Editor’s Note: This story originally appeared in On Balance, the ARTnews newsletter about the art market and beyond. Sign up here to receive it every Wednesday.
Happy Wednesday! A round-up of who’s moving and shaking in the art trade this week:
- Marian Goodman Gallery Takes on Edith Dekyndt: Dekyndt has a multidisciplinary practice that explores time, light, and space through minimalist video, sculpture, installation, and performance. The gallery will debut her work at Art Basel Paris in October.
- Salon 94 to Represent Raven Halfmoon: Known for monumental clay and stoneware figures that fuse traditional coil-building with bold glazes and inscribed text, Halfmoon (Caddo Nation) has work in the collections of MFA Houston, Crystal Bridges, ICA Miami, and Forge Project.
- Stevie Soares Joins Sebastian Gladstone as Los Angeles Director: Soares brings experience from Blum and LA’s Ceradon Gallery, which she will continue to codirect.
- Templon Adds Martial Raysse: The gallery’s Paris location will stage an exhibition of new work by the iconic Nouveau réalisme artist in January.
- Timothy Taylor Now Represents Martha Tuttle: In November, the gallery will stage an exhibition of new work by Tuttle at its London space. Some works incorporate materials gathered during a month-long residency in Somerset, England, this past summer.
- Aaron Baldinger Joins Gagosian as Director: Baldinger, who will be based in New York, previously spent 12 years at Gladstone, where he oversaw the fair program and worked closely with artists including Ugo Rondinone and Claudia Comte.
- Acquavella Galleries Now Represents Harumi Klossowska de Rola: The Swiss sculptor will be exclusively represented in the US by the gallery, which has planned a solo show at its New York location for Fall 2026.
- Jennie Goldstein Named Inaugural Kippy Stroud Curator at Whitney: The curatorial role is a new one endowed by the Stroud Foundation. Goldstein will oversee the museum’s 26,000-work collection and continue curating exhibitions.
Big Number: $400 M.
That’s the total estimated value for a tranche of artworks to be sold by Sotheby’s in November from the collection of Leonard Lauder, who died in July at 92. The crown jewel is no doubt Gustav Klimt’s Portrait of Elisabeth Lederer (1914–16), which is expected to net over $150 million. It is by far the most expensive work announced for sale at an auction house so far this fall.
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It can be hard at times to see the tangible impact that AI is having on the creative world. In the art world, a growing contingent of artists has made AI an indispensable tool and, arguably, a medium. Refik Anadol is the standard-bearer for that approach, thanks to his custom-AI “data paintings,” as he calls them. But tech journalist Brian Merchant, author of Blood in the Machine about the 19th-century Luddite rebellion, has been documenting the more ground-level effects of AI on workers in a recurring segment of his newsletter. On Tuesday, he focused on artists—specifically, illustrators and graphic designers who don’t sell their work in major galleries or at Art Basel. There, he shared stories from readers who have seen once-steady work at ad agencies, publishing houses, and television production studios disappear, as cost-cutting executives lean on “good enough” output from ChatGPT and other image generators. It’s a bleak but necessary corrective to the AI boosterism of Anadol and other artists of his ilk.
