COURTESY SHUTTERSTOCK
THE MONEY FLOWS (AND GETS TAXED)
It’s tax season, which means it’s time for collectors to focus on keeping their estate as tax-free as possible. Here’s a look at how art collectors can “reap tax savings by transferring ownership of their paintings or other collectible objects, but keep possession so they can still enjoy them.” [The Wall Street Journal]
A sales report from Art Basel Hong Kong, where, among other things, a Cy Twombly work was sold to a European collector. Its price tag: $10 million. [The New York Times]
A new study finds that artists with narcissistic tendencies often produce more expensive work. A strong correlation has also been found between the size of an artist’s signature and whether he or she can be considered narcissistic according to a set of data. [The Telegraph]
MUSEUMS
The Denver Art Museum has returned a 10th-century sculpture to the government of Cambodia. The museum, likely unaware that it had been looted, acquired the sculpture in 1986. [The Denver Post]
After a rejected Supreme Court appeal, Vincent van Gogh’s The Night Café (1888) will remain at Yale University. [The Art Newspaper]
Rashaad Newsome recalls meeting Shayne Oliver before he was the designer of Hood by Air. A video of Oliver voguing is currently in Newsome’s Studio Museum show. [W Magazine]
FILM AND VIDEO
Richard Brody on Chantal Akerman’s films, which are the subject of a Brooklyn Academy of Music retrospective beginning this week: “Her career is a titanic project of personal cinema that redefined the art of filming oneself—of a woman filming herself—yet most of her films remain rare.” [The New Yorker]
Les Levine at Arthur Ross Architecture Gallery in New York. [Contemporary Art Daily]
EXTRAS
The art-book industry continues to boom at the Philadelphia Art Book Fair, which is now in its sixth year. [Philly.com]
With so many new technologies, is forensic art dying out? [NBC 10]
A mural celebrating garbage collectors has gone up in Cairo, mysteriously without a problem in a country where censorship can often limit artists. [The New York Times]