With art market pundits anticipating a ‘chill’ in 2016, Christie’s opening salvo was conversely mild, and without too many portents of gloom. But it wasn’t on fire either. The sale realised £95.9 million ($138 million), including premium, or just around the lower estimate of £83.6-123 million without premium. A tolerable 22 lots, or 25 percent of the 89 lots, went unsold, including only 2 in the category of works selling for £1.7 million ($2.5 million) or more. But just as many lots sold to bids either on or below the low estimates.
The sale, which included a separate catalogue for surrealist works, trailedlast February’s £147 million pound sale by some margin. “It wasn’t easy,” commented Guy Jennings, managing director of The Fine Art Fund Group. “I’d say the market has softened a bit. But it was steady.” Jay Vincze, the head of the Impressionist and modern art department at Christie’s London said the shortfall on last year was because last year he had two exceptional collections. “There was no chill; this was about normal for us.”
If Christie’s were looking for some certitude in the middle market, it could be found. They had a racing start with works on paper by Pablo Picassoand Henri-Edmond Cross soaring over estimates leaving underbidders in the room—dealer Hugh Gibson and advisor Wentworth Beaumont—empty handed.
Some of the top lots were coming back to auction having sold just before the 2008 crash, so it was a test as to whether those values could be maintained. Egon Schiele‘s 1909 self-portrait oil painting had previously been in Ronald Lauder’s collection until he sold it in 2007 to help pay for his acquisition of some expensive, restituted works by Gustav Klimt for the Neue Gallerie. In 2007, it sold on a single bid for £4.5 million pounds, and the buyer, a ‘private European collector,’ was hoping for a small mark-up at £6-8 million. Tuesday night, it sold for £7.2 million.
Also the property of a ‘private European collector’ was a 1925 still life by Picasso which had been bought in the same Christie’s auction for a mid-estimate of £2.8 million. Christie’s had doubled the estimate this time around, to £4-6 million, and it made a modest return, selling it for £4 million pounds to a phone bidder against the London dealer Ezra Nahmad.
Other top lots to sell were a blissfully romantic work by Marc Chagall, Les Maries de la Tour, which clipped the top estimate selling for £7 million ($10 million) to adviser Thomas Seydoux who, when he was at Christie’s, was known for his close relationships with Russian collectors. The painting last sold at auction in New York in 1991 for $600,000. And Fernand Leger’s dynamic Le Moteur, a smaller version of a painting of the same title which sold for a record $16.7 million in 2001, sold this evening to dealer, Hugh Gibson, within estimate for £5.2 million.
There was a meaty selection of early 20th century German paintings byErnst Ludwig Kirchner, Lyonel Feininger, Otto Dix and more, which, except for a weak still life by Max Beckmann, sold mostly above estimates. A street scene in Murnau in 1908 by Wassily Kandinsky—not long before he shifted towards abstraction, was snapped up below estimate for £1.4 million by Amsterdam-based advisor Matthijs Erdman, and an early expressionistic landscape by Karl Schmidt-Rottluf, Windy Day, was chased by German advisor, Jorg Bertz, before selling to a phone bidder near the top end of its estimate at £1.3 million. The star of this section, though, was the relatively unknown Neue Sachlichkeit artist, Georg Scholz, with a satirical 1920s critique of small town bourgeois activities (Small Town by Day) in Germany, which quadrupled the low estimate selling to New York’s Acquavella Gallery for a record £1.2 million. Christie’s saw this coming because much the same happened with a gouache study for this painting in 2012.
On the minus side was a small, rather dull Giacometti painting, Buste d’homme, which had been bought just before the credit crunch for £1.6 million. Now estimated at £1.8-2.5 million, it failed to find a buyer. Making losses for the sellers were a Matisse drawing, bought in New York in November 2012 for $458,500, which now sold for £266,500 ($383,494), and a large jazzy canvas by Andre Lhote, Gipsy Bar, for which the owner paid a seemingly extravagant $2.7 million dollars back in 2007. That record still stands, as Gipsy Bar sold this time round for a more reasonable £1.1 million ($1.9 million).
Christie’s had made much of the promise in Asia when touring the highlights from its sale in the East last month. But bidding from Asian collectors was muted. A verdant Farm in Normandy by Paul Cezanne (1882), sold near the low estimate for £5.1 million, as did Chagall’s run-of-the-mill Violinist under the Moon, which sold for £1.8 million—both to Asian phone bidders. The strongest Asian bidding came for an early, rather awkward looking portrait of a young man by Cezanne which was estimated at £300,000, but sold for £1.2 million.
The surrealist section of the sale appeared to be a bit disappointing because past sales have been getting stronger and stronger. Christie’s has built a reputation as the leading auctioneer for surrealist art under the guidance of deputy chairman, Olivier Camu, who is also a specialist in the area. Last February, they chalked up 66 million pounds of sales for their Surrealist sale (over the £37-54 million estimate). This evening, the level of consignments was down, with a pre-sale estimate of £26-39 million, as was the total, £29.5 million. Echoing Vincze, Camu said the disparity was only due to the exceptional private collection it had for sale last year, which is not something you can depend on.
However, many of the lots that had higher estimates had already been at auction within the last five years, and were thus well known to buyers. The top lot, Max Ernst‘s The Stolen Mirror, an homage to his former lover, Leonora Carrington, set a record $16.3 million (£10.3 million) when it sold for four times the lower estimate to a European collector at Christie’s New York in November 2011. That collector must have needed to sell and been prepared to take a loss as he secured a guarantee from Christie’s, most probably near the lower end of the £7-10 million estimate. But bidding was thin on Tuesday and the painting fell to a lone telephone bidder—likely the guarantor—for a premium inclusive £7.6 million.
Also taking a loss was Christie’s. Rene Magritte’s 1947 painting,Mesdesmoiselles de l’Isle Adam, which is simultaneously delightful and scary, sold at Christie’s New York in November 2014 below estimate for $4.3 million dollars. The painting had a third party guarantee, but had somehow managed to become property of Christie’s (i.e., the guarantee didn’t materialize). Now with a lower £2-3 million estimate, it sold for £2 million ($2.86 million), with Christie’s having to shoulder the difference.
The other Christie’s owned property, Joan Miro’s Femme et Oiseau dans la Nuit, 1968, carried the second highest estimate of the surrealist sale at £3-5 million, down on the £4-6 million it carried in June 2010 when it sold for £5.2 million. Although it had not been guaranteed, it was not paid for. Fortunately for Christie’s, there was plenty of bidding on it the second time around, spurred first by London dealer Angela Nevill, and then by Ezra Nahmad, before it sold to a phone bidder for £5.8 million, just enough to get Christie’s out of jail.
Another of the higher valued lots that had been at auction relatively recently was Salvador Dalí‘s Le Voyage Fantastique, a 1965 portrait of movie star, Raquel Welch, that blended sci-fi elements with a Lichtenstein-like benday-dot technique. This obviously appealed to the Mugrabi family of art dealers when they bought it in 2011 in New York for a mid-estimate $1.9 million. With a similar estimate of £1.2-1.8 million, it might have tempted one of the Asian buyers who have taken Dalí to heart, but it sold on a £1.2 million bid ($1.7 million), and not to an Asian collector, leaving the Mugrabis unusually short on a deal.
source via: artnet
Happy Birthday Wishes Today To Artist Jeff Koons Who Was Born on This Day in 1955 in York , Pennsylvania.
Koons rose to prominence in the mid-1980s as part of a generation of artists who explored the meaning of art in a media-saturated era.
Drawing from the visual language of advertising, marketing, and the entertainment industry, Koon’s work tests the boundaries between art and popular culture.
He is widely renowned for his striking sculptures.
“I believe in advertisement and media completely. My art and my personal life are based in it. The art world would probably be a tremendous reservoir for everybody involved in advertising “
– Jeff Koons
1. Easter Island Heads Have Bodies
Everyone knows about the massive stone heads of Easter Island, but this year, we learned something new about them: they have bodies! Long buried beneath the earth, photographic evidence of the stone torsos began to surface in 2012 thanks to archaeologists who were doing research on the island, which is located off the coast of Chile.
2. Emma Sulkowicz Debuts Shocking New Video
Former Columbia student Emma Sulkowicz rose to prominence this year after enacting a performance in which she vowed to carry a mattress with her wherever she went on campus (including, controversially, to graduation) until her alleged rapist was expelled. Her bravery earned her an invite to the State of the Union, but put her in the line of fire for a barrage of Internet trolls. artnet News broke the story of her first post-graduation artwork: a controversial video showing herself and an unidentified male engaged in sexual activity. She later spoke candidly to artnet about the film, her sudden fame, and being mentored by Marina Abramović.
3. Violent Stabbing at ABMB
At this year’s Art Basel in Miami Beach, a woman brutally stabbed another fairgoer in the neck using an X-Acto knife, causing a bloody and chaotic scene that many bystanders mistook for performance art. The assailant, who has since been identified as 24-year-old Siyuan Zhao, will be charged with attempted murder.
4. Naked Performance Artist Jailed
Artist Milo Moiré made headlines several times this year for her naked performance art stunts, which she enacted at Art Basel, in Düsseldorf, and in Paris, where her exhibitionism landed her in jail. Naked selfies were also involved.
5. Billionaire Gives Art Collection to Harlem Charity
Billionaire William Louis-Dreyfus gifted his $50 million art collection (which boasts several under-appreciated artists like Helen Frankenthaler, Jean Debuffet, and Bill Traylor) to the Harlem Children’s Zone, an organization that provides support to underprivileged children.
6. “World’s Most Famous Photographer” Is Anything But…
When little-known photographer Peter Lik claimed to have sold the world’s most expensive photograph for $6.5 million via a gallery he himself owns,the New York Times begged to differ, calling him out on the artificial inflation of his market. The so-called “Thomas Kinkade of photography” responded in kind, stating plainly to the publication: “I’m the world’s most famous photographer, most sought-after photographer, most awarded photographer.”
7. Björk Flops at MoMA
Klaus Biesenbach’s Björk retrospective at the Museum of Modern Art was perhaps the most loudly-echoing flop of the year, so much so that even director Glenn Lowry owned up to the exhibition’s massive failure. The rest of the art world had varying reactions: critic Christian Viveros-Faunécalled for Biesenbach to be fired, Jeffrey Deitch defended him, and Jerry Saltz set his MoMA press pass on fire.
In January, gunmen entered the offices of French satirical weekly Charlie Hebdo, killing 12 people. In the aftermath of the attack, the Internet exploded with support for the slain cartoonists, with the hashtag #JeSuisCharlie trending for days. Despite the fact that most of the staff perished, the publication managed to produce an issue the very next week, which was viewed by many as a ringing testament to the power and importance of truly free speech.
9. Richard Prince Trolls Instagram
“Richard Prince sucks,” proclaimed Paddy Johnson following the opening of his “New Portraits” show at Gagosian. The portraits themselves, sourced from the Instagram accounts of celebrities, models, and other pretty young things, are mostly forgettable, but the debate that they prompted is definitely not. Several of the women who had their photos used sans permission spoke out (with varying opinions on the matter), while alt-pin up collective the Suicide Girls, who had an image taken from them, took the opportunity to call out Prince’s misogyny and hyper-inflated market by producing a reproduction of his reproduction and selling it for 90% less. Then, in an especially strange twist of events, the Suicide Girls actually had their Prince parody almost flipped by a collector. What a time to be alive.
10. Jay Z Shows Marina His Receipts
In an interview with Spike Art Quarterly, Marina Abramović dropped a bombshell about former collaborator Jay Z, claiming he never made good on a promise to financially support the Marina Abramović Institute following his adaptation of one of her performances for the 2013 music video “Picasso Baby.” Unfortunately for Marina, Jay keeps track of his receipts. The dispute was eventually settled, but not before Abramovićblamed the misunderstanding on her staff.
source via artnet
Instagram is to 2015 what Facebook was to 2008. The photo-sharing social network has established itself as the ultimate tool for self-promotion, a fact that hasn’t been overlooked by the countless artists and other creatives who make our feeds so much fun to scroll through. What’s more, dealers are actually selling art off the app, often to the likes of Pierce Brosnan and Leonardo DiCaprio. And thanks to appropriation extraordinaire Richard Prince, Instagram images have even become fine art in their own right.
The Chinese billionaire is best known for collecting high-end Asian antiques, but he made a major bid for art world notoriety this year when he purchased Amedeo Modigliani’s Nu couché for a record-breaking $170.4 million at Christie’s in November.
The museum she heads, the Studio Museum in Harlem, is expanding with a David Adjaye-designed building. She’s joining the New York City Cultural Affairs Advisory Commission. And as if that weren’t enough, Thelma Golden gets to hang out at the White House (check her out in the Vermeil Room on Instagram!), as she’s joined the board of the Obama Foundation. In these ways and more, Thelma Golden has won over the art world and has won our hearts.
The Whitney Museum of American Art
The Whitney opened its new Renzo Piano-designed Meatpacking District location this spring to much fanfare with the critically acclaimed exhibition “America Is Hard To See,” a stunning survey of modern and contemporary art culled from the institution’s collection. While insiders rushed to the many VIP and V-VIP previews to get a glimpse at the new building and show before anyone else, if you walked anywhere near the museum this summer, you know the tourist-filled lines were relentless.
What’s cooler than having a major hip-hop star (in this case Drake) knockoff your artworks for his most popular (and also most lampooned) video of the year? Releasing an official statement noting that, while you appreciate the sentiment, you had and want nothing to do with it.
Musician, peace activist, and artist Yoko Ono made a big splash in the art world in 2015, with a major career retrospective at New York’s Museum of Modern Art. artnet News’ national critic Ben Davis announced that the show’s heart “is where it should be” and that, in our celebrity-driven age, it “illustrates how issues of celebrity and media are baked into her work from the beginning.” The show, and the artist, may have even helped one of the art world’s losers of 2015, Klaus Biesenbach, who organized the disastrous Björk exhibition that earned the institution so much criticism.
Speaking of Instagram, New York magazine critic Jerry Saltz’s ubiquity reached critical mass this year, in part thanks to his use of social media tools to pump his (famously crass) personal brand. Despite temporarily getting the boot from Facebook, Saltz got his followers to listen to his financial woes, inspired (and was honored alongside Tom Wolfe at) a party thrown by the New York Academy of Art, and even managed to source steamy museum encounters from online fans for an article. Saltz is truly a man of his times.
London-based architecture, art, and design collective Assemble made history this year as the first “non-artist” winners of the prestigious Turner Prize. What’s more, the group won for a project that saved several historic homes in Liverpool’s Granby Four Streets area from demolition.
The Lower East Side
The unofficial new neighborhood of New York art world cool kids, the LES has seen an influx of both new galleries and established outposts (see James Cohan, Lehmann Maupin, Marianne Boesky). Now that Chelsea has a Starbucks, it was really only a matter of time.
After having his passport seized by authorities and held for 600 days, Chinese dissident artist Ai Weiwei had it returned to him this summer. The artist is now free to visit his studio and family in Berlin and to attend various exhibitions of his work around the globe. He also managed to obtain donations of Lego blocks from fans around the world for an installation currently on display in Australia after Lego refused his request to place a bulk order.
Biesenbach’s Björk retrospective at the Museum of Modern Art was the flop heard ’round the art world. And while the museum’s chief curator at large, and the director of MoMA PS1, didn’t lose his job, as critic Christian Viveros-Fauné called for, he spent a solid six weeks feeling the heat from critics. That said, we have hope that Klaus will rise from the ashes like a phoenix in 2016!
As the 2016 election nears, Trump’s bid for the presidency has turned from a funny joke to a not-so-funny, super scary joke. But that hasn’t stopped artists from parodying the mogul-turned-politician as a giant pumpkin, a buttplug, and on the side of a bus.
German art star Georg Baselitz has a sordid history of making sexist comments about female artists, and this year was no exception. “The market doesn’t lie,” he told the Guardian’s Kate Connolly. “Even though the painting classes in art academies are more than 90% made up by women, it’s a fact that very few of them succeed. It’s nothing to do with education, or chances, or male gallery owners. It’s to do with something else and it’s not my job to answer why it’s so.” Of course, the joke’s on him, because we found several female artists including Georgia O’Keeffe, Cady Noland, and Louise Bourgeois who beat his numbers at auction. Sexism isn’t a good look on anyone, Georg.
Museum of Fine Arts Boston
It’s been one thing after another for the Museum of Fine Arts Boston this year. After facing outrage over an (eventually cancelled) event that invited visitors to don kimonos, the museum played host to several Renoir protesters who somewhat inexplicably gathered to express their distaste for the Impressionist master. The institution finished out the year with protests by security guards, many of whom are threatening to leave over proposed changes to their job. We can only hope 2016 is a less troubled year for the museum.
Not only was the so-called “king of freeports” fined $30 million by a French judge over several allegedly stolen Picassos, he also earned the ire of art world bigwig Larry Gagosian. We don’t wish that on anyone.
When you get caught in a mistake, you own up to it, right? But performance art legend Marina Abramović passed the buck when she got caught slandering rap giant Jay Z. She said he had failed to follow through on a promised donation to her foundation, but the rapper had kept the receipt, and she blamed her staff.
Up-and-coming French artist Loris Gréaud could have easily found himself on the other side of this list, had he not shot off his mouth at a female art critic. His solo show at Dallas Contemporary, in which he smashed many of his own works as part of a surprise performance on opening night, received many reasonably positive reviews. But when local critic Lauren Smart dared to call his methods into question, Gréaud took to Facebook to send her a manic, typo-riddled letter filled with sexist remarks, including the assertion that Smart needed to “study art history and get laid.” Hey, “learn how to take criticism more gracefully” is always a good New Year’s Resolution for an artist.
source via artnet
Spotted: Gallery Art’s truck at Red Dot Art Fair
The Mission: Snap a picture, tag #gallartcom and reap the benefits!