Today there appeared on the front page of the New York Times an article, “Valuable as Art, but Priceless as a Tool to Launder Money” (click to read). About a month ago we sent out a commentary, “The Raid: A Highly Regulated Art Market in Sight,” (click to read) with a N.Y. Times article attached, “Agents Descend on New York Gallery, Charging its Owner” (click to read).
Asher Edelman's Economic Reality Battles Fantasy
The banking and mortgage placement community is earning more than ten times the norm on new mortgages entered into today!
In April of 2008 we put forth a plan to improve the economy through profitable government assistance to homeowners. Today, August 13, 2012, the plan was put forward under different authorship. Regardless of authorship one or another variant of this plan needs to be instituted now!
Of the €400 billion plus in rescue funds loaned to Greece all but €15 billion went to assist the banks. Almost all of what was received by the banks was recirculated to the sovereign coffers. The emergency loan pledged to Spain of up to €120 billion is earmarked to aid the banks who, in turn, will re-lend most of it to the Spanish government. The same will hold for Italy and the myriad of nations both within and outside the Eurozone including the internal fiddling of the U.S. Fed.
On May 5, the Edelman Arts gallery on Manhattan’s Upper East Side opened its sixth exhibition of works by the English-born, Berlin-based artist Christopher Winter. Comprised predominantly of acrylic-on-canvas works from 2012, the show, as its title “Unnatural History” suggests, does much to distort — both subtly and explicitly — the set of expectations that we as viewers bring to works of art. Whatever your perception of reality may be, you’d do well to discard it at the door. To enter into the world of Winter’s art is to actively accept constant flux, an instability predicated on the artist as conjurer of ritualistic, paranormal phenomena, mischievously experimenting with the laws of nature. Continue Reading