art show

There were breaks in the rain, but the day ended with small rivers flowing through the gutters in Brooklyn's DUMBO neighborhood. It was the last day of Armory week in New York City, an event consisting of art fairs all over the city, ranging from colossal reputations and incredible valuations to emerging artists eager for their first tastes of success and notoriety. I was on my way to the Verge show, itself spread out over several locations.

If you want to find something unique or unusual, Verge is the place to go. You'll have to sift through a lot of good efforts (as opposed to successful results), but the one piece that blows your mind is worth it. I found it at 20 Jay Street: "The Flood," by Ahron Weiner.

There is nothing conventional about Weiner's photography, except, perhaps, for the fact that he uses a camera. After that, he's truly exploring new territory. "The Flood" is part of a larger effort that tells the stories of the Old Testament through rehabilitated advertising images.
Okay, that's a lot to digest. So, let's step through the concept.

If you ever see a tall (by my standards, at least) man with long blond hair chipping through the advertising posters on Manhattan scaffolds, there's a good chance it's Weiner. These posters are slapped up all over the city, with the new simply covering up the old ... and so on. It's endless. Weiner goes in the opposite direction. He peels away at the layers, looking for a story to emerge. Starting with what strikes him as an interesting advertisement, he pulls to see what lies beneath.

The year is coming to an end, and that means the art gallery at Eden Rock is filling up. As peak season hits down on St. Barths, the gallery becomes home to endless excitement, and it should be higher than in the past few years, as the art market bounces back from its late 2008 and early 2009 depths.

This year, the Eden Rock Gallery will be home to an exhibition called "Uncovered," running from December 22, 2010 through January 31, 2011. Hosted in partnership with the New York Academy of Art and curated by Eileen Guggenheim, Peter Drake and David Kratz, it will include 24 pieces by artists affiliated with the academy, with work by faculty and members of the Artists' Advisory Board of the Academy on the walls, too. Rosson Crow, Kurt Kauper, Natalie Frank, Alyssa Monks, Robert Feintuch, Julie Heffernan and Margaret Bowland are among the artists being featured.

When I first started writing about the art market, in the white-hot auction climate of the summer of 2007, I had the chance to interview Prof. Michael Moses of NYU. Co-founder of the Mei-Moses Index used to gauge the direction of art prices, he's pretty much the de facto source for issues at the intersection of art and investing. I'll never forget the advice he offered to my readers: start with prints of your favorite pieces, and as you can afford to, replace them with the real thing.

This is the exact concept I saw in action when I stopped by the ArtWeLove booth at the Affordable Art Fair to visit company founder Laurence Lafforgue.

Art We Love focuses on making works by high-caliber artists available to entry-level collectors. The archival pigment prints offered by the company are limited-edition reproductions of museum-caliber pieces from well-known artists who have agreed to work with Lafforgue to make the art luxury attainable to a broader constituency.

As I walked the aisles of New York's Affordable Art Fair this past weekend, hoping to meet artists who'll someday become the mainstays of the auction scene, a powerful installation stopped me dead in my tracks. Black paint dripped from a white orb, which was suspended above a pile of once-white everyday household items. A milk carton and shoe, among other things, slowly turned black, as did the map of the world upon which they rested. An entanglement of pipes spread out from the dirtying action, and a quiet man sat on the floor beneath one of them, looking content and relaxed.

So, I had to interrupt his piece.

This is how I met Kamol Akhunov, the artist responsible for "Earth Leak". Inspired by the recent oil spill in the Gulf of Mexico, Akhunov's installation drives home the message that a disaster thousands of miles away can affect our daily lives, as suggested by the black paint falling upon the pile of household goods, as well as the map beneath them.

The Upper West Side of Manhattan was once again home to an exciting and unique art exhibition last week. 25CPW, a temporary art gallery occupying a vacant retail space on Central Park West hosted an art show for a unique group within the Metropolitan Museum of Art: the guards. It turns out that some of the people protecting the masterpieces on the other side of Central Park also like to create, and from what I saw on Thursday night, when I attended the opening, they are pretty damned good at it.

The Thursday night opening also included the launch of Sw!pe Magazine: Guards' Matter, an art journal that accompanied the exhibition.

On display were paintings, drawings, photographs and other pieces. The styles varied but were displayed intelligently, preventing contrasting styles from crowding each other and leaving each artist enough space for his work to stand out. Nelson Diaz, an artist and friend who attended the how with me, was as electrified as I was – both by the works on display and the energy in the 25CPW space.

You can view the NY Times photo gallery here.

The next 25CPW event is on Wednesday, March 10, 2010 night at 6:00 PM, when the Afghan Art Auction will be held to benefit the George Dritsas Anthropos Fund. The fund was created to help refugees in transition, so do find a way to open your wallet. The money raised will also be used to help the Afghan Women Council, which seeks to assist women and children inside Afghanistan.

From the inaugural event at 25CPW:

For the past week, the art community has focused on New York City's annual Armory event, in which artists put their best pieces forward, dealers and galleries are on the prowl and collectors look for new finds that will someday redefine their portfolios. Momentum from the contemporary art auctions at Christie's and Sotheby's was certainly present, as all in attendance seemed focused on opportunity rather than window-shopping. The efforts at the Armory were consistent with a marketplace that's active, not the crushing fear that characterized the art market through the second half of 2008 and most of 2009.

1. Koons went bare
What was expected to be the most controversial event of Armory Week turned out to be subdued, though well attended. Jeff Koons offered a tribute to open sexuality with an exhibition that opened last Tuesday. Protesters weren't in sight, but musicians Cyndi Lauper and The Edge (guitarist for U2) checked out the show.

2. Solo booths were back in style
According to ArtInfo, "Solo artist booths were everywhere you looked." Individuals were ready to put themselves out into the market. Collectors had the opportunity to focus on specific artists as a result, rather than see disparate artwork crammed together by galleries and dealers managing inventory as if they were grocers. The good news, however, is that this shift isn't indicative of an art market slump. Rather, it's a sign of optimism. There's a belief out there that art collectors are ready to buy, especially given what we've seen at auction so far this year.

There's a new show at the Eden Rock Gallery on St. Barths this month ... and it represents a bit of a departure from past exhibitions. Doubtless, some considerable talent has moved through the resort's art gallery, with names such as Richard Prince not to be taken lightly. And, the relationship with the New York Academy of Art has ensured that the artists in residence have been unmatched in talent.

The latest show is not short on talent and remains consistent with the reputation the Eden Rock Gallery has defined for itself, but the artist comes from a little closer to home. Jane Matthews will be showing her work in an exhibition entitled "Between Places and People," which features simple but direct subject matter in a fluid style slightly reminiscent of Gaugin (just a hint).

Jane owns Eden Rock with her husband, David Matthews, and it's their commitment to the arts that led to the gallery and the careful selection of pieces to hang in the property's various villas (such as Villa Rockstar).

With "Between Places and People," Jane proves that she doesn't just know how to pick art – she can create it, too. The photos alone caused me to fall in love with this show.

Jinghesheng Investment Company and the Democratic People's Republic of Korea are now partners in the art market. The investment firm and the most isolated dictatorship in the world are working together to show and sell 90 paintings at art galleries in Beijing. The paintings – 60 of them oil and 30 in the traditional Korean ink style – will be rotated through the gallery and sold.

The unifying thread in this show is that all works are by artists in North Korea ... and have been approved by the DPRK's Ministry of Culture, according to exhibit director Li Xuemei. Because information doesn't flow easily across the border, the exact origins of the pieces and details of the artists are unknown, but Li says to CNN, "Ours are surely authentic artworks from DPRK."

There has been no shortage of interest in the display. Li's gallery, which is showing the works of 20 North Korean artists associated with Pyongyang museums and art institutions, sees up to 100 visitors a day on the weekends and 60 a day during the week.

The action in Tribeca on Saturday night gave me a bit more proof that the art market is looking for a bounce. I attended an art show held by local artist Ben Krell and Lindsey Nobel, who came in from Los Angeles, and the action was palpable. At last count, six pieces sold at the event, and there were many serious buyers with an eye to add emerging artists to their collections again.

Krell and Nobel have vastly different styles, but the pieces complemented each other in the loft where the event, billed as an "open studio," was held. Krell's work through several periods was on display, from the tight geometric styles he favored several years ago to the organic approach he uses today. Nobel offered pieces using several media – including photography and plastic. Works by both artists captivated the guests who crowded the venue as the evening unfolded.

Nobel's work features intricate designs connecting larger abstract shapes that are based on photographs she has taken of sculptures. The intentional result is an interconnectedness reminiscent of neural networks, linking stations of consciousness into a greater, unified presence.

Unlike his partner at the event, Krell prefer broader, sweeping themes on his canvases (which he shapes himself). His latest movement evokes feelings of creation – in the cosmic sense – with concentrations of energy yielding to calming effects.

The Tribeca art exhibition was a trip home for Krell, who painted in that particular loft back in the 1990s. He also held a show there in September 2008, shortly after the collapse of Lehman Brothers. The mood couldn't have been more different this time around. Attendees were considerably more upbeat ... and in greater number. The sheer level of participation was enough to suggest that the art market is getting ready to turn, and the fact that several collectors made purchases reinforces the notion.


[Photo courtesy of Ben Krell]

Brisbane, Australia is home to an unusual art exhibition -- the type that's a welcome break from what you typically see in major museums around the world. The Queensland Art Gallery is hosting the 6th Asia-Pacific Triennial through April 2010, and for the first time, art from North Korea has a large presence. Nick Bonner of Koryo Tours is co-curator of the exhibition, which reflects three years of commissioning works.

But, if you're interested in meeting the artists, you'll be disappointed.

Originally, five artists from Mansudae Art Studio were going to attend the show and discuss their work, but the Australian government declined their visas at the last minute, according to Koryo Tours. The artists in question were Pak Hyo Song, Kang Yong Sam, O Song Gyu, Rim Ho Chol, Ri Jong and Pak Yun Chol.

A spokesman for the Australian government explained, according to The Courier Mail, "The studio reportedly produces almost all of the official artworks in North Korea, including works that clearly constitute propaganda aimed at glorifying and supporting the North Korean regime." He continued, "To make an exception in this case would have represented a relaxation of Australia's visa ban and sent an inappropriate message to the North Korean regime."

Art Basel was fun again this year. After a recession-stained climate last year led to toned down partying, collectors and dealers (and everyone else) was back in style this time around. According to the Wall Street Journal, it seemed like everyone was throwing a party this year, with the likes of Larry Gagosian and Lance Armstrong getting in on the action. And, the parties didn't suck. Hosts went all out -- with live music and other attractions -- to separate themselves from the competition. Some even tried something new, with the words "Everybody has a Damien Hirst" uttered.

Of course, there were enough celebrities in supply to ensure that every host had one to boast about. Scott Stapp, lead singer of Creed, and Russell Simmons, for example, were present at the Mondrian South Beach Hotel. Simmons is a committed collector of works by Jean-Michel Basquiat and Barbara Krueger and was in town to raise money for his charity, Rush Philanthropic Arts Foundation.

An after-party hosted by Julian Schnabel's art dealer son, Vito, attracted some big names, as well. Peter Brant, an art collector who recently tried to move "Brother Sausage" by Basquiat at auction, was there, along with Abby Rosen.

Yet, there were more intimate dinners and cocktail parties than in past years, according to Art Basel regulars. A few corporate sponsors still made the plunge, including UBS, NetJets and Cartier.

Art Basel Miami Beach starts on Thursday, and the word "test" is being used instead of "expectation." Even though there have been signs this month that the art market is turning the corner (or at least trying), caution remains pervasive, and the market is still seen to be fragile. The fair's organizers have said that profits will be down at least 20 percent for everyone involved, because of lower prices and a decline in the number of exhibitors.

Sixty of last year's participants have dropped out already, and the number of satellite art fairs around Art Basel Miami Beach has fallen from 22 to 16. Layout changes are taking the shift in participation and making it benefit those who remain. Exhibit space has been increased by 20 percent, and booths in the main art galleries area will be larger, as a result. This is where most of the action is. Eighty-five percent of the dealers have come back, and the number of stands has increased from 265 to 270.

Though prices are expected to be down at the Miami fair this year, artists and galleries aren't giving their work away. Emmanuel Perrotin, the Paris gallery, is trying to move Takashi Murakami's "Warp," painted this year, for $1.5 million. The same gallery is also pushing a Duane Hanson sculpture for $425,000 and a photographic print by Paola Pivi for $33,000. Edward Tyler Nahem, a first-timer at Art Basel Miami Beach, has a room full of paintings by Alejandra Icaza, which are selling for $35,000 a piece.

The crowd in Miami is likely to be a return to past decades, in which art collectors and investors -- rather than what Todd Levin, director of Levin Art Group calls the "fashionista crowd" -- dominate the scene. Art Basel Miami Beach thus might become an art fair again.

Ten artists found a way to make vacant commercial space incredibly exciting. I wandered by 25 Central Park West on a walk in my neighborhood a few days ago and saw artists inside. They were hard at work cleaning, preparing and hanging their pieces. Tapping on the window was one of my smartest moves this week. By doing so, I learned of a new exhibition, which opened Wednesday night. The show, 10 from 25: Emerging Artists using Photography, is set to run through December 13, 2009. It includes flat art and video, bringing to life an empty space in a part of Manhattan generally forgotten by the art community.

The artists, including Bess Greenberg, who gave me a tour of the space as she and the other artists prepared for opening night, have created an integrated show that doesn't sacrifice the message of each of the participants. So, in addition to a group exhibition, visitors are treated to 10 individual efforts, in which one can appreciate a specific style without having to cope with the intrusion of other pieces on his experience.

Ukraine is about to get a new contemporary art center. Victor Pinchuk is shooting to make Kiev a major art destination, so the wealthy art collector is creating a new center that will be larger than the existing PinchukArtCentre, which was the first private contemporary art center in the former Soviet Union and has had more than 830,000 visitors since its doors swung open in 2006.

Pinchuk, a steel billionaire, is an avid collector, with pieces by Jeff Koons, Damien Hirst and Andreas Gursky. His new endeavor, he tells Bloomberg News, "will make Kiev and Ukraine a fantastic place for contemporary art." Pinchuk made the proclamation at a show for 20 Ukrainian artists who were nominated for the first Pinchuk Art Center Prize, which comes with a cash component of $12,200 and a one-month internship with an artist from the international scene. Hirst himself will announce the winner on December 4, 2009.

Pinchuk has a strong relationship with the artist celebrity and owns "probably half" of the skull paintings (by the collector's own estimation) in the current Hirst show at the Wallace Collection in London. He also participated in Hirst's solo auction in September 2008 but wouldn't tell what he bought.

At guerilla artist Banksy's Los Angeles show this week, Angelina Jolie spent nearly $400,000 on three pieces. One painting, called Picnic, shows a "white family of four lunching under an umbrella while 15 starving Africans look on," and another is a portrait of a man who was hit in the head with a pie. The last item was a "bullet-ridden bust." Picnic alone cost $226,000, while the other two pieces sold for $75,000 each.

You can see a photo of Picnic on Flickr, as well as more photos from the exhibition.