108 en

AMA NEWSLETTER
108 27 June 2013
AUCTION SALE
Pablo PICASSO (Malaga, Spain 1881 - Mougins, 1973)
LE COMPOTIER, 1946
Oil, gouache and charcoal on paper laid down canvas
ANTIQUE & RENAISSANCE ART Signed upper left - 19.68 x 25.19 in.
WORKS OF ART AND BEAUTIFUL FURNITURE

FROM THE 17th –18th and 19th CENTURIES
MODERN AND CONTEMPORARY ART
02 July 2013 at 6pm

Hôtel Le Bristol, Salon Castellane
112 rue du Faubourg Saint-Honoré
75008 Paris - France
www.kohn.fr VIEWINGS:
MARC-ARTHUR KOHN SARL AUCTION HOUSE Hôtel Le Bristol, Salon Castellane
24 avenue Matignon - 75008 Paris - France
+33(0)1.44.18.73.00 - auction@kohn.fr 28 June to 1st July: 9:30am to 9pm
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AMA NEWSLETTER
108 27 June 2013
Data Focus on the London Art Market

Francesco Guardi
page 8
Following the end of Art Basel

Top stories and the first exciting weeks of the
page 14 Venice Biennale, London is set to
temporarily become the centre of
focus for the global art market.
Interview
Annual sales at Sotheby’s, Chris-
Arnet, strategy for the tie’s, Bonhams and Phillips prom-
future ise to turn collectors’ attention to-
page 22 wards the capital, whilst art fairs
such as Master Paintings Week
expect to attract hundreds of visi-
School & education tors each day.
page 22 Accompanying these events are
major exhibitions across the city’s
most prominent galleries, with
Museums
artist retrospectives — includ-
page 23 ing Lowry at Tate and Vermeer at
The National Gallery — displayed
alongside rich, permanent collec-
Galleries
tions. The Royal Academy’s “Summer Show” is the largest open-submis- Installation view of
page 26 sion exhibition in the world, and features over 1,000 works by both promi- Gallery I with Marilène
nent and emerging artists, all of which are available for sale. Oliver’s ‘Dreamcatcher’
(detail).
Artists But, whilst all eyes might be on London, will visitors to the city find an art Summer Exhibition
page 29 scene which is thriving? — and can the London market compete with the 2013.
recent, highly successful auction season in New York? Art Media Agency Photo: John Bodkin/
DawkinsColour.
examined the developments of the market, as well as the challenges it
© Royal Academy of
Auctions currently faces. Arts.
page 30
The Art Market
Interview
Despite a difficult economic climate, the art market continues to remain
SUMMA Art Fair, a new strong, with high-end sales relatively unaffected by the eurozone crisis
fair in Madrid and slowing economic growth in major market centres such as China.
Whilst pessimists have long predicted of a fall in sales — or market crash
page 32
— sales over the last four years have continually defied expectations. Chi-
nese demand may have weakened, but, except for a brief drop in auction
Fairs & festivals turnovers in 2009, high-quality works of art continue to rise in value.
page 36 Speaking to The New York Times following Christie’s most recent Impres-
This document is for the exclusive use of Art Media Agency’s clients. do not distribute. www.artmediaagency.com
AMA Newsletter 108 3 27 June 2013
Focus on the London Art Market
sionist & Modern sale, the president of Christie’s Europe, Jussi Pylkkänen, attested to the
market’s growth, citing new buyers from emerging markets including Asia, Russia and India
— “corners of the world we weren’t even touching five years ago.” And sales continue to at-
tract dealers with money to spend on the highest-quality works. In the same article, dealer
Daniella Luxembourg described the “‘endless appetite” for works, stating confidently that
“there’s money for art. There’s no doubt about it.”
The Evolution of the London Market

London has a long history as a major centre in the global art market. During the first half
of the 19th century, the French Revolution and the ensuing Napoleonic Wars resulted in a
significant redistribution of artworks. At the same time, the Papacy’s loss of power compro-
mised export laws, causing a large number of paintings — and sometimes entire collections
— to be dispersed at auctions across Europe. Contemporary scholars believe that London
emerged as a centre of international art trade at the beginning of the 20th century. The city
replaced Paris as the centre of the art world, a status that was confirmed when prominent
French collections such as the Orléans were moved to the British capital. London’s status
as a hub for contemporary art was cemented from the early 1900s, with the establishment
of grand spaces such as the Fine Art Society and the development of British Modernism in
major art centres, including Bloomsbury and Chelsea. This brief period of prosperity, how-
ever, was followed by the dramatic collapse of the market during the first and second world
wars. In 1923, fewer than 10% of exhibition art works found buyers, and a large number of
galleries were converted into cinemas and jazz clubs.
In the 1950s, London’s quiet market was mainly dealer-
lead. Peter Wilson, an auctioneer and chairman at Sothe-
by’s, sought to change this and to re-establish the Lon-
don-based auction house as a major centre for art trade. In
1956, Wilson revolutionsed art auctions by doing some-
thing which had never been done before, offering a guar-
antee of sale to the vendor of Nicolas Poussin’s Adoration
of the Magi (1633). By 1958, Wilson’s unique approach to
trade had resulted in some of the strongest sales the auc-
tion house had ever witnessed. A now legendary auction of
seven impressionist paintings raised over $2m, with each
of the works having found buyers in under 21 minutes (at
the frantic pace of a sale approximately every three min-
utes). The same auction established a new record price for
a painting sold at auction, with Cezanne’s Garçon au Gilet
Rouge (1888-89) selling for $616,000 — a sale that was
met by Wilson’s famous question, “Will nobody offer any
more?”
Contemporary Market Developments

Since Wilson’s revolution, London has remained an im-
portant centre of international art, though it is in constant
competition with other major markets in New York, Paris,
China, Russia, and significant emerging markets in the Middle East. During the last five years,
the city has been noticeably absent from lists of record auction sales, which have predomi-
nantly taken place in New York and Beijing. The last record sale in the capital was in 2008,
when Claude Monet’s Le Bassin aux Nymphéas (1919) was sold for £40.9m. Yet the capital
remains a tactical location for many private galleries, and recent years have seen an influx Peter Wilson
of American institutions, with four new branches of David Zwirner, Pace, Skarstedt and Wer- Copyright: © Henry Grant Collec-
ner, opening in the capital in 2012. The expansion of existing London galleries followed tion/Museum of London
the arrival of major American institutions, with the long-established Marlborough Fine Art
opening a new gallery on the second floor of its Mayfair building. At the time, the gallery’s
director Andrew Renton stated that “it confirms where we are as the central location in the
world for contemporary and modern art. London has had a dynamic art scene for 20 years,
but not necessarily a dynamic art market. Now we’ve got both.”
The sudden growth of the city’s gallery scene was attributed to the city’s high concentra-
tion of major international and non-domicile collectors. In 2012, a third of London’s 5,995
inhabitants who had a net worth of more than $30m were non-doms. Commenting on the
development in a 2012 article in The Guardian, Judd Tully of the Art+Auction magazine
stated: “Essentially, what the richer galleries are doing is establishing new beachheads in
London to find new collectors from Russia, Asia and the Middle East who are more comfort-
able there than in New York.”
London at Auction
Despite this brief period of London-centric development, New York has so far emerged as
the dominant force in the 2013 auction seasons. This year’s spring auctions shattered previ-
ous sale records, with Christie’s Post War & Contemporary sale raising a total of $495m —
Amedeo Modigliani
(1884-1920)
Paul Guillaume
Painted in 1916
image courtesy of Christie’s
London
the highest total ever to have been achieved in the history of art auctions.
Impressionist and Modern auctions held in May built upon this success: a sale of works by
Picasso, Rodin and Monet saw 85% of its 71 lots sold, and raised a total of $235m — just
under its high pre-sale estimate. London’s June 2013 auctions have got off to a rockier
start, with several commentators doubting the quality of the lots available, and expressing
concern over a selection that has relatively low pre-sale estimates. An article published in
The Independent on 8 June stated that the success of the city’s auctions would be heavily
dependent on the presence of “über collectors” from Russia and the Middle East. New York
Times journalist Carol Vogel complained that none of the London lots came near the $58.4m
paid at the May sale at Christie’s New York for Jackson Pollock‘s Number 19 (1948), stating
that the London season looked “healthy, but might not blast record books.”
A shortage of works?
In the same New York Times article, Vogel complained that works in London’s June sales gave
the impression of having been “cobbled together.”
Acquiring the highest quality paintings and sculptures is a constant challenge for both
Christie’s and Sotheby’s, with the very best works held in museums of private collections,
where collectors — uncertain about financial markets — are holding on to them as impor-
tant investments. London’s major auction houses appear to have adapted to the problem,
offering a selection of sales focused on precious objects and collectibles.
As well as offering sales in Post War & Contemporary Art, Old Masters and Modern Art, Chris-
tie’s is to hold a sale featuring Rock and Roll Memorabilia, Elizabeth Taylor’s first wedding
dress, and a watch originally featured in a James Bond film. Sotheby’s has similar inter-
spersed fine art auctions, with the sales of precious objects. An auction titled ‘Treasures,
princely tastes” is to feature objects dating from the Renaissance to the 20th century. As
the number of high quality works in the Impressionist and Modern categories continues to
dwindle, both Sotheby’s and Christie’s have enlisted the help of the Nahmad family — a
renowned dynasty of collectors with spaces in New York and London — to help fill their
sales. This has been a controversial move for both of the auction houses: the family has
been in the news since April, when federal prosecutors pressed charges against Hillel (Helly)
Nahmad, believing him to be a leading member of an international gambling and money
laundering operation.
A breakdown of June and July sales

London auctions continue to be lead by the city’s two largest hous-
es, Sotheby’s and Chrisite’s, with the latter offering the largest and
most significant sales of the summer auction season.
Christie’s
At Christie’s, estimated sales of $388m are significantly lower than
last year’s sales, which were just under $600m. The auction house
has made a promising — if not astounding — start to the auction
season, following sales in the Impressionist and Modern category
which began on 18 June. A total of £89,341,713 / $139,981,526/
€104,713,989 was achieved, with the sale having had an original
estimated turnover of $82.8 – $118.8m. A total of 44 lots were
available, 7 of which failed to find buyers.
The highlight of the sale was Kandinsky’s Studie ze Improvisation
3 (1909), which was purchased at Christie’s for £13,501,875/
$21,157,438 /€15,851,201 (estimate: £12m-£16m). In 2008, the
same work was bought for $16.8m in a New York auction. Other
notable sales include Modigliani’s portrait of art dealer Paul Guil-
laume (1916), sold to the Hammer Galleries, New York, for $10.6m
(estimated at $10.6m), and Picasso’s Femme Assise dans un Fauteuil,
a portrait of the artist’s wife, sold at $9.5m — exceeding it’s highest estimate of $9m. Le baiser, 4ème réduction ou petit modèle
Forthcoming sales include: Post War and Contemporary, 25 & 26 June (day sale); Pop Cul- Auguste Rodin
Conceived in 1886 (and in this reduced
ture, 26 June; Old Master and British Drawings and Watercolours, 2 July; Old Master and size in 1898), this bronze version cast
British Paintings, 3 & 5 July; Old Master and British Paintings, 5 July; Modern British Art, 10 between 1905 and 1910
& 11 July; Modern British and Irish Art, 11 July; Important Victorian and British Impressionist Image courtesy of Bonham’s London
Art, 11 July; First Impression Prints and Multiples, 16 July.
Sotheby’s
Sotheby’s opened its London summer season with an evening sale of Impressionist & Mod-
ern works, which raised a total of £105,939,000 ($165,932,256 or €123,789,394) – surpass-
ing the highest pre-sale estimate. Participating bidders represented more than 30 countries,
with the highest number of bidders participating in the Exceptional Estate Collections sale.
A large number of buyers participated in the auction either online or by telephone, and a
record number of bidders were based in Asia.
The highest-selling lot was Monet’s Le Palais Contarini, which was sold at £19.7m ($19.7m
or €22.9m). Other highlights included Mondrian’s Composition with Red, Yellow and Blue
(1927) which was sold for £9,266,500/ $14,514,119 (est. £4.5m-£6.5m), a price which re-
flects the rarity of such distinct works by the Dutch artist. 81.7% of the works were sold by
lot. Helena Newman, the chairman of Sotheby’s Impressionist & Modern Art Department
– Europe, commented that “there was an extraordinary dynamic at play in the sale room.
Established collectors — drawn out by the quality of the estate collections presented in
the sale — competed with many of the new contenders in today’s market.” Major forthcom-
ing sales at the auction house include: Contemporary Art, 26 June (evening), 27 June (day);
European Sculpture, 2 July; Old Masters and British Drawings, 3 July; “Treasures, Princely
Taste,” 3 July; Old Master and British Painting, 3 July (evening), 4 July (day).
Monet
Le Palais Contarini Bonhams and Phillips
Bonhams London sale of Impressionist and Modern works was held on 18 June, and fol-
lowed early season sales of British and European Pictures, along with Islamic and Indian
Art. The Impressionist and Modern sale raised a total of £1,169,975. A total of 40 lots were
sold, 10 of which failed to find buyers or were omit-
ted from sale. The highest selling work was Le Baiser
4ème by Auguste Rodin (1840-1917), which was sold
for £175,250/€206,516/$271,238.
Forthcoming auctions for the London summer sea-
son include: Contemporary Art and Design, 27 June;
Old Master Painting, 3 July; 19th-Century Paintings,
10 July; Period Design, 16 July; and Prints, 16 July.
Phillips has remained the smallest of the four auction
houses, with only two forthcoming sales in Contem-
porary Art on 27 June (evening) and 28 June (day).
London Art Fairs

London’s prominent June/ July auction season is ac-
companied by a number of significant art fairs, which
further attract collectors, dealers and art enthusiasts
to the capital.
The 41st Olympia Art and Antiques Fair and Art An-
tiques London
The 41st edition of Olympia Art and Antiques Fair ran
in the capital between 6 – 16 June, and featured ex-
hibits by around 200 dealers.
It markets itself as the most prominent of all London
art fairs, attracting approximately 35,000 visitors over
the course of its 11-day run. Held alongside Olym-
pia — though not associated with the event — the
4th edition of Art Antiques London ran between 12
– 19 June, and gathered 62 galleries and dealers.
Commenting on the fair in The Art Newspaper, Anna
Somers-Cocks stated that Art Antiques London, “un-
like most other fairs today… is an encounter between
people who really want to talk art and handle objects
knowledgeably.” Objects on sale were priced be-
tween £550 – £80,000.
Master Paintings Week

Now in its fifth year, Master Paintings Week runs from 28 June – 5 July, and brings together
fine art from twenty leading galleries, as well as auction houses Sotheby’s, Bonhams and
Christie’s. Each of the participating galleries stages an exhibit or event created specifical-
ly for the event, and a large focus is placed on the display of newly
discovered or rediscovered works. Significant pieces to be unveiled
during the 2013 edition of the fair include Barbieri’s The Expulsion of
the Moneychangers (1591-1666), which is shown by newcomers Coll
& Cortés Fine Art. Cesari Lampronti Art Broker Finance Ltd. is to host
a special exhibition devoted to rarely exhibited works by Dutch land-
scape painter Gaspar van Wittel (1653-1736), whilst Colnaghi will ex-
hibit Willem Bartsuis’s Samson and Delilah (c.1612). Rafael Valls Ltd.
is to present “Master Paintings on a Budget,” an innovative exhibition
of 17th-century paintings priced at under £40,000 — including works
by Gerard van Honthorst — designed to attract young, new collectors.
Major auctions at Bonhams on 3 July, Christie’s King Street on 2 and 3
July, and Sotheby’s on 3 and 4 July are hosted in association with the
fair and will feature works including The Molo, Venice, from the Bacino
di San Marco by Giovanni Antonio Canaletto (1697-1768), estimated
at £4m-£6m (Christie’s), and Halte de Chasse by Jean-Baptiste Pater
(1695-1753), estimate not given (Bonham’s). Sotheby’s Old Master &
British Paintings Sale on 3 July is to offer 141 works from the collec-
tion of Dr Gustav Rau, with proceeds from the sale going to UNICEF
Germany. The event runs alongside Master Drawing and Sculpture
Week, a fair now in its thirteenth year which runs from 28 June to 5
July. This is the first year the fair is incorporated into the first “Lon-
don Art Week,” which aims to combine Master Drawing and Sculpture
Week with Master Paintings Week on a single, coherent platform. More
than 50 specialists are to display a diverse range of works dating from
the 15th century to the 20th century.
A dynamic market
Whilst the city might not have been the centre of the most prominent recent sales, London’s
important position in the global art market is indisputable. Public institutions across the
capital boast some of the finest collections of works worldwide, fostered by a strong culture
of patronage and government support for the arts.
Though the financial crisis may have resulted in some potentially hazardous cuts to arts
funding, major institutions in the capital tend to maintain a policy of free entry, promoting
an artistic culture which is accessible and inclusive.Private galleries dominate the streets
of Mayfair, with institutions such as David Zwirner, Gagosian and Lisson mounting regular
exhibitions of works by leading contemporary artists. Whilst 2012 saw the closure of seven
of the Cork Street galleries, it also saw significant new openings, with many galleries recog-
nising the city as an important centre for international collectors from Russia and the Middle
East.
The results of this year’s auction season remain to be seen but, for the moment, all eyes in Image courtesy of
the art world are turned towards London.  Olympia Art Fair London
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AMA Newsletter 108 8 27 JunE 2013
Francesco Guardi… Art Analytics
Born in 1712, to a family of artists belon-

ging to the Venetian aristocracy, Frances-
co Guardi was strongly influenced by his
home environment: his father Domenico
was a painter, as were all of his brothers.
After the death of his father, Francesco was
taken in by his brother Gianantonio, who
taught him his craft in the family workshop,
and Francesco continued to live alongside
his brother during his formative years. He
long remained in the shadow of his brother.
Until the age of 50, Guardi produced genre

scenes, mostly religious, which were very
much in accordance with the styles and
standards of his time. He painted his first
Venetian landscape around 1755, just as
Canaletto was coming back from London
– a moment which marked the beginning of the most significant period
ofthe artist’s career. Guardi’s works depict the city’s famous sights, inclu- Vue du pont de Doges en direction de la
Chiesa della Salute,
ding the Piazza San Marco, the Grand Canal, the Punta della Dogana and Francesco Guardi
the Lagoon. They proved popular with members of the aristocracy who circa 1780 ©
travelled round Europe, who would frequently purchase miniatures de-
picting Venice – a city which had become an essential component of their
tours of the continent.
Guardi painted a vast number of Venetian scenes, and, whilst his work
would frequently present the same views selected by Canaletto, a distinct
‘sfumato’ style allowed his works to be easily distinguished from the lat-
ter’s descriptive, detailed style. Yet demand for Guardi’s works diminished
as Venice’s popularity dwindled, preventing the artist from either making a
living from his works or becoming famous. He joined the Academy of Fine
Arts in Venice on 12 September 1784 and died in poverty in 1793.
Gallery 58.1 United States 66.5

Average exhibition duration per
venue type in number of days
Average exhibition duration per

Museum 104.2 Italy 113.5 country in number of days
0 40 80 120 0 40 80 120
Ce document est à l’usage exclusif des clients d’Art Media Agency. Ne pas distribuer. www.artmediaagency.com

Veduta painting has now regained admirers, after a period of oblivion,
and Guardi is frequently compared to Canaletto or hailed as his suc-
cessor. An exhibition recently held at the Musée Jacquemart-André
inParis, featuring work by the two artists, sought to emphasise a link
between them. Some have speculated that Guardi was Canaletto’s stu-
dent, as Guardi’s works appear to have been visibly inspired by Cana-
letto’s.Yet, of all his contemporaries, it was Guardi who sought to put
the greatest distance between himself and Canaletto. Studies of the
artist’s work have concluded that Guardi’s paintings are the result of
independent production.
Guardi abandoned the strict, regulated style developed by Canaletto,

developing a more subtle approach which placed an importance on
freedom and vivacity. Unlike Canaletto, Guardi did not idealise the
city and was not afraid of depicting Venice in a state of decline. Going
against the concepts of Neo-Classicism, the predominant style of the
period, Guardi’s work captured delicate effects of light, and is now
seen as an important precursor of Impressionism.
Number of exhibition per type of venue
0
2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012
group shows solo shows
The United States and Italy host the greatest number of exhibitions ded-
icated to Guardi, followed by the United Kingdom and Germany.Institu-
tions tend to display his works alongside paintings by hispredecessor
Canaletto, as well as pieces by Giovanni Battista Tiepolo.Landscapes by
Guardi are present in several major international museums, including the
National Gallery of Victoria, Melbourne, the Musée du Louvre in Paris, the
Kunsthaus Zürich, the National Gallery in Cardiff, the Museum of Fine Arts
in Boston and the Detroit Institute of Arts. In 2012, the Correre Museum in
Venice devoted a major solo show to the artist.
9%
19%
32%
Repartition per type of exhibition 50%
Repartition per type of venue

81% 18%
91%
Repartition per country
group shows solo shows gallery museum United States Italy others
Though Guardi was originally from Venice, and the majority of his work
depict views of the city – and especially its lagoon – the United States
accounts for half of all exhibitions devoted to the artist.
Guardi has been the subject of numerous articles, and the number of texts
written on him continues to rise. An increase in the popularity of Veduta
paintings in the 2000s saw the artist feature in an increased number of
exhibitions, which further contributed to this rise in literature. Since 2010,
the artist has been the subject of a significant number of articles: the num-
ber of texts published on his works continues to exceed 100 each year.
Evolution of the number

of articles published on Francesco Guardi
150
75
0
1988 1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
Guardi has achieved an international renown, which has resulted in the

multi-lingual publication of articles on his works and exhibitions. His can-
vases are accessible and are popular with the wider public, and have been
featured in several newspapers and magazines globally.
Repartition per number of articles per language Top publications
21% Corriere della Sera 36

34%
The New York Times 34
14%
La Repubblica 28
31%
0 20 40
Italian English
German other

Works by the artist which have been sold at auction have made a total of
$134,534,653, which represents around 300 lots. The average price for a
work by the artist is slightly less than $450,000.
On 6 July 2011, at Sotheby’s London, A View of the Rialto Bridge, looking

North, from the Fondamenta del Carbon (1760) was sold for £26,697,250
(€29,834,146), establishing a record for a Venetian painting and the artist.
This result broke a previous record established for a view of the Grand Ca-
nal by Canaletto. These sale prices are exceptionally high, due to the size of
Guardi’s works.
Evolution of the number
Whilst the artist is famous for his paintings in medium formats – much smaller of lots
than those produced by Canaletto, A View of the Rialto, is uncharacteristically
large at 1.15 x 2m. Other works which have featured in sales include View of Evolution of the revenue
The Villa Loredan at Paese (46.5cm x 76.4cm), sold for $7.3m at Sotheby’s
New York on 25 January 2007, and The Grand Canal, Venice, with the Palazzo Evolution of the average
Bembo (46.5cm x 76.5cm), sold at Christie’s London for £6.8m on July 2005. value of lots
40
20
0
1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
$50m
$25m
$0m
1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
$4m
$2m
$0m
1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012

Before the 2011 sale of Guardi’s View of the Rialto, Canaletto’s The Grand Canal
seen from Rialto had been the highest selling Veduta work at €23m. Speaking to
Le Monde, Olivier Lefeuvre, of Christie’s, explainedthe popularity of two pieces,
stating ‘The cost of these artists, much copied, remains strong for fine examples
of their works’. Competition for works by the two painters is significant.
Whilst 25% of lots sold are drawings, this medium represents only a tiny part of
the total turnover; the average price for Guardi’s paintings is around $574,000,
whilst for drawings it is only $72,000.
Throughout his career, Francesco Guardi produced a number of paintings and

drawings that are difficult to date, which explains the absence of a correlation
between the year of a work’s creation and its price. For thirty years, Guardi pro- Repartition per medium of the number
duced a significantly higher number of works than Canaletto, but was not as of lots presented as well as revenue
successful as his peer at the time. In fact, Guardi found himself producing works
during a period when English travellers had lost interest in the genre of paintings Repartition per country of the number
he produced, and the magic of Venice had begun to fade. of lots presented as well as revenue
4% 15% 8%
25%
33%
11% 23%
11% 67%
75%
96% 29%
Drawing Painting United Kingdom United States France

Italy others
Sales of Guardi’s works have been held internationally, though the majori-
ty of sales have taken place in the United Kingdom, France and the United
States: sales in US, France and the UK account for 98% of all lots present on
the market, whilst Italy has hosted only 11% of all sales dedicated to the Repartition per auction house of the
artist. The relatively low number of lots available at Italian auction houses number of lots presented at auction as
can be explained by the price of the artist’s paintings, their dates, and the well as revenue
dominant force of auction houses in English-speaking countries, who hold
the majority of Guardi’s most important sales. Unsold ratio
9%
32% 32%
37%
32%
59%
68%
30%
Sotheby’s Christie’s others sold unsold

Guardi’s works have recently seen an increased level of interest from
buyers. His works lacked popularity at the beginning of the 19th cen-
tury, that, at an exhibition, one of his finest pieces Il Ridotto di palazzo
Dandolo a San Moisè was downgraded and attributed to Longhi.
It was not until the end of the 20th century that his works gained rec-
ognition. French celebrities such as Gautier, the Goncourt brothers
and Charles Yriarte (1833-1898) played an important role in increas-
ing the artist’s popularity. Comparing Guardi to Canaletto, the latter
wrote : “The former is only warmth and spirit whilst the second makes
eyes freeze over with his cold mise en scène “. Evolution of the unsold ratio
100%
75%
50%
25%
0%
1990 1992 1994 1996 1998 2000 2002 2004 2006 2008 2010 2012
sold unsold
Auction results from Artprice.com
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The Conseil des Ventes Volontaires (CVV, of France – a measure which aims to pre- financial circuits). But I had no idea this would
Voluntary Sales Council) has announced vent money laundering. Three forthcoming happen, as the French customs department
that it is to suspend the operations of auc- sales which had been scheduled to be held gave us a receipt.”
tion house SVV Gros & Delettrez for fifteen at the auction house have been postponed The CVV was created in 2000 and has been
days. This decision follows the acceptance to autumn. Lawyer Henri Gros maintains that the public auction sale regulation authority
of a €200,000 cash-payment from a Chinese the sum was “declared to the French cus- since the enforcement of a law on 20 July
buyer during a 2011 sale, via lawyer Henri toms department.” In a statement released 2011. It is a body which seeks to work in the
Gros. Gros is now facing a 2-month suspen- by the AFP, he explained: “they are accusing public interest, and which aims to ensure
sion. French legislation does not allow cash me of not having declared this transaction to that French legislation is respected. The CVV
payment for amounts exceeding €15,000 in Tracfin (a French department for information is also endowed with a disciplinary authority
cases where buyers are not fiscal residents management and actions against fraudulent over the operators of voluntary sales.
lawsuits… controversy...
Complaint lodged against artist Christopher Wool UK’s Ed Vaizey blocks Raphael purchase by New York billionaire Leon Black
A complaint has been lodged against artist Chris- UK’s Minister for Arts, Ed Vaizey, has placed a temporary export ban on Head
topher Wool and his gallery Luhring Augustine, by of a Young Apostle (c.1520), a drawing by Raphael, sold to New-York based
publishing company Brand X Editions. Leon Black during an auction at Sotheby’s London in December.
The latter has accused the artist of not respect- The work was part of the Duke of Devonshire’s collection at Chatsworth
ing an agreement, made by email, regarding the House, Derbyshire, since the 1700s.
exchange of engravings for their corresponding Vaizey hopes to keep the work in a UK-based collection, and has stated: “I
prints. The agreement had stated that the publish- hope that placing a temporary export ban on the Raphael will allow time for
ing company would create prints of 60 of the art- a UK buyer to come forward and secure this magnificent example of Rapha-
ist’s engravings, 20 of which Wool would then offer el’s work for the nation.”
in payment. Rather than leaving the works with the The export ban currently runs until 3 July, but could be extended to January
gallery, however, Christopher Wool and his gallery 2014 if a museum or institution is able to raise the required sum.
instead offered to pay Brand X Editions for the en- Black purchased the drawing for £29m, three times its original estimate,
tire series, realising that the high quality of the setting a new record for the sale of a work on paper. The billionaire is the
prints might result founder of private-equity group Apollo Global Management and has an ex-
in high future sales prices. In response to the re- isting art collection with an estimated value of $750m, including a drawing
versal of this decision, Brand X Editions has ended by Raphael and works by Picasso and Van Gogh. When questioned about the
the production of the prints at 34, which Wool is export ban at this year’s Art Basel, Black refused to comment.
refusing to collect. Vaizey is hopeful that a buyer will come forward, citing a previous case in
Christopher Wool and his gallery Luhring augustine which Manet’s Mademoiselle Claus, also at risk of leaving the UK, was pur-
are now facing a demand for compensation of £6m chased by Oxford’s Ashmolean Museum for £7.8m.
dollars.
Picasso work restrained in the US
Heatherwick in design controversy The United State’s department of justice has announced that it is restrain-
Thomas Heatherwick has come forward to defend ing a work by Picasso, entitled Compotier et tasse, following a request from
claims that his London Olympic ‘Cauldron’ had Italy. Estimated at approximately $11.5m, the restraint of the work follows
been copied from a design for a pavilion, present- an investigation by the U.S Immigration and Customs Enforcement’s (ICE)
ed by New York practice Atopia in 2008. Homeland Security Investigations (HSI).
Responding to accusations, Heatherwick stated: The painting belongs to Gabriella Amati who, with her husband Angelo Maj,
“It’s absolute rubbish, complete and utter spurious is accused of tax embezzlement and the orchestration of various fiscal fraud
nonsense. To design the cauldron was an oppor- schemes. The painting’s restraint follows a legal proceeding which took
tunity of a lifetime. Someone like me would never place in Italy. The painting had been located in New York when it had been
fritter away that chance by not using it for my pas- offered for sale in a private transaction.
sion – which is to develop new ideas” The restraint of the work renders any attempt to sell or move the work inval-
Commissioned by Locog, Heatherwick’s cauldron id, and gives the Italian state the opportunity to recuperate a portion of the
consisted of a series of copper petals, fixed to $44m accrued by the couple via fraudulent activity.
long stems, which sat at the centre of the Olympic The procedure takes place as part of a contract which exists between Italy
Arena. Atopia claim that the project bore a striking and the United States, which sees both of the countries agree to offer one
resemblance to their idea for the ‘One Planet Pavil- another legal assistance in criminal investigations in which there is a mutual
ion’, echoing both its sculptural form and narrative interest.
sequence. The HSI is a branch of police which plays a special role in the importation
Heatherwick maintains that the cauldron was his and circulation of cultural goods, and especially focuses its work on the il-
own, unique design, citing an earlier project he cre- legal trafficking of goods. The body works in conjunction with 48 countries
ated in 1993 as one of his sources of inspiration. internationally.
nominations… french fiscality...

Sir Nicholas Serota honoured for arts support Call for a global agreement on resale rights
Sir Nicholas Serota, has been made a Companion of Honour in The International Confederation of Societies of Authors and
the Queen’s birthday honours, in recognition of his support for Composers (CISAC) took used the 4th World Creators Summit
modern art and state arts funding. as an opportunity to ask the World Intellectual Property Orga-
Serota, who is 67 years old, presided over the launch of Tate nization (WIPO) to make a law regarding resale rights an essen-
Modern, and is currently the director of Tate Modern, Tate Brit- tial matter for discussion at the Bern Convention.
ain, and Tate outposts in St.Ives and Liverpool. The right enables artists to benefit from the resale of their
On Friday 14 June, he welcomed a Treasury settlement, released original artworks, as long as they are performed via the inter-
before the June spending review, which suggested that arts and mediary of an art market professional.
cultural bodies are to be subjected to smaller cuts than many Today, the law is enforced in about sixty countries. Each of the
had feared. member States of the European Union recognise these rights,
Tate Modern welcomed 5.3m visitors last year, making it the presented through differing applications, thanks to the flex-
world’s most popular museum of contemporary art. Under Se- ibility offered by the European Directive 2001/84/EC of 27
rota’s direction, the Tate has developed a considered and high- September 2001.
ly effective funding mechanism combining state funding with
Outcry over increase in importation VAT
commercial sponsorship and individual philanthropy, though
As of 1 January 2014, in France, the importation of artworks
government grants account for 40% of its income. Comment-
will see a rise in VAT from 7% to 10%, while the rate was set
ing on arts funding in The Financial Times, Serota stated “Arts
at only 5% in January 2012.
organisations have become incredibly entrepreneurial over the
In response to the unexpected increase, several prominent
past 20 years,”
members of the art market have joined to submit a White Pa-
Sir Nicholas Serota studied Art History at the University of Cam- per on the issue to the budget and culture ministers, as well
bridge, after which he began his career as director of Oxford’s as senators and members of parliament.
Museum of Modern Art in the mid 1970s. The White Paper presents an analysis by Clare McAndrew
He became director of London’s Whitechapel Gallery in 1976. (economist and art market specialist), commissioned by the
He is known for his support of new practice in modern art, over- French National Union of Auction Houses (Symev), the Art
seeing the launch of Tate’s ‘Tanks’ – dedicated to film, installa- Galleries Professional Committee, the National Union of An-
tion and performance art – in 2012. tique Dealers (SNA), gallery owner Franck Prazan, and the
president of Sotheby’s France, Guillaume Cerutti.
Henri Loyrette named new president of Admical As far as these parties are concerned, the increase in VAT is to
Admical’s assembly general announced the election of two new hinder the French art market for two reasons. Firstly,
members to its administrative council on 24 June 2013: Henri it will lead to a reduction in interest in France as a commer-
Loyrette, state councillor and former President Director of the cial centre; in the UK, for example, the tax for the importation
Louvre, and Arnaud de Ménibus, the founding president of the of art works is at a considerably lower rate of 5%.
Entreprendre et + foundation. Of the two newly-elected mem- Secondly, the money gained in VAT is not recoverable, being
bers, Henri Loyrette was selected as the new president of Admi- in fact similar to customs duties.
cal, and is to take up the role from 1 October 2013. The government hopes the increase will allow it to expand its
Loyrette and Ménibus join the administrative council following tax revenues.
a suggestion made by Oliver Tcherniak, the current president of The official report, however, draws attention to the fact that
Admical, and François Debiesse. any profit gained frol the moved will be little in comparison
Admical is a non-profit association which, for over 30 years, to the negative affect which such an increase will have on the
has worked to promote and enable corporate philanthrophy in vigour and vitality of the French art market.
France. The association represents sponsors, public sectors and
international bodies. art & finance...
Art named fourth ‘most favourable’ investment for the su-
dismantling.... per-rich
The 2013 World Wealth Report, composed by CapGemini and
Major German forgery ring intercepted
RBC, offers an insight into the spending habits of some of the
Police in Germany have broken up a multi-million-euro inter-
world’s richest individuals.
national forgery ring, believed to have produced and sold more
The report is centred on the world’s population of wealthy in-
than 400 fake paintings as ‘previously unknown works’ attribut- dividuals, who are able to invest sums amounting to $1m or
ed to artists including Kandinsky, Kazimir Malevich, Natalia more. There are approximately 12 million of these individuals
Goncharova and Mikhail Larionov. worldwide, and the total investible wealth of the population is
The group is thought to have been lead by six leaders hailing currently estimated at approximately $46.200bn.
from countries including Russia, Israel, Germany and Tunisia. The report lists jewellery, precious stones and watches as the
Two suspects were arrested at the homes in Wiesbaden, West favoured investments for these individuals, accounting for
Germany, at the beginning of last week, whilst searches of busi- 31.6% of all total investments.
nesses, homes and art galleries were carried out in at least six This is followed by luxury collectors objects – a category pre-
German cities, as well as Israel and Switzerland. dominantly consisting of vehicles, boats and jets – at 19%.
The ring has been in operation since 2005, during which time Collectable objects including coins, wines and antiques, ac-
they sold forged artworks to customers in Germany and Spain. count for 24.4% of investments, followed by art, which ac-
The investigation by German police was launched last year, fol- counts for 16.9% of the total figure.
lowing a tip-off from a source in Israel. Details of the report show that, whilst investment in Art in
The operation is thought to have raised more than 2 million eu- North America is at 19.1%, the figure is considerably lower at
ros – or 2.7 million dollars – over the last two years. 12.2% in Japan.
Interview…
2012, 2013 and the future of Artnet
2012 was a tough year for Artnet with difficult results, a new CEO and manage-
ment for the company, a takeover attempt, bad publicity, a very delicate AGM
followed by a law suit, as well as the closure of Artnet magazine and the Paris
branch. Art Media Agency talked with Artnet’s CEO, Jacob Pabst to get his point
of view on the event’s of the past year, and to hear about his strategy for the
future.
Art Media Agency (AMA): You’ve grown up with Artnet, and have both witnessed and
participated in all of its developments. Could you give us a history of the company?
How have you seen the art market evolve during over the course of your career?
Jacob Pabst (JP): Well my father, Hans Neuendorf, co-founded the company, so in some
ways I was involved very early on, even before I actually joined artnet. The company was
founded in 1989, and, at that time, the Internet didn’t exist — everything was done of-
fline, and information from auction houses was only available in printed catalogues.
The basic idea of Artnet was to bring transparency to the art world, which we did by taking
that data — from all the auction houses — and entering it into a single database. People
could then subscribe to this, and the auction results would be sent out to them via fax
machine. Of course, we had a lot of problems with this because of different time zones:
sometimes we’d send out results at a reasonable time in the US, only for them to arrive
in the middle of the night in Asia. There are better things than being woken up by a fax
machine in the middle of the night!
The business started in New York, in an apartment on the Upper East Side. Initially there
were just a couple of interns and two managers. The company grew rapidly, and soon
moved to an office on 57th Street by Madison Avenue. In 1995, the company went on- © Artnet
photographer credit
line and, for a small fee, people were able to browse the data. At the same time, Artnet Rita Maria Salpietro
launched an online art magazine — the first online art magazine in the world — and we
Interview…
also launched ‘The Online Gallery Network’, a platform which allows galleries to reach collec-
tors internationally. It gives galleries exposure to a worldwide audience at a low cost — much
cheaper than going to an art fair, or printing a catalogue for example.
In 1999, the company went public on the German stock exchange. The choice of country was
basically a coincidence; we were contacted by someone who was interested in the business,
and then it all happened very fast. At the time — in 1997/98 — there was a big economic
boom in Germany, which saw the development of lots of “new economy” companies.
The same year Artnet went public, the German stock market crashed. A lot of companies went
bankrupt, disappeared, and were never heard of again. All of a sudden, people were very
sceptical about new economy business models — everyone withdrew their money and share
prices completely crashed. Artnet’s stock price suffered as well, but the company was one of
the few to survive this crisis.
AMA: When did Artnet begin holding auctions?
JP: One of the conditions from the consignment banks for us to go public in Germany was to
start online auctions. They felt that the real potential of the company was in online auctions.
They believed that online auctions would increase the value of the company, and Artnet
spent half a year developing the tools and resources to launch online auctions.
We were too early. The market was not ready for it, and people were not yet comfortable
about buying art online. Sotheby’s tried it as well and had the same problems, so both of us
stopped doing auctions online. Five years ago, we started online auctions again. Times have
changed since last time, and the online portion of the art market has grown significantly.
The Internet has become a much more broadly accepted place for art businesses, and its par-
ticipants feel very comfortable buying art online now.
© Artnet
photographer credit
Rita Maria Salpietro
Interview…
AMA: How have you seen the art market evolve in general over the past twenty years?
JP: Well the art market consists of several different markets The contemporary market
for example is doing extraordinarily well, whereas other areas have seen modest growth,
and sometimes no growth at all. In general there’s a lot of demand for big brands, and big
names — higher value items by popular artists such as Gerhard Richter or Andy Warhol
for example. At the same time, some other artists don’t receive the same attention and a
big portion of the market and its participants are affected negatively by that. The big play-
ers are doing very well, but the smaller galleries and auction houses are often struggling.
The online side of the market is very interesting, and has begun to develop very quickly.
It’s partly a question of generational attitudes: people growing up today are more used to
being online, doing things online, and buying luxury goods online.
AMA: How would you describe what happened last year?
JP: Last year was a challenging but also exciting year for Artnet. Almost all departments un-
derwent restructing, and by doing that were able to lay the foundation for future growth.
The management changed and I became CEO. In an effort to cut costs and arrive at a more
streamlined business model, I closed the magazine and closed the Paris office. That really
gave us the opportunity to focus on our core products: the Price Database (including Ana-
lytics), the online auctions and the gallery network. We also started working on the new
Artnet website, which will include a new design, new search technology and lots of new
functionality. The new website was designed by one of the world’s leading design agen-
cies and will launch in phases starting at the end of this year. At the same time, we were
the target of a hostile takeover attempt which never really had any chance of success, but
which distracted management and was accompanied by a malicious press campaign with
the goal of driving down the share price, and eroding shareholder confidence in artnet.
The whole thing was time-consuming and expensive.
AMA: Do you think that Redline actually set out to damage the reputation of the com-
pany?
JP: Well they want the company very much, so not necessarily the reputation of the com-
pany, but that of its main shareholders and its management. That is very obvious and
that’s how it’s been done many times before us in similar scenarios.
© Artnet
photographer credit
Karin Kohlberg
Interview…
AMA: There have been a lot of negative articles written about Artnet last year, yet you
didn’t seem to retaliate much — why was this?
JP: It’s been frustrating at times, especially since many articles basically read like press
releases from Redline. We tried to correct some of the false statements, but it did not
always work. On the other hand, there was also a lot of good press, especially in many
publications in Germany, and we have been actively working on communicating a more
objective view of the company and its position in the market.
AMA: Are you looking for new investors at the moment, and how do you go about at-
tracting them? Do you think last year’s altercation with Redline might discourage new
investors?
JP: We are certainly open to new investors. We would like to have a stable investor struc-
ture and we are always interested in talking to new people who are interested in the
company, who support its business model and strategy, and bring additional value to the
table without jeopardizing the integrity of the product.
AMA: A year after the takeover attempt (which proposed 6.40€ per share), your stock
price went down to below 3€ per share. How do your investors feel about this situa-
tion? How do you think they would respond to another takeover attempt?
JP: No one can be happy with the current share price, but this really is a unique situation,
and has to be understood as such. Last year was a unique year, as a number of significant
events came together simultaneously that affected the company negatively.
The product itself, our underlying strategy and our business model, are in very good or-
der. We have gone through a challenging time, but we are the market leader, have a lot
of potential to grow even more, and have taken the right steps to bring the company to
the next level. The majority of shareholders know this, are supportive and see the same
potential.
AMA: There has been a decline in the revenue for the auction results database. At the
same time you have been trying to increase the price of access. Have you been success-
ful in this attempt? How does competition from cheaper, or even free, players impact
you, and do you see any chance of growth in this sector of your activity?
JP: Yes we have been successful with this. I don’t want to dwell on the past, but we had
a lot of clearing up to do. We had never really raised prices— this was the first time we
ever really did it, and of course we lost a few customers through that. But the product is
of a very high quality. The vast majority of our clients know that, appreciate it and see its
value. With regard to competitor sites, some of them have been around for a long time,
so it’s not a new phenomenon. And, like I said, the main differentiator is the quality of the
product. Artnet has much more data and it’s of a much better quality.
Everything is illustrated: we have an in-house team of art historians who make sure our
publication is extremely accurate and complete.
AMA: The importance of gallery listings has declined. When Artnet first started out,
few galleries had their own sites, and Artnet was one of the few places to get informa-
tion from. Now, most galleries have their own site which they spend money on updat-
ing. With this in mind, how do you plan to develop this aspect of the site?
JP: Galleries have long had their own websites, this is not a new phenomenon, and that’s
not what we’re giving them: we’re giving them exposure. We are giving them an audience
that they otherwise would not get, and at very low costs compared to the traditional
forms of advertisement or to the cost of going to an art fair for example. In a way, I believe
we are still at an early stage in the game, even though we’ve been online since 1995.
There is still a lot of potential, with more and more people becoming comfortable with
online transactions in the art market.
Interview…
We lost some galleries from the online gallery network last year, mainly be-
cause of our restructuring efforts, which affected the sales group in particular.
And let’s not forget that many galleries are still struggling. Like I said before, a
large portion of the market is in many cases not doing very well even though
we only hear about record sales and the high end of the market from the press.
AMA: Do you think this is a tough business model to have? Are galleries
ready to pay for this?
JP: They have been since 1995, so yes, of course - and in fact the market is
still growing.
AMA: Will the redesign you mentioned provide more services, like online
sales for galleries, or is it a refinement of the same product?
JP: I would call it a relaunch instead of a redesign, because it is a much deeper

overhaul of the website including a new design. It’s a combination of both
really. In the first phase, we will launch the new design only, followed by new
functions, brand new search technology, and completely new areas on the site
where our clients can discover, research and learn about art, artists, galleries
and auction houses.
AMA: Rumours state that you are ending your online auction activities, can
you confirm whether this is true or not? What is your strategy?
JP: I don’t know where you got this from but it’s absolutely not true. We are
not closing our online auctions business. On the contrary, we have high hopes for online
auctions.
There are many advantages of doing online auctions: first of all we don’t have the same
cost structure as regular auction houses. We can operate at a much lower cost, which
in turn makes it cheaper for our clients, and gives us the opportunity to accept a much
broader spectrum of art and artists. We are not forced to focus only on the top end of the
market, or forced to offer only things that we know will sell. There are great artists who
don’t get enough attention, and who are often neglected for no particular reason other © Artnet
than they are not fashionable or popular at that moment. photographer credit
The other major advantage is speed. We are a 24/7 application, and our turn around time
for sales is around as little as 3 weeks. You don’t have to wait for the auction season,
which only happens twice a year. We also have an experienced team of online auction
specialists. If you are hesitant about buying or selling online, these experts help you man-
age the whole process very thoroughly from beginning to end.
Additionally if you are not sure about the price of a particular artwork, we have the data
from our price database to support each individual sale, so for every lot offered there is a
set of comparative lots and analytical information, so you always know if you are buying
at the right price. And finally we have a very large audience that visits our site on a daily
basis. We are the market leader and the entire art world and everyone interested in art is
using or has used our products at some point.
AMA: How do you feel about new competitors, like Paddle8 for example?
JP: In a way it proves that the Internet has become more and more important for the art
world. Today, you need to have an online strategy, and artnet offers solutions for all as-
pects of that strategy.
Interview…
We do have competition in individual areas of our business, but this is only in one or two
aspects of the overall product; none of our competitors offer the same depth, quality and
audience as we do.
Overall it’s an exciting time, and I see the fact that there is so much activity at the moment
as a very positive development. Some of these startups are still trying to find themselves
and develop a business model, some will go away again, but they have all been very smart in
marketing themselves, which in return brought a lot of attention to the entire industry, and
everyone is benefiting from that.
AMA: To conclude, do you feel that you’re still in a difficult phase, or is it better than last
year?
JP: Oh it’s certainly a much better time. Our strategy is already beginning to bear fruit. We are
on track towards being profitable again this year, and we are poised not just to keep, but to
expand our market leadership position across our entire range of products. It’s not the first
time that Artnet has had a tough phase. I have absolutely no doubt that we have turned the
page, and we will once again lead our industry, especially as the market keeps expanding,
creating new opportunities in the process. 
© Artnet
photographer credit
Schools…
3rd issue of Journal for Artistic Research released
The 3rd issue of the Journal for Artistic Re- art history, offering a platform for exchange The magazine’s editor-in-chief is Michael
search (JAR) is now available, and features between the art world and academia. JAR Schwab, who is supported by a team com-
contributions from: Miriam Ewers (Qatar), focuses upon all artistic disciplines, and prising Annette Arlander, Henk Borgdorff,
Gert Germeraad (Netherlands/Sweden), also focuses on science and social scienc- Barnaby Drabble, Mika Elo, Julian Klein and
Marc Goodwin (Finland), Carolina Gorades- es. Isidro López-Aparicio.
ky (Brasil), Simón Granell (United Kigdom), JAR’s online platform allows would-be con- JAR’s team of associated editors includes
Michael Kahr (Austria), Neil Mulholland tributors to upload articles, images, video Adam Broinowski, Michel van Dartel, Ana
(United Kigdom) et Tero Nauha (Finland). and audio. Anyone wishing to contribute to Garcia-Lopez, Rachel Mader, Siobhan Mur-
The publication is devoted to artistic re- JAR 4 should submit works before 1 August phy, Joey Orr, Peter Peters and Johan Ver-
search, and developments in contemporary 2013. beke.
Summer school…
Summer School at London’s Central Saint Martins Summer at Sotheby’s Institute of Art New York
London’s Central Saint Martins, a constituent college of the University of Sotheby’s Institute of Art, New York, is currently
the Arts London, has opened applications for its annual series of summer
daytime, evening and online courses. offering a range of summer programmes.
First established in 1986, the courses aim to offer participants the op- The courses will allow students to develop pro-
portunity for both academic and professional development. Courses are fesional competencies and will comprise con-
directed by tutors from the school, who are frequently leaders in their ferences, interviews, and visits accompanied by
chosen fields.
professors and international industry experts.
The summer school welcomes students of varying ages, and has classes in
subjects including: Fashion and Textiles, Fine Art, Graphic Design, Interdis- They are opened to anybody who wishes to par-
ciplinary Studies; Media Arts; Theatre and Performance; and Three-Dimen- ticipate.
sional Design. From 8 July to 1 August, four different courses
Central Saint Martins College of Arts and Design was formally established
will be available. ‘The Art of Luxury’ examines art
in 1989, after a merger between between Central School of Art and Design,
founded in 1896 and Saint Martins School of Art 1854. It is directed by as a luxury object, allowing students to examine
Professor Jeremy Till, and has three centres in central London. the history of ‘luxury’ objects, the evolution of
the luxury market, the artist as brand, and part-
Photography course at Christie’s summer school
nerships between luxury brands and artists – ei-
From 8 to 12 July 2013, Christie’s Education is to offer a photographic
course as part of its ‘Summer Course’ programme. ther in the form of collaborative projects or as
‘Photography Now’ focuses on London’s place in the photographic sphere. patronage.
The course takes advantage of London’s tactical position, as one of the A second course is entitled ‘Contemporary Art in
major centre of the evolving photography market, allowing participants to
New York’, and is centered upon the work of New
encounter key figures in the photographic world who live and work in the
capital, as well as offering a more general insight into photographic prac- York-based artists. The course includes visits to
tice. museum, galleries and auction houses, as well
The course is to include visits to private galleries, discussions with import- as lectures and discussions examining the evo-
ant members of the photograph market and renowned photographs, and a
lution and development of contemporary art in
study of the photographic market as it currently stands in London.
Students are to have access to the photographic department at Christie’s, New York, considering movements including Pop
and will also participate in group visits to public institutions including the Art, Minimalism and Conceptual Art. ‘How to Run
Tate Modern, Tate Britain and the Victoria & Albert Museum, encountering a Gallery’ will offer an overview of the role of gal-
industry professionals from each. The course is organised by The Photogra- lerists, and will outline the steps which are nec-
phers’ Gallery, Londres, in collaboration with Christie’s Education.
essary for success in the field. Students will be
given an introductory overview of the profession,
Summer School at the Louvre, Paris
Every year, the École du Louvre offers month-long courses in the history of and will have the opportunity to learn about how
art and archaeology, which, this year, take place between 24 June and 26 to source works and negotiate their price. Final-
July. Each series runs from Monday to Friday, and consists of both day and ly, ’Art World Marketing, PR and Communications’
evening classes. Courses are focused around lectures, given by conserva- will introduce participants to different marketing
tion specialists and museum and heritage professionals.
They are supplemented by visits to museums in both Paris and the Île de techniques in the art world. Students will meet
France. This year, selected themes include American Painting from the communications and marketing experts, and will
1930s- 1980s, a series of classes dedicated to Dubuffet, Medicine of Greece learn more general marketing tactics which might
and Rome, Raphael, and 850 Years of Notre Dame, Paris. be applied to the art market
Museums…
$1.6m donation to the American Folk Art Museum
According to an article published in The works, including drawings, paintings and like to at the moment in one place.
New York Times, the American Folk Art Mu- sculptures. I thought this was one way of sharing the
seum has received a donation of $1.6m It is to take place next year, from 13 May to richness of our works around the country.”
from the Henry Luce Foundation. 16 August 2014, in the Lincoln Center, and The Folk Art Museum closed its building in
The donation intends to contribute towards will then travel to five other cities over the Manhattan in 2011, for financial reasons,
an exhibition of major works from the trav- course of the next three years. and moved to Lincoln Square. The Luce
eller’s collection. In an interview, exeuctive director of the Foundation’s American Art Program was
The exhibition is entitled “Self-Taught Ge- museum Dr Anne-Imelda Radice stated: launched in 1982. It has since given over
nius: Treasures from the American Folk Art “it’s obviously impossible to display the $145m to around 250 museums, universi-
Museum” and is to feature more than 100 amount of permanent collection we would ties and other art institutions.
nominations… departure…
New director at the Musée des Arts Décoratifs in Paris
Last January, Béatrice Salmon announced that, as of 1 September, she will no longer be Change of management at the Ash-
part of the management of the Musée des Arts Décoratifs in Paris. Olivier Gabet was thus molean Museum
appointed to take over her position. Since 2008, he has been working as the Decorative The Ashmolean Museum has announced that
Arts head curator at the France-Muséums agency.
Professor Christopher Brown will soon leave the
Olivier Gabet, who graduated from the Ecole des Chartes, previously held a similar post
as the art objects curator at the Musée d’Art Moderne de la Ville de Paris, and he was in management of the museum.
charge of contemporary art promotion at the Musée d’Orsay, within the framework of the He will leave office on 30 September 2014, af-
“Correspondances” project that allowed him to invite such artists as Annette Messager ter sixteen years. But he will not altogether leave
and Christian Boltansky. the art field. In fact, after a sabbatical year, Chris-
Since February 2013, the management of the Musée des Arts Décoratifs has been under topher Brown will work as a research professor
the leadership of Jean-Jacques Aillagon, who was formerly in charge of the Château de at the University until 2018. His research will
Versailles. He remplaced Hélène David-Weill, who was the museum’s head director for
deal with Van Dyck and Rembrandt, to whom the
19 years.
Ashmolean Museum will devote an exhibition
Metropolitan Museum of Art appoints new Chief Digital Officer in 2016. The efficiency of Christopher Brown’s
Thomas P. Campbell, the Director and CEO of the Metropolitan Museum of Art in New work is well recognised. Since his arrival at the
York, has announced that Sree Sreenivasan is to join the institution as its first Chief Digital head of the Ashmolean Museum in 1998, its
Officer. He is presently the Chief Digital Officer of the University of Columbia, and is also a number of visitors has increased from 100,000
member of the faculty of the Columbia Journalism School. to one million. The museum is now looking for a
The new role will see Sreenivasan explore new digital opportunities for the Met, where he
successor to occupy its vacant management po-
will also be responsible for the direction of the digital media department and the visibility
sition in September 2014.
of digital media in both the gallery’s online platform and in the gallery itself.
Commenting on the nomination, Mr Campbell said “Sree comes to the Met with a strong
background in the communication of ideas. His work in traditional journalism, his role as Resignation of Richard Koshalek from the Hirschhorn
a commentator on technology and media issues, and his expertise in websites and social Museum
media will all be key to the Museum’s work in the digital space. The administration council of the Smithsonian, an
His academic background will also position him well within our community of scholars, institution gathering 19 museums and nine re-
and we look forward to working with him as we leverage mobile, in-gallery, and online
search centres, has confirmed Richard Koshalek’s
platforms for the Met’s collections.” Mr Sreenivasan was born in Tokyo, and grew up in
Manhattan, Bhutan (former Soviet Union), Myanmar and Fiji. resignation.
He received his B.A. in History from St. Stephen’s College in Delhi, and his Master’s Degree Richard Koshalek was the director of the Hirsh-
in Journalism from the University of Columbia. horn Museum in Washington since 2009. His
resignation will be effective as of 29 June 2013.
Tia Chapman joins The Frick His “seasonal inflatable structure” project, which
The Frick Collection, New York has announced that Tia Chapman is to join the gallery as was supposed to cover the museum’s plaza for
Deputy Director for External Affairs from 15 July 2013.
two months, was very much criticised, mainly be-
Chapman’s mission will be to supervise the development department through the imple-
cause of its very high cost.
mentation of a range of fundraising schemes. Chapman is to manage individual donations,
state grants, marketing and media relations. After being rejected three times, the resignation
The director of the Frick, Ian Wardropper, offered a statement in responce to the appoint- of Richard Koshalek draws the final line on this
ment: “we welcome Tia Chapman to our ranks at an auspicious time for the institution. project. The Hirshorn Museum presents collec-
Tia Chapman is a well-respected colleague in cultural fundraising, and we anticipate that tion consisting of over 12,000 artworks, dating
she will bring to the Frick a fresh and rich perspective when she joins us this summer.” from the 19th century until to today.
what’s on…
The Blue Room by YANG Shaobin at the ARKEN Muse- Permanent exhibiton devoted to video games at
um of Modern Art in Danemark the ZKM Museum
From 22 June to 22 September 2013, the ARKEN Muse- On 21 June 2013, the ZKM Museum opened the
um of Modern Art in Denmark is presenting an exhibi- first permanent exhibition to be devoted to video
tion titled “Blue Room” with works by Yang Shaobin. games and experimental games. The museum has
After the United Nations’ conference on climate changes in 2009 in been presenting shows on this theme since 1997, as it is an im-
Copenhagen, which was called the “Copenhagen Summit,” the artist portant part of the contemporary world, which is now marked by
gathered all the press clippings presenting the stories of people se- the development of the digital universe. Since then, numerous
riously affected by pollution or natural disasters. This research work new artistic forms based on digital technology have emerged,
was transformed into a juxtaposition of portraits depicting the con- allowing the creation of different types of games, serious as well
frontation between helpless people and the forces of nature. The im- as artistic. An important part of the exhibition features so called
ages are kinds of reality reminders and push viewers into reflection. independent and serious games.
The artist explained that “Blue Room is more than just the title of Notable among the works exhibited: a game titled “The Night
this exhibition. It also describes the atmosphere within the exhibi- Journey” by Bill Viola. In this creation, the artist transformed the
tion hall, and encompasses the plight of all living things in nature.” aesthetical criteria of the video art developed in his numerous
The exhibition was already on display in 2010 at the Ullens Center works into an interactive computer game. China is represent-
for Contemporary Art in Beijing. It is the first time that it is shown ed as well by a game titled “Long March: Restart” by artist Feng
outside China. Mengbo.
When artworks imitate everyday objects: “Lifelike” at Eight exhibitions simultaneously devoted to Henri
the Blanton Museum of Art Matisse
From 23 June to 22 September 2013, the Blanton Mu- On the occasion of the 50th anniversary of the Ma-
seum of Art (located at the Texas University) is present- tisse Museum in Nice the city presents eight exhi-
ing an exhibition devoted to contemporary artworks made bitions devoted to the artist, held in parallel. Entitled
of everyday and daily life objects, titled “Lifelike.” While inspired by ‘Nice 2013. Un été pour Matisse’ (Nice 2013. A summer for Ma-
the real world, the objects were made with the use of exceptional tisse), the show is curated by Jean-Jacques Aillagon, the recent-
materials and different scales. ly-appointed director of the Musée des Arts Décoratifs in Paris.
The show gathers 75 works by numerous artists showcasing cre- The exhibitions are located in eight institutions across Nice, with
ations from the 1960s up to this year, by artists such as Gerhard the largest held at the Musée de Matisse at the Musée d’Art Mod-
Richter, Keith Haring, Andy Warhol and Ron Mueck. The techniques erne et d’Art Contemporain, Palais Lascaris and the Galerie des
developed by these artists avoid repeating Pop Art solutions in order Ponchettes.
to concentrate on previously studied objects and suggest completely Henri Matisse moved to Nice in 1917 and lived there for almost
new approaches. 40 years until his death on 3 November 1954. The region was a
The exhibition includes paintings, sculptures, photographs, drawings source of inspiration for numerous works. The eight exhibitons
and videos, and offers a new look at everyday objects, transformed welcome numerous loans from French and international institu-
into artworks charged with history and metaphors. tions as well as private collections. In total, 700 pieces are on
The exhibition is divided into five sections, allowing the distinction view until 23 September 2013.
between five key periods of the conception presented in the show.
The first one is focused on ordinary objects, the second is build First European retrospective for Philip-Lorca di-
around the notion of mystery and oddness, the third is titled “Real- Corcia
ism in abstraction,” the fourth concentrates on handmade creations, The first European retrospective of works by US
and finally “Lifelike” ends with a special effects study that transforms photographer Philip-Lorca diCorcia opened at
everyday reality into a show. Frankfurt’s Schirn Kunsthalle on 20 June, and is to
run until 8 September 2013.The exhibition presents 6 series
Discover Paris at The Wallace Collection comprising 124 works, and begins with diCorcia’s most recent
‘The Discovery of Paris: Watercolours by Early Nine- photographs, from the ongoing series East of Eden, culminating
teenth-Century British Artists’, is currently on display in a display of early works from 1975. His photographs examine
at The Wallace Collection, London, until 15 September the relationship between documentation and staged or elabo-
2013. rately orchestrated representations of reality. Works featured in
The exhibition focuses on the works produced between 1802- the show include Hustlers (1990-1992), depicting male prosti-
40, and includes seventy watercolours, preparatory drawings and tutes in a staged setting and Heads, in which diCorcia secretly
prints by renowned artists including Turner, Girtin and Bonington, photographs members of the public.
as well as pieces by lesser-known artists such as Thomas Shotter The director of the Schirn Kunsthalle, Max Hollein, described di-
Boys and William Callow. Each of the works depict Paris during a Coricia as ‘one of the absolute stars on the American photogra-
period which saw it become a major centre for middle-class British phy scene’. The show is curated by Katharina Dohm, who praised
tourists, and one of the first stops on ‘the Grand Tour’. the artist’s ‘eye for social realities’. Following its appearance in
The exhibition includes rarely-exhibited pieces which are on loan Frankfurt, the retrospective is to travel to the De Pont Museum
from museums including Tate, The Victoria and Albert Museum, The Voor Hebendaagse Kunst in Tilburg, the Netherlands, where it
British Museum and The Fitzwilliam Museum. None of the works on will be exhibited from 5 October to 19 January 2014.
display originate from The Wallace Collection itself, which does not Philip-Lorca diCorcia was born in Hartford, Connecticut, in 1951.
include any works depicting Paris. He received a Master of Fine Arts in photography from Yale Uni-
A statement released by the museum suggests that this is because versity in 1979. His first significant solo exhibition was held at
the collection’s original owners, the 4 th Marquess of Hertford and New York’s Museum of Modern Art (MoMA) in 1993, and has
his son son Richard Wallace, spent much of their time in the city, since been followed by exhibitions at the Institute for Contem-
and it is uncommon for collectors to buy views of the cities in which porary Art in Boston, 2007, and the Los Angeles County Museum
they live. of Art, 2008.
coming soon…
LACMA inaugurates new African Art gallery Exploration of the 21st century at the Quai Branly mu-
The Los Angeles County Museum of Art (LACMA) seum
is to inaugurate its new, permanent gallery, ded- The event is scheduled to take place on 29 and 30
icated to the arts of Africa with the exhibition June 2013, with free access to “Week-end Ethnologie”
‘Shaping Power: Luba Masterworks from The Royal (Ethnology Weekend).
Museum for Central Africa’, on display from 7 July 2013 to 5 Researchers and their works will be presented, namely through
January 2014. themes such as the link between society and nature, new forms of
The exhibition is to explore artistic traditions and emblems kingship, capitalism mutations, as well as western art.
of power from the Luba Kingdom, one of the most influential These themes will be discussed on the occasion of conferences
in Central Africa. Rare sculptures from the Luba people of the conducted by Philipe Descola, Daniel Fabre, Maurice Godelier and
Democratic Republic of Congo will be on display, including figu- Carlo Severi, guided collection tours centred on ethnology, works
rative thrones, sceptres, royal cups, intricately carved headrests and film screenings, as well as on-site investigations.
and ancestral figures. It is rare that such works should be exhib- Moreover, some electronic nap recording and sound archives from
ited in the United States, and it is the first time the collection the library will be played, including some original documents. Vis-
will be shown in Los Angeles itors will be able to discover this digital collection in the garden of
The exhibition is co-curated by LACMA and the Royal Museum the Quai Branly.
for Central Africa in Belgium. A press viewing for the exhibition is
currently scheduled for 10 July 2013, between 10am and noon. Summer exhibition at the Santa Barbara Museum of Art
An exhibition entitled ‘Labour and Wait’ is to take
Lowry to paint ‘Modern Life’ at Tate Britain place at the SBMA from 2 July to 22 September 2013.
Between 26 June and 20 October 2013, Tate The exhibition is to focus on craft from the 21st cen-
Britain is to present a major exhibition of tury, and will feature work by fifteen international artists.
landscapes by British painter L.S Lowry. The title of the event is based on Henry Wadsworth Longfellow’s
The exhibition is the first to be held by a public insti- poem titled A Psalm of Life (1838), in which the author praises phys-
tution in London since the artist’s death, and will focus ical labour and condemns inactivity and laziness.
on some of the artist’s finest urban scenes and industrial The exhibition will feature some 38 sculptures, videos and draw-
landscapes. Works displayed will include Coming Out of ings, and aims to highlighting contemporary concerns regarding au-
thenticity and craftsmanship, as well as exploring the problematic
School (1927), and The Pond (1950), which will be shown
issues of industrial methods of practice.
alongside significant loans from other major arts institu-
The artists presented are leading figures in their fields, whose works
tions. Tate Britain has stated that the “timely and careful- were first exhibited in the 1980s and 1990s. Featured artists in-
ly selected exhibition aims to re-assess Lowry’s contri- clude British ceramicist Grayson Perry, who is well known for having
bution to art history and to argue for his achievement as created pots inspired by medieval pieces, depicting paradoxically
Britain’s pre-eminent painter of the industrial city.” contemporary subjects.
L.S. Lowry (1887-1976) produced oil paintings depicting Two major works by American artist Tim Hawkinson, Foot Quilt
the rituals of modern life and the industrial revolution. (2007) and Orrery (2010), will also be displayed. In addition, draw-
His work offers a rare painted depiction of working-class ings by David Thorpe and a large-scale installation by Allison Smith,
life in 20th-century Britain. titled Stockpile (2001), will also be included.
The event is hosted with support from, amongst others, the Luria
Light and poetry at the Hermitage Foundation Family Foundation, the SBMA Women’s Board, the SBMA’s Museum
The event will be held from 28 June to 27 Octo- Contemporaries, the LLWW Foundation, Jill & John C. Bishop Jr.
ber at the Hermitage Foundation, in honour of art-
ist Joan Miró. It will feature some 80 illustrative
works from those created during the full develop- Doha prepares for first Damien Hirst exhibition
ment of the artist’s career, throughout the last thirty years of his From 10 October 2013 to 22 January 2014, the Qatar
life. He in fact opened a workshop and a laboratory in order to Museums Authority (QMA) is to host the Middle East’s
better work on his creative productions. first solo exhibition of works by British artist Damien
The works that will be presented are borrowed from the Pilar i Hirst. Held in the AlRiwaq Doha exhibition space, the exhibi-
Joan Miró Foundation in Palma de Mallorca, a town where the tion, entitled ‘Relics’, will present one of the most significant displays
artist lived from 1956 to his death in 1983. He once said that of Damien Hirst‘s works ever to be shown to the public.
“Mallorca is both poetry and light,” a quotation that is the source Pieces span a production period of 25 years, examining a broad por-
of inspiration for the title of the event. The works on offer will tion of the Young British Artist’s (YBA) career.
thus represent the artist’s switch from the figurative to the ab- Jean Paul Engelen, the public arts director of the QMA explained: “With
stract, namely Mosaic (1966) and Poetry (1966). Moreover, some his own artistic language Damien Hirst changed our perception of Lon-
other works will illustrate the artist’s attraction to abstract ex- don and the UK. There are very few artists in history that have had
pressionism and extreme oriental calligraphy, including Untitled such a profound impact on high and popular culture. QMA is extremely
(1978).The exhibition will be curated by Maria Luisa Lax, the cu- proud to make this exhibition with Damien”. H E Sheikha Al Mayassa
rator of the Pilar i Joan Miró Foundation, and Sylvie Wuhmann, bint Hamad bin Khalifa added “Underpinning the work of the Qatar
the director of the Hermitage Foundation. It will be presented Museums Authority is our belief that art can open up new channels of
in chronological and thematic order, featuring a plurality of me- communication between diverse nations, peoples and histories”.
diums such as some fifty oil paintings, terracotta and bronze The head curator of the exhibition is internationally renowned writer
sculptures, as well as works on paper and sketches. The exhibi- and critic Francesco Bonami, who is currently the senior curator of the
tion will also offer a stenographic reconstruction of the artist’s Museum of Contemporary Art in Chicago. ‘Relics’ is part of the Qatar
workshop, as well as an ensemble of original objects, which will UK 2013 Year of Culture programme, which celebrates the relationship
enable visitors to enter the artist’s universe. between Qatar and the United Kingdom.
Galleries…
New gallery in Lower East Side, New York
The Essex Flowers Gallery is to open in manager of the flower shop, who asked directed by nine emerging artists: Phil-
New York’s Lower East Side on 28 June the artists if they were interested in the lip Birch, Patrick Brennan, Amanda Fried-
2013. The gallery, whose name is in- idea of opening a space under his prem- man, Heather Guertin, Van Hanos, Jeffrey
spired by its location, was established by ises. The management of the resulting Tranchell, Lizzie Wright, Denise Kupfer-
a committee of artists, and is situated in institution is shared equally between all schmidt and Joshua Smith.
the basement of a famous flower shop. participants. An opening show is to feature works by
The gallery’s existence owes much to the The gallery’s forthcoming programme is each, and will be on view from 28 June.
newness…
Michael Shvo directs new project in West Chelsea Fernando Botero
American collector Michael Shvo is to open an exhibition
space in Manhattan’s West Chelsea. Richard estes
The space is to be dedicated to Michael Shvo’s principal in-
terests of architecture and design. The collector and real-es-
Manolo ValdÉs
tate developer has purchased a former petrol station locat-
ed at 239 Tenth Avenue, alongside the High Line and some
of the most significant galleries in New York, with which it
is thought Shvo would like to collaborate. According to an
article published in The Wall Street Journal the building cost
$23.5m.
Artists who will be represented by Shvo’s gallery include
Andy Warhol, Tom Wesselmann and Frank Stella.
1
2
representation...
Omar Ba joins the Hales Gallery
Senegalese artist Omar Ba has joined Hales Gallery, London.
Born in Senegal in 1977, Omar Ba studied at the Ecole Natio-
nale des Beaux-arts in Senegal, before continuing his educa-
tion at the Ecole Supérieure des Beaux-arts in Geneva and at
ECAV – MAPS Arts, specialising in Public Spheres.
His work shows evidence of this, demonstrating influences 3
from both cultures.

The artist has a unique method, creating paintings on his
corrugated cardboard, which he claims is his favourite sur-
june 27 – september 6, 2013
face.
His work is included in several public and private collections
including the Barbier-Mueller Collection and the Fond d’Art
Contemporain de la Poste.
Ba participated in a group exhibition at the gallery entitled 4 Quai Antoine 1er MC 98000 Monaco Tel : 377 97702550
art@marlborough-monaco.com www.marlborough-monaco.com
‘Vitalic’, which closed on 1 June. 1. Estes, Staten Island Ferry Docking, 2011, huile sur toile, 60,7 × 45,7 cm / 2. Valdés, Retrato sobre fondo negro y fuschia, 2013, huile sur toile, 165 × 140 cm / 3. Botero, La Novia, huile sur toile, 2010, 207 × 94 cm
ama.indd 1 18/06/13 16:45
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what’s on…
New Robert Irwin installations at the Pace Gallery Sam Douglas landscapes at the
The Pace Gallery has announced that it will host an exhibition de- Carslaw St. Lukes Gallery
voted to Robert Irwin, from 21 June to 17 August 2013. From 21 June to 20 July 2013,
The event will allow visitors to discover the work of the artist who the Carslaw St. Lukes Gallery is
founded the Light and Space movement, at a time when Pop Art was offering an exhibition dedicated
in full development. to artist Sam Douglas.
Robert Irwin gains his inspiration from philosophical observations relating to This event is the first solo exhibition of the
the nature of humankind, and he combines them in a style similar to that of artist in England. Sam Douglas’s landscapes
abstract impressionism, a movement pioneered by Jackson Pollock and Mark have a particular way of combining the art
Rothko. Through this original approach, an art replacing objects by phenomena of romanticism with the artist’s imagination,
is created. Considering painting and sculpture as overly restrictive, Robert Irwin which reflect the movement’s influence in a
became one of the first artists to create objects and installations entirely con- natural way and leaves spectators perplexed:
ceived for the manipulation of light in the presence of spectators. are the landscapes real or are they only the
The exhibition will also offer two new installations, especially created for the pigments of the artist’s imagination?
gallery. Robert Irwin was the first artist to receive the John D. and Catherine T. The combination creates both strange and
MacArthur “Genius” Award in 1984. He also joined the American Academy of familiar paintings, marked with references to
Arts and Letters in 2007. romanticism.
Sam Douglas is an exterior painter who pro-
The perception of nudes in contemporary photography at the Flow- duces the majority of his works through direct
ers Gallery contact with nature, thus prolonging the tra-
From 20 June to 27 July 2013, the Flowers Gallery is presenting an dition of 19th-century painters.
exhibition devoted to the theme of nudes in contemporary pho-
tography. Titled “Under My Skin—Nudes in Contemporary Photogra- First European exhibition of the
phy”, the event is centred on the discovery of issues relating to the perception Still House Group at Galerie Ro-
of nudes in a contemporary context. dolphe Janssen
In fact, the work conducted by the commissioner of the exhibition, Mona Kuhn, The Galerie Rodolphe Janssen
is a true anthropologic investigation into the meaning of what we are and how is to present an exhibition devot-
we represent ourselves. ed entirely to the Still House Group, from 21
Among the artists whose works are being exhibited, we may mention David June to 24 August 2013.
Dawson, Bill Sullivan and Shen Wei. Mona Kuhn has been working on the theme The Still House Group is an emerging artistic
of bodies for about ten years at the Getty Research Institute. organisation based in New York.
Through her own works, she has been dealing with questions about knowing The organisation’s goal is to support young
who we are. By commissioning this exhibition, she is able to link her research artists and offer them a suitable environment
work with her photographic practice. In addition, she will present her new se- for the creation and exhibition of their art-
ries, titled Private, in the spring of 2014. works.
It was originally founded in 2007 by Isaac
Robert Motherwell at Peggy Guggenheim Brest and Alex Perweiler, as an online plat-
Motherwell was a leading figure of Abstract Expressionism in form.
America. Still House has staged a number of exhibi-
The exhibition at the Guggenheim presents 44 of works produced tions in New York, Miami and Los Angeles, and
between 1941 and 1951, and examines the role which Peggy Gug- organised an artist’s residency in 2010.
genheim played in the early stages of his career in New York. The exhibition is currently presenting work
Featured pieces include Figure with Blots (1943), Jeune Fille (1944) and View by eight young artists, all born between 1985
From a High Tower (1944-45). and 1988 and supported by the Still House
Motherwell also produced paintings, but rapidly moved towards a practice fo- Group.
cused on large-scale collage, describing the medium as ‘the greatest of our
discoveries’. Motherwell was born in Aberdeen, Washington in 1915, and died Graham Collin exhibited at Has-
in Provincetown, Massachusetts, in 1991. ley McKay Gallery
His collages were first exhibited as part of ‘Exhibition of Collage’ at Peggy Gug- The Hasley McKay Gallery is pre-
genheim’s New York-based ‘Art of This Century’ gallery in 1943. The artist has senting a solo exhibition devot-
since been the subject of several international restrospectives. ed to artist Graham Collin, from 22
After closing in September, the exhibition at Peggy Guggenheim is to travel to June to 8 July.
the Solomon R. Guggenheim Museum, New York, where it will be on display Entitled ‘V8’ the event is the first of the art-
from 27 September 2013 to 5 January 2014.. ist’s to be held at the gallery. Graham Col-
lin engages with painting, architecture and
“Warhol in China” at the Elisabeth de Bradant Art Center sculpture, examining the paradoxical states
The Elisabeth de Bradant Art Center, a contemporary art gallery lo- of degradation and stability.
cated in Shanghai, is to present an exhibition entitled “Warhol in Basing his works on Frank Stella’s principle ‘
China” from 26 June to 30 August 2013, featuring photographs by what you see is what you are’, Collin’s works
Christopher Makos. display traces of the minimalist tradition,
This exhibition is centred on Warhol’s trip to China in 1982, as portrayed though include several, more detailed ele-
through photographs taken by Makos and other major celebrity photographers ments.
who were prominent members of the New York arts scene in the 1970s and 80s. Graham Collin studied at the Corcoran School
Christopher Makos was described by Warhol as “the most modern American of Art in Washington. His works have been
photographer.” As a friend and collaborator for many years, Makos was the offi- presented at the Rachel Uffner Gallery, the
cial photographer of Warhol’s iconic studio, The Factory. Corcoran Museum and at Tät in Berlin.
coming soon…
Roy Lichtenstein and expressionism at Gagosian Paris Debut of Martti Aiha at the François
The Gagosian gallery in Paris has announced that it will Mansart Gallery
soon host an exhibition devoted to American artist Roy From October to November 2013, the
Lichtenstein. The event titled “Lichtenstein: Expression- François Mansart Gallery will present
ism” is scheduled to take place from 1 July to 12 October works by Finish sculptor Martti Aiha, exhib-
2013. It will offer a discovery of Roy Lichtenstein’s painting, who was iting in France for the first time.
mainly known for his role in the artistic movement known as Pop Art. The artist explores the notion of transparency through
Near the ending of the 1960s, his work was marked with major refer- marble works created in the Surrealist tradition. Aiha’s
ences to expressionism, as well as cubism and futurism. Consequent- pieces aim to be reminiscent of organic forms, display-
ly, the influence of leading figures such as Ernst Ludwig Kirchner and ing vivid colours which seek to resemble Norweigan
Alexej Jawlensky are seen in his works. With the presentation of paint- fjords.
ings, sculptures, drawings and wood engravings, the exhibition high- His Parisian show concentrates on the possible conjunc-
lights the audacious paradox developed by the artist, whose practice tion between abstraction and emotional intelligence,
combines expressionist themes with bright colours in one unique work, and the relationship between drawing and sculpture.
including Pop Art touches. Aiha studied at the Academy of Finland in Helsinki, and
This exhibition was prepared in collaboration with the Roy Lichten- takes his inspiration from art history – predominantly
stein Foundation and the Estate of Roy Lichtenstein. It coincides with focusing on the art of Italy and Florence (an interest in
the itinerant retrospective devoted to the artist at the Centre Georges Fellini lead him to create works such as Man With Three
Pompidou, which is scheduled from 3 July to 4 November 2013. Heads in 1978). Pieces in the Paris exhibition are created
in a variety of media including bamboo, steel, plastic,
Clémence de la Tour du Pin at the Atelier – Kunst Spiel brown glass, silicone, wood and aluminium.
Raum The artist is to use the city of Helsinki as his next play-
From 30 June to 23 July 2013 the Atelier – Kunst Spiel Raum ground, installing a monumental sculpture which will
in Berlin will host a solo exhibition of works by French artist cross some 1.5km of the city’s space.
Clémence de la Tour du Pin, entitled ‘Brand, Nature and Team- This piece will follow the shape of the landscape it cov-
work’. ers, establishing a dialogue between the natural and
The exhibition is to explore the paradoxical relationship between nature man-made.
and culture. In order to do this, the artist places the production of objects Martti Aiha was born in 1952 in Pudasjarvi, Finland. He
in a post-industrial context. before examining them from an anthropolgi- has been the subject of solo shows at major interna-
cal approach, observing them in their most primitive sense. tional institutions including the Doris Freedman Plaza in
The project is realised in collaboration with IFF (International Flavors & New York an the Stitching Archive Foundation in Hague,
Fragrances Inc.), notably Nicolas Beaulieu, a French parfumier from Paris the Netherlands.
who created a fragrance inspired by the exhibition. He has participated in numerous group exhibitions in-
The show examines a series of remarkable natural, synthetic or techno- cluding Art Moscou, 1981, Paris Biennial, 1982, and the
logically produced fragrances, focusing on the perception of smell in its Museum of Modern Art, Oxford. He was awarded the Du-
most primitive sense. kaatti-Prize in 1981, The Expohja Award in 1982 and the
Other themes considered include the expansion of the digitial environ- Pro Finlandia in 1992.
ment, and the ability of technology to result in the dematerialistion of
quotidian spaces. Between dreams and reality with Vitto-
Clémence de la Tour du Pin was born in 1968, and currently lives and rio Corsini and Kyung Woo Han at Gazel-
works in Berlin. She graduated from London Metropolitan University and li House
the École Boulle in Paris. Her most recent projects have included: a pub- From 28 June to 20 September 2013,
lication which accompanied the exhibition ‘We outsourced everything Gazelli Art House is to present an exhibi-
and now we’re bored’, which was held at the Atelier in 2013 and featured tion of works by Vittorio Corsini and Kyung Woo Han.
works by John Henry Newton; participation in an online project entitled Entitled ‘Once Upon a Time’, the exhibition explores
‘Desktop Residency’ based in London in 2012; and a show titled ‘Well the relationship between reality and the imagination,
Probably name it afterwards’, held at the Galerie SC in Croatia, in 2011. placinga particular emphasis on fairy tales.
The exhibition encourages visitors to narrate a fairy
Know Hope solo show at the Lazarides Gallery tale, hope to provoke an interaction between the piec-
From 2 to 29 August 2013, the Lazarides Gallery in London, es on display, the institution, and subsequent visitors.
which specialises in Street Art, is to exhibit works by Israeli Vittorio Corsini will present a new series of mono-
artist Know Hope. chrome paintings entitled Sul finire dell’occhio (As The
For his first solo show at the gallery, Know Hope will present Eye Comes to a Close), while Kyung Woo Han will pres-
an exhibition titled “The Abstract and The Very Real,” in which he will dis- ent works in a variety of media, including light instal-
play a new series of works, as well as an on-site installation. lation, video and sculpture, encouraging visitors to
Using recovered objects, vintage frames and recycled paper, the artist will immerse themselves in a dreamlike dimension.
exhibit works centred on the abstract concepts of memory and temporali- Vittorio Corsini was born in 1956 in Italy, and current-
ty. The recovered materials are joined together, and expand to escape the ly lives and works in Florence.
limits of their frames, with Know How’s trade-mark archetypal characters In 2011, he held a solo exhibition at the Museo Mac-
clambering out of works one after the other with their frames.The latter ro in Rome. His public installations are visible in Pisa,
symbolise the empty spaces in our lives, as well as our struggle to fill Florence and Prato in Italy. Korean artist Kyung Woo
them. Han is based in New York. His work features mul-
Know Hope questions the things that separate us – the borders, the flags timedia installations and videos, in which the
and the walls that dictate our lives – and compares them with the human artist plays with optical illusions, attempting to
condition. He focuses on the political implications of these separations, invoke feelings of bewilderment and astonish-
the feelings that they convey, and the way we accept and handle them. ment in viewers.
Artists…
Petition for architect Denise Scott Brown
This petition was launched in favour of involved in architecture, she said that she the same way as their male counterparts.
architect Denise Scott Brown in response would not welcome any prize but an inclu- The members of the prize organisation ex-
to the injustice relating to the awarding of sion ceremony. plained the exclusion of the architect by
the Pritzker Prize in 1991, a prize sponso- Following this statement, two students the fact that the prize could only be awar-
red by the Hyatt Foundation. In fact, during from Harvard’s Graduate School of De- ded to one person.
the awarding of the prize, only her design sign launched an online petition that has This changed in 2001 when the prize was
partner and husband Robert Venturi re- now received 9,000 signatures, many from given to Jacques Herzog and Pierre de
ceived the award, despite the fact that world renowned architects, namely former Meuron, who also signed the online pe-
the couple joined themselves to put their winners of the prize. tition. Robert Venturi, now 87, signed the
creativity together. This very well stirred up the debate in petition as well. When he won the prize in
The artist is now 81. Last month, during the architectural world concerning the 1991, his wife did not go to the award ce-
a ceremony organised to reward women constant reluctance to recognise woman remony as a sign of protest. 
winners… collaboration…
Susanne du Toit named winner of the BP Portrait Award 2013 Collaboration between Louis Vuitton
The National Portrait Gallery has announced that artist Susanne du Toit has been chosen as the and Ben Eine
winner of the BP Portrait Award 2013. The 57-year-old artist received the prize for her painting Louis Vuitton has announced it is to col-
titled Pieter, which depicts her eldest son. The prize is awarded along with a grant of £30,000 laborate with London-based street artist
and a commission from the National Portrait Gallery, worth £5,000. The painting presenting Ben Eine, who will create a scarf with co-
the 35-year-old man is now exhibited at the museum. A second prize of £10,000 was awarded loured-lettering, a signature feature of the
to artist and professor John Devane (58 years old) for Uncertain Time, the group portrait of his
artist’s work.
children Lucy, Laura and Louis. The BP Travel Award 2013, a grant of £6,000, was the last prize
The collaborative work between Ben Eine
to be awarded, and went to Bristol-based Dutch artist Sophie Ploeg, who centred her work on
and the luxury company has been named
the way fashion and lace were presented in 17th –century art. Sandy Nairne, the director of the
National Portrait Gallery, explained that “The standard of the BP Portrait Award 2013 is as high Great Adventures, and measures 136cm
as ever, and congratulations got to all artists, but especially to Suzanne de Toit for her simple x 136cm. In celebration of this partner-
and outstanding portrait of her son.” ship, Eine, who was born in 1970 and
now works predominantly in East London,
Pilvi Takala wins the Emdash Price will decorate Louis Vuitton’s new pop-up
The Emdash Foundation has announced that Finnish artist Pilvi Takala is the winner of store, which will feature clothing by the
2013’s Emdash Award. The prize recognises the work of young international artists based brand. In the past, Louis Vuitton has had
outside of Great Britain. The winning participant is selected following an open call for successful projects with artists including
entrants, and is asked to complete a project which is exhibited at Frieze, held between Stephen Sprouse.
the 17 and 20 October this year. Pilvi Takala’s project won the attention of the jury over
applications from 550 other entrants, and is to consist of the creation of a committee of death....
children, which will be directed by the artist and educator Polly Brannan. This committee is
to decide the final form of the project at Frieze following an extensive series of workshops Death of Australian painter Jeffrey
which will be held during the three months preceding the fair. Smart
Pilvi Takala studied at the Helsinki Academy of Fine Arts and the Glasgow School of Art. Australian artist Jeffrey Smart passed away on
Recent exhibitions have included two solo shows at Bonniers Konsthall, Stockholm, and 20 June 2013 in Italy, at the age of 91.
Carlos/Ishikawa gallery in London. The Emdash foundation was created in 2010 by Andrea Born in 1921 in Adelaide, he studied at the
Dibelius, and has sponsored projects at Frieze since 2011. A statement on the website of Académie de la Grande Chaumière in Paris
the non-profit organisation states that its aim is ‘to support a wide range of projects, from at the end of the 1940s, alongside Fernand
the arts to science, creating a platform for people to pause, think, look ahead and imple-
Leger.
ment change’. All of the Emdash’s activities are motivated by philanthropy, a love of the
The works left by the artist depict a cold ur-
arts, and a desire to support emerging movements and talents.
ban environment, which some have claimed
to be almost surrealist. They are part of the
Ann Pibal wins the Rappaport Prize 2013
Precisionism Movement, and were very much
Ann Pibal has been announced as the recipient of the Rappaport Prize 2013, given by the
deCordova Sculpture Park and Museum. inspired by Edward Hopper’s painting.
The artist follows previous winners Liza Johnson, Orly Genger, and John Bisbee, and is to be Throughout his long career, Jeffrey Smart had
awarded a prize fund of $25,000. Director of the deCordova Dennis Kois stated: “With each over 50 solo shows in Sydney and Melbourne,
of these artists, we’re selecting them in part because we want to have some kind of contin- as well as exhibitions in London at the Whi-
ued dialogue or relationship within them. We think their work is rich enough we might want techapel Gallery in 1961 and at Tate in 1963.
to show it, collect it, and do a project with them.” Today, his work is still very much appreciated
Pibal’s paintings are remarkable for their use of the same elements – of line and colour – in and he remains popular. In a sale at Deutscher
continually evolving formula. Lines in the artist’s work run in parallel, twist and form shapes & Hackett in Melbourne in 2011, Autobahn in
and reflections. The Black Forest reached the sum of $1.02m.
Auctions…
New record for a Schiele during Auctionata’s online sale
An online sale, held on 21 June at Ber- whilst Untitled (Blue Madonna) by Gottfried the fact that we at Auctionata have broken
lin-based auction house Auctionata, set a Helnwein was sold for €68,090. The sale at- that record from a standing start with our first
new record for the online sale of a drawing tracted 792 participants from 46 countries, auction devoted solely to fine arts. Not only
by Austrian artist Egon Schiele, which was with 68 of the 100 lots on offer finding buy- does our type of auction on the Internet rep-
sold for €1.8m ($2.4m). During a session ers. It was the first sale entirely devoted to resent the technological avant-garde – but
entitled “Paintings, Paper Works and Sculp- Fine Arts to be hosted by the auction house. it also fills the enormous gap that the key
tures,” Reclining Woman (1916) broke a pre- Alexander Zacke, Auctionata‘s CEO, made the players have thus far been unable to close:
vious record held by an Andy Warhol paint- following statement: “We are absolutely de- transferring classic auctions onto the Internet
ing from the series Flowers, which was sold lighted about this record and the successful in a way that enables everyone to experience
by Artnet for €910,000 ($1.3m) in July 2011. auction. It speaks volumes that the previous the objects and the auctioneer as well as the
Among the other sales, Villa in Vienna by Carl online record for fine arts has remained un- bidding behaviour of other participants, all in
Moll reached the hammer price of €297,120, broken for almost exactly two years, as does real time.” 
results…
Books and ancient manuscripts at Sotheby’s Successful sale of four mermaid candelabras at Piasa
The first part of the sale of Raoul Simonson & Mo- On Wednesday 19 June, auction house Piasa in Paris held a sale devoted to the
nique and the Albert Kies Library at Sotheby’s made a Seligman collection, owned by a famous family of traders who settled in Paris and
turnover of €4m, much beyond its estimate (between New York in 1880.
€1.4m and €2m). 93% of the lots were sold and the The key piece of the sale was a set of mermaid candelabras, gilded bronze with
auction made 99.4% of its value. patina, Louis XVI style, circa 1785, attributed to François Rémond (1747-1812) and
Notable among the lots: a manuscript of two poems sold for €1.178m, the record price of the first semester of 2013.
by Charles Baudelaire, Les Deux Crépuscules. Le Matin Another important piece was a microscope attributed to Jacques Caffiéri and Pas-
/ Le Soir, 1853-1854, published in Les Fleurs du Mal semant, sold for €620,140. An identical model is currently exhibited at the Getty
in 1857, was the highest bid of the auction, fetch- Museum in Los Angeles.
ing €613,500, going much beyond its estimate of As for paintings issued from the collection: Portrait de la baronne Dannery tenant
€150,000-€250,000; 56 poems with Verlaine’s signa- son fils Jean Germain Samuel dans ses bras, a gouache on ivory by Marie-Gabrielle
ture titled Varia, with a signature left unfinished in the Capet (1761-1818), sold for €167,830, and La Dormition de la Vierge attributed to
moment of his death, sold for €385,500, achieving an Maître de Cabassers (1410-1415), which fetched €89,760.
amount beyond its high estimate of €300,000.
Finally, among the different works of Victor Hugo, we Good results for the Fine Asian, Australian, European Arts & Design sale at
may mention, Les Contemplations, 1856, with 14 orig- Sotheby’s Melbourne
inal photographs capturing the Hugo family, accom- Sotheby’s Melbourne announced satisfying results for 18 June 2013 sale. In fact,
panied by 47 letters addressed to the writer’s friend, it made a total turnover of $1,506,334, with 60,26% in terms of volume and
Noël Parfait, which fetched the price of €289,500, 110,71% in terms of value. Sotheby’s Melbourne put a selection of 229 lots on
going way beyond its estimated value of €60,000- offer, including Chinese ceramics, furniture, European glassware and silverware,
€80,000. Australian and European paintings and works on paper. Notable among the best
According to Pascal de Sadeleer, the sale’s expert: bids: a pair of Wucai “Dragon and Phoenix” bowls, dating from the Kangxi period,
“The sale’s success confirms France’s important posi- estimated between $30,000 and $50,000, purchased for $195,200; a “Magnolia
tion on the international book market. It is a tribute to and Prunus” rhinoceros horn libation cup, dating from the 17th-18th centuries, esti-
the talent, erudition and subtlety of the Raoul Simon- mated between $20,000 and $30,000, sold for $75,640.
son & Monique and Albert Kies collection.” Geoffrey Smith, the president of Sotheby’s Australia, said that “There is a growing
interest in and demand for quality pieces of Arts & Design that are appreciated by
Success for video games sale a broad audience. This evening we witnessed items sought after by established
On Friday 13 June 2013, auction house Millon held a collectors as well as those who are entering the market.”
session devoted to consoles and video games. It was
the first auction on his theme. New record for the African and Oceanian art department at Christie’s Paris
Over 350 games and consoles were on offer. The re- The sale of African and Oceanian art, held on 19 June at Christie’s Paris, made a
sult of this original sale was good and 80% of the lots total turnover of €7.896m, which is the best result ever for the department.
found buyers, allowing SVV Millon to make a turnover An important part of the record belongs to the Jolika Collection (Fine Arts Museum
of €100,000. Notable among the lots: the game Dino of San Francisco), which made $3.172m, becoming the most important collection
Force was sold for €12,600 and Golden Eye 007 was
of Oceanian art ever to be sold on auction. It is also worth noticing that the world
purchased for €12,400.
record for a piece of Oceanian art was established with the sale of a Biwat Ridge-
The sale was organised by a totally new department
that recently opened, devoted to popular art. This de- pole Figure, issued from Mid-Yuat, Bas-Sépik, Papoua New Guinea, purchased for
partment exclusively sells video games and comics. €2.505m, far beyond its high estimate of €1m. In addition, a “Baga Snake” Banso-
The next sale of video games will be held at the end nyi, issued from the Republic of Guinea, was sold for €2.337m and established a
of the year.. new record for Baga art.
results… nomination…
Successful sale of books and scientific instruments at the Hôtel des Ventes, Geneva Vinci Chang to join Sotheby’s Asia
An auction held on 18 June 2013 at the Hôtel des Ventes, Geneva, presented books, minia- Sotheby’s has announced that Vinci Chang
tures, ornaments, scientific instruments, tableware, silver-plated pieces and silverware. is to join Sotheby’s Asia as a new consul-
The sale was highly successful due to the exceptional quality of works, which had come from tant. Chang is to be in charge of the Asian
the collection of an Emeritus Professor of Radioactivity. Publications and objects included in clients and the development of Asian af-
the sale dated from the 16th, 17th and 18th centuries. 86% of lots from the collection were fairs, with a special emphasis on 20th-cen-
tury Chinese art and contemporary Chi-
sold, achieving a total of €480,000.
nese art.
Highlights of the auction included: a rare land-surveyor quadrant dating 1701, signed Lusu-
Before joining Sotheby’s team, Mrs Chang
erg, estimated between €9,600 and €14,400, and sold at €49,560; an atlas dated from 1665,
held various posts at international auc-
issued from Bale collection, purchased for €94,800.
tion houses for over fifteen years, mostly
Bernard Piguet, an auctioneer and the director of the Hôtel des Ventes said that the results in Taipei and Hong Kong. She is credited
of the sale are very satisfying, and further Geneva’s status as a platform for the sale of collec- with contributing to the creation of a dy-
tor’s objects. He also stated that the success of the sale confirmed the exceptional quality of namic contemporary Asian art market, and
the specialist collections offered at the Hôtel des Ventes. The total overall summer sales for became one of the field’s first specialists,
the auction house were similarly significant, reaching €2.6m. focusing not only on modern and contem-
This strong result is said to echo a new, democratic strategy for auctions spearheaded by porary Chinese art, but contemporary Jap-
Piguet, who has pioneered an approach which attracts newcomers and allows buyers to pur- anese and Korean art.
chase quality objects at lower prices. Piguet added that sales at the auction house permitted Kevin Ching, executive director of Sothe-
the wider public to buy art objects, furniture and jewellery for competitive prices. by’s Asia’s, commented on the appoint-
ment, stating: “Vinci brings with her enor-
Success for the artworks of the Aboriginal Art Museum of Utrecht mous expertise and experience in the art
A sale of of works from the Aboriginal Art Museum of Utrecht was held on 22 June at auc- and auction business, as well as a network
tion house Castor-Hara in Drouot. The sale was a great success, with all of the 42 acrylic of key collectors and galleries worldwide.
I am delighted to welcome Vinci to Sothe-
paintings on offer finding buyers, resulting in a sales total of €73,538, fees included.
by’s.”
Conducted by auctioneer Laurent Hara, the sale achieved more than double its lower
estimate, with 39 of the 42 paintings presented sold for prices which far exceeded their
movement...
initial estimates. Proceeds from the sale will allow AAMU to develop its collection; the
museum currently wishes to acquire more works from emerging artists whose pieces are Is Sotheby’s New York about to move?
not yet part of the museum’s permanent collection. Auction house Sotheby’s met with two
The highest sale was achieved by a painting entitled Le Rêve de l’Igname by Emily Kame real estate agencies in order to discuss
Kngwarreye, which was purchased by a private French collector for the sum of €9,375. whether the company should move from
its current site on the Upper East Side of
Marc Jallon, an Australian aboriginal art specialist, said that “while the international mar-
Manhattan. Settled in the district since
ket and knowledgeable collectors succeeded in seizing the opportunity offered by this
1980, Sotheby’s office is in fact located
sale, an important number of new buyers that the museum wished to specially attract
quite far from the centre of New York’s art
were present. Combined with the fact that the sale included the collection of a museum,
market, which mainly covers the south of
the very appealing estimates of these artworks allowed many to become buyers for the Manhattan.
first time and to start their collections.” In an interview for The New York Times, An-
Two other sales offered Australian Aboriginal works, which hailed from a variety of ama- drew Gully, the communications director,
teur collections, in which a total of 73% of the lots were sold. Mon Pays, 2009, an acrylic explained that this project has nothing to
painting by Sarrita King, was purchased by a Parisian collector for €9,375, a record price do with the drop of online results in 2012
for a painting by the artist. and the first semester of 2013.
coming soon…
Two paintings by El Greco at Sotheby’s First online-only sale of Asian art at Christie’s
Sotheby’s London announced that, during the Christie’s has announced that it is to hold two on-
session scheduled for 3 July 2013, it will put line-only sales devoted to Asian Art in July 2013.
two paintings by El Greco on sale. Estimated be- The sales are entitled ’Blanc de Chine: Dehua Por-
tween £3m and £5m each, these works will be put celain from the Galster-Ireland Collection’ and ‘Min-
on offer for the first time since their creation over 400 years iature Treasures: Chinese Snuff Nottles From a Private Collec-
ago. The sale dedicated to ancient masters, as well as British tion’, and are scheduled between 9 and 23 July, 16 and 30 July
painters, will include other major lots: six frescoes on golden respectively. Christie’s stated that it had chosen this online-on-
backgrounds by Giandomenico Tiepolo, estimated between ly format in response to increasing interest in internet auctions;
£3m and £5m, and an important collection of still-life paint- responding to client expectations continues to be an important
ings by Bruegel Older and Ambrusius Bosschaert Older. In to- part of the auction house’s commercial strategy.
tal, the sale will consist of 48 lots worth an estimated total of
over £23m. Napoleon by Toulouse-Lautrec is highlight of Elite
Decorative Arts sale
Important sale devoted to British Impressionism The auction house Elite Decorative Arts is to hold
at Christie’s a sale devoted to decorative and Chinese art, on
Christie’s has announced that a sale devoted to British 13 July 2013.
Impressionism and Victorian Art is to be held on 11 Included amongst objects on sale is a coloured lithograph by
July 2013. A similar sale, held in 2011, was highly suc- Tolouse-Lautrec, which is presented as the auction’s highlight.
cessful for the auction hosue. The piece, which is a single edition in a series of 100, is sim-
The sale is to include 123 lots, and will be divided into two parts. ply entitled Napoléon #20, and depicts Napoleon on horseback
Christie’s is anticipating a total sales figure of around £12m, a fig- surrounded by two soldiers. Other notable works include a pair
ure which, if realised, will make the sale the most important in its of ivory statuettes depicting an emperor and his wife, and man-
category for the last decade. Notable lots include: a portrait by Sir telpiece ornament in gilded bronze and malachite. A total of
John Everett Millais estimated between £2m and £3m, a painting almost 300 lots will be on offer during the session, the majority
by Sir Edward Coley Burne-Jones, Love among the Ruins, estimated of which are on the market for the first time. Director of the
between £3m and £5m. The two parts of the sale are to be held one Elite Decorative Arts, Scott Cieckiewicz confirmed that he was
after the other, and will give buyers the opportunity to acquire major ”very happy to offer two important Chinese antique collections
works by British Impressionist and Victorian artists. on the occasion of the sale”.
ART MOSCOW 2013: applications are open until June 30th
ART MOSCOW, the most important contemporary art fair in Russia will hold its 17th edition from september 18 to 22, 2013. About
50 galleries are expected from Europe, Russia and America, and 20 000 visitors. This year ART MOSCOW is opening a new gallery
space called New Platform, with the purpose to support foreign and russian young galleries. Art Moscow will also host several artistic
projects in an extended non-commercial zone, such as Videonale (more than 20 international video art works), Science Art, as well as
several talks on important issues for today's contemporary art market, and an extended program of private views of the best exhibitions in
Moscow for its Guests. ART MOSCOW 2013 is also a parallel event of the 5th Moscow Biennale of contemporary art. Last edition
over 80 artists from 33 countries took part in the main project. Art Moscow will also host one of the Biennale special projects.
Participating in ART MOSCOW in 2013 will bring you to the center of an exhilarating artistic atmosphere with exhibitions and events
all over Moscow cultural venues. Applications are open until the 30th of June for art galleries, magazines and cultural institutions.
For further details, please contact Julia Mironova (international relations) – Julia.mironova@expopark.ru, Anna
Levandovskaya (fair manager) - annalev@expopark.ru. Or visit our website www.art-moscow.ru
ART MOSCOW CONTACTS SETTINGS
17th International Art Fair www.art-moscow.ru To change subscribe preferences or

September, 18–22, 2013 art@expopark.ru unsubscribe - use эту ссылку
10 Krymsky val, Moscow, Russia +7 495 6579922
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Interview…
Summa Art Fair: a new, ambitious fair in Madrid. Inter-
view with Enrique Polanco
The first edition of Summa Art Fair, dedicated to contemporary art and photography, will take
place from 19 to 22 September 2013 in Madrid. Art Media Agency met with the President of
the Fair Enrique Polanco, in order to know more about this new event.
The first edition of Summa Art Fair will be held in September, what makes the event stand
out from others ?
Firstly its atmosphere. Summa is an intimate event which exists

outside the mainstream, or more renowned fairs and festivals.
We attract an emerging collector who is curious, cosmopolitan,
interested in innovation, and who wishes to invest – we want
to offer a forum for this type of buyer, so that they don’t disap-
pear from the market.
Secondly, the organisation of the fair differentiates us from

other events. The committee responsible for curating the
event consists of five international galleries (Baudoin Leon
y Mor Charpentier from Paris; Filomena Soares from Lisbon;
Oliva Arauna y Espacio Mínimo from Madrid) with very differ-
ent aesthetics. The event merges their approaches, giving the
whole event its own, unique personality.
Finally, the fair offers a varied programme which places a focus

on projects whose ambitions are precise and innovative.
What are the guidelines for artists/galleries participating in

the fair? What are the selection criteria?
We do not want curiosity cabinets but an artistic space in which every gallery can highlight Image courtesy of
its artists. The ideal participant would present a solo project, featuring only one artist. The Alexia Tala
selection of participants was based on presented projects, and favoured those which were
focused on contemporary artists and recently produced works.
Could you give us some more information about the ‘Transversal’ and ‘Emerging Transver-
sal’ programmes which are held during the fair?
These projects were created with the help of international curators including Agustín Pérez
Rubio, former director of the MUSAC and Alexia Tala, artistic director of the Plataforma Ata-
cama. They both managed to create very different projects with strong individual characters.
Tala invited artists whose works are linked with to a specific place, whilst Pérez Rubio, paid
tribute to female artists over 65, who had not received renown during their careers, but whom
he felt deserved international recognition.
You have decided to exhibit contemporary art alongside photography, and are integrating
Madridfoto into the new fair – how do you feel the two disciplines link together?
Both events focus on contemporary art, and have sections devoted to both established and
emerging galleries – it seemed natural to join Summa Art with MadridFoto. Over the past five
years, MadridFoto has seen artists produce both still and moving works which act as vehicles
for artistic expression – with many of these artists having revolutionised the medium. Some
of MadridFoto’s most interesting participating artists are to play a part in our fair.
Interview…
20th century design by Jean-Jacques Wattel
Do you think working in partnership with a pre-existing fair will allow you to attract more
members of the public? Do you think that this partnership will allow you to further establish
your credibility?
Summa has to be seen as an event that started from scratch.

We want to establish our own character and be independent from any other art fair or similar
event. Previous editions of Summa were focused exclusively on contemporary art, in the same
way that JUSTMAD focused exclusively on emerging artists and MadridFoto focused exclusively
on photographers. Summa was about filling the hole between them and becoming a relevant
feature in Apertura at the beginning of the Spanish capital’s art season. Summa is a long-term
project.
Who is your target customer? What is the price range of works in your participating galleries?
Summa’s ambition is to become a bench-

mark event in the international art market
calendar – not just the Spanish one. We put
a lot of effort into making sure this goal is re-
alised. Lots of collectors are attracted to the
idea of coming to Madrid in September, es-
pecially emerging collectors who are always
at risk of disappearing – our event is really
tailored to them.
We also began with the intention of chang-

ing the relationship between the gallery
owner and collector, providing a meeting
platform for both of them. We don’t set any
guidelines on prices, so it’s possible to find
artworks starting from around €2,000.
Some might say it is risky to launch a new

fair given the current economic climate. Is
Image courtesy of there still a solid demand for art in Spain,
Agustin Perez-Rubio
or do you mainly rely on international
customers?
The crisis deeply affected Spain and, consequently, a lot of collectors, but they do still
exist. There are still people interested in art who are able to invest. Likewise, we are
interested in international collectors, and very much value the attention they give our projects. We
very much rely on their participation.
What is the price for a sqm of exhibition space?
Around €140 for one square meter.
Have you received a lot of applications from participants?
Yes, we are very pleased, even surprised, with the number of applications. The selection commit-
tee has a lot of work on its hands to select participants! We are a small, but high-quality art fair.
The fair is to coincide with Galleries Week end Apertura. Have you planned to collaborate
with either of these events? Or do you hope to benefit from running at the same time as these
events? What’s your relationship with Arco Madrid?
Our timing is not a coincidence: both events are very important for the capital’s arts scene. Even-
tually, we would like to work together so that Madrid becomes a real hub for contemporary art
Interview…
20th century design by Jean-Jacques Wattel
in September. ARCO is aware of our intentions, but Summa has nothing to do with ARCO. It is
a small event with a different character: we wish it to be a focal point for contemporary art
during Apertura in Madrid, and the timing of the fairs is perfect.
There are quite a few new fairs being created at the moment – the first edition of Est Art
Fair, for example, is to be held in Portugal in Spring 2014. Do you think the market is big
enough for all of these fairs to exist together?
The contemporary art market is now more international than ever and it is very interesting to
organise events, get out there, and to meet curators, artists and galleries. We certainly have
seen the number of art fairs multiply, but that’s not necessarily a bad thing. It merely repre-
sents the art world’s ongoing desire to develop and find new ways of selling art. Collectors
are travelling too, and understand that a deal at an art fair is different from a deal in a gallery.
It is collectors who create a standard. And, in the end, the events that survive will be the most
interesting ones. 
©Matadero Madrid
Fairs & festivals…

Applications open for the Pulse Art Fair in Miami
Galleries wishing to participate in the Pulse section entitled ‘Impulse’ is to present gal- ries of performances. The Pulse Prize is to be
Art Fair, organised from 5 to 8 December leries selected by a committee, which will given to an artist participating in the Impulse
2013, have been asked to submit their appli- exhibit works created by artists during the section. The fair supports several non-profit
cations before 30 June. past two years, whilst ‘Pulse’ is to offer a pro- organisations, as well as several schools. It
The fair, which conincides with Art Basel Mi- gramme of cultural events, including large- was launched in 2005, and is also held in
ami, is divided in into two main projects: a scale installations, a video festival, and a se- New York in May.
what’s on…
Last week to submit applications for Berliner Liste Masterpiece London presents Hong Kong
The tenth edition of Berliner Liste is scheduled from 19 to pavilion
22 September 2013, on the occasion of Berlin Art Week. The Masterpiece London, the art fair which
event is open to emerging galleries, group projects and in- runs between 26 June and 3 July, is fea-
dividual artists, offering works at affordable prices. Candidates turing a pavilion dedicated to Hong Kong,
are required to submit their applications up to 30 June 2013. presenting 30 works created by Chinese artists.
Among the new features of this edition, director Jörgen Golz appointed Commenting on the addition in China Daily, Nazy
journalist and curator Dr. Peter Funken to head the artistic department. Vassegh, the executive director of Masterpiece Lon-
Moreover, a section will be devoted to photography, with the purpose of don, commented that “having a Hong Kong pavilion at
turning Berliner Liste into a must-see and recognised international venue Masterpiece London is going to make a strong state-
for this medium. ment, because Hong Kong is one of the biggest art
The Berliner Liste is centred both on its growing strength in terms of in- hubs in the world,” adding that “the works themselves
ternational representation, and on the reputation of Berlin as an area of will draw a lot of attention.
artistic production. But also, because Masterpiece is an international fair,
The Peter-Christian Schlüschen Foundation sport photography prize will be I anticipate there will be a lot of Asian visitors coming
awarded along with a grant of €10,000. Exhibitors will be able to choose to London, and they will be glad to see these works
their spaces from a range of 10-sqm to 100-sqm areas, for a price of €115 here”.
per square metre. Last year, the event received 11,000 visitors. Vassegh also highlighted the fact that many European
collectors are already familiar with Chinese art, as an
Call for applications – Great Rivers Biennial 2014 increasing number of galleries and museums elect to
The Contemporary Art Museum in St. Louis and the Gateway display works by Chinese artists.
Foundation are calling for applications for the 6th edition of the
Great Rivers Biennial. The event is designed to promote the Details released for ‘Projects’ at Frieze
works of emerging and mid-career artists from St. Louis. London
A selection jury consists of Isolde Brielmaier, head curator of the Savannah Organisers of Frieze London have given
College of Art and Design, Mel Chin, artist, and Lowery Stokes Sims, curator more details about the ‘Projects’ section
at the St. Louis Museum of Art and Design. of the event, which will take place in Lon-
Three selected artists will be awarded a $20,000-cash prize and will have don’s Regents Park in October.
their work displayed during the Great River Biennale 2014 held at the CAM ‘Projects’ proposes a selection of seven events creat-
(May-August 2014). ed in conjunction with Frieze, and comprises the Em-
Artists can send in works in the following categories: drawing, painting, pho- dash Award, which allows an emerging artist of non-UK
tography, film and video, engraving, sculpture, installation, mixed techniques origin to present new work. This year’s winner of the
and multimedia. The only condition for entrants is that they must have lived prize is Finnish artist Pilvi Takala.
in the St. Louis area for at least a year at the time of the deadline for entrants, Projects curator Nicola Lees has also selected the fol-
on 26 August 2013. lowing artists as winning participants: Greek architect
Andrea Angelidakis, Australian Gerry Bibby, Brazilian
Contemporary art near the Caspian Sea Rivan Neuenschwander, American Ken Okiishi, Greek
PARTICIPATE Baku Public Art Festival 2013, a contemporary artist Angelo Plessas, French artist Lili Reynaud-Dewar
art fair that takes place in Azerbaijan, opened its doors on 12 and Austrian Josef Strau. Andelidakis is to contribute
March and will run until 12 September. an architectural structure which will be installed at the
Now in its second edition, the fair, which takes place in Baku, centre of the fair, and which will provide a platform on
features ten commissioned works by Azerbaijani and international artists, which to display the works of the other six artists.
and aims to question preconceptions about the role and relevance of pub- A spokesperson for Frieze said: “Our approach has
lic art in cities. The event also hopes to more broadly promote the work been to engage the public in a very playful and per-
of Azerbaijani artists. Participating local artists include Afet Baghirova and formative programme. Within Angelidakis’s bespoke
Chingiz Babayev, who are joined by Russian artist Naila Allakhverdiyeva design, there is a front stage and a back stage.
and Dutch artist Florentijn Hofman, who exemplify the fair’s international Five of the artists will use the front stage space in turn,
outlook. The fair is organised by Yarat, a non-profit organisation that seeks with a different commissioned artist presenting a per-
to support and promote contemporary art in Azerbaijan. formance each day.”
coming soon…
Guests of honour Nan Goldin and Juergen Teller at FILAF 2013 Summa Art Fair, the new
The International Art Book and Film Festival, which will be organised in Perpignan contemporary art and
from 26 to 30 June 2013, will welcome photographers Nan Goldin and Juergen Teller photography fair in Ma-
as its guests of honour. The American photographer, who will be present on 26 and drid
27 June, will speak about her work and will autograph her books at the ephemeral From 19 to 22 September 2013,
library of FILAF. She will receive a prize as well. Juergen Teller will also be awarded a prize for his the first edition of the SUMMA Art Fair, a
book collection, and will meet with the public on Saturday 29 June. The International Art Book and new fair dedicated to contemporary art
Film Festival is held every year in the heart of the city of Perpignan. This unique European festival is and photography, will be held in Madrid.
geared to promote art through the two specific mediums of books and films. The organisation of SUMMA coincides
with APERTURA 2013, an open day week-
Vienna is a major centre for Eastern European contemporary art end for galleries in Madrid, which will be
VIENNAFAIR The New Contemporary, which has been held in Vienna since 2005, is organised by gallery association Arte Ma-
to take place between 10 and 13 October 2013. This year’s edition of the fair will drid. The event will welcome 70 exhibitors
highlight galleries from the East and South East of Europe. These institutions will be and include the MadridFoto fair in its pro-
presented alongside galleries from Western Europe. Christina Steinbrecher-Pfandt and gramming, which will itself be celebrating
Vita Zaman, the two artistic directors of the fair, stated that “VIENNAFAIR allows already-established its fifth edition. Along with MadridFoto, a
galleries to build a network with emerging galleries in Eastern and South-eastern Europe, namely section titled UP will be reserved for gal-
those in Poland. Several Austrian galleries are participating, and a large number of galleries from leries that have been around for less than
Vienna will be represented. We are completely redefining the notion of a meeting between the East 7 years, and another section will be devot-
and the West. After the fall of the Iron Curtain, Vienna has established itself as a centre for artistic ed to Design.
exchange between Eastern and South Eastern Europe; VIENNAFAIR aims to perpetuate this tradi- In addition, two programmes titled ‘Trans-
tion.” This year, focus is to be placed on non-profit institutions and young galleries based in Romania versal’ and ‘Transversal Emergente’ will
and Turkey. The event will also include exhibition spaces dedicated to promoting the development feature the works of a large panel of artists,
of contemporary art in the Caspian region. This project, entitled Diyalog, will be directed by art ex- of all ages and practices, creating original
pert Gaisha Madanova and will feature a section entitled ZONE1, which will offer to visitors the links between the different sections of
opportunity to discover the works of a few selected artists. The fair will also include several lectures SUMMA.
and debates centred around current developments in contemporary art. VIENNAFAIR The New Con- Five gallery owners will form the selec-
temporary hopes to attract new buyers, thanks to the focus it is placing on these specific themes. tion committee of the first edition of the
Vienna’s Chamber of Commerce is also participating in the event, offering two prices of €5000 to SUMMA Art Fair: Baudoin Lebon – Paris, Es-
established and emerging galleries. pacio Mínimo – Madrid, Filomena Soares
– Lisbonne, Mor Charpentier – Paris, and
Art and politics at the Istanbul Biennale Oliva Arauna – Madrid. On the occasion of
From 14 September to 10 November 2013, the 13th edition of the Istanbul Biennale this event, the Comunidad de Madrid-MA-
is to take place, directed by Bige Örer with support from the Istanbul Foundation for DRIDFOTO prize will be awarded, which is
Culture and Arts (IKSV). The fair is curated by Fulya Erdemci, whose previous proj- a grant of €10,000. Since 2010, this prize
ects have included the curation of the Turkish Pavillion at the 54th Venice Biennale. Er- has been awarded to one or several artists
demci announced that the title of the fair is to be ‘MOM, AM I BARBARIAN?’, in reference to a work presented at the MADRIDFOTO section,
by the poet Lale Müldür. It will place a special focus on the potential for public spaces to become without theme or technical limits. Appli-
political forums. Erdemci explained that the theme of the fair sought to encourage debate centred cations are submitted by the exhibitors.
upon contemporary democratic practice and current political models, and to place a focus on the The winning pieces are then acquired by
important role which art might play in this dialogue. The curator added that art has the ability the Comunidad de Madrid and included in
to act as a voice for underrepresented or excluded voices, and has a unique capacity to counter the contemporary art collection of CA2M,
dominant political forces. The artistic direction of the Istanbul Biennale is to be undertaken by the 2 May Art Centre. The SUMMA fair will
Carolyn Christov-Bakargiev, artistic director of DOCUMENTA (13) ,the artist Ayşe Erkmen, art be held in MATADERO Madrid, the former
consultant Melih Fereli, the director of exhibitions and public programmes, and the director of municipal abattoir, and will occupy two of
the Museum Studies Programme at the San Francisco Art Institute Hou Hanru, and the director the cultural centre’s halls, not far from the
of the Al-Ma’mal Foundation for Contemporary Art, Jack Persekian. Reina Sofia museum.

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AMA NEWSLETTER

108 27 June 2013

WORKS OF ART AND BEAUTIFUL FURNITURE

02 July 2013 at 6pm

108 27 June 2013

Data Focus on the London Art Market

Following the end of Art Basel

Focus on the London Art Market

The Evolution of the London Market

Contemporary Market Developments

Focus on the London Art Market

Focus on the London Art Market

A breakdown of June and July sales

Focus on the London Art Market

London Art Fairs

Master Paintings Week

Focus on the London Art Market

About AMA Licences Advertising

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JP: I would call it a relaunch instead of a redesign, because it is a much deeper

from both cultures.

ama.indd 1 18/06/13 16:45

Art Media Agency (AMA)

ART MOSCOW 2013: applications are open until June 30th

ART MOSCOW CONTACTS SETTINGS

17th International Art Fair www.art-moscow.ru To change subscribe preferences or

Firstly its atmosphere. Summa is an intimate event which exists

Secondly, the organisation of the fair differentiates us from

Finally, the fair offers a varied programme which places a focus

What are the guidelines for artists/galleries participating in

Summa has to be seen as an event that started from scratch.

Summa’s ambition is to become a bench-

We also began with the intention of chang-

Some might say it is risky to launch a new

What is the price for a sqm of exhibition space?

Around €140 for one square meter.

Have you received a lot of applications from participants?

Fairs & festivals…