The New York Times has published a profile on Jeff Koons, in the run-up to the artist’s landmark retrospective at the Whitney, particularly noting the difficulties that the artist’s monumental works are posing for the museum’s limited space.  “It’s the perfect storm of difficulties,” said Scott Rothkopf, the Whitney’s associate director of programs. “There are the sheer physical demands of the objects themselves, their high values and the fragile materials, to say nothing of the cliffhanger of waiting for works that have been in production for years.” (more…)

Following the harsh dispute between investor Daniel Loeb and Sotheby’s, the election of Loeb’s team seems to have signaled a truce between his Third Point company and the embattled auction house.  Loeb and his fellow newly elected board members have announced that they stand behind current management at Sotheby’s, particularly CEO William Ruprecht, whose removal Loeb had called for several times earlier this year.  “As of today we see ourselves not as the Third Point nominees but as Sotheby’s directors, and we expect to work collaboratively with our fellow board members to enhance long-term value on behalf of all shareholders,” Loeb said in a statement. (more…)

Artist Jim Dine has donated his collection of fine art prints to Washington State University’s Museum of Art, consisting of more than 200 works prints valued at nearly $2 million.  “This is a complete career overview in printmaking by one of the most significant artists of our time, all from the artist himself,” says Chris Bruce, director for the Museum of Art/WSU. “It is unprecedented for our museum and we are breathless over the scope of this gift.” (more…)

Blackstone Group LP vice chairman James Tomilson Hill has been acknowledged as a billionaire this week by Forbes Magazine, after his stake in Blackstone rose to $585 million yesterday, complementing the avid art collector’s broad selection of works by artists like Peter Paul Rubens, Francis Bacon and Andy Warhol.  “I don’t like to talk about the financial aspect of art,” he said in a recent interview. “Collecting art is a highly personal endeavor.” (more…)

Martin Kippenberger, ab in die Ecke und Schäm Dich (Martin, Into the Corner, You Should be Ashamed of Yourself) (1989) via Osman Can Yerebakan

Paris was where the artists that planted the roots of Modernism in late 19th century. New York on the other hand emerged in the middle of 20th century as the destination for a large group of international artists as well as those from all around the United States who expanded notions of material and practice as the 20th century waned. Today, cities like Berlin, Tokyo and Sao Paulo are some of the top centers for artists to create and be a part of a community.  No Problem: Cologne/New York 1984-1989, a group show currently on view at David Zwirner, is presenting a transatlantic approach to the 80’s art scene through the works of twenty-two artists from Germany and the United States.  Underlying the dense creative vibrance of Cologne on one side of the Atlantic and New York on the other side, the exhibition presents a concentrated look at the productive interaction between the two cities, bringing together notable names that shaped the artistic nature of the era. (more…)

Marina Abramovic’s new performance 512 Hours opened yesterday at the Serpentine, with the artist granted free reign to enocunter visitors in the empty gallery space and do as she wishes.  “The idea is that the public are my material, and I am theirs,” she says. “I will open the gallery myself in the morning and close it at 6 p.m. with my key. I want to understand how I can be in the present moment, be with the public.” (more…)

Yves Klein, Painting of fire (1961), via Art Observed

Skarstedt Gallery has joined the crowd in Chelsea this month, opening its  new W. 21st Street space with a selection of unorthodox paintings by Yves Klein and Andy Warhol, created using human urine, oxidized metallic paints, water and fire.  Spread among the high-ceilinged rooms of the new space, the show welcomes an intuitive look into the pair’s interests not only in non-art materials and processes, but particularly those closest to the human condition.

Andy Warhol, Oxidation Painting (diptych) (1978), via Skarstedt (more…)

Art Basel has announced its list of talks and salon discussions for next week’s fair in Switzerland.  The offering of talks will include  Wolfgang Tillmans reviewing his career output and a talk with Baer Faxt publisher Josh Baer, who will review the current state of the art market.   (more…)

The Frick Collection has announced an ambitious expansion plan that will add a new six-story wing to the Upper East Side space.  The new wing will include a a new rooftop garden, and 60,000 square feet of new exhibition space, totaling 50 percent more room for short-term exhibitions and 24 percent more for a permanent art collection. (more…)

Google has launched a new project, an online street art gallery of images provided by cultural organizations and Google’s Street View camera.  But with the company’s entry into the conversation on the documentation  of street art playing out against the criticisms Google has seen regarding privacy and surveillance, the move should offer interesting discussion points for open access to art online and in the streets.  “I’ve always used my street art to democratize art, so it would be philosophically inconsistent for me to protest art democratization through Google,” says Shepard Fairey. (more…)

Artist Mélanie Matranga has been awarded the first annual Frieze Artist Award, a new prize that welcomes emerging artists to create an ambitious work for the Frieze London fair.  Matranga’s work will feature a set of videos “that follow a young artistic couple as they negotiate ‘freedom, success and the proper functioning of a couple.’ The episodes will be filmed during the construction of Frieze London in Regent’s Park, including a purpose-built café, which Matranga has designed for use by visitors.” (more…)

Gemini G.E.L. at Joni Moisant Weyl Gallery in Chelsea opened its “Art on Color” show this past Thursday, June 8th, a show that challenges the traditional white-walled gallery notion by introducing bold colors on its walls. A colorful palette of oranges, yellows, and greens backdrops artworks by represented artists: John Baldessari, Ann Hamilton, David Hockney, Ellsworth Kelly, Roy Lichtenstein, Brice Marden, Man Ray, Robert Rauschenberg, James Rosenquist and Joel Shapiro. “[David Hockney] pointed out to us that when you look at art on a white wall the first thing you see is the frame, but when you look at art on a wall with color, the first thing you see is the art,” Peter Stamberg, one of the gallery’s architects, explained at the opening.

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Tauba Auerbach, The New Ambidextrous Universe IV (2014), all images courtesy ICA London

On view currently at ICA London is the first solo exhibition in the UK by New York-based artist Tauba Auerbach. Entitled The New Ambidextrous Universe, the exhibition is composed of her recent works in sculpture and photography, focusing on themes of symmetry and reflection as scientific principles, hinting at the existence of a mirror universe.

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Jean-Michel Basquiat, Untitled (Just Sour) (1982), By Kent Pell from The Schorr Family Collection © The Estate Of Jean-Michel Basquiat, ADAGP, Paris/ARS, New York 2014

Now through June 13, the Acquavella Gallery is hosting an exhibition entirely dedicated to Jean-Michel Basquiat’s works on paper. The show, curated by Fred Hoffman, includes 22 drawings and one painting from the collection of Herbert and Lenore Schorr, a pair of Basquiat’s earliest collectors and friends, and dedicated predominantly to the artist’s works on paper, revealing a range and complexity few associate with Basquiat’s work.

Jean-Michel Basquiat, Unttitled (1981), By Kent Pell from The Schorr Family Collection © The Estate Of Jean-Michel Basquiat, ADAGP, Paris/ARS, New York 2014

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The New York Times writes on the state of the art market, noting the risks inherent in a market that relies partially on taste and the opinions of art advisors to determine market value and success.  “Art is an asset, not an asset class,” said Luke Dugdale, a private client wealth management director for the Royal Bank of Canada.  “If it were an asset class, the F.C.A. would regulate it, and that would kill the art world. It’s a market in which everyone can be an adviser.”  (more…)

A group of artists including Jeff Koons, Catherine Opie, and Carrie Mae Weems are contributing to the Water Tank Project this summer, a public art installation that will place various artists’ work on water tanks around New York.  “Water is our most challenged but taken-for-granted resource. It’s all around us but virtually invisible,” curatorial team member Neville Wakefield says. “By drawing attention to the water tanks, we hope to alert the world to the wastage of our most precious commodity.” (more…)

Anicka Yi, Washing Away of Wrongs (2014), via Kelly Lee for Art Observed

The works at Anicka Yi’s Divorce, which was on view at 47 Canal until Sunday June 8th, felt like something of a series of scenarios: moments of banal chores, sexual trysts and social interaction that work together to create a sense of disjointed narrative.  Incorporating many of the art world’s currently popular tropes, particularly household materials and industrial approaches to display and mounting, Yi turned her objects towards a particularly personal subject: that of divorce. (more…)

Marina Abramovic is interfviewed in the Wall Street Journal this week, in advance of the opening for her newest performance 512 Hours at the Serpentine this week.  In the article Abramovic discusses her latest work, her beliefs in performance and technique, and her longing to travel to space.  “I was at Necker Island with Richard Branson,” she says, “and I asked him: ‘Is it possible to pay just half a ticket so I can go to space and stay there, so I don’t need a return?’ He is still thinking about it.” (more…)

The New York Times takes a look at the fading presence of art galleries in the Central London neighborhoods of Mayfair and St. James’s, as increasing rents push dealers from an area they have traditionally occupied for decades.  The article also cites the challenges associated with the state of the current market.  “Modern art is not 500 weeks old — it’s 500 years old,” says dealer James Mayor. “London’s pre-eminence in art dealing and connoisseurship comes from that fact. The perception is that the only art that exists is new art sold in supermarket-type galleries. That doesn’t give the public a chance to develop a taste for anything that’s not force-fed them by the supermarkets. We need diversity.” (more…)

The New York Times notes the increased prominence of contemporary and modern art in Chinese commercial centers, as galleries open up alongside luxury fashion and consumer goods shops.  Billed as “museum-retail” by current innovators like the K11 Foundation, the approach looks to target Chinese shoppers not normally inclined to viewing or purchasing art.  “A lot of people in China think that art is for very rich people and get intimidated,” says K11’s Eric Chan. (more…)

The Musée Picasso in Paris has announced Laurent Le Bon, currently a the head of the Centre Pompidou-Metz, as its newest director, following the dismissal of Anne Baldassari earlier this year.   (more…)

The New York Times profiles the work of the overlooked New York School painter Raymond Spillenger, who passed away last year at the age of 89, leaving behind a massive collection of paintings and drawings that speaks to the artist’s long and often unacknowledged career.  “Was it fear of failure?” says his son Clyde. “An unwillingness to be self-promoting? Some of the others had big personalities, but our father was quiet and diffident, not the type to compete.” (more…)

Art Basel has announced its selections for the Parcours section of the Swiss fair, installing public works by, Darren Bader, Pierre Bismuth, Ryan Gander, and more.  The show will consist of 15 site-specific projects installed around the city, and will also include Seth Price’s audio work 8-4 9-5 10-6 11-7, an eight-hour dance track meant played around Basel. (more…)

Writer Georgina Adams takes another look at the thriving auction market in The Financial Times this week, and questions just how long the currently astronomical prices at auction for contemporary works can sustain themselves.  Adams, the author of Big Bucks – The Explosion of the Art Market in the 21st Century, offers a cohesive study of the current state of the market, from the art fair explosion to the influence of powerful new international economies, not to mention the role of the new independent curator.  “Their influence on what is good art today has to an extent replaced the artistic agenda once set by museums and art critics,” she writes.

Preorder Here: “Big Bucks – The Explosion of the Art Market in the 21st Century” by Georgina Adams
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