Parallel

Jackson Po***ck’s Number 7A (1948) sold for $181.2 million at Christie’s New York this week, nearly tripling the artist’s previous auction record.
But the market reaction wasn’t only about price.
Po***ck didn’t just create paintings. He completely changed the physical act of painting itself, placing the canvas on the floor and developing the revolutionary “drip painting” language that would redefine post-war American art.
And Christie’s described Number 7A as one of the last major “drip paintings” still remaining in private hands, a significant detail in today’s market, where museum-level Po***cks from this period have become exceptionally scarce publicly.
Many are already held inside institutions, foundations, or major private collections unlikely to sell anytime soon.
For collectors, that changes the psychology of the acquisition completely.
The bidding stops being only about ownership and starts becoming about rarity, historical relevance, and access to a work the market may not publicly see again for decades. ***ck ***ck

“When you draw from life, you’re drawing from memory.” - David Hockney

See the exhibition at Serpentine North until 23 August 2026. Free to visit.

Film by and __giraudo.

Images and video of David Hockney in his studio by Jean-Pierre Gonçalves de Lima. © David Hockney

Hans Richter was a German artist, filmmaker and theorist who was present at the founding of Dada in Zurich in 1916 — one of the few people alive who could say they had been there at the beginning of one of modern art’s most radical reinvention.
Over the following six decades he worked across painting, film and sculpture, and remained close to virtually every major avant-garde movement of the 20th century: from Dada and Constructivism through Surrealism to Fluxus.
In this clip, filmed late in his life, Richter speaks about chance as a method. The Dadaists had understood that the conscious mind was the enemy of the new, and that relinquishing control was not weakness but discipline.
“Chance is the most important thing. It is more intelligent than we are.”

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RIP GEORG BASELITZ (1938–2026) 🕊️
“An object painted upside down is suitable for painting because it is unsuitable as an object.”

The art world loses a titan as Georg Baselitz, the provocateur who redefined German painting in the wake of WWII, has passed away at 88.

Born Hans-Georg Kern, Baselitz didn’t just paint history; he wrestled with it. From the ruins of N**i Germany to the fractured reality of the Cold War, his work was a career-long act of defiance.

In 1969, he began painting subjects upside down. It wasn’t a gimmick—it was a radical stripping away of “meaning” to force us to look at the raw power of form, surface, and pigment.

His early work was so raw it was seized for public indecency; his later work became the monumental bedrock of European Neo-Expressionism.

He fought against “beauty” and “easy meaning,” choosing instead a path of difficult, fractured honesty.

A painter who turned the world upside down so we could finally see it clearly.

Baselitz