AO Art Observed™

Antony Gormley, Transport (2011) via Kentish Gazette

Antony Gormley, famed English sculptor and creator of the well known public installations featuring manifestations of the human form “Angel of the North” (Gateshead, England) as well as “Event Horizon“(New York/London) and “One and Other” (London) recently unveiled his newest creation in an uncanny location – a crypt within Canterbury Cathedral dating back to the 12th century. The  2 meter-long piece, entitled “Transport”, hovers suspended from the vaulted ceilings in permanent limbo. Shaped in the form of the human body, the work is entirely constructed from hand-made nails re-purposed from a recent restoration. Though seemingly gruesome, Gormley is in fact attempting to explore a higher level of meaning above the physical realm. The specific form calls attention to the idea of our own mortality, as Gormley seemingly is pointing at the transient nature of the human body.

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Will Cotton and Katy Perry at the exhibition opening, via People

Will Cotton‘s new paintings at Michael Kohn Gallery depict beautiful women caught inside dreamlike, manufactured fantasies.  In a show that tethers Cotton’s natural mastery of painting to the undeniable pull of popular culture and mass consumption, Cotton seems to be struggling to walk the line between the empowerment and overpowering his subject matter.  Contextualizing the female icon within a candy-coated dream world, Cotton is no newcomer to traditional subject matter, and his large-scale paintings straddle exaltation and exploitation.

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Pierre Bonnard, Terrasse à Vernon, 1923 (est. £3–4 million, realized £7.2 million ), via Christies.com

Christie’s London hosted two back-to-back sales on Wednesday evening that brought in a combined total of £84.9 million. The forty-five lot Impressionist and Modern sale realized £61.9 million for thirty-five lots sold. The estimate of £54-80 million for that auction included a Franz Marc painting that was withdrawn from the sale (it carried an estimate of £900,000-1.4 million). Thirty-one lots at the “Art of the Surreal” sale that immediately followed realized £23 million for twenty-five lots sold. Including a withdrawn De Chirico, the Surreal sale carried a presale estimate of £19-28 million. Bidding stopped at £5.8 million for a featured Gauguin painting (est. £7-10 million) that carried the highest presale estimate of any work offered at both sales. Instead, the evening’s top lot was a fresh-to-market Bonnard painting that broke the auction record for the artist when it sold for £7.2 million against a high presale estimate of £4 million. At the press conference the auction house revealed that the seller of the painting intended to use the proceeds to purchase land in France in order to “save horses.”

The sale room at Christie’s London on Wednesday evening, via Art Observed

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Dan Colen, Me, Jesus and the Children (2001-2003)

The aftereffects of Dan Colen’s highly publicized, and certainly polarizing breakout show at Gagosian Gallery last fall still resonate.  Though some saw Colen’s show as Icarian, it certainly put the artist on the map for a broader audience.  Astrap Fearnley gallery in Oslo now presents a show that, while displaying works that are certainly less grand and ambitious than the inverted life sized skateboard ramps and toppled motorcycles of the Gagosian show, still has a nicely broad scope of the artist’s works over time.  Chewing gum, oil paint imitating bird droppings, graffiti tags, stills from Disney movies: these are what Dan Colen uses to create his art. Part of the “Bowery School” from downtown New York, Colen creates art from everyday objects and experiences. His painstaking reproductions of recognizable scenes undermine perception, as in The Cloud and the Ghost (The Birds and the Bees), where an impossible ghost rises out of a glass on the bedside table towards a hand holding out pills from a cloud. At the same time, his purposeful randomness takes away the control most expect in art. Astrup Fearnley brings together a collection of a wide range of Colen’s work in his exhibition, Peanuts.

Dan Colen, Don’t Judge a Book by Its Cover (Another Country) (2010)

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Alberto Giacometti, Grand Buste de Diego Avec Bras, executed 1957, cast 1958 (est. £3.5–5 million, bought in), via Sothebys.com

Tuesday evening’s forty-two lot sale of Impressionist and Modern Art at Sotheby’s London brought in £68.8 million (or $111 million) for thirty-two lots sold. The auction house reports being “very pleased” with the total, which is the fourth highest ever in the department at the London location. The featured lot, Picasso’s La Lecture, exceeded its presale estimate after slow, thoughtful bidding by at least seven interested parties that increased in increments of £500,000. It sold to a telephone bidder for £25.2 million against a presale estimate of £12-18 million (estimates do not include the buyers premium, prices realized do). The real surprise, though, came when both Giacometti lots which carried the second and third highest presale estimates failed to sell. Bidding for an oil on canvas portrait of the artist’s brother ended at £2.7 million and a bronze sculpture of the same subject passed at £3.2 million.

The sale room at Sotheby’s London on Tuesday, via Art Observed

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Francesco Vezzoli, Jesus Christ Superstar, Light box (2011). Photo by Sei Eun Lee, Art Observed

Francesco Vezzoli holds his first solo exhibition Sacrilegio in New York at the 21st Street Gagosian Gallery through March 12th. Vezzoli has enlarged several Madonna and Child paintings by 15th and 16th century artists Giovanni Bellini, Leonardo da Vinci, Andrea Mantegna, and Sandro Botticelli, reinterpreting them within a contemporary context by replacing the virginal faces with supermodels Claudia Schiffer, Tatjana Patitz, Cindy Crawford, Christie Brinkley, Naomi Campbell, and Kim Alexis.

Francesco Vezzoli, Crying portrait of Kim Alexis as a Renaissance Madonna with Holy Child (after Giovanni Bellini) (2010). Via Gagosian Gallery

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Mona Hatoum. Via Art Daily

Palestinian-British artist Mona Hatoum has just been announced the 2011 winner of the Joan Miró Prize. This prestigious €70,000 award is granted biennially, with the ceremony taking place at the Fundació Joan Miró auditorium in Barcelona on April 7 this year, with the artist’s following exhibition taking place there in June 2012. The jury made the decision unanimously, stating that Hatoum “has pioneered in opening up art practices to non-Western realities while showing the connections between Western high culture and transnational political and cultural events. After Hatoum, the art world has become a far more open and less self-centred arena, a process that is still in expansion and consolidation. Hatoum’s commitment to human values of concern to all cultures and societies is similar to Miró’s view of mankind after his experience of three devastating wars,” according to Art Daily.

Andre Ricard, Joan Miró Trophy (2007). Via Fundació Joan Miró

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Mona Hatoum, Current Disturbance (2010) via www.aliraqi.org

Current Disturbance is a singular installation that fills a room at the Whitechapel Gallery in London, the third in a series of four displays from the Daskalopoulos Collection in Greece. Using Marcel Duchamp’s infamous “Fountain” as a starting point, “Keeping It Real: An Exhibition in 4 Acts” seeks to explore the line between art and reality and the relationship between the artist and the tactile world.  British – Palestinian artist Mona Hatoum‘s light-filled creation was first shown in 1996 at the Capp Street Project, San Francisco and is now being shown through March as a part of Whitechapel Gallery’s initiative to open private collections for public viewing. The installation is comprised of stacked wire cages, a multiplicity of light bulbs and the amplified sound of the electric currents coursing through the enclosed system. The interminable low buzz emitting from the structure, combined with the arbitrary flickering of light bulbs conveys a certain sense of discomfort and oppression that provides an open-ended commentary much in keeping with Hatoum’s widely political body of work.

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Laurel Nakadate, Exorcism in January (2009). Via New York Times

But, is she exploitative? This has been the defining question of Laurel Nakadate’s roughly decade long, hotly discussed career. Nakadate is primarily known for her infamous early videos in which she invited herself into the homes of the single, middle-aged men that approached her in public, bringing her video camera and a scenario that tested the limits of the new relationship. In one Nakadate plays dead while the men play ‘doctor’ and in another they pretend it’s her birthday, singing and eating cake. Some venture further—one sees Nakadate and the participant play a stripping game, the artist taking off articles of clothing one by one, matched by a man in his 50s, moles covering his back. Nakadate’s work in-variously produces the same chain of reactions from critics: first, is this a safe practice? How did the artist know she would remain safe? The threat of violence is a common concern for the artist, which some argue lessens the effect of her work. After viewing one of Nakadate’s videos for a few minutes, it becomes clear the men she works with are docile. Then, the second question is almost always: is she laughing at them?

Only the Lonely, Installation view. Via P.S. 1

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Pablo Picasso, La Lecture, 1932 (est. £12–18 million), via Sothebys.com

February’s round of major art auctions begins in London next week with Impressionist & Modern sales at Sotheby’s and Christie’s.  On Tuesday evening Sotheby’s will offer forty-two lots estimated to bring between £55-79 million. Sotheby’s will also hold a 60-lot sale of Impressionist, Modern, and Contemporary works titled “Looking Closely: A Private Collection” on Thursday, February 10th that is expected to fetch up to £54 million.  All the works in that sale are from the collection of George Kostalitz, a Geneva-based collector who died last year. Christie’s forty-six lot evening sale on Wednesday is estimated to bring £54-80 million and, as was the case last year, will be immediately followed by a thirty-one lot auction of Surrealist works estimated to fetch an additional £19-28 million. While it is uncertain whether these auctions will produce a buzz-worthy sale on par with last year’s £65 million paid for Giacometti’s L’Homme Qui Marche I, both houses are offering a number of strong works led by canvases by Picasso and Gauguin.

Alberto Giacometti, Diego, 1958 (est. £3–5 million), via Sothebys.com

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Ai Weiwei So Sorry Exhibition Poster. Via Aiweiweifilm.

AI WEIWEI: NEVER SORRY, a documentary to be released in spring of 2011, portrays a close-up of the internationally renowned Chinese artist and activist Ai Weiwei.  Alison Klayman, Beijing based journalist and filmmaker, provides viewers an insight of contemporary China by focusing on the artist’s artistic process and constant public confrontations with the Chinese government.

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Agathe Snow, Arc de Triomphe (2010). Via Deutsche Guggenheim

Through All Access World, Agathe Snow invites her audience to make historical monuments their own. All Access World represents a fictional company that shrinks the Berlin Wall, the Eiffel Tower, and other such structures, down to a human scale. Its goal is to promote “a more democratic approach to monument ownership and distribution.” Snow’s gallery space at Deutsche Guggenheim is full of interactive sculptures that dissect the importance of monuments and their locations.

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Installation view of Andy Warhol: Motion Pictures at The Museum of Modern Art, 2010.

Currently on view at the MoMA is a tightly curated sampling of Warhol’s Screen Tests, shot between 1964 and 1966, as well as his films: Kiss, Sleep, Empire, Eat, and Blow Job. The show was conceived of in 2003 by MoMA curator Mary Lea Bandy and was exhibited as Andy Warhol: Screen Tests. After moving to Berlin’s KW Institute for Contemporary Art in 2004, the show traveled internationally for five years as facilitated by PS1 Director Klaus Biesenbach.  All films have been transferred to video for the installation but there is still something archival—“filmic,” as Bisenbach says—about the footage.

Andy Warhol. Screen Test: Edie Sedgwick (1965). 16mm film (black and white, silent). 4 min. at 16fps. © 2010 The Andy Warhol Museum

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Home Now. All photos via A Love Letter For You, 2010

Steve Powers, the Philadelphian street artist—a.k.a. ESPO—has released a trailer for his upcoming documentary on a 50 mural public art project, A Love Letter For You. Art Observed interviewed the artist in August, when the action took place.

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Tony Cragg at the private view of Figure out/figure in at Le Louvre in Paris, all photos by Caroline Claisse for Art Observed

Currently on view at the Louvre in Paris are a group of sculptures by leading British contemporary artist Tony Cragg. The works are displayed as a counterpoint to the retrospective of Bavarian-born Austrian sculptor Franz Xaver Messerschmidt. Cragg’s sculptures are exhibited in the Cour Marly and the Cour Puget. A featured work of the exhibition is Versus (2010), a work especially commissioned to be displayed under I.M. Pei’s pyramid. The work will be stationed there for one year.

Dealer Thaddaeus Ropac with Elbow (2008)

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Screen shot, Palace of Versailles, via Google Art Project

Over 1,000 works from 17 museums are now available to view online in high-resolution, thanks to today’s launch of Google Art Project. Founded and headed by Amit Sood, the new site combines several Google applications to provide virtual tours similar to Google Street View, with a zoom-in feature and information on each work. Most noted is the the project’s use of gigapixel resolution—7 billion pixels—rendering a virtual view magnified greater than the naked eye could achieve; at this stage the extra gigapixel technology has only been employed on one work per musuem.

Screen shot, max zoom of Hans Holbein the Younger’s The Ambassadors (1533), via Google Art Project

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George Condo, Homeless Harlequins (2004). Via New Museum

Over eighty paintings and sculptures fill two floors of the New Museum with a survey of George Condo’s work from the past thirty years, the opening drawing celebrities like Marc Jacobs and Kanye West, for whom Condo recently painted an album cover. The characters in Condo’s portraits maintain a human quality despite their oversized ears and exaggerated expressions. He attributes his ability to draw up absurd yet empathetic portraits to his mimicry of classic techniques—careful color choice, appropriate brush strokes. Through his impeccable technique, he has gained a follower: Eneas Capalbo is marking his tenth year of copying Condo’s work. His exhibit, a token of how much he admires the artist’s work, opened at the Half Gallery the same day as Condo’s.

Installation view. Via New York Times

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Richard Phillips in front of Most Wanted, via Telegraph

Richard Phillips is blowing up pop art onto two-meter canvases full of celebrity in his new exhibition Most Wanted, on now at White Cube through March 5. In a saturated, Technicolor hyperrealist style, complete with Richard Bernstein-esque neon outlines, Phillips has painted in oil ten current pop-culture icons: Chace Crawford, Kristen Stewart, Zac Efron, Miley Cyrus, Taylor Momsen, Dakota Fanning, Leonardo DiCaprio, Justin Timberlake, Taylor Swift, and Robert Pattinson.

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