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Week in Review: From Nashville Art to Warsaw Design, Our Top Stories
Week in Review: From Nashville Art to Warsaw Design, Our Top Stories— Judd Tully brought us more frontline news from the second week of New York’s fall auctions, including two high-earning Warhols at Christie’s, Jasper Johns’s record-setting “Flag” and Bunny Mellon’s expectation-shattering collection at Sotheby’s, and a subdued sale at Phillips. — Scott Indrisek selected this week’s five must-see gallery shows, including Gabriele Beveridge at Elizabeth Dee and Christopher Williams at David Zwirner Gallery. — Susan Sherrick explained her decision to launch the new Nashville gallery Sherrick & Paul — and clued us in on the city’s art scene. — Matthew Morrison, of “Glee” fame, joined the cast of “Finding Neverland” on Broadway. — In anticipation of Miami’s fast-approaching fair week, Art Basel in Miami Beach revealed its extensive film program lineup, including an advance screening of Tim Burton’s “Big Eyes,” and NADA Miami Beach announced an exclusive web preview on Artsy, starting on November 25. — Craig Hubert and Regina Mogilevskaya highlighted 10 films not to miss at the Doc NYC documentary film festival. — Daria Irincheeva told us why she chose science-inspired art over astrophysics. — Maria Jeglinska gave us the lowdown on the Polish design community. — Scott Reeder delved into the galactic aesthetic of his art house sci-fi film “Moon Dust.” — Anna Kats looked into the restoration of the UN’s Security Council Chamber. — Sven Sachsalber decided to spend two days in the Palais de Tokyo looking for a needle in a haystack — literally.   Published: November 14, 2014 Read full article here

Hero or Villain: “Banksy Does New York”
Hero or Villain: “Banksy Does New York”This is my attempt to take Banksy seriously. According to “Banksy Does New York,” a new documentary about the mysterious street artist that screens as part of the DOC NYC Festival on November 14 and premieres on HBO two days later, I have not done that in the past. The use of “I” here is more general than personal. More specifically, the film makes the claim that the media that covers visual art (of which ARTINFO is undoubtedly a part) failed to acknowledge the importance of the hooded trickster’s New York City residency in October 2013, when he produced a new work every day for one month and revealed the contents on a special website. What was not disclosed was where the work was located. This sent people scurrying like sewer rats to the far reaches of the five boroughs, equipped with flashing camera phones for maximum efficiency in social media upload-ability. Filmmaker Chris Moukarbel focuses on these self-dubbed “Banksy Hunters,” who spent the entire month excitedly parsing through clues on Twitter and rushing to the next spot Banksy defaced, whether it be an underpass in the heart of the commercial art world in Chelsea or a street corner in East New York. Banksy’s supporters see the democratization of his residency, using the street as his canvas and delivering his work straight to fans through non-traditional methods, as a middle finger to the art world. In the process, the film puts him on a pedestal as a populist hero — bringing art back to the people and subverting the networks of the art world that validate work based on capital. But this notion is based on a few misconceptions. The first is that Banksy exists as an autonomous artist outside the art world he critiques. Through his embrace and then shunning of commercial dealers, he pretty much created a market for modern street art that wasn’t there before. The creation of the Banksy brand through a process of hype and exclusivity is not dissimilar to the world he rejects, and some would say has even added to the appeal of his work being removed from walls and sold without his permission. One feeds into the other. The film has no answer for this because it’s not interested in engaging with the hypocrisy of Banksy’s continued project of straddling the line between the inherent illegality of being a street artist and the fame of being a commercial artist. It presents Banksy’s supposed subversions of the market — selling real prints at a table off Central Park for $60 apiece without telling anybody, in one instance — as examples of the artist sticking it to the man. What it really shows is white dudes buying what they think is cool street art to decorate their overpriced condos. Once they realize the piece of art they bought for cheap on the street is worth a ton of money, they transfer the work back into the networks of capital that flow through the art world and add an addition on to said condo. What the film would rather do is blame not just the gallerists and collectors who taint art with money, but the critics as well, who are pretentious and work as a comedically snooty opponent for the narrative the film wants to build. The problem is that the criticism is annoyingly vague. (Not to put to much emphasis on it, but we covered Banksy’s residency in New York extensively.) And if Banksy is all about rejecting the traditional art world, why does validation from the art press even matter? What “Banksy Does New York” doesn’t want to admit is that Banksy is taken seriously, and taken seriously to task for the contradictions in his work. His politics are convoluted at best and banal at worst and his work formally uninteresting. Even graffiti community purists don’t accept them, and their “spot jocking” (one artist tagging over another’s work) is displayed in the film as the work of jealous competitors. But as long as we keep creating a false image of the artist as a prophet, critique will never be accepted. Banksy will always be a folk hero and we’ll be the fools.  Published: November 14, 2014 Read full article here

Miami Beach
Language Undefined Location Website: Art Basel Miami BeachLocation Email: press@artbasel.comLast name: xEmail: press@artbasel.comPhone: +41 58 206 31 32Salutation: Ms.Display: Don't displayUse alternative description in place of "Hours" (Edit text below): Address: Javascript is required to view this map.Neighborhood: FiftiesMonday - Close: 12:00amTuesday - Open: 12:00amTuesday - Close: 12:00amWednesday - Open: 12:00amWednesday - Close: 12:00amThursday - Open: 12:00amThursday - Close: 12:00amFriday - Open: 12:00amFriday - Close: 12:00amLocation Phone: 3474680755Saturday - Open: 12:00amSaturday - Close: 12:00amSunday - Open: 12:00amSunday - Close: 12:00amMonday - Open: 12:00amHas Cafe: Has Store: Has Film: Is Free Listing: Opening Hours Alternative Text: location fax: Guide Landing page: Region on the Guide Landing page: None Read full article here

Highlights from Pierre Cardin's “Past-Present-Future” Retrospective
Language English Featured: 0Order: 0Author(s): Michelle TaySub-Channels: ExhibitionsShort Title : Inside Pierre Cardin's Retrospective Read full article here

Smithsonian Plans Revamp, New Museum Triennial Announced, and More
Smithsonian Plans Revamp, New Museum Triennial Announced, and More— Smithsonian Plans Revamp: A $2 billion plan to renovate the Smithsonian proposes new entrances to the museum’s Castle structure, as well as connections between underground galleries. Designed by Danish architect Bjarke Ingels, this undertaking would be the largest project on the Mall in over a century. Meanwhile, Ingels has also been called upon to design a front door for the Frank Gehry-designed Battersea Power Station complex. [WP, Guardian] — New Museum Triennial Announced: Plans for the 2015 New Museum Triennial, curated by artist Ryan Trecartin and the New Museum’s Lauren Cornell, have been released. The roster features 51 artists, including New York-based collective DIS, curators of the next Berlin Biennial. Titled “Surround Audience” — a phrase coined by Trecartin to evoke what Cornell calls “a contemporary condition wherein we are encircled by a ‘smarter’ and more participatory world” — the triennial will open on February 25. [ARTnews, NYT, Art in America] — Met Reveals Whitney Takeover Show: In her column today, Carol Vogel reveals the name of the inaugural show the Met will hold in the soon-to-be vacated Whitney building: “Unfinished,” an exhibition that will “explore the fascination with unfinished works of art in all media and across time,” set to go up on March 7, 2016. In other news, Vogel touches on the philanthropy of software entrepreneur Peter Norton, who begins his proposed five-museum donating spree with a 75-work gift to the Frances Young Tang Teaching Museum and Art Gallery at Skidmore College. [NYT] — New York Fall Auctions Wrap-Up: As the dust clears after two weeks of banner news from Sotheby’s and Christie’s, it appears that New York’s fall auctions have amassed a grand total of approximately $2.3 billion. [Bloomberg] — Miami Museum Dispute Settled: Former trustees of Miami’s Museum of Contemporary Art have reached an accord with the city of North Miami regarding their decision to split and form the Institute of Contemporary Art in Miami’s Design District. The new institute will open with two shows in December. [Miami Herald, NYT] — Olafur Eliasson Lives on the Edge: “You sit down with Olafur for a meal and he picks up the fork and stares at it for a moment and you think, ‘Oh my god, he’s either inventing a new fork or wondering how to get forks to people who don’t have forks.’ … Somehow he lives his entire life with the urgency of someone who just walked out of the doctor’s office with a dire prognosis,” wrote Jonathan Safran Foer in a profile of Elaisson. [NYT] — In case you needed a reason to bang your head against a wall today, Kim Kardashian is coming out with an art book of selfies titled “Selfish.” [Guardian] — Chicago advocacy group Friends of the Park are suing George Lucas’s Museum of Narrative Art in an attempt to block its construction. [Chicago Sun Times, WP] — A project supported by Save The Children in Lebanon teaches animation to young Syrian refugees. [BBC] ALSO ON ARTINFO Phillips Closes New York Auction Week on a Subdued Note Billy Wilder and the Suspension of Disbelief in “Billy and Ray” At 62, the Security Council Chamber Gets a Facelift Marlborough Chelsea Signs Keith Mayerson and Michel Auder Check our blog IN THE AIR for breaking news throughout the day. Published: November 14, 2014 Read full article here

Amanda Ross-Ho at The Approach
Artist: Amanda Ross-Ho Venue: The Approach, London Exhibition Title: WHO BURIES WHO Date: October 15 – November 23, 2014 Click here to view slideshow Full gallery of images, press release and link available after the jump. Images: Images courtesy of The Approach, London Press Release: WHO BURIES WHO is a new installation by Amanda Ross-Ho that demonstrates her […]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

Phillips Closes New York Auction Week on a Subdued Note
The $1.36 billion auction week of postwar and contemporary evening sales in New York had its low-key finale at Phillips on Thursday, turning in a solid though hardly exceptional $51,964,750. The decent tally fell close to midway between pre-sale expectations of $45,760,000-67,790,000 million, though estimates do not include the buyer’s premium pegged at 25 percent up to an including $100,000, 20 percent up to and including $2 million, and 12 percent for anything above that. Eight of the 47 lots offered failed to sell for a workmanlike 17 percent buy-in rate by lot. Fifteen of the 39 works that sold made over a million dollars and of those, one made over five million dollars. Better still, three artist records were established. Tonight’s results, however, trailed last November’s $68,15,750 tally for the 35 lots sold. Like its much larger rivals Christie’s and Sotheby’s, Phillips financially guaranteed 14 lots, in direct third party deals, according to the auction house. “Our sale,” said Edward Dolman, the newly installed CEO of Phillips, “had less of a percentage of guarantees than the other houses. We took a more cautious strategy this sale.” The evening got off to a fast start with (lot 1) Norwegian artist Fredrik Vaerslev’s “Untitled (Canopy)” painting from 2012, big enough to keep you in the shade at 91 ½ by 72 ¼ inches, going for a record $317,000 (est. $150-250,000). R.H. Quaytman’s (lot 2) atmospheric and eerily lit “Chapter 12: Lamb (An American Place)” from 2012, executed in oil, silkscreen, and gesso on wood, brought $245,000 (est. $100-150,000). Danh Voh’s guaranteed sculpture, (lot 3) “We the People (detail)” from 2011, part of the artist’s massively ambitious Statue of Liberty project consisting of 400 fabricated copper pieces as a reprise of the fabled American landmark, and comprised in this case of six copper parts, made a record $629,000, selling to New York private dealer Phillip Segalot (est. $300-500,000). Utilizing another famous brand name, (lot 4) Ai Weiwei’s “Coca Cola Vase” from 2011, comprised of a Neolithic era ceramic vessel with the trademarked Coca-Cola name spanning the breadth of the pot in perfect script, sold to a telephone bidder for $665,000 (est. $400-600,000). On a larger scale, (lot 5) art market darling Alex Israel’s arch shaped architectural abstraction, “Untitled (Flat)” from 2012, fabricated in acrylic on stucco, wood and aluminum frame, complete with the stamp “MADE AT WARNER BROS. STUDIOS BURBANK CA,” sold to another telephone for $341,000 (est. $300-500,000). Opposite of a readymade, (lot 7) Tauba Auerbach’s “Untitled (Fold)” from 2010, an intricately creased canvas painted in trompe-l’oeil style, sold to a telephone bidder for a record $2,285,000  (est. $1.5-2 million). New York dealer Andrew Fabricant of Richard Gray Gallery was the underbidder. It also carried a third-party guarantee. It vanquished the record set at Phillips London in October when “Untitled (Fold),” another work from the series, but larger at 80 by 60 inches, made £1,142,500/$1,823,041. Another Auerbach abstraction, (lot 16) “Ray I” from 2012, in woven canvas on a wooden stretcher, creating rhythmic patterns across the surface, sold for $545,000 (est. $400-600,000). It was exhibited at the artist’s solo exhibition at the Paula Cooper Gallery in New York in 2012, when her primary market prices were in the $40-60,000 range. Nate Lowman’s (lot 15) explosive, bullet holed shaped canvas, “Pink Escalade” from 2005, in silkscreen ink on canvas laid on panel, sold to New York dealer David Mugrabi for $545,000 (est. $500-700,000). It last sold at Sotheby’s London in February 2010 for £51,650/$80,614 and more recently was exhibited in “Nate Lowman: I WANTED TO BE AN ARTIST BUT ALL I GOT WAS THIS LOUSY CAREER,” at the Brant Foundation in Greenwich, Connecticut. One might hazard a wild guess as to the identity of the seller. Wade Guyton’s (lot 8) printed flame on canvas, “Untitled” from 2006 and standing at 90 by 53 inches, sold to a telephone bidder for $4,645,000 (est. $4-6 million). It was also backed by a third party guarantee. Looking back, Phillips debuted Guyton in its November 2008 evening sale when a similarly scaled untitled work generated from an Epson Ultra Chrome Inkjet on linen from 2007 sold for $134,500. Some might say (about that market) that auction moment dated from the good old days. Other highlights from top-tier, mid-career artists included Julia Mehretu’s densely mapped ”Stadia Excerpt (a small resurgence)” from 2004, in ink and acrylic on canvas, sold for $1,205,000 (est. $1-1.5 million). Late, as in deceased, superstars were also present, as evidenced by Martin Kipppenberger’s (lot 10) wildly colored “”Untitled” landscape with modern architecture composition from 1984, that sold to Zurich dealer Doris Ammann for $2,345,000 (est. $1.5-2.5 million). According to auction catalogue notes, the chunky structure was modeled after the Betty Ford Clinic, a posh rehab hideaway for drug addicts in Rancho Mirage, California. “Now I have it back,” said Ammann as she exited the 57th Street salesroom, explaining she formerly owned it, and referring to the clinic, “not that I have to go there.” It as well carried a third party guarantee. Though a solid price for an always unusual Kippenberger, it came nowhere near the stratospheric and record $22,565,000 garnered for “Untitled,” the artist’s rather comical self-portrait in underpants from 1988 that sold at Christie’s Wednesday evening. Back to the living, Richard Prince’s (lot 11) cigarette smoking, lariat twirling cowboy, “Untitled (Cowboy)” from 1998-99 and scaled at 59 ½ by 83 ½ inches and hailing from an Ektacolor photograph edition of two plus one artist proof, realized $1,805,000 (est. $1-1.5 million). It last sold at Phillips de Pury & Company in November 2010, at a time before Russian-owned Mercury Group took 100 percent ownership and changed the name back to Phillips, for $902,500. It’s always nice to double your money. Another photograph, Andreas Gursky’s (lot 14) “James Bond Island I” from 2010, a grandly-scaled chromogenic print in artist’s frame at 111 by 88 inches, sold to another telephone bidder for $725,000 (est. $600-800,000.) Phillips seems to be driving towards more blue chip, postwar works, distancing itself a bit from its stellar reputation of showcasing up-and-coming art stars in the secondary market arena. In that richer vein, Frank Stella’s (lot 18) sharp and multi-colored “Concentric Square” from 1966 triggered a mayhem of bidding, rising to make $3,973,000 (est. $1.2-1.8 million) and Donald Judd’s (lot 19) divided single box, “Untitled (Bernstein) 81-4” from 1981, fabricated in copper and blue Plexiglas, sold for $1,445,000 (est. $1.2-1.8 million). Continuing its Minimalist cavalcade of museum proven stars, Robert Ryman’s (lot 20) 40 by 40 inch “Hour,” from 2001, sold on a single telephone bid for the top lot price of $5,205,000 (est. $5-7 million). It was Phillips’ priciest offering and came armed with a financial guarantee. On a larger scale, Willem de Kooning’s (lot 21) late and almost Minimal oil, “Untitled XVIII” from 1984, went for $4,869,000 (est. $4-6 million). It last sold at Phillips de Pury & Company in November 2011 for $3,442,500. In a more Ab-Ex era vein, Mark Rothko’s (lot 22) petite-scaled yet luminous oil on paper, mounted on Masonite, “Untitled” from 1959, sold to a telephone bidder for $4,085,00 (est. $3-5 million). Mnuchin Gallery was one of the underbidders in the salesroom. It too was guaranteed. Though not the real McCoy, (lot 38) but a masterfully executed copy, Elaine Sturtevant’s brilliantly mimed enamel on canvas, “Stella Tomlinson Court Park (First Version) (Study)” from 1990 drew a torrent of bidding before selling to an anonymous telephone for $557,000 (est. $100-150,000). On the scantly represented Pop Art front, (lot 31) Robert Indiana’s “Marilyn Marilyn II” from 1999, a diamond shaped canvas bearing the naked visage of the screen goddess, sold to Mathias Rastorfer of Zurich’s Galerie Gmurzynska for $485,000 (est. $400-600,000). Though usually frontloaded with younger artists craved by the market, Phillips placed some towards the end of the sale as evidenced by (lot 46) Christian Rosa’s “Run Run Hide Hide” from 2014, (yes, this year), in oil stick, oil paint, pencil, resin, and charcoal on canvas. It sold for $161,000 (est. $80-120,000). More familiar Young Turk habitués of the salesroom included (lot 45) David Ostrowski’s big and mostly vacant abstraction, “F (it’s not easy being a Supermodel)” from 2012, which realized $118,750 (est. $80-120,000) and Lucien Smith’s fire extinguisher applied “rain painting” in acrylic on unprimed canvas, titled “When a Man Loves a Woman” from 2012, which failed to sell at a chandelier bid $75,000 (est. $100-150,000). Smith was last season’s market darling. “Late Nite,” from 2012, (lot 41) a shaped raw canvas from lesser- known upstart Wyatt Kahn, sold to Montreal dealer Francois Odermatt for $185,000 (est. $100-150,0000). “I love his work,” said Odermatt as he headed for the exit. “It’s the eighth in my collection and only two have been bought at auction.” Asked about his impression of the week, Odermatt answered, “I think it was one of the best weeks for contemporary art at auction ever.” Phillips Closes New York Auction Week on a Subdued NoteSelect Photo Gallery: Phillips Contemporary Art Evening Sale — November 13, 2014Published: November 14, 2014 Read full article here

Saving the Watts Towers by Simon Rodia in Los Angeles
In spite of being one of the most unique works of art, the Watts Towers by Simon Rodia are on ... Read full article here

Christie’s HK Watch Auction on Nov 26
Language English Featured: 0Order: 0Author(s): Sonia Kolesnikov-JessopSub-Channels: AuctionsShort Title : Christie’s HK Watch Auction on Nov 26 Read full article here

At 62, the Security Council Chamber Gets a Facelift
When Le Corbusier, Oscar Niemeyer, and a coterie of fellow architecture and engineering luminaries designed the United Nations headquarters in 1948, its glass-and-marble tower and outlying structures were the image of forward-looking optimism about the possibilities of a functional forum for international diplomacy. Since opening in 1952, the U.N. has been witness to its fair share of long discussions, brokered deals, successes, and failures — all of which started to take a toll on the architecture’s good looks more than a decade ago. This year the United Nations’ buildings turned 62, and not unlike certain human contemporaries, the sexagenarian complex is having some work done. Those procedures include a thorough restoration of the Security Council Chamber, one of the plum projects recently completed under the U.N. Capital Master Plan, a $1.8 billion initiative to renovate and modernize the First Avenue headquarters. Lead by Assistant Secretary-General Michael Adlerstein, an architect who serves as executive director of the Capital Master Plan, the process of updating the Security Council Chamber’s interior architecture and furnishings lasted nearly six years. Adlerstein’s team of architects began by combing U.N. archives for documentation of the chamber’s original appearance, designed by Norwegian architect Arnstein Arneberg. The historically faithful restoration, completed ahead of this year’s General Assembly meeting in September, features reupholstered furnishings, diligently cleaned marble, and repainted surfaces, but little else by way of aesthetic intervention. “We couldn’t change very much,” explained Adlerstein as he surveyed the Security Council Chamber earlier this month. “This is a pretty conservative crowd.” Yet the chamber’s original interior design, like the U.N. architecture, was completed in the progressive modernist style of the early 1950s. The horseshoe-shaped desk, made of Norwegian white oak, stands at the front center of the room, where five permanent members (the United States, China, France, Russia, and Great Britain) and two rotating members (currently Lithuania and Jordan, each with two-year terms) convene daily. Arnstein designed the desk and nearly all the other furniture in the room: blue leather armchairs designated for ambassadors, armless blue leather chairs right behind them for the ambassadors’ assistants (four chairs to each ambassador), and red leather chairs for observers that flank the chamber’s wings and audience seating. Their geometric lines and functionalist lack of decorative flourishes date the chairs as distinctly mid-century and Scandinavian. While the continuing interest in Scandinavian design makes it wholly relevant and recognizable today, the furniture was left completely intact for decidedly more political reasons. “The Americans, and the Russians, the Chinese are all extremely nervous about Security Council reform,” Adlerstein said. “They think, ‘If you change this, where’s that going to lead us?’ There is a great deal of reluctance on the part of the five permanent members to change anything.” However, certain minor changes were permitted — cleaning, for example. Delegates were originally allowed to smoke in the chamber, and the cigarette residue settled above their desk on the “Phoenix Rising From the Ashes” painting, commissioned by Arneberg for the chamber from Norwegian painter Per Krohg to depict the transition from the chaos of war to peace. The painting was removed and cleaned to expose its original details, as were marble surfaces around the room. A straw-covered wall at the far back end of the Security Council Chamber lost its original appearance long ago — visitors leaning against the wall destroyed the material’s vertical grain, which was replaced with an altogether different material. The Capital Master Plan’s architects spent hours looking for 1950s photographs of the chamber, and discovered the wall’s original surface texture by sheer chance. Given their mandate to restore the room to its 1952 appearance, the design team produced and installed the exact same straw wall. It stands again inside the Security Council Chamber — a small detail that testifies to a monumental restoration effort, precisely because the results appear no different than before. At 62, the Security Council Chamber Gets a FaceliftSelect Photo Gallery: Slideshow: Inside the Recently Renovated UN Security Chamber Published: November 13, 2014 Read full article here

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