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A Brawny Market Lifts Sales at Christie's
LONDON — Despite a chronic fatigue generated by a seemingly endless half year of art fairs and auctions, the Post-War/contemporary art market surprisingly shifted into overdrive at Christie’s jam-packed salesroom Tuesday evening, realizing £99,413,500/$169,897,672. The result landed healthily midway between pre-sale expectations of £78.9-114.8/$134.9-196.3 million. Estimates do not reflect fees and all prices quoted include the sliding scale buyer’s premium pegged at 25 percent of the final bid (a.k.a. hammer price) up to £50,000, 20 percent up to £100,000, 12 percent up to £1 million, and 10 percent for anything above that. Of the 75 lots offered tonight, 12 failed to sell for a respectable buy-in rate of 16 percent by lot. Twenty-nine lots sold for over one million pounds and 38 made over one million dollars. Seven artist records were set, including two just 24 hours old. The tally hurdled past last June’s £70.2/$108.4 million result for 51 lots sold with a 20 percent buy-in rate by lot. The evening got off to a swift start with (lot 1) Cindy Sherman’s black and white “Untitled Film Still, #25” from 1978, depicting the made-up and anxious looking artist posed on a bridge, which sold for £242,500/$414,433 (est. £100-150,000). An amalgam of Italian offerings soon followed with (lot 4) Michelangelo Pistoletto’s mirror painting/self-portrait, “Amanti (Lovers)” from 1962-66, executed in painted tissue-paper on stainless steel, which sold for a record £2,322,500/$3,969,153 (est. £1-1.5 million). Milan dealer Nicolo Cardi and collector Dimitri Mavromatis were part of the posse of underbidders. Enrico Donati’s  (lot 5) “Superficie Bianca” in acrylic on shaped canvas from 1963, sold from the storied Morton Neumann Family Collection, made £626,500/$1,070,689 (est. £300,000-500,000). Alberto Burri’s bubbling, volcanic (lot 6) “Rosso plastica” from 1968, in plastic, acrylic, vinyl, and combustion on cellotex realized £1,202,500/$2,055,073 (est. £700,000-1 million) and Lucio Fontana’s (lot 7) pristine, 10 vertically scored cuts, “Concetto spaziale, Attese,” painted in virginal white from 1965, sold to London’s Helly Nahmad Gallery for £6,018,500/$10,285,617 (est. £4-6 million). Piero Manzoni’s (lot 9) kaolin on shaped canvas abstraction, “Achrome” from 1958-59, sold to a telephone bidder for £1,650,500/$2,820,705 (est. £1-1.5 million). It last sold at Sotheby’s London in October 2003 for £543,200/$908,209. Other Post-War European abstraction works were also in keen demand with (lot 8) art star of the Nouveau Realisme movement, Yves Klein’s signature “Untitled blue monochrome (IKB 164)” from 1962, sold to Lock Kresler of the Dominique Levy Gallery for £2,042,500/$3,490,633 (est. £1.5-2 million). Nicholas de Stael’s (lot 13) oil on canvas chromatic abstraction, “Composition-Paysage” from 1954, realized £1,538,500/$2,629,297 (est. £1-1.5 million) and a lunar-cratered landscape by (lot 58) Antonio Tapies, “Gran ocra amb incisions (Large Ochre with incisions” in mixed media on canvas from 1961 and hailing from the Viktor and Marianne Langen collection, sold to a telephone bidder for a record £1,650,500/$2,820,705 (est. £400-600,000). The tempo accelerated to a frantic pace with Peter Doig’s striking and rather surreal, nighttime composition (lot 14) “Gasthof,” depicting two mustachioed men outfitted in elaborate 19th-century costumes from 2002-04, sold to Larry Gagosian for a record £9,938,500/$16,984,897 (est. £3-5 million). One of the gentlemen is Doig, disguised in a theatrical costume and set against a fantastic evening landscape, resembling stoned runaways from the Sgt. Pepper’s Lonely Hearts Club Band. The background is based on a found German postcard from circa 1910. It shattered the 24-hour-old record set at Sotheby’s on Monday evening when “Country-rock (wing-mirror)” from 1999 sold for £8,482,500/$14,432,974. “It’s one of three self-portraits that exist,” said Skarlet Smatana, the curator for the Athens-based George Economou Collection and the underbidder on the painting. “I can understand the value and the interest.” A small group of works from Charles Saatchi, sold to benefit the Saatchi Gallery’s Foundation, also attracted intense market interest as (lot 15) Hurvin Anderson’s empty chaired but littered barbershop interior, “Afrosheen” from 2009, suitably large-scaled at 98 1/2 by 81 7/8 inches, rocketed to a record £1,314,500/$2,246,481, going to a telephone bidder. White Cube’s Jay Jopling was the underbidder (est. £300-400,000). It shot past the previous mark set at Sotheby’s on Monday evening when “Peter’s Sitters 3” from 2009, another barber shop themed composition, made £542,500/$923,064. “We bid on the Hurvin Anderson,” said Guy Jennings, managing director of the London-based Fine Art Fund and a former top Impressionist and Modern specialist at Christie’s, “and thought we were brave [bidding] at £600,000.” Jennings described the difference between the two evenings at Sotheby’s and Christie’s this way: “Christie’s seemed to have a little bit of fairy dust that eluded Sotheby’s.” Jopling had better luck with another Saatchi offering, easily the most scandalous of the week as Tracey Emin’s gritty, indeed filthy and alcohol perfumed tableau/self-portrait, “My Bed” from 1998, including stained mattress, linens, pillows, and objects one doesn’t care to mention in a PG-rated, setting sold to the dealer for a record smashing £2,546,500/$4,351,969 (est. £800,000-1.2 million). Emin, who helped stage the piece at Christie’s, was in the audience, videotaping the bidding on her iPhone and looking more excited as the bids kept coming. The widely exhibited and written about bed is one of the iconic pieces of the bygone YBA era. It is understood that Saatchi acquired it from the Lehmann Maupin Gallery in New York in 2000 for approximately £150,000. Non-Saatchi British entries included (lot 21) Glenn Brown’s Gothic styled “Led Zeppelin” from 2005, sold for £1,142,500/$1,952,533 (est. £1-1.5 million) and featuring a tiara clad and otherwise bejeweled female figure with a decidedly hairy chest. It somewhat takes after the on-stage, open shirt visage of Robert Plant, the band’s leader. Apart from the Emin sensation, a guaranteed work by Francis Bacon from the estate of Roald Dahl, the extraordinary English author and creator of the Willy Wonka Chocolate Factory tale, attracted another flash flood of bidding. Bacon’s cover lot (lot 16) “Study for Head of Lucian Freud,” a 14 by 12 inch oil on canvas from 1967, presenting the figurative painter’s head almost unrecognizable in its explosive fury of thick brushstrokes, sold to someone standing at the very back of the sardine squashed salesroom for a hefty and top lot £11,506,500/$19,664,500 (est. in the region of £8-12 million). Dahl acquired it from the Marlborough Gallery that same year for £2,750 and lived with it until his death in 1990. There are only two single canvas portraits of Freud, Bacon’s one-time close friend — they met in 1945 — and later estranged rival in Bacon’s oeuvre. The other resides in a private collection. Dahl eventually acquired four and possibly more Bacon works, and this portrait is the only one left in the estate. The two men of arts and letters, who apparently only met in passing, were much alike in their high-life taste for tobacco, drinking, and gambling. Another prominent London School artist, (lot 17) Frank Auerbach, was represented by a large, 60 by 48 inch landscape, “Primrose Hill, Autumn” from 1979-80, richly colored and patinaed with the artist’s expressionist brushes, but it went unsold at a chandelier bid of £1 million (est. £1.2-1.8 million). The Auerbach last sold at Sotheby’s London in February 2005 for £388,800/$722,005. Still on UK ground, Sir Howard Hodgkin’s (lot 49) color-packed abstraction, “Waterfall,” a small-scaled oil on panel from 1991-92, sold to the telephone for a robust £362,500/$619,513 (est. £150-200,000). London dealer Jonathan Green of Richard Green Gallery was the underbidder. Of the four Gerhard Richter’s offered (lot 26), “Funfzehn Farben (Fifteen Colors),” a color chart painting from 1966-1996, sold to Lock Kresler of the Dominique Levy Gallery for £3,890,500/$ 6,648,865 (est. £3.5-4.5 million). The enamel paint on canvas series, apparently inspired by Richter’s visit to a Dusseldorf paint shop and passing racks of color charts, are notoriously fragile, though this 78 3/4 by 51 1/8 inch example, with 15 bricks of color, appears close-up as pristine. A commanding (lot 44) Albert Oehlen figurative work, “Frühstück now (Self-Portrait)” from 1984, featuring the artist as a huge and disembodied sculpted head on a pedestal, made a record £1,082,500/$1,849,993 (est. £300-400,000). On the American side of the pond, there were a half-dozen Andy Warhol paintings to choose from, including the third-party guaranteed (lot 29) “Self-Portrait,” from 1986 and part of his late, so-called fright-wig works, this one measuring 40 by 40 inches, sold to collector Dimitri Mavrommatis for £6,354,500/$10,859,841 (est. £6-9 million). Warhol’s good friend and sometime collaborator, Jean-Michel Basquiat, was represented with a late, intensely busy graphic work, (lot 35) “Toxic” from 1984, scaled at 86 and 68 7/8 inches. It sold to Connecticut collector and art dealer David Rogath for £1,650,500/$2,820,705 (est. £1.2-1.8 million). The title refers to the artist’s close, club-going friend who is featured in the center of the canvas with brown arms and red hands raised high and wearing a blue broad brimmed hat.    Buttonholed outside the King Street salesroom on a balmy, still light night, Rogath observed, “I just thought it was so underpriced and liked it much better than the one that sold last night for a higher price. I was prepared to go much higher.” Rogath characterized Christie’s as an “excellent result.” Formerly in the Mugrabi collection, the acrylic oil stick and Xerox collage on canvas last sold at auction in Paris in June 1999 in the pre-Euro era for $343,385. A huge Keith Haring (lot 34) tarp painting in acrylic with metal grommets, “Tree of Life,” a kind of funky takeoff or reprise of Gustav Klimt’s 1905 frieze of the same title, went for £1,538,500/$2,629,297 (est. £1-1/5 million). It last sold at auction at Sotheby’s New York in November 2007, arguably the height of that roaring market period, for $2,169,000. That says a little something about the current market. Speaking of which, secondary market heavyweight Christopher Wool continued to make breaking waves with (lot 32) “Untitled,” a huge, 108 by 72 inch enamel on aluminum painting with the black block lettered HA AH covering the snow white background. It sold for £6,242,500/$10,668,433 (est. £5.5-7.5 million). Though not records, two other works showed the brawny strength of the current market as (lot 37) David Ostrowski’s “F (Dann lieber nein)” abstraction in oil and lacquer on canvas from 2011 unleashed a torrent of phone bidding, selling for £104,500/$178,591 and (lot 11) Roy Lichtenstein’s rare to market, tondo shaped canvas, “Mirror #8” in oil and Magna on canvas from 1971, sold to a telephone bidder for £1,986,500/$3,394,929. Larry Gagosian and private art advisor Amy Cappellazzo were part of the roster of underbidders. The evening action resumes for a finale of the season at Phillips on Wednesday. A Brawny Market Lifts Sales at Christie'sSelect Photo Gallery: Slideshow: Christie's London Post-War and Contemporary Sale - July 1-2, 2014Published: July 1, 2014 Read full article here

Slideshow: Pierre Soulages Museum Draws Visitors in France
Language English Featured: 0Order: 0Author(s): Kristen BoatrightShort Title : Pierre Soulages Museum Draws Visitors in France Read full article here

Anna Blessman and Peter Saville at Cabinet
Artist: Anna Blessman and Peter Saville Venue: Cabinet, London Exhibition Title: SWING PROJECT 3 Date: May 16 – June 21, 2014 Click here to view slideshow Full gallery of images and link available after the jump. Images: Images courtesy of Cabinet, London Link: Anna Blessman and Peter Saville at Cabinet Contemporary Art Daily is produced by Contemporary Art Group, a […]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

Art of the Kimono at LACMA
Language English Featured: 0Order: 0Author(s): Benjamin ParkShort Title : Art of the Kimono at LACMA Read full article here

Language Undefined Location Website: http://www.bulgergallery.comLocation Email: info@bulgergallery.comDisplay: Don't displayUse alternative description in place of "Hours" (Edit text below): Address: Javascript is required to view this map.Neighborhood: Wynwood Arts DistrictLocation Phone: +1 416 504 0575Has Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: Tuesday to Saturday 11AM - 6PMAs well as by appointment or by Chancelocation fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Norm Laich at Paradise Garage
Artist: Norm Laich Venue: Paradise Garage, Los Angeles Exhibition Title: Lunatic Fringe Date: May 17 – June 20, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of Paradise Garage, Venice Press Release: For the past few years I’ve been making work no larger than around 4′ because I […]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

"Death Becomes Her" at the Met
Language English Featured: 0Order: 0Author(s): Michelle TayShort Title : "Death Becomes Her" at the Met Read full article here

"Life Itself": A Barroom Eulogy for Roger Ebert
"Life Itself": A Barroom Eulogy for Roger EbertIn the summer of 2006, the film critic Roger Ebert — famous for his television show and the popularization of the “two thumbs up” rating system — lost the ability to speak. After a series of surgeries for cancer in his salivary gland, complications related to a burst carotid artery necessitated the removal of his lower jaw. Mostly confined to a wheel chair, he would continue to write, still for the Chicago Sun-Times, where he started in 1966, but more prodigiously on his blog and on Twitter, where his thoughts and ideas were freed from the shackles of the newspaper column and he could meditate on his life as a writer, a husband, and a man in the world. “Life Itself,” a new documentary opening in theaters July 4, is the story of Roger Ebert told in this reflective mode. Based on his 2011 memoir of the same title, the film, directed by Steve James (“Hoop Dreams”), uses a combination of talking-head interviews with friends, family, and colleagues, along with email interviews James conducted with Ebert, spoken in the film by a digitized voice (Ebert, for the last few years of his life, would primarily interact through a computer program that would voice his typed responses). These dialogues are intercut with excerpts from his memoir, spoken in voice over by the actor Steven Stanton in a Midwestern twang that easily passes for Ebert himself. Part of what makes “Life Itself” appealing, and ultimately sad, is that the film is very much a collaboration between James and Ebert. The two joke around about who is directing who, and Ebert is unflinchingly straight-forward in his responses to James’s questions and his desire for the camera to show the truth of his pain. But as the film begins to wind down, it becomes heartbreakingly evident that Ebert won’t make it to see the film about his life. But James doesn’t manipulate “Life Itself” into a tearjerker — an easy route lesser filmmakers might have taken. Instead, the film is embedded with bittersweet undertones that make it feel less like a grim funeral than a barroom eulogy. It’s a film about life, not death, with a sweeping ending worthy of any Hollywood classic. Just the way Roger would have wanted it.  Published: July 1, 2014 Read full article here

IMA Nabs Giant Lichtenstein, MoMA Names New Archives Chief, and More
IMA Nabs Giant Lichtenstein, MoMA Names New Archives Chief, and More— IMA to Show Landmark Lichtenstein: Roy Lichtenstein’s “Five Brushstrokes,” a massive five-part sculpture commissioned in the early 1980s but never assembled until now, has been acquired by the Indianapolis Museum of Art. The museum will unveil the complete work, the tallest of its five parts standing 40-feet, for the first time this August. Director and CEO of the IMA, Dr. Charles L. Venable, said in a statement, “I am confident it will become a beloved addition to the cultural landscape of our state, similar to Robert Indiana’s original LOVE, which has long greeted our visitors.” [Press Release] — MoMA Names Michelle Elligot Chief of Archives: MoMA has promoted Michelle Elligot, formerly senior museum archivist, to a newly established position as chief of archives, effective July 1. Elligot’s primary duties will be to lead the museum in acquiring, preserving, and providing access to the institution’s archives of 20th- and 21st-century art. She will also spearhead an initiative for an electronic archive to make digitized objects from MoMA’s six-million-item collection available online. [Art Review, Press Release] — Study Shows New York Art World Is Super White: A study conducted by the collective BFAMFAPhD that is currently part of “NYC Makers,” the Museum of Arts and Design’s new biennial, shows that the art world in New York is 200 percent whiter than the population of the city. The group drew on the US Census Bureau’s 2010-2012 American Community Survey to create some statistics of their own. One example: “New York City’s population is 33% white, but 74% of people in the city with arts degrees are white and 74% of people who make a living as artists are white.” [Hyperallergic] — Artbinder Raises Millions: Artbinder, an iPad app that creates artwork portfolios, has raised $3.17 million in venture capital, including funds from billionaire Leon Black, who owns “The Scream.” [Bloomberg] — Take a Sensory Tour: New York institutions like the Rubin Museum and the Metropolitan Museum provide “sensory tours” for the visually impaired. [The Observer] — Manifesta Challenges Russia: According to Guardian critic Adrian Searle, Manifesta 10’s inclusion of artworks by Nicole Eisenman, Bruce Nauman, and others confronts Russia’s LGBT laws. [The Guardian] — The new Shigeru Ban-designed Aspen Art Museum will open to the public on August 9. [ArtfixDaily] — Curator Miranda Lash is leaving the New Orleans Museum of Art for the Speed Art Museum in Louisville, Kentucky. [] — The Huffington Post profiled New York City museum security guards who are also artists. [HuffPo] ALSO ON ARTINFO Sotheby’s Has a Strong Lead-Off Night in London Katie Torn’s “Virtual Sculpture” Is Seductive, But Toxic Serpentine Pavilion Crash-lands in London With a Thud Top 10 Songs Written About Artists Duro Olowu Curates Women-Themed Show and Boutique at Salon 94 VIDEO: Guggenheim “Under the Same Sun,” Mapping Art in Latin America Check our blog IN THE AIR for breaking news throughout the day. Published: July 1, 2014 Read full article here

Slideshow: Christie's London Post-War and Contemporary Sale - July 1-2, 2014
Language English Featured: 0Order: 0Author(s): Benjamin ParkShort Title : Christie's London Post-War & Contemporary Sale Read full article here

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