{"id":568153,"date":"2025-11-13T18:22:18","date_gmt":"2025-11-13T18:22:18","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/568153\/"},"modified":"2025-11-13T18:22:18","modified_gmt":"2025-11-13T18:22:18","slug":"jenny-saville-lands-first-solo-show-in-venice-morning-links","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/568153\/","title":{"rendered":"Jenny Saville Lands First Solo Show in Venice: Morning Links"},"content":{"rendered":"

\n\tTo receive\u00a0Morning Links<\/a>\u00a0in your inbox every weekday,\u00a0sign\u00a0up\u00a0for our\u00a0Breakfast with ARTnews<\/a>\u00a0newsletter.<\/p>\n

\t\tTHE HEADLINES<\/strong>\t<\/p>\n

\n\tSAVILLE ON A ROLL. <\/strong>The International Gallery of Modern Art at Ca\u2019 Pesaro<\/strong> in Venice<\/strong> has announced that it will host a major exhibition of work by Jenny Saville<\/a><\/strong> next year. The solo show will be the British painter\u2019s first in the northern Italian city and will coincide with the 2026 Venice Biennale<\/strong>. Gagosian<\/strong>, the mega-gallery which represents Saville, is supporting the show. Ca\u2019 Pesaro is a Baroque marble palace turned art museum facing Venice\u2019s Grand Canal<\/strong>. Saville, who was born in 1970 in Cambridge<\/strong>, has had three major museum shows at London\u2019s National Portrait Gallery<\/strong>, the Albertina<\/strong> in Vienna, and the Modern Art Museum of Fort Worth<\/strong>. \u201cVenice represents a place where art is an intrinsic part of everyday life and where the Biennale artists of today sit in dialogue with these great Venetian artworks,\u201d Saville said in a statement. \u201cIt\u2019s a great honor to have the opportunity to exhibit in Venice.\u201d The exhibition of 30 paintings at Ca\u2019 Pesaro will be curated by Elisabetta Barisoni <\/strong>and will run from March 28 to November 22, 2026.\u00a0<\/p>\n

\t\tRelated Articles<\/p>\n

\t\t\t\t\t\t\"A<\/p>\n

\n\tBACKING BLOCKCHAIN ART. <\/strong>During his stint as chief executive of Sotheby\u2019s<\/strong> from 2015 to 2019, Tad Smith<\/strong> led a major push to modernize and digitalize the auction house. One of his notable initiatives was the 2018 acquisition of the AI startup Thread Genius<\/strong>, a company that used image recognition and machine learning to recommend artworks based on user preferences. Given his background, Smith\u2019s current focus on digital art and assets comes as little surprise, and he recently told The Art Newspaper<\/a> that he\u2019s bullish for blockchain<\/strong> art. His comments come ahead of the sale of Robert Alice<\/strong>\u2019s NFT <\/strong>painting at Sotheby\u2019s New York<\/strong>, and after the speculative boom and subsequent blockchain art bust of 2021-2022. Smith, who now serves as chairman of the supervisory board at The Fine Art Group<\/strong> and is also a partner at 50T Holdings<\/strong>, said that \u201ceach new development in the field of art will inevitably horrify traditionalists. So, the division around digital art and NFTs is not new. This is a normal transition. When you look at the baby boomers, and to some extent, Gen X, their art isn\u2019t going to appeal to the younger millennials and Gen Z i<\/strong>n the way that that it did to them when they were at that age. Every generation has its own art, and you can see that historically.\u201d Will the sale of Alice\u2019s NFT work reflect the health of the digital art market? It remains to be seen.\u00a0<\/p>\n

\t\tTHE DIGEST\t<\/p>\n

\n\tEd Ruscha<\/a> <\/strong>has made a limited-edition chocolate bar molded in the shape of a topographic section of California\u2019s Central Valley<\/strong>. [Artsy News<\/a>]<\/p>\n

Phys Org argues that Tutankhamun<\/strong>\u2019s excavation 100 years ago, when archaeologists decapitated and dismembered the pharaoh, was not a triumph but a \u201cgreat shame.\u201d [Phys Org<\/a>]<\/p>\n

Metallica <\/strong>guitarist Kirk Hammett<\/strong>\u2019s prized Frank Frazetta<\/strong> painting is destined for the auction block on December 10 at Heritage Auctions<\/strong>. Bidding start at $10 million. [Artnet News<\/a>]<\/p>\n

San Francisco\u2019s Rena Bransten Gallery<\/strong>, known for championing BIPOC and female artists since 1975, will close on November 22. [Artforum<\/a>]<\/p>\n

\t\tThe Kicker<\/strong>\t<\/p>\n

\n\tTO SELFIE, OR NOT TO SELFIE?<\/strong> Earlier this year, The Telegraph published a headline declaring: \u201cBan selfie-takers from museums\u2014these people don\u2019t deserve to see great art.\u201d In the accompanying article, columnist Celia Waldon <\/strong>described her frustration at finding Emile Jean Horace Vernet<\/strong>\u2019s Portrait of a Lady obscured by a visitor taking a photo, arguing that prohibiting selfies could help restore respect for cultural heritage. Her view echoes a growing debate. In June, Florence\u2019s Uffizi Galleries<\/strong> announced plans to impose \u201cprecise limits\u201d on selfies after a visitor damaged a painting by Anton Domenico Gabbiani <\/strong>while trying to photograph himself. The museum\u2019s director said the policy aimed to curb behavior \u201cincompatible with respect for cultural heritage.\u201d Yet, as The Art Newspaper<\/a>\u00a0writes, opinions remain divided. Ross Parry<\/strong>, professor of museum technology at the University of Leicester<\/strong>, notes that the UK\u2019s 1,700 museums differ widely in digital maturity and physical space. Some restrictions, he says, may simply reflect operational or safety needs. The Frick Collection<\/strong> in New York, for example, maintains a long-standing ban on all photography to protect unbarriered artworks, after past trials led to visitors nearly colliding with paintings.<\/p>\n

See you at the same time tomorrow.<\/p>\n","protected":false},"excerpt":{"rendered":"To receive\u00a0Morning Links\u00a0in your inbox every weekday,\u00a0sign\u00a0up\u00a0for our\u00a0Breakfast with ARTnews\u00a0newsletter. THE HEADLINES SAVILLE ON A ROLL. The International…\n","protected":false},"author":2,"featured_media":568154,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3939],"tags":[4021,4020,4022,180477,77,66222,33967,16,15],"class_list":{"0":"post-568153","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-design","11":"tag-ed-ruscha","12":"tag-entertainment","13":"tag-jenny-saville","14":"tag-sothebys","15":"tag-uk","16":"tag-united-kingdom"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@uk\/115543786136990651","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/568153","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/comments?post=568153"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/posts\/568153\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media\/568154"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/media?parent=568153"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/categories?post=568153"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/uk\/wp-json\/wp\/v2\/tags?post=568153"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}