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COVID-19 and Its Impact on Auction Houses
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2020 Business Interrupted : COVID-19 and its impact on auction houses Carolina Sagardoy Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Business Analytics Commons, and the Other Business Commons Recommended Citation Sagardoy, Carolina, "Business Interrupted : COVID-19 and its impact on auction houses" (2020). MA Theses. 84. https://digitalcommons.sia.edu/stu_theses/84 This Thesis - Open Access is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. Business Interrupted: COVID-19 and its Impact on Auction Houses By Carolina Sagardoy A Thesis submitted in conformity with the requirements for the Master’s Degree in Art Business Sotheby’s Institute of Art 2020 Word Count: 14,658 Business Interrupted: COVID-19 and its Impact on Auction Houses By: Carolina Sagardoy Abstract This study aims to thoroughly analyse how auction houses are coping with the conditions imposed by the Coronavirus pandemic in the short-term and what the virus’ long-term impact on the business will be. The study will look at upcoming marketing campaigns and the quick migration to online sales, and will analyse the data within those sales. The study is unique in its aim to also analyse buyer and seller psychological behaviours and how they will be impacted as a result of forced or voluntary distancing when live sales return. -
Artnet Launches New Gallery Profile Pages(PDF)
Corporate News S e p t e m b e r 5 , 2 0 1 8 artnet Launches New Gallery Profile Pages Berlin/New York, S e p t e m b e r 5 , 2 0 1 8 — artnet is pleased to announce the r e l e a s e o f new profile pages for member s of the Gallery Network, the largest online community of galleries in the w o r l d . With new features and a f r e s h design, gallery members can now better showcase their inventory and programming to artnet’s global audience o f 31 million annual users . Over the course of the year, t h e a r t n e t t e a m m e t w i t h c l i e n t s f r o m around the world t o b e t t e r understand what galleries want from their online presence t o d a y . T h e ir i n s i g h t w a s instrumental in shaping the s t r a t e g y , key features , and interface of the new design . T h i s initiative seeks to foreground the vision of gallerists while offering collectors the most i m m e r s i v e viewing experience p o s s i b l e . As collecting increasingly moves o n l i n e , i t i s c r u c i a l to understand the current market so as to better serve both galleries and their client s . -
Curriculum Vitae Table of Contents
CURRICULUM VITAE Revised February 2015 ADRIAN MARGARET SMITH PIPER Born 20 September 1948, New York City TABLE OF CONTENTS 1. Educational Record ..................................................................................................................................... 2 2. Languages...................................................................................................................................................... 2 3. Philosophy Dissertation Topic.................................................................................................................. 2 4. Areas of Special Competence in Philosophy ......................................................................................... 2 5. Other Areas of Research Interest in Philosophy ................................................................................... 2 6. Teaching Experience.................................................................................................................................... 2 7. Fellowships and Awards in Philosophy ................................................................................................. 4 8. Professional Philosophical Associations................................................................................................. 4 9. Service to the Profession of Philosophy .................................................................................................. 5 10. Invited Papers and Conferences in Philosophy ................................................................................. -
Artists for the Hammer Museum
NEW YORK NEW ARTISTS FOR THE HAMMER MUSEUM FOR ARTISTS NEW YORK | 16 & 17 MAY 2019 16 & 17 MAY 2019 N0N10069 & N10070 N0N10069 2019 16 & MAY 17 2 SOTHEBY’S 3 4 SOTHEBY’S 5 TABLE OF CONTENTS 8 INTRODUCTION 14 HAMMER HISTORY 22 CONTEMPORARY ART EVENING 34 CONTEMPORARY ART DAY 6 SOTHEBY’S 7 DIRECTOR’S MESSAGE FROM ANN PHILBIN I came to the Hammer in 1999. From the outset, The story of Los Angeles’ arrival as a global arts we established some guiding principles that have capital is by now well told. This city has long been since become the DNA of the museum. We set out home to artists, many of whom studied or taught to make the Hammer a place that would nurture at outstanding schools like UCLA, CalArts, Otis, or young talent; bring new voices to the table; create a ArtCenter. In order to be taken seriously, the story welcoming space for our community; serve as a public goes, artists left L.A. to find their careers in New platform for the extraordinary riches of UCLA; and York. But in recent decades that changed, as more tackle the most urgent issues of the day. and more artists chose instead to stay put. That Those are our core values and our daily choice has had a ripple effect as the city’s institutions, touchstones. In particular, we have long believed galleries, alternative spaces, and collectors have that a museum can have a viewpoint, that it can take proliferated and matured in the twenty-first century. positions—often progressive and controversial. -
C L a I R E F O N T a I N E
C L A I R E F O N T A I N E Claire Fontaine is a Paris based collective artist founded in 2004. Solo Projects and Exhibitions 2010 Air de Paris, Paris (dates t.b.c.) MD72, Berlin 03.10 El Museo Tamayo Arte Contemporáneo, Mexico D.F. 04.10 Economies, Museum of Contemporary Art, North Miami, 06.10 2009 Inhibitions, Reena Spaulings Fine Art, New York 12.09 After Marx April, After Mao June, Aspen Art Museum, Colarado 12.09 Defend Yourself, curated by Jens Hoffman, Art Perform, Art Basel, Miami, Fl. 05.12 Recessions, Galerie Gabriele Senn, Vienna 06.09 Claire Fontaine, The Exhibition Formerly Known as Passengers, CCA Wattis Institute for Contemporary Arts, San Franscisco 06.09 Changement de Propriétaire, Sorry We’re Closed, Bruxelles 03.09 Tamed, ‘Perché Napoli?’, T293, Piazza Amendola, Napoli 03.09 Call + 972 2 5 839 749, Andres Janacu / Galería Perdida at Project Row House, Houston, Texas 02.09 Interior Design For Bastards, Galeria T293, Napoli 02.09 Destroy and Rejuvenate, Regina Gallery, Moscow 01.09 2008 Feux de Détresse, Galerie Chantal Crousel, Paris 12.08 Lucky In The Misfortune, Masion Descartes, Institut Français des Pays-Bas, Amsterdam 12.08 Is Freedom Therapeutic? Galeria T293, Art Positions, Art Basel, Miami Beach, Florida 12.08 They Hate Us For Our Freedom, Contemporary Art Museum St.Louis, Missouri 12.08 Arbeit Macht Kapital, Kubus, Städtische Galerie im Lenbachhaus und Kunstbau, München 11.08 Asleep, Dvir Gallery, Tel Aviv 11.08 Closed for Prayers, Schinkel Pavillon, Berlin 11.08 Change, Galerie Neu, Berlin 07.08 Counter-Poison, Komplot, Bruxelles 06.08 Claire Fontaine, Witte de With, Center for Contemporary Art, Rotterdam 05.08 Tragitti periferici, Facoltà di Architettura di Siracusa, Università degli studi di Catania, Sicilia 03.08 Instructions for the sharing of private property, project space, The Kitchen, New York 01.08 Capitalism is not working, Gaga Galería de Arte Contemporáneo, Mexico D.F. -
AMY SILLMAN Born 1955 Detroit, Michigan Lives and Works in Brooklyn, New York
AMY SILLMAN Born 1955 Detroit, Michigan Lives and works in Brooklyn, New York Education 1995 Bard College (MFA), Annandale-on-Hudson, New York – Elaine de Kooning Memorial Fellowship 1979 School of Visual Arts (BFA), New York 1975 New York University, New York 1973 Beloit College, Beloit, Wisconsin Teaching 2014-2019 Professor, Städelschule, Staatliche Hochschule für Bildende Künste, Frankfurt am Main, Germany 2006-2010 Adjunct Faculty in Graduate Program in Visual Art, Columbia University, New York 2005 Visiting Faculty, Parsons School of Design MFA Program, New York 2002-2013 Chair of Painting Department, Bard College, Annandale-on-Hudson, New York 2002 Visiting Artist, Dartmouth College, Hanover, New Hampshire 2000 Resident Artist, Skowhegan School of Painting and Sculpture, Maine 1997-2013 MFA Program, Bard College, Annandale-on-Hudson, New York 1996-2005 Assistant Professor in Painting, Bard College, Annandale-on-Hudson, New York Visiting Artist, The Royal Danish Academy of Fine Art, Copenhagen 1990-1995 Faculty in Painting, Bennington College, North Bennington, Vermont Awards and Fellowships 2014 The American Academy in Rome Residency, Rome The Charles Flint Kellogg Award in Arts and Letters, Bard College, Annandale-on- Hudson, New York 2012 The Asher B. Durand Award, The Brooklyn Museum, New York 2011 Honorary Doctorate in Fine Arts, Montserrat College of Art, Beverly, Massachusetts 2009 The American Academy in Berlin: Berlin Prize in Arts and Letters, Guna S. Mundheim Fellow in the Visual Arts, Berlin 2001 John Simon Guggenheim -
Annual Report 2003
ARTISTS GALLERIES EVENTS RESEARCH DIRECTORY MAGAZINE ® Comprised of an almost limitless number of unique objects Core products serve dealers and art buyers alike: and works of art, the art market relies, like no other, on the artnet’s online Gallery Network is the first of its kind, with over , galleries, , artworks communication of colour images. Internet technology and , artists from around the globe. The Gallery Network serves art buyers by providing speeds this communication to a rapidly expanding audience the largest international art market overview in at a small fraction of what it would cost in other media. any venue, communicated in images, searchable by artist and specialty, and available days per year at no charge. The Gallery Network serves the dealer and gallery community by providing a Up to the minute information, like auction prices, art news, marketing vehicle at a fraction of the cost of conventional gallery marketing, reaching a vast and exhibitions, heretofore the province of newspapers, audience across international boundaries. The service is sold to dealers by monthly contract. monthly magazines, and annuals can be communicated The Fine Art Auctions Database is the most instantaneously on the Web. powerful, highest quality, fullest-featured resource on the market today with which to value fine art. It contains over , million illustrated records , artnet improves the efficiency of art businesses by covering artists, Old Master through contemporary, from to the present - covering significantly reducing their communication and an entire business cycle in fine art. The product is sold by monthly and annual subscription at price marketing costs. points graded by frequency of use. -
Strong Growth at Artnet Auctions Continues in the First Quarter
Corporate News May 10, 2021 Strong Growth at Artnet Auctions Continues in the First Quarter - Fee-based Revenue of Online Auction Platform up 25% Year-Over-Year - Gallery Network Increases Memberships and Revenue - Average Monthly Visitors up 35% at 6.2 Million - Paywall Artnet News Pro Creates Additional Revenue Stream Berlin/New York, May 10, 2021—Berlin-based Artnet AG, the leading provider of art market data and online-only fine art auctions, increased its revenue and media reach in the first quarter of 2021. Fee- based revenue at Artnet Auctions rose by 25% year-over-year to 1.2 million USD, continuing on a strong growth trajectory and setting a new revenue record for a first quarter. Top lots in the first quarter included several works by the iconic American artist Jean-Michel Basquiat. In January, his screenprints Head; Per Capita: Ernok; Rinso (complete set of 4 works) sold for 300,000 USD. Artnet achieved the same price in March for Basquiat’s monumental work on paper Untitled (1981), a large-scale drawing of a car motif. The Gallery Network achieved a turnaround. Its quarterly revenue increased by 4% to 1.3 million USD due to a higher number of memberships and a drop in cancellations. “Galleries depend on the Internet for sales and marketing more than ever,” said Artnet CEO Jacob Pabst. “Membership in the Gallery Network provides a strong online presence, enables global transactions online, and supports the efficient management of inventory with our unique inventory management system.” Artnet introduced the Artist Alerts last year to help drive traffic to gallery members. -
Carolee Schneemann Cv
CAROLEE SCHNEEMANN CV Born 1939, Fox Chase, Pennsylvania Lives and works in New York. Education University of Illinois - Urbana, Illinois, MFA Bard College - Annandale-On-Hudson, New York, BA Columbia University, School of Painting and Sculpture - New York The New School for Social Research - New York La Universidad De Puebla - Mexico Selected Solo Exhibitions 2017 Kinetic Painting, Museum fur Moderne Kunst, Frankfurt, Germany (travelling to MoMA PS1n New York, USA) More Wrong Things, Hales Gallery, London, UK 2016 Further Evidence - Exhibit A & Further Evidence - Exhibit B, P.P.O.W & Galerie Lelong, New York, NY, USA 2015 Kinetic Painting, Museum der Moderne Salzburg, Austria, curated by Sabine Breitwieser Carolee Schneemann: Infinity Kisses, The Merchant House, Amsterdam, Netherlands Carolee Schneemann, The Artist’s Institute, New York, NY, USA 2014 Water Light/Water Needle, Hales Gallery, UK 2013 Then and Now Carolee Schneemann: Oeuvres d’Histoire, Musee departemental d’art contemporain Rochechouart, France Flange 6rpm, P·P·O·W Gallery, New York, NY WRO Center, Wroclaw, Poland Sweden Bienalle, Gothenburg, Sweden Carolee Schneemann: Infinity Kisses, Galerie Samuel Lallouz, Montreal, Canada Sammlung Friedrichshof Gallery, Vienna, Austria Taking Matters Into Our Own Hands, Richard Saltoun, London, UK 2012 Remains to be Seen, Gallery Paule Anglim, San Francisco, CA Carolee Schneemann: Remains to be Seen, Edinburgh Art Festival, Summerhall, Edinburgh, UK Carolee Schneemann: Within and Beyond the Premises, Krannert Art Museum, University of Illinois at Urbana-Champaign 2011 Carolee Schneemann: Within and Beyond the Premises, Henry Art Gallery, University of Washington, Seattle, WA, USA Circa 1971: Early Video & Film from the EAI Archive, Dia:Beacon, New York, NY, USa London, 7 Bethnal Green Road, E1 6LA. -
Six-Month Report 2019 AG
AG Six-Month Report 2019 AG Six-Month Report 2019 i AG Six-Month Report 2019 Key Financial Figures for the artnet Group 6/30/2019 12/31/2018 6/30/2018 Revenue (k USD) 10,915 21,615 10,696 Profit from Operations (k USD) 680 905 194 Earnings Before Tax (k USD) 612 819 87 Earnings per Share (USD) 0.11 0.22 0.01 Weighted Number of Shares (Thousands) 5,553 5,553 5,553 Cash Flow from Operating Activities (k USD) 1,162 1,254 364 Staff (Period End) 130 131 134 Cash and Cash Equivalents (k USD) 896 957 1,004 Equity (k USD) 4,172 3,371 2,185 Total Assets (k USD) 12,633 8,700 7,066 ii AG Six-Month Report 2019 Table of Contents Letter to the Shareholders ..................................................................................................................................................................... 1 Core Statement .................................................................................................................................................................................... 3 Company Development ......................................................................................................................................................................... 3 Company Background .......................................................................................................................................................................... 3 Macroeconomic and Industry Conditions .............................................................................................................................................. -
Amy Sillman Maika Pollack
Amy Sillman Maika Pollack, ‘Amy Sillman: Art Meets Intimacy at Hessel Museum of Art, Bard College’, Gallerist, 20 August, 2014 Installation view from Amy Sillman: ‘one lump or two.’ Shade (2010), Purple/Pipesmoker (2009). (Courtesy Chris Kendall Photo) A show of 25 years of Amy Sillman’s work on view at the Hessel Museum, Bard, begins with an uncharacteristically small painting. Most of Ms. Sillman’s painting is abstract and moderately vast, but Lemon Yellow Painting(2001) is a tiny, luminously colorful take on two coupled bodies. In its abstracted forms you can make out the flash of a tit, a mouth, an ass, a supine spine: it’s painting as a meditation on flesh, half-obscured (lesbian?) sex, and closeness, a fitting kick-off to a show that makes the case that there’s really no separating abstraction from figuration, or art from intimacy. The Detroit-born Ms. Sillman is a ubiquitous presence in New York. If you are in Brooklyn (where she has a studio) or around Bard (where she teaches), your paths have probably crossed. Her painting colors are the stuff of Katy Perry videos and cupcake frosting: bright pinks, reds and greens. It’s good painting, too, glop-topped with layers of classical underpainting: blues pinning yellows, purples supporting grays and scribbles and gestures layered under fields of saturated colors. The work picks up passages dropped by Philip Guston, Willem de Kooning and even Henri Matisse. Absurd angles and gloppy lines are her specialty. In Shade, 2010, a white arm reaches across an orange field to proffer a small, green orb. -
Full Bibliography
Harmony Hammond Full Bibliography PUBLICATIONS BY AND ABOUT HARMONY HAMMOND AND HER WORK 2019 Harmony Hammond: Material Witness, Five Decades of Art, Catalogue essay by Amy Smith- Stewart. Aldrich Contemporary Art Museum and Gregory R. Miller & Co. (New York) Vitamin T: Threads & Textiles, 2019. Phaidon Press Limited (London) “Harmony Hammond”, interviewed by Tara Burk. Art After Stonewall: 1969 – 1989, ed. Jonathan Weinberg. Rizzoli Electa (New York) Queer Abstraction, Des Moines Art Center, Des Moines, IA. Catalogue essays by Jared Ledesma and David Getsy, About Face: Gender, Revolt & the New Queer Art, Wrightwood 659, Chicago, IL. Catalogue essay by Jonathan D. Katz “Artists and Creatives Reflect on How Stonewall Changed Art”, Julia Wolkoff. Artsy, June 14 “Queer Art, Gay Pride, and the Stonewall Riots –50 Years Later”,Sur Rodney (Sur). Artsy. June 3, “West By Southwest: Considering Landscape in Contemporary Art”, Shane Tolbert. The Magazine, June “Lucy Lippard”, Jenn Shapland. The Magazine, June “Queer Artists in Their Own Words: Savannah Knoop Is an Intimacy Hound”, Zachary Small. Hyperallergic, June 7 “Beyond Boston: 6 Summer Exhibits Around New England”. WBUR. The ARTery. June 4 “A Show About Stonewall’s Legacy Falters on Indecision”,Danilo Machado, Hyperallergic,June 6 “Critic’s Pick’s, Holland Cotter. The New York Times, May 30 “Material Witness: Five Decades of Art”, Ariella Wolens. SPIKE ART #59, Spring “Blood, Sweat and Piss: Art Is a Hard Job”, Osman Can Yerebakan. ELEPHANT, May 18 “Why So Many Artists Have Been Drawn to New Mexico”, Alexxa Gotthardt, Artsy, May 17 “Art After Stonewall, 1969 – 1989”, Jonathan Weinberg and Anna Conlan, The Archive, Spring “Playful furniture, Native Art, and hidden grottoes are a few of the highlights from this season’s top exhibitions”, AFAR, May 10 “’art after stonewall’ examines a crucial moment in lgbtq history”.