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Dealers Graham Southern and Harry Blain, who cofounded Blain Southern gallery in London in 2010, have split. Blain, who is staying at the gallery, said the enterprise is undertaking “a period of restructuring but remains fully committed to its artists, program, and the three spaces we have in London, Berlin and New York.” [The Art Newspaper]
William Middleton ponders a pressing question: “Is Brexit going to cause a crisis in the London art scene?”
[Town & Country]
The British Museum has been accused of exhibiting “pilfered cultural property” by a human-rights lawyer who is calling for institutions to return treasures taken by questionable means. Geoffrey Robertson QC said, “The trustees of the British Museum have become the world’s largest receivers of stolen property, and the great majority of their loot is not even on public display.”
Richard Telles Fine Art, operating in L.A. since 1993, is closing for reasons including mounting operation costs and “diminished sales.”
Do you want to see a slide show of looks from LACMA’s Art & Film Gala? Of course you do.
[Los Angeles Times]
A study commissioned by Arts for L.A. surveyed 763 artists and found that affordability of housing and studio space ranks among the top concerns for those in the art scene in Los Angeles. [The Art Newspaper]
The Museum of Modern and Contemporary Art Sri Lanka is opening next month. “While the museums of Sri Lanka have sought to serve the past, they have done so at the exclusion of our modern and contemporary histories,” said Ajit Gunewardene, the chair of the institution’s founding committee. [Artforum]
For Forbes, Stephan Rabimov reports on the art milieu in Tbilisi, Georgia. “Given the cheap rent of many semi-abandoned warehouses around the city, a young generation of artists, and centuries-long ancient culture, Georgia is primed for an exploding art scene.” [Forbes]
Natasha Stagg wrote about Anicka Yi’s Biography, a project that includes three fragrances available for purchase. “By distilling the essences of average and luxury textures, then suspending them in the sanitized aesthetic of 1990s minimalist fashion (which obsessed over the image of lab-created future humans and test-grown melting pots), she creates a tableau of today’s confused aspirations, the zeitgeist and all its cross-pollinating capacities.” [Artforum]
Audrey Hoffer reports on collectors who live with their art on close, cozy terms. “People are especially worried about making that first hole. Get over it. Hang the piece up. It’s just a wall,” says one. [Seattle Times]
“Five Leonardo scholars selected their favorite work by the Italian master. None picked Mona Lisa.” [ARTnews]