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Issue 4, Friday, 17 October 2014  | Download this issue

Soft fabrics have solid appeal

News analysis Textiles have become a must-have medium for museums—and collectors are slowly catching on

News and analysis

Anything London can do, Paris can do better?

News French capital mounts a charm offensive in the battle to win collectors’ hearts and minds

Loud and proud in the West Indies

News UK artist Simon Fujiwara will show a giant Frankenstein-like sculpture of a male nude at the Jamaica Biennial

Gagosian lands Walter De Maria’s estate

News The gallery plans to establish a foundation dedicated to the late artist and stage a show of his work

Also in this issue

Gehry in talks to upgrade Geffen Contemporary

News LA MOCA's director says improvements are among his "priorities"

 

Let the video roller coaster ride begin

Interview Ryan Trecartin’s films, created with Lizzie Fitch, trace the impact of technology on modern life

Japanese art finally finds favour in London

News analysis Contemporary Japanese artists have struggled to find recognition in London, but that could be changing

King of the concrete jungle

Interview US-born critic turned curator Ralph Rugoff feels at home on the South Bank

Double trouble in New York

Books Two new books examine the city’s activist art culture

On a journey with Emily the intrepid

Feature Damien Hirst has lent objects to an exhibition of the Canadian artist Emily Carr

Diary

Go fig-ure

Mature art-worlders may have fond memories of “Fig-1”, the ever-changing Soho project organised by Mark Francis (now a director at Gagosian Gallery) and supported by White Cube’s Jay Jopling, which, in 2000, featured 50 multidisciplinary exhibitions...

 
Exhibitions

Our pick of shows to see when in Miami this week

Previews of the must-see exhibitions on during Art Basel Miami Beach at the city’s museums and private collection spaces
Video

Kehinde Wiley's new republic

Look closely at Kehinde Wiley’s paintings: they may remind you of something. Since the early 2000s, Wiley has been painting portraits of young black people in the traditions of European portraiture. His sitters are often strangers he meets in cities around the world, with whom he works to select historic paintings as models for new portraits. (He calls the process “street casting.”) At the Brooklyn Museum, “Kehinde Wiley: A New Republic” (20 February-24 May) highlights 60 of these works, including a new stained glass piece and a new sculpture.

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