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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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All photos by Caroline Claisse.

On December 1st Mexican-born artist Gabriel Orozco sat down with Michelle Kuo, Editor-in-Chief of Art Forum, kicking off the series of “Art Basel Conversations” in Miami this week. The yearly panelist series begins each fair with an actual artist contributing to the conversations, and Orozco’s multicultural influence and Latin American roots suited this year’s intent to bridge global connections. The artist’s focus skirted his Tate Modern retrospective that debuted in January, reflecting instead on the metacognitive forms of recognition and orientation in his work, most notably life-size Corplegados, or “folded bodies,” on site at Basel, and later on the archaeologically excavated whale skeleton work, Mobile Matrix (2006), and the recast skeleton of Dark Wave (2006).

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Allora & Calzadilla, Umbrella and Bell (2011), front; Anish Kapoor, Untitled (2011), behind. At Lisson Gallery, booth J1. All photos on site for Art Observed by Caroline Claisse.

International collectors and art enthusiasts filled the Miami Beach Convention Center for the Wednesday preview of Art Basel Miami Beach 2011. While the maze of gallery booths could seem overwhelming, buyers were able to navigate through for a solid day of sales and works placed on reserve. Larger galleries such as Gagosian, David Zwirner, and Sprüth Magers sold several works and editions thereof. Speaking with Neil Wenman of Hauser & Wirth, “We’ve had a great response on the opening day. In particular for works by Thomas Houseago, Rashid Johnson, Paul McCarthy, Matthew Day Jackson, Richard Jackson—all works sold and all available editions.” Jenny Holzer’s new paintings at Sprüth Magers sold for upwards of $300,000, as well as Condos and Krugers at the booth. Lesser-known galleries were pleased to gain the exposure the fair offers; if not selling right away, interest was high and therefore also prospects for the remainder of the fair. Gallery Arratia Beer said the crowd was very engaged and informed, also saying, “The fair feels very international. It’s also good to see young internationals here too.” The newer Latin American presence was reportedly strong, both exhibiting and buying, as expected in Miami as opposed to the Frieze or FIAC fairs across the Atlantic earlier this year. Celebrities on hand included Julian Schnable, Eli Broad, Brett Rattner, Naomi Campbell, and Sean Combs/P. Diddy.

Larry Gagosian

Entrance D at the Miami Convention Center

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Mircea Cantor’s work in FIAC 2011, image by Caroline Claisse for Art Observed, all photos by Art Observed unless otherwise noted.

By the close of FIAC on Sunday evening, some 68,000+ visitors had come through the fair.  These attendance figures represent a 6% increase from the previous year, reports the New York Times.  Housed this year in the exuberant Grand Palais, the fair showed strong sales from the get go. Despite the global economic downtown of recent years, the atmosphere was effervescent. French, American, and German galleries dominated the space (55, 26, and 21, respectively), but participants from Brazil, Turkey, and South Africa showed a strong presence at the fair for the first time. New York newcomers Matthew Marks, Eleven Rivington, Andrew Kreps, Michele Maccarone and Friedrich Petzel did well, and Pace Gallery made a comeback after a long absence. Compared to Frieze the week before in London, many fair-goers felt that the Parisian fair was riskier in content, creating a more exciting and eclectic display of artworks.

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Antoine Dorotte’s Una Misteriosa Bola (2011). All photos on site for Art Observed by Caroline Claisse.

Just a stone’s throw from the Grand Palais, the host site of FIAC 2011, sculptures abound at the Jardin des Tuileries. Works include those by Urs Fischer, Antony Gormley, and Navid Nuur.

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Vincent Mauger, La somme des hypothèses (2011)

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Musicians play in front of a work by Alex Katz at Galerie Thaddaeus Ropac, Paris, where the painter’s show Face The Music runs through November 19th, 2011. All Photos by Caroline Claisse for Art Observed

Thursday evening, October 20th, Parisian galleries across the city participated in what is called Nocturne des Galeries (Galleries Night Out). Hosted by FIAC, the event is an opportunity to survey the French art scene, as well as to “step up the commitment and increase the visibility of galleries focused on 20th century furniture conceived by architects and and contemporary design work.” The galleries are divided into five different sections: Louvre/Saint Germain, Champ Élysées, Eastern Paris, Louise Weiss, and Marias, which boasts the largest number of galleries. Art Observed was on site for openings at Galerie Thaddaeus Ropac, Galerie Chantal Crousel and Emmanuel Perrotin.

Xavier Veilhan, opening of Orchestra at Galerie Emmanuel Perrotin through November 12.

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Crowds outside the Grand Palais on the public opening of FIAC, October 21, 2011. All photographs for Art Observed on site by Caroline Claisse.

After two days of previews, FIAC opened its doors to the Paris public on Friday, October 21st. Jill Silverman, Director of Paris/Salzburg-based gallery Thaddaeus Ropac, tells Art Observed that the fair presents “a very good cross section of European collectors.” FIAC is one of the most nationally-focused art fairs, boasting a solid 32% of French exhibitors, whereas last week’s Frieze in London had only 25% British galleries. American presence increased this year with several New York galleries making their debut at the fair: Matthew Marks, Eleven Rivington, Andrew Kreps, Michele Maccarone and Friedrich Petzel. After a 30+year absence, Pace Gallery made a comeback to the fair. Works by seasoned veteran Damien Hirst are exhibited at both White Cube and Gagosian. Anish Kapoor also has work spread across the fair, whose gargantuan installation Leviathan filled the entire interior of the Grand Palais earlier this year. Lisson is showing one of his signature colored concave mirrors in fire-engine red; Kamel Mennour has wine-red, Galeria Continua has green, and Kukje/Tina Kim has purple; all have different price tags. Sales have been strong thusfar; Pace Gallery’s Arne Glimcher told Artinfo, “We had sales right off the bat, it was really fascinating. I hadn’t anticipated this kind of rush, especially in this economy, where Europe is not in as good of shape as America. But I think we have the right artists.” He added, “FIAC is certainly an enormous cut above Frieze.”

Michelangelo Pistoletto, Two Less One (2011) at Galleria Continua

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Yutaka Sone Little Manhattan (2007-2009) at David Zwirner Gallery – All images by Caroline Claisse for Art Observed

Art Observed remains on site in Basel, Switzerland for Art 42 Basel 2011.  The following is our second of the photosets of the main fair.  Stay tuned for more coverage of the main fair before the end of the week as well as profiles of the satellite exhibitions and events.

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Artist Wim Delvoye before one of his sculptures at Galerie Emmanuel Perrotin

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Zerek Kempf, Weight of Fall (Waltz) (2011) at 2-UP Gallery.
All images Nicolas Linnert for Art Observed.

Friday evening’s Dependent Art Fair opened its doors for a one-night-only event showcasing the works of various galleries and artist groups. The newest addition to 2011’s growing roster of fairs, the Dependent was held on the 12^th and 14^th floors of Chelsea’s Sheraton Hotel. Fifteen exhibitors filled their respective hotel rooms with works for sale. Some revealed highly curated installations while others presented a collected showcase of individual works. The fifteen groups were given  60 minutes to install, with the fair beginning its preview hour at 4pm and closing altogether at 9 that evening. What began as a scattered number of curious collectors and onlookers grew quickly to a sizable throng of attendees navigating from room to room through the hotel’s packed hallways.

A sculpture by Barkev Gulesserian at CANADA (bathroom gallery).

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This week the Armory Show is being held once again on the west side at piers 92 and 94. In just 12 years, the Armory Show has developed into one of the most important and determining shows for the global art market, offering an array of the world’s foremost galleries and a program of art events and exhibitions only to be found during this dynamic week in the city.  In recent years however, more and more satellite fairs have emerged near the Armory Show and even farther afield in the Lower East Side or Brooklyn.  Many of these fairs seek to claim the status as the alternative art fair to the Armory Show and many of the migration of certain galleries from the main fair to these new upstarts substantiates their impact and relevance.  In the end, though the dispersion of the center of gravity for Armory Week can be daunting, or as the Financial Times recently wrote of the week, “Manhattan feels fragmented as a fair destination.”  However, if one has the time, the offerings of the week overall are impressive.  Below is a summary of some of the goings on, along with certain highlights from art openings and events of the week.

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