Jasper Johns has big plans for his home and studio in Sharon, Connecticut—and the town is officially on board. Following his death, the artist plans to transform his pastoral property, where he has lived since the 1990s, into an artists’ retreat, providing a live-work space for 18 to 24 artists at a time.
Representatives for the artist presented a proposal at the September 13 meeting of Sharon’s planning and zoning commission, which voted unanimously in favor of the project. Art critic Deborah Solomon first reported that the town had granted permission for the project in a tweet posted on Saturday.
According to the minutes from the meeting, available on the Sharon website, the artists would “live, eat and devote themselves to the private study, practice and development of their work. They would have communal meals, in the existing main house and shared common spaces that would foster a sense of community among the artists.”
“In addition to the property itself, Mr. Johns intends to provide an endowment to support the operations of the retreat,” the town wrote, noting that there are currently no plans for additional construction on the property. “The proposal fits within the Town Plan of Conservation & Development as it keeps open space and preserves the Mudge Pond Watershed,” as indicated by the minutes.
The retreat will be a charitable organization or nonprofit corporation with 19 to 25 employees, including six to nine off-site administrative staff. The property will be closed to the public except during special events.
Johns, 87, is a towering figure in the art world. Known for his Pop and Neo-Dada works, he won the Presidential Medal of Freedom in 2011, and a Golden Lion at the 1988 Venice Biennale, among many other distinctions.
Johns is also a co-founder, along with composer John Cage, of the Foundation for Contemporary Performance Arts, which offers grants in the visual and performance arts. The foundation is not involved with the artists’ retreat and declined to comment for this story, as did Johns.
Investing in art can be a tricky business. The idea is to invest your money with an artist that you think might blossom and whose prices will eventually rise and increase the value of your investment. In so many ways it is a gamble, but the good kind. It is not only a way to increase the value of your dollar but also a way to latch onto a moment in time and ride it into the future. You put down your chip and say “Now I will quietly watch the passing of time and marvel in what it reveals.” Does the artist flourish, or do they fade away? Does the market move away from your choice or suddenly veer closer? Do events transpire that change the course of the artist’s life and her work? If you are patient, you may find your decisions pay off handsomely and that you are the owner of artwork from a once obscure artist who is now world famous. Or, one day, you might scratch your head when your artwork, from an artist you have long forgotten, suddenly skyrockets in value because the work has found a new audience. Or maybe your investment will be worth nothing more than the pleasure it gives you hanging on your wall. Investing in art is an investment in the possibilities of time and in having a stake in those possibilities.
Watch this video on how a $1K investment turned into $3 million in just 40 short years. And if you’re looking for some pieces to put your chips on, visit our gallery.
Early reports suggest that art institutions may have come through the storm relatively unscathed.
After battering the Caribbean and Florida last week and over the weekend, Hurricane Irma has been downgraded to a tropical storm, as it now moves inland toward parts of Georgia, Alabama, Tennessee, and the Carolinas. Despite the terrifying strength of the storm—which has reportedly killed 40 people and left millions without power—art museums and organizations in Florida seem to have escaped relatively unscathed, early reports suggest.
Irma first made landfall in the continental US on Sunday morning as a category four hurricane in the Florida Keys. Museums in the Keys include the Key West Art & Historical Society, the Ernest Hemingway Home & Museum, and the Key West outpost of Ripley’s Believe It or Not! Odditorium.
“Reports are very, very preliminary,” Key West Art & Historical Society executive director Michael F. Gieda said, noting that it was not yet safe to conduct a full inspection of the property. “Overall, the society’s museums appear to be okay and intact. Minimal damages to the buildings with the exception of some damaged windows.… Power is out so climate control is an issue.”
The storm made a second landfall later Sunday afternoon, on Marco Island, off the coast of Naples in Collier County. Irma then moved north toward Tampa, home to the Salvador Dali Museum and the Tampa Museum of Art. As of press time, neither institution had responded to artnet News’s request for comment.
Collier County Museums has announced that all local institutions, including the Marco Island Historical Society, will be closed Monday and Tuesday, instructing the public to follow the county emergency website for additional updates. Artis—Naples, home of the Baker Museum and the Naples Philharmonic, also closed in advance of the storm.
“Initial assessments are that Irma was kind to us, and we are grateful for all of the efforts made in our pre-storm preparations,” Artis—Naples CEO Kathleen van Bergen, noting that artist Arik Levy was able to personally oversee precautions taken to protect the work in his solo show, which opened September 5. “As far as we can tell after an initial assessment, the five buildings on our campus fared well. Until full power is restored, a complete inspection is not possible, nor is a return to our scheduled cultural activities.”
The storm was initially forecast to make landfall further east, which would have placed Miami directly in the path of the storm. Despite avoiding a direct hit, Miami was still subject to heavy flooding, particularly in the downtown Brickell neighborhood, where the streets became rushing rivers.
There was also flooding in the basement of the Vizcaya Museum and Gardens, a historic mansion in Coconut Grove. “The good news is there are no art collections stored” in the affected areas, museum spokesperson Luis Espinoza told the Miami Herald.
Ahead of the storm’s arrival in the US, the Bass Museum of Art, ICA Miami, the Pérez Art Museum Miami (PAMM), and the Norton Museum of Art in West Palm Beach, took precautions and closed their doors. The city and its arts institutions will play host to the international art world come December, during the annual Art Basel in Miami Beach art fair, the centerpiece of Miami Art Week.
“PAMM sustained no damage to the building, and suffered no flooding,” the museum’s associate director of marketing, Alexa Ferra, noting that all PAMM employees were safe following the storm. “The roof held well, and there was no problem with the hurricane-resistant windows. Surge from Biscayne Bay did not reach the building, even at high tide.”
“Safety and security are top priorities at PAMM, and storm preparation is something we focus on year-round,” added CFO Mark Rosenblum. “Every spring, we fine tune our policies and procedures, and implement training so we are ready for the hurricane season.”
Down in Miami Beach, Bass director Silvia Karman Cubiñá reports that “the museum is in the process of assessing the extent of Irma’s impact. We are thankful that our staff is safe and accounted for and our thoughts are with those who are still battling the aftermath of the storm.”
Although Miami appears to have escaped the worst of the devastation—as of press time the Norton and ICA had not returned artnet News’s request for comment—the hurricane carved a path of destruction earlier in the week, striking parts of the northeast Caribbean as a category five storm, the strongest ever seen in the Atlantic.
Irma ravaged the Bahamas, where the National Art Gallery of the Bahamas plans to reopen on Tuesday after it somehow “weathered the storm without incident,” according to chief curator Holly Bynoe.
In a turn of good fortune, the storm’s eye ultimately bypassed museum’s New Providence location, sparing it the worst. “Our national collection and all of our assets are in good order and good standing,” Bynoe wrote. “I am hoping that other institutions in the Dominican Republic, Cuba and Florida, fared as well as we did.”
Others local institutions include the Antiquities, Monuments and Museum Corporation National Museum of the Bahamas, the Heritage Museum of the Bahamas, and the Junkanoo World Museum & Arts Centre Ltd. Whether they fared as well as NAGB is still uncertain. Two of the museums could not be reached for comment, and the third did not immediately respond.
Beyond the Bahamas, Hurricane Irma also barreled through Puerto Rico, home of the Museo de Arte de Puerto Rico in Santurce, and through Cuba, home of the Museo Nacional de Bellas Artes in Havana. Earlier in the week, at its most violent, the storm plowed through Antigua and Barbuda, St. Martin and Saint Barthélemy, Anguilla, the Leeward Islands, Turks and Caicos, the Dominican Republic and Haiti, and the Virgin Islands, leaving devastation in its wake.
Irma marked the second category four hurricane to make landfall in the continental US this year, following Hurricane Harvey, which caused severe flooding in Texas in late August. It is the first recorded instance that two storms of such magnitude have descended on the country in a single hurricane season.
Parisian thieves donning city worker outfits remove Invader pieces from city walls in an attempt to sell them on the art market. Photos from Twitter.
Welcome to the world of street art. Intrigue. Arrests. And invaders from space.
The street artist, Invader, has a mission. He calls it his “Space Invasion”. His mission is simple: To release art from the institutions of museums and galleries while racking up points in the process.
Each piece he puts up in a city gives him points in his artistic invasion. He increases his score by revisiting cities and finding more locations to install his artwork. He currently has over 3520 invaders in 74 cities across the globe. He chose the characters of the game Space Invaders because they symbolize our present age of computers and digital technology. While police don’t always give him issues, there are some countries he can not enter because he is a wanted man.
Lately his work has been making a big impact on the auction scene—one piece recently sold for $250,000—and thieves are getting bold about hunting down his work and removing it from walls. Just last week two Parisian thieves boldly donned city worker uniforms and pulled 15 of his installations from the streets of Paris. Angry citizens who know and love Invader’s work, captured them with camera phones and social media posts, not believing their ridiculous story about being city workers, especially since they were traveling around in a Mercedes Benz—evidence that they must have already cashed in on some of their pilfered street art.
The daughter of ailing psychedelic painter Peter Max claims her dad’s agents have taken over his art company — with one stealing $3 million in insurance payments and the other ensconcing himself at the artist’s St. John’s vacation home, according to a new lawsuit.
Libra Max owns 40 percent of her dad’s art company, ALB. Her older brother, Adam Max controls another 40 percent and their father Peter has the remaining share.
The 79-year-old artist – whose works hang in the Whitney Museum of American Art and The Museum of Modern Art – has Alzheimer’s Disease, his daughter says in the suit against her brother.
Libra, 50, claims Adam, 52, has allowed their father’s agent Larry Moskowitz and an accountant named Robert Frank to “enrich themselves at the expense of ALP and the Max family.”
First, from 2012 to 2014 Moskowitz allegedly gave Frank $3 million from $15 million in insurance payments over artwork damaged in Hurricane Sandy.
Then at the end of 2015 Moskowitz “unleashed a tirade of threats at Libra Max when she asked him to temporarily vacate Peter Max’s Virgin Island home (where, apparently, he had taken up residence) so that she and her father could spend Christmas and New Years there,” according to the Manhattan Supreme Court suit.
Flag With Heart
“Because of the ferocity of the threats and invective leveled against her by Moskowitz and Frank, Libra Max did not take her father to his own home in St. John,” she says in court papers.
Libra’s suing her brother for access to the company’s books and records and to regain control of the business.
But her brother’s attorney, Eric Hellige, said, “Adam has been cooperating with Libra and has provided her much of the information that she’s asked for already and will continue to cooperate to provide her whatever additional information she’s looking for.”
Moskowitz’s lawyer, Michael C. Barrows, called the allegations “incendiary” and “not true.”
“Mr. Moskowitz with the help of Adam Max has done wonderful things for the company,” Barrows said.
Frank called the suit “ridiculous.” He said the $3 million in insurance proceeds were to cover outstanding payments for his accounting work.
The Max family has a history of legal drama. Peter’s decades-younger second wife Mary sued her stepson Adam in 2015 claiming he stole $4.3 million worth of paintings from her.
Mary filed suit after Adam lost a bid to have his dad removed from the couple’s Riverside Drive home where the son claimed his stepmom was trying to kill her husband. Both sides denied the allegations.
Peter Max is a world renowned artist that has touched the hearts and lives of millions. Here at Gallery Art we are honored to be able to show multiple Peter Max works, starting from the 1970’s until today.