‪‬MoMA collaborates with Uniqlo for ‘Message Art Now!’ artist-designed T-shirt series [AO Newslink]

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Ai Weiwei named ‘most powerful’ artist of 2011 according to annual ‘Art Review 100’ [AO Newslink]

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Sarah Jessica Parker, Simone de Pury, Jerry Saltz, Bill Powers and the like returned for the Season 2 opener of Bravo’s Work of Art this evening [AO Newslink]

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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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‪‬Tate Collection acquires three new works on first day of Frieze Art Fair 2011 [AO Newslink]

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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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‪‬Art Below turns ad space into art space beneath Regents Park (site of Frieze) Tube station in London, with works by 20 Saatchi Gallery New Sensations Prize finalists [AO Newslink]

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Still from PST video with John Baldessari and Jason Schwartzman. Via CalArts.

Began by the Getty Foundation nearly ten years ago, the Pacific Standard Time (PST) initiative has done well, to say the least, with the most recent issue of Artforum almost completely devoted to art in L.A. While PST-related programming began in early September, the weekend of October 1st was the highly anticipated official “opening weekend,” with sixteen exhibitions opening across the city.

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‪‬Carsten Höller installs 102 foot slide, “a happiness-producing machine,” through the floors of the New Museum for his upcoming retrospective [AO Newslink]

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‪‬Tacita Dean unveils ‘Film,’ a 35 mm film on a 13 meter tall screen as the 2011 Unilever series commission at the Tate Modern [AO Newslink]

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Suspect may have panicked and trashed 5 stolen masterworks following “one of the biggest art heists ever” in Paris last May. The works stolen from the Musée d’Art Moderne were Dove with Green Peas by Pablo Picasso, Pastoral by Henri Matisse, Olive Tree near l’Estaque by Georges Braque, Still Life with Candlestick by Fernand Leger and Woman with Fan by Amedeo Modigliani. [AO Newslink]

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Carter, Throughout (2011). All images courtesy of Marc Jancou Contemporary

On view now at Marc Jancou Contemporary is Forthcoming, an exhibition of new work by the Swiss artist Carter. Open through November 12^th—now extended through December 23rd—Forthcoming is the inaugural show at Mr. Jancou’s new Geneva gallery, simply called Jancou. Carter is known for using a variety of media, and although this is an exhibition of works on paper, each was made using a combination of materials and techniques. His work often explores the idea of the self and the shifting concept of identity, with Forthcoming examining the idea of anonymity in particular.

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Two oil paintings by Pablo Picasso, “Tete de cheval” (1962) and “Verre et pichet” (1944), both stolen from Pfaeffikon, near Zurich, in 2008, and loaned by the Sprengel Museum in Hannover, Germany have reportedly been found in Serbia [AO Newslink]

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Artist to give birth in Bushwick, Brooklyn gallery as part of a performance art work [AO Newslink]

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Petite danseuse de quatorze ans by Edgar Degas to headline Christie’s Impressionist and Modern Art November 1st evening sale at an estimated $25-$30 million [AO Newslink]

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London dealer Jay Jopling is profiled by the Guardian as Frieze week is set to begin [AO Newslink]

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‪Artist Michael Heizer to move 340-ton boulder for permanent installation at LACMA; a $10 million, 9 night journey from quarry through Los Angeles [AO Newslink]

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Installation view. All photos via Galerie Perrotin.

On view through November 12 at Galerie Perrotin, “Orchestra” is comprised of mainly new works by contemporary installation artist Xavier Veilhan. The artist reinvigorates his early sculpture work with his newer interactive installation techniques. By presenting his technical prowess in an abstract context, Veilhan invites a reconsideration in which historically important functional designs meet art history. In this way, “Orchestra” beckons visitors into a confrontational, interactive, and at times hypnotic space between reality and disrupted reality—a space in which a “polyphony of objects,” including turbines, birds, trees, monuments, and even a sculpted gorilla, become an entire enveloping landscape.

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Auction brewings: A 1961 Roy Lichtenstein could go for $35 million at November 8th auction at Christie’s; a Picasso is estimated to sell for $25 million at Sotheby’s [AO Newslinks]

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On the Chinese factor within the art market: “The Chinese stars initially anointed by the West are still the segment’s top sellers, but the Chinese are also seeking out lesser-known artists whose works center on potent themes like political corruption.” [AO Newslink]

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Ryan Gander’s Locked Room Scenario. All pictures for Art Observed on site by Caroline Claisse.

British artist Ryan Gander‘s Locked Room Scenario is set in the mysterious Londonnewcastle Depot in north London. Every detail, from postcards and notes left throughout the scene, to teenage actors sitting on the stoop, create an intriguing, paranoia-inducing installation. Walking past locked rooms and peering through windows of a seemingly closed exhibition, the viewer is frustrated, left wanting more. Indeed, “the crime scene” reaches an intolerable suspense as the public must decipher the art within and the possible meaning thereof. Gander’s game plays with imagination and paranoia, creating an experience of total immersion, leaving the viewer second-guessing everything and everyone involved.

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Opening night. All images for Art Observed on site by Ana Marjanovic.

Rosy Keyser’s solo exhibition Promethean Dub is on view now at the Peter Blum gallery in Chelsea. Using both traditional and nontraditional materials on her abstract canvases, including house paint, enamel, and mica, Keyser explores the theme of rebirth and sustainability. As explained in the press release, the title of Promethean Dub refers to the “myth of Prometheus, who was responsible for endowing humankind with the fire of life and the musical genre Dub, born of poverty and ingenuity, a means of creating new sounds by reformatting preexisting songs.”

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Photos for Art Observed on site by Samuel Sveen.

Art Observed was on site for the Whitney Studio Party, the after-party of the Whitney Museum‘s annual gala. In honor of Calvin Tomkins—the New Yorker writer and profiler of 95 artists—dinner was followed by a dance party down the hall in the larger warehouse space at Pier 57 on the west side. As ?uestlove spun all night, guests danced and drank among various socialites and artists, including Nate Lowman and Ryan McNamara.

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?uestlove

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ASCO artists, self-portrait series

“ASCO: Elite of the Obscure” comes highly recommended as a way of experiencing a movement that is often neglected within a larger art history context. As noted within the Los Angeles exhibition’s literature, ASCO takes its name from “the forceful Spanish word for disgust and nausea,” and was a movement primarily active from 1972 to 1987. Much of the work featured describes both the joys and hardships of being Latino in a Hollywood culture, a traditionally Caucasian experience. The work—a combination of sketches, collaged photos, graffiti, and even costumes—falls in the tradition of Dadaism and Surrealist art of the 1920s and 1930s, but with a particular Chicano psyche.

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