President Trump’s administration has cut funding to the National Endowment for the Humanities (NEH) and humanities councils, impacting plans for America’s 250th anniversary celebration in 2026.
Artist Dina Khaled Zaurub was killed in an airstrike in Gaza. She was known for her portraits of Palestinians affected by the Israeli-Hamas conflict.
Art Innovation Gallery allegedly pressured artist Badiucao to remain silent about a political message in his artwork. Index on Censorship has condemned the gallery’s actions.
Iranian artist Kamran Katouzian has passed away at the age of 83.
Contemporary auction sales fell 27% in 2024, but sales of works by women artists and lower-value art rose.
Sotheby’s is selling works from the estate of Rolf and Margit Weinberg, including pieces from the late 19th century to early abstraction and expressionism.
The Musée du Quai Branly-Jacques Chirac in Paris is hosting an exhibition that explores the provenance of its artifacts obtained during France’s colonial era, potentially leading to restitution.
Potential Future Trends in the Art Industry
Based on the key points discussed above, several potential future trends can be identified in the art industry:
Decreased Funding for the Arts: The cuts to the NEH and humanities councils under Trump’s administration highlight a potential trend of decreased funding for the arts. This could have wide-ranging impacts on arts organizations and events, limiting their ability to carry out their missions and plan significant celebrations or initiatives.
Art as a Form of Political Expression: The pressure exerted on artist Badiucao by the Art Innovation Gallery demonstrates the power of art as a form of political expression. Artists may continue to use their work to communicate messages and comment on social and political issues, sometimes facing pushback or censorship from authorities or institutions.
Increased Focus on Social Justice and Restitution: The exhibition at the Musée du Quai Branly-Jacques Chirac highlights the growing focus on social justice and restitution in the art world. Museums and institutions may face increased scrutiny over the provenance of their collections, potentially leading to calls for repatriation or restitution of artifacts obtained through colonialism or other oppressive means.
Emergence of Regional Art Markets: The decline in contemporary auction sales may indicate a shift towards regional art markets, with sales in New York still seeing some growth. This could lead to a more decentralized art market, where artists from various regions gain increased visibility and recognition.
Increased Emphasis on Underrepresented Artists: The rise in sales of works by women artists and lower-value art suggests an increased emphasis on underrepresented artists. Collectors and buyers may seek out artists who have historically been overlooked or undervalued, leading to a more inclusive and diverse art market.
Predictions and Recommendations
Based on these potential future trends, several predictions and recommendations can be made for the art industry:
Advocate for Increased Arts Funding: Arts organizations and individuals in the industry should advocate for increased funding for the arts, recognizing its importance in society and the positive impact it can have on communities. Engaging in conversations with policymakers and supporting organizations like the NEH can help ensure the sustainability of the arts.
Promote Freedom of Expression: Artists, galleries, and institutions should work to create an environment that supports freedom of expression and artistic integrity. Encouraging dialogue and understanding around controversial or political artwork can help foster a culture that values diverse perspectives and artistic autonomy.
Support Restitution Efforts: Museums and institutions should actively engage in research, dialogue, and transparency regarding the provenance of their collections. Proactively addressing any potential restitution issues and working towards fair and just solutions can help rebuild trust and promote social justice within the art world.
Nurture Regional Art Scenes: The art industry should continue to support and promote regional art scenes, recognizing the unique voices and perspectives they bring to the global art landscape. Investing in local art communities, organizing regional art fairs or exhibitions, and providing platforms for artists from underrepresented regions can help create a more diverse and inclusive art market.
Encourage Diversity and Inclusion: Collectors, galleries, and curators should actively seek out and promote artists from diverse backgrounds, ensuring equal representation and recognition. Making an effort to include artists of all genders, ethnicities, and backgrounds can lead to a more inclusive and vibrant art industry.
References
Artnet News, “Art Innovation Gallery Pressured Dissident Chinese Artist Badiucao to Keep Silent,” Accessed [Insert Date], Available at: [Insert URL]
South China Morning Press, “Chinese Dissident Artist Badiucao Accuses Italian Gallery of Spreading Misinformation,” Accessed [Insert Date], Available at: [Insert URL]
ArtAsiaPacific, “Prominent Iranian Artist Kamran Katouzian Passes Away,” Accessed [Insert Date], Available at: [Insert URL]
ARTnews, “Hiscox Artists Top 100 Reports Decrease in Auction Sales,” Accessed [Insert Date], Available at: [Insert URL]
ARTnews, “Sotheby’s to Auction Works from Estate of Rolf and Margit Weinberg,” Accessed [Insert Date], Available at: [Insert URL]
Le Monde, “Musée du Quai Branly-Jacques Chirac Exhibition Explores Provenance of Artifacts,” Accessed [Insert Date], Available at: [Insert URL]
Salvador Dali. Peter Cook. Dudley Moore. Tom Jones. Joe Orton. Michael Caine. Peter O’Toole. John Hurt. Barry Humphries. Twiggy. These are just some of the stars who were photographed by Lewis Morley during his illustrious career as a portrait photographer in London during the Swinging Sixties.
Contact print of Tom Jones dressing, taken by Lewis Morley in the early 1960s. Science Museum Group Collection
Morley’s vast archive, held at the National Science and Media Museum, contains some of his personal photography in the form of reference photographs, Polaroids and transfer prints. It also includes vintage contact sheets from some of his most popular shoots, as well as exhibition materials, artworks, personal and professional correspondence and ephemera.
Over the next year we intend to catalogue the archive in more detail, improving accessibility for our researchers. We will provide you with updates on the cataloguing project, sharing some of the highlights in the collection as well as a behind-the-scenes look at the cataloguing process.
Lewis Morley was introduced to theatre photography in 1959 when Lindsay Anderson, one of the leading voices of British cinema and part of the Angry Young Men movement, asked Morley to photograph Albert Finney for his production of Billy Liar at the Royal Court Theatre. This began a ten-year relationship with the Royal Court, as well as various theatrical production companies, where Morley would go on to photograph hundreds of productions and their stars.
An image of Dudley Moore and Peter Cook in Brighton for their Beyond the Fringe show in 1961, taken by Lewis Morley and used to illustrate a set of homemade greetings cards.
During the early 1960s, Morley rented a studio in Soho above Peter Cook’s satirical nightclub The Establishment and became their resident photographer. Here he would photograph the Beyond the Fringe cast and would bump shoulders with the emerging actors and musicians of the day. His image of Twiggy was the first photograph of the model to be published and contributed to her status as the iconic face of the 1960s.
However, it was when Christine Keeler walked into Morley’s studio that he cemented his name as one of the iconic photographers of our time.
The year was 1963 and a scandal had broken out in British politics. John Profumo, the Secretary of State for War in Harold Macmillan’s conservative government, had been discovered to be having an extramarital affair with the young model Christine Keeler. Profumo was forced to resign from government and Keeler was catapulted to instant notoriety.
A photograph taken by Lewis Morley showing a poster advertising his retrospective at the Art Gallery of New South Wales, 2006, containing his famous image of Christine Keeler from 1963.
Keeler was contracted to take some publicity shots for an upcoming film about the scandal (the film was eventually scrapped) and the producers insisted she take some nude shots. Noticing that Keeler was reluctant to do so, Morley suggested she could fulfil her contract with the studio without having to appear fully nude. By using the now famous Arne Jacobson chair, Morley was able to help Keeler fulfil her contract but maintain her modesty. Eventually the photograph was leaked to the press and it became one of the defining images of the decade. The image continues to be imitated to this day in other forms of media.
A self-portrait with Arne Jacobsen chair, taken by Lewis Morley, c2000s
So who was the man behind the camera Lewis Frederick Morley (known to his close friends as Fred) was born in 1925 to English and Chinese parents in Hong Kong. He spent his later teenage years at the Stanley Internment Camp with his family during the Japanese occupation of Hong Kong and was repatriated to London in 1945. After attending Twickenham art school and studying life drawing in Paris, he married fellow art student Patricia Kay Clifford and began his career by selling photographs to magazines such as Photography Magazine and Tatler.
Morley liked to work in black and white and specialised in portraiture. He used high contrast lighting and studio environments with often minimalist backgrounds. This kept the focus on his subjects, capturing their personalities and emotions. As well as studio work, he also had an eye for capturing his subjects in their own environments, such as in his reportage and fashion photography. In his later years, Morley would use colour in his work and became a fan of still life photography and artworks.
Still life polaroid of fruit taken by Lewis Morley, undated (1990s–2000s)Transfer print of a polaroid by Lewis Morley, showing a room with vase and flowers, undated (1990s–2000s)
After working in mostly theatre, fashion and reportage, Morley emigrated to Australia with his family in 1971, where he spent his life working on his many art projects and taking photographs for style magazines such as Belle, Pol and Dolly. He would go on to have exhibitions at the National Portrait Gallery in both London and Canberra, as well at the State Library of New South Wales and the Art Gallery of New South Wales, among others. Morley received the Medal of the Order of Australia (OAM) in 2010 before he passed away at the age of 88 in 2013.
The Lewis Morley Archive reflects the life and career of a busy, working photographer. However, it also covers his post-retirement years, when he seemed busier than ever, managing how his images would be used, dealing with reproduction requests, copyright matters and attending exhibitions of his work.
We can’t wait to reveal some of the wonders from this archive in due course—watch this space.
The US is against the world on sustainable development
Published online: 08 April 2025
Nature, doi:10.1038/d41586-025-01041-y
For years, sustainable development has been a global objective, with countries around the world working towards implementing environmentally-friendly practices and policies to ensure a better future. However, in recent times, the United States seems to be going against the tide, as it takes a stance that is in opposition to sustainable development efforts.
Key Points
The United States has been vocal about its skepticism towards climate change and environmental concerns, leading to a lack of support for global sustainability initiatives.
The US has withdrawn from key international climate agreements, such as the Paris Agreement, which aimed to limit global warming and reduce greenhouse gas emissions.
Domestically, the US government has rolled back environmental regulations and promoted the expansion of industries with high carbon footprints, such as coal and oil.
While some states and cities within the US have been proactive in taking sustainable actions, the overall national stance is hindering progress.
The Future Trends: Potential Scenarios
The US’s opposition to sustainable development raises significant concerns about the future of global environmental efforts. Several potential future scenarios could emerge in light of this situation:
Isolation and Resistance: The US may face increasing isolation on the international stage, as other countries push forward with sustainable development initiatives. This could lead to trade barriers, strained diplomatic relationships, and limited cooperation on global challenges.
Rise of Alternative Leadership: In the absence of US leadership on sustainability, other countries and regions may step up to take the lead. The European Union, China, and India have already shown commitment to sustainable development, and they could strengthen their positions as global leaders in this area.
Technological Innovation: Without government support, sustainable innovation in the US might shift from the public to the private sector. Companies and entrepreneurs could take the lead in developing clean technologies, renewable energy, and sustainable practices, potentially driving a wave of innovation.
Local and State Initiatives: As the national government neglects sustainable development, individuals, communities, and local governments may take matters into their own hands. Grassroots movements, advocacy organizations, and state-level sustainability initiatives could gain prominence, pushing for change from the bottom up.
Predictions and Recommendations
Despite the challenging reality presented by the US’s opposition to sustainable development, there are still predictions and recommendations worth considering:
Increased Collaboration: Other countries should intensify collaboration amongst themselves, bypassing the US as needed, to strengthen global sustainability efforts. Joint research initiatives, funding mechanisms, and sharing best practices can help maintain momentum and progress.
Engagement with the Private Sector: Governments, organizations, and investors worldwide should engage with US businesses and entrepreneurs who are committed to sustainable practices. By supporting and collaborating with these companies, the international community can promote sustainable innovation and foster change from within the US.
Educational and Awareness Campaigns: Raising global awareness about the importance of sustainability is crucial for driving change. Governments, NGOs, and educational institutions should invest in campaigns to educate citizens and highlight the benefits and urgency of sustainable development. By fostering a global environmentally-conscious mindset, the international community can create a demand for sustainable solutions.
Support for Local Initiatives: Individual efforts and local sustainability initiatives should be encouraged and supported. Governments and organizations can provide resources, funding, and incentives to local communities, enabling them to implement sustainable practices and set examples for others to follow.
Reference: Nature. (2025, April 8). The US is against the world on sustainable development. doi:10.1038/d41586-025-01041-y
Future Trends in the Art Market: A Potential Joint Venture Between Pace Gallery and Sotheby’s
Introduction
The art market is experiencing a sluggish period, with dealers and galleries facing tough market conditions and a shaky financial climate. In this context, rumors of a potential joint venture between Pace Gallery and Sotheby’s have been circulating, indicating the shifting dynamics of the industry. This article will analyze the key points of the evolving situation and provide insights into the potential future trends related to this development.
I. Background
In recent weeks, rumors have been circulating that Pace Gallery and Sotheby’s are in discussions regarding a significant investment or merger. However, sources close to the negotiations have clarified that it is not an acquisition but a “new model” joint venture between the two entities. Both companies have been following their clients to upscale locations, such as East Hampton and Palm Beach, where they have opened outposts in close proximity.
II. Financial Challenges
Pace Gallery, known for its extensive overhead and multi-branch locations worldwide, has faced significant financial challenges. The gallery operates on a lease, paying over 0,000 per month, which has led to concerns regarding its sustainability. Additionally, Pace’s involvement in funding experiential art center Superblue has resulted in financial setbacks. The gallery’s CEO, Marc Glimcher, stepped down in December, adding to the uncertainties surrounding the gallery’s future.
Sotheby’s, on the other hand, has also faced financial challenges, with declining consolidated sales in recent years. The auction house has made efforts to improve profitability, including a push into the secondary market for luxury goods and expanding its brick-and-mortar presence. The recent deal with Abu Dhabi’s investment company has provided a much-needed financial boost and a lifeline for the auction house.
III. Potential Benefits and Future Trends
A joint venture between Pace Gallery and Sotheby’s could have several potential benefits for both entities. Pace Gallery could benefit from immediate financial support, while Sotheby’s could leverage Pace’s extensive network of collectors. The partnership could lead to increased private sales revenue and provide insights into estates coming to market. Preferred rates with Sotheby’s art lending business, Sotheby’s Financial Services, could also be made available to Pace collectors.
Furthermore, the potential partnership could result in the Breuer Building becoming a shared space. Sotheby’s recently acquired the Brutalist landmark for its headquarters, but doubts have been raised about the space’s suitability for auctions and staff offices. This could present an opportunity for Pace Gallery to offer some relief by sharing its Chelsea headquarters.
IV. Lessons from Past Acquisitions
Although auction houses have acquired galleries in the past, including Sotheby’s acquisition of Noortman in 2006 and Christie’s acquisition of Haunch of Venison, such arrangements have not always been successful. The future success of the potential joint venture would depend on careful planning and strategic execution to avoid the same fate.
V. Conclusion
The rumored joint venture between Pace Gallery and Sotheby’s presents an interesting development in the art market. In a challenging financial climate, such a partnership could provide much-needed support for both entities. The potential benefits, including increased revenue from private sales and access to preferred rates, make this partnership a logical next step for both Pace Gallery and Sotheby’s. However, caution should be exercised to learn from the past and ensure the success of this venture.
[Your Name] is an art market analyst and writer, specializing in emerging trends in the art industry. They have a deep understanding of the complex dynamics of the market and provide insightful analysis and recommendations for industry stakeholders.
In today’s rapidly urbanizing world, the concept of public space has gained increasing significance. Public spaces play a vital role in fostering a sense of community and connectivity among individuals. They serve as gathering grounds, avenues for cultural expression, and platforms for social interaction. The significance of public space can be traced back to ancient civilizations, where open squares and marketplaces served as the heart of cities, facilitating trade, communication, and communal activities.
Throughout history, public spaces have evolved in response to changing societal needs and aspirations. From the grandeur of Rome’s Forum Romanum to the serene beauty of the gardens at Versailles, public spaces have been designed to reflect the prevailing cultural values and power dynamics of their time. In the modern era, city planning projects such as New York’s Central Park and Paris’ Promenade plantée embody the idea of public space as an essential element of urban life.
Today, as urban spaces become denser and more complex, the creation and preservation of public spaces have become critical concerns. These spaces provide a respite from the fast-paced urban environment, allowing individuals to connect with nature and find moments of tranquility. Public spaces also serve as platforms for artistic and cultural expression, bringing together diverse communities and fostering a sense of belonging.
The Mudam Luxembourg and LUGA are two organizations that are actively engaged in reimagining public spaces. Their recent presentation of public space projects by Agnes Denes and Susan Philipsz epitomizes the power of art and creativity in transforming urban environments. These projects highlight the potential of public spaces to transcend their functional purpose and become catalysts for dialogue, reflection, and engagement.
Agnes Denes, an esteemed artist known for her conceptual works, explores the intersection of art, nature, and public spaces. Through her projects, Denes challenges conventional notions of what a public space can be. Her interventions often involve the integration of natural elements, such as trees and plants, into urban environments, blurring the boundaries between man-made and natural landscapes.
In contrast, Susan Philipsz, a contemporary sound artist, focuses on the auditory experience of public spaces. Her installations incorporate recordings of her own voice, singing songs that resonate with the historical and cultural context of the location. By immersing visitors in a sonic environment, Philipsz invites them to reflect on the layers of history and collective memory that shape our perception of public spaces.
The presentation of public space projects by Denes and Philipsz at Mudam Luxembourg and LUGA brings forth the idea that public spaces are not static entities but dynamic and ever-evolving landscapes. They encourage us to think critically about the role of public spaces in our lives and the potential they hold for shaping our collective experiences. Through their innovative approaches, Denes and Philipsz challenge us to reimagine public spaces as sites of creative expression, social interaction, and cultural exchange.
Agnes Denes and Susan Philipsz public space projects presented by Mudam Luxembourg and LUGA.
