December 15th, 2020
This year was a turbulent one, and auction houses were not exempt from facing the changes wrought by it. Because of the pandemic, Christie’s, Sotheby’s, and Phillips swiftly adapted their marquee evening auctions for a new era, ushering in live-streamed hybrid mega-sales that saw a host of masterpiece-level works reach staggering prices.
Signs of success at those sales was felt early on. Sotheby’s led the pack with a major evening sale in June; a Francis Bacon triptych was among its top lots. Two weeks after, in July, Christie’s staged its relay-style auction “ONE,” which brought major works by Roy Lichtenstein, Gerhard Richter, and more to market—and saw big prizes realized for them.
While auction houses worked to mitigate any potential losses resulting from the pandemic, some top collectors struggled, too—in particular Ronald Perelman. The Revlon Inc. owner, who had ranked on ARTnews‘s Top 200 Collectors list for years, began parting ways with the bulk of his touted holdings. Works by Henri Matisse, Joan Miró, Gerhard Richter, Alberto Giacometti, and more departed his collection for the auction block, where buyers exhibited interest. Together, Perelman is said to have sold off $350 million of art since the pandemic began.
Source: ArtNews by Angelica Villa
December 9th, 2020
Is this the future of art?
The French art collective Obvious is back with another project featuring artworks generated through artificial intelligence, this time training algorithms to blend prehistoric cave art with contemporary street art.
Obvious has teamed up with German graffiti artist Kai “Raws” Imhof to produce the new work, which is based on one of his painting and ancient art from the famed French cave art complex Lascaux Parietal Burner #1, comes from the technical term for art painted in caves, and burner, a word for an elaborate graffiti piece.
By involving Lascaux, Obvious is reaching across the full span of human history, connecting the world’s earliest artistic activity with advanced technology. Training the AI to create new works merging Raws’s style with the work of the ancients was a two-step process, starting with examples of the Lascaux cave paintings.
First, Obvious trained the AI using machine learning Generative Adversarial Networks to create new drawings of animals in the prehistoric style.
“We then trained a second type of algorithm to learn from the style present in Raws’s artworks, and to translate this style on the drawings initially created with artificial intelligence,” a representative for the collective said in an email.
The result, based on a Raws work called Chaos and a “new” Lascaux animal figure, is a blend of the two aesthetics.
Obvious made a name for itself in 2018 when Christie’s New York auctioned off its work, Portrait of Edmond de Belamy, the first AI-generated artwork at auction, for $432,500—more than 4,320 percent its high estimate of $10,000.
November 15th, 2020
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November 1st, 2020
Art moves people, challenges them, sparks creativity, and so much more. And we’re lucky enough to have some of the best museums in the world right here in NYC!
That’s why we’ve scoured museum websites to pull together all of the most exciting exhibits that will be here from 2020 to 2021. A few go beyond traditional art museums, but it’s all about blurring the lines, right?
Check them out here:
1. Cooper & Gorfer–Between These Folded Walls, Utopia, Fotografiska New York
For complete list of Events
By CLAIRE LEADEN • OCTOBER 29, 2020
October 31st, 2020
Having canceled all three of its in-person editions, Art Basel has plowed forward with online viewing rooms. The first in a series of two online viewing rooms titled “OVR:2020” was launched on Wednesday, with 100 galleries from 28 countries participating. This iteration is focused on works made in 2020. The fair is hosting emerging and established dealers for the series. It follows the cancellation of Art Basel’s marquee Swiss fair that was originally scheduled for June, then rescheduled for September, and finally canceled due to coronavirus restrictions. The fair will run from September 23 to September 26.
In the pandemic era, global art fairs have been forced to adapt their online programs rapidly. Now, Art Basel is responding to digital fatigue with a new format. This online edition provides vendors a platform to showcase smaller curated exhibitions. While its run is shorter than a typical week-long fair, and while less than half the usual number of galleries are taking part in the event, the experience is overall a more intimate one, thanks to a live chat feature that allows sales personnel to respond quickly to inquiries.
Source: By ANGELICA VILLA
September 23, 2020 5:38pm
Photo caption: Mickalene Thomas, detail of Jet Blue #4, 2020.
COURTESY LÉVY GORVY
October 31st, 2020
During the 1970s, a long-running legal case concerning Mark Rothko’s estate dominated news in the art world. After Rothko’s death by suicide in 1970, a fierce battle waged between his heirs, executors, and dealers at Marlborough Gallery. The abstract artist’s death at age 66 shocked the art world and created a sudden production gap in any future market for his work. The average U.S. life expectancy in 1970 had been around 70.81 years. Rothko, a wealthy, educated, urban man, might have been demographically expected to live a lot longer.
When he died, Rothko left a stellar critical reputation, a suddenly restricted supply of 798 artworks of tremendous value, and two children with claims on his estate. Unlike later artists who have died in an untimely fashion—such as Jean-Michel Basquiat and Keith Haring, or more recently Noah Davis and Matthew Wong—Rothko’s death had all the necessary factors to set off a protracted dispute that would become a symbol of the darker side of the art market. Rothko’s executors were called “wrongful and indeed shocking” by the New York Court of Appeals after attempting to withhold work from the estate to their own benefit. They also attempted to restrict what Marlborough put on the market, stipulating that the gallery “could sell up to 35 paintings a year from each of two groups, pre-1947 and post-1947, for 12 years at the best price obtainable but not less than the appraised estate value.”
By Samuel McIlhagga
Oct 29, 2020 6:01pm
Photo caption: Noah Davis, 1975 (8), 2013. © The Estate of Noah Davis. Image courtesy of the Estate of Noah Davis and David Zwirner
September 20th, 2020
The street artist opened a pop-up shop in Croydon last year in a bid to protect his image rights, but was found to have “acted in bad faith”
Banksy has been stripped of the trademark of his famous Flower Thrower image after a panel of judges ruled he tried “to circumvent the law” by opening a pop-up shop in Croydon, south London last October in a bid to protect his intellectual property rights. The panel also said Banksy’s anonymity undermined his case.
The ruling, by the European Union Intellectual Property Office earlier this week, comes after a two-year legal battle with the card company Full Colour Black, which contested Banksy’s trademark rights to his own name and imagery. The legal dispute prompted Banksy to open the store, called Gross Domestic Product—“possibly the least poetic reason to ever hold an art show”, the Bristol street artist said at the time.
Following advice from his lawyer, Mark Stephens, Banksy filled the shop, which never actually opened, with items “created specifically to fulfill a particular trademark category under EU law”.
But Banksy and his legal team's reasoning backfired. As the judges put it: “By their own words they admit [it] was not genuine trade mark use in order to create or maintain a share of the market by commercializing goods, but only to circumvent the law.” Banksy had therefore “acted in bad faith”, the panel found.
Banksy first applied for an EU trademark of Flower Thrower in February 2014, 11 years after he first stenclled the image on a wall in Jerusalem in 2003. Three years later, in 2006, Flower Thrower appeared on the cover of Banksy’s book, Wall and Piece, in which the artist “positively extolls the virtue of disobedience to copyright and trade mark law”, the panel noted. As Banksy so succinctly put it: “copyright is for losers”. The artist also encouraged others to download his works for “amusement and activism”, but not for profit, according to webpages from 2010 and 2011 recovered by the panel.
Source: Anny Shaw
17th September 2020
September 20th, 2020
The next edition of Art Basel in Miami Beach will take place from December 2 to December 5, 2021, with preview days on December 1 and December 2, 2021.
Given the ongoing impact of the pandemic, which spans from South Florida to other parts of the country and the world, limitations and uncertainty about the staging of large-scale events, international travel restrictions and bans, as well as quarantine regulations within the United States and internationally, Art Basel has no other option but to cancel the 2020 edition of Art Basel in Miami Beach. Art Basel in Miami Beach was scheduled to take place from December 3 to December 6, 2020 at the Miami Beach Convention Center.
August 24th, 2020
The pandemic has forced the art market to move online—an area that prognosticators have long said had potential for dealers and auction houses. Total online sales reached an estimated $4.82 billion in the first half of 2020, up 4 percent from the same period last year, according to a Hiscox Online Art Trade Report released in July.
June 19th, 2020
Let's all pause for a moment to think about Us, as Americans... as Human Beings and Let Love Win.
“In the end, we will remember not the words of our enemies, but the silence of our friends“. Martin Luther King Jr.
George Floyd - He died for Us so We can be Free ~ Love Wins