In the Air – Art+Auction's Gossip Column
With seven new major residential developments and a new Second Avenue subway stop in the works, the quiet neighborhood of DUMBO is bracing for a major culture shift. Meanwhile, the management company Two Trees, founded in 1968, is trying to preserve the area’s creative community. The real-estate company has awarded 11 artists and 6 cultural organizations subsidy rent in their building. These winners will join over 50 other artists and groups in the Two Trees space, who also earned their spot because of their social involvement in Brooklyn. See below for a list of the new residents. Continue Reading
ARTINFO has learned that the seller of “The Pointing Man,” the great Alberto Giacometti bronze sculpture that will be offered at Christie’s New York on May 11 with an estimate in the stratospheric region of $130 million, is the reclusive New York real estate magnate Sheldon Solow. According to a knowledgeable source, Solow acquired the hand-painted Giacometti bronze from the Sidney Janis Gallery in 1970. Continue Reading
The Barnes Foundation is set to merge with that of Violette de Mazia, a former colleague of Albert C. Barnes, according to the Philadelphia Inquirer. The De Mazia Foundation, currently located in the Bryn Mawr suburb of Philadelphia, will contribute an $8 million endowment to establish the Barnes–de Mazia Education Program at the Barnes headquarters. This new venture will continue to support de Mazia’s arts education outreach programs with veterans, prisons, and public schools; in addition, it will fund scholarships, a research fellowship, and an annual lecture. Continue Reading
As the Brooklyn Museum gears up for its fifth Annual Artists Ball, honoring retiring museum director Arnold Lehman, we got a preview of the artist-curated tables. Check out the photos below — and look out for more coverage tomorrow. For starters, above is ZBehl’s “The Female Trickster’s Chariot,” which features large-scale, hand-painted plywood figures, which represent a new archetype for female artists.
Occupy Museums are an energetic bunch. Many of their protests are on newsworthy subjects, and they are a big part of the post-Occupy activist ecosystem in New York. I’ve covered, among other things, their work with Gulf Labor’s Gulf Ultra Luxury Faction (G.U.L.F.), whose protests at the Guggenheim have become a part of the public narrative on the controversy surrounding the planned Guggenheim Abu Dhabi. However, their action yesterday in front of the Whitney’s new Renzo Piano building in Lower Manhattan, regarding the danger posed by a natural gas pipeline nearby, is based on an irresponsible and inaccurate assessment of natural gas infrastructure.
In another sign of the market’s bubbling strength, Christie’s announced it will offer Alberto Giacometti’s life-size bronze “Pointing Man (L’Homme au Doigt)” from 1947 on May 11 in New York, along with an unpublished estimate in the record-breaking region of $130 million. Of the six works in the famed edition, as well as one artist proof, this example is believed to be the only one that is hand-painted by the artist. Five of the six in the edition are tucked away in museums or private foundations, including the Museum of Modern Art in New York and the Tate Modern in London. Only two are left in private hands.
Dick Diver — an Australian pop quartet named after a character from F. Scott Fitzgerald’s “Tender is the Night” — recently released their third album, “Melbourne, Florida,” which has already landed a sure spot on our Best of 2015 list. And now, they’ve debuted a video for the song “Year in Pictures” (below), which features the band showing off their exceedingly unmonumental golf chops. The clip is equal parts goofy and nostalgic — the footage resembles Super 8 shot in the early ’80s, and it’s full of flubbed putts and performance anxiety. If you like what you see, stay tuned; the band is due to announce summer tour dates in the U.S. shortly.
Yesterday afternoon, a crowd of over 100 gathered in Times Square to stage Tania Bruguera’s “Tatlin’s Whisper #6.” Familiar faces from the art world, immigrant-activists from Queens, as well as a few curious tourists formed a ringed circle around the small soapbox. The artist, however, was not present. At the end of last year, Bruguera returned to Cuba to test the freedom of expression in her home country, planning this same piece (originally staged at the Havana Biennial in 2009) in the capital’s Plaza de la Revolución. This artistic action, however, landed Bruguera in police custody. Though she has since been released, the artist still faces charges and is detained without a passport.
Many Northeast out-of-towners who trekked down to Texas for Dallas Arts Week felt pretty much at home, considering the number of New Yorkers who had been imported for the festivities. At Dallas Contemporary, Brooklyn resident David Salle showed a series of large-scale paintings populated by naked women and wonky ceramics; fellow New Yorker Nate Lowman had a solo in the adjoining gallery, the centerpiece of which was a massive assemblage of 50 shaped-and-stained canvases outlining the United States. A few nights after that opening, a charity gala and auction for the MTV RE:DEFINE fundraiser featured a socialite-confounding double-drumset performance by I.U.D., a two-piece composed of New Yorkers Lizzi Bougatsos (pictured above) and Sadie Laska. And on Saturday evening, And Now gallery presented a small solo show by Dan Colen: A coatrack hung with toys, chains, leather straps, and other vaguely S&M-y accoutrements, and a series of new print-on-canvas paintings built from high-res scans of clothing catalogs. (One of those is below). Add to that the number of New York galleries prominently showing at the Dallas Art Fair — from Marlborough Chelsea to Zieher Smith & Horton — and the Big D could start to seem like a Texan version of NYC, at least for a few days.