In the midst of gearing up for next week big event in South Florida, Art Miami and its sister fair CONTEXT have announced their expansion north to New York City with CONTEXT NY from March 5 to 8, 2015. With a plan to feature 80 international galleries, the fair will be held at Pier 36, coinciding with the Armory Show. “CONTEXT NY will provide an opportunity to present our unique platform for emerging and mid-carrier artists in a re-energized market,” said director Julian Navarro, who also helms CONTEXT’s Miami edition, which originally launched in 2012.
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Those of us already preparing for Miami Beach fair week are busy taking stock of all the essentials — sunscreen, versatile day-into-eveningwear, a laminated who’s-who guide of various artworld-istas — but one such item may already be waiting for us when we get there. For the ninth year, Art Production Fund will be producing its Artists Towel Series, as part of the Works on Whatever (WOW) project. Designs by James Rosenquist and Glenn Ligon will debut at the Miami Beach’s Standard Spa next week, concurrent with the run of Art Basel in Miami Beach, from December 2 to 7. For those looking to sun in style — and/or, to sun at all without hefting a beach towel on a plane, because really now — check out Ligon’s towel above and Rosenquist’s design below.
The Armory Show is gearing up for its 17th edition, from March 5–8, 2015, and today that means the release of their exhibitor list. Sporting a total of 197 galleries and spanning 28 countries, the show is split into two main areas: Pier 92, for Modern art (56 galleries), and Pier 94 for Contemporary, which includes the main exhibitors section (105 galleries), the Focus section for Middle Eastern, North African, and Mediterranean art (15 galleries), and the second edition of Armory Presents (21 galleries), where galleries less than ten years old present single or dual artist booths. Check out the full list of exhibitors, below.
Collector Stefan Simchowitz (stefansimchowitz) posted this shot of model Emily Ratajkowski (of “Blurred Lines” fame), who was apparently pouting because she couldn’t keep this Zachary Armstrong piece — or at least, that’s how we’ve chosen to interpret the caption, “This is what happens when you can’t get something you realy [sic] want,” lest we realize this “wanting” isn’t necessarily directed toward the artwork at all. Armstrong (z___a), meanwhile, regrammed with the caption “#careerpeaked.”
Last night, the Solomon R. Guggenheim Foundation announced the winner of its tenth biennial Hugo Boss Prize as Hong Kong–born, New York–based multimedia artist Paul Chan. Chosen from a shortlist of Camille Henrot, Hassan Khan, Sheela Gowda, and Charline von Heyl, Chan will receive a $100,000 stipend, as well as an exhibition at the Guggenheim in spring of 2015. “Paul’s protean ability to work across multiple platforms from his videos to his more elegiac light pieces and community-based performances is what particularly stood out,” said Guggenheim deputy director and chief curator Nancy Spector, as reported in the New York Times. Chan’s work has been featured in the 2006 Whitney Biennial, the 2007 Istanbul Biennial, and the 2009 Venice Biennale; he is also known for founding publishing house Badlands Unlimited, his stagings of “Waiting for Godot” in the wake of Hurricane Katrina, and his overall provocative sociopolitical commentary. (If you’re keen to know more, check out this in-depth — if old — interview from Bomb Magazine.)
Earlier today at Sotheby’s New York’s American Art auction, a Georgia O’Keeffe painting titled “Jimson Weed/White Flower No. 1″ sold for $44.4 million, a sum more than three times the standing record for a work by a female artist. (That distinction was previously held by Joan Mitchell’s “Untitled,” which garnered $11.9 million at Christie’s New York this past May.) Plus, this price is more than seven times that of highest paid for an O’Keeffe painting at auction prior — that is, $6.2 million at Christie’s New York in May of 2001. This sale is not without some controversy, however: The painting, along with two additional O’Keeffe works included in the auction, comes courtesy of Santa Fe’s Georgia O’Keeffe Museum, which announced in September plans to sell off several works — a risky move amid all of the harsh criticism following deaccessions from the Delaware Art Museum and the Maier Museum of Art. At the time, the New York Times reported that “Jimson Weed” was estimated at around $10 to 15 million, already a substantial jump from its 1994 price of $1 million; here’s hoping the surprise profit boon will save the museum from having to part with any additional works.
The Park Avenue Armory announced its 2015 program this morning, including a massive, self-titled installation by Philippe Parreno — his largest ever in the U.S. — co-curated by Alex Poots and Hans Ulrich Obrist, which will be on view from June 10 to August 2. Other highlights include “Tree of Codes,” a new Jonathan Safran Foer–inspired ballet featuring visual design by Olafur Elaisson, from September 14 to 22; the premiere of Laurie Anderson’s latest performance piece, “Language of the Future: The Line,” from October 2 to 4; and “Goldberg,” pianist Igor Levit’s reimagining of J.S. Bach’s “Goldberg Variations” paired with a visual piece by Marina Abramović, from December 7 to 19.
Marlborough Chelsea announced the addition of two artists today, both of whom were included in the 2014 Whitney Biennial: Keith Mayerson, whose paintings engage with American history by incorporating scenes from his own life as well as those of political and pop cultural icons, and Michel Auder, who through his six-decade career has become “nothing short of a titan of video art,” according to Marlborough Chelsea director Pascal Spengemann.
As part of In the Air’s intrepid art world coverage, we’re continuing with our exciting new feature that answers the age-old question, “Is it an Onion article, or just the art world?” Because sometimes these headlines just seem too good to be true, but then they are, and that’s even better. (Check out our last installment, regarding Maurizio Cattelan’s recent show at Artissima, titled “Shit and Die.”) Today, however, we’re here to talk about the fact that Italian performance artist Sven Sachsalber will spend two days trying to find a needle in a haystack at the Palais de Tokyo — literally. Repeating a performance held at London’s Limoncello Gallery in 2012, the artist will spend from noon through midnight sifting through a large pile of straw, looking for a needle that has been placed therein; though the performance is only billed to last for 48 hours, the museum acknowledges that it may well take longer.