The Art Newspaper looks at the thriving popularity of the work of Kerry James Marshall, after a record-breaking auction price drove new interest in his work, and a rampant demand for pieces, including those about to go on view at a show at David Zwirner’s London location. “We might not even keep a waiting list for the exhibition,” Zwirner says. “It’s going to be very hard to get a painting from that show, that’s for sure.”
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Naples – Thomas Dane – Glenn Ligon: “In Poetry, A Solution to Everything” at Thomas Dane Through July 28th, 2018June 25th, 2018
Glenn Ligon’s first solo show in Italy, on view now at Thomas Dane, translates the poetical image into pictorial figuration, taking form around a poem by Pier Paolo Pasolini, Ma Era L’Italia, L’Italia Nuda e Formicolante, in which the poet recalls Italy in the years after the war, the cries of his generation and of ancient children, obliged to face history, a mission not based on power but on civilization. At this time, the artist cannot only be who tries to revolt the repressive system of forces. The poet lives, more than others, the agony of modernity and art. His poetry is not born from a crisis; it is the crisis itself. Read More »
Painter Marlene Dumas’ show, Myths and Mortals, a return to David Zwirner‘s New York gallery space, comprises 22 paintings and 33 works on paper divided into three parts, showcasing the artist’s sense of narrative and interconnected meaning. The first series of works includes large scale and smaller scale oil on canvas paintings that explore the dynamics of love. The second part includes ink washes on paper depicting Shakespeare’s Venus and Adonis story, as translated by the Dutch Hafid Bouazza, and is constructed in a highly narrative style with the story moving chronologically with explicit references. The third returns to canvas and oil paintings and begins to explore the themes of Venus and Adonis although with the more general factors of romance, lust and true love. Read More »
The month’s Impressionist and Modern Evening Sales are now in the books, after the London headquarters for both Christie’s and Sotheby’s capped their sales in the British capital. Seizing on the recent and continued expansion of the market for works from this era in past months, the week’s sales were an often complex, confusing set of outings, as results fluctuated considerably and market health was perhaps painted as a bit unpredictable.
At Sotheby’s, nearly a third of the sale’s 36 lots went unsold (10), with the final tally capped at £87,496,600. Chief among the abortive works was a premier lot, Peinture, by Joan Miró, which stagnated on the auction block and missed its £8 to £12 million auction price, and ultimately contributed to the auction house missing out on its low estimate. The much-trumpeted Pablo Picasso portrait of Marie-Therese, however, performed admirably, making up nearly a full third of the auction’s value with its £27,319,000 final price. Also saving the sale was Alberto Giacometti’s Le Chat, which brought a strong price at £12,642,000.
A similar situation marked the sale at Christie’s the following evening, where a 45-lot sale achieved a final of £128,081,750. The sale was also marked by eight unsold lots over the course of the evening, but pushed through its offering on the strength of several strong works, chief among them Claude Monet’s La Gare Saint-Lazare, which reached a price of £24,983,750, as well as Picasso’s Femme dans un fauteuil, the Dora Maar portrait that performed to expectations at a final of £19,358,750. Another achievement came with the setting of a new auction record for Franz Marc, whose Drei Pferde easily hit £15,421,250, resetting his record.
With results like this, the market picture has grown notably cloudy, or perhaps the market is trending towards saturation, the frequent sales and frequency of blue-chip trophies changing hands making for a less appealing environment for collectors. No matter why, the major auction houses have only a few days to reflect, as the proceedings continue next week with the Contemporary and Post-War Sales.
— D. Creahan
Sotheby’s Impressionist and Modern Evening Sale [Sotheby’s]
Sotheby’s Fails to Reach Low Estimate at Modern Art Auction [Bloomberg]
Christie’s Impressionist and Modern Evening Sale [Christie’s]
With the bustling week of sales and exhibitions in Basel now capped, the final major auctions of the spring are set to take place in London, as two weeks of auctions will look to test the waters of a market seemingly on the rebound after a strong outing earlier this season in New York. Beginning this week with a pair of Impressionist and Modern Sales, the week’s proceedings should make for an intriguing wrap up of the first half of 2018. Read More »
It’s hard to estimate Leo Fitzpatrick’s impact on the course of Marlborough Contemporary’s programming. The director, who joined the gallery in 2015, has dipped his toes into any number of puddles over the course of his time with the gallery, yet always bringing an equally studied and adventurous approach to curation across the gallery’s two story exhibition space. The shows have twisted in and out of the gallery’s broader curatorial vision, pulling both from the deeper reaches of contemporary art history and from the gallery’s list of frequent collaborators. For his most recent exhibition project, BURNT, Fitzpatrick continues this trend, inviting a broad swath of artists to a show that manages to both unite diverse voices and focus them towards the modern American cultural landscape. Read More »
Sean Kelly’s exhibition of 180 small scale portraits by Chinese artist Liu Wei offers an intimate and thought-provoking survey into the psychological layers of portraiture, a genre almost as archaic as art history itself. Entitled 180 Faces, the exhibition of modest scale portraits of anonymous individuals are hung akin to the style of the salon, with a twist on the traditional display fashion as the frames’ sleek surfaces blend into the gallery’s contemporary white-cube interior. Read More »
Offering a fitting counterpoint to the expanses of the Messe Basel, Liste Art Fair has returned to Warteck, a former schoolhouse on the banks of the Rhine now serving as an exhibition and performance space, for another year of exhibitions showcasing adventurous and exploratory proects from a range of galleries around the globe. Liste continues to build on its position as one of the central hubs for the week of Art Basel, priding itself on a careful curation of young galleries, dynamic, forward-thinking works, and a roster of performances that remains one of the week’s main draws.
Art Basel has opened its doors, kicking off a marathon week of sales and shows in the Swiss city that marks another year for the landmark giant of contemporary and modern art selling. Marking the terminus for the first half of the year’s major primary market activity, the fair once again showed why its impressive scale and appointments makes it such a draw for collectors, artists and dealers.
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“Back in the day the club was my safe place-and losing myself on the dance floor has always kept me centered.”
The Let Go is artist Nick Cave’s new work at Park Avenue Armory, a multi-sensory performance using visual works, sounds, and movement to transform the Armory into a dance-based town hall aimed at bringing together visitors, performers, DJs, dancers and community members to participate in a collective act of catharsis. The audience is asked to let go of frustration and negativity, and to uplift one another as they participate in this powerful socially-engaged piece. Stringing together a series of interrelated works, The Let Go is bounded by the installation Chase, and where a performance titled The Up Right, featuring one of Cave’s signature Sound Suits, is activated by a jazz keyboardist, choir and opera singer. Concluding the performance, the “town hall” becomes a dance hall, complete with DJ. Read More »