Art Basel Miami Beach

Screenshot 2018-12-07 at 10.15.37.pngKavi Gupta
Booth A17

Works by Roger Brown, Devan Shimoyama, Manish Nai, Firelei Báez, Jeffrey Gibson, Gerald Williams, Basil Kincaid, Manuel Mathieu, Glenn Kaino, Richard Hunt, Kennedy Yanko, Michael Joo, and Sherman Beck
Screenshot 2018-12-06 at 17.33.03.pngGrimm Gallery
Booth N26

Works by Claudia Martinez Garay

Screenshot 2018-12-06 at 18.02.37.png
Wentrup Gallery
Booth J9

works by Nevin Aladag, Louisa Clement, Thomas Grünfeld, Karl Haendel, Gregor Hildebrandt, John McAllister, Florian Meisenberg, Olaf Metzel and David Renggli

Screenshot 2018-12-07 at 10.46.3.jpgSies + Höke
Booth F13

Works by Gerhard Richter, Sigmar Polke, Konrad Lueg, Gilbert and George, Federico Herrero, and Gusmão + Paiva

Untitled_Panorama1.jpgMai 36 Galerie
Booth F10

Works by Franz Ackermann, John Baldessari, Pedro Cabrita Reis, Koenraad Dedobbeleer, Flavio Garciandia, Raul Cordero, Robert Mapplethorpe, Matt Mullican, Michel Perezpollo, Thomas Ruf, and Michel Perez Pollo

Advertisements

A walk through the spaces of The Salon Art and Design

The Salon Art and Design this year was charged and buzzing with eclectic energy.
As I entered the fair I was immediately drawn to an object “talking to me” with “open mouth”.  01

 “Unique” the Haas Brothers.
Hand-thrown Beyonclé, 11”x11”, 2017

The flesh Tint Mango colored object called “Unique” by the Haas Brothers found a new home within minutes. The artists also created another vase in Yellow with an Erbium Neck. 02

Unique, hand-thrown Father Vase with Matte Yellow porcelain accretion and Erbium Neck and base, 18.5″ H X 9″ D
R & Company: http://www.r-and-company.com

I made an initial full walk through the fair to catch the new trends, leaving the details for later. In this first round, I observed that yellow is a central part of the visual spirit of this fall 2018 fair, present in many manifestations.
Swept up, I walked through outer and inner spaces. While standing at the fair, I found myself imagining myself in a large living room dominated and swayed by yellow hues. 03.jpg

Mars Cadmium Yellow chair by Steen Eiler Rasmussen, 1936, Danish Lost City Arts: https://www.lostcityarts.com

If I existed in this space, I would sit in the Mars Cadmium Yellow chair by Steen Eiler Rasmussen holding my laptop and reading my emails. Next to me
would stand the Naples Yellow tables seen on Hostler Burrows Booth. 04.jpg

Two Napels Yellow tables by Paulo Buffa (Italian, 1903-1970)
Hostler Burrows: http://www.hostlerburrows.com

On those organically shaped and practical tables, which can open in many different configurations. I would place the Viridian Green vase with three Bird of Paradise plants like Strelitzias. I would fill the wine decanters, with details in the same Viridian Green, with dry Red wine. 05.jpg

Viridian Green ribbed soffiato glass vase, 1925-26, 13” x 8” and wine decanters, 1921-23, 6” x 4” by Vittorio Zecchin
Glass Past: http://glasspast.com

The colors of my imagined space are encompassing and inviting.
I would ask a friend to join me for a nice cozy evening and we would enjoy the organic shape of the Matt Black leather sofa by Rich Mnisi, where a body feels hugged and cared for as though it is in its element.  06.jpg

Matt Black upholstered leather form “Nwa –Mulamula Chaise” by Rich Mnisi,
2 of 8 edition, 105.5” x 51.2” x 26.8”
Southern Guild: https://southernguild.co.za

Subtle Pale Yellow light would glow from the wall, created by the Onyx and Bronze Ring by Markus Haase. 07.jpg

Yellow Light LEDs, White Onyx, Bronze lighting ring by Markus Haase,
21.5”H x 8.5”W x 6”D
Todd Merrill: https://toddmerrillstudio.com

Creating a sublime sensation with the Cobalt Green Turquoise Samno-Attic Helmet placed in front of it. 08.jpg

Cobalt Green Turquoise Samno-Attic helmet, Italic, Late fifth to early fourth century BC, Bronze, 10.9”H
Ariadne Galleries: http://www.ariadnegalleries.com

Next to this fusion would sit a side chair from the Imperial Hotel in Tokyo.
09.jpg

Yellow Ochre “Peacock” oak, leatherette chair from the Imperial Hotel in Tokyo, Japan, 1921-25, 38” x 25 ½” x 20”
Bernard Goldberg Fine Arts, LLC: https://bgfa.com

Somewhere in the dark corner of the room on a side table, two special objects would command attention with their bright colored positive energy: Scheveningen Yellow ceramic sculpture by Merete Rasmussen. 10.JPG

Scheveningen Yellow ceramic sculpture “Fluent” by Merete Rasmussen,
11.8”H x 18”W x 15.7”D, year 2018
J. Lohmann Gallery:http://www.jlohmanngallery.com

And a Cadmium Yellow Medium Glass vase by  Pamela Sabroso & Alison Siegel. 11.jpg

Cadmium Yellow Medium glass vase “Tube Pile” by Pamela Sabroso & Alison Siegel, 17 ¼” x 12” x 13”, 2017
Heller Gallery: http://www.hellergallery.com

The next day, in this fantastic place growing in my imagination, my partner would invite friends for afternoon tea and then we would all sit down on the comfortable White sofa seen in Nicolas Kilner booth. 13.jpg

White Joe Colombo sofa, Nicholas Kilner: http://nicholaskilner.com

Across from the large Warm Grey coffee table by Anne Barrès.12

Warm Grey coffee table by Anne Barrès, 16”H x 54”W x 55”D, year c. 1960
Magen H. Gallery: http://www.magenxxcentury.com

Others could sit on several Matt Anthracite stools by Nicolas Aubagnac. 14.jpg

Matt Anthracite stool, hand patinated Bronze by Nicolas Aubagnac, 2017, 15.7”H x 36.2”W x 18.5”D
Twenty-First Gallery: https://21stgallery.com

Soft light would come from the white Plexiglas, Black lacquered metal floor lamp by Pierre Guariche. 15.jpg

White Plexiglas, Black lacquered metal floor lamp by Pierre Guariche,
46.85” H x 5.31” x 5.31”, year c. 1950
Demisch Danant: http://www.demischdanant.com

Judi Harvest matt black sculpture would just be a talking piece. 16

Matt Black sabbath Murano glass by Judi Harvest, 6”H x 18” x 14”D
Liz O’Brien: http://lizobrien.com

The atmosphere would be joyful and creative as we all talked about art while immersed in it totally – but I won’t tell you the details of that conversation in my
rich yellow tinted imagination.
I can keep some secrets…
The Salon Art and Design took place at the Park Avenue Armory November 8 through November 12, 2018

https://www.thesalonny.com

By art influencer and contributor Ida Ivanka Kubler

Plagiarism in the art World

Good Artists Copy; Great Artists Steal is the famous Pablo Picasso Quote. That has, however, not stopped artists getting in trouble for copyright infringement.

Recently Jeff Koons was found guilty in a plagiarism dispute with the clothing label Naf-Naf. This is not the first time Koons has been in trouble in this way.  Several lawsuits have emerged from the ‘Banality’ series, three of which he lost and a fourth which was settled out of court.

th-2  th-1

Franck Davidovici’s ‘Fait d’Hiver’ advertising campaign for Naf-Naf, 1985 / Jeff Koons, ‘Fait D’Hiver’, 1988

Richard Prince has also been sued many times for using artworks created by others. Prince’s 2014 Gagosian show ‘New Portraits’ consisted of images found on Instagram printed on large canvases, to which he then added his own Instagram-style comments. None of the original artists were asked if the photos could be used.cariou-v-prince-graduation-close-call-on-fair-use

Patrick Cariou ‘Yes, Rasta’ 2000 / Richard Prince ‘Canal Zone’  2008

Painter Luc Tuymans was found guilty of plagiarism when he used Katrijn van Giels newspaper photo of the politician Jean-Marie Dedecker. tuymans-v-giel

Katrijn van Giel – ImageDesk.be 2010 / Luc Tuymans ‘A Belgian Politician’ 2011

Copyright infringement is defined as the use of works protected by copyright law without permission or payment. Artis often win cases by asserting fair use, homage or parody. Most cases get settled out of court.

The Associated Press also settled their long-running legal battle with street artist Shepard Fairey over Barack Obamas  ‘Hope’ campaign poster.alg-poster-barack-obama-jpg.jpg

Mannie Garcia – The Associated Press 2006 / Shepard Fairey 2008

In 2014 Iris van Dongen was selected to make the official state portrait of the new Dutch King; Willem-Alexander. She based her sketch on a photo of the (then) crown prince made by photographer Koos Breukel at the end of 2012. Van Dongen received €75,000 for the commission and Breukel filed a complaint.

Iris-van-Dongen-Koos-Breukel.jpg

Koos Breukel 2012 / Iris van Dongen 2014

Cecily Brown accused Sherrie Franssen of copying her work. However, in this case, it was less straightforward. They are not exact copies but are in a very similar style, both artists are inspired by Willem de Kooning and Philip Guston.

gfhk.jpg

Cecily Brown ‘Make it Rain’ 2014 / Sherie’ Franssen ‘The Summer Went’ 2014

 

Another artist frequently suspected of stealing other peoples ideas is Damien Hirst. Accusers are John LeKay, Colleen Wolstenholme, Humbrol Ltd, Female Aboriginal Artists. During the latest Venice Biennale replicas of sculptures from other indigenous people, without referencing the culture nor the original curators.

pils.jpgColleen Wolstenholme pharmaceutical charm bracelet 1997 / Damien Hirst charm bracelet 2004

 

 

Returning art(ifacts)

Should museums send back objects? Thousands were acquired from former colonies and/or as the spoils of war. The new Grand Egyptian Museum (GEM), is calling for the return of the Rosetta Stone. It’s been displayed in the British Museum for more than 200 years.
Rosetta-Stone.jpg
China wants Imperial treasures returned and indigenous Australians are also calling for the return of objects that are at the Museum.
The longest-running dispute concerns the famous Elgin Marbles. Taken by Lord Elgin from the Parthenon in the early nineteenth- century. Greece claims they were taken illegally and should be returned for permanent display in Athens. The British Museum says Elgin acted with permission of the Ottoman Empire.
Screenshot 2018-11-14 at 09.59.29.png
Questions are also asked about artifacts with dubious provenance. European museums have to consider where their colonial-era artifacts belong. For much of the most important tribal art from Africa or South-America, one has to go to western collections.
The Neues Museum in Berlin has been asked to return the Bust of Nefertiti to Egypt. Iraqi student, Zeidoun Alkinani protested for the restitution of the Babylonian Ishtar Gate, which now resides at the Pergamon Museum in the German capital.
Screenshot 2018-11-14 at 10.04.27.png
Turkey also wants some of their heritage returned from that same museum, as well as from several other institutions around the world. It is not only museums that are coming under fire in this way. Harvard University was also asked by Turkey to return objects from the Dumbarton Oaks Research Library and their collection in Washington D.C. The National Archives in Washington D.C. owns many Iraqi Jewish artifacts.
Some even say that the Queen of England should give back the Koh-i-Noor to India, a diamond that is set in her crown and displayed in the Tower of London.
Screenshot 2018-11-14 at 09.59.09.png
It is not just concerning the art of ancient or indigenous cultures where these questions are being asked.
During World War II the Nazi’s systematically looted art from the countries they occupied and from Jewish owned art collections. Some of the stolen art which was recovered by the Allied forces was never returned to their rightful owners.
Objects plundered during more recent wars have not been relocated either. During the Gulf wars, thousands of pieces were stolen. Items from the National Museum of Iraq have ended up in the USA, with some being auctioned at Christie’s in New York.
Screenshot 2018-11-14 at 09.55.16.png
What should happen to these objects? Where should they be displayed? Should they be able to stay where they are when they have come into a collection via such ambiguous circumstances? If everything went go back to their original countries of origin our museums might get rather empty. What guidelines should we follow? How long can we still be responsible for the deeds of our ancestors?
There are no easy answers, but we absolutely need to acknowledge this. Sometimes a text explaining the provenance is enough. In other cases restitution is the only answer.

A round-up of New York Shows

despina.jpg

Derek Eller Gallery
300 Broome Street
New York, NY 10002

Despina Stokou: White Lies

After a two year hiatus, Despina Stokou is back. A lot has happened in that time. Stokou’s paintings on raw linen reflect on women’s issues in the art world. She creates a negative layer by blocking parts of her canvases. Works named after trending hashtags refer to current topics and tweets.

Screen Shot 2018-10-29 at 1.32.16 PM.pngPetzel Gallery
456W 18th Street
New York, NY 10011

Charline Von Heyl: New Work

Over twenty new large-scale canvases seem intended to grab the viewer, taking them on a journey. Much more intense, direct, and overwhelming than previous works. Still, containing a paradoxically calm and ordered movement between composition, marks, surfaces and the moods that the contrasting vibrant and subdued color combinations result in. From plant-like forms and animals, the referential exists in a harmonious imbalance with op-art patterning and near gestural areas or layers.

precursePark Place Gallery
661 Park Place
Brooklyn, NY 11216

Precurse, a group show curated by John Hodany.
Works by: David Edward Allen, Lucio Auri, George Barber, Clara Bausch, Melissa Brown, Bridget Caramagna, Lizza May David, Jay Davis, Benjamin Degen, Sven-Ole Frahm, Chie Fueki, Hope Gangloff, Aiko Hachisuka, Mani Hammer, Tanja Hehmann, John Hodany, Colin Hunt, Hidenori Ishii, Marina Kappos, Josh Marsh, Yuri Masnyj, Julia Muenstermann, Dylan Musler, Richard Neal, Janne Raisanen, Zoe Pettijohn Schade, Eric Schnell, Carlos Silva, Raaf Van Der Sman, Dominik Steiner, Witte Wartena, Scott Weiner, Colby Cannon Welsh

One weekend show with impressive and very diverse small-scale works by 33 Berlin and NYC artists. Hodany who lives part-time in both cities organized an exhibition of the same name in Berlin in 2008. No longer on display but lookup the artists. My favorites: Julia Muenstermann,  Carlos Silva and Witte Wartena.

grimmGRIMM New York
202 Bowery
New York, NY 10012

Miguel Ybáñez: Time is running out, silence is here to stay
Ciarán Murphy: Hundreds of Nature

Gimm gallery presents Ybáñez’ in his first US solo exhibition. They present his Sculptures and paintings as well as the artist’s books. Also on show are small works by Ciarán Murphy’s. Both artists seem to take you to strange yet familiar places. Playing with abstraction and different materials.

44962480_316874522442677_2899153614004027392_n.jpg

The Guggenheim
1071 5th ave, New York, NY
Between 88th & 89th street

Hilma af Klint: Paintings for the Future

Af Klint’s 100-year-old works of art are mesmerizing. She claimed to channel directives of “higher beings” telling her what to paint. A subdued color palette rarely threatens to break out of the flat surfaces of the canvases. Dynamic compositions spin, vibrate, shimmer, arc, and expand along the complex axis of her obscure Theosophical conceptions. As is the case with all truly transcendent work (pun intended), it’s alive, and speaking to souls everywhere.

45111513_2304484296467645_8268855313831034880_n.jpgMitchell-Innes & Nash in Chelsea
534 W 26th Street,
New York, NY 10001

William Pope. L: One thing after another (part two)

A clear contrarian and deeply personally cathartic group of works. Composed of torn up magazine pages and reprinted antique photographs. Pope L. has collaged into images of himself in disguise. Some claim to have his semen, hair, and other bodily fluids as materials in their construction. Wall texts are disjointed poems or haikus disclaiming a deconstructed or absurd correlation between color theory, astrology, numerology, and racial definitions. A paradoxically, ugly and beautiful body of work.

-Nikolas Soren Goodich and Laura Lee Taylor

FIAC 2018: Parisian art week track record

The annual international contemporary art fair (FIAC) opened its doors on 18 October at the Grand Palais, and marked the beginning of Parisians celebrations, offering to its visitors a rather pleasing edition.

Overview of what has marked us…

First of all, don’t be intimidated by figures, which can make you dizzy: 193 galleries from 27 different countries and inaccessible prices for ordinary people, as this sublime Joan Miro’s bronze sculpture Oiseau Solaire, sold by the Lelong gallery (Paris) for 6 million euros according to the Quotidien de l’Art. The major international galleries have done all that they can, offering for some, magnificent stands like the Marian Goodman gallery and Templon Gallery. The Americans, still tenors of the market, are back. Many Brazilians and South Americans in this 45th edition, that even exposes a Peruvian gallery, the «80 m2 Livia Benavides» gallery (Lima), in a wonderful geometric scenography.

Favorite of this edition: The Parades For Fiac festival, at the intersection of music, contemporary dance, performance, theater and poetry, and dedicated to performative practices and dialogue between disciplines in contemporary art which continues to attract its audience.

Screenshot 2018-10-24 at 10.30.23.pngWith their installation To Whom It May Concern, the duo Elmgreen & Dragset presents one hundred grounded sea stars on the la place Vendôme, in Paris. ©François Guillot/Agence France-Presse 

Let’s have a look at the parallel fairs …

The Fiac is indeed a series of events, conferences, dinners, and previews. For about fifteen years, “satellite” fairs have been involved. And in the game of “Off” fairs, Parisians and the foreign public have something to get lost.

Mansions are assaulted. In the area of Monceau, Asia Now houses more than 30 galleries from China, South Korea, Hong Kong, Japan, but also the Philippines or Thailand, for a more convincing second edition. Without offering an exhaustive panorama of Asian creation, the visit is still instructive. Tayeba Begum Lipi’s razor-sharp underwear, who lives in Bangladesh and symbolizes woman conditions by these dangerous objects. But the best paintings of the fair go to the Filipino painter Gaston Damag. He brings out the ancient sculpture of his country, but in the state in which it is today: counterfeit, misunderstood, an object of tourism consumption.

Nearby, rue de Vigny, we discover Paris Internationale, a third fragile edition, but which has the merit of honoring “non-profit” areas and artists run spaces. But our real “crush” is for Bagus Pandega’s digital work at Roh Projects.

The Opera area is occupied by the fourth edition of the Outsider Art Fair. We would like to welcome a progress, but this version is reminiscent of the previous one where the best is next to the mediocre.

How not to stop at Private Choices? A high-quality selection performed by the collector Nadia Candet, with pieces presented by Jeanne Susplugas or Boris Chouvellon.

Screenshot 2018-10-24 at 10.18.52.png
.Private Choices ©
MF

In the Marais, the YIA (Young International Art Fair) keep going its dangerous fall into nothingness. You have to cling to find pieces drowning in a maze of mediocrity. However, some pieces can be kept: Leo Dorfner‘s works, or stands from the Geneva gallery Annalix Forever and the young Parisian Segolene Brosselette.

And finally, the very last one: Welcome Art Fair, which was born in 2018 in the Marais and launched by the gallerist Olivier Robert, who pretends to “innovate”. Impossible to understand what is this innovation, this novelty. He claims intimacy (20 galleries) and enabling experimentation while emphasizing the plurality of artistic approaches that galleries support. But the one that replaces the sadly missing Variation Art Fair, which had the merit of exclusively showing digital art and video, fails to achieve its goals. However, this first edition still offers museum-quality pieces like those of Léa Le Bricomte.

By Madeleine Filippi

 

Gender quotas at The Royal Academy

The Royal Academy in London promises an equal amount of naked men and women. That is to say depicted in the works in the exhibition ‘The Renaissance Nude’, in March next year. The idea for the show was conceived three years ago, and it will be in partnership with the Getty Museum in LA. 
sebastiaSaint Sebastian by Agnolo Bronzino

 

But since starting the planning of the exhibition attitudes have changed. Institutions have re-examined their relationship and treatment of women following sexual abuse allegations. 
Screen Shot 2018-09-05 at 17.04.54.pngVenus Rising from the Sea by Titian
This show will reflect art in the #MeToo era. It follows a period of deep crisis in the arts. Television, film, theatre, music and the visual arts all had to have a new look at how they treat and portray women. 
This decision marks the first time the R.A. has introduced a gender quota for any of its exhibitions. It has not done an exact count, but the split will be almost equal. 
Art institutions have been targeted by feminist campaigners for a long time. Critics point out the dire shortage of women artists in museums collections. While there is a high proportion of female nudes on the walls. The most prominent of these critics are the Guerrilla Girls. Their 1989 work entitled ‘Do Women Have To Be Naked To Get Into the Met Museum’, is now held by the Tate Modern. It states that less than five percent of the work in the New York museum’s modern art section is by women. However, 85 percent of the nudes on exhibit are female. London’s National Gallery admitted this year that less than one percent of its works are by women.
The RA.’s show is assembled to track the development of the “idea and ideal” of the nude throughout Europe. It will have about 85 works created between 1400 and 1530 of both religious and secular art. It will include top works by Titian, Raphael, Michelangelo, Leonardo, Durer, and Cranach. 
 Screen Shot 2018-09-05 at 17.12.15.pngA Faun and His Family With a Slain Lion by Lucas Cranach
Dr. Per Rumberg is the head curator of the show. He said he and his colleagues had been eager from the start to have an equal sex-balance. The organizers also sought for a balanced mixture of men and women scholars to work on the exhibition.
Throughout art history, there are more depictions of naked women than men. In this period substantially more. Would, therefore, the quality of the show not be compromised. Organizers assure that it won’t and that there is enough to choose from. The exhibition will have some real masterpieces on show. It is interesting to examine the differences in the way the male and female bodies are portrayed.
The Academy’s decision of a gender quota was confirmed on the launch day of the 2019 season. Tim Marlow the artistic director, said he had found it a very interesting exercise. He observed how the exhibition had changed meaning during the current ‘cultural climate’.  
Gender quotas will not be obligatory in other exhibitions. Forthcoming shows include Oceania, Antony Gormley, Lucian Freud, Felix Vallotton and Bill Viola.