Laure Prouvost, For Forgetting (Installation View), via Art Observed

Laure Prouvost has a lot to say.  Creating multifaceted, occasionally dizzying multimedia installations using wood, paint, video and various props, the 2013 Turner Prize Winner’s work is hyper-loaded in its signifiers and subjects, moving rapidly from the divine to the profane and back, all expressed with a masterful storytelling bent.  It’s just this line, in fact, that the artist makes express use of in her first U.S. installation, occupying the lobby of the New Museum, telling a lightning-fast narrative of identity theft and financial scamming in the post-digital economy.

Laure Prouvost, For Forgetting, 2014 (still). Installation and video. Copyright the artist. Courtesy the artist and MOTINTERNATIONAL, London and Brussels (more…)

The Art Basel fair has announced the list of exhibitors for its 2014 edition, to be held this June, with 285 Galleries from around the world.  A number of small galleries, like New York’s Ramiken Crucible and London’s The Approach will appear this year alongside the annual players.  (more…)

Collector and dealer Asher Edelman has filed a lawsuit claiming he has been victimized in a fraudulent deal for the sale of more than 100 works claimed to be by Picasso, Matisse, and more.  The lawsuit states that Swiss company Artmentum convinced Edelman’s company that a Japanese museum was seeking to sell $400 million in art, a statement that Edelman claims was wholly false.  “Each defendant, acting individually and in concert with each other, participated in an elaborate, fraudulent scheme in the guise of an international art transaction designed to deprive ArtAssure of hundreds of millions of dollars,” the lawsuit says. (more…)

Ai Weiwei, Stacked (2002), Installation view Pérez Art Museum Miami Photo credit: Daniel Azoulay photography

The doors of Miami’s newly completed Perez Art Museum opened this past December with a landmark exhibition of works by Chinese artist and dissident Ai Weiwei, the first major international retrospective of the artist’s work.  Charting the artist’s signature blend of irreverence, scale, architectural techniques and sculptural conceptualism, the exhibition is a remarkable introduction to Ai’s challenging and oftentimes difficult work, drawing on political aggression and irony to open dialogues on contemporary politics around the world.

An Ai Weiwei Zodiac Head outside the PAMM, via Art Observed

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A recent article in the Wall Street Journal points to the immense influence currently held by hedge fund managers in the global art market.  With managers like Daniel Loeb shaking up the corporate structure at Sotheby’s, and a growing number of hedge-fund billionaires entering the auction market, the high-price works of the art world have become something of bargaining chips in a major equity game.  “The rest of us are just sitting on the sidelines,” says Len Riggio, founder of Barnes & Noble. “I go to auctions now and feel like a witness—I watch, shake my head, and go home.” (more…)

Responding to a number of articles and analyses of the Chinese contemporary art market, Forbes has published a list of myths about the nation’s ever-burgeoning sales of contemporary art.  Noting a number of overly negative, pessimistic claims over forgeries, lack of collectors and a dearth of interest in international artists, the list sets straight a number of commonly held beliefs about contemporary art in China today. (more…)

A recent Forbes India interview with Christie’s Steven Murphy, following its successful first auction in Mumbai, has indicated the company’s approach to the growing international market.  “The fundamental fact is that the combination of the surge in interest in art, combined with the new connectivity available online, has opened the door to a vast population of new collectors globally. This surge in new buyers, which is continuing, far outstrips any modulation in sales that macro-economic trends would affect.” (more…)

Michael Werner Gallery is currently embroiled in a $1.35 million lawsuit with South Korea’s Gwangju Biennale Foundation over damage to three sculptures by James Lee Byars.  The works were chipped on the return trip, and attempts to collect insurance through a South Korean insurance company have proved futile.  “Unfortunately, risks are inherent in any loan, and it is devastating and embarrassing when anything like this happens,” said Massimo Gioni, who curated the 2010 event and went on to curate this year’s Venice Biennale. (more…)

In a recent article for New York Magazine, Jerry Saltz critiques the effects of the mega-galleries on their artist rosters, and asserts that the galleries often encourage artists to overproduce critically weak work in favor of sheer salability.  ” By now, these galleries are essentially exploiting the potential of artists who have been carefully nurtured for years by other galleries. And often ruining them.”  He writes. (more…)

The Wall Street Journal reports on the burgeoning contemporary gallery scene, and the numerous large-scale shows foregoing museum exhibitions in favor of names like Gagosian, Zwirner and Hauser and Wirth, many of which are opening museum-sized spaces of their open.  However, these new spaces aren’t only about space to exhibit.  “The mega spaces project what they need to—a level of power and gravitas.”  Says collector Dennis Scholl. (more…)

Artist Bassim al-Shaker, who was included as part of the Iraqi Pavilion at this year’s Venice Biennale, is profiled in the New York Times this week, detailing the artist’s story of oppression at the hands of Mahdi Army loyalists, and his life in Arizona, where he is currently working on a business visa to avoid several fundamentalists who nearly killed him earlier this year.  “He’s obviously very talented,” Says Rijn Sahakian an Iraqi expat representing the country’s artists abroad, “but we were also focused on saving his life.” (more…)

Seeking to strengthen its international ties, the Metropolitan Museum of Art has announced the “Global Museum Leaders Colloquium,” a two-week program next April that will bring over a dozen museum heads from institutions in Asia, Africa and Latin America to the table, discussing the shared challenges and issues museums are facing worldwide.. “It’s all about promoting international collaboration,” said Met Director Thomas P. Campbell. (more…)

The Artist Pension Trust, cited as the largest collection of contemporary art in the world, is currently looking to sell off 5,000 works from its collection, the Telegraph reports.  The sale of works will cut the fund’s collection nearly in half, and will go to benefit both the artists in the trust, as well as the operating costs of the trust. “We are hoping to place works privately with institutions through our team of curators,” say Moti Shniberg, a trust co-founder. “Otherwise, interested buyers can contact us. The works are all listed on the Trust’s website.” (more…)

London’s Mayfair district, traditionally known for its boutique shops and high-end British art galleries, is seeing a number of American dealers moving in, The New York Times reports.  Gagosian, Pace, David Zwirner and more have opened spaces in the area, seeking to provide an even greater global offering for potential artists and customers in a vibrant market.  “We’re all chasing the same artists,” says Marc Glimcher, president of Pace. “But the intensity of interest in art in London is long-lasting. You can get 10 reviews in 10 different newspapers. And besides the new collectors and galleries, there is a very vibrant museum community.” (more…)

The  New York Times writes on the ongoing contention between the nation of Turkey and the J. Paul Getty Museum over a number of potentially looted items currently held in the American museum’s collection, highlighting the difficult issues at play in repatriation claims.  While many museums are speeding up their processing of these claims, many factors must be taken into account before handing over past property.  “Museums must untangle a lot of knots before making such an irrevocable decision,” said Stephen K. Urice, an expert on cultural heritage law at the University of Miami School of Law in Florida. (more…)

Yoshitomo Nara, Pace Gallery at Art Basel 2013, Courtesy Pace Gallery

Last evening, the conclusion of Art Basel marked the finish line of a 6-week art world marathon, including Frieze New York, the first edition of Art Basel Hong Kong, and finally the Switzerland-based Art Basel, alongside the opening of the Venice Biennale, and record auction sales in New York. While the time period was most certainly overflowing with events and attractions, the so-called “fair-fatigue” did not kick in at Basel, with record numbers of visitors at Art Basel (86,000 in total), and strong sales across the board.  Interestingly, as the number of viewers has grown, the gallery booths have evolved, showing a more focused curatorial approach, often planned months in advance.

Donald Judd, David Zwirner at Art Basel 2013, Courtesy David Zwirner, New York/London (more…)

Outside View, Art Basel 2013, Photograph Courtesy of Art Basel

The city of Basel, situated at the border between Switzerland, France and Germany, will be transformed into a contemporary arts hub this week for the 44th annual Art Basel. Anticipating record attendence, the fair will look to top its record of over 65,000 visitors at the marathon art event this year.  With over 300 top galleries from all over the world flocking to the city to display over 4,000 artists’ work, the fair is commonly referred to as the “Olympics of the art world.”  and features a similarly brimming schedule of events and claustrophobic crowds of eager spectators. Each day boasts its own full agenda, including film screenings, artist talks, and performances, and joined by the vast number of peripheral art exhibitions and events hosted by cultural institutions of Basel throughout the entire region, held in obscure and romantic venues amidst the Swiss lakes and mountains.

Olafur Eliasson, Untitled (2003), Courtesy of Art Basel

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Damien Hirst, Death or Glory (2001)

In conjunction with the events and exhibitions of the 55th Venice Biennale this summer, Le Stanze del Vetro (“Rooms for Glass”), the joint project by La Fondazione Giorgio Cini and Pentagram Siftung, is currently presenting Fragile?, an exhibition dedicated to the presence and use of glass in contemporary art.  Perhaps one of the more interesting conceits for a Biennale exhibition, the show on the Venetian island of San Giorgio Maggiore looks at glass as an aesthetic and and figurative medium in current practice, featuring works by Ai Weiwei, Marcel Duchamp, Pipliotti Rist, Joseph Beuys, and many more.

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Outside the 55th Venice Biennale

The press preview for the 55th edition of the Venice Biennale, the international art world’s largest stage, kicked off this week, sprawling across the narrow alleyways and watery causeways of the Italian city.  Art Observed was on site to cover the opening ceremonies, and has this selection of pictures documenting the first day of the fair.

The Opening Reception, with Paolo Barata and Massimo Gioni (more…)

In an effort to increase public engagement with their collections, a number of museums are now offering free, high-quality images of their works for download and open use. In one such example, Amsterdam’s Rijksmuseum has begun allowing visitors to reproduce images of its collection anywhere.“We’re a public institution, and so the art and objects we have are, in a way, everyone’s property.” Says collections director Taco Dibbets. (more…)

Hong Kong Convention Center, site of the Art Basel Hong Kong Art Fair, via Forbes

With the closing of the doors at the Hong Kong Convention Center this past Sunday, the first edition of Art Basel Hong Kong was brought to a conclusion after a flourish of strong sales, critical praise, and notable attention for the art fair giant’s first foray into the Asian continent.

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Russian billionaire Leonid Mikhelson has joined the board of trustees at The New Museum, mirroring the increasing number of international members on Museum boards across the U.S.  “As art is thriving in so many centers, it is imperative to have an active group of supporters with diverse perspectives and deep connections to these communities.”  Said New Museum director Lisa Phillips. (more…)