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[mcgiggers]

Beacon, NY and Williamstown, MA, 2014 (Fall Road Trip)

Just back from a 36-hour 1200 km road trip to Dia:Beacon in New York and the Clark in Williamstown Massachusetts. While more time was probably spent traveling than actually looking at art, the trek was well worth the effort. Early fall colours, idyllic settings and stunning architecture provided spectacular backdrops to fantastic exhibits and an all-round phenomenal art viewing experience.

DIa:Beacon

Thankfully the weather was most cooperative for this first leg of the trip. Dia:Beacon’s Riggio Galleries are located on a 31-acre site on the banks of the Hudson River in a converted 300,000-square-foot Nabisco box printing facility. Good weather is important because the museum is predominantly lit by natural light through 34,000 square feet of skylights. On that day, conditions were perfect to fully appreciate the Dia Art Foundation’s world renowned permanent collection of minimalist works, and in particular, the Carl Andre exhibit “Sculpture as Place, 1958-2010”, a comprehensive retrospective featuring the American artist’s minimalist sculptures and poetry.

For the most part, Andre’s sculptures are huge, and they take on different shapes and forms like grids, squares, irregular shaped masses and walls. The most impressive of these were those made from the precise positioning of identical units of a single industrial material. Favorite building blocks included timber, bricks, aluminum ingots and a variety of metal tiles, among others. These were either laid on the ground, stacked, piled high or connected end-to-end, reflecting the many permutations of organization explored by the artist. In the process, no screws, bolts or glue of any kind were used, leaving it up to gravity to be the binding medium. While the ultimate configuration of the works is unique, the same units of material like 36-inch-tall 12 x 12 in. blocks of western red cedar (for example) were relied upon to create different sculptures. This reflected the artist’s belief that a number of works could originate from exactly the same elements. Some standout pieces that brought this into evidence included the 91-piece pyramidal-shaped structure “Triskaidek”, 1979, and the 47-unit scattered signage-post-lookalikes in “Uncarved Blocks”, 1975 – the same cedar blocks were used in both. Another guiding principal in the artist’s practice was that his sculptures were meant to be appreciated up close. Pushing that even further, viewers were invited to walk on “46 Roaring Forties”, 1988, a 46-unit rectangle consisting of two side-by-side rows of 23 weathered steel tiles each measuring one square meter. The work looked like an extended metal corridor cutting through the exhibition space and walking on the tiles offered a unique experience, almost a sense of levitation, even though the tiles were flat on the ground.

Andre’s experimentation with poetry preceded his sculpture practice and continued throughout his career. In contrast to the vast exhibition halls needed to house his sculptures, several display cases were all that was required to capture the essence of this body of work. Alternatively described as “typewriter drawings”, Andre’s poetry typically began with source word inspirations which were then typed on a standard size piece of paper in such a way as to form a shape or figure. Many of the resulting images could have passed as sketches for sculptures with the added dimension that they were filled or constructed with “interchangeable particles of language”. The precise meaning of the words however was not always obvious which created a sense of curious engagement.

  The Clark

The next day was all about the Clark and not even a bit of rain could put a damper on that experience. The 140-acre campus is surrounded by the Taconic, Green Mountain and Berkshire ranges, and amid the manicured lawns, meadows and wooded slopes are several tastefully designed contemporary buildings dedicated to art. The setting promotes an “unhurried” art viewing experience and the ability to pause and enjoy the beauty of the natural surroundings.

While the Clark is famous for its collection of Impressionist and Old Master paintings, two special exhibits took precedence this trip – “Make It New: Abstract Painting from the National Gallery of Art, 1950-1975” and “Raw Color: The Circles of David Smith”.

The abstract painting exhibit was anchored on holdings drawn from the National Gallery in Washington, and it set out to display how Jackson Pollock and his peers attempted to reinvent painting in the wake of the Second World War. Some of the methods adopted were radical and resulted in complex abstract images while others resulted in simple forms that were radical in their own way. The unifying endeavor was to “Make It New”. The show kicked off with a grouping of works by the master AbExers and then intelligently branched off into separate galleries which focused on particular aspects or offshoots of expressionism, namely, Color Field, Pattern, Shape and Texture. The anchor piece was Jackson Pollock’s stunning “Number 1, 1950 (Lavender Mist), 1950, oil, enamel and aluminum on canvas which featured the occasional artist handprint mixed in with the drippings, splatterings and pourings. Standout works in the other highlighted groupings included: Helen Frankenthaler’s “Wales”, 1966, acrylic on canvas; Frank Stella’s “Delta”, 1958, enamel on canvas; Jasper Johns’ “Target”, 1958, oil and collage on canvas; and Robert Ryman’s “Untitled”, 1961, oil on linen.

The David Smith exhibit was in another building. It was a very enjoyable 15-minute walk around a huge reflecting pond and up a wooded trail to get to the Lunder Center at Stone Hill which housed two intimate sunlit galleries overlooking the side of a small hill. Given that Smith’s sculptures were designed for the outdoors, the setting was a near perfect compromise.

While Smith painted, he was known primarily as a sculptor and was closely associated with the heavy hitters of the AbEx movement like Pollock and de Kooning. This exhibit featured painted large steel geometric sculptures anchored on the circle as the central form or shape. His emphasis on colour in this body of work showed how he tried to bridge the distinct practices of painting and sculpture by presenting the “painted sculpture” as a new medium, and the focus on the circle was the unifying element which counterbalanced his choice of industrial or “unnatural” colours. The exhibit standouts were: “Circle V”, “Circle I”, “Circle II” and “Circle III”, 1962-63, painted steel. The size of these sculptures varied between six and nine feet in height and width, and they were further differentiated by colour and the geometric shapes that were welded to the central circular shape. The installation of the works in the gallery mirrored Smith’s placement of the sculptures in the north field of his farm in Bolton Landing, near Lake George in upstate New York. With each work being set one behind the other, the objective was to create a different viewing perspective as one peered through the successive circular shapes, something that was successfully accomplished.

  So resist the temptation to reach for the TV remote. There’s plenty of football still to be played, and it’s way too early to get into hockey or basketball. Instead, hit the road.

For more information on any of the artists mentioned, Dia:Beacon and the Clark, “Just Google It”.  

  There you have it sportsfans,

  MC Giggers

(www.mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York Fairs and More - March 2014

Just back from New York and the Armory week circus. With the Sochi Olympics behind us, art garnered lots of attention in Big Apple, and it was served up in great variety all over the town.  From modern to post war contemporary to the highly conceptual, there was something for art aficionados of all stripes in every corner of the city. The fair line-up included:  the Armory Show which featured over 200 modern and contemporary art galleries; the Art Show sponsored by the ADAA with 72 exhibitors; approximately 90 artist projects at Volta; over 80 exhibitors at SCOPE; and another 50 or so galleries at the Independent, among others.  In addition to the fairs, each of the major auctions houses ran previews for their inaugural 2014 contemporary art auctions also held this week, and to top it all off, there were innumerable quality gallery exhibits, the whole of which makes New York art week truly differentiated from other fair-anchored experiences.

Spoiler alert … in the fair category, the gold medal goes to Volta. While the NY incarnation of this show has been running for several years, this year’s edition seemed to nicely bring together a very powerful and memorable collection of exhibits. Part of the attraction of this fair is that each booth is dedicated to the work of a single artist which allows for a deeper appreciation and more comprehensive exposure to an artist’s body of work. That being said, you live and die by the shot under that format. This year`s shooting percentage exceeded expectations. There were many fantastic discoveries. High among them was Katja Loher’s “Triplebubble”, 2013, a wall-mounted installation featuring a 5:55 minute loop three-channel video composition projected from video screens embedded in white acrylic base of three hand-blown glass bubbles (18 x 14 x 7in.). On a simpler level but equally compelling was John Cox’s “Beautiful Inner Tube”, 2014, another wall-mounted work which consisted of a partially inflated twisted bicycle inner tube tied with string and affixed to a wood base (variable dimensions). Standouts featuring the more convention medium of oil on linen included: Pius Fox’s near monochrome with horizontal line “Untitled (PFT 135)”, 2012 (31.4 x 23.6 in.) and Clare Grill’s pared down linen-exposed “Lamb”, 2013 (35 x 28 in.).

Silver and bronze medals go to the Modern section and Contemporary section of the Armory Show, respectively. There were approximately 60 or so galleries in the Modern section compared an overwhelming 150 in the Contemporary grouping. While that split is typical at this fair, less was in fact a lot more in this year’s Pier 92 and Pier 94 faceoff. Numerous quality works stood out in the Modern section while it was hard to land on something in the Contemporary maze. Standouts included: Norman Kanter’s “Untitled”, 1961-63, oil on canvas (82 x 68 in.) which featured his iconic drip-style “X”; Lorser Feitelson’s black monochrome with curved lines “Untitled”, 1977, acrylic on canvas (30 x 24 in.); and Jasper John’s “Within”, 2007, intaglio print in 10 colors on Hahnemuhle paper (42.5 x 32.5). Honorable mention from team Contemporary goes to Jonathan Marshall’s six panel installation “False Palimpsests”, 2014, mixed media (40 x 28 in. each).

Highlights from other shows included a couple striking sculptures by a pair of modern masters: Pablo Picasso, “Femme au Collier”, 1957, white fired clay (14 x 3 x 5 in.); and Joan Miro’s “Le Voilier”, 1956, earthenware (11.5 x 10 x 12 in.).

While the fairs took up most of the mind and eye space, the offsite gallery visits were the quiet stars of the trip. First and foremost was Sotheby’s private gallery exhibition of Canadian abstract art. The show featured a handful of Automatistes, Plasticiens and Painters Eleven and highlights included: Jean-Paul Riopelle’s “Untitled”, 1946, watercolor and ink on paper, which once belonged to André Breton; Claude Tousignant’s “Champ Jaune”, 1964, acrylic on canvas (72 x 72 in.); and Charles Gagnon’s “Le Huitième Jour”, 1963, oil on canvas (68 x 78 in.). On the other side of town, LG served up recent works by Richard Serra which were monumental in scale and outright jaw dropping. These included: “7 Plates, 6 Angles”, 2013, seven plates of weatherproof steel (each 8 feet high x 40 feet wide x 8 in. thick); and “Intervals”, 2013, 24 plates of weatherproof steel (each 8 in. thick with variable heights of 4 to 6 feet and variable widths of 5 to 11 feet). Another gallery highlight was the “There and Back” exhibit of recent works by mid-career artist David Row which featured his distinctive abstract style on irregular shaped and joined canvases.

Next up March Madness and May auctions.

For more information on any of the artists or works mentioned as well as the soon to be released tournament rankings, “Just Google It”.

  There you have it sportsfans,

  MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Miami - December 2013

Just back from Miami and the 12th edition of art week in the land of the Heat. If there is one thing that can compete with Miami’s lead up to three-peat frenzy, it’s North America’s premier art event. This year’s roster was again anchored by Art Basel Miami Beach and also featured 25 or so different fairs with well over 1000 exhibitors. It’s grown to the point where taking it all in is impossible, and the challenge becomes covering as much ground as possible (to make the most of it) while trying to preserve some ability to appreciate what you’re seeing. Manage it wrong and glossy-eyed sensory overload sets in which can turn the most ardent of fans and aficionados into walking zombies.  The opportunity however to see great art and discover new artists provides the adrenaline, and Miami’s art extravaganza did not disappoint. There was a mad scramble to get in on a piece of the art action as volumes seemed to be up significantly, and in full appreciation of the offering, booth sell outs or near sell outs were not uncommon, even in the early going.

With three days in hand, this year’s version of The Amazing Race covered eight fairs. Day One featured the Wynwood Round-Up, notably treks to Pulse, Art Miami, Context and Miami Project; Day Two was the South Beach Shuffle between NADA and Art Basel Miami Beach; and Day Three was the Coastal Reprieve at Untitled with a stop-over at INK. The adventure involved navigating cavernous convention centers, snaking through converted hotel venues, and finding one’s way around maze-like pop-up tent structures, all while jostling and tussling with the throngs of enthusiastic fairgoers and bottleneck South Beach traffic.

Each venue catered to a particular art market segment and taste sensibility (albeit sometimes that was very finely nuanced). That being said, there was something for everyone, and amid the fair hoopla and variety, certain works stood out. In the post-war contemporary category, fair highlights included: Ray Parker’s “Untitled”, c.1962, oil on canvas (69 x 64 in.) which featured three cloud-like masses stacked upon one another; multi-disciplined Alexander Liberman’s “Victor-Brown, Green High”, 1968, acrylic on triangular shaped canvas (95.5 x 60 in.); and little known Norman Kanter’s “Sea Gull #2”, c.1957, oil on paper mounted to masonite (22 x 18 in.).

Two fantastic works by Paul Feeley from roughly the same period provided a different perspective on abstract painting. “Untitled”, 1959, oil-based enamel on canvas (63.25 x 45.25 in.) beautifully integrated colour field painting, expressionism and traces of pop in a very soft and free flowing way. By 1963, Feeley moved on to brighter colours and more defined shapes. The result was a very distinctive language as depicted in “Rafinas”, 1963, oil-based enamel on canvas (59.4 x 47 in.). A more recent take on a similar style was seen in Sarah Crowner’s “The Wave”, 2013, acrylic on canvas (78 x 60 in.). Crowner’s version featured less symmetry and more geometry on a backdrop of stitched raw canvas components and an oil-painted wooden frame.

Other fair standouts included: Josh Brand’s “Untitled”, 2012, mixed media on photographic paper (14 x 11 in.) - old-school gestural abstraction on a very contemporary medium; Darby Bannard’s “Yellow Rose #1”, 1963, alkyd on canvas (65 x 62 in.) - a powerful minimalist rendition of a partial yellow circle sitting at the bottom of a canvas; James Hyde’s “Carrying”, 2006, wood, paper & acrylic on Plexiglas (30.3 x 36.5 x 3 in.) - a platter of abstract treats presented in a glass box inclined on a wall-mounted steel bracket; David Ostrowski’s “F (Michael Buble’s Wife)”, 2013, acrylic and cotton on canvas (39.8 x 31.9 in.) - a simple near monochrome which somehow had a connection with the Canuk’s beautiful Argentinean wife; and Nicolas Baier’s “Météorite 7”, 2013, meteorite graphite and acrylic medium on canvas (21.5 x 32.5 in.) - a powerful black oval that almost seemed to be a gateway into an alternative reality.

In the sculpture category, Kisho Suga’s wall mounted work [with a Japanese title and no translation], 2013, wood and acrylic (73.8 x 47.25 x 5.3 in.) projected a peaceful temple-like aura consistent with his imprint on the Mono-ha school of painting. At the other end of the spectrum, Thomas Houseago’s “Devil I”, 2010, plaster, hemp, iron, wood, charcoal and graphite (96.5 x 56 x 41.3 in.) stared down most onlookers in a threatening way as only a giant sasquatch could.

On the social front, there were no star sightings, but plenty of banter as to who had taken in the fair.  Leonardo DiCaprio and P.Diddy were among those headliners who were reportedly kicking around during the VIP preview.  There were a number of false alarms. Most notable was the Heather Locklear/Jennifer Aniston case of mistaken identity by a trio of enthusiastic (and subsequently disappointed) high-schoolers. As for Miami’s most famous brat pack, scheduling conflicts prevented King James, the Egomanical D-Wade and the Reptilian One from stomping around fair grounds. I’m sure however that requests for private visits were already accommodated or will not be denied. That’s just the way it seems to work in that stratosphere.

  For more information on any of the artists or works mentioned “Just Google It”.

There you have it sportsfans,

  MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York - November 2013 (Auction Madness)

Black Friday came early for major auction houses as Phillips, Christie’s and Sotheby’s lined up this week on back-to-back nights to battle it out and lay claim to the title of ruler of the Post War and Contemporary Art domain.  Based on the advance posting of works up for sale, the outcome was never really in doubt nor was the win, place and show standing of the players. None of that diminished the enthusiasm and irrational exuberance which prevailed. In the process, Christie’s made auction market history with their haul of $691.6 million; Sotheby’s delivered a more than respectable $380.6 million; and Phillips sold for $68.1 million.  Collectively, evening sales alone exceeded $1.1 billion and reaffirmed the solid and continuing interest in the contemporary art market.

Phillips kicked things off on Monday night in the hopes of enticing eager buyers flush with funds. The results were mixed. The $68.1 million in sales (including buyers’ premium) was just above the low end and well below the top end of their pre-sale estimates. While the 40 lots offered were the fewest among the evening auctions, it doesn’t help when one of your featured lots, Mark Rothko’s “Untitled (Black on Gray)”, estimated to sell somewhere between $10 and $15 million doesn’t garner enough buyer interest. One of the bright spots of the evening for Phillips was the auction record price set for a work by David Hammons. The large scale sculpture from his basketball hoop series, “Untitled, 2000”,  featured crystal, brass, frosted glass and regulation rim, and it lived up to its opulence, selling for $8.0 million.

Christie’s followed on Tuesday night with a solid line up of phenomenal works by great artists and ambitious expectations to shatter the auction record of $495.0 million it set this past May. And that it did. The $691.6 million spread over 69 lots (albeit not proportionately) was comfortably above their high estimate for the night. At the head of the parade of star performers was the Francis Bacon triptych “Three Studies of Lucian Freud” which sold for $142.4 million, the highest price ever paid for a work sold at auction. In some respects, Christie’s was leading with its chin given that a featured Bacon went unsold at Sotheby’s in May 2013 and another was withdrawn at the last minute by Christie’s at the same time.  An opening bid of $80.0 million however quickly dispelled any doubt about the prospects for this work. In addition to the spirited bidding and incredible outcome, there was also interesting pre-auction drama surrounding the work when it was moved up from the 32nd spot to 9th in the bidding order just before the sale. Clearly an important bidder must have had a scheduling conflict later in the evening, and it was very sporting of Christie’s to be so accommodating. Other feature works included: “Balloon Dog (Orange)” by Jeff Koons which fetched $58.4 million, the highest price paid for a work at auction for a living artist; Mark Rothko’s “No.11 (Untitled)”, $46.1 million, proving that color does  matter  - much to Rothko’s chagrin;   Andy Warhol’s “Coca-Cola (3)”, $57.3 million; and Christopher Wool’s “Apocalypse Now”, $26.5 million. In the more modest but marvelous category, Franz Kline’s “Composition” at $3.4 million and Jasper John’s “Gray Numbers” at $2.3 million were headliners. In the most astonishing category was a postcard-size study for “Sleeping Girl” by Roy Lichtenstein. This small colored pencil drawing on paper sold for $2.4 million which on a price per square inch basis made it almost seven times more expensive than the Bacon.

With a tough act to follow, Sotheby’s stepped up to the plate on Wednesday night. The 61 lots brought in $380.6 million which was just under their high estimate for the sale, but still a record for the auction house. A substantial portion of the Sotheby’s sale was dependent on the strong interest in Andy Warhol. Their feature lot, “Silver Car Crash (Double Disaster)”, was estimated to sell between $60 and $80 million and it did not disappoint. Auctioneer Tobias Meyer twerked his way through a slow but steady grind in $1 million increments from $60.0 million all the way up to the hammer price of $94.0 million. With the buyers’ premium, the final tally was $105.4 million. Notwithstanding that record performance for the King of Pop, other Warhol works fell a bit short of expectations. Some of the more notable other moments of the auction included the heated six-way bidding battle for Cy Twombly’s “Poems to the Sea”, a collection of 24 works on paper that was estimated to go for $6 to $8 million and ended up at $21.7 million; and the strong interest in Agnes Martin’s “The Beach” which sold for $6.5 million, more than two times the midpoint of the pre-sale estimate.  

When all was said and done, Christie’s handily retained its contemporary art crown. Auction records were shattered and new heights were reached for numerous artists including Bacon, de Kooning, Fontana, Hammons, Judd, Koons, Marden and Reinhardt, among others. In the process, two works sold for over $100 million; 10 over $25 million; 26 over $5 million; and 79 over $1 million. An impressive shopping spree and the bubble just keeps getting bigger.

  For more information on any of the artists or works mentioned and full auction results, “Just Google It”.

There you have it sportsfans,

  MC Giggers

(www.mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Toronto - October 2013

Just back from Hogtown and the 14th edition of Canada’s premier international and contemporary art fair. With last year’s fair being a bit of a disappointment, expectations were tempered. The TIAF team however regrouped and brought together a refreshing collection of 120 or so local, national and international galleries. Throw in a seemingly more user friendly environment (more lighting, better floor plan and a Food Dudes food truck), the whole contributed to an enjoyable viewing experience that seemed to translate into plenty of red dots.

Overall, the gallery lineup seemed to tilt towards the contemporary, while in recent years it seemed to be increasingly weighted down by too much of the same names associated with the more established post-war Canadian art scene. In particular, the NEXT section (which was dedicated to emerging art and artists) played an important role in infusing new life into the event.

Fair highlights included a number of works by Betty Goodwin. In particular, “Figure with Chair”, 1988 (92 x 52.2 in.) featured a complex list of mediums including oil, oil pastel, graphite and gold paint on paper mounted on canvas that culminated in a dramatic figurative work. On the other side of the spectrum, Goodwin’s early work “Abstraction”, 1966, oil on canvas (26 x 20.5 in.) was brightly coloured and joyful, although it did offer some hints of what was to be eventually integrated into her signature style. Other fair standouts included: Ron Stonier’s “Couples”, 1975, acrylic on canvas (68 x 81 in.), an impressive horizontal stripe painting that offered a west coast take of the more typical hard edge style that was practiced in the east by Tousignant and Molinari; Janet Werner’s “Ariel”, 2013, oil on canvas (67 x 55 in.), a beautifully executed portrait with a very mystical feel; and Pascal Caputo’s “270053_10150260480131871_502626870_7895756_5682081_n_jpg”, 2010, oil on canvas (55 x 42 in.) which not only boasted the best title, but also highlighted his creative use of a Facebook appropriated image which was repainted on the canvas in a very painterly way but with an irregular shaped blank space in place of the identity of the human figure.

Highlighting the most innovative use of a traditional medium was Mark Igloliorte’s “Sina”, 2013, oil on canvas (48 x 36 in.), a subdued but fantastic abstracted landscape scene with a lone figure which was inspired from his Labradorean roots. The image was initially painted on plastic and then peeled off in one piece and glued onto an orange-primed canvas. The delicate mishaps that result from that transfer process manifested themselves in cracks in the image through which the orange of the canvas peered through – an effect which enhanced the imagery of the scene and the beauty of the work.

Among the most impressive pieces of real estate at the fair was a section of a booth dedicated to William Perehudoff. Surrounded by his familiar iconography of geometric shapes, orbs and spheres, it was easy to get drawn into the abstracted references to nature produced by this master colourist. In particular, “AC-89-046”, 1989, acrylic on canvas (56 x 60 in.) was the highlight of the space.

On the heels of a strong outing, TIAF has regained momentum. As the NBA season is about to kick into gear, one can only hope this year’s edition of the Dino’s can follow suit in the same manner. If anything, this year’s version of TIAF has proven that roster tweaks, better spacing and renewed focus can work wonders. It’s unclear however as to whether the Raptors have done any of that. We’ll see.

  For more information on any of the artists or works mentioned and a profile of this year’s Raptors, “Just Google It”.

There you have it sportsfans,

  MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Chicago - September 2013

Just back from the Windy City and the second edition of EXPO CHICAGO. The gathering brought together over 120 galleries representing 16 countries on the scenic outer reaches of the city’s Navy Pier. The magical combination of free food, great art and the ego stroking that goes along with attending a VIP vernissage proved to be a great draw as attendance on opening night was bursting at the seams.

While it is billed as an international exposition of contemporary and modern art, the overall the bias of the fair leaned more towards the contemporary as opposed to the modern. There was a strong showing of post-war established artists as well as good representation of the emerging younger set. On the international front, unlike many fairs that just like to wave that flag, EXPO CHICAGO delivered in terms of quality.  All-in-all, the fair showed all the early signs of a strong sophomore outing.

Among the fair highlights was a glimpse of the print making capability of Pat Steir. Using her familiar abstract expressionist style, “Sparkly Waterfall”, 2013, hand painted monoprint (47.5 x 24 in.), showcased her signature drip technique onto a silkscreen base. The result was one of her characteristic dreamscapes. The inclusion of this work in the show also served to promote an exhibit dedicated to her hand painted monotypes that just opened in New York. Other fair standouts included: a beautiful period piece by James Brooks “Untitled”, 1960, mixed media on paper (15 x 21 in.) which was fortified with some serious museum provenance; a dreamy interpretation of a waterfall by colorist John Zurier,  “Bjarnarfoss”, 2011, using mineral pigments and glue on linen (72 x 44 in.); and the shimmering minimalist vertical bands of Mary Corse as portrayed in “Untitled”, 2001 (24 x 53.5 in.) which incorporated glass microspheres in acrylic on canvas.

International standouts included a wall mounted sculpture/installation by Spanish artist Bernardi Roig. While less dramatic than his works that incorporate human figures and light, “Ejercicious de luz para el arbol de Piet M.”, 2013 (59 x 20 x 26 in.) very neatly packaged the artist’s perspectives on the connections between nature, knowledge and structure. More tangibly, it consisted of a vertical fluorescent tube with two bronze branches sprouting upwards from the base which were then attached by an angular Piet Modrian-inspired connection near the top. Also on the international front, Italian artist Pizzi Cannella’s “Sky, Tutte le Stelle del Cielo”, 2007, mixed media on canvas (55 x 63 in.), was a very beautiful and serene interpretation of the constellation that was well worth gazing at and seemed to draw-in all passers-by.

Noteworthy was a complete booth dedicated to works of Robert Motherwell, one of the primary figures in the abstract expressionist movement. Spanning the 60s and 70s, and highlighting his mastery of different mediums, the exhibit presented a broad range of exceptional works on paper and canvas, including “Country Life”, 1967, acrylic, graphite and paper collage on paper (30.5 x 22 in.) and “Spanish Death II”, 1977, acrylic on canvas board (17 x 14 in.).

Gregory Scott’s “Judd with Air and Water”, 2012, stainless steel, HD videos, drywall and hardware (7x 10 x 44 in.), was a creative take on Donald Judd’s “Untitled (Bernstein 89-1)”. Albeit on a much smaller scale, the work certainly looked familiar enough to be associated with that of Judd. Scott’s spin was the four-minute video loop incorporated into each of the six stacked boxes which projected flowing water on the bottom and a moving sky on the top.

While there was an impressive work by Norman Kanter at the fair, an off-site gallery visit provided the real introduction to the talent of this little-known abstract expressionist from the west coast but who spent most of his life in New York. Exhibiting a beautiful gestural and lyrical style on paper and canvas, one could see how his early works from the late 50s and early 60s held their own alongside those of more well-known second generation New York painters of the same period such as Michael Goldberg, Norman Bluhm and others.

Hats off to fair organizers. A number of high profile galleries did not show up for the second edition and others were added. Like the complicated off-season moves of a professional sports franchise, one is never sure whether the resulting mix or chemistry will be right.  While the dreaded sophomore jinx loomed large over EXPO CHICAGO following its successful rookie season last year, it was successfully averted. Hopefully the fair continues to garner the support of gallerists and fans as it tries to establish itself and develop a solid identity in the all-important fair circuit.

  For more information on any of the artists or works mentioned “Just Google It”.

There you have it sportsfans,

  MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

Southampton - July 2013

Just back from Southampton and the second edition of the premier international contemporary and modern art fair in the Hamptons. Approximately 90 or so exhibitors served up a diverse collection of glitz, gloss and more traditional mediums in an attempt to tantalize Long Island’s nouveau riche and old money.  Taking in the surroundings and given the captive market, one could see how exhibitors would eagerly pack up their trailers and trek eastward to display their wares.

The bias of the offering seemed to lean towards recent contemporary, including lots of photography, and while representation of hard core top-billing AbExers was light, there was a good sprinkling of works by second generation abstract expressionists to round out the lineup.  It all came together nicely, and locals and summer vacationers were treated to an entertaining exhibit.

The showstopper was Andy Warhol’s “Flowers”, 1964, synthetic polymer and silkscreen ink on canvas (48 x 48 in.). As the world’s best selling artist, the King of Pop Art makes his presence felt at practically every fair. This work however stood out not only as the premier work of this fair, but was probably among the most impressive of his seen at any fair in a long time. It was one of the few in the original flower series that Warhol created using phosphorescent materials, and the vibrancy and richness of the colours have not yielded a bit even after fifty years. The flowers just exploded off the wall, and it was perhaps with the expectation that the bold colours were ideally suited for a Hamptons summer home that it surfaced at this fair. And if that wasn’t enough, the proud owner to be could boast that the work was among those exhibited by legendary dealer/gallerist Leo Castelli in his first show of Warhol works in 1964. The ask was $8 million.

Coming down to earth (and it took a while), one was able to treat oneself to the rest of the show. An eclectic mix of works on canvas, sculpture and photography were among fair highlights. Among these was Dan Christensen’s “Mother Hubbard”, 1980, acrylic on canvas (96 x 64 in.) which commanded a presence commensurate with its size and was a fantastic example of the artist’s colour field mastery. Jumping from abstraction to realism (or almost cartoon-like surrealism), Kelly Reemtsen’s “Mixed Signals” , 2013, oil on panel (44 x 44 in.), creatively juxtaposed stereotypes of quaint and menacing in her depiction of a headless well-dressed female figure holding an axe. The large-scale wall-mounted sculpture by the husband and wife team of Tim Berg and Rebekah Myers, “You Can’t Take It With You”, 2013, lacquered wood, presented a humorous take on the work’s title and was beautifully executed in an off-beat way by four progressively eaten creamsicles. In the photography category, an entire booth was dedicated to 1960’s portraits of famous people taken by Jerry Schatzberg.  Each was a stunning example of capturing the moment to perfection; none more than that of “Edie Sedgwick”, 1966, silver gelatin print (38.5 x 38.5 in.). Equally impressive was Bert Stern’s “Marilyn Monroe Portrait – Orange Crucifix”, 2011, archival photograph on sparkling canvas (50 x 50 in.). Stern was best remembered for having taken nudes of the iconic diva just weeks before her death. This particular image of that grouping was rejected by Marilyn Monroe. She expressed this by returning it to Stern with a crossed out X made with an orange marker. In a sense therefore the image results from a collaborative effort, making it that much more interesting and coveted.

  Finally, in local news, Jason Kidd, the newly appointed coach of the Brooklyn Nets, recently pleaded guilty to a misdemeanor drunken driving charge and was placed on interim probation nearly a year after he smashed into a utility pole not far from fair grounds. The hope was that in exchange for his guilty plea he would have put in some community service time during the fair, but he was nowhere to be seen. As the 10-time All-Star assumes his new leadership role, we hope that he demonstrates better overall judgment towards the public in general and his more immediate constituency. Brooklyn, after-all, is a county of Long Island.

  For more information on any of the artists or works mentioned and any update on the fate of Jason Kidd in his coaching debut, “Just Google It”.

There you have it sportsfans,

  MC Giggers

(www.mcgiggers.tumblr.com)

Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.

[mcgiggers]

New York - July 2013 (Bush Shatters Records)

Summer is by no means the peak auction period. It’s downright quiet. Thankfully this year Christie’s introduced its First Open: Summer Edition featuring Post-War and Contemporary Art. While blockbuster works by major American and European artists were not up for sale, some great works by very good artists were being offered, and the inaugural auction successfully bridged the long drought between the premier spring and fall events.  The main storyline of the auction, however, was the record breaking results achieved by Jack Bush. Notwithstanding the mid-summer timing, it’s not often that a Canadian artist headlines a New York auction, and Bush pulled it off with flare and style.

Christie’s sale of over 200-plus works featured four large scale oils on canvas from Bush’s coveted mid-60’s period; three of the four were stunning and one was very good. In particular, Lot #3 “Red Side Right” was featured on the auction catalog cover which was certain to draw attention to Canada’s most famous color field painter.

The Bush works were the first four lots up for sale. It quickly became apparent that the pre-sale estimates were a total smoke screen and did nothing more than prolong the bidding process (at least for the first three lots). “Pink and Orange” was first up, and it quickly blew through its estimated range of $25,000 to $35,000 to eventually land at a realized price of $387,750 (including buyer’s premium); lot # 2 “January Reds”  was estimated at $30,000 to $50,000 and settled at $219,750; lot #3 “Red Side Right”, estimated at the same, ended up at $603,750; and lot #4 “Pink Blossom”, estimated at $30,000 to $40,000, finished at $363,750. Three of the four lots broke the previous auction record for Jack Bush of Cdn$267,000 with “Red Side Right” eclipsing that mark by more than two times.

The collector interest and frenzy was intense. In addition to the prices realized, this was best evidenced in the bidding for lot #4. By the time “Pink Blossom” rolled around, the writing was on the wall with respect to the desirability of the work and a certain buyer felt compelled to swing for the fences. The bidding went something like this: “Let’s start this out at $22,000; I now have $24,000; it’s now at $26,000; I now have a bid for $300,000.” That strategy won the day and the prize.

All-in-all, beautiful works and fantastic results for a premier Canadian painter.

For more information on Jack Bush or any of the works mentioned, “Just Google It”.

There you have it sportsfans,

  MC Giggers

(www.mcgiggers.tumblr.com) Reporter’s Certification

I, MC Giggers, hereby certify that the views expressed in this report accurately reflect my personal views and that no part of my compensation was or will be, directly or indirectly, related to the specific views expressed herein.

I also certify that I may or may not own, directly or indirectly, works of artists mentioned in this report and that I may or may not have a strong bias for such artists and, more generally, for “Pictures of Nothing”.