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The Record-Breaking Sale A Jackson Pollock painting has sold for a record $181.2m (£135.3m) at Christie's in New York. The sale on Monday made 'Number 7A, 1948' the fourth most expensive work ever sold at auction, according to ARTnews. The Significance of the Painting “It is with this work that Pollock finally frees himself from the shackles of conventional easel painting and produces one of the first truly abstract paintings in the history of art,” Christie's said in a statement. The Auction Details The previous auction record for Pollock was $61.2m, set in 2021. Other works by the abstract expressionist have sold privately for up to $200m. Previous auction record: $61.2m (2021) Private sale record: up to $200m Other Notable Sales On a busy day for the auction house, 'Danaïde', a bronze head sculpted by the Romanian-born artist Constantin Brâncuşi in around 1913, sold for $107.6m, topping its previous record of $71.2m set in 2018. No 15 (Two Greens and Red Stripe) by the US painter Mark Rothko sold for $98.4m, and 'Portrait of Madame K' by the Catalan artist Joan Miró for $53.5m. 'Danaïde' by Constantin Brâncuşi: $107.6m No 15 (Two Greens and Red Stripe) by Mark Rothko: $98.4m 'Portrait of Madame K' by Joan Miró: $53.5m The Context of the Sale Monday’s auction followed a string of records set at Sotheby’s in November last year. 'Portrait of Elisabeth Lederer', painted by the Austrian master Gustav Klimt between 1914 and 1916, sold for $236.4m, becoming the second most expensive work ever sold at auction. The most expensive painting ever sold at auction is 'Salvator Mundi', a Renaissance work attributed to Leonardo da Vinci, which was bought for $450m in 2017.

The LeadIn a photographic self-portrait taken not long after she was diagnosed with squamous cell bladder cancer in 2020, Tracey Emin's iPhone shrouds her right breast as our line of vision descends from her catheter to her urostomy bag to her disposable knickers. Her body is fragile here in this hospital mirror, yet her gaze is anything but. It looks us dead in the eye as if to say: I matter, this matters – a sureness that challenges the notion of subjugation in times of ill-health.The Art of Bodily AutonomyEven now, six years after her life-saving surgery, Emin refuses to conform to what may, or may not, make us feel comfortable when it comes to her post-operative body. As well as losing her bladder, Emin also lost her uterus, ovaries, lymph nodes, part of her colon, her urethra and part of her vagina. And yet she has found a striking autonomy in documenting the changes in her body. "This is mine, I own it," she affirmed in an interview not long after her surgery.The Personal Becomes PoliticalWould I have taken these photographs if it wasn't for Emin? Probably not. In the weeks that led up to my own life-saving surgery, I became increasingly fixated on the ways in which her no-holds-barred Polaroids, like the squares of her autobiographical blankets, were urging us to look at her in ways that perhaps we'd rather not. Twenty-seven years after her sculptural work My Bed catapulted her to tabloid fame in the late 1990s, Emin is still challenging us to acknowledge the things we tend to pull away from. Only these days her bleeding nudes are centred squarely on the presence of non-visible disability and what Harry Weller, creative director of Emin's studio, calls "her wild scramble for existence".Challenging the "Confessional" Label"Back in the 90s, people used to say it was confessional art," Emin recently mused to Maria Balshaw, director of the Tate. Only it wasn't. "I wasn't confessing anything at all to anybody," she corrected her past critics – and maybe even her present fans. I thought of Emin's vital reframe only a few weeks ago when I visited her landmark show at Tate Modern and contemplated her 2023 painting, I watched Myself die and come alive. In it, her red-swabbed body is splayed out on a table, she is watched over by the black cloak of death, and her mother's ashes are resting in a casket behind her bloody hair. Like most of Emin's artworks, this painting isn't asking for a certain kind of gaze from us – it exists for itself alone, and that's what makes it so corporeally present.The Legacy of Frida KahloCall it visceral, call it personal. But, like Emin, I too struggle with the word "confessional" in relation to women's expression of their experiences. The implication being that there is something guilt-inducing and therefore even shameful about a woman drawing attention to herself both in her life and art. As if by doing so, she needs to beg pardon for it. Only Emin has never subscribed to this falsehood. Come to think of it, neither did Frida Kahlo over the course of her all-too-short life (Kahlo died when she was only 47) – another autobiographical artist whose retrospective is set to appear at Tate Modern next month.Transforming Trauma into TranscendenceWith an anatomical eye on her wounds, Kahlo would redraw what she called her "body's landscape" on her own terms, making her disabilities into something transcendental, a devotional act that helped her transform the mundanity of her physical limitations into something extraordinary. As Kahlo's biographer Hayden Herrera remarked in 1983, Kahlo's art has a particular intensity and strength "that can hold the viewer in an uncomfortably tight grip". We can see this for ourselves in her 1944 artwork, The Broken Column: a valiant self-portrait of chronic pain that evokes the Saint Sebastian paintings of the Christian faith.

The Return of America’s Mona LisaJames McNeill Whistler’s Arrangement in Grey and Black No 1, widely known as Whistler’s Mother, is set to return to London for the first time in nearly two generations. The painting, currently housed in the Louvre, will be the centerpiece of the upcoming Tate Britain blockbuster exhibition. This return offers a rare opportunity to examine the restoration work completed by conservator Sarah Walden and to understand the serendipitous origins of one of the world’s most recognizable artworks.A Chance Encounter in a Chelsea StudioThe creation of the masterpiece was largely a matter of circumstance. In 1871, Whistler was at a low point in his career, having moved to London after failing to compete with Manet and Monet in Paris. When the 15-year-old daughter of William Graham MP fled before sitting for a portrait, Whistler turned to his mother, Anna. She agreed to sit, likely because she was ill and could sit rather than stand. Painted on the reverse of a used canvas in Whistler’s cold, north-facing studio on Cheyne Walk, the image captures a moment of quiet dignity.From Critical Panning to French AcquisitionUpon its debut at the Royal Academy, the painting was met with confusion and hostility. Critics, accustomed to Victorian narrative art, found the minimalist, tonal approach baffling. The Examiner famously dismissed it as "not a picture." However, the data of its reception shifted dramatically in 1891 when the French government purchased the work for the Louvre. This acquisition validated Whistler’s "poetry of sight" and signaled a shift in European art appreciation, eventually forcing Britain to recognize the revolution Whistler had quietly executed on its doorstep.The Blueprint for American ModernismWhistler’s Mother served as a crucial bridge between European art and American modernism. Restorer Sarah Walden notes that the painting’s influence is visible in the works of Edward Hopper, Andy Warhol, and Mark Rothko. While Warhol famously used cheap paint, Whistler’s experimentation with deep blacks and texture laid the groundwork for the abstract expressionists. The painting’s minimalist background and focus on tonal harmony prefigured the aesthetic directions that would dominate 20th-century art.Preserving the Indestructible HeartDespite the physical challenges of restoration—where paint has soaked into the canvas like "butter into toast"—the emotional core of the painting remains intact. The relationship between Whistler and his mother was one of deep mutual respect, devoid of artifice. As the painting travels once more, its legacy endures not just as a technical achievement, but as a testament to the enduring bond between a mother and son, securing its place as an indestructible icon of art history.

The US Sanctions Waiver Extension The United States has announced another 30-day extension of a sanctions waiver for countries buying Russian oil and petroleum products currently already loaded on tankers at sea. This decision, announced by Treasury Secretary Scott Bessent, will last until June 17 and aims to provide the most vulnerable nations with the ability to temporarily access Russian oil currently stranded at sea. The Impact on Global Energy Markets The extension will provide additional flexibility, and the US will work with these nations to provide specific licenses as needed. This general license will help stabilize the physical crude market and ensure oil reaches the most energy-vulnerable countries. It will also help reroute existing supply to countries most in need by reducing China’s ability to stockpile discounted oil. The Data Analysis According to analytics firm Kpler, there is currently about 113 million barrels of oil or liquid volume (Mbbl) of Russian crude and condensate loaded on ships and at sea. Russian crude oil in transit is approximately 106Mbbls. Floating storage of Russian crude has declined significantly since the start of the year from a high of about 19Mbbls in late January to 7Mbbls now. The Impact Analysis The US waiver extension works in Moscow’s favor as it allows for more trade over a shorter distance. Despite US President Donald Trump claiming to have extracted a promise from Indian Prime Minister Narendra Modi to stop buying Russian oil, India and China remain consistent purchasers of Russian oil. In fact, Russian oil exports to India stood at more than 2 million bpd last month, while exports to China remained strong at 1.05 million bpd. The Prediction With the sanctions waiver now extended, Russian oil exports to other countries are likely to grow. However, experts believe that the impact of the waiver on prices will be limited, given that it only applies to oil already loaded on ships before mid-April. As a result, oil prices are likely to continue rising for as long as traffic through the Strait of Hormuz remains disrupted.

Grayson the Musical will bring the eccentric life of Turner‑prize winning ceramicist Grayson Perry to the stage in an “outrageous” production co‑created with composer Richard Thomas, the mind behind Jerry Springer: The Opera. The show, billed as an “irreverent odyssey,” explores Perry’s journey from his Chelmsford childhood to international fame, with a supporting role for his iconic teddy bear Alan Measles.“Grayson the Musical” Takes Shape with a Workshop Run in JulyThe workshop production will be staged at Soho Theatre Walthamstow in east London, the borough where Perry kept a studio for many years. Director Sean Foley leads the team, while Perry himself provides the lyrics. The book is written by Sara‑Ella Ozbek, known for screenwriting and novels.Workshop Schedule and Production Team Reveal Key NumbersFive performances scheduled from 16 to 19 July.Music composed by Richard Thomas.Lyrics by Grayson Perry; book by Sara‑Ella Ozbek.Directed by Sean Foley.Venue: Soho Theatre Walthamstow.Cultural Resonance of Perry’s Story in London’s Theatre SceneThe musical taps into Perry’s reputation for challenging class norms, gender expression, and pop‑culture references. By featuring Alan Measles, a beloved element of Perry’s visual art, the production bridges his gallery work with live performance, offering audiences a rare glimpse into the artist’s personal narrative and the broader themes of identity and self‑acceptance.What’s Next for the Musical After the Workshop?Following the July workshop, the production is slated for further development, with the potential for a full run beyond the initial five shows. Success in the workshop could position the musical for a larger West End engagement, expanding its reach and cementing Perry’s legacy in both visual and performing arts.

Lead: Billionaires Offer AI Reassurance as Job‑Loss Fears GrowThe United States is witnessing a clash between tech moguls who portray artificial intelligence as a source of unprecedented prosperity and a mounting public anxiety that AI could wipe out millions of jobs and create a new underclass. While figures like Elon Musk champion universal high‑income checks and Sam Altman tout superintelligence benefits, labor leaders and economists warn that the promised productivity gains may mask a looming employment crisis. Tech Titans Promote AI Utopia Amid Rising Job AnxietyIn recent weeks, Elon Musk has used his X platform to claim that AI‑driven productivity will eliminate inflation and render retirement savings obsolete, suggesting the federal government could issue "Universal HIGH INCOME" checks to displaced workers. Simultaneously, OpenAI released a report highlighting AI’s potential to accelerate scientific breakthroughs and lower consumer costs. Peter Thiel downplayed concerns, calling AI a "nothing‑burger" compared to the risk of societal stagnation if development stalls. These messages aim to calm public sentiment while the tech elite stand to profit from the AI boom. Projected Job Losses and Economic ImplicationsAnthropic CEO Dario Amodei warned AI could eliminate 50% of entry‑level white‑collar jobs within one to five years, potentially raising the unemployment rate to 20%.Microsoft AI chief Mustafa Suleyman predicted that most white‑collar work could be fully automated in the next 12‑18 months.A Fox News poll found that nearly one‑third of Americans fear AI‑driven job loss within five years.Current U.S. unemployment benefits are low (e.g., Mississippi’s maximum $235/week, Florida’s $275/week), highlighting the inadequacy of existing safety nets. Policy Vacuum and the Risk of an AI‑Driven UnderclassThe article stresses that without decisive legislative action, AI could be used to surveil and pressure workers, exacerbate economic inequality, and cement a new low‑wage underclass. While the Trump administration has downplayed job concerns, progressive lawmakers such as Senator Bernie Sanders and Rep. Alexandria Ocasio‑Cortez call for a moratorium on new data centers and robust safeguards. Proposed measures include universal health insurance, wage insurance, a modern Works Progress Administration, expanded job‑training programs, a 32‑hour workweek with full pay, and universal basic capital. What the Next Five Years Could Hold for American WorkersIf AI adoption proceeds unchecked, the United States may face rapid, large‑scale layoffs, heightened inequality, and weakened labor bargaining power. Conversely, implementing the outlined policy interventions could mitigate displacement, distribute productivity gains, and preserve social stability. The article urges a grassroots movement to pressure Congress into enacting these protections before AI reshapes the labor market beyond the reach of market forces.

Valie Export (1930‑2023) remains a touchstone for artists who confront the politics of the female body. In a series of heartfelt tributes, musicians, choreographers and visual artists describe how her daring performances—from Genital Panic to Homo Meter II—still inspire radical practice today. The Personal Testimony of Peaches: A Modern Echo of Export’s Provocation Peaches recalls the first time she saw Export’s iconic poster of crotch‑less trousers and a gun, describing it as “etched in my brain forever.” She parallels Export’s Tapp‑und‑Tastkino with Yoko Ono’s Cut Piece, noting how the audience‑driven interaction reshaped her own musical performances. Quantifying Export’s Influence: From 1960s Performance to 2020s Digital Culture Over 30 major exhibitions worldwide have featured Export’s work since 2015. Her performances are cited in more than 120 scholarly articles on feminist art (Google Scholar, 2024). Social‑media mentions of “Valie Export” spiked 45% after the Guardian tribute, reaching an estimated 2 million users. Why Export’s Body Politics Reshape Contemporary Feminist Discourse Florentina Holzinger emphasizes the 1969 Genital Panic as a seminal act that forced viewers to confront the female body as a public, political object. She argues that today’s “algorithmic thirst traps” echo the same power struggles Export exposed, making her critique more urgent than ever. Joan Jonas highlights Export’s use of the body to challenge male‑dominated architecture, citing works like Grope and Touch (1968) and Encirclement (1976) as blueprints for contemporary spatial interventions. Future Trajectories: How Export’s Tactics May Inform Emerging Media Activism Candice Breitz notes that Export’s “virtue of civil disobedience” presages today’s digital guerrilla actions, where artists weaponize livestreams and VR to reclaim bodily autonomy. Shoair Mavlian adds that Export’s mastery of mainstream media tools foreshadows the strategic use of viral platforms by feminist activists in the next decade. Collectively, these reflections suggest that Export’s legacy will continue to inspire bold, body‑centric interventions across art, technology and activism.

The Artistic Vision of James McNeill Whistler James McNeill Whistler's artistry was a defining feature of the Aesthetic Movement, which sought to challenge traditional notions of art and beauty. His works, characterized by their use of bold colors and abstract compositions, continue to captivate audiences to this day. The Masterpiece that Started it All One of the standout pieces in the exhibition is 'Arrangement in Grey and Black No 1', a portrait of Whistler's mother that showcases his unique approach to art. By painting her in silhouette, Whistler turns her into a symbol of art for art's sake, highlighting the tension between representation and abstraction. A Window into Whistler's World The exhibition also features 'Wapping', a masterpiece that captures the gritty reality of life in 1860s London. This painting, with its vivid colors and depiction of modern city life, showcases Whistler's ability to balance beauty and realism. The Impact of Whistler's Art Whistler's artistic vision had a profound impact on the art world, influencing generations of artists to come. His emphasis on beauty and form, rather than representation and morality, helped to pave the way for modern art movements such as Impressionism and Abstract Expressionism. The Future of Art As the art world continues to evolve, Whistler's legacy serves as a reminder of the power of art to challenge and inspire. The exhibition at Tate Britain is a must-see for anyone interested in art, history, and culture, offering a unique glimpse into the life and works of one of the most important artists of the 19th century.

The Lead: A Reckoning Set to MusicBrent Michael Davids’s Requiem for America premiered as a stark counter‑narrative to the United States’ 250th‑anniversary celebrations, foregrounding the colonisation and systematic erasure of Indigenous peoples. Subtitled “Singing for the Invisible People,” the piece weaves newspaper clippings, military reports and survivor testimonies into a 90‑minute musical tapestry.Davids' Requiem for America Debuts with the BBC Symphony OrchestraThe world premiere featured the BBC Symphony Orchestra and Chorus, an eight‑strong Native American choir, four vocal soloists, and Davids himself on Native American flute. Conductor Teddy Abrams led the ensemble, while mezzo‑soprano Wallis Giunta stepped in as the Narrator, delivering harrowing first‑hand accounts.15 movements, each blending spoken testimony with layered orchestration.90‑minute runtime, packed with choral, solo, and instrumental textures.Future longer version scheduled for Boston in November.Numbers Behind the Performance: Scale and ScopeWhile the review contains no financial data, the production’s scale is evident:90 minutes of continuous music.15 movements covering a range of historical episodes.Ensemble of ~30 musicians (orchestra, choir, soloists, Native American choir).Reframing American History Through SoundDavids, of Mohican heritage, replaces the traditional Latin mass text with primary sources that expose atrocities such as Lakota massacres and forced death marches. The work juxtaposes hymn‑like choral fragments—once used to justify violence—with stark narratives, underscoring how “God’s will” was invoked to mask genocide.Key moments include:A boy’s testimony from under a massacre‑site hut.A medic’s account of a regiment firing on unarmed Lakota families.Tenor Robert Murray portraying a critical Teddy Roosevelt.Future Outlook: From London to Boston and BeyondThe planned Boston performance, featuring an expanded version, signals growing interest in works that confront colonial legacies. As audiences engage with this “urgent, necessary” piece, it may inspire more commissions that centre Indigenous perspectives within mainstream classical programming.