Mona Hatoum, Suspended (2011). All images via White Cube.

Installed on three floors of White Cube Mason’s Yard in London is an exhibition showcasing new work by Mona Hatoum titled Bunker, now on view through April 2nd. Hatoum recently made headlines by joining a group of artists in threatening to boycott the Guggenheim due to allegations that the museum is mistreating laborers constructing the Abu Dhabi branch. While Bunker does not specifically address the boycott, the themes of displacement and violence permeate this latest body of work.

Mona Hatoum, Bunker (2011)

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Mona Hatoum, Current Disturbance (2010) via www.aliraqi.org

Current Disturbance is a singular installation that fills a room at the Whitechapel Gallery in London, the third in a series of four displays from the Daskalopoulos Collection in Greece. Using Marcel Duchamp’s infamous “Fountain” as a starting point, “Keeping It Real: An Exhibition in 4 Acts” seeks to explore the line between art and reality and the relationship between the artist and the tactile world.  British – Palestinian artist Mona Hatoum‘s light-filled creation was first shown in 1996 at the Capp Street Project, San Francisco and is now being shown through March as a part of Whitechapel Gallery’s initiative to open private collections for public viewing. The installation is comprised of stacked wire cages, a multiplicity of light bulbs and the amplified sound of the electric currents coursing through the enclosed system. The interminable low buzz emitting from the structure, combined with the arbitrary flickering of light bulbs conveys a certain sense of discomfort and oppression that provides an open-ended commentary much in keeping with Hatoum’s widely political body of work.

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Richard Phillips in front of Most Wanted, via Telegraph

Richard Phillips is blowing up pop art onto two-meter canvases full of celebrity in his new exhibition Most Wanted, on now at White Cube through March 5. In a saturated, Technicolor hyperrealist style, complete with Richard Bernstein-esque neon outlines, Phillips has painted in oil ten current pop-culture icons: Chace Crawford, Kristen Stewart, Zac Efron, Miley Cyrus, Taylor Momsen, Dakota Fanning, Leonardo DiCaprio, Justin Timberlake, Taylor Swift, and Robert Pattinson.

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Christian Marclay, The Clock (still), 2010. Via River00000

Debuting at White Cube this past October (and already covered by AO), Christian Marclay‘s The Clock has been warmly accepted in New York at the Paula Cooper Gallery, with several 24-hour screenings throughout the exhibition, through February 19th. Splicing together a day’s worth of found film, the artist and six assistants spent two years on the project, drawing from classics like “Great Expectations” and “Mary Poppins,” to more recent films like “Tomb Raider.” Every single clip makes reference to the time—moving in realtime—with clocks synced to the actual time of New York (or wherever it’s showing). The highly acclaimed work is to be included in the British Art Show 7, a group exhibition ran only every five years, touring to the Hayward Gallery, Tramway-Glasgow, and Plymouth Art Centre later this year.

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Inside the Bermondsey Street warehouse, via NovaLoca

London art dealer Jay Jopling has just announced that the former Recall warehouse in Bermondsey Street will soon be converted to a gallery under his White Cube umbrella.  Jopling, through White Cube, represents such artists as Jake & Dinos Chapman, Tracey Emin, Damien Hirst, Gary Hume, Marc Quinn and his former wife Sam Taylor-Wood, among others.
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Jay Jopling, via The Rich Life

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Art dealer Jay Jopling at the White Cube booth

Art Observed was on-site December 1st for the VIP Preview of Art Basel Miami Beach 2010, which opened to the public this morning at 10 a.m. Like most international fairs of its scale and scope, the work presented broadly underscores the trends witnessed across commercial markets and throughout museum and gallery exhibitions over the past several months. It also affords individual institutions an important opportunity to distinguish themselves from their peers, and provide fresh and immediate insight into the nuances and complexities of contemporary taste.

Richard Jackson, Upside Down Duck at the Kordansky Gallery Booth

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Quilt by Alexandre da Cunha, and Six Billboards by Angus Fairhust, Art Basel.  Image via Art Daily, AP Photo/Keystone/Georgios Kefalas.

Yesterday marked the end of the most highly-attended Art Basel to date. The 41st annual contemporary art fair boasted 306 galleries from 36 countries, and AO was on site to peruse the work of some 2,5000 artists.  62,500 dealers, collectors, curators, high-profile shoppers, artists, and art appreciators navigated installations, browsed gallery booths, mingled, and enjoyed the city of Basel.  Artists, established and newcomers both, showcased works ranging from Polaroids to performance pieces, paintings to videos, sculptures to large-scale installations.  A social and teeming affair with an obvious commercial edge, Basel’s sales were optimistic.  Picasso, Warhol, Prince, Hirst, de Kooning, Pollock, and other similarly established artists reigned supreme as the focus of this year’s event.  Franck Giraud, a New York dealer, spoke to the New York Times about the lack of prominently featured up-and-comers: “Is it because that’s what the market wants, or is it because dealers didn’t want to take risks? I think it was a bit of both.” Nonetheless, certain galleries used Basel as a platform to introduce new artists and show off their latest signings.

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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.

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Man in the Mirror (2010) by Marc Quinn, via The Guardian.

Currently on view at White Cube Hoxton Square is “Allanah, Buck, Catman, Chelsea, Michael, Pamela, and Thomas,” a new body of work by British artist Marc Quinn. The exhibit brings together new sculptures by the artist which depict individuals after having gone through extreme amounts of plastic surgery including hormone therapy, piercings, implants and transplants. The works emphasize Quinn’s continual interest in society’s obsession with the body and how it can be transformed.

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Breathing Room III (2010) by Antony Gormley, via White Cube

Currently on view at the White Cube, Mason’s Yard in London is an exhibition of new works by Antony Gormley. The artist has created a new-site specific installation and a new series of cast-iron block work sculptures. The works aim to depict how time engages with objects and how in turn objects influence human beings.

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Candice Breitz, Factum Kang, From the series ‘Factum,’ 2009

Don’t miss Candice Breitz’s third exhibition at the White Cube in Hoxton Square, London. The exhibition, entitled “Factum” after Robert Rauschenberg’s almost identical canvases, Factum I and II, is an investigation into four twins and one triplet. Breitz has created beautifully intimate video portraits of each twin, which when coupled together in a kind of diptych, reveal the subtleties and nuances that make one individual. It is an extension of her perpetual fascination with repetition, identity and portraiture. By examining a phenomenon we wrongly presume as naturally and biologically identical we are encouraged to accept how very different twins really are.

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End of an Era (2009) by Damien Hirst, via the Gagosian Gallery

Currently on view at Gagosian Gallery on Madison Avenue are new sculptures and paintings by Damien Hirst.  The exhibition takes its title, “End of an Era,” from the central sculpture of the exhibition: a severed bull’s head with golden horns and a solid gold circular disc cast in formaldehyde and encased in a gold vitrine on a marble pedestal.  Hirst’s September 2008 monumental Sotheby’s London auction, where he famously circumvented his dealers, is widely recognized as marking the top of the recent art market rise. In this this auction the centerpiece was the “The Golden Calf” which sold for £10,345,250 with buyer’s premium and was cited as a reference to Hirst’s representation of cultural excess, worshipping false idols and likely Hirst’s own myth making.  The current exhibition title, and the decapitated head of basically the same artistic work, certainly has Hirst again presenting self-referential messages in light of his work’s current cultural and economic context.

Painful Memories/ Forgotten Tears (2008) by Damien Hirst, via Gagosian Gallery

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Nothing Matters/ The Empty Chair (2008) by Damien Hirst, via White Cube

I feel like I’ve arrived somewhere…In a completely different way. I feel I’ve got the tools to navigate somewhere. All that expression- doubts, fears, everything- can come out in this arena. -Damien Hirst in conversation with Gorn Burn, 2009

Currently on view at the White Cube in London are nineteen new paintings by Damien Hirst.  The new works are exhibited at the gallery’s Mason Yard and Hoxton Square locations. Previously criticized at the Wallace Collection this fall, since the opening of ‘Nothing Matters’ Hirst’s new oil paintings have been selling well. Tim Marlow, the exhibition’s director at White Cube, reported that even before the exhibition opened, five of the seven largest works sold with the most expensive going for £9.5 million or $15.7 milllion. Prices for the paintings began at £235,000.

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Ghosts X, Sam Taylor-Wood (2008) via White Cube

Ghosts – an exhibition of photographs by Sam Taylor-Wood – is currently in its last days at the Brontë Parsonage Museum in West Yorkshire, England. The Ghosts series was originally exhibited as part of Taylor-Wood’s most recent show, Yes I No, at White Cube in October 2008. Now exhibited in the former home of the famed Brontë sisters – Charlotte, Emily and Anne – a new emphasis is brought to the series which should be apparent to any reader of Emily Brontë’s passionate novel, Wuthering Heights. All of Taylor-Wood’s photographs were shot in a four-mile radius of the supposed backdrop of Wuthering Heights and capture the bleak and unremitting landscape of the moors which echoes the brutal portrayal of heightened passion and suffering found in the fictional novel.

Ghosts IV, Sam Taylor-Wood (2008) via The Independent

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Kirsten Dunst on the set of a production by Takashi Murakami in collaboration with McG via aarting

Tate Modern’s “Pop Life: Art in a Material World,” features a video that is a collaboration between McG – famous Hollywood director, and Murakami – Japan’s king of pop art: starring actress Kirsten Dunst on the streets of Akihabara in Tokyo for “Turning Japanese” by rock band The Vapors [The Wall Street Journal]
A 1984 work by Chinese artist Li Keran sold for $940,000, the most for a print at a Hong Kong auction, where bidding led by mainland buyers has taken many prices several times above estimates [Bloomberg]
Sotheby’s Asia sales in Hong Kong revealed that demand for Chinese paintings, while firm, is mixed; as the market is still vulnerable, less pricey, quality pieces were the ones to realize numbers higher than their estimates [Reuters]
Works including those by Renoir, Pollock, Degas and Rembrandt stolen from the home of a retired Harvard Medical School professor and collector, and his business partner; only authentic pieces were taken, leaving behind impeccable reproductions [Boston Globe via Art Market Monitor] in related Uncooperative and unable to produce evidence that the stolen art existed, Angelo Amadio and Dr. Ralph Kennaugh, become suspects of the theft to which allegedly they are victims [ArtDaily]

Tracey Emin via Guardian UK

Discouraged by British government’s top rate tax, Tracey Emin threatens to abandon England for France where she claims the politicians understand the importance of supporting culture and art [Guardian UK] in related At the London’s Frieze Art Fair, in the booth of New York’s Lehmann Maupin Gallery, Tracey Emin, known for her confessional artwork, is offering to make customized artworks based on answers to fifteen personal questions [Artinfo]
Fanjul paintings nationalized by Cuba in an exhibit in Museo del Prado in Madrid involve legal consequences as the Museum is being investigated by the US department of state for illegal trafficking of a work of art owned by US citizen confiscated by Cuban government [The Art Newspaper]
Turner Prize exhibit at Tate Britain in London this time startles the viewers with the lack of now expected blood, outrage and other shock factors [Bloomberg]
The Bloomberg administration makes an announcement of its plan to give nonprofit cultural groups access to gallery and theater space in city owned properties and help artists develop business plans [Crain’s Business]

Donald Judd concrete constructions in Marfa Texas via Hip-Ster-Krit

6 of 15 concrete constructions built by Donald Judd in Marfa Texas required repair and conservation work, October 10th the works will once again be open to the public [Artinfo]
A look at the Chinese Gao brothers who are shocking their country with brave, politically challenging art works, such as a life-size sculpture of Mao whose body is only reunited with his head on ‘special occasions’ [The New York Times]
When most artists’ prices are decreasing in a recession, a few go up: Italian Maurizio Cattelan is one of those who thrive in the tough economic times, an analysis of his work reveals some truths on the variables of the art market [The Economist]

Damien Hirst posing in front of his work via ARTblog +

A portrait of Damien Hirst built through an interview: his influences, unusual artistic paths (such as painting) and mediums to come, and a subjective depiction of the artist’s personality [Times Online] in related Hirst tells BBC that he will not be producing large scale installations and will rather concentrate solely on painting by applying oil to the canvas with his hands, something he has been secretly doing these recent years [BBC] and in related the FT reports that Hirst lays off much of his staff, closes two studios and is actually making paintings himself; while the galleries give no comments on the unsold works worth millions [Financial Times]
As art fairs struggle to retain exhibitors, a new modern and contemporary fair in Abu Dhabi signs up forty-eight names, including PaceWildenstein, Gagosian, Acquavella and White Cube [Lindsay Pollock] related 50 paintings from the New York Guggenheim Museum to be shown in Abu Dhabi [Arts Abu Dhabi]

‘Fuego Flores’ by Jean Michel Basquiat via Auction Publicity

Sotheby’s October Contemporary Art Auction, estimated to realize in excess of £9 million, will include works by leading artists, such as Jean-Michel Basquiat, Anish Kapoor, Andy Warhol, Chris Ofili, Damien Hirst, Gerhard Richter, Antony Gormley and Yan Pei-Ming [Auction Publicity]
Following in the footsteps of Anselm Kiefer and Toni Morrison, Umberto Eco has been named the next guest curator at the Louvre; the show “Vertige de la Liste” (Vertigo of Lists) will revolve around his chosen theme “the list” [Artinfo] in related news, talks are underway to open a McDonald’s restaurant and a McCafé at the Louvre next month [Telegraph]
An art dealer from Stockholm, Sweden has been accused of faking works by heavyweight modernists including Georges Braque, Alberto Giacometti, Edvard Munch, and Egon Schiele [Artnet]

Child of lonely – performance by Terence Koh October 6 at Thaddaeus Ropac Gallery, Photo Olivier Zahm via purple DIARY

Terence Koh prepared his first solo show at the Parisian gallery Thaddaeus Ropac, which takes a form of an imaginary opera in eight acts, the first act taking place October 6, 2009 [The Art Newspaper]
The four artists shortlisted for Turner Prize 2009 are: Enrico David, Roger Hiorns, Lucy Skaer and Richard Wright; the winner is to be announced December 7th [Turner Prize 2009]
Jerry Saltz writes about new galleries emerging despite the economic crises, provides a list of new galleries to see and comments on the effects of the recession on the female artists [New York mag]

The current state of the building to house Sperone Westwater and the computer rendering of it via Lindsay Pollock

A concrete foundation is rising at the site of the future Sperone Westwater gallery designed by the British architect Sir Norman Foster on the Bowery; the 10 story building will rise only one block away from New Museum [Lindsay Pollock]
As opposed to expanding outside their home in LA, Tim Blum and Jeff Poe open a new 21,000 square foot space conveniently located in front of their existing gallery on South La Cienga Boulevard, Los Angeles [Los Angeles Times]

Jacket designed by JR via The World’s Best Ever

A jacket from JR’s Face2Face Project comes in a limited edition of only 100 [The World’s Best Ever] in related A video interview with JR in Paris about his project Women are Heroes, which allows the viewers to call a number and hear an interview with one of the chosen women for the project [Vernissage TV]
An interview with Dasha Zhukova that notes her easy acceptance in the art world [Guardian UK]
28 as opposed to 40 exhibitors had pulled out of the Frieze Art Fair, yet despite the equally disappointing numbers, many lesser known, but in no way inferior galleries, will get a shot at the famous art fair [Telegraph]

Miranda July via Vice

Miranda July creates a series of photographs to imitate and bring attention to the extras in iconic movies [Vice]
An Italian professor, Dr Seracini, has been working on technology that can enable the search for the largest painting Leonardo da Vinci ever painted – The Battle of Anghiari, a work he believes to be hidden underneath the frescoes in Florence’s Palazzo Vecchio [The New York Times]
MoMA received an unexpected gift this month – an estate, estimated to be worth more than $10 million, belonging to the late Michael H. Dunn, a bachelor from Derby, Vermont [The New Yorker]

Zhang Huan, Zhu Gangqiang No.6, via White Cube

An exploration of memory, spirituality and hope through the miraculous survival of a pig is being conducted at London’s White Cube by Chinese performance and visual artist Zhang Huan. The show is based around one of the greatest natural disasters to hit China in recent memory. In May 2008, an earthquake reaching magnitude of 8 on the Richter Scale killed 60,000 people. Amongst the chaos, for 49 days, a pig persevered. Carried by Buddhist belief that the soul remains on earth between death and transmigration for exactly this amount of time, this pig is now a symbol of life and hope, renamed Cast-Iron Pig (or Zhu Gangqiang in Chinese, hence the theme of the show).

Related Links:
Exhibit Details [White Cube]
Zhuang Huan to design and direct a new production of Handel’s Semele [De Munt La Monnaie]
These Little Piggies Went to Art Show [London Evening Standard]
Zhang Huan: from Baroque to Beijing [Telegraph]

Zhang Huan, Zhu Gangqiang No.0, via White Cube

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Gilbert & George, “Jackshit,” at White Cube Mason’s Yard.

The White Cube is hosting Gilbert & George’s “Jack Freak Pictures,” the largest series ever by the artists.  Both the Hoxton and Mason’s Yard galleries will be home to the paint collection, of selections also showed at Berlin’s Arndt & Partner.  The exhibition quite literally makes freaks of Jack as in the Union Jack.  Set in the East End of London, “Jack Freak Pictures” is peopled with medals, maps, street-signs and other recognizable symbols of British identity.  The series is in line with other works by Gilbert & George, who subsume identity questions surrounding sexuality, religion, and nation into the provocative colors which their grid pictures confine.

Related links:
White Cube – JACK FREAK PICTURES
Gilbert & George, the Terrible Two, Freak Out in London Shows [Bloomberg]
Gilbert and George: the odd couple [The Guardian]
How Gilbert and George make history [The Guardian]
Gilbert & George: The Jack Freak Pictures, White Cube [The Independent]
Gilbert & George: ‘There’s nothing wrong with patriotism’ [Independent]
Gilbert and George’s Jack Freak Pictures Arrive in Berlin for First Solo Exhibition in 14 Years [Artdaily]
Arndt & Partner – Jack Freak Pictures

The Telegraph on Gilbert & George’s “Jack Freak Pictures,” currently showing at White Cube.

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Tracey Emin’s ‘Angel’ via White Cube

Tracey Emin opened her first solo show in London in four years at White Cube Mason’s Yard, ‘Those who suffer Love.’ The exhibition coincides with the release of her book ‘One Thousand Drawings,’ published by Rizzoli, and is primarily composed of drawings. The centerpiece of the show is a short animation piece of a woman masturbating. Emin, L’Enfant terrible and one of the Young British Artists – a group notorious for both its regard to art and personal behavior – is well known for radical, very personal exposés of her sexuality. Emin explains, ‘The title for my show is self-explanatory: love rarely comes easily and if it does, it usually goes quite quickly. And there is death, and loss, which at some point in our lives we all have to deal with. I’m constantly fighting with the notion of love and passion. Love, sex, lust – in my heart and mind there is always some battle, some kind of conflict.’

Tracey Emin: Those who suffer Love [White Cube Gallery]
Sex craze fading fast, says Tracey Emin at London exhibition launch [GuardianUK]
Tracey Emin London Show Explores Solitary Pursuit of Lust [Bloomberg]
Tracey Emin, White Cube [TimesUK]
Tracey Emin’s really done it this time [Evening Standard]
Interview: Tracey Emin [Channel 4 London]
Ghosts of my past [GuardianUK]
Tracey Emin: Those Who Suffer Love at the White Cube, review [Telegraph]
Those Who Suffer Love by Tracey Emin, London [Wallpaper]
Tracey Emin: Art from the heart [Independent]
Lunch with the FT: Tracey Emin [Financial Times]
Tracey Emin: Confessions of a saucy seamstress [GuardianUK]

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David Zwirner booth at the Armory, showing Yan Pei-Ming, John McCracken, and Rachel Khedoori.

New York Armory Week 2009 is in full swing, with attendance higher than expected moving into the weekend.  Despite the absence of several blue chip galleries – including Matthew Marks and Lehmann Maupin – the gallerists’ collective mood seems hesitant but optimistic.  177 contemporary galleries are exhibiting in the Armory’s 11th year, along with the addition of a Modern wing at Pier 92 selling more established, less edgy work.

The Armory Show 2009 and the Armory Modern
Piers 92 and 94
12th Avenue at 54th Street
March 4-8, 2009

Armory Opening Party at MoMA.

RELATED LINKS
Sales still down, but spirits are buoyant [Art Newspaper]
On the Piers, Testing the Waters in a Down Art Market [New York Times]
Has the Recession Sparked a New Renaissance? [Guardian UK]
On the Scene at the Armory Preview Party [Style File Blog]
MoMA’s Armory Show Opening Benefit Party [Patrick McMullan]
Armory MoMA After Party [Guest of a Guest]
Now Dealing | The Armory Show [TheMoment]
Window-shoppers Descend on Armory Art Show [NYMag]
What’s Selling (or Not) at the New York Armory Show [NYMag]
‘Creepy’ Bernie Madoff Watercolor Fails to Sell at Armory Show [NYMag]
Dealers Sold on Armory Modern, Collectors Less So [ArtInfo]
The Herd Is Out, but Holding Back [ArtInfo]

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New York Stock Exchange After Bond Rally 1919 (2006) by Rosson Crow, currently on display at the White Cube Gallery, Hoxton Square, London; picture via White Cube

Rosson Crow’s ‘Texas Crude,’ which explores themes from American history and myth, is on display at Jay Jopling’s White Cube Gallery in London through February 21st, 2009.

Crow’s paintings depict locations set during historical periods or evocative of culturally significant events, devoid of people yet retaining vestiges of their presence–or rather, theatrical vestiges of their most Dionysian, excessive behavior. The settings tend to be large rooms at bars, hotels, or theatres, painted on a scale that inserts the viewer into the space.

‘Texas Crude’ continues in the vein of her previous works, with the titles of the paintings serving as a guide to their contents: ‘Wildcatting in Paradise’ serving as an exploration of the early days of Texas oil prospecting and its impact on the physical and economic landscape of Crow’s home state, while ‘New York Stock Exchange after Bond Rally 1919’ conjures the moment between the end of World War I and the Roaring 20s. Similarly, ‘Lincoln’s Funeral’ references the death and assassination of the President; a somber hearse carriage is the background to an explosive palette of red, white and muted blackish blue found in flowers and ribbons intersecting the painting. Crow’s style incorporates a wide array of influences, from Impressionism to Las Vegas to Baroque interior design.  The paintings in this show, like her oeuvre as a whole, reflect these influences and inspirations while tying them together in a very unlikely fashion, creating a very original and unmistakable aesthetic.

Crow, who graduated from Yale’s MFA program just over two years ago, and being born in 1982 is relatively young amongst those represented by the gallery,  is showing at White Cube for the first time.  Crow is also represented by Honor Fraser in California and CANADA in New York.  The artist, who was born in Texas, currently resides in California.

TEXAS CRUDE
by Rosson Crow on display through Feb 21, 2009
White Cube Gallery
48 Hoxton Square
London, England

Exhibition page: Texas Crude
Artist page: Rosson Crow

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Erasmus portrait purported to be by Holbein the Younger, via The Art News

Experts speculate that new portrait of Erasmus is by Holbein the Younger [ArtInfo]
Art auction houses have always been touted as the most transparent transactions in the system, but they are  far more complex and secretive, and in recent years, much more is at stake [Financial Times]
Review of critic Michael Fried’s latest book: Why Photography Matters… [Artforum]

Shepard Fairey’s ‘Hope’ portrait of Barack Obama, via AP

Smithsonian acquires Shepard Fairey’s ‘Hope’ portrait of Obama [ArtInfo]
White Cube’s Jay Jopling’s rise to power and the current pressure from a failing market, gossip tabloids [The Times UK]

Brad Pitt portrait in daguerreotype by Chuck Close, via W Magazine

Chuck Close’s daguerreotype portrait of Brad Pitt is W Magazine’s new cover [W Magazine]
The Vatican aims to exhibit art in a ‘national pavilion’ during the Venice Biennale as a counbterpoint to “blasphemous” modern art [Times UK]

Black on Maroon (1959) by Mark Rothko, part of the Seagram mural series, via Tate Modern; studies for the Seagram series are owned by Ezra Merkin, who lost billions to Bernie Madoff ‘s investment scheme.

Assailed Madoff victim has 12 Rothkos; collectors salivate [Bloomberg]
The Art Newspaper explores the changing emerging art markets of China, and Russia here, and India here [Art Newspaper]

Alanna Heiss via ArtNet

Alanna Heiss has retired after 37 years of curating MoMA’s PS1; an article on her final show [NYTimes]
$250,000 worth of prints including those by Pablo Picasso, Henri Matisse stolen in Berlin [AssociatedPress]
A chronicle of the rise of auction prices before the fall, and a rumor that 2/3 of the bidders for Hirst’s monumental September auction may not actually pay for the works, and part 2 here [Bloomberg]
A video of  Eric Fischl at Mary Boone [Newarttv]

Egon Schiele’s Portrait of Wally via the ArtNewspaper

US lawsuit filed to confiscate Egon Schiele’s Portrait of Wally from the Leopold Museum in Vienna is suspended [ArtNewspaper]
Art dealers as paparazzi fodder?  White Cube owner Jay Jopling garners attention with singer Lily Allen in St. Barths [TheMirror]
also on the island, dealer Larry Gagosian and the band Kings of Leon fete collectors Roman Abramovich, Dasha Zhukova and Aby Rosen, designer Marc Jacobs, hip hop mogul Russell Simmons, musician Jon Bon Jovi and actor Daniel Craig among others [IndependentUK]
In other art world vacation news, Damien Hirst hires 4 guards formerly in the British Special Forces to protect him during his Mexico holidays [MercoPress]

The Chanel Mobile Art Pavilion via architecturelist

The Zaha Hadid-designed Chanel Mobile Art tour is stopped; London, Moscow, and Paris canceled [ArtInfo]
Emmanuel Perrotin on three current Parisian exhibitions [The Moment – NYTimes]
MoMA to launch two-year series of live performance works [NYMag]
Collector Ronald Lauder interviewed at his Klimt-rich Neue Galerie in New York [Financial Times]
Damien Hirst bans a documentary film of his Statuephilia work [TelegraphUK]
The Velvet Underground’s John Cale will represent Wales at Venice Biennale of Art next year [BBC]
The controversial act of State museums deaccessioning works [NYTimes]
The Getty endowment has declined 25% [LATimes]
Art Info’s Top 5 art world figures of 2008 [ArtInfo]

Still from ‘Sigh,’ an installation by Sam Taylor-Wood, on display at “Yes I No,” via White Cube Gallery

“Yes I No,” a show by Sam Taylor-Wood, is currently on display at White Cube Gallery, in Mason’s Yard, London. The show contains three sets of photographs, and a large-scale film installation. ‘Sigh,’ the installation, features the BBC Concert Orchestra playing a classical piece, without their instruments. The orchestra members, who are filmed in plain clothes and in multiple takes and at various angles, are miming the performance, highlighting the relationship between the viewer’s aural perception of the music and the visuals of the musicians’ and conductor’s performing the music.

Taylor-Wood, who rose to prominence in the 1990s along with Damien Hirst, Tracy Emin, and other members of the Young British Artists movement, is known for pieces exploring themes of absence and mortality.

YES I NO by Sam Taylor-Wood – through November 29th, 2008
White Cube
Mason’s Yard, London

Taylor-Wood’s Mimed Music, Serra’s Metal Maze: London Galleries [Bloomberg]
Visual art review: Sam Taylor-Wood, No 1 the Piazza, Covent Garden/White Cube, London [Guardian]
Q&A – Sam Taylor-Wood, artist [GuardianUK]
Sam Taylor-Wood, YBA artist turned filmaker (and wife of White Cube Gallery owner Jay Jopling), to direct John Lennon film [AO Newslinks]
Exhibition Page: Yes I No
Press Release: Yes I No
Artist Page: Sam Taylor-Wood

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