AO Art Observed™

Rudolf Stingel, Untitled (2011)

Luxembourg & Dayan‘s Grisaille explores the use of a generally monochromatic color palette in works spanning multiple centuries. The exhibition is divided between the gallery’s new space in London and the 77th Street location in New York; the show began in London in October, overlapping with the New York show throughout November and December. Both shows feature a variety of artists including Albrecht Durer, Alberto Giacometti, Pablo Picasso, and Andy Warhol. The New York gallery also shows new work by Richard Prince and John Currin.

Gerhard Richter, Grau (1974)

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‪‬The Velvet Underground sues Andy Warhol Foundation for the Visual Arts over trademark rights to Warhol’s banana image, claiming earned ownership by association [AO Newslink]

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Andy Warhol, Shadows (1978-79), installation view. All photos via Hirshhorn Museum and Sculpture Garden.

Andy Warhol’s silkscreened series Shadows is on view now at Washington’s Hirshhorn Museum and Sculpture Garden. Shadows was created during the last decade of Warhol’s life and consists of 102 prints of shadows produced in his studio. The paintings are exhibited on an uninterrupted wall, providing a unique opportunity to view the series curving through the museum’s galleries. The Shadow series departs from Warhol’s usual pop style as he generated the shadows himself in his studio, creating abstract forms not normally seen in his work.

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‪‬ Artwork of Andy Warhol and Damien Hirst outperforms S&P 500 in 2011, with new sales records set by Roy Lichtenstein and Gerhard Richter among others [AO Newslink]

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All photos on site for Art Observed by Caroline Claisse.

Interview Magazine—founded by Warhol—and the Andy Warhol Museum debuted a never-before-seen film by the artist himself, shot on 16 mm film in 1968 with Paul Morrissey at The Standard Miami on Friday night. The film’s trailer looped throughout the night before Eric Shiner, Director of the Andy Warhol Museum, introduced “San Diego Surf.” In Warholian style, the film meandered with little plot, and most of the actors couldn’t actually surf. The party’s guest list, including celebrities from the art world and beyond, was pleasantly surprised by the evening’s flash mob: wigged and black-clad dancers performing to Lou Reed’s “Take a Walk on the Wild Side.”

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Paul McCarthy, Cultural Gothic (1992). All photos on site for Art Observed by Caroline Claisse.

Art Observed was on site for the private Tuesday evening preview of the Rubell Family Collection/Contemporary Arts Foundation show American Exuberance. Throughout 28 gallery spaces in a 45,000 sq ft museum, 190 works by 64 artists explore the American condition today through art, dissecting the paradoxical arenas of culture, economics, and politics. A 244-page catalog includes written commentaries by 13 of the artists from the notable roster, as follows: Thomas Houseago, Richard Jackson, Rashid Johnson, Nate Lowman, Richard Prince, Sterling Ruby, Haim Steinbach, Ryan Trecartin, and to name a few. About a quarter of the works were made in 2011 specifically for the show.  Also, Art Observed returned the next morning on Wednesday for Jennifer Rubell’s 11th annual breakfast, which is presented every morning throughout the week, treats visitors to a small jar of fresh yogurt, to be ‘anointed’ with honey dripping from the ceiling.

Collecting dripping honey at Jennifer Rubell’s Incubation yogurt and honey breakfast.

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‪‬Warhol Foundation dissolves authentication board to focus on “charitable activities,” effect on art market worries collectors [AO Newslink]

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Andy Warhol, Blue Liz as Cleopatra (1962)

An assembly of prints from 1962 and 1963, Andy Warhol‘s series of recently deceased movie star and social activist Elizabeth Taylor—the exhibition appropriately titled Liz—is currently on view at the Gagosian Gallery in Chelsea. An iconic figure of Pop Art, Warhol reintroduced figurative imagery into the 1960s art scene, otherwise dominated by an aesthetic ideal of abstract expressionism. As seen in the Liz series and the rest of his early portraiture, Warhol re-appropriated images from the media, mechanically multiplying them via silkscreen.

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Andy Warhol & Jean-Michel Basquiat, Thin Lips, 1984-85 (est. $1.1-1.6 million, bought in), via Phillipsdepury.com

The week’s Contemporary art sales in London got off to a lukewarm start on Wednesday at Phillips de Pury. The evening sale realized $12.9 million against estimates of $15.6-22.7 million, and 12 of the 35 lots offered failed to find buyers. The auction’s featured lot – Jeff Koons‘s rendition of stacked trash cans punctuated by inflatable toys – sold for $3.3 million against a low estimate of $3.1 million (prices realized include the buyer’s premium, estimates do not). A collaborative work by Andy Warhol and Jean-Michel Basquiat that was expected to fetch at least $1.1 million was bought in, as were works by George Condo, Lucio Fontana, Cindy Sherman, and Paula Rego.

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Lucian Freud, Boy’s Head, 1952 (est. $4.6-6.2 million), via Sothebys.com

Christie’s, Sotheby’s, and Phillips de Pury are hosting Contemporary art sales this week in conjunction with the Frieze Art Fair, which officially begins on Thursday in London. Capitalizing on the flood of art afficionados in town for the fair,  the auction houses are hoping to move about $88 million worth of art during their evening sales. Dealers and buyers have been reassured of the art market’s strength following huge boom-like sums achieved during the past few auction cycles, but this round of sales comes at a moment of increased anxiety about the global economy. These sales may set the tone of the major auctions next month in New York, when Christie’s, Sotheby’s, and Phillips will offer several hundred million dollars worth of Impressionist, Modern, and Contemporary art.

Jeff Koons, Seal Walrus Trashcans, 2003-09 (est. $3.1-4.6 million), via Phillipsdepury.com

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Announcement for Warhol’s Original Soup Cans Show at Ferus Gallery, Los Angeles in 1962, via MOCA

On view now at Los Angeles’ Museum of Contemporary Art is Andy Warhol’s iconic Campbell’s Soup Cans from 1962. Warhol’s Campbell’s Soup Cans are arguably both his most recognizable work, and that of American Pop Art as a whole. The installation opened on the 49^th anniversary of both the first exhibition of the paintings at Los Angeles’ Ferus Gallery, and Warhol’s first solo show.

Andy Warhol, Campbell’s Soup Cans (1962), via the Museum of Modern Art

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All photos by L. Streeter for Art Observed.

At six o’clock on Saturday evening, throngs of guests could be seen gathering at the entrance of Robert Wilson’s art compound in Watermill, New York, awaiting entrance to “Voluptuous Panic.” Patrons of the arts gather here once a year to support the foundations ongoing effort to “provide a unique environment for young and emerging artists to explore new ideas and foster their career development” (via Watermillcenter.org).  Artists  from over 30 different countries living at the estate as a part of the Watermill International Summer Program Residency were asked to create installations and performances overlaying the six acre estate. Guests were invited to wander the grounds and woods exploring the various installations. This year, the attending crowd fit right in with the somewhat manic works themselves; the dress code, entitled “Fearless” allowed for a very flamboyant, almost surreal flock of guests.

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Sigmar Polke, Dschungel (Jungle), 1967 (est. $5-6.5 million, realized $9.2 million), via Sothebys.com

Sotheby’s evening sale of Contemporary art on Wednesday night brought this round of summer sales to a close and removed any lingering doubt about the art market’s recovery. Eighty-one of 88 lots offered brought in $174 million against a high estimate of $168.5 million and set a record for any auction the company has staged in London. The results were boosted by the inclusion of thirty-four works belonging to Count Christian Duerckheim, a German industrialist who collected German art religiously and often befriended artists he patronized. The Duerckheim lots, which had the benefit not just of quality and freshness but also storied provenance, were all sold during the first portion of the auction and fetched $97 million against a high estimate of $74 million. Leading the collection was Sigmar Polke‘s dotted Dschungel of 1967 which sold for $9.2 million and set the artist’s auction record.

Francis Bacon, Crouching Nude, 1961 (est.$11-14 million, realized $13.7 million), via Sothebys.com

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Francis Bacon, Study for a Portrait, 1953 (est. unpublished, realized $28.6 million), via Christies.com

Christie’s sale of Contemporary art on Tuesday night realized $127 million for 53 lots sold. The total, which fell just above the high estimate of $125 million once fees were added, is the highest for any sale at Christie’s in Europe since the boom of June 2008. The top lot was a Francis Bacon self portrait that shows a man sitting in a throne-like chair wearing a suit and glasses. The painting sold for $28.6 million against an unpublished estimate rumored to be about $17 million. A self portrait by the artist sold for $25 million at Christie’s spring sale in New York .

Andy Warhol, Mao, 1973 (est. $9.6-12.8 million, realized $11.1 million), via Christies.com

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Jean-Michel Basquiat, Self-Portrait, 1985 (est. $3.2-4.8 million), via Phillipsdepury.com

The summer sales continue in London this week as the major auction houses host their Contemporary art auctions. Phillips will offer 32-lots on Monday evening, followed by Christie’s 67-lot sale on Tuesday and capped with an 88-lot sale at Sotheby’s on Wednesday. The Phillips sale will take place at the company’s new exhibition space at Claridge’s London. Like the auction house’s move uptown to 450 Park Ave in New York last year, the new London location is closer than their Howick Place headquarters to competitors Sotheby’s and Christie’s. The night’s 32 lots are expected to fetch $16-23 million and are headlined by a Basquiat self portrait that is estimated to bring as much as $4.8 million.

Damien Hirst, Confession, 2008 (est. $958,000-1.3 million), via Phillipsdepury.com

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Annette Schonholzer and Marc Spiegler, co-directors Art Basel 2011. All pictures by Caroline Claisse for Art Observed.

This year’s Art Basel has been a profitable one, and indicates the stability of the current market. With approximately $1.75 billion worth of artwork to buy, million dollar works sold fast this year. Yet while money is liberally dispensed, it is conservatively directed, suggestive of a post-Recession desire to spend without erring.  The high market is specified, but sale and aesthetic trends stay consistently upbeat.

Meyer Riegger Karlsruhe, Berlin

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Anna Betbeze, Oasis 2011 (2011), via Kate Werble Gallery

Luxembourg & Dayan’s “Unpainted Paintings” is an international survey of Modern artworks from 1950 to today. Organized by Alison Gingeras, chief curator of the Palazzo Grassi in Venice, Italy, “Unpainted Paintings” runs through May 27^th.  The show asks viewers to contemplate what makes a painting a painting, displaying works that confound conventional definitions of the medium.

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Andy Warhol, Liz #5, 1963 (est. unpublished, realized $26.9 million). All images via Phillipsdepury.com.

The week’s Contemporary art sales ended Thursday night with a fifty lot auction at Phillips de Pury & Co. The sale just missed its low presale estimate of $84.5 million before fees were added. Thirty-eight lots sold for a total of $82.7 million, or $94.8 million with fees. For the third time this week a Warhol canvas was the top lot. Liz #5, rumored to be sold by hedge-fund manager Steven Cohen, sold for $26.9 million against an unpublished presale estimate of $20-30 million. Unlike Warhol’s photo-booth self portrait on offer Wednesday night at Christie’s, Liz #5‘s trip to the auction block was brief. Bidding opened at $18 million and rose to $24 million before contenders called it quits.

Andy Warhol and Jean Michel Basquiat, Third Eye, 1985 (est. $2-3 million, realized $7 million)

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Andy Warhol, Self-Portrait, 1963-64 (est. $20-30 million, realized $38.4 million). All images via Christies.com.

Christie’s nearly white-glove sale of of Post-War and Contemporary art on Wednesday night brought in more than twice as the equivalent sale at Sotheby’s on Tuesday evening. Sixty-three of sixty-five lots sold for a whopping $301.7 million, giving the sale a sell through rate of 95% by lot and 99% by value. The total beat the high presale estimate of $299 million despite the fact that a Rauschenberg combine estimated to fetch between $12-18 million was withdrawn from the sale. Wednesday night’s results were the best the auction house has seen for a Contemporary evening auction since May 2008 (that sale realized $331 million). Bidding went on for about two hours, approximately fifteen minutes of which was spent on a single lot. Two telephone bidders chased Andy Warhol‘s blue self-portrait, one on the phone with Brett Gorvy of Christie’s and the other with Philippe Segalot, formerly of Christie’s. The audience laughed as bidding escalated in $100,000 increments and cheered each time one contender took a bigger leap ahead. In the end Gorvy’s buyer was triumphant and paid $38.4 million for the four-part piece, which was estimated to fetch between $20-30 million. The sale was a record for a Warhol portrait (self or otherwise) at auction.

Mark Rothko, Untitled No. 17, 1961 (est. $18-22 million, realized $33.7 million)

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Felix Gonzales-Torres, Untitled (Aparición), 1991 (est. $600,000-800,000, realized $1.65 million). All images via Sothebys.com.

Tuesday evening’s auction of Contemporary Art at Sotheby’s New York brought in $128 million for forty-nine of fifty-eight lots sold. The sale’s estimate of $120.8-171.4 million included two lots that were withdrawn from the sale. Inclusive of the buyer’s premium, the night’s earnings barely passed the low presale estimate (prices realized include the buyer’s premium, estimates do not), and the results stood in stark contrast to Monday night’s sale at Sotheby’s of works from the collection of Allan Stone, which realized $54.8 million against a high estimate of $46.8 million. At the press conference auctioneer Tobias Meyer explained that estimates were “possibly aggressive” and that Sotheby’s had worked with sellers in reevaluating their expectations in response to the market, which in some cases meant lowering the reserve price. The sale’s top two lots – Sixteen Jackies by Andy Warhol and Jeff Koons‘ Pink Panther – both fetched respectable prices despite the fact that they fell short of presale estimates.

Andy Warhol, Sixteen Jackies, 1964 (est. $20-30 million, realized $20.2 million)

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Jeff Koons, Pink Panther, 1988 (est. $20-30 million), via Sothebys.com

This week Sotheby’s, Christie’s, and Phillips de Pury will hold Contemporary art auctions in New York. After an anemic week of Impressionist and Modern art sales, the auction houses hope to broker nearly half a billion dollars of Contemporary art. On Monday Sotheby’s will offer forty-three lots during two parts of a three part sale of the collection of Allan Stone (consisting mostly of works by Wayne Thiebaud and Willem de Kooning), followed by their fifty-nine lot Contemporary art evening sale on Tuesday. The next night Christie’s will offer sixty-six works expected to fetch at least $230 million. The week ends with Phillips de Pury’s fifty-one lot sale that carries an estimate of $85-120 million.

Andy Warhol, Sixteen Jackies, 1964 (est. $20-30 million), via Sothebys.com

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Andy Warhol,  Colored Campbell’s Soup Can (1866, 1965). Courtesy of L & M Arts.

12 Colored Campbell’s Soup Can paintings by Andy Warhol are currently on view at L & M Arts in New York. These tomato soups cans from 1965 have never before been the sole subject of a Warhol exhibition, even as they continue to represent a pinnacle in contemporary art history.

Andy Warhol, Campbell’s Soup Cans (1962). Via the Museum of Modern Art

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Artist Rob Pruitt admires his latest work, The Andy Monument (2011). All images Nicolas Linnert for Art Observed.

Today at the northwest corner of Union Square, Rob Pruitt unveiled his latest work, The Andy Monument, in partnership with New York’s Public Art Fund. The nearly 10-foot tall sculpture is a chrome tribute to the seminal figure of Pop Art and major cultural influence in 20^th century New York City history. Situated at the pedestrian intersection at 17^th Street and Broadway, it is just steps from the site of Warhol’s former studio space, the “Factory.”

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Video of Rob Pruitt unveiling The Andy Monument

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Gerhard Richter, Abstraktes Bild, 1990 (est. £5-7 million), via Sothebys.com

The February auctions continue this week in London with Contemporary Art sales at Sotheby’s, Christie’s, and Phillips de Pury. The day after Valentine’s Day buyers can cozy up to sixty lots at the Sotheby’s Contemporary art evening sale that are estimated to bring upwards of £30 million. The following night Christie’s will offer sixty-four lots that are expected to fetch £36-52 million. Phillips de Pury closes the week’s auctions with a twenty-nine lot sale that carries an estimate of £5.8-8.5 million. Christie’s is the only house to have officially released their 2010 global sales figures, and the numbers are impressive. The company sold £3.3 billion (or $5 billion) worth of art last year, more than any previous year in their 245-year history. Cheyenne Westphal, Sotheby’s Chairman of Contemporary Art London, revealed that the firm sold $845 million worth of Contemporary art in 2010 and that this is the third-highest total at the company in the field. At November’s Contemporary art auctions Phillips de Pury debuted a sparkling new gallery space on Park Avenue in New York and had the biggest sale of the week when Andy Warhol’s Men in Her Life sold for $63.4 million. It was a good year for Contemporary art, and the results of this week’s sales are expected to indicate whether the market will continue to recover in 2011 as it did in 2010.

Andy Warhol, Nine Multicoloured Marilyns (Reversal Series), 1979-1986 (est. £2-3 million), via Sothebys.com

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