Global contemporary art events and news observed from New York City. Suggestion? Email us.

Robert Olnick Collection Set for Christie’s Sales Next Month

October 21st, 2016
lichtenstein-from-olnick-collection-via-bloombergReal Estate magnate Robert S. Olnick’s art collection is set to go on sale at Christie’s next month, counting major Agnes Martin and Roy Lichtenstein works among its holdings.  The first selecton works offered next month, are spread over both the evening and day sales, and are valued at a total of $20 million.  “It was really about them making the rounds and buying what they liked,” says Laura Paulson, deputy chairman of Christie’s Americas.

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Guy Wildenstein’s Fate to be Decided by Court Tribunal

October 21st, 2016

guy-wildenstein-via-nytGuy Wildenstein’s fate has been left to a tribunal following arguments in his tax evasion case, the NYT reports.  The judges will spend up to three months considering the case before reaching their decision, which could include jail time and a 250 million euro fine for alleged deceptions in how the works were held.  “The bank knows only what the family told them,” says Alexandre Bronstein, a laywer pushing a criminal case over several of the works seized from the Wildenstein collection.  
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Phillips Announces $12-$18 Million Clyfford Still for November Evening Sale

October 21st, 2016

clyfford-still-untitled-1948-1949-via-phillipsPhillips’s Robert Manley announced the auction house’s star lot for its upcoming November Contemporary Evening Sale in New York, a colorful Clyfford Still priced between $12 million and $18 million.  “Formerly in the collection of the artist’s friend and student, the painter Edward Dugmore, the painting has been off the market for decades and has never been to auction,” Manley notes of the work.
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Andy Warhol


“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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