Marc Newson - Artinfo
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david Lynch watches to covet ROMaRE BEaRdEn<br />
WIll It Be anotHer<br />
Billion-Dollar<br />
Season?<br />
IndonesIa<br />
Heats Up<br />
<strong>Marc</strong> <strong>Newson</strong><br />
The inTernaTional magazine<br />
for arT collecTors<br />
blouinartinfo.com<br />
Andy Warhol’s 1962<br />
Four Marilyns,<br />
estimated at $30 million<br />
to $40 million, stars<br />
at Phillips on<br />
May 16 in New York.<br />
may 2013
62<br />
datebook<br />
new york<br />
island hopping<br />
Frieze returns to Randall’s Island for its sophomore edition May 10–13 determined not to be a onehit<br />
wonder. Accordingly, the organizers have attracted a slew of new exhibitors—including Luhring<br />
Augustine, Jack Shainman, and CRG—and that influx portends staying power. “Despite 10 years<br />
of successful fairs in London, we were still untested in the States the first time around,” says codirector<br />
Amanda Sharp. With 45,000 expected visitors and a 20 percent bump in local participants,<br />
she says, “it seems like the city has embraced the fair.” The lineup shows the organizers and the<br />
180-plus galleries pulling out the stops to set this edition apart from last year’s, and from London’s.<br />
ProjeCtS Just north of Frieze’s airy tent,<br />
Romanian artist Andra ursuta will unveil a<br />
cemetery honoring forgotten and lost works of art.<br />
One of five artist commissions, ursuta’s installation<br />
consists of six small marble gravestones and a<br />
low white fence. “With the overproduction of art we<br />
are witnessing these days, it’s clear only a small<br />
rAnDAll’S iSlAnD<br />
percentage will make it into museums,” Frieze<br />
Projects curator Cecilia Alemani explains. “Andra<br />
is asking, ‘Where does the rest of it go to die?’ ”<br />
Drink Forget the VIP lounge. The<br />
hot ticket is the speakeasy-style<br />
bar erected by artist Liz Glynn and<br />
hidden behind an unmarked white door<br />
amid the booths. Each day, 200 lucky<br />
visitors, chosen at random, will receive<br />
a key and a map with directions to the<br />
bar upon entry to the fair.<br />
fooD The most anticipated restaurant<br />
at the fair hasn’t served a customer in more than 40 years:<br />
A tribute to Gordon Matta-Clark’s legendary SoHo eatery<br />
FOOD will be staffed by chefs from the original kitchen as well as<br />
a handful of younger artists selected by Alemani. “FOOD is<br />
an excuse to get artists to come together in a way you wouldn’t<br />
normally see at an art fair,” she says. And perhaps to<br />
approach dinner with a new set of tools: When Mark di Suvero<br />
served as a guest chef at FOOD in the 1970s, Alemani notes, he<br />
proposed that people eat with chisels and screwdrivers.<br />
May a thousand flowers bloom the arrival<br />
of frieze is quickly creating a second round of spring art fairs in manhattan.<br />
PuLSE | MAy 9–12 NADA | MAy 10–12<br />
125 weSt 18th Street<br />
The established midtier<br />
fair is shaking up its<br />
list, adding Stuttgart’s<br />
Michael Sturm,<br />
Munich’s Wittenbrink,<br />
Rome’s Z2O, and<br />
Memphis’s David Lusk<br />
Gallery, among others.<br />
The buzzy Impulse<br />
section will highlight<br />
14 emerging artists in solo presentations<br />
from the likes of Cámara Oscura, Madrid;<br />
Carroll and Sons, Boston; and Otto Zoo,<br />
Milan. Adamson Gallery, of Washington, D.C.,<br />
is bringing Robert Longo’s pigment print<br />
Untitled (Iceman X), 2012, above.<br />
299 South Street<br />
The New Art Dealers<br />
Alliance takes over<br />
Basketball City at Pier<br />
36 on the East River for<br />
its sophomore New York<br />
outing. The program<br />
unites locals like Nicelle<br />
Beauchene and<br />
Invisible-Exports with<br />
comers from Cologne,<br />
Malmö, Los Angeles, and Vancouver, plus a<br />
handful who made splashy debuts at the last<br />
Miami edition, including Tallinn’s Temnikova<br />
& Kasela and San Juan’s Roberto Paradise.<br />
Luce Gallery will show Robert Davis’s All<br />
Fucking Summer, 2013, above.<br />
PerforMAnCe A number of galleries<br />
are swapping paintings for performance at<br />
Frieze New York. During the VIP preview on<br />
May 9, Brooklyn-based artist Santi Moix will<br />
create a wall drawing at the booth of New<br />
York’s Paul Kasmin Gallery. (Moix’s fairytale-inspired<br />
murals typically start<br />
at $70,000.) Marian Goodman, meanwhile,<br />
will turn her space over to performance<br />
artist Tino Sehgal. The British artist will<br />
present Ann Lee, a work he debuted at the<br />
Manchester International Festival in<br />
2011 that stars a melancholy 11-year-old girl.<br />
SounD Frieze New York isn’t content to engage<br />
merely your eyes—it wants your ears, too.<br />
The fair commissioned three new audio works<br />
by Haroon Mirza, Charles Atlas and New<br />
Humans, and Trisha Baga. Visitors can stream<br />
the sound pieces online, pick up a pair of<br />
headphones at the fair, or tune in during a ride<br />
in one of the VIP BMWs.<br />
frAMe Canadian clothing designer-retailer Joe Mimran began<br />
collecting art 15 years ago and hopes to encourage others to do<br />
the same. His company, Joe Fresh, is underwriting Frieze’s Frame<br />
section, devoted to solo presentations by galleries younger than six.<br />
This year’s selection includes New York’s Simone Subal Gallery,<br />
London’s Carlos/Ishikawa, and Tokyo’s Misako & Rosen. “Art has<br />
always had a huge influence on fashion,” says Mimran. “The best<br />
part of art fairs is that they are so concentrated. You can really<br />
get a sense of what artists are thinking, as well as trends that often<br />
move into the apparel world.” —JuLIA HALPERIN<br />
CuTLOG | MAy 10–13<br />
107 Suffolk Street<br />
The Parisian artists’<br />
film fair leaps<br />
the pond this spring<br />
to occupy the<br />
Clemente Soto<br />
Vélez Cultural and<br />
Education Center<br />
on the Lower<br />
East Side. Forty<br />
exhibitors, including Spinello Projects and the<br />
apartment, are on deck with works in all media, such<br />
as Dan Miller’s acrylic-and-graphite on paper<br />
Untitled, 2012, above, via Oakland’s Creative Growth.<br />
Organizers hope the flexibility of space rental by the<br />
square foot will spur collaborations and live<br />
performances to spill across traditional booth lines.<br />
art+auCtion may 2013 | blouinartinfo.Com<br />
CloCkwise from top: Graham Carlow and frieze; Creative Growth, oakland, California; luCe Gallery, turin; robert lonGo and adamson Gallery, washinGton, d.C.
CARL MILLES | Hand of God | Bronze with patina | 58 x 23 x 14 in. | Sold for $170,500<br />
CONSIGNMENTS INvITED.<br />
INq UIRIES | 800-872-6467 | HA.COM<br />
DALLAS | NEw YORk | BEv ERLY HILLS | SAN FRANCISCO | P ARIS | G ENEv A<br />
TX & NY Auctioneer license: Samuel Foose 11727 & 0952360. Heritage Auction Galleries CA Bond #RSB2004175; CA Auctioneer Bond: Carolyn Mani #RSB2005661. HERITAGE Reg. U.S. Pat & TM Off. | Buyer’s Premium 12% - 25%. See HA.com for details. 25392
ALEXANDER CALDER<br />
GALERIE KARSTEN GREVE<br />
phone +41 (0)81 834 90 34 • fax +41 (0)81 834 90 35 • galerie.greve.moritz@bluewin.ch • www.galerie-karsten-greve.com
Tiny Red, 1962, Sheet metal and wire, painted, 30,5 x 121,9 cm / 12 x 48 in, signed on the large vertical element: CA<br />
The Calder Foundation archive no. A07597
ANSELM KIEFER<br />
MORGENTHAU PLAN<br />
May 3 – June 8, 2013<br />
GAGOSIAN GALLERY<br />
522 West 21st Street<br />
New York 10011<br />
212.741.1717<br />
www.gagosian.com<br />
Der Morgenthau Plan, 2012 (detail), photographic emulsion and acrylic on canvas, 110 1 ⁄4 × 224 1 ⁄2 inches (280 × 570 cm)
Ellsworth KElly<br />
MatthEw MarKs GallEry, NEw yorK<br />
Yellow Relief Over Blue, 2012. Oil on canvas, two joined panels. 70 x 60 3 ⁄4 inches; 178 x 154 cm
JULIE MEHRETU<br />
LIMINAL SQUARED<br />
MAY 11 – JUNE 22<br />
MARIAN GOODMAN GALLERY<br />
24 WEST 57TH STREET NEW YORK, NY 10019 TEL: 212-977-7160 WWW.MARIANGOODMAN.COM
© UBS 2013. All rights reserved.<br />
S:8.5”<br />
In wealth management as in art,<br />
insight comes from nding new perspectives.<br />
A good idea can come from anywhere — you just have to know how and where to look.<br />
Which is why UBS supports the Guggenheim UBS MAP Global Art Initiative and<br />
other art engagements around the world. Each provides an opportunity to look for<br />
new ideas and perspectives in art, an approach we often take in wealth management.<br />
We believe in the power of the insights we gain from our global research,<br />
guiding us to breakthrough ideas that were once hard to identify.<br />
And these insights allow us to offer a unique perspective to our clients,<br />
helping us to guide them through fi nancial complexity.<br />
And until we’ve looked beyond for an even better understanding…<br />
We will not rest<br />
www.ubs.com/guggenheim<br />
S:11”
KriStine larSen<br />
return engagement:<br />
Sotheby’S auctioneer tobiaS meyer waS at the podium nearly<br />
15 yearS ago when gerhard richter’S Domplatz, mailanD<br />
(“cathedral Square, milan”), 1968, Sold for a then-record $3.6 million.<br />
on may 14, when the mural-Size painting goeS back on the<br />
block in new york, he expectS it to bring $30 million to $40 million.<br />
features<br />
122 in the studio:<br />
jesper just<br />
For his Venice Biennale presentation,<br />
the Danish artist prepares a video<br />
installation shot in a fake Paris.<br />
By marcia e. Vetrocq<br />
132 indonesia noW<br />
rich with talent seen at fairs and<br />
museums worldwide, indonesian art<br />
surges into the international market.<br />
By Benjamin genocchio<br />
140 inviting the World<br />
into their home<br />
gallerists rafaela Seppälä-Forsblom<br />
and Kaj Forsblom’s art collection<br />
grew organically. now they want to share<br />
it with their fellow Finns.<br />
By alexanDer ForBeS<br />
146 spirit of collecting<br />
no mere indulgences, cognac and Scotch<br />
whiskey are serious collectibles.<br />
By egmont laBaDie<br />
Departments<br />
MAY 2013<br />
20 masthead<br />
28 from the editor<br />
34 art parties+openings<br />
41 in the air<br />
49 movers+shakers<br />
57 datebook<br />
64 must-haves<br />
79 on the block<br />
86 culture+travel/new york<br />
79
Photo by Marvin Lazarus<br />
Artwork © 2013 Estate of Ad Reinhardt / Artists Rights Society (ARS), New York
The Estate of Ad Reinhardt<br />
is now represented by David Zwirner<br />
A catalogue raisonné of Ad Reinhardt’s works is currently<br />
being compiled by the Ad Reinhardt Foundation.<br />
For further information, please visit adreinhardt.org<br />
David Zwirner<br />
537 West 20th Street<br />
New York, NY 10011<br />
212 517 8677<br />
davidzwirner.com
may 2013<br />
columns<br />
91 CONVERSATION WITH . . .<br />
David Lynch, despite Hollywood success,<br />
never gave up his first love, painting.<br />
by benjamin genoccHio<br />
95 REpORTER<br />
tefaf gets a facelift and dreams of china;<br />
Warhol auction posts near-perfect sales<br />
and debuts “certificate of provenance.”<br />
101 bROTHERS IN lAW<br />
What do auction houses have to reveal,<br />
and when do they have to reveal it?<br />
by tHomas anD cHarLes Danziger<br />
105 THE CONNOISSEuR<br />
the market for marc newson’s designs<br />
thrives at every price point.<br />
by WiLLiam L. HamiLton<br />
113 THE ASSESSMENT<br />
the selection at art13 London signaled<br />
shifting tastes as asian nations grow in<br />
buying power and cultural awareness.<br />
by scott reyburn<br />
for WeeKLy marKetWatcH uPDates,<br />
go to blouinartinfo.com<br />
marketwatch<br />
155 ARTIST dOSSIER<br />
increasing exposure has grown romare<br />
bearden’s collector base—and his prices.<br />
by HiLarie m. sHeets<br />
162 AuCTIONS IN bRIEf<br />
gerhard richter in new york, chinese porcelain in<br />
beverly Hills, beatrix Potter in London, and more.<br />
164 ExHIbITIONS IN bRIEf<br />
sales reports from gallery shows in berlin,<br />
chicago, London, new york, and singapore.<br />
170 dATAbANk<br />
by some measures, postwar and contemporary<br />
art beats just about all other investments.<br />
by roman KraeussL<br />
176 dEAlER’S NOTEbOOk<br />
Hong Kong gallerist Karin Weber.<br />
CORRECTION: in “the assessment” (march), the<br />
writer richard b. Woodward misstated the nature<br />
of William Eggleston’s current gallery representation.<br />
the artist continues to be represented by cheim & reid<br />
as well as by the Gagosian Gallery.<br />
indonesian modernist<br />
S. Sudjojono’s View of the<br />
Roadside, Cipayung, 1976,<br />
sold for $142,600 at<br />
larasati auctioneers in<br />
Singapore last July.<br />
132<br />
art+auction indonesian art blouinartinfo.com may 2013<br />
david Lynch watches to covet ROMaRE BEaRdEn<br />
WIll It Be anotHer<br />
Billion-Dollar<br />
Season?<br />
IndonesIa<br />
Heats Up<br />
<strong>Marc</strong> <strong>Newson</strong><br />
The inTernaTional magazine<br />
for arT collecTors<br />
blouinartinfo.com<br />
may 2013<br />
Andy Warhol’s 1962<br />
Four Marilyns,<br />
estimated at $30 million<br />
to $40 million, stars<br />
at Phillips on<br />
May 16 in New York.<br />
c1AA_MAY13_TOC.indd 1 4/4/13 11:41 AM<br />
COVER: andy Warhol’s<br />
Four Marilyns, 1962, is<br />
expected to bring around<br />
$40 million at Phillips in<br />
new York on may 16.<br />
from toP: Larasati auctioneers; PHiLLiPs
Jeff Koons<br />
Gazing Ball<br />
May 8 – June 22, 2013<br />
David Zwirner<br />
525 & 533 West 19th Street<br />
New York, NY 10011<br />
212 727 2070<br />
davidzwirner.com
maY 10 – june 10, 2013<br />
Sterling ruby<br />
SP PaintingS<br />
nahmad contemporarY<br />
980 madison avenue, 3rd floor, new York nY 10075<br />
info@josephnahmad.com www.josephnahmad.com<br />
Courtesy of Baibakov Collection.
Fondation Beyeler, Riehen/Basel. Photo: Peter Schibli, Basel © Gerhard Richter / Albertina, Vienna – On permanent loan from Austrian Private Collection<br />
MONET<br />
MAY 10–JUNE 10, 2013<br />
HELLY NAHMAD GALLERY<br />
975 MADISON AVENUE NEW YORK NY 10075 TEL 212-879-2075 FAX 212-737-1483<br />
INFO@HELLYNAHMADGALLERY.COM WWW.HELLYNAHMADGALLERY.COM<br />
RICHTER
Yayoi Kusama Paintings & Accumulation Sculptures<br />
25 April - 25 May 2013<br />
© Yayoi Kusama The Daybreak the Arrival of Morning 2010<br />
Victoria Miro<br />
victoria-miro.com
TRACEY EMIN<br />
2 May – 22 June 2013<br />
540 West 26th Street &<br />
201 Chrystie Street, New York<br />
lehmannmaupin.com<br />
I FOLLOWED YOU TO THE SUN
NICOLAS DE STAËL<br />
MITCHELL-INNES & NASH<br />
1018 MADISON AVENUE NEW YORK WWW.MIANDN.COM MAY 2013<br />
Denise Colomb © Ministère de la culture –Médiathèque du Patrimoine/Denise Colomb/dist. RMN/Art Resource, NY
20<br />
may 2013 volume xxxvI no. 9<br />
Benjamin Genocchio<br />
editor in chieF<br />
eric Bryant<br />
executive editor<br />
ellen Fair<br />
manaGinG editor<br />
Penny Blatt<br />
creative director<br />
Sarah P. Hanson<br />
senior editor<br />
eileen Kinsella<br />
senior editor<br />
Deborah Wilk<br />
senior editor<br />
Judd Tully<br />
editor at larGe<br />
Julia Halperin<br />
news editor<br />
nancy e. Sherman<br />
coPy editor<br />
nicolai Hartvig<br />
euroPe corresPondent<br />
Sehba mohammad<br />
editorial assistant<br />
Katharine van Itallie<br />
art director<br />
Rena ohashi<br />
associate art director<br />
Kristine larsen<br />
Photo editor<br />
Claire Cohen<br />
associate Photo editor<br />
anne Donnelly andres<br />
Production director<br />
Jonny leather<br />
Production manaGer<br />
contributinG editors<br />
ann e. Berman, ettagale Blauer,<br />
Charles Danziger, Thomas C. Danziger,<br />
abigail R. esman, Judith Gura,<br />
William l. Hamilton, Jason edward Kaufman,<br />
Carol Kino, Roman Kraeussl,<br />
Doug mcClemont, meredith mendelsohn,<br />
Jean Bond Rafferty, allan Schwartzman,<br />
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interns<br />
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art + auction (issn no. 0197-1093) is published monthly with a combined July/august<br />
issue by art + auction holding, inc., 601 west 26th street, suite 410, new york, ny 10001.<br />
copyright © 2013 art + auction magazine. Periodicals postage paid at new york, ny, and<br />
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claudio br avo<br />
Tríptico beige y gris / Beige and Gray Triptych, 2010, oil on canvas, left and right panel: 59 x 23 5/8 in., 150 x 60 cm; center panel: 59 x 47 1/4 in., 150 x 120 cm; overall: 59 x 94 1/2 in., 150 x 240 cm<br />
may 2 - june 8, 2013<br />
40 west 57th street | n ew york | 212-541-4900 | marlboroughgallery.com
Ana<br />
Mendieta<br />
Late Works:<br />
1981-85<br />
May 10 – June 15, 2013<br />
528 West 26th Street New York, NY 10001<br />
212.315.0470 www.galerielelong.com<br />
Current and Upcoming Art Fairs<br />
Frieze New York<br />
May 10 – 13, 2013<br />
Art Basel Hong Kong<br />
May 23 – 26, 2013<br />
Art Basel<br />
June 13 – 16, 2013<br />
Ana Mendieta with Figura con Nganga, American Academy, Rome, 1984
Andy Warhol, Dollar Sign, 1981. Acrylic paint and silkscreen ink on linen canvas, 10 x 8 inches (25.4 x 20.3 cm)<br />
© 2013 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York<br />
is pleased to present<br />
andy Warhol dollar signs<br />
at<br />
art|Basel hong Kong<br />
May 23 – 26 Booth 3e11<br />
We looK ForWard<br />
to seeing yoU at<br />
art|Basel<br />
JUne 13 – 16 Booth F4<br />
Frieze Masters<br />
octoBer 17 – 20
28<br />
fromtheeditor<br />
I don’t know about you, but I<br />
have this gnawing feeling<br />
that the time is ripe to make<br />
something new and exciting<br />
happen in the art world.<br />
I’m not exactly sure what that<br />
is, but I’m convinced that<br />
fairs, galleries, auction houses,<br />
even museums are changing the way they do<br />
business and that the art world we know now<br />
will be almost unrecognizable in 20 years’<br />
time. So what will this new art world look like?<br />
Twenty years ago Chelsea was home chiefly<br />
to taxi garages. Now it claims one of the highest<br />
concentrations of blue-chip galleries in the<br />
world, with many boasting overseas branches.<br />
That gives you an idea of just how fast things<br />
change and how linked the world has become.<br />
The same thing will happen with the current gallery<br />
status quo: Dealers in vogue today will be<br />
gone tomorrow, and others will rise up and take<br />
their place. I am less interested in that cycle than<br />
in those individuals making new things happen.<br />
Auction houses, too, are changing their<br />
strategies. Art+Auction has printed several stories<br />
exploring this subject. The major houses<br />
are moving more into private sales and, smartly,<br />
leveraging their powerful global brands online.<br />
Meantime, Web sales platforms for art are proliferating—few<br />
are making money, but there is<br />
an entrepreneurial and even messianic belief in<br />
the eventual development of a wildly successful<br />
venture in this area.<br />
What is abundantly clear to me is the personalized<br />
nature of the online experience. The<br />
digital economy is all about individual customi-<br />
zation, with companies striving to create a direct<br />
relationship with their clients. But what is not<br />
clear to me is how much of this online marketing<br />
in the art world is about better servicing existing<br />
clients as opposed to winning more clients<br />
for the products. Clearly it’s a bit of both.<br />
Paul Morris, the veteran dealer and art fair<br />
impresario, is looking to reinvent the fair as<br />
an invitation-only event. That seems intriguing<br />
to me, possibly groundbreaking. I am also curious<br />
about what is happening over at Artsy, a technology<br />
company that is looking to be a sort of<br />
Facebook for the art world; that could be huge<br />
too. Meanwhile, in publishing there are several<br />
sites, including Blouinartinfo, that are changing<br />
the way we consume art news. Pace gallery has<br />
developed a software program for digital cata-<br />
logues raisonnés. These are some of the most<br />
fascinating developments in the art space.<br />
Things have to change. Many dealers say<br />
fairs are getting too expensive, and galleries face<br />
hidden overhead that places great pressure on<br />
dealers. I don’t have any answers. I can’t tell anyone<br />
what to do, but we could all begin to think<br />
a little harder about developing new business<br />
models—after all, the art world is filled with creative<br />
talent. Let’s unlock some of that creativity<br />
and make exciting new things happen.<br />
by Benjamin Genocchio<br />
art+auction May 2013 | blouinartinFo.com<br />
inkwell management, new york
M A G N A N M E T Z G A L L E R Y P R E S E N T S<br />
NOLIMITS<br />
On Park Avenue<br />
Alexandre Arrechea<br />
Through June 9, 2013<br />
521 WEST 26TH STREET NEW YORK CITY 10001 (212) 244-2344 WWW.MAGNANMETZ.COM
34<br />
1. Jack Mizrahi,<br />
Laomi Maldanado,<br />
Rashawn Mutler<br />
5. Kim Klehmet,<br />
Tim Lee<br />
10. Alexa Chung<br />
art parties+openings<br />
with patrick mcmullan<br />
16. Jamie Colby<br />
11. Brisida Mema<br />
2. Duke Riley<br />
6. Anne Barlow,<br />
Noah Horowitz,<br />
Manuela Paz<br />
12. Yung Hee Kim,<br />
Maria Rom-Schmidt<br />
17. Donald Baechler<br />
13. Genevieve Jones<br />
18. Lucia Love<br />
3. Suzanne Cochran,<br />
Cristina Grajales,<br />
Royce Pinkwater<br />
7. Hilton Brothers<br />
19. Concetta<br />
Duncan<br />
8. James Rosenquist,<br />
Dianne Blell<br />
14. Edward<br />
Mapplethorpe<br />
20. Corice Arman<br />
4. Rashaad Newsome<br />
22. Joseph Kosuth,<br />
Sean Kelly 23. Bill Goldston,<br />
Yvonne Force Villareal,<br />
Lisa Yuskavage<br />
armory week festivities<br />
A glimpse of six of our favorite art world events in New York: Rashaad Newsome’s King of Arms Art<br />
Ball, at Westway in the West Village (1, 4); the VIP preview of the Armory Show (2, 7, 8, 12, 14, 15, 16, 17,<br />
18, 19, 20, 22, 24); the opening reception for the Tabor & Villalobos exhibition at Cristina Grajales<br />
Gallery (3); the Purim Ball at the Jewish Museum (5, 23); the Museum of Modern Art’s Armory party<br />
(6, 9, 10, 21); and the private preview of the First Open contemporary art sale at Christie’s (11, 13).<br />
21. Liz Magic Laser,<br />
Eric Shiner<br />
Art+Auction may 2013 | blouinArtinFo.coM<br />
9. Jessica Biel<br />
15. Janelle Davis,<br />
Donnamarie Baptiste<br />
24. Kevin Baker<br />
iMAges ©PAtrick McMullAn: PAul bruinooge (1, 4); PAtrick McMullAn (2, 7, 8, 12, 14, 15, 16, 17, 18, 19, 20, 22, 24);<br />
ronAlD riQueros (3); oWen HoFFMAnn (5, 23); clint sPAulDing (6, 9, 10, 21); A. De Vos (11, 13)
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JUNE KELLY GALLERY<br />
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Paul Delvaux, La joie de vivre (detail). Oil on canvas, 101.5 by 120 cm,<br />
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CLOCKWISE FROM TOP: TWO IMagES, RIChaRd MEIER & PaRTnERS aRChITECTS; STEPhEn haRvEy, FRanKLIn RIEhLMan FInE aRT, and JERaLd MELbERg gaLLERy; buChhandLung WaLThER KOnIg<br />
Gallery White<br />
As his firm marks the half-century mark,<br />
architect Richard Meier proves he’s as<br />
white-hot as ever. On the heels of last fall’s<br />
completion of his first China project—a<br />
Corian-clad club in Shenzhen—he mounts<br />
two exhibitions. On May 17 the Fondazione<br />
Bisazza, the year-old cultural arm of the<br />
ubiquitous tile company based in Vicenza,<br />
Italy, unveils the retrospective “Richard<br />
Meier: Architecture and Design” as well as a permanent piece that will be<br />
added to the foundation’s collection. Internal Time (in a rendering above and<br />
the drawing at right), an installation of mosaic-clad columns, continues the<br />
architect’s meditations on light and movement amid geometric planes. It joins<br />
Bisazza’s growing holdings, including those by Sandro Chia, John Pawson,<br />
and Mimmo Paladino. Also this month, at Zurich’s Galerie Gmurzynska,<br />
Meier shows the printed-matter collages he has constructed during his off<br />
hours for years. The show offers a rare burst of color from the architect, who<br />
renders nearly all of his work in white with just a touch of black.<br />
Werner’s Way<br />
Most museum donations<br />
are the result of pro tracted<br />
negotiation, but the details<br />
seldom come to light.<br />
Dealer Michael Werner<br />
tells all in a book commemorating<br />
his gift of 127<br />
paintings and sculptures<br />
to the Musée d’Art<br />
Moderne de la Ville de<br />
Paris. Museum director<br />
Fabrice Hargott “was<br />
very aggressive,” said<br />
Werner. “I had to fight for<br />
certain things I didn’t want<br />
to give.” An exhibition<br />
devoted to the entire<br />
collection was an easier<br />
sell. Comprising 900<br />
works, the show, which<br />
closed earlier this year,<br />
juxtaposed lesserknown<br />
French artists, such as<br />
Gaston Chaissac (right)<br />
and Francis Gruber, with<br />
prominent Germans, including<br />
Jörg Immendorff and<br />
Sigmar Polke. Those who<br />
missed the show can<br />
get a taste in the 600page<br />
bLOuInaRTInFO.COM | may 2013 aRT+auCTIOn<br />
catalogue published this<br />
spring by Walther König.<br />
Werner calls the book “a<br />
personal interpretation of<br />
what I did and why I did it.”<br />
The New Deal<br />
“The days of dealers being insular<br />
are over,” says Charlotte<br />
based gallerist Jerald Melberg<br />
(far right), who is teaming up<br />
with New York private dealers<br />
Franklin Riehlman (center)<br />
and Steve Schle singer (near<br />
right) for this month’s aptly<br />
named Three Guys mini fair.<br />
The inaugural event brings an<br />
air of coopera tion as well<br />
as Abstract Expres sion ist art<br />
to a town house at 24 East<br />
73rd Street for a joint exhibition<br />
May 13 to 18, during the<br />
Postwar and con temporary<br />
auctions. Work by Lee Hall,<br />
Alfred Leslie, Robert<br />
Mother well, Jackson Pollock,<br />
Harold Shapinsky, and<br />
Esteban Vicente will come<br />
from the dealers’ private<br />
inventory. “To some extent,<br />
the days of the brickandmortar<br />
gallery are numbered,”<br />
says Melberg. The project<br />
also attempts, Riehlman adds,<br />
to make fairs—which some<br />
consider a necessary art<br />
business evil—a little more fun.<br />
intheair<br />
46K<br />
The approximate square footage<br />
of gallery space devoted to Jeff Koons<br />
this month in New York, where<br />
he has simultaneous exhibitions<br />
at Gagosian and David Zwirner.<br />
41
42<br />
intheair<br />
Best for<br />
Last<br />
At the Asia Society’s gala<br />
in Hong Kong on<br />
May 20, even dessert<br />
will be a work of high art.<br />
The inaugural event<br />
of the organ ization’s new<br />
Hong Kong Center<br />
mariko mori will honor artists Zeng<br />
Fanzhi, Nyoman<br />
Masriadi, and Lee Ufan. But the evening’s chief attraction<br />
is a performance and confection created by<br />
Mariko Mori. Kreëmart, which specializes in artistdesigned<br />
sweets, teamed with Mori to construct a<br />
massive ring made of sugar. Inspired by Oneness, her<br />
2003 sculpture of six space aliens holding hands<br />
in a circle, the ring “shows that we are all individual,<br />
but we are all connected,” according to the artist.<br />
Mori will stand in the center and preside over a stylized<br />
tea ceremony. “It’s really more of an interactive<br />
installation than a dessert,” says Asia Society Museum<br />
senior vice president for global art and cultural<br />
programs Melissa Chiu.<br />
Head Start<br />
The founders of the Volta<br />
art fair—one of the premier<br />
plat forms for emerging<br />
galleries—have taken a cue from<br />
the financial sector to launch<br />
a new cash-advance business for<br />
their sometimes-strapped<br />
clients. The Germany-based<br />
company foundation, formed<br />
by amanda coulson, tobias<br />
Kirchhofer, Karl rheinberger,<br />
ulrich Voges, and Philipp von<br />
ilberg, is the first to introduce<br />
the primary art market to<br />
factoring, a busi ness model<br />
in which a third party advances<br />
cash payment to a seller and<br />
directly invoices the buyer.<br />
While private lenders already<br />
exist to serve blue-chip<br />
secondary market dealers,<br />
Foundation seeks to serve<br />
more modest establishments.<br />
“What’s important to<br />
these galleries is cash flow,<br />
the liquidity,” says Voges.<br />
Foundation launched last<br />
month at art cologne<br />
with start-up<br />
capital of €800,000<br />
($1 million) and about<br />
100 member galleries.<br />
It charges a fee of 3.8<br />
percent—slightly more<br />
than the typical rate<br />
charged merchants by<br />
credit-card companies.<br />
Maybe Wall Street<br />
tactics can help the<br />
little guy after all.<br />
Labor of Love<br />
tracey Emin may be best<br />
known for her confessional work<br />
about failed romance, but her<br />
latest pieces are improbably<br />
inspired by successful relationships.<br />
After Emin engineered a<br />
meeting with louise bourgeois<br />
in 2008, the two collaborated<br />
on a series of 16 gouaches,<br />
completed mere weeks before<br />
the elder artist’s death in<br />
2010. Now Emin, pictured here<br />
with Bourgeois (seated right),<br />
has produced a series of<br />
bronze sculptures at the same<br />
foundry Bourgeois used for<br />
much of her career. The small<br />
animal and human figures<br />
Liquid<br />
Inspiration<br />
The winemaking<br />
Frescobaldi family<br />
of Florence has<br />
reached back to its<br />
14th-century<br />
art-patronage roots<br />
and established artisti per<br />
frescobaldi, a competition<br />
offering a prize of €16,000<br />
($21,000). For the inaugural<br />
event, three Italian artists<br />
were commissioned to riff<br />
on wine production and the<br />
Tuscan landscape to create<br />
artworks for the corporate<br />
collection and labels for a<br />
limited-edition run of bottles.<br />
The jury, led by the Vatican<br />
Museums’ antonio Paolucci,<br />
selected the work (above)<br />
of Elisa Sighicelli, currently<br />
will be unveiled as part of a<br />
two-venue exhibition opening<br />
May 2 at lehmann maupin<br />
in New York. The animal<br />
subjects represent another<br />
focus of Emin’s affections: “I<br />
really love animals,” she says.<br />
“My cat is my little soul mate.”<br />
$56 billion<br />
Total expenditure within the global art market in 2012,<br />
according to the European Fine Art Foundation’s annual<br />
study, which attributes the 7 percent decline from 2011<br />
to a 24 percent contraction in the Chinese market.<br />
a member of the<br />
Gagosian Gallery<br />
stable, from the<br />
competing concepts<br />
offered by<br />
rä Di martino and<br />
Giovanni ozzola.<br />
All the pieces will be shown at<br />
Milan’s fondazione Stelline.<br />
The “images will enable<br />
the public to see this place<br />
differently, to discover<br />
those unusual elements only<br />
artists are able to detect,”<br />
said curator ludovico Pratesi<br />
of the competition’s bucolic<br />
inspiration. Although the<br />
debut featured the work of<br />
Italian artists, future finalists<br />
(and judges) will be drawn<br />
from different countries. After<br />
all, in vino veritas is certainly<br />
a global sentiment.<br />
FOR MORE OF WhaT’S In ThE aIR, vISIT<br />
FOR<br />
blouinartinfo.com<br />
MORE OF WhaT’S In ThE aIR, vISIT artinfo.com<br />
aRT+auCTIOn may 2013 | BLOuInaRTInFO.COM<br />
CLOCKWISE FROM TOP LEFT: DavID SIMS; BRIgITTE CORnanD; MaRChESI DE’FRESCOBaLDI; FLICKR
Alan Gussow: Interrupted Spring April 18–May 11, 2013<br />
525 West 25th Street New York, NY 212-767-1852<br />
www.driscollbabcock.com info@driscollbabcock.com
KAREL APPEL<br />
1921 - 2006<br />
Four Faces 1961 Gouache and crayon on thick woven paper Signed and dated lower right 35 ½ x 47 ¼ in.<br />
BUILDING RELATIONSHIPS AND COLLECTIONS SINCE 1989<br />
ABBY M TAYLOR FINE ART<br />
GREENWICH NEW YORK<br />
EUROPEAN & AMERICAN WORKS OF ART AMTFINEART.COM<br />
43 GREENWICH AVE GREENWICH CT 06830 203 622 0906 32 E 67 ST NEW YORK NY 10065 212 535 5767 INFO@AMTFINEART.COM
RICHARD MISRACH<br />
ON THE BEACH 2.0<br />
May 4 – June 29, 2013<br />
510 West 25th Street New York City pacemacgill.com<br />
Richard Misrach, Untitled (February 10, 2012 6:38pm), 2012, pigment print mounted to Dibond, 59 ½ x 79 inches. © Richard Misrach
Genji (1975)<br />
46" X 56"<br />
Acrylic on canvas<br />
RON SLOWINSKI<br />
RECONSIDERED<br />
1975–2011<br />
May 21 to June 15, 2013<br />
49 East 78th Street, Suite 2B, New York, NY 10075 • (212) 249-3020 • www.johnmolloygallery.com
Refuge and Remembrance:<br />
Landscape Painting in the Civil War Era<br />
May 16–June 2, 2013<br />
Refuge and Remeberance:<br />
Landscape Painting in the Civil War Era<br />
DRISCOLL BABCOCK<br />
May 16 - June 2, 2013<br />
525 West 25th Street New York www.driscollbabcock.com
CLOCKWISE FROM TOP: ACquAvELLA GALLERIES, nEW yORK; RAndIAn; juERGEn TELLER; ARTCuRIAL<br />
new york and hong kong<br />
Auctions, Au Revoir<br />
Ken Yeh departs his post as the rainmaking chairman of Christie’s<br />
Asia to become co-director of Acquavella Galleries. Yeh joins his<br />
former boss, ex-Christie’s Impressionist and modern art department<br />
head Michael Findlay, who hired Yeh in <strong>Marc</strong>h 1997. The Taipeiborn<br />
Yeh, who holds an MBA from Columbia University, will work<br />
out of New York and Hong Kong, as he did for Christie’s in his dual<br />
role of business-getter and art specialist. William Acquavella called<br />
Ken Yeh<br />
the hire a “strategic choice,” bucking the trend of Western galleries<br />
spending millions of dollars to open Hong Kong satellites. Yeh, a familiar figure at major<br />
evening auctions, says his decision to leave Christie’s after 16 years was a difficult one, but<br />
adds that the time was right. “Acquavella is the gallery specializing in Impressionist and<br />
modern painting, and that’s the area of my expertise,” he says. “It’s really a great match.” His<br />
first order of business will be running the gallery’s booth at Art Basel in Hong Kong. —jUdd TULLy<br />
london<br />
West Is Best<br />
Sadie Coles will have to make do with just<br />
two locations for six months. After turning<br />
out the lights at her 5,000-square-foot<br />
New Burlington Place gallery in <strong>Marc</strong>h,<br />
she will open around the corner from it in<br />
September. Coles will gain 1,000 square<br />
feet and remain close to her existing<br />
Balfour Mews and South Audley Street<br />
locations. “The proximity of galleries<br />
makes it easy for visitors as well as for our<br />
operations,” she says of the West End.<br />
The dealer, who founded the gallery in<br />
1997 after a directorial run with Anthony<br />
d’Offay, is redesigning the space,<br />
which she says was once a “seedy 1980s<br />
nightclub,” with contractors Leckenby<br />
Associates. A solo show by American<br />
abstract painter Ryan Sullivan, a new<br />
addition to the stable, is planned, and<br />
Coles hopes the larger venue will create<br />
fresh possibilities for gallery artists,<br />
including Rudolf Stingel, Urs Fischer,<br />
and Sarah Lucas. —SEhBA MOhAMMAd<br />
Sadie Coles<br />
bLOuInARTInFO.COM | may 2013 ART+AuCTIOn<br />
milan<br />
A Room with a View<br />
Gioia Sardagna<br />
Ferrari<br />
movers+shakers<br />
Paris-based<br />
Artcurial<br />
crosses the<br />
border into<br />
Italy as Gioia<br />
Sardagna<br />
Ferrari<br />
becomes<br />
director of the<br />
house’s year-<br />
old Milan office. After nearly a<br />
decade of overseeing specialized<br />
sales of Italian art for the<br />
company, Ferrari is charged with<br />
finding new clients and organizing<br />
exhibitions. All sales, however,<br />
will take place in Paris. The<br />
venture came about after the<br />
house opened a Brussels<br />
bureau last year. “It may appear<br />
unexpected to open while others<br />
close and leave, but we have faith<br />
in the potential of these countries,”<br />
says Ferrari. “Business was good<br />
over 2012; we had a turnover<br />
of €3 million to €4 million.” That’s<br />
certainly enough to earn a view<br />
of the Duomo. —jULIETTE SOULEz<br />
hong kong<br />
Virtual Space<br />
Launched by French entrepreneur<br />
Alexandre Errera, Artshare.com is the<br />
latest addition to the group of online art<br />
sales platforms hoping to capitalize on the<br />
booming Asian art market. Errera and the<br />
enterprise’s advisory board—including<br />
dealers Pearl Lam and Johnson Chang,<br />
collectors Dominique and Sylvain Lévy,<br />
and consultant Philip Dodd—are determined<br />
to take a curatorial approach on the<br />
site. “Art is not about exhibiting thousands<br />
of works online in an Amazon-like fashion ,”<br />
says Errera. Prices start around $10,000<br />
for pieces from emerging and established<br />
artists, with a focus on Chinese contemporary<br />
works. “Ultimately, I think a website can<br />
come very close to the experience of a real<br />
gallery today,” he says. With the jury still<br />
out on the viability of such sites as Artsy,<br />
Artspace, and Paddle8, Artshare.com<br />
will be closely watched. —zOE LI<br />
Alexandre Errera<br />
49
50<br />
movers+shakers<br />
london<br />
Sculpture Center<br />
Dino and Raffaello Tomasso<br />
After two decades of running an art<br />
dealership from Bardon Hall in Leeds,<br />
brothers Dino and Raffaello Tomasso,<br />
who specialize in European sculpture<br />
ranging from early Renaissance to Neo-<br />
classical, open this month at 12 Duke Street<br />
in St. James’s. Their search for a suitable<br />
space proved to be a lengthy one, lasting<br />
about a year. “We were determined that we<br />
should find the right location in St. James’s,<br />
which is the oldest art dealing center in<br />
Britain, with Duke Street at its heart,” Dino<br />
says. The brothers plan to renovate the<br />
storefront space to showcase their wares<br />
to optimum effect. “The more intimate<br />
objects will be shown in smaller, more<br />
private spaces,” he says. Fresh from their<br />
second outing at tefaf Maastricht, where<br />
sales were buoyant, the brothers are enthusiastic<br />
about the new location. According<br />
to Dino, “Such spaces do not become<br />
available very often.” —EiLEEN kiNSELLA<br />
new york<br />
Jack Shainman<br />
Ever Expanding<br />
new delhi<br />
Eat, Pray, Live<br />
For months the Indian art world<br />
buzzed with rumors Nature Morte<br />
gallery was to close. Established by<br />
Peter Nagy in New York’s East<br />
Village in 1982, the gallery ceased<br />
business in 1988 but was revived in<br />
New Delhi in 1997. Nagy has since<br />
emerged as a leading figure on the<br />
Indian contemporary art scene, with<br />
a roster including Subodh Gupta,<br />
L.N. Tallur, and Thukral & Tagra.<br />
But as a foreign national, he cannot<br />
legally hold more than a 49 percent<br />
stake in any commercial venture.<br />
When partner<br />
Bose Pacia left<br />
the gallery, Delhibased<br />
Seven<br />
Art Limited<br />
owner Aparajita<br />
Jain stepped in,<br />
Peter Nagy<br />
putting to rest<br />
fears of the demise. “Basically<br />
Aparajita bought out Bose Pacia,”<br />
Nagy says. Although the partnership<br />
has been in place for several<br />
months, the paperwork is only now<br />
being completed. —ROSALYN D’MELLO<br />
chicago<br />
Living Large<br />
Kavi Gupta<br />
Peter Nagy<br />
With the opening of an 8,000-square-foot<br />
space a few blocks from his West Loop<br />
location, Kavi Gupta now operates the<br />
largest commercial gallery in Chicago.<br />
inaugurating the converted cold-storage<br />
building is a solo show of Roxy Paine, one<br />
of several recent additions to the gallery’s<br />
growing roster. “We have a lot of artists,<br />
like Tony Tasset and Theaster Gates,<br />
who work large-scale,” says Gupta. The<br />
building will host three shows per year,<br />
while Gupta’s existing Chicago and Berlin<br />
branches will continue monthly programs.<br />
“Chicago doesn’t get much foot traffic,<br />
so if you’re going to do an ambitious show,<br />
you want it to run for longer,” he says.<br />
And with multiple locations, “there’s not<br />
the pressure that one exhibition can make<br />
or break a career,” he adds. So far, the<br />
city seems to be treating him just fine:<br />
Gupta was able to pay for the space—<br />
which cost around $550,000—without<br />
taking a loan. —JuLiA HALpERiN<br />
Most New York gallerists would consider an additional 2,000 square feet quite the get, but<br />
Jack Shainman wanted more. <strong>Marc</strong>h’s opening of a new showroom at 524 West 24th Street,<br />
four blocks north of the gallery’s current location, will be followed by the unveiling of a<br />
30,000-square-foot space in Kinderhook, New York, this summer. The former school will<br />
be retrofitted by architect Antonio Jiménez Torrecillas and offer flexible galleries for<br />
seasonal exhibitions and artist residencies, while the surrounding five acres will showcase<br />
outdoor sculpture. Shainman and his partner, Claude Simard, will also present objects from<br />
their private collections, including ancient African funerary urns, Indian<br />
stone carvings, and modern masterworks. Shainman, who owns a home<br />
in Kinderhook, two hours north of Manhattan, snapped up the 1929<br />
building when he saw a for-sale sign out front. “This is an opportunity<br />
to see everything at once and create a shared cultural space,” he says.<br />
The acquisitions more than triple the gallery’s current footprint. —JH<br />
aRT+auCTIOn may 2013 | bLOuInaRTInFO.COM<br />
CLOCKWISE FROM TOP LEFT: DInO anD RaFFaELLO TOMaSSO; haRI naIR; KavI GuPTa, ChICaGO; JaCK ShaInMan GaLLERy, nEW yORK
Architectural Renderings by Deborah Berke Partners<br />
960 FIFTH<br />
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PleAse visit WWW.960fiftH.CoM
Carole A. Feuerman<br />
501 W 23rd St & 10th Ave<br />
NY , NY 10011<br />
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info@jimkempner.com<br />
www.jimkempner.com
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& PRE-COLUMBIAN ART<br />
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Estimate: $100,000-$150,000<br />
WESTERN & CALIFORNIA ART<br />
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Estimate: $200,000-$300,000<br />
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For a free auction catalog in any category, plus a copy of The Collector's Handbook (combined value $65),<br />
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25404
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TEL 212.223.1059 FAX 212.223.1937<br />
info@throckmorton-nyc.com www.throckmorton-nyc.com
Galerie Urs Meile, BeijinG and lUcerne<br />
Datebook<br />
may 2013 This monTh’s culTural agenda<br />
hong kong<br />
Open Trade<br />
After taking a majority stake in the five-year-old Art HK fair in 2011, the Switzerland-based MCH Group adds an arrow<br />
to its quiver with the inaugural edition of Art Basel in Hong Kong, May 23–26. “It’s seen as an important moment,<br />
a sign that the international art world is taking Asia and the Pacific region more seriously,” says the event’s director,<br />
Magnus Renfrew, who cofounded its predecessor in 2007 and has presided over exponential visitor growth, if<br />
uneven sales. With the alignment of several favorable conditions, he and his seasoned Basel partners <strong>Marc</strong> Spiegler<br />
and Annette Schönholzer are betting that 2013 will be the year the dynamic shifts from curiosity to consumption.<br />
Not that they are changing much about the fair itself. The venue and the proportion of galleries weighted<br />
toward the East remain the same (multinationals with Asian outposts are counted toward the Eastern tally). And Yuko<br />
Hasegawa of the Museum of Contemporary Art in Tokyo will again curate a series of monumental installations by<br />
the likes of Liam Gillick and Jitish Kallat. What Renfrew hopes will strike visitors is a palpable uptick in quality. The<br />
exhibitor count has been sanded down to 245 from 264, and Asian historical works are being introduced in an effort<br />
to situate the contemporary art aesthetically. “We’re very pleased to be featuring Indian modernism for the first time,<br />
as well as Gutai and Mono-ha artists,” Renfrew says. “Context is so important.”<br />
Two floors of the Hong Kong Convention and Exhibition Centre will be kitted out with a design by Tom Postma<br />
and play home to four sectors familiar in scope to habitués of the Swiss flagship. “Galleries,” the main sector, will<br />
host the hemisphere’s leading names: Tina Keng, scai the Bathhouse, Mizuna, Pearl Lam, Long <strong>Marc</strong>h Space, Tang<br />
BloUinarTinFo.coM | may 2013 arT+aUcTion<br />
Li Gang says his<br />
installation<br />
Beads, 2012, at<br />
Galerie Urs Meile—<br />
comprising<br />
spheres shaped<br />
from a dead tree<br />
in Yunnan—is<br />
about “the points<br />
of change in<br />
our lives that<br />
determine where<br />
we go and<br />
what we become.”<br />
57
58<br />
datebook<br />
Contemporary, Hanart TZ,<br />
Hakgojae, and Pékin Fine Arts.<br />
Pékin director Meg Maggio<br />
promises as an “eclectic mix of<br />
talents who reflect not only the<br />
art scene here but also the<br />
diaspora” of Asian artists trained<br />
or living abroad, such as the<br />
Mongolian painter Nashun<br />
Nashunbatu and the Singaporeborn<br />
photographer John Clang.<br />
Those dealers are joined by<br />
Western galleries with established<br />
footholds in Asia, including Ben<br />
Brown Fine Arts and Pace, plus<br />
recent arrivals Lehmann Maupin<br />
and White Cube. Among the<br />
outfits making their Hong Kong<br />
debuts are 303 Gallery and<br />
Ameringer McEnery Yohe, of<br />
New York; Andréhn-Schiptjenko,<br />
of Stockholm; Galería OMR, of<br />
Mexico City; Johnen Galerie and<br />
Wentrup, of Berlin; and Pedro<br />
Cera, of Lisbon, bringing pieces<br />
by Adam Pendleton and Gil<br />
Heitor Cortesão.<br />
The Discoveries section, which<br />
Renfrew calls “exceptionally<br />
strong,” is limited to 27 gallery<br />
booths, each featuring one or<br />
two emerging talents from across<br />
the world. Highlighted will be such<br />
artists as Francesca DiMattio<br />
(at Pippy Houldsworth, London),<br />
Chen Wei (at Leo Xu Projects,<br />
Shanghai), and Alexander May<br />
hong kong<br />
(at Balice Hertling, Paris). One will<br />
snag the $25,000 Discoveries prize.<br />
The most distinctive sector,<br />
however, is Insights, reserved for<br />
thematic presentations of Asian<br />
art from the past 100 years. The<br />
47 entrants, covering ground<br />
from Istanbul to Jakarta, include<br />
A Thousand Plateaus Art<br />
Space, Manila Contemporary,<br />
XVA Gallery, and the local<br />
Blindspot gallery, featuring new<br />
photographs by 2005 Venice<br />
Biennale rep Stanley Wong, aka<br />
anothermountainman.<br />
Christophe Mao, founder of<br />
Chambers Fine Art, with locations<br />
in Beijing and New York, will<br />
show new shattered-glass works<br />
by hot-button artist Zhao Zhao.<br />
In recent years Mao has tailored<br />
his Hong Kong offerings to focus<br />
on solo presentations of younger<br />
Asian artists at “approachable”<br />
price points, with good response.<br />
“Many Western galleries have<br />
been hoping to open the market<br />
in Asia for Western art, but I think<br />
that will take some time,” he says.<br />
With completion of the city’s<br />
$2.8 billion, 99-acre West<br />
THREE QUESTIONS FOR Leng Lin<br />
Lin looks forward to Art<br />
Basel in Hong Kong, where<br />
he will show Chinese<br />
artists and international<br />
talents like Yoshitomo<br />
Nara and Adrian Ghenie.<br />
De Sarthe Gallery, of Hong Kong, is<br />
showing Chen Zhen‘s Le rite suspendue<br />
mouille, 1991, above, in the Encounters<br />
sector of large-scale installations, while<br />
Simon Lee Gallery, of London and Hong<br />
Kong, will feature Marnie Weber’s Log<br />
Lady & Dirty Bunny, 2009, detail at right.<br />
The president of Pace Beijing reflects on the evolving asian art market with Benjamin genocchio<br />
What kind of changes have you<br />
seen in the Chinese art market<br />
since Pace opened its Beijing<br />
gallery in 2008?<br />
The vast majority of our collectors<br />
are still international, but local<br />
collectors are gradually extending<br />
and multiplying. The diversity<br />
of their tastes has expanded, and<br />
market trends have begun to<br />
diverge as well. Everyone is looking<br />
for a new direction, and that<br />
impacts not only collectors and<br />
galleries, but also opportunities for<br />
emerging artists. But even though<br />
these broader tastes have emerged,<br />
it is still difficult for some media,<br />
such as instal lation art and even<br />
photography, to gain recognition.<br />
What are your feelings<br />
on the prospects for<br />
Art Basel in hong kong?<br />
By following in the steps of<br />
art Basel, Hong Kong shows its<br />
potential as an international<br />
art hub. We hope it will get the<br />
world’s attention and stimulate<br />
new markets and new art all over<br />
asia. Forty percent of the artists<br />
we are showing are Chinese;<br />
we will bring work by Zhang<br />
Xiaogang, Hong Hao, Song Dong,<br />
yin Xiuzhen, and the portraitist<br />
mao yan. Since gaining notice<br />
among the neo-realists in<br />
the 1990s, his works have become<br />
more like paintings of portraits<br />
rather than portraits themselves.<br />
Kowloon Cultural District<br />
looming on the horizon in 2014,<br />
the ingredients may be coming to<br />
a boil. “There’s a critical mass<br />
of activity,” says Renfrew, who<br />
believes an internationalized fair<br />
is the next step. “No national<br />
market here is big enough to<br />
sustain itself yet, so Hong Kong<br />
is the perfect hub,” he explains,<br />
citing geography, the common<br />
language of English, favorable<br />
tax policy, liberal laws concerning<br />
freedom of expression, and, last<br />
but hardly least, its affluence. In<br />
Hong Kong today, he says, “there’s<br />
huge wealth being created, and<br />
the art market tends to follow the<br />
money.” —SARAH P. HANSON<br />
Any final thoughts?<br />
Chinese contemporary art is still<br />
a relatively young market. The<br />
public acceptance of contemporary<br />
art is still weak, especially without<br />
the assistance of museums.<br />
The exchange among galleries<br />
has existed only since 2000, and<br />
the art market was initiated<br />
by the auction houses, so there<br />
was a very speculative atmosphere.<br />
But after 2008 the speculators<br />
failed hugely. and that has actually<br />
had a positive impact on the<br />
Chinese art market. Collectors<br />
have started to research relevant<br />
aspects of art collecting more<br />
deeply, instead of being oriented<br />
toward speculative investing.<br />
art+auction may 2013 | Blouinartinfo.com<br />
clockwise from top left: de sarthe Gallery, honG konG; simon lee Gallery, london and honG konG; pace, BeijinG
Photo by Gavin Ashworth. Design by Russell Hassell<br />
Oscar F. Bluemner (american, 1867–1938) Pagoda (Red Tank West Quincy), 1922–27, oil on board, 15 x 20 inches, signed lower left<br />
Specializing in 20th Century American Art<br />
50 East 72nd Street, 7B, New York, NY 10021<br />
tel 212.535.5096 fax 212.535.3554<br />
jb@jonathanboos.com jonathanboos.com<br />
By appointment
60<br />
datebook<br />
new york<br />
head to head<br />
Boutique tribal fairs face off in competing time slots,<br />
vying for the eyes of collectors, curators, and the public<br />
AOA New YOrk • MAY 10–14<br />
A consortium of 17 dealers specializing in tribal<br />
art and artifacts from Africa, Oceania, and<br />
the Americas come together for this third annual expo, which<br />
is favored for its intimate approach. Ten exhibitors, such as<br />
Visser Gallery, of Brussels, return to the Fletcher-Sinclair<br />
mansion on the Upper East Side. They join first-timers Ben<br />
Hunter, of London, and <strong>Marc</strong> Assayag, a collector-turneddealer<br />
from Montreal whose offerings feature a 19th-century<br />
yipwon (hook figure) from Papua New Guinea. An additional<br />
eight dealers—Pace Primitive, Arte Primitivo, and Alaska<br />
on Madison among them—are hosting special exhibitions<br />
and programming in nearby galleries. AOA urges its dealers<br />
to focus on objects with significant exhibition history and<br />
provenance, says Sarah Getto, who codirects the expo with<br />
Maureen Zarember, of Tambaran. The fair is intent on<br />
appealing to the modern and contemporary collector as well;<br />
Zarember herself will exhibit a figurative 19th-century Zande<br />
knife finial from the Democratic Republic of the Congo—an<br />
angular carving that looks like it could have inspired Picasso,<br />
priced between $200,000 and $300,000.<br />
new york<br />
Collective Action<br />
MADiSON ANCieNT & TribAl ArT •<br />
MAY 10–16<br />
Just around the corner from AOA, 14 additional<br />
dealers will sprawl throughout the Arader Gallery,<br />
a four-level space located in a Beaux Arts town house,<br />
for mata’s second official iteration. Dealer James<br />
Stephenson runs the boutique fair with an emphasis<br />
on variety and quality. He also seeks to cultivate a<br />
salonlike feel that gives buyers “more face time with<br />
dealers.” That formula has attracted some serious<br />
newcomers this time around, including longtime<br />
Oceanic art dealer wayne Heathcote from London;<br />
Thomas Murray, an Indonesian sculpture and<br />
textiles specialist from the Bay Area; Brussels-based<br />
dealer Joaquin Pecci; and Pierre loos, also<br />
based in Brussels and founder of the highly regarded<br />
Belgian tribal-art fair bruneaf. Highlights include<br />
a Congolese Songye Kifwebe mask, circa 1900, and<br />
a Lefem Society figure by 19th-century Cameroonian<br />
artist Ateu Atsa ($65,000), both courtesy of<br />
London dealer kevin Conru. —rachel wolff<br />
“My best ideas come in conversation,” says<br />
the architect and interior designer Steven<br />
Learner, who planned his new design fair in<br />
consul tation with many of its participants,<br />
hence the moniker. Collective, running<br />
May 8 through 11, will set up shop on<br />
Pier 57 downtown with a fittingly open<br />
layout. Local exhibitors include Todd<br />
Merrill Studio Contemporary, Cristina<br />
Grajales, Demisch Danant, Grey Area, and r 20th Century, which will<br />
create a vignette of furniture by midcentury Brazilian designers Carlo Hauner<br />
and Martin eisler, studded with objects by David wiseman, Jeff Zimmerman,<br />
and Thaddeus wolfe. Farther-flung inaugural participants include Jean Prouvé<br />
specialist Jousse entreprise, from Paris; Modernity, from Stockholm; Volume<br />
Gallery and Casati Gallery, from Chicago; and Philadelphia’s Wexler Gallery,<br />
whose offerings include Philipp Aduatz’s cheeky black chrome Melting Chair,<br />
2012 (starting at $18,500), and David Trubridge’s Baskets of Knowledge, Kete<br />
Aronui, 2009, a seven-foot-tall, teardrop-shaped light fixture made from handsanded<br />
plastic and woven bamboo (from $8,000). —rw<br />
A wood, copper,<br />
and iron Kota<br />
reliquary figure,<br />
above, is $68,000<br />
from Belgian<br />
dealer Adrian<br />
Schlag, exhibiting<br />
at mata. Tambaran<br />
will show a<br />
19th-century<br />
Zande knife<br />
finial from the<br />
Democratic<br />
Republic of the<br />
Congo, left, at<br />
AOA New York.<br />
At Collective,<br />
the new design<br />
fair, Lost City<br />
Arts is featuring<br />
sculptures by<br />
Harry Bertoia,<br />
including the<br />
1960s-era<br />
Dandelion, left,<br />
while Parisbased<br />
Jousse<br />
Entreprise will<br />
bring mid 1950s<br />
pieces by Jean<br />
Prouvé and<br />
Serge Mouille,<br />
above.<br />
art+auCtion may 2013 | blouinartinfo.Com<br />
CloCkwise from top left: tambaran Gallery, new york; adrian sChlaG, brussels; adrien dirand and Jousse entreprise, paris; lost City arts, new york
Robert Motherwell: Collage<br />
5th June - 27th July 2013<br />
BERNARD JACOBSON GALLERY<br />
6 Cork Street, London W1S 3NX, +44 (0)20 7734 3431, www.jacobsongallery.com, mail@jacobsongallery.com<br />
Robert Motherwell, Paterson’s Oatcakes, 1967, Acrylic and pasted cloth on paper, 61 x 48.3 cms (24 x 19 ins)
62<br />
datebook<br />
new york<br />
island hopping<br />
Frieze returns to Randall’s Island for its sophomore edition May 10–13 determined not to be a onehit<br />
wonder. Accordingly, the organizers have attracted a slew of new exhibitors—including Luhring<br />
Augustine, Jack Shainman, and CRG—and that influx portends staying power. “Despite 10 years<br />
of successful fairs in London, we were still untested in the States the first time around,” says codirector<br />
Amanda Sharp. With 45,000 expected visitors and a 20 percent bump in local participants,<br />
she says, “it seems like the city has embraced the fair.” The lineup shows the organizers and the<br />
180-plus galleries pulling out the stops to set this edition apart from last year’s, and from London’s.<br />
ProjeCtS Just north of Frieze’s airy tent,<br />
Romanian artist Andra ursuta will unveil a<br />
cemetery honoring forgotten and lost works of art.<br />
One of five artist commissions, ursuta’s installation<br />
consists of six small marble gravestones and a<br />
low white fence. “With the overproduction of art we<br />
are witnessing these days, it’s clear only a small<br />
rAnDAll’S iSlAnD<br />
percentage will make it into museums,” Frieze<br />
Projects curator Cecilia Alemani explains. “Andra<br />
is asking, ‘Where does the rest of it go to die?’ ”<br />
Drink Forget the VIP lounge. The<br />
hot ticket is the speakeasy-style<br />
bar erected by artist Liz Glynn and<br />
hidden behind an unmarked white door<br />
amid the booths. Each day, 200 lucky<br />
visitors, chosen at random, will receive<br />
a key and a map with directions to the<br />
bar upon entry to the fair.<br />
fooD The most anticipated restaurant<br />
at the fair hasn’t served a customer in more than 40 years:<br />
A tribute to Gordon Matta-Clark’s legendary SoHo eatery<br />
FOOD will be staffed by chefs from the original kitchen as well as<br />
a handful of younger artists selected by Alemani. “FOOD is<br />
an excuse to get artists to come together in a way you wouldn’t<br />
normally see at an art fair,” she says. And perhaps to<br />
approach dinner with a new set of tools: When Mark di Suvero<br />
served as a guest chef at FOOD in the 1970s, Alemani notes, he<br />
proposed that people eat with chisels and screwdrivers.<br />
May a thousand flowers bloom the arrival<br />
of frieze is quickly creating a second round of spring art fairs in manhattan.<br />
PuLSE | MAy 9–12 NADA | MAy 10–12<br />
125 weSt 18th Street<br />
The established midtier<br />
fair is shaking up its<br />
list, adding Stuttgart’s<br />
Michael Sturm,<br />
Munich’s Wittenbrink,<br />
Rome’s Z2O, and<br />
Memphis’s David Lusk<br />
Gallery, among others.<br />
The buzzy Impulse<br />
section will highlight<br />
14 emerging artists in solo presentations<br />
from the likes of Cámara Oscura, Madrid;<br />
Carroll and Sons, Boston; and Otto Zoo,<br />
Milan. Adamson Gallery, of Washington, D.C.,<br />
is bringing Robert Longo’s pigment print<br />
Untitled (Iceman X), 2012, above.<br />
299 South Street<br />
The New Art Dealers<br />
Alliance takes over<br />
Basketball City at Pier<br />
36 on the East River for<br />
its sophomore New York<br />
outing. The program<br />
unites locals like Nicelle<br />
Beauchene and<br />
Invisible-Exports with<br />
comers from Cologne,<br />
Malmö, Los Angeles, and Vancouver, plus a<br />
handful who made splashy debuts at the last<br />
Miami edition, including Tallinn’s Temnikova<br />
& Kasela and San Juan’s Roberto Paradise.<br />
Luce Gallery will show Robert Davis’s All<br />
Fucking Summer, 2013, above.<br />
PerforMAnCe A number of galleries<br />
are swapping paintings for performance at<br />
Frieze New York. During the VIP preview on<br />
May 9, Brooklyn-based artist Santi Moix will<br />
create a wall drawing at the booth of New<br />
York’s Paul Kasmin Gallery. (Moix’s fairytale-inspired<br />
murals typically start<br />
at $70,000.) Marian Goodman, meanwhile,<br />
will turn her space over to performance<br />
artist Tino Sehgal. The British artist will<br />
present Ann Lee, a work he debuted at the<br />
Manchester International Festival in<br />
2011 that stars a melancholy 11-year-old girl.<br />
SounD Frieze New York isn’t content to engage<br />
merely your eyes—it wants your ears, too.<br />
The fair commissioned three new audio works<br />
by Haroon Mirza, Charles Atlas and New<br />
Humans, and Trisha Baga. Visitors can stream<br />
the sound pieces online, pick up a pair of<br />
headphones at the fair, or tune in during a ride<br />
in one of the VIP BMWs.<br />
frAMe Canadian clothing designer-retailer Joe Mimran began<br />
collecting art 15 years ago and hopes to encourage others to do<br />
the same. His company, Joe Fresh, is underwriting Frieze’s Frame<br />
section, devoted to solo presentations by galleries younger than six.<br />
This year’s selection includes New York’s Simone Subal Gallery,<br />
London’s Carlos/Ishikawa, and Tokyo’s Misako & Rosen. “Art has<br />
always had a huge influence on fashion,” says Mimran. “The best<br />
part of art fairs is that they are so concentrated. You can really<br />
get a sense of what artists are thinking, as well as trends that often<br />
move into the apparel world.” —JuLIA HALPERIN<br />
CuTLOG | MAy 10–13<br />
107 Suffolk Street<br />
The Parisian artists’<br />
film fair leaps<br />
the pond this spring<br />
to occupy the<br />
Clemente Soto<br />
Vélez Cultural and<br />
Education Center<br />
on the Lower<br />
East Side. Forty<br />
exhibitors, including Spinello Projects and the<br />
apartment, are on deck with works in all media, such<br />
as Dan Miller’s acrylic-and-graphite on paper<br />
Untitled, 2012, above, via Oakland’s Creative Growth.<br />
Organizers hope the flexibility of space rental by the<br />
square foot will spur collaborations and live<br />
performances to spill across traditional booth lines.<br />
art+auCtion may 2013 | blouinartinfo.Com<br />
CloCkwise from top: Graham Carlow and frieze; Creative Growth, oakland, California; luCe Gallery, turin; robert lonGo and adamson Gallery, washinGton, d.C.
Impressionist and Modern Art Evening Sale<br />
New York · May 8, 2013<br />
Viewing<br />
May 4–8<br />
20 Rockefeller Plaza<br />
New York, NY 10020<br />
Contact<br />
Brooke Lampley<br />
blampley@christies.com<br />
+1 212 636 2050<br />
Property of a Private European Collection<br />
André derAin (1880–1954)<br />
Madame Matisse au kimono<br />
signed ‘a derain’ (lower right)<br />
oil on canvas · 31 3/4 x 25 5/8 in. (80.5 x 65 cm.)<br />
Painted in Collioure, Summer 1905<br />
$15,000,000–20,000,000<br />
© 2013 Artists Rights Society (ARS), New York / ADAGP, Paris<br />
christies.com
64<br />
datebook<br />
1<br />
4<br />
6<br />
7<br />
2<br />
Chronographs with class<br />
are this month’s<br />
Must-Haves<br />
by Sarah P. Hanson<br />
5<br />
8<br />
1. Longines 18-karat gold hunters’ case pocket watch, 1920s; est. $800+ at Heritage Auctions’ May 21 sale of timepieces in New York. 2. RoLex Ref. 3346 Oyster<br />
Zerographe chronograph in stainless steel with velvet box, ca. 1940; est. SF250–350,000 ($264–370,000) at Christie’s Geneva, May 13. 3. Patek PhiLiPPe 18-karat<br />
gold and enamel pendant watch with neck chain, ca. 1898; est. $3,500 at Heritage, May 21. 4. iLbeRy gold and hard–stone center seconds octagonal watch set with<br />
pearls, for the Chinese market, ca. 1800; est. SF120–180,000 ($127–190,000) at Sotheby’s Geneva, May 11. 5. Patek PhiLiPPe Ref. 2591 18-karat gold wristwatch<br />
formerly owned by Belgian writer Georges Simenon, ca. 1961; est. SF3,000–5,000 ($3,200–5,300) at Sotheby’s Geneva, May 11. 6. Dubey & schaLDenbRanD<br />
Spiral-Verso VIP No. 71 Chronograph with triple calendar and moon phases in stainless steel with stingray band, ca. 2006, est. $6,000+ at Heritage, May 21. 7. A. Lange<br />
& sohne Ref. 127-560A-1 World War II German air force watch in anti-corrosion nickel and steel on leather band; est. $6,000+ at Heritage, May 21. 8. Patek PhiLiPPe<br />
Ref. 2499/100 perpetual calendar chronograph with moon phases in gold, ca. 1981, est. SF250–350,000 ($264–370,000) at Christie’s Geneva, May 13.<br />
Art+Auction may 2013 | blouinArtinFo.coM<br />
3
HENRY MOORE (1898–1986)<br />
Head<br />
signed and numbered ‘Moore 1/9’ (on the top of the base)<br />
bronze with golden brown and green patina<br />
height: 24 1/2 in. (62.2 cm.)<br />
Conceived in 1984 · $400,000–600,000<br />
Reproduced by permission of The Henry Moore Foundation<br />
Impressionist and Modern Art Day and Works on Paper Sales<br />
including the Collection of Andy Williams: An American Legend<br />
New York · May 9, 2013<br />
Viewing<br />
May 4–8<br />
20 Rockefeller Plaza<br />
New York, NY 10020<br />
Contacts<br />
Day Sale<br />
Stefany Sekara Morris<br />
ssmorris@christies.com<br />
+1 212 636 2094<br />
PABLO PICASSO (1881–1973)<br />
Le Bain<br />
signed, dated and numbered ‘Picasso vendredi 16.2.68. III’ (lower right)<br />
pencil on paper · 18 3/4 x 23 1/8 in. (47.8 x 58.8 cm.)<br />
Drawn on 16 February 1968 · $180,000–250,000<br />
© 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York<br />
Works on Paper<br />
David Kleiweg de Zwaan<br />
dkleiweg@christies.com<br />
+1 212 636 2093<br />
christies.com
66<br />
datebook<br />
A Box Full of Sky<br />
london<br />
his and hers<br />
As part of a new line of limitededition,<br />
artist-inspired rugs that<br />
will be on display at London’s<br />
Somerset House from May 2<br />
through June 30, the textile<br />
designer Christopher Farr has<br />
issued three pieces based on works<br />
by Josef and Anni Albers, in<br />
association with the Josef and Anni<br />
Albers Foundation. Study Rug, at<br />
left, in hand-tufted wool, was derived from a cotton and silk wall<br />
hanging Anni designed at the Bauhaus in 1926. That’s where<br />
she met her future husband, whose most notable legacy is the<br />
color theories he explored in his series Homage to the Square, a<br />
1951 version of which was the basis for the rug above right. At<br />
£450 to £795 ($675 to $1,200), they are a shade less expensive<br />
than their wall-hung analogs, and rather more unexpected. —sph<br />
During Milan’s Salone del Mobile last month, Bottega<br />
Veneta unveiled its newest in a string of collaborations<br />
with such artists as Erwin Olaf, Nan Goldin,<br />
Robert Longo, and Sam Taylor-Wood: a series of<br />
25 limited-edition boxes titled “Skies and Beyond,” rendered in partnership<br />
with Nancy Lorenz. Featuring quicksilver puddles and grooved ridges<br />
in white gold, palladium, and blackened silver, the one-off pieces are a finetuned<br />
exercise in metallurgy. The boxes (€5,000, touring BV boutiques<br />
worldwide) merge the meticulous craftsmanship and artisanal emphasis of<br />
the Italian fashion label’s leather goods with Lorenz’s sophisticated blend<br />
of abstraction and traditional Asian art techniques like inlay and lacquer.<br />
As creative director Tomas Maier, who commissioned two previous box<br />
series from Lorenz, says, “I appreciate her refined technique, textural work,<br />
and overall artistic sensibility.” —NichOlAs rEMsEN<br />
At its May 14 sale, Blomqvist<br />
will offer a lithograph by<br />
Edvard Munch, Woman with<br />
Red Hair and Green Eyes.<br />
The Sin, 1902.<br />
oslo<br />
mad for munch<br />
The official 150th anniversary of Edvard Munch’s birth is not until December,<br />
but in his native Norway, the celebration is already under way. For admirers<br />
with shallower pockets than those of Scream buyer Leon Black, Blomqvist<br />
kicks off a series of sales and shows dedicated to the modern master with an<br />
auction on May 14; highlights include Woman with Red Hair and Green Eyes.<br />
The Sin, a 1902 color lithograph that bears an estimate of NOK1.2 million<br />
to NOK1.5 million ($173–260,000). A comprehensive retrospective at the<br />
National Museum of Art, Architecture, and Design and the city’s Munch<br />
Museum rolls out June 2, and on June 4 more prime examples of the artist’s<br />
output will head to the block: Grev Wedels Plass Auksjoner is offering the<br />
biggest Munch-only auction to date, featuring some 50 lots. Of particular note<br />
are a signed color lithograph of his iconic Madonna, 1895/1902, estimated<br />
at NOK5 million to NOK7 million ($874,000–1.2 million), and the Expressionistic<br />
oil-on-canvas Autumn by the Greenhouse, 1923–25, which is expected to go<br />
for NOK10 million to NOK15 million ($1.7–2.6 million). —rw<br />
toulouse<br />
Artist Rules in<br />
Fest’s Retool<br />
Jean-<strong>Marc</strong><br />
Bustamante<br />
The new and improved Toulouse<br />
International Art Festival, which<br />
runs may 24 through June 23, may<br />
be the first to tap an artist to lead it.<br />
The event dates to 1991,<br />
when arts patron Marie-Thérèse<br />
Perrin founded an annual festival<br />
of photography that eventually<br />
became known as the Printemps<br />
de Septembre. Perrin has now<br />
revamped the affair, shifting it back<br />
to spring and hiring Toulouse native<br />
Jean-<strong>Marc</strong> Bustamante to helm<br />
the overhaul. “a proliferation of fairs<br />
and biennials have made it difficult<br />
to evaluate artistic quality,” he says. “I<br />
wanted to propose something more<br />
stable.” He formed a permanent<br />
board of six familiar art world faces,<br />
including Penelope Curtis from Tate<br />
Britain, Christy MacLear from the<br />
Robert Rauschenberg Foundation,<br />
and Philippe Vergne of Dia. macLear<br />
suggested the slogan “artist Comes<br />
First,” explaining, “It’s a reminder<br />
of why we’re here.”<br />
Historic buildings across the<br />
city serve as stages for seven<br />
exhibitions—primarily solo shows—<br />
of contemporary art, such as a<br />
monumental installation by the late<br />
Jason Rhoades in a 13th-century<br />
convent, or a mini-retrospective<br />
of Howard Hodgkin paintings in<br />
a Renaissance town house. and<br />
because the board is permanent, it<br />
can commission site-specific pieces<br />
for future years. Jorge Pardo, for<br />
example, is creating a project in two<br />
phases, for this year and next. This<br />
spring’s lineup also includes the<br />
Smith family: Tony, Seton, and Kiki,<br />
who likes the idea of having an<br />
artist in charge. “I believe in it<br />
strongly,” she says. —AMy sErAFiN<br />
art+auCtion may 2013 | blouinartinfo.Com<br />
CloCkwise from top left: Josef and anni albers foundation; Josef and anni albers foundation, VG bild-kunst, bonn, and ars; mark lyon; botteGa Veneta; blomqVist kunsthandel, oslo
The Collection of Celeste and Armand Bartos<br />
Auctions<br />
Impressionist and Modern Art, New York, May 8–9<br />
Post-War and Contemporary Art, New York, May 15–16<br />
African and Oceanic Art, Paris, June 19<br />
Contact<br />
+1 212 636 2000<br />
christies.com<br />
from left to right<br />
HENRI MATISSE Papiers découpés, 1952<br />
ALEXANDER CALDER Untitled, circa 1940s<br />
ANDY WARHOL Flowers, 1964<br />
A Baga Figure of a Snake<br />
© 2013 Succession H. Matisse/Artists Rights Society (ARS), New York © 2013 Calder Foundation, New York/Artists Rights Society (ARS), New York<br />
© 2013 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York
68<br />
datebook<br />
mayauctions<br />
5/23–30<br />
New York<br />
LatiN americaN art<br />
Coming off a fall season that saw new records set for<br />
South American abstractionists such as Jesús<br />
rafael Soto, iberê Camargo, and Antonio Días,<br />
the auction houses are doubling down on reliable<br />
names. Phillips tees off with day and evening sales<br />
on the 23rd bringing two significant pieces by women<br />
artists to the block: Lygia Clark’s Contra relevo,<br />
1959 (est. $600–800,000), and Amelia Peláez’s Las<br />
hermanas, 1943 ($250–350,000). An evening sale<br />
at Sotheby’s on the 28th features Joaquín Torresgarcía’s<br />
Cubist-inspired T No. 1-Peinture, 1929/31<br />
(est. $700–900,000), and a late Rufino Tamayo sand<br />
canvas, Mujer tras la persiana, 1976 (est. $400–<br />
600,000). Christie’s will cap the week on the 29th<br />
and 30th with the highest-estimated lot, roberto<br />
Matta’s El prisionero de la luz, 1941, expected<br />
to fetch $2.5 million to $3.5 million, as well as Alfredo<br />
ramos Martínez’s Women with Fruit (also<br />
known as Fruits and Flowers), circa 1930, shown<br />
above (est. $1–1.5 million).<br />
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31<br />
»<br />
»<br />
»<br />
»<br />
5/8–11 l STuTTgArT | nAgeL AukTionen<br />
Fine ASiAn ArT<br />
The two-day Chinese section that caps<br />
this annual Asian art auction, which<br />
has delivered record prices in recent<br />
years, is full of Buddhist iconography. A<br />
sandstone stele engraved with a sevenfigure<br />
Buddha group from the Northern<br />
Qi Dynasty, is estimated at €300,000 to<br />
€500,000 ($390–650,000), as is a pair of Qing Dynasty<br />
imperial zitan and hongmu wood cabinets. This fiveclawed-dragon<br />
porcelain jar from 18th-century Korea,<br />
is also expected to fetch €300,000 to €500,000.<br />
5/13 l neW York | SWAnn AuCTion gALLerieS<br />
MoDerniST ,<br />
PoSTerS<br />
More than 150 classics of graphic<br />
design from the early 19th to mid<br />
20th centuries are up for grabs at this<br />
annual sale. Featured is the iconic<br />
travel poster by A.M. Cassandre,<br />
The Continent via Harwich, right,<br />
designed in 1928 for the London and<br />
North Eastern Railway, estimated<br />
at $8,000 to $12,000. Additional<br />
highlights include Having Reached<br />
a Climax at the Age of 29, I Was Dead, 1965—a trippy<br />
early piece by Japanese avant-gardist Tadanori Yokoo<br />
that hints at his future journeys into Indian mysticism—<br />
tagged at $6,000 to $9,000, and Franz Lenhart’s<br />
modish 1935 Modiano cigarette ad (est. $4,000–6,000).<br />
5/13 l viennA | DoroTheuM<br />
JugenDSTiL AnD 20Th-CenTurY<br />
ArTS AnD CrAFTS<br />
A 30-inch ceramic figurine by Dagobert<br />
Peche, Daphne, 1917, based on a larger<br />
limewood version he designed for the<br />
Wiener Werkstätte that is now held<br />
by the Salzburg Museum, carries the<br />
highest estimate, at €40,000 to €60,000<br />
($51–77,000). However, the true draw<br />
of this auction of some 300 decorative<br />
objects is the rare swan pendant from<br />
1901, by the Belgian jeweler Philippe<br />
Wolfers, shown left. In gold with three<br />
diamonds and a ruby, it is tagged at<br />
€16,000 to €20,000 ($21–26,000).<br />
5/19 l vAn nuYS | LoS AngeLeS MoDern<br />
SPring AuCTion<br />
A rare, early vija Celmins oil<br />
from her pre-abstract period,<br />
Untitled (Knife and Dish),<br />
1964, right, leads lama’s sale<br />
with the highest estimate in<br />
the house’s 21 years, $300,000<br />
to $500,000. The consignors<br />
reportedly acquired the<br />
solemn 16-by-18-inch canvas<br />
directly from the artist for less than $100, and it hung in<br />
their kitchen for 50 years. Pushing beyond the house’s<br />
midcentury niche are contemporary works by Andy<br />
Warhol, David hockney, and Larry rivers. The 400<br />
lots on deck also include a custom 1963 table by george<br />
nakashima, lighting by Serge Mouille, and ceramics<br />
by Peter voulkos and gertrud and otto natzler.<br />
art+auCtioN may 2013 | blouiNartiNfo.Com<br />
CloCkwise from top left: Christie’s; Nagel auktioNeN, stuttgart; swaNN auCtioN galleries, New York; Dorotheum, VieNNa; los aNgeles moDerN auCtioNs (lama)
american art<br />
New York · May 23, 2013<br />
Viewing<br />
May 18–22<br />
20 Rockefeller Plaza<br />
New York, NY 10020<br />
Contact<br />
Liz Sterling<br />
esterling@christies.com<br />
+1 212 636 2140<br />
Property of a Private American Collection<br />
Edward HoppEr (1882–1967)<br />
Blackwell’s Island, 1928 (detail)<br />
oil on canvas<br />
34 1/2 x 59 1/2 in.<br />
(87.6 x 151.3 cm.)<br />
$15,000,000–20,000,000<br />
christies.com
70<br />
datebook<br />
Drawing a<br />
Blank<br />
Throughout history, artworks have<br />
been left undone because of death,<br />
illness, or encroaching war; kept<br />
incomplete on purpose, to be finished<br />
in a virtuoso public performance,<br />
say, à la J.M.W. Turner; or abandoned<br />
due to a lack of funds or<br />
an artist’s crushing conviction that<br />
he is unable to realize his vision.<br />
Such imperfect creations offer “a rare<br />
insight into the artist’s voyage of<br />
discovery,” asserts Nico Van Hout,<br />
author of The Unfinished Painting<br />
(Abrams/Ludion, <strong>Marc</strong>h). Marshaling<br />
famous and obscure examples by<br />
Jan van Eyck, Piero della<br />
Francesca, Leonardo da Vinci,<br />
Rembrandt, Dürer, Velázquez,<br />
Gilbert Stuart, and Gustave<br />
Courbet, among others, Van Hout<br />
tracks the unfinished paint ing into<br />
the modern era, where non-finito<br />
techniques such as Impressionism<br />
and Cubism became their own<br />
means to an end. Pointing to such<br />
works as Anton Raphael Mengs’s<br />
undated Portrait of Mariana de<br />
Silva y Sarmiento, above, in which<br />
the duchess’s eerie, sketched visage<br />
is overpowered by the blank silhouette<br />
of the dog on her lap, Van Hout<br />
writes, “Unfinished paintings like<br />
this rarely leave us unmoved.<br />
They fascinate us because they<br />
appeal to our imagination.” The<br />
canvas certainly captivated a<br />
buyer at Christie’s London last<br />
July, who chased it to £39,250<br />
($62,000), more than double its<br />
£18,000 ($28,000) estimate. —sph<br />
new york<br />
Beyond the wall<br />
Beginning May 2, Orly Genger’s monumental<br />
Red, Yellow, and Blue will transform the busy<br />
crossroads of new York’s Madison Square Park,<br />
above, with undulating walls of stitched rope<br />
ablaze in primary colors. “I wanted to create<br />
places where you could go in and feel like<br />
you were surrounded and held by the space,”<br />
says the artist, known for her labor-intensive<br />
process of hand-knotting rope into solid masses<br />
that challenge the scale and seriousness of<br />
high-Minimalist metal sculpture. For the Mad. Sq.<br />
Art commission, on view in new York through<br />
september 8 and at the deCordova Sculpture<br />
Park in Massachusetts in october, genger spent<br />
the better part of two years wrestling more<br />
than 1.4 million feet of reclaimed lobster rope into<br />
long, stackable strips with which to build rolling<br />
walls rising as high as 15 feet. When she needed<br />
a breather, genger turned to making small,<br />
three-dimensional assemblages of rope, wax,<br />
and the disembodied limbs of action figures—<br />
the Incredible hulk, Batman, WWe characters—which<br />
she then cast in aluminum, bronze, or stainless<br />
steel. she debuts these gestural sculptures at the<br />
Larissa Goldston Gallery from May 4 through<br />
June 29. “the figure is something I’ve always been<br />
dealing with implicitly, but here it’s much more<br />
direct,” genger says. they boil down the artist’s<br />
own heroic battle with her mountains of rope to<br />
tabletop brawls. —hIlarIe M. sheets<br />
new york<br />
McCarthyism<br />
This month, Paul McCarthy—still, at 67,<br />
the enfant terrible of California art—takes<br />
New York with overlapping exhibitions<br />
riffing on his long-standing obsession with<br />
Snow White and her sexual hold over the<br />
small, subservient (and in McCarthy’s view,<br />
impotent) men around her. Beginning<br />
May 10 Hauser & Wirth’s 24,700squarefoot<br />
18th Street space will be populated<br />
with huge wooden incarnations of Walt<br />
Disney’s dwarves, while the gallery’s East<br />
69th Street venue hosts eerie new life<br />
casts. One is of the artist himself, supine<br />
and naked; the other four feature<br />
Elyse Poppers (being prepared at left),<br />
who stars as White Snow along with<br />
two other actresses in a naughty cinematic<br />
reimagining of the tale to play<br />
amid a massive forest installation at the<br />
Park Avenue Armory, on view<br />
from June 19 to August 4. —Doug MccleMont<br />
Art+AuCtion may 2013 | blouin<strong>Artinfo</strong>.Com<br />
CloCkwise from top left: AbrAms/ludion; orly GenGer; JoshuA white, pAul mCCArthy, And hAuser & wirth
american art<br />
New York · May 23, 2013<br />
Viewing<br />
May 18–22<br />
20 Rockefeller Plaza<br />
New York, NY 10020<br />
Contact<br />
Liz Sterling<br />
esterling@christies.com<br />
+1 212 636 2140<br />
Edward HoppEr (1882–1967)<br />
Kelly Jenness House, 1932 (detail)<br />
watercolor on paper<br />
20 x 28 in. (50.8 x 71.1 cm.), image<br />
22 x 29 1/2 in. (55.9 x 75 cm.), sheet<br />
$2,000,000–3,000,000<br />
christies.com
72<br />
datebook<br />
A rivière with<br />
a detachable<br />
pendant<br />
featuring a<br />
34.78-carat<br />
circular-cut<br />
diamond is<br />
expected to<br />
fetch between<br />
SF1.42 million<br />
and SF2.4 mil lion<br />
($1.5–2.5 million)<br />
at Sotheby’s<br />
Geneva<br />
on May 14.<br />
geneva<br />
Swiss Jewels<br />
In their biannual Swiss jewel auctions, to be<br />
held May 14 and 15, the big houses are<br />
banking on outsize gems and royal provenance.<br />
Tipping the scale at 74.53 carats, a fancy yellow<br />
cushion-cut diamond formerly owned by Persia’s<br />
Sultan Ahmed Shah Qajar is the star of the<br />
Mag ni ficent Jewels and Noble Jewels sale at Sotheby’s<br />
on the 14th. Set within a ring of diamonds,<br />
the 19th-century headdress adornment is tagged<br />
with an estimate of SF1.325 million to SF1.7 million<br />
($1.4–1.8 million). Another dazzler, worn by<br />
Joséphine de Beauharnais, wife of Napoleon<br />
Bonaparte, is a diamond pendant-brooch<br />
featuring a pear-shaped sapphire of 43.27 carats<br />
(est. SF570–950,000; $600,000–1 million).<br />
Sotheby’s will also offer 23 pieces from actress<br />
Gina Lollobrigida’s jewelry box. Christie’s raises<br />
the stakes on the 15th with its own Magnificent<br />
Jewels auction and one of the largest pear-shaped<br />
diamonds ever to be offered for sale. Unset<br />
and weighing 101.73 carats, the D-color, Type<br />
IIa flawless gem is expected to fetch in excess of<br />
$20 million. —kATE NELSoN<br />
newport pagnell, U.K.<br />
getting Up to speed<br />
With the market for unrestored vintage autos motoring along,<br />
Bonhams will offer a DB5 Sports Saloon that has logged<br />
fewer than 48,000 miles at its 14th annual auction of Aston<br />
Martin motorcars in Buckinghamshire on May 18. The<br />
1964 gem has remained parked in the owner’s garage since<br />
1980 after being purchased for a mere £1,500 in 1972; its<br />
estimate of £150,000 to £200,000 ($223–298,000) reflects the<br />
growing appreciation for “barn finds” among car collectors.<br />
But the restored silver one-of-a-kind Aston Martin DB4GT<br />
from 1960, above, dubbed The Jet and featuring striking,<br />
angular lines and coachwork by Italian design firm Bertone,<br />
is set to pull in £2.8 million to £3.8 million ($4.1–5.6 million).<br />
Following a £6.5 million ($10.3 million) triumph last year, the<br />
sale is bound to attract an enthusiastic crowd as the fabled<br />
automotive marque celebrates its centennial. —kN<br />
...also this month<br />
May 2<br />
> New York<br />
After allowing Jannis Kounellis, left,<br />
to seal off Cheim & Read’s adaa Art<br />
Show booth with All or Nothing at<br />
All, 2013—a wall constructed of steel,<br />
stone, and sewing machines—the gallery opens an exhibition<br />
of new work by the artist that will feature a related, room-size<br />
installation, on view through June 22.<br />
May 6<br />
> New York<br />
Blain | Di Donna unveils an<br />
exhibition of some 20 works<br />
by the Belgian Surrealist Paul<br />
Delvaux, including L’Éloge<br />
de la mélancolie, 1948, at<br />
right. The nonselling exhibition,<br />
curated in collaboration with the artist’s foundation, is the first<br />
on U.S. shores in four decades and is on view through June 1.<br />
May 17<br />
> Hong Kong<br />
“The Eternal Tao: New Dimensions in Chinese<br />
Contemporary Art,” on view through August 18<br />
at the Hong Kong Museum of Art, examines<br />
how more than 30 present-day artists have<br />
incorporated traditional spiritual pursuits into<br />
their artworks, such as Wei Qingji’s The Red Flag<br />
over Hollywood Mountain, 2009, shown at left.<br />
May 18<br />
> Ann Arbor<br />
The University of Michigan Museum<br />
of Art has partnered with the Noguchi<br />
Museum in New York to present<br />
“Isamu Noguchi and Qi Baishi:<br />
Beijing 1930,” an exhibition exploring<br />
Noguchi’s pivotal meeting with the<br />
Chinese brush-and-ink master, whose Crabs, ca. 1930, is shown<br />
at right. Through September 1.<br />
> Corning, New York<br />
The Corning Museum of Glass presents<br />
“Life on a String: 35 Centuries of the Glass<br />
Bead,” a show that tackles the multiple<br />
uses—ornamentation, trade, ritual, artistry—<br />
of beads across cultures, from Egypt and<br />
Bohemia to Asia. The cactus bead, left, is by<br />
Kristina Logan. Through January 5, 2014.<br />
May 23<br />
> New York<br />
The Whitney Museum of<br />
American Art opens a show<br />
of more than 200 drawings<br />
by Edward Hopper, including<br />
studies and sketches for some<br />
of his most famous works. Also on the 23rd, Christie’s will<br />
hold its semiannual auction of American art, featuring a<br />
significant early canvas by the artist, Blackwell’s Island, 1928,<br />
above, with an estimate of $15 million to $20 million.<br />
May 29–June 1<br />
> Berlin<br />
Villa Grisebach convenes its spring<br />
auction series. Karl Schmidt-Rottluff’s<br />
Landschaft mit Leuchtturm und<br />
Windmuehle, 1920 (est. €800,000–<br />
1.2 million; $1–1.5 million), shown left, is<br />
a headliner in the big-ticket Selected<br />
Works sale on the 30th.<br />
Art+Auction may 2013 | blouinArtinFo.coM<br />
clockwise FroM top leFt: sotheby’s; cheiM & reAd, new york; pAul delvAux FoundAtion, belgiuM; hong kong MuseuM oF Art; university oF MichigAn MuseuM oF Art; corning MuseuM oF glAss; christie’s; vg bild-kunst, bonn; villA grisebAch, berlin, And<br />
kAren bArtsch, berlin; bonhAMs
Visit the Private Sales Online Gallery<br />
Spring Session · Open Through June 2013<br />
This season’s Online Gallery features Post-War<br />
& Contemporary Art available for private sale<br />
including works by Mark Tobey, Robert Motherwell,<br />
Andy Warhol and Robert Rauschenberg.<br />
Please contact us to arrange a private viewing of<br />
any works that interest you.<br />
Mark TObey (1890–1976)<br />
Released, 1957<br />
signed and dated ‘Tobey 57’ (lower left)<br />
ink and tempera on paper<br />
18 x 24 in. (45.7 x 61 cm.)<br />
© 2013 Estate of Mark Tobey / Artists Rights Society (ARS), New York<br />
Contact<br />
Alexis Klein<br />
aklein@christies.com<br />
+1 212 641 3741<br />
christiesprivatesales.com
©134615<br />
Le Pho<br />
(1907 - 2001)<br />
WALLY FINDLAY GALLERIES, INC.<br />
NEW YORK • PALM BEACH • BARCELONA<br />
ART<br />
WALLY FINDLAY<br />
La lettre, 1976, 25 5/8 x 31 7/8 inches (65 x 81 centimeters), Oil on canvas<br />
124 EAST 57 TH STREET, NEW YORK, NY 10022 • TEL (212) 421 5390 • FAX (212) 838 2460<br />
165 WORTH AVENUE, PALM BEACH, FL 33480 • TEL (561) 655 2090 • FAX (561) 655 1493<br />
WWW.WALLYFINDLAY.COM<br />
EST. 1870
SEYMOUR (SY) BOARDMAN<br />
“PERSONAL GEOMETRIES”<br />
Part I - 1940’s to 1960’s <strong>Marc</strong>h 23 - June 29, 2013<br />
Part II - 1970’s to 2000’s September 10 - November 2, 1013<br />
Summer 2013 - A.S. Art Foundation<br />
ANITA SHAPOLSKY GALLERY • A. S. ART FOUNDATION<br />
152 EAST 65TH ST NEW YORK, NY 10065<br />
P: 212.452.1094 • WWW.ANITASHAPOLSKYGALLERY.COM
ChRisTie’s<br />
ontheblock<br />
By Judd Tully | may 2013 WhaT To look for aT aucTion<br />
Ed Ruscha<br />
Mint (Red) 1968<br />
Oil on canvas<br />
conTemporary arT<br />
Christie’s, May 15<br />
EsT. $2.5–3.5 million<br />
blouinaRTinFo.Com | may 2013 aRT+auCTion<br />
t<br />
neW york<br />
Upward Bound<br />
It’s not just Hollywood that loves a comeback. The stellar range of<br />
world-class artworks that comprise this season’s auction offerings<br />
have the potential to reach the unprecedented price heights<br />
of 2007. “There’s a comfort level that people now have of putting<br />
things up at auction,” says Robert Manley, head of postwar and<br />
contemporary art at Christie’s. Formerly hesitant collectors are thinking<br />
about strategy rather than whether or not to sell. Even the practice<br />
of so-called third-party financial guarantees, which auction houses use<br />
to insure gun-shy sellers without risking their own corporate monies,<br />
has faded with increased confidence that profits will be forthcoming.<br />
However, with Christie’s and Sotheby’s each approaching the billiondollar<br />
mark in annual private sales, one wonders if auctions will continue<br />
to provide drama for the global art market. The silver lining there is<br />
that the seemingly insatiable hunger for transactions is greater than<br />
what the short American auction seasons in November and May can<br />
provide. The real storm clouds are the negative gyrations in China. That<br />
nation took the number-one spot in art-market consumption in 2011<br />
but fell back behind the U.S. in 2012, according to this year’s tefaf<br />
Art Market Report. But as comebacks go, this month looks promising for<br />
the New York market to retain its upper hand over London. »<br />
79
ontheblock<br />
80<br />
May 7 l sotheby’s l<br />
iMpressionist & Modern art<br />
Sotheby’s has landed the Alex<br />
and Elisabeth Lewyt collection,<br />
including Paul Cézanne’s 1888–89 Les<br />
Pommes (est. $25–35 million) and<br />
Amedeo Modigliani’s 1908 L’Amazone<br />
(est. $20–30 million), featuring Baroness<br />
Marguerite de Hasse de Villers, a darkhaired<br />
equestrian posing in a yelloworange<br />
riding jacket. Simon Shaw, head<br />
of Impressionist and modern art at<br />
Sotheby’s New York, calls the holdings<br />
“a time capsule of great works from the<br />
1920s to the 1970s.” Georges Braque’s<br />
1907 Paysage à la Ciotat (est. $10–<br />
15 million), nicely scaled at 20¼ by 24½<br />
inches, is sure to raise the blood pressure<br />
of Fauvist aficionados. “It’s one of the<br />
great ones,” says Shaw, “and great Fauve<br />
works are pretty thin on the ground.”<br />
With its palette of blazing colors, the piece<br />
last sold at Sotheby’s New York in<br />
November 2000 for $3,085,000 as part<br />
of the Ronne and Joseph S. Wohl estate.<br />
Auguste Rodin’s 28-inch-tall Le Penseur,<br />
Taille de la Porte, Moyen modèle<br />
(est. $8–12 million), conceived by the<br />
sculptor in 1880, was specially cast<br />
for newspaper magnate Ralph Pulitzer in<br />
1906 and once owned by CBS executive<br />
William Paley. The lifetime bronze bears<br />
a plaque in Rodin’s own hand stating its<br />
execution at the Alexis Rudier foundry. In<br />
these days of almost unlimited Rodin<br />
bronzes, especially posthumous casts,<br />
a lifetime work with such a certificate<br />
carries great currency.<br />
Choice offerings from the Pennsylvania<br />
estate of Milton Ginsburg include<br />
a 1928–29 Surrealist work from Francis<br />
Picabia’s signature “Transparency”<br />
series, Craccae (est. $1.5–2 million) and a<br />
1969 Picasso oil, Buste d’homme (est. $5–<br />
7 million), scaled for contemporary<br />
tastes at 51 by 38 inches. Included in the<br />
master’s grand exhibition in Avignon<br />
shortly after his death in 1973, the work<br />
last sold at Christie’s New York for<br />
$165,000 in November 1984. Sotheby’s<br />
also offers an excellent 1885 Monet,<br />
Poirier en fleurs (est. $5–7 million).<br />
<<br />
May 8 l Christie’s l<br />
iMpressionist &<br />
Modern art<br />
Fauvism leads the<br />
<<br />
pack here, too, with the<br />
rare and storied 1905<br />
Madame Matisse au kimono<br />
(est. $15–20 million), André<br />
Derain’s color-saturated<br />
portrait of the painter’s wife,<br />
Amélie, resplendent<br />
in a swirling floral-patterned<br />
costume with a red fan.<br />
Characterized by the house’s<br />
New York head of<br />
Impres sionist and modern<br />
art Brooke Lampley as<br />
the “most important Derain<br />
portrait ever to appear<br />
at auction,” it represents<br />
the crucial summer<br />
months Derain and Matisse<br />
spent together in Collioure,<br />
inventing the painting<br />
style that would take Paris<br />
by storm. “This field<br />
is exceptionally robust,<br />
particularly for fresh-tomarket<br />
material,”<br />
says Lampley. The lot is poised to meet or exceed the Derain record, £16,201,250 million<br />
($24,150,800), fetched by Arbres à Collioure, 1905, at Sotheby’s London in June 2010.<br />
Fernand Léger’s Nature morte (Les camées), 1926 (est. $4–6 million), from the Arthur Sackler<br />
Collections Trust, utilizes all of modernism’s style innovations, focusing on a pair of stylized<br />
cameos set against a sleek color scheme of red, black, yellow, and white. The 51¼-by-38½-inch<br />
composition recalls the artist’s 1927 still life sold by the James Johnson Sweeney family at<br />
Christie’s New York for $7.9 million in November 2010. Another Sackler entry, Barbara Hepworth’s<br />
powerful 38½-by-36-inch bronze, Sphere with Inner Form, from a lifetime 1963–65 cast is<br />
pegged at $500,000 to $700,000, heightening interest in this British modernist, who bears<br />
comparison to Henry Moore. Personnage obscure devant le soleil, 1949, offering Joan Miró’s<br />
fanciful vocabulary of signature postwar symbols, weighs in with an estimate of $2 million<br />
to $3 million. Holding the same estimate is a ravishing 1908 Amedeo Modigliani,<br />
La Juive, which features the strong features of American bohemian Maud Abrantes. The piece<br />
is one of the earliest works listed in Ambrogio Ceroni’s authoritative catalogue raisonné.<br />
The recently revitalized collector interest in Impressionism will benefit from the appearance<br />
of a choice Monet, Argenteuil, fin d’après-midi (est. $5–7 million), in which a grove of chestnut<br />
trees and the distant view of a turreted manor house glimmer in late-afternoon light. It was<br />
completed in 1872 after the painter moved to the pretty town set along the Seine. Monet<br />
finished nearly 60 paintings that year, by far his most productive, and his growing mastery<br />
of the plein-air technique is in strong evidence here. The picture last sold for £3.4 million<br />
($5.5 million) at Sotheby’s London in February 2011, and its quick reappearance will test the<br />
true market hunger for a classic Impressionist picture.<br />
“This field is robust, particularly for<br />
fresh-to-market material,” says Brooke<br />
Lampley, head of Impressionist and<br />
modern art for Christie’s New York.<br />
She points to the house’s André Derain<br />
Fauvist work, poised to meet or<br />
exceed the artist’s record at auction.<br />
Art+AuCtion may 2013 | blouinArtinFo.Com<br />
From leFt: Sotheby’S; ChriStie’S
© SOTHEBY’S, INC. 2013 TOBIAS MEYER, PRINCIPAL AUCTIONEER, #0958677 YVES KLEIN ARCHIVES ART: © 2013 /ARTISTS RIGHTS SOCIETY (ARS), NEW YORK / ADAGP, PARIS<br />
FROM THE COLLECTION OF SIDNEY JANIS<br />
YVES KLEIN SCULPTURE ÉPONGE BLEUE SANS TITRE, SE 168, 1959. ESTIMATE: REFER TO DEPARTMENT<br />
CONTEMPORARY ART E VENING A U C TION<br />
AUCTION IN NEW YORK 14 MAY 2013 | ENQUIRIES +1 212 606 7254 | REGISTER NOW AT SOTHEBYS.COM
ontheblock<br />
82<br />
May 14 l sotheby’s l ConteMPorary art<br />
A black-and-white oil on canvas featuring<br />
blurred traffic passing a 14th-century Gothic<br />
cathedral will bring fans of Gerhard Richter to<br />
the edge of their seats when Domplatz, Mailand<br />
(“Cathedral Square, Milan”), 1968, comes to the block<br />
with an estimate of $30 to $40 million. The piece<br />
was identified as a holding of<br />
the Park Hyatt collection, run<br />
by Chicago’s Pritzker family,<br />
while on view in the Museum<br />
of Modern Art’s 2002 survey<br />
“Gerhard Richter: Forty Years<br />
of Painting.” It last sold at<br />
Sotheby’s London for a record<br />
£2.2 million ($3.7 million) in<br />
December 1998. In recent<br />
years the market has shown<br />
a preference for the artist’s<br />
abstract work over his early<br />
figurative compositions,<br />
as evidenced by the flop<br />
of Frau Niepenberg (1965)<br />
at Christie’s New York in<br />
November 2011. There is every<br />
belief, however, the 9-by-9½foot<br />
canvas—Richter’s largest from the period—will<br />
rehabilitate the reputation of such work.<br />
The late Belgian collector Philippe Dotrament<br />
snapped up Jackson Pollock’s 1946 Blue<br />
Unconscious for $45,000 at Parke-Bernet<br />
in 1965. Forty-eight years later, the 84-by-56-inch<br />
painting returns to market with an estimate of<br />
$20 million to $30 million. One of seven pieces from<br />
Pollock’s “Sounds in the Grass” series—all but two<br />
of which are in major museum collections—the work<br />
immediately precedes the artist’s revolutionary<br />
drip style, referencing his years in Jungian analysis<br />
with color-charged pictogram shapes. It was first<br />
exhibited at Peggy Guggenheim’s Art of This<br />
Century gallery in 1947, in the last of Pollock’s four<br />
solo shows there. “We don’t really know what<br />
it’s worth,” says Tobias Meyer, worldwide head of<br />
contemporary art at Sotheby’s. “A great postwar<br />
work is worth anywhere between $20 million and<br />
$60 million today. Now we have to let the market<br />
decide what it’s worth.”<br />
Another monumental Abstract Expressionist<br />
offering is Clyfford Still’s 1962 PH-21 (est. $16–<br />
20 million). The amalgam of sharp forms in shades<br />
of blue, yellow, and white on a 77-by-69-inch<br />
canvas represents the artist’s mature phase. On<br />
the figurative front, a major Francis Bacon, Study<br />
for Portrait of P.L., 1962, captures the mercurial<br />
Peter Lacey, one of Bacon’s influential and<br />
tempestuous lovers, seated cross-legged on a blue<br />
banquette (est. $30–40 million). A verso inscription<br />
reads, “In memory of Peter Lacey.” The piece first<br />
appeared at London’s Marlborough Fine Art for<br />
£1,000, according to Daniel Farson’s biography<br />
Gilded Gutter Life of Francis Bacon. Also in the sale<br />
are Ed Ruscha’s prime Pop outing Baltimore Oriole<br />
Securing Freshwater Fish, 1965 (est. $3–5 million),<br />
and Christopher Wool’s 1992 Head in enamel on<br />
aluminum (est. $2–3 million).<br />
<<br />
May 15 l Christie’s<br />
l Postwar &<br />
ConteMPorary art<br />
The scent of another auction<br />
record is in the air at Christie’s<br />
with Jean-Michel Basquiat’s ferocious<br />
1982 composition of two wide-eyed<br />
figures in acrylic, oil stick, and spray<br />
enamel on canvas, Dustheads<br />
(est. $25–35 million). Venezuelan<br />
collector Tiqui Atencio Demirdjian,<br />
a Guggenheim Museum trustee<br />
and member of the Tate Gallery<br />
executive council, offers the 72-by-<br />
84-inch work 17 years after acquiring<br />
it from New York’s Tony Shafrazi<br />
Gallery. First exhibited at Annina<br />
Nosei Gallery in 1982, the piece’s<br />
most recent outing was at the Beyeler Foundation in 2010. To date, 13 Basquiats have<br />
fetched more than $10 million at auction—peaking with $26.4 million, achieved by an<br />
untitled 1981 self-portrait sold by Christie’s last November. “We are getting pretty much<br />
at the end of the line with Basquiat in terms of great pictures coming to market,” says<br />
Loic Gouzer, specialist for postwar and contemporary art at Christie’s.<br />
Executed on paper and with an interesting provenance comes the artist’s Furious Man,<br />
also of 1982. The piece is a highlight of private holdings being sold under the banner<br />
“Andy Williams: An American Legend.” Furious Man joined the singer’s collection, which<br />
included 1950s Picasso and Braque pieces, when Williams won the work at Sotheby’s New<br />
York in May 2001 for $302,750, a fraction of the current estimate of $1 million to $1.5 million.<br />
Other Williams offerings range from a 1958 Alexander Calder mobile, Black: Two Dots and<br />
Eleven (est. $1.2–1.8 million), Ed Ruscha’s 1968 Mint (Red) (est. $2.5–3.5 million), and<br />
Richard Diebenkorn’s 1976 Ocean Park #92 (est. $4–6 million) to a standout late Willem<br />
de Kooning composition, Untitled XVII, expected to fetch around $5 million. Williams<br />
acquired the 1984 abstraction for $3.7 million at Christie’s New York in November 2003<br />
and worked closely with the house to organize the sale before his death last September.<br />
<<br />
“We have to let the market decide what<br />
it’s worth,” says Tobias Meyer of Sotheby’s<br />
of the Jackson Pollock that returns to<br />
the block after 48 years.<br />
May 16 l PhilliPs l ConteMPorary art<br />
The boutique firm’s top offering, a flawless<br />
<<br />
version of Andy Warhol’s Four Marilyns,<br />
1962, one of four bearing the same title and date,<br />
has the price tag to match its superstar status:<br />
It is estimated in the $40 million range—the house’s<br />
highest estimate in recent years. Created shortly<br />
after the screen goddess’s death, the blazingly<br />
colored mid-size canvas last sold at Sotheby’s<br />
London for $954,578 in December 1992. “For Warhol,”<br />
says Phillips head of evening sales Zach Miner,<br />
“there is no more iconic subject than Marilyn.”<br />
Jean-Michel Basquiat appears yet again<br />
this season. Untitled, 1981 (est. $3.5–4.5 million),<br />
was executed in the artist’s familiar media of<br />
acrylic, oil stick, and collage on wood. The composition<br />
of a pinstriped baseball player wielding a bat like<br />
a royal scepter measures 48 by 30 inches. Ending on an aggressive note, Christopher<br />
Wool’s And If, 1992, conveys a sentiment of inhospitable hostility forged in enamel on<br />
an aluminum panel scaled at 52 by 36 inches (est. $3.5–4.5 million).<br />
Art+AuCtion may 2013 | blouin<strong>Artinfo</strong>.Com<br />
CloCkwise from top left: sotheby’s; Christie’s; phillips
MAN MADE: JEAN-MICHEL BASQUIAT<br />
A SELLING EXHIBITION<br />
JEAN-MICHEL BASQUIAT PUNCHBAG, 1983<br />
EXHIBITION IN NEW YORK 2 MAY - 9 JUNE 2013 | ENQUIRIES +1 212 606 7254 | REGISTER NOW AT SOTHEBYS.COM<br />
© 2013 THE ESTATE OF JEAN-MICHEL BASQUIAT / ADAGP, PARIS / ARTISTS RIGHTS SOCIETY, NEW YORK © SOTHEBY’S, INC. 2013 TOBIAS MEYER, PRINCIPAL AUCTIONEER, #0958677
World’s largest Tribal Art Fair<br />
BRUNEAF<br />
Brussels Non European Art Fair<br />
BRUSSELS - Grand Sablon<br />
Save the date !<br />
23 rd edition<br />
Wed. 5 th - Sun. 9 th<br />
June 2013<br />
www.bruneaf.com
JOHN SINGER SARGENT MARIONETTES, 1903. ESTIMATE $5,000,000-7,000,000<br />
AMERICAN ART<br />
AUCTION IN NEW YORK 22 MAY 2013 | ENQUIRIES +1 212 606 7280 | REGISTER NOW AT SOTHEBYS.COM<br />
© SOTHEBY’S, INC. 2013 TOBIAS MEYER, PRINCIPAL AUCTIONEER, #0958677
86<br />
culture+travel<br />
When in New York<br />
The American edition of Frieze may be off the beaten path, but a little urban<br />
adventure never hurt anyone. Take it as an invitation to explore some of Gotham’s<br />
grittier—but no less glamorous—art world haunts. By Justin Ocean<br />
2<br />
GO<br />
Frieze New York<br />
wHeN: May 10–13<br />
wHere: Randall’s<br />
Island Park<br />
HigHligHts: This British<br />
import’s sophomore<br />
outing brings more than<br />
180 galleries, including<br />
international power-<br />
house Hauser & Wirth,<br />
Standard, of Oslo,<br />
the Third Line, from<br />
Dubai, and Harris<br />
Lieberman, of New York<br />
City. Commissions<br />
invigorate the fair with a<br />
secret cocktail bar<br />
(staged by Liz Glynn),<br />
playful interruptions<br />
(from Mateo Tannatt), and<br />
a working homage to<br />
Gordon Matta-Clark<br />
and Carol Goodden’s<br />
SoHo restaurant, Food.<br />
VIPs taking BMW<br />
shuttles to the fair can<br />
enjoy the Frieze Sounds<br />
commissions, aural<br />
works by the likes of<br />
Haroon Mirza.<br />
friezenewyork.com<br />
STAY<br />
wYtHe Hotel<br />
This 72-room property,<br />
gloriously hewn from a<br />
1901 cooperage near the<br />
Williamsburg waterfront,<br />
is a de facto living room<br />
for Brooklyn’s creative<br />
class. The hotel’s design<br />
leans vintage yet tiptoes<br />
around the twee, with<br />
its exposed brick and<br />
Flavor Paper toile walls,<br />
radiant-heat concrete<br />
floors, and reclaimed pine<br />
beam beds. Book a table<br />
at ground-floor restaurant<br />
Reynard for daring new<br />
American fare presented<br />
by Andrew Tarlow<br />
(known for his Diner and<br />
Marlow & Sons eateries).<br />
80 WYTHE AVE.<br />
BROOKLYN<br />
718-460-8000<br />
RATEs: fROm $320<br />
wythehotel.com<br />
tHe NoMad Hotel<br />
Its 168 rooms reflect the<br />
Haussmanian splendor<br />
of the 1903 limestone<br />
building. Designer<br />
Jacques Garcia’s maple<br />
1<br />
floored rooms feel bright<br />
and residential, very<br />
Parisian boho boudoir.<br />
1170 BROADWAY<br />
212-796-1500<br />
RATEs: fROm $395<br />
thenomadhotel.com<br />
tHe surreY<br />
The ultimate Beaux Arts<br />
MakeRBOT<br />
bed-down for your inner<br />
Upper East Sider, the<br />
anD<br />
Surrey’s lobby is hung<br />
with works by Chuck<br />
HaRT<br />
Close and Jenny Holzer.<br />
Of its 190 rooms, opt<br />
GeORGe<br />
for a Madison Avenue–<br />
facing salon for the most<br />
Davis;<br />
character—and possibly<br />
Jen<br />
a fireplace—and impress<br />
friends with drinks<br />
TOP:<br />
on the private rooftop<br />
terrace. The hotel is FROM<br />
aRT+aucTiOn may 2013 | BlOuinaRTinFO.cOM
CLOCKWISE FROM TOP LEFT: STORy; STuaRT ShavE/MOdERn aRT, LOndOn; SIdnEy bEnSIMOn; adRIan gauT; TSuRuKO yaMazaKI and TaKE nInagaWa, TOKyO<br />
1 Manhattan, looking<br />
north over Central<br />
Park. 2 A sculpture<br />
made by George Hart<br />
using a MakerBot<br />
3-D printer. 3 The<br />
Story concept shop.<br />
4 A detail of Pretty<br />
Girls, a 1977 collage by<br />
Linder Sterling that<br />
Stuart Shave/Modern<br />
Art is bringing to<br />
Frieze New York. 5 A<br />
mixed media piece by<br />
Tsuruko Yamazaki<br />
that Take Ninagawa<br />
will present in the<br />
fair’s Frame section.<br />
6 A room at the<br />
Wythe Hotel. 7 Duck<br />
confit with French<br />
lentils and daikon at<br />
Northeast Kingdom.<br />
5<br />
convenient to Museum<br />
Mile as well as the Frieze<br />
shuttle to Randall’s Island.<br />
20 East 76th st.<br />
212-288-3700<br />
RatEs: fRom $525<br />
thesurrey.com<br />
EAT<br />
Harlow<br />
A 17-foot white marble<br />
raw bar is the centerpiece<br />
of Nobu vet Richie<br />
Notar’s first solo restaurant,<br />
tucked into<br />
a Jazz Age space<br />
originally built by William<br />
Randolph Hearst for<br />
his mistress. The 200-seat<br />
power-player cocktail<br />
and fine-dining spot<br />
opened in February.<br />
Sip a Lex Golden (scotch<br />
tipped with wormwood<br />
bitters and hickorysmoked<br />
sugar cubes)<br />
and sup innovative<br />
seafood-centric nods<br />
to the classics: fritto<br />
misto with king crab,<br />
or lobster tail au jus that’s<br />
been seared like a steak.<br />
111 East 56th st.<br />
212-935-6600<br />
harlownyc.com<br />
3 4<br />
THe Marrow<br />
After delivering<br />
contemporary Thai<br />
cuisine at Kin Shop,<br />
Top Chef Harold Dieterle<br />
mined his Teutonic<br />
and Italian roots for<br />
December’s opening<br />
of Marrow. He has<br />
worked West Village<br />
foodies into a buzz over<br />
duck schnitzel with<br />
wolf-berries, a Wagyu<br />
culotte steak, vitello<br />
tonnato made with<br />
sweetbreads, and, of<br />
course, bone marrow—<br />
offset in temperature<br />
if not texture by a briny<br />
scoop of sea urchin.<br />
99 Bank st.<br />
212-428-6000<br />
themarrownyc.com<br />
NorTHeasT<br />
KiNgdoM<br />
Like a stately Tabard Inn<br />
set within the warehouses<br />
of Bushwick—<br />
and commonly packed<br />
with artists whose<br />
studios are nearby—this<br />
Michelin-rated venue<br />
serves up a hearty slice<br />
of farmstead Americana<br />
or even the entire (pot)<br />
6 7<br />
pie. Seasonality reigns,<br />
with ingredients both<br />
foraged and gardened:<br />
ostrich ferns and stinging<br />
nettle in spring, sumac<br />
and black locust flowers<br />
in summer to accompany<br />
local pork, duck, and<br />
organic vegetables.<br />
18 WYckoff avE.<br />
BRooklYn<br />
718-386-3864<br />
north-eastkingdom.com<br />
SEE<br />
sCulPTure<br />
CeNTer<br />
This Maya Lin–designed<br />
exhibition space (an<br />
expansive former trolleyrepair<br />
shop) unveils<br />
“Better Homes,” a group<br />
exhibition that explores<br />
domesticity in the face<br />
of consumerism. Curator<br />
Ruba Katrib has tapped<br />
the works of more<br />
than 16 international<br />
artists, including Robert<br />
Gober, Paulina Olowska,<br />
and Martha Rosler.<br />
44–19 PuRvEs st.<br />
lonG IslanD cItY<br />
718-361-1750<br />
sculpture-center.org<br />
lisa Cooley<br />
gallery<br />
This Lower East Side<br />
gallery has come to<br />
epitomize the neighborhood’s<br />
changing face,<br />
from modest storefronts<br />
and emerging dealers<br />
to outposts that are<br />
sidling up to the big<br />
boys. Opening May 5:<br />
an exhibition of paintings,<br />
videos, and sculptures<br />
in hot-rolled steel and<br />
graphite-pigmented<br />
plaster by Erin Shirreff.<br />
107 noRfolk st.<br />
212-680-0564<br />
lisa-cooley.com<br />
MoMa Ps1<br />
The Queens institution<br />
transforms itself for<br />
“Expo 1: New York,”<br />
opening May 12. The<br />
multimodal festival,<br />
which includes a performance<br />
dome in<br />
the Rockaways, tackles<br />
the issues of our day:<br />
ecology, economy,<br />
sociopolitical strife, and<br />
the havoc wrought by<br />
October’s superstorm<br />
Sandy. Take a break from<br />
what organizers dub the<br />
“dark optimism” of it all<br />
over foie gras and oats at<br />
M. Wells Dinette, Hugue<br />
Dufour’s challenge to the<br />
staid museum canteen.<br />
22–25 Jackson avE.<br />
lonG IslanD cItY<br />
718-784-2084<br />
momaps1.org<br />
SHOP<br />
sTory<br />
Every four to eight weeks<br />
this concept shop sheds<br />
its skin and emerges<br />
with a new series of products<br />
and events. Its innovative<br />
retail mission remains<br />
steadfast: taking a<br />
curated, magazinelike<br />
approach to merchandising.<br />
This month, the<br />
theme of design holds<br />
sway with a first-time<br />
collection of Yves Behar<br />
products and an offline<br />
spotlight on Quirky.com<br />
collaborations.<br />
144 tEnth avE.<br />
212-242-4853<br />
thisisstory.com<br />
MaKerBoT sTore<br />
The brand’s first retail<br />
shop provides a show-<br />
case space where pro-<br />
gressive artists and<br />
design geeks can gawk at<br />
the magic of consumergrade<br />
3-D printers,<br />
popularized by emerging<br />
talents like Micah Ganske.<br />
And don’t miss perhaps<br />
the greatest application of<br />
this technology yet—or<br />
at least the most self-<br />
indulgent: a photo booth<br />
that snaps portraits to<br />
create lifelike 3-D busts<br />
of the sitters’ heads.<br />
298 mulBERRY st.<br />
347-457-5758<br />
makerbot.com/retail-store<br />
KarMa<br />
With a new NoHo location<br />
(Ugo Rondinone’s former<br />
studio) but the same<br />
cheeky commitment to<br />
printed matter, Brendan<br />
Dugan’s cult bookstore-<br />
cum-art gallery now<br />
has more floor space for<br />
artist publications and<br />
rare and out-of-print<br />
items, plus an expanded<br />
commitment to quirky<br />
events (like Rob Pruitt’s<br />
nude book signing at the<br />
former West Village site).<br />
39 GREat JonEs st.<br />
917-675-7508<br />
karmakarma.org<br />
For more Culture + travel news and destinations go to BlouinartinFo.Com/travel
JACOB<br />
HASHIMOTO<br />
GALERIE FORSBLOM | May 17 - July 27, 2013
PHOTOGRAPHS<br />
AUCTION 8 MAY 2013 LONDON<br />
VIEWING 2–8 MAY<br />
ENQUIRIES +44 20 7318 4092<br />
photographslondon@phillipsdepury.com<br />
THOMAS RUFF VS01, 2004<br />
Estimate £35,000-45,000
christopher voelker<br />
David Lynch<br />
Born in 1946, David Lynch went to art school before<br />
moving to Los Angeles in 1970, where he launched his<br />
film career with the experimental cult classic Eraserhead.<br />
But he never stopped painting and drawing. Now, Lynch<br />
is having an art career revival: After a 2007 exhibition<br />
at Fondation Cartier, in Paris, he’s had shows at New York’s<br />
Tilton Gallery, Kayne Griffin Corcoran’s new space<br />
in L.A., and venues in Germany and Denmark, with two<br />
publications by Steidl. Benjamin Genocchio talked to<br />
the versatile director at his home in the Hollywood Hills.<br />
How did your art school<br />
experience shape you?<br />
I went to the School of the<br />
Museum of Fine Arts, in<br />
Boston, after high school, but<br />
I didn’t like it there. Later I<br />
went to the Pennsylvania<br />
Academy of the Fine Arts,<br />
in Philadelphia. The teachers<br />
were real painters and I<br />
wanted to be a painter as<br />
well. I didn’t learn much<br />
at the Academy, but I think<br />
the most important thing<br />
about school is if you are<br />
with a good bunch, you push<br />
yourself along. You work<br />
harder. Also, Philadelphia had<br />
a huge impact on me. Back<br />
then it was corrupt, filthy,<br />
violent, filled with a sickness.<br />
I was drawn to the mood of<br />
it, the aesthetic, and that city<br />
really shaped my outlook as<br />
an artist. I often say Eraserhead<br />
is my Philadelphia story.<br />
What is the underlying<br />
inspiration for your artwork?<br />
My mother was from Brooklyn,<br />
my father from Montana. From<br />
my father I got a love of organic<br />
phenomena, and from my<br />
mother I got a love of smoke,<br />
fire, industry, machines, the<br />
city. These things are always<br />
alive in some way in my work.<br />
How did you make the<br />
transition to film?<br />
I came to film through painting.<br />
The thing that got me into<br />
blouinArtinFo.coM | may 2013 Art+Auction<br />
making my first film was an<br />
interest in the idea of making<br />
a moving painting. I knew<br />
noth ing about film, Hollywood,<br />
or the studio system. Painting<br />
was what I wanted to do,<br />
so at art school I began to put<br />
together short films like a<br />
paint ing. It just happened to be<br />
with moving images, involving<br />
characters, mood, and sound.<br />
What happened to your<br />
artmaking while you worked<br />
in film?<br />
I continued to paint, but I didn’t<br />
show so much—for a long<br />
time I didn’t show at all, apart<br />
from a few times at Corcoran<br />
Gallery, in L.A., and once at<br />
Leo Castelli, in New York. But<br />
I was always working on<br />
things. If I didn’t have money,<br />
I was drawing. If I had<br />
money, I was doing paintings.<br />
You make highly imaginative,<br />
usually illustrative,<br />
stream-of-consciousness<br />
collages and drawings—<br />
or that is how they appear<br />
to me. Tell me about<br />
your process and the use<br />
of words in your work.<br />
I go by ideas. If I get an idea<br />
for a drawing, usually the<br />
drawing comes out fairly fast<br />
and if there are words in<br />
the drawings they come in last,<br />
as something to explain<br />
a story or because I like the<br />
shape of particular letters.<br />
conversationwith<br />
Ideas for paintings come and<br />
sometimes I work on paintings<br />
for a long time but it’s the<br />
same process: Ideas drive the<br />
boat. The paintings take<br />
longer; they need more time<br />
to figure out, depending<br />
on whether or not I am working<br />
on anything else.<br />
What artists do you like<br />
or admire?<br />
Francis Bacon’s paintings<br />
are things I truly love. Then<br />
there is Edward Kienholz,<br />
who I discovered in the<br />
1970s when I came out to<br />
L.A. and is one of my<br />
alltime favorite artists.<br />
I went to Barney’s<br />
Beanery because of<br />
Kienholz’s sculpture.<br />
I also like Georg Baselitz<br />
and Lucian Freud.<br />
What has brought you<br />
back to the art world<br />
after so long in film?<br />
This is a really interesting<br />
time. In the past if some <br />
one was successful in one<br />
profession, they’d be dismissed<br />
as a hobbyist or a<br />
Sunday painter if they wanted<br />
to show art. Make you puke.<br />
But now there is this flow<br />
of ideas across every thing,<br />
and it is absurd to think of<br />
a person as doing only one<br />
thing. There is this freedom<br />
to go where the ideas take<br />
you. That’s what I love.<br />
What do you hope to achieve<br />
by showing your artwork?<br />
I would make art whether<br />
I sold the work or not. But I<br />
do like the idea of selling my<br />
art—not for the money, but<br />
because it’s just nice to have<br />
someone want the work. It<br />
can give people great pleasure<br />
to own a painting, and if it<br />
is one of my works, then that<br />
makes me happy.<br />
91
Wang Keping<br />
May 8 - June 23, 2013<br />
ZÜRCHER STUDIO<br />
Moon Goddess, 2012, plane tree, 21 x 24 x 9 in (54 x 60 x 23 cm)<br />
33 BLEECKER STREET NEW YORK NY<br />
PHONE 212.777.0790 FAX 212.777.0784<br />
S T U D I O @ G A L E R I E Z U R C H E R . C O M<br />
W W W . G A L E R I E Z U R C H E R . C O M
Presenting Sponsor<br />
THE<br />
INTERNATIONAL<br />
EXPOSITION OF<br />
CONTEMPORARY<br />
& MODERN ART<br />
NAVY PIER<br />
19–22<br />
SEPTEMBER<br />
2013<br />
expochicago.com<br />
Explore THE SEEN, Chicago’s International<br />
Art & Design Blog at blog.expochicago.com
Latin American<br />
Art Auction<br />
Thursday May 16th, 2013<br />
at 7:00 PM (CST)<br />
Ricardo Martínez, Rodolfo Morales,<br />
Armando Morales, Gabriel Orozco,<br />
Francisco Zúñiga, Francisco<br />
Toledo, Carlos Luna, Alfredo<br />
Castañeda, among others.<br />
Absentee bids welcome:<br />
ofertasenausencia@mortonsubastas.com<br />
Enquiries: Romina Quezada. Tel. +52(55) 5283 3140 ext. 3146. rquezada@mortonsubastas.com<br />
Ricardo Martínez. Untitled. Signed. Oil on canvas. 40 x 30 cm (16 x 12 in)<br />
$250,000 - $300,000 MXP (USD $21,000 - $25,000)
Daniel Katz ltD., lonDon<br />
At 26, TEFAF Takes Stock<br />
europe’s premier fine Art fAir is stiLL At the top of its gAme, But orgAnizers Are<br />
LooKing AheAD with An eye to future growth<br />
The european Fine art Fair<br />
(tefaf), long positioned as the<br />
biggest and most prestigious<br />
art and antiques fair on<br />
the Continent, enters its<br />
second quarter-century<br />
with a crisp new look.<br />
Spurred by potential<br />
competition from the London-based<br />
Frieze Masters,<br />
which took the art world by<br />
storm with its debut in regents<br />
park last october, tefaf<br />
recruited Dutch architect<br />
Tom postma to spruce up<br />
its exhibition design. postma<br />
raised the ceiling height of<br />
the aisles and stand fronts,<br />
giving the fair, situated in the<br />
sprawling Maastricht exhibition<br />
and Congress Centre,<br />
a decidedly more contemporary<br />
look. Fair organizers<br />
also commissioned a new<br />
visual identity, complete with<br />
a redesigned logo—the profile<br />
of a stylized white hawk set<br />
against an aggressive redand-black<br />
ground—for its Teutonic-flavored<br />
signage in and<br />
around the event. The hawk<br />
references the fair’s original<br />
location in Valkenburg and<br />
perhaps suggests visitors<br />
need sharp vision here.<br />
“We’ve always said the<br />
big challenge at tefaf is<br />
to maintain its high level<br />
and to ensure you’re of this<br />
time—and to show that in<br />
the way the fair looks,” says<br />
Ben Janssens, chairman of<br />
the fair’s executive committee<br />
and the principal of<br />
exhibitor Ben Janssens oriental<br />
art. “So we’ve adapted<br />
our design to make it more<br />
contemporary.” part of the<br />
goal, he adds, “is to make<br />
the classical and more traditional<br />
art easier for people<br />
to digest.”<br />
Janssens dismisses the<br />
notion that the success<br />
of Frieze Masters pressured<br />
tefaf’s organizers to<br />
make the fair appear more<br />
contemporary. “What has<br />
become obvious is that art<br />
fairs are taking over the role<br />
that galleries have traditionally<br />
done, and there’s<br />
a raison d’être for lots of<br />
“The big challenge at tefaf is<br />
to maintain its high level and<br />
to ensure you’re of this time.”<br />
blouinaRtinFo.CoM | MaY 2013 aRt+auCtion<br />
fairs.” pressed to respond to<br />
the Frieze incursion, he says,<br />
“actually, it’s the other way<br />
around: They were looking at<br />
us.” he notes that Frieze has<br />
yet to include a number of<br />
categories, especially jewelry<br />
and the applied arts, that<br />
tefaf has long championed.<br />
in the early days of the<br />
fair, success ranged across<br />
the event’s categories, from<br />
major old Master paintings<br />
such as the homeric-themed<br />
The Meeting of Odysseus<br />
and Nausicaa, by Jacob<br />
Jordaens, ca. 1630, sold by<br />
London’s Johnny van haeften<br />
for $6.5 million, to 19th-<br />
century sculpture like<br />
Jean-Baptiste Carpeaux’s<br />
full-figured carved marble<br />
Daphnis and Chloe, 1874,<br />
which Daniel Katz, also of<br />
London, sold to an american<br />
museum for approximately<br />
$3 million. among modern<br />
and contemporary works was<br />
Gutai artist Kazuo Shiraga’s<br />
stunning, ab-ex-flavored<br />
Chizosei Shomenko, 1961,<br />
executed while the artist<br />
was suspended in the air,<br />
enabling him to action-paint<br />
with his feet. antwerp’s axel<br />
Vervoordt Gallery sold the<br />
piece to a Swiss collector for<br />
a price in the €1.2 million<br />
($1.6 million) range. a brash,<br />
late-period picasso oil from<br />
1964, Homme au chapeau,<br />
brought to the fair by<br />
new York’s Van de Weghe<br />
Fine art, was bought by<br />
ronald Lauder for approximately<br />
$8 million.<br />
in other categories, a<br />
rené Lalique gold, enamel,<br />
and gem-set necklace<br />
comprised of four separate<br />
panels sold at London’s<br />
Wartski in the region of the<br />
€1.3 million ($1.7 million)<br />
asking price. Littleton<br />
& hennessy asian art sold<br />
a massive sacrificial<br />
blue bottle vase, Tianquping<br />
Yongzheng mark and<br />
period (1723–35), and<br />
an 18th-century carved<br />
bamboo brush pot,<br />
inscribed and signed by<br />
the celebrated artist<br />
Gu Jue, both to<br />
Chinese buyers,<br />
with asking prices<br />
around of €1 million<br />
($1.3 million).<br />
While some<br />
visitors and<br />
exhibitors have<br />
grumbled that<br />
Maastricht’s location<br />
is inconvenient<br />
for international<br />
travelers—at least for<br />
those without private<br />
jets—Janssens praises<br />
Maastricht’s proximity<br />
to Germany, Belgium,<br />
Switzerland, and France.<br />
“Lots of wealthy collectors<br />
are not far away,”<br />
he said. he also notes the<br />
location’s advantage of being<br />
“a relatively small city. it<br />
doesn’t overwhelm people or<br />
compete with, say, paris.<br />
Maastricht is a destination<br />
and nothing else,<br />
and it’s another reason<br />
reporter<br />
why the fair works so well.”<br />
Janssens did not mention<br />
another reason tefaf organizers<br />
favor Maastricht: The<br />
southeastern Dutch town<br />
of 120,000 kicks in substantial<br />
financial support for the<br />
10-day fair, whose 70,000plus<br />
visitors enrich the area<br />
by an estimated €30 million<br />
to €40 million ($39–52 million)<br />
every year.<br />
if there are any lingering<br />
questions about<br />
London dealer<br />
Daniel Katz sold<br />
Jean-Baptiste<br />
Carpeaux’s<br />
elaborate marble<br />
sculpture,<br />
Daphnis and<br />
Chloe, 1874,<br />
for about<br />
$3 million to<br />
an American<br />
museum.<br />
95
96<br />
reporter<br />
I Love Your Kiss<br />
Forever Forever,<br />
1964, was the top<br />
lot at Christie’s<br />
first online-only<br />
sale of works<br />
from the Warhol<br />
foundation’s holdings.<br />
it blew away<br />
the $5,000 high<br />
estimate, selling<br />
for $112,500.<br />
tefaf’s willingness to fight<br />
for its elevated position<br />
in the cutthroat landscape<br />
of global art fairs or its<br />
ambition to remain relevant<br />
in the 21st century, the<br />
organization sought to put<br />
them to rest with a surprise<br />
announcement at this year’s<br />
event. tefaf has entered into<br />
“exclusive discussions” with<br />
Sotheby’s to “explore the<br />
possibility of developing<br />
a high-end art fair for China<br />
via Sotheby’s joint venture<br />
in Beijing with Gehua in<br />
2014.” If those talks turn<br />
into action, the audacious<br />
new venture would be the<br />
first commercial partnership<br />
between an art fair and<br />
a major auction house.<br />
Ironically, the news came<br />
just days after the release<br />
Andy Goes VirAl<br />
Christie’s online sale of Warhol Works is an unqualified suCCess<br />
When the often controversial Andy Warhol Art<br />
Authentication Committee was disbanded by the Andy<br />
Warhol Foundation for the Visual Arts in 2011, owners<br />
of the artist’s works—and would-be buyers—were left<br />
with many questions about how Warhol’s art would be<br />
vetted for purchase or accredited for resale. A recently<br />
launched online sales platform developed in collaboration<br />
with Christie’s may partially fill the void.<br />
Last fall the foundation sealed a long-term deal with<br />
the auction house to hold sales of Warhol works from its<br />
collection, including paintings, drawings, photographs,<br />
prints, and printed graphic material. Each lot is accompanied<br />
by a “certificate of provenance” stating that the<br />
work originated from the estate of Andy Warhol “and<br />
thence, the Andy Warhol Foundation for the Visual Arts.”<br />
Christie’s is maintaining a database of the transactions<br />
to substantiate provenance in regard to future Warhol<br />
catalogue raisonné publications.<br />
“We keep all the records now,” says Amy Cappellazzo,<br />
chairman of postwar and contemporary development<br />
at Christie’s and self-described brainchild behind the<br />
long-term project. “It guarantees it came from Andy’s<br />
own collection and wasn’t out in the world before,” says<br />
Vincent Fremont,<br />
the foundation’s<br />
exclusive agent for<br />
Warhol sales prior to<br />
the Christie’s coup<br />
and one of Warhol’s<br />
original executors.<br />
In early <strong>Marc</strong>h,<br />
“Andy Warhol @<br />
Christie’s,” the first in<br />
a series of online-only<br />
sales that exclusively<br />
benefit the Warhol<br />
Foundation, was a<br />
roaring success, realizing $3 million when the eBaystyle<br />
bidding ended, doubling the presale expectations.<br />
All but one of the 125 lots sold, for a near-perfect sales<br />
rate of 99 percent by lot and 99 percent by value. All of<br />
the sales were credit card–only transactions.<br />
The success came despite the fact that the sale<br />
offered an online auction catalogue which lacked basic<br />
of tefaf’s annual global<br />
art market report, which<br />
showed that China’s art<br />
consumption declined by<br />
24 percent in 2012, dropping<br />
the country back to<br />
second place behind the<br />
United States. JUDD TULLY<br />
information on many of the lots offered, with nothing<br />
provided beyond title, medium, and date. (There were<br />
exceptions, such as Warhol’s graphic-on-paper Howdy<br />
Doody, circa 1981, the text for which included a relevant<br />
quote from The Andy Warhol Diaries. The work sold for<br />
$21,250 on an estimate of $20–30,000.) The dearth of<br />
information can partly be attributed to the fact that most<br />
of these works came directly from the estate and not<br />
the secondary market, but the gap between a proper and<br />
densely detailed Christie’s catalogue and the online version<br />
was striking. Nonetheless, the sale drew 263 bidders<br />
from 36 countries, and prices ranged from $2,000 for a<br />
black-and-white Warhol party photograph of Oprah Winfrey<br />
to $112,500 for a color lithograph from 1964, I Love<br />
Your Kiss Forever Forever. “All of our expectations were<br />
met and exceeded,” says Cappellazzo. “It built a new market,<br />
and it proved that we can sell great things online.”<br />
“We’re thrilled,” adds Joel Wachs, president of the<br />
Warhol Foundation, the entity that inherited the lion’s<br />
share of the Warhol estate following the artist’s death<br />
in 1987. It was Wachs who led the team that negotiated<br />
the multiyear deal with Christie’s, announced this past<br />
September. “The sale reached people we knew who<br />
were out there who wanted Warhol. For us, it just means<br />
more grants for more arts organizations,” Wachs says.<br />
The online debut compared favorably in some<br />
instances with the much larger, $17 million, three-<br />
catalogue Warhol live auction that took place at Christie’s<br />
last November. For example, Work Boots (Positive),<br />
a 16-by-20-inch silkscreen on canvas, circa 1985–86 and<br />
culled from a magazine advertisement, sold online for<br />
$81,250 (est. $50–70,000). Another version of the same<br />
title, year, and estimate fetched $68,500 in November.<br />
On the minus side, Warhol’s Self-Portrait from<br />
1986, a Polaroid color print featuring the artist in<br />
his silver wig and dark glasses, sold for $35,000<br />
online (est. $15–25,000), while another version made<br />
$50,000 in November (est. $12–18,000). “Yes,”<br />
says Cappellazzo, “some exceeded the bids from the<br />
last sale and some didn’t.”<br />
Online-only sales will continue; including a planned<br />
sale of a trove of Studio 54—themed works last month.<br />
Results were not available at press time but Cappellazzo<br />
bullishly predicted: “That should get a lot of interest.” JT<br />
art+auCtion MAY 2013 | blouinartinFo.CoM<br />
Christie’s and the andy Warhol Foundation For the Visual arts
M.F. Husain, Untitled (Horse), oil on canvas, late 1960s. Estimate $100,000 to $150,000.<br />
Contemporary Art<br />
MAY 16<br />
Specialist: Todd Weyman • tweyman@swanngalleries.com<br />
Visit our website for catalogues, previews and auction times<br />
104 East 25th St, New York, NY 10010 • tel 212 254 4710<br />
SWANNGALLERIES.COM<br />
© Estate of Maqbul Fida Husain
ART BY KEITH HARING © ESTATE OF KEITH HARING<br />
LE BOOK PRESENTS<br />
THE CUSTOM-MADE TRADESHOW FOR THE CREATIVE COMMUNITY
Stockholms<br />
Auktionsverk<br />
Contemporary<br />
1. 2.<br />
3. 4.<br />
Viewing 7–14 May<br />
Auction 15 May<br />
www.auktionsverket.com<br />
Enquiries: Sofie Sedvall, tel +46 8 453 67 54, sofie.sedvall@auktionsverket.se<br />
Representative in the USA: Berdie Brady, tel +1 203 536 9383<br />
Stockholms Auktionsverk Nybrogatan 32 Stockholm Sweden<br />
1. Cindy Sherman Film Still #24, 1978,<br />
gelatin silver print<br />
2. Christo Running Fence, 1976, pastel<br />
and collage<br />
3. Karin Mamma Andersson Ni börjar<br />
ju alltid om II, 1999, oil on panel<br />
4. Nick Brant Zebra Mother and Baby,<br />
2005, archival pigment print
portrait by keziban barry<br />
shhhh. don’t tell anybody...<br />
We first spied our prospective new client in a dark corner of<br />
a midtown restaurant. “The name is Bond,” he lied. “Seymour<br />
Bond.” Seymour claimed to be a hosiery importer—though he<br />
looked more like an aging Navy seal—interested in trading<br />
in the contemporary art market, where he had dabbled for<br />
some time. Our mission: to enlighten him on the often secret<br />
ins and outs of the auction room and other hidden crevices of<br />
the art world.<br />
Seymour sneaked a glance at the menu and, without consulting<br />
us, ordered for the table. We wouldn’t have ordered an<br />
’02 Bollinger with burgers, but we didn’t object. “Can I consign<br />
art to a New York auction house without disclosing my identity<br />
to the successful bidder?” he murmured. Seymour had heard<br />
that, in a radical departure from age-old auction world practice,<br />
a 2012 New York State Supreme Court case suggested that<br />
auctioneers here must now disclose the names of consignors to<br />
make a sale contract binding.<br />
He was referring to Jenack v. Rabizadeh, in which Albert<br />
Rabizadeh, the winning bidder on a Russian enamel box at<br />
auction, refused to pay for the box and argued that the contract<br />
with the auctioneer was unenforceable because it omitted the<br />
consignor’s name. Although some legal commentators see the<br />
case as portending the end of the auction world as we know it,<br />
we view the holding as quite narrow, applying only to evidence<br />
that is needed if a purchaser is sued by the auctioneer after<br />
failing to pay. The case is currently on appeal.<br />
We told Seymour that, for now, we thought his identity<br />
Some facts have been altered for reasons of client confidentiality or, in some cases, created<br />
out of whole cloth. Nothing in this article is intended to provide specific legal advice.<br />
blouinartinFo.CoM | may 2013 art+auCtion<br />
brothersinlaw<br />
Open Houses<br />
Auctioneers are regulated,<br />
but the business is not<br />
always transparent<br />
By Charles and Thomas<br />
Danziger<br />
would be safe if he consigned works in New York State. Lunch<br />
arrived, and Seymour fired his next question: “Must the auctioneer<br />
disclose the fact that they may make fictional bids on<br />
behalf of the seller up to the reserve price?” The answer was<br />
yes. Disclosure of so-called chandelier bids must be made in<br />
the auction catalogue, on signs posted in the auction room, and<br />
through a salesroom announcement.<br />
“Don’t false bids deceive unwitting bidders and artificially<br />
raise prices?” Seymour shot back. Good question. Some astute<br />
observers have said that the theatrical element of chandelier<br />
bids has no place in the auction room and leads to a skewed<br />
marketplace. Auction houses counter that, unlike dealers, they<br />
are already tightly regulated by law—and, anyway, when was<br />
the last time a gallery publicly announced the lowest price it<br />
would accept for a work? We don’t have a problem with chandelier<br />
bids, but we understand that unsophisticated bidders who<br />
don’t read the disclaimers might be disadvantaged (though it<br />
has been a while since we’ve seen unsophisticated bidders at a<br />
Sotheby’s or Christie’s evening sale).<br />
“The auction house doesn’t need to publicly disclose the<br />
amount of the reserve, right?” asked Seymour, sipping his<br />
champagne (the reserve is the price below which an item will<br />
not be sold). “Right,” we replied, “but the auction catalogue<br />
must state if a reserve price exists.”<br />
“Must the auction house tell me if it believes the work I am<br />
consigning will not have auction appeal?” The answer is yes,<br />
according to the famous 1986 New York State appeals court case<br />
Cristallina S.A. v. Christie, Manson & Woods International.<br />
There, after seven out of eight Impressionist paintings did not<br />
sell, the consignor, art investment firm Cristallina, sued<br />
Christie’s for not disclosing that its (continued on page 168)<br />
101
The Southwest’s Largest Auction of Classic Western Art<br />
Santa Fe art auction<br />
We are seeking consignments by classic anD contemporary<br />
Western artists for our noVember 2013 auction<br />
2012 AUCTION: E. MARTIN HENNINGS, SOLD: $75,000 2012 AUCTION: HOWARD TERPNING, SOLD: $875,000<br />
2012 AUCTION: W.H.D. KOERNER, SOLD: $150,000 2012 AUCTION: LAVERNE NELSON BLACK, SOLD: $175,000<br />
We are accepting Works by the folloWing artists:<br />
Kenneth Adams • Bill Anton • Frank Applegate • Gustave Baumann • O.E. Berninghaus • Albert Bierstadt • Laverne Nelson Black • E.L. Blumenschein<br />
Karl Bodmer • Edward Borein • Carl Oscar Borg • Gerald Cassidy • George Catlin • E. Irving Couse • John Ford Clymer • Andrew Dasburg<br />
Gerard Curtis Delano • Maynard Dixon • Harvey T. Dunn • W. Herbert • Dunton Charlie Dye • Seth Eastman • Henry Farny • Nicolai Fechin<br />
Leon Gaspard • William Gollings • Martin Grelle • Carl Von Hassler • E. Martin Hennings • Robert Henri • Victor Higgins • Rebecca S. James<br />
Frank Tenney Johnson • William R. Leigh • Alfred Jacob Miller • Peter Moran • Thomas Moran • William Moyers • Georgia O’Keeffe • Edgar Payne<br />
Bert Geer Phillips • Alexander Proctor • Frederic Remington • Carl Rungius • Charles M. Russell • Birger Sandzén • Charles Schreyvogel<br />
Olaf Carl Seltzer • Joseph H. Sharp • Henry Shrady • Eric Sloane • John Mix Stanley • Howard Terpning • Walter Ufer<br />
Worthington Whittredge • Gunnar Widforss • Olaf Wieghorst • Carl Wimar and others<br />
Presented by Gerald Peters Gallery ©<br />
Santa Fe Art Auction, P.O. Box 2437, Santa Fe, New Mexico 87504-2437<br />
Tel 505 954-5858 | Fax 505 954-5785 | curator@santafeartauction.com<br />
viSiT SANTAFeArTAucTiON.cOM FOr MOre iNFOrMATiON
7, Rond-Point des Champs-Élysées 75008 PARIS<br />
Tél. : +33 1 42 99 20 20 | www.artcurial.com<br />
INVITATION TO CONSIGN<br />
MODERN AND CONTEMPORARY ART<br />
AUCTIONS IN PARIS ON MONDAY JUNE 3 RD AT 8 PM<br />
Nicolas de STAËL<br />
(1914 – 1955)<br />
NU DEBOUT, 1953<br />
Oil on canvas, 57,5 x 35 in.<br />
Est. : e 4,000,000 – 5,000,000<br />
Contact :<br />
Martin Guesnet,<br />
+33 1 42 99 20 31,<br />
mguesnet@artcurial.com
from top: Christie’s; sotheby’s<br />
Back to the<br />
Future<br />
marc <strong>Newson</strong>’s career exemplifies both<br />
the faddishness of the market for<br />
limited editions and the enduring value<br />
of great design at any price point<br />
By William L. Hamilton<br />
IF you had to engIneer a design star, you might<br />
come up with someone like <strong>Marc</strong> newson, possibly the<br />
world’s best-known living designer. With his rockmusician<br />
looks (he’s modeled for Comme des garçons),<br />
his racing-car habit (he drives in Italy’s Mille Miglia),<br />
and a résumé of products from dish racks to private jets<br />
for clients such as nike, Ford, and Fondation Cartier,<br />
the australian-born newson is design nobility. the<br />
Queen of england even made him a Commander of the<br />
Most excellent order of the British empire last year<br />
(though he’s not Sir <strong>Marc</strong> just yet).<br />
By auction standards newson is also the world’s<br />
most collectible living designer. he holds the record<br />
for a piece by an active practitioner, es tablished<br />
when one of his prototype Lockheed lounges—the<br />
alum inum chaise designed at the beginning of his<br />
career, in 1986—took $2.1 million at Phillips de Pury<br />
& Company in new york in 2010. It was the<br />
second time one of 15 known examples crossed the<br />
million-dollar mark.<br />
Karl Lagerfeld, the couturier and collector, sold<br />
off his French art deco to buy newson in 2003.<br />
gagosian gallery commissioned work from newson<br />
for a solo show in new york in 2007, the first of<br />
three, and the first time the global contemporary art<br />
blouin<strong>Artinfo</strong>.Com | may 2013 Art+AuCtion<br />
gallery exhibited design. In 2012, Jonathan Ive,<br />
apple’s resident design guru, told the New York<br />
Times newson was “fairly peerless” as a designer.<br />
What to do, then, about newson if you’re<br />
a contemporary design collector? you could buy<br />
a Lockheed lounge, but most are safely tucked<br />
into collections, and specialists say the next one<br />
to come up will again sell for millions.<br />
For those with modest goals and budgets,<br />
experts point out that newson, unusually<br />
for an industrial designer, has produced a satisfying<br />
variety of pieces over nearly 30 years. Some of<br />
it has been offered in limited editions, such as the<br />
gagosian commissions, or limited by happen-<br />
stance, like the Lockheed lounge. Some was mass<br />
produced or is still in production.<br />
If the lounge is the high end of newson’s market,<br />
along with other early aluminum pieces like Pod<br />
of drawers, then signed and numbered commissions<br />
for galerie Kreo in Paris and gagosian are the<br />
middle of the market, where material is readily<br />
available. and there is an especially pleasing low<br />
end: the wide range of wristwatches, bicycles,<br />
tables, and chairs that come up for sale frequently<br />
are an affordable delight for aficionados.<br />
theconnoisseur<br />
This limited-<br />
edition Felt<br />
chair in steel<br />
and fiberglass<br />
realized £10,625<br />
($17,000)<br />
at Christie’s<br />
London in<br />
December 2009,<br />
but production<br />
versions are<br />
more modestly<br />
priced. One of<br />
the designer’s<br />
early aluminum<br />
pieces, the Pod<br />
of Drawers,<br />
1987, below,<br />
from an edition<br />
of 10, sold for<br />
$630,000 on<br />
a $550,000<br />
high estimate<br />
at Sotheby’s<br />
New York in<br />
December 2006.<br />
105
106<br />
theconnoisseur<br />
The 2008 Carbon<br />
Ladder, above, an<br />
example of<br />
<strong>Newson</strong>’s middle<br />
market, is<br />
available from<br />
Galerie Kreo for<br />
€65,000<br />
($84,000). The<br />
most sought-after<br />
of his works, this<br />
1988 handmade<br />
Lockheed lounge<br />
prototype, covered<br />
with blind-riveted<br />
sheet aluminum,<br />
sold at Phillips<br />
for $2.1 million in<br />
May 2010.<br />
It’s a good moment to look at <strong>Newson</strong>.<br />
His market is mature enough that you<br />
won’t pay too much for something that<br />
hasn’t been seen before (as was true in<br />
2003), and the economic downturn of<br />
2008 has knocked the wind out<br />
of speculation in the design market<br />
generally. Moreover, comprehensive<br />
information about <strong>Newson</strong>’s output<br />
is now at hand. Alison Castle’s<br />
monograph <strong>Marc</strong> <strong>Newson</strong>: Works was<br />
published last year by Taschen, and a<br />
catalogue raisonné is being developed by<br />
Didier Krzentowski of Galerie Kreo.<br />
Further clarifying <strong>Newson</strong>’s middle<br />
market is his decision to refocus on his<br />
day job as an innovative industrial<br />
designer. With limited-edition design<br />
having become ubiquitous in the art<br />
world, <strong>Newson</strong> appears to have dropped<br />
out of the genre he once commanded.<br />
The latest gallery commission—a<br />
$1.28 million speedboat that debuted at<br />
Gagosian in 2010 in an edition of 22—<br />
could be his last.<br />
THE HIGH END<br />
<strong>Newson</strong>’s early aluminum pieces are<br />
limited in number because they were<br />
labor intensive—it took the designer six<br />
months to craft the first Lockheed and<br />
build it himself entirely by hand. They<br />
established his futuristic vocabulary of<br />
forms and dedication to exploring<br />
materials and technology, and all do<br />
well in the market. A Pod of Drawers,<br />
1987 (an aluminum chest from an<br />
edition of 10, with two artist’s proofs),<br />
sold at Christie’s New York in an<br />
evening contemporary art sale in May<br />
2007 for $1,048,000 (est. $700–<br />
900,000). <strong>Newson</strong> is<br />
one of a handful of<br />
designers, living or<br />
dead, ever to<br />
appear in an<br />
evening sale.<br />
Continuing the trend, an Orgone Stretch<br />
lounge, 1993 (one of two artist’s proofs<br />
from an edition of six), sold at Sotheby’s<br />
London in October 2008 for £421, 250<br />
($730,000), within its estimate of £400–<br />
600,000 ($690,000–1 million) despite<br />
the newly arrived recession.<br />
Krzentowski of Galerie Kreo advises<br />
collectors with deep pockets to snap<br />
up the pieces in aluminum—“there are<br />
fewer than 200 pieces in the world,<br />
and 20 percent of them are in museums.”<br />
THE MIDDLE RANGE<br />
The top of <strong>Newson</strong>’s middle range<br />
includes editions for Kreo and<br />
Gagosian, which, like much editioned<br />
design, has experienced severe rises<br />
and dips in the secondary market.<br />
But Alexander Payne, worldwide<br />
director of design for Phillips, thinks<br />
it’s ready for serious reassessment.<br />
“<strong>Newson</strong> is a true designer—concepts,<br />
furniture, products—a real Renaissance<br />
figure in contemporary design,”<br />
Payne says. “This has seen him<br />
through the ups and downs of the art<br />
market and world recession. The<br />
time could not be better to start looking<br />
at the midrange holdings.”<br />
<strong>Newson</strong>’s studio website lists 33<br />
editioned pieces, which constitutes a<br />
fairly com prehensive guide to the<br />
work. Kreo’s Chop Top table, 2006<br />
(from an edition of 12, with one<br />
prototype), sold for £91,250 ($148,000)<br />
on an estimate of £80,000 to £120,000<br />
($129,000–194,000) at Phillips<br />
in London this past September. »<br />
It’s a good moment to look at <strong>Newson</strong>.<br />
His market is mature enough that you<br />
won’t pay too much for something that<br />
hasn’t been seen before.<br />
art+auction may 2013 | blouinartinfo.com<br />
from top: fabrice Gousset and Galerie Kreo, paris; phillips
AUCTION: MONDAY 27 TH MAY 2013<br />
Scandinavian<br />
light (Part I)<br />
Scandinavian<br />
meets American<br />
and Brazilian<br />
design (Part II)<br />
VIEWING:<br />
FROM MAY 23 RD TO MAY 27 TH 2013<br />
VIEWING & AUCTION<br />
PIASA RIVE GAUCHE<br />
83, rue du Bac<br />
75 007 Paris<br />
FURTHER INFORMATION<br />
Cindy Chanthavong<br />
c.chanthavong@piasa.fr<br />
+33 (01) 53 34 10 10<br />
CATALOGS available from May 6 6th available from May 6th available from May 6th available from May 6th available from May 6 on the website: www.piasa.fr
108<br />
All in the Details<br />
+ Like his famous<br />
colleague Philippe<br />
Starck—who has<br />
shown no interest<br />
in limited editions or<br />
the secondary<br />
market—<strong>Newson</strong> has<br />
designed high-<br />
profile commercial<br />
interiors. Restaurants<br />
include Coast in<br />
London, 1995, and<br />
Canteen and Lever<br />
House Restaurant<br />
& Bar, 1999 and<br />
2002, respectively,<br />
in New York. Items<br />
from Coast and<br />
Canteen occasionally<br />
come to auction.<br />
+ Starck helped put<br />
<strong>Newson</strong> on the map<br />
by placing a Lockheed<br />
lounge in the lobby of<br />
the Paramount Hotel<br />
in New York in 1989.<br />
theconnoisseur<br />
At the same sale Gagosian’s Micarta<br />
chair, estimated at £45,000 to £55,000<br />
($73,000–89,000), failed to find a<br />
buyer, probably because of an<br />
unrealistic esti mate gauged to earlier<br />
gallery pricing.<br />
“Gallery prices are very different<br />
from auction prices,” says Carina<br />
Villinger, the head of 20th-century<br />
decorative arts and design at Christie’s<br />
New York. “The market for really<br />
contemporary design is cooling. The<br />
feeding frenzy has gone out of it.”<br />
Also included in <strong>Newson</strong>’s midrange<br />
is his earliest non-aluminum work,<br />
produced in small runs for companies<br />
like Idee in Tokyo. It includes some<br />
of the designer’s most iconic pieces—<br />
the Embryo chair, 1988, upholstered<br />
in neoprene, and the hand woven<br />
Wicker chair, 1990—and is now more<br />
sensibly priced than it was a decade<br />
ago. An Embryo prototype sold at<br />
Sotheby’s in New York in 2004<br />
for $24,000 (est. $20–30,000); James<br />
Zemaitis, senior vice president of<br />
20th-century design at Sotheby’s New<br />
York, says a typical Embryo today<br />
would likely be estimated at $7,000 to<br />
$9,000—for a pair.<br />
Embryo is an instructive example<br />
of collecting <strong>Newson</strong>, or any living<br />
prac titioner, whose designs may reappear<br />
in various scales of production.<br />
Com m issioned for a design exhibition<br />
in Australia, Embryo was also offered in<br />
unlimited produc tion by Idee (although<br />
<strong>Newson</strong> made the first 100 him self).<br />
Idee’s Embryo maintains <strong>Newson</strong>’s<br />
original intention: It is upholstered in<br />
wet suit neoprene, a nod to surfing<br />
culture. Italian furniture company<br />
Cappellini picked up the design,<br />
but replaced the neoprene with fabric for<br />
mass pro duction. Idee and Cappellini<br />
both continue to sell the piece, as does<br />
Kreo, <strong>Newson</strong>’s Paris dealer, on<br />
a custom-order basis. For collectors,<br />
the Embryo to covet is one from the<br />
original Idee run. Similar to collecting<br />
Eames pieces, both production and<br />
design dates must be established to<br />
determine value. As a rule, earlier<br />
dates are better unless the piece has<br />
taken a reverse route, from production<br />
to limited edition, as <strong>Newson</strong>’s have.<br />
THE LOW END<br />
Some of <strong>Newson</strong>’s designs have traded<br />
up: The polyethylene Nimrod chair,<br />
a production piece designed for Italian<br />
furniture company Magis in 1997,<br />
became the aluminum Zenith for Kreo<br />
in 2006 (in an edition of eight, with<br />
two artist’s proofs and two prototypes).<br />
Some have traded down: The aluminum<br />
Alufelt chair, 1993 (in an edition of six,<br />
with two prototypes), one of which sold<br />
The bent beechwood<br />
Wooden<br />
chair, 1988,<br />
fetched $4,500 on<br />
a high estimate of<br />
$4,000 at Wright<br />
in April 2008.<br />
<strong>Newson</strong>’s 1999<br />
MN01 bicycle,<br />
below, for Danish<br />
manufacturer<br />
Biomega, is a<br />
collectible item<br />
for design aficionados<br />
and bicycle<br />
enthusiasts alike.<br />
at Christie’s London in October 2012<br />
for £133,250 ($213,200), was also<br />
produced as the steel-and-fiberglass Felt<br />
chair for Cappellini. It routinely sells for<br />
under $5,000. There is also a limitededition<br />
production Felt in special colors,<br />
examples of which generally fetch<br />
$5,000 to $10,000.<br />
<strong>Newson</strong>’s reputation as a designer<br />
has resulted in com missions from more<br />
than 60 companies, yielding many<br />
opportunities for collectors of modest<br />
means and those who wish to acquire a<br />
broad range of his work. Many pieces<br />
are traded at auction online as well as in<br />
salesrooms. Christie’s London sold a<br />
1999 MN01 bicycle designed for<br />
Biomega in December 2007 for £2,000<br />
($4,100), its high estimate. A year earlier,<br />
Wright in Chicago sold a stain less-steel<br />
Hemipode wristwatch designed for<br />
Ikepod, <strong>Newson</strong>’s own watch company,<br />
for $4,200 (the presale estimate was<br />
$3,500 to $4,500). Still in production,<br />
the Hemipode is available only in<br />
titanium, with prices starting at $17,500.<br />
In the case of production work,<br />
however, “you should buy it because you<br />
think it’s great, not because you think<br />
you’re going to double your money on it,”<br />
says Zemaitis, who owns and uses a<br />
<strong>Newson</strong> cocktail shaker for Alessi.<br />
“Look at what the museums are doing,”<br />
he advises. The Museum of Modern Art<br />
in New York has seven <strong>Newson</strong> pieces<br />
in its design collection, including a 2004<br />
cellular phone for Talby; the Design<br />
Museum in London also owns a piece.<br />
Wright founder Richard Wright owns<br />
and uses a <strong>Newson</strong> dish rack for Magis.<br />
He believes tests of greatness are yet to<br />
come for a designer who, at age 49,<br />
has distinguished himself by stylishly<br />
closing out the last century. “Design is<br />
still coming to terms with the 21st<br />
century,” says Wright. “If <strong>Newson</strong> can<br />
unlock the next wave, that would be<br />
impactful design.”<br />
art+auction may 2013 | Blouinartinfo.com<br />
from top: Wright; Biomega
Sale location<br />
Drouot-Richelieu - room 1 - 9 rue Drouot 75009 Paris, France<br />
Viewing<br />
Tuesday May 28 th 2013, 11 am - 6 pm<br />
Wednesday May 29 th 2013, 11 am - 12 am<br />
SpecialiSt<br />
Christophe Kunicki<br />
t. + 33 (0)1 43 25 84 34 - c.kunicki@orange.fr<br />
auctioneer contact<br />
Daphné Vicaire<br />
t. + 33 (0)1 49 49 90 15 - dvicaire@pba-auctions.com<br />
auctioneer<br />
Antoine Godeau<br />
PARIS - DROUOT-RICHELIEU - WEDNESDAY MAY 29 TH 2013<br />
antiQuitieS<br />
FayuM portrait oF a wooMan<br />
Egypt, 1st century A.D., reign of Nero, 54 - 68 A.D.<br />
H_15 in. L_8,8 in. H_38 cm L_22,3 cm<br />
Provenance :<br />
Private european collection, 1972.<br />
Ancient private european collection, 1968.<br />
Publications :<br />
- Kl. Parlasca & H. G. Frenz, Ritratti di mummie. Repertorio d’arte dell’Egitto<br />
Greco-Romano, Roma, 2003, p. 37, n° 675, pl. G.<br />
- Kl. Parlasca, Mummy Portraits : London, British Museum,1997, p. 128,<br />
pl. 16, fig. 3.<br />
- H. G. Frenz, Augenblicke : Mumienporträts und ägyptische Grabkunst aus<br />
römischer Zeit, Frankfurt, 1999, pp. 208-209.<br />
- H. Froschauer & H. Harrauer, Tod am Nil. Tod und Totenkult im antiken<br />
Ägypten, Vienna, Austria, 2003, pp. 102-103-131.<br />
Exhibitions :<br />
- Schirn Kunsthalle of Frankfurt, 30 January - 11 April 1999.<br />
- Austrian National Library, Vienna, 22 July 2003 - 5 <strong>Marc</strong>h 2004.<br />
pariS 92 avenue d’Iéna 75116 Paris t. +33 (0)1 49 49 90 00 F. +33 (0)1 49 49 90 01<br />
BruSSelS Avenue Louise 479 Bruxelles 1050 / Louizalaan 479 Brussels 1050 t. +32 (0)2 504 80 30 F. +32 (0)2 513 21 65<br />
catalogue online on www.pBa-auctionS.coM
decorative art & design<br />
viewing and saLe at<br />
PALAIS D’IÉNA<br />
Siège du Conseil économique social et environnemental<br />
9 Place d’Iéna 75116 Paris<br />
inForMations avaiLaBLe on www.pba-auctions.com<br />
PARIS - PALAIS D’IéNA - THURSDAY JUNE 6 TH 2013<br />
Jean royère Furniture FroM the descendents oF the augustin - norMand FaMiLy in Le havre, France.<br />
Jean royère (1908-1981) sofa, circa 1939/1940. Blackened oak and Velvet. Gouffé cabinetmaker. H_34 in W_122 in D_41 in. 80 000 / 120 000 €<br />
Jean royère (1908-1981) Pair of armchairs, circa 1939/1940. Stained oak and fabric. Gouffé cabinetmaker. H_31 in W_21 in D_21 in. 20 000 / 30 000 €<br />
cLaude LaLanne (Born in 1924) Mirror, 2006. Gilt bronze, galvanized copper and mirror. Unique piece 1/1. H_56 in W_49 in. 60 000 / 80 000 €<br />
contact<br />
Jean Maffert t. + 33 (0)1 49 49 90 33 - jmaffert@pba-auctions.com<br />
Sandor Gutermann t. + 33 (0)1 49 49 90 13 - sgutermann@pba-auctions.com<br />
Paris 92 avenue d’Iéna 75116 Paris t. +33 (0)1 49 49 90 00 F. +33 (0)1 49 49 90 01<br />
BrusseLs Avenue Louise 479 Bruxelles 1050 / Louizalaan 479 Brussels 1050 t. +32 (0)2 504 80 30 F. +32 (0)2 513 21 65<br />
cataLogue onLine on www.PBa-auctions.coM<br />
auctioneer<br />
Antoine Godeau
MODERN & CONTEMPORARY ART<br />
including THE HiSTORicAl cOllEcTiOn OF THE BERlin WAll FROm SYlVESTRE VERgER<br />
viEwiNg AND SALE AT<br />
PALAIS D’IÉNA<br />
Siège du Conseil économique social et environnemental<br />
9 Place d’Iéna 75116 Paris<br />
iNFORMATiONS AvAiLABLE ON www.pba-auctions.com<br />
PARIS - PALAIS D’IéNA - THURSDAY JUNE 6 TH 2013<br />
ERiK BuLATOv (BORN iN 1933) Nonstop, 1990. 80 000 / 120 000 €<br />
viCTOR BRAuNER (1903-1966) Portrait du coté couple, 1959. Oil on canvas. Signed and dated lower right. H_25.6 in W_21.3 in 100 000 / 150 000 € Provenance : Private collection.<br />
CONTACT<br />
Fabien Béjean-Leibenson T. + 33 (0)1 49 49 90 32 - fbejean@pba-auctions.com<br />
Sophie Duvillier T. + 33 (0)1 49 49 90 10 - sduvillier@pba-auctions.com<br />
PARiS 92 avenue d’Iéna 75116 Paris T. +33 (0)1 49 49 90 00 F. +33 (0)1 49 49 90 01<br />
BRuSSELS Avenue Louise 479 Bruxelles 1050 / Louizalaan 479 Brussels 1050 T. +32 (0)2 504 80 30 F. +32 (0)2 513 21 65<br />
CATALOguE ONLiNE ON www.PBA-AuCTiONS.COM<br />
AuCTiONEER<br />
Antoine Godeau
Edvard Munch Madonna, colour litograph, Woll 39 IV.<br />
Estimate: USD 1-1.5 mill.<br />
Edvard Munch Autumn by the Greenhouse, oil on canvas, 73x91 cm, Woll 1481. Estimate: USD 2-3 mill.<br />
Auction in Oslo<br />
Wednesday 5 June at 6 p.m.<br />
Oil paintings, water colours, important prints.<br />
Catalogue at www.gwpa.no from 30 April.<br />
Contact/Info: Grev Wedels Plass Auksjoner as, Grev Wedels Plass 2, N-0151 Oslo, Norway.<br />
Tel.: +47 22862186. Email: post@gwpa.no. Website: www.gwpa.no
Sea hyun Lee and hakgojae, SeouL<br />
Asian Art Takes a<br />
Transnational Turn<br />
It may be time to look at some basic art world definitions.<br />
Take the word international. A serious collector sitting<br />
at home in New York or London or Zurich, surrounded by<br />
Kapoor, Condo, Wool, Kiefer, and Murakami, probably<br />
feels if he bids at Sotheby’s, Christie’s, and Phillips auctions<br />
and buys at fairs like Art Basel and Frieze, his taste is already<br />
irreproachably international. Pretty well everyone involved<br />
in buying and selling contemporary art portrays it as an everexpanding<br />
global business. Christie’s reported that buyers<br />
at their February sales in London hailed from 33 countries,<br />
demonstrating “a truly global appetite for the category.”<br />
Yet the exaltation that followed the record $1.1 billion<br />
sales total at the three main houses in New York last<br />
November masked a creeping conservatism. Both new<br />
and existing buyers, chastened by the collapse of the<br />
financial market in late 2008 and early 2009, which burst<br />
bubbles for Chinese political Pop, Damien Hirst, and<br />
others, have retrenched.<br />
bLouinaRTinFo.CoM | may 2013 aRT+auCTion<br />
theassessment<br />
after years of dominant venues offering a narrow view of international art, new fairs<br />
such as art13 London are broadening buyers’ perspectives by scott reyburn<br />
Top-end collecting is now largely the accumulation of<br />
instantly recognizable, investment-grade trophies. The<br />
range of artists regularly offered in evening postwar and<br />
contemporary sales at Sotheby’s and Christie’s—which<br />
generate most of the market’s headlines—has contracted<br />
to a narrow band of 40 to 50 blue-chip Western names,<br />
many of them dead. It’s rumored that the bulk of the<br />
$1.1 billion spent in November came from wealthy Americans<br />
sinking money into Abstract Expressionist classics as<br />
a hedge against possible post-fiscal-cliff tax hikes.<br />
A similar air of risk aversion now hangs over the world’s<br />
top art fairs. Regardless of where on the planet an event<br />
takes place, the dominant U.S. and European galleries<br />
present selections of works by their familiar (sometimes<br />
all-too-familiar) brand artists and give a pronounced<br />
occidental slant to the word international.<br />
Just at the point when many in the art world are complain-<br />
ing about fair fatigue, a new event this spring in London,<br />
113<br />
sea Hyun Lee’s<br />
particular brand<br />
of globalism,<br />
seen in Between<br />
Red 162, 2012,<br />
evokes the<br />
familiar style of<br />
toile de Jouy<br />
fabrics in the<br />
depiction of<br />
contemporary<br />
chinese<br />
landscapes.
114<br />
Earth, Ink & Fire,<br />
2013, above,<br />
an installation<br />
combining the<br />
Song-style bowls<br />
of Korean artist<br />
Young-Jae Lee<br />
and hangings<br />
by Chinese ink<br />
painter Chen<br />
Guangwu, was<br />
sold at Art13 by<br />
Alexander Ochs<br />
Galleries, of Berlin<br />
and Beijing, for<br />
$65,000. Song<br />
Hyun-Sook, whose<br />
17 Brushstrokes,<br />
2002, right,<br />
earned $39,000<br />
at Christie’s last<br />
November, nods<br />
to the West in her<br />
use of tempera on<br />
canvas while alluding<br />
to the Asian<br />
calligraphic tradition<br />
in her style.<br />
theassessment<br />
at which about half the artists on view were born outside<br />
Europe and North America, offered the chance for visitors<br />
to take a wider view. Art13 London was organized by Tim<br />
Etchells and Sandy Angus, who cofounded the Hong Kong<br />
International Art Fair, and sold a majority stake to Art<br />
Basel’s MCH Group in 2011.<br />
“We wanted to create a global art fair with a high percentage<br />
of dealers who hadn’t shown in the U.K. before,”<br />
said Etchells in an interview after the event. “There’s a huge<br />
number of international people who live in London who<br />
want to see art from all round the world.” Further events<br />
in Istanbul and Sydney are planned for September.<br />
In London, 129 galleries from 30 countries set up shop<br />
under the stately cast-iron roof of Olympia Grand Hall<br />
in West Kensington. It was the first time 70 percent of the<br />
exhibitors had showed at a London fair, and Etchells’s<br />
and Angus’s background in Asia gave the event a distinctive<br />
feel. Galleries with spaces in China outnumbered U.S.–based<br />
dealers by 3 to 2; South Korea and Singapore each had six<br />
booths. Hakgojae from Seoul and Pearl Lam from Hong Kong<br />
and Shanghai occupied the prime positions at the front of the<br />
event. Conspicuous absences included Gagosian, White Cube,<br />
Hauser & Wirth, David Zwirner, Michael Werner, and Pace.<br />
“I’m not naming names, but there were certain galleries<br />
that I deliberately didn’t invite to Art13,” Etchells says.<br />
“If you’re a regular collector,<br />
you see the same brands all<br />
the time and it’s tedious. I also<br />
wanted to appeal to a slightly<br />
different audience. There were<br />
good-quality people there and<br />
very few tire-kickers.”<br />
In the run-up to the fair, the<br />
organizers carpet-bombed<br />
the £1 million-plus residences<br />
of Kensington and Chelsea<br />
with invitations. If tires were<br />
going to be kicked, they would<br />
be with handmade Jermyn<br />
Street brogues. Private museum<br />
owners such as Don and Mera Rubell from Miami, Li Bing<br />
from Beijing, and Ramin Salsali from Dubai were among<br />
the visitors and contributors to panel discussions.<br />
During the show’s run, <strong>Marc</strong>h 1 through 3,<br />
24,735 people turned up—less than half the attendance<br />
of established fairs such as the Armory Show or Art Basel.<br />
The most expensive confirmed sale was a Banksy ruined<br />
landscape of a Guantánamo Bay captive on a sunsetsuffused<br />
beach. Priced at £375,000 ($570,000), it was<br />
bought by a U.K. collector from the London-based streetart<br />
dealer Lazarides.<br />
Detractors could easily dismiss this event as a showcase<br />
for dealers who can’t get into Frieze, a sort of Salon des<br />
Frieze refusés. They might also point out that the inaugural<br />
exhibitor list was padded with plenty of midmarket U.K.<br />
galleries catering primarily to a domestic audience.<br />
“We want to attract more dealers who haven’t been seen<br />
in London,” Etchells concedes. “We’ll target more countries<br />
so that we can build on the global perspective. We’d like<br />
to invite more galleries from Australia, for instance.”<br />
Yet there were plenty of non-British dealers at Art13,<br />
particularly from Asia, who’d flown thousands of miles to<br />
show works that asked challenging questions about what,<br />
exactly, international means in the context of today’s global<br />
art market. Many of these works were priced in the $20,000<br />
to $100,000 range, which can be an awkward segment of the<br />
market. Wealthy buyers may regard it as too inexpensive<br />
to be blue-chip, yet too expensive to make a bet in the hope<br />
that it could be the next hot tech stock—or Jacob Kassay.<br />
In this price range fell three paintings from the “Collective<br />
Memory” series by Chinese artist Chen Shaoxiong, brought<br />
by Primo Marella Gallery of Milan and Beijing. Chen, who<br />
works in variety of media, is based in Guangzhou, one of the<br />
202 cities in China that McKinsey & Company predicts will<br />
have more than a million inhabitants by 2025. Concerned with<br />
the psychological effects of urbanization and globalization,<br />
Chen uses his fingers to paint fuzzy, newsprint-style dot<br />
canvases of familiar landmarks that neatly infuse China’s<br />
millennia-old ink-painting tradition with an awareness<br />
of Georges Seurat, Roy Lichtenstein, and Gerhard Richter.<br />
The paintings Chen made after 2006 of Tiananmen<br />
Square and the Olympic stadium in Beijing have a meditative<br />
resonance that would have appealed to a writer like the<br />
late W.G. Sebald. But at Art13, Primo Marella was showing<br />
more recent finger-painted<br />
dot canvases of Venice, priced<br />
between €20,000 and €25,000<br />
($26–32,000). Quite what<br />
La Serenissima has to do<br />
with the Chinese collective<br />
memory remains obscure,<br />
but a painting of Palladio’s Il<br />
Redentore church found a buyer<br />
during the fair, underscoring<br />
Chen’s success in appealing to<br />
an international audience.<br />
Primo Marella is one of<br />
many globally-minded dealers<br />
who are betting that China »<br />
Art+Auction may 2013 | BlouinArtinFo.com<br />
From top: AlexAnder ochs GAlerie, Berlin And BeijinG; christie’s
BJARNE MELGAARD ”Kill Me Before I Do It Myself”, 2002 (detail) CINDY SHERMAN Untitled Film Still #13, 1978 (detail)<br />
ALEX KATZ, ”Larry No I”, 1974 (detail)<br />
BUKOWSKIS<br />
CONTEMPORARY<br />
VIEWING MAY 7 – 13<br />
AUCTION MAY 14<br />
ONLINE CATALOGUE AND ONLINE BIDDING IN REAL<br />
TIME AT WWW.BUKOWSKIS.COM. STOCKHOLM, SWEDEN<br />
ENQUIRIES<br />
ANNA PERSSON, SPECIALIST CONTEMPORARY ART<br />
PHONE: +46 8 - 614 08 30, ANNA.PERSSON@BUKOWSKIS.COM<br />
LENA NYTÉN, SPECIALIST PHOTOGRAPHY AND CONTEMPORARY ART<br />
+46 8 - 614 08 17, LENA.NYTEN@BUKOWSKIS.COM
Presented at Art13<br />
by Milan-based<br />
Primo Marella<br />
Gallery, Chen<br />
Shaoxiong<br />
broadened the<br />
audience—and<br />
the market—for<br />
his “Collective<br />
Memory” series<br />
when he began<br />
employing his<br />
finger-painting<br />
technique to depict<br />
landmarks beyond<br />
China’s borders,<br />
such as in this 2012<br />
view at right of a<br />
Venetian church by<br />
Palladio. Taking a<br />
subtler approach<br />
to blending diverse<br />
traditions, Shen<br />
Chen’s acrylic on<br />
canvas 42222-12,<br />
2012, below, was<br />
brought to the fair<br />
by Cynthia Reeves,<br />
of New York and<br />
New England.<br />
116<br />
theassessment<br />
will eventually produce a new<br />
generation of contemporary-art<br />
collectors. They are also backing<br />
Africa as a growth market. The<br />
2013 blanket triptych, Tibet, by<br />
Mali’s leading artist, Abdoulaye<br />
Konate, was given pride of place<br />
at the front of its booth at Art13.<br />
At the moment China is<br />
suffering from a shortage of<br />
contemporary-art collectors.<br />
After the crash of 2008, many of<br />
them migrated from names like<br />
Yue Minjun and Zhang Xiaogang<br />
into what they regarded as the<br />
safer haven of modern art. The<br />
early 20th-century calligrapher Qi<br />
Baishi became the most expensive Chinese “contemporary”<br />
artist when a 1946 scroll painting of his sold for RMB425.5<br />
million ($65 million) at a 2011 auction in Beijing.<br />
“Young Chinese artists lack support from wealthy local<br />
collectors,” said Michela Sena, director of Primo Marella’s<br />
Beijing gallery. “Now Chinese contemporary art is required<br />
to be really international. The works have to speak a global<br />
language, be generally understandable and not local anymore.<br />
Only a few artists achieve this. Many from the past generation<br />
who are too restricted in their localism just disappear.”<br />
There is a new generation of Chinese contemporary<br />
artists, not particularly well represented at Art13, who have<br />
become instant internationalists. Liu Diu, for instance, makes<br />
digitally enhanced photos of giant amphibians running amok<br />
in Chinese megacities. The danger is that internationalization<br />
can lead to an artist’s losing the sense of place that originally<br />
made him interesting. As Seneca put it in his Moral Letters to<br />
Lucilius, “To be everywhere is to be nowhere.”<br />
At the moment, Chen Shaoxiong has just nine entries on<br />
Artnet, with a top auction price of $35,467. It’s not difficult<br />
to imagine him producing dot paintings of the most famous<br />
sights in the world, churning out global collective memories<br />
of the Statue of Liberty for the Armory Show, of Big Ben<br />
for Frieze London, and<br />
becoming rich in the process.<br />
This is rather like the<br />
moment in 2011 when the<br />
Indian artist Subodh Gupta<br />
cast limited-edition bronzes<br />
of Duchamp’s mustachioed<br />
L.H.O.O.Q. Mona Lisa<br />
rather than making<br />
sculptures out of the tiffin tins<br />
used in his village of Bihari.<br />
Great career move—one<br />
of the bronzes was bought<br />
by billionaire collector<br />
François Pinault—but what<br />
has been left behind?<br />
The Korean painter<br />
Sea Hyun Lee—who trained<br />
at London’s Chelsea College<br />
of Art and Design and produces monochrome inundated<br />
landscapes reminiscent of 18th-century porcelain<br />
and toile fabrics—is another artist who has undergone<br />
internationalization. Uniform, recognizable, and with a<br />
secondary market easily trackable on Artnet (15 entries,<br />
top price $56,000), Lee’s stylized landscapes are cropping<br />
up at more and more of the world’s 200 art fairs. Hakgojae<br />
of Seoul found buyers for two at Art13, priced at £22,750<br />
and £14,300 ($35,000 and $22,000).<br />
Lee’s formulaic but commercial vision made an<br />
instructive contrast in Hakgojae’s booth with two paintings<br />
by another Western-trained Korean artist, Song Hyun-<br />
Sook. Song worked as a nurse in Germany in the 1970s<br />
before studying at the College of Fine Art in Hamburg.<br />
She paints austere canvases inspired by her childhood<br />
in rural South Korea. Unusually, these abstracted closeups<br />
of farmhouses, ceramic pots, wooden posts, and<br />
hanging ramie fabric are rendered in the Western medium<br />
of tempera, but with the broad sweeps of the Asian inkpainting<br />
tradition. Works are titled according to the number<br />
of strokes they take to complete. 12 Brushstrokes over<br />
2 Brushstrokes, a canvas featuring the artist’s favorite<br />
york<br />
motifs of hanging ramie and a wooden post, was being<br />
new<br />
haggled over as the fair closed. Hakgojae was asking<br />
£21,450 ($28,000). Song’s secondary-market prices reached<br />
$HK300,000 ($39,000) at auctions in Hong Kong last year.<br />
Lee and Song were each in their own way definingly<br />
Cynthia-reeveS,<br />
representative of the two strands of globalism running<br />
through Art13. Both artists, in their different ways,<br />
milan;<br />
fuse East and West, old and new. Lee’s paintings, cannily<br />
commoditized, brashly colored, and conceptually<br />
gallery,<br />
knowing, have all the ingredients of Western-style international<br />
art. By contrast, Song’s gentler, more contemplative<br />
marella<br />
paintings refract a contemporary Minimalist aesthetic<br />
primo<br />
through the age-old calligraphic tradition. This art, with<br />
its technique more firmly rooted in the East, might be<br />
and<br />
characterized as transnational.<br />
The Collins dictionary clarifies the distinction. Interna-<br />
Shaoxiong<br />
tional, adj.: Of, concerning, or involving two or more nations<br />
Chen<br />
or nationalities. Transnational, adj.: Extending beyond<br />
the boundaries, interests, etc., of a single nation.<br />
top:<br />
“Asian artists are definitely returning to a more » From<br />
art+auCtion may 2013 | blouinartinFo.Com
GALERIE KORNFELD . BERN<br />
Sam Francis. Paris, rue Tiphaine. Watercolor. 1955. 74,5 x 57,7 cm. Signed, dated on verso<br />
Auction Sales 13 and 14 June 2013<br />
GALERIE KORNFELD . LAUPENSTRASSE 41 . 3008 BERN . SWITZERLAND<br />
TEL. +41 (0)31 381 4673 . FAX +41 (0)31 382 1891 . www.kornfeld.ch
118<br />
Shown by gallerist<br />
Pearl Lam, of<br />
Hong Kong and<br />
Shanghai, Zhu<br />
Jinshi’s impastoed<br />
abstractions,<br />
such as Children’s<br />
Dreams, 2012,<br />
were reported to<br />
be the first stop on<br />
tours of Art13 by<br />
art advisers from<br />
the fair’s sponsor,<br />
Citi Private Bank.<br />
theassessment<br />
minimal, less ostentatious aesthetic,” says London-based<br />
art adviser Arianne Levene, who noticed a number of<br />
works that express new ideas with old techniques. “It feels<br />
appropriate for the world we live in today. Political Pop<br />
was very 1990s and 2000s. That felt right at the time.”<br />
Levene was one of the many Western advisers,<br />
dealers, and collectors who were impressed by the sheer<br />
distinctiveness of Art13. “I was pleasantly surprised,”<br />
Levene added. “There were some serious galleries from Asia<br />
who brought subtle, unexpected things. We don’t have<br />
any other fair in London that shows these kinds of artists.<br />
I hope they build on the international element.”<br />
The subtle, Minimalist strain of transnational art was<br />
also on show at the booth of New York and New England<br />
dealer Cynthia Reeves. She was offering the abstract<br />
ink paintings of Shen Chen, a U.S.–trained Chinese artist<br />
who divides his time between New York City and Beijing.<br />
Two of Chen’s canvases, the sort of works Rothko would<br />
have made if he’d taken up traditional Chinese ink painting,<br />
sold at the fair for $28,000 and $22,000.<br />
Alexander Ochs Galleries of Berlin and Beijing presented<br />
Earth, Ink & Fire, a refined collaborative installation of more<br />
than 200 monochrome Song Dynasty–style bowls by the<br />
Korean artist Young-Jae Lee, set on the floor in front of ab-<br />
stract hangings by the Chinese ink painter Chen Guangwu. It<br />
was snapped up by an Italian collector for €50,000 ($65,000).<br />
“You can no longer use the Western aesthetic to evaluate<br />
this art,” said Pearl Lam, who was showing works by the<br />
Chinese painters Zhu Jinshi and Su Xiaobai, both of whom<br />
studied in Germany and have established secondary markets<br />
in Asia, if not the West. Lam sold six of Zhu’s massively<br />
impastoed abstracts for up to $150,000, while two of Su’s<br />
lacquered color field paintings found buyers at up to $250,000.<br />
For all Lam’s claims that these painters are beyond the<br />
ken of Western aesthetics, both are big on wall power in<br />
a very Western kind of way, and Su’s market has benefited<br />
from her training with Richter, the ne plus ultra of<br />
international artists. Su’s lacquer abstracts have climbed<br />
to prices as high as $355,000 at auctions in Asia.<br />
“Fairs like Frieze are too Eurocentric,” says Lam.<br />
“They want to define what is international, and that<br />
definition is American and European. Western Conceptual<br />
art loves to take political and economic positions.<br />
This is not so much the case in our culture. Chinese art is<br />
all about enhancing oneself internally.”<br />
Lam has a point. Asian culture is built on the intellectual<br />
bedrock of Confucianism, Taoism, and Buddhism. All are<br />
contemplative disciplines of thought that revere tradition,<br />
continuity, and a sense of personal growth within a<br />
communal context. Western culture, at least for the past 200<br />
years, celebrates individualism, iconoclasm, subversion.<br />
Which view will prevail in the little world that is the<br />
global art market? (It’s salutary to remember that the entire<br />
value of the planet’s auction and dealer sales last year was<br />
valued by the European Fine Art Foundation at $56 billion,<br />
while Facebook is worth $60 billion.) At the moment, it<br />
is Westerners who organize the major contemporary art<br />
fairs in Asia, as well as in the U.S. and Europe. As Art13<br />
exhibitor Ochs put it, “We have new broader markets,<br />
but the new art markets haven’t developed with them.”<br />
Meanwhile, international people continue to fly round the<br />
world to stay in international hotels to visit international<br />
art fairs where international galleries show international<br />
art that is explained in International Art English (IAE).<br />
There has always been an implicit, slightly colonialist<br />
assumption among American and European auctioneers,<br />
dealers, curators, and collectors that sooner or later<br />
the booming economies of Asia, with their fast-growing<br />
populations of high-net-worth individuals, will finally<br />
recognize the innate superiority of Western contemporary<br />
art. This epiphany has yet to happen. If it had, Sotheby’s<br />
and Christie’s would be holding auctions of Western<br />
contemporary art in Hong Kong, as they do with wine.<br />
This situation may well change. Thousands of students<br />
from China and other Asian nations are attending universities<br />
in Europe and North America and are being exposed<br />
to Western art. “A new generation of young Chinese<br />
collectors is growing up,” says Sena of Primo Marella.<br />
“They are starting to approach Western contemporary<br />
art, and I suppose that they will soon build interesting<br />
collections updated with an international taste.”<br />
The question is whether Western-style internationalism<br />
will become the mainstream of Asian collecting taste or<br />
growing economic and political power will give the<br />
region greater confidence in its own ways of thinking.<br />
What will happen, for instance, when entrepreneurs<br />
from China, Malaysia, and Korea start to organize their<br />
own contemporary art fairs?<br />
At the moment, the Christopher Wools and George<br />
Condos on your walls are worth 10 times more than Chen<br />
Shaoxiong, Sea Hyun Lee, Song Hyun-Sook, and even<br />
Zhu Jinshi. That might not be the case in 10 years’ time.<br />
art+auction may 2013 | blouinartinFo.com<br />
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10 May Furniture, Porcelain, Silver, Jewellery<br />
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7-8 June Asian Art<br />
Catalogues upon request and online<br />
Zeng Fanzhi. Untitled. From the series ‚Mask’. 2000. Oil on canvas, 199 x 70 cm. Sale 24 May<br />
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art<br />
antiques<br />
design
122<br />
inthestudio<br />
Jesper<br />
Just<br />
In hIs latest fIlms, the DanIsh artIst moves away from<br />
meloDrama towarD more objectIve—anD uncanny—terrItory<br />
by <strong>Marc</strong>ia E. VEtrocq | photographs by KristinE LarsEn<br />
It’s ValentIne’s Day, and Jesper Just is concerned that his next film, scheduled to premiere<br />
at the Venice Biennale on June 1, might be misunderstood. He’s not second-guessing himself.<br />
On the contrary, Just is determined to protect the ambiguity that he cultivates in his art. Having<br />
spoken eagerly about the new work, he’s worried that sharing one detail about the piece—the<br />
fact that he shot on location in China—will lead readers to conclude that the work is about<br />
China. “I hope people will think about Paris,” he says, “and not necessarily China.” the location<br />
is a half-built, sparsely inhabited residential development outside Hangzhou that replicates the<br />
French capital, more or less, with a downsized eiffel tower and boulevard-proud apartment<br />
blocks that rise near palm trees and rubble-strewn fields. It’s a crude approximation, Paris as<br />
rendered by a police sketch artist. Just calls the architecture a “performance” of Paris and prizes<br />
the imperfect artifice as a device with which he can both convince and unsettle the viewer.<br />
We are talking in the Copenhagen-born artist’s studio in the Greenpoint section of Brooklyn,<br />
on the second floor of a hulking building shared mostly with other artists. Just first came to new<br />
york in 2004 for a show at the Perry Rubenstein Gallery in which he debuted two reputation-estab-<br />
lishing films, Bliss an d Heaven (color) and The Lonely Villa (black-and-white). He was sub-<br />
sequently invited to create a live work for new york’s first Performa Biennial in 2005 and took his<br />
return as an opportunity to shoot a new film, It Will All End in Tears. that piece was featured in a<br />
second widely acclaimed show at Rubenstein in 2006, by which time Just had settled in new york.<br />
Prominent in his spartan studio today are an editing monitor and a scale model of the<br />
Danish pavilion in Venice. architectural plans and clusters of small photographs from the<br />
three-week-long January shoot in China are pinned to the walls. Just’s piece, Intercourses,<br />
comprises five looped black-and-white films of differing durations to be distributed on screens<br />
throughout the pavilion. small photos inserted into the model indicate projection sites. the<br />
challenge is to edit the sequence of image and sound in a way that integrates five simultaneous<br />
projections of various lengths into a coherent experience for an audience whose movement<br />
through the pavilion is unpredictable. Just will tamper with the architecture, too, altering the<br />
facade and other features to turn the pavilion into a mise-en-scène for film and viewer alike.<br />
-<br />
Jesper Just in<br />
his brooklyn<br />
studio, where he<br />
was at work<br />
editing new<br />
black-and-white<br />
footage for<br />
Intercourses, a<br />
film to be presented<br />
at the Danish<br />
pavilion of the<br />
Venice biennale<br />
this summer.<br />
Art+Auction may 2013 | blouinArtinFo.coM
louinARTinFo.CoM | may 2013 ART+AuCTion<br />
Maria Pergay in<br />
the metal workshop<br />
at the<br />
Ecole Nationale<br />
Supérieure des<br />
Beaux-Arts in<br />
Paris, where she<br />
fabricates works<br />
like this copperand-bronze<br />
tree,<br />
here and far left,<br />
which will be<br />
shown next month<br />
at Demisch Danant<br />
in New York.<br />
123
In the 10-minute<br />
film A Vicious<br />
Undertow, 2007,<br />
below, an erotic<br />
triangle takes<br />
shape and dissolves<br />
in concert with<br />
musical cues.<br />
The dual-channel<br />
projection This<br />
Nameless<br />
Spectacle, 2011,<br />
bottom, presents<br />
an enigmatic<br />
interaction between<br />
a young man and<br />
a woman who<br />
are in two facing<br />
apartments.<br />
inthestudio<br />
Just was invited a year ago to represent his native country<br />
in Venice; his concept for the project was sparked by the<br />
multiple meanings of that word, represent, and by the<br />
exhibition site itself. An uneasy hybrid of Neoclassical and<br />
modernist styles, the Danish pavilion is one of about 30 small<br />
buildings clustered in the Giardini that represent their<br />
countries like little art embassies. Meanwhile, the city of<br />
canals “performs” itself daily for thousands of tourists, while<br />
its own monuments have been knocked off in China, Orlando,<br />
and Las Vegas. Given the setting for the finished work,<br />
shooting in a fake Paris felt right to Just. The protagonists are<br />
three French actors of African descent. Themes of national<br />
identity and race, place and displace ment, and architectural<br />
fiction were all bred in the project from the start.<br />
The ambitious undertaking is a far cry from Just’s earliest<br />
films, some of them exhibited before his 2003 graduation<br />
from the Royal Danish Academy of Fine Arts, in Copenhagen.<br />
These concise works (generally 6 to 10 minutes long)<br />
typically present a tense yet tender situation involving a young<br />
man (the Danish actor Johannes Lilleøre, in a recurring<br />
role) and older men. In each a popular song is sung, its lyrics<br />
expressing the arc of longing and loss that structures<br />
these otherwise wordless dramas, which Just characterizes<br />
as “micro-narratives that keep breaking expectations.”<br />
With their overripe feeling and cinematic clichés, the<br />
works have been dissected as studies in homoerotic<br />
desire and gender stereotypes, but they also explore the<br />
imbalance of power between performer and spectator. Just<br />
recounts the story of making Invitation to Love, 2003,<br />
in which a gray-haired man mounts a heavy conference table<br />
and dances before an impassive young fellow seated at the<br />
head. A school bell, perhaps to summon the next dancer,<br />
is conspicuous on the table. “That was shot in the Academy,”<br />
Just explains, “in a very fancy room. All the paintings<br />
on the walls are the old professors. A student goes there only<br />
twice—on your first day and on your last, when you get your<br />
diploma.” He asked if he could shoot there for his thesis.<br />
“First they said no. Then they gave me one hour. Once<br />
we were in, we locked the door. I got into a lot of trouble, but<br />
I filmed the whole day.”<br />
Only incidentally an erotic game, Invitation to Love can be<br />
viewed as a mild revenge fantasy: The graduating artist<br />
commandeers the seat of authority and turns the tables on the<br />
professor who has compelled him to “perform” for years. The<br />
interpretation is not definitive; in fact, open is a favorite word<br />
of Just’s. “I work with a lot of open moments,” he says. “My<br />
goal is that once you’ve seen the film, you don’t sit there with all<br />
the answers. I want you to be uncertain and to think about<br />
what you’ve seen instead of having everything revealed.”<br />
Among Just’s most affecting efforts in this regard (and the<br />
last one shot in black-and-white prior to the film for Venice)<br />
is A Vicious Undertow, 2007. Filmed in a Copenhagen club, it<br />
opens like a 1960s spaghetti western with a lonely thread of<br />
whistling, but the song comes from the Moody Blues, not<br />
Morricone: It’s the plangent and corny “Nights in White Satin.”<br />
A middle-aged woman courts a younger woman with her<br />
whistling until the arrival of a young man creates an unstable<br />
triangle. Each puckers up to whistle and, alternating partners,<br />
the three dance to a tinkling music-box tune, the all-butunrecognizable<br />
“Rebel Waltz” by the Clash. Just surely chose<br />
the song for its elliptical lyrics, though they aren’t heard<br />
in the film: “I danced with a girl to the tune of a waltz/That »<br />
art+auCtIon may 2013 | BlouInartInFo.Com<br />
Both Images: Jesper Just, James Cohan gallery, new york, galerIe emmanuel perrotIn, parIs, and gallerI nIColaI wallner, Copenhagen
Comtemporary Art<br />
Paris · June 4–5, 2013<br />
Viewing<br />
June 1–4<br />
9, avenue Matignon, Paris 8 e<br />
Collection Jacques Dupin<br />
FRANCIS BACON (1909–1992)<br />
Painting <strong>Marc</strong>h 1985<br />
signed, titled and dated ‘Painting <strong>Marc</strong>h 1985 Francis Bacon’ (on the reverse) · oil on canvas<br />
78 x 58 in. (198 x 148 cm.) · Painted in 1985<br />
€4,000,000–6,000,000 · $5,200,000–7,800,000<br />
© The Estate of Francis Bacon / All rights reserved / ADAGP, Paris 2013<br />
Contact<br />
Laëtitia Bauduin<br />
lbauduin@christies.com<br />
+33 (0)1 40 76 85 95<br />
christies.com
126<br />
Two stills from<br />
Intercourses—<br />
filmed near<br />
Hangzhou, China,<br />
in an ersatz<br />
Paris-themed<br />
development with<br />
French actors—<br />
exemplify Just’s<br />
interest in dystopia<br />
and displacement.<br />
inthestudio<br />
was written to be danced on the battlefield /I danced to the<br />
song of a voice of a girl/A voice that called, ‘Stand till<br />
we fall/We stand till all the boys fall.’ ” Suddenly the older<br />
woman is outdoors on a crystalline winter night, the lights<br />
of a city gleaming below her. She ascends a vertiginous<br />
spiral stair toward the black sky, leaving the battlefield to<br />
the girl and the boy.<br />
In recent years diverse locations have played a significant<br />
role in the gestation of Just’s films, but he remains adamant<br />
about the distinction between what inspires him and what<br />
he believes edifies the viewer. “My films are always made in<br />
a way that it could be anywhere,” he says. “My method is to<br />
use the history of the place to create, but people watching<br />
might not necessarily get that history if they don’t read the<br />
press release. They might know that this is the desert, but it’s<br />
unlikely that they would connect it to the socialist utopia.”<br />
Just is referring to the early 20th-century community of<br />
Llano del Rio, in whose ruins outside Los Angeles he shot<br />
much of Llano, 2012, his first film without music.<br />
Throughout the work, a heavyset woman piles rocks amid<br />
the debris of past habitation. Water drips incessantly,<br />
percussively from an unexplained apparatus above her,<br />
promising to erode whatever she accomplishes. Stretches of<br />
repetitive action alternate with shots of the tunnels below<br />
downtown L.A., vacant halls that are lined with pipes and<br />
hum with the vaguely menacing sound of unseen machinery.<br />
Llano (on view through June 15 in Just’s show at Galerie<br />
Perrotin, in Paris) conveys solitude, perseverance, futility,<br />
apprehension, and a fundamental incompatibility between<br />
the individual and institutions, all without recourse to<br />
song or a micro-narrative. Just says, “I would like to continue<br />
that in Venice, so the film is more of a description of a place—<br />
very objective, just observing, not interpreting.”<br />
Llano debuted last fall at James Cohan in Just’s first solo<br />
show with the gallery and his first in New York since a 2008<br />
exhibition at the Brooklyn Museum. The three films shown<br />
at Cohan were shot in locations that piqued what Just calls<br />
his “interest in failure and dystopia.” Closest in structure<br />
to the early works is Sirens of Chrome, 2010, which follows<br />
four young African-American women in an aged Chrysler<br />
through downtown Detroit and up the ramp of a parking<br />
garage that occupies the interior of a mid 20th-century<br />
movie palace like a hermit crab. The title is from a 2008<br />
book about the use of seductive auto-show models during<br />
the industry’s heyday in Detroit. A fifth woman appears and<br />
Just<br />
is suddenly atop the car, rolling and falling, helpless as<br />
an accident victim, voluptuous as an exotic dancer. Is this a<br />
Jesper<br />
hazing or a command performance? Just keeps us guessing.<br />
If Sirens of Chrome anticipates the theme of racial identity<br />
images:<br />
in the Biennale film and Llano embodies the condition of » Both<br />
art+auction may 2013 | BlouinartinFo.com
20 th Century Decorative Arts and Design<br />
Paris · May 23, 2013<br />
Viewing<br />
May 14–18<br />
May 20–22<br />
9, avenue Matignon, Paris 8 e<br />
Contact<br />
Pauline De Smedt<br />
pdesmedt@christies.com<br />
+33 (0)1 40 76 83 54<br />
From the Former Halwani Collection, Beyrouth: Selected Works by Jean Royère<br />
A Banane salon suite, 1957<br />
€150,000–200,000 · $200,000–260,000<br />
A Flaque coffee table, 1957<br />
€40,000–60,000 · $50,000–80,000<br />
christies.com
128<br />
Just in his studio,<br />
where he uses<br />
a scale model of<br />
the Danish<br />
pavilion in Venice,<br />
shown right,<br />
to map out the<br />
place ments for<br />
the five separate<br />
projections<br />
for Intercourses.<br />
inthestudio<br />
detached observation Just is now aiming for, the third film at<br />
Cohan—This Nameless Spectacle, 2011—is a precedent for<br />
coordinating projections across real space. In this instance,<br />
two mural-scale screens face each other. They show the same<br />
Paris setting (real this time), but one screen is reserved for<br />
the actions of a feral young man and the other for an alluring<br />
middle-aged woman piloting a wheelchair. He pursues her<br />
from a park to nearby residential towers, run-down emblems<br />
of modernist architecture’s arrogance. Having arrived at her<br />
apart ment, the woman rises from the wheelchair and walks<br />
to the window to open the drapes. In a window of the mirrorimage<br />
tower across the way stands the youth. Like the angel<br />
who pierces St. Theresa with the golden spear of God’s love,<br />
he manipulates the window to direct the searing reflection<br />
of the sun onto the woman, who drops to the floor and<br />
writhes in ecstasy. The light fades. She rises and withdraws<br />
into her apartment, terminating the session even as the<br />
young man is hungry for more. Whether this was improvised<br />
play or a daily ritual between the two, the power is hers.<br />
Just used multiple apartments to film the reflected light,<br />
changing position to follow the sun. He found the woman’s<br />
apartment by chance (a resident approached him as he<br />
scouted the complex and invited him in) and left it essentially<br />
unchanged: “Most of the time I take things out, but I never do<br />
set design or add things or build sets. It’s always on location.”<br />
A dialectic of research and serendipity characterizes<br />
Just’s process. He was alerted to the phenomenon of Chinese<br />
replica cities by a passage in a book by the urban theorist<br />
Mike Davis. A preliminary trip to China in December led to<br />
the preparation of a script of sorts, some 50 pages of detailed<br />
notes, from which Just freely departed. He is using video<br />
again after shooting with film for several years; the digital<br />
medium’s economy allows more experimentation.<br />
We examine some footage of faux Paris. The velvety blackand-white<br />
captures what Just calls “a Truffaut-like feeling.”<br />
He is after an episodic, postapocalyptic sci-fi quality: Paris<br />
with parked cars and hanging laundry but no visible<br />
inhabitants aside from the trio of actors. One man wanders the<br />
empty streets and fields. Two others ride a scooter down a<br />
two-lane blacktop that ends abruptly at a scrubby vegetable<br />
patch. In another sequence the pair searchingly run their<br />
fingers along the walls of the apartment they share. The<br />
principal sound throughout will be made by the wind. “They’ll<br />
all connect,” Just says of the men. “You see them isolated,<br />
and then the sounds connect them in some kind of solidarity.”<br />
Just plans to mix the sound on-site in the pavilion in early<br />
May and will probably complete the edit there too, refining<br />
the interlacing of the films. The 11th-hour finish doesn’t<br />
rattle him. “I think the longer you keep it open,” Just says,<br />
“the more you can succeed. It can be nerve-racking, but being<br />
out there, having everything be chaotic—most of the time<br />
it comes together in the last minute.” He smiles and adds,<br />
“Hopefully.”<br />
Art+Auction may 2013 | blouinArtinFo.coM
VIJA CELMINS<br />
UNTITLED (KNIFE AND DISH)<br />
1964<br />
Oil on canvas<br />
16” x 18”<br />
Provenance: Acquired directly from the<br />
artist in 1964<br />
$300,000 - 500,000<br />
12 P.M.<br />
MAY 19, 2013<br />
MODERN ART + DESIGN<br />
PETER LOUGHREY, DIRECTOR | 16145 HART STREET VAN NUYS, CA 91406 | 323-904-1950 | LAMODERN.COM BOND # 7900369478
galeriapik@gmail.com<br />
www.galeriapik.com<br />
GALERI APIK<br />
MODERN & CONTEMPORARY<br />
Heri Dono / A Fake Leader in Oration / Acrylic on Canvas / 150 x 200cm / 2012
world’s<br />
fourth most<br />
populous<br />
nation<br />
emerges<br />
as the next<br />
art world<br />
hot spot<br />
indonesianowThe<br />
By Benjamin Genocchio<br />
Global Identity,<br />
2011, a six-part<br />
ink-on-paper<br />
work by Eko<br />
Nugroho, whose<br />
work featured<br />
prominently<br />
in the breakout<br />
2011 show<br />
“Transfigurations:<br />
Mythologies<br />
Indonésiennes”<br />
at Espace Culturel<br />
Louis Vuitton<br />
in Paris. Art+Auction may 2013 | blouinArtinFo.coM<br />
Art+Auction may 2013 | blouinArtinFo.coM
Eko nugRoho And loMbARd FREid pRojECTs, nEw YoRk<br />
blouinARTinFo.CoM | may 2013 ART+AuCTion<br />
133
134<br />
O<br />
n a rain-soaked afternoon last summer,<br />
nyoman Masriadi sat smoking in his luxurious<br />
home studio in the north of Yogyakarta,<br />
indonesia’s unofficial art capital on the island of<br />
Java. He lit up a Marlboro and, making a gesture toward the<br />
rice paddy adjacent to his property, explained he had recently<br />
bought it. i asked what he planned to do with the land. “Maybe<br />
build a new studio,” he said without any sense of urgency. such<br />
is the demand for his wry paintings of pumped-up, cartoonish<br />
characters that he has the luxury of working when he wishes.<br />
in the Western art world, Masriadi is known as one of the<br />
region’s most successful contemporary artists. His triptych<br />
Man from Bantul (The Final Round), 2000, a powerful<br />
allegory of indonesian politics, sold at sotheby’s Hong kong<br />
in 2008 for $Hk7,820,000 ($1.1 million), then a record for<br />
a living southeast asian artist at auction. the price was more<br />
than five times the high estimate—not bad for an artist who<br />
10 years ago was selling paintings to tourists on his native<br />
island of Bali. today, he is represented by Gajah Gallery in<br />
singapore and Paul kasmin in new York.<br />
in the indonesian art scene, however, Masriadi, 40, is<br />
recognized as only one of several talents who have emerged<br />
over the past decade to make the country a powerful force<br />
in the regional market. the latest signal of that rise came in<br />
January, when the art stage singapore fair hosted a dedicated<br />
indonesian pavilion showcasing four of the nation’s galleries<br />
and featuring a curated exhibition of 36 artists and collectives.<br />
More indonesian galleries showed in the fair’s main section,<br />
and international dealers such as arndt from Berlin and arario<br />
from south korea exhibited work by indonesian artists.<br />
international dealers and collectors have begun to take<br />
notice, due in part to a tide of exhibitions in museums and<br />
at art fairs all around the world over the past few years. in 2010<br />
french art fair artParis+Guests hosted “the Grass Looks<br />
Greener Where You Water it,” an exhibition of the country’s<br />
artists. “trans-figurations: Mythologies indonésiennes”<br />
drew more than 50,000 visitors to the espace Culturel Louis<br />
Vuitton in Paris over the summer of 2011, concurrent with<br />
“indonesian eye: fantasies and realities” at the saatchi<br />
Gallery in London. “Beyond the east” opened that fall at the<br />
Museum of Contemporary art of rome. Last year, art dubai<br />
had a focus on indonesian galleries and artists. and “rally:<br />
Contemporary indonesian art” was on view at the national<br />
Gallery of Victoria, Melbourne, through last month.<br />
on my visit there last summer, i encountered a diverse,<br />
vibrant artist community making outstanding work geared<br />
increasingly to an international audience. sotheby’s and<br />
Christie’s have representatives in Jakarta, as does Gagosian<br />
Gallery. regional galleries such as Gajah, a major dealer<br />
in indonesian work, and Valentine Willie, headquartered<br />
Art+Auction may 2013 | blouinArtinFo.coM<br />
FroM leFt: Sotheby’S; chriStie’S. oppoSite: lArASAti AuctioneerS
in Kuala Lumpur, have branches in Yogyakarta. They are<br />
there to build artist relationships and to source work, but also<br />
to cultivate a growing collector base. Budi Tek, Oei Hong<br />
Djien, Alex Tejada, and Deddy Kusuma are among the more<br />
prominent local collectors, but there are many others, too.<br />
T<br />
his is not the first time Indonesian artists have<br />
found their way onto the art world stage. In<br />
the 1990s, their work appeared to be on the verge<br />
of a market and museum boom, with artists<br />
like Dadang Christanto, Heri Dono, FX Harsono, and Agus<br />
Suwage regularly presented in international biennales<br />
and gallery and museum shows.<br />
However, the lack of gallery and auction infrastructure<br />
made it difficult for artists’ markets to find the support<br />
necessary to evolve and grow. And the Asian financial crisis of<br />
the late 1990s—not to mention the economic and political<br />
chaos following the fall of longtime president Suharto in<br />
1998—inhibited the establishment of collector bases at home<br />
and abroad. These developments coincided with the rise of<br />
China as an economic and cultural power, overshadowing<br />
Indonesia’s artists. All the buzz had fizzled out by 2005, the<br />
last year Indonesia presented a pavilion at the Venice Biennale,<br />
presenting the work of four artists: Noor Ibrahim, Krisna<br />
Murti, Yani Mariani Sastranegara, and Entang Wiharso.<br />
blouinARTinFo.CoM | may 2013 ART+AuCTion<br />
Indonesian<br />
modernists fetch<br />
prices to rival<br />
those of their<br />
contemporary<br />
counterparts.<br />
Hendra Gunawan<br />
took the record<br />
for any artwork<br />
from Southeast<br />
Asia when<br />
Sotheby’s Hong<br />
Kong sold Snake<br />
Dancer, 1977,<br />
far left, for<br />
$2.1 million in<br />
April 2011. That<br />
record was<br />
surpassed the<br />
next year when<br />
the same house<br />
sold a work by<br />
Lee Man Fong for<br />
more than<br />
$4 million. Fong’s<br />
Fifteen Goldfish,<br />
ca. 1945, left, sold<br />
at Christie’s Hong<br />
Kong in May 2012<br />
for $1.6 million.<br />
The same<br />
month, leading<br />
Indonesian<br />
auctioneer<br />
Larasati sold<br />
Affandi’s Me and<br />
My Cigar, 1961,<br />
below, for<br />
$525,000 at its<br />
sale in Hong Kong.
136<br />
Times change: Indonesia, the world’s fourth most<br />
populous country, is experiencing its own resource-driven<br />
economic miracle, with GDP growing at 6.5 percent<br />
annually. The Economist predicts the country’s GDP will<br />
surpass that of the U.K. by 2030. With affluence has come<br />
a desire on the part of the wealthy to show off their taste<br />
through the acquisition of art. Demand has pushed up prices,<br />
which in turn has precipitated investment in the local<br />
gallery and auction infrastructure.<br />
Today, there are at least five serious auction houses and<br />
dozens of commercial galleries in Jakarta and still more in<br />
Bandung and Yogyakarta, quieter regional cities where<br />
artists tend to live. Museums and nonprofit spaces, sadly few<br />
and far between, lag behind Western standards in both<br />
collecting and presentation, with the exception of Cemeti<br />
Art House in Yogyakarta—though even here, infrastructure<br />
is basic. Capping these practical developments is the<br />
symbolically significant relaunch of an Indonesian pavilion<br />
in Venice this year, featuring the work of Sri Astari, Eko<br />
Nugroho, Albert Yonathan Setiawan, Titarubi, and, in a<br />
return engagement, Wiharso.<br />
Beyond increasing prices for the artworks at galleries and<br />
at auction, the most important reason the international<br />
art market has decided to take another look at Indonesian<br />
art is that it has changed. It is more cosmopolitan, less<br />
obviously grounded in local social or political issues. During<br />
and immediately after the Suharto presidency, Indonesian<br />
artists showed bravery with their commitment to make work<br />
that exposed and grappled with poverty, graft, and military<br />
and political abuses. As a result they won the favor of<br />
international critics and curators, but many artists found<br />
their work censored. Some were jailed. Hounded for his<br />
political work, Christanto took refuge in Australia in 1999.<br />
Other artists headed to Europe.<br />
projects<br />
Growing<br />
These days, politics are less polarized, civil society is less<br />
reputations at<br />
tense, and artists address a greater variety of themes. That<br />
Freid<br />
home have<br />
fostered greater<br />
plays well to collectors both at home and abroad.<br />
opportunities for<br />
Indonesian artists<br />
loMbArd<br />
overseas. Agus<br />
H<br />
ong Kong auctions are a microcosm of the broader<br />
And<br />
Suwage’s relief<br />
painting in oil and<br />
regional market’s upward trajectory. Christie’s and<br />
graphite on zinc<br />
Sotheby’s have expanded their business footprints<br />
nuGroho<br />
and aluminum Ave<br />
Mariam #2, 2013,<br />
across Asia in recent years and have been aggressive<br />
eko<br />
was included<br />
in bringing important Indonesian works to the attention of the<br />
in his exhibition<br />
this spring at<br />
wider art world. In May 2009, Christie’s Hong Kong–based<br />
Vuitton;<br />
New York’s Tyler<br />
Southeast Asian modern and contemporary art sales grossed<br />
Rollins Fine Art.<br />
louis<br />
Opposite: Angels $2.6 million; Sotheby’s spring sale took in $3.7 million. Those<br />
And<br />
Face to the Future,<br />
figures more than doubled in 2010 and then grew again, if more<br />
2007, top,<br />
by Heri Dono, modestly, reaching $6.34 million at Christie’s sale in May 2011,<br />
Guyon<br />
was included in<br />
while Sotheby’s sold $12.35 million that season, with the work<br />
“Trans-Figurations:<br />
of several Indonesian artists among the top lots.<br />
pAuline<br />
Mythologies<br />
Indonésiennes”<br />
One of the founding fathers of modern Indonesian art,<br />
top:<br />
at Espace Culturel<br />
Louis Vuitton Hendra Gunawan, earned the record for any Southeast Asian<br />
FroM<br />
in Paris in 2011.<br />
painting, modern or contemporary, when Snake Dancer, 1977,<br />
Eko Nugroho’s<br />
Every Stranger brought $HK16.3 million ($2.1 million) at Sotheby’s in April<br />
opposite<br />
Have Extra<br />
2011. That was superseded in October 2012 when the same<br />
Breast and Extra<br />
house sold Lee Man Fong’s Fortune and Longevity, 1951, for<br />
york.<br />
Mind, 2011,<br />
bottom, was<br />
$HK34.3 ($4.4 million). Overall in 2012, Sotheby’s realized<br />
new<br />
presented<br />
$28 million, another impressive result for its Southeast Asian<br />
Art,<br />
in “Snobs Behind<br />
Ketchup,”<br />
modern and contemporary art sale, cementing its dominance.<br />
Fine<br />
inaugurating the<br />
fall 2011 season Christie’s, meanwhile, changed tack and merged Southeast<br />
at Lombard<br />
Asian sales with those for modern and contemporary Asian art<br />
rollins<br />
Freid Projects in<br />
New York. in an effort to consolidate consignments and buyers.<br />
tyler<br />
Art+Auction may 2013 | blouinArtinFo.coM
“International auction houses like Sotheby’s moved into<br />
this market in the mid 1990s,” explains Mok Kim Chuan,<br />
director of China and Southeast Asia and head of the Southeast<br />
Asian painting department at Sotheby’s in Hong Kong. “And<br />
ever since, we have played a significant role in taking<br />
Indon esian art—modern and contemporary—to the next level<br />
through the engagement of a broader client base worldwide,<br />
which has in turn boosted interest and demand, leading to<br />
steadily rising prices in recent years.” Since overseeing the<br />
house’s inaugural auction of contemporary Southeast Asian<br />
paintings in 1999, Mok has brokered record prices for artworks<br />
by several modern and contemporary Indonesian artists,<br />
including Affandi, Fong, Gunawan, Masriadi, Handiwirman<br />
Saputra, Sindoedarsono Sudjojono, and Suwage.<br />
Christie’s is no less bullish. “In the second half of 2011 and<br />
2012, we saw a definite growing interest in 20th-century<br />
Indonesian art running parallel to the expanding market for<br />
contemporary art,” says Zineng Wang, specialist in Asian<br />
20th-century and contemporary art, Southeast Asia region, for<br />
Christie’s Hong Kong. “A good number of younger and foreign<br />
buyers are fleshing out their collections of Indonesian art with<br />
the works of preceding generations of artists who were active<br />
from the immediate postwar period to the 1980s. At the same<br />
time, the market for contemporary Indonesian art is expanding<br />
geographically, with new buyers emerging from Europe, the<br />
Middle East, and America, growing from the traditional base<br />
of Indonesian and Southeast Asian art collectors.”<br />
Such market success has spurred competition. Amalia<br />
Wirjono, a former Indonesian market representative for<br />
Christie’s, now works for Gagosian Gallery Hong Kong from<br />
a base in Jakarta, where her job is to source work and manage<br />
relationships with important local collectors. Enthusiastic<br />
and articulate, she comes across as a persuasive ambassador<br />
blouinARTinFo.CoM | may 2013 ART+AuCTion<br />
137
138<br />
for her native country’s artists. “You are going to be hearing<br />
much more about all these artists,” she says. “It is not just that<br />
they are talented and smart, because Indonesia has always<br />
had talented artists. We now have the collectors here and<br />
elsewhere who believe in the artists. There has been a real shift<br />
in mind-set. People have suddenly woken up to what we<br />
have here. We never had that commitment before, that kind of<br />
belief and investment.”<br />
Wirjono was my guide in Jakarta and helped me navigate<br />
the local art scene, not to mention some of the world’s worst<br />
traf fic congestion. Jakarta is home to the two largest auction<br />
houses in Indonesia, Larasati and Borobudur—which have<br />
branched out to hold sales in other countries in the region and<br />
established offices in Europe—as well as most of the better<br />
galleries. Ark, Nadi, Vanessa, Mon Décor, and Edwin’s are<br />
among the most prominent, mixing modern and contemporary<br />
Indonesian art with local crafts, including wood carving, that<br />
are popular in collecting circles. Chinese art is also popular,<br />
especially among local collectors of Chinese descent. Tek, for<br />
example, owns works by Ai Weiwei, Fang Lijun, and Zhang<br />
as well as pieces by Western artists Maurizio Cattelan, Antony<br />
Gormley, and Anselm Kiefer and Indonesians like Christanto,<br />
Nugroho, Putu Sutawijaya, Suwage, and Yunizar, to name but<br />
a few. He exhibits his ever-expanding collection in downtown<br />
Jakarta and plans to open a new space in Shanghai later this year.<br />
Kusuma, who is also an Indonesian of Chinese descent,<br />
likewise owns works of prominent Chinese modern and<br />
contemporary artists (Zhang Huan, Wang Guangyi, and Yue<br />
Minjun) and Westerners (Auguste Rodin and Fernando Botero)<br />
alongside his diverse holdings by Indonesians such as Affandi,<br />
Astari, Badruzzaman, Dono, and Nugroho. He is still<br />
collecting, but after 35 years of buying art he now goes about it<br />
at a more leisurely pace. After showing off some of his favorite<br />
works—on display in his home in a gated community on the<br />
edge of a golf course—he recalled buying his first Masriadi,<br />
Diet Sudah Berakhir (“The Diet Ends”), 1999, which today<br />
hangs in his home among other paintings by the artist. Showing<br />
a man handcuffed to a toilet thinking about fried chicken as a<br />
nurse looks on, the painting cost about $1,000 at a gallery<br />
in Ubud on Bali. Asked what drew him to the artist’s work,<br />
Kusuma says, “It was so different, filled with ideas and deep<br />
meanings, symbolic yet playful. It immediately felt important.”<br />
Along with the auction houses, Western dealers have<br />
noticed the quality of art coming out of Indonesia and moved<br />
into the market. Tyler Rollins Fine Art in New York was among<br />
the first: The gallery began working with Indonesian artists<br />
in 2009 and today represents Harsono and Suwage; this past<br />
spring Suwage showed paintings and sculptures in his second<br />
singAporE<br />
solo exhibition at the gallery. Rollins is optimistic about the<br />
potential of the market. “There has been tremendous change<br />
gAllEry,<br />
in interest since 2009,” he says. “Having lots of Indonesian<br />
gAjAh<br />
artists in biennials and triennials and museum shows has put<br />
Indonesia on the art world radar. Of course there is still a<br />
bErlin;<br />
long way to go, but it has greatly improved the market, which<br />
has now truly globalized.”<br />
Arndt,<br />
Other New York galleries showcasing top Indonesian<br />
And<br />
artists include Lombard Freid Projects, which represents<br />
Nugroho, and Kasmin, which in 2011 presented Masriadi’s<br />
WihArso<br />
first solo show in the United States, with prices ranging<br />
from $200,000 to $350,000. It was a sellout, “with all<br />
EntAng<br />
paintings sold to American and British collectors,” says<br />
top:<br />
Nick Olney, the (continued on page 168) FroM<br />
Art+Auction may 2013 | blouinArtinFo.coM
from top: tyler rollins fine Art; two imAges, gAjAh gAllery<br />
blouin<strong>Artinfo</strong>.Com | may 2013 Art+AuCtion<br />
Opposite: In the<br />
foyer, top, a 1930s<br />
Jean-Michel<br />
Frank leather sofa<br />
and screen sit<br />
below a constellation<br />
of Line<br />
Vautrin mirrors,<br />
alongside a lamp<br />
by <strong>Marc</strong> Du<br />
Plantier and three<br />
sheep by<br />
François-Xavier<br />
Lalanne. In the<br />
library, below,<br />
a Tiffany lamp,<br />
A still from FX Harsono’s Writing in the<br />
Rain #7, 2011, above; Kiri Kanan Atas Bawah<br />
(“Left Right Up Down”), 2013, by Yunizar,<br />
left; and Handiwirman Saputra’s Tak<br />
Berakar Tak Berpucuk no. 7 (“No Shoots<br />
No Roots no.7”), 2011, below. Opposite,<br />
from top, are Entang Wiharso’s Rejected<br />
Landscape and Nyoman Masriadi’s<br />
Peaceman, both from 2012.<br />
139
140<br />
Inviting the<br />
World into<br />
Their Home<br />
Art+Auction may 2013 | blouinArtinFo.coM
Recent acquisitions displayed in the couple’s ground-floor private<br />
museum include, from left, Damien Hirst’s Repent, 2008; Subodh<br />
Gupta’s monumental sculpture Cocoon, 2009, and Gary Hume’s<br />
Jim (Little), 1991. Right: Rafaela Seppälä-Forsblom and Kaj Forsblom<br />
in front of Eric Freeman’s Birthday, 2005. Portrait by Lasse Lecklin.<br />
blouinARTinFo.CoM | may 2013 ART+AuCTion<br />
Personal history and the<br />
development of<br />
contemporary art<br />
intertwine in the collection<br />
of Kaj Forsblom and<br />
Rafaela Seppälä-Forsblom<br />
By alexander forBes<br />
photographs By eva persson<br />
141
142<br />
As wintry weather began to descend on<br />
Helsinki last November, a closeknit<br />
group of friends, collectors, and<br />
artists joined Kaj Forsblom and his<br />
wife, Rafaela Seppälä-Forsblom, in<br />
celebration of the 35th anniversary<br />
of his gallery, the first contemporary<br />
space in Finland, which he runs today<br />
with his son Frej. The bonhomie of the<br />
evening reflected the regard held for Kaj<br />
and Rafaela within the local scene. The<br />
festivities were expected to last well into<br />
the evening, and several out-of-towners<br />
had been invited to bunk there at the<br />
gallerists’ home. “The Forsblom dorm,” joked frequent<br />
visitor Donald Sultan as he strolled through the house,<br />
where he and fellow gallery artists Secundino Hernández<br />
and Mark Francis were spending the night. It was rather<br />
more posh than any dormitory in the traditional sense:<br />
The residence occupies two floors of a building that also<br />
features a private museum for their personal collection,<br />
opened in November 2011 on the ground floor.<br />
Given their long involvement with quality, cutting-edge<br />
art, it is hard to believe that only a little more than a decade<br />
has passed since Kaj and Rafaela began collecting in an active<br />
and focused manner. Both had been involved in the arts, but<br />
had made only relatively modest purchases before marrying<br />
The Freeman oil<br />
shares the space<br />
with Nam June<br />
Paik’s anthropomorphic<br />
robot<br />
installation<br />
Phoenix, 1996,<br />
Guillermo Kuitca’s<br />
Everything,<br />
2005, Da Xiang’s<br />
untitled porcelain<br />
Mao sculpture,<br />
2005, and<br />
seating designed<br />
by Le Corbusier.<br />
in 2000. Rafaela hails from Scandinavia’s most prominent<br />
media family (founders of the Sanoma Group, with a<br />
formidable collection of their own) and had been living in<br />
Paris and working as a journalist before she met Kaj. Today<br />
their collection numbers about 1,500 works, with strength<br />
in areas ranging from sculpture and painting to new media.<br />
The couple has set clear boundaries on the extent to which<br />
work and play are allowed to overlap. “We do not buy from<br />
the exhibitions in the gallery. It would not be fair to our<br />
clients and collectors,” says Rafaela. They do, however, buy<br />
from many artists in their stable, and the gallery’s history<br />
influences the couple’s collecting in indirect ways. For<br />
example, only two years after its launch, Galerie Forsblom<br />
gained notice for a wide-ranging Picasso exhibition. Out<br />
of the show, Forsblom placed the oil on paper and canvas<br />
Mousquetaire 1.4.69, 1969, with a Finnish collector,<br />
making it the first privately owned Picasso painting in the<br />
country. Years later he was pleased to acquire the work<br />
from the collector’s estate. It now hangs in his Helsinki study.<br />
Similarly, Andy Warhol’s silkscreen portrait Leo<br />
Castelli, 1975, which hangs adjacent to a monumental<br />
Jannis Kounellis, Untitled, 1998, in the dining room, is a<br />
fairly recent acquisition, from 2007. However, Forsblom<br />
had been an admirer of the work for years. “I had a show in<br />
1988 where I presented all of the major artists of Castelli’s<br />
New York gallery,” he explains. “Leo came to Helsinki and<br />
was treated like a pop star. It was a milestone show for us,<br />
Art+Auction may 2013 | blouinArtinFo.coM
and this portrait was on the cover of the catalogue. When<br />
our gallery turned 30 in 2007, by chance this painting<br />
came up for auction in New York.”<br />
Other artistic pursuits have evolved according to interest.<br />
A 1989 show featuring Basque sculptor Eduardo Chillida<br />
sparked an intense investigation of sculpture, which<br />
eventually led to purchases of works by some of the top<br />
practitioners of the past few decades. While Markus<br />
Lüpertz’s Titan, 1986, stands in the couple’s Helsinki living<br />
room and smaller sculptural works by Manolo Valdés and<br />
Stephan Balkenhol, among others, are scattered throughout<br />
the residence, the bulk of the sculpture collection is housed in<br />
Majorca. There, an expansive garden accommodates large<br />
works by the likes of Anish Kapoor, Ernesto Neto, and<br />
Rebecca Horn, in rotation.<br />
Rafaela, whose current fixations include new media, adds<br />
that inspiration can work in the opposite direction.<br />
“Sometimes we acquire pieces by artists we like for the<br />
collection, and then later we contact them to organize a show<br />
at the gallery,” she says. Wanting a work by Tony Oursler,<br />
Rafaela invited him over in 2005 during his retrospective at<br />
Helsinki’s City Art Museum. The video projection on a<br />
fiberglass form that she and Kaj purchased after that meeting<br />
is now installed under the apartment’s central staircase, to<br />
disconcerting effect. Until visitors enter the niche and see<br />
Owd, 2005, they only hear what seem to be the plaintive<br />
cries of a demented child.<br />
Oursler now shows with Forsblom, as does the Finlandbased<br />
Scottish artist Charles Sandison, whom the couple met<br />
when they purchased Language as the Mirror of the World,<br />
installed downstairs in their private museum. It is one of only<br />
blouinARTinFo.CoM | may 2013 ART+AuCTion<br />
a few works permanently on view (the couple plan to rehang<br />
the rooms two or three times per year), having been specially<br />
modified to suit the dimensions and entryways of the room in<br />
which it was installed. The piece, which won Sandison the<br />
Ars Fennica prize in 2010, uses the entirety of the space—<br />
walls, ceiling, mirrored floor, and a large table—as a screen<br />
on which to display a constantly scrolling projection of the<br />
full text of the Encyclopedia Britannica. One loop takes 77<br />
years to complete.<br />
When he relates the stories behind these and other works,<br />
Kaj’s speech speeds up and his grin comes alive. One<br />
oft-retold story concerns Nam June Paik’s Phoenix, 1996, an<br />
anthropomorphic robot sculpture fashioned from radios<br />
and televisions on which images cycle, such as an eerily<br />
prescient flash of the World Trade Center exploding. “Paik<br />
had a piece installed at the K20 museum in Düsseldorf,” Kaj<br />
recalls. “A day before the opening, a fire broke out in the<br />
The stairwell hosts a<br />
spate of paintings<br />
from the Forsbloms’<br />
favored genres,<br />
including, from left<br />
to right, Julian<br />
Schnabel’s The Kiss,<br />
1989; Yan Pei Ming’s<br />
Red Pope, 2004;<br />
and Ross Bleckner’s<br />
multipanel Bird<br />
Studies, 1993–2000,<br />
custom-installed<br />
by the artist. On the<br />
far wall is Bernar<br />
Venet’s Indeterminate<br />
Line, 1998. Their<br />
collection of Finnish<br />
design, above,<br />
features pieces by<br />
Tapio Wirkkala.
144<br />
The Forsbloms’<br />
by-appointment<br />
showrooms downstairs<br />
from their<br />
Helsinki residence<br />
accommodate<br />
larger works.<br />
Charles Sandison’s<br />
video projection<br />
Language as the<br />
Mirror of the<br />
World, 2010, fills<br />
one room; also on<br />
display is Jacob<br />
Hashimoto’s The<br />
Air Smelled of<br />
Subversion and<br />
Boundaries,<br />
All Glitter with<br />
Bright, Sourceless<br />
Light, 2011.<br />
museum and the entire show burned down. The Germans<br />
said that they couldn’t pay out any insurance claims because<br />
the artist’s pieces were to blame for the fire,” he continues.<br />
“Paik took pride in the safety of his installations, so<br />
he brought in U.S. fire experts who determined that it was<br />
actually the museum’s wiring that couldn’t handle the<br />
amount of current the works needed, so he made this piece<br />
to commemorate reclaiming his reputation.”<br />
These new-media works are a sidestream to the couple’s<br />
collection of paintings from 1980 through today,<br />
an assemblage practically unparalleled in Finland and<br />
Scandinavia at large. In the parlor where their largest work<br />
by Sultan, Stacked Vases, 1994, hangs is one of Julian<br />
Schnabel’s earliest plate paintings, Some Bullfighters Get<br />
Closer to the Horns # 2 (Portrait of Joe Glasco with<br />
Two Pine Trees), 1982, as well as a piece from Francesco<br />
Clemente’s recent series “The Sopranos.” Somewhat more<br />
atypical is Ross Bleckner’s 80-panel Bird Studies, 1993–<br />
2000; the couple purchased it as a horizontal work and<br />
asked the artist to come install it so that it careens vertically<br />
to span two floors of stairwell underneath a set of skylights.<br />
Among earlier generations of contemporary artists,<br />
Georg Baselitz, Eric Fischl, Günther Förg, Gary Hume, and<br />
Christopher Wool are also in the Forsbloms’ collection,<br />
as are Chantal Joffe, Jason Martin, Josh Smith, and their<br />
houseguest Hernàndez, who figure among the couple’s<br />
favorite young talents. One notable exception to their 1980<br />
cutoff is a Francis Bacon self-portrait from 1967–68, one of<br />
their most prized holdings. “Rafaela and I have both always<br />
been very fond of Bacon,” says Kaj. “We came across<br />
this self-portrait that came from John Edwards, who was<br />
Bacon’s companion from 1976 until his death in 1992.<br />
We saw it at Art Basel in 2007. We showed it to Günther<br />
[Förg] and he told us we had to have it.”<br />
Art isn’t the sole focus of Kaj and Rafaela’s collecting<br />
efforts; they have also invested deeply in Finnish design.<br />
“We started the design collection because we saw that so<br />
much Finnish design was being bought abroad, but no one<br />
was making sure that at least one example—and a good<br />
one—of each classic remains here,” says Rafaela. It started<br />
with a glass object by their friend Ristomatti Ratia that<br />
Kaj gave Rafaela as a Valentine’s Day present in 1999; today<br />
it includes chairs by Ilmari Tapiovaara and nearly all of<br />
Tapio Wirkkala’s best-known works in glass and aircraft<br />
plywood, including Lehti (“Leaf”)—which House Beautiful<br />
magazine dubbed the world’s most beautiful object in<br />
1951—as well as some of his earliest Chanterelle vases.<br />
The Forsbloms have one of the first Savoy vases made by<br />
Alvar Aalto, in 1937, along with works by his wife Aino.<br />
Chandeliers and lamps by Paavo Tynell feature prominently<br />
throughout their home. And they are constantly on the hunt<br />
Art+Auction may 2013 | blouinArtinFo.coM
for items from a burned-down manor house designed by Eliel<br />
Saarinen near the former Finnish province of Karelia;<br />
currently they own a candlestick, two sconces, and a clock<br />
salvaged from the ruins. This preservation of domestic<br />
aesthetic history also carries over to art, with paintings by<br />
Finnish constructivist Lars-Gunnar Nordström and<br />
Neo-Expressionist Leena Luostarinen numbering among<br />
the couple’s sentimental favorites.<br />
For now, the Forsbloms’ downstairs space is mainly<br />
oriented to show their most recent acquisitions, like a quartet<br />
of Damien Hirst butterfly paintings and Andreas Gursky’s<br />
coal-mine C-print Hamm, Bergwerk Ost, 2008. They are<br />
also actively involved with Finland’s institutional scene<br />
and its struggles, particularly the Kiasma Contemporary<br />
Art Museum, for which Kaj and Rafaela helped establish a<br />
foundation in 2008. “As everywhere, there are huge<br />
problems with museum funding in Finland. It’s always the<br />
first thing to be cut. There are no tax incentives for private<br />
individuals to contribute and few for corporations,” she<br />
explains. “At one point Kiasma didn’t have money to<br />
keep the galleries open, so the foundation helped organize<br />
an exhibition of YBAs by pulling works from Finnish<br />
collections and those of our friends.” Most attendees had<br />
never had the opportunity to see a Hirst in person, she notes.<br />
Looking forward, Kaj and Rafaela agree that admitting<br />
visitors to their private exhibition space on a by-appoint-<br />
ment basis is just the first step in opening up their collection<br />
to a wider audience. “We are trying to figure out the way<br />
to make the collection public in the future and do not want<br />
blouinARTinFo.CoM | may 2013 ART+AuCTion<br />
“We don’t want to let it<br />
gather dust in storage.<br />
We owe it to the artists.”<br />
to let it gather dust in storage. We owe it to the artists,”<br />
Rafaela says. Outwardly humble, the couple are nevertheless<br />
proud to be able to bring to their home country and<br />
maintain works of international stature. Helsinki<br />
surely has reputable institutions—and perhaps even a<br />
Guggenheim on the way, something that Rafaela has<br />
supported—but the reality is that through both the gallery<br />
and their collecting, the pair have dramatically influenced<br />
the caliber of contemporary art present in the country<br />
and the degree to which it is understood.<br />
Whether the collection eventually goes to a Finnish<br />
museum, an international institution, or an expanded<br />
version of the couple’s current museum, Kaj is firm that it<br />
will stay intact. “Art can be a very good investment if you<br />
hold on to it,” he says when asked if pieces ever leave the<br />
collection. (They don’t.) “The legendary gallerist Ernst<br />
Beyeler had a very good quote: ‘I made my money selling<br />
art, but I made my fortune keeping it,’” he adds, with a smile<br />
that suggests he’s counting his own fortune in the faces<br />
of his artists and friends gathered to raise a glass.<br />
A grouping of<br />
works in the living<br />
room evinces an<br />
interest in the<br />
figure. From left:<br />
Markus Lüpertz’s<br />
Titan, 1986, an<br />
early Julian<br />
Schnabel plate<br />
painting from<br />
1982, and Chantal<br />
Joffe’s Career<br />
Girl, 2009.
146<br />
spirit<br />
of<br />
col l ect i ng<br />
Wine isn’t the only libation finding its way onto the auction<br />
block, collectors are increasingly making room in their cellars for<br />
cognac and whiskey By Egmont Labadie<br />
In September 2011, at the Shanghai International Commodity Auction Company, a bottle of<br />
1858 Cuvée Léonie Cognac direct from the cellars of Pierre Croizet was hammered down at<br />
RMB1 million ($161,000), the highest price ever paid for a bottle of cognac at auction. While<br />
record lots are often anomalies, the sale exemplified several key traits of the collectible<br />
spirits market, including the availability of fine drinking brandies more than a century old,<br />
the importance of provenance in achieving high prices, and the increasing influence of the<br />
Asian market. Cognac, however, is not the only spirit gaining collector interest. “Historically,<br />
single malt whiskey has performed better,” says Bonhams whiskey expert Martin Green.<br />
According to Paris Artcurial wine and spirits expert Laurie Matheson, both of them offer the<br />
same advantage for collectors: “They’re not as fragile as wine and therefore easier to store<br />
under normal conditions.” Still, those looking to start a collection should consider a few tips<br />
from experts before stocking bottles of either potent potable.<br />
COGNAC<br />
• history and classification<br />
While cognac is today considered one<br />
of France’s luxuries, its history is<br />
both international and working-class.<br />
Production of brandy began in the<br />
16th century to satisfy demand from<br />
Dutch sailors for an alcohol that would<br />
survive the long voyage to the East<br />
Indies. By happy coincidence, the vineyard<br />
surrounding the harbor of La<br />
Rochelle in southwest France produced<br />
a white wine that was difficult to store<br />
but well suited for distillation. Soon the<br />
nearby town of Cognac became the<br />
center of production. As British trade in<br />
the elixir emerged and grew, English<br />
merchants created the distinction<br />
between cognac’s two most renowned<br />
terroirs: Grande Champagne and<br />
Petite Champagne (which have nothing<br />
to do with the region that produces the<br />
effervescent wine). The British also<br />
created the cognac age scale, indicating<br />
the time spent in barrels: very special<br />
(VS) for at least two years, very superior<br />
old pale (VSOP) or reserve for at<br />
least four years, and XO (extra old) or<br />
Napoleon for a minimum of six years.<br />
• production<br />
Cognac, like all brandies, is distilled<br />
wine. Current production involves a<br />
complex network of thousands of vine<br />
growers, winemakers, independent<br />
distillers, and corporate brands.<br />
Although it must be distilled twice and<br />
Art+Auction may 2013 | blouinArtinFo.coM
Top To boTToM: ARTCuRiAl, pARis; CRoizeT. opposiTe: soTheby’s<br />
aged for at least two years in barrels, the<br />
intricacies involved allow for great variety<br />
in methods of production. But all cognacs<br />
are the end product of blending. Wines<br />
are mixed prior to distillation, and<br />
brandies that have been aged one to three<br />
years are put up together in casks. Most<br />
bottlings contain a combination of young<br />
and old spirits. “Only five percent of<br />
our production comes from our own vineyard,”<br />
says Benoît Fil, cellar master at<br />
Martell. For Rémy Martin Louis XIII,<br />
some 1,200 different spirits may be used.<br />
• collecting<br />
“There are three reasons why people<br />
build a collection,” says Michael Ganne,<br />
head of Continental wine and spirits<br />
at Christie’s: “because you want to drink<br />
it; as an investment; or to see thousands<br />
of beautiful bottles in your home.”<br />
Of course, these motivations are not<br />
mutually exclusive, and it would make<br />
little sense to put the effort into collecting<br />
if you have not developed a taste for the<br />
elixir. With age, the palate goes from light<br />
fruit (mostly citrus) and flowers to dark<br />
blouinARTinFo.CoM | may 2013 ART+AuCTion<br />
notes of prune, chocolate, toffee<br />
(sometimes due to the legal addition of<br />
caramel), even tobacco. Other factors<br />
to be considered when buying for a<br />
collection are vintage, brand name, and<br />
the style of the bottle. A collector may<br />
choose according to various criteria.<br />
“You can have every vintage from 1800<br />
to 1900 to resell as a vertical,” Ganne<br />
says. “Or you can buy all the bottles of one<br />
great vintage, to control its market.”<br />
• vintage<br />
Many very old vintages are available,<br />
and there are fewer risks in purchasing<br />
them compared with old bottles of<br />
wine. “Cognac from the 1850s will be<br />
perfect, and the alcohol will be less<br />
aggressive,” says Ganne. Furthermore,<br />
these old bottles are quite affordable.<br />
A typical 1830 cognac can be had for<br />
around $1,700, and bottles of 1811 can<br />
be bought for $2,000. By comparison,<br />
a bottle of Château d’Yquem 1811 was<br />
sold for £75,000 ($112,000) by the<br />
Antique Wine Company in London two<br />
years ago. “You don’t have to buy<br />
19th-century cognacs; it’s quite easy to<br />
find some early 20th-century bottles<br />
for really good prices,” Ganne says. “A<br />
1914 bottle can be bought for €500 to<br />
€600” ($600 to $750). For more recent<br />
vintages, “Only buy the top market<br />
product, with an announced number of<br />
bottles produced,” says Matheson,<br />
of Artcurial. “You have to have a brand<br />
with a quality reputation, not necessarily<br />
the best known.”<br />
• top makers<br />
Because cognacs are blends, brands<br />
producing larger batches tend to show<br />
greater variation with age. Collectors<br />
favor less-well-known brands that<br />
bottle their spirits in limited editions,<br />
thereby guaranteeing a more constant<br />
level of quality. “A.E. Dor, Hine,<br />
Ragnaud Sabourin, Delamain, Croizet,<br />
Lheraud, Monnier, and Gourmel are<br />
often featured at our auctions,” says<br />
Matheson. Of these, each is distinctive<br />
both in taste and in marketing<br />
approach. Hine is quite rare with a more<br />
elegant, complex, and strict style than<br />
that from a familiar trade brand such as<br />
Courvoisier. A.E. Dor still produces<br />
spirits under its label but also owns very<br />
old vintages. Similarly, Croizet still has<br />
old bottles, although they decline to say<br />
just how many. The maker will sell<br />
directly only to those it designates true<br />
connoisseurs. The record-setting Cuvée<br />
Léonie is said to be available for<br />
$157,000. The 1883 and 1889 vintages<br />
can be had for $14,000 and $12,000,<br />
respectively. These prices are aided by<br />
the impeccable provenance of bottles<br />
that never left the producer’s cellars.<br />
Above, flanking a<br />
bottle of 1955<br />
Cognac Lheraud<br />
from the Domaine<br />
de Lasdoux, are<br />
two 19th-century<br />
bottles of Hine<br />
cognac sold by<br />
Artcurial Paris<br />
in November 2011.<br />
The 1858 on<br />
the left brought<br />
$4,400, while<br />
the 1877 on the<br />
right earned<br />
just $2,200. The<br />
most expensive<br />
cognac sold at<br />
auction is an 1858<br />
Croizet, Cuvée<br />
Léonie, left, which<br />
brought more<br />
than $155,000 at<br />
a September<br />
2011 sale at the<br />
Shanghai<br />
International<br />
Commodity<br />
Auction Company.<br />
Opposite:<br />
The 64-year-old<br />
Macallan in a<br />
unique Lalique<br />
decanter earned<br />
the highest<br />
price ever for a<br />
single bottle<br />
of whiskey when<br />
it sold at Sotheby’s<br />
New York in<br />
November 2010<br />
for $460,000.<br />
147
148<br />
The unique<br />
Stetangen<br />
decanter by<br />
Hadeland<br />
Norwegian glassware,<br />
above,<br />
contains a blend<br />
of Braadstad<br />
cognac and sold<br />
at last year’s<br />
charity Part des<br />
Anges auction<br />
near Cognac, in<br />
France, for<br />
$6,300. The Rémy<br />
Martin Louis XIII<br />
Black Pearl<br />
cognac, right, in<br />
a decanter by<br />
Baccarat and<br />
a leather<br />
presentation<br />
case, brought<br />
$24,600 this<br />
past November<br />
at Bonhams<br />
Hong Kong.<br />
• and the obscure<br />
Because brandy holds up over time,<br />
bottles have outlived the companies<br />
that produced them. “Some<br />
companies that have disappeared are<br />
still famous,” says Ganne. “If you<br />
buy Eschenauer, Pierre Chabanneau,<br />
Fromy, Bignon, it’s likely the cognac<br />
will be very good.” Saulnier Frères,<br />
which stopped producing cognac in the<br />
18th century, is somewhat obscure,<br />
yet a Réserve de Saint Amand de Graves<br />
1789 sold for SF27,600 ($29,000) at<br />
Christie’s Geneva in November 2012.<br />
Provenance can help achieve good<br />
prices for some bottles that don’t even<br />
have a label. “Last year in London<br />
we sold cognac and other spirits from<br />
La Tour d’Argent,” Ganne notes.<br />
“The bottles were purchased and cellarstored<br />
by the restaurant a very long<br />
time ago.” Two 2.5-litre bottles of 1805<br />
grand champagne cognac went for<br />
£25,300 ($38,000) each. A vintage<br />
alone can be enough to give value to an<br />
anonymous bottle. Look for those<br />
dating to the time of Napoleon—<br />
vintages from 1800 to 1815—with<br />
some bottled for the emperor himself<br />
carrying markings on the neck to<br />
indicate a royal purchase.<br />
to 30 years of proper storage. Rare<br />
examples include those donated<br />
by the manufacturers to be purchased<br />
at the Part des Anges charity auction,<br />
held each September in Cherves-<br />
Richemont, near Cognac. Of course,<br />
the prices cannot be considered<br />
market, but “the quality of the cognacs<br />
in the auction is serious,” says Matheson.<br />
Among well-known examples is a run<br />
produced for Courvoisier of 12,000<br />
bottles serigraphed with seven different<br />
images by Erté. The last sets of this<br />
30-year-old edition were released in the<br />
U.S. in 2008 for $10,000. Auction<br />
prices for the lots vary between $3,000<br />
and $18,000, with a complete series<br />
sold by Bonhams in San Francisco on<br />
<strong>Marc</strong>h 9 for $7,735. Rémy Martin<br />
created its Louis XIII decanter in 1874,<br />
based on the design of a 16th-century<br />
metal flask. Erratic auction prices<br />
commonly range from $800 to $4,000,<br />
depending on the bottling, the oldest<br />
being the most expensive. In 2007 the<br />
house released a century-old liquor<br />
in a special version of the bottle called<br />
the Louis XIII Black Pearl. One<br />
example from a limited edition fetched<br />
$HK190,400 ($25,000) after a<br />
bidding war at Bonhams Hong Kong<br />
in November 2012, but similar<br />
bottles are often purchased at auction<br />
for around $7,000.<br />
WHISKEY<br />
• history and classification<br />
Scotch whiskey dates back to the 15th<br />
century, as evidenced by records of malt<br />
being sent to a monk in 1494 for the<br />
distillation of “aquavitae.” The first<br />
distillery license was granted to the<br />
Scotch whiskey industries, including the<br />
Macallan and Glenlivet brands, in<br />
1824. “Prior to that date, people were<br />
distilling without a license,” says Green,<br />
of Bonhams. Despite its world renown,<br />
it is a contracting industry. In the 1920s,<br />
when numerous distilleries were taken<br />
over by Scotland’s United Distillers<br />
Company, “around 80 distilleries were<br />
closed,” says French retailer Thierry<br />
Richard, who seeks the best remaining<br />
barrels from these vanished companies<br />
and bottles them in very limited<br />
editions. Once home to 30 distilleries,<br />
Campbeltown, on the Kintyre<br />
peninsula in Scotland, now has only<br />
three. Scottish production is divided<br />
into three main regions, each known<br />
for its own style. Speyside, east of<br />
Inverness, is the birthplace of Scotch<br />
and home to still-famous brands<br />
like Glenfiddich and Glenlivet. Scotch<br />
from this region is notable for its<br />
balanced style, with both peat and fruit<br />
and notes of bourbon and sherry.<br />
The Lowland, south of Glasgow, offers<br />
spirits with a light, round style, while<br />
the Highland to the north is associated<br />
with more robust whiskeys.<br />
• production<br />
The original principle still remains:<br />
Grain, most often barley, is fermented<br />
in water and the malt is distilled to<br />
extract the alcohol, which is then put<br />
up in casks to mellow. Although<br />
Scotland’s regions are known for just<br />
a few general styles, there is great<br />
diversity of flavors due to the different<br />
qualities of barley; whether or not peat is<br />
used and in what proportion to the<br />
malt; the purity of the water; and the<br />
stills employed. However, the most<br />
dramatic differences come from the<br />
types of casks, which are often<br />
recycled. Barrels imported from Jerez<br />
de la Frontera, Spain, that have been<br />
used to age sherry can add dark fruit<br />
flavors, while American bourbon<br />
barrels give vanilla and toffee notes.<br />
To preserve the extraordinary<br />
complexity derived from these barrels,<br />
single-cask bottlings are a common<br />
practice for whiskey. Properly stored,<br />
whiskey ages only while it’s in the<br />
barrel. Unlike wine, the maturation<br />
process doesn’t continue after it’s<br />
bottled. Thus, a 50-year-old whiskey<br />
has spent half a century in a cask.<br />
bonhAMs<br />
MAcAllAn; the bonhAMs; leFt: FroM opposite,<br />
• decanters<br />
Among a subset of collectors, the<br />
bonhAMs.<br />
beautiful decanters, made by such<br />
notable firms as Lalique, Baccarat,<br />
Daum, and Sèvres, create value. Retail<br />
ArtcuriAl;<br />
decanters released in larger editions<br />
top:<br />
are considered collectible only after 20 FroM<br />
Art+Auction may 2013 | blouinArtinFo.coM
• collecting<br />
Collecting whiskey can be “a bit more<br />
complicated than collecting cognac,”<br />
Ganne says. “If you really want to understand<br />
whiskey, you have to be<br />
passionate.” The difficulty stems from<br />
the sheer amount of information one<br />
needs to gauge the true value of the<br />
bottles available for consumption or<br />
trade. The distillation date, cask number,<br />
aging time, bottle quantity, bottle date,<br />
and sometimes the rank number in the<br />
bottling determine the final price. David<br />
Clelland, who founded 1494ad.com, a<br />
consultancy for interested buyers,<br />
advises beginners to “start with a single<br />
distillery, do your research, attend<br />
tastings and events from the distillery<br />
wherever you are in the world, and look<br />
to buy that distillery’s releases at auction.”<br />
After building a solid base, “you<br />
can add other distilleries as you discover<br />
them and learn more,” he says.<br />
• investment<br />
“In the 1980s whiskey became a very<br />
popular thing to collect, a way of<br />
investing money. Whiskey auctions<br />
have been very dynamic since,” says<br />
Green. Unlike cognac, it’s difficult to<br />
find really old whiskeys, and the<br />
gap between known retail brands and<br />
auction stars is small, according to<br />
Ganne. Thus, the collecting strategy is<br />
quite clear: Collect wellknown brands<br />
that are more likely to appreciate and<br />
expect returns only over the long term.<br />
Product by independent companies<br />
is trickier to assess, but time often<br />
creates value. An interesting<br />
speculation is in “the direction<br />
of the distillerybottled malts,<br />
particularly the limited<br />
editions,” Green says.<br />
• the macallan<br />
The undisputed top distillery<br />
is The Macallan, located in<br />
the Highland but understood<br />
stylistically to be a Speyside<br />
distillery. It is sweet, fruity,<br />
and spicy with a high level of<br />
alcohol, up to 66 percent.<br />
The Macallan team studies<br />
the company’s older malts<br />
to determine what gives each<br />
whiskey its unique flavor.<br />
The company tastetests<br />
current and vintage casks and<br />
buys old vintages at auction.<br />
At the Christie’s Geneva spirits auction<br />
in November 2012, a collection of 98<br />
Macallan bottles of malts ranging in age<br />
from 29 to 56 years old of the vintages<br />
1937 to 1974, realized $450,000 on a<br />
high estimate of $358,000. During a<br />
2007 Christie’s New York sale , a 1926<br />
bottle of Macallan estimated at $20,000<br />
to $30,000 reached $54,000, a price<br />
rarely seen except at charity auctions.<br />
• and other top brands<br />
Dalmore, in the Highland region, has<br />
a rich mouthfeel. An Oculus decanter<br />
by Lalique filled with a unique Dalmore<br />
blend, was sold for £27,600 ($46,000)<br />
at Bonhams Edinburgh in 2009.<br />
Glenfarclas of Speyside provides aromas<br />
of ripe fruits and spices. One of its<br />
auction highlights is a 50yearold<br />
whiskey from1955 that sold for<br />
$HK71,400 ($9,000) at Bonhams<br />
Hong Kong in late 2012. Another<br />
Speyside, Glenfiddich, offers a<br />
generally unctuous mouthfeel with<br />
fruity and slightly smoked flavors.<br />
A Glenfiddich Janet Sheeds Roberts<br />
Reserve achieved £46,860 ($70,000)<br />
at Bonhams Edinburgh in 2011.<br />
Glenlivet, the third of the wellknown<br />
Speyside distilleries, produces<br />
whiskey with the aromas of flowers,<br />
citrus fruits, and spices. A bottle of<br />
the 1883 vintage, 48 years old, reached<br />
£18,750 ($28,000) at Bonhams<br />
Edinburgh in 2007. Springbank, one<br />
of the last remaining distilleries<br />
from the tiny Campbeltown region,<br />
creates a powerful whiskey that is<br />
both peated and smoked. A 50yearold<br />
bottle fetched £6,875 ($8,951) at a<br />
recent Edinburgh sale.<br />
The Dalmore<br />
Oculus at left is<br />
unusual not only<br />
for its crystal<br />
decanter but also<br />
for its content,<br />
a rare blend of top<br />
whiskeys spanning<br />
140 years.<br />
It sold at a<br />
November 2009<br />
Bonhams auction<br />
in Edinburgh for<br />
$46,000.<br />
Major producers<br />
of Scotch serve<br />
both the<br />
collectible and<br />
trade markets<br />
with offerings<br />
such as the<br />
Macallan Fine &<br />
Rare 1926, above<br />
left. Black<br />
Bowmore 1964,<br />
a 30-year-old<br />
Scotch, fetched<br />
$4,760<br />
last October at<br />
Bonhams.<br />
149
The Global Forum for Design<br />
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Design Galleries, Design On/Site Galleries,<br />
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Participating<br />
Galleries<br />
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Air de Paris, Paris<br />
The Approach, London<br />
Art: Concept, Paris<br />
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Laura Bartlett, London<br />
Catherine Bastide, Brussels<br />
Elba Benitez, Madrid<br />
Peter Blum, New York<br />
Boers-Li, Beijing<br />
Marianne Boesky, New York<br />
Tanya Bonakdar, New York<br />
Bortolami, New York<br />
The Breeder, Athens<br />
Broadway 1602, New York<br />
Gavin Brown’s enterprise, New York<br />
Buchholz, Cologne<br />
Gisela Capitain, Cologne<br />
carlier | gebauer, Berlin<br />
Cheim & Read, New York<br />
Mehdi Chouakri, Berlin<br />
James Cohan, New York<br />
Sadie Coles HQ, London<br />
Continua, San Gimignano<br />
Pilar Corrias, London<br />
Raffaella Cortese, Milan<br />
CRG, New York<br />
Chantal Crousel, Paris<br />
Massimo De Carlo, Milan<br />
Elizabeth Dee, New York<br />
Dvir, Tel Aviv<br />
Eigen + Art, Berlin<br />
frank elbaz, Paris<br />
FGF, Warsaw<br />
Fortes Vilaça, São Paulo<br />
<strong>Marc</strong> Foxx, Los Angeles<br />
Fredericks & Freiser, New York<br />
Carl Freedman, London<br />
Stephen Friedman, London<br />
Frith Street, London<br />
Gagosian, New York<br />
gb agency, Paris<br />
Annet Gelink, Amsterdam<br />
A Gentil Carioca, Rio de Janeiro<br />
Goodman, Johannesburg<br />
Marian Goodman, New York<br />
Greene Naftali, New York<br />
greengrassi, London<br />
Karin Guenther, Hamburg<br />
Jack Hanley, New York<br />
Harris Lieberman, New York<br />
Hauser & Wirth, New York<br />
Herald St, London<br />
Xavier Hufkens, Brussels<br />
Hyundai, Seoul<br />
In Situ – Fabienne Leclerc, Paris<br />
International Art Objects, Los Angeles<br />
Alison Jacques, London<br />
Martin Janda, Vienna<br />
Rodolphe Janssen, Brussels<br />
Catriona Jeffries, Vancouver<br />
Casey Kaplan, New York<br />
Paul Kasmin, New York<br />
kaufmann repetto, Milan<br />
Sean Kelly, New York<br />
Kerlin, Dublin<br />
Anton Kern, New York<br />
Peter Kilchmann, Zurich<br />
Tina Kim, New York<br />
Johann König, Berlin<br />
David Kordansky, Los Angeles<br />
Andrew Kreps, New York<br />
Krinzinger, Vienna<br />
Kukje, Seoul<br />
L&M Arts, Los Angeles<br />
Yvon Lambert, Paris<br />
Lehmann Maupin, New York<br />
Tanya Leighton, Berlin<br />
Lelong, New York<br />
Lisson, London<br />
Long <strong>Marc</strong>h Space, Beijing<br />
Luhring Augustine, New York<br />
McCaffrey Fine Art, New York<br />
kamel mennour, Paris<br />
Meyer Kainer, Vienna<br />
Massimo Minini, Brescia<br />
Victoria Miro, London<br />
Mitchell-Innes & Nash, New York<br />
Stuart Shave/Modern Art, London<br />
The Modern Institute, Glasgow<br />
MOT International, London<br />
Murray Guy, New York<br />
Taro Nasu, Tokyo<br />
Franco Noero, Turin<br />
Lorcan O’Neill, Rome<br />
Overduin & Kite, Los Angeles<br />
Roslyn Oxley9, Sydney<br />
Maureen Paley, London<br />
Participant Inc, New York<br />
Perrotin, Paris<br />
Francesca Pia, Zurich<br />
Gregor Podnar, Berlin<br />
New York<br />
Randall’s Island Park<br />
May 10 – 13, 2013<br />
Buy Tickets Now<br />
friezenewyork.com<br />
Praz-Delavallade, Paris<br />
Project 88, Mumbai<br />
Rampa, Istanbul<br />
Almine Rech, Brussels<br />
Regen Projects, Los Angeles<br />
Regina, Moscow<br />
Thaddaeus Ropac, Paris<br />
Andrea Rosen, New York<br />
Salon 94, New York<br />
Esther Schipper, Berlin<br />
Sfeir-Semler, Beirut<br />
Jack Shainman, New York<br />
Sies + Höke, Düsseldorf<br />
Sikkema Jenkins & Co., New York<br />
Sommer Contemporary Art, Tel Aviv<br />
Reena Spaulings Fine Art, New York<br />
Sprüth Magers Berlin London, Berlin<br />
Standard (Oslo), Oslo<br />
Stevenson, Cape Town<br />
T293, Naples<br />
Team, New York<br />
Richard Telles, Los Angeles<br />
The Third Line, Dubai<br />
Vermelho, São Paulo<br />
Susanne Vielmetter, Los Angeles<br />
Nicolai Wallner, Copenhagen<br />
Wallspace, New York<br />
Barbara Weiss, Berlin<br />
White Columns, New York<br />
White Cube, London<br />
Wien Lukatsch, Berlin<br />
Yale Union, Portland<br />
Alex Zachary Peter Currie, New York<br />
Zeno X, Antwerp<br />
David Zwirner, New York<br />
Focus<br />
Altman Siegel, San Francisco<br />
Ancient & Modern, London<br />
Arratia Beer, Berlin<br />
Shane Campbell, Chicago<br />
Canada, New York<br />
Casas Riegner, Bogotà<br />
dépendance, Brussels<br />
Freymond-Guth Fine Arts, Zurich<br />
James Fuentes, New York<br />
François Ghebaly, Los Angeles<br />
Alexander Gray Associates, New York<br />
Grimm, Amsterdam<br />
Andreas Huber, Vienna<br />
Ibid, London<br />
Ivan, Bucharest<br />
Juliètte Jongma, Amsterdam<br />
Karma International, Zurich<br />
Limoncello, London<br />
Kate MacGarry, London<br />
Mezzanin, Vienna<br />
mother’s tankstation, Dublin<br />
Plan B, Cluj<br />
Simon Preston, New York<br />
ProjecteSD, Barcelona<br />
Ramiken Crucible, New York<br />
Rodeo, Istanbul<br />
Seventeen, London<br />
Société, Berlin<br />
Untitled, New York<br />
Jocelyn Wolff, Paris<br />
Frame<br />
47 Canal, New York<br />
Stewart Uoo<br />
Ambach & Rice, Los Angeles<br />
Pablo Pijnappel<br />
Bureau, New York Julia Rommel<br />
Carlos/Ishikawa, London Steve Bishop<br />
Circus, Berlin Sophie Bueno-Boutellier<br />
Clifton Benevento, New York<br />
Michael E. Smith<br />
Croy Nielsen, Berlin Andy Boot<br />
Algus Greenspon, New York<br />
Adriana Lara<br />
Hopkinson Cundy, Auckland<br />
Fiona Connor<br />
Ignacio Liprandi, Buenos Aires<br />
Adriana Bustos<br />
<strong>Marc</strong>elle Alix, Paris<br />
Marie Cool Fabio Balducci<br />
Mendes Wood, São Paulo Patricia Leite<br />
Misako & Rosen, Tokyo Kaoru Arima<br />
Take Ninagawa, Tokyo<br />
Turuko Yamazaki<br />
Real Fine Arts, New York Antek Walczak<br />
Sommer & Kohl, Berlin<br />
Adrian Lohmüller<br />
Simone Subal, New York Frank Heath<br />
Supportico Lopez, Berlin<br />
J Parker Valentine<br />
Whatiftheworld, Cape Town<br />
Cameron Platter<br />
Leo Xu Projects, Shanghai<br />
Liu Chuang
sotheby’s<br />
buyers swooned over<br />
robert longo’s 1981 installation<br />
Men in the Cities: Final Life,<br />
chasing it to a price of $674,500<br />
(est. $40–60,000) at the<br />
midseason contemporary sale<br />
at sotheby’s in new york.<br />
Marketwatch<br />
the business of art<br />
may 2013<br />
artist Dossier<br />
A quarter century after the death of Romare<br />
Bearden, collectors are looking beyond the<br />
late collages to find bargains.<br />
auctions in brief<br />
Contemporary art saw robust demand in New York,<br />
while collectors pursued classic cars in Florida and<br />
Balinese painting brought healthy prices in Indonesia.<br />
blouinARtinFo.CoM | may 2013 ARt+AuCtion<br />
155<br />
162<br />
exhibitions in brief<br />
What sold at major gallery shows, from Al Held<br />
in New York to Fischli and Weiss in Berlin.<br />
Databank<br />
A look at growth in the postwar and<br />
contemporary market over the past decade.<br />
Dealer’s notebook<br />
Hong Kong gallerist Karin Weber<br />
164<br />
170<br />
176
RomaRe BeaRden estate/Foundation, VaGa, and dC mooRe GalleRy, new yoRk<br />
Romare Bearden<br />
By Hilarie M. SHeetS<br />
“Bearden’s meaning is identical with his method,” wrote<br />
Ralph Ellison in 1977. “His combination of technique is in<br />
itself eloquent of the sharp breaks, leaps of consciousness,<br />
distortions, paradoxes, reversals, telescoping of times, and<br />
surreal blending of styles, values, hopes, and dreams which<br />
characterize much of Negro American history.” Ellison was<br />
one of many cultural luminaries in New York who were close<br />
to the artist and collected his by-then-famous collages. It was,<br />
in fact, a work from the Ralph and Fanny Ellison Charitable<br />
Trust that set a new auction record for Bearden last year at<br />
Christie’s New York when the collage, Strange Morning, Interior,<br />
1968, went for $338,500.Private sales have yielded far higher<br />
prices, experts say, often around $1 million, because his highest-quality<br />
works have seldom come to auction.<br />
Bearden came to the method he is so closely identified with<br />
only in his later years, having experimented with a range of<br />
other styles including non-objective, Social-Realist, and Cubist-<br />
influenced modernist painting. Collage proved a perfect fit for an<br />
BlouinaRtinFo.Com | May 2013 aRt+auCtion<br />
artistdossier<br />
artist who wore many hats and seemed to be always exploring;<br />
he had held a job as a social worker since 1935, and was also a<br />
talented baseball player, jazz musician, and mathematician. In<br />
1956 the artist briefly institutionalized himself after suffering<br />
an emotional crisis about his direction in life.<br />
At the age of 52, in 1963, he founded the Spiral Group with<br />
other African-American artists in New York—including Charles<br />
Alston, Emma Amos, and Norman Lewis—to explore ways to<br />
respond to the civil rights movement. He had the idea to make<br />
a group collage and brought cut-up images and magazines to a<br />
weekly meeting. As a collaborative project it never took off, but<br />
Bearden went on to make his own series of small-scale experimental<br />
collages that he blew up as photostatic enlargements, shown<br />
in 1964 at Cordier & Ekstrom in New York to great acclaim.<br />
Over the next two-and-a-half decades, until his death in 1988,<br />
Bearden continued primarily in collage, mining the rituals and<br />
rhythms of African-American life as subject matter and fusing<br />
myriad influences in works that came to redefine the medium.<br />
155<br />
Romare<br />
Bearden’s The<br />
Fall of Troy, 1977,<br />
a watercolor<br />
and graphite on<br />
paper, will be<br />
included in a<br />
traveling exhibition<br />
opening<br />
this month at the<br />
Amon Carter<br />
Museum, in Fort<br />
Worth, Texas.
156<br />
Strange Morning,<br />
Interior, a 1968<br />
collage, above, sold<br />
at Christie’s New<br />
York last May for<br />
$338,500. It was<br />
the highest price<br />
for a Bearden work<br />
at auction, though<br />
private sales have<br />
reached upwards of<br />
$1 million. Untitled<br />
(Harvesting<br />
Tobacco), right,<br />
an early, Social<br />
Realist–style<br />
painting, ca. 1940,<br />
at Michael<br />
Rosenfeld Gallery,<br />
is priced at<br />
$750,000.<br />
artistdossier<br />
The work that set the record last year is one<br />
of his many pieces drawing on childhood memories<br />
of family life in Mecklenburg County, North<br />
Carolina, where he was born in 1911, and to<br />
which he frequently returned to visit relatives<br />
after his family settled permanently in Harlem<br />
in 1920. The scene shows four figures cobbled<br />
together from mottled, abraded papers, each<br />
of them isolated in a dreamlike state within a<br />
shifting rectilinear patchwork, showing how<br />
Bearden had assimilated Cubism. “It is multifigural<br />
and has that really complex and dynamic<br />
surface, which is always desirable in his work,”<br />
says Elizabeth Sterling, head of American art at<br />
Christie’s, adding that the provenance, larger<br />
scale (44 by 55 inches), and 1968 date—when<br />
Bearden was hitting his stride in collage—all<br />
made this a desirable work. “The premium is for<br />
works from the late 1960s and 1970s,” she notes.<br />
Sterling says observers also “might be seeing<br />
some growth in prices for works from the 1980s<br />
as time goes on and those works become more<br />
scarce.” Last year Solo Flight, from 1981, sold for<br />
$116,500 at Sotheby’s New York, setting a new<br />
high-water mark at auction for a late Bearden<br />
work. “I think if someone is looking to get into<br />
collecting his work now, that is a good area.”<br />
New York dealer Michael Rosenfeld sold several<br />
monumental jazz collages from the 1974 “Of<br />
the Blues” series for approximately $1 million each<br />
in the 2011 exhibition at his gallery celebrating<br />
the centennial of Bearden’s birth. “It was by far<br />
the best-attended exhibition in the history of the<br />
gallery and was extremely successful in terms of<br />
sales and reviews,” says Rosenfeld, who spent<br />
years accumulating top-tier collages for the show.<br />
Collectors also seek out Bearden’s earliest paint-<br />
ings, which reflect the influence of the Mexican<br />
muralists and of George Grosz, who taught<br />
Bearden at the Art Students League in the<br />
1930s, Rosenfeld says. He is currently offering<br />
a Social Realist painting, Untitled (Harvesting<br />
Tobacco), circa 1940, for $750,000. “While it’s<br />
not the first kind of Bearden one thinks about,<br />
they’re coveted because they are so rare, and they<br />
do speak of black experience,” he says.<br />
There’s a sharp falloff in collector interest for<br />
Bearden’s Cubist-influenced watercolors exploring<br />
biblical themes from the later 1940s and his<br />
pure 1950s abstractions, according to Rosenfeld,<br />
because they’re not immediately identifiable as<br />
Bearden unless one really knows his career.<br />
Scott Nussbaum, vice president and head<br />
of day sales in contemporary art at Sotheby’s,<br />
feels that even considering the higher prices<br />
realized in private sales, Bearden is a relative<br />
bargain. “He’s just vastly undervalued,”<br />
Nussbaum says. “African-American artists in<br />
general have tended to be undervalued relative<br />
to their peers. Bearden was a great social chronicler, not exclusively of<br />
the African-American experience but of America in the 20th century.”<br />
Nussbaum has seen a significant bump in the artist’s prices since the watershed<br />
Bearden retrospective organized by the National Gallery of Art in<br />
Washington, D.C., in 2003, which toured San Francisco, Dallas, New<br />
York, and Atlanta through 2005.<br />
At Sotheby’s New York in 2006, a large, vibrant composition of jazz<br />
musicians titled The Savoy, 1975, went for $216,000, well over three times<br />
its $60,000 high estimate. The following year the house offered Manhattan<br />
Suite, a smaller 1975 collage of an urban streetscape—another theme<br />
Bearden continually cycled back to—and it shattered the $40,000 high estimate<br />
at a price of $240,000, which remains Bearden’s second-highest record<br />
at auction. “There’s still a lot of room to grow,” says Nussbaum.<br />
Pittsburgh, 1965, and Family, 1970, both from the estate of Harry<br />
Henderson, who collaborated with Bearden in writing A History of African-<br />
American Artists, were the first works by the artist to reach six figures, each<br />
selling for $106,375 at Swann Auction Galleries in 2005. Nigel Freeman,<br />
director of the African-American fine art department at Swann, says that<br />
largely because of the success of<br />
these collages, his department was<br />
launched in 2007. Bearden’s work<br />
appears in a range of other auction<br />
categories depending on where<br />
it’s offered, including American<br />
art, contemporary art, print, and<br />
20th-century works on paper sales.<br />
Freeman says that Bearden’s<br />
core collectors have traditionally<br />
been other prominent African-<br />
Americans, including Bill Cosby,<br />
Oprah Winfrey, Wynton Marsalis,<br />
and basketball player Grant Hill,<br />
who has collected Bearden in depth,<br />
including rare early paintings.<br />
Today Freeman sees more diversity<br />
in the collector pool, including<br />
people focusing on American art<br />
»<br />
art+auCtion may 2013 | blouinartinfo.Com<br />
from top: Christie’s; miChael rosenfeld Gallery, new york
MARIA NEPOMUCENO, UNTITLED, 2009<br />
BRASIL VÍVIDO<br />
A SELLING EXHIBITION OF LEADING BRAZILIAN CONTEMPORARY ART<br />
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© PAULO INNOCÊNCIO.
Pittsburgh, a 1965<br />
collage, right,<br />
captured $106,375<br />
at a Swann Galleries<br />
sale in 2005 and<br />
was one of the first<br />
Bearden works to<br />
fetch a six-figure<br />
price at auction.<br />
Sotheby’s sold Solo<br />
Flight, a 1981 oil<br />
and graphite on<br />
paper collage,<br />
below, for $116,500<br />
last May. While<br />
pieces from the<br />
late 1960s and ’70s<br />
fetch a premium ,<br />
experts see<br />
growing demand<br />
for later works.<br />
158<br />
From the Files<br />
+ bearden likened his<br />
improvisational process<br />
of working to that of<br />
a jazz musician: “you<br />
start a theme and you<br />
call and recall.”<br />
+ in 1930 bearden was a star<br />
pitcher for a negro league<br />
minor-league baseball<br />
team. he refused an offer<br />
to pass for white and<br />
play professionally for the<br />
philadelphia athletics.<br />
+ bearden established the<br />
Cinque Gallery, in new<br />
york, with Ernest Crichlow<br />
and Norman Lewis in<br />
the late 1960s to exhibit<br />
younger black artists, and<br />
helped found the Studio<br />
museum in harlem in 1968.<br />
+ basketball star Grant Hill<br />
has collected bearden’s<br />
work in depth. his africanamerican<br />
art collection<br />
toured seven cities from<br />
2003 to 2006, which<br />
helped popularize bearden.<br />
artistdossier<br />
or specializing in works on paper who<br />
want Bearden in their collections. “I<br />
think his stature is going to grow internationally<br />
as more of his work is shown,”<br />
says Freeman. “There’s something quin-<br />
tessentially American about Bearden and<br />
his way of telling stories. He’s going to be<br />
identified with America just like jazz and<br />
baseball and apple pie.”<br />
Bearden’s work has been on view<br />
in a slew of recent exhibitions, some<br />
prompted by the Romare Bearden Foundation,<br />
which encouraged institutions<br />
to showcase their holdings of the artist<br />
during the centennial celebration of his<br />
birth in 2011–12. The Studio Museum<br />
in Harlem framed him with contemporary<br />
artists he has influenced, while the High<br />
Museum, in Atlanta, showed him in the context<br />
of artists from Picasso to Andy Warhol in<br />
“14 Modern Masters.” The Mint Museum, in<br />
Charlotte, North Carolina, the institution with<br />
the most Bearden work on permanent display,<br />
organized a three-venue touring show of work<br />
based on Bearden’s recollections of the South.<br />
On May 18, “Romare Bearden: A Black Odyssey”<br />
goes on view at the Amon Carter Museum, in Fort<br />
Worth, Texas. Part of a seven-city tour organized<br />
by the Smithsonian, it displays a series from the<br />
mid-1970s, that includes watercolors as well as<br />
collage, in which Bearden reinterpreted<br />
Homer’s story of Odysseus<br />
using black characters and synthesizing<br />
stylistic influences ranging<br />
from Matisse’s cutouts to African<br />
masks. It is an expansion of a 2007<br />
exhibition organized at the DC Moore<br />
Gallery, in New York, which at the<br />
time had just begun representing the<br />
Bearden Foundation and estate (the<br />
works were first shown at Cordier &<br />
Ekstrom in 1977). “Bearden thought<br />
of The Odyssey as a metaphor for<br />
African-Americans and their search<br />
for home,” says Bridget Moore, direc-<br />
tor of the gallery. “He did this work<br />
right after he had come back from<br />
having a retrospective at the Mint<br />
Museum, where he revisited all the<br />
places in Mecklenburg County he<br />
used to go as a child.” Works from<br />
this series have sold in the range of<br />
$300,000 to $500,000, Moore says.<br />
The Bearden Foundation also works<br />
with the Jerald Melberg Gallery, in<br />
Charlotte, which primarily sells his<br />
prints and watercolors and is currently<br />
compiling a catalogue raisonné for his<br />
prints. “He had a very graphic sense<br />
so his works do reproduce quite<br />
well as prints,” says Sterling of<br />
Christie’s, who thinks the prints,<br />
often selling for under $20,000,<br />
are a good opportunity for<br />
people looking to buy in a lower<br />
price range.<br />
Later on, when the artist and<br />
his wife, Nanette, made regular<br />
visits to their second home in<br />
St. Maarten, where she had<br />
grown up, Bearden produced<br />
many breathtakingly colorful,<br />
tropical-themed watercolors<br />
and monoprints (he didn’t work<br />
in collage during his Caribbean<br />
stays). These tend to be priced<br />
under $50,000.<br />
Other galleries that regularly<br />
handle Bearden’s secondary<br />
market include ACA Galleries and Essie Green, both in New York, as well as<br />
Stella Jones in New Orleans. ACA, which represented the Bearden Foundation<br />
and estate for the decade immediately following the artist’s death in 1988, had<br />
a show this past winter of work spanning 1945 to 1988. On offer at the top<br />
end was a very large and rare three-figure fabric collage priced at $1.6 million<br />
titled Junction Piquette, 1971, similar to his 1970 Patchwork Quilt (another<br />
rare fabric work), that was given to the Museum of Modern Art by Blanchette<br />
Rockefeller. The works from the late 1940s, priced between $32,000 and<br />
$45,000, showed his shift from Social Realism to a more Cubistic modernism.<br />
Bearden’s exploration of non-objective painting in the 1950s—the period<br />
which coincided with his breakdown—is the focus of a 2015 show being<br />
organized for the Neuberger Museum of Art, in Purchase, New York, by<br />
chief curator Tracy Fitzpatrick, who calls this period, “the absent decade.”<br />
The abstractions that he painted between 1952 and 1964 “are almost<br />
entirely unknown within his body of work but are crucial to understanding<br />
the collages,” she says. The show will illuminate how he recycled his<br />
abstractions, cutting and pasting pieces of these earlier canvases into his<br />
representational collages. She plans to bracket the nonobjective work with<br />
examples of earlier and later pieces . “Bearden was a breakthrough artist in<br />
many ways,” she says. “He was working in multiple areas across materials,<br />
across styles, across artist groups. He was downtown, he was in Harlem.<br />
He was an artist who could move in a very fluid way.” From top: swann auction galleries, new york; sotheby’s<br />
art+auction may 2013 | blouinartinFo.com
The Nature of Women<br />
Anne Appleby | Marischa Burckhardt | Lisa Corinne Davis | Sylvia Heider | Agnes Martin | Aurélie Nemours<br />
Aurélie Nemours, Carré-couronne “Re Rom 337”, 1970-1980, Felt pen on paper, 20 x 12.5 cm, 7 7/8 x 4 7/8 inches (detail)<br />
THE<br />
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t: +44 (0) 20 7734 3558 f:+44 (0) 20 7494 1377<br />
info@mayorgallery.com www.mayorgallery.com<br />
5 JUNE - 26 JULY 2013<br />
Present Exhibition:<br />
Jacques Villeglé & Gil J Wolman<br />
Collective Dis/Illusions<br />
10 April - 31st May 2013
IB KOFOD LARSEN, a pair of ‘Elisabeth’ easy chairs and a sofa, Denmark 1950’s<br />
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Egon Schiele, Reclining Woman, 1916, Cat. Rais. Kallir D. 1824b
162<br />
auctionsinBrief<br />
NEW YORK<br />
CHRISTIE’S<br />
MARCH 8: FIRST OPEN<br />
239 LOTS SOLD FOR $12,352,500<br />
TOP LOT: Gerhard Richter<br />
continues to dominate<br />
contemporary sales even at<br />
the middle price points, if<br />
the $782,500 (est. $250–<br />
350,000) snagged by Ohne<br />
Titel, a 1986 oil on paper,<br />
from an American collector is<br />
any measure. Another Richter<br />
work, Felsenlandschaft, 1984,<br />
set a record for a watercolor<br />
by the artist when it sold to a<br />
European dealer for $268,500<br />
(est. $70,000–100,000).<br />
These lots helped push the first<br />
sale under the guidance of<br />
specialist Saara Pritchard to<br />
LAMBERTVILLE, NEW JERSEY<br />
RAGO ARTS AND AUCTION<br />
CENTER<br />
MARCH 2: EARLy 20TH-<br />
CENTuRy DESIGN<br />
473 LOTS SOLD FOR $2,555,719<br />
TOP LOT: A large green vase<br />
decorated with irises by Fritz<br />
Albert for the Teco terra-cotta<br />
company, circa 1905, soared to<br />
the top price of $212,500, more<br />
the highest total for any event<br />
in this long-running series<br />
of midmarket contemporary<br />
auctions. Works on paper<br />
dominated, leading to sellthrough<br />
rates of 87 percent by<br />
lot and 86 percent by value.<br />
Peter Doig’s Cobourg 3+1<br />
More, 1995, an oil-on-paper<br />
study for the painting of the<br />
same name, set a record for<br />
the artist in that medium when<br />
it sold for $626,500 to an<br />
American collector. As part<br />
of the sale, Pritchard also<br />
organized a silent auction of<br />
works—mostly under $1,000—<br />
from the Brooklyn collective<br />
Y&S, which brought in a much<br />
younger crowd than Christie’s<br />
usually sees in its salesroom.<br />
than five times its $40,000 estimate.<br />
An enamel-tile picture<br />
of a fish, 1914–17, by Frederick H.<br />
Rhead was also among the<br />
top prices at $118,750, though<br />
it missed the low end of<br />
the $125,000-to-$175,000<br />
estimate. However, a bird<br />
tobacco jar, 1892, made by<br />
British ceramicists, the Martin<br />
Brothers, doubled the high<br />
$45,000 estimate to sell for<br />
$93,750. Over the course of the<br />
sale, mid-priced studio ceramics<br />
in the five figures seemed to do<br />
well, including Cliff Lee’s porcelain<br />
vase shaped like a cabbage<br />
that took $7,500 (est. $1,000–<br />
1,500). Owner David Rago says<br />
that medium-priced material—in<br />
the $4,000-to-$9,000 range—<br />
met “competitive, aggressive<br />
bidding,” and adds, “ I can’t help<br />
but feel that the center core<br />
of the market is coming back.<br />
We haven’t seen this level of<br />
support for middle-range<br />
decorative arts since 2007.”<br />
PARIS<br />
SOTHEBY’S<br />
FEBRuARy 25: HOMMAGE<br />
À ALDO CROMMELyNCK<br />
247 LOTS SOLD FOR €2,617,054<br />
($3,482,592)<br />
TOP LOT: Pablo Picasso’s<br />
Monument funéraire d’un<br />
sculpteur, avec sa femme,<br />
son pigeon héraldique et une<br />
sculpture, et bacchantes,<br />
a set of five etchings from<br />
1970, earned €108,750<br />
($145,000) against an<br />
estimate of €60,000 to<br />
€70,000 ($80–92,000) to<br />
take the laurels at this<br />
sale of works drawn from<br />
the private collection of the<br />
renowned printmaker Aldo<br />
Crommelynck. The Monacoborn<br />
master was known for<br />
bringing out the best in his<br />
artist-collaborators, including<br />
Europeans like Henri Matisse<br />
and Georges Braque as well<br />
PHILADELPHIA<br />
FREEMAN’S<br />
MARCH 16: ASIAN ARTS<br />
494 LOTS SOLD FOR $2,768,972<br />
TOP LOT: An 18th- or 19thcentury<br />
Chinese white jade<br />
gu vase, a style typically seen<br />
in vessels for wine drinking,<br />
bubbled to $170,500, far<br />
higher than the $10,000-to-<br />
$15,000 estimate, and was<br />
one of several estate offerings<br />
that led the sale. Another<br />
gu vase, an 18th-century<br />
example in yellow jade,<br />
notched $110,500 on the<br />
same estimate. In the third<br />
slot was a Qing Dynasty<br />
incised white jade ruyi scepter,<br />
which slashed its way to<br />
$92,500, more than 10 times<br />
the high estimate of $7,000.<br />
“The booming market<br />
for Chinese decorative arts<br />
NEW YORK<br />
BONHAMS<br />
FEBRuARy 13: DOGS IN<br />
SHOW AND FIELD<br />
181 LOTS SOLD FOR $960,425<br />
TOP LOT: A group portrait of<br />
dogs resting in a stable,<br />
Favourite Hounds, the Property<br />
E. Walter Greene Esq., Master<br />
of the Suffolk Hounds, by 19thcentury<br />
British painter Edward<br />
Robert Smythe, fetched<br />
$116,500 (est. $80,000–<br />
120,000) to lead the pack at<br />
this annual thematic sale,<br />
which always draws a diverse<br />
crowd of dog and art lovers,<br />
many of whom bring their<br />
personal pooches to the<br />
salesroom. The house, the only<br />
one to host this sort of sale,<br />
achieved rates of 85 percent<br />
sold by lot and 74 percent by<br />
value. Bidding was particularly<br />
fierce for two works: the cover<br />
lot, William Henry Hamilton<br />
as younger American artists<br />
such as Jim Dine and Jasper<br />
Johns. Overall demand for<br />
these prints—all signed and in<br />
pristine condition, most of<br />
them final proofs, often with<br />
personal dedications—was<br />
robust, with the auction<br />
96 percent sold by lot and<br />
continues to prevail,” says<br />
Richard Cervantes, head of the<br />
house’s Asian arts department,<br />
which holds two sales in the<br />
category each year. Noting<br />
the wide range of works<br />
offered in the sale—furniture,<br />
jade, ceramics, paintings,<br />
textiles, and bronzes—<br />
Cervantes said that “no single<br />
category underperformed,<br />
an encouraging sign that<br />
the house is reaching those<br />
with varied tastes and<br />
interests.” Also among the<br />
estimate-busting top earners<br />
was a Chinese white jade<br />
meiren from the late Qing<br />
Dynasty, depicting a standing<br />
woman with intricately<br />
carved flowing robes,<br />
which charmed a buyer to<br />
the tune of $53,125<br />
(est. $8,000–12,000).<br />
Trood’s Wait ’Til the Clouds<br />
Roll By, 1893, and the undated<br />
Beagles—Father of the Pack,<br />
by John Emms, each of which<br />
sold for $68,500, besting<br />
their $30,000-to-$50,000<br />
estimates. Edmund Henry<br />
Osthaus and Louis Eugène<br />
99 percent sold by value. The<br />
only work among the top<br />
10 not by Picasso was Jean-<br />
Michel Basquiat’s undated<br />
drawing Living Sperm, which<br />
sold after fierce bidding<br />
for €69,150 ($92,000), on<br />
an estimate of €8,000 to<br />
€10,000 ($11–13,000).<br />
Lambert were the lone non-<br />
Brits to crack the sale’s top 10:<br />
American Osthaus’s undated<br />
Two Pointers in a Landscape<br />
sold for $40,000 (est. $25–<br />
35,000), and Frenchman<br />
Lambert’s The Intruder took<br />
$20,000 (est. $8–12,000).<br />
ART+AuCTION MAy 2013 | BLOuINARTINFO.COM
BEVERLY<br />
HILLS<br />
I.M. CHAIT<br />
MARCH 17:<br />
IMPORTANT<br />
CHINESE<br />
CERAMICS AND<br />
ASIAN WORKS OF ART<br />
207 LOTS SOLD FOR<br />
$3,413,560<br />
TOP LOT: Soaring to $1.34 million,<br />
a 14th-century Yuan<br />
Dynasty porcelain jar shattered<br />
records for this Asian art<br />
specialty house, in what<br />
operations director Josh Chait<br />
said was the highest-grossing<br />
auction in its 44-year<br />
history. The jar surpassed an<br />
unpublished estimate in<br />
the region of $1 million after<br />
a tense bidding battle in<br />
which an American collector<br />
competed with an Internet<br />
bidder and other phone bidders<br />
before capturing the prize. The<br />
LONDON<br />
BLOOMSBURY<br />
FEB. 27: BEATRIX POTTER: THE<br />
MARK OTTIGNON COLLECTION<br />
247 LOTS SOLD FOR £170,000<br />
($258,000)<br />
TOP LOT: A rare first printing<br />
of Beatrix Potter’s iconic<br />
children’s story, The Tale of<br />
Peter Rabbit, 1901, raced to<br />
first place at this sale of work<br />
from private collector Mark<br />
BALI, INDONESIA<br />
LARASATI AUCTIONEERS<br />
MARCH 3: TRADITIONAL,<br />
MODERN, AND<br />
CONTEMPORARY SALE<br />
82 LOTS SOLD FOR<br />
IDR3.04 BILLION ($313,400)<br />
TOP LOT: The undated acrylic on<br />
canvas Gembala Sapi (“Cattle<br />
Herder”), by Balinese artist<br />
I Wayan Rajin, wrangled IDR61<br />
million ($6,000) on an estimate<br />
of IDR12 million to IDR15 million<br />
($1,200–1,550). Two works<br />
by Mangku Mura, one of the<br />
leading 20th-century masters<br />
in the Balinese Kamasan<br />
style, also performed well.<br />
Mythological Scene (est. IDR5–<br />
7 million; $500–$700)<br />
and Scene from Mahabarata<br />
(est. IDR4–8 million;<br />
$400-$600) both sold for<br />
IDR19.5 million ($2,000) each.<br />
BLOuINARTINFO.COM | MAY 2013 ART+AuCTION<br />
condition of<br />
the blue-andwhite<br />
ovoid jar<br />
was described<br />
as “spectacular.”<br />
Other top sellers<br />
included a Chinese<br />
cylindrical brush pot<br />
in carved spinach jade<br />
with a continuous landscape<br />
design, which had been<br />
deaccessioned by the Cleveland<br />
Museum of Art in 1950. It more<br />
than doubled its high estimate<br />
of $45,000 when it sold for<br />
$122,000. The house, which<br />
typically holds Asia Week sales<br />
in New York, initially feared the<br />
sale might falter on the West<br />
Coast after organizers failed to<br />
secure a venue in Manhattan.<br />
“In fact, it turned out to be<br />
just the opposite,” says Chait.<br />
“Collectors will flock to a sale—<br />
no matter where it is held—if<br />
world-class items are offered.”<br />
Ottignon, selling for £24,000<br />
($36,000) on an estimate<br />
of £20,000 to £30,000<br />
($30–45,500). This privately<br />
printed edition was produced<br />
largely as a result of Potter’s<br />
frustration with several book<br />
publishers who refused to take<br />
on the project. Citing two Peter<br />
Rabbit illustrated cards that<br />
sold for £2,480 ($3,800) and<br />
£1,612 ($2,400) both exceeding<br />
their estimates, specialist<br />
Roddy Newlands says, “Peter<br />
Rabbit and friends proved<br />
to be still highly in demand…in<br />
general this section of the<br />
auction was strong, with<br />
many good prices achieved.”<br />
Elsewhere in the sale, an<br />
autographed first edition of<br />
Potter’s Fairy Caravan, a story<br />
about a traveling circus of small<br />
animals, failed to sell, but a<br />
copyright edition with original<br />
correspondence from 1929<br />
brought £12,400 ($19,000).<br />
“The market for Balinese art<br />
may only be a small fraction<br />
of the Indonesian art market,<br />
and yet it’s perhaps the<br />
healthiest,” says Larasati<br />
CEO Daniel Komala.<br />
NEW YORK<br />
SOTHEBY’S<br />
MARCH 7: MIDSEASON<br />
CONTEMPORARY<br />
251 LOTS SOLD FOR $12,911,564<br />
TOP LOT: Though this sale<br />
typically brings lower prices<br />
than the higher-end February<br />
and May sales, one work<br />
garnered seven figures: An<br />
untitled 1983 silkscreen<br />
by Jean-Michel Basquiat<br />
that fetched $1,426,500<br />
(est. $700,000–1 million). This<br />
year the breakout star was<br />
American artist Robert Longo,<br />
whose 1981 installation Men<br />
in the Cities: Final Life, brought<br />
$674,500 from a European<br />
collector—more than 10 times<br />
its $60,000 high estimate.<br />
Kenneth Noland was also<br />
a standout. Two of his works<br />
made it into the top 10: the<br />
1967 painting Shift, which sold<br />
NEW YORK<br />
SWANN AUCTION gALLERIES<br />
JANUARY 29: OLD MASTER<br />
DRAWINGS<br />
201 LOTS SOLD FOR $529,461<br />
TOP LOT: Bringing $42,000<br />
against a modest estimate of<br />
$1,000 to $1,500, From<br />
Ehrenbreitstein, a circa-1817<br />
watercolor long credited to<br />
the circle of J.M.W. Turner and<br />
recently pegged as an original<br />
FLORIDA<br />
RM AUCTIONS<br />
MARCH 9: AMELIA ISLAND<br />
86 LOTS SOLD FOR $26,800,000<br />
TOP LOT: The $4.5 million star<br />
at RM Auctions’ 15th annual<br />
Amelia Island sale was,<br />
as they say, a “Duesy.” At<br />
Florida’s weekend-long<br />
Concours d’Elegance classiccar<br />
charity celebration, a<br />
for $314,500 (est. $150–<br />
200,000), and Warm Above,<br />
1968, which sold for $290,500<br />
(est. $70–90,000). Many<br />
work by the master himself,<br />
signaled one possible outcome<br />
in the business of reattribution.<br />
After the sale, discussion<br />
surrounded a more modestly<br />
priced work, an ink-and-wash<br />
rendition of Jacques-Louis<br />
David’s Death of Socrates,<br />
which is in the collection of the<br />
Metropolitan Museum of Art.<br />
Met curators felt that the<br />
work, described as “French<br />
1935 Duesenberg Model SJ<br />
Walker-LaGrande Coupe, one<br />
of only three ever built, with<br />
a hand-crank convertible top<br />
and a super-charged engine,<br />
roared to finish in the high<br />
end of its $3.5 million-to-<br />
$5 million estimate. A 1933<br />
Stutz DV32 Convertible<br />
Victoria attracted spirited<br />
bidding and sold for a<br />
works were hammered down<br />
well above estimates; the sale<br />
was 75 percent sold by lot<br />
and 85 percent by value.<br />
school, early 19th-century,”<br />
was a genuine David and<br />
snapped it up for a paltry<br />
$840. The Old Master<br />
drawings sale had been on<br />
a five-year hiatus at Swann,<br />
but this auction performed<br />
reasonably well, passing the<br />
half-million mark and selling<br />
63 percent of the lots, though<br />
the total for the sale came<br />
in just under the low estimate.<br />
Italian works did exceptionally<br />
well, with Guido Reni’s 1639–40<br />
chalk Head of a Woman<br />
Looking to the Left selling for<br />
$28,800 and Giulio Romano’s<br />
undated Study of a Grotesque<br />
Dragon, formerly in the<br />
collection of artist Joshua<br />
Reynolds, fetching $22,800.<br />
The top-selling Dutch work,<br />
Still Life with Flowers, Insects,<br />
and a Snail, 1589, by an<br />
unknown artist in the circle<br />
of Joris Hoefnagel, snared<br />
$31,200, doubling the<br />
$15,000 high estimate.<br />
double-estimate $1.5 million.<br />
Meanwhile, ever-popular<br />
Ferraris continued to feed<br />
high demand at this auction:<br />
A cherry-red 275 GTB that<br />
debuted at the Paris Salon<br />
in 1964 sped to $1.4 million,<br />
while a newly refurbished<br />
1952 225 Sport Berlinetta<br />
“Tuboscocca” race car<br />
fetched $1.2 million.<br />
163
164<br />
exhibitionsinbrief<br />
NEW YORK<br />
TeaM gallerY<br />
GERT & UWE TOBIAS<br />
• Both of Team Gallery’s SoHo<br />
locations featured striking<br />
new works by the Romanianborn,<br />
Cologne-based twins.<br />
In the Grand Street space, two<br />
dozen mixed-media collages—<br />
including Neo-Surrealist<br />
tableaux of insects, dishes,<br />
vases, and human limbs cut<br />
from vintage printed matter<br />
on colorful backgrounds—were<br />
priced at $5,200 to $10,000.<br />
Just a few remained available<br />
at press time; most sold during<br />
the first days of the show.<br />
The Tobias brothers, whose<br />
collector base is made up<br />
of Americans and Europeans<br />
in fairly equal measure, are<br />
voracious book collectors who<br />
ZURICH<br />
galerie PeTer KilCHMaNN<br />
WILLIE DOHERTY:<br />
“WITHOUT TRACE”<br />
• When Peter Kilchmann<br />
opened his gallery space in<br />
1992, it was with an exhibition<br />
of works by this Irish artist.<br />
More than 20 years on, for his<br />
eighth engagement with the<br />
gallery, Doherty embarked on<br />
a new artistic path. The artist<br />
usually works in his native<br />
country, creating films that<br />
are closely linked to religious<br />
conflict in his hometown of<br />
Derry; this exhibition marked<br />
the first time he worked<br />
entirely in Zurich. For Without<br />
Trace, 2013, the artist<br />
followed up on a piece he<br />
buy multiple copies of their<br />
source materials. They keep<br />
one intact for reading and clip<br />
others to create their collaged<br />
works, which often become<br />
inspiration for larger woodcut<br />
paintings. Five of these colored<br />
woodcut-on-canvas works were<br />
on display at Team’s newer,<br />
glass-fronted Wooster Street<br />
exhibition space. The woodcuts,<br />
each produced in an edition<br />
of two, depict vases and other<br />
objects, often in spectacular<br />
arrangements on tabletops.<br />
Priced at €38,000 to €65,000<br />
($51–87,000), the first of each<br />
edition was quickly spoken<br />
for by private collectors.<br />
Untitled (GUT/2065), 2012.<br />
Mixed media on paper,<br />
13¾ x 20 in.<br />
made for Documenta (13),<br />
a haunting, apocalyptic<br />
narrative titled Secretion. This<br />
time, he focused on snow<br />
itself. The 20-minute video,<br />
which endeavors to blur<br />
distinctions between past and<br />
present, was produced in an<br />
edition of three and priced at<br />
€75,000 ($98,000). Related<br />
47-by-63-inch color and<br />
black-and-white C-prints of<br />
Zurich that address tensions<br />
between architecture and the<br />
natural world were available<br />
for €12,000 ($16,000), also<br />
in editions of three.<br />
Film still from Without Trace,<br />
2013. Single-channel HD<br />
video projection, 20 min.<br />
LONDON<br />
THe aPPrOaCH<br />
JOHN STEZAKER: “BLIND”<br />
• Although Stezaker has<br />
never exhibited a photograph<br />
he actually took himself,<br />
he nonetheless won the<br />
prestigious Deutsche Börse<br />
Photography Prize in 2012 for<br />
his collaged movie stills and<br />
book illustrations. It comes<br />
as no surprise that the award<br />
has brought with it collector<br />
interest in the U.S. and<br />
Europe. For this exhibition the<br />
artist presented, for the first<br />
time in a gallery, a movingimage<br />
work. Blind, 2013, is a<br />
CHICAGO<br />
SHaNe CaMPBell gallerY<br />
MICHELLE GRABNER<br />
• Despite commitments as<br />
a writer for publications<br />
such as Paper Monument and<br />
Artforum, as a professor at<br />
the School of the Art Institute<br />
of Chicago, and as co-curator<br />
of the 2014 Whitney Biennial,<br />
Grabner, who was born in<br />
1962, filled all three locations<br />
of the Shane Campbell<br />
Gallery, which focuses on<br />
emerging and midcareer<br />
artists. In the gallery’s main<br />
location she presented 60<br />
paper weavings in grid<br />
patterns that evinced gingham<br />
fabrics and the history of<br />
minimal color studies in equal<br />
measure. At an appointmentonly<br />
space in a condominium<br />
in the Lincoln Park neighborhood,<br />
the artist presented<br />
NEW YORK<br />
aNTON KerN gallerY<br />
WILHELM SASNAL<br />
• The celebrated Polish<br />
painter, who also makes<br />
feature-length films funded<br />
through his painting, gives<br />
mystery and potency to<br />
commonplace objects and<br />
historical moments. For<br />
this exhibition of paintings<br />
and works on paper, Sasnal<br />
focused on the Kodak<br />
Company and its products and<br />
public image. The 63-by-79inch<br />
oil-on-canvas Kodak<br />
Black, 2012, was a centerpiece<br />
of the exhibition. Depicting<br />
a canister of Dead Black,<br />
the company’s light-absorbing<br />
paint used for the interiors<br />
of cameras, the painting was<br />
a cheeky memorial to the<br />
defunct corporate giant. A<br />
gray-toned portrait of founder<br />
George Eastman, Kodak, 2012,<br />
was also a kind of obituary,<br />
as its subject was largely<br />
obliterated by a negativespace<br />
version of the Kodak<br />
logo. The show was well<br />
received by collectors,<br />
including many who have<br />
acquired Sasnal works<br />
digital video montage of<br />
nearly 2,500 film stills from<br />
German and Swedish cinema<br />
that flashed past the eyes<br />
of gallery visitors in a minute<br />
and a half. The video, created<br />
in an edition of five, was<br />
available for £27,000<br />
($42,000). Collaged works<br />
from Stezaker’s new<br />
“Imposter” series were also<br />
on display and selling briskly<br />
to American collectors<br />
as well as to the gallery’s<br />
established London base for<br />
£5,000 to £9,000 ($8,000–<br />
14,000). A concurrent<br />
exhibition of the artist’s<br />
20 paintings that echoed<br />
the weavings visually and<br />
conceptually; intensely<br />
colored works in Flashe (vinyl<br />
paint) on panel, as well as<br />
small, all-white paintings made<br />
from pulled burlap and gesso.<br />
In the third space, in Oak Park,<br />
she collaborated with artist<br />
throughout his career. Nearly<br />
three-quarters of the 12<br />
paintings sold during the first<br />
week of the exhibition for<br />
prices from $47,000 to<br />
$130,000. The gallery, which<br />
regularly places Sasnal’s<br />
paintings in American and<br />
European institutions and<br />
public collections, maintains<br />
no waiting lists for its artists,<br />
so new interest in Sasnal’s<br />
works accounted for a portion<br />
fractured film iconography<br />
is on view at the Tel Aviv<br />
Museum of Art through<br />
May 18.<br />
Imposter IX, 2013.<br />
Collage, 19 x 23 in.<br />
Brendan Fowler, installing<br />
three monochromatic woven<br />
gesso reliefs on Fowler’s<br />
sculpture. A loyal group of<br />
collectors, mostly from the<br />
U.S. but also Londoners, have<br />
supported Grabner’s canny<br />
explorations of stereotypically<br />
feminine, textile-based practices<br />
in the past. A majority of<br />
her weavings were purchased<br />
during the exhibition for<br />
prices between $2,000 and<br />
$5,000, depending on size.<br />
Just three of the painted<br />
works remained available near<br />
the end of the run. A solo<br />
show of the artist’s creations,<br />
curated by David Norr, is<br />
scheduled for later this year<br />
at the Museum of Contemporary<br />
Art Cleveland.<br />
Untitled, 2013. Flashe on<br />
panel, 20 x 16 in.<br />
of the brisk sales. Five additional<br />
new paintings from a<br />
series titled “Moons” were on<br />
display concurrently at the<br />
Art Dealers Association of<br />
America annual art fair in<br />
<strong>Marc</strong>h. All of those black-andwhite<br />
works found buyers,<br />
three within the first day of<br />
the fair’s opening.<br />
Kodak Black, 2012. Oil on<br />
canvas, 63 x 78¾ in.<br />
ART+AUCTION MAY 2013 | BLOUINARTINFO.COM<br />
CLOCKWISE FROM TOP LEFT: GERT & UWE TOBIAS AND TEAM GALLERy; JOHN STEZAKER AND THE APPROACH; SHANE CAMPBELL GALLERy; ANTON KERN GALLERy; WILLIE DOHERTy AND GALERIE PETER KILCHMANN
CLOCKWISE FROM TOP LEFT: TOMOKO NAGAI AND TOMIO KOYAMA GALLERY, KYOTO; ROMAN MARz AND BUCHMANN GALERIE: CHEIM & READ; JOERG LOHSE AND ALExANDER AND BONIN; PETER FISCHLI/DAVID WEISS AND SPRUETH MAGERS<br />
SINGAPORE<br />
TOMIO KOYAMA GALLERY<br />
TOMOKO NAGAI:<br />
“DRAMATIC MOMENTS”<br />
• In 2010 the government of<br />
Singapore began renovating<br />
former military facilities to<br />
create a central hub for the<br />
arts. Japan’s Tomio Koyama<br />
Gallery was selected to present<br />
its roster of contemporary<br />
artists, a diverse group that<br />
includes several Japanese<br />
painters interested in fantasy,<br />
as well as sculptors Ernesto<br />
Neto and Stephan Balkenhol.<br />
For this exhibition by Tokyobased<br />
Nagai, who was born in<br />
1982, 10 paintings and 15 drawings<br />
offered vivid, imagined<br />
landscapes and childlike narratives—teddy<br />
bears in enchanted<br />
BERLIN<br />
SPRuETH MAGERS<br />
PETER FISCHLI/DAVID WEISS<br />
• Fischli and Weiss rank<br />
among the most influential<br />
artist duos of the late 20th<br />
century. Their exceptional<br />
explorations of the banal led<br />
to the development of a<br />
unique aesthetic language.<br />
As this exhibition made clear,<br />
much of their work carries two<br />
creation dates that may be<br />
decades apart: It is typical of<br />
the artists’ practice to revisit<br />
earlier concepts and individual<br />
works. In light of Weiss’s<br />
death last year, at age 66,<br />
their experiments with the<br />
recycling of ideas take on new<br />
significance. In spite of the<br />
pair’s historic importance,<br />
their auction record this year<br />
has been spotty, perhaps<br />
an indication that the market<br />
is waiting to discover where<br />
BLOUINARTINFO.COM | MAY 2013 ART+AUCTION<br />
forests, a little girl in bed<br />
surrounded by tall grass.<br />
Impressive painterly chops were<br />
complemented by a tender<br />
approach to nature that<br />
transcends geographic and<br />
cultural boundaries. As the<br />
artist herself states, “I wish [to]<br />
condense those precious and<br />
dramatic moments in pictures<br />
along with my wishes and ideals.”<br />
More than 70 percent of the<br />
works in the show sold to young<br />
collectors from Singapore,<br />
Hong Kong, Europe, Japan, and<br />
Indonesia. Prices ranged from<br />
SGD480 ($400) for a drawing<br />
to SGD28,000 ($23,000) for the<br />
largest oil on canvas painting.<br />
Dramatic, 2012. Oil and glitter<br />
on canvas, 7½ x 12 ft.<br />
Fischli will take the work.<br />
In a recent interview on<br />
Blouinartinfo.com, Fischli<br />
remarked somewhat<br />
cryptically, “Art is not…it’s<br />
not something that you can<br />
decide with a strategy. I will<br />
go step-by-step.” One work<br />
in the exhibition, re-presenting<br />
an installation from the 13th<br />
International Architecture<br />
Exhibition in<br />
Venice, was an<br />
all-white painted<br />
aluminum<br />
sculpture titled<br />
Hostessen,<br />
1987/2012, in<br />
an edition of<br />
three, priced<br />
at €570,000<br />
($743,000). The<br />
four miniature<br />
women in<br />
the piece were<br />
displayed in<br />
front of Views of Airports,<br />
1987/2012, a looped slide<br />
show depicting 469 images<br />
of these travel hubs. This<br />
was produced in an edition of<br />
six, and a large American<br />
institution became the first to<br />
acquire one, for €340,000<br />
($443,000). European<br />
collectors and institutions<br />
also purchased works.<br />
Installation view of Hostessen<br />
and Views of Airports,<br />
1987/2012, mixed media.<br />
BERLIN<br />
BuCHMANN GALERIE<br />
TATSUO MIYAJIMA:<br />
“LIFE (RHIZOME)”<br />
• The Japanese artist<br />
presented a new group of<br />
electronic sculptures that were<br />
being exhibited in Europe<br />
for the first time. A virtuoso of<br />
light-emitting diodes (LEDs),<br />
Miyajima creates gadgets that<br />
count, mark the passage of<br />
time, and act as metaphors for<br />
the chaotic and unpredictable<br />
nature of existence while<br />
simultaneously creating order.<br />
The artist’s grids of LEDs in<br />
various sizes are priced from<br />
$70,000 to $280,000. Each<br />
work is programmed with its<br />
own electronic parameters, and<br />
each LED is connected to those<br />
around it. As one LED receives<br />
a command or impulse from a<br />
neighbor, it also sends one out.<br />
NEW YORK<br />
CHEIM & READ<br />
AL HELD: “ALPHABET<br />
PAINTINGS”<br />
• Diverging from the gesturedominated<br />
path of the Abstract<br />
Expressionists, in the early<br />
1960s Held (1928–2005)<br />
NEW YORK<br />
ALEXANDER AND BONIN<br />
MATTHEW BENEDICT:<br />
“AMERICANA”<br />
• Collectors of Benedict’s<br />
work can select from a variety<br />
of media as the artist creates<br />
sculpture, drawings, photographs,<br />
and embroideries. But<br />
it is his paintings that remain<br />
the most popular. Prices for<br />
Benedict’s painted works have<br />
risen steadily. In a 2009 show<br />
of paintings at the gallery, a<br />
4-by-6-foot piece could be had<br />
for $16,000. For this exhibition,<br />
paintings of that size were<br />
priced at $25,000 and sold<br />
well, notably to European<br />
collectors. Several paintings<br />
found new homes in private<br />
collections in Switzerland,<br />
Sweden, and Spain. The<br />
sculptures (also priced around<br />
$25,000) and paintings here<br />
Colored numbers light up<br />
and flash according to the<br />
algorithm, and each work<br />
becomes its own society.<br />
Collectors in the U.S. and<br />
Europe responded favorably to<br />
the artist’s complex groupings<br />
with their rhythms, colorful<br />
visuals, and rich, mysterious<br />
philosophical power. A related<br />
LED sculpture from 2001,<br />
Time Grid, sold at Sotheby’s<br />
started to define his own<br />
brand of weighty but<br />
minimal abstraction.<br />
Presenting works from<br />
these transitional years,<br />
the blue-chip Chelsea<br />
gallery that began<br />
representing the<br />
American painter’s<br />
estate a year ago<br />
mounted an exhibition of<br />
his “Alphabet Paintings,”<br />
created between 1961<br />
and 1967. The artist’s<br />
bright, geometric<br />
paintings declare their<br />
physicality—their uneven<br />
painted acrylic surfaces<br />
arguably constitute a<br />
sculptural presence—and their<br />
influence on artists ranging<br />
from Richard Serra and Donald<br />
Judd to Mary Heilmann and<br />
Wade Guyton is inescapable.<br />
“You can’t assume that<br />
everyone is aware of history,”<br />
observes gallerist John Cheim.<br />
evoked New England,<br />
presenting a quaint yet slightly<br />
ominous view of history, and<br />
implicitly lamenting the loss<br />
of historical objects to our<br />
computerized age. Connecticutborn<br />
Benedict, a talented<br />
alchemist with an affinity for<br />
the dark and the vintage,<br />
reimagines—and occasionally<br />
New York in May of last year<br />
for $182,500, a record price for<br />
a work by the artist. Miyajima’s<br />
compelling assemblages have<br />
been shown from Barcelona<br />
to London to Seoul, and the<br />
Denver Art Museum has just<br />
commissioned an original work.<br />
Life (Rhizome) No. 4, 2012.<br />
280 LEDs, electric wire, stainless<br />
steel frame, 80 x 115⅓ in.<br />
“It’s a part of any culture:<br />
Stories must be retold.” The<br />
seven monumental works<br />
in the show, some as large as<br />
billboards, came from private<br />
collections, and several were<br />
available for sale for between<br />
$500,000 and $1.6 million.<br />
Smaller works on paper in<br />
crayon or graphite from the<br />
same period sold early during<br />
the run to private collectors<br />
for $65,000. Although Held’s<br />
paintings have been shown<br />
mostly in the U.S., his presence<br />
in the Daimler Art Collection<br />
in Stuttgart and the<br />
Kunstmuseum in Basel has<br />
earned him new enthusiasts<br />
abroad. An institution in South<br />
America acquired one of<br />
the paintings in this exhibition<br />
for its permanent collection.<br />
Ivan the Terrible, 1961.<br />
Acrylic on canvas,<br />
12 x 9½ ft.<br />
invents—his own 19th-century<br />
American narratives. Exhibitions<br />
of his work are scheduled<br />
for fall 2013 at Stene Projects,<br />
Stockholm, and for 2014<br />
at Mai 36 Galerie, zurich.<br />
“Silent” Still Life, 2002–12.<br />
Found objects, wood, leather, and<br />
wire on wood, 32½ x 57 x 15 in.<br />
165
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168<br />
Brothers in law (continued from page 101)<br />
experts had disagreed about the appeal of the paintings selected for sale at<br />
a May 1981 auction. Christie’s told Cristallina that the works could fetch<br />
a total of up to $12.6 million. The only work to sell—Degas’s Portrait of<br />
Eugene Manet—brought in $2.2 million. Cristallina claimed that, had<br />
it known about the disagreement, it could have withdrawn the works<br />
before the auction, thus avoiding the disastrous sale. The Supreme Court<br />
of New York held that auction houses must disclose the fact that a piece<br />
lacks auction appeal. The case was settled out of court, with Christie’s<br />
paying an undisclosed amount.<br />
“If the auction house loans me money, can it keep the arrangement<br />
secret?” whispered Seymour, as he stole our fries. We explained that the<br />
Rules of the City of New York do not require this disclosure on a lot-by-lot<br />
basis. The auctioneer must include a general statement in the catalogue<br />
that it offers loans and/or advances to consignors.<br />
We noticed that the Bollinger bottle was almost empty. “What if the<br />
auction house makes loans or rebates to certain prospective purchasers?”<br />
he asked. That fact needs to be disclosed in the auctioneer’s catalogue or<br />
printed material, and if there is no such printed material, disclosure must<br />
be made by posting a sign or in another conspicuous manner.<br />
Seymour’s next question: Must the auctioneer reveal that it has guaranteed<br />
the consignor a minimum price for a work? We said that in New<br />
York, the auctioneer must disclose this information as well as any other<br />
financial interest it has in a work (other than the selling commission), but<br />
it need not reveal the exact amount of the guarantee. Often, auctioneers<br />
will use a symbol or letter in the catalogue that refers readers to a fuller<br />
explanation of the nature of its interest.<br />
Seymour eyed us suspiciously. “Isn’t there a conflict of interest when<br />
an auctioneer offers goods in which it has a financial stake by way of<br />
a guarantee while at the same time offering similar goods from other<br />
consignors?” We replied that we didn’t see a problem with guarantees so<br />
long as they are properly disclosed.<br />
“Are auction houses required to state which works were actually<br />
sold?” Seymour continued, casually ordering a second bottle of champagne.<br />
“I understand that in the past auction houses may have reported<br />
‘bought in’ [unsold] lots as having been sold and post-auction private<br />
sales as if they were actual auction results.” We reassured him that New<br />
York auction houses must state sales accurately. For instance, after withdrawing<br />
a lot from sale for failing to meet the reserve and before bidding<br />
on another lot begins, the auctioneer is required to announce that the lot<br />
has been “passed,” “withdrawn,” “returned to owner,” or “bought in.”<br />
In fact, in the Cristallina case, Christie’s was fined $80,000 for falsely<br />
reporting that three, instead of one, of the Impressionist paintings had<br />
been sold in the room at the time of the auction.<br />
“At least auction houses post estimates, which is more than dealers<br />
do,” Seymour said. “And judging by the lawsuit filed last year against<br />
Larry Gagosian, I don’t suppose dealers are particularly fond of full disclosure.”<br />
He was referring to a lawsuit brought in New York State Court<br />
against Gagosian and his gallery on behalf of collector Jan Cowles, who<br />
claims, in part, that Gagosian improperly represented both sides in a<br />
transaction—Cowles, the seller of the 1964 Roy Lichtenstein painting<br />
Girl in Mirror, and Thompson Dean, the buyer—and did not disclose to<br />
Cowles that he was trying to get a favorable price for the buyer. According<br />
to court documents, a Gagosian rep e-mailed Dean: “Seller now in terrible<br />
straits and needs cash…. Are you interested in making a cruel and<br />
offensive offer? Come on, want to try?” The case was quietly settled.<br />
Seymour gave us an enigmatic smile and observed that the art world<br />
seemed to be a dangerous place for a sock salesman. Before we could<br />
reply, we had to take a call in private from another client. When we got<br />
back to Seymour’s table, he was gone. All that was left was a faint air<br />
of mystery—and the bill.<br />
thomas and charles danziger are the lead partners in the new York firm danziger,<br />
danziger & muro, specializing in art law.<br />
indonesia (continued from page 138)<br />
gallery’s director. In Europe, galleries showcasing Indonesian artists<br />
include the Christian Hosp and Arndt galleries in Berlin, Primo<br />
Marella Gallery in Milan, and Ben Brown, with locations in London<br />
and Hong Kong. Brown agrees with Rollins that the market is strong<br />
but points out that many of the buyers are familiar to dealers who<br />
have previously worked with Asian art. “It’s all the usual suspects<br />
who are buying Indonesian art,” Brown says. “I mean the first people<br />
to get in on the Chinese art market: Uli Sigg, Guy Ullens, French and<br />
Swiss buyers. It is exactly the same crowd.”<br />
Indonesian artists are also well represented in galleries across the<br />
region, especially in Singapore, which is in many ways the regional<br />
hub for Indonesian art. Valentine Willie Fine Art, which has galleries<br />
in Singapore, Kuala Lumpur, Manila, and Yogyakarta, shows dozens<br />
of Indonesian artists, both established and emerging. Jasdeep Sandhu<br />
of Gajah, in Singapore and Yogyakarta, has been showing Indonesian<br />
artists since 1996 and is among the most longstanding, dedicated,<br />
and reputable dealers. His downtown Singapore gallery, in a colonial<br />
building off Orchard Road, shows the work of major Indonesian artists,<br />
including Masriadi, whom he manages globally, and Yunizar, a<br />
fast-rising talent.<br />
Sandhu travels to Indonesia once a month to meet with artists<br />
and source artworks. In Yogyakarta he recently opened Yogya Art<br />
Lab, an impressive building with downstairs workshops and upstairs<br />
offices and a gallery, where he invites artists to come, stay, and experiment<br />
with new materials. Yunizar was in residence when I visited,<br />
developing some three-dimensional works with handmade paper. Last<br />
fall Ashley Bickerton made use of the residency’s resources to create<br />
a sculpture for the new Art13 fair in London. He was followed by<br />
Saputra. “Yogyakarta is the center of traditional Javanese arts and<br />
crafts,” Sandhu explained, “and the city is teeming with these great<br />
artisans.” He is convinced that for Indonesian artists to achieve further<br />
market success they need to innovate. “There is so much talent<br />
here, and unlocking that creativity is the key. I want to create a space<br />
here where artists can experiment to fulfill their potential. This will<br />
be the future of Indonesian art going forward. It is such an asset.”<br />
Life is relaxed and good in Yogyakarta, and it is easy to see why the<br />
artists want to live there as opposed to Jakarta, where the business and<br />
collectors are. Yogyakarta is also home to the Indonesian Institute of the<br />
Arts, one of the country’s best art schools. Most artists live and work<br />
in the southern part of the city, an old colonial district in which grand<br />
old homes are interspersed with rice paddies. Several not-for-profit art<br />
spaces are clustered in the neighborhood, including Cemeti Art House,<br />
which was the first contemporary art space in Indonesia and is well<br />
known locally and regionally as an incubator for younger talent. The<br />
last few years have also seen the emergence of Langgeng Art Foundation,<br />
the brainchild of Deddy Irianto, who also runs Langgeng Gallery in<br />
Magelang; and Sangkring, which means “art space,” owned and run by<br />
Sutawijaya, a successful older Indonesian artist.<br />
But it is the breadth and depth of the community of artists that is the<br />
real draw: Jumaldi Alfi, Saputra, Suwage, Ugo Untoro, Wiharso, and<br />
Yunizar all have studios in Yogyakarta, as does Nugroho, who in 2012<br />
had a solo show at the Musée d’Art Moderne in Paris. In addition to<br />
shows with Lombard Freid in New York, he shows in Seoul at Arario, in<br />
Jakarta at Ark, in Paris at SAM Art Projects, and in Berlin at Arndt. He is<br />
typical of the successful artists in Yogyakarta insofar as his work remains<br />
firmly rooted in his native country but is interconnected with the wider<br />
world. The day I visited his studio, he was working on drawings of comic<br />
book heroes applied in a batik style using traditional techniques. “Some<br />
people in Paris told me they didn’t understand my work,” he said. “I told<br />
them that was a good sign, that to really appreciate it they have to meet<br />
the culture halfway. It takes understanding of who we are to appreciate<br />
all the meanings and symbols.”<br />
Art+Auction may 2013 | blouinArtinFo.coM
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170<br />
dataBank<br />
Counting on Contemporary<br />
EvEn thE most casual art market observers know<br />
contemporary art has been the star of the auction realm for the<br />
past 10 years. Although postwar and contemporary sales were<br />
for years considered the younger siblings of the major new York<br />
and london auctions, individual records and overall sales<br />
volume in that category now frequently eclipse those of the long<br />
dominant impressionist and modern group. to be sure, part of<br />
that is related to supply—and the quality of what even the richest<br />
buyers can get their hands on—but it also reflects the purchase<br />
power and tastes of young, wealthy buyers.<br />
So just how valuable has postwar and contemporary art become?<br />
this month we look at how different investment strategies would<br />
have performed in the past decade, using a portfolio of the top<br />
10 artists in this segment between 2002 and 2012. For instance, our<br />
research and analysis indicate that investing $100,000 in the top<br />
10 artists in 2002 and holding them for 10 years would have yielded<br />
$410,000 in 2012. Signaling that demand is concentrated at<br />
the high end of the market, holding the top 50 artists of 2002<br />
(ranked by turnover) would have resulted in a slightly lower gain<br />
of $379,000, still beating the $336,000 of the postwar and<br />
contemporary index that considers all qualifying sales. the list of<br />
top 10 artists saw little change between 2002 and 2012: Francis<br />
bacon, Jean-Michel basquiat, Willem de Kooning, lucio Fontana,<br />
roy lichtenstein, Gerhard richter, cy twombly, and Andy Warhol<br />
all appear on the tables for both years. By roman Kraeussl<br />
Francis Bacon is one of several artists<br />
who appear on the list of top-selling<br />
contemporary names in both 2002<br />
and 2012. his 1964 oil on canvas Study<br />
for Self-Portrait sold for $33.6 million<br />
at christie’s london in June 2012,<br />
one of a number of blockbuster prices<br />
that contributed to his $151 million<br />
total auction turnover last year.<br />
auction turnover of the top 10 postwar and contemporary artists in 2002 and 2012<br />
The list of top 10 artists showed little variation between 2002 and 2012, aside from slight shifts in the ranking; Jasper Johns and Ed Ruscha appear in 2002 but<br />
not in 2012, when Yves Klein and Mark Rothko edged them out. The main difference between the two tables is the overall auction turnover, which ranges from<br />
a fivefold to a tenfold increase. For instance, auction turnover for Warhol went from $68.5 million in 2002 to $318.6 million in 2012. The overall 2002 auction<br />
total of $217.5 million for the top 10 names leaped to nearly $1.5 billion in 2012.<br />
2002 2012<br />
artist nationaLity turnover (usd)<br />
1 Andy Warhol American $68,493,720<br />
2 Gerhard Richter German $27,917,538<br />
3 Willem de Kooning Dutch $24,625,943<br />
4 Roy Lichtenstein American $21,358,725<br />
5 Jean-Michel Basquiat American $15,525,011<br />
6 Jasper Johns American $13,413,659<br />
7 Francis Bacon Irish $13,066,392<br />
8 Ed Ruscha American $12,847,427<br />
9 Cy Twombly American $10,570,488<br />
10 Lucio Fontana Italian $9,724,037<br />
artist nationaLity turnover (usd)<br />
1 Andy Warhol American $318,579,265<br />
2 Gerhard Richter German $259,483,106<br />
3 Mark Rothko American $168,399,023<br />
4 Francis Bacon Irish $151,008,238<br />
5 Jean-Michel Basquiat American $137,468,325<br />
6 Roy Lichtenstein American $112,501,936<br />
7 Yves Klein French $105,731,250<br />
8 Lucio Fontana Italian $66,519,328<br />
9 Willem de Kooning Dutch $64,210,087<br />
10 Cy Twombly American $57,655,041<br />
Art+Auction may 2013 | blouinArtinFo.coM<br />
chriStie’S
Postwar and ContemPorary art vs. other investments<br />
We constructed an overall index to compare the performance of contemporary art with more traditional investments, including the S&P 500, gold, real<br />
estate, and hedge funds. The art index outperformed all of these standard investments until 2008, when it fell—but only behind gold—amid the global<br />
economic crisis. After seven years of rising prices, the broader market contracted sharply in 2008–09, and postwar and contemporary art took a nosedive<br />
during that period. The index shows art prices are still about 15 percent below the high seen at the peak of 2008 but are on the rise nonetheless.<br />
400<br />
350<br />
300<br />
250<br />
200<br />
150<br />
100<br />
50<br />
S&P 500<br />
blouinARTinFo.CoM | may 2013 ART+AuCTion<br />
0<br />
GOLD<br />
REaL ESTaTE<br />
HEDGE FUNDS<br />
POSTWaR aND CONTEmPORaRy aRT<br />
2003 2004 2005 2006 2007 2008 2009 2010 2011 2012<br />
Postwar and ContemPorary PerformanCe by year and Portfolio of artists<br />
The indices below imply that investing in the top stars would have worked extraordinarily well over the past 10 years, though this does not mean that<br />
the current top 10 (or top 50) will continue to generate the same levels of return in coming years, or beat the all-inclusive postwar and contemporary<br />
index. Of course, had it been possible to predict the top 10 names for 2012, the return generated by a 2002 investment of $100,000 would have been<br />
an even higher $434,000 (as compared with the $336,000 posted for all postwar and contemporary artists). However, the strongest performance<br />
would have come from investing in 2002, with perfect foresight, in the top 50 artists by turnover as of 2012: $100,000 would have returned nearly half<br />
a million dollars, beating all other indices of this segment. Why? In 2012 many contemporary Chinese artists made it to the top 50, a trend that helped<br />
generate enormous returns over the last decade. Artists whose work sold for lesser prices in the early to mid 2000s but who now command seven<br />
figures, include Zeng Fanzhi (b. 1964), Zhang Xiaogang (b. 1958), and Chen Yifei (1946–2005).<br />
500<br />
450<br />
400<br />
350<br />
300<br />
250<br />
200<br />
150<br />
100<br />
50<br />
0<br />
.<br />
TOP 10 2002<br />
TOP 50 2002<br />
TOP 10 2012<br />
TOP 50 2012<br />
2003 2004 2005 2006 2007 2008 2009 2010<br />
2011<br />
2012<br />
aLL<br />
171
gallery listings<br />
NORTH<br />
AMERICA<br />
new york<br />
uptown<br />
Acquavella Galleries<br />
18 East 79th Street<br />
+1 212 734 6300<br />
info@acquavellagalleries.com<br />
www.acquavellagalleries.com<br />
The Pop Object: The Still Life Tradition<br />
in Pop Art. Curated by John<br />
Wilmerding. Through May 24. Impressionist,<br />
Modern and Contemporary<br />
Masters. Hours: Monday through<br />
Saturday, 10-5p.m.<br />
Art for Eternity<br />
303 East 81st Street<br />
+1 212 472 5171<br />
howard.nowes@verizon.net<br />
www.artforeternity.com<br />
Special Exhibition: 5000 years of the<br />
Art of Africa featuring Ancient Egyptian<br />
art through modern tribal Africa<br />
Barbara Mathes Gallery<br />
22 East 80th Street<br />
+1 212 570 4190<br />
art@barbaramathesgallery.com<br />
www.barbaramathesgallery.com<br />
Fausto Melotti: Works on Paper and<br />
Plaster. May 2 through July 26. Hours:<br />
Tuesday through Friday, 10-6p.m.<br />
and Saturday, 10-5p.m.<br />
Dickinson Roundell Inc.<br />
19 East 66th Street<br />
+1 212 772 8083<br />
info@simondickinson.com<br />
www.simondickinson.com<br />
Paul Klee: The Bauhaus Years. May<br />
3 through June 14. Hours: Monday<br />
through Friday, 10-6p.m. and by<br />
appointment<br />
Doyle New York<br />
175 East 87th Street<br />
+1 212 427 2730<br />
info@DoyleNewYork.com<br />
www.DoyleNewYork.com<br />
European, American, Modern and<br />
Contemporary Art: Auction on<br />
Wednesday, May 8 at 11a.m. and<br />
Exhibition, May 4 through May 7.<br />
Important English and Continental<br />
Furniture and Decorations/Old Master<br />
Paintings & Drawings: Auction on<br />
Wednesday, May 22 at 10a.m.<br />
Friedman & Vallois Gallery<br />
27 East 67th Street<br />
Mezzanine level<br />
+1 212 517 3820<br />
fvdeco@aol.com<br />
http://vallois.com<br />
French Art Deco Furniture, Lighting<br />
and Objects by Jacques-Emile<br />
Ruhlmann, Jean Michel Frank,<br />
Alberto and Diego Giacometti, Paul<br />
Dupre-Lafon, Jean Dunand, and<br />
others. Important African Tribal Art.<br />
Hours: Tuesday through Friday, 10-<br />
6p.m., Saturday, 10-5p.m. and by<br />
appointment<br />
Gagosian Gallery<br />
980 Madison Avenue<br />
+1 212 744 2313<br />
newyork@gagosian.com<br />
www.gagosian.com<br />
Ed Ruscha Books and Co. Through<br />
April 27. Works of the Jenney Archive,<br />
through April 27. Cecily Brown: May<br />
7 through June 22. Dennis Hopper:<br />
The Lost Album. May 7 through June<br />
22. Hours: Tuesday through Saturday,<br />
10-6p.m.<br />
Leonard Hutton Galleries<br />
790 Madison Avenue<br />
Between 66th and 67th Street<br />
Suite 506<br />
+1 212 751 7373<br />
art@leonardhuttongalleries.com<br />
www.leonardhuttongalleries.com<br />
The Irascibles and the New York<br />
School. James Brooks, Willem<br />
de Kooing, Sam Francis, Adolph<br />
Gottlieb, Hans Hofmann, Robert<br />
Motherwell, Jackson Pollock, Richard<br />
Pousette-Dart, David Smith, Jack<br />
Tworkov and others. Hours: Monday<br />
through Friday, 10-5:30p.m., Saturday<br />
by appointment<br />
Mnuchin Gallery<br />
45 East 78th Street<br />
+1 212 861 0020<br />
contact@mnuchingallery.com<br />
www.mnuchingallery.com<br />
Ellsworth Kelly, Singular Forms 1966<br />
through April 18 through June 1. Post-<br />
War and Contemporary Painting and<br />
Sculpture. Hours: Tuesday through<br />
Saturday, 10-5:30p.m. or by appointment<br />
Tambaran Gallery<br />
5 East 82nd Street<br />
+1 212 570 0655<br />
m.zarember@tambaran.com<br />
www.tambaran.com<br />
Tambaran is one of New York City’s<br />
oldest Tribal Art galleries specializing<br />
in exceptionally beautiful museum<br />
quality pieces. Founded in 1979 by<br />
Maureen Zarember, the gallery offers<br />
an unrivaled expertise in African,<br />
Oceanic and North-West Coast<br />
American art to private collectors and<br />
museums all over the world. Zarember’s<br />
eye for authenticity, condition<br />
and aesthetic are well established in<br />
the tribal art market where she has<br />
been helping clients build collections<br />
for over thirty years. With a gallery<br />
open to the public, she also welcomes<br />
young collectors, first time<br />
buyers and students. Hours: Monday<br />
through Friday, 11-6p.m.; Saturday by<br />
appointment<br />
Trezza<br />
32 East 76th Street<br />
Suite 801<br />
+1 212 327 2218<br />
mail@trezza.com<br />
www.trezza.com<br />
New Gallery and Office Space-<br />
Spring/Summer 2013. Currently by<br />
appointment only. 19th and 20th<br />
century paintings, sculptures and<br />
works on paper. Academic, Barbizon,<br />
Impressionist, Post-Impressionist,<br />
Expressionist, Fauvist and Modernist.<br />
Hours: Currently by appointment only.<br />
New gallery space opens Spring/<br />
Summer 2013<br />
Van Doren Waxter<br />
23 East 73rd Street<br />
+1 212 445 0444<br />
info@vandorenwaxter.com<br />
www.vandorenwaxter.com<br />
Alexander Gorlizki: For Immediate<br />
Release. Through June 28. Hours:<br />
Tuesday through Saturday, 10-6p.m.<br />
new york<br />
57th street<br />
Alexandre Gallery<br />
41 East 57th Street<br />
at Madison Avenue<br />
13th Floor<br />
+1 212 755 2828<br />
inquiries@alexandregallery.com<br />
www.alexandregallery.com<br />
Phantasmatical: Self-Portraits by<br />
Anne Harris, through May 11. Bernard<br />
Langlais, Works in Wood, A Survey<br />
Exhibition. May 18 through June 28.<br />
Reception and American Week Open<br />
House: Wednesday, May 22, 5-7p.m.<br />
Hours: Tuesday through Friday, 10-<br />
5:30p.m. and Saturday, 11-5p.m.<br />
Lion, by Bernard Langlais, Wood, 21-in x<br />
40.75-in, © Bernard Langlais, Courtesy<br />
Alexandre Gallery, New York<br />
Edward Tyler Nahem Fine Art,<br />
L.L.C<br />
37 West 57th Street<br />
2nd Floor<br />
+1 212 517 2453<br />
info@etnahem.com<br />
www.etnahem.com<br />
THE PARK: PAINTINGS BY ERIC<br />
BENSON. May 2 through June 20.<br />
At The Arsenal Gallery Central Park,<br />
located at 830 Fifth Avenue at 64th<br />
Street, Third Floor. Gallery Hours:<br />
Monday–Friday, 9:00 a.m.–5:00 p.m.<br />
Gering & López Gallery<br />
730 Fifth Avenue<br />
Suite 606<br />
+1 646 336 7183<br />
info@geringlopez.com<br />
www.geringlopez.com<br />
Michael Bevilacqua, RADIO amnesia:<br />
A Survey of Works on Paper, 1997-<br />
2013. May 9 through June 15. Hours:<br />
Tuesday through Friday, 10-6p.m.<br />
and Saturday, 11-5p.m.<br />
Fight For Your Right, 2011, by Michael<br />
Bevilacqua, Mixed Media on Paper,<br />
50-in x 38-in, at Gering & Lopez Gallery,<br />
New York<br />
Heritage Auctions<br />
445 Park Avenue<br />
at 57th Street<br />
+1 212 486 3500<br />
info@ha.com<br />
www.ha.com<br />
As America’s most trusted auction<br />
house, Heritage specializes in fine<br />
arts, coins and other collectibles. Visit<br />
HA.com for information on upcoming<br />
auctions and preview events. Stop by<br />
our everchanging display, Windows<br />
on Park Avenue. Hours: Monday<br />
through Friday, 10-6p.m.<br />
Hirschl & Adler Galleries, Inc.<br />
The Crown Building<br />
730 Fifth Avenue<br />
4th Floor<br />
+1 212 535 8810<br />
gallery@hirschlandadler.com<br />
modern@hirschlandadler.com<br />
www.hirschlandadler.com<br />
Important American and European<br />
Paintings, Works on Paper, and<br />
Sculpture. Through May 31. Highlights<br />
from our collections of American<br />
and European paintings, works<br />
on paper, and sculpture, 18th century<br />
to the present; and American Furniture<br />
and Decorative Arts, 1800-1840.<br />
Works by: Oscar Bluemner, George<br />
Bellows, Childe Hassam, Daniel<br />
Ridgway Knight, Theodore Robinson,<br />
Severin Roesen, Everett Shinn,<br />
Edmund Tarbell, Stanley Twardowicz;<br />
and contemporary works by:<br />
James Aponovich, Frederick Brosen,<br />
Alexander Creswell, Diana Horowitz,<br />
David Ligare, John Moore, <strong>Marc</strong><br />
Trujillo, Elizabeth Turk, Amy Weiskopf,<br />
and others. Hours: Tuesday through<br />
Friday: 9:30-5:15p.m. and Saturday,<br />
9:30-4:45p.m.
Howard Greenberg Gallery<br />
41 East 57th Street<br />
Suite 1406<br />
+1 212 334 0010<br />
info@howardgreenberg.com<br />
www.howardgreenberg.com<br />
1963, May 3 through July 6. Scenes<br />
from the South. On View in Howard<br />
Greenberg Gallery Two, May<br />
9 through June 1. Hours: Tuesday<br />
through Saturday, 10-6p.m. and by<br />
special appointment<br />
I L I A D<br />
212 East 57th Street<br />
Ground Floor<br />
+1 212 935 4382<br />
info@iliadny.com<br />
www.iliadny.com<br />
Presenting new works by Strong-Cuevas,<br />
William Holton, Sasha Meret<br />
and Andrea Zemel. ILIAD’s curated<br />
Contemporary Art program features<br />
important works by mid-career<br />
and established artists evocatively<br />
balanced by a sophisticated and<br />
intelligent presentation of art historical<br />
décor in an expansive gallery setting.<br />
Modernist Furniture, Contemporary<br />
Art and Design inspire a new collecting<br />
sensibility and vision. Hours:<br />
Monday through Friday, 10-6p.m.,<br />
Saturday 12-5p.m. and by appointment<br />
James Goodman Gallery<br />
41 East 57th Street<br />
8th Floor<br />
+1 212 593 3737<br />
info@jamesgoodmangallery.com<br />
www.jamesgoodmangallery.com<br />
Open Saturdays, May 4th and May<br />
11th. New Acquisitions: Burchfield,<br />
Calder, Chadwick, Cornell, de Kooning,<br />
Dine, Francis, Frink, Gottlieb,<br />
Graham, Léger, Lichtenstein, Matisse,<br />
Moore, Picasso, Rauschenberg, Warhol,<br />
Wesselmann and others. Hours:<br />
Monday through Friday, 10-6p.m.<br />
Marian Goodman Gallery<br />
24 West 57th Street<br />
+1 212 977 7160<br />
goodman@mariangoodman.com<br />
www.mariangoodman.com<br />
Julie Mehretu, May 10 through June<br />
22. Hours: Monday through Saturday,<br />
10-6p.m.<br />
Marlborough Gallery<br />
40 West 57th Street<br />
2nd Floor<br />
+1 212 541 4900<br />
mny@marlboroughgallery.com<br />
www.marlboroughgallery.com<br />
Claudio Bravo, May 2 through June<br />
8. Hours: Monday through Saturday,<br />
10-5:30p.m.<br />
Pace/MacGill Gallery<br />
32 East 57th Street<br />
2nd Floor and 9th Floor<br />
+1 212 759 7999<br />
info@pacemacgill.com<br />
newyork@pacemacgill.com<br />
www.pacemacgill.com<br />
Henry Wessel: Incidents. Through<br />
June 15. Richard Misrach: On the<br />
Beach 2.0 at 510 West 25th Street.<br />
May 4 through June 29. Hours: Tuesday<br />
through Friday, 9:30-5:30p.m.<br />
and Saturday, 10-6p.m.<br />
Throckmorton Fine Art<br />
145 East 57th Street<br />
3rd Floor<br />
+1 212 223 1059<br />
info@throckmorton-nyc.com<br />
www.throckmorton-nyc.com<br />
Elisabeth Sunday, GRACE. May<br />
2 through July 6. Book available,<br />
Grace, $65. Hours: Tuesday through<br />
Saturday, 10-5p.m.<br />
African Future, The Turkana, Northern<br />
Kenya, 1988, by Elisabeth Sunday,<br />
Platinum Print, 30-in x 25-in, at<br />
Throckmorton Fine Art, New York<br />
new york<br />
chelsea & midtown<br />
ACA Galleries<br />
529 West 20th Street<br />
5th Floor<br />
New York, New York<br />
+1 212 206 8080<br />
info@acagalleries.com<br />
www.acagalleries.com<br />
May 4 through June 15. Textures: The<br />
Written Word in Contemporary Art, including<br />
Basquiat, Bearden, Borofsky,<br />
Bosman, Carnwath, Colescott, Corso,<br />
Davie, Hartigan, Kass, McGraw, Micheline,<br />
Ricard, Ringgold, Robinson,<br />
and Sawka, among others.<br />
Opening reception: May 4, 3-5pm.<br />
Hours: Tuesday through Saturday,<br />
10:30-6p.m.<br />
Barry Friedman Ltd<br />
515 West 26th Street<br />
2nd Floor<br />
+1 212 239 8600<br />
contact@barryfriedmanltd.com<br />
www.barryfriedmanltd.com<br />
Sergei Isupov: Call of the Wild. May<br />
4 through June 15. Erotic surrealist.<br />
Three-dimensional figurative ceramic<br />
sculpture. Hours: Tuesday through<br />
Saturday, 10-6p.m. and Mondays by<br />
appointment<br />
Cavin-Morris Gallery<br />
210 Eleventh Avenue<br />
Suite 201<br />
+1 212 226 3768<br />
info@cavinmorris.com<br />
www.cavinmorris.com<br />
New Works by Yohei Nishimura.<br />
Through May 11. Restless II, May 16<br />
through June 29. Hours: Tuesday<br />
through Friday, 10-6p.m. and Saturday,<br />
11-6p.m.<br />
Danese<br />
525 West 26th Street, PH<br />
+1 212 223 2227<br />
contact@danese.com<br />
www.danese.com<br />
Please contact gallery for current<br />
exhibition information<br />
DC Moore Gallery<br />
535 West 22nd Street<br />
2nd Floor<br />
+1 212 247 2111<br />
info@dcmooregallery.com<br />
ww.dcmooregallery.com<br />
Alexi Worth: States, May 2 through<br />
June 15. Opening Reception:<br />
Thursday, May 2 from 6-8p.m. Hours:<br />
Tuesday through Saturday, 10-6p.m.<br />
Gagosian Gallery<br />
555 West 24th Street<br />
+1 212 741 1111<br />
newyork@gagosian.com<br />
www.gagosian.com<br />
Jeff Koons: New Paintings and<br />
Sculpture. May 9 through June 29.<br />
Hours: Tuesday through Saturday,<br />
10-6p.m.<br />
Gagosian Gallery<br />
522 West 21st Street<br />
+1 212 741 1717<br />
newyork@gagosian.com<br />
www.gagosian.com<br />
Anselm Kiefer: Morgenthau Plan.<br />
May 3 through June 8. Hours:<br />
Tuesday through Saturday, 10-6p.m.<br />
Gallery Henoch<br />
555 West 25th Street<br />
+1 917 305 0003<br />
info@galleryhenoch.com<br />
www.galleryhenoch.com<br />
May 2 through May 25. Gary Ruddell<br />
and Alexandra Pacula, Paintings.<br />
Hours: Tuesday through Saturday,<br />
10:30-6p.m.<br />
Jack Shainman Gallery<br />
513 West 20th Street<br />
524 West 24th Street<br />
+1 212 645 1701<br />
info@jackshainman.com<br />
www.jackshainman.com<br />
Tallur L.N., New Yorked, through<br />
May 11 at 513 West 20th Street and<br />
524 West 24th Street. Toyin Odutola,<br />
May 16 through June 29 at 513 West<br />
20th Street. Tim Bavington, May 16<br />
through June 29 at 524 West 24th<br />
Street. Hours: Tuesday through Saturday,<br />
10-6p.m.<br />
special advertising section<br />
Marlborough Chelsea<br />
545 West 25th Street<br />
+1 212 463 8634<br />
info@marlboroughchelsea.com<br />
www.marlboroughchelsea.com<br />
Floor: Andrew Kuo, You Say Tomato;<br />
Second Floor: The Wall, Group<br />
Exhibition. Through May 4. First Floor:<br />
Endless Bummer, Group Exhibition,<br />
curated by Drew Heitzler and Jan<br />
Tumlir; Second Floor: Drew Heitzler,<br />
Comic Books, Inverted Stamps,<br />
Paranoid Literature, May 11 through<br />
June 29. Hours: Tuesday through<br />
Saturday, 10-6p.m.<br />
Nancy Hoffman Gallery<br />
520 West 27th Street<br />
+1 212 966 6676<br />
info@nancyhoffmangallery.com<br />
www.nancyhoffmangallery.com<br />
Joseph Raffael, Raffael @ Eighty.<br />
Through May 4. Robert Zakanich:<br />
Hanging Gardens, May 9 through<br />
June 15. Hours: Tuesday through<br />
Saturday, 10-6p.m.<br />
Susan Sheehan Gallery<br />
136 East 16th Street<br />
Between 3rd Avenue and Irving Place<br />
info@susansheehangallery.com<br />
www.susansheehangallery.com<br />
Prints and drawings available by: Josef<br />
Albers, Vija Celmins, Stuart Davis,<br />
Willem de Kooning, Richard Diebenkorn,<br />
Philip Guston, David Hockney,<br />
Jasper Johns, Donald Judd, Ellsworth<br />
Kelly, Sol Lewitt, Roy Lichtenstein,<br />
Brice Marden, John McLaughlin,<br />
Joan Mitchell, Fairfield Porter, Ad Reinhardt,<br />
Ed Ruscha, Fred Sandback,<br />
Richard Serra, Wayne Thiebaud, Cy<br />
Twombly and Andy Warhol. Hours:<br />
Tuesday through Friday 10-6p.m., by<br />
appointment<br />
Swann Auction Galleries<br />
104 East 25th Street<br />
+1 212 254 4710<br />
art@swanngalleries.com<br />
www.swanngalleries.com<br />
Swann is the preeminent New York<br />
auction house for works on paper,<br />
with regular sales devoted to 19th<br />
and 20th Century Prints and Drawings;<br />
Old Master through Modern<br />
Prints, American Art and Contemporary<br />
Art, Fine Photographs and Photobooks,<br />
African-American Fine Art and<br />
Vintage Posters. Other departments<br />
include Rare and Antiquarian Books,<br />
Maps & Atlases, Autographs & Manuscripts<br />
and Fine & Vintage Writing<br />
Instruments
gallery listings<br />
new york<br />
soho & downtown<br />
Bernd Goeckler Antiques, Inc.<br />
30 East 10th Street<br />
+1 212 777 8209<br />
bgantiques@mac.com<br />
www.bgoecklerantiques.com<br />
High-style European furniture, lighting<br />
and decoration from the 18th- to the<br />
20th-centuries, with an emphasis on<br />
early to mid 20th-century design. The<br />
gallery also offers a fine selection<br />
of Danish and French ceramics and<br />
Italian glass<br />
Ronald Feldman Fine Arts<br />
31 Mercer Street<br />
+1 212 226 3232<br />
info@feldmangallery.com<br />
www.feldmangallery.com<br />
Rico Gatson, through May 18. Hours:<br />
Tuesday through Saturday, 10-6p.m.<br />
and Monday by appointment<br />
new york<br />
outer boroughs<br />
RoGallery.com<br />
47-15 36th Street<br />
Long Island City<br />
+1 718 937 0901<br />
+1 800 888 1063<br />
art@rogallery.com<br />
www.rogallery.com<br />
Modern & Contemporary Online<br />
Art Auctions. Fine Art Buyers and<br />
Consignments. Over 5000 artists’<br />
paintings, prints, photographs, and<br />
sculptures, view entire collection at<br />
RoGallery.com. Specializing in Modern<br />
& Contemporary Art, Latin American<br />
Art, Op-Art, African American Art,<br />
and more. Pablo Picasso Estate Collection.<br />
Estate & Corporate Collection<br />
Buyers. Gallery by Appointment. For<br />
more information, please contact art@<br />
rogallery.com or +1 718 937 0901<br />
Queen Beatrix of the Netherlands (FS.<br />
II.341),1985, by Andy Warhol, American<br />
(1928-1987), Screenprint on Lennox<br />
Museum Board, signed and numbered<br />
pencil l.r., Edition: 30/40, 39.38-in x 31.5in<br />
at RoGallery.com, Long Island City<br />
northeast<br />
Pennsylvania Academy<br />
of the Fine Arts<br />
118-128 North Broad Street<br />
Philadelphia, Pennsylvania<br />
+1 215 972 7600<br />
www.pafa.org<br />
112th Annual Student Exhibition:<br />
May 10 through June 2. Alumni Sales<br />
Gallery: Bodu Yang, through June 9.<br />
A New Look by Samuel F. B. Morse’s<br />
Gallery of the Louvre, through August<br />
25. Modern Women at PAFA: From<br />
Cassatt to O’Keefee: through September<br />
1. Bill Viola: Ocean Without<br />
a Shore, Ongoing. George Tooker’s<br />
Highway, Ongoing. American Art<br />
Starts Here: PAFA Refreshed &<br />
Reloaded, Ongoing. Hours: Tuesday<br />
through Saturday, 10-5p.m. and<br />
Sunday 11-5p.m.<br />
Riverwalk Antiques<br />
308 West Crawford Avenue<br />
Connellsville, PA<br />
+1 724 213 9721<br />
riverwalkpa@aol.com<br />
www.riverwalkantiques.com<br />
Riverwalk Antiques houses a wide<br />
variety of antiques, refurbished<br />
furniture as well as original stained<br />
glass art work. The store also offers<br />
a fine selection of Delft, Lladro, and<br />
Hummel. Owners, Gary Miller and<br />
Tony Mestres found a perfect location<br />
in Connellsville, PA among a group of<br />
local artists<br />
Ginger Jar/Royal Delft Blue,<br />
De Porceleyne Fles, 14.5-in high x 7-in<br />
diameter, at Riverwalk Antiques,<br />
Connellsville<br />
south southwest<br />
SCAD Museum of Art<br />
601 Turner Boulevard<br />
Savannah, GA<br />
+1 912 525 5220<br />
www.scadmoa.org<br />
The SCAD Museum of Art is a contemporary<br />
art and design museum<br />
conceived and designed expressly<br />
to enrich the educational milieu of<br />
SCAD students and professors, and<br />
to attract and delight visitors from<br />
around the world. In keeping with the<br />
university’s mission, a year-round<br />
program of exhibitions, installations,<br />
performances and museum programs<br />
and events will engage with<br />
SCAD’s 41 majors and more than<br />
50 minors - from fashion and fibers<br />
to painting and sound design. For<br />
information about current exhibitions<br />
and admission, please visit scadmoa.<br />
org. Hours: Tuesday, Wednesday and<br />
Friday, 10-5p.m.; Thursday, 10-8p.m.<br />
and Saturday and Sunday, 12-5p.m.<br />
midwest<br />
Leslie Hindman Auctioneers<br />
1338 West Lake Street<br />
Chicago, IL<br />
+1 312 280 1212<br />
info@lesliehindman.com<br />
www.lesliehindman.com<br />
Leslie Hindman Auctioneers, one of<br />
the nation’s leading fine art auction<br />
houses. Upcoming Auctions: Fine<br />
Furniture and Decorative Arts, Chicago:<br />
April 28 through April 30; 20th<br />
Century Decorative Arts, Chicago:<br />
May 1 through May 2; American and<br />
European Art, Chicago: May 12; Modern<br />
and Contemporary Art, Chicago:<br />
May 13; Fine Silver and Objets de<br />
Vertu, Chicago: May 19; Marketplace,<br />
Chicago: May 22 through May 23;<br />
Denver Summer Auction, Denver:<br />
June 13. Hours: Monday through<br />
Friday, 9-5p.m.<br />
Heritage Auctions<br />
3500 Maple Avenue<br />
Dallas, TX<br />
+1 800 872 6467<br />
+1 214 409 1444<br />
fineart@ha.com<br />
www.ha.com<br />
Since 1976, Heritage has held more<br />
than 4,000 auctions, selling more<br />
than $4 billion worth of art, coins and<br />
other collectibles on behalf of more<br />
than 45,000 consignors. Visit our<br />
award-winning website, HA.com, for<br />
information on upcoming auctions,<br />
as well as our new offices in Beverly<br />
Hills, New York and San Francisco<br />
Zane Bennett Contemporary Art<br />
435 South Guadalupe Street<br />
Santa Fe, NM<br />
+1 505 982 8111<br />
zanebennett@aol.com<br />
www.zanebennettgallery.com<br />
Through MAY 26. European Perspectives.<br />
Works by Francois Morellet,<br />
Olivier Mosset, Gregoire Cheneau,<br />
Miquel Mont, Ruth Gschwendtner-Wolfe,<br />
Diana Block and Peter<br />
Bijwaard, and Tony Soulie. MAY 31<br />
through JUNE 21. Mixografia Prints.<br />
Mimmo Paladino and Rufino Tamayo.<br />
Cast Paper Prints. Hours: Tuesday<br />
through Saturday, 10-5p.m.<br />
Signal Ref. 94007, 1994, by Francois<br />
Morellet, Neon Tubes, 59-in x 75.5-in,<br />
at Zane Bennett Contemporary Art,<br />
Santa Fe
northwest<br />
Coeur D’Alene Art Auction<br />
8836 North Hess Street<br />
Suite B<br />
Hayden, ID<br />
+1 208 772 9009<br />
info@cdaartauction.com<br />
www.cdaartauction.com<br />
Market leading auction house specializing<br />
in fine 19th- and 20th-century<br />
Western and American Art. Over<br />
$200 million in sales over the last ten<br />
years. Now taking consignments for<br />
our July 2013 auction<br />
california<br />
Crown Point Press<br />
20 Hawthorne Street<br />
San Francisco<br />
+1 415 974 6273<br />
info@crownpoint.com<br />
www.crownpoint.com<br />
ABSTRACT MASH-UP II, through<br />
May 25. Tomma Abts, Anne Appleby,<br />
William Brice, Brad Brown,<br />
Pia Fries, Mary Heilmann, Al Held,<br />
Robert Hudson, Anish Kapoor,<br />
Bertrand Lavier, Li Lin Lee, Sol Lewitt,<br />
Markus Lüpertz, Tom Marioni, David<br />
Nash, Gay Outlaw, Judy Pfaff, Janis<br />
Provisor, Rammellzee, Laurie Reid,<br />
Sean Scully, Jose Maria Sicilia, Amy<br />
Sillman, Richard Tuttle, and Pat Steir.<br />
SUMMER CHOICES: May 31 through<br />
August 31. Mamma Andersson,<br />
Robert Bechtle, Christopher Brown,<br />
Edgar Bryan, Chris Burden, John<br />
Chiara, Francesco Clemente, Bryan<br />
Hunt, Per Kirkeby, Robert Kushner,<br />
Susan Middleton, Jockum Nordström,<br />
Chris Ofili, Pat Steir, and William T.<br />
Wiley. Hours: Monday 10-5p.m. and<br />
Tuesday through Saturday, 10-6p.m.<br />
Dawson Cole Fine Art<br />
326 Glenneyre Street<br />
Laguna Beach<br />
+1 888 972 5543<br />
info@dawsoncolefineart.com<br />
www.dawsoncolefineart.com<br />
Originally established in 1993,<br />
Dawson Cole Fine Art specializes in<br />
Contemporary sculpture, drawings,<br />
and unique works on paper. With a<br />
special concentration in Early Modern,<br />
and West Coast Regionalism,<br />
the gallery offers works by Chuck<br />
Close, Henry Moore, Donald Sultan,<br />
Richard MacDonald, James Galindo,<br />
Jian Wang, and Zhaoming Wu. Hours:<br />
Monday through Saturday, 10-6p.m.<br />
and Sunday 11-7p.m.<br />
Heritage Auctions<br />
9478 West Olympic<br />
First Floor<br />
Beverly Hills<br />
+1 310 492 8600<br />
info@ha.com<br />
www.ha.com<br />
Heritage Auctions has experts in over<br />
34 unique categories, including California<br />
Art, Photographs, Fine Silver &<br />
Vertu, currency and other collectibles.<br />
Visit www.HA.com for a full list of categories<br />
and information on upcoming<br />
auctions. Hours: Monday through<br />
Friday, 9-5p.m.<br />
Heritage Auctions<br />
478 Jackson Street<br />
San Francisco<br />
+1 800 872 6467<br />
info@ha.com<br />
www.ha.com<br />
Heritage Auctions has experts in over<br />
34 unique categories, including California<br />
Art, Photographs, Fine Silver<br />
& Vertu, Arms & Armor, currency and<br />
other collectibles. Visit www.HA.com<br />
for a full list of categories and information<br />
on upcoming auctions. Hours:<br />
Monday through Friday, 9-5p.m.<br />
L&M Arts<br />
660 Venice Boulevard<br />
Venice<br />
+1 310 821 6400<br />
info@lmgallery.com<br />
www.lmgallery.com<br />
Louise Nevelson: The 70s. Through<br />
May 11. Neo Povera, May 23 through<br />
July 6. Hours: Tuesday through Saturday,<br />
10-5:30p.m. and by appointment<br />
Michaan’s Auctions<br />
2751 Todd Street<br />
Alameda<br />
+1 510 740 0220<br />
info@michaans.com<br />
www.michaans.com<br />
Estate Auction: May 5, Annex Auction:<br />
May 7 through May 9, Tiffany and<br />
20th Century Decorative Arts: May 11,<br />
Estate Auction: June 2, Annex Auction<br />
June 4 through June 6. Fine Art,<br />
Furniture, Decorative Arts and Jewelry:<br />
June 7, Fine Asian Works of Art<br />
Auction: June 23, Weekly Wednesday<br />
Appraisal Events 10-1pm. Hours:<br />
Monday through Friday, 9-5p.m.<br />
Diana’s Cottage, by Louis Aston Knight,<br />
(French/American 1873-1948), Oil on<br />
Canvas, 25.75-in x 32-in, Estimate:<br />
$8,000/$12,000, to be offered June 7 at<br />
Michaan’s Auctions<br />
EUROPE<br />
austria<br />
Galerie Thaddaeus Ropac<br />
Mirabellplatz 2<br />
Salzburg<br />
+43 662 881 393<br />
office@ropac.at<br />
www.ropac.net<br />
ROBERT LONGO, Phantom Vessels,<br />
until May 11. Antony Gormley, May<br />
18 through June 19. Hours: Tuesday<br />
through Friday, 10-6p.m. and Saturday,<br />
10-2p.m.<br />
france<br />
Galerie Downtown François<br />
Laffanour<br />
18 and 33 rue de Seine<br />
Paris<br />
+33 1 4633 8241<br />
contact@galeriedowntown.com<br />
www.galeriedowntown.com<br />
Charlotte Perriand, Jean Prouve,<br />
Pierre Jeanneret, Le Corbusier, Ron<br />
Arad, Ettore Sottsass, Jean Royère,<br />
Choi Byung Hoon, Georges Jouve,<br />
George Nakashima, Serge Mouille,<br />
Takis. Hours: Tuesday through Saturday,<br />
10:30-1p.m. and 2-7p.m.<br />
Galerie Patrick Seguin<br />
5 rue des Taillandiers<br />
Paris<br />
+33 1 4700 3235<br />
info@patrickseguin.com<br />
www.patrickseguin.com<br />
May/June: 20th Century Furniture &<br />
Architecture: Jean Prouvé, Charlotte<br />
Perriand, Pierre Jeanneret, Le<br />
Corbusier, and Jean Royère. Hours:<br />
Monday through Saturday 10-7p.m.<br />
Galerie Thaddaeus Ropac<br />
7 rue Debelleyme<br />
69 Avenue General Leclerc<br />
Paris<br />
+33 1 4272 9900<br />
galerie@ropac.net<br />
www.ropac.net<br />
Through June 15. Tony Cragg,<br />
Accurate Figure and Claire Adelfang<br />
(Project Space). In our Pantin<br />
Gallery: Until June 1. Disaster/The<br />
End of Days. Erwin Wurm (in our<br />
performance space). Hours: Tuesday<br />
through Saturday, 10-7p.m.<br />
special advertising section<br />
Malingue<br />
26, Avenue Matignon<br />
Paris<br />
+33 1 4266 6033<br />
info@malingue.net<br />
www.malingue.net<br />
Impressionism, Modern and Post-War<br />
Masters (Cubism, École de Paris,<br />
Surrealism, Abstraction, Expressionism).<br />
Perspectives Atmosphériques<br />
(Works on Paper). Through June 5.<br />
Hours: Monday and Saturday, 2:30-<br />
6:30p.m.; Tuesday through Friday,<br />
10:30-12:30p.m. and 2:30-6:30p.m.<br />
Sans Titre, 1946, by Alexander Calder,<br />
Gouache, 65.7-cm x 99.6-cm at<br />
Malingue, Paris<br />
switzerland<br />
Galerie Orlando<br />
Dreikönigstrasse 12<br />
Zürich<br />
+41 43 497 24 82<br />
galerie@orlando-gmbh.ch<br />
www.orlando-gmbh.ch<br />
Christian Rohlfs (1849-1938), Works<br />
from the Artist’s Studio and Private<br />
Collections. Point Line Circle Plane,<br />
Group Show through June 29. Hours:<br />
Monday through Friday, 10-12:30p.m.<br />
and 2:30-6:30p.m; Saturday 11-4p.m.<br />
united kingdom<br />
Louise Blouin Foundation<br />
3 Olaf Street<br />
London<br />
+44 20 7985 9600<br />
info@ltbfoundation.org<br />
www.ltbfoundation.org<br />
The philosophy of the Foundation is<br />
experimentation, questioning, debate<br />
and learning, and there are two focuses<br />
of activity. The first is to present<br />
the work of individual artists through<br />
temporary exhibitions, installations,<br />
performances and screenings. We<br />
also promote a lively programme of<br />
events such as lectures, debates,<br />
workshops, think tanks and summits<br />
related to the Foundation’s areas of<br />
interest<br />
To be included in Art+Auction’s paid<br />
gallery listings, contact Connie Goon<br />
at +1 646 753 9090
176<br />
Dealer’snotebook<br />
Karin Weber<br />
What is your background? Growing<br />
up, was there art on the walls?<br />
I grew up in a small town in Lower<br />
Saxony, Germany. There was no money<br />
for art and no opportunities to see<br />
exhibitions or visit museums. I had the<br />
chance to hear and see opera, which to<br />
this day is still one of my great passions.<br />
My interest in visual art came later.<br />
What is the first work of art you<br />
remember being affected by?<br />
When I was a language student in<br />
Paris in the late 1960s, I came across<br />
works by Henri de Toulouse-Lautrec<br />
during a visit to the Jeu de Paume<br />
museum. I had recently read a book<br />
about his life and was very moved<br />
by the tragic story of his frailty. A few<br />
years ago I stood in front of his works<br />
again and tears still came to my eyes.<br />
When did you open your first gallery,<br />
and what drew you to the business?<br />
I worked in London for almost<br />
16 years with a private company<br />
that sourced antiques and artwork.<br />
After the company was sold, I hastily<br />
accepted a job in Hong Kong with a<br />
clothing company. It was not for me,<br />
but I stayed for five years. Finally, in<br />
1995 I registered my own company,<br />
trading in Chinese antiques. I would<br />
organize weekend antiquing trips to<br />
southern China. I loved it, but sourcing<br />
affordable late Qing Dynasty furniture<br />
became increasingly difficult. In<br />
1999 I had the good fortune of being<br />
introduced to Burmese art and was<br />
blown away by the talent. The artists<br />
had little contact with the outside<br />
world due to political isolation. Their<br />
work revolved around everyday themes,<br />
but their use of color and material<br />
was extremely contemporary. Later I<br />
worked with Vietnamese artists; several<br />
Singaporean artists, such as Victor<br />
Tan and December Pang; Soh Chee Hui<br />
from Malaysia; and Luo Fa Hui, Feng<br />
Bin, and Zhang Yuzhou from China.<br />
How did you choose your specialty?<br />
I don’t really have one. I show art I<br />
like and would love to live with. My<br />
tastes and perceptions have evolved<br />
over the years. In 1999 I was the<br />
only one showing Burmese art. Today<br />
I focus on German artists working<br />
with wood epoxy, plastic, cut paper,<br />
and mixed media. We also work<br />
across disciplines. Recently two of our<br />
Japanese artists, VIWA and Tomoaki<br />
Tarutani, collaborated with the<br />
Hong Kong–based fashion designer<br />
Meiyi Cheung to incorporate their<br />
visuals into her collection. We had<br />
a fashion show in the gallery<br />
with live models and<br />
paintings on the wall.<br />
What is your local art<br />
market like?<br />
Spectacular auction results<br />
have drawn attention to<br />
Chinese art. The longtalked-about<br />
West Kowloon<br />
Cultural District will come<br />
online in about five<br />
years, giving the region a<br />
world-class museum. Fairs<br />
are generating buzz. Art<br />
has come to be regarded<br />
as a potential investment.<br />
AGE: 64<br />
HAILS FROM: Holzminden, Germany<br />
PRESIDES OVER: Karin Weber<br />
Gallery, 20 Aberdeen Street, Central,<br />
Hong Kong<br />
GALLERY’S SPECIALTY:<br />
Contemporary art<br />
ARTISTS SHOWN: Aung Myint,<br />
Tina Buchholtz, Charles Cham,<br />
Phaneendra Nath Chaturvedi, Luca<br />
Cruzat, Michal Macku, Adam Magyar,<br />
Min Wae Aung, Nimchi Yuen, Peter<br />
Panyoczki, Alberto Reguera, Tomoaki<br />
Tarutani, Wang Gang, Yang She Wei<br />
FIRST GALLERY SHOW: “Spiritual<br />
Enlightenment,” a solo show by<br />
Min Wae Aung in May 1999<br />
Despite all this, art is still not a part<br />
of the lifestyle for the majority of<br />
people in Hong Kong. Most collectors<br />
are still conservative in their tastes,<br />
preferring Chinese ink or works on<br />
canvas above all else. This will<br />
change with time, and experimental<br />
art will become more accepted.<br />
How are the local galleries dealing<br />
with the changes in the market?<br />
Ten years ago there were 15 galleries<br />
in Hong Kong. Now there are well<br />
over 80, and the city is considered<br />
the art hub of Asia. At the same time<br />
high rents are changing the traditional<br />
gallery scene around Hollywood Road.<br />
The Sheung Wan area is currently hot.<br />
But this being Hong Kong, anything<br />
outside of Central is considered too<br />
far and those galleries struggle to<br />
get traffic. In order to grapple with<br />
such issues, several of us founded the<br />
Hong Kong Art Gallery Association<br />
last fall. The idea is not new. Its aim<br />
is to become a strong lobbying body<br />
for its members’ needs. We want to<br />
increase awareness and raise the image<br />
of galleries as key contributors to the<br />
growth and richness of the local art<br />
scene, and to establish joint private and<br />
public collector development programs,<br />
including educational initiatives.<br />
If you could own any artwork in the<br />
world, what would it be?<br />
Any work by Gustav Klimt.<br />
If you were not an art dealer, what<br />
would you be doing?<br />
I would be a set designer for theater,<br />
opera, film. I am fascinated by the way<br />
so much can be conveyed, represented,<br />
and understood with so little.<br />
ART+AuCTioN may 2013 | BLouiNARTiNFo.CoM<br />
vital stats<br />
KARiN WEBER GALLERY, HoNG KoNG
A New PAiNtiNg<br />
BeN SchoNzeit<br />
DAurADe royAle, 2012, Acrylic oN PolyeSter, 78 x 84”<br />
LOUIS K. MEISEL GALLERY . 141 Prince St NY . 212.677.1340 . meiselgallery.com
April 10 – MAy 24, 2013<br />
Roy Lichtenstein, Still life with palette (detail), 1972. Acquavella Galleries. © Estate of Roy Lichtenstein<br />
Tom Wesselmann, Smoker #3 (Mouth #17), 1968. Courtesy The Estate of Tom Wesselmann. © Estate of Tom Wesselmann / Licensed by VAGA, New York, NY<br />
Andy Warhol, Flowers (detail), 1964. Private Collection. © 2013 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York<br />
James Rosenquist, Orange Field (detail), 1964. Private Collection. © James Rosenquist / Licensed by VAGA, New York, NY<br />
Curated by John Wilmerding<br />
The STill life TradiTion<br />
in PoP arT<br />
www.acquavellagalleries.com
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