I got back from Art Basel this weekend on a plane full of artworld types, with fresh impressions for my interesting disconnects file.
First, between the ebullience of the art fair and the dark financial clouds roiling over Europe, where states teeter on the edge of insolvency and people are taking to the streets. There is a yawning chasm right now between the revived luxury spending boom and the malaise that grips the bottom ninety-eight percent. The subject kept coming up, quietly but persistently, at parties around town.
Second, during an Art Basel Conversation I moderated on the future of museum collecting, a London-based curator from Bangladesh pressed the assembled directors, and in particular Chris Dercon of the Tate Modern, when and how they will genuinely engage his community and others like it—not just through occasionally showcasing artists, but in a deep way. All agreed that, good intentions and planned initiatives notwithstanding, we’re a long way from making art institutions truly inclusive.
The third contrast arrived by way of the 430-page summer issue of Artforum. The tome was not in my mailbox, which proved too small, but on my doorstep. It was shrink-wrapped with the current issue of Bookforum, which includes a review of a new book on the “internship economy,” by Ross Perlin. Titled Intern Nation: How to Earn Nothing and Learn Little in the Brave New Economy, the study documents the stunning and roundly depressing rise of unpaid labor in our creative industries. One can see why Bookforum reviewed it. The art world, it seems, can fill a glossy with almost as many ad pages as the September issue of Vogue. Yet how many of those ads were placed by young folks working for a pittance, or pro bono, just to get a shot at a job? Continue reading “The season of our disconnect”
Looking back over the season that just passed, consolidation is the word that best describes the dynamics of the art world now. Large entities are getting larger; smaller ones are still squeezed or struggling. The art system is mirroring larger trends in society, where recovery has come sooner to the more fortunate and the gap between the haves and have-nots has, if anything, widened.
Large institutions and corporate entities have locked in gains and begun to expand franchises. It’s a good time to make a deal, whether inexpensive real estate, cheap credit, or distressed partners prompt the opportunity.
Here in New York, large museums are showing anew an appetite for expansion. The Whitney had reason to celebrate at its gala last week, having just leased its Madison Avenue Marcel Breuer building to the Met, clearing the way for downtown construction of its new Renzo Piano headquarters. For the Met, this will be the first foray off Fifth Avenue since the opening of the Cloisters. Meanwhile, MoMA has paid $31 million to buy the beleaguered Museum of Folk Art. And the Guggenheim is eyeing a branch in Helsinki.
On the commercial side, the three main auction houses booked respectable quarters, and Phillips has moved into its flashiest digs yet, on Park Avenue. The houses are aggressively building markets overseas and pushing the boundaries of their operations into new aesthetic, digital, and financial territory. Hiring is back. Furloughs have yielded to pay increases.
Consolidation continued in the gallery business, too. Gagosian’s far-flung satellites are filling mailboxes with thick cardboard invitations almost daily. A small cluster of galleries with a truly global reach is leaving everyone else further behind. Corporate muscle is the most obvious in the seemingly never-ending expansion of art fairs. In a long awaited move, Art Basel has planted its flag in Hong Kong. Frieze announced a bold incursion into the Armory Show’s back yard, on New York’s Randall’s Island, and is also launching an old master’s fair back in London. Continue reading “The season that was”
My barometer keeps jumping. One minute it’s backs-to-the-walls time, the next it’s all lavish parties and third venue vernissages. It has seemed like a growing, healthy trend for performative, lively and cheap art would be neatly distilled in the line-up for this year’s Frieze Art Fair Projects, curated for the first time by Sarah McCrory, formerly of south London’s small curatorial hotbed, Studio Voltaire. McCrory has commissioned Spartacus Chetwynd (née Lali Chetwynd) and her travelling troupe of players to create daily spectacles in the fair on the obscure subject of tax havens (of course, much inter-fair art revolves around the necessarily thorny question of the perceived evils of the surrounding arena of commerce). A wandering group of ‘Ten Embarrassed Men’, by Swedish-born artist Annika Ström, will prowl the fair looking shamefaced – the emasculation of artists or bankers, maybe? There will also be judiciously placed charity boxes (designed by artists, of course) to tempt collector’s monies elsewhere, as well as lots of free-to-air fun in the surrounding park.
Who are they all kidding? Hauser & Wirth are opening their third or fourth space in London (I have genuinely lost count, but it’s definitely the biggest) with a retrospective of fabric works by Louise Bourgeois. Sadie Coles upscales next-door, the Blain-Southern dealership duo split from their Christie’s holding pen, Haunch of Venison, to open a new gallery as well. Then there are Russian squillionaires galore putting on one-week one-offs including pricey Picassos, New York galleries dipping their toes here… I could go on, ad infinitum. My magazine lists some 200 shows on, or opening, in the now designated ‘Frieze week’ frenzy, most of them seemingly launching on Tuesday with a brunch, lunch, press view, rooftop after-party or oyster-laden dinner. Who’s right and who’s wrong? Is art in some kind of reactionary, recessionary funk? The more it gets hit, the harder it fights back? Or are the commercials slowly moving back into easy street, while the public sector prepares for a governmental pounding at the hands of David Cameron’s October 20 spending review/slash-fest? It could be a fall bounce or just the preamble to another, bigger fall.
For its tenth birthday weekend just gone, Tate Modern staged No Soul For Sale, a non-profit ‘Festival of Independents’, bringing 70 artists’ collectives, publishers and non-commercial spaces from all over the world to fill its Turbine Hall. Well, perhaps ‘inviting’ would be a more accurate word to use, rather than ‘bringing’, as each participant had to pay their own way, with resourceful galleries doing last minute fundraising events and even garage sales to afford their flights to London from as far and wide as Beijing, Rio and Melbourne. A necessarily scrappy and messy affair ensued, with many No Soul For Salers showing only what they’d been able to squeeze through hand luggage or the symbolically empty packages they’d sent ahead of themselves.
This perceived lack of financial support drew fire from an anonymous British group of artists and arts professionals, calling themselves Making A Living. In an open letter to Tate, widely emailed and posted online, they took umbrage with No Soul For Sale’s ‘romantic connotations of the soulful artist, who makes art from inner necessity without thought of recompense’ as well as the concomitant expectation that ‘we should expect to work for free and that it is acceptable to forego the right to be paid for our labour.’
In an interview I conducted beforehand with the curators of No Soul For Sale – Maurizio Cattelan, Massimiliano Gioni and Cecilia Alemani, with Vicente Todolí on behalf of Tate – here, they defend the event (once previously staged as part of X-Initiative in New York) variously as ‘a tribute to the people, the artists and the art lovers who work beyond the traditional market system’ (Cattelan), or an act of ‘hospitality and generosity’ (Alemani). While Gioni adds that, ‘Nobody really ever pays respect to the people who work in situations in which there is very little money involved and yet a lot of energy and enthusiasm’, Todolí qualifies this by saying: ‘Obviously we are not the only ones being hospitable here. All the participants are … as generous as Tate, if not more. But that’s when things get interesting: when people are willing to share, going beyond any immediate quantifiable gain. Continue reading “Money for nothing”
A new four-part reality show, School of Saatchi, begins tonight on BBC television (and will be viewable online). Six artists from an open submission competition are selected, first by a panel of judges – artist Tracey Emin, critic Matthew Collings, collector Frank Cohen and Kate Bush, director of the Barbican Art Gallery – and then vetted by Charles Saatchi. The London-based collector does not himself appear on screen, despite – or perhaps because – he’s trailed as ‘one of the most influential and enigmatic figures in the art world’ (full disclosure: I was asked to appear in some guise in the programme, but declined). Anyway, the show’s tone is Identikit reality TV fare – a set of silly tasks and crashing verdicts that are peppered with a cheeky voiceover and incidental music.
In the same vein is the yet-to-be-aired ArtStar on US network Bravo, produced by that well-known art world luminary, Sarah Jessica Parker. The only other judge revealed so far is Simon de Pury, who’s no stranger to publicity, or indeed to the conflation of art with the world of pop music, seen here belittling his profession to a thumping Euro-house soundtrack and now fresh from his Saturday night auction/performance, in which he sold music-related art to the live accompaniment of techno DJ Matthew Herbert.
But back to the slow creep of art on reality TV, there’s obviously a place for the kind of populist programming that can cut through the crap that the general public usually associates with our intellectually elitist art form. However, there’s also an unhealthy tendency here that assumes you can uncover artistic talent like you can with a singer or rock star – by putting them in front of an audience or a panel of judges and expecting them to perform, explain and show off their work.
Apart from some cash, an exhibition, a studio space and some residual fame, will such talent spotting ever result in serious appreciation for any of the so-called Next Big Things plucked from obscurity? British artist Phil Collins has already explored the phenomenon of the negative impact such makeover/reality/talk shows can have on its participants in a piece for the Turner Prize in 2006 called Shady Lane. Maybe he’ll be counselling fellow artists from now on: Do you feel your life has been ruined by your appearance on television?
So how does it feel where you are? Arriving back in Beijing after 3 months traveling I passed through the requisite temperature checks at the airport (swine flu mania abounds); and so I thought I would do the same for Art markets around the world. I touched base with gallerists, collectors and intermediaries in the US, UK, France and Switzerland. Without wishing to over generalise: the Americans were still mostly doom and gloom; while the response from Europeans was more varied, with some friends reporting good works finding new homes. This is rather at odds with the general Economic environment. I heard more about “green shoots” while traveling in the US than in Europe. But maybe the American collectors had had more money in the game to lose?
So it has been interesting to arrive back in China and talk with friends in Beijing and Shanghai. Unsurprisingly, things are at least a little more positive here. Whilst there has been a general pull back from foreign buyers, young wealthy mainland Chinese buyers seem to be taking up some of the slack. The locals might prefer “decorative” to “difficult” and positive themes rather than negative or political, but they are starting to buy some of the same “big brand” names that the foreigners have made so popular over the last 8 years. And brand names have always been important in China, for all products.
But the foreign buyers haven’t disappeared completely; they are just taking a little more time and doing a little more due diligence. Continue reading “Temperature check in Beijing”
It’s the dawn of a new age. No, not another, deeper stratum to the credit crunch, but a new era of art is upon us and it’s called the ‘Altermodern’. So says French curator Nicolas Bourriaud, who was also responsible for that other recent frisson of novel art-speak, Relational Aesthetics, which – for better or worse – is now firmly established in our repertoire of recognized terminology.
The ‘Altermodern’ is more contentious, not only for being launched by a showy exhibition at the Tate, but also for being far more numinous and complex. Put simply it posits a post-postmodern situation in which modernism is fractured further and has no central geographical focus. These ‘other’ modernities take place simultaneously through an international network of production, with a constellation of ideas pulsing through various media and means of communication. Altermodern artists are nomadic flaÃ±eurs and the work is characterised by translation and heterogeneity.
Is any of this terribly new, however? The post-colonial diaspora of artists and the ‘glocal’ proliferation of biennials has long been a point of discussion, Jonathan Neil recently cited Noel Carroll’s definition of the ‘transnational’ and notions of the ‘other’ have been around for decades in Derrida, Kristeva, Said and others.
Even though you can’t all see the Altermodern show (which I liked despite its flaws), you can watch the video, read the manifesto and join the debate, in which most newspaper critics have waded in with a mixture of incomprehension and vitriol. Personally, while another impenetrable ‘ism’ is not necessarily the solution to tidying up the art history books of the 21st century, I appreciate that it does at least take some courage to usher in any kind of movement that doesn’t have an easily marketable model like the YBAs or the Chindian set.
Bloomberg today reported the dramatic drop in prices achieved at all the major auction houses this weekend.
Sales by Sotheby’s, Christie’s International and Phillips de Pury & Co made a combined 59 million pounds ($102 million), against minimum estimates of 106.2 million pounds, according to Bloomberg calculations. They follow a five-day auction by Sotheby’s in Hong Kong this month that raised HK$1.1 billion ($141.7 million), also about half the presale estimate, as buyers shunned some top lots for being too expensive.
This is of course to be expected as much of the collector market focuses on wealth preservation rather than spending. And galleries in New York have noticed a softening for some time. Interestingly, though, one normally expects an art market correction 6 to 9 months after stock market crashes. The question now is whether this is the start of a rout in the contemporary art market or merely a short term, financial market correlated, “correction.”
It also, by the way, raises a question about the other major art story of last week about recent moves by two former senior US museum directors to the private sector. Robert Fitzpatrick moved from the Museum of Contemporary Art Chicago to Christie’s Haunch of Venison, and David Ross moved on from his days at the Whitney and the Museum of Modern Art in San Francisco to be a partner at Albion. Whilst I fully understand the attractions of better salaries and less stifling boards, I wonder if their timing was all it could be?
Not everyone is worried though. I have spoken to two collectors this weekend who said, in effect, “finally a correction: maybe prices will come down to a more reasonable level and we can start buying again.”
So what do you think: Short term correction or start of a rout? A good thing or a bad thing?
Damien Hirst’s decision to sell 223 new pieces direct to auction at Sotheby’s on 15 and 16 September represents the breaking of an unwritten rule: thou shalt not defile your dealer. While threatening the very gallery system that helped to make him a household name by selling his work in the first place (and supposedly nurturing and protecting his interests too), Hirst’s solo venture simultaneously slopes the playing field firmly in favour of the artist. He’s not only temporarily freed himself from his artist-dealer honour code, but now attempting to exercise some influence, if not exactly control, over his own market.
It’s recently become clear that Hirst’s 100-strong production line of artisans are producing more than his London gallery can handle, which in turn suggests that he needs this new outlet (if not going so far as to prove that supply has outstripped demand just yet). But could this firesale of familiar-looking works not perhaps herald a brave new world for artists and turn out to be a good thing for the market, allowing some transparency and public visibility into how artist’s reputations are made, for example? Or will such sales be more like grisly art market entertainment, providing on-the-spot popularity contests and some gallows-style bating if the sales should flop disastrously?
There are even suggestions that Murakami will be the next to follow suit, signaling an even deeper shift of power from galleries to auction houses, which may then open the floodgates to similarly commercial-minded artists the world over (Chinese artists are already used to this practice I believe). Hirst has never played by the rules, famously flouting the usual 50/50 split with his galleries, but does this spell the end of the art market as we know it? He divides opinion like no one else, so let’s have a vote. He’s either Damien 666 – the devil in disguise – or Damien 999 (dial 911 in the US) – the art world’s very own emergency services, coming to save the day. Which way do you see it?
With Art Basel around the corner, this just in from Lisa Ruyter in Vienna:
When I was commissioned to do the art for The Armory Show 2004 catalog, I wrote an introduction that was a rhapsody about my love of art fairs. Not so many years before that, I began showing at Art Basel with Art & Public gallery, with such clear, positive results that I decided to make my largest and most risky piece, a Stations of the Cross, for a five day exhibition at Art Unlimited, with the support of Pierre Huber. This seems like ages ago, but it really isn’t, and my changing feelings about fairs are probably mostly a reflection of my own growth rather than a reflection of trends of the marketplace.
Since then, I have continued to participate in fairs in different ways, including with my own eponymously named gallery, presenting work by other artists. I see the limitations more and more clearly. I am very aware that it gave me an opportunity to develop a broad and solid international system of support for myself as an artist, and with that, secure a large degree of freedom to live wherever I want in the world. I can put my focus on getting involved deeply in local scenes that I really love, and to take much larger risks with my artwork when I want to. It has allowed me to indulge my independence without self-destructing.
As long as these fairs continue in their current popularity and with galleries as their primary clientele, they will continue to be a measure of what makes an important gallery (and also an unimportant gallery). For example, an artist can significantly raise his or her profile by signing up with a gallery that regularly gets into Frieze or Basel, and often there is only room for one or two other fairs in the world to share that top status. To me Basel holds the top spot because it always put the artworks first. But that is another discussion. Continue reading “Art fairs: one artist’s viewpoint”
“How come that title is still available?” I thought to myself as a smiling woman handed me a copy of ART WORLD magazine at the recent Armory Show in New York. The attractive U.K.-based bimonthly is unlikely to win any major writing awards, but it gets a friendly slap on the back for letting the art do the talking.
The first impression is somewhat of a letdown: a parade of short and light news items about all the usual-suspect events, including cheesy snaps from Larry Gagosian’s opening in Rome, followed by profiles of overexposed art celebs (is there anything about Tracey Emin we don’t already know?) But as you dig further into the magazine, the artists turn less predictable. Best of all, whole spreads are filled up with comfortably spaced, high-quality reproductions of actual work. Nice job.
One thing ART WORLD doesn’t cover in great depth is, well, the broader art world. Issue No. 3 has a single dealer profile. Basically, it’s a traditional art magazine in a slightly updated, newsier garb. And that may be just fine. Will this one survive?
The three co-founders of Artworldsalon intersected in London last week. Two of them went on to ogle Damien Hirst’s diamond studded skull, about which a report shall soon follow, and which is undeniably the talk of the town. Visitors particularly seem to appreciate the gesamtkunstwerk atmosphere. It’s not just the skull but the full-court theatre around it, including the thuggish Mafia-style security guards. More on that carnival attraction from the eyewitnesses who saw it.
The real eye candy for me this summer in London was at the National Gallery, which has organized a spellbinding show of Dutch portraiture, a true diamond gem of an exhibit. A less noticed visual art event awaits at Heathrow airport. A slick video about security procedures now playing on a row of flat-panels right above the baggage X-ray machines is a sight to behold. It looks like it was produced by Matthew Barney in collaboration with the people who make Apple’s iPhone commercials. Slow-motion shots from edgy avant-garde camera angles (e.g. bird’s eye view of gorgeous passenger walking through metal detector) capture models of attractively blended origin as they glide through the ritualistic passage of belt removal, laptop opening, and body frisking. Their dignified countenance and beatific smiles radiate an inner calm, as though they were being cleansed; suspicions erased, innocence reasserted.
Anyway, on to matters at hand. One of the delights of airplane time is the freedom to read even the smallest articles in The Economist, including the little teaser for their blog, Free exchange, which on June 26 posted a fascinating roundup of variables shown empirically to influence the prices of paintings. Quoting from Tyler Cowen’s latest book, Discover your Inner Economist, they posit the following relationships:
“1 Landscapes can triple in value when there are horses or figures in the foreground. Evidence of industry usually lowers a picture’s value.
2 A still life with flowers is worth more than one with fruit. Roses stand at the top of the flower hierarchy. Chrysanthemums and lupines (seen as working class) stand at the bottom.
3 There is a price hierarchy for animals. Purebred dogs help a picture more than mongrels do. Spaniels are worth more than collies. Racehorses are worth more than carthorses. When it comes to game birds the following rule of thumb holds: the more expensive it is to shoot the bird, the more the bird adds to the value of the painting. A grouse is worth more than a mallard, and the painter should show the animal from the front, not the back. Continue reading “Summer math camp”
Hirstian Math 1 From Linda Sandler of Bloomberg’s $100 Million Diamond Skull Is ‘Almost’ Sold: “The skull represents about a fifth of the value of Hirst’s show at Jay Jopling’s White Cube galleries, according to the artist’s business manager, Frank Dunphy…. The life-sized platinum skull, studded with 8,601 stones weighing 1,106.18 carats, cost Hirst $20 million to make — about the same amount as Jopling spent to build his new White Cube Mason’s Yard gallery.”
Hirstian Math 2 From the BBC.com’s Hirst unveils £50m diamond skull: “The 18th Century skull is entirely covered in 8,601 jewels, while new teeth were made for the artwork at a cost of £14m .”
Hirstian Math 3 From the Reuters skull story: “Hirst, who financed the skull himself, said he couldn’t remember whether it had cost 10 or 15 million pounds.”
Hirstian logic Richard Dorment, dependably crystalline in his prose writes: “If anyone but Hirst had made this curious object, we would be struck by its vulgarity. It looks like the kind of thing Asprey or Harrods might sell to credulous visitors from the oil states with unlimited amounts of money to spend, little taste, and no knowledge of art. I can imagine it gracing the drawing room of some African dictator or Colombian drug baron.” Continue reading “Clippings from the salon floor, #11”
Bling and nothingness? Damien Hirst, quoted re his £50 million diamond-encrusted skull in the Financial Times article What else can you spend your money on?: “The idea is very blingy but it turns out to be something much more. The way it looks is amazing. You almost believe that it is a victory over death.”
Immortality for a mere £50 million? Hirst again, in the same article, re the art market’s allure to his peers among the superwealthy: “If you want to own things, art is a pretty good bet. Buy art, build a museum, put your name on it, let people in for free. That’s as close as you can get to immortality.”
“See it Venice, buy it in
Basel Venice” From The Art Newspaper’s Venice Biennale proposes becoming a selling show again: “The Venice Biennale used to sell art openly—from 1942 to 1968. The Italian dealer Ettore Gian Ferrari had the official job of placing works for any willing artist, earning 15 percent for the Biennale and 2 percent for himself. ….When the president of the Biennale, Davide Croff, realised that Cornice [Fair] had the support of all the public authorities…and of a number of prominent art world figures… he considered whether the Biennale should start selling again from 2009.”
Signor Croff, non c’e piu bisogno di vendere l’arte, metti all’asta le camere d’albergo! From ARTINFO.com’s Phillips de Pury auction report: “Before the auction began, Simon de Pury announced that one member of the Guggenheim Foundation’s International Directors Council would not be able to make it to Venice and had asked that he take bids on her room at the Hotel Cipriani, with proceeds from the unofficial sale going to the museum. A flurry of bids brought the accommodations up to $45,000.” Continue reading “Clippings from the salon floor, #10”
Sexual aftermath Andrea Fraser quoted by STLtoday re reactions to the 2003 piece for which she slept with a collector for $20,000: “The project raised the level of expectations. ‘What will she do next? Kill herself?’ One artist asked me to bear his child as a work of art. I wondered whether I should retire.”
Warm hands, hot market Montreal’s Moderns dealer Robert Landau, cited in Bloomberg’s ImpMod auction reports: “This is a week where we can sit on our hands and buy nothing and watch as our inventory goes up $50 million in value.”
Over-reaching auctionspeak #1 From greg.org’s post questioning the propriety of the Phillips de Pury catalog’s use of 9/11/2001 to promote a 1998 Eberhard Havekost painting: “Obviously, the destruction of The World Trade Center is going to factor into any encounter with a work of art which features the buildings… But rather than just make mention of the situation, Phillips is explicitly running with it, pumping up the importance of Havekost’s painting by torquing it into a kind of prophetic artifact.”
Wannabe dealer tip #1 Painter Dana Schutz, cited in The Boston Globe’s How did this guy become such an art world big shot? – a long profile of her dealer, Zach Feuer: “I thought dealers were terrifying people, and he seemed very open. He’s not the typical super-dealer type — he’s really down to earth, and he always pays on time.”
Roberta Smith, princemaker From the same Zach Feuer profile: “[Feuer recalls]’We didn’t sell much at first… I had trouble paying the rent for the first year and a half. The phone was always off for non-payment.’ Then in February 2002, New York Times critic Roberta Smith wrote a positive review of a two-person show of paintings by Holly Coulis and Schutz. The show sold out. ‘Three or four collectors called,’ says Feuer, ‘and it all snowballed from there.’”
Dunst vs Hirst Actress Kirstin Dunst’s take on Damien Hirst, via the Irish Examiner: “I was going to buy a print for £35,000 (â‚¬51,000) – a copy, not the painting, of the butterflies. Then I found out he has a whole studio of people who do the work for him and it only costs about £1,000 (â‚¬1,500) to make a butterfly thing. I think he’s a genius and a good actor[sic], but I don’t think he should charge as much money as he does.” Continue reading “Clippings from the salon floor, #8”