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BLOUIN Lifestyle Pick: Christie's Important Jewels Sale
Language English Featured: 0Order: 0Author(s): Michelle TaySub-Channels: Jewelry & WatchesShort Title : BLOUIN Lifestyle Pick: Christie's Important Jewels Read full article here

Under-the-Radar: A Guide to the New York Film Festival
Here we are, smack dab in the middle of the New York Film Festival and entering its second, and even better, week. Have you seen anything great? No worries, there’s still so much more, a never-ending barrage of films from all over the world. We have documentaries and fiction films, and many that blur the boundaries. Some of the works this week feature historical figures you may know well, and others focus on outsiders who you should get acquainted with. We have Shakespeare and Daft Punk, motorcycles and classical art, and drama and comedy. Again, as with last week, a few guidelines are in order. The bigger films are not included — which specifically means that Paul Thomas Anderson’s “Inherent Vice” is not mentioned here, most importantly because I’ve not seen it yet, but also because the film will be explored at greater length in a review to be published next week. The focus here is on some of the smaller films and lesser-known directors you might have missed on the schedule. Click on the slideshow to see our complete guide to week two at the New York Film Festival.   Under-the-Radar: A Guide to the New York Film FestivalSelect Photo Gallery: Slideshow: A Preview of New York Film Festival Week 2Published: October 3, 2014 Read full article here

Slideshow: A Preview of New York Film Festival Week 2
Language English Featured: 0Order: 0Author(s): Craig HubertSub-Channels: FilmShort Title : A Preview of New York Film Festival Week 2 Read full article here

Whitney Plans 36-Hour Koons-athon, Bosch Will Stay at Prado, and More
Whitney Plans 36-Hour Koons-athon, Bosch Will Stay at Prado, and More— The Whitney Prepares for a Koons-athon: The now-infamous Jeff Koons retrospective at the Whitney Museum draws to a close in just a few weeks, but with attendance numbers still unflagging despite extended hours on Mondays and Fridays, the museum has decided to offer one last major push: a 36-hour stint on the exhibition’s final days, from 11 am on October 18 to 11 pm on October 19. Because, as ARTnews’s M.H. Miller points out, “life as we know it collapses around us” as this exhibition prepares its end. Meanwhile, Christie’s is ready to assume the Koonsian mantle by displaying his “Balloon Monkey (Orange)” at its 20 Rockefeller Plaza entrance for six weeks, before its (likely record-fetching) sale on November 12. [NYT, ARTnews, ArtDaily] — The Prado Keeps its Bosch: Despite news in August that José Rodríguez-Spiteri Palazuelo, president of Spain’s National Heritage office, wanted four of the Prado’s prominent Renaissance paintings for the forthcoming Royal Collections museum, José Ignacio Wert, Spain’s minister of education, culture, and sport, has confirmed that the museum will keep all of its holdings. Among the paintings were Tintoretto’s “The Foot Washing” and Hieronymus Bosch’s “The Garden of Earthly Delights.” Prime Minister Mariano Rajoy also issued a statement of support, via a spokesperson, who noted that legal papers are being drawn to make the Prado’s ownership official. [TAN] — Deitch Talks NYC Plans: The Times has a Jeffrey Deitch profile that reveals, among other things, that he has only been psychoanalyzed once, he plans to organize “super-exciting shows” in the city, and one of those will be a show of ballet costumes and set designs at Mana Contemporary in Jersey. [NYT] — Skate’s Releases Its Art Fairs Report: “Visitor numbers for fairs are significantly lower than those for nonmarket (and longer-lasting) art extravaganzas like biennials and are incomparable with figures for major museums.” [ARTnews] — Contemporary Art in the Desert: Turns out Qataris might not be the biggest fans of Damien Hirst’s 14 giant bronze fetus sculptures. [Bloomberg] — “New New Berlin and N(ev)ada Art Fair”: Here’s a report from William Powhida and Jade Townsend’s satirical art fair project in Galveston, Texas. [Hyperallergic] — Watch a clip of Oxygen’s new show, “Street Art Throwdown,” which turns artful graffiti into a competition. [US Magazine] — A new show at the Charles M. Schulz Museum examines how the Peanuts comics dealt with such weighty issues as feminism and nuclear war. [Time] — In rock ’n’ roll news, tongue-in-cheek punk fanzine “Henry & Glenn Forever & Ever” — which imagines a romance between the lead singers of Black Flag and The Misfits — gets a gallery show, while Pink Floyd’s controversial “comeback” album chooses a teenager for its cover artist. [LAist, Ultimate Classic Rock] ALSO ON ARTINFO Falling Into the SculptureCenter’s Latest Exhibition Sculpture Takes the Spotlight at Sotheby’s Q&A with Enrico Castellani Instagrams of the Art World: The Hilton Sisters, Beyoncé, François Hollande, and More Check our blog IN THE AIR for breaking news throughout the day. Published: October 3, 2014 Read full article here

Allison Katz at BFA Boatos
Artist: Allison Katz Venue: BFA Boatos, São Paulo Exhibition Title: Rumours, Echoes Date: September 4 – October 4, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of  BFA Boatos, São Paulo Press Release: BFA Boatos is pleased to announce the opening of the gallery with […]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

Marina Abramovic: Artist Talk at Fondation Beyeler
Within the context of Marina Abramovic’ recent project at Fondation Beyeler, the museum held an artist talk with the renowned ... Read full article here

Sculpture Takes the Spotlight at Sotheby’s
Sculpture Takes the Spotlight at Sotheby’sIn a rare double-whammy of art market fortune, Sotheby’s will be offering two 20th-century masterworks of breathtaking sculpture at its November 4 evening sale of Impressionist and Modern art. The earlier offering, Amedeo Modigliani’s iconic, 28 ¾ inch high carved stone “Tete” from 1911-12, first exhibited at the Salon d’Automne, 10e Exposition at the Grand Palais in Paris in 1912, carries an unpublished estimate in excess of $45 million. The sculpture was first acquired directly from the artist by the British sculptor Sir Augustus John in 1912 and has changed hands only twice since then, residing in UK and Belgian private collections. It has not been on public view since a 1955 Modigliani exhibition at the Kunsthalle in Bern, Switzerland.  Another variant of the ancient looking caryatid or high priestess, “Tete” from circa 1910-12 and slightly smaller at 25.2 inches, sold at Christie’s Paris in June 2010 for a then record €43,185,000/$52,328,328. The piece carried modest pre-sale expectations of €4-6 million and the price realized stunned the market. Other carved versions of the 25 elongated female heads that were conceived and created by the artist as a decorative ensemble reside at the Metropolitan Museum of Art as well as the National Gallery of Art in Washington and the Tate Gallery in London. This example is considered to be the finest one remaining in private hands. Modigliani sculptures at auction rarely appear. A smaller example from the series, the 9.3 inch high “Tete,” sold at Sotheby’s London in February 2007 for £1,476,000/$2.9 million. Though known far more for his erotically charged female nudes and formal portraits of Bohemian friends and lovers, Modigliani’s carved heads retain an almost mystical allure, as if they were discovered in some archaeological dig. The sculptures were created at the artist’s open-air studio in Montparnasse and were done at night under the illumination of candlelight. The auction record for the artist was set in November 2010 at Sotheby’s New York when “Nu Assis Sur un divan (La Belle romaine)” from 1917 sold for $68,962,496. Another female deity is on offer in the painted bronze guise of Alberto Giacometti’s “Chariot” from 1950, a Post-War masterpiece at 57 inches high and depicting an ultra-slim standing woman astride an open platform set over huge chariot wheels and poised on carved wood blocks. The illusion of speed is frozen in Giacometti’s extraordinary space, in part by the restraining blocks and the permanence of the bronze casting. Giacometti told his New York dealer, Pierre Matisse, that the sculpture came about in a dreamy epiphany: “In 1947 I saw the sculpture before me as if already done and in 1950 it was impossible not to realize it, although it was already situated for me in the past.” It is understood that six lifetime versions of the burnished gold cast exist, with only two left in private hands. This example is the sole painted version outside the museum world. The other regally resides at the Museum of Modern Art. The anonymous seller acquired the Surrealist-inspired work in 1973 from the now shuttered though still storied Beyeler Gallery in Basel. It has never been on public exhibit, according to Sotheby’s. “Chariot” also hides behind an unpublished estimate understood to be in the region of $100 million. “Given the $104.3 million achieved at Sotheby’s by Giacometti’s ‘Homme qui marche I’ in 2010,” said Simon Shaw, co-head worldwide of Sotheby’s Impressionist & Modern Art department, “we believe that ‘Chariot’ could sell for in excess of $100 million.” Shaw was referring to that February sale in London when London-based billionaire Lily Safra acquired the work, setting a record at the time for any work of art sold at auction. It is one of six works and the only sculpture that has sold for over $100 million at auction. It remains the highest price for any sculpture at auction. These tremendous bookends of Modern and Post-War sculpture have never before appeared at auction, a rarity itself.  Published: October 3, 2014 Read full article here

Falling Into the SculptureCenter’s Latest Exhibition
“With play and curiosity, we can test boundaries and decipher our space,” teases the press release for “Puddle, Pothole, Portal,” on view at the SculptureCenter in Long Island City through January 5. Space — and its boundaries, confusions, dead-ends, and illusions — is a fitting way to think about this show, which inaugurates the institution’s renovation and expansion courtesy of Andrew Berman Architects. Regular visitors to SculptureCenter will find themselves pleasantly disoriented by those changes — new entrance, new courtyard, an elevator! — and that’s before engaging with the works on view, many of which further screw with one’s perception of the strikingly cavernous venue and its chic-but-still-unnerving subterranean rooms.  Humor and manically surreal energy rule the day in this exhibition — no surprise, given that co-curators Ruba Katrib and artist Camille Henrot cite both Saul Steinberg and films like “Who Framed Roger Rabbit?” as its thematic touchstones. The late Steinberg himself gets a small side room, with a selection of mixed-media drawings mostly from the ’70s. “Bank Street (Three Banks),” 1975, sets the prevailing tone for the show as a whole: Quasi-whimsical, but undercut with a dose of poison. (Steinberg’s fantasia depicts what might be a shell-shocked vet who has just machine-gunned a bevy of adorable bunnies on a small town’s main street.) Other works in the show likewise coax a bit of laughter before reminding us that, you know, we’re all going to die some day — like Danny McDonald’s “A Grim Forecast,” which places a dopey hound dog figurine atop an upside down styrofoam skull; or Jordan Wolfson’s inkjet prints, which pair illustrations of a buck-toothed protagonist with Spam-worthy verbal diarrhea (“Newbody Racist American Spit Your Teeth Here Kiss Here.”) In the basement space, the lighthearted and the ominous square off against each other, with Olga Balema’s colorful, taffy-like constructions contrasted against a sculpture by Abigail DeVille: a rickety, rattling conveyor belt bearing bedraggled cargo. While there’s plenty to explore here, “Puddle, Pothole, Portal” does have two clear stand-outs, both represented with several pieces throughout the space. Jamian Juliano-Villani has a handful of large paintings, including “Messy View,” 2013, which features a charming self-portrait, a few military dudes in a firing line, a bunch of headless, nude mannequins, and a perplexed guy smoking a pipe and wearing what might be 3-D glasses. (Another painting depicts a pair of pants that have committed suicide-by-hanging.) Astoundingly prolific, Juliano-Villani’s process seems to involve jamming as many disparate visual ideas into a single canvas as possible, creating paintings that are illogical, hilarious, and technically astute. The show’s other star is Win McCarthy, whose resin puddles, fluid glass forms, and mysterious troughs are in several locations upstairs; one mostly hidden sculpture — a faucet spurting a stream of glass water — is hung some 20 feet up on the wall. The work has much in common with Alice Channer or the drooping, melting qualities of young artist Alisa Baremboym (included in the 2012 Katrib-curated exhibition “A Disagreeable Object”). Elsewhere in the show you’ll find motorized sculptures based on emoticons; rough-hewn, blocky sheep that resemble scrappy versions of Les Lalanne’s fluffy menagerie; a puppet; and a glass door that doesn’t work. Think you’ve got it figured out? Consult Henrot’s “visual essay” in the smartly designed exhibition catalog and you’ll find yourself pleasantly resubmerged in a veritable puddle of weird, where Felix the Cat shares space with Picasso and Baining fire dancers. Like the exhibition, it’s a fun place to get lost. Falling Into the SculptureCenter’s Latest ExhibitionSelect Photo Gallery: Slideshow: "Puddle, Pothole, Portal" at SculptureCenterPublished: October 2, 2014 Read full article here

From the Atelier to the Disco: A Portrait of Yves Saint Laurent
From the Atelier to the Disco: A Portrait of Yves Saint LaurentBiopics, in the most traditional sense of the term, are typically the least effective way to cinematically capture a subject. Most egregiously, they attempt to squeeze an entire, complicated life into the small frame of a film, which ultimately leads to narrative clichés. How many times have you watched an artist portrayed on screen have an isolated creative epiphany, neatly connecting the dots from one famous work to another. Biopics seem to forget that lives are messy, and repetitive, and often incoherent. The trajectory is not always clear, and for a film to accurately portray a creative life it must take that into account within its formal and narrative structure. “Saint Laurent,” Bertrand Bonello’s film about the fashion designer Yves Saint Laurent, which screened earlier this week at the New York Film Festival, works exactly for the reasons stated above. Mostly focusing on the decade between 1967 and 1977, a rich historical period marked by Saint Laurent’s most excessive designs and breathless atelier-to-disco lifestyle, the film is not bound to the rigidness of fact. “The point of research is to get ride of it,” the director said during a post-screening press conference, adding that he wanted his portrait of Saint Laurent to have a “point-of-view.” The film adheres to that dictum through its concentration on mood and process. No artist lives in a bubble, and some of the best moments in Bonello’s film are the scenes of creation. Yves Saint Laurent (Gaspard Ulliel) has a team around him, including his close confidents Betty Catroux (Aymeline Valade) and Loulou de la Falaise (Léa Seydoux), his life-and-business partner Pierre Bergé (Jérémie Renier), and a barrage of seamstresses who help construct his elaborate designs. We see not just the moment of creation but the work that goes into manufacturing beauty. The clothes, also, do not exist outside of time. They are the product of a unique period, and so much of “Saint Laurent” is about evoking the imbalanced ambience of that decade, sandwiched between the political turmoil of the 1960s and the go-go money-hungry greed of the 1980s. The clothes mirror the freedom in the air, beautifully represented by Bonello in a split-screen sequence that features newsreel footage smashed against models showcasing the designer’s clothes while descending down a long stairway. But like Bonello’s previous, Belle Epoque-set film “House of Pleasures,” there is a creeping feeling of a world fading away, and as the narrative progresses the portrait of Saint Laurent dissolves into something not unlike Proustian memory (the writer is a common reference point throughout the film), where the past unconsciously crashes with the present.  Visually, the film revels in the luxuriousness of Saint Laurent’s world, with a deeply rich color scheme (like the dark reds that adorn his home, which signal pleasure and danger) and subjective camera work that veers from reality to fantasy, especially in two club scenes: the first, our introduction to Catroux, focuses on Saint Laurent watching her on the dance floor, the camera slowly framing her from below as the sparkling rainbow lights flicker above; the second, our introduction to Saint Laurent’s brief lover Jacques de Bascher (Louis Garrel), a series of glances back and forth between the two captured by a camera that tracks quickly through the crowd. The sense of finality is cemented late in the film with a jump to 1989, when Saint Laurent (now played by the veteran actor Helmut Berger) is living alone, a ghost surveying his own past. His home, once lavishly decorated, is now like a crypt, and the lyrics to “The Night” by Frankie Valli and the Four Seasons, which soundtracked an earlier decadent part of the film, carries more weight. “As the night begins to turn your head around, you know you’re gonna lose more than you found.”  Published: October 2, 2014 Read full article here

Slideshow: "Puddle, Pothole, Portal" at SculptureCenter
Language English Featured: 0Order: 0Author(s): Regina MogilevskayaSub-Channels: GalleriesShort Title : "Puddle, Pothole, Portal" at SculptureCenter Read full article here

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