Global contemporary art events and news observed from New York City.
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AO Auction Results: Sotheby’s Contemporary Art evening sale, London, Thursday, February 5, 2009, Richter, Koons and Fontana lead robust results

Sunday, February 8th, 2009

jeff-koons-stacked-19881
Stacked (1988) by Jeff Koons; Sold for £2,841,250 ($4,136,939) against estimates of £2,200,000 - £3,200,000 ($3,215,434 – $4,676,995). Image via Artnet.

Sotheby’s contemporary art evening sale concluded this week’s auctions on a high note, as 25 of 27 lots by Lucio Fontana, Andy Warhol, Gerhard Richter, Jeff Koons and Damien Hirst, among others, were sold to collectors taking advantage of the art market’s price correction. The auction attracted relatively brisk bidding on several of the lots on offer, with over 200 clients registering to participate in the auction.

The sale realized a total of £17,879,250 ($25,785,250), solidly within the estimate of £16.5-23.1 million, selling 92.6% by lot–one of the highest ever achieved for a February contemporary art auction at Sotheby’s–and 90.7% by value. 24% of buyers were from the US, with 48% European, 12% Middle East, and 16% Asian being the breakdown for the remainder.

The lot featured on the catalogue cover, Concetto Spaziale by Lucio Fontana, was the highest priced lot, although it sold for £4.4 million ($6.4 million), or 12% below its £5 million ($7.3 million) low estimate. The painting is part of the 22-piece Venezia series, conceived and executed in 1961 by Fontana, widely considered to be Italy’s foremost post-war artist. While the lot was bought below the low estimate, it still set a record for a painting from the Venezia series. It was bought directly from the artist shortly after its execution and resided in a private collection for over 45 years, never shown in public during that period.

Successful auction sales calm jittery art market [Financial Times]
‘Rediscovered’ art fetches £4.4m [ BBC]
Koons, Fontana Works Sell in Smaller London Art Sale [Bloomberg]
A Svelte Sale Yields Positive Results at Sotheby’s [ArtInfo]
Sotheby’s February 2009 Contemporary Art Evening Sale Achieves $25,785,250 [Art Daily]

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GO SEE: ANISH KAPOOR, DRAWINGS/ INSTALLATIONS AT REGEN PROJECTS, LA, THROUGH FEBRUARY 28TH

Friday, January 9th, 2009

anish-kapoor-installation-view-at-regen-projects2

Anish Kapoor – ‘Installation View at Regen Projects’, LA, via Regent Projects

Drawings and Installations, a show by Anish Kapoor, is on view at the Regen Projects in LA, until February 28th. The show deviates from the usual sculptures that Kapoor is best known for. Using drawings and installations, Kapoor manages to fill entire rooms with simple yet large objects to create a sense of scarceness yet serenity. Anish Kapoor is an Indian-born British Installation Artist, best known for his large sculptures, which often simulate simple curves with cavities and bends. These traits can be found in the installations at the Regen Projects exhibition. The large concave white disc disorients the viewer through its glossy finish, reflecting the room’s light and other objects – namely the black item placed opposite. The choice to exhibit the installations in white rooms, accents this.

 

Focus: Anish Kapoor: Regan Projects, LA

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Go See: Anish Kapoor at the Deutsche Guggenheim, Berlin, November 30, 2008 – February 1, 2009

Sunday, December 14th, 2008

anish-kapoor-2
Memory
by Anish Kappor on display now at the Deutsche Guggenheim via Deutsche Guggenheim

Anish Kapoor – Memory
Deutsche Guggenheim Museum
, Unter den Linden 13/15 10117 Berlin
November 30, 2008 – February 1, 2009

Considered one of the most talented and influential sculptors of his generation, Anish Kapoor recently unveiled his new installation Memory (2008) at the Deutsche Guggenheim.  Born in Bombay, India in 1954, Anish Kapoor lived and worked in London through the 1970′s and quickly rose to prominence as a sculptor during that time.  Since then, Kapoor has gained international acclaim and has exhibited extensively worldwide at venues such as the Tate Gallery and the Hayward Gallery in London, Haus der Kunst in Munich, Reina Sofia in Madrid and Kunsthale Basel and more.  Memory is part of a program established by the Deutsche Guggenheim in 1998, which consists of a series of projects committed to prominent and innovative contemporary artists such as John Baldessari, Hanne Darboven, William Kentridge, Hiroshi Sugimoto, Bill Viola, and Phoebe Washburn.

Anish Kapoor Memory [Deutsche Guggenheim]
Anish Kapoor: Memory
[Guggenheim]
Anish Kapoor Memory
[ Press Release]
Video: Anish Kapoor: Memory / Deutsche Guggenheim, Berlin / Interview [vernissage.tv]
Kapoor Installation Pictures
[Flikr]

more images and story after the jump…

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Work by Anish Kapoor, Tracey Emin, Olafur Eliasson, among others sold at RCA Secret Annual Postcard Sale

Wednesday, November 26th, 2008

postcards1b
Amy Winehouse by unknown artist, on RCA Secret postcard, via BBC

2,700 postcards composed by a combination of famous and emerging artists were sold at the Royal College of the Arts’ Secret postcard event this past Saturday, November 22nd, in London.  Every year, students from the college contribute original pieces of art on postcards, along with many of the worlds top artists and assorted other notables, to raise funds for the school. The RCA has managed to raise close to £1 million from the sale of the postcards since 1994, when a student came up with the idea.

Cards sell for £40 each, and are unmarked and unsigned; the viewer or buyer does not know who created it, leading to the possibility of acquiring works by the likes of Damien Hirst, Peter Doig, or Manolo Blahnik very inexpensively.  Postcards have been resold for princely sums at major auction houses. A card by Hirst was sold for £15,600 in 2004, while a Doig original sold for £42,000 in 2000.  “Keeping the works anonymous is a very clever idea because potential buyers have to use their own powers of discrimination,” noted artist and regular contributor Grayson Perry said. “They must look at art works closely rather than read labels, a habit they might find rewarding at any exhibition.”

While readers have missed out on this year’s sale, which was held on November 13th, they can always look forward to 2009.

Exhibition page: RCA Secret
Secret art postcards go on sale [BBC]
Lucky dip in secret postcard sale [GuardianUK]
In London, Purchase a Postcard Worth 42,000 British Pounds [IHT]

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AO November Auction Roundup 4 of 5: Phillips de Pury’s Contemporary Art Sale, New York, Thursday, November 13th, Results “brutal” but Phillip’s clear due to lack of Guarantees

Monday, November 17th, 2008

donald-judd-untitled-77-23-bernstein-1977-phillips
“Untitled (77/23 — Bernstein)” (1977) by Donald Judd sold for $3,218,500 against an estimate of $4.0 million, via ArtInfo

PHILLIPS DE PURY’S CONTEMPORARY ART SALE, New York, Thursday, November 13th

Total Lots Offered: 51, originally 56
Total Lots Sold: 30
Total Sales Value: $9.6 Million
Total Sales Pre-Auction Estimate: $23-$32 Million

Before Phillips de Pury’s Contemporary Art sale began in New York on Thursday evening November 13th, five works were withdrawn, including John Currin’s Standing Nude from 1993 (est. $500–700,000), pictured below, Richard Prince’s Untitled (Tire Planter) from 1999 (est. $120–180,000), and an Anselm Kiefer work. Total sales were $9,608,700, which was less than half of the low estimate of $23 million. By way of comparison, a comparable Phillips sale a year ago fetched $42.3 million. In the end, 41% of the lots (21 lots) were unsold (51% unsold by value) and those that did sell did so at below estimates. Anything estimated to sell at more than $1 million was either withdrawn or went unsold. In attendance were collectors such as Adam Lindemann, Stavros Merjos, Stefan Edlis of Chicago, Maria Baibakova, Mera and Don Rubell, Zurich dealer Doris Ammann, and executives from the Russian luxury goods giant Mercury Group which, as covered by Art Observed here, recently purchased the Phillips de Pury auction house.

Despite the dismal outcome of the totals, Phillips de Pury’s in the end appeared prescient versus its competitors Sotheby’s and Christie’s who both got crushed by over guaranteeing works in a down market, by contrast, Phillips guaranteed none of the 51 works offered, save for a single neon text 2005 sculpture by Kendell Geers, which had a low estimate of $60,000 and sold for $56,250. In a comparable sale last November, Phillips guaranteed about half the lots.

$9.6 Million at Phillips De Pury [ArtNet]
Phillips Sale Totals Less Than Half the Low Estimate [New YorkTimes]
Phillips Goes with the Downward Flow [ArtInfo]
Hirst Painting Flops at ‘Brutal’ New York Art Auction [Bloomberg]

more story and pictures after the jump…

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Newslinks for Saturday November 8, 2008

Saturday, November 8th, 2008
anish-kapoor-cloud-gate

Anish Kapoor - Cloud Gate via heartland.vanabbe.nl

A London studio visit interview with Anish Kapoor [GuardianUK]
Richard Prince, who opened at Gagosian Chelsea tonight, interviewed on VBS.TV [VBSTV]
Three public art projects from Jeff Koons, Daniel Arsham, and John Henry will be at Art Basel Miami Beach [Artdaily]
All about Maia Norman, Damien Hirst’s companion [TimesUK]
How the current times can offer art bargains [Bloomberg]
The Asian Contemporary Art Fair, on in New York from Thursday to this Monday the 10th at Pier 92, 52nd Street & 12th Avenue [Official Site]
Two portraits authenticated as Van Goghs from 1886 Paris [cbcnews]
Former MET Director Philippe de Montebello and Paula Zahn to host 13′s SundayArts [ArtDaily]
Murakami ‘Wraps’ Louis Vuitton corner on 5th and 57th in Manhattan [WWD via Kempt]

The first major post-financial collapse art market event, The 2008 Frieze Art Fair, in London, is on right now.

Friday, October 17th, 2008


Cory Arcangel’s “Golden Ticket” to the 2008 Frieze Art Fair via Artnet

With over 150 galleries, The Frieze Art Fair, set in London’s Regent’s Park, began selling works by over 1,000 artists on October 15. Since its first year in 2003, the Frieze fair has grown to be regarded as the youngest and perhaps the most cosmopolitan and cutting edge of the global fairs, which include Art Basel, Art Basel Miami Beach and the Venice Biennial. The fair, which runs until the 19th of October, and the London auctions that will occur this evening and this coming weekend, mark the first major opportunity for transparency into the the status of the global art market since the widespread financial turmoil began. Following Damien Hirst’s groundbreaking, clearing house, £111.5 million, direct-to-market auction of his own work at Sotheby’s last month (as covered by ArtObserved here) the market has had some clouds brewing over it, with beginning indications of weakness manifesting in events such as Sotheby’s lackluster first evening sale of contemporary Asian art in Hong Kong earlier this month (as covered by ArtObserved here), which sold £7 million against expectations of £30 million to another auction that same weekend in which Sotheby’s sale of modern 20th-century Chinese art left over a third of the lots unsold. More recently, the Singapore Art Auctions were also a dissapointment.

London’s Frieze Prepares for a Chill [Wall Street Journal]
Crisis Imperils U.K. Art Fairs, $183 Million Sales, Dealers Say and Auction Houses Guarantee Top Lots; Dealers See Falling Demand and Paltrow, Saatchi, Zhukova Browse Frieze Art as Sales Go Slowly, Aguilera Parties, Damien Hirst Has a Head Case: London Art Buzz [Bloomberg]
Deep Frieze: UK’s hottest art fair braces itself for the chill of the banking crisis and Prank canvas [GuardianUK]
Frieze Art Fair: Super-rich to cast economic crisis aside and Andy Warhol’s Skulls up for auction [Telegraph]
All the fun of the fairs: the art world gathers for Frieze [Independent]
The Post-Materialist | Frieze Art Fair [TheMoment]
Diary: Frieze Frame [ArtForum]
Frieze Factor [Artnet]
Frieze: First night blur [ArtReview]
Frieze Art Fair 2008 [Frieze Art Fair]

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AO AUCTION PREVIEW: Freud, Warhol, de Kooning, Koons, Murakami at Christie’s Post-War & Contemporary Art Evening Sale, Oct. 19th, Christie’s, London

Wednesday, October 1st, 2008

Desmond by Jean Michel Basquiat
Desmond by Jean Michel Basquiat, up for auction at Christie’s Post-War and Contemporary Art Auction, via Christie’s

In addition to selling a rare portrait by Francis Bacon, Christie’s October 19 auction catalogue features a long list of post-war luminaries. Several portraits of Mao and Marilyn Monroe by Andy Warhol figure prominently among the auction’s offerings. A sculpture by Jeff Koons, as well as pieces by Jean Michel Basquiat, Gerhard Richter, Richard Prince, Anish Kapoor, Willem de Kooning, Lucian Freud and a plethora of other artists account for the rest of the lots. The priciest of 48 lots is expected to be Lucio Fontana’s canvas, Concetto spaziale, la fine di Dio, which should fetch around £12 million pounds ($21.8 million).

Christie’s: Post-War and Contemporary Art Evening Sale
Christie’s: Press Release for Post-War and Contemporary Art Evening Sale

Fontana work may fetch $21.8 million in Record Christie’s Sale
[Bloomberg]
Bacon Portrait Expected to Sell for £7.5 million at Christie’s Auction in October [ArtObserved]

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Go See: Turner Prize show at the Tate Britain, London, Sept 30th through Jan 18

Monday, September 29th, 2008

I give you all my Money by Cathy Wilkes
‘I give you all my money 2008′ by Cathy Wilkes, a finalist at 2008′s Turner Prize, via Guardian

The Turner Prize is exhibiting this year’s finalists starting September 30th at the Tate Britain, in London. Founded in London in 1984 to support the development of contemporary artists under 50 years of age, the prize is widely considered one of the art world’s highest honors. This year’s finalists are Runa Islam, Goshka Macuga, Mark Leckey and Cathy Wilkes–the first time in the prize’s history that three of its four nominees are women. The works shown run the gamut from installation art to film.  Past award recipients have included Wolfgang Tillmans, Tracey Emin, Damien Hirst, Anish Kapoor and Steve McQueen.

Turner Prize page at the Tate Britain
A mannequin on a toilet and dry porridge – it’s the Turner Prize
[Independent]
The Turner Prize 2008: who cares who wins?
[Telegraph]
Turner Prize Nominees Offer Supermarket Checkouts, Broken China
[Bloomberg]
Video: Take a tour of the Turner prize 2008
[Guardian]
Turner Prize 2008: Who’s Who
[Guardian]
Dummies and china compete for Turner
[Financial Times]
Turner fight begins again [Financial Times]
Nurses and Curses: Adrian Searle on this year’s Turner Prize finalists
[Guardian]

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Renderings of Herzog & De Meuron’s Tribeca tower with Anish Kapoor sculpture released

Thursday, September 18th, 2008

Anish Kapoor Herzog de Meuron
Rendering of Herzog & de Meuron’s 56 Leonard St. tower including the site specific sculpture designed by artist Anish Kapoor via Andrea Schwan Inc.

The design for Pritzer Prize winning architects, Jacques Herzog and Pierre de Meuron’s Tribeca tower was released earlier this week. The $650 million project will be 57-stories high with condominiums ranging from 1,430 square feet to 6,360 square feet, and is projected to be open in 2010. The tower is said to house 145 residences each with its unique floor plan and complete with a private balcony. The translucent skyscraper will be the first high-rise commission for the Swiss architects, who have had their hand in designing the Beijing National Stadium in China for the recent 2008 Olympic games, the Tate Modern in London, and the de Young Museum in San Francisco. The contemporary artist Anish Kapoor has been commissioned to install one of his signature stainless steel, reflective sculptures on the ground floor. The tower will appear to be resting a top his sculpture, and will be the first permanent public artwork for the artist in New York City.

Construction Begins On Herzog & De Meuron’s 56 Leonard Street [Artdaily]
Olympic Bird’s Nest architects design NY high-rise [Associated Press]
A Stack of Houses [NYTimes]
Fantastical Form in TriBeCa: Herzog & de Meuron’s 56 Leonard St. [NYSun]
At 57 Stories, 56 Leonard St. to Tower Over Tribeca [Tribeca Tribune]
One’s Huge, the Other’s Crazy [NYMag]
Herzog & de Meuron reach for the sky [World Architecture News]
Herzog & de Meuron’s Plans Unveiled for New York City Tower [ArtForum]
New York Developer commissions Anish Kapoor for Herzog & de Meuron residential project in Tribeca [ArtObserved]

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Newslinks for Sunday September 7th, 2008

Sunday, September 7th, 2008


the sculptor Anish Kappor via the Boston Globe

Sculptor Anish Kapoor set designs for an upcoming Akram Khan play featuring Juliette Binoche [National Theatre, London]
Are Olafur Eliasson’s waterfalls damaging the local natural environment? [ArtInfo]
Relating a past run-in with Francis Bacon and reflecting on his work before his retrospective at the Tate [The Independent]
Author Michael Gross’s ‘Rogues’ Gallery’ exposes the inner circles of the Metropolitan Museum of Art [ArtInfo] Aug 29
Gustav Klimt at the Tate Liverpool brings record attendance [BBC News] while the British National Gallery’s strategy of exhibiting newer artists leads to a sharp drop in paying visitors [Times Online] Aug. 31

Newslinks for Wednesday, July 23, 2008

Wednesday, July 23rd, 2008

Serpentine Gallery Pavilion 2008 via Serpentine Gallery

Gehry’s Serpentine Pavilion, reflective of his early style, up through October 19 [Serpentine Gallery]
Sao Paolo police find $630,000 of stolen works, including a Picasso [BBC]
Banksy posts a comment on his identity [Banksy.co.uk via The World's Best Ever]
Royal Academy announces upcoming Anish Kapoor retrospective [Artinfo]
Sir Nicholas Serota, Tate Modern director, is ‘learning Russian fast’ to court philanthropic support of new extension [Russia Today ]

Dresses: a material focus.(WWD/MAGIC International)

WWD January 16, 1996 | Pogoda, Dianne M.

NEW YORK — Fabric is shaping up as the key element in summer dresses.

Most vendors say the emphasis on simplicity in silhouettes is casting a spotlight on texture and surface interest. Some are launching new lines, with a focus on a new fabric or new price, to spark spring sales.

Dressmakers are bringing spring/summer to WWD/MAGIC, for deliveries as late as May 30. They will show some transition and early fall, but said stores are ordering close to need and often require immediate deliveries of fill-in items.

Casual and business casual are the driving force behind growth in Jerell Inc.’s dress sales, said Sam Klapholz, vice president and national sales manager of the Dallas-based firm.

Jerell is launching a new line — 1431, a moderate label that retails between $59 and $79 — to complement its Melissa brand, which is aimed at specialty stores and retails for $100 to $120.

“We’re very excited about the casual revolution, because it gives a woman a new reason to buy a dress,” he said.

Klapholz cited heavily laundered denim and twill, with very soft hands, and combinations of wovens and knits as key fabric treatments.

“Anything with surface interest is very important,” he said.

As for silhouette, he said unfitted A-line and Empire styles are doing well, but the company is doing terrific business with shirlwaists. web site easrer dresses

`These really hit a nerve in the market,” said Klapholz. “They aren’t old-looking dresses, though. They’re modern, like the Ann Taylor style with double needlework, or military style with epaulets and great belts, in French cotton twill.” He also said the layered look was important, with vests over knit and woven dresses — “a twinset over a dress.” Mica is launching a new garment-washed denim group in its dress collections for spring, according to owner Judy Rabineau.

“They’re sweet, sexy little dresses in similar silhouettes to what we do in other fabrics, like rayon — halters, long fitted jumpers, sleeveless sheaths,” she said.

Mica will take orders for May deliveries at WWD/MAGIC, for the last of spring/summer. Rabineau said retailers expect quick turn on goods, and everyone is cutting very close to need.

Other key fabrics are shantung, rayon crepe pastel velvets, georgette and a printed rayon pique, which resists wrinkles and has been getting a strong reception.

The dresses are “cool and hip, but not junior-y,” she said, noting there are many women in their mid-to-late 40s who want youthful style, but don’t want to look as if they are dressing like their daughters.

She said prints are booking well, including bright novelty themes like fruits, random-placed florals or conversationals.

Kami Rehanian, president and designer of High Point, which makes day and evening dresses, said styles are “not gaudy” and fabric is the key element in spring style.

“From misses’ to juniors, women are looking for simple style, with less embellishment and embroidery,” he said. “It’s the same trend that’s happening in Europe. Women want something they can wear to many places, too, not just to the office.” Rehanian said suitings, especially pantsuits, and short skirts are leading choices for spring. He said triacetates, rayons, silk and linen blends and Lurex metallics are among the hot fabrics, which is where the fashion statement is made.

Jodi Schaff, owner of On Your Back, said basics — some with trim — and layers are key for the casual knit dresses she’s making for spring. The Doylestown, Pa.-based company is essentially a T-shirt maker, with dresses accounting for 20 percent of its business. Dresses, however, is a growing category, she said. here easrer dresses

One key style is a tie-back jumper with an easy fit that suits many bodies. The fabric is either combed cotton or a blend of cotton and Lycra spandex Colors, from basics like black, red, navy and ecru, to novelties like aqua, rose and chamois in overdyed heather jersey, are especially important.

Schaff said she will take orders for immediate delivery through May on spring/summer goods she’s bringing to WWD/MAGIC.

“Money is scarce, and stores are ordering much closer to season,” she said.

Simplicity is the buzzword at Brasseur/Davinci, said Danny Golshan, national sales manager of the Los Angeles-based ready-to-wear maker. The firm will show suits and dresses for spring/summer “We do basic styles, not too trendy, in large and misses’ sizes,” he said. The collection features embroidered suits with three or four-button jackets, and one- and two-piece dresses at $79 to $150 wholesale. Button treatments include metal and rhinestones, while lengths are mostly long, he said. Fabrics include linen, polyester crepe and triacetate.

Pogoda, Dianne M.

New York Developer commissions Anish Kapoor for Herzog & de Meuron residential project in Tribeca

Wednesday, July 9th, 2008

Artist Anish Kapoor via Billslater

Indian-born artist, Anish Kapoor, has been commissioned to design a large-scale public sculpture for a new residential tower in Tribeca. In addition to Kapoor, the New York-based real estate company, Alexico Group, has chosen the world-renowned Pritzker Prize winning architectural firm, Herzog & de Meuron to design the building. Izak Senbahar and Simon Elias, principals of the Alexico Group, have announced that the Kapoor sculpture will be installed at ground level and be fully incorporated into the architectural design. The designs for the building and sculpture that will sit at the intersection of Leonard and Church Streets, will be released in the fall, and construction is projected to be completed in Spring 2010 .

New Tribeca Tower to Include Kapoor Sculpture [Artinfo]
A New Tower For Tribeca [VanityFair]
Alexico Group Announces Manhattan Commission to Architects Herzog & De Meuron and Artist Anish Kapoor [Artdaily]
Swiss Firm to Design New TriBeCa Tower [NYTimes]
Alexico Group inked a deal with architects Herzog & de Meuron [NYDailynews]
Herzog & de Meuron and Anish Kapoor to Collaborate on New York Tower [InteriorDesign]
Tribeca Skyscraper to get Sculpture [TheRealDeal]

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Sotheby’s London Contemporary Art Evening Auction, July 1 – Preview

Tuesday, July 1st, 2008

Chant 2, Bridget Riley (1967) via Sotheby’s

Sotheby’s is holding its Contemporary Art Evening Auction on Tuesday, July 1st at its New Bond St. location in London. The sale’s highlights include works from Francis Bacon, Jean-Michel Basquiat, Antony Gormley, Damien Hirst, Anish Kapoor, Jeff Koons, Takashi Murakami, Richard Prince, Gerhard Richter, Bridget Riley, Andy Warhol and a number of other notable contemporary artists. The complete body of works for this sale will be on view at Sotheby’s New Bond St. galleries Monday, June 30 from 9am-7pm and Tuesday, July 1 from 9am-12noon.

Bridget Riley’s piece, Chant 2, a unique color painting which will be in the sale, was part of a show which won the artist the esteemed International Prize for Painting at the 34th Venice Biennale in 1968 .

Estimate: $4,000,000 – $6,000,000 (Pictured above)

London Contemporary Art Evening Auction [Sotheby's]

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Newslinks: Monday June 16th, 2008

Monday, June 16th, 2008

Anish Kapoor via Time

Time Magazine on Anish Kapoor [Time]
Tracey Emin’s controversial selections for Royal Academy include zebra bestiality, closeups of masturbation during menstruation, and barbed wire hula-hooping [The Daily Mail]
Separately, Hirst invited to join Royal Academy, and has yet to reply [[TimesUK]
Banksy friend/street artist Nick Walker to tag undisclosed British landmarks with laser [Artinfo]
Private art insurance premiums jump 30% year on year [Wall Street Journal]
Salander furniture/antique sale garners $1.6 million [Bloomberg]
The Met is closer to a new Director [New York Sun]
The Vatican begins a contemporary art initiative[the Independent]

Remarks at a Democratic National Committee luncheon in Rancho Santa Fe, California: September 26, 1998. (Pres. Bill Clinton)(Transcript)

Weekly Compilation of Presidential Documents October 5, 1998 Thank you very much. Well, if I had any sense I wouldn’t say anything. [Laughter] Thank you, Bill. Thank you, Star. Thank you, Len. And all of you, I can’t tell you how much I appreciate you being here. I’m delighted to see Lynn Schenk, and I’m delighted to see Christine Kehoe. And we are determined to see her prevail. If you want to do something for what you just stood up for, send her to Congress. Send her to Congress.

I’d also like to thank all of you who have been my friends over the years, and some of you whom I have just met today, I am very grateful to see you here. I’d like to thank all the people who are responsible for our wonderful meal and the terrific musicians. Let’s give them a hand. Didn’t they do a great job? Thank you. [Applause] The Wayne Foster Group. Thank you so much. Bless you.

It’s nice to be here in this humble little house. [Laughter] This is the first place I’ve ever been where the fish are worth more than I make in a year. [Laughter] Listen, I want to say, this is really a magnificent home. It’s a real tribute to the work that Bill has done over the years and to the feeling that they have for all of us that they open their home to us. And I’m very grateful to be here.

I will be brief. I’ve had a remarkable couple of days. I was in Chicago yesterday, which most of you know is my wife’s hometown. And I got my Sammy Sosa Chicago Cubs baseball shirt, which was promptly taken away from me last night when I met up with Hillary and Chelsea in northern California.

Hillary has been up in Washington and Oregon and San Francisco campaigning, made an appearance last night for Barbara Boxer up there. And I’m here, and I’ll be in Los Angeles tonight and tomorrow. I’m going on to El Paso and San Antonio, Texas, and then I’m going back to Washington on Sunday night to try to bring to a closure this session of Congress with some productive action. But I cannot tell you how much it means to me not only as your President but as a person, what you have said here and what I have seen all across this country. And I’m grateful, and my family is grateful, and I thank you.

But there is something far bigger than all of us at stake here, and that is our country, our system, and where we’re going. And I tell everybody who comes up to me worrying about this, that the real enemy of our party and our principles and our programs and the direction of the country is not adversity. Adversity is our friend. It inspires us to action. It gives energy. It gives us steel and determination. Our real enemy is complacency, or cynicism. in our site rancho santa fe

You know, things are going pretty well for our country now, and I’m very grateful that I had a chance to be President, to implement the policies that I ran on that I talked about 6 years ago, I think, this month, when I was here with Bill and Star at their previous home. I’m grateful that we’ve got the lowest unemployment rate in 28 years and the lowest crime rate in 25 years and the smallest percentage of people on welfare in 29 years. And in just a few days, less than a week now, we’ll have the first balanced budget and surplus in 29 years. I’m grateful for that.

But the question is, what are we going to do with it? I’m grateful that we’ve opened the doors of college to virtually anybody now who will work for it with tax credits and the deductibility of student loans and more scholarships and work-study positions and that we added 5 million kids to the ranks of those with health insurance, passed the Brady bill and the Family Medical Leave Act. I’m grateful for all that.

But what are we going to do with it? What are we going to do with it? That’s really what’s at issue here. Our friends in the Republican Party believe they’re going to win in the midterms, first of all, because they wanted me – [At this point, birds began chirping in the background.] I don’t mind the birds; it’s just background music. [Laughter] Believe me, I’ve had worse background music lately. [Laughter] The Republicans believe they’re going to do well in these elections, first of all, because in every single election since the Civil War, with the President in his second term, the President’s party has always lost seats at midterm. The second thing they’re banking on is money. Even though you’ve been very generous and you’ve come here, they always have more money than we do, especially now that they’re in the majority. But we have something that money can’t buy and that history can’t overcome: We are on the right side of the issues for America’s future.

The history we want to make tomorrow and the next day and the next 10 or 20 years is the right history for America. And all we have to do is to get enough of our people to understand that, to get enough energy, out there, to get enough people to show up on election day, and all the history in the world won’t make a difference, and all the money in the world they have won’t turn the tide. Because people now know that when it came to the budget vote in 1993, which reduced the deficit by 93 percent before we had the bipartisan Balanced Budget Act, we didn’t have a single Republican vote. They know we barely had any votes for the crime bill when we banned assault weapons and put 100,000 police on the street, or for the Brady bill. They know that we had almost all – and Democratic votes, barely any Republican votes, for the family and medical leave law.

And if you look at the last year, when this country has had lots of challenges, and we had the resources to meet them, what has happened in this Congress in the last year? They’ve killed the tobacco legislation, to which Bill alluded. They’ve killed campaign finance reform. They have taken no action on my education program. The other night, in a breathtaking move, the Republican leader of the United States Senate actually had to shut the Senate down and make people go away for 4 hours because it was the only way to keep them from voting on the Patients’ Bill of Rights. And he knew if we ever got a vote, one of two things was going to happen. It was either going to pass, or they were going to be punished for killing it – for the insurance companies that wanted to kill it. So what did they do? They shut the place down. Unprecedented!

Now, what this is really about, this election, is not what’s going on in Washington, DC; it’s what’s going to go on in the lives of the people in San Diego and El Paso and Racine, Wisconsin, and the Northeast Kingdom in Vermont and all the places in the country where the people live who send people to Washington, DC. That’s what really matters.

And there is a very clear choice about what to do with this moment, and I think – if you just think about the things we need to do right now to prepare for America’s future – I’ll just mention five very quickly. Number one, we’re going to have a balanced budget and a surplus on October 1st for the first time in 29 years. They voted in the House and may vote in the Senate for a tax cut to start spending the surplus right away.

Now, I remind you, we quadrupled the debt of the country between 1981 and 1993, when I took office. These surpluses in the years ahead – they say, “Oh well, we know we’re going to have them, so we can spend some now, and it’s 4 or 5 weeks before the election, and won’t that be popular to just dish out a tax cut right here before the election.” And it’s the Democratic Party that’s standing up for fiscal responsibility and saying, no, and I’m saying no. And I’ll tell you why.

First of all, we have waited for 29 years. We have worked for 6 years to get out of this terrible hole. I would just like to see the red ink turn to black and watch the ink dry for a minute or two before we run another deficit. Wouldn’t you like to see that? Wouldn’t you just like to see the ink dry? [Applause] You know, they didn’t want to wait a day just to enjoy this incredible achievement. Now, why is that important? Because we’ve got a lot of trouble in the world today in the word economy. I was up in Silicon Valley last night where they understand how dynamic things are. They live in a perpetual state of change there. But so do we all, and we dare not forget it. We forget it at our peril.

We have to set a standard if we want to keep growing this economy that America, of all the countries in the world, is the most solid, the most sensible, the strongest country in the world.

The second reason we shouldn’t spend that surplus right now is that, before you know it, the baby boomers will begin to retire, starting in about 10 years. I’m the oldest of the baby boomers. People between the ages of 34 and 52, when we all retire, there will only be about two Americans working for every American drawing Social Security. Unless something totally unforeseen happens to the birth rate or the immigration rate, it will be about two to one.

The Social Security system today alone keeps half of the seniors in this country out of poverty; that is, without it, 50 percent of the seniors in this country would be in poverty, even with their other sources of income. Now, if we begin today and make modest changes, we can preserve the universal character of Social Security in the sense that it’s a bottom line safety net for people that don’t fall into poverty. But we can increase the returns, make some other changes, and avoid putting an unconscionable burden on our children and grandchildren.

I’m telling you, everybody I know my age is worried about this. I was home a few months ago and I had a barbecue about 6 o’clock in the evening with about 20 people I grew up with – most of them are just middle class Americans, don’t make much money. Every one of them said they were plagued with the thought that their retirement would be a burden to their children and their grandchildren. They’re not wealthy people. They know they’re not going to have enough. But they are plagued with the thought that they will have to take money away from their children and grandchildren.

Now, we have worked for 29 years for this. It’s the right thing to do, anyway, right now because of all the instability in the world, for us to stay strong and have this strong economy and have this little surplus. But secondly, it’s the right thing to do before we – I’m not against tax cuts. We have some tax cuts in our budget, but they’re all paid for. But before we get into that surplus for tax cuts, before we spend a penny of it for new programs, we ought to save the Social Security system for the 21st century, so that we do not either run a lot of seniors into poverty, or undermine the welfare of their children and grandchildren. It is terribly important.

That’s a big issue that affects people who live outside Washington, DC. The second big issue – it’s very important – again related to the economy, is I’m doing everything I can to limit the financial turmoil in Asia now, to begin to reverse it, and to keep it from spreading to Latin America which are our biggest markets, our fastest growing markets for American goods and services – everything I possibly can to sort of right this instability in the international financial system that you see most pronounced in Asia and Russia now but could affect our welfare. Alan Greenspan said the other day, more eloquently than I could, America could not forever be an island of prosperity. For us to grow over the long run, our friends and neighbors all across the world, on every continent, who are doing the right thing and working hard need to be doing better as well. That’s what this International Monetary Fund issue is all about.

For 8 months I have been pleading with Congress just to pay our fair share of the International Monetary Fund so we’ll have the money to stop the financial virus before it spreads across the globe and begins to bite us. That’s a big issue, and it hasn’t been done yet.

The third thing I want to say is we will never be permanently secure in this kind of economy until we can say not only that we have the best system of higher education in the world, but that every one of our children, without regard to race or income or neighborhood, has access to a world-class elementary and secondary education.

And for 8 months I have had before the Congress, fully paid for in the balanced budget, a bill that would lower class sizes to an average of 18 in the early grades and put another 100,000 teachers out there to teach them; that would build or repair another 5,000 schools because the schools are overcrowded; that would hook all the classrooms in the country up to the Internet by the year 2000; that would build 3,000 more charter schools – an issue that California has been on the forefront of – that would, in short, keep us on the forefront of education. It would also reward school districts that have poor performance and a lot of kids in trouble if they’ adopted high standards, accountability, no social promotion, but actually helped the kids, and didn’t denominate them as failures when they’re young and they are no such thing.

I was in Chicago the other day. Chicago used to be the poster child of a bad, failing, urban school district. I went to the Jenner Elementary School, where every single child lives in Cabrini-Green, one of the toughest public housing projects in all of America. In the last 3 years, their reading scores have doubled and their math scores have tripled. Chicago has a “no social promotion” policy, but if you fail, they don’t just say you’re a failure. They say you didn’t pass the test, and you have to go to summer school. The Chicago summer school now is the sixth biggest school district in America. [Laughter] Guess what’s happened to juvenile crime in Chicago. There are now 40,000 kids in that city that get 3 square meals a day in the school. So that’s also in our plan, funds for other troubled districts to follow that model.

We also have funds for 35,000 young people to pay for their college education, and then they can go out and work it off by teaching in underserved areas. This is a good program. That’s an issue in this election. It matters to you and to your future and to your children’s future and to your grandchildren’s future whether we can rescue, revive, and make excellent the public educational opportunities of every child in this country.

So those are three things: saving Social Security, stabilizing the global economy, putting education first.

I’ll just mention two others. Number one, one of the biggest fights I have all the time, convincing people on both sides, is that America has to find a way to protect the environment and grow the economy, and that if we have to choose one or the other, we’re in deep trouble. We have spent hundreds of thousands of dollars complying with subpoenas from a congressional committee that doesn’t want me to give tax incentives and spend research and development dollars to figure out how to grow the economy and reduce C[O.sub.2] emissions. And that’s out of step with the rest of the world.

I was in San Bernardino County not very long ago with the head of the National Association of Home Builders at a low-income housing project, where they had solar reflectors on the roof that are so thin now they look like ordinary shingles, and glass that keeps out 40 percent of the heat and cold and dramatically reduces the power cost. And it improves economic growth. It creates jobs and improves the environment – big issue. this web site rancho santa fe

But believe me, the budget I’m about to get, unless they change their tune, is going to be riddled with things designed to deny that and to weaken our environment.

And finally, to me the thing that embodies as much as anything else the great philosophical difference that’s at stake now in Washington is the debate over the Patients’ Bill of Rights. Now, let me set the stage. There are 160 million Americans in managed care plans. I have been a supporter of managed care. Why? Because when I became President, health care costs were going up at 3 times the rate of inflation. It was unsustainable. We were going to bankrupt the country. There wouldn’t be enough money left to spend on anything else.

But it’s like anything else – if the bottom line is just whether you save money rather than the bottom line of saving as much money as you can consistent with the health of the people that are being treated, you get in trouble.

And now many, many managed care plans have health care decisions made by insurance company accountants, and you have to appeal to two levels up or more until you finally get to a doctor. Our bill, which has the support of 43 managed care companies who are doing this anyway and are being punished for it, says this – it says simply, if you get in an accident, you ought to be able to go to the nearest emergency room, not one that’s 5 or 10 miles because that’s the only one that happens to be covered by your plan. Number two, if your doctor says that he or she can no longer treat your condition and you need to see a specialist, you ought to be able to see one. Number three, if you work for a small business who changes providers, health care providers, at a given time during the year, you still shouldn’t have to change your doctor if you’re in the middle of a critical treatment.

Now, let me just graphically demonstrate what that means. This happens. These things happen. You remember when you had your first child. How would you feel if you were 7 months pregnant and your employer says, “I’m sorry, go get another obstetrician”? If anybody in your family has ever had chemotherapy – I’ve been through that – if your family member needs chemotherapy, you sit around thinking; you try to figure out ways to make jokes about it. My mother stood there thinking, “Well, maybe I won’t lose my hair, or when I do, maybe I will finally get a wig.” I never had to – you think – you try to be funny about it. And then you wonder whether you’re going to be too sick to eat, right? In the middle of a chemotherapy treatment, do you think somebody would say, “I’m sorry, go get another doctor”? That’s what this is about – basic things.

Our bill also protects the privacy of your medical records, which I think is very, very important and will become more important in the years ahead.

Now, the House of Representatives, the Republican majority passed a bill that guarantees none of these rights and leaves 100 million Americans out of what little it does cover. The Senate wouldn’t even vote on the bill because they didn’t want to be recorded, so they shut down business.

That’s what this election is about. Don’t be fooled about a smokescreen. This election is: Are we going to have a Patients’ Bill of Rights? Is our policy going to be to grow the economy and preserve the environment? Are we going to put education first? Are we going to stabilize the global economy, so we can continue to grow? Are we going to save Social Security first? That’s what it’s about.

And if we go out and say, we are Democrats, this is what we’re running for; we believe elections should be about the people that live outside Washington, not about who’s crawling on whom in Washington, DC – everything is going to be fine. So I ask you, go out there and make sure that’s what it’s about.

Thank you very much.

NOTE: The President spoke at 3:35 p.m. at a private residence. In his remarks, he referred to luncheon hosts William S. and Star Lerach; Leonard Barrack, national finance chair, Democratic National Committee; Lynn Schenk, candidate for State attorney general; and San Diego City Council member Christine Kehoe, candidate for California’s 49th Congressional District.

Go See: Anish Kapoor at Gladstone Gallery, New York, Through June 12

Friday, May 23rd, 2008

Anish Kapoor
Anish Kapoor Blood Stick (2008) via erikjsommer

Gladstone Gallery is currently exhibiting new work by the sculptor Anish Kapoor at both its 24th Street and 21st Street locations.  The exhibition is the first at Gladstone’s new gallery space on 21st street.  Kapoor uses divergent materials such as stainless steel and vibrant colored dyed wax to make his work, always placing a premium on the viewer’s interaction with the sculpture.

Anish Kapoor [Gladstone Gallery]
Interview with Anish Kapoor [Bloomberg]

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Turner Prize 2007 Awarded

Tuesday, December 4th, 2007

Mark Wallinger, Sleeper
A still from Mark Wallinger’s Sleeper, via artnet.

On December 3rd 2007 Tate Britain awarded Mark Wallinger the 2007 Turner Prize for his video, “Sleeper.” Since 1984, the prize has been awarded annually to a top British Contemporary Art Exhibition of the previous year and is generally regarded as one of the top art honors in Europe. Past winners include Damien Hirst, Gilbert & George and Anish Kapoor. The exhibition is on display through January 18th at Tate Liverpool.

Bloomberg Article
Mark Wallinger [Tate]

More Details on Wallinger after the Jump: (more…)

French estuary on display

Saturday, June 30th, 2007

Hofman - Canard du BainVia Estuaire 2007

Once a center of naval activity, the newest and certainly most eye-catching bateau on France’s Loire estuary is armored with a shell of mirrors, reflecting the riverbank’s factories, natural marshes… and resident gigantic floating plastic duck? Florentijn Hofman’s “Canard du Bain”, a titanic incarnation of every child’s favorite yellow bath time friend is absurdly placed within a dingy, industrial habitat. A cartoon-like beacon, the river-bound sculpture injects a certain lightheartedness into the milieu. If it were not so innocent looking, its size would suggest that it could wipe out a nearby cluster of sailboats in a single gulp. (more…)