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    Home»Artist»Warhol Foundation settles copyright dispute and more art news
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    Warhol Foundation settles copyright dispute and more art news

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    THE HOLDERS

    WARHOL’S SETTLEMENT. O Andy Warhol Foundation and photographer Lynn Goldsmith have agreed to a settlement over a landmark copyright dispute. Last year, the US Supreme Court ruled in favor of the famous photographer in a controversial decision that said a Warhol screen print of the rock star princereprinted in a Count Nast magazine, was not “fair use” under copyright law. Both sides announced their settlement in New York federal court on Friday and said Warhol’s estate would pay Goldsmith more than $21,000, including $11,000 in court costs, according to a joint filing.

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    A white woman posing for a selfie next to smiling fans.

    SCULPTURE PARK EXAMINATION OF SLAVERY. A new sculpture park dedicated to the history of the 10 million enslaved people in America will open on March 27, in Montgomery, Alabama. Developed by Bryan Stevensonfounder of the Equal Justice Initiativethe new, 17 acres Monument to Freedom sculpture park follow a path along the Alabama River. It is interwoven with works of art like Simon Leighit is 16 feet Brick House , 170-year-old cabins that housed slaves, historical exhibitions, and culminates with a monument almost four stories high, in which the names of 122,000 formerly enslaved people are inscribed. Stevenson said the need to build the park developed after he experienced disappointing tours of old plantations that focused on the lives of slave owners, while marginalizing that of slaves. With this new sculpture park, he hopes visitors will have a “really honest experience with the history of slavery,” he reports. The Los Angeles Times.

    THE RESEARCH

    A new private art museum Actionist opens this week in Vienna, celebrating the radical performance works of the 1960s and 1970s by artists such as Günter Brus, Otto Muehl, Hermann Nitsche Rudolf Schwarzkogler. O Vienna Action Museum (WAM) will exhibit 100 works for its inauguration, including photographs of performances, some paintings and sketches. [France 24]

    collector Jitendra V. Singhwho managed to assemble the entire “Thirty-six Views of Mount Fuji” series by the 19th-century Japanese Edo engraver. Hokusaiis selling the entire set at Christie’s, $3 million to $5 million. [The New York Times]

    Those of the United Kingdom National Trust announced that several seeds sprouted from the beloved Sycamore Gap tree, fallen in what police believe was an act of vandalism. The world-famous tree was cut down in September, and now only a stump remains where it once stood, framed by two rolling mounds nearby. Hadrian’s Wall in Northumberland National Park. [Heritage Daily]

    O Victoria and Albert Museum (V&A) in London it was listed Margaret Thatcher as “contemporary villain” and “unpopular public figure”, among others, as Adolf Hitlere Osama bin Laden. The comparison was made in a show tag for a show about British humour, but Thatcher’s fans didn’t find much to laugh about. [The Times]

    The iconic judy garland ruby ​​slippers she wore when she played Dorothy The Wizard of Oz it will be exhibited on a world tour, before being auctioned in December. The slippers were recovered after being stolen nearly 20 years ago, because the thieves believed they were made of real rubies. [Euronews]

    THE KICKER

    I OWN. Felipe Ilhenachodirector of Museum of West African Art (MOWAA)currently under construction in Nigeria Benin Cityspoke recently The world of art: what if…?! about the creative potential of the country. In his talk, Ilhenacho also revealed an innovative concept for the museum’s funding model, designed to cover most of its costs through a “campus” of commercial and non-profit spaces around the museum, all of which are located in 20 hectares of land owned by MOWAA. . Ilhenacho developed the idea after seeking advice from international art institutions to offset his reliance on philanthropic aid. Ilhenacho also addressed the misconception that “everyone” Bronzes from Benin outside Nigeria were initially planned to be displayed in the new museum, an idea that caused tension with Benin’s king, Ewuare II, who was recognized as its owner. Ilhenacho said MOWAA never planned to display all the bronzes and will feature either ancient or contemporary artworks. Nigeria “has incredible objects languishing in warehouses … that deserve a place in the sun,” Ilhenacho said.

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    Sonja Kalb: Whispering Forest III — Exploring the Poetry of Nature Through Abstraction Born in Stuttgart, Germany, contemporary abstract artist Sonja Kalb brings together a refined understanding of design and an expressive approach to painting. Holding a Dipl. Ing. degree in Textile and Design, she developed a strong appreciation for material experimentation, structural harmony, and the relationship between color and form. These influences remain evident in her artistic practice, although her work has gradually moved beyond technical precision toward a more spontaneous and emotionally driven visual language. Based in Düsseldorf, Germany, Kalb creates paintings that explore the shifting qualities of nature through rich textures, fluid gestures, and vibrant color combinations. Her compositions balance moments of intensity with passages of quiet reflection, revealing an ongoing fascination with the natural environment. Through abstraction, she transforms familiar impressions of landscapes into immersive visual experiences, encouraging audiences to discover their own emotional connections with the worlds she creates. A Journey Through Color, Light, and the Natural World In Whispering Forest III, mixed media on canvas, 120 × 80 cm, Sonja Kalb presents an evocative interpretation of the natural world, where color, texture, and movement come together to suggest the mysterious atmosphere of a forest. Rather than portraying a recognizable landscape, the artist creates an imaginative environment that captures the sensations of being surrounded by dense vegetation, shifting light, and organic forms. The composition offers a compelling balance between visual complexity and atmospheric tranquility, inviting viewers to explore its many layers. A rich spectrum of greens dominates the painting, ranging from deep forest shades to brilliant turquoise and softer emerald tones. These colors establish an immediate connection with the vitality of nature, suggesting flourishing vegetation and the constant renewal of the environment. Kalb introduces darker passages throughout the composition, creating a sense of depth and mystery. These shadowed areas contrast with lighter turquoise sections, producing the impression of sunlight filtering through a dense canopy of leaves. The painting’s vertical orientation reinforces its connection to the forest. Elongated marks and downward gestures resemble tree trunks, hanging branches, and the natural patterns formed by vegetation. Yet these associations remain deliberately ambiguous. Kalb allows recognizable suggestions to emerge without defining them completely, preserving the freedom of abstraction and encouraging viewers to participate in the interpretation of the work. One of the painting’s most captivating qualities is its intricate surface. Broad, energetic brushstrokes intersect with delicate marks, translucent passages, and areas of concentrated pigment. These contrasting techniques establish a visual rhythm that moves between spontaneity and careful consideration. Certain sections appear densely layered, while others reveal glimpses of lighter colors beneath the surface. This interaction creates a sense of continuous transformation, reflecting the complexity and unpredictability of natural growth. Toward the lower portion of the canvas, pale blue and turquoise tones introduce a softer atmosphere. These luminous areas suggest an opening within the forest, perhaps a clearing, a reflection of water, or a moment when daylight reaches the ground. Scattered accents of pink, violet, and reddish orange provide unexpected points of contrast, recalling the presence of flowers, fallen leaves, or other fleeting details within the landscape. Their placement adds warmth and visual interest without disrupting the painting’s overall harmony. Kalb’s use of color extends beyond the description of natural surroundings. Green becomes a vehicle for expressing vitality, regeneration, and emotional balance, while darker tones introduce introspection and uncertainty. The luminous turquoise passages suggest openness and renewal, creating a subtle dialogue between the familiar and the unknown. Through these relationships, the painting communicates an atmosphere that feels simultaneously peaceful and alive with movement. The title Whispering Forest III introduces an additional poetic dimension. The idea of a whisper suggests something intimate, almost imperceptible, encouraging viewers to consider the quieter expressions of nature. The forest is not presented as a static setting but as a living environment filled with subtle activity. Each brushstroke seems to contribute to an imagined conversation between light, foliage, atmosphere, and the changing seasons. There is also an intriguing relationship between concealment and discovery. Certain shapes appear to emerge from the layers of paint before dissolving into surrounding colors. This visual uncertainty encourages prolonged observation, as different details become apparent with each encounter. The painting rewards curiosity, allowing its atmospheric qualities to unfold gradually rather than revealing a single, fixed interpretation. Ultimately, Whispering Forest III demonstrates Kalb’s ability to translate the sensory richness of nature into a distinctive abstract language. Through expressive gestures, luminous color relationships, and richly developed textures, she creates an environment that feels both expansive and deeply personal. The work celebrates the forest not simply as a physical place, but as a source of imagination, emotional resonance, and quiet contemplation. It invites viewers to experience nature through feeling and perception, discovering beauty within the ever-changing relationships between color, movement, and light.

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