Joseph Cornell, Palace (1943), Courtesy Royal Academy

Despite his adventurous stylistic innovations, roving tastes and depth of vision, Joseph Cornell rarely left New York State.  The American artist lived much of his life as a textile worker, as well as other odd jobs, while caring for his family in a Flushing, Queens home, while spending his free time creating his massively influential “shadow boxes,” assemblages, films and collaged objects, a body of work that won him praise from Marcel Duchamp, and would go on to influence a range of artists, from the abstract expressionists through to conceptual practices today. (more…)

Jeffrey Gundlach, Santa Monica art collector and Wall Street tycoon, returned home from a trip to New York to find $10 million in artwork missing. Jasper Johns’ “Green Target”, along with works by Piet Mondrian, Richard Diebenkorn, Franz Kline, Joseph Cornell, Philip Guston and others were taken. No word yet on whether there was a security video, as the investigation is underway.

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Above: Karen Kilimnik, Me Corner of Haight & Ashbury, 1966, 1998.
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Below: Joseph Cornell, Untitled, c. 1953.
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Image courtesy of the Artists, 303 Gallery New York and Sprueth Magers Gallery Berlin London.

Currently on view at Sprueth Magers London is “Something Beautiful,” a collaborative show by American artists Joseph Cornell and Karen Kilimnik. Curated by Todd Levin, the exhibition features paintings, collages, and mixed-media installations that reflect the influence of the Romantic-era ballet on both artists.

Joseph Cornell (1903-1972) was an American artist known for pioneering the art of assemblage. Created from found objects, Cornell’s boxes often read like three-dimensional Surrealist paintings. He admired the work of Max Ernst and Rene Magritte, but claimed to have found their work to be too dark.  His work was also inspired heavily by his beliefs in Christian Science, which he adopted in his early twenties. He never received formal training as an artist, but was influenced by American Transcendentalist poetry and French Symbolist painters, such as Mallarme and Nerval. Another motif of his work, 19th century European ballet dancers, comes to life in this exhibition.

Similarly, Karen Kilimnik’s work redeploys discreet objects in a quest for the romantic sublime. Theater and stagecraft have figured strongly in her installations, and her use of particular materials suggests the influence of Cornell. Often making direct references to Degas and other Impressionist painters, Kilimnik’s subjects occupy a nineteenth-century world: one of mystery, drama, and romance.

Anthony Byrt, in his review for Art Forum, refers to Levin’s conceptual approach here as a “bold curatorial statement,” suggesting that the premise upon which the two artists are connected is a precarious one. However, “Ballet aside,” says Byrt, “tangible links do emerge, such as theatricality, quiet spectacle, and ideas of feminine beauty, which both artists explore.”

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Karen Kilimnik, Paris Opera Rats, 1993. Image credited as above.

More text and images after the jump…

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“Untitled, boxer” (1982) by Jean-Michel Basquiat, sold by Metallica band member Lars Ulrich for $13.5 million via Artnet

CHRISTIE’S POST-WAR AND CONTEMPORARY ART, New York, Wednesday, November 12th

Total Lots Offered: 75
Total Lots Sold: 51
Total Sales Value: $113.62 million
Total Sales Pre-Auction Estimate: $227 million

Christie’s New York sale of contemporary art, held on the evening of Nov. 12, 2008, was dominated by American buyers and totaled $98,480,000 ($113,627,500 with premium) or about half of the low value of its estimate of $227,150,000 to $321,350,000. 51 of 75 lots sold, or 68%, with nearly a third failing to sell. Two lots sold for over $10 million, and 32 lots sold for over 1 million dollars. Buyers were 60% American, 18% European and Russian, 0% Asian and 24% “other.” Notable attendees were tennis legend John McEnroe and billionaire Eli Broad.

Like Sotheby’s evening sale a day before, Christie’s was also damaged by its guarantees of 39 lots when 12 were brought in with a combined low estimate of $48 million, (typically a price near where an auction house will guarantee). The total guaranteed low estimate was $90 million. Overall, 24 of the 75 lots failed to find buyers which indicates a buy-in rate of 32% by lot and 55% by value. The total for this sale does not compare well to Christie’s fall contemporary sale in 2007 which totaled $325 million. Christie’s reportedly reduced their reserves and as such 52% of the lots sold below the low estimate.

Several new auction records were set, including those by Paul McCarthy and Robert Irwin, however, prices were generally below pre-sale low estimates. Some positives came from the sale including a $15 million Richter and a $13.5 million Basquiat as well as new auction records for Joseph Cornell and Yayoi Kusama. The headliner lot Francis Bacon’s Study for Self-Portrait was unsold against a low estimate $40 million or more, but no bid approached even $30 million. Many other major lots went unsold, including five sequential lots including three Warhols and a Richter valued at up to $10.0 million to $15 million.

Credit crunch hits the art market [Guardian]
Mixed Results for Contemporary Art Sale at Christie’s [NY Times]
Christie’s New York Auction Sells 68% of Contemporary Artworks [Bloomberg]
Lehman’s Fuld and Wife Sell Drawings Below Estimate [Bloomberg]
Francis Bacon portrait pulled from sale after failing to attract bids [Telegraph UK]
Art market in shock as Christie’s calls halt to Francis Bacon sale [TimesUK]
Art Market Watch – $113.6 million at Christie’s Contemporary [ArtNet]
Crappy Art Market Fails to Take Revenge on Richard Fuld [NYMag]
No Bailout at Christie’s [Artinfo]
The art of avoiding the credit crunch [GuardianUK]
Credit crunch hits the art market [GuardianUK]

more with pictures after the jump…

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Lee Bontecou, Composition (1965) via Hauser & Wirth Gallery

The collection of Helga and Walther Lauffs, one of Europe’s most important private collections of 20th century post war art, will be on exhibit at the Hauser & Wirth Gallery in Zürich through July 26. The focus of the Lauff’s collection was new and ground breaking contemporary art.  Their collection contains key American and European artistic currents in the 1960’s and 1970’s.

Selections from the Collection of Helga and Walther Lauffs [ArtNet]
Selections from the Collection of Helga and Walther Lauffs [re-title.com]
VIDEO: Selections from the Collection of Helga and Walther Lauffs/Hauser&Wirth, Zurich [Vernissage]

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