The film director Darren Aronofsky was honored last night as part of the New Museum’s annual Visionaries series, which presents artists from different mediums and interests in conversation. Joined by the writer Lynne Tillman, the Brooklyn-born Aronofsky was engaging and erudite, speaking about his entire body of work in front of a small, intimate audience. Tillman, in opening up the conversation, literally started at the beginning, with the opening passages from the Book of Genesis (alluding to the numerous biblical references in Aronofsky’s work) and from there explored his creative process, from his earliest inspirations in drawing and sculpture, the changing nature of his hometown of Brooklyn, and how all films are really about artists.

— Drawing class inspiration:“When I was a student, at a certain point I realized I wanted to go into visual arts, or as my parents called it, ‘arts and crafts’ [laughs]. When you’re paying for Harvard it’s a fair critique. But I started to go down that path and I had taken a drawing class sophomore year which was fantastic, it was a great drawing teacher named Will Ryman, and he changed the whole perception of how to look at the three-dimensional world and try to represent that two-dimensionally. It was incredibly exciting. The next year, there was a sculpture class I was interested in and there was a filmmaking class. I didn’t get into sculpture but I got into the film class. So that kind of chose my path.”

— On first meeting the writer Hubert Selby Jr., author of “Requiem for a Dream”:“His writing is so violent and so upsetting. When I first met him I actually cold-called him. I was a film student in Los Angeles, and the school said, ‘shoot some of your favorite authors’ short stories and turn them into short films.’ I called the WGA, got his number, and called him up, and that’s the type of guy he was. He said, ‘Come on over!’ He lived in Los Angeles at the time, and I was expecting a huge, massive guy with an ax [laughs]. He was so skinny; he was a beanpole wearing a pair of tighty-whities, that’s it. We hung out, and he handed me a poem he had just translated by Sun Tzu, and it just made no sense. I got out of there really quickly.”

— Film school vs. making a film:“I’m teaching now at NYU, and I was like, ‘How much do they charge you a year?’ It’s $57,000 a year to go to NYU grad school, which is how much ‘Pi’ cost. I was like, something’s weird about that.”

— Striving for perfection:“In filmmaking, the height of the art form is to have every element of the story and of the production pointing to the same idea and the same thematics. People like Kurosawa or Fellini are able to do that, or get really damn close, where every emotional choice is saying the same thematics that the entire film is.”

— Early days in Coney Island:“Growing up in Brooklyn back when Brooklyn was Brooklyn, and not the creature that it’s become now, there were two types of people — people who were going to stay in Brooklyn for the rest of their lives and people who wanted to get to the big city. I always wanted to get to the big city.”

— The influence of visual art:“When you have a project it helps a lot to see everything, how every artist has represented it. For ‘Noah,’ the production designer and me looked at every single representation of the arc in religious art, as well as any Old Testament art, from masters 2,000 years ago to Robert Crumb’s ‘Genesis’ book. It was great research. When we did ‘Black Swan’ we looked at all the Degas at the Met. Anything that’s connected to any of the films we’re checking out, any kind of images can help inspire and start a conversation. That’s what it’s about, just getting a spark of something that leads to something inside you that connects back to the story at hand.”

“LikeNewLandscapes” at Pablo’s Birthday, through October 19 (57 Orchard Street)
Organized by the curatorial group Front Company, this survey of digital work has some interesting thematic overlaps with the excellent “New Romantics” show at Eyebeam earlier this year. The highlights here use technology to birth whole new environments, like Takeshi Murata’s “Nightmove,” 2012, a kailedoscopic, frenetic nightmare in the artist’s studio. (Sculptures wooze and blur; a chair and a ladder dance and cackle; at times the image shreds itself into fast-moving confetti.) Tabor Robak’s “20XX” is close to perfect: A virtual “camera” floats through an ad-laden cityscape, something like a mad hybrid of Tokyo and Times Square. Rain streaks across the lens, and the whole scene is infused with a purple chemical glow.

Andrea Longacre-White at Nicelle Beauchene Gallery, through October 5 (327 Broome Street)

This exhibition is composed of a series of unframed, often mangled archival inkjet prints hung on the walls, as well as two glossy rectangles painted on the floor. Pick up the press release before you fully delve in, since it’s actually helpful as a weird, poetic guide to what’s on view (“the ipad scanned / restraint tape on the print / used restraint tape / hair, skin.…10 layers of ink the paper can’t absorb”). Longacre-White oscillates between the digital and the analog, creating a punk-inflected photographic minimalism that also has a painterly edge.

Ian Tweedy at UNTITLED, through October 19 (30 Orchard Street)

O.K., so Tweedy’s new show is supposedly about Joseph Beuys’s 1944 plane crash, as well as the more recent downing of the Malaysian Air flight. It’s also, apparently, about the artist “constructing his own mythology of reinvention” (Tweedy’s slightly enigmatic bio notes that he was “born in 1982 at Flugplatz, Hahn Air Base in Germany.”). Point is, you don’t need to know much of that to appreciate the doomed-aviation-themed works on view here: Large-scale paintings that frame elusive imagery (engine parts, uniformed men seen from behind) within lush, abstract fields; and a series of amazingly detailed drawings done with graphite on the inside of metal drawers.

Amy Feldman at Blackston, through October 26 (29C Ludlow Street)

So pared down as to be calligraphic, Feldman’s huge paintings have something in common with Joyce Pensato’s, though there’s even less recognizable imagery in these happy swirls and blobs. Working exclusively with a shade of grey against a glossy white background, Feldman imagines spontaneous icons, with drips and drabs of paint suggesting a certain haste and speed. “Spirit Merit,” 2014, is a stand-out, and coincidentally the work that has the most figurative suggestions (three huddled figures trudging against a mountain backdrop? A ghostly bat stretching its wobbly wings?). The back room has two series of smaller canvases, an exercise in serial repetition that finds Feldman working out the kinks and nuances of simple compositions.

Sophie Crumb and Aline Kominsky-Crumb at DCKT, through October 19 (21 Orchard Street)

It’s a family affair! Sophie Crumb (daughter of Robert) and Aline (Robert’s wife and collaborator) showcase illustrative watercolors and drawings that, in their distinct ways, are about keeping up appearances. Sophie’s watercolors veer from the erotic to the romantic — a young girl gazing out a window to the sea, a nude swimmer under water — and the abrasive (“Teeth,” a way-too-close portrait of a pretty girl who becomes almost vampiric). Aline’s colored pencil drawings are bedazzled with glitter and costume jewelry, and are the result of a real-life journey, according to press materials: The artist “underwent a strip-mall beauty parlor transformation at Hair Magic in North Miami Beach, Florida” and then drew portions of that experience. The lovably kitsch results have about as much low-grade glamour and fried hair as you might imagine.

ALSO WORTH SEEING: Jonathan Monk’s winking Conceptualism at Casey Kaplan, through October 18; and an off-beat, barbershop-themed group show at Marlborough Broome— which includes revamped Donald Judd chairs, Tony Matelli mirrors, Leigh Ledare’s photography, and a hilarious colored-pencil-and-baseball installation by Eric Yahnker — through October 12.

— New Head for Queens Museum: Laura Raicovich is set to take over as the Queens Museum’s new president and executive director. Raicovich, who is currently director of global initiatives at Creative Time, replaces Tom Finkelpearl, who was recruited by Mayor de Blasio to be New York City’s cultural affairs commissioner. She will start January 1. [NYT]

— “Racist” Banksy Removed: The local government of British town Clacton-on-Sea has ordered the removal of a recently installed Banksy mural it deemed to contain “offensive and racist remarks.” The work depicts five grey pigeons holding signs that say “go back to Africa,” “migrants not welcome,” and “keep off our worms,” while a colorful swallow stands alone. “We would obviously welcome an appropriate Banksy original on any of our seafronts and would be delighted if he returned in the future,” said Nigel Brown, communications manager for Tendring district council. [The Guardian]

— Palestine Biennial Still On: Despite ongoing turmoil, the second edition of the biennial-like Qalandiya International will take place across Palestine, with more than 100 artists in nine cultural institutions. “We aim to transcend the restrictions on movement, political stagnation, and the consequent impacts on our cultural life and practices,” said Tina Sherwell, director of academic programs at the International Academy of Art Palestine. Meanwhile, Gaza residents are turning war debris into art. [TAN, Times of Israel]

— French Museums Up the Ante: Several French cultural institutions — including the Louvre, Versailles, and the Musée d’Orsay — will be open seven days a week, starting sometime between 2015 and 2017. Meanwhile, the Musée Picasso will issue its largest-ever loan of sculptures to MoMA in September 2015. [NYT, TAN]

— SculptureCenter Gets Renovated: “There are plenty of white boxes in New York, and we don’t want to be another one,” said Mary Ceruti, executive director and chief curator at the institution. “People come here ready to see art because they’ve made the effort, and that’s a good thing. Would I like more people to make that effort? Yes, and that’s part of why we did this.” [NYT]

— MoMA’s Fresh Curatorial Take: A new generation of curators has been challenged by director Glenn D. Lowry to “try to tell a fuller story” than MoMA has in the past. [ARTnews]

— From Jeff Koons’s talk with Whitney director Adam D. Weinberg: “I like the feelings. I mean, I really like the feelings.” [ARTnews]

— Forger Mark Landis’s Mona Lisa is on view at Think Coffee in Greenwich Village. [DNAinfo]

— In case you weren’t really sure how to do it, this bizarre “How to View Art” piece has some very strict guidelines: “Rules for the gift shop: Never buy anything that isn’t a book; never ‘save time’ for the gift shop because this will make you think about time; never take children, because they will associate art with commerce.” [Washington Post]

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Check our blog IN THE AIR for breaking news throughout the day.

Biopics, in the most traditional sense of the term, are typically the least effective way to cinematically capture a subject. Most egregiously, they attempt to squeeze an entire, complicated life into the small frame of a film, which ultimately leads to narrative clichés. How many times have you watched an artist portrayed on screen have an isolated creative epiphany, neatly connecting the dots from one famous work to another. Biopics seem to forget that lives are messy, and repetitive, and often incoherent. The trajectory is not always clear, and for a film to accurately portray a creative life it must take that into account within its formal and narrative structure.

“Saint Laurent,” Bertrand Bonello’s film about the fashion designer Yves Saint Laurent, which screened earlier this week at the New York Film Festival, works exactly for the reasons stated above. Mostly focusing on the decade between 1967 and 1977, a rich historical period marked by Saint Laurent’s most excessive designs and breathless atelier-to-disco lifestyle, the film is not bound to the rigidness of fact. “The point of research is to get ride of it,” the director said during a post-screening press conference, adding that he wanted his portrait of Saint Laurent to have a “point-of-view.” The film adheres to that dictum through its concentration on mood and process.

No artist lives in a bubble, and some of the best moments in Bonello’s film are the scenes of creation. Yves Saint Laurent (Gaspard Ulliel) has a team around him, including his close confidents Betty Catroux (Aymeline Valade) and Loulou de la Falaise (Léa Seydoux), his life-and-business partner Pierre Bergé (Jérémie Renier), and a barrage of seamstresses who help construct his elaborate designs. We see not just the moment of creation but the work that goes into manufacturing beauty.

The clothes, also, do not exist outside of time. They are the product of a unique period, and so much of “Saint Laurent” is about evoking the imbalanced ambience of that decade, sandwiched between the political turmoil of the 1960s and the go-go money-hungry greed of the 1980s. The clothes mirror the freedom in the air, beautifully represented by Bonello in a split-screen sequence that features newsreel footage smashed against models showcasing the designer’s clothes while descending down a long stairway. But like Bonello’s previous, Belle Epoque-set film “House of Pleasures,” there is a creeping feeling of a world fading away, and as the narrative progresses the portrait of Saint Laurent dissolves into something not unlike Proustian memory (the writer is a common reference point throughout the film), where the past unconsciously crashes with the present. 

Visually, the film revels in the luxuriousness of Saint Laurent’s world, with a deeply rich color scheme (like the dark reds that adorn his home, which signal pleasure and danger) and subjective camera work that veers from reality to fantasy, especially in two club scenes: the first, our introduction to Catroux, focuses on Saint Laurent watching her on the dance floor, the camera slowly framing her from below as the sparkling rainbow lights flicker above; the second, our introduction to Saint Laurent’s brief lover Jacques de Bascher (Louis Garrel), a series of glances back and forth between the two captured by a camera that tracks quickly through the crowd.

The sense of finality is cemented late in the film with a jump to 1989, when Saint Laurent (now played by the veteran actor Helmut Berger) is living alone, a ghost surveying his own past. His home, once lavishly decorated, is now like a crypt, and the lyrics to “The Night” by Frankie Valli and the Four Seasons, which soundtracked an earlier decadent part of the film, carries more weight. “As the night begins to turn your head around, you know you’re gonna lose more than you found.” 

“With play and curiosity, we can test boundaries and decipher our space,” teases the press release for “Puddle, Pothole, Portal,” on view at the SculptureCenter in Long Island City through January 5. Space — and its boundaries, confusions, dead-ends, and illusions — is a fitting way to think about this show, which inaugurates the institution’s renovation and expansion courtesy of Andrew Berman Architects. Regular visitors to SculptureCenter will find themselves pleasantly disoriented by those changes — new entrance, new courtyard, an elevator! — and that’s before engaging with the works on view, many of which further screw with one’s perception of the strikingly cavernous venue and its chic-but-still-unnerving subterranean rooms. 

Humor and manically surreal energy rule the day in this exhibition — no surprise, given that co-curators Ruba Katrib and artist Camille Henrot cite both Saul Steinberg and films like “Who Framed Roger Rabbit?” as its thematic touchstones. The late Steinberg himself gets a small side room, with a selection of mixed-media drawings mostly from the ’70s. “Bank Street (Three Banks),” 1975, sets the prevailing tone for the show as a whole: Quasi-whimsical, but undercut with a dose of poison. (Steinberg’s fantasia depicts what might be a shell-shocked vet who has just machine-gunned a bevy of adorable bunnies on a small town’s main street.) Other works in the show likewise coax a bit of laughter before reminding us that, you know, we’re all going to die some day — like Danny McDonald’s “A Grim Forecast,” which places a dopey hound dog figurine atop an upside down styrofoam skull; or Jordan Wolfson’s inkjet prints, which pair illustrations of a buck-toothed protagonist with Spam-worthy verbal diarrhea (“Newbody Racist American Spit Your Teeth Here Kiss Here.”) In the basement space, the lighthearted and the ominous square off against each other, with Olga Balema’s colorful, taffy-like constructions contrasted against a sculpture by Abigail DeVille: a rickety, rattling conveyor belt bearing bedraggled cargo.

While there’s plenty to explore here, “Puddle, Pothole, Portal” does have two clear stand-outs, both represented with several pieces throughout the space. Jamian Juliano-Villani has a handful of large paintings, including “Messy View,” 2013, which features a charming self-portrait, a few military dudes in a firing line, a bunch of headless, nude mannequins, and a perplexed guy smoking a pipe and wearing what might be 3-D glasses. (Another painting depicts a pair of pants that have committed suicide-by-hanging.) Astoundingly prolific, Juliano-Villani’s process seems to involve jamming as many disparate visual ideas into a single canvas as possible, creating paintings that are illogical, hilarious, and technically astute. The show’s other star is Win McCarthy, whose resin puddles, fluid glass forms, and mysterious troughs are in several locations upstairs; one mostly hidden sculpture — a faucet spurting a stream of glass water — is hung some 20 feet up on the wall. The work has much in common with Alice Channer or the drooping, melting qualities of young artist Alisa Baremboym (included in the 2012 Katrib-curated exhibition “A Disagreeable Object”).

Elsewhere in the show you’ll find motorized sculptures based on emoticons; rough-hewn, blocky sheep that resemble scrappy versions of Les Lalanne’s fluffy menagerie; a puppet; and a glass door that doesn’t work. Think you’ve got it figured out? Consult Henrot’s “visual essay” in the smartly designed exhibition catalog and you’ll find yourself pleasantly resubmerged in a veritable puddle of weird, where Felix the Cat shares space with Picasso and Baining fire dancers. Like the exhibition, it’s a fun place to get lost.

In a rare double-whammy of art market fortune, Sotheby’s will be offering two 20th-century masterworks of breathtaking sculpture at its November 4 evening sale of Impressionist and Modern art.

The earlier offering, Amedeo Modigliani’s iconic, 28 ¾ inch high carved stone “Tete” from 1911-12, first exhibited at the Salon d’Automne, 10e Exposition at the Grand Palais in Paris in 1912, carries an unpublished estimate in excess of $45 million. The sculpture was first acquired directly from the artist by the British sculptor Sir Augustus John in 1912 and has changed hands only twice since then, residing in UK and Belgian private collections. It has not been on public view since a 1955 Modigliani exhibition at the Kunsthalle in Bern, Switzerland. 

Another variant of the ancient looking caryatid or high priestess, “Tete” from circa 1910-12 and slightly smaller at 25.2 inches, sold at Christie’s Paris in June 2010 for a then record €43,185,000/$52,328,328. The piece carried modest pre-sale expectations of €4-6 million and the price realized stunned the market.

Other carved versions of the 25 elongated female heads that were conceived and created by the artist as a decorative ensemble reside at the Metropolitan Museum of Art as well as the National Gallery of Art in Washington and the Tate Gallery in London.

This example is considered to be the finest one remaining in private hands. Modigliani sculptures at auction rarely appear.

A smaller example from the series, the 9.3 inch high “Tete,” sold at Sotheby’s London in February 2007 for £1,476,000/$2.9 million.

Though known far more for his erotically charged female nudes and formal portraits of Bohemian friends and lovers, Modigliani’s carved heads retain an almost mystical allure, as if they were discovered in some archaeological dig. The sculptures were created at the artist’s open-air studio in Montparnasse and were done at night under the illumination of candlelight.

The auction record for the artist was set in November 2010 at Sotheby’s New York when “Nu Assis Sur un divan (La Belle romaine)” from 1917 sold for $68,962,496.

Another female deity is on offer in the painted bronze guise of Alberto Giacometti’s “Chariot” from 1950, a Post-War masterpiece at 57 inches high and depicting an ultra-slim standing woman astride an open platform set over huge chariot wheels and poised on carved wood blocks.

The illusion of speed is frozen in Giacometti’s extraordinary space, in part by the restraining blocks and the permanence of the bronze casting.

Giacometti told his New York dealer, Pierre Matisse, that the sculpture came about in a dreamy epiphany: “In 1947 I saw the sculpture before me as if already done and in 1950 it was impossible not to realize it, although it was already situated for me in the past.”

It is understood that six lifetime versions of the burnished gold cast exist, with only two left in private hands. This example is the sole painted version outside the museum world. The other regally resides at the Museum of Modern Art.

The anonymous seller acquired the Surrealist-inspired work in 1973 from the now shuttered though still storied Beyeler Gallery in Basel. It has never been on public exhibit, according to Sotheby’s.

“Chariot” also hides behind an unpublished estimate understood to be in the region of $100 million.

“Given the $104.3 million achieved at Sotheby’s by Giacometti’s ‘Homme qui marche I’ in 2010,” said Simon Shaw, co-head worldwide of Sotheby’s Impressionist & Modern Art department, “we believe that ‘Chariot’ could sell for in excess of $100 million.”

Shaw was referring to that February sale in London when London-based billionaire Lily Safra acquired the work, setting a record at the time for any work of art sold at auction. It is one of six works and the only sculpture that has sold for over $100 million at auction. It remains the highest price for any sculpture at auction.

These tremendous bookends of Modern and Post-War sculpture have never before appeared at auction, a rarity itself. 

— The Whitney Prepares for a Koons-athon: The now-infamous Jeff Koons retrospective at the Whitney Museum draws to a close in just a few weeks, but with attendance numbers still unflagging despite extended hours on Mondays and Fridays, the museum has decided to offer one last major push: a 36-hour stint on the exhibition’s final days, from 11 am on October 18 to 11 pm on October 19. Because, as ARTnews’s M.H. Miller points out, “life as we know it collapses around us” as this exhibition prepares its end. Meanwhile, Christie’s is ready to assume the Koonsian mantle by displaying his “Balloon Monkey (Orange)” at its 20 Rockefeller Plaza entrance for six weeks, before its (likely record-fetching) sale on November 12. [NYT, ARTnews, ArtDaily]

— The Prado Keeps its Bosch: Despite news in August that José Rodríguez-Spiteri Palazuelo, president of Spain’s National Heritage office, wanted four of the Prado’s prominent Renaissance paintings for the forthcoming Royal Collections museum, José Ignacio Wert, Spain’s minister of education, culture, and sport, has confirmed that the museum will keep all of its holdings. Among the paintings were Tintoretto’s “The Foot Washing” and Hieronymus Bosch’s “The Garden of Earthly Delights.” Prime Minister Mariano Rajoy also issued a statement of support, via a spokesperson, who noted that legal papers are being drawn to make the Prado’s ownership official. [TAN]

— Deitch Talks NYC Plans: The Times has a Jeffrey Deitch profile that reveals, among other things, that he has only been psychoanalyzed once, he plans to organize “super-exciting shows” in the city, and one of those will be a show of ballet costumes and set designs at Mana Contemporary in Jersey. [NYT]

— Skate’s Releases Its Art Fairs Report: “Visitor numbers for fairs are significantly lower than those for nonmarket (and longer-lasting) art extravaganzas like biennials and are incomparable with figures for major museums.” [ARTnews]

— Contemporary Art in the Desert: Turns out Qataris might not be the biggest fans of Damien Hirst’s 14 giant bronze fetus sculptures. [Bloomberg]

— “New New Berlin and N(ev)ada Art Fair”: Here’s a report from William Powhida and Jade Townsend’s satirical art fair project in Galveston, Texas. [Hyperallergic]

— Watch a clip of Oxygen’s new show, “Street Art Throwdown,” which turns artful graffiti into a competition. [US Magazine]

— A new show at the Charles M. Schulz Museum examines how the Peanuts comics dealt with such weighty issues as feminism and nuclear war. [Time]

— In rock ’n’ roll news, tongue-in-cheek punk fanzine “Henry & Glenn Forever & Ever” — which imagines a romance between the lead singers of Black Flag and The Misfits — gets a gallery show, while Pink Floyd’s controversial “comeback” album chooses a teenager for its cover artist. [LAist, Ultimate Classic Rock]

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Check our blog IN THE AIR for breaking news throughout the day.

Here we are, smack dab in the middle of the New York Film Festival and entering its second, and even better, week. Have you seen anything great? No worries, there’s still so much more, a never-ending barrage of films from all over the world. We have documentaries and fiction films, and many that blur the boundaries. Some of the works this week feature historical figures you may know well, and others focus on outsiders who you should get acquainted with. We have Shakespeare and Daft Punk, motorcycles and classical art, and drama and comedy.

Again, as with last week, a few guidelines are in order. The bigger films are not included — which specifically means that Paul Thomas Anderson’s “Inherent Vice” is not mentioned here, most importantly because I’ve not seen it yet, but also because the film will be explored at greater length in a review to be published next week. The focus here is on some of the smaller films and lesser-known directors you might have missed on the schedule.

Click on the slideshow to see our complete guide to week two at the New York Film Festival.  

— Amal Alamuddin Tackles Elgin Marbles: Attorney Amal Alamuddin, who you may have heard just married George Clooney, has been recruited to advise Greece on getting the Elgin Marbles back from Britain. She is set to travel to Greece to meet with Prime Minister Antonis Samaras and Culture Minister Konstantinos Tasoulas, along with other government officials. No word if her husband, who stumped for the return of the marbles earlier this year, will join. [The Guardian]

— Frick Remodel in Jeopardy: There are already plenty of high profile oppositionists to the Frick Collection’s expansion plans, but yesterday New York’s Historic Districts Council officially came out against it — a decision that can influence the city’s final ruling on the matter. In a statement, the group said that the expansion “will destroy the design intent of Thomas Hastings’ residential composition and John Russell Pope’s graceful museum transformation.” It also warned the Frick against “giving in to the mania for mindless growth that has afflicted so many other New York institutions.” [NYT]

— Gago Plans Walter De Maria Show: Today in Carol Vogel’s column, she reveals that this November, Gagosian will present the very first show from Walter De Maria’s estate, an entity Gagosian is also working to set up. “He kept pretty good records, and we’re planning to do an inclusive monograph,” Larry Gagosian said. “Walter was never interested in money. That wasn’t a priority.” [NYT]

— French Feminists Rally Against Kiss Sculpture: French group Osez le Féminisme wants Seward Johnson’s sculpture of the figures in Alfred Eisenstaedt’s famous Times Square kiss photograph removed from a memorial site in Normandy. And in other art news from France, it looks like the Paris art scene is heating up. [NYT, WSJ]

— East of Borneo: Carolina A. Miranda has an interesting piece about the website East of Borneo, where all of the art history dug up by “Pacific Standard Time” now lives online. [LAT]

— Here are some more details about LA’s big Hello Kitty retrospective before it opens tomorrow. [LAT]

— Indonesia is applying to have its celebrity cave paintings added to UNESCO’s World Heritage List. [AFP]

— British actor Timothy Spall, who plays JMW Turner in the new biopic, took his painting teacher to the premier of the film. [Telegraph]

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Check our blog IN THE AIR for breaking news throughout the day.