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Go See: Marnie Weber ‘The Bondage of Decay’ at Marc Jancou Contemporary, New York, through June 6, 2009

Monday, April 27th, 2009

Marble Statue by Marnie Weber: Bondage of Decay

L.A. based artist Marnie Weber invents fractured narratives that conjure up twisted fairy-tales and haunting, dream like worlds populated by fantastical characters.  The exhibition, The Bondage of Decay, presents one of the final chapters of her narrative of the Spirit Girls, an all female band who die tragically and return as ghosts in a quest for spiritual enlightenment.  In this tale, the lead Spirit Girl guides a group of 12 clowns through varying adventures until she ultimately rejoins the spirit world, leaving them alone to grieve. In addition to an installation of clown sculptures and collages, the exhibition will feature two significant large-scale sculptures: a marble ghost clown and a painted wood circus bear. These are the most ambitious sculptures that the artist has produced, standing approximately 6 feet and 9 feet tall respectively.

Marnie Weber
Marc Jancou Contemporary
Marnie Weber on Artnet
Marnie Weber Wikipedia

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Go See: ‘FOCUS: Rosson Crow’ now showing at the Modern Art Museum of Fort Worth, Texas through May 17

Monday, April 20th, 2009


Rosson Crow, Queen’s Butcher Shop, 1910 (2008) via Artdaily

The Modern Art Museum of Fort Worth in Texas is currently showing the exhibition FOCUS: Rosson Crow until May 17, 2009.  The exhibition features a small selected collection of Rosson Crow’s grand scale paintings.  It is the first solo exhibition in a museum for the young artist.  Crow’s work has been previously included in numerous galleries including White Cube, London; Deitch Projects, New York; and Musée d’Art Moderne Grand-Duc Jean, Luxembourg.

The Modern Art Museum of Fort Worth
Exhibition by Painter Rosson Crow Features Large-scale, Vivid Depictions of Nostalgia-laden Interiors [Art Daily]
Texas// First Look: Rosson Crow’s “FOCUS” at the Fort Worth Modern [SuperTouch]
Rosson Crow brings her theatrical flair to Modern Art Museum of Fort Worth [Dallas News]

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Newslinks for Monday, April 13, 2009

Monday, April 13th, 2009

Kate Moss by Damien Hirst on the cover of Tar Art Magazine, Via New York Times

Kate Moss by Damien Hirst is the new cover of Tar Magazine (anagram for “art”) [NY Times]
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Art funds launched in 2008, such as the London-based Art Trading Fund, are shelved due to failure to raise required funds
[ArtNewspaper]
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Art:21, Art in Twenty-First Century is now available for free on Hulu [Hulu]

"G8" by Andrei Molodkin via Financial Times

Russian Artist Andrea Molodkin, previously cited by AO here, prepares for Venice Biennale [Financial Times]
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Jeff Koons is speaking at Strand Books tonight at 7:00-8:30 in New York
[Via FAD]
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New York Old Masters dealer Lawrence Salander is indicted and pleads guilty in $88 million charge [Bloomberg]

A look inside Rome’s MAXXI designed by Zaha Hadid via c-monster

A preview of the MAXXI in Rome, $108 million art museum designed by Zaha Hadid [c-monster]
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Adam Lindemann, financier, collector and author of Collecting Contemporary launches a new book from Taschen: Collecting Design [ArtInfo]


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Flash Art’s current cover featuring a portrait of Barack Obama by Marlene Dumas via Art Fag City

Marlene Dumas’s portrait of Barack Obama is the cover of Flash Art [Art Fag City]
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Madonna’s art collection is estimated at £80 million pounds
[TimesUK]

A selection from the site via The World’s Best Ever

A timeline of modern & contemporary art artists by movement, school, style, period, theme & art prize [The-artists.org via The World’s Best Ever]
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Richard Serra to receive honorary degree from Pratt Institute at its 120th Commencement on May 18th
[MediaBistro]

Interview with photographer Nan Goldin on why she is auctioning some of the curiosities she has collected [TelegraphUK]
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SFMOMA announces plans for a future expansion, doubling gallery space
[SF Chronicle]


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A preview of SANAA’s design for the 2009 Serpentine Pavillion via Architect’s Journal

SANAA, the Japanese architectual duo behind the New Museum, release first glimpse of design for the 2009 Serpentine Pavilion [Architect’s Journal]
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Jim Dine donates 40 drawings influenced by Greek and Roman sculpture to the Morgan Library
[Artinfo]

Julian Schnabel’s Picasso Femme au Chapeau will soon be sold by Christie’s [New York Times]
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The Mugrabis, a hi
gh impact, market-making collector family, may be addicted to the game of art [The Observer]

ASSEMBLYMAN LENTOL WARNS HIS COMMUNITY ABOUT ASIAN LONGHORNED BEETLE

US Fed News Service, Including US State News November 8, 2006 Assemblyman Joseph R. Lentol, D-Brooklyn (50th District), issued the following press release:

Assemblyman Joseph R. Lentol (D-North Brooklyn) alerted his community that the Asian Longhorned Beetle, a non-indigenous insect that preys on healthy trees, has returned to Brooklyn. Once a tree is infested it must be removed and destroyed to prevent the beetle from spreading to other trees.

“The Asian Longhorned Beetle is a threat to our community,” said Lentol. “We thought we eradicated it from the district seven years ago. Now we have evidence that it has returned.” A massive infestation in Greenpoint was literally rooted out in 1999 when over 1,000 trees had to be destroyed because of the Asian Longhorned Beetle. Last spring, the New York State Asian Longhorned Beetle Cooperative Eradication Program found 18 trees in Williamsburg infested with the bug. The majority were on Lynch St. Thirteen of the 18 trees were on Lynch St, the rest on nearby Lee Avenue and Heyward St. website asian longhorned beetle

“Just because we’re talking about a little bug doesn’t mean this isn’t a big concern for our district,” warned Lentol. “We’re lucky that this appears to be a small infestation, but the key to keeping the Asian Longhorned Beetle from destroying our trees is through awareness.” The Asian Longhorned Beetle is known to nest in all varieties of maple, as well as birch, horse chestnut, elm, willow, poplar, ash, hackberry, sycamore, London Plane and mimosa. Lentol encourages homeowners to look for exit holes on their trees, they will be about the size of a dime, and to grant environmental inspectors access to their property for the purpose of finding infested trees. go to website asian longhorned beetle

Lentol also encourages residents who spot the beetle to call 311 and ask for the Asian Longhorned Beetle Hotline. The United States Forest Service offers replanting of new trees to those who lose trees to the beetle. The insecticide imidacloprid is the only effective preventative measure against the beetle, though experts warn that it cannot help a tree once it is infested. ALB Eradication Program contractors use it during the spring to treat at-risk trees. Residents will be notified by the ALB Eradication Program when tree treatments take place in this area, and Assemblyman Lentol urges residents to work with program officials and provide them access to yard trees for these critical applications and for survey.

Newslinks for Wednesday, April 1, 2009

Wednesday, April 1st, 2009


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David Hockney’s ‘Beverly Hills Housewife’

David Hockney’s iconic painting, ‘Beverly Hills Housewife’ is the marquee lot in Christie’s May 13 Post-War & Contemporary Art Evening Sale [ArtDaily] and more on this painting here [MoreIntelligentLife]


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Alberto Giacometti’s Le Chat from 1951

In related, Alberto Giacometti’s Le Chat will go under the hammer at Sotheby’s Spring sale of Impressionist and Modern Art in New York for an estimated $16 to $22 million [ArtDaily]
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Analysis of London gallerist Jay Jopling’s career in a time of uncertainty
[TimesUK]


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Dasha Zhukova

A lunchtime interview with Daria “Dasha” Zhukova on her Garage Centre for Contemporary Culture in Moscow and other various topics [Financial Times]
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The collapse of top Berlin galleries allows room for newcomers [GuardianUK]
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With his Kenya and Cambodia projects getting attention, anonymous Parisian Street artist JR is going big and raising the profile a bit [Independent]
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Damien Hirst is the cover of Honeyee Magazine [Honeyee] and, he’s sponsoring a giveaway contest for his work to promote the new album for the Hours [Guardian]
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New York art visits Cuba at the Havana Biennial [New York Times]
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Old Master sales in
December in London and in New York in January seem to defy downward market trends [Financial Times]


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Lucian Freud via the TimesUK

Lucian Freud’s latest painting unveiled [TimesUK]
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Swiss bank UBS closes its “art banking” department [Crains New York]
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Phillips de Pury faces the headwinds [Portfolio]


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The proposed extension of the Tate Modern

Tate Modern expansion by Herzog & de Meuron receives approval [Bloomberg]
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Faith-Ann Young on the fully manifested decline in the art market
[Economist]
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Joan Banach sues foundation where she formerly worked as curator and cataloger of Robert Motherwell’s work
[NY Times]
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Video: Tracey Emin’s retrospective on display now at Kunstmuseum Bern, Switzerland [Vernissage]
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No brown skins. (Hispanic Americans and the 1986 Immigration Reform Act)

The Economist (US) February 3, 1990 No brown skins SAN FRANCISCO HISPANIC Americans were against the 1986 Immigration Reform Act; they feared it would give employers an excuse not to hire people who looked or sounded Hispanic. They were right, it seems. The California Fair Employment and Housing Commission reports that the law, which is supposed to deter illegal immigration, has created “a widespread pattern and practice of discrimination” against legal immigrants.

The law fines or imprisons those employers who are caught hiring illegal immigrants. Nervous employers are playing safe by brushing aside official work permits and declining to hire people with brown skins and Latin names and accents. The law, which was supposed to protect people against this happening, created a special counsel to hear complaints and to act on them. But there is just one special-counsel office, and that is in Washington, DC. Few immigrants even learn of its existence, let alone approach it with complaints. go to website illegal immigration statistics

In addition, reports the Californian commission (an independent agency established 30 years ago to protect civil rights in jobs and housing), the Immigration and Nationalisation Service (INS) issues such a variety of different immigrant classifications that employers cannot be familiar with what is official and what is not. The confusion is compounded by the amnesty that the law gave to illegal immigrants who could prove that they had lived in the United States since 1981, plus the special rules for agricultural workers. The sorting-out of all this leaves the immigration service snowed under with forms and letters of work-approval.

Although the INS claims to have spent $2m on educational material explaining the law, the explanation, the commission says sternly, is “inadequate…incomplete and confusing”. As remedy, the commission proposes a temporary moratorium on employer sanctions until the backlog of appeals for work authorisation is cleared, the educational material is rewritten and special counsel offices are opened around the country. go to website illegal immigration statistics

The California report is important since about half the immigrants who come to the United States seeking work authorisation come to California. But it is only one in a series of reports on the effect of the 1986 law. A New York task force is due to report to Governor Mario Cuomo soon. And in a month or two, the General Accounting Office (GAO), which was officially charged to monitor the consequences of the immigration controls, will be issuing its findings. Last year the GAO reported that about 16% of some 3.3m employers who were aware of the new rules did discriminate against foreign-looking applicants. The report called for a more co-ordinated effort to educate the public but, unlike the California commission, it did not declare that a “pattern” of discrimination had resulted from the act.

If the GAO now finds such a pattern, it would trigger changes in the law. Congress would have 30 days to consider lifting sanctions against employers. But if the GAO reports that it has found no serious discrimination, the provisions in the law that are supposed to protect workers against bias would be removed. In any event, the GAO report will set off a fiery debate in Congress.

Part of the debate is whether the law’s strictness has in fact cut down illegal immigration. Statistics from the INS suggest that it has. In 1986 1.6m people were caught trying to enter from Mexico; in 1989, with more border guards, the total had shrunk to 850,000 people. Either they are getting cleverer at evading the guards, or the law, despite its unfair side-effects, is working.

Picasso’s Guernica to be exhibited at Whitechapel Gallery reopening, London, April 5th, 2009

Monday, March 30th, 2009

Guernica (1937) by Pablo Picasso, via Museo de Reina Sofia

A tapestry replica of Picasso’s famous 1937 anti-war painting Guernica will be exhibited at the Whitechapel in London.  Commissioned by Norman Rockefeller, the tapestry is currently displayed at the United Nations Headquarters in New York outside the Security Council Chamber. It is now arriving at the Whitechapel as part of Polish-born London artist Goshka Macuga’s installation that will feature the tapestry for a reopening of the Whitechapel after a ₤13.5 million re-development. The refurbishment of the gallery is by Belgian architects Robbrecht & Daem and Yaya nominee Witherford Watson Mann.

Controversial Tapestry to star in Whitechapel reopening [Art Newspaper]
“Guernica” Tapestry will travel to Whitechapel [Artinfo]
Whitechapel Gallery expansion unveiled [BuildingDesignOnline]
Picasso Tapestry of Guernica Heads to UK
[The Guardian]
Tapestry of Picasso’s Guernica to be displayed in Britain [The Telegraph]
The reopening of the Whitechapel Gallery after the completion of a large expansion [The Financial Times]
Look What they’ve done to the Whitechapel [This is London]
Whitechapel’s $20 Million Redo Expands Edgy London Gallery [Bloomberg]
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Noted New York Art Dealer, Lawrence B. Salander, Arrested for Stealing $88 million

Friday, March 27th, 2009

Lawrence B. Salander in Court, Via New York Times

Yesterday morning, Lawrence B. Salander, Upper East Side art dealer and owner of the now bankrupt Salander-O’Reilly Galleries was arrested at his estate on Millbrook, New York. Salander is accused of stealing $88 million from high-profile investors, art owners and Bank of America. The Grand Jury of the State Supreme Court in Manhattan charged him with grand larceny, falsifying business records, scheming to defraud, forgery and perjury. Salander pleaded not guilty and may face up to twenty five years in prison. The Justice ordered a $1 million bail.

RELATED LINKS
News Release
[New York County District Attorney’s Office]
Times Topics:Lawrence B. Salander [New York Times]
Art Dealer is Charged with Stealing $88 Million [New York Times]
Tennis Great John McEnroe helps nab art dealer Lawrence Salander, who was indicted for fraud [New York Daily News]
Salander Charged with Stealing $88 million [Artforum]
Art-World Madoff Arraigned in Manhattan Court [Artinfo]

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Art News: Christie’s Sued over Bacon that Failed to Sell

Friday, March 27th, 2009

Francis Bacon, Study for a Self-Portrait, 1964, Via Rawartint

A Florida art collector is suing Christie’s New York, after his Self-Portrait by Francis Bacon failed to sell at auction in November 2008.  Christie’s had offered collector George Weiss a minimum guarantee, but allegedly refused to follow through after Weiss consigned the work.  The auction house alludes to the collapse of the art market in its defense.

RELATED LINKS
Christie’s Is Sued After Francis Bacon Painting Fails to Sell
[New York Times]
Christie’s Sued For $40M Over Francis Bacon Painting
[Wall Street Journal]
Christie’s Auction House Sued Over Francis Bacon Guarantee
[Bloomberg]
Art Law Blog on the legal battle
[Art Law Blog]

Go See: ‘Portraits’ by Gerhard Richter, at National Portrait Gallery, London, through May 31st

Friday, March 20th, 2009


Frau mit Schirm / Woman with Umbrella (1964) by Gerhard Richter

Following shows at London’s Serpentine Gallery and the National Galleries in Scotland, Gerhard Richter’s work is being featured at the National Portrait Gallery in London, in his third exhibition in the United Kingdom in the last year. Gerhard Richter, 76, is considered one of the world’s most prominent living painters, and has been a fixture of global contemporary art since the mid-1960s.

Portraits focuses on Richter’s trademark portraits, which are actually painted from photographic prints, news clippings and other sources. The sources are never reproduced in exact detail, and are transformed under Richter’s brush into something more ethereal and abstract. This quality is achieved by blurred lines, both literal and figurative: the portraits’ subjects range from the intimate and personal to the historical and public–often intertwined.

Tante Marianne, from 1965, appears to be an innocuous portrait of a teenage girl and a baby. However, the viewer soon learns that Marianne, Richter’s aunt, was schizophrenic and perished as part of a Nazi drive to euthanize the mentally ill.  Herr Heyde, also from 1965, is recreated from a news clipping of the trial of the Nazi neurologist who was behind the mass euthanization and other atrocities.  However both portraits manage to convey a sense of detachment from its subjects and their context, despite being their being an exploration of ostensibly loaded personal and national narratives.

In fact, Richter proudly and intentionally attempts to strip all narrative from his paintings. Frau mit Schirm appears to be a reproduction of an anonymous woman caught barely suppressing an unidentified but overwhelming emotional reaction.  Almost unrecognizable, the image is of Jacqueline Kennedy moments after the assassination of her husband. With the narrative removed, the image becomes ghostly and almost inpenetrable;  once the narrative is reintroduced, it creates a tension between what the viewer feels it should elicit and the presentation offered by Richter.

Portraits will be on display until May 31st.

Artist Page: Gerhard Richter 
Exhibition Page: Gerhard Richter Portraits at National Portrait Gallery 
Murdered Aunt, Ghostly Nudes Star in Gerhard Richter Exhibit [Bloomberg]
Photos and fantasy: Gerhard Richter’s portraits [The Independent UK]
Gerhard Richter at National Portrait Gallery, London [The Times of London]
Faces from an abstract life [Financial Times]

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Steven Cohen, newly an investor in Sotheby’s, is to display $420 million worth of art the auction house, in an exhibition to be based on women.

Monday, March 16th, 2009


Le Repos (1932) by Pablo Picasso, via Artnet

Steven Cohen, founder of prominent hedge fund SAC Capital, and his wife Alexandra have lent Sotheby’s 20 artworks valued at $450 million worth of art from their very substantial collection. The works will be displayed from April 2nd to April 14th at Sotheby’s New York headquarters, and will revolve around the female form and its portrayal from 1890 to the present. The exhibition is not tied to a sale, and is entitled Women.

Women III by Willem de Kooning, Turquoise Marilyn by Andy Warhol, Madonna by Edvard Munch, and Le Repos by Pablo Picasso will be amongst the pieces on display, alongside paintings by more contemporary artists such as Lisa Yuskavage and Marlene Dumas.  Cohen bought the de Kooning from David Geffen for $137 million, spent $80 million to acquire Turquoise Marilyn from Stefan Edlis, and acquired the Picasso at auction for $34.7 million.

Cohen and his wife are avid collectors, and have accumulated one of the most significant collections of 20th century art in the world, according to Tobias Meyer, Sotheby’s head of contemporary art. Cohen is known for owning a formaldehyde-enclosed shark by Damien Hirst, currently on loan to the Metropolitan Museum in New York, and has been steadily expanding his collection over the last ten years, buying works by major artists.

In a statement released through Sotheby’s, Mr Cohen remarked: “Our collection has not been curated before. It will be an exciting experience for us.”

SAC Capital has also become one of the larger shareholders of Sotheby’s, accumulating a 5.9% stake after its share price has collapsed over the past 6 months due to lackluster results.

SAC Capital’s Steve Cohen Lends Sotheby’s 20 Artworks [Bloomberg]
Sotheby’s investor to show collection [Financial Times]
Hedge fund manager Steve Cohen puts £320m art collection on show [Telegraph UK]
The tycoon who loved women so much he spent $700m on them[Independent UK]
Why’s Steve Cohen Showing Sotheby’s So Much Love? [New York Magazine]
Sotheby’s to Show Works From Cohen Collection [ArtInfo]

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Newslinks for Thursday, March 12, 2009

Thursday, March 12th, 2009


Installation view of Rothko’s ‘Seagram Murals’ via MSNBC

Tate Liverpool exhibits Rothko’s Seagram Murals after a 20-year absence [Artdaily]
Rochelle Steiner, under whose tenure Olafur Eliasson’s “New York City Waterfalls” was sponsored, leaves the Public Art Fund [NY Times] and in related, Sotheby’s CEO takes big paycuts in the wake of the market downturn [Bloomberg]


Alex James, bassist of Blur via The Mirror

Blur’s Alex James to judge Charles Saatchi’s art-star reality TV show [The Mirror]
Jonathan Jones on how consumerism spawned Warhol and Pop art and thus the shallowness of contemporary art [Guardian]
Vanity Fair’s imagined conversations overheard at a MoMA party [VanityFair]
A new show at Paris’s Musee d’Art Moderne acknowledges how Italian Surrealist Giorgio de Chirico sold backdated copies of his own work [Bloomberg]


Patti Smith via The Art Newspaper

Patti Smith, whose Polaroids are showing at Robert Miller gallery, on her early career as an artist and why she feels Jeff Koons’s work is “just litter upon the earth” [The Art Newspaper]


Andy Warhol’s BMW Art Car via W Magazine

The BMW Art Car series by artists such as Frank Stella, Andy Warhol, Roy Lichtenstein and Robert Rauschenberg to appear at New York’s Grand Central Terminal starting March 24 [W Magazine]
Chinese art dealer who sabotaged Christie’s sale of bronzes during the Yves Saint Laurent sale weeps at his shattered credibility [Bloomberg]


Steve McQueen modeling for T Magazine

A brief profile of Turner prize winning film artist Steve McQueen’s fashion aesthetic [The Moment]
The Las Vegas Sun does a post-mortem on the Las Vegas Art Museum, which closed last month
[Las Vegas sun via ArtsJournal]

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Trailer for ‘Guest of Cindy Sherman’ via Entertainment Weekly

Soon to open in New York, an art world outsider chronicles his relationship with an art world insider in the film ‘Guest of Cindy Sherman’ [Entertainment Weekly]
Susan Moore looks at the recent emergence of a homegrown art scene in the United Arab Emirates [Financial Times]


Collectors Stephanie Seymour and Peter Brant.  Image courtesy Mary Barone via Artnet

Art in America and Interview Magazine owner Peter Brant opens his private collection to the public, by appointment only, at the Brant Foundation Art Study Center [NY Times]
How the former CEO of the Royal Bank of Scotland was unable to secure an immense 16,000 piece art collection obtained during a takeover of ABN Amro as that bank’s CEO deftly transferred ownership to a foundation before the merger
[TimesUK]
Turner Prize winning sculptor Antony Gormley announces first public art installation for Scotland
[TheScotsman]


Laura Hoptman, Massimiliano Gioni and Lauren Cornell, curators at the New Museum of Contemporary Art via NY Times

A preview of the New Museum’s inaugural triennial, “The Generational: Younger Than Jesus” [NY Times]
Hans Ulrich Obrist’s book “The Conversation Series” includes interviews with artist such as Wolfgang Tillmans and Gilbert and George [ArtInfo]


A peek at Pierogi Gallery’s new annex, the Boiler via NY Times

Williamsburg’s Pierogi Gallery opens new annex, The Boiler [NY Times]
Chelsea galleries, including Andrea Rosen, Barbara Gladstone, Mary Boone and Matthew Marks, to show work at the Museo Nacional de Bellas Artes in Havana, Cuba [The Art Newspaper]


Anish Kapoor’s ‘Temenos’ via AnishKapoor

Construction begins on first of five of Anish Kapoor outdoor sculptures in the UK: the ‘world’s biggest art project’ [DesignWeek]


Portrait of Pope Benedict XIV by Pierre Subleyras via NY Mag

Old masters prove to be a bellwether in the market downturn [Financial Times] as such, The Metropolitan Museum acquires a Renaissance portrait of Pope Benedict XIV for nearly $1 million amidst financial woes [NY Mag] and this painting also is featured here in a separate video discussion on the resilience of old master paintings [Sotheby’s]

Go See: Roni Horn aka Roni Horn, by Roni Horn, at the Tate Modern, London, through May 25, 2009

Thursday, March 12th, 2009


You are the Weather (1994-6) by Roni Horn, picture via the Independent

Roni Horn’s work is on display at the Tate Modern, in her most comprehensive retrospective to date and her first solo museum show in London. The show, Roni Horn aka Roni Horn, incorporates works from the beginning of her career in the mid-1970s through the present.

Horn’s oeuvre touches on several recurring themes, namely identity, mutability and water, at least one of which is likely to appear in some form in her pieces. Additionally, the artist also explores relationships between identical objects being presented in different emotional and spatial contexts, thereby creating different experiences of the same subject. The diptych Dead Owl from 1997, and the sculpture Paired Gold Mats — For Ross and Felix from 1994 embody this idea, and are on display at the Tate.

The artist also has a special artistic relationship with Iceland, assembling To Place, a series of photography books on the island, its glaciers, hot springs, volcanoes, geysers and rivers that examine the constant geological flux of that country. The Weather is You, a series put together between 1994 and 1996, is also set in Iceland, consisting of photographs of a young woman emerging from various hot springs under different climactic conditions, which in turn subtly affect her facial expression and the composition of the photograph.

The rest of the exhibit is comprised of various photographic installations and sculptures that typically employ glass as a medium, but may also contain a diverse array of media ranging from gold to rubber. The west windows of the Tate will be uncovered so as to expose Horn’s sculptures to shifting natural light, which will interact with the glass, water and other media in unique ways, rendering each experience of the work as exceptional.

RONI HORN AKA RONI HORN
through May 25th, 2009
Tate Modern Museum,
Bankside Power Station,
25 Sumner Street London SE1

Exhibition Page: Roni Horn aka Roni Horn, Tate Modern
Tate Gallery to Show Roni Horn aka Roni Horn [ArtDaily]
Enigma variations: The curious world of Roni Horn [Independent UK]

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Antony Gormley in search of volunteers for Fourth Plinth installation at Trafalgar Square, London

Thursday, March 5th, 2009


PR photo of Trafalgar Square’s fourth plinth, via the Guardian UK.

Noted British sculptor and Turner Prize winner Antony Gormley is seeking to recruit up to 2,400 volunteers to participate in his latest work, One & Other, atop Trafalgar Square’s fourth plinth.

Participants will have an entire hour atop the plinth, and are free to do anything legal. Gormley has commented that he expects there to be “naked riots,” and that he would be “upset if at least one person did not take their clothes off.” The only requirements for partake in One and Other are that participants are over 16 years of age and are residents of the UK while the show is on display. Applications will be accepted through a website designed for that purpose, and Sky Arts will broadcast coverage of the plinth. Video coverage of the plinth will also be streaming live at the National Portrait Gallery in London. The website will notify participants in three tranches starting in April.

On the motivation and objective behind the ‘sculpture,’ Gormley had this to say:

“The idea behind One & Other is a simple one. Through elevation onto the plinth and removal from the common ground, the body becomes a metaphor, symbol, emblem – a point of reference, focus and thought. In the context of Trafalgar Square with its military, valedictory and male historical statues to specific individuals, this elevation of everyday life to the position formerly occupied by monumental art allows us to reflect on the diversity, vulnerability and particularity of the individual in contemporary society. It could be tragic but it could also be funny.” via the Guardian UK

Gormley won the opportunity to display One and Other through a process run by the Fourth Plinth Commissioning Group. Other artists who have exhibited on the plinth include Marc Quinn, Rachel Whiteread and Thomas Schutte.

Sculpture site: One and Other
Antony Gormley’s Fourth Plinth: make an exhibition of yourself [Times UK]
Antony Gormley wants you for the fourth plinth [Guardian UK]
Trafalgar Square fourth plinth art ‘will cause arrests’ [Telegraph UK]
Gormley on his plinth: ‘I would be very upset if nobody took their clothes off’ [Independent]
Gormley Invites Brits to Lord Over Trafalgar Square [ArtInfo]
Volunteer plea for plinth artwork [BBC]
Gormley puts public on pedestal [BBC]

Armory Arts Week is on, March 4-8, 2009

Wednesday, March 4th, 2009


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Gary Simmons, “Untitled (Sabatini)” (2009) via ARTINFO

Armory Arts Week is on, running March 4th (press preview) through Sunday the 8th on Piers 92 & 94 (Twelfth Avenue at 55th Street). One of the world’s leading art fairs devoted exclusively to contemporary art since its introduction in 1999, The Armory Show – The International Fair of New Art (on Pier 94) is the main draw inviting visitors to both purchase and immerse themselves in the art of our times. Concurrently, The Armory Show – Modern (on Pier 92) is a new section dedicated to international dealers specializing in historically significant Modern and contemporary art.

In addition to the shows, an array of extended exhibitions and special programs are available to the public, as well as panel discussions, guided tours, open studios, visits to collectors’ homes, performances, and separate receptions hosted by a variety of cultural officials.

This year, Armory Week extends beyond the piers with Volta NY, an invitational show for emerging artists, as well as Satellite Fairs, including Pulse, Red Dot, Scope New York, the Bridge Art Fair, and the Art Now Fair.

For a map of Armory Week, click here.

Opening Hours:
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Thursday, March 5 – Saturday, March 7 Noon to 8 pm
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Sunday, March 8 Noon to 7 pm

News links:
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Armory art fair draws interest despite recession [Crain’s New York Business]
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Editor’s Picks: Armory Show Preview [ARTINFO]
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The AFC Guide to Art Fair Week Events [Art Fag City]
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‘Meat Head’ Bronze at $250,000 Highlights Armory Show in N.Y. [Bloomberg]
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Interview with Featured Artist: Machiko Edmondson [Art Comments]

In action to recover for damage to printing machinery while on high seas between England and United States under nonnegotiable or “straight” bill of lading, English Court of Appeal (Civil Division) applies English law and determines that such bill came within U. K’s Carriage of Goods by Sea Act of 1971.

International Law Update June 1, 2003 On August 25, 1924, the maritime nations meeting in Brussels agreed upon the International Convention for the Unification of Certain Rules of Law relating to Bills of Lading for the Carriage of Goods by Sea [51 Stat. 233; T.S. 931; 2 Bevans 430; 120 L.N.T.S. 155]. The parties intended it to regulate the minimum terms to govern international shipping contracts for carrying goods.

With some amendments, the Convention arose out of a set of standard rules negotiated at The Hague in 1922 for inclusion into bills of lading by contract. Coming to be called “the Hague Rules,” they applied only to contracts of carriage “covered by a bill of lading or any similar document of title.” Almost 80 years later, the import of that phrase remains surprisingly controversial.

“The effect of a negotiable bill of lading has been famously described by Bowen L.J. in Sanders v. Maclean (1883) 11 Q.B.D. 327 at 341 in this passage: ‘A cargo at sea while in the hands of the carrier is necessarily incapable of physical delivery. During this period of transit and voyage, the bill of lading by the law merchant is universally recognised as its symbol; and the indorsement and delivery of the bill of lading operates as a symbolical delivery of the cargo.” “Property in the goods passes by such indorsement and delivery of the bill of lading, whenever it is the intention of the parties that the property should pass, just as under similar circumstances the property would pass by an actual delivery of the goods … It is a key which in the hands of a rightful owner is intended to unlock the door of the warehouse, floating or fixed, in which the goods may chance to be.'” [ 1] In the present case, the shipper, Coniston International Machinery Ltd., of Liverpool (Coniston), consigned four containers of printing machinery to the claimant, J. I. MacWilliam Company Inc., of Boston, Massachusetts (MacWilliam). Vessels owned by, or demise chartered to, the defendant, Mediterranean Shipping Co. S.A., of Geneva (MSC), were to transport the machinery. The bill of lading issued by the defendant MSC to Coniston at Durban in December 1989 named MacWilliam as the consignee and declared that the bill was non-negotiable. That is, it was a “straight” bill of lading, so that delivery of the goods (rather than a mere endorsement of the bill) was usually required to transfer the goods. go to site bill of lading

One of defendant’s vessels, The Rosemary, carried the goods uneventfully from Durban, South Africa to Felixstowe, England. There they were discharged and later reshipped to their final destination in the United States aboard defendant’s vessel, The Rafaela S. En route across the Atlantic, however, the machinery was badly damaged and MacWilliam filed arbitration proceedings in England.

At arbitration, the issue arose as to whether the U. K.’s Carriage of Goods By Sea Act of 1971 (1971 Act) applied or its U.S. counterpart. By Section 1(3), the 1971 Act has the force of law “where the port of shipment is a port in the United Kingdom.” This led to the question of whether one contract of carriage or two governed the shipment from South Africa to Boston. If the 1971 Act did apply, then Section 1(4) (derived from art I(b) of the Hague Rules) had to be satisfied. It declares that the contract had to “expressly or by implication [provide] for the issue of a bill of lading or any similar document of title.” This led to the further question as to whether a “straight” bill of lading constituted a “bill of lading or any similar document of title” under the 1971 Act. The arbitrators held that a single contract of carriage governed the shipment and that, in any event, a straight bill of lading was not a “bill of lading” under the Act.

With leave, the claimant next appealed to the Commercial Court. There the judge concluded, contrary to the arbitrators, that there had been two separate contracts. On the other hand, the judge did uphold the arbitrators’ ruling that a straight bill was not a statutory “bill of lading,” and dismissed the appeal.

The claimant then appealed, urging that a straight bill of lading qualified as a “bill of lading” within Section 1(4) of the 1971 Act, and also within Article I(b) of the Hague Rules. The English Court of Appeal (Civil Division) allows the appeal and reverses the Commercial Court.

The Court first outlines the issues presented. “The business issue between the parties is whether the contract of carriage contained in or evidenced by the bill of lading prescribed a package limitation under the Hague Rules, the Hague-Visby Rules, or the U.S. Carriage of Goods by Sea Act of 1936 (USCOGSA).

The Hague-Visby Rules are an amended version of the Hague Rules, introduced by the Protocol signed at Brussels on 23 February 1968. It contains a more liberal package limitation. On the other hand, USCOGSA reflects the earlier limitation regime of the Hague Rules and would limit any recovery to US$500 per package.

Secondly, the appellate court decides whether the parties were acting under one shipping contract or two. “[The ‘through bill of lading’] clause, when read together with the relevant boxes on the front of the bill, does not provide for a single contract of carriage but for two separate contracts, one from Durban to Felixstowe and the other from Felixstowe to Boston.” “It may be true that MSC was entitled to arrange that second contract to be with itself, but that should not disguise the fact that such an arrangement must be viewed in exactly the same light as a new contract arranged through MSC’s agency with a different carrier. If the latter would be a separate contract with a separate port of shipment, then so must be the former arrangement.” “If it arranged on-carriage with itself, then there would be a single contract for a voyage from Durban to Boston, with transshipment at Felixstowe, and U.S. law and jurisdiction would apply under clause 2 and [the U.S.’s Carriage of Goods by Sea Act of 1936 (USCOGSA)] would apply under the penultimate sentence of clause 1.” “If on the other hand, MSC arranged on-carriage with another carrier, then the contract would only be for shipment from Durban to Felixstowe, not to the U.S., and London arbitration and English law would apply under clause 2, and there would be a port of shipment within the U.K. which, subject to the straight bill of lading issue, would also invoke the compulsory regime of the 1971 Act.” [ 21] In the Court of Appeal’s view, the contract that governed the carriage of the machinery from Durban to England was distinct from the agreement that controlled the shipment from England to the U.S. This means that there had been a “port of shipment” within England so that the lower court had correctly reasoned that the [English] Act applied.

Thirdly, the Court tackles the nature and effect of this hybrid bill of lading. It first holds that a straight bill of lading did constitute a “bill of lading” under the Hague Rules. These Rules dealt with the content of a carriage contract where the contract embodied in a bill of lading might turn out to affect the rights of a third party.

“It seems to me to be plain as a matter of common-sense but also on a review of the material cited in this judgment, that, in this connection, a named consignee under a straight bill of lading, unless he is the same person as the shipper, is as much a third party as a named consignee under a classic bill.” [ 136] In practical usage, the Court notes, the straight bill serves (like a “classic” bill) as a document against which payment was demanded and the transfer of which brought about a transfer of property interests in the cargo. The shipper, along with his bankers and insurers, desire the same protection as the shipper has under a classic bill.” “In addition the consignee itself and its insurers needed to have rights against the carrier in case of misadventure. The parties typically write the straight bill on the same form as an otherwise classic bill and mandate production of the bill on delivery of the goods. Moreover, a straight bill is in principle, function and form quite a bit closer to a classic negotiable bill than to a non-negotiable receipt. Article VI of the Rules seems to look upon the latter as “something far more exotic.” [ 139] A straight bill of lading also constitutes a document of title since it has to be produced in order to perfect delivery. Even without express language that requires production of a particular straight bill to obtain delivery, it is in principle a document of title. in our site bill of lading

“Whatever the history of the phrase in English common or statutory law may be, I see no reason why a document which has to be produced to obtain possession of the goods should not be regarded, in an international convention, as a document of title. It is so regarded by the courts of France, Holland and Singapore.” [ 143] As a final note, the lead opinion voices a complaint. “It seems to me that the use of these hybrid forms of bill of lading is an unfortunate development and has spawned litigation in recent years in an area which, for the previous century or so, has not caused any real difficulty. Carriers should not use bill of lading forms if what they want to invite shippers to do is to enter into sea waybill type contracts.” “It may be true that ultimately it is up to shippers to ensure that the boxes in these hybrid forms are filled up in the way that best suits themselves; but in practice I suspect that serendipity often prevails. In any event, these forms invite error and litigation, which is best avoided by a simple rule.” [ 146] Citation: J. I. MacWilliam, Co., Inc. v. Mediterranean Shipping Co., S.A., “The Rafaela S,” [2003] E.W.C.A. Civ. 556, [2003] All E.R. (D) 289 ( April 16) (Approved judgment).

Newslinks for Wednesday, March 4, 2009

Wednesday, March 4th, 2009


Damien Hirst’s skateboard decks for Supreme, via The Hundreds

Damien Hirst launches a new line of skate decks for Supreme [Hypebeast] plus a Glenn Brown interview with Supreme [Interview]
Turner prize winning British artist Steve McQueen debuts Hunger.
[W Magazine via C-Monster]


John Baldessari at Mies van der Rohe’s Haus Lange of 1928, in Krefeld, Germany, via Edward Lifson

John Baldessari transforms a Mies van der Rohe house [Edward Lifson]
Metropolitan Opera puts up two Chagalls as collateral for loan in the face of a shrunken endowment
[Crain’s]
Art In America launches its new website
[Art Fag City]


A model of Jeff Koons’s ‘Train’ to be built at Los Angeles County Museum of Art, via LACMA

LACMA moves forward with record $25 million sculpture by Jeff Koons [The Art Newspaper]
Gold Bars for a Chris Burden show at Gagosian held up in Stanford fraud case [Culture Monster]
A negative forecast for the recession’s impact on art [NewYorkMagazine]


Banksy in London, via Wooster Collective

New Banksy works appear in London [Wooster Collective]
A profile of the Guggenheim’s Richard Armstrong, a modest museum head compared to his controversial predecessor
[Wall Street Journal]


KAWS’s cover for the current issue of New York, via SuperTouch

KAWS designs New York Magazine’s cover for their ‘Best of New York 2009’ issue [SuperTouch]
Jackie Wullschlager looks at the exhibitions that have come about after Anthony d’Offay’s gift of his collection to Britain
[Financial Times]


Gang Gang Dance, via The Social Registry

Armory Show preview and party at MoMA featuring a performance by Gang Gang Dance [MoMA]
A profile of art collecting Mugrabi family [NY Times]
Second ever newspaper interview of Charles Saatchi
[London Times]


Jake and Dinos Chapman’s remade ‘Hell’ via The Guardian

Jonathan Jones on why the Chapman Brothers’ Hell deserves to be shown at the National Gallery [Guardian]
Munich gallery Andreas Grimm shutters NY location [Hintmag]
SANAA, architects of the New Museum, to design Serpentine Pavilion [Icon]


A rug made by Francis Bacon, via London Times

Rediscovered Francis Bacon rugs are up for auction at a relative pittance versus his canvases [London Times]
Alex Katz models for J. Crew [MediaBistro]
A trend of wealthy collectors building museums to open their collections to the public [Fortune]

Christie’s YSL Auction Sabotaged by Chinese Bidder refusing to pay for looted Qing heads

Tuesday, March 3rd, 2009


Bronze heads dating from China’s Qing dynasty, subject of a controversy after the winning bidder is refusing to pay for political reasons. Image via New York Times.

“I think any Chinese person would have stood up at that moment,” he said, adding, “I want to emphasize that the money won’t be paid.” — Cai Mingchao, via the New York Times.

Cai Mingchao, the winning bidder on two Chinese relics recently sold at Christie’s record-breaking Yves St Laurent auction, is refusing to pay for them in a gesture aimed at botching the sale of the figurine heads that were looted from an imperial palace almost 150 years ago. The winning bid was $18 million for each head.

The bronze heads representing a rat and a rabbit were the subject of some controversy before and during the auction.  A group based in China filed an injunction against Christie’s in a French court, in an unsuccessful effort to block the sale of the heads. They were part of a water clock display based on the Chinese zodiac, and allegedly looted by French and British soldiers during the Second Opium War in 1860. When asked about the sculptures during an interview at the onset of the auction, Pierre Berge commented that he would return them if  they would “observe human rights and give liberty to the Tibetan people and welcome the Dalai Lama.”

Twist in Sale of Relics Has China Winking [New York Times]
Bidder Refuses to Pay, Stating Protest of Looting [Wall Street Journal]
Chinese art trader declines to pay up [Financial Times]
Chinese zodiac statues’ origins [BBC]
China relics buyer refuses to pay [BBC]
Yves Saint Laurent Auction Sabotage [Forbes]
Chinese collector sabotaged animal head auction [Telegraph UK]
Spectacular Yves Saint Laurent auction raises record breaking $264 million, sets records for Mondrian, Matisse [ArtObserved]
Chinese Who Won Bid on Bronzes Acted on His Own, Xinhua Says [Bloomberg]
China-Art Sales May Drop as Bidder Refuses to Pay [Bloomberg]

(more…)

Spectacular Yves Saint Laurent auction raises record breaking $264 million, sets records for Mondrian, Matisse

Tuesday, February 24th, 2009


Composition avec bleu, rouge, jaune et noir (1922) by Piet Mondrian, part of the Yves Saint Laurent – Pierre Berge collection; sold for â‚¬21.6 million, beating its estimate range of â‚¬7 million to â‚¬10 million and setting an at-auction record for the artist. Image via Christie’s.

Following three days of viewing by the public in the majestic setting of the Grand Palais in Paris, Christie’s kicked off its marathon three day, six session auction of the vast Yves Saint Laurent and Pierre Berger collection–700 pieces collected over five decades.  A moribund art market and legal manoeuvrings by the Chinese government were not enough to put a dent on the first day of auctions, as Christie’s realized $264 million including commissions, setting a record for the sale of a personal collection, beating out a 1997 auction of Victor and Sally Ganz’ extensive private collection which sold for $206.5 million. This first auction focused on Impressionist and modern art, with 61 lots on sale.

While Picasso’s Instruments de musique sur un gueridon, a synthetic cubist piece from 1912 estimated at €25 million to â‚¬30 million, failed to sell, records were broken for Matisse, Brancusi and Mondrian. Other high priced lots by blue chip names sold very well to a field of over 1,200 participants, with another 100 partaking in the sale via phone. The Grand Palais served as a giant showroom, conceived as a recreation of sorts of St Laurent’s and Berge’s apartment in Paris’ 7th arrondissement. Over 30,000 thousand people are expected to visit the Palais during the course of the public exhibition and the auction.

“This is a very important auction,” said Souren Melikian, the longtime art editor of The International Herald Tribune. “There are a large number of high-quality objects, not necessarily as stunning as billed, but high quality bought over a large number of years. And they come to auction at a time when the market is winding down, when there is less available than 20 years ago.” [Via the New York Times]

Auction page: Christie’s
Fondation Yves Saint Laurent – Pierre Berger
Art World’s Stimulus Package: Matisse, Mondrian, Not Picasso [WSJ]
Christie’s Laurent Sale Fetches Record $262 Million [Bloomberg]
Yves Saint Laurent sale proves art is in fashion [Times UK]
Yves Saint Laurent Art Sale’s 1st Night Brings In $264 Million [NYT]
Saint Laurent and His Art Still Make a Sensation [NYT]
Treasures, after a fashion [FT]
YSL art auction sets new record [Guardian UK]
Record for Matisse and Others at Christie’s Sale of Yves Saint Laurent Collection [ArtDaily]
Saint Laurent art sale raises $264 million in first night [ArtForum]
Record bids for YSL private art [BBC]
Obituary: Yves Saint Laurent [BBC]
China tries to stop Paris auction [BBC]

(more…)

£240 Million Christie's Paris Yves Saint Laurent auction has begun

Monday, February 23rd, 2009

Piet Mondrian Piet Mondrian:Ferme sur le Gein, dissimulée par de grands arbres, au coucher de soleil

Image via Daily Telegraph

The three day auction of hundreds of art and furniture collected by the late legendary fashion designer Yves Saint Laurent and his longtime partner Pierre Bergé kicked off today at 1PM EST. The auction which many have called the “Sale of the Century” is being held at the Grand Palais in Paris under the guidance of Christie’s auction house. The auction includes six separate sales over three days and contains masterpieces by Picasso, Mondrian, Matisse along with several other Art Deco pieces, bronzes, enamels and antiques. The first item sold was a small Italian landscape by Degas for which Berges had said he had a “special affection” for. It was bought for 380,000 euros (485,000 dollars). Proceeds from the sale will go to two charitable foundations set up by Saint Laurent and Bergé. Another early highlighted item sold was a wooden sculpture by Constantin Brancusi which sold for 29.2 million euros (37.2 million dollars) which was a a record for the artist’s work at auction. For up to date results from the auction, visit Christie’s results as they happen.

Christie’s Fine Art Auctions
–>
Pierre Bergé on Yves Saint Laurent, his auction house and the sale of the century
[Art Info]
–>
Brancusi Sculpture Fetches Record 29.2 Million Euros
[Bloomberg]
–>
Saint-Laurent Collection Livens Up A Sluggish Auction Market
[Arts Journal]
–>
Treasury of Style
[ArtNet]
–>
Inside Yves Saint Laurent’s Art Collection
[Forbes]
–>
Treasures, after a fashion
[Financial Times]
–>
The Last Collection
[New York Times]
–>
The Art World’s Last Hurrah?
[Wall Street Journal]
–>

(more…)

For the Love of Copyright Law: ‘Red Rag to a Bull’ prods Damien Hirst over lawsuit

Wednesday, February 18th, 2009


A work from Red Rag to a Bull from the website

When Damien Hirst sued a 16-year-old street artist over copyright infringement late last year, demanding the boy pay him £200 for profits made on collages that incorporated an image of Hirst’s diamond and platinum skull ‘For the Love of God,’ a bit of an uproar followed.  Hirst, who has made an estimated £500 million from sales of his art work, was seen as a bully, and moreover perhaps, as a hypocrite, given that Hirst himself has taken ideas from other artists, notably the claim by former Hirst friend and artist John LeKay, whose crystal-studded skulls done in the 90s bear resemblance to ‘For the Love of God.’

Enter Red Rag to a Bull, an artist collective including Jamie Reid, who made the cover for the Sex Pistol’s album ‘God Save the Queen,’ James Cauty, who, when in the band KLF, burned £1 million, and Tracey Emin’s former boyfriend Billy Childish. Through their website, the collective has launched a campaign to get back at Hirst by selling limited edition works that lampoon Hirst’s work and name, as well copyright laws. By buying these works, ‘you can now save this Street Urchin from certain death and help him get back the 200 quid that this Hirst allegedly nicked off him.’

Red Rag to a Bull
Artists declare war on ‘bully’ Damien Hirst [The First Post]
God save the Damien Hirst rip-off industry! [The Independent]
Artists flout copyright law to attack Damien Hirst [Telegraph]

(more…)

AO Auction Results: Phillips de Pury, Thursday, February 12th; Satisfactory but not strong.

Wednesday, February 18th, 2009


–>
Encased — 5 Rows (6 Spalding Scottie Pippen Basketballs, 6 Spalding Shaq Attaq Basketballs, 6 Wilson Supershot Basketballs, 6 Wilson Supershot Basketballs, 6 Franklin 6034 Soccerballs) (1993) by Jeff Koons. Lot unsold. Estimate range: £1,800,000 to 2,200,000.

Phillips de Pury & Co. raised a total of £4.2 million at their February 12th auction of contemporary art, with 35 of 53 lots selling. The entire sale was expected to realize £6.8 million – £9.3 million.  The higher priced lots were shunned in favor of those with estimates under £500,000.

The highest priced lot was Martin Kippenberger’Portrait of Paul Schreber (Designed by Himself), which sold for £432,000, at the low end of its presale estimate of £400,000 to £600,000. The 8-foot high oil, lacquer and silicone is an abstract portrait of Paul Schreber, an early 20th century German judge who suffered several nervous breakdowns, and was the subject of a seminal clinical psychology paper by Sigmund Freud. The portrait is based on a sketch in Schreber’s autobiography, where he draws what he imagines his brain to look like: one healthy side and one ill side. Dan Colen’s Untitled (Going, Going, Go. . .), of a candle whose smoke spells out the painting’s title, sold for £92,500, more than double the high estimate. This sale also set a new auction record for the artist.

Zeng Fanzhi’s Huang Jiguang, from 2006, sold for £360,000 against pre-sale estimates of £200,000 to £250,000. The 11 foot wide depicts a Chinese war hero from the Korean War, who is famous for having sacrificed himself in a crucial battle. Mixing historicity and myth with an abstract landscape as background, Fanzhi is one of China’s foremost contemporary artists and is known for his Mask series.

A Jeff Koons sculptural installation featuring a glass-encased vitrine stocked with various basketballs and soccer balls failed to sell. It was the only lot priced higher than £1 million, and failed to generate a single bid despite being the cover lot by a prominent name.

The auction results were unimpressive on the whole, reflecting the general sense of ambivalent malaise that still plagues the art market. The consensus among many dealers and collectors is that it is a buyer’s market, and many sellers have not adjusted their pricing expectations to reflect the ongoing correction–until this mismatch is corrected, there will continue to be anemic auction results.

Auction Page: Phillips de Pury Contemporary Art Evening Sale
–>
Koons Work Snubbed for Cheaper Art in London as Bargains Sought [Bloomberg]
–>
Phillips Sale Misses the Mark [ArtInfo]
–>
ART MARKET WATCH: £4.2 million at Phillips London [Artnet]
–>
Phillips de Pury & Company’s London Contemporary Art Sale Results Confirm Market Demand for Quality Works [ArtDaily]

(more…)

Go See: Tate Triennial ‘Altermodern’ at the Tate Modern, London, through April 26, 2009

Friday, February 6th, 2009


Hermitos Children by Spartacus Chetwynd via Art Daily.

This week the Tate Modern has unveiled its 2009 Triennial, Altermodern. The museum’s fourth Triennial highlights fewer British artists than previous exhibitions and has instead aimed its efforts at highlighting a new movement in art. The exhibition is curated by Nicolas Bourriaud who defined the “Relational Esthetics” art movement and is now using the Tate’s Triennial as a showcase for his most recently conceived movement: Altermodernism. The exhibition which comes with a manifesto in tow declares foremost that Postmodernism is dead.  In its place is a new movement defined by ever-increasing globalization and the heightened communication, travel and migration that is the result.  As Bourriaud explains “If early Modernism is characterised as a broadly Western cultural phenomenon, and Postmodernism was shaped by multiculturalism, origins and identity, Altermodern is expressed in the language of global culture.” In short today’s artists are now starting from a globalized state of culture where the origins of  any one person have become increasingly similar to the origins of any other given person.

Altermodern is a swarm of drawings, sculptures, videos, photographs, slide shows, installations, soundtracks, documentaries, and performances. Many works included are several mediums at once as the pieces tend to be a collage of related matter as opposed to a single defined piece; reflecting the idea of Altermodern as complex fusion of ideas and influences. The artists producing these pieces are mostly thirty-somethings that live or work in Britain, though keeping with the globalized theme of the show a  notable number are identified as ‘passers-by.’ Along with up and coming artists such as Tris Vonna-Michell and Ruth Ewan the exhibit includes some bigger names who have been shortlisted for the Turner Prize including Bill Nelson and Darren Almond.

Altermodern Tate Triennial [Tate]
Altermodern: Tate Triennial 2009 at Tate Modern [Times Online]
Altermodern, Tate Triennial 2009, review [Telegraph]
Tate Triennial 2009 Interview With Curator Nicolas Bourriaud [Frieze]
New sensation: The next generation of Young British Artists [Independent UK]
Altermodern: Tate Triennial 2009 Presents Some of the Best New Contemporary Art in Britain [Art Daily]
Art in search of a label [Financial Times]

(more…)

AO Auction Results: Christie’s London, Impressionist and Modern Art Evening Sale, Wednesday, February 4th

Thursday, February 5th, 2009


Dans la prairie (1876) by Claude Monet; Sold for  £11,241,250 ($16,104,942), against estimates of around  £15 million. Image via Artnet.

“It was a great sale and brought back a lot of confidence to the market.” Leon Benrimon, in remarks to ArtInfo.

Christie’s evening sale of Impressionist and Modern Art, held February 4th, has been hailed by some as a confidence-building event which demonstrated that there is some vitality left in the art market, while others give credit for the auctions ostensible success to high quality pieces (often being auctioned for the first time in decades), along with low estimates and low expectations. The auction realized a total of £63.4 million or $91.2 million, well within its range of £58.8 million to £86 million. In the course of the evening, 39 of 47 lots were sold, with 4 lots sold for over £5 million, 16 for over £1 million, and 25 for over $1 million.  According to Christie’s, 54% of the works were bought by European bidders, 26%  from the U.S., 18% from the U.K. and 2 percent from Asia.

Dans la prairie, by Claude Monet, was the highest priced lot of the night despite falling below its expected range.  The painting, which was exhibited for the first time at 1877’s seminal Impressionist Exhibition, sold for £11.2 million, or $16.1 million–while the range for the painting was unpublished, it is thought to be somewhere in the £15 million range. Dans la prairie‘s subject is Monet’s wife, Camille, reading in a meadow in Argenteuil, a few kilometers north of Paris. It was bought in a single telephone bid made by Anika Guntrum, a Paris-based Christie’s specialist, on behalf of an anonymous buyer.

Monet oil tests art market [GuardianUK]
Monet Painting of Wife Sells for 11.2 Million Pounds [Bloomberg]
Monet painting sells for £11.2 million, £4 million below estimate [Telegraph UK]
Monet, Modigliani, Low Estimates Boost Christie’s London Sale [Bloomberg]
Impressionist and Modern sale nets £63.42 million at Christie’s [IHT]
Christie’s “Brings Back Confidence” [ArtInfo]
Claude Monet’s Dans la Prairie Sells for $16,164,918 at Christie’s Auction of Impressionist and Modern Art [ArtDaily]

(more…)

Titian’s Diana and Actaeon is secured

Tuesday, February 3rd, 2009

Diana and Actaeon (1556-1559), by Titian, via The Guardian.

Titian’s masterpiece painting Diana and Acteon (1556-1559) has finally been secured. The five-month campaign to raise £50 million has succeeded.  The National Galleries of Scotland and London’s National Gallery made a joint effort to raise the funds.  The Scottish government pledged £2.5 million, £.4 million came from public donations, and £2.5 million came from the National Galleries in London. The rest of the money came from the National Heritage Memorial Fund which gave £10 million; the Monument Trust which pledged £2 million; £.6 million came from the National Galleries of Scotland and £1 million was taken from the Art Fund.  Such a joint venture outweighs the previous fundraising record of £22 million in 2004 for Raphael’s Madonna of the Pinks.

The fundraising campaign had the backing of 40 leading contemporary artists such as Lucien Freud, David Hockney, Damien Hirst, Tracey Emin, and Antony Gormley.

Museum page: National Galleries of Scotland
Funds Secured for Titian Painting [BBC]
UK Buys Titian Diana Painting for 50 million Pounds [Bloomberg]
Titian’s Diana and Actaeon Saved for Nation as Art Galleries Hit £50 million Target [TimesUK]
Artists Jubilant as £50 million Titian Saved for Nation [The Independent]
Titian’s Diana and Actaeon Saved for the Nation [The Guardian]
Is Titian’s Diana and Actaeon worth £50 million? Definitely [The Telegraph]
National UK Galleries mobilize to secure Titian masterworks [ArtObserved]

More detail on the story after the jump…

(more…)

Brandeis University considers closing Rose Museum due to losses from Madoff investments

Saturday, January 31st, 2009


Race Riot by Andy Warhol, top left, Forget It! Forget Me! by Roy Lichtenstein, right, and Life is a Killer by John Giorno, bottom left. Undated picture taken at the Rose Art Museum, Brandeis University, Waltham, Massachusetts. Image via Bloomberg.

Several major Brandeis University donors and trustees suffered substantial losses when Bernard Madoff’s Ponzi scheme was exposed, leaving the university in a very precarious financial position.  Facing a potential $79 million deficit, according to an official interviewed at the Daily Beast, the university is facing some rather stark choices: closing the Rose Museum and selling the entire collection at a fire sale price, or potentially firing up to half of its faculty.

Museum page: Rose Art Museum
Statement from Michael Rush, Director of the Rose Art Art Museum, regarding the impending closing of the museum [Rose Museum]
Brandeis Forced To Close Museum [WSJ]
Outcry Over a Plan to Sell Museum’s Holdings [NYT]
Brandeis Art Sale Illustrates Pressures on Colleges [WSJ]
Brandeis President Says School May Keep Its Art, but Rose Will Close [ARTINFO]
Brandeis may keep art, says president [Boston Globe]
Critics Blast Brandeis Plan to Close Rose Museum, Sell Artworks [Bloomberg]
Protests, Rumors swirl in Rose Musem closing [Artnet]
Q&A with Rose Art Museum director Michael Rush [ArtJournal]
A Madoff Sell Off? [TIME]
Brandeis on the Brink [The Daily Beast]
Save the Rose Art Museum [Facebook]

More detail on the story after the jump…

(more…)

Charles Saatchi and BBC Set to Launch Reality TV Show to Discover Next Generation of Artistic Talent

Tuesday, January 27th, 2009


Charles Saatchi, photo via Welt

British art collector, Charles Saatchi, famous for launching the now established careers of “Young British Artists” of the 1990’s such as Damien Hirst and Tracy Emin and others, is set to preside over a new reality television show on BBC2, described as the Art X Factor.

In an attempt to be the next YBA Hirst or Emin, artists over the age of 18 and residing in the UK will submit their work online.  All artistic genres, from painting to conceptual, will be accepted.  A panel of art world experts will narrow the entries down to approximately 50 which will then be presented to Saatchi in the form of an exhibition.  Saatchi, himself, will then select six of these artists to participate in the TV show “Saatchi’s Best of British.”

Charles Saatchi is indisputably one of the most significant figures in the art world.  In 1970, Saatchi founded the advertising agency Saatchi & Saatchi with his brother Maurice.  By 1986 Saatchi and Saatchi grew to be the largest ad agency in the world, with over 600 offices.  Yet Saatchi is as much famous perhaps for his direct influence in the art market, establishing the Saatchi Gallery in 1985 in London.  He recently opened his new space in October of last year at Duke of York Headquarters Building in Chelsea, London (as covered by Art Observed here).  In 1997 he mounted an exhibition at the Royal Academy titled Sensation, which travelled to Berlin and New York ruffling feathers along the way and causing the regognition of the artists in the show to in most cases shift to an entirely higher plane.

Jonathan Jones: Reality TV has nothing to offer the art world [Guardian]
Saatchi to front art talent show [BBC]
BBC and Charles Saatchi Launch Reality Show [Art Daily]
Charles Saatchi to host Art X-Factor [Times]
TV show hunts for next Damien Hirst [Metro]
Reality show taps Saatchi [CBC]
X Factor for budding artists [Marie Claire]

More after the jump… (more…)