richardprince

The Christie's and Sotheby's February contemporary art sales surged 255% year-over-year, thanks in large gain relative to the severely depressed baseline created by the financial crisis. Continuing a trend that began last November, with the $39 million sale of Andy Warhol's "200 One Dollar Bills," the art market's showing solid and healthy growth, not a return to the abject stupidity of 2007.

How can you tell the difference? Well, the fact that Alberto Giacometti's "L'homme qui marche I" set a new record at £58 million while Lucian Freud's much-hyped self-portrait with black eye failed to reach the low-end presale estimate, despite the fact that Sotheby's billed it as "the most important self-portrait by the artist ever to he appeared at auction." This represents a profound departure from the prices of $30 million or more that his work used to command.

At Christie's, Yves Klein was responsible for around quarter of the revenue that came in the door, though work by Andy Warhol, Peter Doig, Martin Kippenberger and Richard Prince crossed the £1 billion threshold.

The Art Market Confidence Index by Artprice indicates that art prices will increase over the next quarter.

What does 2010 have in store for the art market? Well, it's starting to look like this is the year the market will finally (begin to) recover, though there could be some trepidation at points. Better pieces are coming under the gavel, and serious collectors are interested in artists with real track records. As things loosen up, emerging artists and those just past that stage (think Ben Krell for the former and Nelson Diaz for the latter) will start to see better conditions, as the logjam in the auction houses, once broken, should ease the pressure on galleries and also lead to some progress in private sales. Basically, the return of liquidity to the art market will be better for everyone.

Almost everyone.

This year, some artists won't enjoy as much of the recovery (if it happens ... just to hedge our bets) as others. Their prices were run up too quickly, making the subsequent fall severe. These artists, auction darlings who don't have the history or potency of a Lucian Freud or even a Richard Prince. Yet, they shot out of the emerging artist category years ago. In 2010, these artists, including Damien Hirst and Jeff Koons, will occupy something of a purgatory, as the art market resets values through upward bidding, now that the decks have been washed clean.

The Phillips de Pury auction on Thursday night raked in what once would have come from a single painting. Despite parading out pieces by Andy Warhol, Jeff Koons and Richard Prince, the sale was good for a mere $7 million, with individual lots moving for prices in the hundreds of thousands of dollars. Thirty-nine went under the gavel, and eight didn't sell.

The Chelsea auction house lacks the savvy, knowledge and reach of Sotheby's and Christie's, so it had to lean on British art collector Charles Saatchi, who has agreed to complete most of his transactions through Phillips de Pury. In trade, subsidies from the auction house help keep access to Saatchi's gallery free.

Roughly a dozen of the lots came from Saatchi, while the others are said to have been rejected by Sotheby's and Christie's. In general, the pieces were "pretty skimpy," according to Manhattan art dealer Edward Tyler Nahem, who observes that the auction house "did pretty well with what they had."

Japanese artist Yayoi Kusama was the top seller, with her painting "Infinity Nets (T.W.A.)" busting past its high-end presale estimate of $400,000 and settling at $842,500 (including fees). Kusama's performance follows a well-hyped exhibition at the Gagosian Gallery this year.

A lavish new coffee table book from Rizzoli titled Louis Vuitton: Art, Fashion and Architecture is a seductive anthology of the famed French fashion house's collaborations with an international group of elite artists, architects, designers, and photographers, including Frank Gehry, Zaha Hadid, David LaChapelle, Annie Leibovitz, Takashi Murakami (whose updated LV monogram is featured on the cover) Richard Prince and Stephen Sprouse. Beautiful images are interspersed with critical essays that examine and position Louis Vuitton's patronage, under the guidance of Artistic Director Marc Jacobs, during "one of the most fertile periods of contemporary art and design." The book is divided alphabetically so as to serve as a sort of encyclopedia of the many collaborations, commissions and sponsorships Vuitton, a cornerstone of the LVMH luxury goods empire, has engaged in over the years.

The time to grow is when the market is suffering. This must be in the back of the mind of art market guru Larry Gagosian, who has been involved with such heavy-hitter artists as Damien Hirst and Richard Prince. While there are small signs of a recovery, much is still uncertain. However, this hasn't stopped Gagosian from making a bold move: opening a branch of the Gagosian Gallery in Paris.

Bloomberg News reports that Gagosian is in talks to pick up space in the 8th arrondissement, near la rue du Faubourg Saint-Honore. Nobody from the Gagosian camp has commented so far.

There are plenty of deep-pocketed art collectors in Paris, including Francois and Bernard Arnault, and the French market hasn't suffered as severely as those in London and New York. That said, Paris is the smallest of the western troika, but with a presence in the two largest markets already, the French capital was the next logical step.

Waring Hopkins, director of modern art specialist Hopkins-Custot – which is located in what is likely to become Gagosian's back yard – observed to Bloomberg, "Gagosian would instantly become one of the most important dealers in Paris," and that setting up shop in Paris "would be good for Gagosian and it would be good for the city."

The market itself is only part of what makes the expansion shrewd. Gagosian can use the space in Paris to show works from contemporary artists represented by competing galleries in New York and London.

Nobody can find a trace of the good vibes from the May contemporary art auction at Christie's. London art sales are off an estimated 70 percent this month from a year ago. The amount of top-shelf lots being offered has fallen precipitously. Auction house price guarantees are little more than a quaint novelty – this last bit spells continued heartache for the beleaguered art market.

So, if you're looking for Pablo Picasso, Francis Bacon or Richard Prince, you're more likely to find them in a museum than under the gavel.

The lack of price guarantees has been particularly problematic for the art market. Without that fallback position, collectors are withholding their pieces from auction, instead pursuing private sales ... or simply continuing to hold the pieces. It follows traditional investment strategy. Would you buy high and sell low? The same thinking applies to the art market.

Last year, six works were guaranteed and sold for more than $20 million. This year, nothing is expected to cross that threshold at auction. Both Sotheby's and Christie's have shrunk their catalogues by 10 percent and are even using these auction marketing tools to promote their private sale departments.

All of this sets the stage for the upcoming Impressionist auctions at Christie's (June 23, 2009) and Sotheby's (June 24, 2009). Estimates are low, with the former at $62 million and the latter at $44 million. Last year's estimates were well over twice this year's. On the June 25, 2009, Sotheby's will hold a contemporary auction and expects to pull in a mere $31 million, down more than two-thirds. The Christie's contemporary auction on June 30, 2009 is estimated at $29 million, down 78 percent from last year's estimate. There won't be as many works from the masters coming to market, thanks to the absence of guarantees.

Looking for a cool piece by Lucian Freud? Try MoMA.

Reflecting the lower prices for contemporary art brought on by the recession, there are some relative bargains to be had at Christie's Post-War & Contemporary Art auction in London on June 30. Chief among them is Jean-Michel Basquiat's Red Skull (above), painted in 1982 and estimated at only $2.4 million - $3.2 million. Other potential steals include Richard Prince's Country Nurse, est. at $2.4 million - $3.2 million; Jeff Koons' Moustache, est. at $1.9 million- $2.8 million; Francis Bacon's Study for Portrait, est. at $1.2 million - $1.9 million; and Andy Warhol's Self-Portrait, est. at only $800,000 - $1.2 million. The results will no doubt be closely monitored by art world insiders.

Christie's fought the trend and walked away with close to $94 million. Naysayers stand shocked (I'll admit it; I'm among them). This is still far from the record-setting years leading up to the current financial crisis, but only the truly stubborn would not recognize the accomplishment of coming close to the upper end of the auction house's estimate, particularly a day after competitor Sotheby's turned in such a dismal performance.

The initial estimate for Christie's Post-War and Contemporary Evening Sale was $71.5 million to $104.5 million. Forty-nine of the 54 available lots were sold – a sales rate of 91 percent by lot and 94 percent by value. This easily tops the 81 percent by lot that Sotheby's hit (en route to a paltry $47 million). Thirty of the lots sold for more than $1 million each, and nine raked in more than $3 million a piece.

If you want to be negative, though, you still have plenty of ammo. Back in November, Christie's achieved a $113.6 million take with a sale rate of only 68 percent (by lot). A year ago, the auction house pulled in $331.4 million at a sale rate of 95 percent.

But, last May doesn't count. That was a last hurrah, of sorts, and most in the art community realized it, even if they wouldn't concede the obvious.

Sometimes, the hardest part of choosing a vacation spot is balancing between your wants and the kids' needs. Sprawling out on the beach or sipping a cocktail by the pool works for you, but children need distraction ... constant distraction.

In perhaps the most creative travel offer I've seen this year, Eden Rock – St. Barths is offering an easel, a paint brush and a palate of watercolors. Rather than splatter aimlessly, each kid will receive a one-time lesson with the Eden Rock Artist in Residence (the next is still to be announced).

Even for the caliber of guest that you find at Eden Rock, this can only be described as a once-in-a-lifetime opportunity.

During the lesson, kids will also be exposed to the gallery's exhibitions in progress. In the recent past, this gallery has been home to the likes of Richard Prince and Will Cotton. The natural St. Barths aesthetic plus that created by the artists invited to show their work in the gallery yields a unique combination that is sure to inspire any budding artist.

The lessons are only available when the artist in residence is, in fact, in residence, so check with the Eden Rock Hotel when making reservations. The program runs through August 2009.

Any successful entrepreneur can tell you that tough markets are fertile ground for future success. If you can carve your piece of the world out now, an upturn later will reward you handsomely.

This sentiment must be on the mind of young British artists – such as Merlin Carpenter. London's contemporary art galleries are starting to show affordable works by newer artists. Far from investing in the future or giving the hopeful a fighting chance, this tactic is seen as a way to develop a near-term revenue stream that will help galleries survive the current financial crisis. Retrospectively, this stopgap measure could be seen as pure genius for the art galleries that discover the next Richard Prince or (blech) Damien Hirst.

Claims of forward thinking, however, will have to remain in the future. For now, dealers and galleries in London are struggling. Allsopp Contemporary shut down an exhibition space, and Yvon Lambert pulled out of London.

The market is searching to find – and exploit – some young blood, and buyers are pressing for discounts. The winners may just be the artists. Those discovered through desperation will define the market in the future.

Most of the time Sotheby's exhibit works they are going to be up for auction soon but the collection of Steven and Alexandra Cohen is more about showing off than selling off. Cohen, a hedge fund investor who owns SAC Capital Advisors, has quickly created a collection of some of the most desirable works of modern and contemporary art. He is displaying it at Sotheby's New York in a loan-only exhibition, titled "Women" which runs through April 14. The 20 works show a variety of female forms by artists such as de Kooning, Warhol, Matisse, van Gogh and Picasso. Bloomberg reports that the works have a combined value of $450 million.

While Cohen may not be selling anything now he reportedly consigned at least eight paintings to New York dealers last year. He was said to be trying to raise money for a major purchase that he decided not to make. It may be a savvy move to let the public have a free taste of his collection now when nothing is for sale to whet appetites for private sales later. Or it could be that he's trying to increase attention for Sotheby's. His company, SAC owned 5.9 percent of the company as of March 6 according to an SEC filing.

One of Richard Prince's highly coveted Nurse paintings is up for auction at Christie's on November 12. Lake Resort Nurse (2003) is estimated to fetch up to $7 million at the Post-war and Contemporary Art sale.

Christie's calls Prince's Nurse paintings a "modern embodiment of the Madonna/whore dichotomy," as he manipulates viewers to recall influences as wide-ranging as pulp romance novels, slasher films, masked heroines and Post-WWII iconography.

And Prince did use romance novels as the basis of his work -- scanning in the actual covers and printing them with an ink-jet printer, then layering on suggestive strokes of acrylic paint. (Not surprisingly, the Center for Nursing Advocacy wasn't thrilled with the arguably misogynistic and regressive message of the series.)

See the gallery for more Nurse paintings, which when first -- and last -- exhibited at the Barbara Gladstone Gallery in 2004 sold for a reported $45,000-85,000 apiece. The last Nurse painting to be auctioned, Dude Ranch Nurse #2, went for $5.5 million just a week and a half ago.

As Louis Vuitton's latest line in collaboration with an outside talent hits stores, the fashion house's designer Marc Jacobs says the increasingly frequent projects have gotten out of hand. Vuitton's new collection designed by Comme des Garçons' Rei Kawakubo just went on sale in Tokyo, but unlike previous LV collections by Takashi Murakami (far right, with Jacobs) and Richard Prince, Jacobs complains that he had no creative input on Kawakubo's, New York magazine reports.

"I've kind of warned everybody up there [at LV] that I think they've gotten a little too into this idea ," Jacobs says. "I'm glad that everybody gets behind it, but what they don't realize is that I do it at a pace that maintains the brand's integrity and seems really right, and I think that sometimes everybody loves a good idea so much that they kind of go too far and it kind of kills it." This could be an indication that despite the massive profits brought in by the trendy collaborations, they could be coming to an end soon, or at least slowing down considerably.

It appears that Louis Vuitton's love affair with '90s supermodels is a lasting one. The luxury brand has brought back Czech stunner Eva Herzigova, who starred in last season's Richard Prince-themed ads (above), for its new fall campaign. The futuristic new ads, shot by fashion photog duo Mert and Marcus at the Unisphere in Queens, feature the latest line of Vuitton bags including the new Takashi Murakami "Monogramouflage" design. Herzigova, who has starred in LV campaigns in years past, inspired the design house's classic "Eva Clutch" that my colleague Star Sutherland wrote about last month. See the gallery for images from the new campaign and more.

Not to be outdone by archrival Christie's, Sotheby's is staging its own major Contemporary Art auction in London on July 1st. With total pre-sale estimates topping $130 million, the event is being billed as "the highest value summer sale of contemporary art ever held by Sotheby's in Europe." The untitled Jean-Michel Basquiat painting belonging to Irish rockers U2 that my colleague Deidre Woollard mentioned earlier this month is a top draw in the auction, with an estimate of $8 - $12 million.

Other highlights include two important works by Francis Bacon: Figure Turning, painted 1962, est. $20 - $30 million, and Study for Head of George Dyer, painted in 1967, est. at over $16 million. Rounding out the other notable big-ticket items are Richard Prince's Overseas Nurse, 2002, est. at $8 - $12 million - more than the current Prince auction record; and Andy Warhol's 1964 Large Campbell's Soup Can (pictured right), est. $5 - $7 million. Also of interest: tennis great John McEnroe is selling his 1986 Warhol portrait with ex Tatum O'Neal, est. only $500,000 - $700,000. See the gallery for images.