VIA WIKIMEDIA COMMONS
The Female Gaze
Annie Leibovitz is updating her 1999 project “Women,” a series of portraits of female celebrities and artists of all kinds. In a new, lengthy profile, Leibovitz says that “the project is never done.” [The New York Times]
Lizzie Widdicombe profiles Petra Collins, the photographer whose work seeks to reclaim the female gaze, and who has been known to work for big-name ad campaigns as a way to fund her feminist work. [The New Yorker]
Frieze
With its Focus section, Frieze London is helping out young galleries by allowing them to pay 35 percent less per square meter than those in the main section. [The Art Newspaper]
Vice, thinking it’s clever, gets an art student to explain artworks at Frieze. If that strikes your fancy, please click. [Vice]
Yuri Pattison, the winner of this year’s Frieze Artist Award, on his Frieze Project: “I was thinking about the artificialness of this temporary structure and also about it being this generic international space—because being at Frieze London is very similar to being at Frieze New York.” [The Art Newspaper]
Around New York
Holland Cotter reviews the Guggenheim Museum’s Agnes Martin retrospective, calling it “the most out-of-this-world-beautiful retrospective I’ve seen in this space in years.” [The New York Times]
Pedro Reyes on Doomocracy, his political haunted-house installation at the Brooklyn Army Terminal: “Haunted houses don’t have a narrative or make sense. You’re there to be terrified, to be a masochist. So those are the limits I decided to work within for this.” [The New York Times]
Market
Sotheby’s has realized it accidentally sold a fake Old Masters painting five years ago for $10 million, and it has reimbursed its buyer. According to Richard Feigen, an Old Masters dealer, the painting fooled top experts. [Bloomberg]
Twyla, yet another online art marketplace, this one for prints, is launching soon. The works will go for between $1,000 and $5,000. [Fast Company]