ARTnews, which recently published its annual list of the world’s top 200 art collectors, is going digital. Executive editor Robin Cembalest tells us that entire issues of the magazine will now be available via Zinio, which offers formats optimized for PC, Mac, and the iPad. Meanwhile, the summer issue offers more good news for the art world. “We’re genuinely surprised about how robust the [art] market appears to be,” Christie’s CEO Edward Dolman told ARTnews. “It’s not just the top end of the market that is strong. It has much more depth than we’ve seen in recent times.” In other Art news, cartoonist Art Spiegelman is getting his dance on. The Pulitzer Prize winner recently collaborated with the choreographers and dancer-athletes of Pilobolus (betcha can’t say it just once!) on “Hapless Hooligan in ‘Still Moving,'” now running at the Joyce Theater in New York City. Spiegelman created an animated film that the dancers interact with in a work that Leigh Witchel of the New York Post describes as “a tribute to old-style cartoons like Krazy Kat. It tells the tall tale of Hapless, a nebbish wearing a tin can for a hat; his not-very-faithful girlfriend, and their misadventures at home and in the underworld,” he explains. “Basically, it’s Orpheus starring Popeye.” In the wake of the financial implosion that led to the shuttering of his fashion house, Christian Lacroix is back in the money, sorta. The designer has been appointed artistic adviser to the Monnaie de Paris (the French Mint), which in addition to producing coins and medals offers a swell selection of wearable homages to Antoine de Saint Exupéry‘s The Little Prince. According to WWD, Lacroix’s first assigment will be to design special medals for marriages and PACS (civil unions) in France, then he’d like to focus on creating new commemorative forms using precious metals.
Don’t miss Historia, the latest “type specimen booklet” from Emigre. The lushly printed booklet looks to the old west by mixing unexpected type combinations with a series of photographs of battlefield sites from the U.S.-Mexican war of 1846-1848 (from the Incident at Gavilán Peak to the Battle of La Mesa). The result is a feast for the eyes, with pages resembling antique bond certificates and California orange crate labels alongside musings on typography, topography, and photography.