April 4 – July 16, 2023

June 24 – July 16, 2023

June 3 – July 15, 2023

June 3 – July 15, 2023

Foundwork announces the open call for the 2023 Foundwork Artist Prize, its annual juried award for emerging and mid-career artists working in any media. The 2023 honoree will receive an unrestricted $10,000 grant and studio visits with each of this year’s esteemed jurors:

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Alex Gartenfeld, Artistic Director, Institute of Contemporary Art (ICA), Miami; Davida Nemeroff, Founder, Night Gallery, Los Angeles; Shinique Smith, Multidisciplinary Artist, Los Angeles; Emiliano Valdés, Chief Curator, Medellín Museum of Modern Art, Medellín; and Nicola Vassell, Founder, Nicola Vassell Gallery, New York.

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For information on how to participate, visit www.foundwork.art/artist-prize.

April 1 – July 16, 2023

June 8 – July 29, 2023

May 12 – July 15, 2023

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Carolyn Lazard’s video CRIP TIME (2018), now on view at the Museum of Modern Art, lasts only 10 minutes but feels much longer. The entire work is one unbroken take, shot by a camera pointed down at a table, upon which are laid seven pillboxes, one for each day of the week. For some viewers, that shot offers an achingly slow experience; for others, its images will appear all too familiar.

Across the video’s runtime, Lazard can be seen opening the boxes and dropping in an array of pills—circular tablets, maroon discs, gigantic blue capsules. Lazard’s hands move with deliberation, only rarely faltering as a pill slips away before it is picked back up again and dropped in its rightful place. The medications properly distributed, the video ends with Lazard shutting the cases, restoring them to their former state.

CRIP TIME’s title alludes to the concept describing the pace at which disabled people experience life. Yet those searching for grand statements about chronic illnesses will not find it in this work, which reports on daily rituals undertaken by Lazard and people like them.

“I find myself interested in the labor that facilitates our staying alive and that labor is care and care work,” they said in an email interview.

Works by Lazard in the spirit of this one have appeared in venues ranging from the Whitney Biennial to the Venice Biennale. Their latest show is now in its final week at the Institute of Contemporary Art in Philadelphia, the city where they are from.

Editor’s Note: This story originally appeared in On Balance, the ARTnews newsletter about the art market and beyond. Sign up here to receive it every Wednesday.

On a muggy and overcast late June evening, art dealer Jeffrey Loria sat at a window table overlooking home plate in Yankee Stadium’s exclusive Legends Suite Club. Loria was in a jovial mood. The Bronx Bombers were up 2-0 on the upstart Seattle Mariners. The dining room was busy and Loria, a regular at the stadium, chatted with the server, by name, and joked with the chefs at the lobster station, which he visited twice. While fine art and baseball rarely mix, they intersect in Loria, who made his name as a modern and contemporary art dealer—hobnobbing with Edward Hopper, Henry Moore, and Salvador Dalí, among others—before purchasing the Miami Marlins in 2002 and leading them to a World Series victory over the heavily favored Yankees the following year.

Despite his high-profile baseball ownership, however, Loria seems to prefer the more behind-the-scenes nature of his earlier profession. “Art is a private business,” the 82-year-old entrepreneur told ARTnews at the game, a maxim he uses often. Dressed in a blue gingham shirt, black chinos, and a dark blue hooded rain jacket, it’s unlikely that anyone at Yankee Stadium recognized him. Loria may like it that way, but he did publish an autobiography, From the Front Row: Reflections of a Major League Baseball Owner and Modern Art Dealer, this past spring.

“Great ball players have much in common with great artists,” Loria writes in the introduction. “Both put their talents on the line, and neither is easily stifled by criticism.”

From the Front Row roughly follows Loria’s career from his acceptance to Yale University, where he studied art history under the renowned Vincent Scully, through his entrée into the shadowy, furtive art trade. How did he get his start? In 1960, the family of a Yale classmate turned a considerable profit selling their Texas dairy farm, and the fellow Ivy Leaguer looked to Loria, then only 20 years old, for advice on purchasing art with the proceeds. The two went on a buying trip to New York. It was enough to convince Loria that, with a little business know-how from the Columbia Business School, he could turn his art history knowledge into profit.