The New York State Supreme Court has ruled in favor of the The Metropolitan Museum of Art in the controversial case over the museum’s “Pay What You Want” pricing scheme, dismissing a substantial part of the case.  Judge Shirley Werner Kornreich ruled on the decision, stating that the museum’s income is used to help fund education programs and other efforts.  “For those without means, or those who do not wish to express their gratitude financially, a de minimis contribution of a penny is accepted,” the judge wrote. “Admission to the Met is de facto free for all.”  Even with that ruling, the court will review the portion of the case stating that the museum misrepresents itself, leading visitors to believe that they must pay the full $25 price on museum signage. (more…)

Marina Abramović’s opera, The Life and Death of Marina Abramović, is set to open this December 12th in The Park Armory’s spacious Drill Hall.  Staged by Robert Wilson, the show includes performances by Abramović, playing herself and her mother, and also features performances by Willem Dafoe and Antony.  The show has already garnered an overwhelmingly positive critical response at each of its previous performances, and marks the first time the work will be performed int he US. (more…)

Concluding his October residency on the streets of New York, street artist Banksy has unveiled his last work, the donation of a painted canvas to the Housing Works thrift store in Gramercy Park.  Titled The Banality of the Banality of Evil, the canvas features a man in a Nazi uniform viewing a classically rendered mountain vista, and is being auctioned off to benefit the Housing Works organization.  So far, bids have already reached over $200,000.  “Most New Yorkers have been watching pretty closely what he’s been doing for the past 30 days,” said Housing Works director of PR Rebecca Edmondson. “There has been controversy. But it’s great to end on such a high note by giving back to the New York community.” (more…)

Sotheby’s director Philip Hook has unveiled a new guide, welcoming the uninitiated into the often “meaningless” terminology embraced by the institutional art world.  Exploring the meaning of overused words like “important” (“historically significant but hard to sell”), Breakfast at Sotheby’s: An A-Z of the Art World offers a look into the language of the commercial art world.  “They are words the meaning of which has become twisted by the desire to energize banality, to elevate mediocrity, or simply to make a sale.” (more…)

Balthus, Thérése (1938), Courtesy of the Metropolitan Museum of Art

Currently on view through January 12, 2014 at the Metropolitan Museum of Art is the controversially titled show, Balthus: Cats and Girls – Paintings and Provocations.  Amassing 35 paintings and 40 never before displayed ink drawings, this thematic exhibition, curated by Sabine Rewald, flirts with the notorious ambiguity surrounding Balthus’ treatment of young girls, offering neither an overt accusation of erotic context, nor securing his innocence. (more…)

Artist Damien Hirst has contributed the new cover image for GQ Magazine, photographing pop star Rihanna in classic likeness of Medusa.  The collaboration was done for the magazine’s 25th anniversary issue. (more…)

A broad selection of works from the late collector Jan Krugier’s enormous art collection is set to go to the auction block on Nov. 4th and 5th at Christie’s in New York.  Consisting of 156 works, the selection of works includes an incredible 29 Picassos, as well as works from Henri Matisse, Alberto Giacometti, Joan Miró, Jean-Michel Basquiat, Georgia O’Keeffe and Robert Rauschenberg, with a total estimated value of $170 million.  “Krugier saw himself as but a temporary possessor of these works. I think he’d rather like it.”  Said Christie’s deputy chair Conor Jordan. (more…)

The New York Times reports on the state of the auction market in mainland China, where rampant forgeries and a rapidly expanding marketplace have made the bidding experience a fraught procedure.  With a market that has grown to annual revenues of $8.9 billion over the past years, regulators are struggling to keep up.  “The market is in a very dubious stage,” said Alexander Zacke, an expert in Asian art who and head of online house Auctionata. “No one will take results in mainland China very seriously.” (more…)

Robert Indiana, The American Gas Works (1962), Courtesy of The Whitney Museum of American Art

Robert Indiana‘s lasting fame in the canon of American post-war modernism will forever belong to his iconic LOVE sculpture—that immediately recognizable logo of stacked letters animated by it’s slanting O, which graces merchandise as ubiquitous as the US postage stamp. This beautifully simple graphic, originally conceived as a design for a Christmas Card for MoMA, has in fact so eclipsed Indiana’s expansive career that his name has become synonymous with its text. And yet this fall’s large retrospective at the Whitney, Robert Indiana: Beyond LOVE, plumbs the depths of his oeuvre to present an artist far more complex than those four well-worn letters. Curated by Barbara Haskell, the exhibit presents paintings and sculptures by the pop artist that highlight Indiana’s sociopolitical conscience as boldly as their hard-edged execution, and traces his developing formal vocabulary of language and abstraction, from biting political commentary, to personal biography, to literary allusion, Indian’s broad selection of works on view dispel any notion of the artist as one-hit-wonder.  This exhibit demonstrates the thematic expanse Indiana pursues “beyond Love”, including American identity, the American Dream, and the politics of race and sexuality. Rife with literary references to American authors and indebted to artistic predecessors such as Charles Demuth, the textual program is often as radical as his post-painterly abstraction.

Robert Indiana, LOVE (1961), Courtesy of The Whitney Museum of American Art (more…)

Eva et Adèle – All Photos by Caroline Claisse exclusively for Art Observed

The doors of the Paris-based FIAC fair closed today, concluding what was called a “smooth” edition of the fair by several observers, notching considerable sales, and an increase in the overall attendance of the fair, reaching a total count of 73,550 visitors over the course of the four day event. “This is a great success. Fiac has spent 40 years in style,” Jennifer Flay, fair artistic director, told Le Point. “Paris has regained strength in terms of the art market,” she said.

Hiroshi Sugimoto, Pace Gallery (more…)

Raymond Pettibon, “To Wit,” (Installation View), via David Zwirner

Exploring the spectrum of American “high” and “low” culture, David Zwirner Gallery is currently exhibiting a display of works from Raymond Pettibon entitled To Wit, which will continue through today, October 26th.

(more…)

Bjarne Melgaard, Ignorant Transparencies (Installation View), via Gavin Brown

The experience of Bjarne Melgaard’s current show at Gavin Brown’s Enterprise is a dizzying affair, gradually moving through various states of frenetic excess and slurred assemblage to create an often horrifying depiction of modern life in New York City.  Addressing sexual ambiguity, drug abuse and the contemporary art world, all often at the same moment, the show is a challenging, bizarre mirror into the multi-layered worlds of art and fashion, and perhaps more importantly, their points of collision.

Bjarne Melgaard, Ignorant Transparencies (Installation View), via Gavin Brown (more…)

Fashion site Just One Eye has teamed up with artist Nate Lowman to produce several one-of-a-kind pairs of Converse Chuck Taylors, emphasizing the artist’s ongoing love of the classic sneaker.  21 pairs of shoes will be created, as well as a limited edition run of 500 pairs reproduced from one of the designs.  The collaboration also features several video pieces by director and cinematographer Joe Pytka, inspired by the shoes. (more…)

Street artist Swoon is currently working on a new piece at the corner of Houston and Bowery in downtown New York,part of the Groundswell Community Mural Project.  Taking on the themes of destruction and renewal brought last year by Hurricane Sandy, the piece looks to feautre several swells of populist imagery, centered by a ghostly female figure.   (more…)

The 2013 edition of Art Review’s annual Power 100 is out, documenting the most powerful players in the art world today, with Sheikha Mayassa bint Hamad Al Thani, the head of Qatar’s powerful Museum Authority, taking the number one position.  Al Thani has rocketed up the list in past years, especially after paying a reported $250 million for one of Cézanne’s The Card Players in 2012, and after considering her government’s rumored $1 billion budget for acquisitions.  The top spots on the list are rounded off by David Zwirner at #2, Iwan Wirth at #3, Larry Gagosian at #4, and Serpentine  co-directors Hans Ulrich Obrist and Julia Peyton-Jones sharing the #5 spot.   (more…)

Another activist investor is making waves at Sotheby’s.  Richard McGuire, the head of Marcato Capital Management LLC (currently the third-ranking stockholder at the company) is apparently engaged in behind the scenes talks to convince the auction house to sell off its New York and London locations, while unlocking money from its smaller dealings in art finance and dealing.  Some have anticipated such a move could free up to $1.3 billion in cash, enough to buy back nearly a third of the company’s stock.  “Sotheby’s is committed to healthy two-way communication with its investors and welcomes thoughtful suggestions as we pursue our common goal of a strong, growing, competitive Sotheby’s open to new opportunities,” said company spokesman Andrew Gully. (more…)

The Economist profiles the recent release of Geordie Greig’s Breakfast with Lucian, a biography of the famously reclusive painter Lucian Freud.  Delving into the artist’s private, occasionally impulsive lifestyle, the book is proffered as an intriguing read, recalling stories of sordid love affairs, and Freud’s notorious gambling streak.   (more…)

Jon Rafman, I am alone but not lonely, (2013), via Zach Feuer

The artist Jon Rafman continually explores processes of archiving and history-making, storytelling and expression online, trawling the deeper recesses of gaming and message board communities to explore how these groups express senses of their own identities, their own mythologies, and their own senses of being.  It’s this sense of recording and presentation that marks Rafman’s current show at Zach Feuer, which sees the artist examining the shared sense of history and presentation for various communities through written dialogues, amateur film, and image.

(more…)

Bertrand Lavier, Dino (1984), Yvon Lambert, all photo by Caroline Claisse for Artobserved.

Contemporary and conceptual art spring forth once again within the Grand Palais in Paris yesterday for the first day of the Foire Internationale d’Art Contemporain, or FIAC. Starting off as the Frieze Art Fair in London ends, it is the 40th year that FIAC has been held in France.   Below is a photoset from the fair.

Ai Weiwei, Iron Tree (2013), neugerriemschneider, photo by Caroline Claisse for Artobserved.
(more…)

Sir Anthony Caro, via New York Times

The widely recognized British sculptor Sir Anthony Caro passed away today after suffering a heart attack.  He was 89.  A former assistant to Henry Moore, Caro first made a name for himself in the 1950’s and 60’s, creating roughly rendered, abstract structures which he used as a gradual transition away from the traditionally figurative work of the medium.  “I have been trying to eliminate references and make truly abstract sculpture, composing the parts of the pieces like notes in music,” he said in 1975.

Sir Anthony Caro, Déjeuner sur l’herbe II (1989), via Tate Modern (more…)

Harvest, 2013. All images courtesy the Gladstone Gallery.

Now through October 26 Damián Ortega will be on view at the Gladstone Gallery’s 21^st Street Location in New York City. Ortega’s photography, installation and sculptural work resonate with an early career as a political cartoonist. Through explosion and disassemblies, Ortega seeks to pry apart the underpinnings of the appliances and structures that establish the material element of human existence. His work engages themes of space, movement and situation in an attempt to dislocate conditions of the mundane. Damián Ortega is considered one of the most prominent artists of the new Mexican generation, and has held solo shows throughout Europe, North and South America.

Installation View.

(more…)

FIAC at the Grand Palais, via Grand Palais

Following close on the heels of last week’s blockbuster Frieze art fair in London, the French capital of Paris will take its turn in the art-world spotlight, opening the doors of the Foire Internationale d’Art Contemporain (FIAC) for its 40th edition.  It’s a markedly different affair from the high-profile glitz of the comparatively younger Frieze franchise, but will nevertheless boast an impressive lineup of galleries, installations, performances and spotlights that place the fair among the top events of the contemporary art calendar.

Neo Rauch, Das Bannende, Neo Rauch, (2013), Courtesy Galerie Eigen+Art (more…)

For the first time since its inception in 1984, the Turner Prize exhibition is being held outside of England. A former Army barracks in Ebrington, Derry holds the latest exhibition, with four artists up for the prize: Laure Prouvost, Tino Sehgal, David Shrigley, and Lynette Yiadom-Boakye. The £25,000 prize will be awarded to the winner on December 2nd, while £5,000 goes to each shortlisted artist. The exhibition starts today, October 23rd, and runs until January 5th, 2014.
(more…)

The alleged Romanian ringleader, Radu Dogaru, admits to stealing paintings from the Kunsthal museum in Rotterdam, but now claims that the masterworks he stole may be forgeries set up in a plot to collect insurance money, Bloomberg reports. Since Dogaru stole the paintings in less than three minutes, his attorney, Catalin Dancu, believes that the artworks could not have been authentic because no entity would be that lackadaisical with the stolen works. “The answer,” Dancu contends, “is that they’re either irresponsible, in which case they have to pay, or the paintings were perfect copies and someone duped the insurance company.”
(more…)