Each first week of December, Miami becomes the favorite meeting place for the international art world crowd. Once again, Miami Art Week took over the city, gathering world’s top gallerists, artists, curators, collectors and enthusiasts.
From everyone at Gallery Art we want to thank all of you that were able to join us this year! Here are a few photos from this year’s show:
To view the artwork that was featured at Spectrum Miami 2017, and the rest of our Fine Art Collections please visit GallArt.com
You’ve heard of the titans of the pop art movement – Jasper Johns, Robert Rauschenberg, Andy Warhol – and will be familiar with images of Coca-Cola bottles, Marilyn Monroe and Lucky Strike packets, but far from being purely the reserve of the American art scene in the 60s and 70s, this movement spanned the globe at a time when countries and societies were reeling from the fallout from WWII, raging conflict in Vietnam and the rise and rise of Communism. Artists were uniquely placed to satirise and deride politicians, film stars – and even other artists, using humour, sex and innovation to provoke, parody and reflect…
To the outside world, many of the artists in The EY Exhibition: The World Goes Pop existed on the peripheries of the movement; of course Warhol made the news with headline grabbing quotes – and continues to be the poster boy for all things Pop to this day – but many artists working across Europe, Latin America, the Middle East and Asia were hugely prolific in their own countries, and proved the movement was not just American, British or male. Many brought together for the first time, their significance is now re-examined in an explosion of visual stimulation.
Numerous artists created work that examined and questioned depictions of the female body in art and popular culture. Instead of being a purely ‘decorative’ element of a composition, the female body emerged throughout the 60s and 70s as a legitimate tool of protest and empowerment. The body was being reclaimed. No longer merely fetishised and glossy, there were uncomfortable questions being asked of its role in visual culture and mass media.
Artists such as Evelyne Axell (who for a time showed under the gender-ambiguous name Axell) challenged that it now stood for power, liberation and equality. Introduced to painting by family friend René Magritte, Axell’s 1966 work Valentine was produced as a homage to Valentina Tereshkova, the first woman to go in to space (and also the first civilian). By attaching a helmet and zip to the canvas, Axell invites her viewer to peek through the zipper at the flesh beneath. Acutely aware of a woman’s reception in a male-dominated industry, her work frequently challenged perceptions of images of the female body and sexuality. Despite achieving a feat of daring exploration and discovery, many only commented on Tereshkova’s physical appearance. To further highlight this absurdity, Axell staged a Happening in which a model performed a reverse strip-tease; starting naked apart from an astronaut’s helmet and adding layers of clothing as the performance went on, to the delight of the assembled crowd. Catalan artist Mari Chordà also explored anatomy in Coitus Pop 1968, by abstracting the sexual organs in a burst of enamelled colour on wood – graphic shapes and unmistakably phallic.
In Anna Maria Maiolino’s striking Glu Glu Glu 1966, we stare straight down the throat of our subject, and below her disembodied head lie brightly coloured intestines. She is female, but anonymous. The body parts are recognisable, but disconnected from the whole. It’s beautifully constructed using quilted fabric, which should be soft and tactile, but used to make glossy internal organs it becomes repulsive, visceral and unsettling.
War and Peace
Far from being purely about consumer habits and radical new fashion, pop art was a vehicle for artists to comment on political events and recent history. Nothing was off limits; Joan Rabascall’s Atomic Kiss was made as part protest, part warning sign; whilst America fought in Vietnam, the very real threat of an impending world war terrified a generation who were living through vicious conflict. Sex and death are uncomfortable bedfellows, and he describes his motivation for using found imagery: ‘what was important, I believe, was to get away from abstract art, which was very present in galleries, and do something that was corresponding to the time in which we were living’. Read the full interview
America’s influence on fashion, art, music, and technology around the world of course couldn’t be denied, but a number of artists commented on this imperialism by depicting the American flag or President Kennedy – whose assassination in 1963 rocked the United States to the core, but the ripples were felt globally. Often these motifs were adopted with a fascination in the materials, processes and subject matters employed by Rauschenberg, Wesselman and their peers. A truly international society opened up with the advent of cheaper air travel and imported television and films. Other nations felt connected and invested in these news reports, and as such America’s agenda also belonged to the rest of the world. The Vietnam War was firmly in the sights of Finnish artist Reimo Reinikainen, with his series reworking the Stars and Stripes.
Japanese artist Keiichi Tanaami became obsessed with movies, television and adverts as a young boy growing up in Tokyo, watching up to 500 hundred films in one year. He himself has drawn comparisons with his work and that of Warhol – citing him as a huge influence after a visit to New York in the 1960s. With Japan still reeling from the atomic bomb attack in 1945, Tanaami turned his sights on the culture that was rebuilt in the aftermath of tragedy, and he still draws on this when making art: ‘Today, I still create works that deal with my experience of war as a child. This moment of fear that a whole city can disappear just within a moment is a memory that has been recorded deep in my mind; it does not go away’. Read the full interview
Strength in Numbers
Included in the exhibition are several works by groups of artists working under one name. Highly politicised, after years of civil war and living under General Franco’s regime, Joan Cardells and Jorge Ballester formed Equipo Realidad in Valencia in 1966. Far from an introspective viewpoint, they explored Spain’s heritage and cultural traditions, whilst examining them through the lens of modern society, developing as all other European territories were, at rapid speed. They used found imagery and appropriated them or referenced it in their paintings, such as Robert Capa’s iconic photograph of a Spanish resistance fighter, Falling Soldier, and Leonardo da Vinci’s Vitruvian Man in Divine Proportion 1967. Though they made work in Spain, Cardells said ‘our work was closely tied to current international events, more than national or local ones, because of censorship. We were cautious because censorship was watching us: we had a problem with a serigraphy of Che Guevara. But the critical stance was always above the local or the general’. Read the full interview.
Another group, Equipo Crónica, comprised of Rafael Solbes, Manuel Valdes and Juan Antonio Toledo was also operating in Valencia at the same time, forming in 1964 and also closely examining the changing face of the country they lived in. With a conservative fascist party in power, these groups we considered radical, and sometimes even anarchic thinkers – critical of conservative doctrines and passionate about the role played by the artist in society. They reinforce this by painting their own versions of famous Spanish paintings hailed as masterpieces the world over, such as Las Meninas, giving it a 1970s makeover, complete with patterned carpet, inflatable toys and a pot plant. Far from trivialising important motifs from Spanish culture, they focussed on the collision between past and present, and the emergence of mass-produced domestic items. In 1969 they painted Guernica ‘69 made in reference to Picasso famous protest painting of the same name. Their works were figurative, referenced other famous images, popular culture and events in the political landscape in which they were living – as a means of resisting the totalitarian state of Franco’s Spain.
2 by 2
The World Goes Pop features many works that deal with the idea of multiples, doubles, mirror images and diptychs, as Pop Art turned its sights to the very new concept of mass production; in homewares, cars, gadgets, fashion, music and even weapons. Source material from advertising, music and film found its way on to gallery walls as artists experimented with techniques and image manipulation like screen-printing and collage, elevating their status from the domestic and everyday, to fine art.
Artists are uniquely placed to turn a mirror on society at large, and to broadcast back to their audience. Pop Art was something a general consumer population could relate to – it was not elitist; it used symbols, materials, products and images that people identified with, many of them would be in the average home in their kitchen cupboard or a photograph from a newspaper article. Magazine and comic strips were widely used, and not just by Roy Lichtenstein, as the history books may have you believe. French artist Dorothée Selz mimicked poses from a magazine to create her series Relative Mimetism highlighting the convention of using the body as a sales tool and sex object, by placing the original and her version side-by-side.
Join the conversation #WorldGoesPop
Source: Think You Know Pop Art? | Tate
Auction houses have been rolling out a steady stream of blockbuster consignments in recent weeks as the art world braces for what is perhaps the biggest trophy season yet. Works on the block include a nine figure Modigliani nude at Christie’s and the $500 million fully guaranteed collection of former Sotheby’s chairman A. Alfred Taubman at Sotheby’s—the highest estimated single-owner sale in history.
It’s a sign of how hot the current market is that buyers are willing to part with a number of rare blue-chip lots while also securing hefty guarantees either directly from the auction houses or via outside guarantors who have stepped up to the plate. One recent report concludes that $1 billion, or roughly half, of the $2 billion worth of art on offer this season has already been sold, due to guarantees.
Christie’s continues to shake up the sale schedule with the addition of another powerhouse hybrid sale of Impressionist and contemporary art, titled “The Artist’s Muse” on Monday November 9, creating a ripple effect of date shifts that will now see Phillips holding the first Sunday evening sale of 20th Century and contemporary art on November 8 to jump-start the week.
Sotheby’s meanwhile is adhering to the traditional model of holding its major Impressionist and modern evening sale in the first week of the month (November 5), although the sheer scope of the Taubman collection—about 500 lots in all—also necessitated an additional evening sale of roughly 75 of the best works. On November 4, “Masterworks: The Collection of A. Alfred Taubman” will open the auction series.
Read on for a selection of highlights, and don’t miss artnet News’ coverage of the highly-anticipated evening sales.
Wednesday, November 4:
Sotheby’s “Masterworks: The Collection of A. Alfred Taubman“
Sotheby’s is poised to break the auction record for Frank Stella with this mesmerizing example from the Taubman collection: Delaware Crossing (1961) is estimated at $8 million to $12 million. If it makes it to even the low end of the presale estimate, it will have exceeded the current $6.6 million record set for the artist in 2014.
Thursday, November 5:
Sotheby’s Impressionist and Modern Art Evening Sale.
Sotheby’s Impressionist and modern expert Simon Shaw called this van Gogh landscape the “great jewel” of Belgian collectors Louis and Evelyn Franck, whose collection—which also includes a rare blue period Picasso and important works by James Ensor—is the centerpiece of the Impressionist and evening sale. Van Gogh painted Paysage sous un ciel mouvementé in Arles in 1889, just a month before he checked himself into an asylum at Saint-Rémy.
Picasso’s La Gommeuse (1901), which hails from the collection of art and wine aficionado Bill Koch, is a blue period portrait that was painted when the artist was only 19 years old. It also has an intriguing back story including a long-hidden painting underneath the lining that Koch uncovered during conservation efforts in 2000.
Wednesday, November 11:
Sotheby’s Contemporary Art Evening Sale
Sotheby’s is offering a rare Cy Twombly “blackboard” painting this fall—one of the few remaining in private hands—with an asking price around $60 million.
That puts the painting in the running for a potential new auction record for the artist; the current record stands at $69.6 million, which was set in November 2014 at Christie’s New York for another untitled blackboard painting dating from 1970.
Sunday November 8:
Phillips’ 20th Century & Contemporary Art Evening Sale
Phillips’ sale will be led by two fresh-to-auction works: Willem de Kooning‘s 1977 abstract was most recently acquired from Gagosian Gallery by the present consignor, and carries an estimate of $10 million to $15 million. The architect Le Corbusier is represented here by the vibrant painting Femme rouge et pelote verte (1932), which was acquired directly from the artist by the present owner, according to Phillips.
Monday, November 9:
Christie’s “The Artist’s Muse” Sale
This Modigliani nude—which has an asking price in the region of $100 million—has generated considerable buzz this fall. It is the centerpiece of Christie’s curated sale “The Artist’s Muse,” and is poised to break the current record for a work by the artist, which is held by Tête (1911-12), a carved stone sculpture that sold for $70.7 million at Sotheby’s this past November.
Tuesday, November 10:
Christie’s Post-War and Contemporary Evening Sale
Even with the blockbuster works it placed in its Monday night muse sale, Christie’s still had plenty of firepower left for its evening contemporary sale. Front and center (and also currently standing outside Christie’s Rockefeller Center headquarters in midtown) is Louise Bourgeois‘ monumental Spider (conceived in 1996, and cast in 1997), with an unpublished estimate of $25 million to $35 million.
source via artnet
1. FIAC Arrives in Paris
This past weekend saw the 42nd edition of the FIAC art fair at Paris’ Grand Palais. Director Jennifer Flay allowed only 170 participators from 22 countries to participate this year, tightening the selection by 21 entries from last year’s edition.
As a result, fair-goers — many of whom were enjoyed an extended trip fromlast week’s Frieze London — saw a more selective, curated display of works. And visitors reacted well to the more selective display of works, with participating galleries reporting strong sales throughout the fair. Hauser & Wirth gained attention for its presentation in honor of the victims of the Charlie Hebdo attacks while Gavin Brown’s Enterprise alluded to its own exclusivity with an automatic curtain that separated it from the rest of the fair and 303 Gallery adorned its booth with an edition Jeppe Hein wallpaper. (You can read more about the fair’s best booths here.)
2. Wirths Top List of Most Powerful People in Contemporary Art
Iwan and Manuela Wirth have officially been recognized as the most powerful people in contemporary art in 2015. The Swiss couple, co-founders of international gallery Hauser& Wirth, topped ArtReview’s Power 100 list. The Wirths, who were ranked at 3rd last year, have ascended the list due to their innovations in “the model of selling and promoting art.”
Mark Rappolt, the editor in chief of ArtReview magazine, elaborated that Hauser & Wirth has managed to combine the “institutional operations” of the art world and the “lifestyle of collecting” to build a global brand that is both intelligent and sensitive to clients’ wishes. The Hauser & Wirth brand also shows no signs of slowing its international influence, with the recent opening of a gallery in Somerset and an impending museum in Los Angeles. Dealers David Zwirner and Larry Gagosian (the only other deal to ever rank number 1 on the list, which he did in 2004 and 2010) joined the Wirths in the top 10 as well alongside artist Ai Weiwei and Marina Abromovic.
3. UK Museums Go On High Alert For Theft
In the first warning of its kind, the Arts Council England has warned British museums of a “sever and imminent” threat — that of theft. TheUK’s National Crime Agency has learned of a threat to smaller pieces across British artistic institutions.
The Crime Agency is, “aware of a group who has made reconnaissance visits to a number of museums and other venues across the UK. It is thought that smaller, more portable items will be targeted rather than items such as large paintings.” While the Agency would not comment as to how intelligence came to light, some suspect it came from an embedded or underground source. The need for increased security comes at a difficult time for British museums, who were struggling to balance their budgets already.
4. #LegosForWeiwei Takes Off Amid Lego’s Atempt to “Censor” the Artist
This week, Ai Weiwei took to Instagram to discuss LEGO’s recent denial to send him a bulk order of plastic bricks for an upcoming exhibition in Australia. While Lego stated that it “cannot approve the use of Legos for political works,” Weiwei called the denial an act of “censorship and discrimination.”
Following the Chinese artist’s post, some became suspicious that Lego was attempting to defend its corporate interests in China (including a forthcoming Legoland in Shanghai) and a hashtag calling for lego donations for Weiwei had taken off. Weiwei is working on the logistics of how to accept lego donations from his supporters, but with the UK’s Chinese ambassador dismissing his work earlier this week and his new three-year visa from Germany, Weiwei definitely has enough to deal with.
5. Not Everyone Loves Renoir
Not even the most recognized masters of painting are safe from criticism it seems. After picketing the Museum of Find Arts Boston, the “Renoir Sucks at Painting” group recently demonstrated outside New York’s Metropolitan Museum of Art.
Holding signs that read “ReNOir” and “God hates Renoir,” the protestors demonstrated against the museum’s inclusion of works by Renoir, who they deem untalented and over-hyped. The protest’s leader, Max Geller, founded the movement with a “Renoir Sucks at Painting” Instagram account and a national petition to remove the Renoir paintings from the National Gallery. “I hate Renoir because he is the most overrated artist east, west, north and south of the river Seine,” explained Geller. “Renoir just sucks at painting.” Despite the group’s strong setiments, the Met has not responded with any plans to remove their renown Renoir paintings.
The Irish-born British painter was born on this day, 28 October 1909.
His paintings are deliberately uncomfortable and unpleasant. Known for his bold, emotionally charged and raw imagery. After the suicide of his lover, George Dyer in 1971, his work became dominated by death.
In “Triptych – August 1972”, Dyer appears on the left and Bacon on the right. The seated figures and their coupling are set against black voids and the central flurry has been seen as ‘a life-and-death struggle’.
This work is on view at Gallery Art