Marian Goodman Gallery has reportedly settled on a new space in London, located at 20 Golden Square, just off Piccadilly Circus.  The addition of Goodman to the neighborhood signals what may be the emergence of a new gallery district in central London, to the east of Regent Street.  The gallery has not stated an intended opening date, but it is not anticipated to be before the end of this year.  (more…)

Art collector and Newspaper Magnate Peter Brant is selling Jeff Koons‘ Balloon Dog (Orange) from his collection to auction this November at Christie’s in New York.  The sale will go to benefit his Brant Foundation Art Study Center in Greenwich, CT, and is estimated at $35 to $55 million, a noteworthy figure that places the low estimate well-over Koons’ current auction record of $33.6 million. (more…)

A recent article by The Independent uncovers the extensive network of government funding, support and propaganda around American contemporary art during the 1950’s and 60’s as an economic and political weapon against the Communist bloc.  Part of the original scope of the CIA when it was founded in 1947, a program called the Congress for Cultural Freedom was used to promote and disseminate the works of American artists as a symbol of outright cultural freedom of expression.  Says former agent Donald Jameson: “It was recognised that Abstract Expression- ism was the kind of art that made Socialist Realism look even more stylised and more rigid and confined than it was. And that relationship was exploited in some of the exhibitions.” (more…)

In an effort to win more consignments, Sotheby’s has filed a statement saying that it has entered into auction guarantees totaling over $166 million, including $23.5 million by undisclosed third-party guarantors.  With fall sales in London, New York and Hong Kong, the auction house has increased its borrowing capacity to provide even more in guarantees to interested sellers.  “We did this to enhance our flexibility as we negotiate deal opportunities and hopefully provide us with an opportunity to improve margins and profitability by taking prudent balance sheet risk,” Sotheby’s head William Ruprecht said. (more…)

During research on a book about Van Gogh’s Sunflowers, writer Martin Bailey stumbled across a Parisian newspaper article, detailing the artist’s public severing of his left ear following a row with Gaugin.  The article, which reported the artist merely as “someone named Vincent,” also details Van Gogh’s later arrival at a “house of ill repute,” where he presented the doorman with the piece of his ear.  “Take it, it will be useful.”  The artist told him. (more…)

The Exhibitor List for the 2013 Edition of the Art Basel Miami Beach art fair has been announced, featuring a list of 258 galleries from 31 countries around the world.  The fair has also announced a number of new programming choices for this year’s fair, including the announcement of New York’s Public Art Fund Director Nicholas Baume as the lead curator for the fair’s “Public” section. Art Basel Miami Beach Opens on December 8th. (more…)

In anticipation of her upcoming show at the Brooklyn Museum, New York Magazine sat down with artist Wangechi Mutu to discuss her elusive, layered collage techniques, her influences in science fiction and mythology, and her views on images of international black identity.  “In National Geographic you always saw pictures of tribal Africa. And here I am sitting in Nairobi, in our suburban house, watching TV and thinking, ‘Why is it always going to be these tribal people that are the ambassadors of our image?’”  She says. (more…)

The New York Times reports on the newest art commission for Dior Homme’s 57th street location in New York City, a polished and cut steel mirror by artist Matt Keegan.  “There’s a number of ways to look at it,” Mr. Keegan said. “But my interest was not in the merger of disciplines. It was in seeing how the sculpture functions on a heavily trafficked street.” (more…)

A never-before-auctioned painting by Dante Gabriel Rossetti will appear on the auction block this December at Sotheby’s in London.  A Christmas Carol was purchased in 1917 by Soap powder billionaire William Hesketh Lever.  Lever kept the work for his entire life, and are being offered for sale by his son, alongside works by William Holman Hunt and James Tissot.  “I have been here nearly 27 years, and I really think these are the best Victorian pictures we’ve had in that time. To see one Victorian painting of such quality would be remarkable, to get three in together is extraordinary.”  Grant Ford, a 19th-century expert at the auctioneers, said. (more…)

Erika Vogt, Stranger Debris Roll Roll Roll (2013), Courtesy New Museum, New York Photo: Benoit Pailley

The back room in the New Museum lobby is currently draped with hanging anchors, plaster molds,  and other myriad items, a bizarre assemblage of pieces and materials that forces visitors to duck their heads and tread cautiously as they move through the narrow room.  This installation, newly created for the museum by artist Erika Vogt, is Stranger Debris Roll Roll Roll, a surreal video and sculptural piece that playfully toys with the raw materialism of the works on view.

Erika Vogt, Stranger Debris Roll Roll Roll (2013), Courtesy New Museum, New York Photo: Benoit Pailley (more…)

Brian “KAWS” Donnelly’s mural, his second major art exhibit in Brooklyn is the latest addition to The Brooklyn Academy of Music’s public art offerings. The mural 3 story-high mural was completed this week, and stands behind a newly-installed, modular bike rack designed by David Byrne, which forms the phrase “Bold wink.” The mural is in bright neon colors and shows the artist’s trademark cartoon forms. (more…)

Icelandic artist Olafur Eliasson is preparing to bring his work Ventilator, which premiered at MoMA in 2008, back to the museum this year.  Consisting of a simplistic fan, a cable and the air of the space, the fan moves in haphazard, circular patterns above the room, illustrating the air currents and forces at play in seemingly empty space.  “I think that Ventilator is captivating to look at, but you also start to wonder what on Earth makes it fly,” Eliasson says. “When we walk into a space, we tend to look at the walls and the floor as solids, and everything between as somehow not there. We know very well that air is thick enough for a jumbo jet to take off and float on it. There is something there, conceptually, to solidify.” (more…)

The Tate has purchased the instructions to artist Martin Creed’s notorious Work No. 227: The Lights Going On and Off.  Fittingly titled, the 2001 work involves the constant flicking of light in a room from on to off and back again, and won Creed the Turner Prize when it was first unveiled, dispute vocal protests from tabloids and artists.  “It is an important work. It is a sober minimalist piece in a long line of artists using every day materials for potent formal and psychological effect. It’s not easy viewing.”  Says critic Louisa Buck.

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Sotheby’s has revealed plans to open a new gallery for private sales in London this fall. Responding to growing demand from clients and an increase in private sales, the gallery will allow the house to transact continuously – not just during the traditional sales seasons. The S|2 Gallery will open this October with a show of works by Joseph Beuys.  “We plan to host five selling exhibitions per year,” Cheyenne Westphal, the auction house’s European head of contemporary art, said. (more…)

Six artists have been named in the shortlist to produce the latest in the rolling series of sculptures featured on Trafalgar Square’s empty Fourth Plinth – including British artists David Shrigley, Mark Leckey and Marcus Coates. Competing for time slots in 2015 and 2016, two artists from the shortlist will be selected early next year.  Miniature versions of the proposed works will be on display in nearby church St. Martin-in-the-Fields starting September 25. (more…)

In an effort to raise $30 million for scholarly and educational programming, the Willem de Kooning Foundation is selling ten works by de Kooning from its collection.  Rather than selling at auction, the works will go on view at Gagosian Gallery this November, bypassing the often harsh public spotlight for a more subdued, conservative sale.  “It’s as much about presentation as it is about money,” says foundation board member John L. Eastman, who also served as de Kooning’s longtime lawyer, executor and conservator. (more…)

Acknowledging a recent petition that the Manifesta 10 Biennial boycott Russia in light of its recent anti-LGBT laws, the organization has responded, refusing to abandon the festival location, and emphasizing the festival’s role examining contemporary Russian society.  “We are conscious of the political climate and the significant conservative shift taking place in Russia, of which this issue is but one example. It is also helpful to know that the leading LGBT organizations in Russia do not support a boycott of the Olympics or other events. They know engagement is important.”  Said Viktor Misiano, Chair of the Manifesta Foundation. (more…)

Robert Therrien, no title (folding table and chairs, beige) (2006), Collection Albright-Knox Art Gallery, Buffalo, NY. Sarah Norton Goodyear Fund, 2007. © 2006 Robert Therrien. Photograph by Tom Loonan.

Robert Therrien is represented by Gagosian Gallery.  He has shown in major exhibitions worldwide, and is in the collections of some of the most prestigious museums around the globe, among them the Centre Pompidou, LACMA, MoMA, and the Tate Modern. Yet his work is often noted for its absence from the mainstream body of post-war conceptual and pop art.

Robert Therrien, no title (table leg) (2010), Courtesy the artist and Gagosian Gallery. ©2010 Robert Therrien. Image courtesy of Robert Therrien studio. (more…)

Emphasizing the recent vote by Michigan’s Oakland County to withdraw support for the museum if any works were to be sold, DIA Director Graham W. J. Beal has stated in the September museum newsletter that “selling any art would be tantamount to closing the museum.”  Beal continues by questioning the valuation of the museum’s assets, particularly the Tintoretto ceiling painting in its lobby.  “You may have read in the Detroit Free Pressthat an expert valued the painting at $100 million. This came as a surprise to us as, a couple of years ago, for insurance purposes, a different expert assessed the painting at $2 to $3 million.”  He writes.
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Over 40 years, Herbert and Dorothy Vogel built up a collection of some of the most significant contemporary artworks of the post-war contemporary era, paid for on meager working class salaries as a postal worker and librarian.  By the time of Herbert’s death last year, the couple had amassed a collection well over 4,000 works, half of which they set about donating to 50 institutions in each of the fifty states.  A new film by director Megumi Sasaki, titled Herb and Dorothy 50×50, will be released soon, the second film to focus on the story of the couple’s love for art, and the process of donation to museums across the country. (more…)

The LA Times traces the path of 8 Cézanne canvases originally intended for donation to the White House, and the political maneuverings that eventually sent the majority of them to the National Gallery. Through a series of closed door meetings and forceful persuasion, then chief curator John Walker III convinced the donors (who had previously intended to give the works to the White House), to instead donate them to his museum.  “I still feel ashamed,” Walker once wrote. “I behaved abominably and frightened a dear friend nearly to death.”   (more…)

An investigation into the death of David Hockney’s studio assistant, Dominic Elliott, has revealed that the young artist died as the result of drinking acid.  Elliott, whose autopsy revealed the presence of several drugs in his system, had been drinking with Hockney’s former partner, John Fitzherbert.  “I cannot comment on any of the lifestyle habits he has,” Mr Hockney said in a statement. (more…)

Gianfranco Gorgoni, Francesco Clemente and detail of General Animal (1984), Courtesy Thomas Ammann Fine Art AG, Zurich

The work of Italian contemporary artist Francesco Clemente is as diverse in style and influence as the life of its creator.  Transcending traditional borders of culture, artistic movements, intellectual spheres and even medium, Clemente has developed a sense of decentered lexicality; his work standing as a testament to the synthesis of his personal travels and influences – among them, the artists he met and collaborated with in New York City in the 1980s. Portraits of the 1980s, currently on display in the Thomas Ammann Fine Art Gallery in Zurich until September 27, chronicles this engagement with New York’s intellectual and social community through a series of portraits, speaking to the friendships which both redefined Clemente’s own style and thrust him into the limelight of the international art scene. (more…)

The newest issue of Garage Magazine is featuring a diptych cover, created in a collaboration between fashion photographers Inez and Vinoodh, and artist John Baldessari.  Photographing supermodel Adriana Lima, Inez and Vinoodh then turned the image over to Baldessari, who abstracted the image in his signature color overlays.  The issue also features an interview with Baldessari, whose solo show at the Garage Center in Moscow opens this fall. (more…)