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Week in Review: July 27, 2014
Welcome to Week in Review, our Sunday round-up of the last seven days of activity here at Contemporary Art Daily. Please subscribe to our RSS feed, follow us on Twitter, follow us on Tumblr, and become a fan on Facebook. We would like to extend a special thank you to our annual sponsor, NADA. Founded […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

“Inside Arrangement” at Mary Mary
Artists: John Finneran, Jonathan Gardner, John McAllister, Gerda Scheepers, Sam Windett Venue: Mary Mary, Glasgow Exhibition Title: Inside Arrangement Date: June 7 – August 2, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Mary Mary, Glasgow Press Release: Taking its title from a group of works by Gerda Scheepers, ‘Inside […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Slideshow: Karl Lagerfeld and Isabelle Miaja Design Sofitel So Singapore
Language English Featured: 0Order: 0Tags: Robert Michael PooleSofitelKarl LagerfeldIsabelle MiajaTravel: Trip IdeasHotels + ResortsPopular Cities: SingaporeAuthor(s): Robert Michael PooleShort Title : Inside Karl Lagerfeld's Sofitel So Singapore Read full article here

Giorgio Griffa at The Douglas Hyde Gallery
Artist: Giorgio Griffa Venue: The Douglas Hyde Gallery, Dublin Date: May 30 – July 30, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of The Douglas Hyde Gallery, Dublin Press Release: Many of the exhibitions in the Douglas Hyde Gallery’s 2014 programme make reference to minimalism, […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Brothers In Law: Royalty Pains
Brothers In Law: Royalty PainsAll is not cool in California. The state’s Resale Royalty Act, which gave artists or their agents (including their heirs) a 5 percent royalty on any resale of their art over $1,000 if the seller resided in California or the transaction took place there, was struck down by a federal court in 2012. The law was both welcomed and reviled, depending on whom you asked: Proponents claimed the law gave much-deserved compensation to artists for their efforts, especially for work bought cheaply and later sold at a big profit; critics countered that artists did not deserve special treatment and that the law put a damper on the art market while benefiting successful artists who didn’t need help. The gulf between these two views was—and remains—as wide as the Pacific. Now a move is afoot to make resale royalty the law of the land. The first proposal by New York Congressman Jerrold Nadler, called the Equity for Visual Artists Act of 2011 (EVAA), mandated a 7 percent royalty for works sold at big auction houses (but, interestingly enough, not online auction sites) for $10,000 or more, with half going to the artist and the balance into an account set up to help fund purchases by nonprofit museums. The EVAA sought to prohibit the artist or the artist’s successor from waiving the royalty right. That proposal failed to garner support when it was introduced three years ago. But Nadler now chairs the intellectual property subcommittee of the House Judiciary Committee and put out a new version of the bill, dubbed the American Royalties Too (ART) Act, which was picked up by Representative Louise M. Slaughter of New York as a cosponsor this past March. Before we address the problems we see with the legislation—and the reasons why many in the art world are up in arms over this issue—a little historical background is in order. Resale royalty, also known as droit de suite (literally, “follow-up right”), originated in France in 1920, when lawmakers there became incensed that works by artists such as Gauguin and Cézanne sold for vast sums while the artists themselves often died penniless. The law passed by the French parliament in 1920 currently gives artists 3 percent of the total price of their works sold through private transaction or public auction. Moreover, since the right can’t be waived, artists cannot sell art without passing on the requirement to pay royalties each time the work is sold on the secondary market. Today, every European country except Switzerland has followed suit and adopted a version of droit de suite. In Italy, artists may claim between 2 and 10 percent of the profit (not total price) made on sales of their works. In Germany, artists may collect 5 percent of the total price on works sold at public auction or through a dealer. The laws in some countries—such as Denmark, France, and the U.K.—provide for “collecting societies” that gather royalties from sellers and distribute them to artists. In 1976 the otherwise laid-back state of California became the only one in the country to pass a version of droit de suite. But in the 2012 case Estate of Graham v. Sotheby’s, Inc., a federal court in Los Angeles declared that, because the statute regulated art sales outside of California, the law violated the Commerce Clause of the U.S. Constitution, which reserves to Congress the power to regulate interstate commerce. In Estate of Graham, various artists’ estates and artists filed a class action lawsuit against Christie’s, Sotheby’s, and eBay for not paying California’s resale royalty and for concealing information that would trigger the law, such as hiding the fact that the seller lived in California. In finding the law unconstitutional, the court in Estate of Graham pointed out that the California law regulated transactions occurring anywhere in the United States, so long as the seller resides in California, and that even the artist, who is the intended beneficiary of the law, need not be a citizen of, or resident of, California. The plaintiffs in Estate of Graham, who include New York-based Chuck Close, are currently appealing the court’s decision. Supporters say that resale royalties are well deserved by visual artists, especially since their counterparts in other creative fields, like authors and composers, typically earn royalties on their works each time they are sold or played during a lengthy copyright term. Proponents also argue that the act will give artists an incentive to create, and that artists should share in the success of their careers as early works appreciate in value. Critics point out that, whether or not one supports the philosophical position that artists should receive royalties on future sales, the proposed legislation is ill conceived and for a number of reasons would actually do more harm than good. First, the proposal only affects sales at public auction, thereby discriminating against auction houses in favor of dealers and pushing the art market further toward private (read: less transparent) treaty sales. At the extreme, sales might move to locations that don’t impose resale royalties—hello, Hong Kong! And with an expansion of the language in the law to include online auctioneers and houses pulling in $1 million or more on fine art in the past year, the potential impact is vast. A second criticism is that, since the new legislation would apply to sales over $5,000, it would not help the proverbial starving artist, whose works presumably sell below that level. In fact, in France almost 70 percent of all resale royalties reportedly go to the estates of just four artists, all of whom were reputedly quite well fed: Braque, Léger, Matisse, and Picasso. Indeed, the art Act might actually hurt emerging artists by dissuading collectors from taking a chance on their works—or by encouraging dealers to pay artists less for their work than they might otherwise. Third, because of the secretive nature of the art world, there is little hard data available on the effect of resale royalties, including the number or frequency of resales or how often royalties are paid in jurisdictions that have adopted the right. The U.S. Copyright Office actually recommended against adoption of resale royalties in 1992 because of the lack of “sufficient empirical data.” More recently, in December 2013, the Copyright Office suggested that Congress might consider endorsing resale royalty rights, but only with “caution.”
 Fourth, such a law would arguably penalize buyers who take a chance on less-established artists, as they end up paying out more as the work appreciates. As one of our smarter colleagues has observed, the proposed act isn’t so much a royalty payment to artists as a tax on collectors. Finally, say critics—and, in the interest of full disclosure, we are in that camp—the art Act is simply a bad fit for the Anglo-U.S. common law system, which, with some few exceptions, codifies the free alienability of property and freedom of contract. This is in contrast to European “civil law,” which recognizes moral rights that are naturally inherent in creative persons. Nevertheless, the U.K. and Australia recently enacted their own resale royalty laws. For now, whether there is enough support in Congress to carry Representative Nadler’s legislation into law is an open question. The proposed droit de suite certainly won’t be happening tout de suite. That is sweet news for those of us who believe in a free-market approach to the art trade. Charles and Thomas Danziger are the lead partners in the New York firm Danziger, Danziger & Muro, specializing in art law. Go to for more information. Nothing in this article is intended to provide specific legal advice. A version of this article appears in the July/August 2014 issue of Art+Auction magazine. Published: July 26, 2014 Read full article here

VIDEO: Artists, Collectors, and Dealers Head East for Art Southampton 2014
VIDEO: Artists, Collectors, and Dealers Head East for Art Southampton 2014SOUTHAMPTON, NY — The tony village of Southampton on Long Island's east end is once again this weekend showcasing artists and welcoming collectors from all over the world for Art Southampton 2014. The fair, presented by the 24-year-old Art Miami, is in its third edition and is featuring a familiar roster of galleries—75 in total. The fair welcomed thousands to its VIP night Thursday. Many artists were also in attendance. Blouin ARTINFO spoke with JD Miller from the Dallas-based Samuel Lynne Galleries, Andrew Erdos at Claire Oliver Gallery and Jeff Muhs from Southampton's McNeill Art Group. Art Southampton runs through Monday, July 28th off Route 27A in Southampton. Published: July 25, 2014 Read full article here

Slideshow: Jennifer Allora and Guillermo Calzadilla's "Apotomē"
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaShort Title : Jennifer Allora and Guillermo Calzadilla's "Apotom Read full article here

More Gurlitt Works Found, di Cosimo Gets First Retrospective, and More
More Gurlitt Works Found, di Cosimo Gets First Retrospective, and More— More Gurlitt Works Found: Despite the fact that in 2012 authorities confiscated more than 1,000 works from the Munich apartment of recently deceased recluse Cornelius Gurlitt, the government-appointed group tasked with investigating the trove’s provenance said that more works were recently found in his home. Among those uncovered were sculptures believed to be made by Rodin and Degas. The task force will review the works to determine if they were Nazi-looted and they will be posted on the German government’s looted art databank. [NYT] — Piero di Cosimo Gets First Retrospective: The National Gallery of Art in Washington, D.C. has announced plans to mount the first retrospective of Piero di Cosimo, a contemporary of da Vinci and Raphael. Known for a quirky personality and an interest in the Northern European style, di Cosimo has long been overlooked. “This first-ever retrospective on Piero allows us finally to bring together examples from all the genres in which he painted and from all time periods to better understand the chronology of his life and the progression of his career,” said Gretchen Hirschauer, the gallery’s associate curator for Italian and Spanish paintings. [WP] — Italian Culture Minister Grants Museums Autonomy: Dario Franceschini, the Italian minister for culture and tourism, has announced reforms that will increase the autonomy of the country’s museums and lower costs. The proposals could make 20 museums and archaeological sites self-governing institutions no longer run by the ministry itself. “The chronic lack of autonomy of Italian museums... greatly limits their potential,” said Franceschini. [TAN] — National Portrait Gallery Shows Important Suffragette Painting: Ethel Wright’s painting of militant suffragette leader Christabel Pankhurst went on display at the National Portrait Gallery on Thursday for the first time in 80 years. [Guardian] — Yale Center for British Art to Close for Conservation: The Yale Center for British Art is set to close in January 2015 for a year in order to complete the second part of conservation of its Louis I. Kahn-designed building. [Art Daily] — Artists Brew Schnapps From Beuys Sculpture: Three artists have used a piece of fat from a 32-year-old work by Joseph Beuys to brew schnapps as part of a performance, outraging Beuys’s surviving family members. [Independent] — Lydia Yee is the Whitechapel Gallery’s new senior curator. [Artforum] — Marianne Boesky Gallery now represents South African, New York-based artist Dean Levin. [Press Release] — Lord Jacob Rothschild is the recipient of the J. Paul Getty annual medal. [LAT] ALSO ON ARTINFO Sean Landers and the Seriousness of Adorable Animals Studio Tracks: Scott Daniel Ellison’s Playlist Art World Drinks: A Garry Winogrand Negroni VIDEO: Bentley Meeker Puts the “H” in Harlem Check our blog IN THE AIR for breaking news throughout the day. Published: July 25, 2014 Read full article here

8th Berlin Bienniale
Artists: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Maria Thereza Alves, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda, Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya, Rosa Barba, Gordon Bennett, Monica Bonvicini, Angela Bulloch, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Center for Historical Reenactments, Tacita Dean, […]Contemporary Art Daily is produced by Contemporary Art Group, a not-for-profit organization. We rely on our audience to help fund the publication of exhibitions that show up in this RSS feed. Please consider supporting us by making a donation today. Read full article here

Studio Tracks: Scott Daniel Ellison's Playlist
Studio Tracks: Scott Daniel Ellison's Playlist“I spent a lot of time in the woods growing up,” said painter Scott Daniel Ellison, whose exhibition “Iowa, Ohio” opened last night at ClampArt in New York. “I spent an equal amount of time watching late night horror films and reading ‘Fangoria.’ I sort of tap into this part of my life from time to time, especially for these new paintings.” Those works are raw and loaded with an enigmatic symbolism: images of bats, claw-like hands, and green-skinned forest bogeymen. Ellison shared his current studio playlist, from Black Sabbath to the Delta Blues. “Loom of the Land,” Nick Cave and the Bad Seeds “Just a sad, beautiful song from a great album. As a teenager I would collect magazine photos of and articles about Nick Cave and keep them in a scrapbook of sorts. There was one clipping in particular that I was really fond of, a photo of him and his shadow against a barn wall. The shadow, all hunched over and grumpy, seems to have taken on a creepy, comical life of its own; it may have found a way into one of my paintings, in spirit, at least.” “Triangle Walks,” Fever Ray “Karin Dreijer Andersson seems to tap into a Nordic shamanism that pre-dates modern history. Since I was a child I have always been interested in paganism and witchcraft, mostly because it scared me. I hear a lot of that same curiosity in her music, and her stage costumes and make-up. Although her music is mostly electronic it comes off in tone as being both acoustic and ancient. I’m also a big fan of the Knife, her band with her brother. I was living in Sweden when I first became aware of her and her music and I was hooked instantly.” “Crying,” Roy Orbison “My parents listened to a lot of great music when I was growing up. I really took to Roy Orbison. He’s often on in the background while I’m painting or driving. For me, he’s someone you want to listen to when you’re all alone. He seemed quite vulnerable and unapologetically self-conscious when he sang, his voice sweet and childlike with its nasal tone.” “Changes,” Black Sabbath “I grew up listening to a lot of heavy metal just by being in earshot of it much of the time. My brother Vincent’s room was covered in Metallica and Iron Maiden posters. He was in there a lot with his friends blasting AC/DC, Megadeth, and Slayer all summer long. There was, of course, a lot of frightening imagery associated with these bands that I was drawn to — much more than the music itself — and that imagery pops up in my paintings from time to time. Later in life I came back to the music with a new appreciation.” “Dust My Broom,” James Son Thomas “I’m on a Delta Blues kick right now. James Son Thomas also created small clay heads and skulls — with real human teeth — that blend seamlessly with his music. It’s all just one piece. He was also a gravedigger. Although I’m a northern soul I have an outsider’s fascination with the folklore of the south. I lived in North Carolina for a couple years and my parents live there now. I get to New Orleans when I can and usually don’t want to leave. You hear a lot of stories about swamp beasts and ghosts when you’re down there.” Published: July 25, 2014 Read full article here

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