After several dealers have called for the cancelation of Art Basel Hong Kong—in part because of mounting fears over the coronavirus outbreak in China—the board of directors of the Hong Kong Art Gallery Association (HKAGA) issued a statement early today in support of the fair and its organizers. An excerpt of which reads: “Let us assure you that the fair representatives have been in constant consultation with many of our gallery members as well as regional art collectors regarding the status of the city as it navigates one of the most tumultuous periods in its history. They have been sensitive and considerate in their understanding of Hong Kong and its unique positioning.”

It continues: “Throughout the past seven months of political upheaval, our galleries have worked hard to host openings, symposiums, talks and other events for artists, collectors and visitors. Despite constant changes in traffic flow, government mandates and collective fatigue, these programmes have been well received and attended. Culture and the arts hold a special place within the city and we know the arts will continue to thrive here, despite often myopic and narrow coverage or comments from abroad. We, as residents of this city, understand that the decision to continue or cancel the fair is not a decision that can be made lightly or with haste. Provided a healthy and safe environment within the city, the HKAGA will do its utmost to make March’s art week as eventful as possible, even should Art Basel Hong Kong 2020 be cancelled.”

Ten Salvador Dalí sculptures as well as drawings by the artist were stolen from Couleur Gallery in the Ostermalm neighborhood of Stockholm on Thursday, reports The Telegraph. The thieves smashed the gallery’s glass door around 4:00 AM on Thursday and grabbed the works, which were on loan from a Swiss collection, before fleeing the scene. While the pieces are worth between $22,000 and $55,000, gallery owner Peder Enstrom said that the burglars will have a hard time finding buyers for the works since they left behind their certificates of authenticity.

The Surrealist artist’s work was also targeted by a thief in the United States last October. Dennis Rae Fine Art Gallery in San Francisco was robbed of its $20,000 Burning Giraffe etching in the middle of the day. A man was able to walk into the gallery remove the piece from an easel in the front window and walk out again with the work tucked under his arm. It was a “snatch and run,” the gallery’s associate director, Rasjad Hopkins told NPR. He also said that since the piece disappeared the gallery has received telephone calls from a number of interested buyers. 

Art Show, the annual New York fair organized by the Art Dealers Association of America (ADAA), has announced that seventy-two members will participate in its upcoming edition, which will take place from February 27 to March 1. The exhibitors include Peter Blum Gallery, Cheim & Read, Marian Goodman Gallery, Kasmin, Galerie Lelong & Co., Barbara Mathes Gallery, Salon 94, and Venus Over Manhattan.  

The fair also revealed that there will be nineteen presentations dedicated to women artists. Highlights include Pavel Zoubok’s presentation of sculptures by Vanessa German; DC Moore Gallery’s exhibition of Jane Wilson paintings, which have not been exhibited publicly in more than three decades; and Sicardi | Ayers | Bacino’s selection of works by Venezuelan artist Mercedes Pardo. The full list of exhibitors can be found on the fair’s website.  

Andrew Kreps Gallery has announced that it will jointly represent the late artist, activist, and educator Corita Kent (1918–1986) with the Corita Art Center; kaufmann repetto will represent her work in Europe. A former nun—Kent entered the religious order Immaculate Heart of Mary when she was only eighteen—the artist is known for tackling issues such as poverty, racism, and social justice through her practice. In 1968, she dissociated from the congregation following pressure from the conservative archdiocese of Los Angeles.

Over the years, Kent produced nearly eight-hundred screen prints, thousands of watercolors, and a considerable number of private and public commissions. Today, her work can be found in the collections of the Museum of Modern Art and the Whitney Museum of American Art in New York; New York, the Hammer Museum in Los Angeles; SFMoMA in San Francisco; the National Gallery of Art in Washington DC; the Ludwig Museum in  Cologne; the Victoria and Albert Museum in London; and the Centre Pompidou in Paris.

Commenting on Kent’s tendency to borrow snippets of text from psalms and slogans from ads into her prints, Grant Johnson wrote in a review for Artforum, “Part commodity critique, part secular humanist optimism, these cropped citations put pressure on the disembodied voice, using literature, religion, and advertising against each other to challenge their respective premises.”

Corita Kent, Come Alive, 1967. Photo: Dawn Blackman. Courtesy of Corita Art Center, Immaculate Heart Community Los Angeles and kaufmann repetto Milano / New York.

Timothy Taylor names Tarka Russell and Chloë Waddington as directors of its London and New York locations, respectively. Prior to joining Timothy Taylor in 2017, Russell worked for Pace Gallery’s London outpost for five years. In her new role, she will oversee the sales and curatorial program at the gallery’s new headquarters, located in a five-story townhouse in the Mayfair district of London.

Waddington comes to New York from Los Angeles where she serves as managing director at David Kordansky Gallery. Previously, she was an associate vice president and business manager for the Old Masters Group at Christie’s, and worked in the Contemporary Art department at Phillips, New York. Waddington will work with Taylor to develop the gallery’s strategy for North American and build relationships with artists.

“I look forward to collaborating with Tarka and Chloë as we embark on the gallery’s next chapter. Tarka has been invaluable in developing Timothy Taylor’s international profile, and I am delighted to have Chloë on board to build our US presence,” said Taylor.

Carpenters Workshop Gallery appointed Maria Bonta de la Pezuela as chief executive officer of the Americas. De la Pezuela has more than twenty years of experience working at Sotheby’s auction house, where she has held various roles. During her tenure, she helped secure several record-setting sales, both at auction and privately, including the first work by Frida Kahlo to net more than $10 million.

“Maria has a wealth of operational and client experience and I am delighted to welcome her to the gallery,” said cofounder Loic Le Gaillard. “She is highly respected in the field and has exactly the skills we sought as we celebrate five years since we opened our first gallery in the United States.”


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