Sharon Stone on her first solo show

The actor returned to painting during pandemic lockdowns and used her practice to process difficult periods in her personal life and professional career

The New York institution, usually the most popular art museum in the US, was overtaken in 2022 by the National Gallery of Art in Washington, DC

In all, 83 artefacts scheduled to be sold in Paris next week are protected under Mexican law, authorities say

Diego Rivera, Study for Allegory of California (Energy), 1930, Graphite on paper, San Francisco Museum of Modern Art, Gift of William L. Gerstle through the San Francisco Art Institute. Artists Rights Society (ARS), New York.

As we pass the half-way point of the competition, the seven artists are tasked with creating a work of art that addresses a profound injustice for the fourth episode of The Exhibit, a new six-episode docuseries created by the Hirshhorn Museum and Sculpture Garden and MTV.

A Florida school principal resigned on Monday after parents complained that her Renaissance art syllabus was inappropriate for a sixth-grade class. The controversy started after the school children were shown Michelangelo’s David, which one parent called “pornographic,” the Tallahassee Democrat first reported earlier this week.

In a now-viral interview with Slate, the chair of the school’s board, Barney Bishop III, said that the administration did not take issue with the sculpture, but the teacher’s description of it to the children as “nonpornographic picture” and the lack of advance notice.

Sotheby’s paused its “Glitch-ism” auction Sunday, days after its March 24 launch, after prominent glitch artists pointed out that the auction, held by Sotheby’s digital art marketplace Metaverse, didn’t have a single woman artist represented.

“Sotheby’s is pausing Natively Digital: Glitch-ism to redress the imbalance in representation within the sale, and will relaunch with a more equitable and diverse group of artists at a later date,” read a Tweet by Sotheby’s Metaverse published Sunday.

Artist Patrick Amadon announced Sunday on Twitter that he was pulling his artwork from the sale in “solidarity” with female and queer glitch artists. He was the only artist to do so.

Markus Reymann is the director and cofounder of the art-and-oceanic-research enterprise TBA21-Academy. In his role, he actively engages the need for action and change. Below, Reymann discusses his related interests.

An art historian has a new theory about the source of inspiration behind Vincent van Gogh’s iconic painting Starry Night. James Hall, a professor at Southampton University and former art critic for The Guardian says the Eiffel Tower had a significant influence on the artist’s series of paintings of cypress trees based on how the monument was unveiled.

Hall argues that the opening of the wrought-iron structure in Paris in 1889 came with a spectacular late-night show of pyrotechnics, electric light, and explosions. According to Hall’s theory, the vision was repeated in the “pyrotechnical music of the stars, sky and clouds” of van Gogh’s painting.

On a cold and stormy night earlier this month in Los Angeles, heavy rain pelted the streets outside while a small mob crowded into Allouche Gallery. Heads were craning about to see the creator of the large paintings hanging on the walls—mostly landscapes verging on abstraction, and rather moody themselves. The artist, actor Sharon Stone, was holding court in the gallery’s first room, a striking figure in a black suit accented with gatherings of magenta ruffles.

The show, Shedding (until 7 April), is the first solo gallery exhibition for Stone, who took up painting—in an almost feverish way—during Covid-19 lockdowns. The title references all kinds of shedding, she says, including loss. She had become a household name for Basic Instinct (1992), in which she plays a seductive psycho-killer, but then became trapped in Hollywood stereotyping. She feels that Hollywood, which had once embraced her, has now abandoned her. “I lost my family—my film family—I lost my personal family, many members of my family died,” she says. “My brother had a heart attack and his 11-month-old son died of crib death; my godmother died, and my grandmother died.”

The Metropolitan Museum of Art in New York had 1.7 million fewer visitors in 2022 than before the pandemic, according to The Art Newspaper's latest Visitor Figures survey. Last year, the museum’s main building on Fifth Avenue had more than 3.2 million visitors compared to almost 4.9 million in 2019—a drop of 34%. (The museum “implemented a new, digital programme” for counting visitors in 2020, which means the 2019 figure has been retrospectively revised to make comparisons fairer).

The Met was not alone among New York’s major institutions in experiencing a drop in attendance compared to 2019, with the Solomon R. Guggenheim Museum (down 42%), the Whitney Museum of American Art (down 19%) and the Brooklyn Museum (down 17%) all still below their pre-Covid figures. Only the Museum of Modern Art (MoMA) was up, by 10%, but this was because its 2019 figure of nearly 2 million visitors was lower than normal as the museum was closed for four months of renovations.

The Met is usually the most popular US museum in our survey, but in 2022 it was pipped to the top spot by the National Gallery of Art (NGA) in Washington, DC, which had almost 3.3 million visitors. However, the Met’s figure does not include visitors to the Cloisters in Upper Manhattan (196,000 visitors in 2022), which is separated in our survey to give a more representative footfall figure. If the Met’s two locations were combined, their attendance would surpass that of the NGA. The Met was then followed by MoMA in third place (2.2 million visitors) and the Smithsonian's National Museum of African American History and Culture in fourth (1.1 million visitors).

Mexican authorities have called on a Paris auction house to halt its planned sale of ancient artefacts they say are protected under the country’s cultural heritage laws.

Millon, a Parisian auction house, is selling what it describes as items from a private collection of pre-Columbian art on 3 April. The lots are estimated to fetch up to €70,000 each.

However, of the 148 lots up for sale, 83 are archaeological objects that are protected under Mexican law, according to Mexico’s National Institute of Anthropology and History (INAH) and the Ministry of Culture. The organisations said in a statement last week that INAH specialists surveyed the objects in the auction.

Items the Mexican government has claimed are protected under law include anthropomorphic figurines, ceramics and a sacred axe—the most valuable item in the auction—that date back as far as the Middle Preclassic Period (1200BCE-400BCE).

Alejandra Frausto Guerrero, Mexico’s secretary of culture, urged the auction house to stop the sale and take into consideration that the objects’ historical, symbolic and cultural value is “superior to any commercial interest”, according to the INAH statement.

The Ministry of Culture and INAH have filed a complaint with Mexico’s attorney general and notified the Ministry of Foreign Affairs’ legal department and Interpol. A spokesperson for Millon did not immediately respond to a request for comment.

Mexico has stepped up efforts to repatriate art and artefacts back to the country over the past few years, with President Andrés Manuel López Obrador being a vocal proponent of repatriation as a foreign policy priority since he was elected in 2018. His administration has launched a social media campaign calling for Mexico’s cultural heritage to be returned under the hashtag #MiPatrimonioNoSeVende (“My heritage is not for sale”).

Since he took office, thousands of objects have been returned to Mexico from across the world, most recently when Italy returned 43 artefacts that were recovered by the Carabinieri Art Squad, the branch of the Italian police that investigates art and antiquities crimes. The artefacts date from roughly 200CE to 600CE, the INAH said. In December, the Netherlands repatriated 223 pre-Hispanic artefacts back to Mexico. In September 2019, pre-Columbian artefacts were auctioned off in Paris despite both Mexico and Guatemala calling on Millon to cancel the sale.

Northwest Arkansas is not the first place you would think to stage the first major exhibition of work by Mexican artist Diego Rivera in two decades.

Yet, Crystal Bridges Museum of American Art is uniquely suited for Diego Rivera’s America. It’s a museum specifically for American art (unfortunately people often forget that the United States and Mexico are both part of North America) and Bentonville, where the museum is located, is among the fastest growing cities in the U.S. and the surrounding area has a rapidly growing Hispanic community. Sadly, the exhibition only hints at Rivera’s politics, which championed the working class and dreamed of a more equitable world, a missed opportunity in a society so focused on diversity and inclusion.

With over 130 works including easel paintings, pastels, watercolors, illustrations for print magazines, and of course the murals on which Rivera’s legacy is built, the show has the weight of a full-on retrospective, but that is definitely not what it is. Here, Rivera is presented fully formed. The works, as the title suggests, were all made in either Mexico or the United States between the 1920s and the early 1940s.

“There have been two major retrospectives of Diego Rivera, one in Detroit in the ’80s, and one in Cleveland in the ’90s,” James Oles, the exhibition’s curator, told ARTnews. “I didn’t want to repeat those models, so I chose to focus on about the period between 1921, when he returns to Mexico after this extended time in Europe and paints his first mural, to the beginning of the Cold War, when Rivera’s impact and influence in the United States in particular begins to wane because of the shifting political climate.”

Guest judges Adam Pendleton and Kenny Schachter return alongside Hirshhorn director Melissa Chiu to assess the artists on their originality, quality of execution, and concept of work. Chiu reminds the group, “You’re visual storytellers and the story is always the key ingredient to make any artwork great.”

This week’s inspiration from the Hirshhorn collection includes Mark Bradford’s site-specific installation Pickett’s Charge (2017), depicting the final Gettysburg battle that signaled the beginning of the end of the Civil War, and Ai Weiwei’s installation Trace (2014), portraying 176 activists from thousands of Lego bricks.

A spokesperson for the Met says that visitor numbers for this year are looking better though. “The return of our visitors has significantly outpaced our forecasts, particularly in recent months. For 2023, our local and national visitors are over 95% of pre-Covid levels, and overall we are enjoying 78% of our pre-Covid audience.”

In 2022, tourism to New York was 85% of the pre-pandemic level and is expected to recover further in 2023. “International visitor numbers are slowly building—beginning with the closer regions,” says the Met spokesperson. “We are very optimistic for 2023.”

All the data is supplied by the institutions concerned and covers the respective calendar years. The research for the 2022 report was conducted via email and telephone during February and March 2023. Read the full 2022 report here

Artmaking has long been a part of her life. As a child she received painting lessons from her aunt Vonne, who had studied painting and literature in college. Later, Stone also studied those two subjects at Edinboro University in Pennsylvania, her home state. But when her acting career took off, she had no time to make art, although she says some of her favourite memories during those hectic years were visiting “museums all over the world when they’re closed, which has been an extraordinary experience”.

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When the pandemic began, Stone found herself stuck at home like everyone else. A friend heard her say she wanted to paint again and sent her an adult paint-by-numbers kit. “I bought real brushes and I started to regain my control, my brush movements,” she says. “I painted and painted and painted, and I refound myself. I refound my heart. I refound my centre.” At first, she painted in her bedroom, but then she set up a studio on her property and now paints every day she can.

At Allouche, Stone’s paintings are hung in three rooms, with the large painting that gives its name to the show, Shedding (2023), an eight-foot-tall acrylic composition on canvas, in a passageway. Against a black background are sinuous coils of translucent tubes, much like the skins that snakes shed; pink, yellow and blue circles dot the surface. River (2022) is another work close to the artist’s heart, as it was done after the death of her 11-month-old nephew. In the foreground are tall reeds and a river that winds into the distance towards a sky in which several red moons are floating. “I made that painting about our journey,” she says, “and his journey.”

For decades, Stone says, people have been telling her to “stay in your lane”. That doesn’t sit well with her. “How do you know this isn’t my lane? How do you know that painting isn’t my real lane?”