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SALE RESULTS: PRINTS and MULTIPLES 26-27 April
RESULTS | NEW YORK | 27 APRIL 2016 | FOR IMMEDIATE RELEASE SALE RESULTS: PRINTS AND MULTIPLES 26-27 April 2016 SALE TOTAL: $11,592,500 JASPER JOHNS (B. 1930), Flags I, screenprint in colors, on J.B. Green paper, 1973 Estimate: $800,0000-1,200,000 Price Realized: $1,685,000 NEW WORLD AUCTION RECORD FOR A PRINT BY THE ARTIST New York—Christie’s announces strong results for the two-day and three session sale of Prints and Multiples which took place from April 26-27 at Christie’s New York. The sale beat the initial estimate totaling $11,592,500 with 86% sold by lot and 91% sold by value. Record prices were set for artists Jasper Johns, Keith Haring, Frank Stella, Andy Warhol, and Ellsworth Kelly. There was active bidding through all three channels—live, online, and phone—with global representation across buyers. Richard Lloyd, International Head of Prints and Multiples, comments, “Strong prices were achieved for works across the 20th-century, led by Jasper Johns, Flags I, setting a new world auction record for a print by the artist. Significant results were also realized for Roy Lichtenstein, Keith Haring, and a notable 100% sell-through of works by Andy Warhol.” The top lot of the sale was Jasper Johns (B. 1930), Flags I, screenprint in colors, 1973, realizing $1,685,000, setting a new world auction record for his Flags I series and for any printed work by the artist. Previous artist record for a printed work: Jasper Johns (B. 1930), Untitled, which sold for $1,565,000 at Christie’s New York, November 2015. -
L Banco Nacional De México a Través De Fomento Cultural Banamex
JUAN CORREA MIGUEL CABRERA ANÓNIMO JOHANN MORITZ RUGENDAS ÉDOUARD PINGRET JOSÉ AGUSTÍN ARRIETA Arcángel Sealtiel (detalle), ca. 1690-1713 Virgen del Carmen (detalle), 1750 Virrey don Juan Vicente Güemes Pacheco de Padilla, segundo conde de Revillagigedo (detalle), ca. 1790 Volcán de Colima (detalle), ca. 1834 Retrato de Anacleto Polidura y sus hijos, ca. 1852 Cristales, ca. 1859 Óleo sobre tela Óleo sobre tela Óleo sobre tela Óleo sobre tela Óleo sobre tela Óleo sobre tela Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México Col. Banco Nacional de México realizaron bellos paisajes, escenas costumbristas, tipos po- l Banco Nacional de México a través de Fomento Cultural EL VIRREINATO Durante el virreinato la Iglesia se su apogeo los mejores representantes del paisajes urbanos o rurales, que dan cuenta de los oficios, las diver- el paisaje y la naturaleza muerta gozaron de gran éxito entre la bur- Banamex, A. C. y el Museo Arocena presentan la expo- pulares y bodegones, los cuales contribuyeron a construir la sirvió del arte para transmitir los preceptos de la religión católica; barroco del mundo hispánico, encabeza- siones, el vestuario, los ajuares domésticos, la flora regional y la guesía mexicana, la cual los encomendó y los coleccionó. Destaca- E sición La colección de pintura del Banco Nacional de México. identidad nacional. por ello, los artistas novohispanos pintaron principalmente temas dos por Cristóbal de Villalpando. El siglo posición social de los personajes. dos exponentes del retrato lograron un equilibrio entre la exactitud xvIII, a partir de la década de los treinta, física del modelo y su idealización, e introdujeron diversas formas En ella, el visitante podrá apreciar un amplio panorama Con los artistas modernistas como Germán Gedovius y Julio religiosos. -
Modelos De Gestión De Galerías De Arte Contemporáneo
COLEGIO DE HUMANIDADES Y CIENCIAS SOCIALES LICENCIATURA EN ARTE Y PATRIMONIO CULTURAL “Modelos de gestión de galerías de arte contemporáneo en la ciudad de México” TRABAJO RECEPCIONAL PARA OBTENER EL TÍTULO DE LICENCIADO EN ARTE Y PATRIMONIO CULTURAL PRESENTA: ABEL MATUS VERDUZCO Directora del trabajo recepcional: Mtra. Brenda Judith Caro Cocotle México, D.F., junio 2012 SISTEMA BIBLIOTECARIO DE INFORMACIÓN Y DOCUMENTACIÓN UNIVERSIDAD AUTÓNOMA DE LA CIUDAD DE MÉXICO COORDINACIÓN ACADÉMICA RESTRICCIONES DE USO PARA LAS TESIS DIGITALES DERECHOS RESERVADOS© La presente obra y cada uno de sus elementos está protegido por la Ley Federal del Derecho de Autor; por la Ley de la Universidad Autónoma de la Ciudad de México, así como lo dispuesto por el Estatuto General Orgánico de la Universidad Autónoma de la Ciudad de México; del mismo modo por lo establecido en el Acuerdo por el cual se aprueba la Norma mediante la que se Modifican, Adicionan y Derogan Diversas Disposiciones del Estatuto Orgánico de la Universidad de la Ciudad de México, aprobado por el Consejo de Gobierno el 29 de enero de 2002, con el objeto de definir las atribuciones de las diferentes unidades que forman la estructura de la Universidad Autónoma de la Ciudad de México como organismo público autónomo y lo establecido en el Reglamento de Titulación de la Universidad Autónoma de la Ciudad de México. Por lo que el uso de su contenido, así como cada una de las partes que lo integran y que están bajo la tutela de la Ley Federal de Derecho de Autor, obliga a quien haga uso de la presente obra a considerar que solo lo realizará si es para fines educativos, académicos, de investigación o informativos y se compromete a citar esta fuente, así como a su autor ó autores. -
Southern Comfort
FROM THE NATIONAL ALLIANCE FOR MUSICAL THEAtre’s PresideNT Welcome to our 24th Annual Festival of New Musicals! The Festival is one of the highlights of the NAMT year, bringing together 600+ industry professionals for two days of intense focus on new musical theatre works and the remarkably talented writing teams who create them. This year we are particularly excited not only about the quality, but also about the diversity—in theme, style, period, place and people—represented across the eight shows that were selected from over 150 submissions. We’re visiting 17th-century England and early 20th century New York. We’re spending some time in the world of fairy tales—but not in ways you ever have before. We’re visiting Indiana and Georgia and the world of reality TV. Regardless of setting or stage of development, every one of these shows brings something new—something thought-provoking, funny, poignant or uplifting—to the musical theatre field. This Festival is about helping these shows and writers find their futures. Beyond the Festival, NAMT is active year-round in supporting members in their efforts to develop new works. This year’s Songwriters Showcase features excerpts from just a few of the many shows under development (many with collaboration across multiple members!) to salute the amazing, extraordinarily dedicated, innovative work our members do. A final and heartfelt thank you: our sponsors and donors make this Festival, and all of NAMT’s work, possible. We tremendously appreciate your support! Many thanks, too, to the Festival Committee, NAMT staff and all of you, our audience. -
C#13 Modern & Contemporary Art Magazine 2013
2013 C#13 Modern & Contemporary Art Magazine C#13 O $PWFSJNBHF"MGSFEP+BBS 7FOF[JB 7FOF[JB EFUBJM Acknowledgements Contributors Project Managers Misha Michael Regina Lazarenko Editors Amy Bower Natasha Cheung Shmoyel Siddiqui Valerie Genty Yvonne Kook Weskott Designers Carrie Engerrand Kali McMillan Shahrzad Ghorban Zoie Yung Illustrator Zoie Yung C# 13 Advisory Board Alexandra Schoolman Cassie Edlefsen Lasch Diane Vivona Emily Labarge John Slyce Michele Robecchi Rachel Farquharson Christie's Education Staff Advisory Board John Slyce Kiri Cragin Thea Philips Freelance C#13 App Developer Pietro Romanelli JJ INDEX I Editor’s Note i British Art 29 Acknowledgements ii Kali McMillan Index iii Index iv Venice C#13 Emerging Artists 58 Robert Mapplethorpe's Au Debut (works form 1970 to 1979) Artist feature on Stephanie Roland at Xavier Hufkens Gallery Artist feature on De Monseignat The Fondation Beyeler Review Artist feature on Ron Muek LITE Art Fair Basel Review Beirut Art Center Review HK Art Basel review Interview with Vito Acconci More than Ink and Brush Interview with Pak Sheun Chuen Selling Out to Big Oil? Steve McQueen's Retrospective at Schaulager, Basel The Frozen Beginnings of Art Contemporary Arts as Alternative Culture Interview with Lee Kit (in traditional Chinese) A Failure to Communicate Are You Alright? Exhibition Review A Failure to Communicate Notes on Oreet Ashrey Keith Haring at Musee D’Art -
Andy-Warhol-Ai-Weiwei-Exhibition
Paid Free Grollo Equiset Garden Persimmon NGV 7 8 Great Hall Members Lounge 6 5 9 Ticketing Federation Court 17 10 4 3 Exhibition 16 Entrance 2 11 18 12 15 ATM Clemenger Auditorium 14 1 13 NGV design store 19 Waterwall St Kilda Road Andy Warhol | Ai Weiwei 2 5 8 Andy Warhol | Ai Weiwei explores the influence Forever Bicycles, 2015 Silver Couds and Cow Wallpaper Flowers of two of the most consequential artists of The assembly and replication of almost Andy Warhol’s Silver Clouds were first Flowers in Western art history have the twentieth and twenty-first centuries on 1500 bicycles in Ai’s Forever Bicycles exhibited at Leo Castelli Gallery, New York, symbolised love, death, sexuality, nobility, modern art and contemporary life, focusing series, ongoing since 2003, promotes an in 1966, along with Cow Wallpaper in an sleep and transience. In Chinese culture on the parallels and intersections between intensely spectacular effect. ‘Forever’ is a adjacent gallery. Propelled by air currents, flowers also carry rich and auspicious their practices. Surveying the scope of both popular brand of mass-produced bicycles the floating pillow forms displace the symbolic meanings; from wealth and artists’ careers, the exhibition presents manufactured in China since the 1940s, a work of art from the walls of the gallery social status to beauty, reflection and more than 300 works, including major new type desired by Ai as a child, and also linked into space itself, creating an immersive enlightenment. The flower is a recurrent commissions, immersive installations and a to China’s early socialist society. -
Thomas Bayrle
a ns la N ture. D da ans ue la iq m nt a e ss id e t , s n e o ’ n n p n l e u i s R . » « " " I . n e k t i h l e a r m e a v s e s, e li ar ke s in g n thin ature, no two The Laughing Cow® continues to prepare for PRESS its 100th anniversary in 2021 with a second collector’s edition box signed by artist KIT Thomas Bayrle. The Collector’s Edition Boxes: Sharing Contemporary Art The Laughing Cow® (La Vache qui rit®) each box as a work of contemporary art is more than a smile and good humor: by an internationally renowned artist. it’s an incredible story of innovation and creativity. That’s why, between now and By bringing contemporary art to the 2021, the company has planned an im- broadest audience possible in a way pressive series of collaborations with ma- that’s both original and offbeat, the Col- jor contemporary artists, each of whom lector’s Edition Box epitomizes the phi- will design a not-to-be-missed Collec- losophy of Lab’Bel, the artistic laborato- tor’s Edition Box. These collaborations ry of the Bel Group. continue the special rapport that has always existed between The Laughing Cow® and the artists who have used this modern icon as a source of inspiration for nearly a century. Each Collector’s Edition Box is an ori- ginal work of art in its own right, made available to thousands of consumers and The Laughing Cow® won collectors at the standard retail price. -
Room 10 Consuming Pop
Room 10 Consuming Pop 101 The relationship between art and consumer society is a thread that runs throughout pop art, and this final room deals directly with the lure and act of consumption. The risk that art itself might become a consumable product is mooted in some works here, but others proclaim the power of art to subvert and oppose the operations of global capitalism. Thomas Bayrle’s The Laughing Cow wallpaper makes the cheese company icon omnipresent and inescapable, while Boris Bućan’s series of brand logos transformed into ‘art’ reflect Yugoslavia’s transition to consumerist culture. Advertising always shows consumption as pleasurable. Many works here expose the coercion that backs it up, from the bars on the screen in Sanja Iveković’s video Sweet Violence , to the aggressively proffered American products in Keiichi Tanaami’s Commercial War animation. 102 Wall labels Clockwise from right of wall text Thomas Bayrle 1937 Born and works Germany The Laughing Cow (Blue) Wallpaper La Vache qui rit (blau) Tapete 1967/2015 Wallpaper, silkscreen on paper Courtesy the artist, Air de Paris and Groupe Bel, Paris X50880 32 103 Komar and Melamid Vitaly Komar 1943 Alexander Melamid 1945 Born Russia (former USSR), work USA Post Art No 1 (Warhol) Post Art No 2 (Lichtenstein) Post Art No 3 (Indiana) 1973 Oil paint on canvas Russian artists Komar and Melamid reappropriated canonical American works, copying them from reproductions in Lucy Lippard’s seminal book Pop Art (1966). Komar has explained: ‘The Post Art series is an apocalyptic vision of the future. The viewer can see famous works by Andy Warhol, Roy Lichtenstein, Robert Indiana and other pop artists as they might be after a nuclear war or a political or natural disaster. -
Early Roy Lichtenstein: a Fount of Insight on Postwar America
Early Roy Lichtenstein: A fount of insight on postwar America By Murray Whyte Globe Staff,Updated May 7, 2021, 47 minutes ago Roy Lichtenstein's "Washington Crossing the Delaware II," from about 1951.ESTATE OF ROY LICHTENSTEIN/COURTESY OF GABRIEL MILLER WATERVILLE, Maine — In 1940, an Ohio State undergraduate named Roy Lichtenstein — yes, that Roy Lichtenstein — made a loose and gestural ink sketch of Paul Bunyan felling a tree with a mighty swing. He passed it off to his roommate with a wink. Keep it, he said. I’m going to be famous someday. Someday came, and famous he was, though not for works like that. In 1961, Lichtenstein made “Look Mickey,” his first-ever appropriation of a four-color pulp illustration. (He lifted it from the 1960 kids’ book “Donald Duck: Lost and Found.”) That anchored him as one of the pillars of the thoroughly American Pop Art movement. But “Roy Lichtenstein: History in the Making, 1948-1960,” at the Colby College Museum of Art, isn’t about any of that. It’s about Lichtenstein before he became Lichtenstein, and it’s a revelation: A fresh view of an artist who reached a saturation point so long ago he can feel as familiar and over-worn as old wallpaper. “History in the Making” is instead unfamiliar, exhilaratingly so, spanning the artist’s long teaching stints in Cleveland and upstate New York, up to a breath before that fateful Mickey steered his course into mass-cultural history. The show captures a young artist in a postwar moment, unmoved by the sunny optimism of a burgeoning American dream and driven to peel back its thin myths. -
Pop Art with Roy Lichtenstein
January 2020 The Studiowith ART HIST RY KIDS Pop Art with Roy Lichtenstein Observe | Discuss | Discover | Create | Connect Pop Art with The Studiowith Roy Lichtenstein ART HIST RY KIDS INTRODUCTION The art of the ordinary Roy Lichtenstein’s successful art career was based on one simple idea – creating fine art inspired by images we see everyday. His art captures the ordinary things that surround us – advertisements, comic books, the painting of other famous artists like Picasso, Mondrian, Matisse, and Monet, and even Micky Mouse cartoons. He took these ideas and recreated them on a larger than life scale. Most of his can- vases are grand and oversized – they are truly bold and impactful when seen in person! He also infused little bits of commentary in his art, and he became known for his skillful use of parody. You don’t need to study every piece of art that’s included in this guide. Feel free to choose just a few that are most interesting to your kids. A range of subject matter is included here, but if some of these paintings are too intense for your kids– just skip them for now, and come back to them when they are older! There’s no hurry, and there are plenty of paintings included here that are perfect for young kids. Pop Art looks out into the world. This is your week to look closely at the “ art and chat about it. We’ll learn all It doesn’t look like a painting of about Lichtenstein and his art next something, it looks like the thing week. -
Roy Lichtenstein, Sociedad Moderna Como Expresión Artística. Rocio Castillo Rojas. “El Pop Art Mira Hacia El Mundo. No Parec
Roy Lichtenstein, sociedad moderna como expresión artística. Rocio Castillo Rojas. “El Pop Art mira hacia el mundo. No parece una pintura de algo, se parece a la cosa en sí misma”1. De esta forma Roy Lichtenstein intentaba responder la pregunta del crítico de arte, G.R. Swenson, ¿Qué es el Pop Art? (1963) y es que para entonces ya se reconocía el valor de sus obras para el enaltecimiento artístico de la sociedad moderna. A fines de los 50, el Pop Art surgía como reacción al Expresionismo Abstracto representando imágenes y elementos de la sociedad moderna caracterizada por el consumismo, los medios de comunicación masivos, la moda, la tecnología, el capitalismo, etc. Sus principales impulsores buscaban convertir la cotidianeidad de la cultura occidental en una obra estética de forma crítica e inteligente, entre ellos destaca la obra de Roy Lichtenstein. Lichtenstein nace en 1923, en Nueva York, EEUU, siendo el primero de dos hijos del matrimonio entre Milton y Beatrice Lichtenstein. Desde joven presentó habilidades artísticas y musicales: dibujaba, pintaba, esculpía, tocaba piano y clarinete, y desarrollo una gran afición por el jazz. El verano de 1940, año en que se graduó de preparatoria, estudió pintura y dibujo en la Art Students League de Nueva York con Reginald Marsh. Ese mismo año ingresó a la Facultad de Educación de la Universidad Estatal de Ohio, pero no fue hasta 1946 que logró graduarse como Bachelor of Fine Art, desde entonces comenzó su carrera como académico en la misma Universidad Estatal de Ohio y en paralelo preparó su maestría la cual obtuvo en 1949. -
Dorothy Lichtenstein (Dl)
THE MUSEUM OF MODERN ART ORAL HISTORY PROGRAM INTERVIEW WITH: DOROTHY LICHTENSTEIN (DL) NTERVIEWER: AGNES GUND (AG) LOCATION: NEW YORK, NEW YORK DATE: MAY 6, 1998 BEGIN MINICASSETTE MASTER TAPE 1, SIDE A AG: I'd like to thank you, first of all, for doing this. It's very nice of you. The first question that I'd like to ask you is, how did you and Roy meet, the first time? DL: The first time we met, I was working at a gallery, the Bianchini Gallery. That was around the corner from the Castelli Gallery at 4 East 77th Street. We were on 78th Street, and, in fact, that's the gallery that Rosa Esmond has now, Ubu Gallery [16 East 78th Street]. AG: Oh, is that her gallery? DL: Yes. We were doing a show called The Great American Supermarket, based on the fact that so much of the work in the early '60s imitated commercial products and ads, so we thought to set the exhibition up. AG: That's great. And this was a contemporary gallery? DL: Yes. When I started working there, Paul Bianchini owned it, and he did mostly drawing shows of modern masters, but, say, French and Europeans and mostly pre-war, but he would have had Dubuffet and Giacometti. AG: And he was a friend of Leo's [Castelli]. MoMA Archives Oral History: D. Lichtenstein page 1 of 29 DL: Well, he ran this gallery. He knew Leo, and of course it was very exciting. We thought Leo's gallery was the most exciting place.