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The crowd gasped Wednesday night at Christie's auction house in New York City as the bidding war breached the $200 million mark for the Leonardo da Vinci painting Salvator Mundi. 

At $300 million, those in the auction room broke in scattered applause; the whole thing was streamed online with a slight delay for the world to watch.

The masterwork painting – one of around 16 verified da Vinci originals in existence – sold Wednesday to an anonymous buyer for a hammer price of $400 million and another $50.3 million in fees, making it the most expensive painting ever sold in history.

The seller is Russian billionaire Dmitry Rybolovlev, an avid art collector who purchased Salvator Mundi for $127.5 million in May 2013.

Rybolovev is the world's 190th richest man with a net worth of $7.4 billion, according to Forbes – he is the 15th richest man in Russia.

Salvator Mundi, named "The Last da Vinci" by Christie's, is the first and only da Vinci painting to be verified as an original in the 21st century – the last da Vinci painting verified as a master original was Benois Madonna in 1909.
Hot on the heels of the opening of Jimmie Durham’s touring retrospective at the Walker Art Center, 10 Cherokee artists, curators, and other professionals have published a forceful editorial disputing the artist’s Native American heritage.

Titled “Dear Unsuspecting Public, Jimmie Durham Is a Trickster” and published by Indian Country Today, based in Verona, New York, the editorial is blunt: No matter what metric is used to determine Indigenous status, Durham does not fulfill any of them.

The signers of the editorial include America Meredith, an artist and publishing editor of First American Art Magazine; Cara Cowan Watts, a former member of the Cherokee Nation Tribal Council; Luzene Hill, artist and former deputy speaker of the Cherokee Nation Tribal Council; and Kade Twist, an artist and co-founder of the group Postcommodity, featured in the recent Whitney Biennial and current documenta 14.

First American Art Magazine has also published a detailed fact sheet about Durham.

“I am perfectly willing to be called Cherokee,” said Durham in a recent article in the New York Times, though he went on to muddy the waters by adding, “But I’m not a Cherokee artist or Indian artist, no more than Brancusi was a Romanian artist.”

The signers of the editorial say that Durham’s claims are not only untrue, but actually damaging to other Cherokee artists: “These false claims are harmful,” they write, “as they misrepresent Native people, undermine tribal sovereignty, and trivialize the important work by legitimate Native artists and cultural leaders.”
“Carol Rama: Antibodies” is the first New York museum survey of the work of Italian artist Carol Rama (b. 1918, Turin, Italy–d. 2015, Turin, Italy) and the largest presentation of her work in the US to date.

While Rama has been largely overlooked in contemporary art discourses, her work has proven prescient and influential for many artists working today, attaining cult status and attracting renewed interest in recent years.

Rama’s exhibition at the New Museum brings together over one hundred of her paintings, objects, and works on paper, highlighting her consistent fascination with the representation of the body.

Seen together, these works present a rare opportunity to examine the ways in which Rama’s fantastical anatomies opposed the political ideology of her time and continue to speak to ideas of desire, sacrifice, repression, and liberation.

“Carol Rama: Antibodies” celebrates the independence and eccentricity of this legendary artist whose work spanned half a century of contemporary art history and anticipated debates on sexuality, gender, and representation.

Encompassing her entire career, the exhibition traces the development from her early erotic, harrowing depictions of “bodies without organs” through later works that invoke innards, fluids, and limbs—a miniature theater of cruelty in which metaphors of contagion and madness counteract every accepted norm.
Digital artist Lothlenan is transforming classical paintings into the ultimate fan fantasies by placing favorite anime, cartoon, and video game characters into these elaborate scenes.

Revamping iconic artwork from the 18th and 19th centuries, Lothlenan cleverly inserts these contemporary figures, all while keeping the style of the original painting.

From Monet's loose brushstrokes to the painstaking detail of Fragonard's Rococo foliage, no detail is spared.

In fact, Lothlenan's work isn't only an exercise in fandom art, but also how to capture different artistic styles digitally.

“This was a nice exercise in mark making and trying to salvage texture in a digital painting,” the artist writes of working from a Monet painting.

“And yes, I fell into the trap of thinking impressionism would be simple… but found out it was more than I bargained for.”
Photographer Murray Fredericks has a deeply personal relationship with Lake Eyre — the largest salt lake in his native Australia. in 2001, during his first visit to the site, Fredericks wandered away from his campsite one night. finding himself alone in the darkness, he experienced an unfamiliar and powerful sensation of calm — a release from the ever-present anxieties of everyday life.  

Fredericks sees the land as a medium in itself, having the potential to convey the sentimental aspects of his connection to the place. 

From now throughJunee 14th, London’s Hamiltons Gallery presents an exhibition of fredericks most recent work realized at lake eyre, in which he introduces a mirror into the previously undisturbed landscape. 

All of the photographs in the ‘vanity’ series are composed with an unbroken horizon placed in the lower third of the frame, highlighting the landscape’s endless expanse.

Accompanied by a large mirror, the photographer journeyed to the middle of the lake, where an inch of salt-laden water reflects the sky.

‘the mirror can be seen as emblematic of our obsession with ourselves, individually, and collectively,’ fredericks says. ‘in the ‘vanity’ series, rather than reflecting our own ‘surface’ image, the mirror is positioned to draw our gaze out and away from ourselves, into the environment, driving us towards an emotional engagement with light, colour and space.’
Ellen Rudolph is returning to the Akron Art Museum as chief curator.

Rudolph served as curator of exhibitions, interim chief curator and senior curator, respectively, from 2008 through 2013, when retiring chief curator Janice Driesbach was hired.

Rudolph was cited for her leadership, curatorial experience, and her understanding of the intersection of arts and culture in Northeast Ohio with national and global perspectives.

Akron Art Museum Executive Director and CEO Mark Masuoka said in a prepared statement that the museum is excited to have Rudolph back because of her experience and passion for contemporary art.

Rudolph said she is “thrilled to return to the Akron Art Museum and look forward to pursuing an ambitious and innovative exhibition program.
The British Museum dedicates its summer exhibition Hokusai: Beyond the Great Wave to the beginning Hokusai.

90-year-old Hokusai joins Titian, Rembrandt and Turner, an artist who became more inventive, restless, curious and daring in his dotage.

Constructing 15 volumes of the Hokusai manga (1814–1878) while in his 70s, he was Manji, ‘ten thousand things’ and ‘everything’.

Known for his pictorial encyclopedia of frogs, snakes, samurai, sumo wrestlers, parasols, fish markets, farm ploughs, oceans and tea bowls, he painted everything he wanted to paint — everything.
One of Scotland's most famous paintings - Salvador Dali's 'Christ Of St John Of The Cross' - is to go on loan.

Hanging in Glasgow's Kelvingrove Art Gallery, the painting is to be moved to London's Royal Academy of Arts, predicted to be one of the Dali/Duchamp exhibit's main attractions.

The exhibition, which will bring together more than 60 works, will travel to The Dali Museum in St Petersburg, Florida from February to May 2018 before continuing with Dali's religious-themed work.

Bought by the City of Glasgow for £8,200 in 1952, the piece will return to the Kelvingrove in summer 2018, before going to Auckland Castle, County Durham, in autumn 2019.
Hyperrealistic paintings of candy wrapped in plastic by Italian artist Roberto Bernardi based in Todi, Italy.

Bernardi started painting at a very young age and dedicated his studies to the learning of pictorial techniques.

His initial artistic inclination was painting landscapes and portraits but it was his experimentation and foray into the hyperrealistic technique that came to define his style.

His process involves separating elements of his compositions which are photographed through a colored filter, adding to the hyperrealistic rendering.

The photograph is then transformed into a painting using traditional oil-on-canvas techniques.
Deutsche Bank is planning to establish a new arts forum in central Berlin, primarily to exhibit its corporate collection, one of the largest in the world, encompassing 50,000 works acquired since the late 1970s.

The arts centre, expected to open in mid-2018, is located in the Prinzessinnenpalais at 5 Unter den Linden—the boulevard leading up to the Brandenburg Gate.

“We are working on an exciting programme,” says Klaus Winker, a spokesman for Deutsche Bank, adding that it is too early to give details.

With an available area of 3,000 sq. m, the building will house both permanent and temporary exhibitions as well as hosting concerts, readings, talks, workshops, sporting events and a café.

About a third of the space will be devoted to displaying art, exhibitions of the bank’s own collection—focused on works on paper and photography—will be supplemented with shows of other private collections.