Aimee Dawson

Aimee Dawson is a writer and editor specialising in art in the digital sphere; social media in the art world; and Middle Eastern visual culture. She was formerly an editor at The Art Newspaper and writes the monthly column Insta’gratification about how the art world and social media collide.

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Fontainebleau theatre restoration enters final phase

Focus will be on restoring the theatre’s machinery, the upper levels of the salons and the podium that houses one of France’s most important stage sets

Blockade of Qatar threatens cultural institutions

Moving works of art difficult and museum building projects may suffer

Must-see shows in Basel this week

From shit machines to abstract paintings made by one very artistic robot

Rijksmuseum explores how botany helped give birth to photography

The New Realities of 19th-century photography shows key developments in scientific and artistic endeavour

Prizesnews

Behnam Bakhtiar Award set up to promote Iranian art

Artists of Iranian descent eligible for biennial prize of €10,000 and solo exhibition in Monaco gallery

Santiago Sierra commemorates the Syrian war dead

Names of 144,000 people who have died to be read out over more than a week in four cities

Reportnews

Collaterals and extras: the Venice Biennale’s other shows

Don't miss the ambitious events outside the national pavilions and the main exhibition open across Venice

National anthems, national myths, national crises: pick of the Venice Biennale pavilions

Official pavilions in the Giardini and the Arsenale that are already talking points, plus national presentations across Venice that are part of the collateral programme

Tate survey exhibition reunites Giacometti’s Venice Biennale sculptures for first time in 60 years

This display aims to flesh out Giacometti's practice, which is not limited to his iconic bronze figures

Online stock exchange for art opens its virtual doors

London- and Prague-based online art trading platform launches full website this month

I.M. Pei’s life and work celebrated to mark architect’s centenary

Chosen by Jacqueline Kennedy to design the Kennedy Library, he went on to build landmark museums across the globe

East Anglian sculpture park set to be created on university campus

Sainsbury Centre for Visual Arts launches project with controversial placement of works by Antony Gormley

Saudi Arabian artist’s first US solo show escapes shadow of 9/11

Abdulnasser Gharem says the US show allows him more freedom than he may have in Saudi Arabia

Banksy work cleared from vacant site and restored for public display

Toronto developer’s intervention raises questions about the practice of preserving street art

Saudi Arabian artist Gharem’s first US solo show escapes shadow of 9/11

Political and poignant, Gharem's art reflects on one of the defining moments of the 21st century

The customers were always right at Wiener Werkstätte

But then they did include Gustav Klimt, his Lady in Gold and his lover

Egyptian pharaoh rescued from watery Cairo grave—but which one does it depict?

Early reports identified it as a statue of Ramses II, but now scholars think it may be a later king

Dubai attracts auction players

Sotheby's advances, Christie's consolidates

Economist Rachel Pownall to present online art market report at Tefaf Spring in New York

Her recent survey of art and antiques dealers revealed that 67% expected their online third-party sales to increase

Will American buyers show up to Tefaf Maastricht?

With two new New York editions, and US collectors curtailing international travel for economic and political reasons, some dealers are sceptical—but remain hopeful

Objects of desire: what dealers are taking to Tefaf

Visitors can expect to see an eclectic mix at Maastricht

Saudi artist Abdulnasser Gharem to have first solo US show at Lacma

Former lieutenant colonel in the Saudi Arabian army is known for his politically and socially engaged works that draw on his Muslim heritage

Trump’s travel ban denounced by curators and artists

Institutional leaders say such restrictions would have grave consequences on exhibitions, research and the future of cultural exchange