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The article reports that Gloria Vanderbilt and Anderson Cooper open up in a documentary and memoir. The Beekman Place apartment is like something out of "The Arabian Nights. Its walls are painted in shades of pink, trimmed with glossy black. There are Russian icons, swoops of fabric, Vanderbilt's idiosyncratic and lovely artwork and many portraits of Vanderbilt and her family.

The article offers information related to the efforts of the Chelsea Soccer Club players to excel their business of soccer.

The article discusses artwork from American artist Zoe Leonard. Topics include the meaning behind Leonard's ``Strange Fruit" artwork, what inspired her to write a typewritten message "I want a President" during the 1992 Presidential elections in the U.S., and information on her artwork survey held at Whitney Museum of American Art, Manhattan, till June 10, 2018.

The article offers information on the fire incident at Notre-Dame cathedral in Paris, France and its impact on the artworks, and mentions views of French officials on artworks that have been preserved.

The article focuses on collection of art works can which can pay off and that purchasing as an investment vehicle carries risk and mentions that possession of artwork can become tough to sell when economy declines.

The article focuses on the artworks of an artist Genesis Belanger at her Williamsburg studio and the growth of spruce trees during the environmental clearing in the forests of Nordmarka in Norway.

The article focuses on the work of art of the artist Virginie Dollat who precisely and soundlessly make "The Draw", a line by line and section by section to write the results of the French Open at Roland Garros.

The article discusses the discovery of the missing Banksy artwork which showed a policeman sniffing cocaine wherein the artwork was continuously vandalised on the wall of a public toilet in Shoreditch.

The article focuses on the work of British street artist Banksy which include the figures at Bonhams postwar, the SWAT van, and the figures at Bonhams postwar.

An interview with Brazilian-native and installation artist Eli Sudbrack is presented. Sudbrack highlights his inspirations for creating colorful and subversive artworks relating to issues of sexual, macroeconomic and social. He mentions his inspiration for his artists acronym resembles as a mode of relaxation and good sleep. He also believes on the economic boom of the artwork industry through adopting modern topics and themes on the artists work.

Several corrections are presented that was published in the previous issue about plans for a sale of artworks that were owned by dermatologist Fredric Brandt, about the new shows by the land artist Richard Long and about the actor Michael Fassbender.

The article offers information on the Historic New Orleans Collection's antiques forum which focuses on the taste of the American presidents in dinnerware and reviews the film "Packed in a Trunk: The Lost Art of Edith Lake Wilkinson," directed by Jane Anderson.

The article reviews the exhibition "The Thing and the Thing-in-Itself" at Chelsea in Manhattan, New York City which runs through January 24, 2015.

The article focuses on the obsession and decoration of Mary Randolph Carter, the senior executive of Ralph Lauren Corp. wherein she furnishes her apartment with both good antiques and thrift shops.

The article focuses on the public art in Johannesburg, South Africa which features the "Shadow Boxer," the "Leaping Impalas" and the "Juta Street Trees" wherein art plays an important role to make people aware that the city is being reborn.

The article offers information on the works of young woodworker Thomas Molesworth.

The article offers the author's insights on the artworks to be presented in Montpellier, France on June 22, 2013, including the "Listening Post" by Ben Rubin, "Brain Drain" by Giorgia Lupi, and the "Shakespeare Machine."

The article offers information on the Inside Out project, which allows people who fantasized of being an art piece, of photographer known as J. R.

Letters to the editor are presented in response to the article "Judging 'Gatsby' by Its Cover(s)" in the April 26, 2013 issue.

The article focuses on the sale by Keith de Lellis, a dealer in vintage photography, of his apartment in Upper East Side, New York and his move in a new apartment in Central Park New York. It states that de Lellis wanted to live within walking distance of his gallery in Madison Avenue that is why he moved in another apartment. The article adds that the new apartment was sold to him in the summer for $891,000.

The article offers information on the career of abstract artist Arpita Singh. It says that the artist began on being an abstract artist and switch on being a painter of folklore scenes showing the daily life in Bengal, India. It states that her works reflects the sectarian wars in India and the violence against women. It mentions that the artist joins in the watercolor show where in she displays his works.

Several excerpts from a conversation with Gladstone Gallery owner Barbara Gladstone are presented.

PARIS -- It is a most unusual and diverse art exhibition for Unesco, the United Nations arm dedicated to preserving and promoting the world's culture. On Wednesday, 31 rare artifacts and works of art - all of them stolen or illegally exported, mostly in or from Italy - went on display at UNESCO's Paris headquarters, in an exhibition called ''Recovered Treasures.'' ''All the objects were kidnapped at some point,'' said Inigo Martinez Moller, curator of the exhibition, in an interview. ''The point of the exhibition is to show how damaging this illicit traffic can be and how original pieces can be taken apart in violent ways.'' [ABSTRACT FROM AUTHOR]

The Tate in London has received a gift of nine artworks by major 20th-century British artists, including a David Hockney, a Lucian Freud and a Rachel Whiteread. The banker and philanthropist Ian Stoutzker and his wife, Mercedes, of Salzburg, Austria, who have been generous supporters of the arts in Britain, selected the artworks from their holdings because they fill gaps in the Tate's collection, the couple said. [ABSTRACT FROM AUTHOR]

The lending and borrowing of famous artworks is the essence of cultural exchange between museums in the United States and abroad. So routine is the practice, and so universally valued, that the American government has traditionally protected it with a law that shields a lent work from being seized by anyone with a claim to legal ownership while the art is on display here. In recent years, though, American museum directors have come to fear that this safeguard has eroded, and that foreign museums, dreading entanglement in costly ownership battles, are more hesitant to make loans. So they have asked Congress to increase the security for global art swaps. [ABSTRACT FROM AUTHOR]

NEW ROCHELLE, N.Y. EVERY two years since 1998, the Castle Gallery at the College of New Rochelle has presented the ''Westchester Biennial,'' a juried exhibition showcasing the diversity of innovative work by emerging and established artists based in Westchester County. This year, both diversity and innovation are plentiful. [ABSTRACT FROM AUTHOR]

HAMILTON, N.J. -- THE sculptor Ming Fay was directing two assistants atop a hydraulic lift as they positioned his three-foot-tall pine cone on a ledge far above his head. ''Sideways,'' he requested. Then, ''Vertical.'' Satisfied, Mr. Fay turned his attention to other pieces awaiting his attention: a giant leaf, a huge shark's tooth, an enormous littleneck clam shell. As he found a place for each in the new East Gallery at the Grounds for Sculpture, he moved around silently, examining the collective effect from every angle. [ABSTRACT FROM AUTHOR]

OF the roughly 75 items on display at the Suffolk County Historical Society in Riverhead, a menacing-looking object known as the Wickham ax has been especially fascinating to many visitors. It is the murder weapon used to kill James and Frances Wickham, 19th-century farmers in Cutchogue, according to Kathryn M. Curran, the society's director. The Wickhams were killed in 1854 by ''a disgruntled farmhand,'' she said. [ABSTRACT FROM AUTHOR]

ODDS are 3-to-1 that when Edvard Munch's ''Scream'' comes up for sale at Sotheby's on Wednesday night, it will fetch $150 million to $200 million. And there's a 3-to-2 chance that pastel will become the most expensive artwork ever sold at auction, breaking the current record of $106.5 million set two years ago at Christie's for Picasso's ''Nude, Green Leaves and Bust.'' As for who will buy ''The Scream,'' bets are 5-to-2 that it will be a Russian, 3-to-1 an Asian or European and 4-to-1 an American. That's the thinking, anyway, from Ladbrokes, the British bookmaking chain, which has been analyzing the fate of what Sotheby's is billing as the most recognizable image in art history after the ''Mona Lisa.'' Art isn't generally Ladbrokes's metier, but laying odds on just how much this work will get has even captured the attention of gamblers used to putting their money on horse races or boxing. Jessica Bridge, a spokeswoman for the company, said that the bookmakers ''apply the same math and algorithms we do for football or hockey.'' [ABSTRACT FROM AUTHOR]

Given the vast amounts of new money flooding the art market these days, it might be a surprise that only three artworks have ever broken the $100 million barrier at auction: Picasso's ''Boy With a Pipe (The Young Apprentice),'' which sold for $104.1 million in 2004; Alberto Giacometti's sculpture ''Walking Man I,'' at $104.3 million in 2010; and Picasso's ''Nude, Green Leaves and Bust,'' the record setter at $106.5 million in 2010. With Edvard Munch's ''Scream'' on sale at Sotheby's on Wednesday, could a fourth work join that elite club? (See related story, Page 1.) [ABSTRACT FROM AUTHOR]

Miguel Abreu 36 Orchard Street, near Hester Street, Lower East Side [ABSTRACT FROM AUTHOR]

One of the many pleasures of going to art galleries regularly is that in addition to the formal exhibitions up front, art dealers often display unexpected gems off to the side, in project spaces, offices or even behind the reception desk: lost bits of history and unfamiliar early works by this or that artist. Recently, in the lull before the onslaught of this week's art fairs, one of these isolated treasures provided a useful reminder about close looking. On a visit to the George Adams Gallery in Chelsea, I came across a smallish work that Mr. Adams has put on view in a side gallery: a smooth, darkish painting of a female nude asleep on an empty beach, with the nose of a small sailboat nudging in from the right side. Mr. Adams invited me to guess its maker. [ABSTRACT FROM AUTHOR]

Dozens of antiquities were stolen when two masked gunmen burst into a small museum at the birthplace of the ancient Olympics in southern Greece on Friday, the Associated Press reported. The robbers smashed display cases with hammers in what was the second major museum theft in two months in the debt-ridden country. The head of the union of guards for culture ministry museums and other sites said spending cuts had compromised security at hundreds of museums and ancient sites across Greece. The robbers took 65 artifacts and tied up the museum's only guard at the museum of the Games at Olympia, officials said. A culture ministry official said the stolen antiquities--which included small objects made of bronze and pottery, including figurines, vases and lamps--dated from the 9th to the 4th centuries B.C. Also stolen was a seal ring dating to Late Bronze Age Mycenaean times. Culture Minister Pavlos Geroulanos submitted his resignation after the morning robbery at the museum some 210 miles southwest of Athens. It was unclear whether it had been accepted by Prime Minister Lucas Papademos. In January thieves stole artworks by Picasso and Piet Mondrian from the National Gallery in one of the best-guarded areas of central Athens. [ABSTRACT FROM AUTHOR]

Metro Pictures 519 West 24th Street, Chelsea, [ABSTRACT FROM AUTHOR]

''Museums are like the family sepulchers of works of art,'' wrote Theodor Adorno, the 20th-century German philosopher, who pointed out that ''museum'' and ''mausoleum'' even sound alike. ''Spies in the House of Art: Photography, Film and Video,'' a Metropolitan Museum of Art exhibition of 17 contemporary works inspired by museums, all from the Met's collection, doesn't mention Adorno by name. But it nods toward him in an introductory wall text telling us that although artists generally want to see their work in museums, ''they may joke among themselves with gallows humor that museums are mausoleums, places where art goes to die.'' [ABSTRACT FROM AUTHOR]

PHOENIX -- Some of the American Indian artworks at the Heard Museum date back a century or more, while others are brand-new, brought here along bumpy reservation roads just last month or last year. The sculptures of Retha Walden Gambaro, both traditional and contemporary, fit somewhere in between. Now in her mid-90s, Mrs. Gambaro is nearing the end of a remarkable artistic life that began at an age when other artists have already spent many years honing their craft. At 52, with her children grown, she took up clay, stone and bronze and then worked steadily through middle and old age. [ABSTRACT FROM AUTHOR]

Last Friday, a group of about 60 writers, artists, Telegraph Hill residents and community activists gathered in a North Beach art gallery to hear seven poets wax lyrical about that oh-so-San Francisco landmark, Coit Tower -- and protest a proposed plan by city officials to open the top floor for private parties. Lincoln Bergman, a San Francisco poet, captured the fervor of the crowd with his verse in praise of the New Deal-era artwork inside the tower: [ABSTRACT FROM PUBLISHER]

TODD WATERBURY'S apartment is just perfect. No, really. It's not simply that his book collection is restricted to titles with black, gray or white bindings, and stacked, jacketless, in neat horizontal rows (and mostly reflects the work of artists who are themselves interested in stacking, grid-making, mapmaking or otherwise marking time and space in obsessive and orderly ways). Or that nearly every item here (the sofa, the chairs, Mr. Waterbury's suits) is also either black, gray or white, including the paint on the walls (gray with white trim) and most of the artwork, like a painting by Peter Wegner, Mr. Waterbury's best friend, of a simple font chart from the 1940s showing black type on a white background. [ABSTRACT FROM AUTHOR]

Art Museums and galleries are in Manhattan unless otherwise noted. Full reviews of recent art shows: nytimes.com/art. [ABSTRACT FROM PUBLISHER]

The Frame column on Friday, about viewing things in New York City as unintentional works of art, misstated how high the subway across the Manhattan Bridge is above the city in citing the view. It is 135 feet, not 300 feet. [ABSTRACT FROM AUTHOR]

''Infinite Line,'' Sarah Sze's midcareer solo show at Asia Society Museum, promised a new angle on Ms. Sze's mesmerizing, minutely detailed installations. And it delivers one, though the art -- much of it made for the occasion -- doesn't always rise to the challenge. The show makes the case that Ms. Sze, who is Chinese-American, has been profoundly influenced by many forms of Asian art. It also emphasizes her drawings, which have rarely been exhibited, and encourages you to see her three-dimensional artworks as drawings in space. [ABSTRACT FROM PUBLISHER]

LONDON -- Just as the financial markets were heading for disaster in 2008, the British artist Damien Hirst snubbed his dealers and persuaded Sotheby's here to sell 223 primarily new artworks. There were dead animals -- sharks, zebras, piglets and even a calf -- floating in giant glass tanks of formaldehyde; cabinets filled with diamonds; and cigarette butts. And paintings galore: spin paintings, spot paintings, paintings with butterflies pinned under glass. More than 21,000 people flocked to Sotheby's to see the preview exhibition. The two-day sale in September, conducted against the backdrop of the unfolding world financial crisis, brought in a total of $200.7 million. [ABSTRACT FROM PUBLISHER]

PARIS -- When the Musee d'Orsay unveils its makeover this week, visitors will get a fresh view of the world's richest trove of 19th-century artworks by Impressionist masters who essentially financed the Paris museum's $28 million face-lift. Two touring groups of masterworks by Degas, Monet and Renoir and Whistler's portrait of his mother roamed the world for almost two years on a lucrative journey to museums from San Francisco to Madrid, reaping almost $15 million for the remodeling. [ABSTRACT FROM PUBLISHER]

Until the mid-20th century, the world's greatest artworks were cataloged in shoeboxes. Then along came the computer, and for the first time, museums had a more efficient way to organize their holdings than the boxfuls of dog-eared index cards that had served them for generations. But they kept on using the shoeboxes. [ABSTRACT FROM PUBLISHER]

More than 100 artworks that were held in buildings damaged in July's terrorist attack in Oslo are missing, including more than 40 that were on loan from Norway's National Museum of Art, The Art Newspaper reported on Wednesday. In addition to National Museum-owned works by artists including Christian Krohg, Anne Katrine Dolven and Jakob Weidemann, other missing art is owned by government ministries or on loan from Public Art Norway, the government agency for art in public spaces. [ABSTRACT FROM AUTHOR]

FOR decades now auction houses have sold challenging works of art. There have been arcane, ancient sculptures, canvases by little-known artists and bizarre objects like glass cabinets filled with medical supplies or cigarette butts. But at Sotheby's, Christie's and Phillips de Pury, the art for sale at the big auctions this season, beginning Tuesday, requires little thought. Even those without much knowledge of art history will recognize Andy Warhol's haunting self-portrait with his spiky fright wig or Jeff Koons's lovable sculpture of a Pink Panther being hugged by a buxom blonde or the classic pink-and-red abstract canvas that shrieks Mark Rothko. These instantly recognizable images spell ''wall power,'' a well-worn art-world phrase that describes an artwork that telegraphs its owner's wealth. Often these trophy purchases are flaunted in the entrance of a McMansion or over a living-room fireplace or in an office-building lobby. Sometimes, however, prized art will disappear into private collections where their superrich owners show them off to only their superrich friends. [ABSTRACT FROM AUTHOR]