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 »
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 »
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, 2019October 4th, 2019
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.
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 »
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.
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.
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.
— D. Creahan
Phillips 20th Century and Contemporary Evening Sale [Auction Page]
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 »
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 »
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 »
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 »