art basel miami beach 2010, issue 4

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LONDON NEW YORK TURIN VENICE MILAN ROME
ART BASEL MIAMI BEACH DAILY EDITION 4-5 DECEMBER 2010
Trends
Glenn Lowry (above),
director of the Museum
of Modern Art, New
York, visited the Bass
Museum’s exhibition
“Creative Caribbean
Network” (until 6
March), finding: “The
work that made the most
impression on me in
Miami was Isaac Julien’s
Ten Thousand Waves
[top]. It is a profoundly
moving installation that
takes his work to a new
level of narrative
complexity and visual
impact. I cannot get this
work out of my mind.”
❏ For more experts’ choices see p6
Gallery giants tighten their grip
Competition forces smaller dealers to play the branding game—or find alternative models
MIAMI. The rise and rise of the
mega-gallery—intent on creating a global brand—has never
been more obvious than this
week at Art Basel Miami
Beach. The fair’s floorplan is
something of a blueprint for
the increasingly hierarchical
market, with the best spots in
the convention centre given
over to dealers such as Barbara
Gladstone (H13), David
Zwirner (J19), Gagosian
Gallery (J13), Pace (C10) and,
at the oceanfront entrance,
Hauser & Wirth (K17).
“The market now concentrates on the bigger and the
bolder. It isn’t just about multiple cities but also multiple sites
in the same cities,” says dealer
Thaddaeus Ropac (C11), who
this year opened a second,
larger, space in Salzburg and is
soon to do the same in Paris.
At the extreme end of this
increasingly competitive environment is the Gagosian
Gallery, due to open its 11th
space in its eighth city (Hong
Kong) early next year. The
gallery’s rapid expansion
seems to play to today’s cashrich but time-poor collectors.
(Gagosian is rumoured to have
sold seven works within the
opening hour of the fair on
Wednesday.) Other galleries
have to play the same game—
Casey Fatchett
Photo: Timothy Greenfield-Sanders
Courtesy of the artist, Victoria Miro Gallery, London and Metro Pictures, New York
Expert eye
at Art Basel
Miami Beach
Luis Gispert, L.V. Escalade, 2009-10, all six editions sold at Mary Boone (F8) for $25,000 each
assuming they can afford to—
or are forced to rethink their
business models.
So how did art galleries become such big business? For
those who believe that art belongs in the luxury goods market, the shift towards big-brand
commercialism has been inevitable for some time. Look at
the events around South Beach
this week: LVMH, Fendi, Absolut and Cartier are all firms
who know how to generate
success from global marketing.
This trend suits buying habits
in some of the newer geographic pockets of wealth,
many of which are temples to
international brands.
The retail analogy is repeated by many dealers.
Art market
Haunch teams up with NY financier
But gallery says there’s no formal deal with Asher Edelman over artist
MIAMI. Former corporate raider
Asher Edelman, who has a
stand at Art Miami this week,
has teamed up with Christie’sowned Haunch of Venison
gallery to represent San Francisco-based artist Doug Argue.
“The situation is that Haunch
and Edelman Arts jointly
represent Doug,” says Edelman. It is the first time New
York-based Edelman has
shared artist-management with
the gallery: “I work with
Haunch in many ways, but
mostly in the private dealing
area—rarely do galleries in the
same city represent an artist together,” he says.
The rather unusual arrangement came about after Edelman’s wife, Michelle, bought
an Argue work from a show at
Haunch last summer—a painting that “looks like a huge explosion from afar”, says the
artist. “We thought Argue was
Three-year deal was sparked off by Doug Argue’s Genesis
the best artist we had come
across in many years,” says
Edelman, adding: “So we
talked with Doug and Haunch
and we’re drawing up the papers for a three-year deal.”
Asked about whether the deal
means Haunch will split
production costs and sales
commissions with Edelman, he
says: “I’d rather not confirm
specifics, but you could assume that.”
But a Haunch spokeswoman says: “There is no deal
structure in place, as we are not
representing [Argue].” Instead,
the gallery has a “relationship”
with “Asher Edelman/Doug
Argue through the Four Projects show we did at HoV NYC
in the summer (which is how
we sold the piece).”
Edelman has teamed up
with other dealers before. He
recently staged an Agathe
Snow show, an artist from gallerist James Fuentes’ stable
(Fuentes is showing at the
Nada satellite fair this week,
see p10). “We don’t represent
Agathe: We just did it through
James,” says Edelman, who
also works with the Moss design gallery, sharing representation of Cathy McClure: “She
belongs to the design and fine
art camps, so we do that together,” says Edelman.
As for his motivation, Edelman, who is showing a painting
by Argue, Isotropic, 2007-10,
priced at $75,000, says: “I do it
because I really enjoy it.”
Charlotte Burns
“I would rather be a haute-couture house than a luxury goods
provider,”
says
Xavier
Hufkens (C13), who has had
one space in Brussels for over
20 years. Adam Sheffer at New
York’s Cheim & Read (K8),
rumoured to be opening a second space in LA, says: “Some
artists prefer a boutique environment, others Walmart.”
Another important driver
has been the shift to contemporary art over the past ten
years. “The growth of physical
space to show art has primarily
happened because of the
growth of contemporary art,”
says Iwan Wirth of Hauser &
Wirth, another of this week’s
success stories. It recently
opened a 15,000 sq. ft second
space in London, in addition to
galleries in New York and
Zurich. “Artists don’t want to
wait another two years for a
show,” Ropac says. “If we
can’t offer them one straight
away, someone else will.”
The stakes are also higher
now that dealers are facing intense competition from the
big-brand auction houses, who
regularly host more curated
selling exhibitions: “They are
opening spaces all over the
world, so why shouldn’t the
galleries?” says Sheffer.
“We’re all on the same team.”
One gallery with an alternative business model is Arndt
(B24). Owner Matthias Arndt
was in four countries in 2005
(with three spaces in Berlin
alone) but now has just one exhibition space, in Berlin. He
says that refocusing his business on to a smaller scale has
enabled him to “do what I want
to do—be a primary market
gallerist, rather than spending
time meeting with tax advisers
in three different countries”.
Hufkens also emphasises
the importance of face-to-face
contact: “It’s about having one
space, one person to talk to,
one person a collector or artist
can meet with—that’s the only
way you can really follow
what happens to your work.”
Galleries also need money
to expand. Arndt estimates that
a gallery would need a
turnover of about $100m a
year to have five international
spaces outside its HQ.
“
Some artists
prefer a boutique,
others Walmart
”
Despite such overheads, the
mega-dealers seem to have the
upper hand in terms of winning clients, artists and staff
from smaller rivals. However,
Wirth believes there is a
trickle-down effect: “It’s not
just that the big are getting
bigger, galleries who had two
people now have five, those
that wouldn’t have opened,
now open,” he says. “If
Gagosian and Pace can afford
to expose their artists to a
broader audience then more
power to them.” But he adds:
“Since when was Walmart
good news for small grocers?”
Melanie Gerlis
Design Miami recruits director from Vitra
MIAMI. After an eight-month search, Design
Miami and its sister fair in Basel has chosen
Marianne Goebl (pictured) as its director.
Goebl is due to fill the shoes of Ambra
Medda, who was instrumental in jump starting the fair, in February. Goebl is currently the
head of international public relations at the
Swiss design firm Vitra, which is based near
Basel. At Vitra she was in charge of developing collectible
design and so brings to the US/Swiss design fair experience of
working with leading designers, such as Ron Arad, Ronan and
Erwan Bouroullec, and Konstantin Grcic. B.M.
2
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 4-5 DECEMBER 2010
Art market report
Who needs celebrities? It’s the serious collectors that count
MIAMI. As the wounds inflicted
by the 2008 to 2009 financial
meltdown heal, dealers at the
ninth edition of Art Basel
Miami Beach (ABMB) are settling into the new rhythm of the
post-recession recovery.
Part of the reason for the
semi-subdued atmosphere was
the lack of footfall on the floor,
particularly on the VIP opening
day. “[It] felt very quiet, there
was a strange atmosphere,”
said Alexandre Gabriel at
Fortes
Vilaça
(I2).
Nevertheless, the gallery sold
almost all the works on its
stand that day, including Vik
Muniz’s Samba, after di Cava
Icanti, 2010, for $95,000 to a
Brazilian.
According to Gmurzynska
(C5)
director
Mathias
Rastorfer, a member of the
ABMB selection committee,
the organisers had “reduced the
number of VIP tickets by 600
this year because we felt that it
was too crowded [in the past].”
While important collectors
including publishing magnate
Peter Brant, hedge-fund
Casey Fatchett
Steady nerve required by dealers as buyers take their time—but lower price points encouraged sales
Sterling Ruby, Excavator Dig Site, 2010, found a buyer
manager Steve Cohen, Lacma
trustee Steve Tisch and
Brazilian buyer Susanna
Steinberg were at the fair,
many noted the absence of
other
big-name
buyers.
Rastorfer said that “five or six
major collectors didn’t come,”
adding that “there has been the
autumn fairs, then the sales:
Sharjah Biennial artists announced
SHARJAH.
The 2011 Sharjah Biennial (16 March-16 May) will
include a record 119 artists from 36 countries, its new organiser
the Sharjah Art Foundation has announced. The artists include
Sophie Calle, whose photographic and embroidery work,
Exquisite Pain, 58 Days, 1984-99, can be seen at Emmanuel
Perrotin (G7) at Art Basel Miami Beach. Other artists to feature at
the United Arab Emirates event include Trisha Donnelly, showing
at Casey Kaplan (J25), Harun Farocki and Emily Jacir. B.M.
Go west, young man? Gallery openings
MIAMI. Rumours are flying around West Hollywood that New
York gallery Cheim & Read will open a branch in Los Angeles.
The city has been attracting some prominent Manhattan dealers
recently: L&M opened an LA space in September, and Matthew
Marks plans to open a branch there, probably in early 2012. So,
will Cheim & Read be the third in the troika to head to the west
coast? “The Los Angeles market can’t be denied, and we find
ourselves spending more and more time there,” said gallery
partner Adam Sheffer, adding, “but nothing’s been confirmed
yet.” C.B.
Artoon by Pablo Helguera
hundreds of millions—how
much can the market take?”
However, he made some strong
sales, including Yves Klein’s
IKB 93, 1961, for $4m.
This was one of few multimillion dollar sales—a far cry
from the adrenaline-fuelled
buying of 2007 when sevenfigure deals were not uncommon. While ABMB first-timer
Ramón Cernuda (H2) reported
placing Wifredo Lam’s 1944
Les Fiancés at $3m with a US
collector, a $20m Lucian Freud
at Faurschou (A4) was showboating rather than selling, and
many other blue-chip modern
works were still homeless by
the weekend.
Meanwhile, at the top-end
of the contemporary section,
“the fair is definitely better
than last year, but not yet at its
full potential,” said Andrea
Teschke at the shared
Capitain/Petzel booth (J17).
Prices in this section were
generally well under $1m, and
usually under $500,000.
Philanthropist
Estrellita
Brodsky commented on the
general tendency to “bring
known, safe artists, but of very
good quality—and the prices
reflected that.” While down on
the boom, they were higher
“
It’s not the
big rush that you
get at Basel
”
than last year: “$100,000 is the
new $40,000,” she said.
“We brought a large volume
of work, all priced under
$550,000,” said Adam Sheffer
at Cheim & Read (K8), adding
that “the price point helped the
work to sell—it’s a different
strategy to bringing a couple of
multi-million dollar works.”
This seemed to have paid off:
by the third day the booth was
mostly sold, including Jack
Pierson’s The Modern, 2010,
priced at $175,000, to a prominent New York collector.
Another US collector bought
Sterling Ruby’s Excavator Dig
Site, 2010, for $375,000 at
Hufkens (C13).
While dealers were generally feeling positive by the weekend, some of the mid-market
contemporary gallerists were
less enthusiastic. “It’s been
OK, but slow. It’s not the big
rush you get at Basel,” said
Marie-Sophie Eiché at Kamel
Mennour (E5). She had limited
sales by Friday, but in the fair’s
first five minutes had sold
Sigalit Landau’s Salted Shoes,
2009, for €40,000.
André Buchmann (C26)
agreed: “It’s been positive, but
slow. Maybe it’s because of the
weather in Europe?” He had a
small number of sales, including Bettina Pousttchi’s London
Time, 2008, which, despite the
snowstorms, went to a
European
collection
for
$17,000.
The young dealers in Art
Positions, showing just one
work each, were pleased as
punch. Everyone had made
sales (albeit not necessarily of
the work on show). Philipp von
Rosen (P10) had sold two editions of its video installations
by Judi Werthein, La Tierra de
los Libros, 2008, priced at
$24,000: one to a US museum
and one to a Colombian
collector.
It was a different picture
altogether in the emerging Art
Nova
section.
Nature
Morte/Bose Pacia (N32) hadn’t
sold a bean by Friday, although
“we have a few things on
hold”, said a hopeful Rebecca
Davis, including Schandra
Singh’s colourful Pualani,
2010, priced at $35,000. “I
hoped it would be busier and
there would be more buying,”
admitted Tracy Williams
(N44). She said she had seen a
lot of collectors around Miami,
but “elsewhere, not at the fair”.
Miami’s notorious partyscene was back with a
vengeance this year, but not in
the convention centre. “The
Schandra Singh’s Pualani
fair seems much more mature
and serious. The party scene
and the fair are really two different worlds now,” said Marc
Payot of Hauser & Wirth
(H17), reporting sales including Roni Horn’s one-tonne
work, Well…, 2009/2010,
priced at $750,000 to private
West Coast collector.
Dealers, though, didn’t necessarily miss the Miami vice:
“Celebrities don’t buy anything, they come on the stand
to be photographed, that’s all,”
said Robert Landau (C3).
Georgina Adam, Charlotte
Burns, Melanie Gerlis and
Marisa Mazria Katz
Exhibition
Norton Museum develops fast-track show
Curators complete marathon of Miami’s art fairs
MIAMI. Hoping to harness the
energy of Art Basel Miami
Beach, the small Floridian
Norton Museum of Art came
up with the attention-grabbing
idea of curating an exhibition
on the fly during the contemporary art fair week. Two
curators from the West Palm
Beach institution, Charles
Stainback
and
Cheryl
Brutvan, scoured the 250 or so
galleries in the main fair and
the 15 satellites for five days
in search of 30 key works for
“Now
WHAT?”
(15
December until 13 March).
Their game plan got underway on Wednesday, “somewhere between Robert Gober
and David Shrigley,” said photography curator Stainback,
after two solid days of fairtrekking. “We decided that the
overarching theme for the
show would be ‘what is communication today?’” said
Brutvan, a contemporary art
curator.
The first piece the curatorial duo chose was at the Pulse
Art Fair. It was the $60,000,
30-panelled
reconfigured
newsprint piece The Story Is
One Sign, 2010, by
Kim Rugg at the
Santa Monicabased
Mark
Moore Gallery
(B402). The towering
work
instantly underscored the nature
of their show’s
theme. “It was
one of those ‘ahha!’
moments
when we saw the
Julian Montague
Rugg,” said Brutvan. For
Mark Moore gallery’s director
Caitlin Moore: “Having Kim’s
work in the exhibition is an
honour.” Although by day
three of Pulse the piece had no
takers, Moore said the work
was “under consideration by
the Norton”.
The second work
selected
was
J u l i a n
M o n t a g u e ’s
digital print
books called
Volumes from
an Imagined
Intellectual
History
of
Animals,
Architecture
and Man,
2010. This
was from
the Brooklyn-based
Black & White Gallery
(B303), also at the Pulse satellite fair. The collection comprises 11 books, with each
volume tagged at $400.
Washington DC-based artist
Akemi Maegawa, who bought
four Montague books, was
surprised to hear that the
works were going into the
Norton’s show. “It validated
my purchase and I thought the
museum had a good eye, too,”
said Maegawa.
Stainback said that moving
away from the traditional
model of a long curatorial
process for an exhibition paid
dividends: “Curating this
show so quickly makes the
entire project feel fresher and
that sense of immediacy will
come through.”
Brook Mason and Marisa
Mazria Katz
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4
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 4-5 DECEMBER 2010
Interview
“In art, everything is allowed”
Jonathan Meese explains why provocation is central to his utopian artistic vision
© JAN BAUER, BERLIN and Contemporary Fine Arts, Berlin
T
Play time: “Jonathan Meese ist Mutter Parzival” at the Berlin State Opera in 2005
else—to objectify them.
TAN: Are you also attempting to move these
historical associations away from the past
and force people to think about the present?
JM: We have to live in the future. Art is
stronger than politics, governments and
religion, and is stronger than the past and the
present. It’s the only real motor of the future.
TAN: How would you like the viewer to
approach your work?
JM: As a child. I don’t want them to think
about history and they should not take it
personally. This is very important.
TAN: Can you explain your utopian idea of
“the dictatorship of art”?
JM: I don’t want any leadership by humans; I
want the leadership of art. Art is the future, it’s
the counter-world—a world without laws. It’s a
fantasy and a vision but it’s also possible.
TAN: Is humour an important component of
your work?
JM: It’s very important, especially when I’m
on stage. I make fun of myself. I drank alcohol
during many of my performances and I didn’t
have control of myself. All of my paintings are
made with humour because they are made so
fast—with lightness. The subject may be heavy
but the way they are produced is very easy.
TAN: Would you say you rely more on your
instincts than on rationality?
JM: I only rely on my instincts, and not even
on creativity. Creativity comes too much out of
your head, while you use your instincts like an
“
I only rely on my instincts,
and not even on creativity.
Creativity comes too much out
of your head, while you use your
instincts like an animal
”
animal and they are connected to your body.
Creativity is too much connected to the ego.
TAN: What about the ego of placing your
self-portrait in your work?
JM: The images are a masquerade where I play
somebody else. I play the warrior, or the
captain, or a woman—and this is very easy
with your own portrait because it’s accessible.
TAN: You have created several stage sets for
theatrical productions. What interests you
about working on large-scale productions?
JM: I love to work with other people, because
then you have to work as a team and put your
ego aside. Normally I’m a very hermetic person.
I’m always alone and I hide from the art scene,
and this theatre business is totally different.
TAN: Wolfgang Rihm’s opera “Dionysos” is
an exploration of the desire to embrace the
Dionysian sensuality of life. What aspect of
Nietzsche’s philosophy interests you?
JM: The playfulness. I was reading Nietzsche at
age 12 and there is much more humour in his
work than you would think. I feel that he
understood that art is the strongest power and he
created a totally new language and put a lot of
focus on animals. His appearance also interests
me a lot.
TAN: With a German mother and a British
father how did you come to be born
in Japan?
JM: At the end of the war my father was
enlisted in the Royal Air Force in Japan, and he
fell in love with the country. He went back to
London to study Japanese and when he
returned he worked in banking, and that’s
where he met my mother. They met, married,
had my brother, my sister and myself, but
then my mother decided to come back to
Germany in 1973.
TAN: Has your connection to Japan
influenced you?
JM: I like the samurai idea of art. The
discipline, the playfulness, the theatricality, the
costumes, and the precise way of fighting and
eating. I am the samurai of art!
TAN: Your mother, Brigitte Meese, seems to
figure prominently in your work. Can you
talk about your collaborations?
JM: We worked together on several collage
books about 10 to 15 years ago, and more
recently we performed together at SITE Santa
Fe and also in Hamburg at the Deichtorhallen.
I have also photographed and painted her
portrait many times. My mother is natural
power and natural authority. For me she is
number one.
Interview by Charmaine Picard
❑ See listings p12-13
CONTEMPORARY ART FAIR
Design: ahoystudios.com
he enfant terrible of German art,
Jonathan Meese, 40, is best known for
theatrical performances, paintings,
sculptures and installations that provoke,
confound and invite audiences to grapple with
inflammatory and taboo subjects. German
history, political repression, sadomasochism
and a range of other incendiary themes figure
prominently in his work, as do controversial
figures such as Hitler, Stalin and Richard
Wagner. Meese’s multimedia talents extend
into the world of set design, and this summer
he created stage sets for the premiere of
“Dionysos” by Wolfgang Rihm at the Salzburg
Festival. The Art Newspaper spoke with the
Berlin-based artist about his current exhibition
at the Museum of Contemporary Art, North
Miami (until 13 February 2011).
The Art Newspaper: Can you tell us about
your new exhibition?
Jonathan Meese: It concentrates on objects
and sculptures, and includes the first sculptures
I ever made. These are paper and plastic figures
and are very fragile—some are just 2-3cm
high. There are also stage designs from the
Salzburg Festival and new ceramic sculptures
that were produced in Albisola, Italy. It’s where
Asger Jorn produced his ceramics.
TAN: Have you always been interested in
the theatre?
JM: I was never really interested when I was
younger, but I was interested in the theatre of
art. I understood early on that art is theatre and
made stage designs for my own performances.
TAN: You deal with taboo subjects that
often shock your viewers, most notably
the legacy of Hitler and German
colonialism. Why?
JM: Art must deal with the most radical things.
It should be more radical than reality. All of our
aggression should be placed into art. The wars
of the future should be played out on theatre
stages, in books and films. In art, everything is
allowed. I know that some people are shocked,
but the beauty of art is to play with things.
TAN: Is your goal to repeat certain motifs
until their associations become detached
from their historical context?
JM: Yes, absolutely. I use these images to say
that an image cannot be bad, sculptures are
never bad. We have to use images again and
again until they start to become something
PU L SE Miami
Dec 2 – 5, 2010
The Ice Palace
1400 N. Miami Avenue
(Corner of NW 14th Street)
Miami, FL 33136
www.pulse-art.com
LALANNE
AT F A I R C H I L D
W W W. P A U L K A S M I N G A L L E R Y. C O M
W W W. F A I R C H I L D G A R D E N . O R G / A R T
François-Xavier Lalanne, Genie de Bellerive (Grand) sur pylone, (detail), 2007, bronze. Genie: 22 x 23 1/4 x 23 1/4 inches; 56 x 59 x 59 cm;
pylone: 115 3/4 x 23 1/4 x 23 1/4 inches; 294 x 59 x 59 cm. Edition of 8.
6
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 4-5 DECEMBER 2010
Objects of desire
With more than 250 galleries at Art Basel Miami Beach, choosing a work to single out among the thousands on
show is no mean feat—but for our final edition from the fair we found art aficionados willing and expert enough
to rise to the challenge. Here is their choice of works of art to look out for at the fair.
Interviews by Marisa Mazria Katz,
Gareth Harris, Brook Mason, Anny
Shaw and Helen Stoilas
Aby Rosen, property tycoon, chose Yves
Klein, SE 250, 1959-60, $900,000, Galerie
Gmurzynska, C5
“This is classic 1950s art. The gallery also
made an effort with their booth [designed by
the Iraqi-born architect Zaha Hadid].”
All works of art and installation photos: Casey Fatchett
Jeffrey Deitch, the director of the Museum
of Contemporary Art, Los Angeles, selected
Pawel Althamer’s series of sculptural
portraits, 2010, €75,000 each (all sold to
Greek and American collectors),
Neugerriemschneider, C15
“For me, the figures are all components of a
single work integrated with Pawel’s own life
and engaged with his own community in
Warsaw. I recognise the artist and then nearby
are his father, his brother and other people he
knows. He is one of the strongest figurative
sculptors today and this particular work brings
his real life into the conversation.”
Trevor Traina, technology entrepreneur,
photography collector and Fine Arts
Museums of San Francisco board member,
chose Roe Ethridge, Comme des Garçons
Scarf with Glass Plate, 2010, $24,000
(edition of five), Andrew Kreps Gallery, I5
“As a highly pixelated image superimposed
on top of an analogue, Ethridge explores the
new boundaries of technology. For me, that’s
the appeal—to have both the past and the
future of photography in one image. I
understand that MoMA bought one. Isn’t that
the world’s oldest sales technique?”
Lisa Dennison, the executive vice president,
Sotheby’s North America, chose Charles
Ray, Quarter Pounder (No Colour), 2010
(edition of 45), Matthew Marks, C6 (price
undisclosed)
“This is the perfect embodiment of Ray’s
obsessive practice, culling
from popular culture
and art history, from
Claes Oldenburg to
Robert Smithson. It’s
serious and witty and
it’s wonderful to see
something new and
unexpected from
Charles.”
“
This painting by Rothko
really caught my eye; he’s kind
of new to me
Calvin Klein, the designer, chose Richard
Serra, Slant Wise I and Slant Wise II, 1985,
$520,000, Galeria Elvira González, B2
“I collect antiquities, not contemporary art but
I just love, love, love the work of Richard
Serra. There are a couple of his oil-slick
paintings on Galeria Elvira González—they
are tucked out of the way, but are not
to be missed.”
”
Adrien Brody, actor, picked Mark
Rothko’s Saffron, 1957, Galerie
Gmurzynska, C5 (price undisclosed)
Laurie Ann Farrell, the executive director
of exhibitions, Savannah College of Art and
Design, picked Nicholas Hlobo, Qhokra,
2010, $38,000, Michael Stevenson, L1
“I’m drawn to the attention to
detail. It looks delicate but the
ribbon is piercing the surface of
the canvas, which is quite violent,
so there is a dichotomy. It’s the
first time something like this has
been shown in Miami. He is
really pushing the envelope of
what it is to be a painter.”
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9
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 4-5 DECEMBER 2010
Education
Welcome to the pop-up art school
Outsider schools of art aren’t new, but they’re proliferating in a culture that is curriculum-led and leads to student debt
F
“
A seminar with artist Donald Judd, seated on desk at his studio in New York in 1974. Artists present include, on the right, Ron Clark, and
seated, foreground, on the left, Julian Schnabel
For artist and long-time teacher John
Baldessari the topic of curriculum will always
remain a complex subject because, as he noted
in a 2009 conversation with artist and former
Goldsmiths professor Michael Craig-Martin:
“Art is not orderly. You don’t go A, B, C, D,
and end up with art.” In response, Craig-Martin,
whose former students include Damien Hirst,
Gary Hume and Gillick, argued: “What’s basic
for one artist is not basic for another artist. And
so you can’t have basics; you can’t build it in
the normal curriculum way. The amazing thing
about young people is they can jump in at a
very sophisticated level without actually
It’s a pyramid scheme. Would-be artists are taking on
hundreds of thousands of dollars of debt, yet no world awaits
them on the other side that could justify that expense
requirements of their students.
“With universities, there can be quite a few
problems having the administration understand
exactly what an artist needs in terms of time,
research facilities, and the freedom to move
and make things happen,” says Bruguera. “But
with an artist-led programme everybody is free
to act in a way they think is correct. There is
no one telling you precisely what to do, which
is sometimes lost in a traditional institution.”
For artist Liam Gillick, who graduated from
Goldsmiths, University of London, in 1987
and has since taught at Columbia University
and Bard College: “The best thing about these
artist initiatives is that they have done away
with programming and reinstated the idea of a
free-zone activity.”
In 2006, the New York-based artist helped
to establish the informal arts school United
Nations Plaza, which involved a collaboration
between 30 artists, writers and theorists.
“When I was in art school we had tons of free
time and space,” says Gillick. “Back then
there was one thing a week. That was what the
1960s fought for. But if you look at the
biggest schools now, they are heavily
programmed with things to do all the time.”
Sculptor and director of the Düsseldorf
Kunstakademie Tony Cragg shares Gillick’s
sentiments. “There should be no curriculum,”
says Cragg. The Liverpool-born artist, who
has taught at the Kunstakademie for over 30
years, believes today’s course loads could
damage an artist’s academic experience. “At
best there should be no exams, with perhaps
the only ones being an exhibition. Everything
at a school should lead to people making.”
”
understanding what they are doing. Part of
teaching is helping them to realise what it is
they’ve stumbled on.”
Gillick says today’s dense curricula stem
from rising tuition costs both in the UK and
US. “As fee-paying schools put prices up
across the board, the students have asked for
more,” says Gillick. “And the schools have
felt guilty and felt they should offer more.
Because of these desires to keep people busy
and educated, the freedom one finds in an
artist-led initiative has been lost.”
Even worse than an inflated curriculum,
explains Ernesto Pujol, artist and founder of
the Field School—a one-man art school that
centres on teaching field work to graduate art
students throughout the US—is the sheer
number of art students graduating annually.
“The scale of the industry is too large and
unsustainable,” says the New York-based
Pujol. “It’s being maintained the same way the
housing industry was—through banks who
give loans to students to pay for incredibly
expensive schools. Degrees are no longer a
measure of talent, but a measure of credit.” For California-based artist and former
University of California, Los Angeles,
professor Chris Burden, the glut of graduate
programmes is the result of an overblown art
market, which has subsequently created the
illusion that a degree in art is a financially
prudent one. “While universities are a great
space for support and opening people’s minds
to possibilities, they now leave people in debt,”
said Burden. “That means students are
Liam Gillick speaks out…
expected to go out and be critically and
financially successful, which is ludicrous.”
In an effort to provide an alternative to the
average American MFA programme, which can
cost upwards of $30,000 per annum, the artist
collective known as the Bruce High Quality
Foundation (BHQF) launched an eponymous
free and unaccredited university programme in
September 2009. Its ongoing initiative, which
shares similar traits with other historical
independent art academies, such as Black
Mountain College and the Free International
University for Creativity and Interdisciplinary
Research founded in 1972 by Joseph Beuys, is
comprised of courses like “XXXtreme
Performance Studies” and “Build Your Own
University (BYOU)” which often take place in
parks and restaurants across lower Manhattan.
“The system as it stands now is completely
untenable,” a member of the BHQF, who asked
to remain anonymous, told The Art Newspaper.
“The art-education industrial complex is
producing MFAs just so that it can produce
more MFAs. It’s a pyramid scheme. Would-be
artists are taking on hundreds of thousands of
dollars of debt, yet no world awaits them on the
other side that could justify that expense. And
the critical model that forms the basis for most
post-secondary pedagogy is built on a rather
misguided relationship to the market. We think
there is an opportunity right now to remodel art
education from the ground up. That’s why
developing a nationwide conversation about
reforming and rebuilding an artist-centred art
education is our top priority right now.”
Artist Sam Durant, who is also a teacher at
Cal Arts, applauds the efforts of artist-led
initiatives, yet takes issue with their
sometimes-fleeting existence, arguing it plays
into the hands of current societal models.
“Nomadic and short-lived initiatives are akin
to today’s job market, where no one wants to
give health insurance and there is seemingly
no stability,” said Durant. “You are creating a
situation where you are less powerful and
giving the market what it wants, instead of
producing things that challenge it.”
Institutional change, says former Whitney
Museum director David Ross, often occurs
because of outside forces. “With the music
industry it wasn’t the people at Warner Music
who changed it,” said Ross. “It was [Apple’s]
Steve Jobs who created a whole new
paradigm.” And in the case of the art world, he
explains, it’s the artists who first identify shifts
and produce the fastest response. “They are the
ones in speedboats who can turn on a dime, get
together and create a programme.”
In the summer of 2011, Ross will oversee the
inauguration of a new MFA programme at New
York’s School of Visual Arts called Art
Practice. The interdisciplinary degree is light on
curriculum—just three consecutive six-week
summer sessions comprising studio practice six
days a week alongside a series of seminars—
and taught predominantly by artists, including
Gary Simmons, Susan Hefuna and Ernesto
Pujol, as well as guest lecturers like Lawrence
Weiner, John Baldessari and Cory Arcangel.
Ross sees Art Practice as fusing together a
substantial resource base while still being
tailored to the individual artist’s needs—similar
to the ethos of many artist-led initiatives.
“From large universities to small colleges to
independent schools of art, people have sensed
in the last decade it is not that change is coming
to the art world, it’s that it’s already taken
place,” said Ross. “Finally, these giant
battleships and aircraft carriers are making their
slow turns. It’s an incredible moment to be an
artist, and an incredible moment to be engaged
in education. It’s never been as rich as this.” ■
Marisa Mazria Katz
Yale Goodman
rom the back rooms of bars to
mountainside retreats, artist-led
“academies” offering alternatives to
the world’s most renowned arts
institutions have been popping up and
grabbing headlines for the better part of a
decade. Their emergence has prompted the top
brass of art school administrations to reevaluate education for the 21st century, and is
also the subject of the final Art Basel
Conversation—“The Future of Artistic Practice:
the School Makers” (5 December)—led by the
Serpentine Gallery’s Hans Ulrich Obrist.
The symposium, which also marks the end
of Obrist’s seven-year-long Art Basel
Conversation series focused on the future of
museums, will present the work of such art
school founders as Piero Golia of the Mountain
School of Arts, the anonymous members of the
Bruce High Quality Foundation, and Cuban
installation artist and founder of the Cátedra
Arte de Conducta (Studies in the Art of
Behavior) school, Tania Bruguera.
“What struck me over the past couple
years is how in the art field we have a
phenomenon of more artists inventing their own
models for schools,” says Obrist. “While the
involvement of artists in schools has a long
history, recently there is this desire for them to
make their own structures. They don’t want the
bureaucracy of the big art schools and
particularly the administrative aspect. So they
are doing it themselves.”
Steven Henry Madoff, editor of the 2009
book Art School: Propositions for the 21st
Century, has described the upsurge of artist-led
institutions as one that not only captures the
zeitgeist, which he perceives as “restless” and
“wanting more porosity [sic]”, but one that
stems from a natural reaction “to the stolid
weight of fixed institutions, with their rules,
their acquiescence to the Bologna Process [the
accords by which European Union countries try
to equalise standards in higher education] or to
the regulation of MFA [master of fine arts
higher degree] programmes in the US.”
Bruguera, whose Cátedra school was the
first performance and time-based art school in
Latin America, sees the proliferation of artistled educational experiments as a direct result
of staid administrations, which can sometimes
be reluctant to accommodate the basic
❏ Hans Ulrich Obrist, co-director of exhibitions and programmes at
the Serpentine Gallery, London, will moderate Sunday’s Art Basel
Conversation with Eduardo Abaroa and Yoshua Okón, artists and
co-founders of Soma, Mexico City; Tania Bruguera, artist and
director of Cátedra Arte de Conducta, Havana; Domingo Castillo,
co-founder of artist-run project “The End/Spring Break”, Miami, and
Piero Golia, artist and founder of the Mountain School of Arts, Los
Angeles. Convention Center, auditorium next to Gate D, 10-11am.
10
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 4-5 DECEMBER 2010
Satellite report
Nada dealers have a beachfront ball
Galleries have to restock and rehang after a rush of early sales
The fifth edition of Ink
(until 5 December), the
fair of contemporary
works on paper, is an
elegant affair at the
Dorchester hotel, Miami
Beach. Among the 11
dealers is the Verne
Collection, Cleveland,
in a suite of rooms. “I
send everyone to the
bedroom,” said Mitzie
Verne, adding: “That's
where the real action is.”
Gallery founder and
grandmother of actor
James Franco, Verne was
upbeat, having sold
Daniel Kelly’s painting
What's Up, 2010, for
$50,000 and his
woodblock lithograph
I Am Not a Geisha,
2006, edition of 60, for
$3,250 (pictured). J.P.
Los Angeles artist Joel Kyack at François Ghebaly Gallery
(513) won the prize for the best solo stand
François Ghebaly (513), having sold almost every work,
including Super Clogger,
2010, priced at $6,000, and
Self-portrait with Shark, 2007
($1,500), which went to LA’s
Hammer Museum.
Because the fair focuses on
young art, the price points are
low (by international art standards)—generally $10,000
and under. Kerry Schuss
of New York’s KS Art (603),
sold Bill Adams’ ink drawing
Muse No. 3, 2010, which
went for $2,000 to a New
York collector.
The bright young things of
the Lower East Side were
most sought after: “It’s been a
tremendous success—we’ve
sold all the work in the
booth—and we’ve re-hung
several times,” said James
Fuentes (204). He had sold a
trio of paintings by John
McAllister to New York collectors Susan and Michael
Hort, as well as works to
museum trustees in Boston
and New York. Lisa Cooley
(203) had sold every painting
by Alexandra Olson, priced
between $2,500-$7,000, within an hour of opening and several of Matt Sheridan Smith’s
glittering loaves, Bread,
Silver, 2010, including one
$7,000 piece to a major Puerto
Rican collector.
VIP collectors
Miami collectors Don and
Mera Rubell checked out the
fair, as did London’s Anita
Zabludowicz, New York’s
Marty Eisenberg and Miamibased Rosa de la Cruz. Kathy
Grayson of Deitch-successor
Pulse gets collectors’ hearts racing
MIAMI.
Sales were brisk but the
atmosphere remained laid back
at the sixth edition of Pulse
Miami (until 5 December).
Outside, fairgoers lay in hammocks or lounged in seats by
Orly Genger made from rope
($15,000-$22,000, New York’s
Larissa Goldston Gallery,
B204).
Inside, confidence was high
among the 83 participating galleries. Santa Monica’s Mark
Moore Gallery (B402) sold all
of Allison Schulnik’s paintings
on the booth, as well as all
those in the gallery, plus several still drying in her studio.
Performance No. 3, 2010, sold
Photo: Robert Wedemeyer
Ink, trés chic
gallery The Hole (310), said:
“We did Art Basel Miami
Beach for years with Deitch
Projects—we’re essentially
seeing the same people here
that we did there.” The
gallery’s eye-catching booth
had sold well, including
Tagger Tree, 2008, a cheeky
installation by Barry McGee,
priced at $25,000, and Fishing
Tree, 2010, by Taylor
McKimens, priced at $12,000,
which both went to private US
collectors.
Cumulus Studio’s (P13)
stand had a sea view. Its director Nathalie Karg said sales
were strong, including several
editions of Bench, 2010, by
Miami artist Jim Drain, which
sold for $8,000 each to US
collectors.
Cumulus even catered for
those craving a break—there
was a queue to play ping-pong
outside on Bouncing Balls,
2010, by Tom Burr. The work,
priced at $40,000, had yet to
find a buyer, but won’t be at
the fair this weekend—it is on
its way to the Delano hotel on
Saturday night to play a starring role in the SPiN party
hosted by movie-star and pingpong fanatic Susan Sarandon,
and will head straight back to
New York after the event. “It’s
so Miami,” said Karg: “It
leaves to go to a party, then
doesn’t even bother to come
back after a one-night stand at
the Delano, but just gets
straight on the plane.”
Charlotte Burns and Emily
Sharpe
© Charlotte Burns
MIAMI. The eighth edition of
the New Art Dealers Alliance
(Nada) fair is for a second
year in the decadently decayed
Deauville Beach Resort hotel
(until 5 December). The fair is
mere miles away from the
mothership, Art Basel Miami
Beach, but the boutique
beachside event, with its plush
pile and swooping chandeliers, feels like a different
country.
“This is the best way to see
some of the most exciting art
being made anywhere,” said
Lisa Dent, the curator at the
Columbus Museum of Art,
who had a group of young collectors in tow. “They go to
Basel and feel overwhelmed,
whereas there are so many
things here in their grasp.”
Clutching an empty bottle of
bubbly—his prize for winning
best solo stand—the exuberant
LA artist Joel Kyack was in
upbeat mood as was his dealer,
Schulnik, Performance No. 3,
2010, sold for $40,000
to the Nerman Museum in
Kansas for $40,000. The
gallery’s president, Mark
Moore, said sales were “very
close” to the halcyon days
of 2007.
Collectors alike were snapping up pieces. Jonathan
Ferrara Gallery (E300) of New
Orleans sold several wooden
wall sculptures by Skylar Fein,
including Black Lincoln for
Dooky Chase, 2010, for $9,000
to the Brooklyn Museum, a
$2,500 piece to Brooke Garber
Neidich, co-chair of the board
of trustees at the Whitney
Museum, and a $9,000 work to
Brooklyn Museum board
member Stephanie Ingrassia
and her husband, Tim.
Cornell DeWitt, the new
director of the fair, said:
“Exhibitors who made $50,000
on the opening day last year
made $500,000 on the same
day this year.” Anny Shaw
In December’s main edition
Our current edition
contains 80 pages
packed with the latest
art world news, events
and business reporting,
plus high profile interviews (and a smattering
of gossip)
News Is the heat
returning to the New
York art market?
Museums Iranian art
show to tour US
Features Why is
Istanbul (right) suffering
from the culture blues?
Artist interview
Elmgreen and Dragset
(top) on staying together
Books The best art
books of 2010 as chosen
by leading curators and
directors
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Features Stella
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as commissioner of the
Russian Pavilion
Artist interview The
final cut on British artist
John Stezaker’s collages
Media Lynn Hershman
Leeson’s “Women Art
Revolution”—how feminism changed culture
Conservation The
Pala d’Argento shines
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What’s On George
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What’s On
15
5
1
BISCAYNE BLVD
5
9
18
10
2
4 Cisneros Fontanals
Art Foundation
Inside Out, Photography
after Form
1 December-6 March 2011
1018 N Miami Avenue, Miami
www.cifo.org
3
NE 20TH ST
NW 20TH ST
5 Cremata
Lezama Lima & the
‘Origenes’ Painters
Until 31 December
1646 SW 8th Street, Miami
www.crematagallery.com
6 Fairchild Tropical
Botanic Garden
Les Lalanne at Fairchild
Until 31 May 2011
10901 Old Cutler Road,
Coral Gables
www.fairchildgarden.org
NE 15TH ST
DO
LPH
IN
9
EX
PR
ESS
WA
Y
4
▲
7
NW 8TH ST
8 Locust Projects
Jim Drain: Saturday’s Ransom
Until 31 December
155 NE 38th Street, Miami
www.locustprojects.org
FREEDOM
TOWER
7
NW 6TH ST
9 Lowe Art Museum
The Harmon and Harriet
Kelley Collection of AfricanAmerican Art: Works on Paper
Until 16 January 2011
ArtLab@: the Changing Face of
Art and Politics
Until 24 April 2011
University of Miami, 1301
Stanford Drive, Coral Gables
www.lowemuseum.org
11
W FLAGLER ST
SW 1ST ST
5
2
6
9
▲
▲
▲
10 Margulies Collection at
the Warehouse
Africa: Photography and Video
Until 30 April 2011
Jene Highstein: Large Stone
Carvings
Until 30 April 2011
Michelangelo Pistoletto:
Broken Mirror Painting
Until 30 April 2011
▲
14 Zoom
2-5 December
South Seas Hotel, 1751 Collins
Avenue, Miami Beach
www.zoomartfair.com
10
NE 2ND AVE
13 Verge Art Fair
3-4 December
Catalina Hotel, 1732 Collins
Avenue, Miami Beach
www.vergeartfair.com
NE 29TH ST
N MIAMI AVE
12 Sculpt Miami
30 November-5 December
46 NW 36th Street,
Miami
www.sculptmiami.com
3
16
NW 29TH ST
NW 2ND AVE
11 Scope Miami
1-5 December
3055 N Miami Avenue at
NW 36th Street, Miami
www.scope-art.com
▲
10 Red Dot Art Fair
1-5 December
3011 NE 1st Avenue & NE 31st
Street, Miami
www.reddotfair.com
6
NE 1ST AVE
9 Pulse Miami
2-5 December
The Ice Palace, 1400 North
Miami Avenue, Miami
www.pulse-art.com
10
3 Bass Museum of Art
Isaac Julien
2 December-6 March 2011
2121 Park Avenue, Miami Beach
www.bassmuseum.org
7 Frost Art Museum
Arnold Mesches—Selections
from the Anomie 1492-2006
Until 5 December
Venezuelan Geometric
Abstraction
Until 2 January 2011
Sequentia: Xavier Cortada
Until 9 January 2011
10975 SW 17th Street, Miami
thefrost.fiu.edu
15
2
11
NE 2ND AVE
8 Pool Art Fair
3-5 December
1433 Collins Avenue & 14th
Street, Miami Beach
www.poolartfair.com
8 8 12
N MIAMI AVE
7 New Art Dealers
Alliance (Nada)
2-5 December
6701 Collins Avenue,
Miami Beach
www.newartdealers.org
▲
2 ArtSpace/Virginia Miller
Galleries
Humberto Castro
Until 31 December
169 Madeira Avenue,
Coral Gables
www.virginiamiller.com
6 Ink Miami
1-5 December
1850 Collins Avenue & 19th
Street, Miami Beach
www.inkartfair.com
12
▲
14 NE 36TH ST
N MIAMI AVE
2 Art Miami
1-5 December
The Art Miami Pavilion,
3101 NE 1st Avenue, Miami
www.art-miami.com
5 Fountain
3-5 December
2505 N Miami Avenue &
25th Street, Miami
www.fountainexhibit.com
NW 36TH ST
NW 5TH AVE
1 ArtCenter/South Florida
Good N’ Plenty
Until 2 January 2011
800 Lincoln Road, Miami Beach
www.artcentersf.org
4 Design Miami
1-5 December
Meridian Avenue & 19th
Street, Miami Beach
www.designmiami.com
4
11
Exhibitions
1 Aqua Art Miami
2-5 December
1530 Collins Avenue,
Miami Beach
www.aquaartmiami.com
3 Art Asia Miami
1-5 December
2901 N Miami Avenue, Miami
www.artasiafair.com
13
▲
● Art Basel Miami Beach
2-5 December
Miami Beach Convention
Center, Miami Beach
www.artbaselmiamibeach.com
15 Zones
1-5 December
Zones Art Center, 47 NE 25th
Street, Miami
www.edgezones.org
▲
▲
▲
Fairs
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 4-5 DECEMBER 2010
▲
12
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What’s On
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 4-5 DECEMBER 2010
▲
CO
LLI
NS
AVE
7
3
RD
VA
E
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6
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ART
BASEL
MIAMI
BEACH
13
17TH ST
WASHINGTON AVE
1
1
15TH ST
8
14
Contemporary Paintings 19802010: Selections from the
Margulies Collection
Until 30 April 2011
New Sculpture
Until 30 April 2011
591 NW 27th Street, Miami
www.margulieswarehouse.com
Commercial
11 Miami Art Museum
Susan Rothenberg
Until 6 March 2011
Robert Rauschenberg
Until 10 April 2011
101 West Flagler Street , Miami
www.miamiartmuseum.org
2 David Castillo Modern
& Contemporary
The Maginot Line
Until 29 January 2011
Gallery Projects
Until 29 January 2011
2234 NW 2nd Avenue, Miami
www.davidcastillogallery.com
12 Museum of Contemporary
Art, North Miami
Bruce Weber: Haiti/Little Haiti
Until 13 February 2011
Jonathan Meese: Sculpture
Until 13 February 2011
Joan Lehman Building, 770 NE
125th Street, North Miami
www.mocanomi.org
13 Museum of Fine Arts,
St Petersburg
Transcending Vision: American
Impressionism 1870–1940
Until 9 January 2011
Dreams and Realities: Latin
American Prints, Drawings,
and Watercolours, 1959-91
Until 6 February 2011
255 Beach Drive NE,
St Petersburg
www.fine-arts.org
14 Norton Museum of Art
John Storrs: Machine-Age
Modernist
Until 2 January 2011
Nick Cave: Meet Me at the
Centre of the Earth
Until 9 January 2011
Vincent van Gogh’s Self
Portrait from the National
Gallery
Until 8 February 2011
1451 South Olive Avenue,
West Palm Beach
www.norton.org
15 Primary Flight
Retna: Silver Lining
2 December-30 January 2011
Primary Projects, 4141 NE 2nd
Avenue, Miami
Live Street Murals
Until 5 December
Between 20th & 36th from NE
2nd to Biscayne, Miami
www.primaryflight.com
16 Rubell Family Collection
How Soon Now
1 December-26 August 2011
Time Capsule, Age 13 to 21:
The Contemporary Art
Collection of Jason Rubell
1 December-26 August 2011
95 NW 29th Street, Miami
www.rubellfamilycollection.com
17 Wolfsonian—Florida
International University
Speed Limits
Until 20 February 2011
Seduce Me: Andy Byers, Rick
Gilbert, Isabella Rossellini
Until 20 February 2011
1001 Washington Avenue,
Miami Beach
www.wolfsonian.org
11TH ST
13
17
18 World Class Boxing
Drawn and Quartered
Until 19 February 2011
170 NW 23rd Street, Miami
www.worldclassboxing.org
1 Artformz Alternative
Spill
Until 20 January 2011
171 NW 23rd Street, Miami
www.artformz.net
3 Diana Lowenstein Fine Arts
Michael Scoggins
Until 31 December
2043 North Miami Avenue,
Miami
www.dlfinearts.com
4 Diaspora Vibe Gallery
Everything Must Change,
Nothing Stays the Same
2 December-31 December
3938 North Miami Avenue,
Miami
www.diasporavibe.net
5 Fredric Snitzer Gallery
Old Drunk Paintings and Other
Works of Fine Art
Until 21 December
2247 NW 1st Place, Miami
www.snitzer.com
6 Galerie Emmanuel Perrotin
Daniel Arsham
Until 11 December
Kaz Oshiro
Until 11 December
Paola Pivi
Until 11 December
Xavier Veilhan
Until 11 December
194 NW 30th Street, Miami
www.galerieperrotin.com
7 Miami Dade College 50th
Anniversary Exhibition and
Art Sale
Until 15 December
Freedom Tower at MDC, 600
Biscayne Boulevard, Miami
www.mdc.edu/50th
8 OHWOW
Rainbow City
2 December-5 December
Friends With You
2 December-9 January 2011
It Ain’t Fair
2 December-8 January 2011
Skins
2 December-8 January 2011
3930 NE 2nd Avenue, Miami
www.oh-wow.com
9 Pan American Art Projects
Luis Cruz Azaceta:
Trajectories/Trayectorias
22 October-7 December
2450 NW 2nd Avenue, Miami
www.panamericanart.com
10 Seven
Group gallery show
Until 5 December
2214 N Miami Avenue, Miami
www.seven-miami.com
11 Wolfgang Roth & Partners
Fine Art
Ilya and Emilia Kabakov:
Someone Under the Carpet
Until 15 January 2011
201 NE 39th Street, Miami
www.wrpfineart.com
Daniel ARSHAM
Kaz OSHIRO
Paola PIVI
Xavier VEILHAN
November 30th to December 11th, 2010
194 NW 30th Street Miami (corner of NW 2nd Ave)
+ 1 305 573 21 30 - wwwperrotin.com
15
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION 4-5 DECEMBER 2010
The last word…
Contributors:
Georgina Adam is The Art
Newspaper’s editor at large, and has
been an art market reporter for over
20 years. Also art market correspondent for the Financial Times, she
writes regularly for RA (Royal Academy of Arts) magazine and lectures at
Sotheby’s Institute of Art, London
Such a pro
fairgoers talking. The last
work made by the actor and
artist shows him dressed in
classic cowboy gear, standing
tall next to a cactus and
boulder from his favourite
cult film—but critical flop—
The Last Movie. Not many
people know that Hopper was
an acclaimed artist in his own
right, but apparently a few
haven’t even heard of his film
career, as one convention
centre staffer was heard
asking: “Is that John Wayne?”
Gareth Harris is The Art Newspaper’s
editor at large and former deputy
editor. He also writes for the Financial
Times, the Independent, the Daily
Telegraph, as well as specialist
publications including artforum.com
and Museums Journal
Marisa Mazria Katz is a news
correspondent based in the The Art
Newspaper’s New York office. She
has also contributed to the New York
Times, the Financial Times and
Monocle and Time magazines
Brook Mason is The Art
Newspaper’s New York-based design
and art market correspondent. She
also contributes regularly to the
Financial Times
Anny Shaw is a freelance journalist
based in London. She was a writer at
Art World magazine and her work has
appeared in the Daily Telegraph, the
Observer and Guardian Unlimited
Helen Stoilas is editorial manager in
The Art Newspaper’s New York office
and edits the website. She has worked
for the paper for eight years, in both
the London and New York offices
Who knew screen legend
Susan Sarandon played a
mean game of ping-pong? On
Saturday, the star of Thelma
and Louise is scheduled to be
slapping the balls around at
the Delano Hotel. Sarandon is
such a table tennis talent that
she’s recently been given the
green light to produce a reality
show about ping-pong
subculture, and even co-owns
her own nightclub in New
York, called SPiN, where
guests can indulge in the sport
in the basement. “Ping-pong
transcends all demographics
and continents,” Susan waxed
lyrical about her favourite
parlour pastime. “It spans
from a childhood game to an
Olympic sport to performance
art. The diversity is
astounding,” she declared.
Dead ringers
Editorial and
production:
Editor: Jane Morris
Deputy editor: Javier Pes
Assistant editor: Emily Sharpe
Other contributors: Cristina Carrillo
De Albornoz, Cristina Ruiz,
András Szántó
Photography: Casey Fatchett
Copy editors: James Hobbs,
Simon Stephens
Designer: Emma Goodman
Editorial researcher/picture editor:
William Oliver
Editorial assistance: Rob Curran
Group editorial director:
Anna Somers Cocks
Managing director: James Knox
Associate publisher: Patrick Kelly
Office administrator:
Belinda Seppings
Head of sales (UK): Louise Hamlin
Advertising manager:
Ben Tomlinson
Head of sales (US): Caitlin Miller
Sales and marketing executive
(UK): Julia Michalska
Advertising executive (US):
Justin Kouri
Published by
Umberto Allemandi & Co.
Publishing Ltd
UK office: 70 South Lambeth Road, London SW8 1RL
Tel: +44 (0)20 7735 3331
Fax: +44 (0)20 7735 3332
Email: [email protected]
US office: 594 Broadway, Suite 406, New
York, NY 10012
Tel: +1 212 343 0727
Fax: +1 212 965 5367
Email: [email protected]
American continent subscription enquiries
Tel: +1 888 475 5993
Rest of the world subscription enquiries
Tel: +44 (0)1795 414 863
www.theartnewspaper.com
Printed by Southeast Offset, Miami
© 2010 The Art Newspaper Ltd
All rights reserved. No part of this newspaper
may be reproduced without written consent of
copyright proprietor. The Art Newspaper is not
responsible for statements expressed in the
signed articles and interviews. While every care
is taken by the publishers, the contents of
advertisements are the responsibility of the
individual advertisers
Ask and ye
shall receive
© Silvia Ros
Melanie Gerlis is The Art
Newspaper’s art market editor
(Europe, Asia and Africa). She joined
after ten years in financial and investor
relations where her clients included
investment bank Merrill Lynch. She
also lectures at Sotheby’s Institute and
Christie’s Education
© Casey Fatchett
Charlotte Burns is The Art
Newspaper’s news and art market
editor (Americas). She has previously
worked for Anthony d’Offay, Hauser &
Wirth and Bolton & Quinn
That’s why birds do it, bees do it…
Dolphins do it every which way, spiders enjoy a bit of
bondage, and Noah’s Ark must have been a menagerie of
hermaphrodites, transgenders and homosexuals. Or so
film grand dame Isabella Rossellini reveals in her five
most recent short films which she premiered at the
Wolfsonian Museum on Friday night (until 20 February).
Part of “Seduce Me” and “Green Porno”, a saucy series
on the sex lives of animals, the videos feature crafty sets
and costumes designed by artists Andy Byers and Rick
Gilbert, who have also tarted up the Wolfsonian with their
paper craft installation. Byers said working with Rossellini
was a treat. “She let me do what I wanted. I’d say I want
to put you in a leotard or a silly hat and she’d say, great.
I’d say we need to plug a vagina with something, let’s use
a cork and she’d say, yes, perfect.”
material found in the firm’s
yard for the sculpture
skeletons. The faces are based
on the company workers as
well as the artist’s father and
brother. “Visitors like the
silence of the work,” said
dealer Tim Neuger, adding
that it has extra resonance in
Miami. Why? It has a “plastic
surgery angle”.
shall remain nameless, had to
miss the fair’s opening to
have “some work done”, the
organiser said.
Easy rider returns
Bigger splash
No pain, no gain
A series of striking,
bandaged, mummy-like
sculptures by Pawel Althamer
are turning heads at
Neugerriemschneider (C15).
In this “make do and mend
era”, it’s good to see that the
Polish sculptor looked to his
dad for inspiration. Althamer
senior runs a plastic-bottle
production company outside
Warsaw, and Pawel hit on the
bright idea of using scrap
Talking of nips and tucks,
while artists are trading
works for booze and bikini
waxes at Soho Beach House,
Miami Beach, a sculptor
taking part in the Sculpt
Miami fair has taken the art
of bartering one step further,
selling a $30,000 work of
art to a New York-based
plastic surgeon in return for
time under the knife.
Unfortunately, the artist, who
While dealers in the upperechelons are still slightly
reticent about the specifics
of sales, those at the
Fountain art fair (until 5
December) are forthcoming.
“Can you write about me? I
sold a painting in seven
minutes, I’ve done graffiti
art with [actor] Ed Harris—
and women and Europeans
love my art!” demanded
artist Carly Ivan Garcia,
accosting our
intrepid reporters
in a hotel elevator
late last night.
Indeed, it was a
female Brussels-based
collector who had
snapped up a new work
for $5,000 within the
fair’s first few
minutes, said Ivan
Garcia, who added:
“I’m a Florida local!
Show me the love!”
Dennis Hopper is still
stopping people in his tracks.
A striking sculpture of the
late screen legend on view at
Tony Shafrazi’s stand (F4)
has got young and old
You can always count on
Klaus. Mr Biesenbach has
proven his performance art
chops curating at PS1 and
MoMA, where he put on the
recent Marina Abramovic
extravaganza. On Thursday
night he waved his magic
wand over Miami, bringing
synchronised swimmers,
nude dancers, bagpipe
players and carnival
musicians to the Delano
Hotel pool for Interview
magazine’s fair week party.
But even before the official
© Patrick McMullan, Photo: Nick Hunt
ART BASEL MIAMI BEACH DAILY EDITION
performances kicked off,
frisky partygoers got in on
the exhibitionist action by
rolling up their skirts and
trousers to frolic in the
steamy water.
Dress code:
birthday suits
Expect hot bods this weekend
at the Standard Hotel where
independent curator Neville
Wakefield is mounting an
event charmingly entitled
“The Nude is
Muse”. A plethora
of big-name artists,
including Vanessa
Beecroft, will
ruminate on boobs
and bottoms in an
event sponsored by
(wait for it) Playboy.
Alas, bunny girls will
apparently not be in
attendance.
According to a
Craigslist posting
seeking “ten girls and
guys who are comfortable
with nudity”, the artists will
“paint and adorn each model
as living paintings”.
Deb of the year
“I’m a Miami virgin,”
admitted Met director
Thomas Campbell, making
his Art Basel Miami Beach
debut. At this week’s W Hotel
party, the tapestry scholar
turned museum head honch
said: “Why not come? The
Met’s been buying
contemporary art for
140 years.”
Confessions of an art dealer
Alexander Gray
co-founder,
Alexander Gray
Associates, New
York (N5)
My secret passion…
cooking shows on television. I love watching how
people describe two
senses that media can’t
capture—taste and
smell—while demonstrating skill and creativity.
The museum I’d like to
lead…
the Chinati Foundation in
Marfa. Seeing Judd’s
vision for art in the spectacular desert landscape
changes everything.
The artist I should have
signed…
Felix Gonzalez-Torres. His
artistic life, cut way too
short, embodied how the
personal and the political
can be expressed with
elegance, poetry, and
visual impact.
I last cooked for...
the art-fair team: a
breakfast of scrambled
tofu, multi-grain toast
and fresh fruit.
Dealers are
misunderstood because…
we are educators more
than we are salespeople.
We provide unique experiences with contemporary art through free
exhibitions, performing
the roles of curator and
teacher.
Fairs are important...
because they convene
people with a shared passion for art and artists,
not just for commerce or
trade, the way an auction
room does. The best ones
reinforce that art is
constantly in flux.
I enjoy the company of…
walking our Welsh terrier,
Felix, early in the
morning in Central Park.
He provides unconditional love.
The most under-rated
art movement is....
activist-oriented art from
the late 1980s and early
1990s. While not a movement per se, the diverse
range of works that
emerged amidst the Aids
crisis, third-wave feminism, and the unrest of
the Reagan-era foreshadowed the pluralistic
globalism of today’s contemporary art scene. I
am grateful my values
were shaped during this
dynamic period.
The next big thing...
re-emergence of artistic
careers tied to scholarship, rather than emergence and discovery
motivated by
speculation.
My favourite
person in the art
world is...
Laura Donnelley,
the gracious
benefactor
behind [New
York-based]
Art Matters.
Laura's philanthropy is
focused on
process rather
than product.
My Art Basel
Miami Beach
dream is to…
keep coming back.
Interview by Gareth Harris
y
der Gra
Alexan
1st to 5th
I
December 2010
ALDO DE SOUSA GALLERY Buenos Aires | ANTOINE HELWASER GALLERY Riverdale | APERTURE FOUNDATION
New York | ARCATURE FINE ART Palm Beach | ART NOUVEAU GALLERY Miami
|
ARTHUR ROGER GALLERY New Orleans | ATLAS GALLERY London | BARRY SINGER GALLERY Petaluma | BERNICE STEINBAUM GALLERY Miami | BLUE LEAF GALLERY Dublin
BOLSA DE ARTE Porto Alegre | BRANCOLINI GRIMALDI Rome | BRIDGETTE MAYER GALLERY Philadelphia | BULLSEYE GALLERY Portland | C. GRIMALDIS GALLERY Baltimore
CALDWELL SNYDER GALLERY San Francisco | CASSERA-ARTS PREMIERS New York | CATHERINE EDELMAN GALLERY Chicago | CHARLOTTE JACKSON FINE ART Santa Fe
CHINASQUARE GALLERY New York | CLAIRE OLIVER GALLERY New York | CONTEMPORARY WORKS / VINTAGE WORKS Philadelphia | CONTESSA GALLERY Cleveland
CYNTHIA CORBETT GALLERY London | CYNTHIA-REEVES New York | DAVID KLEIN GALLERY Birmingham | DAVID LUSK GALLERY Memphis | DENISE BIBRO FINE ART New York
DILLON GALLERIES New York | DOT FIFTYONE GALLERY Miami | DOUGLAS DAWSON GALLERY Chicago | DURBAN SEGNINI GALLERY Miami | EDELMAN ARTS CONTEMPORARY New York
ELI KLEIN FINE ART New York | EVELYN AIMIS FINE ART Miami | FAMA GALLERY Verona | FERRIN GALLERY Pittsfield | FLOWERS New York | GALERÍA PATRICIA READY Santiago
GALERIE FORSBLOM Helsinki | GALERIE MARK HACHEM Paris | GALERIE PATRICE TRIGANO Paris | GALERIE RENATE BENDER München | GALERIE TERMINUS Munich
GALERIE VON BRAUNBEHRENS Munich | GALLERY FERRAN CANO Palma de Mallorca | GANA ART New York | GINOCCHIO GALLERY Polanco | GOYA CONTEMPORARY Baltimore | GRAHAM New York
GREG KUCERA GALLERY Seattle | HACKELBURY FINE ART London | HELLER GALLERY New York | HOLLIS TAGGART GALLERIES New York | JACKSON FINE ART Atlanta
JAMES BARRON ART South Kent | JENKINS JOHNSON GALLERY New York | JERALD MELBERG GALLERY Charlotte | JOEL SOROKA GALLERY Aspen | JUAN RUIZ GALERIA Zulia
KATHARINA RICH PERLOW GALLERY New York | KREISLER ART GALLERY Madrid | LAURENCE MILLER GALLERY New York | LAUSBERG CONTEMPORARY Düsseldorf
LEON TOVAR GALLERY New York | LEONHARD RUETHMUELLER CONTEMPORARY Basel | LISA SETTE GALLERY Scottsdale | MARK BORGHI FINE ART New York | McCORMICK GALLERY Chicago
MICHAEL GOEDHUIS London | MIKE WEISS GALLERY New York | MODERNBOOK GALLERY EDITIONS San Francisco | MODERNISM San Francisco | NANCY HOFFMAN GALLERY New York
NICHOLAS METIVIER GALLERY Toronto | NOW CONTEMPORARY ART Miami | PACE PRIMITIVE New York | PACE PRINTS New York | PAN AMERICAN ART PROJECTS Miami | PIECE UNIQUE Paris
RICHARD LEVY GALLERY Albuquerque | ROSENBAUM CONTEMPORARY Boca Raton | ROY BOYD GALLERY Chicago | RUDOLF BUDJA GALLERY Miami Beach | SCHANTZ GALLERIES Stockbridge
SCHUEBBE PROJECTS Düsseldorf | SCOTT WHITE CONTEMPORARY ART San Diego | SUNDARAM TAGORE GALLERY New York | SUSAN ELEY FINE ART New York
SUSAN TELLER GALLERY New York | TAI GALLERY Santa Fe | TIMOTHY YARGER FINE ART Beverly Hills | TRESART Coral Gables | TURNER CARROLL GALLERY Santa Fe
TYLER ROLLINS FINE ART New York | VINCENT VALLARINO FINE ART New York | WALTER WICKISER GALLERY New York | WALTMAN ORTEGA FINE ART Miami | WATERHOUSE & DODD London
WESTWOOD GALLERY New York | WETTERLING GALLERY Stockholm | WILDE GALLERY Berlin | WILLIAM SHEARBURN GALLERY St. Louis | WOOLFF GALLERY London
ART MIAMI 2010 | EVENT SCHEDULE
Art Miami’s Third Annual Museum Professionals + Curators Brunch
Thursday, December 2, 2010 – 11am – 1pm
Museum Professionals and Curators are invited to enjoy a delectable brunch in Art
Miami's VIP Lounge, presented by Mandarin Oriental, Miami. Guests will be able to
network with their peers, Art Miami dealers, Fair Director, Nick Korniloff and Art Miami
curator Julia Draganovic while enjoying a wonderful afternoon at the Fair.
Kindly RSVP to [email protected]
Contemporary Asian Art Exhibit – Mandarin Oriental, Miami
Tuesday, November 30 – Sunday, December 5
Mandarin Oriental, Miami Hotel Lobby. 500 Brickell Key Drive, Miami, FL
Mandarin Oriental, Miami will show a unique exhibition of Contemporary Asian Art in
conjunction with Art Miami. Curated by Brian A. Dursum, Director and Curator of UM’s
Lowe Art Museum. Artists on Display: Li Chen courtesy of Goodhuis Contemporary,
Osuga courtesy of Flowers Gallery, Jaehyo Lee courtesy of Cynthia Reeves, Alex
Guofend Cao courtesy of ChinaSquare, Chul-Hyun Ahn courtesy of C. Grimaldis
Gallery, Kwang-Sung Park courtesy of Juan Ruiz Gallery, Wang Zhang-xin courtesy of
Bernice Steinbaum, Fujimura & Kozaki courtesy of Dillon Gallery, Hung Lui courtesy of
Nancy Hoffman Gallery, Qin Feng courtesy of Pace Prints, Yue Minjun courtesy of Pan
American Projects, Nashan Nashunbatu courtesy of Schuebbe Projects, Kwan Lau
courtesy of Westwood Gallery
“In What We Trust” Art Video Program
Tuesday, November 30 – Sunday, December 5, During Fair Hours
Curated by Julia Draganovic, the show “In What We Trust” gathers a variety of works
in which artists show how people, follow sets of beliefs without further questioning.
The artists include: Francis Alÿs, Bjørn Melhus, Niklas Goldbach, Fabrizio Passarella,
Yael Bartana, Saskia Olde Wolbers, Sylvie Blocher, Corinna Schnitt, Sislej Xhafa, and
Omer Fast
Lecture Series
December 2, 2010 – 2 PM
Florida International Magazine Lecture Series: Stephane Dupoux, Sculptor of Space.
“Global Hospitality”: A Perspective on the Artistry of Spatial Design
December 2, 2010 – 4 PM
Carol Damian provides a guided tour of the Fair for select VIP’s.
December 3, 2010 – 2 PM
Florida International Magazine Lecture Series: Kiran Shiva Akal, Imaginist.
“for ever new”: The Romance Between Science and Art.
December 3, 2010 – 5 PM - 6:30 PM
Florida International Magazines VIP Event in the Mandarin Oriental VIP Lounge.
December 4, 2010 – 11:30 AM
Lecture Series:"Lino Tagliapietra, my life and my work"
December 4, 2010 – 1 PM
Lecture Series: “Crossing Over” by David Cassera. A guide to collecting primitive art
for the contemporary art collector.
December 4, 2010 – 2:30 PM
Lecture Series: An Open Forum with Asher Edelman – an exclusive 40 minute Q&A
presentation covering the State of the Market, Pitfalls in Investing, and Finding
Liquidity.
Location
Midtown Miami I Wynwood, 3101 NE 1st Avenue, Miami, FL 33137
Parking
Valet and general parking directly across the street from the fair.
Directions From Convention Center
s 4URN LEFT AT !BE 2ESNICK "LVD$ADE "LVD s 4URN RIGHT AT . -ICHIGAN !VE
s 4URN RIGHT AT !LTON 2D COUNTINUE ON !LTON 2D s -ERGE ON TO ) 7
s 4AKE EXIT " TOWARD "ISCAYNE "LVD53 s 4URN LEFT AT "ISCAYNE "LVD53
s 4URN RIGHT AT .% TH 3T s 4URN LEFT AT .ORTH -IAMI !VE s 4URN LEFT AT .% ND 3T
Shuttles
The Shuttle Bus Service Between Art Miami and the Miami Beach Convention
Center is as follows:
s 0ICK 5P $ROP /FF AT TH 3TREET AND 7ASHINGTON !VE EVERY HALF HOUR BETWEEN
NOON AND PM
s 0ICK 5P AND $ROP /FF AT THE !RT -IAMI 0AVILION EVERY HALF HOUR
Fair Hours
December 1 – 4........... 11am – 7pm
(Wednesday–Saturday)
December 5 AM n PM
(Sunday)
For complete show information
visit www.art-miami.com
Art Miami accepts all other fairs
VIP cards for admittance!