JEAN-MICHEL BASQUIAT New York, NY 10014
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
State of the Art New York, Das Epizentrum Der Kunstwelt
Kunst. Werte. Leidenschaft. Galerienszene in Chelsea, Jean-Michel Basquiat im Marktcheck, George Brecht auf der Flucht State of the Art New York, das Epizentrum der Kunstwelt AC0120_001 1 30.03.20 14:28 BRANDNEU DER ARTPRICE KUNSTMARKTBERICHT 2019 Der Kunstmarkt wächst weiter: 2019 wurden weltweit ganze 550.000 Lose versteigert, die höchste jemals ver- zeichnete Anzahl von Kunstwerken, die in einem Jahr verkauft wurden. In Bezug auf den Umsatz verzeichnete der Kunstmarkt einen Rückgang von -14%, verzeichnete aber dennoch ein eindrucksvolles Gesamtvolumen von 13,3 Milliarden US-Dollar. Wichtigster nationaler Markt ist nach wie vor die USA (35%), dicht gefolgt von China (31%). Die Rate weltweit unverkauf- ter Lose blieb mit 38% vollkommen stabil, ebenso wie der Gesamtpreis- index, der um + 0,48% stieg. Diese und viele weitere Informati- onen fi nden Sie im Detail im Kunst- marktbericht 2019 von Artprice. Ab sofort auf Artprice.com als kostenloser Download verfügbar! WELTMARKTFÜHRER FÜR KUNSTMARKTINFORMATIONEN T : +33 (0)4 72 42 17 06 Artmarket.com, Geschäftsbezeichnung Artprice.com, ist im Eurolist by Euronext Paris (PRC 7478-ARTF) geführt AC0120_002 2 30.03.20 13:34 EDITORIAL/CONTENT Kniefall und Verfall In Zeiten von Corona verlagert sich das Galerien und Auktionshäuser ist dies Geschäft mit der Kunst ins Internet. New York. Die USMetropole mit ihrem Der Anbieter Artsy boomt und lässt Wettbewerbslärm bildet das Epizent- sich seine Dienste − laut einem inves- rum des Kunstmarkts und der künst- tigativen Artikel von Paddy Johnson lerischen Produktion. Auf die enorme in „The Art Newspaper“ − noch mehr Dichte an überall in New York verstreu- als vor der Krise kosten. -
Oral History Interview with Patricia Faure, 2004 Nov. 17-24
Oral history interview with Patricia Faure, 2004 Nov. 17-24 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Patricia Faure on November 17, 22, 24, 2004. The interview took place in Beverly Hills, California, and was conducted by Susan Ehrlich for the Archives of American Art, Smithsonian Institution. Patricia Faure and Susan Ehrlich have reviewed the transcript and have made corrections and emendations. The reader should bear in mind that he or she is reading a transcript of spoken, rather than written, prose. Interview MS. SUSAN EHRLICH: This is Susan Ehrlich interviewing Patricia Faure in her home in Beverly Hills, California, on November 17, 2004, for the Archives of American Art of the Smithsonian Institution. This is Disc Number One, Side One. Well, let’s begin with your childhood, where were you born, when were you born, and tell me about your early life and experience? MS. PATRICIA FAURE: I was born in Milwaukee, Wisconsin on April 8, 1928. I grew up there as well, went to school there, until I was 15, when we moved to Los Angeles, because after I was born, immediately after I was born, I got pneumonia. And I had pneumonia at least twice before I was six months old, and at one time the hospital called my parents and said to come and see me, for the last time. -
Ed Ruscha Continues His Wordplay
The New York Times November 3, 2016 GAGOSIAN Ed Ruscha Continues His Wordplay Farah Nayeri In Ed Ruscha’s new canvases, on display at Gagosian in London, words are presented in logical sequences and in diminishing or augmenting typeface. Ed Ruscha, via Gagosian LONDON — Every week or so, Ed Ruscha drives for three hours from his home in Los Angeles to his cabin in the Californian desert. There, the artist engages in what he describes as “events of plain living” — fixing a faucet, feeding a bird, watering a neglected tree. “L.A. changes constantly, and the things that we all appreciated are not going to be there next week,” Mr. Ruscha said in an interview at the Gagosian Gallery in London, where he is showing 15 new works. “I like the no-change part of the desert.” That desert landscape seems to serve as a backdrop to many of the new canvases on display here (through Dec. 17). This is Gagosian’s first show of Ruscha paintings since an exhibition at its Rome gallery in 2014-15, and comes on the heels of the “Ed Ruscha and the American West” survey at the de Young Museum in San Francisco. Many of the new canvases hanging in London are the color of sand, and — as is the Ruscha trademark — covered with words. The novelty is that the words are presented in logical sequences and in diminishing or augmenting typeface. On one canvas, for example, the word “Galaxy” is inscribed in large letters at the top, followed in a pyramid of diminishing characters by “Earth,” “U.S.A.,” “State,” “City,” “Block,” “Lot” and “Dot.” “The new things are about micro and macro: from the smallest atom to the universe,” said Bob Monk, a Gagosian director who has known Mr. -
Drawings from the Marron Collection to Be Copresented by Acquavella
Drawings from the Marron Collection to be copresented by Acquavella Galleries, Gagosian, and Pace Gallery at Pace’s space in East Hampton August 12–20, 2020 Pace Gallery, 68 Park Place, East Hampton, New York Ed Ruscha, Red Yellow Scream, 1964, tempera and pencil on paper, 14 3/8 × 10 3/4 inches (36.5 × 27.3 cm) © Ed Ruscha August , Acquavella Galleries, Gagosian, and Pace Gallery are pleased to announce a joint exhibition of works on paper from the esteemed Donald B. Marron Collection, belonging to one of the twentieth and twenty-first century’s most passionate and erudite collectors. The exhibition will be on view August –, , at Pace’s recently opened gallery in East Hampton, New York. In a continuation of the three galleries’ partnership with the Marron family to handle the sale of the private collection of the late Donald B. Marron, this intimate presentation offers a glimpse into the coveted Marron estate of over masterworks acquired over the course of six decades. The exhibition will feature almost forty works on paper including sketches and studies as well as fully realized paint and pastel pieces. Works on view range from early modern masterpieces by Henri Matisse, Raoul Dufy, and Fernand Léger; to nature studies by Ellsworth Kelly and an exemplary acrylic from Paul Thek’s final series; to contemporary pieces by Mamma Andersson, Leonardo Drew, Damien Hirst, Jasper Johns, and Brice Marden, among others. A focused presentation on Ed Ruscha’s typographic and image-based drawings and a selection of his inventive artist’s books will round out the exhibition. -
Kenny Schachter on the Debut of Vito Schnabel's Gallery in St. Moritz
Art World Kenny Schachter on the Debut of Vito Schnabel's Gallery in St. Moritz Kenny Schachter, Saturday, January 2, 2016 Image: Courtesy of Kenny Schachter At 1,822 meters in altitude, St. Moritz, in the Swiss Engadine Valley, is among the highest peaks in the Alps and a sporting mecca, having hosted the Winter Olympic Games in 1928 and 1948, one of only three cities to do so twice (besides Innsbruck, Austria and Lake Placid, New York). The physical effects of high elevation include faster breathing, increased heart rate, and lower mortality rates but a higher number of suicides; it's as though you are charging through time at an accelerated pace, in addition to bombing down the mountain in the gear of your choice. Aside from the altitude and skiing, etc., you'll need all the boost you can muster as there are more galleries per square mile than any resort on the planet. Yippee. With the premiere of Vito Schnabel's (b. 1986) space—it opened December 28 with Urs Fischer's (b. 1966) Bruno & Yoyo and Sterling Ruby's (b. 1972) Stoves—occupying the former digs of his godfather, Bruno Bischofberger (b. 1940), there's now a new kid (literally) in town. Even more so than in the past, St. Moritz has been Basel-ized by the art lifestyle and I am thrilled for my vocation and avocation. After 25 years of visiting my in-laws here, who are all annoyingly good skiers, I'm grateful it's congealed into an art hub. Having recently hung up my snowboard (I was always the hesitant skier), I can't complain too much about the shocking effects of global warming, which have reduced the usually-snowy slopes to a brown parched Arizona landscape. -
JEAN-MICHEL BASQUIAT 1960 Born
JEAN-MICHEL BASQUIAT 1960 Born: in Brooklyn, NY 1966 Became a Junior Member of the Brooklyn Museum, Brooklyn, NY 1977 Began spray painting cryptic aphorisms on subway trains and around lower Manhattan and signing them with the name SAMO© (Same Old Shit) 1978 Left home permanently and quit school just one year before graduating form high school 1983 Befriended by Andy Warhol 1988 Died: in New York, NY Selected Exhibitions 2010 Basquiat/Warhol , Bowdoin College Museum of Art, Brunswick, ME Afro Modern: Journeys through the Black Atlantic, Tate Liverpool, Liverpool, UK 2009 A Tribute To Ron Warren, Mary Boone Gallery, New York City, NY Your Gold Teeth III, Marianne Boesky Gallery, New York, NY Sans—titre # 1 oeuvres de la Collection Lambert peintures des années 1970 - 1980, Collection Lambert, Avignon, France Looking at Music: Side 2, MoMA - Museum of Modern Art, New York, NY 2008 Jean-Michel Basquiat works on paper, Van de Weghe Fine Art, New York, NY (solo) Jean-Michel Basquiat. Ahuyentando fantasmas, Fundación Marcelino Botín, Santander, Spain (solo) 2007 Jean-Michel Basquiat, Galleria Davide Di Maggio, Berlin, Germany (solo) S A R A H B E L D E N F I N E A R T SAN JUAN DE LA CUESTA 1 4A 28017 MADRID, SPAIN TEL +34 633 170 463 / [email protected] Jean-Michel Basquiat : Works on Paper , Van de Weghe Fine Art, New York, NY (solo) Basquiat in Cotonou, Fondation Zinsou, Cotonou, Benin (solo) 2006 Basquiat heads, Van de Weghe Fine Art, New York, NY (solo) Basquiat 1960-1988 - Basquiat Retrospective, Shanghai Duolun Museum of -
The World Is Finally Woke to Aboriginal Art: Sotheby's Move Its Sales From
The world is finally woke to Aboriginal art: Sotheby’s move its sales from London to the Big Apple amid increasing contemporary art world buzz. By Jane Raffan, on 28-May-2019 Having rebirthed its defunct Australian ‘outpost’[i] auctions in the mother country in 2015 to great success, Sotheby’s is now moving Aboriginal art sales to their New York headquarters. This announcement rides on a wave of recent high-profile visibility, critical success and reception to exhibitions of Aboriginal art in the city, the latest of which is actor/comedian/writer Steve Martin’s Aboriginal art collection, which is being showcased in Manhattan at Gagosian Gallery until 3 July. Sotheby’s is now moving Aboriginal art sales to their New York headquarters. This announcement rides on a wave of recent high-profile visibility, critical success and reception to exhibitions of Aboriginal art in the city, the latest of which is actor/comedian/writer Steve Martin’s Aboriginal art collection, which is being showcased in Manhattan at Gagosian Gallery until 3 July. (Image: Rick Wenner/For The Washington Post) The Gagosian exhibition of a work by Emily Kame Kngwarreye from the University of Virginia’s Kluge-Ruhe Museum amid the private collection of Steve Martin and Ann Stringfield[i] has caused a stir in contemporary art circles, and received a swag of positive critical press, including an eloquent piece in The New York Times championing the value of deconstructing colonisation through indigenous art and the importance of opacity in post-colonial discourse[ii], which has long been a key visual device of much Australian Aboriginal desert painting. -
Pay for Soup/Build a Fort/ Set That on Fire
Pay for Soup/Build a Fort/ Set that on Fire Jean-Michel Basquiat is the only black American painter to have made a substantial mark on the history of art. He is amongst the most influential artists of an international movement started around 1980 which was marked by the post-modern return to figurative painting. He died at age 27. Basquiat is art's answer to Jimi Hendrix and Charlie Parker. Although his work might look unsophisticated at first, it is evidence of a powerful poetical and visual gift. Basquiat was getting an international echo with his work before most of the artists his age had time to finish art school. Luckily, Basquiat has left us a trenchant summary of his early life in Untitled (Biography), 1983. JEAN MICHEL BASQUIAT BORN DEC. 22/1960/BROOKLYN/NY MOTHER: PUERTO RICAN (FIRST GENERATION) FATHER: PORT AU PRINCE, HAITI (DIVORCED) - [NAME OF TOWNI ST. ANNS ? P.S. 1O198 P.S.45 (SOME CATHOLIC SCHOOL DURING TEAR + 1/2 IN PUERTO RICO -) I.S.293 CITY AS SCHOOL 11th GRADE DROPOUT PUT A BOX OF SHAVING CREAM IN PRINCIPAL'S FACE AT GRADUATION NO POINT IN GOING BACK FIRST AMBITION: FIREMAN FIRST ARTISTIC AMBITION: CARTOONIST EARLY THEMES WERE: 1. THE SEAVIEW FROM VOYAGE TO THE BOTTOM OF THE SEA 2. ALFRED E. NEUMAN 3. ALFRED HICTHCOCK (HIS FACE OVER + OVER) 4. NIXON 5. CARS (MOSTLY DRAGSTERS) 1 Extract from Basquiat – Museo Revoltella Downloaded from www.marenzi.com All text © Luca Marenzi 2003 Pay for Soup/Build a Fort/ Set that on Fire 6. WARS 7. -
RESEARCH DEGREES with PLYMOUTH UNIVERSITY Gold Griot
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2018 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Ross, Lucinda http://hdl.handle.net/10026.1/11135 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. RESEARCH DEGREES WITH PLYMOUTH UNIVERSITY Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art by Lucinda Ross A thesis submitted to Plymouth University In partial fulfilment for the degree of Doctor of Philosophy Humanities and Performing Arts Doctoral Training Centre May 2017 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Basquiat, Gold Griot, 1984 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Abstract Emerging from an early association with street art during the 1980s, the artist Jean-Michel Basquiat was largely regarded within the New York avant-garde, as ‘an exotic other,’ a token Black artist in the world of American modern art; a perception which forced him to examine and seek to define his sense of identity within art and within society. -
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar, ITVS 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom/ For the program companion website, visit pbs.org/independentlens/jean-michel-basquiat/ TAMRA DAVIS’S JEAN-MICHEL BASQUIAT: THE RADIANT CHILD TO PREMIERE ON INDEPENDENT LENS TUESDAY, APRIL 12, 2011 AT 10PM ON PBS Definitive Documentary on the Meteoric Rise and Fall of the Brilliant Young Artist (San Francisco, CA) Centered on a rare interview that director Tamra Davis shot with her friend and contemporary Jean-Michel Basquiat over 20 years ago, Jean-Michel Basquiat: The Radiant Child is the definitive chronicle of the short but brilliant life of the young artist who revolutionized the New York art scene almost overnight. Jean-Michel Basquiat: The Radiant Child will premiere on the Emmy® Award-winning PBS series Independent Lens, hosted by America Ferrera, on Tuesday, April 12, 2011 at 10 PM (check local listings). The film is part of an April Art Month lineup, which also includes The Desert of Forbidden Art, Waste Land, and Marwencol. Told through interviews with his fellow artists, friends, and lovers, including Julian Schnabel, Larry Gagosian, Bruno Bischofberger, Fab 5 Freddy, Suzanne Mallouk, and Kenny Scharf, the film recounts Basquiat’s lightning-quick ascension from street kid to art world star. In the gritty, crime-ridden city that was New York in the late 1970s, artists, punk rockers, and writers flourished in the grimy oasis of the East Village. -
Ed Moses 1926 Born in Long Beach, California Lives and Works In
2525 Michigan Ave., Unit B2, Santa Monica, CA USA 90404 T/ 310 264 5988 F/ 310 453 6354 www.patrickpainter.com Ed Moses 1926 Born in Long Beach, California Lives and works in Venice, California Education 1955 B.A., University Of California, Los Angeles, CA 1958 M.A., University Of California, Los Angeles, CA Selected Solo Exhibitions: 2012 Phase I - Garden Of Forking Tongues (Bifurcated”, Ace Gallery, Los Angeles, CA Phase II - Garden Of Forking Tongues (Bifurcated”, Ace Gallery, Los Angeles, CA 2011 Shatterheads And Gwynn, Ernie Wolfe Gallery, Los Angeles, CA ASAP & Friends, Charlotte Jackson Fine Art, Santa Fe, NM. Lite, Imago Galleries, Palm Desert, CA Through The Looking Glass With Ed Moses, Art Link, Seoul, Korea. 2010 Wic Wack, Brian Gross Fine Art, San Francisco, CA Paintings 2007-2009, Robert Green Fine Arts, Mill Valley, CA Brain Band, Ferus Gallery/Nyehaus, Los Angeles, CA Ed Moses Paintings, Frank Lloyd Gallery, Greenfield Sacks Gallery. Santa Monica, CA 2009 Ed Moses: Mutator, Frank Lloyd Gallery, Greenfield Sacks Gallery. Santa Monica, CA Ed Moses, Peter Blake Gallery, Laguna Beach, CA 2008 Owlbo, Brian Gross Fine Art, San Francisco, CA No Works, Seiler + Mosseri-Marlio Galerie, Zurich, Switzerland. Ed Moses: Paintings, Frank Lloyd Gallery, Santa Monica, CA 2007 Past, Here & Now Part 2, Robert Green Fine Arts, Mill Valley, CA Ed Moses: Primal And Primary Paintings 1975, Charlotte Jackson Fine Art Past, Here & Now Part 1, Robert Green Fine Arts, Mill Valley, CA Ed Moses Paintings, Frank Lloyd & Bobbie Greenfield Galleries, -
Now in Its 16Th Edition, Artreview's Annual Power 100 Is The
Now in its 16th edition, ArtReview’s annual Power 100 is the authoritative ranking of the most influential people in the international contemporary art world. The list is compiled by the magazine in consultation with a 20-person panel of writers, artists, curators and critics. Their decisions are picked up in media outlets around the globe, including the BBC, Le Figaro, Die Welt, The Guardian, The Times, Financial Times, The Independent, The Wall Street Journal, Los Angeles Times, China Business News, Moscow Times and The Art Newspaper, as well as art and culture blogs worldwide. Figures such as Hans Ulrich Obrist, Iwan and Manuela Wirth, David Zwirner, Eli and Edythe Broad, Maja Hoffmann and Jay Jopling regularly appear along with newcomers such as Chinese private museum owners Wang Wei and Liu Yiqian, who featured on the list for the first time in 2016. 3 winners Hans Ulrich Obrist Iwan & Manuela Wirth Nicholas Serota 2016 2015 2014 Artistic director of London’s Serpentine Galleries Major gallerists with spaces in Zürich, London, Near the very pinnacle of the Power 100 for the and instigator or global, networked projects, New York, Los Angeles and Somerset, the Wirths past 15 years, Sir Nicholas, director of Tate until supercurator Obrist is famous for ignoring tradi- take a museumlike approach to the presentation his retirement in 2017, gained the no 1 spot in 2014 tional constraints of both time and geographic of their artists, staging historic shows across a in recognition of Tate’s dominant position in the place. Mobile and transferrable, Obrist’s projects network of spaces and in the process providing Western contemporary art system, from record are generally centred on the personalities that collectors with artistic, social and educational visitor numbers at Tate Modern (greater than both nowadays constitute what we generally refer to as offerings that make Hauser & Wirth something MoMA and Centre Pompidou) to an international the ‘artworld’.