Leslie Rankow Fine Arts

INTERNATIONAL ART ADVISORY SERVICE

Tag: Gagosian Gallery

Special gifts for any season from Gagosian’s rare book expert, Doug Flamm

Marcel Duchamp
Eau & Gaz A Tous Les Etages

IN 2005, THE CENTRE POMPIDOU CURATED  A SURVEY, “THE OBJECT IN THE TWENTIETH CENTURY”, TRACING THE HISTORY OF OBJECTS IN OUR WESTERN PICTORIAL TRADITION.

THE OBJECT HAS APPEARED THROUGHOUT HISTORY SINCE ANTIQUITY. IN THE 16th CENTURY, HOWEVER, THE REPRESENTATION OF INANIMATE OBJECTS BECAME QUITE SEPARATE AS A GENRE IN ITSELF: THE STILL LIFE. SKULLS, MUSICAL INSTRUMENTS, MIRRORS, BASKETS OF FLOWERS AND FRUITS SEEM TO ENCLOSE THE VIEWER IN THE MUTE WORLD OF THINGS.

DUTCH PAINTING IN THE 16TH AND 17TH CENTURIES WAS FULL OF TABLES ARRAYED WITH CRYSTALLINE GLASSES AND PEELED FRUIT, WHILE THE VANITAS BECAME ESTABLISHED IN FRANCE, WHERE A CENTURY LATER THE UNDISPUTED GENIUS OF THE GENRE. CHARDIN, WOULD RISE TO PROMINENCE. THE STILL LIFE WAS ALSO CEZANNE’S PREFERRED REALM OF PICTORIAL PRODUCTION, SINCE IT OFFERS AN INEXHAUSTIBLE REPERTOIRE OF FORMS, COLORS AND DIFFERENT KINDS OF LIGHT. THE CUBISTS WOULD SEE IT AS THE GENRE BEST SUITED TO CONVEY THE QUESTION OF THE REPRESENTATION OF SPACE IN PAINTING. WITH HIS REVOLUTIONARY STILL LIFE WITH CHAIR CANING, AS EARLY AS 1912, PICASSO BROUGHT INTO THE PICTURE A PIECE OF OILCLOTH FOR THE CANING AND AN ACTUAL ROPE TO GIVE MATERIAL PRESENCE TO THE OVAL OF THE CHAIR’S FRAME.

http://mediation.centrepompidou.fr/education/ressources/ENS-Object-EN/ENS-objet-EN.htm

Marcel Duchamp
Eau et Gaz a Tous les Etages

BUT THE RADICAL GESTURE BELONGED TO MARCEL DUCHAMP WHO  TRANSFORMED THE MANUFACTURED EVERYDAY OBJECT, THE READYMADE, INTO A WORK OF ART BY MEANS OF NOTHING MORE THAN HIS DECLARATION THAT IT WAS SO.  PIERO MANZONI’S CONTRIBUTION TO THIS AVANT-GARDE APPROACH INTRODUCED RADICALLY UNCONVENTIONAL MATERIALS  AND IN THE UNITED STATES IN THE SIXTIES, ELLSWORTH KELLY CHALLENGED THE TRADITIONAL DEFINITION AND FORMAT OF PAINTING BY CREATING SHAPED OBJECTS OF PURE FORM AND COLOR.

THANKS TO DOUG FLAMM’S INFORMED EYE, GAGOSIAN GALLERY’S RARE BOOK EXPERT HAS SELECTED THREE VERY SPECIAL BOOKS THAT COVER DIFFERENT PERIODS AND ISMS OF ART BUT SPEAK IN TERMS OF THE UNIQUE VISION OF EACH ARTIST’S AESTHETIC RELATIONSHIP TO THE OBJECT.

MARCEL DUCHAMP

In the concept of the readymade that expanded our parameters of the definition of art, Marcel Duchamp became associated with an assault on the conventional understanding of art’s nature and status. Duchamp also used readymades as parts of a private symbolic language. He spoke of how using prefabricated objects freed him from the ‘trap’ of developing a particular style or taste. Duchamp did very little painting after 1912, creating the first of his “readymades” ‘in 1913. These were ordinary objects of everyday use, sometimes slightly altered, and designated works of art by the artist. His earliest readymades included Bicycle Wheel (1913), a wheel mounted on a wooden stool, and a snow shovel entitled In Advance of the Broken Arm (1915). One of his best-known pieces is a urinal, titled Fountain and signed ‘R. Mutt’

Marcel Duchamp

Eau et Gaz à Tous les Étages

Accompanied by a self- portrait of Duchamp signed “Marcel Dechiravit,” with
a hand-colored collotype
of The Bride Stripped Bare by her Bachelors, Even (the Large Glass), an original pochoir frontispiece, and a pochoir
of the readymade Eau et Gaz à Tous les Étages signed by Duchamp.

Piero Manzoni
Stadtisches Museum Munich

PIERO MANZONI

Piero Manzoni di Chiosca e Poggiolo, better known as Piero Manzoni, was an Italian artist best known for his ironic approach to avant-garde art. Often compared to the work of Yves Klein, his own work anticipated, and directly influenced, the work of a generation of younger Italian artists brought together by the critic Germano Celant in the first Arte Povera exhibition held in Genoa, 1967. Manzoni is most famous for a series of artworks that call into question the nature of the art object, directly prefiguring Conceptual Art. His work eschews normal artist’s materials, instead using everything from rabbit fur to human excrement in order to “tap mythological sources and to realize authentic and universal values”. Piero Manzoni

PIero Manzoni
MANZONI, 1970
Edition Stadlisches Museum

Piero Manzoni

Mönchengladbach Kassettenpublikation

Texts by Johannes Cladders and Udo Kultermann

Mönchengladbach, Germany: Städtisches Museum Mönchengladbach, 1969.

This limited-edition catalogue for Piero Manzoni’s posthumous 1969–70 exhibition at the Städtisches Museum Mönchen- gladbach comes encased in a clear plastic box with eight indents. The catalogue includes twenty-two black-and-white offset images. With essays by Johannes Cladders and Udo Kultermann (in German). From an edition of 440 copies.

Paris: Trianon Press, 1959.

This is the deluxe edition of the first catalogue raisonné of the work of Marcel Duchamp, containing 208 detailed entries and an extensive bibliography. The box, designed by Duchamp, includes a signed readymade mounted on the front cover, reading: “Eau et Gaz à Tous les Étages.”

Mounted to the red cloth-covered box is autoportrait de profil of Duchamp, signed “Marcel Dechiravit.” The box has two hinged panels of an acetate reproduction and a collotype reproduction, with the former depicting a scale-version of Duchamp’s famous The Bride Stripped Bare by her Bachelors, Even (the Large Glass). From an edition of 137 copies

ELLSWORTH KELLY
Ellsworth Kelly’s work can be viewed in terms of what it is not. unlike the painting of the abstraction expressionist and color field artists at the time, Kelly had no desire to make works involving expression, conceptual organization, depiction, or narrative. He was willing to drop traditional painting’s insistence on the square or rectangular frame to pursue departures of vision and experience.

Ellsworth Kelly

Derriere Le Miroir, No. 149

Containing five original lithographs

Paris: Maeght Editeur, 1964.

Ellsworth Kelly produced five original lithographs for this issue of Derrière le Miroir, the French art magazine created in 1946
and published until 1982. This deluxe issue was printed on Arches paper and is housed in the original chemise and slipcase. Unlike the prints from the regular edition, the print quality of the deluxe edition is superlative in its color and feel. From an edition of 150 copies, signed by the artist.

DOUG, WARM REGARDS AND  ENORMOUS THANKS FROM THE LRFA BLOG FOR THIS YEAR’S CONTRIBUTION.

HAPPY NEW YEAR AND NEW DECADE TO ONE AND ALL!

Christopher Schardt
Lyra
Installation at Hudson Yards, New York

 

The importance of the new technology in the art market as analyzed in the Bank of America Private Bank survey

THE DIGITAL REVOLUTION HAS DRASTICALLY AFFECTED MANY INDUSTRIES, CHANGING THE WAY WE COMMUNICATE, ACQUIRE AND SELL PRODUCT. ONE OF THE INDUSTRIES THAT HAS, SURPRISINGLY, BEEN IMPACTED LESS THAN ONE WOULD THINK, GIVEN ITS BASICALLY VISUAl NATURE, IS THE ART MARKET AS SEEN IN THE RECENT PIERCINGLY INFORMATIVE AND COMPREHENSIVE BANK OF AMERICA PRIVATE BANK REPORT.

  • ART AND TECHNOLOGY
  • The art market remains one of the few industries still largely undisrupted by technology. We’re seeing innovation, but it’s still at the fringes. While online transactions are increasing, the growth of online sales has slowed, growing at 9.8% in 2018 versus 12% in 2017.
  • Internet-native art companies are trying to help. In June, private equity firm Cove Hill made an investment in online marketplace LiveAuctioneers, aiming to accelerate online sales growth for their auction house partners, while Invaluable has made it easier to source and buy lower value items. Major galleries like Gagosian and David Zwirner launched digital sales channels, but the digital revolution still eludes the art world.
  • On the transparency front, Christie’s became the first major auction house to record sales via Blockchain with the sale of the Ebsworth collection in November. At the request of the seller, Christie’s partnered with Blockchain-secured registry Artory to record its transactions. It’s an interesting development, but we’re a long way from Blockchain becoming industry standard.
  • The most significant art world technology has been the rise of Instagram. Artists market themselves, museums announce exhibits, dealers initiate sales, and collectors tout their purchases through the platform. In 2017, when the “Untitled” Basquiat sold at Sotheby’s for over $110 million, Yusaku Maezawa posted his photo on Instagram to let the world know of his acquisition. Younger collectors, artists, dealers and auction specialists are increasingly using Instagram to enhance their personal and professional brands. Expect the new status loop to fuel a herd mentality for some artists and more price volatility. So collector beware.

 

  • AS AN ASIDE, ARTISTS ARE CREATING WORKS THAT REPRODUCE EFFECTIVELY ON INSTAGRAM IN TERMS OF COLOR, DIMENSIONALITY AND SURFACE WITH THEIR AESTHETIC PRESENCE IN PERSON SOMETIMES TAKING A BACK SEAT.

 

  • ART LENDING

    Our art lending business grew by 20% year-over-year, as you all continue to unlock capital from your art to build hotels, buy sports franchises, expand companies and even buy more art, just to name a few. The four most common situations we’re seeing are:

    1. The balance sheet arbitrage: With historically low interest rates, more of you are unlocking capital from your art to redeploy into higher-return areas of your financial life, like private equity.

    2. Working capital line: During the current economic expansion, more of you are using art loans to fund the growth of your privately held companies.

    3. Monetizing a collection: The passage of the 2017 Tax Cuts and Jobs Act eliminated the 1031 Like-Kind Exchange, making it more expensive to sell art. Instead of selling art and dealing with paying the 28% federal tax + 3% health care surtax + state taxes + sales commission, many of you have chosen to leverage your art via an art line to generate liquidity.

    4. Guarantees: We’re seeing more of you using art facilities to back guarantees at auction (but we advise caution).

    We estimate that total U.S. art loan commitments stand at $16 billion. We’re proud to have a significant portion of those loans, and we remain staunchly committed to the space. Given our forecast of continued low interest rates, stratified wealth creation, and expansion of the collector base, we expect continued growth in the space.

    Top five artists we lend against, by value:

    1. Willem de Kooning

    2. Andy Warhol
    3. Constantin Brancusi

    4. Paul Cezanne

    5. Roy Lichtenstein

    AT THE CLOSE OF THE SURVEY, BANK OF AMERICA PRIVATE BANK TARGETS THE OPPORTUNITY ZONES AND THE EFFECT OF CAPITAL GAINS TAX INCREASES AND THE REPEAL OF THE SECTION 1031 LIKE-KIND EXCHANGES PROVISION. THIS IS INVALUABLE INFORMATION FOR ANY ONE INTERESTED IN THE ART MARKET: DEALERS, GALLERISTS, AUCTION SPECIALISTS, AND MOST OF ALL COLLECTORS.

    PLEASE JOIN US!

     

The Verbier Art Summit: Innovation and Change with Madeleine Paternot, co-founder of Verbier’s 3-D Sculpture Park

Art Geneve 2019
Geneva, Switzerland
January 31 – February 3

FROM JANUARY 31st TO FEBRUARY 3, 2019, ART GENEVA’S SALONS DES ARTS IS HOLDING THE 8th EDITION OF ITS MODERN AND CONTEMPORARY ART FAIR. OVER THE COURSE OF 7 YEARS, ARTGENEVE HAS ESTABLISHED ITSELF AS AN INTERNATIONALLY RECOGNIZED CONTEMPORARY AND MODERN ART FAIR. THIS YEAR, IT WILL GAIN IN EVER-INCREASING POPULARITY BY THE ADDITION OF DECORATIVE ARTS, HISTORIC AND CONTEMPORARY DESIGN AND TRIBAL ART, AND FEATURE PAD (THE PAVILION OF ART AND DESIGN FAIR THAT IS SO WELL ATTENDED IN PARIS AND LONDON).

Art Geneve
Palexpo, Geneva
January 31 – February 2nd, 2019

PACE GALLERY IS OPENING A NEW SPACE IN GENEVA IN MARCH AND IS PARTICIPATING FOR THE FIRST TIME IN ARTGENEVE. THE GALLERY, LOCATED IN THE CENTER OF THE CITY AT THE QUAI DES BERGES 15-17, PROVIDES PACE A PLATFORM TO FURTHER STRENGTHEN ITS ENGAGEMENT WITH THE REGION’S CULTURAL INSTITUTIONS, COLLECTORS AND PUBLIC.

TO QUOTE MARC GLIMCHER, PACE’S PRESIDENT AND CEO:

“As the art world grows increasingly global, embracing new commercial centers and strengthening relationships with communities of collectors around the world are key elements of our mission to advance the international engagement with our artists’ work.”

HAUSER AND WIRTH RECENTLY ADDED YET ANOTHER GALLERY TO ITS INTERNATIONAL EMPIRE, ITS THIRD IN SWITZERLAND, WITH A NEW SPACE IN ST. MORITZ, . THE SWISS DEALERS HAVE RETURNED TO THEIR ROOTS, OPENING LAST DECEMBER WITH AN EXHIBITION OF WORK BY LOUISE BOURGEOIS.

ON A YOUNGER NOTE, VITO SCHNABEL GALLERY WAS FOUNDED IN ST. MORITZ IN 2015 AND CURRENTLY FEATURES AN EXCEPTIONAL EXHIBITION, THE AGE OF AMBIGUITY, CURATED BY BOB COLACELLO, WITH A DIVERSE RANGE OF ARTISTS SUCH AS RASHID JOHNSON, JEAN-MICHEL BASQUIAT, JAQUELINE HUMPHRIES, AND ANDY WARHOL.

Vito Schnabel Gallery
St. Moritz

GAGOSIAN HAS HAD ITS FEET FIRMLY PLANTED IN SWISS SOIL SINCE 2010, OPENING AT THAT TIME WITH A STUNNING INAUGURAL EXHIBITION, “GIACOMETTI IN SWITZERLAND”, CURATED BY THE GIACOMETTI FOUNDATION AND BY ANNETTE GIACOMETTI, AND IS CURRENTLY EXHIBITING OUR SARDONIC KITSCH AMERICAN PAINTER, JOHN CURRIN.

Verbier Art Summit 2019
February 1 – 2

SWITZERLAND IS BURSTING WITH CONTEMPORARY ART AND IDEAS IN EARLY FEBRUARY AND TODAY’S LRFA BLOG IS DELIGHTED TO HAVE  MADELEINE PATERNOT, CO-FOUNDER OF VERBIER’S 3-D FOUNDATION AND SCULPTURE PARK, SHARE THE DETAILS OF THE EVENTS TAKING PLACE AT THE VERBIER ART SUMMIT.

Verbier Art Summit

MADDY, WELCOME BACK. PLEASE TELL US ABOUT JAMES CAPPER’S WORK AND WHY HE WAS CHOSEN AT THE 2018 ARTIST IN RESIDENCE.

Capper’s work AERO CAB creates a modern platform for visitors to consider the role of the engineer in relation to creating solutions in fragile natural environments in places such as Verbier, and to the possibilities of broadening the scope from the technical aspects of engineering to those aspects that directly affect communities and the environment.  Capper, an artistic engineer, was invited to Verbier, Switzerland to become immersed in the local glacial environment to develop new work responding to the 200th year anniversary of the Giétro Glacier and its catastrophe of 1818.

In 1815,  ‘Year Without Summer’, marked the beginning of a three-year period of severe climate deterioration of global scale, unforeseen chaotic and chilling weather caused many glaciers in Switzerland to increase in mass. The Giétro Glacier therefore advanced and loomed over the valley. This caused alarm of the threat of falling ice, avalanches and the possibility of the ice dam that had formed, bursting. The Giétro Catastrophe is one of the most famous and most disastrous historical events in the Swiss Alps related to climate change. Its folklore is embedded in the local history of the surrounding areas and recently resurrected due to this year’s anniversary fused with current debates on effects of the present-day period of amplified global warming – the Anthropocene.

James Capper
Artist in Residence 2018
Verbier 3-D Foundation

The Verbier Art Summit is an international platform for discourse connecting thought leaders to key figures in the art world to generate innovative ideas and drive social cahnge. This year, our 3-D Foundation offers test runs of AERO CAB with artist James Capper. 

Verbier 3-D Foundation Art Summit Events:

Friday 1st February :
13h – 14h: Art Walk in the snow through the Verbier 3-D Sculpture Park with artist James Capper and 3-D curator Alexa Jeanne Kusber

James Capper’s AERO CAB Test Runs at the Verbier Art Summit

As part of our continued cultural partnership in 2019 with the Verbier Art Summit, we would like to invite you to experience an afternoon of experimental sculptural demonstrations (test runs) of AERO CAB with the artist that will take place on 2 Feb and 3 Feb 2019.

Saturday 2nd February :
13h – 14h: Test run of AERO CAB with artist James Capper

Sunday 3rd February :
13h – 14h: Test run of AERO CAB with artist James Capper

 

The Verbier 3-D Foundation is pleased present, AERO CAB a new sculptural work by British artist  James Capper which is currently on exhibit at an altitude of 2,300 meters in the Verbier 3-D Sculpture Park. The artistic engineer was invited to participate in our 2018 Artist Residency to become immersed in the local glacial environment to develop new work in response to current debates on climate change.

James Capper’s sculptural machines have specific, functional uses, but the tangible impact they have on the environment also engages with essential questions concerning the relationship between the natural world, art and technology. The application of hydraulic engineering ensures each work has the capability of landmarking or sculpting when operated, however, the experimentation and refinement deployed transcends componentry and purpose, rendering them as works of art.

This all comes together when Capper operates his creations in person, as the testing of his work is a crucial part of the artist’s practice – the outcome never specifically predetermined. Once the behaviour of AERO CAB is identified during these test runs, Capper will continue to develop the work through the medium of film.

Visitors are also invited on 1 February for a curator-led walk through of Verbier 3-D Sculpture Park with Verbier 3-D’s Chief Curator Alexa Jeanne Kusber and artist James Capper.

Alexa Jeanne Kusber is an American independent curator and creative based in Zurich. Throughout her career, she has maintained a focus on questioning and expanding the notion of curating.

She co-curates the Residency Programme with British curator Paul Goodwin at the Verbier 3-D Foundation, creating a space for artists and experimentation to meet in an alternative context in which the artists’ practices are challenged to create cutting-edge contemporary art in relation to place.

Furthermore, we are excited to be included in the VIP programming for Art Geneva for the AERO CAB event on 2 February.

James Capper
Aero Cab

IN OUR NEXT LRFA BLOG POST, WE RETURN TO PRIVATE VIEW NY, MADDY’S MOST RECENT UNDERTAKING, ITS LINKS WITH THE VERBIER ARTIST-IN-RESIDENCE PROGRAM AND SOME WONDERFUL PAST AND CURRENT EXHIBITIONS.

PLEASE JOIN US!

Celebrating boxing day, artist’s books by a British artist from Gagosian’s rare book specialist, Doug Flamm

Damien Hirst

The Beautiful Afterlife

Published by Bruno Bischofberger, Zurich, 1997

Signed edition of 1000

8 1/4 × 6 5/8 inches (21 × 16.8 cm)

$2,500

———-

Considered by many to be one of Damien Hirst’s most successful artist’s books, The Beautiful Afterlife addresses ideas of mortality and decay with a Warholian flare through 480 hypnotic pages filled with stark images of cigarette butts. The book was published to coincide with an exhibition of the same title in 1997 and is hard to find. The copy is in good condition with only a minor bump in the upper corner.

 

Damien Hirst
The Souls

DAMIEN HIRST

The Souls

Original 3 color foil block print. Publisher’s hardcover binding

6 × ​10 inches (15.5 × 25.5 cm​)​; 328 pages; Fully illustrated

Published by Paul Stopler and Other Criteria, London, 2011

Signed by the artist

$5,000

———-

Damien Hirst
Paul Stolper Gallery installation

This deluxe edition catalogue was published by Paul Stolper and Other Criteria in conjunction with the 2010 exhibition Damien Hirst: The Souls at Paul Stolper Gallery. It includes an original three-color foil block print of a butterfly, signed and numbered by the artist, in an edition of one hundred. In his own words Hirst explains his use of butterflies in terms of “universal triggers: everyone’s frightened of glass, everyone’s frightened of sharks, everyone loves butterflies.”

 

Another view on Damien Hirst: The Souls

Damien Hirst’s beautiful butterflies in The Souls are so much impressive in situ than in photographs
Damien Hirst's The Souls

 

 

looked up Damien Hirst’s butterfly prints on the web before I went along to this exhibition – and I wasn’t impressed. Butterflies are so beautiful in real life that it’s hard to rival them in art. But then I walked into the gallery, saw the 120 creatures hanging in rows on the wall, and thought: “Wow!”

It’s just like seeing a load of dead specimens in a display cabinet, except that Hirst has cheekily played around with their colours, and lit them up so they shine. He’s used four species, two of which I recognised: the morpho cypris (a bright, shiny blue one from South America) and the African giant blue (second largest in Africa). The prints are anatomically correct – you can even see all the veins in the wings. But what knocked me out was seeing the morpho cypris in purple: if you got one that colour in real life, it would have a hard time, since butterflies recognise their mates by the colour of their wings.

In his notes to the exhibition, Hirst says he’s intrigued by the idea that butterflies represent the soul. Throughout history, butterflies have symbolised both renewal and the souls of the dead passing through purgatory. One picture made me think about that. At first, I thought it was just an empty frame, then I realised it contained a perfectly white butterfly on a white background. You don’t get that in nature – most white ones are tinged with black. It looked like a perfectly pure soul.

 

Butterflies are hard to pin down: they’re always flittering and fluttering. Hirst has given us a rare chance to see them up close. People have always loved butterflies for their beauty, and because they remind us of summer. At London Zoo, whenever we do an event about habitat destruction, we use butterflies to illustrate our point. Cockroaches wouldn’t have quite the same effect.

OUR NEXT LRFA BLOG WILL POST IN 2019! THE YEAR WENT QUICKLY AND I DON’T WANT 2018 TO CLOSE WITHOUT AN ENORMOUS THANK YOU TO THE CONTRIBUTORS. THIS BLOG WOULDN’T EXIST WITHOUT THE EXPERTISE AND GENEROSITY OF TIME AND KNOWLEDGE THAT THEY DONATE TO THE BLOG. SO MANY THANKS AS WELL TO THE MANY RSS SUBSCRIBERS AND FOLLOWERS– IT IS YOUR APPRECIATION AND CONTINUED INTEREST THAT FUELS THE FIRE.

 

ANDY WARHOL
Arrested Motion

 

The holiday season: a time for targeted giving, thanks to rare book specialist, Gagosian’s Doug Flamm

THANK YOU, DOUG FLAMM, RARE BOOK SPECIALIST AT GAGOSIAN SHOP, 976 MADISON AVENUE, NEW YORK, FOR BEING SUCH A GREAT DETECTIVE!

William Copley

SMS

Published by the Letter Edged in Black Press, Inc., New York, 1968

Signed by artists and edition of 100

7 × 11 inches (17.8 × 27.9 cm)

$12,000

William Copley’s SMS (Shit Must Stop) is a six-issue periodical from 1968. Each issue, in the form of a mailed box, contains assorted materials, including etchings, tapes, booklets, diagrams, constructions, Xeroxes, mail art, assemblages, vinyl and mylar sheets, and more. The six issues are preserved in their original cardboard mailers. From an edition of 100 signed copies.

Founded in New York City by artist, collector and dealer William Copley, S.M.S. was an art collection in a box, filled with small-scale, often whimsical, artworks available by subscription. Delivering art through the post offered Copley, and his collaborator Dmitri Petrov, a way to circumvent the art market and make contemporary art accessible to nearly anyone. Inspired by Copley’s mentor and friend Marcel Duchamp’s Boîte-en-valise, S.M.S. was conceived as an inter-media and intergenerational publication that would present artworks by prominent and unknown artists side by side. The magazine gathered an impressive range including the Surrealist luminaries Man Ray and Meret Oppenheim, Pop artists Richard Hamilton and Roy Lichtenstein, composers Lamont Young and Terry Riley, and an up-and-coming generation of conceptual and post-studio artists such as Joseph Kosuth and Bruce Nauman. Regardless of stature, each was paid $100 for their contribution. This egalitarian spirit extended to the communal atmosphere of Copley’s upper west side Letter Edged in Black Press loft which functioned as an unofficial hangout for many of the participants.

The six issues of S.M.S. are composed of “original reproductions”—luxurious, exacting replicas of each artist’s work in an edition of approximately 2,000. The magazine spared no expense, seeking out, and even inventing, varied and obscure production methods including Lil Picard’s labor intensive Burned Bow Tie—each of which needed to be individually singed. The enormous edition size—and the affordable price of $125 per subscription—enabled a much broader swath of the public to collect the internationally recognized artists contained in the portfolios. Ultimately short-lived, S.M.S. portfolios were mailed bi-monthly between February and December of 1968 directly to subscribers, with each portfolio containing approximately a dozen works of art.

http://sms.sensatejournal.com/

ED RUSCHA

Ed Ruscha
Babycakes
Numbered edition

Ed Ruscha

Babycakes

Published by Multiples, Inc., New York, 1970

Numbered edition of 1200

7 1/2 × 6 1/4 inches (19.1 × 15.9 cm)

$3,000

———-

This playful book created by Ed Ruscha and published by Multiples, Inc., is part of the celebrated 1970 Artists & Photographs portfolio. This classic artist’s book is encased in robin’s-egg blue wrappers with green flocked lettering and bound with pink satin ribbon, reflecting its playful title. The pages contain photographs of small pastries and cakes—a pure delight for the holidays!

After graduation, Ruscha began to work for ad agencies, honing his skills in schematic design and considering questions of scale, abstraction, and viewpoint, which became integral to his painting and photography. He produced his first artist’s book, Twenty-Six Gasoline Stations—a series of deadpan photographs the artist took while driving on Route 66 from Los Angeles to Oklahoma City—in 1963. Ruscha since has gone on to create over a dozen artists’ books, including the 25-foot-long, accordion-folded Every Building on the Sunset Strip (1966) and his version of Kerouac’s iconic On the Road (2009). Ruscha also paints trompe-l’oeil bound volumes and alters book spines and interiors with painted words: books in all forms pervade his investigations of language and the distribution of art and information.

BEFORE WE  ALL DEPART TO VISIT FAMILY AND FRIENDS FOR THE HOLIDAYS, OR SETTLE IN AT HOME TO ENJOY THIS SEASON, THE LRFA BLOG WOULD LIKE TO WISH EVERYONE THE HAPPIEST OF HOLIDAY SEASONS.  YOUR CONTRIBUTIONS TO THE LRFA BLOG, YOUR COMMENTS, AND SUPPORT HAVE MADE THIS EFFORT A VERY REWARDING ONE.

I HOPE ALL YOUR ENDEAVORS ARE THE SAME.

 

Guiseppe Penone for the holidays, (hint, hint), wonderful selections from Gagosian’s rare book dealer, Doug Flamm

Giuseppe Penone, Essere fiume 7 (To Be a River), 2000 River stone and quarry stone of white Carrara marble, in 2 parts, each: 18 ⅞ × 29 ½ × 24 ⅞ inches (48 × 75 × 63 cm), installed at Whitechapel Gallery, London, September 4, 2012–October 27, 2013© Archivio Penone

Giuseppe Penone, Essere fiume 7 (To Be a River), 2000

River stone and quarry stone of white Carrara marble, in 2 parts, each: 18 ⅞ × 29 ½ × 24 ⅞ inches (48 × 75 × 63 cm), installed at Whitechapel Gallery, London, September 4, 2012–October 27, 2013

Essere fiume (To be a River, 1981) marked an important turning point in Penone’s practice. Extracting chunks of stone or marble from the source of a river, he carved them so that they resembled the smaller, smoother stones at the bottom of the riverbed, mimicking the effects of water on the rocks’ shape and size.

© Archivio Penone

Giuseppe Penone
Matrice

ONE OF THE MOST COMPELLING INTERNATIONAL ARTISTS WORKING TODAY IS GIUSEPPE PENONE. BORN IN A SMALL TOWN NEAR TURIN, HE STUDIED AT THE ACCADEMIA DI BELLE ARTE AND WAS EXPOSED TO A VARIETY OF POST-WAR ART DURING HIS EARLY TWENTIES AND SOON BECAME A MEMBER OF THE YOUNGER GENERATION OF ARTE POVERA ARTISTS. THE TRAJECTORY OF HIS CAREER CONSISTENTLY REVEALS A DEEP CONCERN WITH THE RELATIONSHIP BETWEEN MAN AND NATURE. HE WALKED INTO THE WOODS AND BECAME AN ARTIST WHOSE FOCUS IS THE TRANSFORMATION OF NATURAL ELEMENTS INTO CONCRETE VISUAL, TACTILE PHYSICAL EXPERIENCES. HIS UNREMITTING DEVOTION TOWARDS NATURE AND ITS TRANSFORMATIVE POWERS, UNDERLINED BY HIS TRANSFORMATION OF NATURE ITSELF, SPEAKS TO US TODAY.

Throughout his fifty-year career, Giuseppe Penone has employed a wide range of materials and forms in an exploration of the fundamental language of sculpture. A protagonist of Arte Povera, Penone explores respiration, growth, and aging—among other involuntary processes—to create an expansive body of work including sculpture, performance, works on paper, and photography.

Penone’s early performance-based works evolved in direct response to the forests near his native village of Garessio, Italy, where he interacted with trees, water, and marble. In the Alpi Marittime (Maritime Alps) works (1968), his gestures and interventions left physical traces over extended periods of time: tree trunks were distorted by copper wire, stones, and bronze casts of the artist’s hand; mechanisms made of ropes and deer hides reacted to the weather; and casts of Penone’s face, hands, and feet were immersed in a stream bed.

Giuseppe Penone
Trees (Alberi)

In 1969 Penone created the first of his Alberi (Trees): “stripped” trees made by carving into mature timbers and removing the wood along the outer growth rings to reveal the memory of a sapling at the core of the trunk. This ongoing series has taken on various permutations as Penone refines his techniques and experiments with different sizes and installations. In 1970 he even carved an Albero in the presence of an audience, merging sculpture and performance. This same year he made the Rovesciare i propri occhi (Reversing One’s Eyes) works, in which he wore custom-made mirrored contact lenses and had himself photographed. The lenses, though they deprived the artist of his own gaze, allowed him to objectively record images, literally reflecting his surroundings.

https://gagosian.com/artists/giuseppe-penone/

REPRESENTED BY GAGOSIAN GALLERY, GAGOSIAN SHOP AT 976 MADISON CURRENTLY HAS SOME EXCEPTIONAL BOOKS AND ETCHINGS ON GIUSEPPE PENNONE ON DISPLAY FOR THE HOLIDAYS. THE WORK ITSELF SPEAKS OF BOTH THE TEMPORAL AND THE ETERNAL AND ARE AS UNIQUE AND EMOTIVE AS ANY ARTIST THAT COMES TO MIND. THE BOOKS REFLECT THIS AESTHETIC BEAUTIFULLY.

GIUSEPPE PENONE

The Inner Life of Forms

Includes Essays by Tim Ingold, Remi Labrusse, Emily Braun, Salvatore Settis, and a conversation with Carlos Basualdo and Guiseppe Penone

Giuseppe Penone The Inner Life of Forms Gagosian Shop 976 Madison Avenue, New York

In the 1990s Penone worked on the Anatomie (Anatomies, 1992–), which included Carrara marble and other stones carved in high relief to echo vascular and muscular systems, as well as the Propagazioni (Propagations, 1995), a series of drawings based on the concentric linear patterns of a fingerprint. Since then he has continued to expand upon many of his earlier series and to work on the Idee di pietra (Ideas of Stone) sculptures (2003–), in which he juxtaposes rocks and trees to highlight the balance between verticality and horizontality and the interplay of gravity and growth. Penone has also designed two gardens, one in Turin and one in the Reggia di Venaria in Piedmont.

In Penone’s work, sculptural transformations draw the viewer’s attention to details that have long existed but are easily overlooked. By bringing the grandeur—as well as the modesty and intimacy—of raw but also cultural material into various settings, Penone raises questions about sculpture and its essence.

Giuseppe Penone
Identity
Etching

Giuseppe Penone

Identity

Identity is accompanied by a special edition cover of the monograph, Giuseppe Penone: The Inner Life of Forms and an archival folder with an original poem written by the artist.

The black version of Identity comes in an edition of 50

The prints are Drypoint etching on BFK Rives paper, printed by Atelier René Tazé, Paris, and published by Gagosian 2018

Etching size: 13 3/8 × 9 7/8 inches (34 × 25 cm)
Paper size: 19 7/8 × 15 1/8 inches (50.5 × 38.2 cm)

Choice of presentation options:

Custom designed, cloth covered clamshell box that includes archival inner folder to house print and special edition of the monograph

Framed print (white wood), archival folder, and special edition of the monograph

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About the monograph:

Giuseppe Penone
The Inner Life of Forms

Published in 2018

Essays by Tim Ingold, Rémi Labrusse, Emily Braun, and Salvatore Settis; Conversation between Giuseppe Penone and Carlos Basualdo; Biographical Notes by Ruggero Penone; 12 Booklet Essays by Daniela Lancioni

11 × 8 5/8 inches (27.9 × 21.9 cm); 13 paperbacks totaling 490 pages, in a box; Fully illustrated

Published by Gagosian; Designed by Graphic Thought Facility, London; Printed by Pureprint Group, Uckfield, UK; Distributed by Rizzoli International Publications, Inc., in association with Gagosian

WHAT A TREASURE TO GIVE OR TO GET AT ANY TIME OF YEAR.  THANK YOU, DOUG, FOR SHARING THIS WITH THE LRFA BLOG.

MORE TO FOLLOW!

Snow is in the air– time to head to Gagosian to chat with the gallery’s rare book specialist, Doug Flamm

Doug Flamm
Rare Book Specialist
Gagosian Gallery

ONE OF MY FAVORITE PASTIMES AS THE HOLIDAYS APPROACH IS THE EXCUSE TO VISIT WITH DOUG FLAMM, RARE BOOK SPECIALIST AT GAGOSIAN GALLERY, TO SEE WHAT TREASURES HE HAS AND BENEFIT FROM HIS EXPERT ADVICE AND INTUITION ABOUT THE PERFECT GIFTS FOR CLIENTS AND FRIENDS.

Bill Katz and Adam Weinberg

HERE’S THE FIRST TEASER- SOMEONE UNFAMILIAR TO THE LRFA BLOG- WILLIAM KATZ, BUT NO LONGER, THANKS TO DOUG.

Katz’s name may be unknown to the general public, but for decades he has served as designer, architect and aesthetic consigliere to many of the world’s creative heavyweights—particularly A-list artists such as Anselm Kiefer, Cy Twombly and Jasper Johns. Although these aren’t generally the kind of people who seek out second opinions about how things should look, they all rely on Katz as their secret weapon. When Kiefer saw a run-down 17th-century hôtel particulier for sale in Paris’s Marais neighborhood, he flew Katz in from New York to help decide whether the space could be transformed into his new home and studio. Recently completed and already legendary in art-world circles, the compound now takes up 60,000 square feet of central Paris real estate, including three underground floors that stretch almost an entire city block.

William Katz

Like his designs, Katz’s career path evinces a deceptive simplicity: You don’t immediately see the effort and ambition behind it. While an undergrad at Johns Hopkins University in the Sixties, Katz was staggered by a Baltimore production of Edward Albee’s The Zoo Story. He found Albee’s address and convinced him to guest-lecture at Hopkins. Afterward, “Edward said, ‘If you’re ever in New York, come visit,’” he recalls. Katz managed to squeeze it into his schedule a week later.

After graduating, Katz moved to Manhattan, where he quickly zeroed in on some of the city’s most interesting people—Robert Indiana, Marisol, Andy Warhol—and made himself indispensable. “I wasn’t sure what I wanted to do,” he recalls. “So I would work in the studio, stretch canvases, run errands.”

Phillips de Pury
London Headquarters 2008
raw space

In 2008, Katz was commissioned to design the much-buzzed-about new European headquarters of auction house Phillips de Pury & Company, in an old mail-sorting depot on Howick Place in London.

https://www.wmagazine.com/story/bill-katz

Robert Indiana
LOVE

BILL KATZ WORKED AS ROBERT INDIANA’S STUDIO ASSISTANT AND WAS INSTRUMENTAL IN THE CONCEPTION OF INDIANA’S ICONIC LOVE SCULPTURE.

Bill Katz, interior designer and architect, and Indiana’s assistant at the time: I was helping in the studio while Bob was painting his “LOVE Show” for the Stable Gallery. Mostly doing very menial things. But at one point when he was thinking about making LOVE in two panels inside a box, I suggested it might be better in three dimensions outside the box. He said, “Why don’t you make something to see what it might look like?” I made a version in papier-mâché. It gave Bob the idea to have a sculpture carved out of solid aluminum, which was in the exhibition in 1966.

Stamped Indelibly Edited and Published by William Katz

AT GAGOSIAN GALLERY BOOKSTORE AT 976 MADISON ACROSS FROM THE CARLYLE HOTEL, THIS WONDERFUL PORTFOLIO, STAMPED INDELIBLY, EDITED AND PUBLISHED BY WILLIAM KATZ, OFFERS A POP ART RARITY AND DOCUMENTS BILL KATZ’S OWN WIT AND STYLE IS ON DISPLAY.

Robert Creeley
Stamped Indelibly
Edited and published by William Katz

William Katz

Stamped Indelibly

Edited by William Katz

Collection of 15 rubber stamp prints by Robert Creeley, Tom Wesselmann, Red Grooms & Kenneth Koch, Marisol, Robert Indiana, Josef Levi, Gerard Malanga, Allen Jones, Andy Warhol, Peter Saul, Claes Oldenburg, Allen Ginsberg and John Willenbecher.

11 1/2 x 9 7/8 inches (29.2 x 25.1 cm)

Edition of 225

$14,000

The playful and intriguing Stamped Indelibly is a limited-edition bound portfolio of rubber stamp prints by Andy Warhol, Tom Wesselmann, and other leading 1960s Pop artists. The fifteen prints are tipped-in to a linen bound book and signed by each artist with the exception of Red Grooms, while the Warhol print features the artist’s iconic rubber stamp signature. This Pop art rarity was edited and published by William Katz in 1967 in an edition of 225 and originally sold through Multiples, Inc.

Andy Warhol
Stamped Indelibly
Edited and published by William Katz

Capturing the conceptual with Doug Flamm at Gagosian

Chris Burden
1971 – 1973
1974 – 1977

CONCEPTUAL ART IS A MOVEMENT THAT VALUES IDEAS OVER THE FORMAL OR VISUAL ELEMENTS OF AN ART WORK. FROM THE MID-1960s THROUGH THE MID-1970s, CONCEPTUAL ARTISTS PRODUCED WORKS AND WRITING THAT REJECTED THE STANDARD IDEA OF WHAT A WORK OF ART SHOULD BE. CONCEPTUALISM TOOK MYRIAD FORMS, SUCH AS PERFORMANCES AND HAPPENINGS. FOR THE CONCEPTUALIST, A WORK OF ART IS PRIMARILY AN IDEA AND THAT PREMISE PLACES CONCEPTUALIST ART AT THE EXTREME END OF THE TRADITION OF ART MAKING.

TODAY, FOR YOUR MORE CEREBRAL FRIENDS, DOUG FLAMM SUGGESTS TWO WONDERFUL BOOKS ON TWO LEGENDS OF CONCEPTUAL ART.

WELCOME BACK, DOUG!

Chris Burden was the first artist represented by Larry Gagosian, from 1978 until the present day. An artist’s artist, he was a radical and uncompromising figure with a fierce political consciousness. He ceaselessly probed the physical and conceptual limits of art to reflect on the surreal and precarious realities of contemporary life, first in performance, then in large–scale sculptures that are ludic, awe–inspiring, and deeply engaging.

Burden’s early work was ephemeral, overturning preconceptions about the status of a work of art while addressing political, social, environmental and technological change. In shockingly simple, visceral performances, he shook the conventional art world and took the new art form to as–yet unparalleled extremes.

http://www.gagosian.com/artists/chris-burden-2

IN 1974 AND 1978 BURDEN SELF-PUBLISHED TWO BOOKS DOCUMENTING HIS FIRST YEARS OF PERFORMANCE ART. THIS IS AN EXTRAORDINARY RECORD OF AN EPHEMERAL TYPE OF ART BY AN EXTRAORDINARY ARTIST.

CHRIS BURDEN

Chris Burden 71–73 and Chris Burden 74–77

7 1/2 × 10 1/2 inches ( 19 × 26.7 cm ) ; Two volumes; Fully illustrated with detailed captions

Self published by the artist, Los Angeles; 1974 and 1978

$1500

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The two volume series, Chris Burden 71–73 and Chris Burden 74–77 covers Burden’s first six years of performance art and is an important part of the documentation of his early works.

Rudolf Stingel
Instructions

MY CLIENTS HAVE POLITELY SUFFERED THROUGH MY EXPLANATION AND OBVIOUS DELIGHT IN TALKING ABOUT RUDOLF STINGEL’S Instructions, A “DIY MANUAL” BY STINGEL THAT DESCRIBE THE TOOLS AND STEPS NECESSARY WHEN MAKING A PAINTING. I HAD NEVER SEEN THE BOOK ITSELF UNTIL NOW BUT LOVED THE CONCEPTUAL IDEA, AN ICONOCLAST’S VIEW OF CREATIVITY.

GAGOSIAN BOOKSTORE HAS THIS UNIQUE WORK AVAILABLE AT THEIR 967 MADISON AVENUE LOCATION, ACROSS FROM THE CARLYLE, ALONG WITH A WEALTH OF OTHER TREASURES FOR THE HOLIDAY SEASON AND BEYOND.

http://www.gagosian.com/shop/

RUDOLF STINGEL
Instructions

RUDOLF STINGEL

Rudolf Stingel

Instructions

Stapled printed wrappers preserved in a new cloth clamshell box

6 × 8 1/4 inches (15 × 21 cm); 24 pages; Fully illustrated in black and white; Texts in English, Italian, German, French, Spanish and Japanese

Published by Rudolf Stingel, Milan, 1989

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Rudolf Stingel’s Instructions (1989) is a self-published artist’s book that identifies and illustrates the tools and steps needed to make a painting. The publication includes texts in English, Italian, German, Spanish, and Japanese.

Rudolf Stingel
Instructions

 

MORE SUGGESTIONS IN OUR NEXT POST – THANKS SO MUCH FOR FOLLOWING!

Pop Art treasures with Doug Flamm, rare book specialist at Gagosian

Andy Warhol
The Gold Book

IN THE NOVEMBER 2017 ISSUE OF GAGOSIAN MAGAZINE, ANNA HAYWARD DISCUSSED ANDY WARHOL’S GOLD BOOK AND TOUCHES ON THE ARTIST’S EARLY YEARS. “FROM HIS STUDENT DAYS UNTL HIS DEATH, IN 1987, ANDY WARHOL WAS OBSESSED WITH BOOKS. THEIR IMAGE-BEARING CAPACITY, THEIR REPRODUCIBILITY, AND THEIR IMMEDIATE, TACTILE RELATIONSHIPS WITH THEIR READERS WERE ALL EXPLOITED IN THE CHARACTERISTICALLY STYLISH, COMIC, DECORATIVE, IRREVERENT ARTIST’S BOOKS THAT HE DESIGNED AND MADE.”

Warhol_Pages from GG_MagNov2017 Lo-res (1) 2

Andy Warhol
The Gold Book

DOUGLAS FLAMM, GAGOSIAN’S RARE BOOK SPECIALIST, HAS RECENTLY ACQUIRED A SIGNED AND NUMBERED COPY OF A GOLD BOOK. FROM 1957, A HIGHLY SOUGHT-AFTER EDITION OF 100, THE BOOK CONTAINS TWENTY  OFFSET LITHOGRAPHS, FOURTEEN OF THEM PRINTED ON GOLD PAPER, SIX, OF WHICH FOUR IN THIS COPY ARE HAND COLORED IN WATERCOLOR, PRINTED ON WHITE; THIS PARTICULAR EXAMPLE HAS AN ADDITIONAL ILLUSTRATION AFFIXED TO ITS COVER. AT LEAST A HANDFUL OF THE COPIES WERE GIFTS, AS WAS WARHOL’S CUSTOM – HE SENT ONE COPY TO RUSSELL LYNES, AN EDITOR AT Harper’s MAGAZINE AND A WELL-KNOWN PHOTOGRAPHER AND WRITER, AS A CHRISTMAS GIFT THAT YEAR.

WHO WILL BE THIS YEAR’S LUCKY RECIPIENT?

ASK FOR DOUG FLAMM AT GAGOSIAN BOOKSTORE, 976 MADISON AVENUE, ACROSS FROM THE CARLYLE HOTEL, TO HAVE A LOOK IN PERSON.

 

Andy Warhol
The Gold Book

ANDY WARHOL

A Gold Book.

New York, Self Published [1957]

Illustrated with 14 plates printed on gold paper including cover illustration and 6 on white paper, of which 4 with hand-coloring. With original colored interleaving tissues. [40] pp., 37 x 29 cm, bound in original gold paper boards with pastedown illustration.

First Edition. Limited to 100 copies signed by Warhol. Each copy with slight variations of coloring on the white paper prints interleaved with colored tissue.

This book encapsulates early Warhol, a world notably distinct from the canny multimedia and sharply Pop aesthetics that make up his primary legacy. The images – some from photographs, others drawn freehand – show Warholian iconography: shoes, flowers, a self-portrait. The hand painting of each copy varies. This copy has four hand colored plates. A Gold Book is both a nod to pure visual indulgence and a handheld fantasy of the artist’s life.

Andy Warhol
The Gold Book

ANOTHER GREAT POP ARTIST, WHOSE WORK IS COMMANDING INCREASING ATTENTION AT AUCTION, IS TOM WESSELMAN. WHAT BETTER GIFT THAN AN EXTENSIVE MONOGRAPH ON WASSERMANN CONTAINING SECTIONS ON DIFFERENT ASPECTS OF HIS WORK: Bedroom Paintings, Nude Series, Landscape Series, Seascapes, Smoke Series and Still Life Series.

Tom Wesselmann
Text by Slim Stealingworth

12 × 13 1/2 inches (31 × 34 cm)

Published by Abbeville Press, New York, 1980

$450

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WESSELMAN
                            Abbeville Press, New York, 1980

 

IN OUR NEXT POST, DOUG HAS MORE WONDERFUL SUGGESTIONS, AND WHEN THE HOLIDAYS ARE OVER, PERHAPS EVEN SOMETHING FOR ONESELF.

IN THE MEANTIME, THE LRFA BLOG THANKS YOU ALL AND WISHES EACH AND EVERYONE A VERY SPECIAL HOLIDAY SEASON!

 

An introduction to Christophe van de Weghe, international art dealer and New York gallerist

Christophe Van de Weghe

CHRISTOPHE VAN DE WEGHE LAUNCHED VAN DE WEGHE FINE ART IN 1999 WITH A STELLAR EXHIBITION OF ANDY WARHOL WORKS ON PAPER FROM THE EARLY 60s.

Andy Warhol
Works on paper Installation

FROM ITS INCEPTION TO THE PRESENT DAY, VAN DE WEGHE FINE ART SETS THE HIGHEST STANDARD OF EXCELLENCE IN EXHIBITING SECONDARY MARKET WORKS BY MODERN AND CONTEMPORARY EUROPEAN AND AMERICAN MASTERS.

IT IS TRULY A PRIVILEGE AND A PLEASURE TO INTRODUCE CHRISTOPHE, A TRUSTED FRIEND AND COLLEAGUE, TO THE LRFA BLOG. I HAVE ADMIRED HIM SINCE OUR FIRST ENCOUNTERS WHEN HE WORKED AT GAGOSIAN GALLERY AND HIS INTERNATIONAL RECOGNITION AND SUCCESS HAVE FAR SURPASSED EVEN MY INITIAL CONVICTION THAT HE WOULD BECOME ONE OF THE GREAT DEALERS AND GENTLEMEN IN THE ART WORLD.

PABLO PICASSO: Works on Paper, Van de Weghe Fine Art November 7 – December 17, 2013, Installation view

THE LRFA BLOG IS DELIGHTED TO SHARE THE GALLERY’S SEVENTEEN-YEAR HISTORY AND CONTRIBUTION TO OUR KNOWLEDGE AND APPRECIATION OF THE HISTORICAL SIGNIFICANCE AND IMPACT OF SUCH MODERN MASTERS AS PICASSO AND ALEXANDER CALDER AND CONTEMPORARY LUMINARIES AS BASQUIAT, WARHOL, KELLY AND SERRA.

http://www.vdwny.com

CHRISTOPHE, WELCOME!

YOU ARE ORIGINALLY FROM BELGIUM, A COUNTRY ALTHOUGH SMALL IN SIZE THAT ENJOYS A LONG AND IMPRESSIVE ARTISTIC TRADITION REFLECTING THE INFLUENCES OF BOTH ITS FRENCH AND DUTCH CULTURES.

WHAT WAS THE PATH THAT BROUGHT YOU FROM A CHILDHOOD IN EUROPE TO A LIFE IN NEW YORK?

I used to be a tennis player but I was injured when I was 18 ½ years old and has a serious back issue. I couldn’t play professionally for two years and had to have back surgery. I had been on a tennis scholarship at school and had traveled the whole world.

I didn’t want to go to college at all so I decided to go to California to attend Pepperdine University. The main campus is in Malibu with a 830-acre campus overlooking the Pacific Ocean. I shifted my sports to swimming and shifted my academy focus to art history. I was interested in art dealing and in the art that I viewed in museums.

DID YOUR FAMILY COLLECT ART? WHAT WERE YOUR FIRST POSITION IN THE ART WORLD? WAS IT ALWAYS IN THE GALLERY SECTOR?

My family were not collectors. My parents were divorced but my stepfather was a collector. My first job was my own business. When I returned to Belgium, I opened a small gallery by the sea, in the Belgian town called Knokke, which is located in the province of West Flanders.

Knokke was a seaside resort, a gathering place in the summer for some of Europe’s wealthiest families and attracted film celebrities such as Frank Sinatra, Maurice Chevalier and Marlene Dietrich.  The centerpiece of the town is a modern building, the Casino, that housed a wonderful mural, Le domaine enchante, a series of eight canvases that Magritte painted to fulfill a commission from Gustave Nellens, owner of the seaside Casino Communal at Knokke-le-Zoute in Belgium.

 

Rene Magritte Le Domaine Enchante Casino, Knokke

I began showing some American artists such as Ed Ruscha, whom I had met when I was in California and had become friends with the gallery dealer Jim Corcoran. Jim had introduced me to Ed Ruscha and I gave him a show in 1993. I didn’t sell anything at the time – the works were black and white with letters.

Edward Ruscha
The End #1
1993
Tate Modern

It was the early 90s and the art market was dead. The art gallery scene that flourished in the 80s was decimated by a recession and Jim Corcoran, whose gallery was the premier showcase for California artists such as Ed Ruscha, Billy Al Bengston and Kenneth Price, closed. Corcoran joined forces with the collector, Goldman Sachs chair, Robert Mnuchin, in a new gallery venture in New York, C&M Arts.

Larry Gagosian and Masa Takayama
Opening of Kappo Masa

WHEN WE FIRST MET AND BEGAN WORKING TOGETHER, YOU WERE A DIRECTOR AT GAGOSIAN GALLERY IN NEW YORK. HOW LONG WERE YOU WITH THE GALLERY AND WHAT WERE SOME OF THE PROFESSIONAL HIGHLIGHTS THAT STAND OUT FROM THAT PERIOD OF TIME?

At the time, the biggest gallery was Pace. I was interested, from the beginning, in the art market, the auctions and the New York art world. I attended a lot of sales, and would write down all the prices of the things that sold, analyzing what was selling, trying to determine why the art market goes up and the way in which it goes down. I’d always spend May and November in New York during the auction months, and one evening, at Nell’s, a popular bar/restaurant on West 14TH Street, I met Larry Gagosian.

Having just attended an auction uptown, I said to Larry, “You bought a wonderful David Hockney. I’d love to have a job with you. I think I can sell.” And he said, “Come by tomorrow and drop off your resume.”

I went by the gallery the next day and Larry looked at my resume. He told me I had zero experience, that I was a professional tennis player, but that he’d give me one month. “See what you can do”, he said. During that month, I made every appointment imaginable with potential buyers, went to every opening, and only on the very last day of the trial month, I sold a Basquiat for $50k- it was 1993. I gave Larry the invoice, put it on his desk, and said, “I’ve made a sale”. He said, “OK, I’ll give you a job at $30k a year plus 10% of the gallery profits.

 In three and one-half years, I was the top sales person. Larry had two galleries in New York, one uptown and one downtown and one in LA and had shows with David Salle, Phillip Taaffe, Warhol and Basquiat.

IN OUR NEXT LRFA POST, CHRISTOPHE WILL DISCUSS THE OPENING OF HIS FIRST GALLERY IN NEW YORK AND SOME OF ITS MANY EXCEPTIONAL EXHIBITIONS.

IN THE MEANTIME, BE SURE TO VISIT THE VAN DE WEGHE BOOTH #8 AT  TEFAF, AT THE PARK AVENUE ARMORY ON 57th STREET, THE ILLUSTRIOUS MAASTRICHT FAIR LAUNCH IN NEW YORK AND THE GALLERY.

https://www.tefaf.com/fairs/tefaf-new-york-spring

CURRENTLY, AT VAN DE WEGHE FINE ART, 1018 MADISON AVENUE, BETWEEN 78TH AND 79TH STREET, THE GALLERY HOSTS AN INSTALLATION BY THE BRILLIANT CONTEMPORARY BRAZILIAN ARTIST, HENRIQUE OLIVEIRA, WHOSE WORK CHRISTOPHE FIRST VIEWED IN PARIS. DON’T MISS IT!

Henrique Oliviera
Palais de Tokyo Installation
2013-2016

 

HENRIQUE OLIVEIRA
Drawing for the Present Installation, 2017
Van de Weghe Fine Art