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Richard-Hambleton-Catalog-1.Pdf
REFLECTIONS Now the sine qua non of mega-collectors and elite auction houses around the world, the once subversive “Street Art” that originated in New York City in the 1980s with such artists as Keith Haring and Jean Michel Basquiat has redefined where and how we look at art. Today, in the streets and in contemporary galleries, names such as Banksy, Stik and Shepard Fairey are familiar to hip, younger collectors. With fairs and festivals from New York to the Greek Islands and beyond, “Street Art” has become a global phenomenon. The wave of creativity that began to be noticed thirty-five years ago in New York’s East Village and brought renown to such ‘tags’ as “Samo,” “Crash,” “Daze” and “Lady Pink” was a fertile, drug fueled period of spray and splatter. Julian Schnabel had begun to make headlines for the upstart Mary Boone Gallery as Ronald Reagan became President and scientists raced to contain the spread of a mysterious and deadly new virus (HIV Aids). It was into this environment that Canadian artist Richard Hambleton arrived. Hambleton’s first stop in America was the west coast of the United States. He used funds from a grant to visit cities like Seattle and San Francisco, where he caused an uproar with his controversial “Mass Murder” series. The artist peppered the sidewalks with white chalk outlines of bodies – like those a police coroner sketches around the victim of a crime – the bloodier looking the better. The authorities were not amused. He was told also, that he was ineligible for future grant money by his donors. -
Frameworks for the Downtown Arts Scene
ACADEMIC REGISTRAR ROOM 261 DIVERSITY OF LONDON 3Ei’ ATE HOUSE v'Al i STREET LONDON WC1E7HU Strategy in Context: The Work and Practice of New York’s Downtown Artists in the Late 1970s and Early 1980s By Sharon Patricia Harper Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of the History of Art at University College London 2003 1 UMI Number: U602573 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U602573 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract The rise of neo-conservatism defined the critical context of many appraisals of artistic work produced in downtown New York in the late 1970s and early 1980s. Although initial reviews of the scene were largely enthusiastic, subsequent assessments of artistic work from this period have been largely negative. Artists like Keith Haring, Jean-Michel Basquiat and Kenny Scharf have been assessed primarily in terms of gentrification, commodification, and political commitment relying upon various theoretical assumptions about social processes. The conclusions reached have primarily centred upon the lack of resistance by these artists to post industrial capitalism in its various manifestations. -
Doyle Auction House, “Richard Hambleton”
by Angelo Madrigale NEW YORK, NY -- His early years in New York brought about his To call artist Richard Hambleton famed Shadowman series, which became his best- mercurial would be a grand known work. Akin to the Image Mass Murder series, Hambleton’s Shadowmen were life-sized understatement. inky black abstract figures, placed strategically throughout downtown New York. Photographer Having passed away at age 65 just this past October, Hank O’ Neal deftly described them as “silhouettes Hambleton leaves behind a legacy of important of a nuclear blast,” the figures were imposing and work that would come to set the foundation for often frightening, lurking in alleyways, and even what we now call Street Art, though his personal confusing cabbies on the Bowery, mistakenly life was sadly marred with addiction and disease. thinking their splattered outstretched arms might Hailing from Vancouver, Hambleton made a stop be hailing a ride. Many coming out of CBGBs and in San Francisco before finally settling into the other late-night haunts found themselves victims of Lower East Side in 1979. What he brought with him the jump-scares Richard’s foreboding Shadowmen to New York was the beginning of a monumental caused. Hambleton’s need to create these figures body of work that was confrontational, challenging, en masse shared a compulsion with the growing and for many, overwhelmingly fascinating, with a graffiti scene coming out of the Bronx and other practice that encompassed illegal public art as well boroughs, which led to friendships with pioneering as a more traditional studio output. graffiti artists such as Chris “Daze” Ellis, who rented a studio space from Richard from 1983- Richard Hambleton’s early public work included 1988. -
Richard Hambleton Preface
A selection of my most recent writing for Munich’s Museum of Urban and Contemporary Art: Preface of our Richard Hambleton retrospective. Richard Hambleton is a foundational urban artist in more than one sense. The mysterious ferocity of this pioneering vandal’s interventions has set the tone for street art’s brazen approach since. His preference for anonymity in the appropriation of public space consciously marginalised his own identity as an artist; much of his elusive life was spent, quite literally, in the shadows. Both his themes and methods move along outer boundaries and reflect a figure well-acquainted with urban abyss. The liminal imagery of Hambleton’s mischievous street art conjures the very real darkness underlying mass spectacle; it generated feedback with a paranoia that, to this day, echoes across the public landscape. The warmth and enthusiasm with which collectors overseas contributed to our curation has enabled us to retrace the artist’s creative phases through a life that drifted between rockstardom and the void. Our retrospective encompasses the full range of Hambleton’s oeuvre, from 1983 to his death in 2017. His earliest public interventions, pretend crime scenes, spun into a performance that teased the limits of law, with Hambleton hanging up wanted posters that blurred into a murderous detective chasing himself. The victim outlines soon morphed from pavements onto city walls in his I Only Have Eyes for You series, ghost-like paste works that French street artist JR credits as an inspiration for his own renowned projects. The paper on which Hambleton printed his life-size likeness faded, leaving behind a pale trace – a white shadow. -
THE ART of the DEAL Growth Was Strongest at 10%
TUESDAY, 13 NOVEMBER 2018 dealers at the very highest end (sales over $50 million), sales THE ART OF THE DEAL growth was strongest at 10%. No matter the market it seems, the luxury buyers we need to attract want quality trophy assets and that's where returns are made for investors. We don't have to look far for an example. Modigliani may never have risen to Group 1 heights when racing in John Magnier's colours but little did we know, Modigliani still had a win in him for John. John Magnier bought his masterpiece Nu CouchJ (Sur Le C^tJ Gauche) for $26.9 million in 2003, stared lovingly at it on his wall for 15 years, and then sold it this year for $157.2 million. Even No Nay Never's stud fee has not appreciated as much. Who knew that the best pinhook of 2018 actually took place in Sotheby's? In uncertain times for racing, what art can teach us is where to go to attract further global demand for our luxury product. Unsurprisingly, for fresh investment to drive growth, we need to go east. In 2006, Asia made up less than 5% of global buyers. >Girl With Balloon= transformed into >Love is in the Bin= | Getty Images Today, Sotheby's report that Asian buyers account for more than 35% of their global sales by value, and the amount they by Jack Cantillon spend has increased by 50% in the past five years alone. Think of "Fair warning--are you sure madam? Last time then. -
Projecting an Endearing Combination of Self
MAY 2009 Jean-Michel Basquiat, untitled, 1981, ink, crayon, and acrylic on paper, from a set of fourteen drawings, 30 x 22” each. Projecting an endearing combination of self-effacement and plantation cynicism, Shaquille O’Neal, the #1 NBA draft pick, said in a recent TV profile, “I’ve got three different smiles: the $1 million smile, the $2 million smile, and the $3 million smile.” It went beyond playing the game: with a $40 million contract and limitless prospects for endorsement, O’Neal was a winner. His situation seemed to shed light on the art world’s own black- player-of-the-moment. For there is no doubt that the most bizarre aspect of the recent Jean-Michel Basquiat retrospective at New York’s Whitney Museum of American Art was its aura of sport. Analysis of the work was put on hold, pending results of two different horse races. First: could Basquiat’s prices hold with this much exposure? Answer: yes. The match race between Basquiat and Julian Schnabel continues. At the big New York and London auctions following the opening, Schnabel’s best was $165,000; a Basquiat made $228,000. His prices are at 50 or 60 percent of the earlier bull market and steadily rising. His work has become more, rather than less, financially interesting now that its obsessions with colonialism, creolism, and history can be plugged into the market’s three-year-old concern with multiculturalism. Second: Would jamming one hundred pieces together help or hurt his critical reputation? Answer: maybe; the air hasn’t cleared. -
Parallel Tracks: Three Case Studies of the Relationship Between Street Art and U.S. Museums in the Twenty-First Century
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 11-2-2018 Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century Erin Rolfs Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Art Practice Commons, Museum Studies Commons, and the Urban, Community and Regional Planning Commons Recommended Citation Rolfs, Erin, "Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century" (2018). LSU Master's Theses. 4835. https://digitalcommons.lsu.edu/gradschool_theses/4835 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 11-2-2018 Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century Erin Rolfs Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Art Practice Commons, Museum Studies Commons, and the Urban, Community and Regional Planning Commons PARALLEL TRACKS THREE CASE STUDIES OF THE RELATIONSHIP BETWEEN STREET ART AND U.S. MUSEUMS IN THE TWENTY-FIRST CENTURY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Erin Rolfs B.A., Louisiana State University, 2006 December 2018 Table of Contents Abstract ................................................................................................................................................................ -
Woodward Gallery Established 1994
Woodward Gallery Established 1994 Richard Hambleton 1954 Born Vancouver, Canada. 1975 BFA, Painting and Art History at the Emily Carr School of Art, Vancouver, BC 1975-80 Founder and Co-Director “Pumps” Center for Alternative Art, Gallery, Performance and Video Space; Vancouver, BC; The Furies: Western Canada’s first punk band played their first gig at Richard Hambleton’s Solo Exhibition, May, 1976. Lives and works in New York City’s Lower East Side. SOLO EXHIBITION S 2013 “Beautiful Paintings,” Art Gallery at the Rockefeller State Park Preserve, Sleepy Hollow, NY 2011 “Richard Hambleton: A Retrospective,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Phillips de Pury and Giorgio Armani at Phillips de Pury & Company, New York 2010 “Richard Hambleton New York, The Godfather of Street Art,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani at The Dairy, London “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani at the State Museum of Modern Art of the Russian Academy of Arts, Moscow “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani, Milan “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with Giorgio Armani, amFAR Annual Benefit, May 20, 2010 2009 “Richard Hambleton New York,” presented by Andy Valmorbida and Vladimir Restoin Roitfeld in collaboration with -
Recent Developments a 'Unique' Victory for Iranians: Rouhani
WWW.TEHRANTIMES.COM I N T E R N A T I O N A L D A I L Y 16 Pages Price 20,000 Rials 1.00 EURO 4.00 AED 39th year No.13242 Sunday OCTOBER 28, 2018 Aban 6, 1397 Safar 18, 1440 Larijani congratulates Zionist regime seeks Esteghlal set to sack Director Ghaffarzadeh new Iraqi PM division among Muslim Winfried Schaefer: working on co-production 2 countries 2 report 15 between Iran and Turkey 16 Iran-EU financial channel to be See page 2 opened soon: CBI governor ECONOMY TEHRAN – Governor of bilateral monetary treaty between the deskof the Central Bank of two sides. The treaty aims to help Iranian Iran (CBI) announced on Saturday that a and European companies and entrepre- new financial channel is soon to be opened neurs to establish and maintain business between Iran and the EU nations, Tasnim relations with each other. news agency reported. EU powers, namely France, Germany Abdolnaser Hemmati made the announce- and Britain, and Iran have been in talks ment on social media, “The details of the Euro- over launching this payments channel pean Special Purpose Vehicle (SPV) for trade for months, which would enable Euro- between Iran and the EU were discussed at pean companies to trade with Iran as a meeting in Brussels last week.” part of efforts to defy U.S. sanctions The official emphasized that the dis- and keep alive a landmark nuclear deal cussed financial channel is in fact some sort with Tehran. WTTC ranks Iran’s tourism 20th Recent developments among 185 in 2011-17 TOURISM TEHRAN — Iran’s investment that is based on absolute growth deskbudding travel sector has seen between 2011 and 2017. -
Banksy. Urban Art in a Material World
Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition -
Paul Gough Prankster, Polemicist, Painter, Banksy Is Arguably the World
Gough, Paul, “Bansky: What’s the fuss and why does it matter?” in Joseph M. Siracusa (ed.) Humanities, Arts and Social Sciences: It’s everyone’s business, Routledge. 2016, pp. 1-13. ISBN 978-1-138-20555-0 [email protected] http://www.paulgough.org “Bansky: What’s the fuss and why does it matter?” Paul Gough Prankster, polemicist, painter, Banksy is arguably the world’s most famous unknown street artist. To the press and public, the question of Banksy’s identity is more intriguing than the legitimacy of his work and the price that celebrities, dealers and other wealthy patrons are prepared to pay for it. His greatest triumph has been his ability to keep that identity swathed in mystery, even though the artist’s name is said to be in the public domain beyond all reasonable doubt, readily available on Wikipedia and subject to myriad press revelations in the past five years. Anonymity is less important than the impact of his art, which is more than likely created, fabricated and situated by a group of collaborators. For this reason alone Banksy might best be 1 understood as a ‘he’, ‘she’ or even ‘they’, but for all intents and purposes Banksy is widely-held to be a white male, now in his early to mid-forties, born in Bristol, western England and brought up in a stable middle class family, a pupil from a private cathedral school and a one-time goalkeeper in the infamous Sunday soccer team The Easton Cowboys. At least that is what we think we know. -
Contents Issue 2460
Follow us on Twitter Antiques Trade Gazette is published and originated by Metropress Ltd, Contents@ATG_Editorial Issue 2460 trading as Auction Technology Group Ltd Read top stories every day on our website antiquestradegazette.com auctiontechnologygroup.com Find us on: Follow us on Twitter Chief Executive Officer John-Paul Savant Chief Operating Officer Richard Lewis @ATG_Editorial Find us on: Publishing Director Matt Ball Editor-at-Large Noelle McElhatton Deputy Editor, News Laura Chesters Deputy Editor, Features & Supplements Roland Arkell In The News page 4-5 Hardstone is Commissioning Editor Anne Crane Chief Production Editor Tom Derbyshire Una and the Lion proof set returns easy sell Digital & Art Market Editor Alex Capon Planning change threat to Portobello A pietra dura clock Reporter Frances Allitt and other gems Marketing Manager Beverley Marshall Iraq veteran’s Military Cross sold from a Fife house Print & ProduCtion Director Justin Massie-Taylor page 16 SUBSCRIPTIONS ENQUIRIES News Digest page 8-9 Polly Stevens +44 (0)20 3725 5507 Includes our pick of the week [email protected] picture by Gail McGuffie EDITORIAL +44 (0)20 3725 5520 Previews page 12-13 [email protected] ADVERTISING +44 (0)20 3725 5604 Auction Reports [email protected] AUCTION ADVERTISING HAMMER HIGHLIGHTS Charlotte Scott-Smith +44 (0)20 3725 5602 Contents from Balcarres House page 16-17 [email protected] NON-AUCTION ADVERTISING BOOKS AND WORKS ON PAPER Dan Connor +44 (0)20 3725 5605