WALL POWER

Picasso’s 1932 painting “Nu au Plateau de Sculpteur (Nude, Green Leaves and Bust)
Picasso’s 1932 painting “Nu au Plateau de Sculpteur (Nude, Green Leaves and Bust); photo from The New York Times Online

Because the market is looking up, and because the art world responds so quickly to upswings –and, because Picasso’s 1932 painting “Nu au Plateau de Sculpteur ” is really big and has all the bells and whistles (a lover, Marie-Thérèse, the iconic head thrown back pose, and a very Picasso-pallet), folks at the New York Times say that an auction price record is about to be broken.

According to NYT, the Picasso, on sale at Christie’s onTuesday, is  “poised to eclipse the $104.3 million paid for the current record holder, Giacometti’s “Walking Man I” purchased at Sotheby’s in February.

Art is beginning to be viewed as a good investment again, and, since the financial collapse, it seems like a safer place to put one’s money than in the stock market.

Other reasons why the hammer is expected to come down on a record price:

  • The painting is from a popular Picasso period of very large, very colorful paintings.
  • Picasso’s from the year 1932 are not likely to be sold again any time soon, if at all.
  • It was only on public view once since 1951: so it has freshness.
  • It “reeks,” according to NYT, of “Wall power.”

A GOOD BASQUIAT

Sotheby’s upcoming Contemporary Art Sale is going to offer some of the most iconic works of our time — so many in one show that the outcome will definitely exceed house estimates.

In her book, Seven Days in the Art World, Sarah Thornton tells us that, in auction speak, a “good so-and-so” is not necessarily one of the artist’s highest quality works, but, rather, one that’s iconic of the artist , one that, as Thornton puts it “fetishizes” the aspects of the artist’s work when s/he emerged.

Read on:What makes it “good?”

BITS: Women and the Turner Prize, Piero’s Shit, Shepard Fairey Beleaguered

Toma Abts Ert
Tomma Abts Ert, 2003 Acrylic & oil on canvas 48cm x 38cm Boros Collection, Berlin

SHORTY AWARDS

Only three women have ever won the Turner Prize:

  • Tomma Abts
  • Gillian Wearing
  • Rachel Whiteread

In 1997 when the Turner Prize committee came up with the first all-female shortlist, newspapers instantly lept to attention with such classy headlines as:

‘A woman’s place – is in the gallery’‘The jury’s still out, but where’s the spice, girls?’
‘No sexism, Please; They’re British’

The five times that the short list was all-male were never noted.

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PIERO’S SHIT

There is still speculation about what exactly IS in the cans that Piero Manzoni labeled “freshly preserved” Merde d’Artiste. Some say it’s plaster. Some say pineapple. Some say it’s “something wrapped”. Some say it’s another can, perhaps with something inside it.

merde
merde

Most people are pretty sure it’s not shit, though. Even the artist once told someone that, as the son of a man who worked in a cannery, he certainly wouldn’t have risked canning shit since it would give off  methane gas and explode.

Because the work was apparently inspired by an insult from his father, who said Manzoni’s art was shit, one can assume that no matter what’s in the can, there are still some who will insist that the label’s authenticity needn’t be questioned.

www.urbandictionary.com/define.php?term=shitcanned

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NYC DEPT OF BUILDINGS CALLS SHEPARD FAIREY’S MURAL A ‘SMALL BUILDING’

Animal New York’s Bucky Turco , reports that the NYC Department of Buildings has apparently pasted STOP WORK papers to the side wall of Shepard Fairey‘s mural on Houston Street. The claim that the “small building” was put up without a license would seem to be a joke, but the papers, one signed by Deric Lee, Manhattan Borough Commisioner, look real enough (although I have my doubts about the Large Caps).

Meantime, the wall has been tagged already and even broken through, so that part of the previous Os Gemeos shows through.

But, alas, the beleagered artist can’t get an ounce of respect as even the destruction of his wall is held up as a possble publicity stunt.

Artsbeat quotes Fairey as stating:

“Because I’m straddling the line between all these different worlds — the fine art world, the street art world, commercial design, fashion — I think I’m a target for a lot of narrow-minded people who just aren’t comfortable with my multiplatform approach. If that’s how they express their view is by vandalizing my mural, that’s fair. I assume that they think that putting a bullet hole through it is a clever interactive addition, which I actually agree with.”

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