The AGAC offers an informational watch. Browse through our selection of recent articles and interesting readings on current events in contemporary art.
Jean Siag | July 29, 2020
La carrière de l’artiste visuel montréalais mondialement connu Jon Rafman est mise à mal à la suite d’allégations d’inconduite sexuelle.
Sean O’Neill | June 23, 2020
At Canada’s four largest art museums, the top leadership is all white—and the majority of their boards and senior leadership is too. What does this say about the possibilities for change in a moment when institutions are responding to calls for structural transformation?
Anna Brady | June 23, 2020
Art Basel has temporarily relaxed the application process and reduce down payments for its Hong Kong fair (ABHK) to encourage and enable more galleries to take part in the event scheduled for March 2021.
Leah Collins | June 22, 2020
The week of Blackout Tuesday, a chart compiled by Toronto artist Ibrahim Abusitta began making the rounds on Instagram among locals in the arts community. Labelled « a small sample of Toronto contemporary art galleries, » Abusitta describes it as a nod to the Guerrilla Girls in the caption.
Tim Schneider | May 21, 2020
Since the art world’s widespread physical shutdown triggered a flood of online viewing rooms, much of the industry’s attention has been directed toward typical sales reports and heartening progress on price transparency.
Nate Freeman | May 20, 2020
How would you like to hit up a panel conversation organized by Art Basel in the morning, rush over to a Frieze art fair preview after breakfast, spend the afternoon browsing a dozen gallery shows, and end the day with a video art screening at the Whitney Museum? This isn’t a pre-lockdown fantasy. It’s possible now—all without leaving the couch.
Jérôme Delgado | May 4
The outbreak of Covid-19 in Quebec has not yet put a single art gallery out of business. As with all businesses, however, the image of empty premises is a sign that things are not going well. Simon Blais, a gallery owner with 30 years of experience, feels the effects of the crisis even in his electronic exchanges…
Tim Schneider | April
Our columnist assesses global supply chains and data on cultural institutions to consider the revised look of a post-shutdown art market.
Andrew Goldstein | A
Here are eight of the most memorable works from the Dallas Art Fair’s virtual edition.
Andras Szanto | April 14, 2020
The cultural strategy expert Andras Szanto offers a step-by-step look at how museums could help the public regain a sense of normalcy.
Brian Boucher | April 2020
The Art Basel and UBS Global Art Market Report shows that the online shift was already in place – with Covid-19, it now has a new impetus
Julia Halperin | April 6, 2020
Zwirner’s “Studio” platform kicks off with Wolfgang Tillmans, while its “Exceptional Works” secondary-market venue debuts with Josef Albers.
| April 2nd, 2020
Life after the coronavirus will be different,
Kate Brown & Eileen Kinsella |
We canvassed insiders for advice about what to do in the months ahead.
March 16, 2020
After canceling its fair, Art Basel Hong Kong will present more than 2,000 works online with an estimated value of $270 million. That’s just the beginning as the art world goes virtual.
Eileen Kinsella |
Zwirner is hosting a dozen smaller New York galleries in one virtual space.
Elizabeth Dee | March
The founder of Independent looks back on earlier crises and proposes ways to build a stronger art market on the other side of this one.
Kate Brown | March
“Artists are not only indispensable, but also vital, especially now,” says the country’s culture minister.
Naomi Rea | March
Vortic uses AR and VR technologies to create customizable gallery spaces.
Vous n’avez pas tout vu | Season 3 (Episode 064)
A petition is currently circulating on the Web asking Radio-Canada to provide more coverage of the visual arts on its various platforms. It deplores the fact that the coverage favours showbizz artists. Why is it so difficult for the visual arts to be seen by the media? A discussion with Nicolas Mavrikakis.
Kate Brown & Eileen Kinsella | March 19, 2020
Small and mid-range galleries are the most vulnerable to economic shifts, but they are also more spry.
Philippe Papineau | January
Une pétition lancée il y a trois semaines et qui cumule maintenant plus de 7500 signatures réclame de Radio-Canada une meilleure représentation des arts visuels sur ses différentes plateformes. La couverture de la chaîne publique, sauf exception, se résume au travail de grands noms issus du monde du divertissement, déplore le texte.
Scott Reyburn | December 2nd, 2019
Immersive experiences define the most popular contemporary exhibitions, but where does this leave the commercial art world?
Joan Verdon | December 1st, 2019
This year is on track be another record-breaker for online spending and mobile shopping. Mike Steib, CEO of Artsy, says those online spenders are reaching for their phones not just to buy clothes or groceries, but to buy works of fine art, some costing six figures or more.
Entrepreneur Robert Norton outlines how emerging technologies will usher in a new era of artist retained equity.
In a series of articles, the authors of Artsy Editorial compose a report highlighting the similarities and differences between the spending habits, motivations and challenges of online collectors and compares them to those of traditional art buyers.
Professor Olav Velthuis | October 12, 2019
The contemporary art market is on the verge of a deep institutional crisis. So deep, that it is hard to predict what the way out will be and what the art market’s institutional framework will look like in one or two decades from now.
Tim Schneider |
Our columnist connects the dots between old-school thinking about price transparency and old-school thinking about what museums should buy.
Alexander Forbes | July 31, 2019
In 1897, standing on the deck of his yacht the Corsair, financier J.P. Morgan allegedly responded to a guest inquiring about the boat’s cost: “If you have to ask, you can’t afford it.” This attitude has since become seared into the American subconscious through all manner of media. And it’s one the art industry tends to embrace.