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“David Geffen Splashes $30 Million on Art After Selling Home to Jeff Bezos.” The former music mogul, according to a report by Katya Kazakina, was behind the purchase of David Hockney’s The Splash for $30 million at Sotheby’s in London. [Bloomberg]

Six trustees resigned from the Cooper Hewitt, Smithsonian Design Museum after director Caroline Baumann was forced to leave her post over what some say was an appearance of a conflict of interest related to her wedding. The departed board members include designer David Rockwell and author Kurt Anderson. [The New York Times]

The Aspen Art Museum closed a Yayoi Kusama “Infinity Room” installation 11 weeks early because of a building code violation. [The Art Newspaper]


Supporters in Baltimore are working to revive the city’s Black Arts District (B.A.D.), with a stated civic goal to “revitalize the area to bring it back to its former glory.” [The Baltimore Sun]

Zadie Smith wrote about Kara Walker, wondering: “What is the correct response to a ruinous history?” [The New York Review of Books]


In the United Arab Emirates, an exhibition surveys the political, social, and geographical aspects of identity as engaged by emerging artists supported by UAE Unlimited and New York University’s Abu Dhabi Art Gallery. [The National]

“Masculinities: Liberation Through Photography,” a group exhibition at the Barbican in London, “shows maleness at its most touching, tragic, and extreme.” [The Guardian]


Petula Dvorak wrote about immigration and art in light of a “growing subgenre of DACA stories that are being communicated as art, rather than congressional testimony or political commentary.” [The Washington Post]

After the Musée d’Orsay in Paris appointed an Instagram artist-in-residence, Aimee Dawson surveyed “the growing trend in museums for social media takeovers and collaborations.” [The Art Newspaper]

Los Angeles Times art critic Christopher Knight won the Dorothea and Leo Rabkin Foundation’s lifetime achievement award, which comes with $50,000. [Los Angeles Times]

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