerful inflatables featured in the works. Savci, an immigrant herself who left Turkey to escape corruption and injustice, hopes the works call to mind the struggles of the refugee crisis, while also representing hope and interpersonal connection.

“I want you to cross this river to this realm where you’re loved,” Savci told Midnight Publishing Group News.

 

“Moises Salazar Tlatenchi: Let’s Get Physical
curated by Filo Sofi Arts, New York

“Moises Salazar Tlatenchi: Let's Get Physical” curated by Filo Sofi Arts, New York at Spring/Break Art Show. Photo by Sarah Cascone.

“Moises Salazar Tlatenchi: Let’s Get Physical” curated by Filo Sofi Arts, New York at Spring/Break Art Show. Photo by Sarah Cascone.

Glitter, delicate crochet, and pink fur adorn the paintings of 24-year-old, queer, non-binary artist Moises Salazar Tlatenchi, an immigrant from Mexico. Their faceless self portraits of boxers and wrestlers are displayed alongside a bench press and treadmill, both of which have been similarly adorned by the artist.

“We were thinking of the gym as a torture chamber, and recontextualizing it as a safe space for queer and trans kids,” gallery owner Gabrielle Aruta told Midnight Publishing Group News, adding that “I know a lot of artists working in glitter, but I haven’t seen anyone else who is able to capture the graduation of hue Moises achieves.”

 

“Jen Catron and Paul Outlaw: Slicing Ham (2020/1792)
curated by Magda Sawon

“Jen Catron and Paul Outlaw: Slicing Ham (2020/1792)” curated by Magda Sawon at Spring/Break Art Show. Photo courtesy of Spring/Break Art Show.

“Jen Catron and Paul Outlaw: Slicing Ham (2020/1792)” curated by Magda Sawon at Spring/Break Art Show. Photo courtesy of Spring/Break Art Show.

The political events of 2020 are memorialized in miniature by husband and wife artist duo Jen Catron and Paul Outlaw, who have sculpted a tiny ballot drop box, a toppled Trump monument, and the aftermath of the January 6 storming of the capitol, replete with Nancy Pelosi’s stolen lectern and Jake “QAnon Shaman” Angeli’s headdress, among other vignettes.

But these tiny scenes are dwarfed by an absurdist ham plastered with pineapple slices and maraschino cherries, sliced over and over again by a giant mechanical knife. The dramatic shift in size reflects the incomprehensibility of the 24 hour news cycle and all its conspiracies and tragedies.

“This notion of macro and micro and the idea of extreme scale is something they want to explore,” curator Magda Sawon, of New York’s Postmasters Gallery, told Midnight Publishing Group News.

 

“The Castle of the Spider’s Web
curated by Deep Space Gallery, Jersey City

“The Castle of the Spider’s Web” with work by Demming King Harriman and T.F. Dutchman curated by Deep Space Gallery, Jersey City. Photo by Sammy Sachs, courtesy of Spring/Break Art Show.

“The Castle of the Spider’s Web” with work by Demming King Harriman and T.F. Dutchman curated by Deep Space Gallery, Jersey City. Photo by Sammy Sachs, courtesy of Spring/Break Art Show.

The back room of Deep Space Gallery’s two-part booth channels some serious Medieval energy, welcoming visitors with an elaborate golden altarpiece that doubles as the perfect frame for your art fair photo op.

Deming King Harriman made the installation for the occasion to accompany her pandemic-inspired “Isolation Art: Masks” series of Old Master-style portraits with subjects clad in ornate ruffled collars, metal armor, and various face coverings that evoke both the Black Death and our 21st century plague.

The digital collage prints ($350 each) are paired with stained glass windows by T.F. Dutchman (given name Keith VanPelt), who runs the gallery with romantic partner Jenna Geiger and has been working in the unusual medium for some 20 years.

“He does hip hop and skateboarding iconography in stained glass,” Geiger told Midnight Publishing Group News. The showstopper, Jam Master Jay (2009), is inspired by a series of windows the legendary designer Louis Comfort Tiffany (2009) made in Pittsburgh and is priced at $30,000.

 

“Out of the Blue, Things Happen to You: The Estate of Matthew Freedman
curated by Jude Tallichet

“Out of the Blue, Things Happen to You: The Estate of Matthew Freedman” curated by Jude Tallichet at Spring/Break Art Show. Photo by Sarah Cascone.

“Out of the Blue, Things Happen to You: The Estate of Matthew Freedman” curated by Jude Tallichet at Spring/Break Art Show. Photo by Sarah Cascone.

“Jen Catron and Paul Outlaw: Slicing Ham (2020/1792)” curated by Magda Sawon at Spring/Break Art Show. Photo courtesy of Spring/Break Art Show.

Work by Matthew Freedman. Photo courtesy of Spring/Break Art Show.

When her husband Matthew Freedman died in October at age 63 after a long battle with cancer, sculptor Jude Tallichet wasn’t sure what to do with the hundreds upon hundreds of sculptures he had made over the decades in their home, a former synagogue in Ridgewood, Queens.

“I didn’t want the work to just go into a landfill,” Tallichet told Midnight Publishing Group News. “It would be so great if it could live with people.”

With that goal in mind, she estimates she has brought about 60 percent of his sculptures to the fair. The result is an overwhelming display full of charm and character, with armies of tiny figures that seem poised to come to life in a claymation film spread across a large cubicle, covering the desks, the shelves, the window sill, and the floor.

Freedman returned to many of the same funny little characters over and over. It would be a shame to break up his impressive body of work, which almost certainly benefits from being seen en masse. (A museum show examining the artist would be fascinating.) Prices range from $150 for the small sculptures to $5,500 for a large piece of a seven-headed hydra.

 

“Working Title: The Birth of a New Eden
curated by Andrea Zlotowicz

“Working Title: The Birth of a New Eden” with work by Anne Muntges and Kate Bae, curated by Andrea Zlotowicz at Spring/Break Art Show. Photo by Sarah Cascone.

“Working Title: The Birth of a New Eden” with work by Anne Muntges and Kate Bae, curated by Andrea Zlotowicz at Spring/Break Art Show. Photo by Sarah Cascone.

The black and white works of Anne Muntges shine at not one but two booths at Spring/Break, including a full wall installation of a graffitied Brooklyn street in “Devotion,” a three-artist presentation she shares with Bethany Krull and Ani Hoover, curated by Buffalo gallery the Raft of Sanity.

The effect of Muntges’s obsessive mark-making is especially delightful, however, paired with Kate Bae’s colorful wall sculptures, which feature playable xylophones and delicate fake flowers whose petals are made from peeled layers of acrylic paint.

“The works were definitely separate, but Kate and Anne worked together to create the space and create a garden of Eden,” curator Andrea Zlotowicz told Midnight Publishing Group News.

 

Joe Bochynski: Spolia
curated by John Witty

“Joe Bochynski: Spolia” curated by John Witty at Spring/Break Art Show. Photo by Sarah Cascone.

“Joe Bochynski: Spolia”
curated by John Witty at Spring/Break Art Show. Photo by Sarah Cascone.

Joe Bochynski has built a full on Gothic chapel at the fair, with a mosaic triptych honoring his Polish immigrant grandparents and their Catholic faith. Adding to the installation is a display of mosaic roundels arranged to mimic a rose window.

“He collects all these found objects, like kitschy figurines, and adds them to his work,” curator John Witty told Midnight Publishing Group News. “I see it as modern-day spolia“—the ancient practice of reusing old buildings in new monuments.

 

“Lujan Perez: Where are you from, from?”
curated by Anne-Laure Lemaitre

"Lujan Perez: Where are you from, from?" curated by Anne-Laure Lemaitre at Spring/Break Art Show. Photo by Sammy Sachs, courtesy of Spring/Break Art Show.

“Lujan Perez: Where are you from, from?” curated by Anne-Laure Lemaitre at Spring/Break Art Show. Photo by Sammy Sachs, courtesy of Spring/Break Art Show.

Lujan Perez was inspired to make her drawings of imagined toxic plants by internet research she conducted in March 2020, when she fell ill during the first wave of the pandemic. When she learned the yellow oleander, a common garden plant, can cause similar shortness of breath to the virus, she became fascinated by the looming dangers of the natural world.

“There are things that are very familiar that if ingested make you very sick,” Perez told Midnight Publishing Group News.

The works on paper are accompanied by a large-scale hand-carved wooden installation that you can climb inside, transporting yourself to a dark, vaguely ominous forest.

Follow Midnight Publishing Group News on Facebook:



From Christie’s Big Bet on Hong Kong to Hobby Lobby’s Looted Dream Tablet: The Best and Worst of the Art World This Week


Guarding America’s Pastime – Cleveland’s baseball team has rebranded itself as the Guardians, paying tribute to beloved sculptures that line the bridge leading to the stadium.

Space Jam Kicks Sell for Stratospheric Sum  A pair of Nikes made for Michael Jordan sold for over $176,000 at Sotheby’s.

Pompidou Names New Director  France’s Centre Pompidou named 39-year-old Xavier Rey to lead the museum as it closes for a three-year renovation.

Marian Goodman Cements Succession Plan  The veteran art dealer named five new partners, while she will take on the role of CEO.

Australia Returns Looted Indian Artifacts  The National Gallery of Australia returned 13 works bought from disgraced art dealer Subhash Kapoor, who is now in prison.

Christie’s Bets Big in Hong Kong  The auction house announced plans to quadruple its sales room and increase auctions three fold in the city.

Viva Venice!  We’re still months and possible mask mandates away from the so-called “art world Olympics,” but here’s an updated list of all confirmed artists headed to the Venice Biennale in 2022.

LA Art Dealer Slapped With Embezzlement Charges  Founder of Ace gallery Douglas Chrismas was arrested on federal charges alleging he stole more than $260,000 from his gallery.

Holocaust Memorial Approved, Despite Criticism  Starchitect David Adjaye’s plans for the London-based memorial got the green light, despite protests that it overstates Britain’s role in saving Jewish people.

Art Dealer Sentenced for Fraud  Former socialite art dealer Angela Gulbenkian was sentenced to three years in prison for her bad business practices.

Hirst Takes a Hatchet to Studio Jobs  The For the Love of God artist reportedly laid off 63 employees, despite taking advantage of a $21 million pandemic bailout.

Authorities to Return Gilgamesh Tablet  The United States is restituting some 17,000 objects including the Gilgamesh Dream Tablet once owned by collector Steve Green to Iraq.

Follow Midnight Publishing Group News on Facebook:

Sculptor Alex Da Corte Brought a Bright Blue Big Bird to the Metropolitan Museum of Art’s Rooftop—See Images Here


In the 1985 film Sesame Street Presents: Follow That Bird, Big Bird gets kidnapped by a traveling circus. Its owners paint him blue, cage him, and force him to sing the song “I’m So Blue” for their audience.

Thankfully, Big Bird seems to have made his escape in Alex Da Corte‘s new roof garden commission for the Metropolitan Museum of Art. He perches in all his feathered glory atop a crescent moon and clutches a ladder as he floats through space, balanced atop a fully functioning Alexander Calder-style mobile. The ladder suggests that he is not stranded, and that he has the ability to end his isolation.

“It’s a surrogate for where we are collectively at this moment, kind of contemplating a future and not knowing what we’re facing—really, a sense of vulnerability,” Shanay Jhaveri, the museum’s assistant curator of international Modern and contemporary art, told Midnight Publishing Group News. “It’s about this idea of looking out at new horizons.”

The sculpture, As Long as the Sun Lasts, is named for a Italo Calvino’s short story about intergalactic travelers searching for a planet to call home.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

“Alex began the project at the height of the pandemic,” Jhaveri said. “He thought the work should speak to the future and also encapsulate our own sense of vulnerability and confronting uncertainty.”

The 40-year-old artist chose to paint Big Bird’s feathers blue not only because of the Sesame Street film, but also in reference to the Muppet’s Brazilian cousin, Garibaldo, which Da Corte watched as a child in Venezuela, as well as the color’s traditional associations with sadness.

The piece’s melancholic feel is offset with a sense of whimsy, with the base of the mobile built to look like the interlocking plastic walls of a Little Tykes Outdoor Activity Gym—another ’80s relic. It’s signed with Da Corte’s take on Calder’s signature monogram, and the number 69, in reference to the year of the moon landing, the first episode of Sesame Street, and when Da Corte’s father immigrated to the U.S.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

“Alex wanted to touch upon the liveliness and the unpredictability that is so much at the heart of Calder’s practice, but also the playfulness,” Jhaveri said.

Fabricating the piece was a challenge, from producing Big Bird’s 7,000 individually placed aluminum feathers to achieving the perfect balance of the mobile, which spins gently in the breeze.

“It was very important that it had to move, but not be mechanized,” Jhaveri said. “It had to be something that  responded to the air currents and moved intermittently, because in life, things happen intermittently—it’s not instant.”

See more photos of the work below.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Anna-Marie Kellen, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view. Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

Alex Da Corte, As Long as the Sun Lasts for the 2021 Roof Garden Commission at the Metropolitan Museum of Art, installation view (detail). Photo by Hyla Skopitz, courtesy of the Metropolitan Museum of Art.

“The Roof Garden Commission: Alex Da Corte, As Long as the Sun Lasts” is on view at the Metropolitan Museum of Art, 1000 Fifth Avenue, New York, April 16–October 31, 2021. 

Follow Midnight Publishing Group News on Facebook:

From Sotheby’s Big Botticelli Boon to the Pussy Riot Arrests in Russia: The Best and Worst of the Art World This Week


Holy Botticelli! – A portrait of a young man by Sandro Botticelli just sold for more than $90 million at Sotheby’s, making it one of the most expensive Old Masters ever.

Amanda Gorman Continues to Reign – A painting of America’s new favorite poet has entered the private collection at Harvard University, cementing her historic role.

Independent Announces New Digs – The New York art fair will take place inside a newly opened Cipriani downtown location in September of this year.

An Underwater Treasure Trove – Marine archaeologists discovered an ancient shipwreck off the coast of Greece filled with treasures from Spain and Tunisia.

What Would Charlotte York Do? – As the reboot of Sex and the City approaches, amateur screenwriter Katie White concocts some (very plausible) art-world storylines for everyone’s favorite Upper East Side gallerist.

Art Fair Musical Chairs – More fairs have rescheduled dates due to the ongoing pandemic, including TEFAF Maastricht, which will take place in September.

Cheech Marin’s Museum Approved – The actor’s forthcoming Chicano art museum got the green-light from city officials, bringing it closer to becoming a reality.

Pussy Rioters Arrested – Three members of the activist artist group were arrested during mass demonstrations in Russia protesting the jailing of Aleksei Navalny.

Inside Putin’s Palace – Part of what drove the Russian protests was Navalny’s YouTube essay on Putin’s secret palace, which he called a “new Versailles.” Here’s what’s in it.

Phillips Sales Decline – The auction house announced total sales declined by 16 precent this year, netting $760 million in 2020.

A Bizarre Art Thief, Foiled – A man who threw a stolen painting into the Isabella Stewart Gardner Museum after smashing a glass window has been arrested in Boston.

European Museums Hunker Down – As the health crisis continues, cultural institutions are facing huge financial deficits while remaining closed.

Centre Pompidou to Close – Paris’s famed contemporary art museum will close from 2023-2026 for a complete renovation.

Follow Midnight Publishing Group News on Facebook: