Over 50 Korean art collectors were in the audience, joining other prominent members of the art world like Princess Alia Al-Senussi, Lawrence Van Hagen, art advisor Kim Heirston, collector Kim Robson Ortiz (a  board member of the Aspen Museum, the V&A, and LACMA). Other guests included Swedith ambassador Daniel Wolven, Sung-Joo Kim, founder, chairperson and chief visionary officer of MCM, President of Ruinart Frederic Dufor, and Joren Zempel, Managing Director President of Givenchy Korea.

A live charity auction was held to benefit a fund for supporting emerging artists. The first artwork hammered down by charity auctioneer Simon de Pury went to digital artist Beeple, who was one of the gala guests. Other artists at the event included Sooja Kim, Eva Jospin, and Dustin Yellin.

“WWD Korea Art Gala was created with the vision to celebrate and bridge the diverse world of creative communities from East to West, while honoring the achievements of remarkable emerging artists across all genres,” said WWD Korea publisher Yuna Kim. “As a philanthropy-driven event to raise awareness and support global creative communities, we bring together like-minded people and brands, including art collectors, enthusiasts, leading art galleries, museums, thought leaders, philanthropists and talents from all over the world to celebrate the spirit of creativity and art culture here in Korea.”

The receiving institutions are the Colby College Museum of Art in Waterville, Maine; the Nasher Museum of Art at Duke University in Durham, North Carolina; the Los Angeles County Museum of Art; the Whitney Museum in New York; and the Albertina in Vienna.

LACMA and the Whitney will receive the largest share of objects as part of the donation, with 70 and 66 items, respectively, set to be accessioned. LACMA’s gift will compromise of archival materials to Lichtenstein’s three-channel video Three Landscapes (1970–71), which the museum commissioned for its famed 1971 “Art and Technology” exhibition, while the Whitney will receive several preparatory and process works, including rare sketches for Three Landscapes on letterhead for 190 Bowery, where the artist lived at the time.

Other donated works come in a variety of mediums and date from various periods throughout the artist’s career. The Colby Museum, for example, will receive paintings and watercolors from the early 1950s that show Lichtenstein’s experiments in the mediums prior to his adoption of his distinctive style of Pop art, while the Nasher will receive works from later that decade showing his adoption of Abstract Expressionism. The two institutions will jointly own a sculpture of painted scrap wood that seems indebted to Robert Rauschenberg’s Combines, made around this time.

The Albertina will receive 34 works, primarily woodcuts and lithographs made between 1948 and 1997, the year of Lichtenstein’s death.

In a statement, Dorothy Lichtenstein, the artist’s widow and the foundation’s president, said, “Given his modesty, Roy might not have wanted to fuss over this anniversary, but I’m sure he would have been thrilled to know that in his hundredth year, his work looks as fresh, radical, and relevant as ever, and is now being honored as a permanent achievement. The spirit of generosity that ran through everything Roy did is the hallmark of these initial gifts, and we want it to run through the whole centenary.”

Below, a look at some of the works that will be donated.

Some celebrities have been more public about the fact that they collect art like Leonardo DiCaprio (who previously ranked on ARTnews’s Top 200 Collectors list), Pharrell Williams, former NBA star Amar’e Stoudemire, Martha Stewart, Serena Williams, and Venus Williams, the latter of whom attended Hauser & Wirth’s elegant party at Carbone on Tuesday night. Others have hinted at having made art purchases in the past like Kim Kardashian, Kylie Jenner, and more.

Below, a look at some of the celebrities who were spotted in Miami and Miami Beach during this year’s Art Basel Miami Beach.

Finding gifts for your favorite creatives can be tricky, especially if you aren’t an expert in their craft. Luckily, we have winning gift ideas for painters, ceramicists, filmmakers, margin doodlers, design appreciators, and everyone in between. And don’t forget to check out our list of gifts under $25.00 here. (Prices and availability accurate at time of publication.)

Cecilia Alemani, the chief curator of High Line Art in New York, is at the helm of this, the 59th edition, and she has organized a central exhibition that is a feast of breathtaking proportions. Titled “The Milk of Dreams,” after a children’s book by the artist Leonora Carrington, it includes 213 artists across the show’s two traditional locations, the Central Pavilion and the Arsenale.

The vast majority of them identify as female or gender-nonconforming—a thrilling change of pace. There are young guns, revered veterans, and historical figures (famous and obscure), many of the latter tucked into five historical sections through which Alemani charts the themes of her endeavor.

Surrealist energies course through the show, and bodies are everywhere—fantastical, disfigured, augmented, mechanized, mythological, objectified, and monumental. This is art that embodies resilience, and that knows the alchemical power of stories, and dreams, and even a bit of escapism through spectacle (or sex).

A fertile-smelling mound of soil by Delcy Morelos emanates the scents of cocoa powder and tobacco, tortured but tough organs by Mire Lee secrete frightening liquids, and sugarcane grows in a seductive environment by Precious Okoyomon. A hard-won and by no means naïve optimism reigns. These are difficult times, the exhibition seems to say, but there have been difficult times before, and artists keep going.

Below, a first look through the exhibition.

The good news is that the pavilion, which is commissioned by the Institute of Contemporary Art Boston and curated by the institution’s chief curator Eva Respini, lives up to the hype. The bad news is that there are only a handful of works, though U.S. visitors have little to worry about, given that the ICA Boston is currently at work on a Leigh survey that will include an opportunity to see a version of this pavilion again.

The ideas that have gained Leigh attention—the necessity of honoring Black women, the reinterpretation of racist tropes to less oppressive ends—are still present here. So too are the oblique references to various historical happenings laced through her work.

Most will come expecting sculpture from Leigh, and there is plenty of it here—the pavilion even includes some of the biggest pieces she’s ever produced. But there is also a film she made with Madeleine Hunt-Ehrlich that offers a look at a lesser-known side of her oeuvre. All of the works are new.

And while what’s housed within the pavilion’s walls is certainly the main attraction, there is one crucial aspect that has not yet happened.

Leigh will host on events that convene Black femme thinkers of all kinds. Rashida Bumbray, director of culture and art the Open Foundations Society, is set to organize one in October at the Biennale as part of this pavilion. Its name will be “Loophole of Retreat: Venice,” a reference to the name given to the 2019 Guggenheim Museum exhibition Leigh had after she won the institution’s Hugo Boss Prize.

Below, a tour of Leigh’s U.S. Pavilion.

Below a look at what has sold on the first two days of Frieze London.

[See the 2021 edition of the Top 200 Collectors list.]

For most collectors, the centrality of art in their lives comes across most clearly in a desire to experience art in person. Over the past year, reopenings of museums and galleries rippled across the globe as pandemic concerns eased, and the collectors on this list lit out to see art of all kinds. We asked what their favorite exhibitions were, and the shows they raved about amount to a sort of global grand tour, from Anne Imhof in Paris and Yayoi Kusama in Berlin to Alice Neel in New York and Zhang Enli in Shanghai. New additions to this year’s Top 200 similarly come from disparate locales—Taiwan, Los Angeles, and Hong Kong among them—representing the truly global nature of collecting today. In the pages that follow, you’ll see some of those new collectors alongside more established figures who are adding to their holdings as the art world navigates our ever-changing times.

Sarah Douglas, Maximilíano Durón, Alex Greenberger, Tessa Solomon, and Angelica Villa contributed to this report, a version of which appears in the October/November 2021 issue of ARTnews.