All photos on site for Art Observed by Samuel Sveen.

In 2007, Urs Fischer used a jackhammer to tear up the floor of Gavin Brown’s enterprise in Chelsea, leaving the room an enormous pit of dirt. With his return to the gallery for a joint show with Cassandra MacLeod, Fischer has sought to “build” on the past show both literally and theoretically. The press release refers to the “inverted pyramid of excavated earth,” the natural next step of invention being a flat surface above the earth—the table, with which Fischer has filled the three gallery spaces. Paintings by MacLeod cover the walls of the gallery, making for an intriguing dialogue between the two artists’ work. Stacks of tables, some three or four high, perhaps even offer a better view to the paintings mounted high above.

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Overzealous cleaning lady scrubs away part of $1.1 million Martin Kippenberger sculpture in Dortmund, Germany [AO Newslink]

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‪‬Ai Weiwei to show his multiple tons of porcelain sunflower seeds at Mary Boone gallery in January while prohibited to leave China [AO Newslink]

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‪‬London 2012 Olympic and Paralympic posters unveiled featuring 12 UK artists including Tracy Emin and Martin Creed, to be displayed at Tate Britain next year [AO Newslink]

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‪‬Christie’s unveils Louise Bourgeois 11-foot-tall Spider sculpture for November 8th auction with the theatrics of Spiderman [AO Newslink]

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‪‬Ai Weiwei has been offered the opportunity to rebuild his demolished Chinese studio on Belgian artist Wim Delvoye’s manor [AO Newslink]

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The Guardian calls Eva and Adele (as it did Gilbert & George) “living artwork;” art pair tells the newspaper, “We invented our own sex.” [AO Newslink]

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Antony Gormley, Still Standing (2011-12). Installation view. Via AntonyGormley.com.

British sculptor Antony Gormley has been given the opportunity to place seventeen new works in the Dionysius Hall of the classical Greek and Roman galleries of the Hermitage Museum in St. Petersburg, Russia.  The exhibition is titled Still Standing: A Contemporary Intervention in the Classical Collection; the unique juxtaposition of contemporary sculpture in a classical setting sheds new light on the Hermitage Museum.

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Ai Weiwei is fined $2.4 million for tax evasion by the Chinese government [AO Newslink]

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Max Ernst, The Stolen Mirror, 1941 (est. $4-6 million, realized $16.3 million), via Christies.com

Christie’s evening sale of Impressionist and Modern art on Tuesday night brought in $140 million against presale estimates of $210-300 million. Four of the top 5 most valuable lots failed to sell, including the auction’s cover lot – a Degas ballerina sculpture with a presale estimate of $25-35 million. The Degas had been shopped around privately with no luck and carried what many believed to be a very aggressive estimate. The auction house cited those two facts to explain that lot’s failure, as well as the overall performance of the sale. In general, fresh to market material faired best, and hefty presale estimates deterred bidding on the priciest works. What turned out to be the evening’s top lot – Max Ernest‘s The Stolen Mirror – was both fresh to market and carried an estimate in line with the artist’s records and with heightened interest in Surrealist material over the past few auction cycles. The canvas set the record for the artist at auction when it sold for $16.3 million against a high estimate of $6 million. The previous record was set this past June at Christie’s London with a 1923 work that brought $4.4 million.

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‪‬W Magazine posits Detroit as Berlin.  Struggling economy allows cheap spaces for creatives [AO Newslink]

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‪‬Cooper Union President Bharucha discusses possibility of charging tuition again after over a century, “We have to do the hard thinking now,” while alumni claim it to be a contradiction to the “DNA of the school” [AO Newslink]

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‬Anselm Kiefer tells German magazine der Spiegel of plans for ‘atomic art’ purchase of a defunct nuclear plant [AO Newslink]

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‪NEA study shows that the 2.1 million U.S. artists are, on average, incrementally more financially compensated than those who are otherwise employed [AO Newslink]

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Edgar Degas, Petite Danseuse de Quatorze Ans, executed in wax c. 1879-1881 and cast later (est. $25-35 million), via Christies.com

The November sales will be inaugurated at Christie’s on Tuesday night with a 75-lot Impressionist & Modern auction at their Rockefeller Center location in New York. Seventy-one lots will be offered at Sotheby’s New York on Wednesday evening, and the two sales are expected to fetch close to $400 million. This round of auctions follows closely on the heels of the Frieze Art Fair and the concurrent and comparatively smaller sales of Contemporary art in mid-October. Little has changed between then and now to make buyer’s less anxious about the financial markets, but the auction houses managed to secure a handful of top-tier consignments that may bolster the results of their sales.

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On methods of auctioneering, with a profile of newcomer C.K. Swett [AO Newslink]

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Cory Arcangel, Research in Motion (Kinetic Sculpture 6) (2011).
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Following up on his solo exhibition at The Whitney Museum, media artist Cory Arcangel is currently showing at the Lisson Gallery in London. Titled Speakers Going Hammer, the show features a number of pieces previously unseen in the UK, as well as several new works. The New York-based artist first rose to prominence in 2002, with his piece Super Mario Clouds, featuring a hacked Super Nintendo System that had removed all of the graphics from a Super Mario Cartridge save for the blocky, pixilated clouds. Continuing along these lines, Speakers Going Hammer features a hacked basketball game program, titled Self Playing N64 NBA Courtside 2, in which an outdated, video game version of Shaquille O’Neal continually takes and misses free-throws.

Installation view.

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Curtis Kulig, Love Me (Steel) (2011). All photos on site for Art Observed by Daniel Creahan.

Over and over again, the two words, “Love Me,” are repeatedly scrawled on the canvasses of Curtis Kulig, the street artist best known for emblazoning this simple cursive ‘throw-up’ all over New York City. Viewed next to the faux-LED crosses and blatant consumerist imagery of his long-time friend and supporter Skullphone, they begin to take on a hint of desperation, a plaintive plea in a world inundated with brand-names and electronic simulacra. While the two artists have supported each other for over 7 years, Scripture, now showing at the Mallick Williams and Co. Gallery in Chelsea, is the first documented collaboration between the two artists. Regardless of the precedent, however, the installation sees Kulig and Skullphone pursuing techniques that the artists have explored in past work.
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Tom Sachs interviewed in the Wall Street Journal, in advance of his takeover of the Park Avenue Armory this Spring and upcoming show at Sperone Westwater on the Bowery [AO Newslink]

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‪‬Tate Britain to explore “the impact of Picasso’s art on British art” this February, exhibition will include English National Ballet residency [AO Newslink]

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Frank Stella, Double Mitered Maze (1967). All images on site for Art Observed by Ana Marjanovic.

Paul Kasmin gallery hosts Geometric Variations, an exhibition assembling Frank Stella’s square-shaped canvases from the 1960s and ’70s, including Concentric Square, Mitered Mazes and the Benjamin Moore series. According to the press release, the exhibition explores the “historical importance” of Stella’s canvases. Contextualizing them within Western art history discourse, H.H. Arnason pointed out that Stella’s art represents a median between the “modernism advocated by Greenberg, and Minimalism.”

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Performa opens November 1 in New York with Elmgreen & Dragset work Happy Days in the Art World, featuring Joseph Fiennes [AO Newslink]

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Cologne sentences German art fraud ring to 15 years in prison for painting 14 works sold as masterpieces by such artists as Max Ernst, Fernand Léger and others [AO Newslink]

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‪‬Hewlett-Packard signs 10 year lease for Chelsea Art Museum building on Hudson River with ‘special’ plans [AO Newslink]

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