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News
The Supreme Court is considering whether the heirs of Jewish art dealers can sue Germany to recover artworks forcibly sold by Nazis. [The Los Angeles Times]
The Fine Arts Museums of San Francisco has tapped Natasha Becker to be its curator of African art, making her the first Black curator to hold the position. [San Francisco Chronicle]
Laura Hughes has been named interim director of the Museum of Contemporary Art Detroit. [Detroit News]
Revisit a year unlike any other with the ARTnews roundup of 2020’s most significant art events—from a stolen van Gogh to a worldwide wave of monument toppling. [ARTnews]
Related Articles
Market
How should art businesses brace for the end of the Brexit transition period? [Apollo Magazine]
Steve Wynn is opening the doors of his private Palm Beach gallery for limited public hours starting on Saturday. [Palm Beach Daily News]
Frieze is planning to rent two gallery spaces on London’s Cork Street in Mayfair, “with a view to create a space for ambitious exhibition projects,” according to a spokeswoman. [The Art Newspaper]
Art & Exhibitions
An AI algorithm that creates Chinese landscape paintings is fooling human evaluators more than half the time. [South China Morning Post]
After years in the planning, two proposed museums dedicated to American Latino and women’s history have come closer to a reality after a Senate committee unanimously voted in their favor. [The Washington Post]
Tracey Emin talks her long-awaited exhibition at the Royal Academy in London, in which new works by the artist are paired with pieces by her spiritual predecessor, Edvard Munch. [The Art Newspaper]
Kenneth Tam’s latest performance-art piece examines hazing rituals in Asian-American fraternities, Dawn Chan reports. [The New York Times]
How do you read The Recognitions, the meandering epic dealing in Flemish art forgeries? Samuel Rutter likens the experience to a Bosch triptych: “You’ll notice that the novel’s middle section is more or less twice the length of the first and third sections, where characters and themes reappear with a slightly wicked twist.” [The Paris Review]