‪‬Suspected financial turmoil related to illegal endowment raiding begets turnover at MOCA, with the chief operating officer, fundraising director and a trustee chairman leaving the museum within the last three months, each remaining in the posts less than a year. Jeffrey Deitch, MOCA’s director since 2010, is reportedly struggling to fix the endowment issues that ended in 2008. The current fiscal year has a projected deficit until its closing on June 30th. [AO Newslink]

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An hour by hour, interactive feature on a typical day of Jeffrey Deitch, Director of LA MoCA [AO Newslink]

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André, Love Graffiti: Annabelle (2011).  All images by S. Zabrodski for Art Observed, unless otherwise stated.

MOCA’s exhibition, ‘Art in the Streets’ has proven to be a hugely popular, if not highly contentious, addition to L.A.’s summer arts scene. Located at MOCA’s Geffen Contemporary in Los Angeles’s Little Tokyo, the massive space includes the work of around 50 artists in a range of media including murals, photography, installations, graffitied vehicles, and re-created cityscapes. The show has come under fire for its glorification of what many perceive as vandalism. Indeed, the area surrounding Geffen Contemporary saw a spike in graffiti following the opening of ‘Art in the Streets’ in mid-April. As with any survey show, there have been many objections relating to both the inclusion and exclusion of certain artists. Even before the opening, MOCA Director, Jeffrey Deitch, drew criticism for the museum’s censorship of Italian street artist Blu’s mural depicting coffins covered with dollar bills. The mural was painted over after Deitch deemed it insensitive given its location near a veteran’s memorial. Both in spite of and because of these debates, the show has sparked a discourse that is significant for both artists and audience- since the show has opened, Banksy, one of the artists included in the exhibit,  has begun sponsoring free admission on Mondays to pull in even more viewers to an already record-breaking show. Bansky is quoted as saying, “I don’t think you should have to pay to look at graffiti. You should only pay if you want to get rid of it.” The exhibition was slated to travel to the Brooklyn Museum in 2012, but was recently cancelled due to financial constraints.

Swoon, Ice Queen (2011)

more images and story after the jump…

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Tiermetabolismus V (Katzchen) by Jonathan Meese at Bortolami Gallery, Art Basel Main Fair, Hall B, Booth I-09.

Art Observed will be on site as of today for the ninth edition of the America’s biggest contemporary art fair: Art Basel Miami Beach which will open to the public on Thursday December 2 and will run through Sunday, December 5.

The main section of the fair will house over 180 galleries and over 40,000 are expected following the December 2nd opening.  Annette Schönholzer and Marc Spiegler are the main fair organizers alongside its main sponsor UBS with Cartier, NetJets and AXA Art as the associate sponsors.  While Art Basel is still the main draw, the NADA Fair (the New Art Dealers Alliance) up the road at the Dauville Beach Resort will open to the public Thursday December 2. It will run through Sunday December 5 and also should not be missed.

Untitled (Art Fair Floor) by Ryan Reggiani.  Kate Werble Gallery at Nada Art Fair, booth 312.

The fair week is notable for its bridging of the Latin American buyers with American and British art centers as well as its uniquely intense amalgamation of social, media, fashion and other spheres of influence into the business of selling art.

The global art market seems to have stabilized this year and the main fair, along with its very significant satellites, should be met with lively buying this round.  Beyond this, all around Miami, the social calendar will be infused with events to the point where there is little chance to avoid regretfully missing something.

A view of an installation by Terrence Koh at The Island, an event during the week (see bel0w).

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Billboard paintings after Dennis Hopper photographs, courtesy of LA Observed.

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Dennis Hopper’s photograph series, 1961 to 2010, courtesy of When You Awake.

‘Dennis Hopper Double Standard,’ a comprehensive survey of artwork by the late cultural icon, is currently on view at the Museum of Contemporary Art, Los Angeles. The exhibition explores an interdisciplinary body of creative work produced by actor, director, photographer, painter, sculptor, and conceptual artist Dennis Hopper, over the course of his prolific sixty-year career. More than two hundred objects crafted in a variety of media are on view, including a rare early painting completed in 1955, before to the loss of the artist’s studio and much of his work in the 1961 Bel Air fire. Curated by artist Julian Schnabel, ‘Dennis Hopper Double Standard’ is the inaugural exhibition of the museum’s new director, former New York gallerist Jeffrey Deitch. Prior to his death in May of this year, from complications related to prostate cancer, Hopper also played a significant role in the organization of the exhibit.

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MOCA director Jeffrey Deitch, actress Diane Keaton and Jean Stein at the Opening of ‘Dennis Hopper Double Standard’ on July 10th, 2010, courtesy of the Huffington Post.

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Kathy Grayson mid-smooch. Image courtesy Taylor Derwin for Art Observed.

Currently on view at the new art outfit, The Hole, on 104 Greene St. in Soho is “Not Quite Open for Business.” The show, which opened to much hype last night, runs until August 21st. The Hole is run by former directors at the legendary and now-closed Deitch Projects, Kathy Grayson and Meghan Coleman, in collaboration with former Executive Director at Deitch Projects, Suzanne Geiss. With the gallant goal of filling a hole in the downtown community, they are off to a running start.

The first exhibition is called “Not Quite Open for Business,” a conceptual group show of unfinished art, unfinished poems, and unfinished symphonies. The installation is designed by Taylor McKimens and the show includes over twenty artists from the community.

Left: Ben Jones, Unfinished Video, 2010, single channel DVD, edition of 5. Right: Kunle, Vomit, 2010, acrylic on canvas, 30 x 40 in.

More text, images, and an interview with Kathy Grayson after the jump…

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Team Gallery Booth at Art Basel 2010, Image via Art Basel.

AO is on site at Art Basel, Switzerland, where Wednesday marked the official, public opening of the international show.  On the roster was an inaugural Conversation Series speech by Paul McCarthy, an Art Film at Stadtkino Basel, and an Artist’s Talk with Rodney Graham at Kunstmuseum.  If the congenial and thronged atmosphere hadn’t tipped us off to the anticipation surrounding this year’s exhibitions, Tuesday’s sales would have been a clear indication.   A $15 million Picasso 1960 plaster maquette, Personnage, was snatched up immediately from Krugier Gallery by one of the VIP guests (an American collector) invited to Basel’s early opening, as was a line drawing by the same artist, one by Egon Schiele, and paintings by Max Ernst and Paul Klee. Sara Kay of the Geneva- and New York-based Kugier Gallery was unable to disclose the buyer of yesterday’s Picasso sale, but ten minutes after the purchase’s confirmation noted to Art Info that “[The] piece went to a very important collector with the best modern masters.  This is museum-quality, not trophy-level. It’s a very serious piece.” Skarstedt Gallery also enjoyed a  meritorious patronage yesterday, with sales including a Christopher Wool painting, Untitled, for $800,000, a Barbara Kruger photograph for $700,000, a Cindy Sherman piece for $500,000, and two works by George Condo: The Madman and The Colorful Banker, which fetched $375,000 and $225,000, respectively.  Hufkens Gallery sold a Louise Bourgeois etching, A Baudelaire (#7), which the late artist completed several months before her death in May, for $650,000 to a European collector.  Cheim & Read boasted a lucrative afternoon as well, with sales including a $2 million Joan Mitchell abstraction, a $125,000 Sam Francis drawing, a $100,000 Ghada Amer painting, Paradise, and a 28-strong Bourgeois watercolor series, Les Fleurs.  Lisson Gallery sold two Anish Kapoor‘s for $742,000.  Richard Prince‘s Student Nurse brought Gagosian $4.2 million, and Paul McCarthy’s bronze suites–Sneezy and Dopey–yielded Hauser & Wirth a combined total of $3 million. Blum & Poe sold a dyptich by Takashi Murakami for $1 million. White Cube reportedly sold six of Damien Hirst‘s new paintings, as well as Hirst’s “Memories of Love,” valued at $3.48 million. Lehmann Maupin sold two neon works by Tracey Emin, each for $74,000.

Damien Hirst, ““Memories of Love,” at White Cube’s booth, sold for $3.48 million. Image by Art Observed.

More images and text after the jump…

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In 2005, the Museum of Contemporary Art, Los Angeles, held a retrospective of the works of Jean-Michel Basquiat.  In conjunction with that exhibition was a short 20 minute film of an interview by Tamra Davis, a friend of the artist. The footage shows a young Basquiat speaking about his works and his life, and is one of the few instances we have of the artist on film. The rare footage also shows Basquiat at work on a number of paintings, providing insight into his artistic process and highly intuitive means of creation. Because of the rarity of the footage, and at the encouragement of Jeffrey Deitch, Tamra Davis decided to work with Arthouse Films to make a feature length documentary entitled Jean-Michel Basquiat: The Radiant Child, combining the original eighties footage with interviews by various artists, gallery owners, and friends of Basquiat. The film constructs a psychological portrait of the artist tracing his humble beginnings as a street artist to his extreme success.

Afterparty at the Boom Boom Room

More images, story and documentary preview after the jump…

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New MOCA Director, Jeffrey Deitch. Via LATimes

More on  MOCA’s new director, Jeffrey Deitch, who brings his more business-oriented background to the Museum in LA: [Bloomberg] Deitch’s contract with the museum has certain safeguards against conflicts of interest that might arise from his foot in the business world– among the new rules, Deitch must notify the museum’s board of anything he adds to or sells from his collection. [LATimes]

Eli Broad and his Broad Art Foundation reveal that they are considering 3 different Westside locations on which to build and endow a museum for his art collection. The third site was recently revealed as being a ten-acre parcel on the campus of West LA College in Culver City.  [LA Times]

Works by Picasso and Henri Rousseau have been stolen from a private villa in the South of France, marking the country’s second major art robbery in that week– (work by impressionist painter Edgar Degas was stolen from the Cantini Museum in Marseilles only days before). [FT]

To stay apprised of the latest relevant news of the art world…

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The Museum of Contemporary Art in Los Angeles. Via MOCA

Ending a week of speculation, Jeffrey Deitch has been named the new director of the Museum of Contemporary Art in LA– becoming the only art dealer and commercial gallery owner to take on the leadership of a major American museum. The decision marks a kind of turning point from the more traditional approach whereby museums draw their directors from pools of established curators or academics. Deitch stated this afternoon that “(…) it’s my goal to position MOCA as the most innovative and influential contemporary art museum in the world.  I am excited by the opportunity to play a role in making MOCA and Los Angeles the leading contemporary art destination.” Founded in 1979, MOCA occupies two buildings in downtown LA and is renown for its collection which includes around 6,000 pieces of international artwork produced in the past 70 years. Jeffrey Deitch, 57, founded his own gallery, Deitch Projects LLC, in 1996 and operates from three different spaces–two in Soho and one in Long Island City. Known for having experimental projects and programs in his galleries–sometimes crossing over into music, theater and other disciplines– Dietch started his career as a Citi Group Vice President, where he developed an art advisory and art financing business. “He will cease to be involved with any commercial activity by June 1st,” MOCA’s Director of Communications, Lyn Winter, has stated (Bloomberg).

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Jeffrey Deitch, the new director of MOCA. Via LATimes

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The entrance to Art Basel Miami Beach 2009

“There’s a lot less ornament and a lot more substance,” declared Micky Wolfson Jr., founder of Miami Beach’s Wolfsonian Museum – this phrase sums-up many reflections on the eighth edition of Art Basel Miami Beach closed on Sunday, December 6 where smaller parties dominated and collectors purchased cautiously. In keeping with tradition edgy Contemporary pieces were bestsellers at Art Basel Miami Beach with larger, museum-targeted pieces dominating the booths along with traditional works by Popular Latin American artists such as the Mexican artist Gabriel Orozco. Interestingly, while many Asian and European buyers skipped the fair, additional Portuguese speakers were hired to aid Latin American buyers who were out in force.

Santigold performs at the Raleigh Hotel

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Kehinde Wiley’s portait of Michael Jackson entitled Equestrian Portrait of King Phillip II at Deitch Projects

It is rumored that in years gone by determined collectors were dressing as janitors in order to sneak into Art Basel Miami Beach prior to its official opening in order to snatch the most coveted pieces before their rivals. While this kind of vigor has not returned to the fair since the economic crash stalled the art market in 2008, the mood at today’s VIP preview seemed to be reflect the the vote of confidence that was delivered to the American art market when active bidding returned to the floor of the Post-war and Contemporary Auctions in New York last month.

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200 One Dollar Bills, Andy Warhol

Last night’s Postwar and Contemporary Sale at Sotheby’s, New York easily outmatched their rival Christie’s sale the night before with a total of $134,438,000 and only 2 lots unsold. While 59% of works sold over their pre-sale estimates, it was Andy Warhol‘s 200 One Dollar Bills, which sold for $43,762,500 over an estimate of $8-12million, that catapulted the total sales revenue way over the initial estimate of $67-97 million.

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Violins, Violence, Silence, Bruce Nauman. Record for a neon by Nauman – $4,002,500

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Futura, Jules de Balincourt, Dustin Yellin, Eric White, Tom Sachs, Shepard Fairey, Jeffrey Deitch, Lance Armstrong, Mark Parker, Geoff McFetridge, José Parlá, Dzine posing in front of a painting by Cai Guo Qiang; photo courtesy of Black Frame

A day before seven bicycles with frames designed by contemporary artists, and used by Lance Armstrong in his comeback season for July’s Tour de France, raised $1.3 million, an exhibition of artwork commissioned to benefit the legendary cyclist’s cancer foundation opened at Deitch Projects.  Launched in Paris at Galerie Emmanuel Perrotin, STAGES- the exhibit comprised of commissioned works created by over twenty established contemporary artists, is currently on view at New York’s Deitch Projects. Artists involved include Cai Guo-Qiang, Rosson Crow, Shepard Fairey, KAWS, Yoshitomo Nara, Catherine Opie, Os Gemeos, Raymond Pettibon, Andreas Gursky, Richard Prince, Ed Ruscha and Tom Sachs. STAGES will run through November 21, 2009.  AO interviews some of the artists to find out their personal connection to the cause of STAGES, their view on creating commissioned work and the story of their involvement with the project powered by Lance Armstrong Foundation and Nike and its goal of raising awareness of cancer.

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Rosson Crow in front of her piece “Texas Cycle Show”

Works presented in STAGES manifest not merely a vast array of mediums and stylistic approaches, they also speak of a multitude of equally appropriate paths the artists have taken in building the show.

Rosson Crow about STAGES: “This whole thing is incredible and overwhelming, it is a really awesome show with a great cause. Charity work is something that I love doing so this was a really cool opportunity. This painting that I did for the show is called ‘Texas Cycle Show’ and is based on an 1800′ cycle exposition. I made it Texas because both Lance and I are from Texas… kind of bringing the historical Texas vibe… and of course the bicycles I thought were perfect for a Lance Armstrong show [laughs]” When asked about any personal connections that the artist has with the cause, Rosson Crow comments that “it is hard to find anybody whose life has not been affected by cancer, so I think that everybody has a personal relationship to it in some way.”

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Yoshitomo Nara, “Fire” via STAGES

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Danseuses, Edgar Degas (1896) all images via Christie’s

Last night, November 3, the fall auction season in New York kicked-off at Christie’s with their Impressionist and Modern evening sale – the smallest since May 2004. While vigorous bidding wars ensued for the finer pieces in the sale, there was no escaping the deathly silence that occurred when auctioneer, Christopher Burge, called for bids on a number of the auction highlights which included works by Camille Pissaro, Henri Matisse and Pablo Picasso, that eventually went unsold. Of the 40 lots on sale, 28 sold – making the overall total of $65,674,000, under the low-end estimate of $68,650,000.

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The First Annual Art Awards via Guggenheim.org

Last night, October 29, marked the inauguration of a new annual art event: Rob Pruitt presented The First Annual Art Awards at the Solomon R. Guggenheim Museum, New Yorkin association with the city’s oldest alternative art space, White Columns.

The awards were conceived by artist, Rob Pruitt, as a performance-based artwork; for the occasion he recruited the characters of Index Magazine’s wry satirical web series, Delusional Downtown Divas. The New York Times have reported that “…the Divas schemed to infiltrate the art establishment by any means possible. In one segment they pitched a tent in the Guggenheim, doing their laundry in the lobby fountain.”

Jeffrey Deitch and Kembra Pfahler at The First Annual Art Awards at the Solomon R. Guggenheim Museum via style.com

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Artist Francesco Clemente at the opening of A History of the Heart in
Three Rainbows at Deitch Projects. Photo by Art Observed.

Last night, Francesco Clemente’s latest show at Deitch Projects opened with a star-studded evening in SoHo.  The exhibition consists of large-scale watercolor paintings that are positioned in a continuous line along the gallery walls. This particular hanging corresponds to Clemente’s aim to embed art with a spiritual experience.  The idea of a rainbow closely reflects the works in the show.  For Clemente, a rainbow is a symbolic structure that sets up connections between people and worlds, and using watercolor allows the light of the paper to come through. Moreover, the watercolors are bright and come after a long period in which the artist worked with a darker palette.  In order to arrive at the final form of the works, Clemente started out with three large scale canvases that were each 60 foot (about 18 meters) long.  He then divided each of them by cutting them into five separate sections. When hung next to each other, the rainbows reconnect in the mind of the viewer. The iconography in the work is derived from candomblé from the Americas, alchemy from Europe and tantra from India. The exhibition will run through May 30, 2009.  Among the crowd were Goldie Hawn and daughter Kate Hudson who were enjoying the show with artist Dustin Yellin who was is now showing at Robert Miller Gallery and who was interviewed by AO recently here.

Opening Francesco Clemente’s A History of the Heart in
Three Rainbows at Deitch Projects. Photo by Art Observed.

A History of the Heart in Three Rainbows
Deitch Projects
18 Wooster Street, New York
May 2, 2009 – May 30, 2009

RELATED LINKS
Exhibition Page and Press Release [Deitch Projects]
Francesco Clemente at Deitch [Purple Diary]
Francesco Clemente: The History of the Heart in Three Rainbows [Dante Ross]
Francesco Clemente [Daily Serving]

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Grayson Perry; Entrance To The Forest; 2002; Victoria Miro Gallery; London -Photos by ArtObserved

“The surprise is the business we are doing. Frankly, people are expressing more confidence in the art market than the government or Wall Street right now,” said Sean Kelly of Sean Kelly Gallery. The night of December 2nd, Vernissage attendees glittered and Piper Heidsieck champagne flowed.  More importantly, buyers were in attendance, asking questions and indeed, according to most of the galleries interviewed for this article, buying.  On Thursday afternoon, Douglas Baxter, President of Pace Wildenstein professed “We’ve met expectations.” Also on Thursday, when asked his feelings on sales from the night before, a representative at Cheim & Read insisted his artists have been selling well, pointing to Jack Pierson sculpture and a pile of William Eggleston’s photos.  Margherita Belaief of Peres Projects had the same confidence, “It’s hard to say so early but in general, Dash Snow’s pieces are selling strong.”  While hesitant to disclose precise numbers, the overall sentiment of the top galleries was optimistic.

However, it’s important to note while the larger known artists have been selling strong, some galleries have reported some difficulty selling lesser known artist pieces.  Alfons Klosterfelde at Klosterfelde was most direct: “People are asking more questions and really want to know the details,” but he said pointedly as of Thursday, “there have been less sales” and Klosterfelde remarked the pieces sold were from the gallery’s more known artists.

Photos and Writing by Faith-Ann Young

more pictures and story after the jump…

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Vito Schanbel, who curated the show along with Anna Wintour at the opening, via Park Ave Peerage.  Schanbel above is seen in shoes with no socks as the artist Terence Koh requested all guests take their shoes off upon entering the show.

Terence Koh’s most recent exhibition, “Flowers for Baudelaire,” is on display now and consists of 51 paintings of varying sizes created using titanium paint, corn syrup, and powdered sugar. At the show the artist used a fog machine to create added effect. The show was curated by Vito Schnabel, a close friend of Koh’s and the son of the artist Julian Schnabel. The exhbit and was held at the home of Oliver Sarkozy, the half-brother of France’s President Nicolas Sarkozy. The artist maintained that the works were edible at the opening, even licking a painting in example though few of the guests such as Anna Wintour, Cynthia Rowley and Salman Rushdie ventured to taste the works. Others in attendance for the opening and after party were artists Dash Snow and Agatha Snow, Museum of Modern Art curator Klaus Biesenbach, gallerist Jeffrey Deitch, music mogul Lyor Cohen and photographer Todd Eberle. The Upper East side space, formerly the studio of late photographer Richard Avedon, was painted entirely white -floors, walls, and ceiling- as part of the display.

The Paintings at Terence Koh’s New Show Are Possibly Edible [NY Magazine]
Koh Goes White: Hot Art [Bloomberg]
Now Licking | Terence Koh [The Moment]
Terence Koh Revealed [Hint Mag]
Uptown Baby [Vmagazine]
Palazzo Koh [Park Avenue Peerage]

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On Wednesday November 5th, Christie’s conducted its sale of the estates of two separate widows (the Alice Lawrence and Hillman family collections) bearing similar works of mostly late 19th and early to mid-20th century pieces, in an auction thus titled “The Modern Age.” These auctions included works by headliners such as Pablo Picasso, Paul Cézanne, Mark Rothko, Fernand Léger, Edouard Manet, Henri de Toulouse-Lautrec, Amedeo Modigliani, Giorgio De Chirico and René Magritte. The event followed the latest Sotheby’s auction for Impressionist and Modern art on Monday (as covered by AO here) which disappointedly totaled $223.8 million against the $338 million low estimate. Additionally, the Modern Age sale corresponded to a particularly steep post-presidential race drop in the public equity markets in which the Dow plunged 486 points.

The auction results were no surprise considering the current tepid environment in the art market: The two collections listed 58 lots, of which 17 did not sell, for a total sale of $47 million, which was less than half of its $104 million low estimate. Christie’s said 51% of buyers were American and 29% European. Though Surrealist lots by Magritte (see image above) and De Chirico (see below) did well, of the lots that were brought in were the most expensive of the sale, notably, Manet’s “Fillette sur un banc/Girl on a Bench,” a 1880 portrait of a girl with a wide-brim hat estimated at $12-18 million (see image below), and Rothko’s “No. 43 (Mauve),” estimated at $20-30 million. Other works by Cézanne, Renoir, and de Kooning also failed to sell.

Bleak Night at Christie’s, in Both Sales and Prices [NY Times]
Art-Market Rout Persists: Rothko Snubbed at Auction [Bloomberg]
Buyers Cool to Private-Collection Art at Christies [Reuters]
Market Forces Bring Fire-Sale Prices for Christie’s “Modern Age” [Art Info]
The Modern Age: Property from the Hillman Family Collection [Art Daily]
Christie’s Wan and Woeful Night [CultureGrrl]
Christie’s Website

more auction results, quotes and images after the jump…

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Kehinde Wiley’s exhibition at Deitch Projects on Saturday Night photo by Art Observed

Kehinde Wiley opened his third solo show at Deitch Projects in SoHo last night. The exhibition, DOWN, includes seven large-scale portraits done in Wiley’s signature style. Kehinde Wiley is known for creating his own version of contemporary portraiture that appropriates young African American men in the place of more well known portraits of old world power figures, religious icons etc.. For his newest solo exhibition he has chosen to depict seven young men from Brooklyn in poses inspired by the fallen warriors and saints that appeared in the old 18th and 19th century paintings of Holbein, Mantegna, Houdon, Maderno, Retout and Clesinger. The young men are shown in old traditional poses of religious figures or leaders in the moment of death or repose, but their expressions and dress are wholly their own. The largest of the portraits is a breath taking 25 feet in length and has an asking price of $300,000. The exhibit will be on view until December 20th, 2008.

Art in Review; Kehinde Wiley [NYTimes]
Kehinde Wiley “Down” At Deitch Projects [Highsnobiety]
Kehinde Wiley on the Difference Between His Art and His Cooking [NYMag]
Kehinde Wiley at Deitch Projects [The Worlds Best Ever]
MIA interviews visual artist Kehinde Wiley [Interview Magazine]
Kehinde Wiley + Deitch [This Hearts On Fire]
Kehinde Wiley @ Deitch NY [Dailydujour]
Kehinde Wiley “Down” [Deitch Projects]

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“Too Far Too Close”, Os Gemeos at Deitch Gallery via Art Observed

On June 28th, the doors opened at 18 Wooster St in New York to reveal the fantastical world of Os Gemeos. The twin brothers that make up Os Gemeos, Otavio and Gustavo Pandolfo, are having their second show at Deitch, called “Too Far Too Close”. The artist duo, from Sao Paulo, Brazil, has successfully altered the space into a colorful world filled with chimerical portraits, music, and scenes straight from the intimate minds of Os Gemeos.

Sharing a brain: Os Gemeos [GQ]
Os Gemeos: Too Far Too Close [Deitch]
Os Gemeos’s Homepage [Lost Art]
Bomb – It: International Graffiti Documentary [Bomb-It]
Os Gemeos “Too Far Too Close” [NYArtbeat]

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via Hustlers of Culture

Jeffery Deitch kicked off Basel last night with hybrid burlesque/proto-punk performance, Heaven and Hell, featuring CocoRosie and The Voluptuous Horror of Karen Black.

ArtLoversNY
WSJ

Images after the Jump

via AmyWilson

More pics to come…

Bill Powers curated a small show called Drawings in Books sparked off by a book signing for painter Brad Kahlhamer at Jack Spade, the sweetest little general store on the lower east side at the Bowery Hotel. Bill Powers and his wife, Cynthia Rowley, have long been involved in the contemporary art scene and a hefty book collection to prove it. Not only do they own some hard to get limited edition books featuring work by artists such as Jeff Koons and Yoshimoto Nara, but each book shown here has a doodle or sketch inside of it. These scribbles are an interesting artifact, a condensed squiggle that embodies celebrity, artwork and a personal message. (more…)