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David Lamelas at Kunsthalle Basel
Artist: David Lamelas Venue: Kunsthalle Basel, Basel Exhibition Title: V Curated by: Ruth Kissling Date: September 21 – November 11, 2014 Note: A document with instructions for Time can be accessed for download here. Click here to view slideshow Full gallery of video, images, press release and link available after the jump. Video: David Lamelas, excerpt from Study of the Relationships between […]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

Conversation With Barbara Lee
Conversation With Barbara LeeA Boston-based philanthropist with a namesake foundation, Barbara Lee is not only the driving force behind her own collection of art by female artists, but is also vital in filling institutional walls with work by women— most notably at the Institute of Contemporary Art in Boston, where she sits on the board. She talked with Sarah P. Hanson about the lasting power of landmark exhibitions, parting with a very famous Warhol, and fighting for gender equality in the art world and beyond. How did you start collecting art, and what drew you to it? I have very moving memories of holding my father’s hand while standing in the sculpture garden at the Museum of Modern Art in New York. And back in 1963, when 
I was in high school, he took me to the recreation of the Armory Show, and that was also a moment when I began to understand how shocking that art exhibition was and how much it changed how people began to look at art. I almost 
see a parallel between what happened at that moment
 in time, moving from Impressionism into modern art, and how transformative women were in broadening the scope of art from Abstract Expressionism and Minimalism to focus on real-life values and situations in the 1970s. Many of these artists were showcased in MOCA L.A.’s 2007 exhibition
“Wack! Art and the Feminist Revolution,” of which I was proud to be a funder. It included Barbara Kruger, Maria Lassnig, Hannah Wilke, and Lynda Benglis, who was an important part of
the show, as was Eva Hesse. I understand you were the seller of Andy Warhol’s White Marilyn, 1962, which achieved $41 million at Christie’s in May. Is it true you’ll be putting those funds, at least in part, toward art by women? Yes, I have a commitment
 to buying art by women. I purchased that painting a long time ago, and it was
 a strong market. I was one of what I would call the instigators in the ICA’s determination to build a new Diller Scofidio + Renfro building
 in 2006 and become a collecting institution. So for the past eight years, a lot of
 the most important work by women was introduced to 
me by exhibitions at the ICA, whether it was Marlene Dumas, Mona Hatoum, or Doris Salcedo. I think women artists have been making such important art, and museums and curators really can play a leading role in bringing them to the forefront. You have been involved with several Boston-area museum boards. How 
do your goals for gender parity influence your patronage? I first met Jill Medvedow, the ICA director, when she was working at the Isabella Stewart Gardner Museum. It was the late 1990s, when the ICA was looking for a new director, and I came back to them and said, “I know what inspiring leadership is.” Jill has
 been remarkable in taking this tiny museum and helping it to be a catalyst for both showing and collecting some of the most important contemporary artists working today. And the ICA has really been a leader in encouraging other institutions in Boston to step up. What are some of the specific barriers that women in the art world still face? The art world is an old boys’ club. People tend to promote people who are like themselves. The barriers to financial success persist for women artists as well. Even for the women who have broken records at auction, their prices are still only one-third the value of the top male artists at auction—on a good day. Of the top 200 collectors listed in the industry press, only a handful are women listed individually, as opposed to part of a couple. Women artists also still lack access to the kind of institutional support that can lead to visibility
and success. Museums and curators can play a leading role in bringing important work by women artists to the forefront. Women run just a quarter of the museums in the United States and Canada and earn about a third less than men doing the same work. It is a chicken-and-egg question: Without women in leadership roles at museums, how will we see women artists in key exhibitions? But hasn’t the art world been ahead of the general public in recognizing the contributions of women? I don’t think the market sees 
a responsibility to diversify. There is still an incredible amount of attention around young male painters and sculptors who are kind of the hot young artists of the moment, and many artists are
 just out of school. It has taken a long time for the art world to recognize the important work being done by so many women. When I first met Louise Bourgeois, in the early ’90s, her studio was filled with sculptures from every single period of her work. No one had bought them, and you know later on she became one of the most sought-after woman artists. There are many others like her. One of my favorite artists
 is Amy Sillman. We just showed her work at the ICA, and she has an exhibition through September 21, “One Lump or Two,” at the Hessel Museum of Art at Bard College in Annandale-on-Hudson. She has had an enormous influence on other artists and is finally getting the recognition she deserves. Your foundation has a two-pronged thrust, in contemporary art and politics. Why is that? I would like to say that art is my passion, and politics is my mission. My work and the goal of the foundation is to advance women’s equality and representation both in politics and in the art world. We 
do nonpartisan research on the obstacles that women face when
 they are running for elective office. And then in terms of the art arena, we fund exhibitions and catalogues that make contemporary women artists more visible to the public. “Wack!” was one of them; another one that I have been very excited about was the ravishing Rosemarie Trockel exhibition in 2012—13 at the New Museum in New York. What do you think the art of our time says about our
 current values? I can’t speak to the larger picture, but the art that I am drawn to, it has a kind of nuance, a commentary on what is important to people. What is interesting to me is work that is provocative, that has ambiguity, that compels the viewer to be part of the process. I love work that is beautiful but that also kind of transcends the beauty and can embrace the political and the values that are important to people. A version of this article appears in the September 2014 issue of Art+Auction magazine. Published: November 17, 2014 Read full article here

Gift Guide 2014: Artsy Fashion and Accessories
Language English Featured: 0Order: 0Tags: Gift Guide 2014Author(s): Michelle TaySub-Channels: Style GuideShort Title : Gift Guide 2014: Stylish Artsy Fashion Read full article here

Sneak Peek: 25 Artworks at the Affordable Art Fair Singapore
Language English Featured: 0Order: 0Author(s): Sonia Kolesnikov-JessopSub-Channels: FairsShort Title : 25 Artworks from Affordable Art Fair Read full article here

Linda Herritt: Terra Infirma / The Boiler (Pierogi), New York
The Boiler (Pierogi) currently presents a two-person exhibition of work by the artists Linda Herritt and Elana Herzog. Each artist ... Read full article here

Week in Review: November 16, 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 sponsors, NADA and Sotheby’s Institute […]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

“Fin de Siècle” at Swiss Institute
Artists: Martine Boileau, Mario Botta, Andrea Branzi, Marcel Breuer, Nacho Carbonell, H.R. Giger, Frédéric Levrat, Alessandro Mendini, Paolo Pallucco, Ugo La Pietra, Kurt Thut, Pierre Jeanneret Venue: Swiss Institute, New York Exhibition Title: Fin de Siècle Date: September 17 – November 23, 2014 Click here to view slideshow Full gallery of images, press release and link available after the […]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: Explore the Work of The Haas Brothers
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: GalleriesShort Title : Explore the Work of The Haas Brothers Read full article here

Gwangju Biennale
Artists: Artist Group Dung-ji (Inn Sun Kim), Basel Abbas & Ruanne Abou-Rahme, Hamed Abdalla, Abbas Akhavan, Jane Alexander, Allora & Calzadilla, Jonathas de Andrade, Ei Arakawa & Inza Lim, Charles Atlas, Sehee Sarah Bark, Eduardo Basualdo, Cecilia Bengolea & François Chaignaud, Renate Bertlmann, Cezary Bodzianowski, Andrea Bowers, AA Bronson, Cornel Brudascu, Vlassis Caniaris, Banu Cennetoğlu, Liu […]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

Wallace Collection’s New Show Makes History
Wallace Collection’s New Show Makes HistoryLONDON — What do a laughing Cavalier, a Rubens rainbow, and a swinging lover have in common? Or a quiet lacemaker, an attacking knight, Dutch old masters, and outrageous caricatures? The answer is the Wallace Collection in London, one of the world’s most celebrated groupings of art. It has all of these images, collected by generations of English aristocrats. For the first time, it is telling the story behind its story. A new show reveals the human factor connected to the canvases: the tastes and personal lives of four generations of the Seymour-Conway family, the Marquesses of Hertford, and Sir Richard Wallace. An “exhibition trail” through the main galleries accompanies the lower-ground-floor show, and contextualizes key pieces in terms of family history. The trail moves through the upstairs galleries, with Dutch masters crawling up the walls, and leads into the smoking room’s cabinets filled with Renaissance decorative arts. The masterpieces have long been on display in the permanent collection, so the show will not attract visitors purely interested in seeing the next blockbuster. Instead, it aims to enlighten enthusiasts hungry for more history. The first three generations of the Seymour-Conway family showed tastes that adhered to the conventions of their contemporaries. The 1st Marquess collected paintings and vedute by Canaletto, and commissioned portraits of his family members. A series of caricatures reveals the real intrigue behind this generation — the astonishing influence that Lady Hereford had over the Prince of Wales, the Prince Regent from 1811 and future George IV. Though the relationship was probably innocent, it inspired caricaturists to take a more scandalous view in their satirical depictions of the rosy-cheeked prince, unruly crowds, and bosomy women. One particularly striking image, “He Has Put His Foot In It” by Charles Ansell Williams, shows the prince stepping in the mess left by a mean-looking dog with a collar reading Hert (ford). Another nasty looking canine sits behind her with a collar reading (Yar) mouth, after the Earl of Yarmouth (the 2nd Marquess). The 3rd Marquess of Hertford, Francis Charles Seymour-Conway, seemed more motivated by the high drama of saleroom bidding than growing a valuable and long lasting collection. A fan of Dutch genre painting, he purchased Caspar Netscher’s “The Lace Maker,” 1662, at a Christie’s sale in 1804. The masterpiece depicts a girl working intently on her craft in solitude; soft light illuminates her delicate face and plain woolen dress in her modest surroundings. Within four years of the original purchase, Seymour-Conway tried twice to sell it at Christie’s. It is good fortune that the painting now hangs on public display in Manchester Square. Richard Seymour-Conway, the 4th Marquess, shared his father’s taste for 17th-century Dutch paintings. Like his contemporaries he bought Murillo, French 18th-century furniture and porcelain. He also bought 18th-century French paintings, which weren’t fashionable in Britain during the 19th century. Though he lived a lackluster life compared to his father’s runaway marriage and imprisonment in Verdun, his outstanding artistic eye distinguishes him from his predecessors. He was responsible for purchasing many of the masterpieces such as Jean-Honoré Fragonard’s “The Swing,” Peter Paul Rubens,” “The Rainbow Landscape,” and Frans Hals’s “The Laughing Cavalier.” The Marquess won a furious bidding war with Baron James de Rothschild, buying the work for a huge sum of £2,040. The 4th Marquess’s illegitimate son, Sir Richard Wallace, initially purchased Italian and French paintings and drawings, French furniture, gold boxes, Sèvres porcelain and maiolica. He later acquired the collection of the Comte de Nieuwerkerke, which radically changed the overall collection by introducing European arms and armor, Renaissance sculptures, bronze portrait medals, wax reliefs and Italian maiolica. Sir Richard was drawn to weapons and armor for their artistic value not functionality. Museum visitors cannot miss the large equestrian armor, reconstructed to look like a knight raring to attack. However, the much smaller parrying dagger of Henry IV King of France is one of the finest pieces. Given as a wedding gift to Henry IV by the city of Paris, the weapon is damascened in gold, set with mother-of-pearl and radiates elegance and opulence. Wallace paid the exorbitant price of 12,500 francs for the dagger.  “Collecting History: The Founders of the Wallace Collection” is on view until February 15, 2015.  Published: November 14, 2014 Read full article here

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