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Marian Goodman Adds Edith Dekyndt, New Gagosian Director: Industry Moves

Marian Goodman Adds Edith Dekyndt, New Gagosian Director: Industry Moves


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:

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. 

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