- Before filing for divorce from his socialite wife, Swiss businessman Maurice Amon has his art consultants come to their Fifth Avenue pad and lift works from their collection — including a Basquiat and Warhol — off the walls. Soon-to-be ex-wife Tracey Hejailan-Amon is stunned, and accuses her husband of stealing and trying to sell the works at auction without acknowledging their 50/50 interest. His people says the works are actually owned by his “corporation”. And, of course, there’s no pre-nup. [New York Post]
- Related: Ulay is suing Marina. He says she violated their contract, undercutting his 20% cut on profits made from their joint saleable work. She vehemently denies the claim. This is worth reading only for the totally apt headline: “Ulay v Marina: how art’s power couple went to war.” [Guardian]
- The Sotheby’s contemporary sale did well last night totalling $294.9 million, over a low estimate of $254 million. Cy Twombly went for a record high of 70 million. (I don’t get the prices for his work.) Josh Baer thinks the auction did well because there were better, fresher works available. We also learned that Leonardo DiCaprio showed up and maybe the Nahmad family bought him a five million dollar birthday present. (Who cares.) [Artnews]
- Ever since Shanghai collector Liu Yiqian snapped up that Modigliani nude at the Christie’s auction for $170 million, the art world has been a-twitter about this former taxi driver-turned billionaire who dared to — gasp! — sip from a $36 million Ming dynasty “chicken cup”. As expected, we get a sense of his tastes via his recent auction purchases: Chinese scrolls, Ming dynasty silk tapestries — you know, the usual 1% accoutrements. [The Art Newspaper]
- Paris Photo, Europe’s leading fair for photography, kicks off today. Returning to the Grand Palais, the fair is undergoing a couple changes: two new directors (Florence Bourgeois as director, Christoph Wiesner as artistic director) and a new section spotlighting serial works. [The Art Newspaper]
- “I am one of about six African American full professors of Art History in the US. All but one of this number are male.” The #BlackOnCampus hashtag is bringing revelations such as this, from UCLA Steven Nelson, to the fore. Good to know the dialogue around inclusion is now going beyond students to campus administrations. [@TylerGreenDC]
- You know, it’s really hard doing the Miami Beach fairs when you have to spend so much time indoors with the booths. Well guess what? The organizers totally feel you on those struggles, which is why they’re bringing public art to Collins Park for an outdoor show. Of course, the usual big names are attached (Olaf Breuning, Sterling Ruby, Robert Wilson, Katharina Grosse). [The Observer]
- Four raccoons were responsible for an early-morning break-in at a Newport, OR gallery. [KOIN 6]
- Some cheeseball animated GIFs inspired by Magritte. [Hyperallergic]
- Mesmerizing: watch this flash flood in Southern Utah. [Youtube via metafilter]
There’s something rather both meditative and masturbatory about Kelton Sears’s self-described “poop loop”.
Online art exhibition The Wrong Biennale’s second iteration has been live for over a week now. Much like the internet itself, The Wrong is huge and unwieldy and generated by so many authors that it’s thematically and qualitatively inconsistent beyond recapitulation or even judgement, really. That being said, The Wrong’s greatest utility might be its capacity to lay bare all the strengths, challenges, and glorious failures of displaying and viewing digital art online.
Here at AFC, we’re pretty excited about The Wrong Biennale, the world’s largest digital art biennial. Paddy interviewed founder David Quiles Guillo just before the site went live, and Rea curated the online pavilion The BiWay Art Foundation. I’ve just been wandering The Wrong’s many links for days, perusing the insane amount of digital art suddenly made a little more accessible to the masses. I’ll talk about my findings tomorrow, but this GIF is a great example of the kind of pieces I’ve been enjoying.
Artist Juane Odriozola posted this advertisement for a used “greeting from the Pope” on MercadoLibre.com (which is pretty much the Ebay of Argentina). It was originally published for one week in 2012. When a user clicks through the preview images, they form an animation of the Pope waving, which the artist documented in GIF form. This is exactly the kind of project with a playful consideration of site-specificity on the internet that makes getting lost in The Wrong so worthwhile. This, and other artworks are 0n view in the online pavilion Tiempo Circular, curated by Merlina Rañi & Celina Pla.
I don’t think I’ve ever seen a GIF that’s more lenticular ready than Di-Andre Caprice Davis’s “Hot Patty”. The piece is part of writer, curator and AFCer Rea McNamara’s Biway exhibition at the Wrong, which is to say there’s more where this comes from. We’ll be speaking more about the Wrong later this week, so keep an eye out for that.
This weekend, everyone will be (or should be) attending The Creative Time Summit in Bed-Stuy. Leading up to the all-day events this weekend, however, are a handful of promising openings. Monday, check out massive, rarely-seen works from abstract painter Friedal Dzubas in Midtown. Thursday, a Jeff Koons show at Gagosian attempts some metaphysical alchemy, and Friday morning, Juliana Huxtable’s new MoMA commission opens. Friday night we couldn’t be more excited for solo shows by Alex Ebstein and Meriem Bennani at Cuevas Tilleard Projects and SIGNAL, respectively.
The Brooklyn Museum continues its long tradition of focusing on Brooklyn-based artists with a follow up to our landmark survey, “Crossing Brooklyn,” with a new show featuring works by over forty-five artists who live and/or work in Brooklyn. “Double Crossing Brooklyn: 6th Annual Real Estate Summit,” on view Tuesday November 17th featuring practices that span what Johanna Drucker has called “complicit aesthetics’ to Julia Bryan-Wilson’s identification of “Occupational Realism” the artists in the exhibition operate in the field of real estate that seek to erase boundaries between art and Capitalism. While most of the exhibition will take place in the museum’s galleries, there will also be counter programming off-site in the streets and public spaces of the Brooklyn Museum.