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UMBERTO ALLEMANDI & CO. PUBLISHING LONDON NEW YORK TURIN VENICE MILAN ROME THE ARMORY SHOW EDITION 2-3 MARCH 2011
Armory preview Gaddafi’s son reveals true Bonus time for art business? colours The return of Wall Street wealth should give New York’s art fairs a boost
NEW YORK. It is bonus time on els,” says Michael Moses, Wall Street and although re- founder of the Mei Moses Fine wards are not back to pre-2008 Art Index. levels, bankers with a taste for Nonetheless, some pockets Getty works of art once again have in the industry are deeper than Saif at his Madrid show money to spend at the Armory others and “people with signif- Show, which opens today to icant sums to spend are more TRIPOLI. Saif Gaddafi is the invited guests. likely now to go for works by most powerful son of Libyan “New York’s financial established artists with well- leader Colonel Muammar industry concentrates its tested markets, which are Gaddafi, who has vowed pub- bonus pay at this time of year arguably more solid from licly to fight his father’s oppo- and a lot of spending happens an investment perspective,” nents “to the last bullet”. in its wake,” says Gregory says Miller. What is less well known Miller, art collector and a With fluctuating currency is that he is also an architect, managing director at levels, volatile stock markets urban planner, and investment bank Greenhill & and widespread inflation con- surrealist/symbolist painter. Co, who is visiting the cerns, art is increasingly seen Much of his art is political, and Armory and Independent fairs as a safe asset. “This idea is in the light of unfolding events, this week. Collector Julian spreading,” says Fred Alger, a it has gained a new resonance. Treger of investment fund former Wall Street tycoon and The Art Newspaper inter- Audley Capital, who will be at co-founder of new publication viewed Gaddafi when he was the Armory Show, agrees: The Art Economist. “There is in London for his exhibition in “People have a whole bunch no question that both the rising 2002. The show included the of money to spend in stars and the established ones work War (above, 2001) February, so March is the represent a fine store of value.” shaped, he said, by the Balkans perfect time to put it to Events this week are focusing in the late 1990s. “The painting work—it’s a good moment to Colour of money: artist Reed Seifer’s take on what makes New York hum, Armory P94/L21 on this potential, including the portrayed a ship and the sea. have an art fair.” panel discussion “Everything Then a civil war broke out in Is the timing deliberate? speculation that drove the art mory Show (P94/1011). same tactics to art. “There are you can’t afford to not know Kosovo, which shattered the “Bonuses are important, but in market to record prices and the “When it is good on Wall a lot of young people in the fi- about art as an investment”, picture and its theme. The sea reality it was about not clash- subsequent collapse, and deal- Street, it is good on 25th nancial industry who are buy- due to be hosted on Wednesday unleashed itself, anger fell ing with the auctions or spring ers are now coy about confirm- Street,” says Adam Sheffer of ing art, but not necessarily morning by Montage Finance. from the sky, which came up break,” says the Armory Show ing the industry’s importance. Cheim & Read, showing at speculating,” says Lower East “There will be plenty of against a stream of blood.” founder and director Paul Mor- Nonetheless, “it is a fact— The Art Show (A16), referring Side gallerist Augusto Arbizo bankers in the room,” said In The Challenge, 2000, ris, adding: “Though I would there are successful bankers to the Chelsea gallery district. of Eleven Rivington, at the Ar- Montage founder, and former Gaddafi depicted his father as love to take credit for thinking who buy art and pay for it with Just because bankers trade mory Show (P94/952). He has hedge-funder, James Hedges, an eagle floating in the sky, of that.” Lucy Mitchell-Innes, their bonuses,” says Thaddaeus for profit in their day jobs, it brought some works for under prior to the event. confronting what he calls “neo- president of the Art Dealers Ropac, participating at the Ar- does not mean they apply the $10,000 to the fair. This price- The increased liquidity and crusaders”, who are repre- Association of America, which point is attractive to financial confidence of the city’s finan- sented by three Christian opens the 23rd edition of its Sotheby’s bonus pot swells by $50m buyers, say some. “Many of ciers does not, however, figures on a beach. Gaddafi annual fair, The Art Show, to the bonuses going into the necessarily mean a gold rush said a small object glued to the the public today, and director NEW YORK. Sotheby’s, which this week reported $4.8bn of auction art market come from at the 13 New York fairs canvas was part of a bomb, of gallery Mitchell-Innes & sales in 2010, has rewarded staff with a total bonus pot of $68.2m, people starting to this week and numer- dropped by US aircraft on his Nash, says: “It’s a happy coin- up nearly $50m from the previous year ($18.3m). On a conference build their ous gallery shows. family home in Tripoli in 1986. cidence that there are fresh call to Wall Street analysts, Sotheby’s chief executive Bill wealth rather “You’re either an The show, “The Desert is things coming to the market at Ruprecht said that while bonuses rose, salary levels had remained than those art buyer or you’re Not Silent”, has toured to a time when people feel like flat compared with the previous year. Sotheby’s total revenues at higher- not,” says McCor- Paris, Berlin, Tokyo, Madrid, rewarding themselves, but we from its sales last year were up 60% to $774.3m (2009: $485m) priced lev- mack. ■ São Paulo and Moscow. Its didn’t design the fair with this and net profits were up to $161m compared with a 2009 loss of Charlotte Burns website is currently down “for in mind.” $6.5m. It has dramatically reduced its exposure to guarantees, Bottoms up and Melanie maintenance”. ■ While bonuses are down Ruprecht added (see p9). ■ M.G. on Wall St Gerlis Martin Bailey around 40% compared with the market’s peak in 2007, and some of the bankers will take home more in deferred stock Support for Austrian director forced to resign than hard cash this year, “peo- ple earning north of $1m won’t VIENNA. US artists Chris Burden, Noever “set the gold standard” day parties held for his mother I should have kept the events in be curtailing their lifestyles. Kiki Smith and Lawrence for museum directors. Krens at the museum. Noever, who the private sphere, even Affluent art enthusiasts will Weiner, architect Frank Gehry, declared: “Vienna and Austria was due to step down at the though, I believe, they served continue to have a strong ap- and Thomas Krens, the director is not a large enough stage for end of 2011, has now revealed the museum.” petite,” says David McCor- emeritus of the Solomon R. his talents,” adding that he has to trustees that the cost of the Noever transformed the mu- mack, a partner in global Guggenheim Foundation, are plans to “redistribute” No- parties was far greater than the seum during his 26 years in markets at Westwood Partners. among the online signatories ever’s talents internationally. €10,000 as first thought. He charge, working with artists in- America’s art world has his- who have pledged their support Allegations that Noever mis- has deposited €220,000 into cluding Anish Kapoor and Otto torically benefited from the pa- for Peter Noever, the Austrian managed funds first arose at an account while exact costs Muehl. Donald Judd and Jenny tronage of its great bankers, museum director who abruptly the end of last year. An inde- are determined. A report is due Holzer co-curated the collec- men such as John Pierpont resigned last week as an inves- pendent audit cleared him of to be completed by the end of tion. An interview with Noever Morgan and Andrew Mellon. tigation is reopened into his fi- most charges, recommending the month. appears in the March issue of Despite this illustrious past, nancial management of the that he refund the cost of birth- “I have made mistakes, for The Art Newspaper, see financiers were more recently Museum of Applied Arts (MAK) which I am solely responsible,” www.theartnewspaper.com. ■
associated with the fevered in Vienna. Burden wrote that Kapoor with Noever in 2009 Peter Kainz / MAK, Vienna 2009 Noever said. “In retrospect, Julia Michalska
AUCTIONS MARCH 2011
DESIGN: VIENNA AND THE WIENER WERKSTÄTTE 3 MARCH CONTEMPORARY ART EVENING SALE 4 MARCH UNDER THE INFLUENCE 8 MARCH PHILLIPSDEPURY.COM 2 THE ART NEWSPAPER ARMORY SHOW EDITION 2-3 MARCH 2011
DiaryArtist Will Ryman’s Roses, the mammoth floral locals who were put off by the glare in their sculptures currently strewn along Park Avenue, apartments. Thankfully, Ryman quickly rectified have been a thorny issue for some residents the situation by changing the blinding bulbs. ARMORY SHOW EDITION living along the famous thoroughfare. Ryman His next dazzling project is due to take place at revealed that some of the lights illuminating the the Fairchild Tropical Botanic Garden in Miami Editorial and Production: Roses at night were proving a distraction for this December Editor: Javier Pes Deputy editor: Peres’ pals date hasn’t been determined Lu Gold and Sam Ske with Helen Stoilas yet,” said a project prices ranging from $1,500 to Copy editors: spokesman. Is Russia ready $20,000 for these Emily Sharpe, Anny Shaw for a paintbrush-wielding monochrome masterworks (no Designer: Rambo? prizes for guessing the show Emma Goodman sponsor: the Black and White Editorial Culinary art coup Cookie Company). But the researcher/picture editor: muted motif is not just limited Julia Michalska London-based collector to what’s hanging on the walls Contributors: Georgina Valeria Napoleone, in town as “greyscale [clothing] attire” Adam, Charlotte Burns, for the Armory Show, has is suggested for the exhibition Melanie Gerlis, Gareth revealed her next project launch. “There will be a Harris, Marisa Mazria Katz, which should get art world doorman but we won’t bar Jane Morris, Bonnie Could any dealer be more jet mouths watering: a cook book anyone in colours,” observed Rosenberg, Anny Shaw setting than jovial Javier overflowing with recipes events manager Teddie Photographer: Peres? The gregarious handed down from her Italian Davies. Among the stellar Casey Fatchett
gallerist, who is showing grandmother. But in a move Amber De Vos/PatrickMcMullan.com guests expected on the night Editorial trainee: works by New York-based that cleverly links food with is comedy giant Robin Eliza Apperly artists Joe Bradley, Agathe fine art, the gastronomic Zabludowicz’s Collection (and son) debut in NY Williams, father-in-law of the Snow and Paul Lee at the publication will include gallery owner Alex Mallick Armory Show (P94/1136), is images from around 50 major The cream of New York’s art scene was out in force on Monday night Williams. “We’re not sure we not only best buddies with artists such as Goshka for the first exhibition of the Zabludowicz Collection (aka British can control what he wears. Group editorial director: man of the moment, movie Macuga, Ghada Amer and Pae power art couple Anita and Poju) in the US. Art world luminaries such He’s usually in camouflage,” Anna Somers Cocks as dealers Yvon Lambert and Victoria Miro, along with photographer Managing director: dreamboat James Franco White. Napoleone only Gregory Crewdson, flocked to the 33rd floor of a midtown skyscraper quipped Teddie. (Peres has just launched collects contemporary works to see works from the Zabludowicz holdings displayed against the James Knox Franco’s first art show in by female artists, hence the dramatic backdrop of Times Square. Tongues wagged over the curator Hirst hoodie Associate publisher: Europe at his Berlin spaces), collaborations with the with the (not so mysterious) moniker of Roy Zabludowicz who turned Patrick Kelly he also turns out to be closely women art stars. The book out to be none other than the 20-year-old son of the hosts. Proud The Damien Hirst production Advertising sales UK: linked to pop sensation Lady will be published later this mum Anita p ointed out that Roy (pictured with the Zabludowicz line keeps on rolling. The Brit Ben Tomlinson, Gaga. “My boyfriend is Jeppe year so foodie/art aficionados Collection’s director Elizabeth Neilson and Anita by a Nick van Woert artist famous for his £50m Louise Hamlin work) is himself an avid collector, snapping up works by artists such Laursen; he founded the have already started as Jack Strange. But the biggest surprise was that the student at diamond-encrusted platinum Advertising sales US: Danish pop duo Junior salivating. upstate Bard College, who had worked tirelessly on the show for skull, For the Love of God—is Caitlin Miller Senior, and co-wrote and co- weeks, was only given a credit (“assistant curator”) at the weekend. finding new ways to make Advertising executives: produced two of the songs on Remembering Lennon “He deserved it,” said his boss, Neilson, of the modest young man. moolah from it. The memento Justin Kouri, Nadine Lorenz Lady Gaga’s new album, mori is being used to brand a including the first single Canadian-based artist Viktor line of products from key ‘Born This Way’,” said Peres. Mitic’s painting of John rings and brooches to t-shirts And what did he think of Lennon, titled .38 Special, at and prints sprinkled with Franco’s stint as host of the the Art Dealers Association of diamond dust. But in a move Published by Umberto Allemandi & Oscars? “It would have been Canada booth in the Armory Warhol would have been Co. Publishing Ltd fun if he’d sung,” joked the Show (P94/1511) is designed proud of, the latest item— dealer who attended the to cause a stir among released last week by Other UK office: 70 South Lambeth Road, swanky LA awards bash. fairgoers. The portrait is Criteria, Hirst’s merchandising London SW8 1RL riddled with a few hundred and publications firm Tel: +44 (0)20 7735 3331 Sly in St Petersburg rounds from a .38 Special (P94/540)—is a black cotton Fax: +44 (0)20 7735 3332 (hence the title), the same kind hooded top emblazoned with Email: Movie hero Sylvester Stallone of weapon and ammunition the grinning skull and priced [email protected] has become a fixture at art that ended Lennon’s life in backlash from Lennon fans? at £95. Next up: a diamond US office: 594 Broadway, fairs worldwide, proudly Manhattan in 1980. Mitic’s “I hope no one in New York skull pooper scooper. Suite 406, showing examples of his work is deemed so sensitive in protests,” said Mitic. “I’m New York, NY 10012 abstract art to an eager public. Canada that he is forced to exposing the fact that there Tweedy Swede Tel: +1 212 343 0727 The hunky Rocky hardman is, “shoot” his pieces “at 1am on are too many guns. I hate Fax: +1 212 965 5367 alas, not set to make an a shooting range in Buffalo, guns.” It didn’t put off There’s always time for Email: [email protected] appearance at the New York Rochester”, he confided. And Canadian collector Lorne tweed on the Armory Show American continent subscription art fairs this week, but fear what about a possible Gertner who is believed to floor…artist Fredrik enquiries Tel: +1 888 475 5993 not film fans, as Sly is be keen on the work. Söderberg was spotted Rest of the world subscription currently showing 30 works at Artoon by Pablo Helguera at the fair on Tuesday enquiries the Galerie Gmurzynska in St Black looking ever so Tel: +44 (0)1795 414 863 Moritz. “The Hollywood star dapper in “knickers” www.theartnewspaper.com uses the Expressionism and white ball (his Swedish term concept of presenting art in a Art world connoisseurs for an elegant pair Printed by the AFL Web Printing spontaneous manner without bonkers about everything of plus fours in + 1 856 566 1270 caring about conventional black and white should checked tweed). shapes,” notes the head for the Mallick Söderberg was at the fair © 2011 The Art Newspaper Ltd. accompanying press blurb, Williams gallery on 11th to help frame works by which also reveals that once Avenue this Friday his wife Christine All rights reserved. No part of this the Swiss show closes, the when the fledgling space Odlund, which are on newspaper may be reproduced without screen star is set to launches its (aptly show at Milliken written consent of copyright display his works at named) “Hueless” (P94/724). So the proprietor. The Art Newspaper is not the State Russian exhibition. The greyscale Armory Show has a responsible for statements expressed Museum in St group show (bright pastels Swedish art power couple, in the signed articles and interviews. While every care is taken by the Petersburg. “It’s in have been shown the one half of which is publishers, the contents of the planning door) includes art stars resplen dent in pedal advertisements are the responsibility stages but the such as Shepard Fairey, pushers. ■ of the individual advertisers
ELLSWORTH KELLY RELIEFS 2009–2010
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)BVODIPG7FOJTPO-POEPOXJMMSFUVSOIPNFUPJUTQSFNJTFT BU)BVODIPG7FOJTPO:BSE .BZGBJS JO"VUVNO +0"/"7"4$0/$&-04 8*.8&/%&34 50.8&44&-."// 68&8*558&3 4 THE ART NEWSPAPER ARMORY SHOW EDITION 2-3 MARCH 2011 From LA to Venice First night opening Paris Workaholic actor James Franco juggled co-hosting Pompidou the Academy The Art Show sets a sophisticated tone Awards this weekend with Collectors queue to view classic modern and contemporary works loses out his burgeoning art career. In an interview NEW YORK. The 23rd edition of Lisa Yuskavage and Luc on gift with The Art Newspaper in The Art Show, the first of the Tuymans]” and the feminist our March edition, Franco major art fairs to open in New artist, as well as bringing her Qatar buys reveals plans to collaborate York this week, got off to a work to a new audience. with Los Angeles artist Paul stylish start on Tuesday night Zwirner showed at the Berri’s paintings McCarthy and his son, (until 6 March). Collectors Armory Show and The Art Damon, for the Venice queuing to get in to the Show last year, but has decided Biennale this year. The full historic, vaulted hall of the to focus on the latter alone. interview is on our website: Park Avenue Armory included A spokeswoman said: “One www.theartnewspaper.com. Jonathan and Lizzie Tisch, of the reasons [for scaling ■ H.S David Tieger, Donald Marron back] is that we are doing more and Michael Ovitz. They were and more fairs: we’re doing Athens’ new museum beaten to the head of the line the Hong Kong International by art advisors such as Philippe Art Fair for the first time, François Guillot/AFP/Getty Images Greek financier and Ségalot, consultant to François for example.” Berri in his Paris gallery, 2008 philanthropist Dimitris Pinault, and Sandy Heller. The The Art Show generally Daskalopoulos plans to open show is organised by the Art exhibits work in a higher price PARIS. The Centre Pompidou a gallery in Athens to show Dealers Association of range than the other March has lost out on a donation of 12 his contemporary and modern America (ADAA), with 70 of New York fairs: Acquavella pieces from the collection of art collection. He is “actively its 175 members taking part. Alice Neel’s Nancy, 1980, sold through David Zwirner to US Galleries (D2) brought an 1895 the late French film-maker searching for a suitable site The majority are showing collectors (asking price $850,000) Degas pastel, La Conversation, Claude Berri following his with a view to opening a single-artist or themed stands. priced at $5m. Early sales at sons’ decision to sell the works permanent space for his Last year, The Art Show, Armory) and partly because show at L&M Arts (B2, prices the fair included Diana Al- to a buyer believed to be the collection in 2013/14”, said a once best known for its high “the two fairs do attract up to $400,000). David Hadid’s bronze sculpture In Qatari government. Four paint- press statement. A trustee of quality modern work, moved different crowds”. Opting for a Zwirner is displaying a striking Mortal Repose, 2011, for ings by Robert Ryman, along the Solomon R. Guggenheim its dates to coincide with the large installation in Pier 94, set of portraits and a still-life $75,000 to a private US with works by Lucio Fontana, Foundation since 2009, Armory Show, which Feldman’s Art Show stand has by the late US painter Alice collector. Marc Glimcher of Ad Reinhardt and Dan Flavin, Daskalopoulos is also due to originally only focused on computer- and hand-crafted Neel, who was the subject The Pace Gallery bought were among the items due to lend works from his 400- contemporary artists. Since drawings ($8,000 to $12,000) of numerous museum shows Gabriel Orozco’s, Untitled, be given to the Paris museum. strong collection to the then the fairs have converged and sculptures (for example, in 2010. Works are priced 2009, a small work comprising A Pompidou spokeswoman Guggenheim Bilbao next somewhat, as The Art Show Curio Failures, 2008, between $500,000 and two boarding passes, from said: “The process began in July month. ■ G.H. became increasingly contem - $25,000). $950,000. Kristine Bell, a neighbouring gallerist Marian 2009 when [Berri’s sons, por ary and the Amory Show Others opted to show classic partner at the gallery, said they Goodman (A7, asking price Thomas and Darius Langmann] Putting art online launched a modern hall in Pier European or American modern want “to draw connections $35,000). “I wanted to buy the approached us. The works were 92. This has led some galleries work, including a Zero Group between the mid-career whole booth,” he said. ■ accepted by the governmental Alexander Gilkes, the to hedge their bets by showing display at Sperone Westwater painters the gallery represents Jane Morris, Charlotte Burns commission for donations at a protégé of high-profile at both fairs: 14 last year, and (C3) and a Joseph Cornell solo [includ ing Marlene Dumas, and Melanie Gerlis valuation suggested by the auctioneer Simon de Pury, is 11 this, including Paul Kasmin heirs. The deal was almost launching an online art (D24 and P94/1027) and done, all that was missing was marketplace, Paddle8, this Nicole Klagsbrun (D10 and the final signature.” spring. Gilkes plans to P94/731). VIP fair offers regrets and discounts The Langmanns planned to create a site for galleries to Ronald Feldman, who is write off inheritance tax by do- exhibit their artists online. showing a solo display by US In addition to a 50% rebate for lectively express...frustration gallerists for their trust and nating the works, valued at Glenn O’Brien, the former artist David Opdyke at The Art dealers who took part in the ill- and disappointment”, accord- commitment to come back next €30m. According to our sister editor of Interview Show and Sam Van Aken at the fated first edition of online art ing to a letter sent to gallerists year. The reaction to the letter paper Le Journal des Arts, the magazine, will be Armory Show (A23 and fair, VIP (22-30 January), its or- by the VIP management. “I has been “extremely positive” works have been acquired by “organising an exhibition at P94/949, see p7), said that his ganisers are also extending a deeply regret that the site did said Jane Cohan. Nicholas the Qatari government some point,” confirmed a decision to present at both 30% discount to the 2012 edi- not work as well as we hoped it Logsdail of Lisson (P94/1701), for around €50m via the art spokeswoman. The site has again was “partly because we tion on the proviso that gal- would. Nevertheless, we have who took part in the first edi- advisor Philippe Ségalot who no auction component, and had a lot of work ready to show lerists sign up by 29 April. The collectively given birth to a new tion, called the offer a “prag- declined to comment. Thomas Gilkes will continue to this year”, partly because of first fair was beset by technical model that has enormous po- matic compromise” adding, Langmann also declined to work as an auctioneer for space (stand areas are problems and fair organisers tential,” said organiser James “this is a goodwill gesture of comment. ■ Phillips. ■ C.B. restricted in the Park Avenue “received many letters that col- Cohan in the letter, which asks fairness”. ■ C.B. Roxana Azimi and Gareth Harris Latin American focus The hell that is the Venice Biennale Allora and Calzadilla on coping with bureaucracy, and their fascination with public behaviour t’s been a busy year for were hoping the new context alistic structures and the history GC: For me, the most interest- Jennifer Allora and would translate well. of the institution of biennials. ing works are the ones when IGuillermo Calzadilla al- You’ve shown your work in mu- Guillermo, you’ve said that a there is no interaction whatso- ready. The Puerto Rico-based seums, galleries, and public work is not complete until it is ever. I’m also interested in what artists, whose performances spaces. How do you approach viewed by the public. happens when somebody sees often give a humorous twist to these different spaces? GC: We belong to the camp that somebody else view a work. political and social issues, are Guillermo Calzadilla: I don’t believes that the work is com- For example, if somebody is to represent the US at this believe in public things, a pleted when there is someone looking at a photograph and re- year’s Venice Biennale. Mean- space is never public. there to see it, or hear it, or ex- acting in a certain way, some- while, their piece Stop, Repair, JA: Some of the works we have perience it. Otherwise the cycle body else in that room can look Prepare: Variations on “Ode done in the public sphere have of the spectator, the work and at that person and actually gen- to Joy” for a Prepared Piano, addressed the very question of its environment is not fully erate an experience by looking 2008, was acquired and staged what constitutes a public space completed. at the person and not the work. this winter at New York’s and what types of actions, JA: There’s this logic that You also create paintings and Museum of Modern Art gestures or activities are allo- comes from, I think, Duchamp objects like those on offer at (MoMA) as part of its Per- cated for those spaces. Often that, no matter what the artist’s the Armory Show. Is there a formance Exhibition Series. our procedure was to point out © 2010 Jennifer Allora and Guillermo Calzadilla intentions are, the true meaning connection between these Complementing the Armory’s the limits of how those places MoMA the musical: Stop, Repair, Prepare, 2008, in December of the work will ultimately be works and your performances? Latin American strand, Lisson are understood and defined. determined by the public. JA: The works on linen [of sol- (P94/1701) is showing the We’re also very much aware of that involves so many different pavilion; and then there is the And does the work change diers in Iraq] came out of a duo’s Intermission (Halloween the history of discourse sur- institutional and bureaucratic city of Venice; and then there is each time it is exhibited? local interest because in Puerto Iraq Portrait IV), 2010-11, rounding them, how institu- layers and chains of command. also the US State Department. GC: Yes completely. When a Rico there is a tradition of priced at $70,000. tions are not necessarily either Even screwing in a light bulb Anything that we have to do work is shown it develops a wood block printmaking that is The Art Newspaper: Are you public or private, especially becomes part of an email chain has to go through all these lev- history. It’s like a human body a huge part of the culture. enjoying the spotlight? nowadays with the way that of about 100 people who have els. So when you ask us what of sorts. A work is not only af- Those images—which are gi- Jennifer Allora: We’re not re- museums have become in- to be taken into consideration. we think of publicness and pri- fected by the context in which gantic, they’re 10 by 12 feet, ally trying to focus too much creasingly privatised. It’s definitely an exercise in vateness, we have been dealing it is shown, but the context also mural scale—are made with a on it because we have so much What about the Venice Bien- teamwork. with this on a daily basis for yields to the work, and changes laser cutter that carves the work ahead of us. We were a nale? The pavilions are a mix of GC: There’s us, the artists. And the last few months. as a result. wood down to a level of detail little bit nervous about [the public and private. What has it then there is the curator and the JA: The work that we’re plan- Do you ever look for more from that the human hand couldn’t piece at MoMA] because we been like working in Italy? commissioning institution, the ning to do there is definitely in- your audiences? possibly do. So it’s an interest- had shown it in New York less JA: Frankly, it’s been a little bit Indianapolis Museum of Art; formed by questions of what JA: We’re not looking for the ing mixture of old techniques than two years ago [at the of hell. Simply because we’ve then there’s the Guggenheim in becomes a pavilion in the Gia- public to “interact” with the and new technology. ■ Gladstone Gallery], so we never had to work on a project Venice, because they own the rdini, the idea of these nation- work. Interview by Helen Stoilas
THE 23RD ANNUAL ART SHOW TO BENEFIT Henry Street Settlement
ORGANIZED BY THE Art Dealers Association of America THE ART SHOWON PARK AVENUE
PARK AVENUE ARMORY AT 67TH STREET, NEW YORK CITY March 2–6, 2011 WEDNESDAY–SATURDAY: NOON–8PM; SUNDAY: NOON–6PM ADMISSION $20
FOR EXHIBITION INFO: 212.488.5550 OR VISIT ARTDEALERS.ORG/ARTSHOW $UWZRUN-RKQ%RFN VHF FDUDQGDVVRUWHGREMHFWV''DVNDORSRXORV&ROOHFWLRQ .HUQ*DOOHU\1HZ Sponsored by: 3KRWR 6FRWW*UROOHUFRXUWHV\.ORVWHUIHOGH%HUOLQDQG$QWRQ -RKQ%RFN3DOPV'LJLWDOFRORUYLGHRZLWKVRXQG PLQ CONTEMPORARY ART FAIR 18-21 MARCH 2011 Welcome to the premiere of Art Naples, a dynamic event in beautiful Southwest Florida. Art Naples will gather prestigious international galleries, representing approximately 600 of the most innovative artists from across the globe. The carefully selected presentation will feature all forms of contemporary art including paintings, sculpture, photography, design, fine art glass, video and installations from modern art to new cutting-edge artists, as well as an extensive lecture and panel series from some of the art world’s leading experts. MIA MIAMI BEACH ART PALM BEACH AIFAF PALM BEACH NIAAF NAPLES ART NAPLES LIFAF OLYMPIA SEAFAIR THE ART NEWSPAPER ARMORY SHOW EDITION 2-3 MARCH 2011 7 In March’s main edition Our current edition contains 88 pages packed All interviews by Anny Shaw with the latest art world news, events and business reporting, Artists plus high profile interviews (and a smattering of gossip) Out of bounds Iván Navarro, Paul Kasmin, under a dictatorship, there are P94/1027 references to the idea of an electric fence.” Chilean artist Iván Navarro References to minimalist rarely sits on the fence. His masters are also unmistakable. News Tino Sehgal makes it politically charged works “My work often takes on some permanent in Mexico explore issues ranging from aspects of minimalism, power and authority to capital especially the materials,” he Museums Big shows take punishment. At Paul Kasmin’s says. “But it also has a social a back seat stand at the Armory Show, meaning.” Navarro attacks the idea of the The Armory Fence fence, with all its connotations ($360,000 or $40,000 for a of division and separation, by seven-foot section) may building a five-foot-high appear an unusual choice for a barrier made of white neon fair—most stands are designed lights, which runs around the to entice collectors to enter— perimeter of the booth, but Kasmin hopes the work © Peres Projects barring fairgoers from will encourage people to see Features James Franco entering the space. Navarro’s show at his Chelsea takes on the Venice Biennale “The work is a comment gallery (3 March-2 April). “It’s on the context of the art fair good if an artist can make a Artist interview and the way you usually view big statement at the Armory,” Lynda Benglis 40 years after works from within a booth,” says Kasmin, adding: “If her racy Artforum advert says Navarro. “But it also people are interested in this refers to notions of separation work, the gallery is only a ten- Books The influence of and control. As I grew up minute walk away.” ■ All images © Casey Fatchett Camille Monet and Effie Gray on their artist husbands Ryan Mosley joins the circus Banana peels on the On our website Ryan Mosley, Alison Jacques, paintings,” says Mosley. jester in modernity,” he says. P94/1106 Backstage, 2010-11, priced The skull, which Mosley factory floor Get all the stories delivered at £18,500, depicts a harlequin says is a “motif of life as well to your desktop with daily The carnivalesque has long surrounded by shadowy as death”, appears twice in news, business reports, been a motif in British artist figures and green, cactus-like The Thirsty Scholar, 2010-11, politics and events. Online Ryan Mosley’s work, but for forms that creep from the priced at £18,500. A content includes a mix of his solo presentation at the edges of the canvas. “The dishevelled man feeds a breaking stories, international Armory Show with Alison harlequin is an interesting floating skull from what exhibition listings, interviews, Jacques, his theatrical character,” says Mosley. “The appears to be a champagne market analysis and opinion characters are shown in a mentally ill were once made bottle, while the shape of a from leading art world much darker setting. They are to wear diamond-patterned skull can faintly be made out figures. Subscribers can also access our a departure from his earlier clothing, but then it became under the surface of the complete online works, such as Sirens, 2008, associated with the court painting. “I’m [also] archives, while our where surreal figures dance jester.” Mosley also points to interested in this device of the daily fair reports are available across stark white the contempor ary use of skull; this thing that means to everyone. The Art Newspaper backgrounds. “With these diamond shapes by fashion ultimate death,” he says. TV features interviews new works I wanted to houses such as Jean Paul “But [the paintings] actually with artists, collectors and bastardise the clinical white Gaultier and Pringle. “I’m have much more to do with Ansel Krut, Stuart museum professionals backdrop of my earlier interested in the role of the life and morality.” ■ Shave/Modern Art, P94/707 www.theartnewspaper.com Strands of modernism, A woman’s work is never done The fruits of Van Aken’s labour cubism and futurism resonate Get your free copy in the paintings of South from Stand P92/L11 African-born artist Ansel Elizabeth Turk, Hirschl ribbon and lace, but using Krut, including Mountains & Adler Modern, P92/430 marble, which is traditionally with Eyes, 2010, and above, viewed as a masculine A Factory Working through On Twitter Elizabeth Turk is showing a material,” says Elizabeth Feld, the Night, 2011 (£15,000 and The Art Newspaper team will new body of work at the the director at Manhattan £25,000 respectively at Stuart be tweeting from the fair. Sign Armory Show. Building on gallery Hirschl & Adler Shave/Modern Art, and both up and follow us @TheArt- her 2008 series “Ribbons and Modern, which deals in sold to private collectors). Newspaper Pinwheels”, which features historical and contemporary “I’m asking how one marble sculptures made to works. “She’s tying the old to continues after [modernism],” resemble lengths of ribbon or the new, which fits our says Krut. “How do you Coming in April lace, these stone works also programme perfectly.” incorporate a particular look like strips of fabric Turk, who has carved the Sam Van Aken, Ronald on a Pennsylvania farm where moment into the continuing folded over each other to sculptures from single pieces Feldman Fine Arts, P94/949 his grandfather grafted trees. narrative of painting?” Attendance survey Will form cage-like shapes. of marble using electric “I’m interested in what drives His allusion to 20th-century the Museum of Modern Art “Elizabeth is thinking grinders, plus files and dental Syracuse-based artist Sam Van us to want to modify nature. heavyweights is tempered by retain its dominant position about women’s work in the tools for the more intricate Aken has been nurturing a It’s like we are attempting to the inclusion of comic strip in New York? Discover which 18th and 19th centuries, about work, says the new seven- mini orchard of hybrid fruit construct order out of chaos imagery. “The paintings are exhibitions pulled in the piece series, entitled “Cage”, trees for three-and-a-half using nature as a vehicle.” quite paradoxical, there always crowds in 2010 in our annual 2011, (prices range from years. New Edens, 2011, on Despite the success of Van seems to be a banana skin in international museum atten- $65,000-$95,000) is about show at Ronald Feldman, Aken’s project, he says it is there somewhere,” says Krut. dance survey creating sculpture through a consists of 13 trees that have futile to try to tame nature: “Humour is about timing and process of subtraction. “These been genetically altered to “Any change that you make is so are the paintings. You Artist interview Nathalie pieces are really about the each bear five fruits: peach, temporary. After 30-odd years, might be led along expecting Djurberg, the Berlin-based emptiness of mass and what plum, cherry, nectarine and the trees go into reverse and one thing and then find you’ve Swedish artist, on her frac- is not there,” she says. apricot. Van Aken has timed return to the root stock you been delivered something else; tured fairy tales Turk uses reclaimed the growth cycle so that the started with.” that’s the surprise.” marble, often from domestic trees are in bloom during the While the trees are for sale Bold colour and drawn What’s On “Art in the settings. “[It] is all recycled Armory Show. for $12,000 each, and Van lines simultane ously invoke Streets” at LA MoCA, the and I like the idea that there’s “The idea comes from the Aken will plant and tend to painting and drawing. “I’m opening of Turner Contempo- this history [to the work]; if philosophy that if nature them twice a year, less green- curious how that perceptual rary in Margate, UK, and you study the surface [of the equals truth, what happens fingered collectors can buy shift can be balanced out in Manet takes centre stage at marble], each mark and when we affect nature itself? large-scale prints of hybrid painting. It’s about creating the Musée d’Orsay in Paris blemish is like a note to its Do we construct new truths?” seed packets (priced at $1,800 and dismantling something legacy,” she says. ■ says Van Aken, who grew up each, edition of eight). ■ simultaneously.” ■ LONDON 2011, JUNE 6-9 EARLS COURT EXHIBITON CENTRE www.pintaart.comwww.pintaart.com CONTEMPORARY ART FAIR PULSE New York Mar 3 – 6, 2011 New Location The Metropolitan Pavilion Chelsea, New York www.pulse-art.com Design: ahoystudios.com SFAQ THE ART NEWSPAPER ARMORY SHOW EDITION 2-3 MARCH 2011 9 Market transparency Guaranteed outcome Insurance for sellers or market manipulation? Why auction guarantees are dividing the art trade LONDON/NEW YORK. The return of the tiny symbols discreetly decorating the catalogue What those little symbols really mean entries for the top lots in the recent London auctions shows that guarantees, which Guarantee (circle): the “plain vanilla” Irrevocable bid (horseshoe): this disappeared during the downturn, are creeping guarantee means that the auction house instrument, which was introduced by back. And it is not for the first time: they have promises the vendor a minimum, undis- Sotheby’s in 2009, is similar to a third fallen in and out of favour over the past 40 closed price for the work, whether or not party guarantee in that the guarantor years, along with the swings of the market. anyone else bids. If unsold, the auction agrees to bid to an undisclosed level, This time, however, they are different and far house pays the vendor and keeps the lot. either winning the lot—and paying the more complex. full buyer’s premium—or getting a pre- Guarantees were first introduced in 1971 at Third-party guarantee: the auction house agreed compensation if someone else Sotheby’s, according to an unnamed source, has found an outside investor to back the buys the lot. when 47 Kandinskys and other works from work at a certain level, either wholly or the Guggenheim Museum were offered with a jointly with the house. The auctions Ownership interest (triangle): a result of guaranteed minimum: similar arrangements structure their payment in different a failed guarantee is that the auction followed in 1972 and 1973 for the Ritter and ways. Christie’s agrees a financing fee house now has to sell the unsold lot. Scull collections. Buyer’s premium did not for the third party’s risk as well as a sep- The work may reappear at auction, as exist in those days; Sotheby’s put its own arate percentage of the upside (the happened in London last month, when money at risk in exchange for a higher difference between the guaranteed price Feininger’s The Proposal, 1907, unsold commission from the seller or a division of and the final price) if the work goes over at Christie’s New York in 2007 (est the profits above the guaranteed amounts, and the guaranteed level. Part of this per- $4m-$6m) sold for £1.27m ($2.048m, its compensation came from the vendor. But centage is taken out of the buyer’s pre- est £1m-£1.5m). Ownership interest after the 1970s oil crisis, guarantees mium. The guarantor is allowed to bid may also arise if the auction house has disappeared until the 1980s, rising again as on the work. Phillips de Pury has a sim- made an advance to the consignor to se- the Japanese entered the market. ilar structure. At Sotheby’s a third-party cure the property. Guarantees’ most visible and disastrous day guarantor is not allowed to bid, but they was when LVMH tycoon Bernard Arnault get a pre-agreed share of the upside. Interested party: Sotheby’s has a sym- bought Phillips (as it then was) in 1999 and Neither Sotheby’s nor Phillips use sym- bol (underlined v) to indicate that par- merged it with art dealership De Pury and bols to distinguish whether guarantees ties with a direct or indirect interest may Luxembourg, making it Phillips, de Pury and are provided by the house or by a third be bidding on a lot. Christie’s does not Luxembourg. In an attempt to propel the firm party, whereas Christie’s does, using have a symbol, but makes a public to the level of rivals Sotheby’s and Christie’s, both circle and diamond symbols to in- announcement at the beginning of the Arnault offered huge guarantees to clinch dicate lots backed by third-parties. auction. ■ consignments. The strategy backfired seriously, particularly in the case of the 2001 Smooke sale, which bore the biggest auction Amedeo Modigliani’s Almaïsa, 1916, found a recent example is the “Carte Blanche” sale at a financial interest will be bidding.” guarantee in history, over $180m, but raised buyer at the otherwise calamitous Smooke sale Phillips de Pury, which opened its new Park The auctions are keen to grow the guarantee just $86m. Arnault sold the company to in 2001, which set a dubious precedent. Sales Avenue premises last November with an business: “We are trying to serve our clients as Simon de Pury in 2002 after chalking up totalled $86m while $180m was guaranteed auction “curated” by Philippe Ségalot. best we can so of course we want to try to some $400m in losses. Ségalot, formerly of Christie’s and now a increase our third-party base, but at the ticket items, so who has deep enough pockets to trusted advisor to its owner François Pinault, moment the volume is not there to create the Ups and downs give them? “You have to be a collector to be a had arranged consignments of 33 works from impetus to do so,” says Zatorski. third-party guarantor—either you want to own his own clients, including Pinault, Edlis and The auction houses were not put off and as the work, or to play a little bit on the market,” Jose Mugrabi. Seven of the works had Supply and demand the market started reheating after the 9/11 says Emmanuel Di Donna, who recently guarantees financed by third parties. Ségalot slow-down, so did their guarantee policy. In jumped ship after 17 years at Sotheby’s to and his assistant, Ali Rosenbaum, were taking Some think a return to the days when the 2007, Sotheby’s issued $902m-worth of become a partner in private dealership Blain Di telephone bids, as was Ségalot’s business auction houses take the risk themselves is guarantees, double the 2006 amount and up Donna. “What are dealers going to do with a partner Franck Girault. In the room, several imminent. “It’s the area with the most returns. from $131m in 2005, according to Noah $10m work that’s been marketed of the consignors were bidding on works in It’s where they can make the most money,” Horowitz’s book Art of the Deal (due to be internationally? It’s unlikely they can sell it at a the sale. This network of relationships is said one dealer. If this happens then some launched on 3 March at Sotheby’s). He says profit within three to five years.” arguably complex. argue that there is a danger that the auction this underscores “how the art market had been Such collectors are known to include Transparency is indeed the fundamental could breach their fiduciary duty to the seller, artificially propped up during the bubble by Stefan Edlis, hedge-fund supremo Steve issue. Dealers claim that the third-party system by favouring one work (the one they have the generous financial arrangements Cohen and publishing magnate Peter Brant. In at Christie’s is flawed, because it allows the guaranteed) above another (non-guaranteed). orchestrated between the auctioneers and their addition, a handful of canny and wealthy possibility for the published price to be Michael Plummer of advisory company marquee clients.” dealers including Robert Mnuchin of L&M different to the one actually paid by a Artvest points to the market crash of 2008 The bubble burst, and guarantees were Arts, William Acquavella of the eponymous guarantor who then buys the work above the when there were significant “plain vanilla” almost entirely taken off the table in 2008-09. gallery and the Nahmad clan regularly back guaranteed level. Others say guarantees are guarantees outstanding: “With so much of the Now, they are back: at the London works. Guarantees, according to Helly open to manipulation by third parties who both house money at stake at such a critical time, impressionist, modern and contemporary art Nahmad of the London gallery, are good: back and bid for works by artists whose can you imagine how tempted they must have evening sales at the beginning of February, “They bring an extra option into the markets they have a stake in. “Most of our been to promote the guaranteed property at the guarantees or irrevocable bids were given to marketplace, increase liquidity and give third parties do bid on the objects,” says expense of other works in the sale? This is the the level of £34.2m. comfort to the seller. It’s very simple: they are Jennifer Zatorski, the international commercial structural problem with auction houses doing The auction houses have changed their like an insurance.” director at Christie’s, but, she points out: guarantees themselves.” This is something strategies, however. Rather than playing with Others say the practice is not so clear cut. A “Announcements are made that someone with Zatorski refutes: “Absolutely not. It is in their own money, they are now selling off the everyone’s best interest to have a strong sale risk to third parties. They had their fingers throughout.” badly burnt when the market crashed in Expert opinion on the pros and cons of guarantees Did guarantees artificially stimulate sales September 2008 and their warehouses were during the boom? “People have shockingly full of non-performing, oil-on-canvas assets. bad memories. It fuels the appetite to push Among art dealers, there are few more markets,” said one ex-auction house staffer. divisive subjects. Some are in favour: “It’s a Others are more sanguine. “I don’t have a creative way to do business,” says secondary- problem with them individually. It’s all buyer market dealer Christophe van der Weghe. beware—it is a meaningful and complicated Others claim that, in more regulated sectors, market place,” says private advisor Allan such practices could be at the limit of Schwartzman. He adds: “There is the legality. “It sails quite close to the wind,” appearance that auction is a transparent and says one dealer. Another is “quite sure that visible market place, but that is not often the people attending the sale do not understand case. There are many different ways in which that they might be bidding against someone prices can be manipulated; guarantees are just who has the inside track, knowledge of the one item on a wider menu of possible ways in reserve etc—and may pay less than they which the market is not purely a marriage of would for the same lot.” supply and demand.” ■ “Collectors deserve transparency, clarity Georgina Adam and Charlotte Burns and an even playing field when they are bidding at auction. Currently information Emmanuel Di Donna, partner, Lucy Mitchell-Innes, president, Helly Nahmad, director, Helly ❏ The Art Newspaper will hold its inaugural Art Industry Summit about guarantees and third-party guarantors is Blain Di Donna ADAA Nahmad Gallery on Thursday 3 March on “Transparency in the Market”, in buried in the back of the heavy catalogues,” association with the ADAA at the Park Avenue Armory, New York at says Lucy Mitchell-Innes, the president of the You have to be a Collectors deserve Guarantees bring an 5.30 pm. Anna Somers Cocks, the founder and group editorial Art Dealers Association of America (ADAA), “collector to be a third- “transparency, clarity and “extra option into the director of The Art Newspaper will host the discussion, which will suggesting that the auction houses are not party guarantor—either an even playing field when marketplace, increase include guest speakers Peter Stern, Richard Feigen, Lucy Mitchell- doing quite enough to ensure that “both phone you want to own the work, they are bidding at auction. liquidity and give comfort Innes, Allan Schwartzman and Ed Dolman. They will debate and room bidders fully understand the whether greater transparency would be possible—and beneficial to circumstances of the competition”. or to play a little bit on Currently information is to the seller…they are like the market, drawing on recent case studies.Places are limited so to Guarantees are most common on the big the market ” buried ” an insurance” reserve a seat go to: http://artdealers.org/ events.forum30.html 10 THE ART NEWSPAPER ARMORY SHOW EDITION 2-3 MARCH 2011 What’s On 2-6 MARCH 2011 Non-commercial Museum of Arts and Design Friedrich Petzel 40 West 53rd Street 537/535 West 22nd Street Special Event Brooklyn Museum www.madmuseum.org www.petzel.com 200 Eastern Parkway The Global Africa Project Heimo Zobernig Art Industry Summit www.brooklynmuseum.org Until 15 May and Maria Lassnig presented by The Art Newspaper Sam Taylor-Wood: Ghosts Until 26 March in association with ADAA Until 14 August Museum of Modern Art Park Avenue Armory Lorna Simpson: Gathered 11 West 53rd Street Gagosian Gallery at 67th Street Until 21 August www.moma.org 980 Madison Avenue www.theartnewspaper.com Abstract Expressionist New York and West 24th Street 3 March, 5:30pm Dia at the Hispanic Society Until 25 April www.gagosian.com Transparency in the Market of America Projects 94: Henrik Olesen Malevich and the American 613 West 155th Street Until 23 May Legacy www.diacenter.org Picasso: Guitars 1912–1914 3 March-30 April www.marlboroughgallery.com Koo Jeong A Until 6 June Rudolf Stingel Tom Otterness Until 26 June Andy Warhol: Motion Pictures 4 March-16 April and Jean Pagliuso Until 21 March Until 26 March Drawing Center Galerie Lelong Robert Weingarten 35 Wooster Street Museum of the Moving Image 528 West 26th Street 3 March-2 April www.drawingcenter.org 3601 35th Avenue www.galerielelong.com Drawn from Photography www.movingimage.us Krzysztof Wodiczko Matthew Marks Until 31 March Real Virtuality Until 19 March 522/526 West 22nd Street Until 12 June , 2011 523 West 24th Street El Museo del Barrio Dolls vs. Dictators CUARTETO Galerie St. Etienne www.matthewmarks.com 1230 Fifth Avenue Until 10 April 24 West 57th Street Ellsworth Kelly at 104th Street Chiho Aoshima: City Glow www.gseart.com Until 16 April www.elmuseo.org Until 17 July Self-Taught Painters in America Luis Camnitzer LOS CARPINTEROS, Until 2 April Michael Werner Until 29 May Neue Galerie Los Carpinteros: Rumba Muerta 4 East 77th Street 1048 Fifth Avenue Gladstone Gallery www.michaelwerner.com Guggenheim Museum www.neuegalerie.org Sean Kelly Gallery, until 19 March 515 West 24th Street Hurvin Anderson 1071 Fifth Avenue Vienna 1900: Havana’s economic meltdown in the 1990s is made literal in an www.gladstonegallery.com Until 12 March www.guggenheim.org Style and Identity installation by Cuban artists Los Carpinteros. As well as a set of Kai Althoff The Great Upheaval Until 27 June dissolving salsa instruments, the show includes a pair of stadium lights Until 5 March Mitchell-Innes & Nash Until 1 June meant to evoke Havana’s dilapidated Estadio Panamericano and the 534 West 26th Street Found in Translation New Museum “harsh glare…of observation in totalitarian regimes” Greenberg Van Doren www.miandn.com Until 1 May 235 Bowery Street 730 Fifth Avenue at 57th Street Martin Kersels www.newmuseum.org Studio Museum in Harlem Alexander and Bonin www.gvdgallery.com Until 12 March High Line George Condo: Mental States 144 West 125th Street 132 Tenth Avenue Cameron Martin Gansevoort Street to West 34th Until 8 May www.studiomuseum.org www.alexanderandbonin.com Until 23 April Pace Gallery Street, between Tenth and Lynda Benglis Lynette Yiadom-Boakye Ree Mortin 510/534 West 25th Street Eleventh Avenues Until 19 June Until 13 March Until 5 March Haunch of Venison 32 East 57th Street www.thehighline.org Mark Brodford: Alphabet 1230 Sixth Avenue www.thepacegallery.com Stephen Vitiellory Minute PS1 Contemporary Art Center Until 13 March Andrea Rosen Gallery www.haunchofvenison.com Jim Dine Until June 22-25 Jackson Avenue, 525 West 25th Street León Ferrari Until 12 March Richard Galpin Long Island City Whitney Museum www.andrearosengallery.com Until 5 March Tara Donovan Until May www.ps1.org 945 Madison Avenue Gillian Carnegie and Until 19 March The Talent Show at 75th Street Flemish Masters, That’s Life Howard Greenberg Gallery Donald Judd International Center Until 4 April www.whitney.org Until 5 March 41 East 57th Street Until 26 March of Photography Feng Mengbo Modern Life: Edward Hopper www.howardgreenberg.com 1133 Sixth Avenue Until 4 April and His Time Anton Kern Gallery Allen Ginsberg Paul Kasmin Gallery www.icp.org Sergej Jensen Until 10 April 532 West 20th Street Until 12 March 293 Tenth Avenue Wang Qingsong Until 2 May Slater Bradley and Ed Lachman www.antonkerngallery.com www.paulkasmingallery.com Until 8 May Modern Women: Until 10 April Jonas Wood Jack Shainman Iván Navarro Single Channel Until 26 March 513 West 20th Street 3 March-2 April Jewish Museum Until 2 May Zabludowicz Collection www.jackshainman.com 1109 Fifth Avenue at 92nd Street 1500 Broadway Cheim and Read Robert & Shana Peter Blum www.thejewishmuseum.org Public Art Fund www.zabludowiczcollection.com 547 West 25th Street Parkeharrison 99 Wooster Street Houdini: Art and Magic Central Park, corner of 60th Proposal for a Floor www.cheimread.com Until 12 March 526 West 29th Street Until 27 March Street and Fifth Avenue Until 15 April Pat Steir www.peterblumgallery.com www.publicartfund.org The Shape We’re In (New York) Until 26 March Knoedler & Company John Beech Metropolitan Museum Eva Rothschild: Empire Until 15 April 19 East 70th Street Until 19 March 1000 Fifth Avenue Until 28 August David Zwirner www.knoedlergallery.com Robert Zandvliet www.metmuseum.org 519/525/533 West 19th Street Helen Frankenthaler Until 26 March Stieglitz, Steichen, Strand SculptureCenter Commercial www.davidzwirner.com Until 11 March Until 10 April 44-19 Purves Street, 303 Gallery Philip-Lorca diCorcia Richard Gray Gallery Cézanne's Card Players Long Island City 547 West 21st Street Until 5 March Lehmann Maupin 1018 Madison Avenue Until 8 May www.sculpture-center.org www.303gallery.com Marcel Dzama 540 West 26th Street www.richardgraygallery.com Katrin Sigurdardottir Ursula von Rydingsvard Jeppe Hein and Michael Riedel and 201 Chrystie Street Buck A. Mickel Collection Until 30 May Until 28 March Until 5 March Until 19 March www.lehmannmaupin.com Until 26 March The Parallax View Until 19 March Sean Kelly Gallery Angel Otero 528 West 29th Street Fairs Until 17 April www.skny.com Los Carpinteros The Armory Show 3 March, 4pm-9pm www.poolartfair.com 1-5 March, 11am-8pm Luhring Augustine Until 19 March Piers 92 & 94 4-5 March, 11am-8pm 4-6 March, 3pm-10pm 6 March, 11am-6pm 531 West 24th Street 12th Avenue at 55th Street 6 March, 12pm-4pm www.luhringaugustine.com Sikkema Jenkins & Co. www.thearmoryshow.com Pulse New York Scope New York Josh Smith 530 West 22nd Street 3-5 March, 12pm-8pm Korean Art Show Metropolitan Pavilion 320 West Street (West Side Until 19 March www.sikkemajenkinsco.com 6 March, 12pm-7pm 82 Mercer Street between 125 West 18th Street Highway), across from Pier 40 Arturo Herrera Spring and Broome Streets www.pulse-art.com www.scope-art.com Marian Goodman and David Schutter The Art Show (ADAA) www.koreanartshow.com 3 March, 1pm-8pm 3-5 March, 12pm-8pm 24 West 57th Street Until 5 March Park Avenue Armory 3 March, 11am-6pm 4-5 March, 12pm-8pm 6 March, 12pm-7pm www.mariangoodman.com at 67th Street 4-5 March, 11am-8pm 6 March, 12pm-5pm Pierre Huyghe Van de Weghe Fine Art www.artdealers.org 6 March, 11am-6pm Verge Art Brooklyn Until 12 March 1018 Madison Avenue 2-5 March, 12pm-8pm Red Dot Multiple locations throughout www.vdwny.com 6 March, 12pm-6pm Moving Image 82 Mercer Street between Dumbo, Brooklyn Marianne Boesky Donald Judd Waterfront Tunnel Spring and Broome Streets www.vergeartfair.com 118 East 64th Street Until 31 March Fountain New York 261 Eleventh Avenue www.reddotfair.com 3-5 March, 12pm-10pmß and 509 West 24th Street Pier 66 at 26th Street and between 27th and 28th Streets 3 March, 11am-6pm 6 March, 12pm-6pm www.marianneboeskygallery.com Yvon Lambert West Side Highway www.moving-image.info 4-5 March, 11am-8pm Sue de Beer 550 West 21st Street www.fountainexhibit.com 3-5 March, 11am-8pm 6 March, 11am-6pm Volta NY Until 19 March www.yvon-lambert.com 4-6 March, 12pm-7pm 6 March, 11am-3pm 7W New York, 7 West 34th Dwelling Charles Sandison Salon Zürcher Street at Fifth Avenue Until 26 March and Nick van Woert Independent Pool 33 Bleecker Street between www.voltashow.com Until 6 April 548 West 22nd Street Gershwin Hotel Lafayette & Bowery Streets 3 March, 2pm-7pm Marlborough New York www.independentnewyork.com 7 East 27th Street www.galeriezurcher.com 4-6 March, 11am-7pm 40 West 57th Street ❏ To search our full listings online, visit and 545 West 25th Street www.theartnewspaper.com/whatson Collect a free copy at P92/L11 WWW.THEARTNEWSPAPER.COM FOR UK AND REST OF THE WORLD SUBSCRIPTIONS: +44 (0) 1795 414 863 FOR US SUBSCRIPTIONS: +1 888 475 5993 C ART New York 9 March 2011 AUCTION S RIGHTS SOCIETY (ARS), NEW YORK S RIGHTS SOCIETY (ARS), NEW Susan Hiller © SOTHEBY’S, INC. 2011#95886772011© SOTHEBY’S, INC. TOBIAS MEYER, PRINCIPAL AUCTIONEER, ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS / ARTIST © Stand 925 / Pier 94 ANDY WARHOL WORK BOOTS. ESTIMATE $400,000-600,000 ENQUIRIES +1 212 606 7916 I SOTHEBYS.COM Xk]fild^Xcc\ip ROBERT COTTINGHAM Xkk_\Xidfipj_fn#g`\i0) ('i\Xc`jkj ;Xm`j:fe\#IfY\ik:fkk`e^_Xd#N`cc`Xd=`jb# :jXi>Xc`Z`X#>i\^fip>`cc\jg`\#J\Xe?\eip# D`Z_X\cC\feXi[#8cXeDX^\\# :XicfDXi`XDXi`Xe`#DlfqM\iX .*'=`]k_8m\el\Xk,.k_Jki\\k#E\nPfib#EP(''(0 )() *,,Æ+,+,#]Xo1 )() *,,Æ+,+. ^Xcc\ip7]fild^Xcc\ip%Zfd ]fild^Xcc\ip%Zfd MODERN. CONTEMPORARY. ABU DHABI ART. 16 - 19 November 2011 Abu Dhabi, UAE abudhabiartfair.ae