ArtList’s 3 Must See Shows: Art shows you can’t miss this week in NY

Weekly post from ArtList, the online marketplace for private sales.

1. Albert Oehlen@ Gagosian Gallery
June 17 — September 4

Two paintings part of Oehlen’s Tree series, which will be included in the solo exhibition (Spike Art)

Albert Oehlen has had quite a summer. Just this summer alone, the contemporary German painter was the subject of solo exhibitions at both the New Museum in New York and the Kunsthalle in Zurich, Switzerland. Gagosian’s new exhibition of one of the major artists of the moment offers a survey of Oehlen’s engagement with tree images, a motif he has investigated through works on both aluminum panels and paper. The show offers visitors a profound experience with Oehlen’s new series.

On view at 821 Park Avenue, New York, NY.

2. “Buy Photographs — Not Gold! and Other Works” @ Higher Pictures
September 2 — October 3

Swedlun’s gumball piece (Higher Pictures)

Higher Pictures’ new solo exhibition of Charles Swedlund focuses on the photographer’s works from the early 1970s. It was in these years that Swdlund explored the simultaneously playful, conceptual and documentary nature of photography. He pushed the boundaries of photographic media, using photos to create a range of peices including his famous flip books, puzzles and gumballs. Many of Swedlunds such works require participation from the viewer, incorporating him or her directly into the piece and creating a more immersive experience of his art.

On view at 980 Madison Ave, New York NY. 

3. Little Annie @ Gavin Brown’s Enterprise
September 1–4

A work on paper from Little Annie (Gavin Brown)

Little Annie (aka Annie Anxiety) trained herself in painting after establishing a successful career as a singer, songwriter, musician and poet. Now, in honor of the multi-disciplinary artist’s book release, Gavin Brown has assembled a 4 day, pop-up exhibition. The show includes some of her newest paintings, inspired by the vibrant colors and chaotic movements of her new hometown: Miami. And as an homage to the artist’s additional vocations, the September 1st opening will be accompanied by a special musical performance.

On view at 291 Grand St, New York, NY.

ArtList’s 5 Art World Updates: Just the things to know this week

Weekly post from ArtList, the online marketplace for private sales.

1. Banksy Reveals New Theme Park

The arts story definitely generating the most buzz in the last week was the opening of Banksy’s new “Bemusement Park,” Dismaland. The 2.5 acre park in Britain’s seaside town of Weston-Super-Mare includes 10 works from Banksy as well as pieces from 58 other artists he handpicked, includingDamien Hirst, Jenny Holzer, Jimmy Cauty and Darren Cullen

The entrance’s view onto Banksy’s new, apocalyptic exhibition-cum-theme park (Daily Mail)

Despite the collaborative nature of the show, Banksy’s distinctive artistic voice shines through: humorous, anti-capitalist and highly critical of todays consumerist, celebrity-obsessed culture. A brochure for the park identifies the exhibition as a:

“… chaotic new world where you can escape from mindless escapism….A theme park who’s big theme is: theme parks should have bigger themes…”

Among the attractions, guests can see gang of paparazzi photographing Cinderella’s fatal carriage crash, a payday loan popup for children, and miniature boats of migrants, trapped within the park’s water features. The bemusing exhibition will remain open until September 27.

2. Rodin Bust Stolen from Copenhagen Museum

Danish police announced this week that they are searching for two men who managed to steal a $300,000 Rodin bust from a Copenhagen museum in broad daylight.

Security footage released by police showing the suspects (Copenhagen police)

The two suspected robbers posed as tourists to enter the Ny Carlsberg Glyptotek Museum and it reportedly took them a mere 12 minutes to snatch Rodin’s The Man with the Broken Nose (1863) from its pedestal, place it into a paper bag and leave. After opening an investigation into the matter, police discovered that the suspects had visited the museum a week before, to scope out the heist. The bust is one of several casts the sculptor created of the original, made in clay, and has been wiht the museum for 95 years.

3. Italian Museums Receive 20 New Directors Amid Large Shift from Cultural Ministry

Italy’s cultural ministry made some drastic changes this week, appointing 20 new museum directors to such institutions as Florence’s Uffizi Gallery andAcademia Gallery, Milan’s Pinacoteca di Brera, Napels’ Capodimonte Museum the National Gallery of Marche and the Paestrum Archaeology Park.

The Uffizi Gallery in Florence, soon to receive new leadership (Smithsonian)

The sweeping changes arrive amidst difficulties for the Italian government, which has been largely unable to properly fund artistic institutions (for example, Rome’s famed Borghese Gallery was unable to fix its air conditioning earlier this year). While the appointments include primarily Italian curators, the cultural ministry also pulled from oversees as never before, searching for the best and brightest curators who can reinvigorate storied institutions, without much cash flow from the government.

4. Northwest China Receives 1st Contemporary Art Museum…and It’s Stunning

As we touched upon last week, the market for and collection of Chinese contemporary art is only increasing. And with this growing attention to the country’s artistic culture, more resources are being devoted to art within China itself. Case and point: The Museum of Contemporary Art Yinchuan(MOCA Yinchuan), the first contemporary art museum in northwest China.

The museum’s undulating facade, which pays homage to its wetland surroundings (Dezeen)

MOCA Yinchuan prides itself on being the first museum dedicated solely to Chinese and Islamic contemporary art, recognizing the centuries of intersection between the two cultures that has resulted in their art today. Situated along the western baks of the Yellow River, the musem itself reflects the wetland enviorment into which it has inserted itself. Theundulating design, from Beijing firm WAA, beautifully integrates the structure into the flowing landscape that surrounds it and the country whose cultural it is honoring.

5. Public Art Goes Very Wrong in Toledo, Ohio

Public art is widely regarded as a means of cultural enrichment and social betterment. However, a freak wind storm in Toledo, Ohio this week turnedKurt Perschke’s 15-foot-tall, 250 pound red ball sculpture into more of a public menace as the wind dislodged it and sent it rolling down city streets.

The Red Ball installed at the Toledo Museum (left) and rolling down the city’s streets (artnet News)

Luckily, no one was harmed and the ball was tracked down by a team including Perschke’s employees and staff of the Toledo Museum, which brought the sculpture, part of Perschke’s RedBall project, to Toledo as a stop on an international tour that has already included such cities as Paris, Chicago, Taipei and Sydney. Perschke created the project hoping to give viewers a chance to engage with quotidian objects in new and revelatory ways.

Art Advisers Are Status-Conscious, Wealth-Seeking Dealmakers, Just Like Bernard Berenson

There’s so much wrong with the this tendentious New York Times story about art advisers, it is hard to know where to start.  From the lede that conflates three extremely different stories of leading auction house specialists who now make a living as “advisers” to the willfully naive idea that many of those now acting as advisers would not have simply been doing the very same thing while working for dealers over the last half dozen decades, the story hyperventilates through well known and commonplace information.

Perhaps more egregious than the mis-representation of what so many of these professionals are doing is the baffling use of Bernard Berenson as a paragon of disinterested art advising.

Do the editors at the Times not know any of the incredibly well-documented instances of Berenson’s actively seeking rise above the poverty he was born into by advising the wealthy on art they wanted to buy? Starting with Mrs. Jack, as Isabella Stewart Gardner was known, and following over 25 years as an adviser to the Duveen brothers, Colnaghi and others, Berenson made a substantial amount of money in the picture trade.

Its cringe-worthy that the Times does not know this and soft-headed that the writers of this story would offer Berenson as an ideal of incorruptible connoisseurship:

For decades, art advisers were a small club of professionals who personally helped build collections for clients, using their scholarship and connoisseurship. Their role was to consult and offer expertise, rarely to make deals. Bernard Berenson, the Harvard-trained art historian, was a famed counsel to the collector Isabella Stewart Gardner.

“I’m not anxious to have you own braces of Rembrandts, like any vulgar millionaire,” he wrote to her in 1900.

But the rapidly changing art market — characterized by soaring prices, high fees and a host of wealthy new buyers from Wall Street and abroad — has prompted scores of new players to jump into the pool, from young art-world arrivistes to former auction-house executives with an abundance expertise and connections. “It’s the Wild West,” said Abigail Asher, who has been an adviser for 25 years. “It’s like being in a gold rush mining town. We have been the miners for years and a lot of people are just showing up now.”

What’s worse is that this last quote from Abigail Asher surely refers to a large group of inexperienced and un-credentialed advisers who have been popping up to server the uninitiated, not Messers Bennett and Meyer or Ms. Cappellazzo.

Soaring Art Market Attracts a New Breed of Advisers for Collectors (

ArtList’s 3 Must See Shows: Art shows you can’t miss this week in New York

 Weekly post from ArtList, the online marketplace for private sales.

1. Alison Knowles @ James Fuentes
August 19— September 9

Into one of Knowles’ books (lanningsmith)

Fluxus artist Alison Knowles has had an ongoing dialogue with the experience of reading, attempting to challenge the dimensionality of reading as so many artists have challenged the dimensionality of art. Knowles debuted her Big Book project in 1966 and has since toured it internationally, most recently continuing the investigation with The Boat Book at Art Basel Miami. The Big Book is a series four foot by eight foot sculptural “pages,” which allow the viewer to physically traverse through a text, allowing for not only a playful reinterpretation of a familiar act but also a reflection on how we experience literature.

On view at 55 Delancy Street, New York, NY.

2. Sight | Site | Cite @ Outlet
August 22 — September 6


Outlet’s new exhibition challenges the delineation between art and the space in which it takes place. As the title alludes, the show questions the delineations between what we absorb from art, where we witness art and how we reference that experience in the future. It features work from such artists as Mira Alibek, Heidi Howard, Andrea McGinty, Eric Shaw and Weronika Twardowska. The exhibit further engages its own environment with performances from Sonya Derman and Luiza Kurzyna as well as readings from Anselm Berrigan, Sophia Le Fraga, Nicole Reber, Andrea McGinty and more.

On view at 253 Wilson Avenue, Brooklyn, NY.

3. James Lee Byars @ Michael Werner
July 2 — September 3

Byars’ “The Moon Column” (Michael Werner)

Throughout his prolific career, James Lee Byars was in pursuit of perfection, fascinated with the idea of an artistic ideal. Michael Werner Gallery has assembled two of Byars’ major sculptural works, including “The Moon Column,” which, through its idyllic color and texture, approaches perfection. However, the sculpture’s etherial, ghostly presence also posits questions regarding mortality and death, themes investigated in many of Byars’ sculptures such as “The Figure of Death,” a nine foot tall statue of stacked marble, an ode to the size, limit and beauty of our own existences.

On view at 4 East 77th Street, New York, NY.

Artemundi Winds Up First Fund with 17% Net Annualized Return Over 5 Years

Javier Lumbreras
Javier Lumbreras

Javier Lumbreras’s first Artemundi closed in April and the results are now being published by the fund. There’s a perennial debate about the viability of art funds. And Artemundi is one of the few firms to make it through the cycle and report results:

Artemundi Global Fund (“AGF”), the art fund managed by Artemundi Management Limited (“AML”) finished operations on April 31st 2015, after 5 successful years. We are closing the final payments to our investors. We use the services of Deloitte. The fund closed a total of $161,365,136 in transactions with an average purchase price of $800,572 and average sale of $973,406. AML had a total of 211M of AUM over the life of the fund, that is not to be confused with the dollar amount of art transactions.

The fund managed a diversified portfolio with emphasis in Old masters, impressionist/modern, and post war. To mention a few Alexander Calder, Wassily Kandinsky, Frida Kahlo, Pablo Picasso, Willem de Kooning, Diego Rivera, Henry Moore, Rufino Tamayo, Robert Motherwell, Vik Muniz, Georges Braque or Francisco Goya.We had a small portion of contemporary works because we believe that although they can be very profitable, they are also very volatile (high risk).

Artemundi Global Fund Financial Summary 2015

Marion True Was On Trial “To show an example of what Italy could do.”

The Washington Post brings Marion True, the former Getty Museum Antiquities Curator who became the center of an international scandal, back into the public convsersation:

A decade after her downfall, True knows that she was singled out, with Hecht, by the Italians to strike fear in American museums. The strategy worked. The Getty and others, fearing prosecution, returned hundreds of objects worth millions of dollars.

True was never found guilty — the trial ended in 2010 without a judgment – and the curator maintains her innocence. But today, for the first time, she is talking openly about the way she and her museum world colleagues operated. Yes, she did recommend the Getty acquire works she knew had to have been looted. That statement, though, comes with a qualifier:

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Raymond James Chairman Moves Western Art Collection to New Museum in St. Petersburg

Martin Grelle - 'Defiance'
Martin Grelle – ‘Defiance’

The Chairman of Raymond James Financial wants to open a museum in St. Petersburg to show is his collection of Western and American Indian art:

As many as 600 works would be exhibited in the new museum, which would also have gallery space for changing shows.

The Jameses have been among the Tampa Bay area’s most generous philanthropists for decades, giving millions to many causes. Tom James has served on the Dalí Museum’s board of trustees and been active in the Museum of Fine Arts, and has a deep understanding of how a museum operates.

He said earlier that he arrived at $75 million for the new museum because “it took $40 million to build the Dalí, so that’s what I’m basing the building cost on. … I also plan to put $30 million to $35 million in an endowment.”

James, who wasn’t available for an interview Monday, has said that he estimates the value of his collection to be between $20 million and $25 million.

Raymond James chairman to open an art museum in downtown St. Petersburg (Tampa Bay Times)

Making Lightning at Burning Man

Tesla Coil

It’s time for our annual reminder that Burning Man—this year suffering from a bug infestation—is an art festival. Among the many installations is this giant complex of towers and a Tesla coil that will create a coordinated lightning show:

Our installation creates an architectural space where we discover how to collaboratively control a large musical tesla coil. Participants ascend into one of three control towers placed radially around the coil. Each control tower is a two-layer Faraday cage, built in the austere and elegant style of old lighthouses. Inside, they find an odd artifact that can manipulate an aspect of the tesla coil’s performance. Through collaboration, the coil reaches its peak performance and sends 20′ arcs of lightning to the control towers.

2015 Art Installations | Burning Man

What Dealers Keep In Their Personal Collections: Katrin Bellinger

Katrin Bellinger
Detail of a photograph of Katrin Bellinger by MIGUEL FLORES VIANNA

Town & Coutnry does a mini-profile of Colnaghi Old Masters dealer Katrin Bellinger and her Anabelle Selldorf-designed London home where she keesp her personal collection:

For her formidable personal collection—more than 900 works, including paintings, prints, photographs, and sculptures—Bellinger narrowed her focus to a particular theme: artists at work, from the Renaissance to the present. She chose the topic because she loved the idea of “looking over the artist’s shoulder” and because it didn’t conflict with her clients’ holdings. It also allowed her to build a collection for less than a king’s ransom, and it reminds her of her youthful ambitions. “I studied art for a year,” she says, “and quickly realized my limited talent. But it helps to have learned how art is made.”

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Can Equity Crowd Sourcing Build Meaningful Art Collections?

Madelaine D’Angelo is the founder behind Arthena, a combination art fund and crowd sourcing art investment company that was just launched out of a New York start up accelerator. They have four collections that one can buy an equity position in an art collection.

Madelaine has been on a PR blitz lately peaking with this interview with Marketplace Weekend’s Lizzie O’Leary:

“We know that there’s people out there that want to participate, but we just can’t seem to bring them in,” D’Angelo says. “I’m part of this generation that they’re trying to reach out to, and I realized that this generation looks at art not only from a cultural perspective, but also a financial perspective. And it makes sense, because if you look at how many kids my age have student loans, if you put $10,000 into something, you want to make sure it’ll be worth $10,000 the next day.”

Startup hopes to make art investment more inclusive |