Art Fairs
Marion Maneker0January 08, 2014

Art Stage Singapore Thriving on Competition from Hong Kong

marina_bay_sands

Lorenzo Rudolf, former director of ArtBasel, is gearing up for another edition of his Art Stage Singapore next week. Though many think ArtBasel Hong Kong has gained momentum in Asia, Rudolf is quick to point to the sheer size of the market in Asia:

Smiling at the mention of Art Basel – Rudolf, a former director, is credited with transforming that modest event into a glitzy Miami Beach-style success – he says: “Competition is the best thing for the business. There are only two places where you can make an international art fair in Asia: Hong Kong and Singapore. It’s the best thing that can happen for Asia – the biggest continent in the world and two fairs.

“Count all the fairs in Europe – it’s 10 times more. Asia is a continent that’s growing, increasing, which means they need platforms like that, a successful top fair in Hong Kong and Singapore, as long as the two fairs are not at the same time and do not have the same concept,” the 54-year-old Swiss says, adding he is happy that his old colleagues from Art Basel have ventured to Asia.

“It’s not a question of an increase, but a question of what you want,” says the fair director. “It is typical of every contemporary art fair to try to balance both sides: not just a fair for billionaires, but also quality works, young art that [is] not expensive. The importance is to have the entire balance.”

This year’s event, from January 16 to 19, also aims to strike a balance between the business of selling art, and that of educating collectors.

Art Stage Singapore puts region’s art in global spotlight (SCMP)

Art Fairs
Marion Maneker0December 15, 2013

Art Basel Miami Beach Sales Report

Georgina Adam saw “plenty of enthusiasm under $100,000″ at Art Basel:

Casa Triângulo of São Paulo placing three paintings by Mariana Palma at $35,000 each and a work by assume vivid astro focus (sic) at $40,000.

London’s Alan Cristea, in the new Edition section, did well with works by Julian Opie ($21,500) and Gordon Cheung ($16,000).

At Untitled and at Pulse some booths sold out: London’s Vigo Gallery sold all its works by the Emirati Ayan Farah, at prices from $2,000 to $9,800, and now has a waiting list for her work.

The Art Market: strong sales at Art Basel Miami Beach (FT)

The Art Newspaper recorded these sales:

Victoria Miro: Yayoi Kusama’s Flowers That Bloom Tomorrow, 2010, priced around $500,000.

Greene Naftali: sold four colourful mattresses by Guyton/Walker (all Untitled, 2013) for $65,000 each to collectors from the “four corners of the world”.

Casa Triângulo: three paintings by Mariana Palma for $35,000 each.

Galeria Nara Roesler: sold Artur Lescher’s Fuso #02, 2013, for $50,000.

Timothy Taylor: Josephine Meckseper’s Pyromaniac 1, 2003, for $55,000

What a difference five years make (The Art Newspaper)

The Hollywood Reporter grabbed these sales:

A number of works sold in the seven figures:

Michael Werner: a $1.4 million Sigmar Polke

Cheim+Read: a $6 million Joan Mitchell,

Helly Nahmad: a spate of multimillion-dollar works by Leger, Calder, and Miro.

Sadie Coles: $40,000 Sam Durant piece

While undoubtedly attention-grabbing, these sales are far from representative of the market as a whole. “It’s been a good fair for us,” Napolitan dealer Alfonso Artiaco admitted. “But it’s still nothing like it was in 2006, 2007.”

Art Basel Miami Beach Wrap-Up: Hollywood Faces, Strong Sales.

Judd Tully has the heavy hitters:

Van de Weghe Gallery: Gerhard Richter “Abstraktes Bild (595-3),” 1986, which sold in the region of the $3.2 million asking price to an American collector; a 2005 Damien Hirst spin painting embedded with two expired credit cards — “Beautiful, I Pushed the Controls and Ahead of Me Rockets Blazed, I Don’t Want to Be a Dead Artist Painting” — for $580,000; and Jean-Michel Basquiat “Head,” 1985, also sold, for approximately $580,000.

Galerie Thaddaeus Ropac old Georg Baselitz patinated bronze, “Louise Fuller,” 2013 to a private American collector for $2 million

Pace Gallery, a wind-driven Alexander Calder “Untitled” standing mobile from 1962 that went for more than a million dollars.

Sprüth Magers: Sterling Ruby’s large-scale spray painting “SP256” sold for $550,000 and Barbara Kruger’s digital print on vinyl “Untitled (Don’t Shoot),” 2013 went for $275,000. Several found-object sculptures by Cyprien Geillard, also sold, at 40,000 euros each — including “Untitled (Tooth),” 2012.

Blum & Poe gallery: “Untitled,” a five-panel dye sublimation print on linen by 25-year-old Brooklyn-based artist Hugh Scott-Douglas, sold for $90,000 to Montreal collector Francois Odermatt.

Lisson Gallery: Ai Weiwei’s beautiful “Jade Handcuffs,” 2012, which sold for 70,000 euros

Out of the Gate: What ABMB Buyers Had to Have on Day One (BLOUIN ARTINFO)

Kelly Crow got these sales:

Gagosian Gallery: ”Baroque Egg with Bow (Turquoise/Magenta),” that the gallery won at Sotheby’s for $5.4 million four years ago, under its $6 million low estimate. On Wednesday, the gallery put the egg back on the market and sold it for around $9 million.

Klaus Malonek: Kris Martin’s new series of “Helmets,” recreations of ordinary motorcycle helmets and hard-hats cast in bronze, around $44,000 apiece for six of the 10 helmets displayed.

Galeria Fortes Vilaça: Erika Verzutti’s $37,000 cemetery-like assemblage of concrete, granite and crystal slabs

Almine Rech Gallery:  Mark Hagen’s salt-lick sculptures several sold for $8,000 apiece on Wednesday.

Max Hetzler: Ernesto Neto’s $100,000 steel sculpture, “Caring Time,”
Silvia Cintra + Box4: Laercio Redondo’s $20,000 geometric wall installation

Urs Meile sold a $270,000 smaller assemblage of Ai Weiqei’s bicycles—dipped in gold plating, no less

Lisson Gallery also got around $340,000 for another bike configuration by the artist.

Luciana Brito: Héctor Zamora’s “Brasil” bike for $15,000 to 21c Museum of Louisville, Ky.

At Art Basel Miami Beach, High Confidence (and Prices) (WSJ.com)

Katya Kazakina has the first rings on the register:

Sprueth Magers: Sterling Ruby abstract spray-painted canvas for $550,000 to a museum.

Mitchell-Innes & Nash sold two large spray-painted paintings by emerging artist Keltie Ferris at prices from $40,000 to $50,000.

Mary Boone Gallery sold a group of 12 Han Dynasty urns splattered in bright paint by Chinese dissident artist Ai Weiwei; it was priced at $350,000. Barbara Kruger’s digital print on vinyl stamped with the word “Value” went for $275,000, the New York gallery said.

White Cube gallery sold 90 percent of its booth including Damien Hirst’s 8-by-8-foot glass vitrine, “Devil’s Gate,” filled with butterflies and bugs; the asking price was 1.85 million pounds ($3 million). Theaster Gates’s 7-by-7-foot abstract piece made of wood, rubber and tar sold for $175,000.
The gallery sold out an edition of three neon signs — each spelling “The Last Great Adventure is You” — by Tracey Emin The asking price was 65,000 pounds.

diCaprio and Wilbur Ross Stalk Black Friday for Art World

Sarah Hanson went to Pulse for Blouin Artinfo:

Zemack Contemporary: sold “Unitled; Olya,” Yigal Ozeri, for $50,000.

Jerome Zodo Contemporary: a skull sold at $20,000.

Hosfelt Gallery: a David Hammons basketball drawing for an undisclosed price in the six-figure range.

James Danziger: placed several C-prints by Hendrik Kerstens, inspired by 17th-century Dutch portraiture, in the $15,000 to $36,000 range.

Bryce Wolkowitz: had sold six from an edition of eight digital pieces by Yorgo Alexopolous at $11,000 each, as well as a graffiti-inspired José Parla collage for $25,000 and a handful of lit-up book sculptures by Aaron Kang for $5,500.

Yancey Richardson: Zanele Muholi’s portraits at $5,000 a pop (Muholi will have a solo exhibition at the Brooklyn Museum in 2015.)

Kuckei + Kuckei: C-prints of junkyards and industrial worktables byphotographer Guillermo Srodek-Hart sold for $4,500 each

Pulse Beats on With Strong Sales at the Middle-Market Satellite Fair (Blouin Artinfo)

Eileen Kinsella had these sales:

Kavi Gupta sold works by Tony Tasset including two versions of the artist’s “Snowman” sculptures, made of glass, resin, and enamel paint, with bronze “sticks” for arms, at $75,000 each; and two versions of “Bear” for $65,000 each; Roxy Paine’s “Labor Saving Device” to the Brooklyn Museum on the fair’s opening night, for $85,000. And he sold “almost all” of Theaster Gates’s installation pieces,” at prices that he stated ranged from $50,000 to $175,000.

Pace sold a painting by Adolph Gottlieb, “White Halo-Black Ground” (1967), for $400,000.

Gmurzynska: works by Scott Campbell, Wifredo Lam, Richard Meier, Enrico Castellani, Adolf Luther, and Tom Wesselmann. The price range of the sales were between $50,000 to $1 million.”

Galerie Terminus: a Gerhard Richter painting that sold for $3 million at Munich’s

Scott White Contemporary: a sculpture by Henry Moore for $1 million

Galerie von Vertes: a Lucio Fontana painting at  Zurich, that sold for more than $1 million.

Edward Winkleman: sales included three 2013 “Binocular” videos by Leslie Thornton, priced at $8,000 each, which went to Louisville collectors Steve Wilson and Laura Lee Brown; a dozen small 3D-printed pieces by Shane Hope, including “Freerange-Femtofacture-Lure no 11,” priced at $850 each.

Royale Projects: wall hangings by Phillip K. Smith III, selling all of an edition of three for $27,000 each.

William Baczek Fine Arts: a dozen paintings and drawings by Travis Louie, the gallery sold four paintings by Margaret Withers to a Swiss collector; and placed works by sculptor Anne Lilly

New Art Projects sold a four-minute video piece, “Love Story,” to the Cisneros Foundation, the first piece of an edition of five (prices ranged from $6,000 to $12,000).

At This Year’s Miami Art Fairs, a Boost in Buyer Turnout (BLouin Artinfo)

Art Fairs
Marion Maneker0December 12, 2013

AA Gill Is Not Amused by Frieze Art Fair

AA Gill

Vanity Fair lets AA Gill loose on Frieze art fair with hilarious results. Of course, he hates every bit of it, except Gagosian’s booth and the Jeff Koons works within:

Frieze is a shuttle of the international art crowd: smug, bored, knowing. There are a lot of brand-new collectors here—they say Chinese is the new Russian. And thousands of art middlemen and -women, ready to explain and stroke and reassure. Because contemporary art isn’t easy. It’s not obvious. You need to be told. This stuff has to be—simply has to be!—better than it looks. The question that Frieze Masters poses to Frieze London is “Now, why are you so ugly?” But the really tough question is: What is an artist? And if you mention this to any of the actual moderators and mullahs in the contemporary tent, they roll their eyes and sigh. But still the question hangs like a terrible family secret. Because in the Masters tent the answer is obvious: An artist is a person who makes art. And you know he’s an artist because you can see the art. So the art validates the artist and the artist the art. But in the contemporary tent it’s not that simple, because it’s mostly conceptual. This isn’t about skill, or application, or craft, or ability. It’s about the concept, stupid. An artist is someone who thinks about art.

He also discovers that everyone else seems to hate art fairs too. Everyone but the buyers:

A contemporary-art dealer, someone who acquires for some of the most bullish and acquisitive collectors in the world, met me between steepling cliffs of childishly drawn, scribbled and dribbled abstracts, nailed-up bits of plastic, taxidermied animals, T-shirts printed with arty slogans, and a small bronze sculpture of someone taking a dump, and said—unattributably, of course—“You know, no one enjoys this. No one in the business likes doing business this way. It is the worst possible way to see art, but it is what the market wants. And, you know, when you leave here, you will remember nothing. Nothing will stick.” The concepts evaporate, to be re-assembled the next month in Basel or Venice or Miami or New York.

How a London Art Fair Created a Market for Rich People (Vanity Fair)

Art Fairs
Marion Maneker0December 10, 2013

Vernissage TV: Untitled Art Fair 2013

Untitled Art Fair 2013 on Vernissage TV

Art Fairs
Marion Maneker0December 08, 2013

Vernissage TV: ArtBasel Miami Beach 2013

ABMB 2013

 

Vernissage TV has lots of video from Miami’s art fairs this last week. (Click on the video to see.)

Art Fairs
Marion Maneker0December 05, 2013

Untitled Fair Report

Untitled-KR-tent

The publicists for Miami’s Untitled art fair have issued an early fair report:

More than 1,800 guests attended including notable figures in the art world such as art historian Diana Widmaier Picasso; collectors Beth Rudin DeWoody, Norah and Norman Stone, and Steve Shane; New York gallerist Sean Kelly; independent curators Clarissa Dalrymple and Neville Wakefield; and Andy Warhol Museum’s Executive Director, Eric Shiner among many others.

Over a third of the limited edition prints by Marina Abramović were sold during Monday evening’s benefit and sales remain consistent throughout the first days of the fair.

Solid sales were reported and considered a promising sign for the run of the fair. Galleries participating at UNTITLED. for the first time were off to a good start including UK-based Vigo who sold out their booth of works by Ayan Farah and strong sales at New York gallery Kravets/WehbyHalsey McKay Gallery from East Hampton, NY sold a large sculpture by Graham Collins to a public collection in Montreal, while Samsøn from Boston also report steady sales beginning Monday evening and carrying throughWednesday.

Galleries who have returned to UNTITLED. for the second edition also reported healthy activity such as Buenos Aires gallerist Nora Fisch who sold work by Amadeo Azar to a major private collection in Miami. Luis de Jesus Los Angeles sold works by Margie Livingston and Chris Engman, and Andrew Rafacz from Chicago sold works by Robert Burnier and Naza Farin Lotfi. New York’s (Art) Amalgamated also sold work by Vadim Zakharov who represented Russia at this year’s Venice Biennale.

The presence of works by more established artists is part of the curatorial focus established by Artistic Director and Curator Omar Lopez Chahoud. Sales of works by artists such as Karlheinz Weinberger at Rod Bianco from Oslo, and a 1970’s white painting by Siri Berg at Hionas Gallery were also being reported.

Art Fairs
Marion Maneker0November 20, 2013

Paris Photo Sales

Paris Photo 2013

Céline Piettre has a nice round up of sales reported from Paris Photo which saw 55,000+ visitors and the presence of 65 collector and museum groups:

  • Les Filles du Calvaire confirmed the “crazy” success of photos by Gilbert Garcin
  • Galerie Toluca, which specializes in Latin American and Japanese art, said that it sold a piece to the Metropolitan Museum of Art.
  • Nathalie Obadia’s booth, three works by Valérie Belin sold for €30,000 ($40,500) each to private collectors, and a polyptych by Egyptian artist Youssef Nabil was snapped up by a French foundation.
  • Tasveer was pleased with the €18,000 ($24,300) sale of a recent work by Karen Knorr (“A Place Like Amravati, Sarus Crane,” 2012) and also sold three out of four vintage prints by Indian photographer Jyoti Bhatt, whose work was shown for the first time in France.
  • Lumière des Roses, which was celebrating its 10-year anniversary, sold two-thirds of its booth, while Bernard Bouche sold 40 percent.
  • Galerie Particulière, which featured photos by David Hilliard and other artists at its booth, reported that 85 percent of its clients at the fair were new to the gallery.

Paris Photo Wraps Up With High Attendance and Brisk Sales (Blouin Artinfo)

Art Fairs
Marion Maneker0October 29, 2013

FIAC Sales & Commentary

Dubuffet, Welcome Parade

Attendees report that:

  • Van de Weghe Sold a Twombly work on paper from 1964 for $400 000

Scott Reyburn went back to FIAC for more sales reports and to take the temperature of the fair:

  • They were among 73,543 visitors to Paris’s FIAC. The figure released yesterday beat some 70,000 reported at Frieze the week before. “They’re now comparable in quality and newness,” Matthew Armstrong, curator of the Lightyear Capital art collection in New York, said in an interview. “FIAC is getting better, Frieze is getting a bit more predictable.”

Waddington Custot: placed a Jean Dubuffet sculpture [produced after the artist's death in collaboration with Pace Gallery] outside the Petit Palais, opposite FIAC. It sold for about $6 million just before the fair. Further sales of works by artists such as Picasso and Pierre Soulages saw Waddington Custot take about $9 million at FIAC, according to gallery founder Leslie Waddington.

Pace Gallery: sold more by value at FIAC, in the Grand Palais, than during the previous week at Frieze in London’s Regent’s Park. The 2011 Kiki Smith colored bronze sculpture “Harmonies II,” priced at $200,000, was among the gallery’s sales.

Ramiken Crucible: sold all its Gavin Kenyon pieces within hours of the opening.Francois Odermatt snapped up a 2013 totemic dyed-plaster-and-fur sculpture by the 33-year-old Kenyon, priced at $12,000.

Dickinson: sold the 1969 painting “Shirt Collar 14 ½” by the Italian Arte Povera artist Domenico Gnoli, priced at 2.5 million pounds ($4 million).

Natalie Portman Browses FIAC; $6 million Dancer Sculpture Sells (Bloomberg)
Scott Reyburn covers FIAC straight out of the gate:

  • “I find it necessary to do both,” said the New York-based art adviser Heather Flow. “Things happen more quickly in London, but the works are much more critically grounded here in Paris.”

Yvon Lambert: An unidentified Turkish collector bought at $250,000 wrecked Ferrari Dino.

Vedovi: sold Basquiat’s 1984 “O.M.R.A.V.S.,” showing a lone black figure among electricity pylons on a plain white background fort less than $5m.

Galerie Chantal Crousel had a 2013 white and blue inkjet painting by Guyton on its stand. It had been presold to a collector who is donating it to the Belvedere Museum in Vienna. The price was $350,000.

David Zwirner sold Murillo’s “0 + X = 145” for $120,000 for a collector who’d reserved the painting before the fair. The gallery also found buyers for Luc Tuymans’s 2013 painting “Cold Shoulder” priced at $1.2 million and a unique Thomas Schutte bronze, “Bronzefrau Nr. 13,” for 2.5 million euros.

Neuger-Riemschneider: Ai Weiwei’s “Iron Tree,” a 2013 sculpture. One sculpture from the edition sold to a German collector during the first few hours of the preview. The asking figure was about 1 million euros ($1.38 million), dealers said.

Wrecked Ferrari Sells for $250,000, Basquiat $5 Million (Bloomberg)

Art Fairs
Marion Maneker0October 29, 2013

Inside FIAC 2013

Art Fairs
Laura Roughneen0October 25, 2013

Artist Focus: 3 Picks from Frieze London

Laura Roughneen is postgraduate researcher studying the international contemporary art market and a fine art graduate with a key interest in the portrayal of artists at fairs. Here are three artists that peaked her interest at Frieze:

Jannis Varelas

New works from the Caliban Project by Jannis Varelas were on show at The Breeder. Usually known for his works on paper, Varelas has progressed with his Caliban Project onto the canvas.

According to the gallery “The name Caliban refers to a character in William Shakespeare’s “The Tempest” and is an anagram of the word “cannibal”. As a native living on an exotic island Caliban experiences a colonial domination from the shipwrecked Prospero who enslaves him.”

Set in a tropical environment, Varelas’ works include large-scale hybrid characters of man, woman or animal acting as paradoxes of alienation in a culture of fixed male and female identities. Familiar objects and characteristics become strange and unsettling. According to the gallery “the use of the mask and animation of the objects have a symbolic and spiritual value in many colonized cultures.” Appropriating imagery from diverse sources, Varelas’ work is a contemporary and humorous commentary on “everyday life experiences of hierarchical divisions.”

If you’re still in London, Varelas has selected mixed media collage work on show at The Saatchi Gallery until November 3rd.

Matt Mullican

Matt Mullican was on show alongside his former professuer John Baldessari at Mai 36. While Mullican has had recent press for his large and fascinating drawing installation at the Venice Biennale this year, Mai 36 presented an understated yet impressive selection of works including a selection of 9 gouache on handmade paper works exploring some of the most fundamental elements to Mullican’s work. What is special to me about these works is that they give a glimpse into Mullican’s artistic process.

According to Mai 36, Mullican has

developed a complex system of symbols consisting of various pictograms and colors as a means of tackling the question of the structure of the world, and with his system he aims to portray in symbols every aspect of the human condition in different combinations.”

Stemming from circa 1982, these small works shown together resemble cells of the elements intrinsic to Mullican’s practice in form, colour exploration and symbolism. Unlike much of the big’n’bold work we see at art fairs, this quiet presentation entices the viewer to engage and question the artist’s practice as a means of understanding his oeuvre.

Frame

In the Frame section, LA based gallery Various Small Fires were showing Andrea Longacre-White. Exploring the tension between analog and digital, Longacre-White scans the ipad, confusing the sensor when the light touches the responder and capturing the scroll of the page, creating a visualization of the digital space between. Remnants of  person and touch remain on the pad scans created in the artist’s studio, reminding the viewer of the human presence in the technological atmosphere. Rihzome captured a wonder aspect of her work beautifully in an interview:

You wrote a text to accompany an exhibition at West Street Gallery where you describe the haptic process of scanning – running your fingers over the papers and the plexi and end with the amazingly simple line: “my scanner never gets cleaned.” Is there something about the indexical nature of technology that interests you – like Freud’s mystic writing pad?  Would you describe your work as an attempt to reveal or conceal those fingerprints?

ALW: Freud’s mystic writing pad is a beautiful analogy, as there are endless (at times imperceptible) traces of past workings, use, and action on my prints and in my images. How information moves, morphs, is abridged, footnoted, reworked, gains artifacts, is lost, is rediscovered all frustrates and inspires me.