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New Role for Regional Museums: Long Term Display for Private Collections?

October 1, 2013 by Marion Maneker

Hall Foundation Kiefers at Mass MoCA

Mass MoCA has been pursuing an interesting strategy in the context of today’s much larger, deeper and better funded private collections. Instead of angling for an eventual donation, Mass MoCA is making the most of it’s greatest asset, space, by creating long-term installations. One is a project involving Yale and Sol LeWitt. The other, which we have mentioned repeatedly, is the Hall Foundation’s Anselm Kiefer installation. The North Adams Transcript gives some of the details but click through for a longer description of the strategy by Mass MoCA director Joseph Thompson:

The Kiefer exhibition, which will run seasonally for 15 years, is housed in a galvanized steel warehouse built upon a cement water trough — a remnant of the former five-story Building 15 — and is the latest large-scale show that has found a home at MoCA.

The cavernous building holds three of Kiefer’s works, including “Narrow are the Vessels,” an 82-foot-long wave-like structure of concrete and rebar; “Velimir Chlebnikov,” a steel pavilion containing 30 paintings inspired by the theories of the show’s namesake — a Russian mathematical experimentalist; and “The Women of the Revolution,” a piece made up of 20 lead beds honoring French women who played pivotal roles in the country’s wars.

“The building, the construction, the new road and gate — all of that is 100 percent paid for by the Hall Art Foundation. They are paying 100 percent of the operating costs — the utilities, electricity, security and all the other Things,” Thompson said. “Mass MoCA does the ticket taking, the educational docents and provides all the other museological infrastructure.”

He added, “There is no pretense that this art is going to come to Mass MoCA. It all belongs to the Hall Art Foundation. If, at the end of the 15-year agreement, they choose not to renew it, the art will go back to the foundation and we’ll keep the building and the improvements.”

Mass MoCA Opens Building Dedicated to Anselm Kiefer’s Art (The Transcript)

Kiefer's Alchemy

July 27, 2011 by Marion Maneker

The New York Observer looks at the market for Anselm Kiefer that saw plenty of action this Spring:

Over the last two and a half years, his popularity has ramped up, with a dozen shows in New York, London and in Europe at galleries like White Cube, Yvon Lambert and Gagosian. The latest Kiefer show—consisting of 20 of the artist’s signature canvases exploring the theme of alchemy—opens this week at Galerie Thaddeus Ropac, in Salzburg.

But even given all of these gallery exhibitions, and some solid results in recent auctions—Christie’s set a new worldwide record of $3.6 million for the artist this May in New York and sales in London in late June saw Kiefers sell well above presale estimates—his performance on the resale market (that is, the trade in older works) has been more leaden than golden. When a leading auction house specialist who has sold some significant Kiefers was informed that almost $14 million in Mr. Kiefer’s art had publicly traded in the first half of 2011 the expert raised an eyebrow, and replied, “Really? I had no idea.”

That’s because $14 million is an impressive number in the Kiefer market. When the market for contemporary art last peaked, in 2007, Mr. Kiefer’s full-year sales shot up to $8.3 million. In 2008, they spiked to $12.3 million.

Kiefer Fever (New York Observer)

Galerie Thaddaeus Ropac

LiveArt

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