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Sotheby’s Leads London Sale with Richter Iceberg Painting

January 20th, 2017

Gerhard Richter's Eisberg, via Art Market MonitorSotheby’s will lead its London Contemporary sale with a photorealist work by Gerhard RichterEisberg, estimated at £8-£12 million.  The work comes from a period shortly after the artist’s divorce from his first wife Emma, and reflects his mindset during this dark period.“What Richter saw reflected in the painting… was his own state of mind…the photographs he took in Greenland were visual analogues for his own failed hopes,” Richter’s biographer, Dietmar Elger, says.  “He was exhausted by the struggle to find his own way as a husband and father, and felt that his dream domestic happiness had, as a consequence, been wrecked.”
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Auctionata Paddle8 Files for Insolvency

January 20th, 2017

Auctionata Paddle8, via Art NewspaperAuctionata Paddle8 has filed for insolvency, with Paddle8 reportedly finding a buyer for its company in New York.  “Auctionata and Paddle8 have redefined the online auction market for art and luxury goods,” says Thomas Hesse, CEO of the joined company. “This procedure will enable both brands and companies to maximize their potential.” 
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Ruba Katrib Joins Frieze London as Curatorial Advisor

January 20th, 2017

Ruba Katrib, via Art NewsRuba Katrib, curator of SculptureCenter, will join Frieze London as a curatorial advisor this year, working on the fair’s “Focus” section.  “I tend to begin my journey through Frieze London in the Focus section,” she said. “I’m eager to see who’s there and what they’ve brought, knowing that the galleries in Focus can be counted on to bring lesser-known artists, new work, and exciting ideas—they consistently work hard to convey a fresh approach.” 
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REFERENCE LIBRARY

Andy Warhol

Biography

“Andy Warhol began as a commercial illustrator, and a very successful one, doing jobs like shoe ads for I. Miller in a stylish blotty line that derived from Ben Shahn. He first exhibited in an art gallery in 1962, when the Ferus Gallery in Los Angeles showed his 32 Campbell’s Soup Cans, 1961-62. From then on, most of Warhol’s best work was done over a span of about six years, finishing in 1968, when he was shot. And it all flowed from one central insight: that in a culture glutted with information, where most people experience most things at second or third hand through TV and print, through images that become banal and disassociated by repeated again and again and again, there is role for affectless art. You no longer need to be hot and full of feeling. You can be supercool, like a slightly frosted mirror. Not that Warhol worked this out; he didn’t have to. He felt it and embodied it. He was a conduit for a sort of collective American state of mind in which celebrity – the famous image of a person, the famous brand name – had completely replaced both sacredness and solidity.

Earlier artists, like Monet, had painted the same motif in series in order to display minute discriminations of perception, the shift of light and color form hour to hour on a haystack, and how these could be recorded by the subtlety of eye and hand. Warhol’s thirty-two soup cans are about nothing of the kind. They are about sameness (though with different labels): same brand, same size, same paint surface, same fame as product. They mimic the condition of mass advertising, out of which his sensibility had grown. They are much more deadpan than the object which may have partly inspired them, Jasper Johns’s pair of bronze Ballantine ale cans. This affectlessness, this fascinated and yet indifferent take on the object, became the key to Warhol’s work; it is there in the repetition of stars’ faces (Liz, Jackie, Marilyn, Marlon, and the rest), and as a record of the condition of being an uninvolved spectator it speaks eloquently about the condition of image overload in a media saturated culture. Warhol extended it by using silk screen, and not bothering to clean up the imperfections of the print: those slips of the screen, uneven inkings of the roller, and general graininess. What they suggested was not the humanizing touch of the hand but the pervasiveness of routine error and of entropy…”

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