Can single-owner sales save the auction season?

Plus: the comical side of Joe Brainard

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Jane Morris looks ahead to a crucial test of the art market

New York auctions in May are seen by many as a barometer of the health of the international art market. Expectations had been quietly growing after slim London sales in March returned good results and there were positive reports from Art Basel Hong Kong. But confidence plummeted in April as Trump's tariffs and the first international countermeasures came into force. While none have targeted art specifically, valuable works are shipped around the world routinely: a bidder in New York could just as likely be a Chinese entrepreneur or a European museum as a Wall Street banker. So, the Saunders and Riggio auctions – 'single-owner sales', as they are called in the trade – could be bright spots in what promises to be a shaky New York season.

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Catherine Bennett on the uneasy art of Thomas Schütte

Thomas Schütte is almost too good. The thought occurs to me in the first room of his new exhibition in Venice, where I am immediately faced with three enormous bronze sculptures of giants, surrounded by faded heraldic banners on the walls. It comes to me again while I look at his Egghead series and at the architectural models and luminous glass pieces. It stays with me as I go round the exhibition and even as I leave, with the eyes of the Mother Earth (2024) sculpture in the courtyard boring into me from behind.

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The shows to see in and around New York this month

With hundreds of exhibitions and events vying for attention in New York during Frieze and TEFAF, Apollo's editors pick out the shows not to miss: from Robert Indiana and Robert Rauschenberg to the paintings of Michael Armitage and photographs of Malick Sidibé; and from medieval manuscripts at the Morgan to scenes of everyday life at the New York Historical.

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Orlando Whitfield on the unclassifiable art of Joe Brainard

Joe Brainard was glad he wasn't Andy Warhol. In a career that overlapped with Warhol's, Brainard designed theatre sets and book covers; he drew cartoons, painted paintings and assembled collages. He is, however, probably best remembered for his memoir, I Remember (1975), a book of fiercely observed reminiscences that all begin, 'I remember…' and which Paul Auster called 'A little masterwork'. And yet, despite Brainard's association with Pop art, as well as with the New York School poets and writers, he has remained largely uncategorised and under-appreciated; such, perhaps, is the curse of the pluralist. In an interview with Little Caesar magazine in 1980 he said, 'People want to buy a Warhol or a person instead of a work. My work's never become "a Brainard".'

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Acquisitions of the month: April 2025

A triptych by Joan Mitchell, Maarten van Heemskerck's Entombment of Christ, a sought-after Poussin and a landscape by Gustave Caillebotte are among the most significant works to have entered public collections in April

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In the current issue…

Helen Stoilas visits the Storm King Art Center in upstate New York

Joni Mitchell must be smiling. As part of its $53-million expansion, opening on 7 May, Storm King Art Center in Mountainville, New York, has planted over not one but two parking lots and turned them into an outdoor art lover's paradise. The overhaul has added nearly five acres of natural space for the installation of artworks and programming, around 650 trees and 20 types of local plants, as well as a more welcoming 'outdoor lobby' for visitors and a new conservation and fabrication building, for the care and creation of artists' projects. Planning for the expansion, which started in 2017, involved thinking about more than building improvements and visitor amenities, says Nora Lawrence, the institution's recently promoted executive director. 'It's about who we are and what we're known for,' says Lawrence, who led the capital project, the first in Storm King's 65-year history, 'and what we want to bring to the table.'

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In the next issue…

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Can single-owner sales save the auction season?

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