ART FAIRS HAVE BECOME AS MUCH CULTURAL AND SOCIAL EVENTS AS CONGREGATIONS OF ART DEALERS AND COLLECTORS. THIS DEVELOPMENT HAS ENCOURAGED THE PARTICIPATION OF THE CURATOR AS AN ART FAIR PERSONA AND A CURATOR-DRIVEN FAIR OR EXHIBITOR SECTION WITHIN AN ESTABLISHED FAIR HAS GROWN IN POPULARITY IN RECENT YEARS. CURATORIAL SCHOLARSHIP AND CRITICAL PERSPECTIVE IMBUE THE EXHIBITED WORKS WITH A SENSE OF QUALITY AND VALUE. THUS, UNTITLED, ART MIAMI, LAUNCHED IN 2012, IS ONE OF THE MOST POPULAR AND HIGHLY ANTICIPATED STAND-OUT FAIRS DURING MIAMI ART WEEK AND HAS EARNED ITS REPUTATiON AS ONE OF THE MOST SELECTIVE.
FROM JANUARY 13-15, 2017, UNTITLED, ART LAUNCHES ITS FIRST WEST COAST ENDEAVOR– UNTITLED, SAN FRANCISCO. IF THE QUALITY OF UNTITLED, MIAMI IS A BAROMETER, DO MAKE LAST MINUTE PLANS TO ATTEND.
NICHOLAS CHRISTOPHER, FOUNDER AND PRINCIPAL OF THE ART WORLD’S AGENCY, TURON TRAVEL, IS A FAN AND HAS GENEROUSLY OFFERED TO BE OUR TOUR GUIDE AT THE FAIR, SOME OF THE SPECIAL ART-RELATED EVENTS OF THE WEEK AND MEMORABLE DINING EXPERIENCES IN THE MAGICAL CITY OF SAN FRANCISCO. PLEASE JOIN US.
NICHOLAS, THANK YOU FOR YOUR CONTRIBUTION. PLEASE TELL US WHAT TO ANTICIPATE!
The inaugural edition of Untitled, San Francisco will take place at the historic Pier 70 in San Francisco’s Dogpatch neighborhood from January 13 – 15, 2017, following the success of Untitled, Miami. San Francisco is certainly a magnet for forward thinking and innovation so a contemporary art fair is the perfect fit.
What better place than San Francisco to enjoy the inaugural year!
Untitled, Art founded in 2012, is an international, curated art fair that focuses on curatorial balance and integrity across all disciplines of contemporary art. Untitled, Art innovated the standard fair model by having a curatorial team identify and organize a selection of galleries, artist-run exhibition spaces, and non-profits. The exhibits are always presented as a dialogue with the architecturally designed venue. For Untitled, Miami 2014, applauded for the quality of the work and diverse range of art, artists and galleries, architects John Keenen and Terence Riley of K/R, formerly chief curator of architecture and design at New York’s prestigious MoMA, designed a larger tent to house the third edition featuring 110 international exhibitors from 18 countries.
In San Francisco, the original team of Christophe Boutin, Omar López-Chahoud and Melanie Scarciglia will continue the innovative curatorial accomplishments that make Untitled Art, Miami, stand out as a not-to-be-missed fair within the satellite constellation of fairs during Miami Art Basel week. Omar López-Chahoud has been the Artistic Director and Curator of Untitled since its launch in 2012. As an independent curator, López-Chahoud has curated and co-curated numerous exhibitions in the United States and internationally. Curators Christophe Boutin and Melanie Scarciglia co-founded the distinguished publishing houses onestar press and Three Star Books in Paris in 2000 and 2007, respectively. They have worked with many well-known artists and have published over 300 books. Boutin and Scarciglia join Untitled in 2014 as part of the curatorial team.
Curated art fairs tend to resonate with a stream of consciousness throughout, the curatorial team adding its unique vision and experience. Legacy art fairs are also following suit with ‘curated satellite’ programs, but they tend to default to their vetted gallerist perspectives.
Now that you are in San Francisco, be sure to visit the newly expanded San Francisco Museum of Art.
In 2016, SF MoMA reopened in 3 years of transformation with the goal of building additional space to celebrate its extensive and first-tier holdings. SFOMA now has more than three times its original exhibition space; a floor dedicated to the Pritzker Center for Photography; galleries dedicated to major favorites from the museum’s permanent collection as well as 45,000 sq ft of free public space. Plenty to enjoy here!
Be sure to see the Bruce Conner exhibition, It’s All True, before it closes on January 22nd. Conner, a pioneer in experimental film, collage, photography and conceptual works, challenged our preconceptions in every medium, constantly breaking new ground and influencing artists working today.
A compelling exhibition, Japanese Photography from Postwar to Now, memorializes the enormous contributions by Japanese photographers to the art of postwar photography. Noted for their innovative film and camera equipment, the exhibit highlights the considerable holdings of Japanese photography in the museum’s collection and the works from the important donation of the Kurenboh Collection.
If your time is limited, the overview of the ongoing Fisher Collection will be satisfying in itself spanning America’s important movements, Pop, Figurative and Minimal Art, featuring trophy works by Chuck Close, Philip Guston, Judd, LeWitt, Roy Lichtenstein and Warhol, among many others from a period of American art that is legendary for addressing issues of social and political concern, in response to the legacy of Abstract Expressionism
Galleries are opening at a rapid rate in San Francisco. Why not visit a few whole you are there?
In a major move, prominent gallerists, Larry Gagosian and John Berggruen opened new adjacently located galleries across from the new Howard Street entrance to SF MoMA, permanently changing the footprint of San Francisco’s art gallery map along with the opening of the Minnesota Street Project gallery space in the Dogpatch neighborhood.
The Minnesota Street Project opened fifteen years ago under the auspices of collectors Deborah and Andy Rappaport as an alternative entrepreneurial venture in contemporary art, one suited to the innovative nature of Silicon Valley. Located in San Francisco’s historic Dogpatch district, Minnesota Street Project offers affordable and economically sustainable spaces for art galleries, artists and related nonprofits. Inhabiting three warehouses, the Project seeks to retain and strengthen San Francisco’s contemporary art community in the short term, while developing an internationally recognized arts destination in the long term.
Through January 7, a retrospective of the work of Anne Chu, who died prematurely at the age of 57 this year, is on exhibit. In materials like porcelain and leather, Chu’s sculptures, sometimes in the form of mobiles, frequently explored animal imagery, depicting horses, bears, and rabbits as well as animal-human hybrids.
“Embedded with ancient and historical influences, including Tang dynasty funerary figures and Austrian marionettes, Chu channeled spirits of cultures past,” wrote Williams in the announcement of the artist’s passing.
The seasoned veteran dealer, John Berggruen is launching an inaugural exhibition at his 10 Hawthorne Street gallery, entitled “The Human Form”, and highlights the gallery’s dedication to the Bay Area figurative artists it has long supported. Known as the Bay Area Figurative Moment, this group of artists included Richard Diebenkorn, David Park, Elmer Bischoff, and Wayne Thiebaud, who abandoned the prevailing force of Abstract Expressionism to return to figuration during the 50s and into the 60s.
Gagosian San Francisco opens a very special group exhibition on January 12th entitled “Beyond Matter”, featuring eighteen sewn and painted fabric works by Tsuyoshi Maekawa, who emerged as an artist in the Gutai Art Association founded in Osaka. In 1972, Maekawa decided to extend his practice beyond the strict precepts established by its founder Yoshiara Jiro. The exhibtion offers a global perspective with its inclusion of modern masters exemplary of this pictorial concerns, such as Alberto Burri, Piero Manzoni, Lucia Fontana and Enrico Castellani.
By now you must be starving!
There is a rumor – totally unsubstantiated – that it was a gourmet cook fire rather than Elsie the cow who set a Famous Fire. Here are a few suggestions on the side of the chef:
First stop, right on Hawthorne Street is Benu, a 3 Michelin Star tradition, a refined minimalist space in black, white and gray that focuses the attention on the mail and not the decor, and well worthwhile that is. When the first course of the prix fixe menu arrives, you know the mail is going to be unique, a juxtaposition of classic Asian ingredients as a springboard to Thomas Keller protegee, Cory Lee’s Western training.
Corey Lee – chef/owner – had worked at world acclaimed restaurants for 20 years before opening his James Beard awarded restaurant. His 2015 Phaidon-published cookbook Benu, documents the restaurant’s food, inspirations, and people who make it all possible. Lee has become a goodwill ambassador for his hometown of Seoul, Korea, an honor given to leaders in various fields, in recognition of his work and influence.
Gary Danko— 1 Michelin star
The cuisine of Gary Danko, the ambassador of contemporary American fine dining, draws on traditions from around the world. Using seasonings from Asia, he adds a pinch of audacity to his French-style technique, creating dishes fit for an international traveler.
Seventeen years after opening its doors in San Francisco’s iconic Fisherman’s Wharf neighborhood, Restaurant Gary Danko continues to refine its award-winning combination of classic French cooking, thoughtful and inventive use of local ingredients, and personable yet impeccable service. “You don’t just open a great restaurant,” says Chef Gary Danko, “it’s a constant work in progress.”
In a warm, enveloping space overhung with orchids and vibrant artworks, an evening at Gary Danko is both intimate and theatrical—a loving nod to an old world dining experience with its heart thoroughly planted in the new: fresh, locally grown and raised foods drawn from the region’s vast seasonal offerings, prepared with precision and flair.
Don’t miss the legendary THE FRENCH LAUNDRY – 3 Michelin Stars
Chef Thomas Keller took a saloon built by Scottish stonemasons in 1900 whose last incarnation was a French steam laundry and created a highly awarded restaurant. The French Laundry is a member of French-based Relais & Chateaux, Relais Gourmands and Traditions & Qualité; organizations recognized for their dedication to maintaining the highest international standards for hospitality and culinary excellence. While the menu changes daily, the restaurant commits to creating classic French cuisine with the finest quality ingredients and service.
Turon Travel has the distinct pleasure of working with a growing number of International Art Fairs, Art and Antiques Fairs and special arts events.
Our management style creates a seamless process which works to the benefit of the venue, the exhibitors and of course the event patrons.
The cumulative buying power represented by the participants gives Turon the ability to offer discounts on hotel rates and select airfares. Along with our state of the art website and booking platform Turon Travel is the obvious choice to manage your travel requirements.
THIS FALL, SIKKEMA JENKINS GALLERY IN CHELSEA HOSTED A GROUP OF STUDENTS FROM THE OLIVER SCHOLARS PROGRAM TO MEET THE ARTIST, LEONARDO DREW WHO SPOKE ABOUT HIS SOLO EXHIBITION. SO MANY THANKS TO MEG MALLOY, PARTNER AND GALLERY FOUNDERS BRENT SIKKEMA AND MICHAEL JENKINS FOR THEIR WELCOMING INVITATION AND AN ENORMOUS APPLAUSE OF APPRECIATION TO LEONARDO DREW FOR SHARING HIS EXHIBIT AND INSPIRING PERSONAL HISTORY AS AN ARTIST WITH THIS SPECIAL GROUP OF STUDENTS.
Leonardo Drew is known for his abstract sculptural installations, which incorporate materials such as paper, rope, wood, paint chips, tree branches and roots, and sheet metal. In Drew’s hands, these raw materials are exhaustingly transformed to resemble debris. While artistically rooted in art movements of the 1950s and 60s including abstract expressionism, minimalism, and Arte Povera, Drew – influenced by non-Western philosophical traditions – views his work as a reflection of the cyclical nature of time, the continual processes of transformation, and the connectivity of all things. This is perhaps most evident in the artist’s practice of incorporating parts of earlier works into newer pieces, including several of the works on view in the current exhibition.
THE NEW YORK BASED OLIVER SCHOLARS PROGRAM PICKS THE BEST AND BRIGHTEST BLACK AND LATINO STUDENTS IN THE NEW YORK AREA AND GIVES THEM AND THEIR FAMILIES THE ENCOURAGEMENT, ACADEMIC AND EMOTIONAL SUPPORT TO ATTEND AND BE SUCCESSFUL AT EXCELLENT INDEPENDENT HIGH SCHOOLS, BOARDING SCHOOLS AND RESPECTED COLLEGES.
JEANETTE CREWS, A HIGH SCHOOL SENIOR AND OUTSTANDING OLIVER SCHOLAR, HAS CONTRIBUTED A WONDERFUL REFLECTION ON THIS EXPERIENCE IN TODAY’S LRFA BLOG. THANK YOU, JEANETTE!
My name is Jeanette Crews. I’m a H.S. Senior and Oliver Scholar. On Tuesday October 4th I had an opportunity to visit the Sikkema Jenkins & Co. Gallery in Chelsea. Along with a group of other Oliver Scholars we were there to see an exhibit of the works of Artist Leonardo Drew.
I have a great passion for Art and hope to include Art and Education in my future endeavors. I have been to many of New York’s great art museums but this was my first official visit to an art gallery. I attended with my Dad and we arrived quite early. Upon walking in the door, we actually met Mr. Drew and had a brief conversation with him.
As I entered the main gallery space, my impression of Mr. Drew’s work was that it was a big sweeping piece that ran from the far right corner of the room and stretched all the way around to the front right side wall. Additional art works were on the left and back walls. First I thought it was one continuous art piece but it was also dozens of individual pieces arranged on the wall to look like a connected piece.
Mr. Drew gave a presentation and spoke candidly about his background, both setbacks and successes. Also, he lets people interpret or appreciate the art however they wish, as long as they derive some sort of feeling. There was no right or wrong way to look at or understand his art; it was what you got (or didn’t get) from it, from your perspective. And none of that mattered because Mr. Drew is a person that doesn’t create art for others (opinions) but for self-expression; at least that’s my opinion. Mr. Drew also mentioned that he started out drawing cartoons and developed as a fine arts artist but moved on to more abstract forms using natural materials reclaimed or repurposed from nature and from discarded man made items. I was impressed by his commercial and cultural successes; he’s got his art works in renowned museums, galleries and shows. I was also impressed to know that he still has a thirst for learning new techniques; he was going to be traveling to China to learn special traditional style glazing (pottery/sculpture) techniques.
Mentor an Oliver Scholar!
HELPING TO CHANGE THE FUTURE OF YOUNG, SMART AND EAGER STUDENTS TO REALIZE DREAMS OF FULFILLMENT AND SUCCESS IS AS GRATIFYING AS ANY 2017 NEW YEAR’S RESOLUTION COULD BE. HERE’S A LITTLE INFO ON THE OLIVER SCHOLARS MENTORING PROGRAM. MAKE A DIFFERENCE, OPEN A DOOR!
Oliver’s new mentoring program is for high school freshmen who are interested in having an adult role model and exploring college options.
1.5 year program
4 hrs/month in person, email or phone contact
Quarterly group events
Custom mentor matches based on areas of interest and goals
Collaboratively explore career, college, volunteer & leadership opportunities with your mentee
Why Mentor an Oliver Scholar?
You will serve as a positive role model
You will support Scholars in their transition from public school to private school
You will be instrumental in helping a high school freshmen establish important life skills and build self-esteem
THE ART WORLD IS OFFICIALLY BACK IN BUSINESS AFTER THE HOLIDAYS WITH THE FIRST FAIR OF THE SEASON, UNTITLED, IN SAN FRANCISCO. NICHOLAS CHRISTOPHER OF TURON TRAVEL IS A FAN AND IN OUR NEXT LRFA BLOG PROVIDES A WEALTH OF INFORMATION NOT ONLY ABOUT THE FAIR ITSELF BUT THE MAGICAL CITY OF SAN FRANCISCO.
PLEASE JOIN US!
THE PUBLICATION OF THE GUTENBERG BIBLE IN 1455 PRODUCED THE FIRST COMPLETE EXTANT BOOK KNOWN IN WESTERN CULTURE PRINTED BY USING MASS-PRODUCED MOVABLE METAL TYPE. TODAY, BOOKS ARE AVAILABLE IN MANY FORMS, BOTH PHYSICAL AND DIGITAL, ON KINDLE OR ANY NUMBER OF TABLETS AND e-READERS. PRESENTLY, A BOOK CAN ALSO BE A HIGHLY DEVELOPED ART FORM, A MEDIUM OF ARTISTIC EXPRESSION THAT ADOPTS THE FORMAT OF THE BOOK AS A SPRINGBOARD FOR CREATIVE INSPIRATION. AT THE CENTER FOR BOOK ARTS IN NEW YORK CITY,THE FIRST ORGANIZATION OF ITS KIND DEDICATED TO THE PRESERVATION OF THE TRADITIONAL PRACTICES OF THE ART OF BOOKMAKING, CLASSES ARE OFFERED IN BOOKBINDING, LETTERPRESS PRINTING, PAPER MARBLING AND TYPOGRAPHY. THE CENTER SUPPORTS THE AESTHETIC ASPECTS OF A BOOK, ENCOURAGING BOOKMAKERS TO PRODUCE CREATIVE, NEWLY INTERPRETED FORMATS AND MATERIALS.
AS 2016 DRAWS TO A CLOSE, THE LRFA BLOG IS DELIGHTED TO WELCOME BACK DOUG FLAMM WHO HEADS THE GAGOSIAN BOOKSHOP, AN EXPERT IN BOTH RARE BOOKS, ARTISTS’ MONOGRAPHS AND ARTISTS’ BOOKS. DOUG SUGGESTS SOME PHENOMENAL, ALBEIT BELATED, HOLIDAY GIFTS. YOU WILL BE FORGIVEN. THESE SELECTIONS ARE COLLECTORS’ ITEMS FOR ANY SEASON.
Richard Artschwager’s The Hydraulic Door Check (2002)
A fun and playful take on bookmaking, The Hydraulic Door Check is a special limited edition in which Artschwager applied rubberized horsehair, a material that he has used in many sculptures, to the book to create a new “binding.” This copy is one of five hundred copies, signed by the artist.
Kunst der sechziger Jahre. 5th erweiterte Auflage. (Art of the Sixties. Fifth Revised Edition) (1971)
I’ve always been fascinated by the design of this book. It’s part object, part book: a great document of a collection presented in a book that looks like no other. Created in 1971 as a catalogue of the Ludwig Collection on loan to Wallraf-Richartz-Museum in Cologne, the covers are embossed plastic, the spine is Plexiglas, and the 209 color plates are tipped-in on special paper and covered with printed transparencies. It features the work of ninety-two artists, including Richard Artschwager, John Chamberlain, Jasper Johns, Roy Lichtenstein, Bruce Nauman, Pablo Picasso, Richard Serra, Cy Twombly, and Andy Warhol, among others.
THANK YOU, DOUG, AND…
THANK YOU, READERS AND CONTRIBUTORS, FOR YOUR ONGOING SUPPORT. BEST WISHES TO ALL, NEAR AND DEAR, FOR A STELLAR 2017!
THE ARTIST AND HIS STUDIO IS A SUBJECT DOCUMENTED AND CELEBRATED IN THE VISUAL ARTS THROUGHOUT THE CENTURIES. IN VERMEER’S MASTERPIECE, THE ALLEGORY OF PAINTING (1665-70), THE ARTIST DEPICTS HIMSELF AT HIS EASEL WORKING FROM THE MODEL. THE INTRODUCTION OF THE MAP ON THE WALL SETS UP A MORE COMPLEX MEANING, REFERENCING THE DEVELOPMENT OF INTEREST IN SCIENTIFIC AND RATIONAL THINKING DURING THIS PERIOD, AND SPECIFICALLY, VERMEER’S STUDIES OF THE PROPERTIES OF VISION AND HIS INTRODUCTION OF THE CAMERA OBSCURA AS A VISUAL TOOL, AN INFLUENCE EVEN ON ARTISTS OF TODAY.
FROM 1927 TO 1929, PICASSO CONCENTRATED ON THE SUBJECT OF THE ARTIST IN THE STUDIO, A THEME HE FREQUENTLY REVISITED AS PART OF HIS LIFELONG INVESTIGATION INTO THE ARTIST’S PERCEPTION OF HIMSELF AND HIS SUBJECTS. AS MICHAEL FITZGERALD WRITES IN PICASSO: THE ARTIST’S STUDIO, (2001), “The studio was the center of Picasso’s world, the crossroads of all that was occurring in his life and in contemporary society”.
RECENTLY, IN SEPTEMBER 2016, IN AN EXQUISITE EXHIBITION ENTITLED REMEMBERED LIGHT: CY TWOMBLY IN LEXINGTON AT GAGOSIAN GALLERY, 980 MADISON AVENUE, NEW YORK, PHOTOGRAPHER SALLY MANN DOCUMENTED THE STUDIO, IN THEIR MUTUAL HOMETOWN OF LEXINGTON VIRGINIA. OF HER CLOSE FRIEND AND CONFIDANT, MODERN MASTER CY TWOMBLY.
THE PHOTOS OF TWOMBLY’S STUDIO FROM 1999 TO THE PRESENT REVEAL THE SYNERGISTIC DIALOGUE BETWEEN AN ARTIST’S WORK AND HIS WORKING SPACE. JUST AS TWOMBLY’S CALLIGRAPHIC MASTERPIECES ARE VISUAL POETRY, SO SALLY MANN’S PHOTOGRAPHS OF HIS STUDIO REVEAL A QUIET CALM AND SILENCE THAT EXEMPLIFIES TWOMBLY’S WORKING HABITS, MEMORIALIZES THE OBJECTS THAT INSPIRED HIM AND CAPTURES THE ELUSIVE NATURE OF THE LIGHT IN HIS STUDIO THAT FOUND ITS WAY INTO HIS PAINTINGS.
IN 1967, THE CELEBRATED ITALIAN PHOTOGRAPHER, UGO MULAS, KNOWN FOR HIS PORTRAITS OF ARTISTS AND STREET PHOTOGRAPHY, DOCUMENTED THE LIVES OF ARTISTS IN THE EXPLOSIVE NEW YORK ART SCENE OF THE 60s.
TODAY’S LRFA BLOG WELCOMES BACK OUR RESIDENT SANTA, DOUG FLAMM, WHO RECENTLY JOINED GAGOSIAN GALLERY TO EXPAND ITS ART BOOK PUBLISHING DIVISION AND AND BOOKSHOP AT 976 MADISON AVENUE, NEW YORK ACROSS FROM THE CARLYLE HOTEL ON 76th STREET, WITH GIFT SUGGESTIONS TO BRIGHTEN THE HOLIDAY SEASON.
New York: The New Art Scene (1967)
A true classic of the time, this book is a must-have for anyone seriously interested in the New York art scene of the 1960s. Illustrated with approximately five hundred photogravure plates by Ugo Mulas, this publication includes a text by Alan Solomon and offers an impressive look inside artists’ studios, including those of John Chamberlain, Marcel Duchamp, Jasper Johns, Roy Lichtenstein, and Andy Warhol.
INTRODUCTION by Alan Solomon
This book is a photographic record of a long moment in the history of contemporary American art. It is a record of the state of painting and sculpture in New York City among the members of the younger generation as they were seen by Ugo Mulas in the course of three extended visits within one year to New York from Milan, where he lives.
As an observer on many occasions, I found it an extraordinary itinerary. For Mulas, it was a voyage of discovery, stimulated by his contact with the New American art during the Venice Biennale of 1964. There he began to discover the younger artists; he already knew a lot about the older generation, as we can see from his photographs Alexander Calder and Davod Smit, perhaps the best known of his work to readers in the United States. I cannot really convey my own pleasure and excitement at watching Mulas discover what was already familiar to me.For a number of reasons. In most cases he met the artists for the first time. He spoke no English, most of them spoke no Italian or a little French. But he brought something they understood: an uncanny quickness of eye and a trenchant sensibility, unequaled in my experience, to things that were absolutely unfamiliar to him. He understood everything at once, the intention of the artists, the meaning of the work, the mind and temperatement of the artists (once in a while the latter took a little more time). Unlike many other photographers, he never makes you feel the presence of his own temperament or his craft. He may be the most invisible living photographer, seemingly passive, charming in a diffident way, yet working with a terrible intensity, with total preoccupation.
A REMARKABLE GIFT, AVAILABLE AT THE GAGOSIAN BOOKSHOP, AN OASIS IN THE MAD HOLIDAY RUSH, IS A UNIQUE MULTI-MEDIA PUBLICATION THAT CELEBRATES POET JOHN ASHBERY AND HIS PULITZER PRIZE WINNING POEM, “SELF-PORTRAIT IN A CONVEX MIRROR” AND HIS ILLUSTRIOUS CIRCLE OF ARTIST FRIENDS.
John Ashbery’s Self-Portrait in a Convex Mirror (1984)
Containing signed prints by Richard Avedon, Elaine de Kooning, Willem de Kooning, Jim Dine, Jane Freilicher, Alex Katz, R.B. Kitaj, and Larry Rivers, SelfPortrait in a Convex Mirror includes a 331/3 rpm vinyl recording of John Ashbery reading the Pulitzer Prize–winning poem of the same name in 1983. Designed as a tribute to the poet, the book is accompanied by signed prints from artists and friends invited to participate in what became an extraordinary project. Each artist created an original print inspired by the poem, and Avedon contributed a photographic portrait of Ashbery.
From a limited edition of 150, prints and record are housed in a stainless steel Hollywood movie canister with a convex mirror on the lid. This copy has been preserved in the original Arion Press cardboard shipping crate. This book challenges the traditional format of a book: when you open it, you see your own self-portrait. The prints and poem inside are printed on individual sheets with the poem typeset as lines that radiate from spokes on a hub: you hold the page number and literally turn the pages in order to read. This is an extraordinary and unconventional production in every sense.
IN OUR NEXT LRFA POST, DOUG RECOMMENDS A SELECTION OF BOOKS SO SPECTACULAR YOU’LL BE TEMPTED TO KEEP THEM FOR YOURSELF.
PLEASE JOIN US!
EARLIER THIS YEAR AT THE DE YOUNG MUSEUM IN SAN FRANCISCO, ED RUSCHA AND THE GREAT AMERICAN WEST FEATURED 99 WORKS BY ONE OF THE WORLD’S MOST INFLUENTIAL AND ACCLAIMED ARTISTS. THE EXHIBITION EXPLORED RUSCHA’S LIFELONG FASCINATION WITH THE WEST AND ITS SIGNIFICANCE TO OUR COUNTRY’S HISTORY AND PIONEER CHARACTER. THE GASOLINE STATION, AS AN AMERICAN ICON, HAS LONG BEEN AN IMPORTANT SUBJECT IN RUSCHA’S WORK AND ONE OF RUSCHA’S MOST OUTSTANDING TRIBUTES ON THIS SUBJECT IS THE ARTIST’S BOOK HE CREATED IN 1962.
IN THE 1960s AND EARLY 1970s ED RUSCHA PUBLISHED SIXTEEN BOOKS, PHOTOGRAPHIC PROJECTS THAT EXEMPLIFY THE WEST COAST CONCEPTUAL ART MOVEMENT. THESE BLACK AND WHITE PHOTOGRAPHIC PUBLICATIONS, PRINTED MATTER IN MULTIPLE EDITIONS, BY RUSCHA AND HIS CONTEMPORARIES, SUBVERTED THE TRADITIONAL DEFINITIONS OF ART AS A CREATIVE SKILL AND MEANS OF SELF-EXPRESSION.
RUSCHA HAS BEEN CREDITED WITH REINVENTING THE CONCEPT OF THE ARTIST’S BOOK BY REJECTING THE CRITERIA OF CRAFTSMANSHIP AND THE EXCLUSIVITY OF THE TRADITIONAL livre d’artiste IN FAVOR OF AN UNSIGNED AND INEXPENSIVELY PRINTED EDITION, OPENING THIS GENRE TO THE POTENTIAL OF MASS PRODUCTION AND DISTRIBUTION.
DOUG FLAMM, AN EXPERT IN THE FIELD OF BOOK PUBLISHING AND A PASSIONATE LOVER OF ARTISTS’ BOOKS, RECENTLY JOINED THE GAGOSIAN GALLERY TO EXPAND THE DEPTH AND SCOPE AT THE GAGOSIAN BOOKSHOP OF AN ALREADY EXCEPTIONAL INVENTORY. LOCATED AT 976 MADISON AVENUE ACROSS FROM THE CARLYLE HOTEL AT 76th STREET, IT OFFERS AN EXTENSIVE SELECTION OF SCHOLARLY MONOGRAPHS, UNIQUE CATALOGUES AND ARTISTS’ BOOKS.
FOR MOST ARTISTS, A BOOK SUPPLEMENTS THE ACTUAL WORKS OF ART, OFTEN ACCOMPANYING AN EXHIBITION OF PAINTING, SCULPTURE OR INSTALLATION. FOR ED RUSCHA, BOUND AND PRINTED PAGES HAVE BEEN AN INTEGRAL PART OF HIS PRACTICE FOR OVER 50 YEARS.
AS RUSCHA COMMENTED IN AN INTERVIEW WITH THE TELEGRAPH’S MARTIN GAYFORD IN 2009, “I BEGAN TO SEE BOOKS AND BOOK DESIGN, TYPOGRAPHY, AS A REAL INSPIRATION. SO I GOT A JOB WITH A BOOK PRINTER. HE TAUGHT ME HOW TO SET TYPE, AND THEN I STARTED TO SEE THE BEAUTY OF TYPOGRAPHY AND LETTER-FORMS. SOMEHOW THAT LED ME OFF ON THIS LITTLE PATH, ALMOST LIKE A BUMPER CAR, YOU KNOW.”
A PARTICULAR FAVORITE OF DOUG’S, FOR YOUR HOLIDAY SHOPPING OR FOR YOUR ART LIBRARY ANY TIME OF YEAR, IS:
Ed Ruscha’s Twentysix Gasoline Stations (1963)
One of the most important artist books from the second half of the twentieth century, this copy of Ed Ruscha’s Twentysix Gasoline Stations includes the original wrappers, with its title printed in red ink on the front and spine. It’s the first edition of Ruscha’s first artist book, which is one of approximately 50 copies, and includes the original black card slipcase. It was published by the artist in 1963, under the imprint National Excelsior Publications.
IN OUR NEXT POST, DOUG WILL RECOMMEND SOME ADDITIONAL TREASURES THAT SHOULD PLEASE EVEN THE TOUGHEST RECIPIENT!
This month, in conjunction with the celebrated exhibition “Picasso’s Picassos: A selection from the Collection of Maya Ruiz-Picasso, at Gagosian Gallery, the bookstore offers a fantastic PICASSO TAKEOVER of books, ceramics, cards, film, all related to the great master! The exhibition itself, curated by Maya’s daughter, art historian and curator Diana Widmaier Picasso offers a unique collection of paintings and sculpture. Drawn from the forty-year period between 1931 and 1971, the selection provides a personal view of the family history reflected in Picasso’s celebrated oeuvre and the book store provides a wealth of rare publications, objects and catalogues.
The LRFA blog is delighted to welcome back Doug Flamm for our now annual Holiday recommendations. Doug, formerly with Ursus Books for many years, has joined the Gagosian empire to offer his services as an experienced antiquarian book dealer and dedicated specialist of rare books and artists’ books. I know Doug’s expertise and knowledge will happily expand the artist book and publishing presence of this remarkable international gallery. What a pleasure to find Doug, his quiet scholarship and deep appreciation of the art of publishing, just a few blocks away! email@example.com
Included in the PICASSO TAKEOVER is an extensive selection of Picasso’s rare illustrated books, historically important reference books, catalogues raisonnés, monographs and current museum exhibition catalogues. The store is projecting great video clips featuring archival footage of Picasso from films that are available for purchase. A selection of prints, photographs, textiles and tapestries, posters and ceramics also expand the selection. With the holidays but a breath away, the Gagosian bookstore will have you happily checking off many names from your shopping list!
Of the extraordinary selection of rare books available in conjunction with “All Things Picasso”, Doug recommends a special look at
El Entierro del Conde Orgaz (1969)
Rafael Alberti, El Entierro del conde de orgaz, Gustavo Gili, Ediciones de la Cometa, Barcelona, 1969 (B. 1465-1477; C. Books 146)
the complete set of twelve etchings and one signed engraving, hors-texte, title page, text in Spanish, additional volume of lithographic text by the artist in Spanish, justification, on Romani, signed on the justification, copy 68 of 263, each the full sheet, generally in very good condition, loose (as issued), within the original brown paper wrappers with title on the front and parchment-covered portfolio box. 19 1/8 x 15 in. (486 x 381 mm.)
More temptations to follow in the next LRFA post.
Launched in the fall of 2009, the Gagosian Shop is the gallery’s first retail venue, featuring Gagosian publications, posters, prints, and magazines as well as limited editions by John Currin, Ellen Gallagher, Damien Hirst, Jeff Koons, Yayoi Kusama, Takashi Murakami, Marc Newson, Richard Prince, Anselm Reyle, Ed Ruscha, Tom Sachs, Andy Warhol, and Franz West.
Designed by Daniel Rowen Architects with MN Design in collaboration with Gagosian Gallery, this 2,500 square foot space features the scholarly monographs, innovative catalogues, and limited editions that comprise Gagosian Gallery’s unparalleled publishing program.
A CHARITABLE TRUST ALLOWS A GENEROUS DONATION TO A CHARITY OF YOUR CHOICE WHILE PROVIDING A TAX BREAK TO YOU AND TO YOUR HEIRS. THESE ARE IRREVOCABLE TRUSTS THUS DEMANDING PARTICULARLY CAREFUL CONSIDERATION. ONCE THE TRUST GOES INTO EFFECT, THE DECISION CAN NOT BE REVERSED AND YOU CAN NOT REGAIN LEGAL CONTROL OF THE PROPERTY IN THE TRUST.
WITH THAT IN MIND, IN LIGHT OF THE EVER EXPANDING PASSION FOR COLLECTING BOTH ART AND COLLECTIBLES, MANY CHARITABLY-MINDED HIGH NET WORTH INDIVIDUALS AND FAMILIES ARE TARGETING THIS TAX AND ESTATE PLANNING OPPORTUNITY.
IN SEPTEMBER 2016, LEGAL EXPERTS DIANA WIERBICKI AND PAUL ROY, OF WITHERS BERGMAN, AS GUEST EDITORS IN JANET NOVAK’S COLUMN AT FORBES ON TAX AND RETIREMENT PLANNING AND POLICY, CONTRIBUTED A CLEAR AND COMPREHENSIVE ARTICLE ON A NEW IRS REVENUE PROCEDURE THAT MAKES A CHARITABLE REMAINDER TRUST AN EXCELLENT VEHICLE FOR PHILANTHROPIC ART COLLECTORS.
NEW IRS RULE OPENS TAX SAVING STRATEGY TO ART COLLECTORS
Art and collectibles are subject to a 28% long-term federal capital gains rate, compared to a top rate of 20% for stocks and other investments assets. Add on the 3.8% Net Investment Income Tax and state and local income taxes, and a New York City collector can end up paying up to 44% on gains; a California collector could pay up to 45%.
So understandably, collectors are always looking for ways to mitigate this tax burden. A new IRS Revenue Procedure makes using certain charitable remainder trusts (CRTs) as vehicles for tax deferral more viable for art and collectibles. Moreover, this change comes at an opportune time, what with the Federal Reserve expected to increase interest rates later this year. (Charitable remainder trusts are most effective in higher interest environments.)
The dual benefit of CRTs
The name “charitable remainder trust” suggests a charitable component, and not surprisingly, CRTs are typically used by those who are both charitably inclined and want to sell a highly appreciated asset without paying a big capital gains tax bill. If appreciated art is sold outright by an art collector, the collector would owe income tax on the gain in the year of the sale. By contrast, if a CRT sells the appreciated art, the gain is taxed over time as distributions are made from the CRT. Meanwhile, the CRT, which is itself generally exempt from state and federal income taxes, can reinvest the full amount of sale proceeds unreduced by taxes. Additionally, in the year the CRT sells art, the collector can take a charitable deduction on his individual income tax return — a deduction based on the remainder value of the CRT that is projected (based on formulas dictated by the IRS) to be left for charity.
Typically, a collector transfers art to the CRT and the CRT’s trustee sells that art, reinvesting the proceeds in a portfolio of stocks and bonds. As noted above, the initial transfer of art to the CRT and the subsequent sale of the art will not result in a current capital gains tax bill for either the art collector or the CRT.
The CRT then makes a series of annual payments to a non-charitable beneficiary, usually the art collector who created the trust (or a family member) for his or her life or for a term of years. The annual payments to the art collector or family member will be made from the CRT’s portfolio of assets, and the amount will vary depending on the structure of the CRT.
GUEST POST, September 21, 2016, FORBES/Personal Finance#TakeATaxBreak with Janet Novack
Diana Wierbicki is the global head of art law at Withers Bergman. Paul Roy is of counsel at the firm.
SLEIGH BELLS ARE RINGING, OR AT LEAST THOSE OF THE SALVATION ARMY CAROLERS ON FIFTH AVENUE AND THE HOLIDAYS ARE RAPIDLY APPROACHING! ONE ANNUAL TRADITION AT THE LRFA BLOG IS BOOK EXPERT DOUG FLAMM’S CONTRIBUTION HIGHLIGHTING SPECIAL ART PUBLICATIONS TO GIVE (AND TO REQUEST) ON YOUR SANTA’S WISH LIST.
DOUG HAS JOINED GAGOSIAN GALLERY TO DEVELOP AND EXPAND ITS BOOK STORE AND ENRICH ITS INVENTORY OF ARTISTS’ BOOKS AND RARE BOOKS. LOCATED AT 976 MADISON, MAKE IT YOUR FIRST STOP FOR THE HOLIDAY SHOPPING SEASON!
DESPITE THE TREPIDATION THAT FACED THE NEW YORK AUCTION HOUSES IN ANTICIPATION OF LAST WEEK’S NEW YORK NOVEMBER AUCTIONS, THE RESULTS WERE REASSURINGLY STABLE. QUALITY WON AND ALTHOUGH A MORE JUDICIOUS AND CAUTIOUS ATTITUDE PERVADED THE SALES ROOMS, AT THE SAME TIME, RECORD PRICES WERE ESTABLISHED IN IMPRESSIONIST, MODERN AND CONTEMPORARY SECTORS.
A NEW WORLD AUCTION RECORD FOR CLAUDE MONET’S GREAT WORK FROM THE GRAINSTACK SERIES WAS ESTABLISHED AT $81 MiLLION AND KANDINSKY’S 1935 OIL REALIZED SLIGHTED OVER $23 MILLION. AT SOTHEBY’S CONTEMPORARY EVENING SALE, GERHARD RICHTER’S A B, STILL TRIUMPHED AT $34 MILLION AND A NEW RECORD PRICE OF $11.7 MILLION WAS ESTABLISHED FOR ARTIST DAVID HOCKNEY’S MONUMENTAL WOLDGATE WOODS, 24, 25, and 26, OCTOBER 2006.
AS THE ART MARKET CONTINUES TO HOLD SWAY AND RECORD PRICES ARE REALIZED AT AUCTION, THE PRACTICE AND FOCUSED SERVICES OF LAWYERS EXPERIENCED IN ART LAW, THE ART AND AUCTION MARKET AND MUSEUMS AND ART FOUNDATIONS HAVE GROWN IN GEOMETRIC PROGRESSION.
AS ALL PARTICIPANTS IN THE ART MARKET FACE ART SPECIFIC ISSUES OF OWNERSHIP, THIS TIMELY ARTICLE BY FORBES’ GUEST EXPERTS DIANA WIERBICKI AND SETH COHEN OF WITHERS BERGMAN FOCUSES ON THE TAX CONSIDERATIONS AND CONSEQUENCES OF THE ACQUISITION AND DEACCESSION AND ESTATE PLANNING OF ART IN THE UNITED STATES.
Timeframe for Resale
A factor generally reviewed by NYS when determining whether a purchaser is a reseller (vs. a collector or investor) is the amount of time it takes for the purchaser to resell the art. This is a challenging factor for sellers of art because art that is fresh to the market generally garners higher prices. For art to appreciate enough to result in a profitable resale, it cannot be sold immediately after purchase. Therefore, the turnover of items for resale in the art market is not analogous to the timing of resale in other markets. This is at odds with the traditional notion that the longer an item is owned, the more it looks like investment property instead of inventory for resale, and suggests that NYS should be analyzing the resale timing in the context of the art market structure. That being said, there is no guarantee that NYS will take art market nuances into account when applying their general rules. In case of an audit or investigation, it is advisable to highlight art industry differences as a way to counterbalance the importance of this factor. Since the determination as to being a reseller looks at all relevant facts and circumstances, it is prudent that a putative reseller with long periods between sales ensure that the other factors be legitimately in the reseller’s favor.
A few of those factors are: (i) whether the purchaser maintains a gallery or specific place of business; (ii) whether the purchaser is an expert in the applicable area of art; (iii) whether the purchaser has employees; and (iv) how the purchaser reports and treats the income derived from sales (i.e., a purchaser cannot have it both ways – by claiming reseller status, while treating the income from sales as investment income subject to capital gains rates). In other words, a reseller operates a business and the more that business acts like a business, the greater the chance that it will survive unscathed by any NYS scrutiny. If investigated by NYS, having complete documentation as to these factors is key as many an investigator or auditor has been swayed by both the information contained in the documentation and the propositions for which they stand.
Selling Art off the Walls of a Home
There may be a valid business reason for displaying art in a personal residence, but by doing so, you invite a struggle with NYS. For example, a reseller’s home may be a great place to display art during orchestrated gatherings with potential buyers to show clients what the art looks like in a home environment. Nonetheless, despite valid reasons for home displays, NYS will highly scrutinize them and, to be frank, NYS is not without justification. NYS has the understandable view that a home display carries with it the purpose of personal use, namely the enjoyment of the art. This is not to say that home display is an automatic disqualifier, but a reseller argument where there is home display will likely be an uphill battle with investigators given their assumption that the reseller exemption is inapplicable. We note that, in some cases, having an area within the home used solely for business purposes has proved successful in defending against taxes and penalties in an audit and subsequent litigation.
Guest post by Diana Wierbicki and Seth Cohen, FORBES , May 10, 2016, in Janet Novak: Taxing Matters
Diana Wierbicki is global head of art law and Seth Cohen is a partner specializing in tax controversies at Withers Bergman.
AND NOW, A WEEKEND OF FAMILY, FRIENDS, FOOTBALL, AND FOR SOME INCORRIGIBLE FEW, FITNESS! HAPPY THANKSGIVING FROM THE LRFA BLOG!
AS YOU BUY OR SELL A WORK OF ART, STAYING OUT OF TAX TROUBLE IS AS IMPORTANT A CONSIDERATION AS THE PROVENANCE, CONDITION AND PERIOD OF THE WORK. SINCE ART HAS BECOME A GLOBAL, MULTI-BILLION DOLLAR INDUSTRY, AND HAS BECOME A SIGNIFICANT CONTRIBUTOR TO A STATE’S TAX COFFERS, PARTICULARLY NEW YORK STATE, ART DEALERS AND COLLECTORS HAVE BECOME THE FOCUS OF SCRUTINY BY STATE TAX AUTHORITIES. IN THIS VIGOROUS INTERNATIONAL MARKET, ALLEGATIONS HAVE SURFACED THAT ART TRANSACTIONS ARE SOMETIMES A MEANS TO LAUNDER MONEY AND AVOID TAXES.
AS NOVEMBER IS AUCTION MONTH IN NEW YORK AND WE ARE RAPIDLY APPROACHING MIAMI ART BASEL, A SPECTACULAR NUMBER OF WORKS SPANNING IMPRESSIONIST, MODERN, POST-WAR, CONTEMPORARY, LATIN AMERICAN AND AMERICAN WORKS OF ART WILL EXCHANGE HANDS. THE LRFA BLOG PRESENTS THIS TIMELY CONTRIBUTION TO FORBES MAGAZINE, POSTED IN MAY 2016, BY ESTEEMED LEGAL EXPERTS, DIANA WIERBICKI AND SETH COHEN OF WITHERS BERGMAN. DIANA WIERBICKI IS GLOBAL HEAD OF ART LAW AND SETH COHEN IS A PARTNER SPECAILIZING IN TAX CONTROVERSIES AT WITHERS BERGMAN.
Guest post by Diana Wierbicki and Seth Cohen, FORBES , May 10, 2016, in Janet Novak: Taxing Matters
Given that the art market is a multi-billion dollar industry and that so many of the world’s art sales and purchases take place in New York State (at record breaking prices), it is no wonder that cash-strapped state authorities are broadly searching for instances of tax evasion in the art world. We are seeing a tremendous increase in audits and investigations in this area and two recent settlements show the investigations are resulting in the payment of millions of dollars to the state. With results this profitable, it is likely that NYS investigations of art transactions will continue.
NYS is currently focusing on the use of resale certificates (which exempt a purchase from sales tax) in connection with art purchases. Under New York’s tax law, items purchased for resale must not be used for any other purpose, meaning personal enjoyment is a prohibited use. A person need not have the intent to evade a tax to be in violation of this law and may innocently fail to comply with the law simply by not knowing its complicated rules. Bottom line? This type of mistake can be costly and, in an industry where reputation is key, serious damage can be inflicted on an otherwise pristine reputation.
On May 3rd of this year, NYS Attorney General Eric Schneiderman released the following statement: “We are committed to rooting out tax abuses wherever we find them, especially in the art world, where the difference can be hundreds of thousands — if not millions — of dollars in lost tax revenue per sale. When art collectors don’t pay their fair share, law abiding New Yorkers should not be stuck footing the bill.” Strong words that are being backed-up with strong action.
The two settlements recently in the press involve the well-known real estate investor Aby Rosen and art sales executive Victoria Gelfand. It was reported that they each own companies essentially formed to buy and sell art using resale certificates; they purchased art that was used for something other than resale; and the conditions of their settlements with NYS include future sales and use tax compliance.In Rosen’s case, his companies were used to purchase and commission 200 works of art (all but one of which were acquired with a resale certificate) for a total of $80 million from 2002 through 2015. The art was used for the purpose of Rosen’s enjoyment at his personal residences and to enhance his real estate company’s brand by displaying the art in his offices. According to the Attorney General, Rosen should have paid sales tax on each artwork when purchased or, alternatively, if the art was originally intended to be resold, sales tax should have been paid at the point the use of the art “diverted” to an ineligible use. Rosen settled with NYS for $7 million.
Gelfand used her companies to purchase 30 works of art for a total of $1 million from 2005 through 2013. The settlement was paid only with respect to works that were displayed in her home. Of particular note is the following quote from the Attorney General’s statement: “Art buyers may not avoid sales or use tax simply by claiming that artwork they enjoy at home is intended for resale…that rule is clear, and my office is committed to ensuring the art industry follows it.” Gelfand settled with NYS for $200,000.
The following tips highlight a few important takeaways from these settlements.
Resale Means Exclusively for Resale
The sole purpose and intent of an art purchase must be to resell the art. For example, in P-H Fine Arts Ltd. v. New York State Tax Appeals Tribunal, the taxpayer, Bob Guccioni, purchased artwork to enhance his “image as a publisher,” as well as the image of his business. Consequently, although the taxpayer intended to resell the art, the court denied his resale certificate because reselling was not his sole reason for purchasing the artwork.
IN PART TWO OF THE LRFA BLOG, THE LEGAL DEFINITIONS THAT APPLY TO RESALE OF ARTWORKS IN NEW YORK STATE ARE DEFINED.
Guest post by Diana Wierbicki and Seth Cohen, FORBES , May 10, 2016, in Janet Novak: Taxing Matters
Diana Wierbicki is global head of art law and Seth Cohen is a partner specializing in tax controversies at Withers Bergman.