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    in Exhibitions

    In Pictures: See How Artist and Instagram Sensation Cj Hendry Transformed a London Church Into a Botanical Wonderland

    Just minutes away from the hustle and bustle of a busy East London road, a moment of serenity awaits those curious enough to step inside a humble 19th-century church, where they will find cascades of white petals falling gently from the ceiling. 
    The joyful feat is the work of artist and Instagram sensation Cj Hendry, who has transformed the space into a magical world of dappled sunlight for her first exhibition in the U.K. capital. With the church setting and rows of candles, it feels just like something out of Harry Potter (the artist is a fan).
    Called “Epilogue,” the show includes 30 new drawings of flowers in Hendry’s signature hyper-realistic style. So persuasive is the visual trickery of the drawings that one visitor was heard remarking to the artist during the private view: “I love your photographs.”
    A general view of the opening of “Epilogue,”  the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: courtesy of Cj Hendry.
    The new body of work is a monochromatic black-and-white affair, a much more muted palette than we are familiar with from the artist whose bright trompe l’oeil drawings have consistently captivated the internet. The drawings are joined by a suite of delicate flower sculptures.
    While the new works do have a serenity to them, which is certainly not hurt by the setting, the effect is somewhat melancholic. That is intentional. Evoking the ephemeral nature of beauty, the artist draws attention to the fact that she is capturing cut flowers on the verge of withering and decay. 
    “It’s natural, at this time in the world, that this series be concerned with the provocation of time, death and decay,” Hendry said. “We treasure flowers for their fleeting beauty. Countless artists have depicted flowers in full bloom, but few have portrayed them as they begin to wither and shed their petals. To me, this is where the beauty lies, and ‘Epilogue’ is a memorial to them and a reminder that nothing lasts forever.”
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    The ephemeral nature of the exhibition itself (which will run for just 10 days) offers a stark contrast to the meticulous and time-consuming process of composing the images; even the smaller-scale works can take as many as 80 hours to complete.
    In preparation for the exhibition, Hendry’s team invested in renovating the church, which had fallen into disrepair in the 1960s, and it will be returned to the community after the show’s run. While the artist was formally trained as an architect, she told Artnet News at the opening that she left the repair work up to true professionals, confessing: “I was a terrible architect.”
    The exhibition has been made most memorable by the millions of paper petals, amounting to around 10 tonnes of confetti, that are set up to continuously fall from the church ceiling for the duration of the ten-day exhibition. They blanket the floor beneath her drawings, which pull reference points from 17th-century Dutch still-life paintings and the Pop art of Andy Warhol. See images of the stunning exhibition below.
    “Cj Hendry: Epilogue” is on view at New Testament Church of God, London E3 5AA, through May 22.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: courtesy of Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: courtesy of Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: David M. Benett/Dave Benett/Getty Images for Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: courtesy of Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: courtesy of Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: courtesy of Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: courtesy of Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: courtesy of Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: courtesy of Cj Hendry.
    A general view of the opening of “Epilogue,” the first UK solo show from Brisbane-born, New York-based artist Cj Hendry at the New Testament Church of God in East London. Photo: courtesy of Cj Hendry.
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    in Exhibitions

    David Hockney Has Created His Largest Painting Ever—a 314-Foot Frieze Inspired by His Year in Lockdown

    For many, the lockdowns of 2020, however unwelcome, were a chance to contemplate their everyday surroundings and discover a newfound appreciation for nature.
    David Hockney, who spent the year at his house in Normandy, took the opportunity to watch and record the changing seasons on his iPad.
    He has now printed and stitched together all 220 pictures into one continuous frieze that, at 314 feet long, is his biggest work to date. A Year in Normandie is on view for the first time in the U.K., in the attic space of Salts Mill in Saltaire near Bradford, West Yorkshire. 
    The work’s form was inspired by a Chinese scroll painting that Hockney saw in 1983 at the Metropolitan Museum in New York. Recalling the occasion, he described how it was about 98 feet long “and was displayed for me in a private room. It was one of the most exciting days of my life.”
    The location of Normandy, where the artist has lived since 2019, also brought to mind the Bayeux Tapestry, with its dramatic scenes of the Norman Conquest. Hockney said that he hopes “the viewer… will walk past [his work] like the Bayeux Tapestry, and I hope they will experience in one picture the year in Normandy.”
    “A Year in Normandie” is on display until September 18, 2022. See images of the installation below.
    David Hockney, A Year in Normandie (2020-2021) (detail). Composite iPad painting. © David Hockney
    David Hockney, A Year in Normandie (2020-2021) (detail). Composite iPad painting. © David Hockney
    David Hockney, A Year in Normandie (2020-2021) (detail). Composite iPad painting. © David Hockney
    David Hockney’s biggest ever picture, A Year In Normandie at Salts Mill, Saltaire, West Yorkshire. The artwork joins to gather some of the 220 iPad works Hockney created throughout 2020. Picture by Lorne Campbell.
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    in Exhibitions

    See How Two Sisters—and a Team of 5,000—Crocheted Extraordinary Sculptures of the World’s Coral Reefs

    An extraordinary crochet project by two sisters on view at the Museum Frieder Burda in Baden-Baden brings together art, science, and knitting to highlight the ecological threats coral reefs around the world face amid climate change.
    Margaret and Christine Wertheim, whose project weaves together mathematics, critical theory, and feminism has been exhibited all over the world, including at the 2019 Venice Biennale. But that’s only one part of the project. Since 2019, the sisters have also provided volunteers around the world (including in New York, London, Melbourne) with everything they need to contribute their own crochet projects.
    Margaret and Christine Wertheim,  Crochet Corel Reef. Courtesy Museum Frieder Burda, Baden-Baden.
    “Just as living things evolve through small changes to an underlying DNA code, so the Crochet Coral Reef evolves through small changes to an underlying crochet code,” the sisters said in a statement. “Thus, there is an emerging taxonomy of crochet coral ‘organisms.’”
    Margaret, a prolific science and cultural history writer, and Christine, a teacher of critical studies at Goldsmiths College and Calarts, joined forces as artists in 2005 to initiate the project.
    Margaret and Christine Wertheim,  Crochet Corel Reef. Courtesy Museum Frieder Burda, Baden-Baden.
    Looking at stitch patterns for coral reefs as a form of scientific or genetic code, the sisters found a fan in Museum Frieder Burda artistic director Udo Kittelmann.
    “Margaret and Christine’s work is so unique, so strong, and carries such an important message,” he told Artnet News. “In my work, it is crucial to put together an exhibition that touches and inspires and ultimately creates a desire in us to engage and to be a part of the endeavor. The notion of exploring the science and mathematics of corals was something I had never thought about in that way before.”
    Margaret and Christine Wertheim,  Crochet Corel Reef. Courtesy Museum Frieder Burda, Baden-Baden.
    After more than two years of lockdowns, the Baden-Baden show was a new opportunity for the Wertheim sisters to work with locals: around 5,000 people in the surrounding area contributed to the reef on view at the museum.
    “It was my explicit wish to bring a project to Baden-Baden that is not only an exhibition about artistic practice, but also about inviting and bringing people together,” Kittelmann said.
    Margaret and Christine Wertheim,  Crochet Corel Reef. Courtesy Museum Frieder Burda, Baden-Baden.
    And the project, of course, is also a comment on feminism and sexism, considering the gendered history of knitting.
    “Crocheting might be female, but the message this project conveys will impact everyone,” Kittelmann said.
    Margaret and Christine Wertheim,  Crochet Corel Reef. Courtesy Museum Frieder Burda, Baden-Baden.
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    in Street Art

    “The Sanctuary” by Swoon in North Braddock, Pennsylvania

    Artist Caledonia Curry, also known as Swoon—one of the most famous artist activists today is currently working on a project called “The Sanctuary” in North Braddock, Pennsylvania.Artist’s rendering of The Sanctuary WindowsSwoon grew up with drug addicted parents who went through the U.S. incarceration system. This left a major impact on her and her practice, leading her to start the nonprofit The Heliotrope Foundation to help communities in crisis through artist collaborations. And in 2007, Swoon and a group of friends were invited to purchase and restore one of Braddock, PA’s landmark buildings: an abandoned church. They saved this structure from a tide of demolitions that were ravaging the area, alongside economic blight and lack of job and educational opportunities, and turned it into a creative space with community tile-making workshops.Architectural renderings by Lauris SvarupsNow, Swoon is working with Za’kiyah House to transform the Braddock, PA church into an art-filled community center and transitional living space for the homeless and people with addiction issues and criminal records. “The Sanctuary” will become apartments, a social hall and a sanctuary space.The Sanctuary will become apartments, a social hall and a sanctuary space serving the community of North Braddock, PA. It will address the housing discrimination faced by people with criminal records and strengthen family bonds by providing apartments where families can stay together, rather than risk having children lost to the foster care system.Decoratively boarded up windows, awaiting replacement.While this work is local to one place, with its trauma informed model and restorative-justice based philosophy, The Sanctuary is creating a beacon that many other communities can steer by as we ask ourselves how we reckon with our notions of justice, and how we will learn to heal the intergenerational cycles of trauma that so often lead to devastating outcomes such as homelessness and incarceration.After successfully fundraising and constructing a new roof the team is now raising funds to replace the windows.  There are 38 custom windows that need replacing as well as a large stain-glass window designed by Swoon.Swoon launched a Kickstarter campaign (ending May 30) to raise funds for the space. Rewards for Kickstarter backers include pieces by fellow artists Shepard Fairey, Scott Erickson, Michael Reeder, Strange Dirt, Nelson Makamo, Ebony Patterson, Rajni Perera, Jean Jullien, Cara To, Komikka Patton, Shehzil Malik and Swoon.Original stain-glass window with new restoration design by Swoon“The opportunity to contribute to this work means so much to me. Both of my parents went through incarceration and rehab as a result of drug addictions, and the presence of houses like this meant that they could come back into my life in much stronger ways.  I’ve seen what happens when someone has a chance to rebuild their life, and how their second chance impacts everyone around them. I see this work as a step toward healing the cycles of intergenerational trauma that fuel so many of our societal crises.”“Also tremendously important is the chance to re-enfranchise the black community with land and property ownership. In 2020 I made the decision to donate a home that I owned to become Donnelle’s Safe Haven. There were many factors influencing this decision, and one of them was discovering the role that my own ancestors played in the enslavement of African people, and the recognition of the impacts that this history still has on the present day. As we work to address systemic racism in all of its manifestations, creating stability and empowerment through long term resources held within the black community is key. It’s my hope that some of the tens of millions of Americans with ancestors who benefited from our country’s brutal history will consider participating in projects like The Sanctuary as part of a larger movement toward reparations ” Swoon stated.This collaborative endeavor is the result of over a decade of community based arts and justice work. It is built on many many relationships and made possible by hundreds of people who have donated resources or lent a hand because they believe in Ronna Davis Moore’s vision, and want to support a new way forward. Please join in this big barn raising for healing-justice and creativity. To know more about the project, visit The Sanctuary’s page. More

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    in Street Art

    “So Far, So Close” Charity Auction for Ukraine by PEJAC

    On the 23rd of February Pejac released his latest print: So Far, So Close, dealing with the indiscriminate and senseless loss that comes with war, not knowing that the very next day Russian forces would invade Ukraine. It is a striking image that depicts an infinite circular trench embedded in a desolate landscape, as soldiers burst over the top into battle. This artwork challenges the simplistic duality with which the war is too often described, as the artist himself puts it “sometimes perceiving someone as a friend or a foe is just a matter of perspective”.Trying to offer some help in this painful situation, the artist is offering a totally unique print proof of So Far, So Close at a charity auction. All 100% of the proceeds will be given to the NGOs Voices of Children, focused on helping children who have suffered as a result of military operations to recover psychologically and psychosocially, and Acted, a French NGO that works to provide basic necessities to the population as well as helping in evacuation and crisis management training.The print itself measures 110 x 80 cm, and is the result of a painstaking multiphase production process that adds a novel feature to Pejac’s printmaking practice: the use of the monotype technique. To this one of one print proof, with the edition number #10/15, the artist has also hand-drawn in the finishing details of two plumes of blue and yellow coloured smoke, as well as different shades of acrylic and coloured pencils to different areas of the print.The auction will start on the 12th of May at 16:00 hrs (CET) and will run until the 26th of May at 16:00 hrs (CET). It will be held by the Tate Ward auction house together with the online art platform Artsy. To take part online you can use the following link. Potential buyers will need to register for an account with Artsy on their website.So Far, So Close – Artist’s Proof Print110 x 80 cm (43.3 x 31.5 inch)Single-coloured hand-pulled photopolymer on hand-coloured monotypeOkawara paper on Velin d’Arches cotton paper 300 gsmHand-finished by the artist by use of acrylic paint and pencilSigned and numbered by the artistA certificate of authenticity will be issued six months after the purchasePacked and delivered in a custom-made wooden crate featuring a laser-engraved image of one scene of the artworkSo Far, So Close – Postcard Lottery Ticket21 x 14.8 cm (8.27 x 5.83 inch)High-quality digital print in colourFinesse Premium Silk 350 gsm paper mounted on 2.25 mm grey cardboardHand-finished by the artist by use of acrylic paintSigned by the artistThe artist invites anyone who’d like to spread awareness of the fundraising to do so through his Instagram profile @Pejac_art. To say thank you for the help and support there will be a giveaway of 5 hand-painted, signed postcards from the SFSC collection.To participate, you’ll need to:-Follow the account @Pejac_art-Mention in the post those who you think might want to help, using the hashtag #pejac_ukraine-Finally, if you would like to, though it’s not mandatory, share a post or story including the artwork, with the hashtag #pejac_ukraineThe five recipients will be selected and announced on the 27th of May, the day after the auction.You can follow this link for all the terms and conditions. More

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    in Exhibitions

    As Many Museums Weigh Whether to Embrace NFTs, Italian Institutions Are Going All-In With a Wave of Digital Art Shows

    NFTutto bene! It was only a matter of time before NFTs, which upended the art world in 2021, would take over some of Italy’s most prestigious arts venues. 
    In April, when the art world’s literati descended on Venice for the 59th edition of the city’s Art Biennale, an NFT exhibition called “Decentral Art Pavilion” popped up in a Venetian palazzo.
    Displaying works by more than two dozen artists, including Beeple, Robness, Ryan Koopmans, Alex Wexell, XCOPY and others, the event marked a coming-out moment for NFTs in the often cloistered world of contemporary art. 
    Daniel Arsham, Eroding and Reforming Bust of Rome (One Year) (2021),NFT single-channel video with sound. Owned by Pablo Rodriguez-Fraile. Courtesy of the artist.
    Now, another exhibition in Florence’s Palazzo Strozzi, “Let’s Get Digital!”, set to open May 18, aims to take visitors on a journey through the vast expanses of digital art, presenting works by Refik Anadol, Anyma, Daniel Arsham, Beeple, Krista Kim and Andrés Reisinger.
    Curated by Arturo Galansino, the Strozzi’s director, alongside Serena Tabacchi, director of the Museum of Contemporary Digital Art (MoCDA), the show has been developed with the Fondazione Hillary Merkus Recordati in Florence.
    According to Galansino, the exhibition is intended “to bring together the avant-garde and tradition, research and popularization,” by looking at the ways in which art and technology are creating new possibilities for experimentation, research and collaboration. 
    Beeple, Infected #34/123 (2020), edition of 123, NFT single-channel video with sound. Owned by Pablo Rodriguez-Fraile. Courtesy of the artist.
    “‘Let’s Get Digital!’ sets out to offer a broad insight into the most recent development in digital art now universally recognized by the contemporary system,” Tabacchi added. “Decentralization, blockchains and NFTs have certified and disseminated the work of countless artists, who could not be considered in that capacity until no more than a few years ago.” 
    Among the highlights of the show is a site-specific installation for the Palazzo’s courtyard developed by Anadol, in which a series of artificial intelligence algorithms are projected onto visitors as they enter the museum’s lush grounds. And the digital artist Beeple, whose career was launched into the stratosphere after selling his EVERYDAYS: The First 5,000 Days for $69.3 million last year, will be presenting a selection of some of his most well-known, post-apocalyptic digital images. 

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    in Exhibitions

    An Off-Ramp, a Trauma Specialist, and Preparedness Pamphlets: How the MFA Boston Reworked Its Philip Guston Retrospective

    As curators at the Museum of Fine Arts, Boston were finalizing the checklist for their highly anticipated Philip Guston retrospective, they realized that the one painting the museum owned by the artist was not on it. Apparently, it had condition issues and a conservator needed to examine the canvas. 
    This was last summer, almost a full year after four museums postponed the touring exhibition over fears that Guston’s 1960s- and ‘70s-era depictions of white-hooded figures would be misunderstood in that incendiary moment of racial reckoning.
    The move fomented a fiery controversy. More than 100 artists issued an open letter accusing the museums’ leaders of “white culpability.” Guston’s daughter joined the chorus of dissenters, too: “The danger,” she said at the time, “is not in looking at Philip Guston’s work, but in looking away.”
    Hovering over the MFA’s own Guston work, a flooded landscape scene called The Deluge (1969), the curators saw something that, for them, refocused the debate. Underneath the painting’s oceanic foreground they spotted three subtle Ku Klux Klan hoods, which can be seen only under a certain light, in person.
    “It was a very dramatic moment, as we realized that this painting has been here since 1990 and no one had noticed this,” recalled Ethan Lasser, one of four curators who organized the show. The painting promptly became the “beating heart of the show.” 
    “It really brought home everything we thought Guston was trying to say: that these things are hidden in plain sight,” he went on. “White supremacy is always lurking, always under the water. And here it was, right in our own institution.”
    Philip Guston, The Deluge (1969). © The Estate of Philip Guston. Courtesy of Hauser and Wirth and the Museum of Fine Arts, Boston.
    The Deluge is one of 73 paintings in the exhibition, which opened last weekend at the MFA. The selection is accompanied by 27 drawings and a few spare pieces of historical ephemera—a Life magazine spread documenting a Klan rally, for instance, and a series of photos of Nazi internment camps—meant to contextualize Guston’s political messaging. 
    The Boston presentation is smaller than the three that will follow it at the Museum of Fine Arts, Houston (October 23, 2022-January 15, 2023), the National Gallery (February 26-August 27, 2023), and the Tate Modern (October 3, 2023-February 25, 2024).
    The Boston show, as of now, is the only one to include more than one curator. This wasn’t always the case. Lasser, the chair of the MFA’s Art of the Americas department, was asked to team up with the show’s original organizer, Guston scholar Kate Nesin, in late 2020, after the postponement announcement. He had advocated months earlier for the show to be scrapped altogether, but he agreed to help out on one condition: that Terence Washington, an independent art historian and curator, also join the effort.
    Lasser had seen Washington speak in a Zoom panel this past fall called “Talking Guston,” organized by Helen Molesworth and Laura Raicovich. During the event, Washington withheld his opinion on whether the postponement was right or wrong—”I didn’t really care either way,” he recalled—but instead addressed the tenor of the ensuing debate. 
    Philip Guston in his studio, 1970. Photo: Frank K. Lloyd. Courtesy of the Guston Foundation and the Museum of Fine Arts, Boston.
    “I think the conversation around the postponement was framed by and large by people who disagreed with it,” he said. He noted that critics “had been speaking about audience engagement in the galleries as if it was both neutral and abstract… I think some valid questions had been left out.”
    Still one other person joined the curatorial team, and she wasn’t a curator at all: Megan Bernard, the MFA’s director of membership. The reasoning was that, as a group, the curators made a point to emphasize how the show would impact all museum goers, not just the academic ones. 
    As such, they put a number of preemptive measures in place. Visitors to the exhibition are handed an “Emotional Preparedness” pamphlet, penned by a trauma specialist brought in by Bernard. The contextual materials shown alongside Guston’s art are housed in closed vitrines, which are optional for viewers to experience.
    There’s also an “off-ramp” on the exhibition path prior to the gallery where the majority of the 11 artworks with Klan imagery are contained, should viewers wish to opt out at that point. (The show’s original checklist featured 15 Klan paintings. Five were removed for space considerations, and one—The Deluge—was added.)
    The goal, Nesin said, was to “hold on to the open-endedness” of Guston’s work. “We’ve made some strong choices ourselves in the show, but we’ve tried really hard not to make them in ways that might foreclose the possibility that viewers can arrive at their own interpretations of paintings that are often contradictory.”
    “Holding onto to the ambiguity and letting it be uncomfortable, letting it push us to ask questions and sit with those questions,” Nesin added, “has really driven us.” 
    Philip Guston, Couple in Bed 1977. © The Estate of Philip Guston. Courtesy of Hauser and Wirth, the Art Institute of Chicago, and the Museum of Fine Arts, Boston.
    The curators pointed out that Guston himself often offered contradictory statements about the intentionality of his work, many examples of which are included in the show’s wall labels and audio tour. Historians and critics also offer differing opinions. There’s even a dedicated gallery where visitors are asked to reflect on what they’ve seen and post their responses on the wall. 
    “How do we understand the way people might see these things?” said Washington. He recalled the revelation about the hooded figures hiding in The Deluge: “How is it that things hide in plain sight?”
    Underlining the show is a larger conversation about “the way that we use artists’ intent in a curatorial framework,” Washington said. “One thing that’s important to remember is that intent does not justify impact.” 
    Philip Guston, Painting, Smoking, Eating (1973). © The Estate of Philip Guston. Courtesy of Hauser and Wirth
 and the Museum of Fine Arts, Boston.
    “Philip Guston Now” is on view now through September 11, 2022 at the Museum of Fine Arts, Boston.
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    in Exhibitions

    In Pictures: See Long-Lost Paintings by Francis Hines, Who Wrapped Art and Buildings in Fabric, Discovered in a Dumpster by a Car Mechanic

    In a surprising instance of accidental discovery, a car mechanic found several hundred works by the artist Francis Hines in a dumpster outside the late artist’s studio in 2017. Tomorrow, 30 of the paintings and one sculpture are going on show in “Unwrapping the Mystery of New York’s Wrapper” at Hollis Taggart’s Southport gallery in Connecticut. A smaller presentation will also be exhibited in Manhattan.
    The works in question were being cleared from the studio barn in Watertown, Connecticut following Hines’s death in 2016, aged 96. The artist was well known in the 1970s and 80s for wrapping both his artworks and major city structures in strips of synthetic fabric. The most famous example was the Washington Square Arch, which Hines wrapped in 8,000 yards of white polyester in 1980, as part of an effort by New York University to raise funds for its restoration. But by the end of his career, Hines had fallen into near obscurity, and his works were left abandoned in the old barn.
    Taggart says the new show “captures Hines as an artist ahead of his time, as we have seen the ongoing dissolution of boundaries between artforms and dynamic combinations of materials.” 
    The trove’s discoverer, Jared Whipple, who is selling the works, first heard about them from a friend contracted to clear out the studio. At the time, he thought they might work well as a Halloween-themed “haunted art gallery”, until he spotted a signature on the back of one of the canvases. 
    Whipple began tracking down the artist’s family and colleagues in order to further research Hines’s life. Additional archival material related to Hines’s work, including photographs, video footage and drawings, has since come to light, some of which will be included in the exhibition. It has been curated by Hollis Taggart’s director Paul Efstathiou and the art historian Peter Hastings Falk, who helped Whipple with his research and put him in contact with the gallery. 
    Whipple soon realized the collection might be worth several hundreds of thousands of dollars. Twenty-three of the paintings in the show, which are priced at $35,000, have already been snapped up by keen collectors. Whipple plans to use the profits from these sales to renovate his Connecticut warehouse, where he will display other works by Hines.
    “The significance of the discovery has been the four-and-a-half-year journey that I’ve been on,” Whipple said. “It has opened up friendships, avenues and a world which I never thought I’d be a part of, or have such a deep appreciation for.” 
    See the works that will be included in the show below.
    Francis Hines, Legacy (1988). All images courtesy of Hollis Taggart.
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1983).
    Francis Hines, Icon, NY (1987).
    Francis Hines, Untitled (1983)
    Francis Hines, Untitled (1983)
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (circa 1984).
    Francis Hines, Untitled (1987).
    Francis Hines, Untitled (1987).
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1986).
    Francis Hines, Untitled (1985)
    Francis Hines, Untitled (1984).
    Francis Hines, Untitled (1984).
    Francis Hines, Untitled (1984).
    Francis Hines, Untitled (1984)
    Francis Hines, Untitled (1983).
    Francis Hines, Untitled (1984).
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