Despite its success, IFAR announced its closure following a thorough six-month review of its activities and finances. Board Chair Jennifer Schipf remarked that the organization has made significant strides in transparency and integrity within the art market and has been dedicated to the rightful ownership of cultural heritage. However, a new executive director’s analysis revealed that the best path forward was to end operations.

Effective immediately, IFAR will no longer publish its journal or host IFAR events. The nonprofit is now in the process of moving its archives and databases to another institution, with a full cessation of activities expected next year.

IFAR’s contributions over the decades have helped shape vital discussions about cultural property and the ethics of art ownership. The closure marks the end of an era for the art community, which has long relied on its expertise and educational efforts.

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Among the standout pieces in the collection is Nymphéas (1914-17) by Claude Monet, poised to sell for around $60 million. Another significant work is Pablo Picasso’s La Statuaire (1925), a captivating portrait of a woman sitting opposite a life-sized bust. The painting is expected to fetch approximately $30 million. The collection also includes pieces by art luminaries such as Wassily Kandinsky, Henry Moore, and Yves Klein.

A Collection Reflecting a Passion for Art and Beauty

“Sydell Miller was a great 20th-century collector, and the roll call of great artists and designers in her collection speaks to both the breadth of her vision and the depth of her connoisseurship,” said Charles Stewart, Sotheby’s CEO. “What stands out is the thread that runs through every painting, sculpture, and object—that of Miller’s eye for beauty as she innately understood it.”

Ahead of the auction, Sotheby’s will host exhibitions of Miller’s collection in major cities such as London, Paris, and Hong Kong, including at their newly opened space in Hong Kong’s Landmark Chater area.

From Beauty Industry Pioneer to Art Patron

Miller’s journey to becoming a significant art collector began after a successful career in the beauty industry. She co-founded Ardel and Matrix Essentials with her husband, Arnold Miller, transforming the company into a leading salon product manufacturer. In 1994, two years after her husband’s passing, she sold the company to Bristol Myers Squibb for $400 million, turning her focus toward philanthropy and art.

Her collection will be featured in both day and evening sales, alongside three dedicated online auctions showcasing her diverse interests, including fashion and decorative arts. A portion of the proceeds will support charitable causes close to Miller’s heart, including the Cleveland Clinic Women’s Comprehensive Health and Research Center, the Cleveland Museum of Art, and the Cleveland Metroparks Zoo.

A Legacy of Philanthropy and Art Collecting

Miller’s influence extends beyond the art world, with her philanthropic efforts continuing to impact major institutions. The Sydell & Arnold Miller Family Pavilion at the Cleveland Clinic stands as a testament to her contributions to healthcare and community development.

The upcoming auction at Sotheby’s will not only highlight Miller’s impeccable taste in art but also her commitment to giving back through her legacy of charitable work.

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The SOAS exhibition features an impressive lineup of renowned artists, including Mona Hatoum, Manal AlDowayan, Kader Attia, and Hayv Kahraman, among others. More than just a display of valuable artworks, Hudood is thoughtfully curated, reflecting Al Qassemi’s mentorship and the keen insight of his talented students, who have produced a show that resonates with depth and significance.

Hudood investigates the multifaceted concept of “boundaries,” examining both physical demarcations like walls and borders, as well as social and curatorial boundaries related to gender, state, and urban design. It also touches on intangible themes such as memories, time, and perspectives.

The exhibition opens with Monde Arabe Sous Pression (2013), an aluminum pressure cooker by Batoul S’himi, which is playfully designed in mint ice cream color and features a map of the SWANA region. This unique piece serves as a refreshing and symbolic centerpiece, encapsulating the exhibition’s theme of a “pressurized” environment.

Beginning with an exploration of urbanism, Hudood reflects on how architecture serves as a lens through which to understand colonial and settler histories. Works by Kader Attia and Aïcha Haddad present contrasting perspectives, while photography by Lateefa bint Maktoum and Ammar Al Attar captures post-oil aesthetics in the Gulf. Notably, Al Attar’s 2012 images of prayer spaces within Dubai Mall and DIFC The Gate stand out as brilliant inclusions.

Transitioning to the theme of gender, Manal AlDowayan’s porcelain sculpture, Suspended Together — Standing Doves (2012), beautifully bridges the two sections. The sculpture features stationary birds adorned with a printed document symbolizing the permission once required from male family members for Saudi women to travel.

Rather than adopting overly simplistic portrayals of gender, Hudood examines how gender permeates daily life through the traditional gathering space known as the majlis.

Against a backdrop of striking scarlet walls, Zaha Hadid’s silver Tea and Coffee Set (2004) pairs elegantly with Lamya Gargash’s Red Television (2009) from her Majlis series.

The final segment of the exhibition turns to concrete as its focal material, exemplified by Palestinian artist Khaled Jarrar’s Volleyball (2013). This poignant piece, a concrete interpretation of a playground ball, symbolizes the impact of war on children and is displayed within a glass vitrine.

A dedicated section on Palestine occupies a prominent place within the exhibition, addressing the inextricable links between Palestinian issues and the broader history of the SWANA region. Despite the art world often remaining silent on these topics, Hudood showcases works like Larissa Sansour’s satirical print Nation Estate (Living the High Life) (2012), alongside impactful pieces by Fouad Elkoury, Taysir Batniji, and Laila Shawa. The exhibition also includes a section on ‘Alienation and Belonging,’ featuring works by Ahmed Mater, Mona Hatoum, and video contributions from Iraqi artist Adel Abidin.

The concluding section of the exhibition synthesizes previous themes through a diverse array of works by artists such as Rachid Koraïchi, Anuar Khalifi, and Latif Al Ani. This culmination enriches the narrative established earlier, highlighting the potential of contemporary SWANA art when guided by innovative curatorial perspectives.

As attendees navigate through Hudood, they experience an artistic journey as satisfying and nourishing as a warm meal, signaling an optimistic future for the curation of art from the SWANA region.

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Delvey, convicted of grand theft, larceny, and other financial crimes in 2019, received a sentence of 4 to 12 years in prison. Despite being released in 2022, she remains under house arrest. That hasn’t stopped her from maintaining her public persona.

Since her release, Delvey has hosted art shows while in detention, sold $340,000 worth of paintings, started a podcast, and held extravagant dinner parties at her East Village apartment. She even hosted a rooftop fashion show and walked the runway for Shao New York during Fashion Week.

In her latest media appearance, Delvey spoke to Ziwe, a comedian known for her sharp interviews that often leave her guests squirming. Ziwe, who rose to fame with her viral interviews of quasi-celebrities and clueless influencers, made the most of her interaction with Delvey. Known for her deadpan delivery, Ziwe asked Delvey provocative questions, leading to some memorable moments.

One standout moment came when Ziwe asked Delvey who she found more relatable: notorious fraudsters Sam Bankman-Fried, Elizabeth Holmes, or Bernie Madoff. Delvey’s response was telling. “Elizabeth Holmes,” she replied, explaining, “Because she is a white female who had to go through the criminal justice system.”

Delvey’s ability to capitalize on her infamous past is nothing new. Since her release, she has stayed in the public eye through a variety of ventures, including the Netflix series Inventing Anna, produced by Shonda Rhimes, which explores her life and schemes. Despite her house arrest, Delvey remains a controversial figure in the art and entertainment world.

The full interview is available on YouTube, where fans of both Delvey and Ziwe can watch the unpredictable back-and-forth that has sparked conversations online.

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This curated exhibition features more than 40 modern artworks, highlighting a decade of dedication to the integration of art and architecture. Notably, the collection includes works from acclaimed Emirati artist Dr. Najat Makki, whose pieces have garnered international recognition. Since its establishment in 2014, the gallery at Al Noon Residence has provided a platform for both established and emerging artists from the region. Originally launched by International House as the UAE’s first art-themed boutique hotel, Al Noon Residence uniquely blends modern Arab art with contemporary architectural design. Upon its debut, renowned artists Dr. Najat Makki (UAE), Ali Hassan (Qatar), and Khaled Ben Slimane (Tunisia) were commissioned to design four floors of the building.

The artistic design process for Al Noon Residence fostered collaboration and idea-sharing among the artists. Khaled Ben Slimane dedicated a month to creating the artwork featured in the apartments, while Ali Hassan crafted custom pieces for the lobby on-site to accommodate their size.

Each artwork was specifically designed to complement the building’s aesthetics, enhancing the overall experience.

The trio also collaborated on the design of the building’s common areas.

Al Bait Al Duwaliy emphasizes collaboration with renowned local and regional artists to embed artistic and cultural elements in its projects. Al Noon Residence harmoniously integrates the works of pioneering, award-winning artists into its interior design. To further celebrate this creative milestone, the exhibition will also include pieces by distinguished Lebanese artists Michel El Mir and Hoda Baalbaki, showcasing paintings that reflect themes from Dubai. The collection features a diverse array of contemporary and abstract oil paintings, along with calligraphic works.

The 10th-anniversary exhibition will be open from September 29 to October 31 at the Al Noon Residence Gallery, situated in Al Barsha 1, Dubai. The gallery will welcome visitors daily from 10:00 am to 6:00 pm, with free admission.

Rasha Almutawa, Executive Director of Al Bait Al Duwaliy, stated: “We are very pleased to celebrate this important milestone with an exhibition that not only showcases our journey but also envisions the future of art and modern architecture in Dubai. We are passionate about exploring the intersection of art and design in our real estate projects and hope this exhibition will inspire and foster a deeper appreciation for Arab art.”

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“I’m going to lead the biggest transformation of any museum in the world,” Cullinan stated in an interview with The Times. His mandate includes not only restoring the museum’s tarnished reputation but also managing a $1.3 billion masterplan that encompasses a digital overhaul and renovations to its extensive collection of 3,500 rooms and galleries.

The museum initiated an independent security review in 2023 following the theft of approximately 2,000 items from its collection. The institution has launched a lawsuit against its former curator, Peter Higgs, whom they hold responsible for the thefts. Higgs, dismissed in July of last year, denies any wrongdoing. The previous director, Hartwig Fischer, resigned shortly thereafter, acknowledging that the museum’s response to the situation was inadequate. Among the stolen items were gold jewelry, gems, and ancient glass, many of which have since been recovered.

Cullinan remarked on the closure of the case: “Lessons have been learnt and clear action taken. The decision to digitize the whole collection, all eight million items, is obviously a big part of that.”

The controversies surrounding the museum did not cease there. In late 2023, the museum’s trustees, led by former UK Chancellor George Osborne, accepted a $65 million donation from oil giant BP, which drew sharp criticism from activists who deemed the move “astonishingly out of touch.”

Having overseen a $55 million refurbishment at the National Portrait Gallery, Cullinan previously cut ties with BP during his tenure there. However, he seems less inclined to sever ties in his current role.

“There are two criteria against which you weigh up donations,” he explained. “One is: will accepting it cause us reputational damage? I think you have to have very good, clear reasons for turning down money that would help to keep the British Museum free to the public. Free admissions is one big reason why I have stayed in this country. It makes our museums very special.” Cullinan further stated, “That said, it doesn’t mean museums should be constantly thinking about how to earn income and be as self-sufficient as possible. But they already are doing that. Most museums are funded primarily by themselves, not the taxpayer.”

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The Museum Data Service (MDS) is a collaborative effort involving Art UK, the Collections Trust, and the University of Leicester, funded by Bloomberg Philanthropies and the Arts and Humanities Research Council. Its primary objective is to provide a unified platform for museums to manage and share their object records, initially starting with approximately 3 million records from 21 museums, including prominent institutions like the National Gallery and Amgueddfa Cymru (Museum Wales).

Origins of the Museum Data Service

The idea for the MDS originated from Art UK’s efforts to digitize British art collections since its establishment in 2003. “In 20 years, we have brought 300,000 artworks onto Art UK,” states Andrew Ellis, director of the charity. “However, there are millions of records in public collections that need to be ingested at scale.” This challenge led to collaboration with Knowledge Integration to develop a new model for digitization.

The project gained momentum when Kevin Gosling, chief executive of the Collections Trust, participated in the pilot. “Art UK was addressing its specific collection challenges, but we recognized that other institutions faced similar issues,” Gosling explains. “It made more sense for Art UK to integrate into a broader initiative.”

How the Platform Operates

The main challenge MDS addresses is unifying the vast array of national collections stored in different management systems with varying field names. “The service is designed to be super simple,” notes Gosling. Museums can upload their records via an export file or share data through an application programming interface (API), allowing for seamless communication between databases.

For updates, museums can automate the process via API or submit new files manually, with the MDS system handling data categorization. A significant advantage of the platform is its ability to accept data from museums without requiring extensive cleanup.

MDS is positioned as a “business-to-business” initiative, primarily catering to museum professionals, while also being accessible to researchers and educators who seek large-scale data. Museums will have various licensing options to control the accessibility of their collections.

Efforts have been made to make the platform attractive for both large and smaller institutions. There are no fees for database usage, except for cases that exceed a “fair use” policy, such as extensive data processing. The service won’t host images directly, but it will facilitate links to images that users can obtain rights to.

Societal Impact and Future Vision

Gosling notes that the MDS has the potential for societal benefits, as it aims to include space for diverse perspectives on objects. This will facilitate collaborations with local and global communities, exemplified by initiatives like the Wolverhampton Museum’s Living with Difference project, which explores colonial-era objects and works by Black artists.

Looking ahead, the University of Leicester will oversee the MDS, leveraging its expertise in managing large datasets. The long-term goal is for the platform to accommodate the more than 100 million objects held by the Arts Council’s 1,750 accredited museums and other collections across the UK.

Context and Future Prospects

The launch comes amid a growing focus on collection records both in the UK and globally. Projects like Towards a National Collection, an £18.9 million initiative funded by the British government, aim to create a unified virtual collection by removing barriers between different holdings. Additionally, the Getty Conservation Institute has introduced Arches, an open-source platform for cultural heritage organizations.

Ellis and Gosling recognize the significance of this moment and the potential for the MDS to evolve. “There’s considerable scope for collaboration with information scientists to enhance the data,” Gosling adds. Ellis concludes, “This is an absolutely enormous milestone for museums, and the enthusiasm and trust from the sector will be vital for connecting our museums.”

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The quinquennial, scheduled to occur every five years, captures pivotal moments in the GCC’s art scene since 2019. It will showcase a diverse range of works, including paintings, videos, installations, and sculptures, reflecting the unique cultural and environmental attributes of the region.

Running until December 8, the exhibition not only highlights contemporary artistic practices but also commemorates the Art Gallery’s 10th anniversary.

Since its opening in 2014, the NYUAD Art Gallery has become a vital cultural venue on Saadiyat Island, elevating NYUAD’s status as a cultural beacon. It has played a crucial role in presenting both emerging and established artists and fostering a rich, international cultural dialogue.

“Between the Tides: A Gulf Quinquennial” is co-curated by Maya Allison, Executive Director of the NYUAD Art Gallery, and Duygu Demir, Art Gallery Curator and Research Assistant Professor. Their curatorial approach was shaped through extensive discussions with regional artists and curators, including Abdullah Al Mutairi, Ali Ismail Karimi, Aseel AlYaqoub, and Ayman Zedani. Instead of offering a comprehensive survey, this exhibition highlights key moments in the visual arts over the past five years.

Artists featured in the exhibition include Alia Ahmad, Abdulrahim Alkendi, Mohammad AlFaraj, Noor Al-Fayez, and many others, with collaborative works by Civil Architecture, Aseel AlYaqoub, Asaiel Al Saeed, Saphiya Abu Al-Maati, Yousef Awaad Hussein, Camille Zakharia, and Ali Ismail Karimi.

Maya Allison reflected on the gallery’s milestone and the quinquennial’s significance: “In the first decade of the NYUAD Art Gallery and Project Space, alongside our own development as a cultural institution, we have seen a proliferation of artists—thanks in part to the support of new initiatives across the Gulf—who are producing complex, nuanced, and provocative work, alongside their more seasoned peers. Expanded beyond a national arts landscape, this exhibition brings together and makes visible a larger shared ecosystem. A distinct chapter has opened in the region, and on the global stage.”

Duygu Demir added: “The title of the first iteration, ‘Between the Tides,’ reflects the Gulf’s deep connection to lunar rhythms and a sense of time shaped by natural patterns. The exhibition showcases a wide variety of artistic styles, from emerging voices to well-known figures, and explores important themes like urban growth, environmental change, heritage, identity, and representation. During the research phase of this show, our conversations with the curatorial interlocutors, as well as the exchanges with the artists, were immensely educational.”

Over the past decade, the gallery has featured a diverse array of exhibitions, alternating between global artists and explorations of Gulf art and history. Noteworthy past shows include “But We Cannot See Them” (2017), “Speculative Landscapes” (2019), and “Khaleej Modern” (2022), which have all contributed to its reputation as a leading cultural institution.

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The quinquennial event, occurring every five years, will highlight key artistic moments in the region from 2019 onwards, with exhibits including paintings, videos, installations, and sculptures that capture the unique cultural and environmental aspects of the Gulf.

Running through December 8th, the exhibition also celebrates the 10th anniversary of the NYUAD Art Gallery.

Since its establishment in 2014, the gallery has become a prominent cultural hub on Saadiyat Island, playing a vital role in promoting both emerging and established artists from the GCC and beyond, thereby fostering a diverse cultural dialogue.

Curated by Maya Allison, Executive Director of the NYUAD Art Gallery, and Duygu Demir, Curator and Research Assistant Professor, the exhibition reflects significant trends in the region’s visual arts over the past five years. The curatorial team engaged in extensive dialogues with artists and regional curators, including Abdullah Al Mutairi, Ali Ismail Karimi, Aseel AlYaqoub, and Ayman Zedani, to shape the exhibition’s focus.

Featured artists include Alia Ahmad, Abdulrahim Alkendi, Mohammad AlFaraj, Noor Al-Fayez, and many others, alongside collaborative works by Civil Architecture and Camille Zakharia.

Maya Allison remarked, “In the first decade of the NYUAD Art Gallery and Project Space, alongside our own development as a cultural institution, we have seen a proliferation of artists – thanks in part to new initiatives across the Gulf — producing complex, nuanced, and provocative work, alongside their more seasoned peers. Expanded beyond a national arts landscape, this exhibition brings together and makes visible a larger shared ecosystem. A distinct chapter has opened in the region, and on the global stage.”

Duygu Demir added, “The title of the first iteration, Between the Tides, reflects the Gulf’s deep connection to lunar rhythms and a sense of time shaped by natural patterns. The exhibition showcases a wide variety of artistic styles, from emerging voices to well-known figures, and explores important themes like urban growth, environmental change, heritage, identity, and representation. During the research phase of this show, our conversations with the curatorial interlocutors, as well as exchanges with the artists, were immensely educational.”

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Featuring approximately 2,000 publishing houses and agencies from over 30 countries, the fair will showcase 800 booths filled with a rich tapestry of books and publications. It promises to be a vibrant platform for exploring literary works and engaging with innovative ideas.

Riyadh, a host of prominent writers, thinkers, and intellectuals from Saudi Arabia and across the globe will be present, underscoring the fair’s importance as a key literary event in the region.

Qatar will take center stage as the guest of honor, presenting its cultural and intellectual heritage through a specially curated pavilion. This pavilion will display rare manuscripts and publications from Qatar’s Ministry of Culture.

In attendance will be leading figures from Qatar’s literary and artistic community, as well as significant cultural organizations from the country.

Mohammed Hasan Alwan, CEO of the commission, highlighted the fair’s role in showcasing Saudi Arabia’s commitment to cultural initiatives. “The fair offers visitors a unique intellectual and cultural experience, incorporating the latest technologies and digital solutions. Attendees can discover thousands of new releases across various fields and enjoy a wide range of activities and events within the diverse cultural program, featuring prominent cultural figures from Saudi Arabia and beyond. This makes the 2024 edition a truly inspiring cultural journey, building on the successes of previous editions.”

This year’s fair will introduce a specialized business zone, featuring literary agencies that handle author contracts and printing presses catering to publishers.

Government and financial institutions related to the publishing sector will also have a presence. The zone will offer special sessions and workshops covering entrepreneurship, licensing, and copyright.

Additionally, a dedicated children’s area will offer a plethora of literary, cultural, and entertainment activities aimed at fostering curiosity among young readers.

By championing local authors, supporting self-published works, and offering a broad spectrum of cultural events, the fair highlights Saudi Arabia’s efforts to nurture literary creativity and innovation.

The Cultural Channel will collaborate to deliver the event’s extensive cultural and intellectual programming, featuring dialogue sessions, workshops, poetry readings, concerts, and artistic performances. We designed this diverse range of activities to enrich the cultural landscape, encourage knowledge sharing, and promote reading as an essential part of life, contributing to the ongoing cultural and intellectual renaissance in Saudi society.

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