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Week in Review: From Banksy Film to Polke Show, Our Top Stories
Week in Review: From Banksy Film to Polke Show, Our Top Stories— Julia Wachtel discussed her appropriation of pop figures, from Miley Cyrus to Kanye West. — Craig Hubert tried his very hardest to take Banksy seriously (because apparently we art press folks just don’t do that enough) in discussing the new HBO documentary “Banksy Does New York.” — Sarah P. Hanson spoke with Boston-based philanthropist and art collector Barbara Lee about her unflagging support of women artists. — The Park Avenue Armory announced its 2015 season, including a massive installation by Philippe Parreno, a collaboration with Marina Abramovic, and new work by Laurie Anderson. — Martin Gayford reflected on his 2003 interview with the late Sigmar Polke in light of the new Polke retrospective at the Tate Modern. — Kathryn Bigelow, Oscar-winning director of “The Hurt Locker,” has one of her early experimental films on view at MoMA. — Scott Indrisek checked out Mohammed Kazem’s New York debut at Taymour Grahne Gallery. — Anna Kats highlighted some top works from the Salon of Art + Design. — Thea Ballard swung by Surrealist-inflected painter Ahmed Alsoudani’s studio as he prepped for his current show at Gladstone Gallery. — The Museum of Art and Design opened “New Territories,” its exhibition of Latin American design — which, though admirable in its scope, might retain some traces of neocolonialism. — Patrick Pacheco relayed the heartwarming tribute to Broadway broad Elaine Strich given during a special event at the St. James Theatre. Published: November 21, 2014 Read full article here

American Art Market Flexes Its Muscles In New York
NEW YORK — Sotheby’s made auction history during its American art sale on Thursday morning, when Georgia O’Keeffe’s “Jimson Weed/White Flower No. 1,” 1932, soared to $44,405,000 (est. $10-15 million) to a bidder on the phone with North and South Americas chair Lisa Dennison. It was a new record for O’Keeffe, whose previous high, set in 2001 at Christie’s, was $5.6 million at the hammer, and a record price for a work by any woman artist. It was not the first American art lot to cross the many-millions threshold recently reserved for contemporary lots by the likes of Lichtenstein or Warhol — Norman Rockwell’s “Saying Grace,” 1951, fetched $46,085,000 at Sotheby’s last year — but the only one to do so in the series of American art sales this week. Still, specialists were optimistic about the overall state of the American art market (which generally ranges from colonial up to World War II era-work), noting strong demand for illustration art in general and for Stieglitz Circle modernists. The O’Keeffe contributed mightily to Sotheby’s $75,395,499 total on a tight sale of 70 pieces, and the artist’s landscape “On the Old Santa Fe Road,” 1930-31 (est. $2–3 million), came in second at $5,093,000, sold to a different phone bidder. Of the top lot, Santa Fe dealer Nathaniel Owings commented, “It’s iconic, but pound for pound, ‘Santa Fe Road’ is the better painting.” Private collectors were active and helped drive the top 10 lots to more than $1 million apiece. One denim-clad buyer in the room snatched up O’Keeffe’s oil on board “Untitled (Skunk Cabbage),” 1927 (est. $500-750,000) — another of the works consigned, with the record-setter, by the O’Keeffe Museum in Santa Fe — for $941,000, Martin Johnson Heade’s “Still Life with Flowers: Red Roses,” ca. 1883-1900 (est. $60–80,000), for $149,000, and a Grandma Moses for $106,250. Notably, Milton Avery — who had a rough time the rest of the week with several buy-ins on subpar paintings — found a new fan in an Asian private collector, who purchased his “Double Wave,” 1955, for $ 1,565,000, just meeting the $1.5 million-to-$2 million estimate. On November 19 at Christie’s, the bloated 157-lot sale raked in $46,543,250 but tried the patience of all but the most dedicated observers. The large crowd, mostly dealers and advisers with a smattering of collectors, seemed mostly content to spectate, and the auctioneer’s stately pace failed to wring many extra dollars. Top-lot honors went to Rockwell, for his Willie Gillis painting “Hometown News,” 1942 (est. $2–3 million), which sold to a private collector on the phone for $4,197,000. A bidding war erupted over the cover lot, Oscar Bluemner’s “Jersey Silkmills,” painted in 1911 and then reworked in 1916-17 (est. $2.5-3.5 million). Adviser Nan Chisholm prevailed over adviser Baird Ryan at $3,749,000, on behalf of a Midwestern client, she said. (Two other Bluemners that department head Elizabeth Beaman said had presale interest were bought in, however.) The same client will also be receiving Daniel Garber’s landscape “Reflections,” 1940 (est. $300-500,000), for $365,000, part of a run on Pennsylvania Impressionists in recent months. Ryan didn’t go home empty handed, however, snapping up O’Keeffe’s “Hills and Mesa to the West,” 1945 (est. $2.5–3.5 million), for $3,749,000, and Walter Ufer’s “Trailing Homeward,” 1924 (est. $400–600,000), for $869,000, for his client. A 1946 O’Keeffe abstract sculpture in white-lacquered bronze (est. $600-800,000) set a record of $1,061,000 for the artist in that medium. A distinguished gent who identified himself as a Puerto Rican collector came prepared to spend, snapping up an early Rockwell grisaille (“Max simply walked up that pier, pulling that fish through the water by main force,” 1917) for a mid-estimate $269,000; Boris Lovet-Lorski’s polished brass sculpture “Stallions,” ca. 1929-31, for $100,000; Mary Cassatt’s “Mother Combing Sara’s Hair (No. 1),” 1901 (est. $400–600,000), for $389,000; and Jane Peterson’s “An Old Pier, Gloucester,” ca. 1919 (est. $120–180,000), for $233,000. Sales at Heritage and Bonhams this week netted $6.5 million and $4.6 million, respectively. At Bonhams on November 19, George Bellows’s “Two Women,” 1924, one his last figural works before he switched to abstraction, fetched $1,265,000, while Childe Hassam’s Impressionist canvas “Lady in a Garden,” ca. 1890, attained $905,000, speaking to the breadth of interest in all sectors of the American market.  American Art Market Flexes Its Muscles In New YorkSelect Photo Gallery: Slideshow: Christie's and Sotheby's New York American Art SalePublished: November 21, 2014 Read full article here

Familiar Yet Unknown: Andy Stott Talks “Faith in Strangers”
Familiar Yet Unknown: Andy Stott Talks “Faith in Strangers”When I got on the phone recently with the musician Andy Stott from his home in Manchester, England, he was having a little trouble. “Sorry, the dog’s going bananas,” he told me, as the canine yelped in the background. He was home after a brief United States tour with friends and label mates Demdike Stare, where he was able to test some of the material from his new album, “Faith in Strangers,” which comes out November 18 on Modern Love Records.   “The record was announced when I was on the road, and there was a good buzz about it,” he said. “The live show is a total afterthought when I’m making the album,” he claimed, so he has no idea how the songs will translate to an audience of bobbing heads. During our conversation, he told me that he’s currently building a live set for some upcoming festival shows in Mexico City, where he was travelling to the following morning.   Aside from the jet setting, “Faith in Strangers” marks a notable shift in Stott’s career. Because of the success of his previous album, “Luxury Problems,” he was able to quit his day job and focus on music full time. The new album was recorded in his converted-basement studio, and it was initially difficult to adjust to the new freedom. “It took me a while to realize that all of a sudden I was just home with nowhere to go,” he said, laughing. “I couldn’t get used to it. But as soon as I realized that this is what I’m going to be doing with the rest of my time, I just had to sit down and really figure out what I wanted to do musically.” But when I asked if the new freedoms affected the sound of the album, he was reluctant to make the connection. “I think even if I had all the time earlier, the material would have been the same,” he said. “It’s been a natural, different evolution.” With “Faith in Strangers,” that evolution results in a continuation and solidification of the sound he’s been pursuing over a number of releases. On “Luxury Problems” he added vocals to his blend of damp, reverberating beats and icy, distorted synths via Allison Skidmore, his former piano teacher. She returns here, her voice more organically intertwined with the music, flowing through the cavernous spaces like a breath exhaled in the freezing cold. The processes of creating the sounds on the album, which are sinister and ethereal in equal measure and sound unlike anything else, required a lot of patience, according to Stott. “There’s been days when literally all day I’ve been sitting in the studio and just get one sound,” he said. “But it’s not enough. It’s how two sounds interact with each other. Once you have two sounds that bounce off one another, you’re off.” While I suggested that “Faith in Strangers” is less aggressive than his previous work, which could often feel like you were being pounded over the head with sound, he countered that what I’m responding to is the use of space in the songs, a process he was more conscious of during the recording. He was influenced by the “eskibeat” tracks produced by the enigmatic British electronic musician Zomby, which he first heard during a regular hangout with musician friends, where they play each other’s music and exchange ideas. “I started thinking, how could you get a track that has maybe four elements, but with so much space in it and really beautifully done, yet has this aggressive undertone?” he said. “It wasn’t about the sound but the presentation of it.” We ended our conversation talking about a different kind of presentation: the artwork. Modern Love is known for its distinctive cover designs, which feature striking black and white photographs that capture the moods of the music through juxtaposition. Together, the covers form a definitive aesthetic, and “Faith in Strangers” features one of the most disquieting examples — a stone sculpture of a mask, on display in front of a window. “When you first look at it, there’s something really odd about it,” Stott said. “The setting is familiar but there’s something really wrong about the image at the same time.” Before I had the chance to mention the obvious connection, he did it for me. “That’s what the music says to me. There’s something really familiar but there’s something really bent about it.” Published: November 21, 2014 Read full article here

Sotheby's CEO Steps Down, ArtPrize Heads to Dallas, and More
Sotheby's CEO Steps Down, ArtPrize Heads to Dallas, and More— Sotheby’s CEO Steps Down: William Ruprecht will leave his post at Sotheby’s after 14 years as CEO and 34 years with the company. Though the press release issued by Sotheby’s speaks of calm transition and mutual agreement, other sources report a fraught power struggle between Ruprecht and recently added board member Dan Loeb, who spoke out 13 months ago against Ruprecht’s leadership, calling the company “an old master painting in desperate need of restoration.” Apparently, since the decision was announced, Sotheby’s shares have already risen. [WSJ, NYT, FT] — ArtPrize Heads to Dallas: After establishing itself as the country’s largest art award, with more than $500,000 distributed to artists and 400,000 visitors this past year, ArtPrize has announced its first expansion from Grand Rapids, Michigan, with a new edition planned for April 2016 in Dallas, Texas. The 19-day event will focus on artists from the southwest, giving a boost to local talent — not to mention that the 2014 ArtPrize generated a reported $22.2 million in economic impact for its host city. [ARTnews, NYO] — Colonial Williamsburg Seeks $600 Million: Launched privately in 2009, the ambitious capital campaign is already halfway to its goal with over $300 million, and as of this Saturday, the effort is going public. The money raised will go in part toward expanding the Art Museums of Colonial Williamsburg — including the Abby Aldrich Rockefeller Folk Art Museum and the DeWitt Wallace Decorative Arts Museum — adding 8,000 square feet of new gallery space at a cost of around $40 million. Other funds will bolster programming at the history museum and restore local historic sites. [NYT, WP] — Did Shell Steal an Artist’s Idea? Kurt Perschke, whose “RedBall” project consists of placing large red spheres in cities worldwide, claims a Shell ad featuring a similar image ripped him off: “Even though it might seem that a ball would be a ball would be ball, [my] red ball is specific in the way it is constructed and built and these graphics that they have created are spot on.” [Guardian] — A New Space for Artists of Color: “Generally, when you see minority representation of artists, they’re in shows all together, and those shows seem to be about their identity, specifically. So we want to get away from that. Even though we are showcasing artists of color, we want the subject matter to expand beyond just our reflection of how we are perceived in society,” said filmmaker Dawne Langford of Quota, his new pop-up gallery in Washington, DC. [WP] — Classic Images Recreated: IKEA unveiled a series of Edward Hopper tributes featuring its furniture, while the Tate Gallery partnered with cube-based computer game Minecraft to create interactive 3D renditions of its works. [Independent, BBC] — The Los Angeles Museum of Contemporary Art and the new Institute of Contemporary Art, Miami (now officially split from North Miami’s Museum of Contemporary Art) announced their 2015–16 programming. [LAT, ARTnews] — Canadian artist William Kurelek once traded a painting for an apple strudel — and now, that painting is poised to sell for $15,000-20,000 at auction. [Globe and Mail] — Petzel Gallery signed Adam McEwen, while Lisson Gallery took on Adam Broomberg and Oliver Chanarin. [ARTnews, ARTnews] ALSO ON ARTINFO $44m Georgia O’Keeffe Painting Shatters Records at Sotheby’s Studio Tracks: Sean Landers’s Refreshingly Unironic Playlist “The Death of a Director”: An Appreciation of Mike Nichols Sullen Teenage Iranian Vampire: “A Girl Walks Home Alone at Night” Check our blog IN THE AIR for breaking news throughout the day. Published: November 21, 2014 Read full article here

Nina Beier at David Roberts Art Foundation
Artist: Nina Beier Venue: David Roberts Art Foundation, London Date: September 12 – December 13, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of David Roberts Art Foundation, London Press Release: This solo exhibition by Nina Beier presents recent and new sculptures including a major spatial […]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

Language Undefined Location Website: Don't displayUse alternative description in place of "Hours" (Edit text below): Directions: Address: Neighborhood: ChelseaLocation Phone: +81357778600:primaryAdmissions: Collections: Has Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: <p>Wednesday to Monday 10AM to 10PM</p><p>Tuesday 10AM to 5PM&#160;</p>location fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Studio Tracks: Sean Landers's Refreshingly Unironic Playlist
Studio Tracks: Sean Landers's Refreshingly Unironic Playlist“I generally want to paint cute animals, I guess,” Sean Landers told me a few months back, preparing for his exhibition on view at Petzel Gallery in New York through December 20, which features depictions of various mammals with tartan-patterned fur. “This helps me be able to do it. It’s just weird enough to get me a little purchase on this tenuous slope.” Here, he shares with ARTINFO nine songs that inspire him. “The Old Man’s Back Again,” Scott Walker “Who knows what Scott meant by this song — something about a neo-Stalinist regime? Anyway, I wanted to begin with Scott because he taught me an essential lesson about making art. It is that irony is the gateway drug to sincerity and that sincerity is the key to making lasting art. So sing it people, sing it loud and mean it; if you hold back even a little bit we will be able to tell. I chose this track in particular for the title words — they are my truth right now. Supposedly I am back. Of course, I never went anywhere but in the art world it can sometimes feel like you are out — or in. Here today, gone tomorrow — we are all ephemeral, right? I guess that Hollywood adage is true for the art world as well: “You’re only as good as your last picture.” “How Can You Mend A Broken Heart,” The Bee Gees “In this song the Bee Gees ask us two important questions: How can you mend a broken heart? And, how can a loser ever win? The answers are simple. Make art, lots and lots of art. Broken hearts are the biggest reason we have art of all forms. Thank you, heartache, you bring the best out of us all. And I don’t care how big of a loser you are, if you make beautiful art, you win. Thank you, Bee Gees, you are friggin’ awesome. Try not to make art when listening to the early Bee Gees. It’s impossible.” “A Man Alone,” Frank Sinatra “A man alone huh? OK Frank, I’ll see you one man alone and I will raise you one clown alone — at sea for life — in rough weather! Do you feel me now, Frank?” “Some Velvet Morning,” Nancy Sinatra and Lee Hazlewood “Some velvet morning when I’m straight I’m going to open up your gate... I guess there’s a not-so-hidden meaning there about morning sex? Nancy and Lee were being fairly clear with this half of the song, but then there is the Phaedra part, which is totally mystifying. First let me say that clarity is very important in art making. We artists too often assume that people know what our art is about. Here’s a tip: They don’t. So try to make it clear. Mystery is also important, but it has to be mystery that connotes that you are educated and super smart. There is no better way to do this than to evoke Greek myths. Almost nobody knows the myths anymore so when you go Greek, you score points. Super weird and cool song though.” “The Partisan,” Leonard Cohen “It’s the title of the album that this track is on (“Songs From a Room”) that gets me, being a studio artist working alone in a room for over 30 years now. Essentially, we artists go into a room everyday, think things up, make them, and then bring them out to show people. And more generally, aren’t we all authors of songs from our cranial rooms? — Too far?” “Comment Te Dire Adieu (It Hurts To Say Goodbye),” Francoise Hardy “Because an artist needs to fall in love a little bit each day with something and/or someone beautiful. Francoise Hardy is as beautiful in appearance as she is sonically. I include her here to illustrate that not insignificant point and because I’m trying to build up a French language pattern at the end of this list… (see the following track.)” “American Tune (Live From Central Park, 1981), Simon and Garfunkel “OK, now for a bit of deep sincerity. I remember traveling to New York City in 1981 from Philadelphia where I was in art school to see Simon and Garfunkel, live in Central Park. Art Garfunkel led in singing ‘American Tune’ that night and the crowd fell hushed into a solemn silence. It was tremendously moving. I was only 18 years old but it was then and there that I realized that New York City would be my home someday. I saw this quintessential New York act on stage surrounded by thousands and thousands of approving New Yorkers and I didn’t know what would come of me when I moved here. I was just a young art student embarking on a life of uncertainty with the slimmest of hopes that my talent would prove me worthy here in this enormous city. But here were these two beautiful New York men singing and moving me. It was not lost on me that they were 18 years old once and wanted to be artists then too. I took courage from them in that brief but sustaining moment. I think I might even have cried a little, but just a little bit, and they were pretty cool looking tears if I remember correctly.” “Please, Please, Please, Let Me Get What I Want This Time,” The Smiths “What artist doesn’t feel this way, Morrissey? We all feel just like you do — all the fucking time! Especially in this damn song. Why do you nail it so hard and so often? And this track, it is so beautiful and brief that you leave us wanting mo……” Published: November 21, 2014 Read full article here

Bonhams Modern and Contemporary November Asian Art Sale in Hong Kong
Language English Featured: 0Order: 0Tags: Robert Michael PooleBonhamsHong KongPopular Cities: Hong KongAuthor(s): Robert Michael PooleSub-Channels: AuctionsShort Title : Bonhams November Asian Art Sale in Hong Kong Read full article here

Nam June Paik: Becoming Robot / Asia Society Museum, New York
The Asia Society Museum in New York currently presents the first major institutional exhibition of Koren American video artist Nam ... Read full article here

The Whitney Hosts Final Gala at the Breuer Building
On Wednesday night, the Whitney Museum hosted its annual Gala and Studio Party, marking its final event at the iconic Breuer Building before relocating downtown to its new home at 99 Gansevoort Street — which, as announced during the proceedings by Whitney director Adam D. Weinberg, will open officially on May 1, 2015. Accordingly, this edition of the gala honored all 98 living artists who had ever had a solo exhibition in the museum’s Upper East Side space, from Kenneth Anger to Yayoi Kusama. Artists in attendance included Jeff Koons, Kara Walker, Chuck Close, Cindy Sherman, Jenny Holzer, Josephine Meckseper, Korakrit Arunanondchai, and Dustin Yellin, among dozens of others — plus, Elvis Costello appeared for a special surprise performance. After the dinner, guests flocked upstairs for the Studio Party, where DJ Zen Freeman spun some lightly remixed classic tracks — see: Bowie, Blondie, Roxy Music, et al. Those not quite keen on dancing could admire the trompe-l’oeil wall-sized projections of the view from the new location or the topical furnishings made from of moving crates — one such angular plywood-style shack offered a selection of whimsical desserts (e.g., Whitney-shaped chocolates). And for those in need of some interactive entertainment, artist Will Pappenheimer created a smartphone app — or “designer drug” — specifically for the occasion. Titled “Proxy, 5-WM2A,” it’s a program that, when activated by scanning a QR code, filled one’s screen with disco-style dots and Technicolor lines, and even a floating 3-D Whitney icon. Overall, the event, which was co-sponsored by Louis Vuitton, raked in over $4.3 million to help fund the museum’s next steps. The Whitney Hosts Final Gala at the Breuer BuildingSelect Photo Gallery: Whitney Gala & Studio Party Presented by Louis VuittonPublished: November 20, 2014 Read full article here

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