An interview with the Japanese artist, who has resided in a mental institution since committing herself in 1975.
How a couple made millions on uncanny forgeries.
A profile of Kermit Oliver, a reclusive, critically acclaimed artist who designs scarves for Hermès and works nights at the Waco post office.
Inside ArtPrize, a competition in Michigan that’s either a “naked bid to buy cultural cachet in a flyover-country backwater” or a “populist wresting of aesthetic judgment from the snobbery of elites in New York and Los Angeles,” depending on who you ask.
The story of Edward Deeds, a state mental hospital patient and artistic genius.
When U.S. customs law met abstract art in the form of a bird, “shimmering and soaring toward the ceiling while the lawyers debated whether it was an ‘original sculpture’ or a metal ‘article or ware not specially provided for’ under the 1922 Tariff Act.”
The curious case of SpongeBob SquarePants illustrator Todd White, three ninjas, and an art caper.
An interview with John Waters.
Real life is seeing and art is looking. If you’re successful, it’s a magic trick: you take one thing, and you put it in here, and it changes in one second, and then you can never look at that thing again the same way. That is what art is to me.
A painter’s dogged, doomed pursuit of the perfect $100 bill.
An essay on working at Sotheby’s.
Art pricing is not absolute magic; there are certain rules, which to an outsider can sound parodic. Paintings with red in them usually sell for more than paintings without red in them. Warhol’s women are worth more, on average, than Warhol’s men. The reason for this is a rhetorical question, asked in a smooth continental accent: “Who would want the face of some man on their wall?”