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

Avery Singer Joins Hauser & Wirth

December 13th, 2019

Avery Singer is now represented by Hauser & Wirth, the gallery announced today.
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Case Over Rudolf Stingel Illustrates Issues in Inigo Philbrick Cases

December 13th, 2019

A new filing in a dispute over a Rudolf Stingel has illustrated more of the background in the case of Inigo Philbrick, particularly how the dealer would move between classifying the transfers of works as sales or loans.  “That is the real story here of what is going on with all of these Inigo deals—there was a lot of easy money allowing him to perpetrate these frauds, not only from the Reubens but others as well,” says attorney Judd Grossman.
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Russian Museums Embrace Putin’s Call for Satellite Venues

December 13th, 2019

Russian museums are seizing on Vladimir Putin’s idea to open satellite venues in various regions of the country as a move to improve living standards.  “We must organise branches of such museums in regional centers of the Russian Federation, so works of art don’t lie around in storage or in basements, but so people see them,” Putin said.
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Townhouse with Julian Schnabel-Designed Interiors on Market for $18.5 Million

December 13th, 2019

The WSJ gives a tour of the $18.5 million New York Townhouse on sale this month, featuring interiors designed by Julian Schnabel.  The colorful home is currently inhabited by his first wife, Jacqueline.
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George Condo in Talks to Join Hauser & Wirth

December 13th, 2019

George Condo is reported in talks to join Hauser & Wirth, according to Art News.  The report cites several sources saying that the artist is being courted by the massive gallery.
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Companies Jump on Board for Cattelan Banana Send-Ups

December 12th, 2019

A piece in Ad Age this week looks at the number of companies and advertising agencies piggybacking on a massive popularity of Maurizio Cattelan’s banana sculpture Comedian. 
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Work Appearing to be Stolen Gustav Klimt Found in Gallery Wall

December 12th, 2019

A painting believed to be a Gustav Klimt stolen 23 years ago has been discovered in the wall of the Ricci Oddi gallery where it had previously been on display.   “It is very strange, because, immediately after the theft, every single inch of the gallery and garden was checked with a fine-tooth comb,” says Jonathan Papamerenghi, a member of the Piacenza council. “The strangest thing is that the painting is in excellent condition. It does not seem like it has been locked under a trapdoor for 22 years.”
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Bloomberg Offers Support to Save Venice Foundation

December 12th, 2019

Bloomberg is throwing its weight behind the Save Venice foundation, fielding donations to help combat the effects of climate change on the lagoon city. “We’re worrying about the foundations of the buildings, as well as the stonework,” says Melissa Conn of Save Venice.
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Sotheby’s Re-Organizes, Amy Cappellazzo Heads Expanded Fine Arts Division

December 12th, 2019

Sotheby’s has reordered its auction house around two divisions, Fine Arts and Luxury, Art and Objects, with Amy Cappellazzo taking on an expanded role as head of the Fine Arts division. The strategy will look to “reduce the current silos that exists between fine arts, business development and regional organizations,” according to a statement.
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Art News Publishes Top 200 Collectors List

December 12th, 2019

Art News has published the 30th edition of its Top 200 Collectors List, with a number of familiar faces and new names included.
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REFERENCE LIBRARY

New York – Janiva Ellis: “Tip Drill” at 47 Canal Through October 20th, 2019

October 11th, 2019

Janiva Ellis, Wokey Doke, (2019), via 47 Canal
Janiva Ellis, Wokey Doke (2019), via 47 Canal

There’s a remarkable concept of balance and duality in the work of Janiva Ellis, moments of sublime beauty and fragile, held states that seem to make the moments of bizarre surrealism and sinister iconographies all the more unnerving.  For her most recent show, ‘Tip Drill,’ on view at New York’s 47 Canal Gallery through October 20th, the artist continues her practice of elaborate systems of tension and release. Read More »

Marseille – Kiosk’s Marseille Art Space at Cité Radieuse, A Running Curatorial Project Open Now

October 9th, 2019

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Sophie Kitching, Untitled (Plume) (2019), via Kiosk

Known for its shop selling a range of meticulously curated and enigmatic products, the online platform Kiosk has traveled widely, orchestrating various projects and pop-ups, not to mention an inclusion in MoMA PS1’s Greater New York show that spotlighted its daring vision and unique approach to the fine lines traditional distinctions between shop and art gallery, product and art object.  Read More »

AO On-Site – London: Frieze Art Fair, October 3rd – 6th, 2019

October 4th, 2019

Dan Graham, via Art Observed
Dan Graham, via Art Observed

After a whirlwind few hours in London, the Frieze Art Fair is underway, and the doors are open for the public. Opening its doors this week for its 17th edition in Regent’s Park, Frieze London has once again turned the art world’s collective eye towards the British capital for the next week, as sales and installations across its spacious halls make for a fitting center to one of the city’s busiest art events. Read More »

AO Auction Results – London: Christie’s Post-War and Contemporary Art Evening Sale, October 4th, 2019

October 4th, 2019

Jean-Michel Basquiat, Four Big (1982), via Christie's
Jean-Michel Basquiat, Four Big (1982), final price: £8,605,250 via Christie’s

Capping off a week of auctions amid the hustle and bustle of London’s Frieze Week, Christie’s capped off a procedural auction in the British capital tonight, selling 41 of 46 lots to reach a final total of £64,507,125, a mark that seemed notably underwhelming after a string of works sold under estimate or near its low bound. A last note before the auctions in New York next month, the sale seemed to hint at more instability further down in the market, especially as the Britain’s exit from the E.U. grows increasingly confused, and increasingly perilous.

Sigmar Polke, Alpenveilchen Flowers (19767), final price £5,654,250, via Christie's
Sigmar Polke, Alpenveilchen/Flowers (1967), final price: £5,654,250, via Christie’s

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AO Auction Results – London: Sotheby’s Contemporary Evening Sale, October 3rd, 2019

October 3rd, 2019

Banksy, Devolved Parliament (2009), final price £9,879,500, via Sotheby's
Banksy, Devolved Parliament (2009), final price £9,879,500, via Sotheby’s

Taking over from Phillips steady sale last night in London, Sotheby’s launched its own take on the Contemporary Art Market, albeit one with a little more unpredictability. The sale, one of the first since Sotheby’s formally became a privately traded company, saw 5 of works go unsold, and one massive record, as Banksy demolished his previous auction high, ultimately landing the auction house at a final tally of £54,386,250. Read More »

AO Auction Recap – London: Phillips 20th Century and Contemporary Evening Sale, October 2nd, 2019

October 3rd, 2019

Alex Katz, Blue Umbrella I (1972), via Phillips
Alex Katz, Blue Umbrella I (1972), final price: £3,375,000 via Phillips

Marking the first of a trio of sales this weekend in London, Phillips Auction House made a strong opening note on a bustling week of sales last night, pulling interested buyers to its Berkeley Square location for a 43-lot offering that saw strong results and a £25,877,250 final on the night, with only 3 works on offer going unsold.

Hurvin Anderson, Beaver Lake (1998) final price £2,175,000, via Phillips
Hurvin Anderson, Beaver Lake (1998) final price: £2,175,000, via Phillips

The sale opened with a string of underpriced lots that surged beyond initial estimates, often doubling or tripling their price, among them pieces by Simone Leigh (£175,000), Nathaniel Mary Quinn (£212,500) and Tschabalala Self (£275,000). A George Condo work also performed well at £471,000, before the first pass of the evening on a Mark Grotjahn Butterfly. The sale regained its composure quickly, however, as the sale’s prized Mark Bradford finished at £1,935,000, followed close behind by a Hurvin Anderson piece that sold for the final price of £2,175,000.

Mark Bradford, Value 35 (2010), final price: £1,935,000 via Phillips
Mark Bradford, Value 35 (2010), final price: £1,935,000 via Phillips

The sale continued at a brisk pace over the next lots, bringing up the evening’s cover lot, an Alex Katz painting that sold quickly over estimate to the tune of £3,375,000, while a Rudolf Stingel held its ground in the next lot at £1,035,000. Momentum carried the works through the meat of the auction, with a KAWS sculpture finishing above estimate for a final price of £1,455,000, and a Thomas Schütte work, Maschine, settling at the final of £1,215,000, squarely within estimated range. A Gerhard Richter Abstraktes Bild also performed well in the following lot, closing above estimate at £1,695,000. The sale was systematic from this point on, works selling quickly to bring the sale cruising to a strong conclusion.

The next auction is this evening at Sotheby’s.

KAWS, At This Time (2013), final price £1,455,000, via Phillips
KAWS, At This Time (2013), final price: £1,455,000, via Phillips

— D. Creahan

Read More:
Phillips 20th Century and Contemporary Evening Sale [Auction Page]

AO FAIR PREVIEW – LONDON: FRIEZE LONDON ART WEEK, OCTOBER 3TH – 6TH, 2019

October 1st, 2019

Cindy Sherman, Untitled #603 (2019), via Metro Pictures
Cindy Sherman, Untitled #603 (2019), via Metro Pictures

As the summer weather fades slowly into the dim light and changing leaves of autumn in London, the art world once again gears up for the annual return of Frieze to Regent’s Park this week, bringing with it its reputation for presenting the best of international contemporary art by emerging and established artists, and its signature program of dynamic commissions, talks and films, all unified under the fair’s bespoke tent design at the heart of the British capital.  Opening Wednesday with its VIP previews, the fair will offer a unique look at the state of the British art market, and that of the EU more broadly, while providing a platform for artists in Europe and abroad to explore and express new concepts and ideas in art practice. Read More »

AO Auction Preview – London: Contemporary Art Evening Sales, October 2nd – 4th, 2019

October 1st, 2019

Alex Katz, Blue Umbrella I (1972), via Phillips
Alex Katz, Blue Umbrella I (1972), via Phillips

Opening alongside the bustling aisles of Frieze London this week, the Contemporary Art Market will give a test of its secondary branch in the British capital this week. Kicking off a trio of auctions at the major auction houses, this week should provide ample chance for bidders to show just how confident they are on the current state of Britain, its place in the European art market, and how Brexit might have changed those forecasts. With a hard deadline of October 31st looming, this week should provide ample evidence of just how buyers are feeling with major changes just over the horizon. Read More »

New York – Amy Sherald: “The Heart of the Matter…” at Hauser & Wirth Through October 26th, 2019

September 25th, 2019

Amy Sherald, Sometimes the King is a Woman (2019), via Hasuer & Wirth
Amy Sherald, Sometimes the King is a Woman (2019), via Hauser & Wirth

This fall in New York, artist Amy Sherald, the artist tapped for First Lady Michelle Obama’s commanding, cool portrait for the National Archives, opens a show of new works at Hauser & Wirth, her first with the gallery. Titled ‘the heart of the matter…,’ the show debuts two paintings that reach a new, monumental scale for the artist, with monochromatic backgrounds that evolve into fully realized scenes referencing quintessential Americana, as well as a series of portraits that continue her iconic exploration of the contemporary black experience.   Read More »

New York – Liz Glynn at Paula Cooper Through October 12th, 2019

September 23rd, 2019

Liz Glynn, To Write (2016/2017), via Paula Cooper
Liz Glynn, To Write (2016/2017), via Paula Cooper

Over the course of the last few years, artist Liz Glynn has explored techniques in the production and presentation of technological objects and tools, seeking to explore and understand how disparate pieces and parts of a cultural milieu, particularly the tools used to construct, them, might provide a richer understanding of the culture itself. A sort of self-styled archaeological proposition, Technological Tools, as Glynn calls them, take center-stage at her current exhibition at Paula Cooper in New York, now on view through October 12th. Read More »