Elton John announces a photography exhibition at the Victoria and Albert Museum. https://ift.tt/3dMRn4a

Elton John and his husband, David Furnish, have announced an upcoming exhibition titled “Fragile Beauty” at the Victoria and Albert Museum in 2024. The unprecedented exhibition will showcase over 300 photographs, many unseen by the public, from the couple’s extensive private collection.

“Fragile Beauty takes our collaboration to really exciting new heights, showcasing some of the most beloved photographers and iconic images from within our collection,” the couple said in a statement.

The collection, curated over 30 years, features work by more than 140 celebrated photographers, including Robert Mapplethorpe, Sally Mann, Cindy Sherman, Carrie Mae Weems, Diane Arbus, Ai Weiwei, and Zanele Muholi. The exhibition announcement stated that “Fragile Beauty” will explore themes such as fashion, reportage, celebrity, the male body, and American photography.

Additionally, the photos will present iconic portraits of figures like Marilyn Monroe, Malcolm X, Miles Davis, and Chet Baker while also chronicling historical moments, including the civil rights movement, the 1980s AIDS activism, and 9/11. The show will be on view from May 18, 2024 to January 5, 2025.

Duncan Forbes, curator of “Fragile Beauty,” said, “We are delighted to be working with Sir Elton John and David Furnish to present highlights from their unparalleled collection: from the playful and surprising to the contemplative and thoughtful. Whether through the elegance of fashion photography, the creativity of musicians and performers, the exploration of desire, or the passage of history as captured by photojournalism, photography reveals something important about the world.”

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Thelma Golden, director and chief curator of Harlem's Studio Museum, wins Gish Prize. https://ift.tt/BKdJ3TA

Thelma Golden, director and chief curator at the Studio Museum in Harlem, has won the 30th Dorothy and Lillian Gish Prize. Presented by the Gish Prize Trust, the award is presented annually to an individual from any artistic field who has championed social change and fostered community within the arts.

The prize, inaugurated in 1994, honors artists and their supporters with one of the most substantial cash prizes that is currently valued at approximately $250,000.

Born in New York City, Golden earned international recognition for her work as an advocate for Black artists. Over the years, she curated major exhibitions such as “Chris Ofili: Afro Muses 1995–2005” at the Studio Museum and “Black Male: Representations of Masculinity in American Art” at the Whitney Museum of Art. For over two decades, her work at the Studio Museum has helped cultivate a center for contemporary black art in Harlem and New York City as a whole.

In 2019, Studio Museum closed for major renovations, and during that time, Golden facilitated a partnership between the museum and the Museum of Modern Art to uphold community engagement.

“As a curator and museum director who has been privileged to work for and on behalf of artists for my entire career, I am humbled to receive this prize that was created by an artist and has been given to so many creative leaders I greatly admire,” said Golden. “Working in service of artists in general, and very specifically Black artists, has allowed me to engage broadly in the world.”

Artists and curators honored by this award over the last three decades include Ava DuVernay, Gustavo Dudamel, Spike Lee, Frank Gehry, and Maya Lin, among others.

The selection committee, chaired by the chief executive officer of the National Black Theater Sade Lythcott, included Anna Glass, executive director at Dance Theatre Harlem; Terrance McKnight, host at WQXR, New York Public Radio; Adam D. Weinberg, director emeritus at the Whitney Museum of American Art; and Laura Aden, president and CEO of the Howard Gilman Foundation.

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Mark Rothko Gets a Radical Rethink at the Fondation Louis Vuitton https://ift.tt/jUm5HYL

“I belong to a generation that was preoccupied with the human figure; it did not meet my needs. Whoever used it mutilated it,” proclaimed Mark Rothko in 1958.

It may be a surprise, then, to learn that the Abstract Expressionist in fact painted figurative works for the better part of a decade. This figure-based foray comprises Rothko’s early works, which fill the first two rooms of the blockbuster retrospective “Mark Rothko” at the Fondation Louis Vuitton in Paris, featuring some 100 paintings. Co-curated by the artist’s son, Christopher Rothko, with Suzanne Pagé (who organized the artist’s last retrospective in France, at the Musée d’Art Moderne de la Ville de Paris in 1999), the exhibition is on view through April 2024.

In fact, Rothko didn’t just paint figures, it was people he was after. In the 1930s, this took the form of tableaus of intimate scenes and urban landscapes, often featuring nudes, influenced by Milton Avery and Henri Matisse. These works, centered on human subjects, then led to a playful, Surrealist style alluding to Greek and Christian epics and myth. “Rothko’s ideas about art, often expounded early in his career, are indicative of an ideal, one he did not yet know how to fully express pictorially,” wrote the artist’s son, Christopher, who oversees his father’s estate, in the exhibition catalogue.

By 1940, Rothko abandoned portraying people, and removed figuration from his practice entirely by the mid-1940s. Curators of his work, until recently, have largely shied away from exhibiting this incongruous period. Even American Rothko devotees haven’t seen the likes of Untitled (woman arranging flowers) (ca. 1935), which belongs to the National Gallery in Washington, D.C., where it usually sits in the stacks. This painting traveled to Fondation Louis Vuitton alongside rare examples from pre-abstraction Rothko, including from the private holdings of the artist’s children, Christopher Rothko and Kate Rothko Prizel, such as the 1937 work Untitled (The Subway) and 1944’s Tiresias.

All this drama happens before the viewer makes it to the third room of the exhibition, where paintings in Rothko’s best-known style hang, mostly made between 1947 and 1958. Labeled by critics at the time as his “Multiforms,” these works, such as No. 21 (1949) and Light Cloud, Dark Cloud (1957), are threaded with Rothko’s Surrealist thinking. They vibrate with reds, yellows, oranges, and magentas, brimming and fuzzy with force. There are good reasons for this period coming to define Rothko’s oeuvre, but it’s also created an oversimplified legacy for the artist—which was, in part, the motivation for this exhibition.

Christopher Rothko was keen to convey that the show at the Fondation Louis Vuitton should be understood as a tabula rasa, but not as a blank slate. An erased one, rather, which puts forth a narrative closer to the way the artist himself understood his work. “Rothko’s work is frequently misunderstood as empty, and his iconic image mistaken for a void,” the artist’s son wrote in the catalogue. Instead, he insisted that his father’s work was, in part, employing abstraction as a language to speak about emotions and deeper social issues. The artist was, after all, a labor organizer and a skilled debater with Marxist leanings gleaned from his upbringing as a Russian Jewish immigrant in Portland, Oregon. There’s a “beyond-the-self search for deeper meaning and explanations that pervades Rothko’s oeuvre from the earliest figuration to the most abstract,” the artist’s son continued.

However, the exhibition also provides something much simpler and more fundamental: access. “Rothko” is the first retrospective of the artist in France since 1999. Fondation Louis Vuitton founder and CEO of luxury conglomerate LVMH, Bernard Arnault, took on the cause: “[Rothko] is still too poorly known and acknowledged in France and Europe,” Arnault said. “I therefore wanted the Fondation to redress this injustice, to fill an unfortunate gap largely explained by his underrepresentation in museums and collections here.”

What results is a chart of the artist’s own evolution, a timeline that functions both as an introduction and an advanced inquiry. A first for France is the hanging of the group of paintings known as the “Seagram” murals, whose origin story has shaded the painter’s legacy with bravado. In June 1958, Rothko received a commission for the Four Seasons restaurant in the Seagram Building, on Park Avenue in New York, but by December 1959, after an ideological disagreement with the ultimate direction, he bowed out and kept the suite of nine works to himself. He went on to make 30 in the series in total; but in 1969, Rothko bequeathed these original nine commissions to Tate Britain, where they’re been housed since. (Grimly, the works arrived in London the day of his suicide.)

The series was a turning point for Rothko, the first time he could create an entire room surrounded by his works. “I have always maintained that if I should be given an enclosed space which I could surround with my work, it would be the realization of a dream I have always had,” Rothko said. In the years since, “Rothko Rooms” have proliferated in collections that hold his works: at Tate Modern in London, and at Washington, D.C.’s National Gallery, for example. The curators of the Fondation Louis Vuitton show arranged for the “Rothko Room” from the Phillips Collection, also in Washington, D.C., to loan its holdings, which include classic examples from 1953–57, including the vibrational The Ochre (Ochre, Red on Red) (1954), as well as Green and Tangerine on Red (1956).

The “Seagram” murals pinpoint a shift in Rothko’s color palette as well: It was the moment that the painter embraced darker shades. Thus began his series of “Blackforms,” which pushed deeper into muddy maroons, browns, and tones of black. Rothko never relinquished his sumptuously saturated jewel tones, however. That fascination of light became the absence of it, perhaps most starkly revealed in the “Black and Gray” series from 1969–70, often regarded as a reflection of Rothko’s depressive mental state at the time. These works once again feel anticipatory, particularly of the wave of Minimalism that would soon hit contemporary art. This series closes the exhibition, where the works are paired with a large-scale figurative sculpture by Alberto Giacometti.

Rothko often reiterated that his artistic project was “to express the human condition—the human drama—in his work. This focus on our common experience is a constant touchstone in his output,” explained his son Christopher in the catalogue. In particular, the artist fervently believed that art had the power to linger after one’s physical presence is gone. This exhibition explains the artist’s need to strike at the primordial and universal, unafraid to embrace darkness in a quest for light. Rothko speaks an immediate and profound language of humanity, of existence. “A painting is not a picture of an experience. It is an experience,” he wrote in his private journal-cum-manifesto, The Artist’s Reality: Philosophies of Art. This moment is ripe for a reminder of just how radical embracing humanity, in its totality, really is.

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The Art Under $1,000 on Our Curator’s Wish List https://ift.tt/J4g2kBt

My daily work curating collections on Artsy has many parallels with collecting. It’s a continuous journey of expanding my artistic palate by discovering new artists and exploring their distinct practices. The art canon is constantly evolving, giving birth to new trends and genres, from the grotesque to the vibrant compositions of contemporary abstraction. For me, the excitement lies in stumbling upon fresh, captivating artworks.

One of my favorite collections to curate each week is Finds Under $1,000, a selection of unique and editioned works by emerging talents and household names, all priced below the $1,000 mark. Every week, art lovers can unearth hidden gems at a relatively accessible price point that offer a fresh entryway to collecting, or an opportunity to cultivate one’s personal taste.

Collecting art not only allows us to champion artists, but also to elevate the spaces where we live and work with pieces that spark conversation or inspiration. As we approach the holiday season, I’ve curated a new collection of artworks under $1,000 that can make meaningful gifts for those who appreciate the magic of art. Here, I share five of my favorite works from the collection.

Kamohelo Blessing Rooi, Two Figures of Women, 2023

$700

Two Figures of Women, 2023
Kamohelo Blessing Rooi
EBONY/CURATED

Whilst browsing works on Artsy, this particular piece by South African artist Kamohelo Blessing Rooi caught my eye. Two Figures of Women (2023) depicts two local women against the backdrop of the colorful Sowetan township. The painting is part of a series of portraits that document the vibrant culture of the artist’s beloved hometown. Employing flat brush strokes of acrylic paint, Rooi captures a moment of daily life in his community.

This artwork particularly resonates with me as I’m naturally drawn to artists of color who depict their communities in a positive light. Many of these artists excel in portraying moments of joy and intimacy in their portraits, and this ability adds a compelling dimension to their work. Over the past decade, figurative painting by Black artists has taken center stage, and this piece stands as a true embodiment of the dynamic genre.

Hannah Lim, Fiery Xixi-Fish Snuff Bottle, 2023

£800

Fiery Xixi-Fish Snuff Bottle, 2023
Hannah Lim
Duran Mashaal

This sculpture by rising artist Hannah Lim has been at the top of my wish list for a while. I first saw Lim’s work at her solo exhibition at Huxley-Parlour in London last winter and was instantly drawn to her intricate snuff bottles. Lim’s practice explores her dual British and Singaporean heritage, critically examining the legacies of colonialism, Orientalism, and historical depictions of East Asian culture.

The artist crafts miniature furniture-like sculptures that reimagine the 18th-century chinoiserie trend. Through a blend of playful imagery and personal symbolism, Lim brings her own identity to life. This particular piece incorporates Lim’s signature style, featuring anthropomorphic handles and legs.

Julio Le Parc, Untitled, 1989

€795

Untitled , 1989
Julio Le Parc
Memoria Gráfica

I’ve always admired the many ways in which Op Art pioneer Julio Le Parc challenges the boundaries of perspective. This particular work by the Argentine artist caught my attention due to its otherworldly qualities—Le Parc draws you in using light and shadow, creating an almost vacuum-like effect. The piece seems to take inspiration from the interplay of light, cleverly toying with concepts of reflection and refraction.

Le Parc is perhaps better known for his immersive light installations that have earned critical acclaim and gained popularity on platforms like Instagram. Now in his nineties, the artist’s playful works remain equally cherished by older generations as well as the social media–savvy Gen Z. Most notably, this limited-edition pochoir print presents budding collectors with the opportunity to add the work of a leading artist to their arsenal.

Amy Beager, Green Maiden, 2023

£500

Green Maiden, 2023
Amy Beager
Delphian Gallery

What immediately grabs my attention in this work on paper by Amy Beager is the mesmerizing burst of color. Combining acrylic, pastel, and oil, the British artist’s radiant composition engulfs her subject in fluid swathes of green.

Drawing inspiration from classical fairy tales and Greek mythology, Beager’s portrait effortlessly transcends the confines of reality. With a lowered gaze and enigmatic expression, the subject embodies the essence of the artist’s signature celestial figures. I’m particularly moved by Beager’s ability to create a sense of intimacy through her painted subject matter.

This is a truly exciting opportunity to collect a unique work by the emerging artist at a more accessible price point, specifically an artwork that stays true to Beager’s oeuvre.

Trudy Benson, PLONK, HAND-FINISHED, 02, 2022

$950

PLONK, HAND-FINISHED 02, 2022
Trudy Benson
Exhibition A

Abstract art has seen a surge in popularity, with collectors showing an insatiable appetite for the genre. From the emotionally charged canvases of Abstract Expressionists to the recent success of emerging talents, abstract art is undoubtedly having its moment in the spotlight.

This dizzying abstract composition by Trudy Benson is a perfect example of the growing trend, boasting bold geometric patterns under playful lines. I was particularly drawn to the hand-finished print because of its vibrant patterns and energetic, almost frenzied squiggles. Benson employs a colorful visual language, taking inspiration from computer graphics and Roy Lichtenstein’s iconic pop art.

As abstract art continues to evolve, it offers a spectrum of possibilities, from lyrical abstraction to color field painting, making it a dynamic and captivating facet of contemporary art collecting.

Browse more available works in the collection “Art Gifts: Under $1,000.”

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What Sold at Paris+ par Art Basel 2023 https://ift.tt/bsk8Qc0

A dizzying fortnight of European art fairs came to a close on Sunday as Paris+ par Art Basel concluded its second edition at the Grand Palais Éphémère. Featuring 154 galleries and attended by some 38,000 visitors, the fair took place as the leading lights from the Parisian art world were on full display, with a formidable selection of new gallery openings, standout shows, and exceptional museum exhibitions for art lovers to feast on across the city.

“Paris+ put down an important marker for becoming the most important art fair going forward,” the auctioneer Simon de Pury told Artsy. “This had less to do with the contents of the fair but more with the simply phenomenal number of world-class exhibitions taking place at all the museums and cultural institutions of Paris. Even in these very dark times, they made the trip to the French capital worthwhile for the many art lovers and collectors who came from all parts of the globe.”

At the fair—its last edition at the Éphémère before it moves into the large Grand Palais next year—the atmosphere among collectors and exhibitors was buoyant and busy throughout. Any questions about the strength of the Parisian art world were answered resoundingly. “We could sense a real enthusiasm in Paris as the cultural scene develops, assisted by the arrival of Art Basel and the public and private institutions who present outstanding exhibitions,” said Serena Cattaneo Adorno, a senior director at Gagosian. “The first few hours of the fair seemed even busier this year.”

The glut of reported sales from the fair seemed to reflect this overall enthusiasm, with several big-ticket works selling within the first few hours of the VIP day. Paris, as this week made clear, is a serious player in the international art market.

Here, we round up the key sales from Paris+ par Art Basel 2023.

Top sales at Paris+ par Art Basel 2023

Black and Part Black Birds in America: (Magpies and Baltimore Orioles), 2023
Kerry James Marshall
David Zwirner

David Zwirner reported a number of significant sales across the fair, including:

• A Kerry James Marshall painting for $6 million.
• A Marlene Dumas painting for $3 million.
• An Alice Neel painting for $3 million.
• A Noah Davis painting for $1.8 million.
• A Michaël Borremans painting for $1.5 million.
• A Dana Schutz painting for $850,000.
• An Elizabeth Peyton painting for $850,000.
• An Oscar Murillo painting for $550,000.
• A Josef Albers painting for $50,000.
• A Neo Rauch painting for $400,000.
• A Lisa Yuskavage painting for $380,000.
• A Felix Gonzalez-Torres work for $350,000.
• Multiple paintings by Lucas Arruda for $180,000–$300,000.
• A work by Jordan Wolfson for $200,000.

Landscape, 2023
Nicolas Party
Hauser & Wirth

Untitled Broken Men, 2023
Rashid Johnson
Hauser & Wirth

Hauser & Wirth’s significant sales included:

• A George Condo work for $2.35 million.
• A Mark Bradford work for $1.8 million.
• A Roni Horn work for $1.5 million, which sold to a museum in China.
• A 1967 painting by Ed Clark for $1.3 million.
• A Nicolas Party work for $955,000.
• A Rashid Johnson work for $850,000.
• An Ellen Gallagher work for $850,000.
• A Frank Bowling work for £640,000 ($779,000).
• A Charles Gaines work for $595,000.
• A Lee Lozano work for $450,000.
• A Lorna Simpson work for $400,000.
• An Angel Otero painting for $285,000.
• A Takesada Matsutani work for $275,000.
• A Zhang Enli work for $260,000.
• A Luchita Hurtado work for $250,000.
• A Hélène Delprat work for €160,000 ($169,000).
• A 1971 Philip Guston work for $150,000.

Thaddaeus Ropac reported a number of sales including:

• A 1962 Robert Rauschenberg work for $2 million.
• A 2022 Georg Baselitz work for €1.5 million ($1.59 million) and a 2023 work by the artist for €1.2 million ($1.27 million).
• A 1958 Simon Hantaï work for €1.1 million ($1.17 million).
• A 2022 Adrian Ghenie work for €850,000 ($901,500).
• A 2023 Robert Longo work for $550,000.
• A 2021 Antony Gormley work for £450,000 ($547,770).
• A Yan Pei-Ming work for €400,000 ($424,220).
• A Martha Jungwirth work for €290,000 ($307,560).
• A Tom Sachs work for $185,000.
• A 2023 Alvaro Barrington work for $135,000.
• A 2023 Megan Rooney work for €75,000 ($79,540).
• Two Rachel Jones works for £60,000 ($73,040) and £25,000 ($30,430) apiece.

Untitled (Disco People), 2023
Joel Mesler
David Kordansky Gallery

David Kordansky Gallery’s reported sales included:

• A 2023 Jonas Wood painting for $1.4 million.
• A 2023 Shara Hughes painting for $275,000–$325,000.
• Two 2023 Joel Mesler works for $185,000 apiece.
• A Hilary Pecis work for $135,000.
• A Sam McKinniss work for $45,000.
• An Andrea Büttner work for $22,000.

Levy Gorvy Dayan’s highlights included:

• A 1938–43 bronze work by Aristide Maillol, which sold with an asking price of €3.5 million ($3.71 million).
• A 2008 Barbara Chase-Riboud work, which sold with an asking price of $1.2 million.
• A 1964 Cy Twombly work, which sold for €550,000 ($583,300).

Notable blue chip sales

Several galleries at the fair reported a string of sales for works priced in the six-figure range. Highlights from these exhibitors are as follows.

Pace Gallery—one of Artsy’s standout booths from the fair, featuring a Rothko and works inspired by the artist—reported a number of sales, including:

• A 1973 work by Adolph Gottlieb for $850,000.
• A 2023 Loie Hollowell work for $450,000.
• A 2023 Adam Pendleton work for $275,000.
• A 1956 Tony Smith work for $200,000.
• A 2023 work by Li Songsong for $150,000.
• A 2023 Torkwase Dyson work for $120,000.
• A 2023 Elmgreen & Dragset work for $110,000.
• A 2023 Michal Rovner work for for $100,000.
• A 2023 Pam Evelyn work sold to LVMH for $80,000.
• A 2023 work by Maysha Mohamedi for $75,000.
• A 2023 Kylie Manning work for $75,000.
• A 2015 Alicja Kwade work for $65,000.

Xavier Hufkens reported a number of sales including:

• A 2023 Tracey Emin work for “approximately” £750,000 ($912,960).
• A 2023 Cecilia Vicuña work for “approximately” $300,000.
• A 1999 Leon Kossoff work for “approximately” £200,000 ($243,450), and a 1969 work by the artist for around £120,000 ($146,070).
• A 2018 Thomas Houseago work for $200,000.
• A 2023 Thierry De Cordier work for “approximately” €175,000 ($185,600).
• A 2023 Qiu Xiaofei work for “approximately” $180,000.
• A 2007 Louise Bourgeois work for “approximately” $175,000.
• A Sherrie Levine work for “a price in the region of” $150,000.

Magenta and Pink, 2023
Anish Kapoor
Mennour

Mennour’s reported sales included:

• A 2020 Anish Kapoor work for a price in the range of £750,000 ($912,960)–£800,000 ($973,820).
• A 2023 Lee Ufan work for a price in the range of €700,000 ($741,380)–€800,000 ($848,440), and a 2015 work by the artist for a price in the range of €700,000 ($741,380)– €800,000 ($848,440).
• A 1948 work by Pierre Soulages for a price in the range of €550,000 ($583,300)–€600,000 ($636,330).
• A 2016 Camille Henrot bronze for a price in the range of €300,000 ($318,160)–€400,000 ($424,220).
• A 2023 Ugo Rondinone work for price in the range of €200,000 ($212,110)–€250,000 ($265,140).
• A 2023 Alicja Kwade work for a price in the range of €40,000 ($42,420)–€160,000 ($169,690).
• A 2023 Ryan Gander work for £95,000 ($115,640).
• A 2023 Dhewadi Hadjab work for €70,000 ($74,240).

Lisson Gallery’s reported sales include:

• A 2021 Anish Kapoor work for £800,000 ($973,820).
• A 2023 Lee Ufan work for $700,000, and a 1980 work by the artist for $250,000.
• A 1948 Carmen Herrera work for $500,000.
• A 2022 Rodney Graham work for $300,000, and a 2006 work by the artist for $90,000.
• A 2023 Kelly Akashi work for $50,000.
• A 2023 Li Ran work for $48,000.

A 2023 Laure Prouvost work for €40,000 ($42,420).

OH.OH!, 2023
Javier Calleja
Almine Rech

Conjunction 21-58, 2021
Ha Chong-hyun
Almine Rech

Almine Rech’s top reported sales include:

• A 2023 work by Javier Calleja for €220,000 ($233,320)–€265,000 ($281,050).
• A 2021 Ha Chong-hyun work for €170,000 ($180,290)–€200,000 ($212,110).
• A 2023 Tomokazu Matsuyama work for $40,000–$160,000.
• A 2023 Vaughn Spann work for $95,000–$115,000.
• A 2023 Alexandre Lenoir work for €90,000 ($95,450)–€110,000 ($116,660).
• A 2023 Chloe Wise work for $80,000–$100,000.
• A 2023 Claire Tabouret work for $80,000–$100,000.
• A 2023 Joël Andrianomearisoa work for €60,000 ($63,630)–€70,000 ($74,240).
• A 2023 Michael Kagan work for $60,000–$70,000.
• A 2023 Roby Dwi Antono work for $55,000–$70,000.
• A 2023 Thu Van Tran work for €45,000 ($47,720)–€55,000 ($58,330).

Sprüth Magers reported a number of sales including:

• A 2023 Barbara Kruger work for $850,000.
• A 1986 John Baldessari “rare early work” for $750,000.
• A 2023 Anne Imhof work for €175,000 ($185,600).
• A 2020 Cyprien Gaillard work for €125,000 ($132,570).
• A 1984 Peter Fischli & David Weiss work for €65,000 ($68,940).
• A 2023 Henni Alftan work for $60,000.
• A 2015 Lucy Dodd work for $60,000.

Foul Attention, 2023
Ilana Savdie
White Cube

White Cube’s reported sales included:

• A 2023 Tracey Emin work for £990,000 ($1.21 million), plus works from 2017 and 2016 by the artist for £90,000 ($109,550) and £85,000 ($103,470) respectively.
• A 2023 Mona Hatoum work for £160,000 ($194,760).
• A 1987 work by Takis for €90,000 ($95,450).
• A Tiona Nekkia McClodden work for $75,000.
• A 2023 work by Jessica Rankin for $60,000.
• A 2023 Ilana Savdie for $60,000.

Cardi Gallery’s reported sales were led by a 1979 work by Donald Judd for $900,000, and also included:

• A 2019 work by Bosco Sodi for $150,000.
• A 2023 work by Davide Balliano for $50,000.
• A 2022 work by Gianpietro Carlesso for €45,000 ($47,720).
• A 1976 Claudio Verna work for $40,000.

Galerie Chantal Crousel’s reported sales included:

• A 2023 Anri Sala work for €200,000 ($212,110) and another work by the artist for for €70,000 ($74,240).
• A 2021work by Wolfgang Tillmans for $115,000.
• A 2023 work by Jean-Luc Moulène for €85,000 ($90,150).
• A 2023 Mimosa Echard work for €40,000 ($42,420)–€60,000 ($63,630).

18 février 1968, 1968
Michel Parmentier
Loevenbruck

Saint Sébastien aux fléchettes , 1934
Alfred Courmes
Loevenbruck

Loevenbruck’s sales included:

• A 1968 work by Michel Parmentier for a price in the range of €500,000–€600,000.
• A 2023 work by Philippe Mayaux for a price in the range of €50,000 ($53,030)–€70,000 ($74,240).
• A 1934 work by Alfred Courmes for a price in the range of €50,000 ($53,030)–€70,000 ($74,240).

MASSIMODECARLO’s reported sales included:

• A 2020 work by Jennifer Guidi for a price in the range of $120,000–$160,000.
• A 2023 work by Lenz Geerk for $60,000.
• A 2023 John McAllister work for a price in the range of $25,000–$30,000.

Kukje Gallery’s reported sales included:

• A 2021 Jenny Holzer work for a price in the range of $225,000–$270,000.
• A 2023 work by Jean-Michel Othoniel for a price in the range of €110,000 ($116,660)–€132,000 ($139,990).
• A 2023 Kibong Rhee work for a price in the range of $70,000–$84,000.
• Two works by Suki Seokyeong Kang for a total price in the range of $54,000–$64,800.

BLUM—one of Artsy’s best booths from the dair—reported seven sales of 2023 works from its solo presentation of Lonnie Holley, with prices ranging from $45,000–$100,000.

Galerie Nathalie Obadia’s reported sales included:

• A 1968 work by Shirley Jaffe for a price in the range of $230,000–$250,000.
• A 2019 work by Wang Keping for a price in the range of €200,000 ($212,110)–€230,000 ($243,930).
• A 2023 David Reed work for a price in the range of $80,000–$100,000.
• A 2022 Laure Prouvost work for a price in the range of €80,000 ($84,840)–€100,000 ($106,050).

Gagosian reported the sale of a 2023 painting by Giuseppe Penone for €400,000 ($424,220).

More key sales

The Prayer, 2023
Alioune Diagne
Templon

Forêt polaire, 2023
Philippe Cognée
Templon

Templon—another of Artsy’s highlight booths from the fair—reported sales including:

• Two works by Chiharu Shiota for a price in the range of €95,000 ($100,750)–€200,000 ($212,110) apiece.
• A work by Michael Ray Charles for $95,000.
• A work by Alioune Diagne for €54,000 ($57,270).
• A work by Abdoulaye Konaté for a price in the range of €50,000 ($53,030)–€60,000 ($63,630).
• A selection of works by Philippe Cognée sold for a price range of €45,000 ($47,720)–€80,000 ($84,840) apiece.
• A work by Jan Van Imschoot sold for a price in the range of €35,000 ($37,120)–€40,000 ($42,420).

Galerie Christophe Gaillard’s sales include:

• A work by Brian Maguire for €32,000 ($33,940).
• Two works by Pierre Betancourt, each sold for a price in the range of €30,000 ($31,820)–€35,000 ($37,120).
• Two works by Pablo Tomek, in the range of €10,000 ($10,610)–€20,000 ($21,210).
• Two photographs by Marina Gadonneix for a price in the range of €10,000 ($10,610)–€15,000 ($15,910).

Galerie nächst St. Stephan Rosemarie Schwarzwälder’s sales include:

• Four 2023 works by Herbert Brandl for prices ranging from €23,000 ($24,390)–€58,000 ($61,510).
• Two 2023 works by Jongsuk Yoon for €29,000 ($30,760) and €35,000 ($37,120).
• A 1977 work by Helmut Federle for €26,000 ($27,570).

Magnin-A—another of Artsy’s highlight booths from the fair—reported a number of sales from its dual presentation, including:

• Four works by Seyni Awa Camara for prices ranging from €30,000 ($31,820)–€60,000 ($63,630).
• Four works by Wura-Natasha Ogunji for €14,000 ($14,850) apiece.

Galerie Cécile Fakhoury sold three paintings by Elladj Lincy Deloumeaux, for a price in the range of €30,000 ($31,820)–€40,000 ($42,420) apiece; a work on paper by the artist for €8,500 ($90,150); and a number of smaller works by the artist for prices ranging from €3,000 ($3,180)–€3,500 ($3,710).

michèle didier sold a 2012 work by Antoni Muntadas for a price in the range of €15,000 ($15,910)–€17,000 ($18,030) to a private collection in France.

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$6 million Kerry James Marshall leads sales at Paris+ par Art Basel. https://ift.tt/IHJOEKk

Paris+ par Art Basel kicked off its sophomore edition at the Grand Palais Éphémère with soaring sales, cementing expectations for the leading art fair. David Zwirner reported selling a Kerry James Marshall painting for $6 million, the top sale for this edition of the fair. The gallery also found buyers for pieces by Marlene Dumas, Alice Neel, and Michaël Borremans.

Following the fair’s momentum, Hauser & Wirth also reported strong interest, selling out its booth on the first day. The mega-gallery sold work from renowned artists like Mark Bradford, George Condo, and Roni Horn, among others. Marc Payot, the gallery’s president, revealed that several of these works found homes in elite private collections in France.

Paris-based gallery Mennour reported sales of a sculpture by Anish Kapoor and two works by Lee Ufan. Meanwhile, Thaddaeus Ropac revealed multiple seven-digit sales for the works of Robert Rauschenberg, Georg Baselitz, and Simon Hantaï.

Amid all these splashy sales, Pace Gallery also presented a landmark Mark Rothko painting, Olive over Red (1956), priced at $40 million, at its booth. However, no sales or offers were reported by the gallery.

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5 Standout Shows to See at Small Galleries This Fall https://ift.tt/C70ADF9

El Canto, ca. 2022
Saúl Castro
Monterroso Gallery

In an art world where industry giants often dominate headlines, small galleries silently steal the show. These spaces, passionately dedicated to showcasing the work of emerging artists, have proven their resilience and adaptability in the three years since the pandemic. Away from the crowds and monumental museum exhibitions, small galleries allow visitors immediate access to their city’s art scene.

For this roundup, we spotlight five stellar exhibitions at small and rising galleries in five cities worldwide.

Jennifer Latour, “Shapeshifters”

Open Doors Gallery, London

Oct. 10, 2023–Jan. 31, 2024

Shapeshifter no.5, 2023
Jennifer Latour
Open Doors Gallery

Shapeshifter no.6, 2023
Jennifer Latour
Open Doors Gallery

Jennifer Latour, a Quebecois artist based in Vancouver, Canada, sought comfort in nature during the initial pandemic lockdowns. However, her musings on wildlife do not take traditional forms. With training as a special effects makeup artist, she seamlessly blended her passion for sculpture and photography to craft “Bound Species,” a series of temporary organic sculptures that she photographs in her studio and in the wild. Her photographs, such as Bound Species no.39 (2023), capture the ethereal allure of spring through carefully oriented photographs of her handmade plants.

The latest works from this series are featured in “Shapeshifters” at Open Doors Gallery in London. Inspired by locally sourced flowers, the sculptures in these photographs twist reality, emerging as free-standing plants that reject their sprouted origins. In Shapeshifter no.6 (2023), Latour presents a self-supporting plant adorned with purple-pink flowers, such as a square dahlia. Together, her pieces trace a technicolor reimagination of nature’s creations, and thanks almost entirely to her keen eye, the photographs invite us into her strange world.

Saúl Castro and Ixrael Montes, “Portraits of Oaxaca: A Dual Brushstroke”

Monterroso Gallery, Houston

Oct. 5–Nov. 29

Floreciendo, ca. 2022
Saúl Castro
Monterroso Gallery

Mistico, ca. 2022
Ixrael Montes
Monterroso Gallery

Coinciding with the end of Hispanic Heritage Month, this exhibition by Oaxacan artists Saúl Castro and Ixrael Montes presents works that preserve their shared artistic heritage. In “Portraits of Oaxaca: A Dual Brushstroke,” hosted at Monterroso’s Crimson Living penthouse gallery, the two artists’ works invite viewers to immerse themselves in a culturally rich body of work.

Near the entrance, Montes’s Mistico (ca. 2022), an almost eight-foot artwork wrapped around a gallery column, greets visitors. In the large-scale piece, depicting totem-like heads surrounded by dynamically illustrated animals, Montes fully displays his fascination with spiritual symbolism and Indigenous cultures. His art evokes wonder—a captivating yet bewildering reflection on the balance between life, death, and the Earth.

Castro’s contributions to the show are similarly occupied by both the mythological and the symbolic. For instance, Floreciendo (ca. 2022) depicts a cow engulfed in a red canvas and surrounded by roosters—a symbol of Oaxacan folklore representing courage, authenticity, and vitality. Meanwhile, much of his work fixates on women figures adorned by signs, like the seahorse emblems in Dama del Mar (ca. 2022). Like Montes, Castro intricately weaves a tapestry of stories, emotions, and colors that resonate with their reflections of ancestry.

Paul Burlin, “Transformation of Spirit to Pigment: Harmony in Chaos”

Peyton Wright Gallery, Sante Fe

Oct. 6–Nov. 24

Chicago, 1960
Paul Burlin
Peyton Wright Gallery

Born in 1886 in New York, Paul Burlin heralded early modernism in the American Southwest. Inspired by the vibrant landscapes and region’s cultures, his abstract compositions blend Native American motifs with European avant-garde techniques.

Burlin was one of the youngest artists in the 1913 Armory Show and one of the first modernist painters in the American Southwest. “Transformation of Spirit to Pigment: Harmony in Chaos” catalogs the artist’s later works, conceived in his most prolific period. Paintings like Deus Ex Machina (1951) and Route 66 Nowhere (1961) span the decade in which Burlin began losing his eyesight. Despite this, his paintings, defined by their rich, earthy palette and expressive brushstrokes, convey an intensified emotional clarity, capturing the subjects of his attention with vigor.

“Select East”

Garvey|Simon, New York City

Oct. 23, 2023– Jan. 23, 2024

Untitled (layered meditation) 6, 2020
Lynnette Therese Sauer
Garvey | Simon

Right Here, 2022
Martin Benson
Garvey | Simon

Garvey|Simon seeks to directly foster a dialogue between the gallerist and artist, particularly through its “Select West” and “Select East” programs, which showcase work from emerging and mid-career artists. Now in its eighth year, the “Select East” exhibition features work from Kathleen Beausoleil, Martin Benson, Sarah Brenneman, Jaynie Crimmins, Beth Dary, Leslie Fry, Julie Peppito, Christine Romanell, and Lynnette Sauer, hand-selected by gallery director Elizabeth K. Garvey.

In a hybrid exhibition hosted online on Artsy and in person at its Upper West Side gallery, the nine artists come together to present a dynamic range of styles. Among the works on view are Sauer’s “layered meditation” series, comprised of meticulously drawn chromatic illustrations, and Benson’s It Takes Two To Tango (2021), a sublime painting reminiscent of the work of Hilma af Klint.

Moreover, the exhibition includes several sculptors, like Beth Dary and Leslie Fry, whose drastically different sculptures still resonate with each other. Dary’s hand-blown glass evokes contemplations of the planet and decay, whereas Fry’s metal hands, sprouting flowers at their base, suggest revival. Despite the contrasts, “Select East” offers a dynamic group of meditations designed to pull visitors into an ongoing, highly active dialogue between forms and artists.

El Anatsui, “TimeSpace”

October Gallery, London

Oct. 11, 2023–Jan. 13, 2024

Royal Slumber, 2023
El Anatsui
October Gallery

El Anatsui, the famed sculptor and installation artist born in Ghana, is known for transforming scrap metal into shimmering sculptures. With his direction and personal touch, he transforms mundane items like bottle caps and copper wires into expansive tapestries, evoking images of traditional African fabrics. Despite their metallic exteriors, his wall-hanging sculptures, such as Cloud gathering over the city and G6 (both 2023), move with textile-like fluidity. On closer look, the sharp edges of the metal lure in a viewer, and then reject touch.

In “TimeSpace,” Anatsui engages with topics like overconsumption, environmental disaster, and the complicated dynamics between Africa and the Western world—embodied by the work’s clashing cultural influences and materials. His show at October Gallery—which coincides with the artist’s major Hyundai Commission installation at the Tate Modern—features new works juxtaposed with the artist’s earlier work, like From the Venovize Series (1985), a ceramic vessel cracked down the orbed base. By viewing this work, visitors can trace the path of the visionary artist, exploring his experimental approach to sculpture and artmaking.

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