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Group Show at Barbara Weiss
Artists: Antoine Catala, Melanie Gilligan, Matt Keegan, Josh Tonsfeldt, Karin Schneider with Abraham Adams Venue: Barbara Weiss, Berlin Exhibition Title: No Games Inside the Labyrinth Date: September 2 – November 15, 2014 Click here to view slideshow Full gallery of videos, images, press release and link available after the jump. Videos: Melanie Gilligan, 
Self-capital, Episode 1, […]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

5 Must-See Gallery Shows in London During Frieze Week
Cerith Wyn Evans at Serpentine Gallery, through November 9 (Kensington Gardens) The Welsh artist takes over the Serpentine’s Sackler Gallery, creating a spare but transfixing environment of neon, foliage, text, and sculpture. Chandeliers (either translucent or richly candy-colored) hang low from the ceiling, pulsing with light; the whole place throbs with a kind of shared heartbeat of sound and light. A neon wall-text wraps around the entire space, providing the barest of poetic frameworks: “brutal patterns are appearing and cellars flooding.... you get drunk from the echoes.” Wangechi Mutu at Victoria Miro Gallery, through December 19 (16 Wharf Road) The Brooklyn-based artist presents new ultra-layered mixed-media collages that jumble the machine, the animal, and the human. Upstairs, a massive ceramic sculpture represents a peaceful-but-horrifying vision of a woman’s head atop the body of a bloated worm; an accompanying video shows Mutu herself enacting an enigmatic choreography, with the footage run backward to unnerving effect. At Victoria Miro’s neighboring gallery space, Eric Fischl tackles freakish creatures of another sort: His latest paintings capture the blasé, celeb-obsessed environs of the contemporary art fair. David Hammons at White Cube, through January 3, 2015 (25-26 Mason’s Yard) Hammons is the kind of artist whose steady vision and lo-fi inventiveness should make many lesser talents consider early retirement. Billed as his “first major gallery show in London,” this exhibition includes drawings, sculptural paintings, and two found-object sculptures (incorporating an African mask and a fur coat). The drawings are process-based abstractions — the process here involving a basketball dribbled on the paper, leaving behind marks, scuffs, and the repeated stamp of a Spalding logo. Downstairs, a series of enormous paintings are obscured by ripped and mangled vinyl tarps; they hide behind these grimy draperies as if they’re bashful. The works conjure gauze, torn bandages, or dirty veils, possessing a formal beauty in their elegant destitution. Justin Adian at Skarstedt, through November 22 (23 Old Bond Street) These oil-enamel-and-canvas-on-ester-foam wall sculptures have a seductive appeal. Adian’s keen compositional eye makes two pared-down lumps sidling up against each other interesting — these simple works would be weirdly appropriate shown in tandem with Richard Nonas’s wooden wall-pairings. Surfaces are alternately imperfect, drippy, or shining with a cosmic luster. Occasionally the sculptures resemble real, strange things — a psychedelic toilet-seat cover; enormous chopsticks clutching a Starburst square. One piece that resembles a crucifix set on its side is cheekily titled “Fortunate Son”; another, “Bikini,” conjures the basic outlines of a bathing suit, the tiny aperture between the work’s two pieces suddenly charged and elicit. Karla Black at Modern Art, through November 8 (4-8 Helmet Row) The 2011 Turner Prize-nominated artist gets her second outing with the gallery, which provides a refreshingly no-BS press release (“Karla Black’s exhibition is comprised of sculptures made from materials including cellophane, paper, sellotape, and paint.” Fin). Transparent, paint-daubed scrims of cellophane act as layered filters through which hanging assemblages of collaged sugar paper are blearily glimpsed; when you pass through the archways excised in these thin curtains, the motion of your body makes them sway the tiniest bit, the material scratching and dragging along the gallery’s raw floor. In the back room a more solid sculpture covered with wallpaper paste, eyeliner, mascara, and other media resembles either an enormous tombstone or the top half of a blue popsicle. Next to it dangles a crumpled expanse of brown paper, its lower margin covered in paint: What could be an ocean roiling beneath a dead, empty sky.  ALSO WORTH SEEING: A double dose of Arte Povera: Alighiero Boetti at Luxembourg & Dayan, and Mario Merz at Pace’s 6 Burlington Gardens location (on view through December 13 and November 8, respectively); Mark Hagen’s geometric abstractions made using burlap, Diet Coke, and acrylic paint, at Almine Reich through November 8; at Pace’s 6-10 Lexington Street location, a three-person show: John Giorno, Alfred Jensen, and N. Dash, whose textile-and-paint assemblages have interesting resonances with those David Hammons works over at White Cube. If you haven’t eaten lunch yet, and want to test your patience for scatological shock-and-awe, subject yourself to Paul McCarthy’s painting show at Hauser & Wirth, on view through November 1 — but don’t say we didn’t warn you. 5 Must-See Gallery Shows in London During Frieze WeekSelect Photo Gallery: Slideshow: 5 Must-See Gallery Shows in London During Frieze WeekPublished: October 16, 2014 Read full article here

Kara Walker Sphinx Gets Gallery Show, Richter Talks Selfies, and More
Kara Walker Sphinx Gets Gallery Show, Richter Talks Selfies, and More— Kara Walker Sphinx Gets Gallery Show: A chunk of sphinx arm as well as ancillary sculptures and sketches will all be up for grabs in a planned show on Kara Walker’s “A Subtlety” at Sikkema Jenkins & Co. next month. “We need a little more guidance from conservationists on what would be entailed in trying to preserve it,” Brent Sikkema said. “Nobody really knows how long it will last. We were all surprised by how well the ‘Subtlety’ held up.” [WSJ] — Richter Talks Selfies: The Wall Street Journal has a rare interview with Gerhard Richter at his Marian Goodman show in London. The 82-year-old artist apparently doesn’t mind if people take selfies with his works: “I’m totally content with that. They can do that! They should find them lovely.” [WSJ] — Gary Nader Plans New Miami Museum: Miami gallery owner Gary Nader has announced plans to build a Latin American art museum in the city. “The influence of Latin America in the US is extremely prominent,” he said. “We want to tell the story.” [Miami Herald] — UK Museum Workers Strike: Protesting workers gathered outside of the National Gallery in London, among other venues, yesterday to demand better wages. [Yahoo] — Chinese President Xi Jinping Addresses Artists: “Artists should not lose themselves in the tide of market economy nor go astray while answering the question of ‘whom to serve.’” [Artnet] — Detroit Close to Settlement: It looks like a deal in the Detroit bankruptcy trial is set to be reached just one day before planned testimonies on the use of the city’s art collection as collateral. [NYT] — Art in America pulled a 1975 article out of its archives, in which artists reflected on Matisse. [AiA] — Looks like the Hello Kitty retrospective at the Japanese American National Museum has quintupled its attendance. [LAT] — Today in museum appointment news: Andrea Andersson is the new curator of the Contemporary Arts Center in New Orleans, Leigh Arnold has been appointed as assistant curator of the Nasher Sculpture Center, and Brendy Berry will be the Dallas Museum of Art’s CFO. [Artforum, Art Daily, Biz Journals] ALSO ON ARTINFO Frieze London: Miley Cyrus, Sleeping Guards, and Race-Car Hunting Trophies Christopher Wool’s Birds Lead Phillips Inaugural Sale at Berkeley Square Frieze Masters Sales Report VIDEO: 60 Works in 60 Seconds at Frieze London 2014 Check our blog IN THE AIR for breaking news throughout the day. Published: October 16, 2014 Read full article here

Frieze Masters Skews Modern, Sees Swift Sales
German Zero artists, 1960s Italians, and various flavors of abstraction from Brazil, Japan, and the UK were in heavy rotation at the stands at Frieze Masters, the spinoff fair dedicated to pre-2000 art. Masters, which made a splash in 2012 with museum-quality pieces and canny juxtapositions, is directed by Victoria Siddall, who, it was recently announced, will be taking the helm of the Frieze franchise. In its third year, the fair is skewing modern, partly to keep pace with what is now considered “historical” work, but perhaps partly also as a reflection of the relative ease of unloading a Giacometti over a Guercino in the kind of split-second decision environment of a fair. Dealers reported a handful of sales from the VIP preview on Tuesday, including a large Sigmar Polke canvas at David Zwirner and a small, exquisite red Enrico Castellani at Dominique Lévy, who fêted the opening of her new Old Bond Street location on Monday night. Of the fair’s first day, Lévy director Lock Kresler said, “I was pleasantly surprised how many people came prepared to make a quick decision.”Alexander Platon, senior director of the secondary art market department and special projects for Marlborough Fine Art, added, “I have never seen the caliber of people come through as I did today.” The gallery chose to highlight its longstanding relationship with Francis Bacon with a knockout solo booth with five large-scale canvases and several works on paper. Two stands featured works by the recently in-demand Swiss bricoleur Jean Tinguely: Hauser & Wirth with a solo presentation of works hailing from a single Swiss collection, and David Zwirner, with an early mechanical piece once owned by Robert Rauschenberg. Sculpture was strong in general, with a solo presentation of David Smith at Mnuchin and a trove of Fausto Melotti works at Galeria Elvira Gonzalez of Madrid being the highlights.   The aforementioned Italians — surely designed to coincide with this week’s sales of Italian post-war and contemporary art at Christie’s and Sotheby’s — included not only familiar names like Lucio Fontana and Alberto Burri, but also deeper cuts like Paolo Scheggi and Augusto Bonalumi, suggesting an expanding market for the clean lines of their post-war works. Robilant + Voena, of London, Milan, and St. Moritz had a particularly striking selection of all-white works, several of which had sold, according to Marco Voena. Of the more antique works at the fair, Otto Naumann of New York boasted a Rembrandt portrait formerly owned by Steve Wynn, priced at £38 million. “I’ve had five or six Rembrandts in my career, but never a late one like this,” he noted. The 1658 portrait coincides with a presentation of late works by the artist at the National Gallery. Roundly praised by dealers as a pleasant overall experience and a quality affair attracting a crowd on par with Art Basel or TEFAF, it remains a bit of an open question whether a fair devoted to historical works can deliver sales, as several specialists in older material noted. As of Wednesday, Naumann’s Rembrandt, requiring a very specific type of buyer, had not found a home. Frieze Masters Skews Modern, Sees Swift SalesSelect Photo Gallery: Slideshow: Highlights from Frieze Masters London 2014Published: October 16, 2014 Read full article here

Slideshow: 5 Must-See Gallery Shows in London During Frieze Week
Language English Featured: 0Order: 0Slideshow location: Slideshow ICONSlideshow ICONAuthor(s): Benjamin ParkSub-Channels: GalleriesReferenced Artists: Wangechi MutuCerith Wyn EvansDavid HammonsMark HagenShort Title : 5 Must-See Gallery Shows in London During Frieze Read full article here

Thomas Zipp at Guido W. Baudach
Artist: Thomas Zipp Venue: Guido W. Baudach, Berlin Exhibition Title: Effects of Stimulus-Range and Anchor Value on Psychophysical Judgement (The Laerdal Rehearsals) Date: September 5 – October 18, 2014 Click here to view slideshow Full gallery of video, images, press release and link available after the jump. Video: Thomas Zipp, Effects of Stimulus-Range and Anchor Value on Psychophysical […]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

Christopher Wool’s Birds Lead Phillips Inaugural Sale at Berkeley Square
LONDON — A large-scale Christopher Wool painting fetched the top price at the inaugural auction by Phillips at its new London headquarters building in Berkeley Square. Phillips benefitted from Frieze Week after moving into the center of the British capital, closer to the other auction houses and main galleries of Mayfair. Its former base was next to a mail office to the south near Victoria Station. The new location is likely to attract more wealthy collectors who do not need a taxi ride to get to the salesroom. Phillips, owned by Moscow-based Mercury Group, opened its new building shortly after it got a new chairman and chief executive, Edward Dolman. Wool’s “Untitled,” a 1990 alkyd and acrylic work on aluminum featuring black eagle-like birds, sold for £2.1 million, alongside an estimate of £1.8 million to £2.2 million. The painting, 95 inches tall, is one of a series of images that Wool made using designs such as wrought-iron gates, birds, and rudimental human forms. “Untitled (Fold)” by Tauba Auerbach, painted four years ago, also sold for six figures, setting a personal auction record. The acrylic-on-canvas abstract, with a gentle relief over the pale surface, fetched £1.1 million after being estimated at £800,000 to £1.2 million. Still, works that went unsold in the 46-lot, £14.9 million auction included Andy Warhol’s “Guns,” the dark “Four Marilyns,” and “Untitled (The Ambassador’s Wife),” and Gerhard Richter’s “U.L.,” dating from 1985 and estimated at as much as £2 million. Richter’s “Netz” failed to sell in Christie’s London auction on October 13 and later told privately. The Phillips sale rate was about 80 percent and its total low estimate was about £15.5 million. One of the most dramatic works was by British graffiti artist Banksy. “Submerged Phone Booth” from 2006 is a red telephone shelter which apparently sinks into the ground. The work fetched £722,500, beating an upper estimate of £500,000. Works by Jeff Koons in demand included his “Jim Beam – Observation Car,” dating from 1986. The detailed stainless-steel model of a bourbon-filled train carriage is part of his series “Luxury and Degradation,” showing what lengths drinks manufacturers and large corporations go to promote their products. It made £962,500, against an upper estimate of £1.2 million. Another Koons work, “Stay in Tonight,” also dating from 1986 and inspired by a liqueur advert, was knocked down for £386,500, below the upper estimate of £600,000. A large-scale and instantly recognizable Damien Hirst spot painting, “5-Fluorotryptamine,” dating from 2007, was estimated between £550,000 and £650,000 and sold for £578,500. The week also includes the Frieze Art Fair, where works by Pablo Picasso, Sigmar Polke, and Hirst were among early reported sales.There are also auctions by Christie’s (tomorrow), and Sotheby’s and Bonhams (Friday). Christie’s kicked off the week with its £46.9 million auction of 43 works from the Essl Collection, which it said was London’s most valuable auction ever of a private post-war and contemporary art collection. Christopher Wool’s Birds Lead Phillips Inaugural Sale at Berkeley SquareSelect Photo Gallery: Phillips Contemporary Art Evening London Auction, October 15, 2014Published: October 15, 2014 Read full article here

Slideshow: Highlights from Frieze Masters London 2014
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: FairsReferenced Artists: Roy LichtensteinDonald JuddEnrico CastellaniAlberto BurriShort Title : Highlights from Frieze Masters London 2014 Read full article here

VIDEO: 60 Works in 60 Seconds at Frieze London 2014
VIDEO: 60 Works in 60 Seconds at Frieze London 2014Frieze London and Frieze Masters opened on Tuesday, but for those who can't make it, we'll have plenty of coverage—begining with this whirlwind tour of Frieze London. Published: October 15, 2014 Read full article here

Phillips Contemporary Art Evening London Auction, October 15, 2014
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: AuctionsReferenced Artists: Jeff KoonsAndy WarholMartin KippenbergerTauba AuerbachShort Title : Phillips Contemporary Art Evening London Auction Read full article here

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