:')

Courtesy: Metropolitan Museum of Art, New York

"CIMG0058" (2006), VINCENT DIAMANTE

Farewell my Concubine (1993)

What does this byline even ACTUALLY mean because what it looks like to me is a really lousy way of saying that mid career, established, and legacy artists with proven institutional and auction records are being bought while emerging and new artists are put into a “wait and see” category. All this says to me is that the middle and bottom continue to fall out which is plainly obvious from secondary market successes of artists long dead and those results are covered with the necessary caveat that this does not necessarily mean the rest of the market is recovered or “business as usual.” All these people accept these blockbuster fairs as normal and not a really strange, inorganic way to find artwork for any collector at any level. Bring back the survey of artists where the majority admitted they live in near constant survival mode while simultaneously having robust exhibition records.

Fairview Street, Burlington, Wisconsin.

Portraits by Lebanese photographer Hashem el Madani (1950s-70s)

Blood Tea and Red String (2006)

by Peter Vilhelm Ilsted

Rolling Homes: Handmade Houses on Wheels by Jane Lidz (1979)

Mathieu Tremblin, ‘Parking tickets bouquet’ (2013)

Nancy, 3/4/26

ocean sounds for those of you who need it