Alicia Keys Supports "Africa Now" at Bonhams

Last Year Bonhams New Bond Street in London hosted Britain's first ever auction sale of works exclusively by contemporary African artists entitled "Africa Now." Now, famed singer, songwriter, actress, author, and philanthropist (with extreme interest in Africa), Alicia Keys, is showing her support for Bonhams New York, which will host the "Africa Now: Contemporary African Art" sale on March 10, 2010. Keys' charity, "Keep a Child Alive" will partner with Bonhams for a VIP reception, which is sponsored by Afren plc, the African focused independent oil and gas exploration and production company with operations in several African countries.

Keys and Leigh Blake founded "Keep a Child Alive" in 2003 with the mission of providing life-saving anti-retroviral treatment and health care to children and families with HIV/ AIDS in Africa and India. The organization has served more than 250,000 children and families.

Keys talks about her organization's work and her recent trip to Africa,

"It's amazing to return to Africa and witness those who were so ill and near death, being brought back to life because of the medical care they were able to receive. Just knowing that your time and effort has helped build paediatric wings in hospitals and supply medicine to those who might not otherwise receive it, gives me a real sense of purpose."

The "Africa Now" sale at Bonhams New York will be the first commercial auction of African contemporary art ever held in the US and features work by both new and established artists.

CLICK HERE to read the entire ArtDaily Article associated with this post.

2822 Records

What I am really looking forward to seeing this week is the Christian Marclay: 2822 Records (PS1) installation at P.S.1 in Long Island City. I fully appreciate opportunities to experience art in unique contexts or through a different perspective - in this case, for example, standing on the installation itself!

P.S.1 describes the installation as follows:

Consisting entirely of 12-inch records of every musical genre and style, Marclay's installation highlights the experiential qualities of music and vinyl recording by inviting visitors to walk on the artwork. Marclay’s installation highlights some of the most primal notions around music, namely volume, space, and physicality. As an example of viewer and audience participation, it highlights a seminal aspect of the upcoming exhibition 100 Years (version #1, ps1, nov 2009), drafting a short history of actions, events, situations, happenings, and performances...

Continue reading

Christian Marclay: 2822 Records (PS1) is on view until April 5, 2010.

Live Music Starting this Friday at the Whitney

Whitney Live, a program of live, "cutting edge" performances, is starting up this Friday, July 10, and will continue every Friday for the month of July in conjunction with the exhibition Dan Graham: Beyond. Kicking off the series are two bands, Titus Andronicus, and Real Estate. According to the Whitney website,

Titus Andronicus are from Glen Rock, New Jersey, and take their name from the Shakespearean tragedy. Their sound is punk-infused Replacements-esque pop music with screaming vocals, layered guitars, and songs about suburban malaise....Real Estate, led by singer/guitarist Martin Courtney, also has roots in the Garden State. Their songs evoke visions of tract housing, basement band practice, and wasted youth, mixing languid psychedelia, muted vocals, and a boomy undertow of drums.

How can you say no? I guess it is a toughie, with the Lesbian exhibition also opening tomorrow...hmmm...

Whitney Live is free with admission, which is pay-as-you-wish on Fridays from 6-9 pm. Seating is on a first come, first serve basis.

Passion: Lesbian Visions

On the occasion of NYC Gay Pride (and this one is especially significant, given the 40th anniversary of the Stonewall crackdown and riots) I devoted one of my other blogs (I write a few) to what I think is an interesting and controversial topic: "gay art," and how to define it. Sadly due to its unusual length I didn't even get to plug the exhibition I plan on checking out for my gay art education!

The Leslie-Lohman Gay Art Foundation and Gallery provided the cornerstone of my internet gay art education; their most recent exhibition just closed on the 27th, but their next exhibition opens July 11: in conjunction with the Fresh Fruit Festival, the gallery is hosting a show called "Passion: Lesbian Visions 2009," curated by Heidi Russell. There is actually not much information about the show on the Leslie-Lohman website, but the Fresh Fruit Festival has a more detailed write up:

What is a Lesbian? Who occupies post-modern Lesbos? Fresh Fruit has invited an international array of self-defined Lesbian artists to tell us what ignites their passion. Their unique perspectives are revealed in this multi-media gallery show. Sculpture, photography, painting, drawing, mixed media, installation, fabric art, video, sound, poetry, prose, and performance art all involve the on-looker in an astounding range of Lesbian creative passion. Among the participating artists are: Jeanine Alfieri, Prinny Alavi, Laura Cappadrione, Cecy Canarte, Leslie Cloninger, Felice Cohen, Giegia Cotellessa, Maggie Cousins, Marge Doherty, Liz Gold, Nicole Guest, Kanika Hodges, Joan Katz, Jill A. Kolodin, Nina Lourie, Lora Morgenstern, Mari Morimoto, Sara Mussen, Olga, Kenya Robinson, Daniella Shachter, Alina Wilczynski, An Xiao, Heather Young, Lisa Zilker

Friday, July 10th, 7:00 pm - 10:00 pm: Opening and artists' reception,
Saturday, July 11th - Saturday, July 25: Tue-Sat, 12 Noon - 6:00 pm
Special Events: July 15th, 7:00 pm performance art evening
July 21, 7:00 pm Readings
Admission: Free / Open to the Public
Leslie-Lohman Gallery, 26 Wooster Street, New York, NY 100013 (212-431-2609)

Richard Avedon at ICP

My own familiarity with the photographer extraordinaire Richard Avedon is his portraiture, such as his iconic image of Marilyn Monroe with her guard down; after hours of posing for Avedon, the tired actress plopped down on a stool and let him snap a few more, which artist Vik Muniz rightly characterizes as "a picture of Norma Jean, not Marilyn."

The current show at the International Center for Photography showcases another side of the versatile photographer's oeuvre: Avedon Fashion photographs, 1944 - 2000. The exhibition opened on May 15th and runs through September 6th (note, press release says Sept 6, website says Sept 20). Roberta Smith had nothing but glowing things to say about the dynamic, vibrant photographs in the ICP exhibition:

Avedon’s fashion photographs from the late 1940s to the early ’60s are everything you want great art to be: exhilarating, startlingly new and rich enough with life and form to sustain repeated viewings. Their beauty is joy incarnate and contagious. The best of them are as perfect on their own terms as the best work of Jackson Pollock or Jasper Johns from that era, and as profoundly representative of it.

You can read Roberta Smith's full review here. I am putting this exhibition on my must-see list of the summer!

(below, left: A 1994 shot of Stephanie Seymour; right, Veruschka, dress by Kimberly,
New York, January 1967. Copyright 2009, the Richard Avedon Foundation)

Armory Show

I went to the Armory Art Fair today. It was awesome! And I'm so glad I went today (I was sort of considering waiting for the crowds to die down - today was opening day - but it wasn't even crowded today). There was some amazing art - one of my faves is this 150 year old wagon wheel that was lit from behind by color-changing LED lights. It costs 80,000 Euros! Ga! That's a lot - and for a wagon wheel. Oh well, one day perhaps.

There was some a lot of great new media stuff, very few photographs, some (but not much) weird mixed media sculpture, and a lot of staples. I thought that the prices would be lower because of the economics....ahem....problems, but just about everything that I asked after was VERY expensive ($100,000 expensive). I couldn't really get a feel for how things were selling - but a girl I'm doing a project with in class was walking around with me pretending like she was an art advisor and EVERYONE was willing to give her a 20% discount. That would have been RARE last year. Definitely.

All in all today was a great day. I love that I live in New York City where these sorts of things are at my fingertips. It's really incredible. This weekend will be very busy - I've got papers upon papers to write and then I'm going to Santa Fe for a week! Yaay! 

New Season of Auctions

So the latest auction season has officially started. I like to follow the auctions quite closely (or at least those at Sotheby's, Christie's, and Phillips de Pury) to get an idea of the value and valuation of works of art at market right now. It's so difficult to get any price information from galleries unless they think you're a serious buyer, so this is really the most transparent and easily accessible way possible. 

The New York Times, published this story recently on the Old Masters auctions. On the whole, the action didn't do quite as well as "expected" but then again we didn't really think it would. I'm sure the estimates were really just an attempt for the auction house management to appease the consignors. I mean, they have to think they'll get something for the work or they won't bring it to auction. Sometime soon, the auctions will have to rethink their marketing ploys. They can't get works just to fill up their auctions, if none of them are going to sell. It's all about managing expectations of consignors and making them understand that you can't get top dollar at every state of the economy. 

Anyway,  "One of J. M. W. Turner’s classically romantic images brought $13 million at Sotheby’s on Thursday morning, becoming the most expensive work in two days of turbulent old master painting sales." but otherwise there were few notable sales. 

This Hendrick ter Brugghen sold for a record $10.2 million after a bit of a bidding battle between the buyer, Richard Feigen and a phone bidder. 

New York, New York

Being back in the city that never sleeps never fails to elate me. I am going to be starting up with school again, new classes, new reading, new year, new president, new everything! So I thought I should go with the spirit of the new year and get out there and see some new art and galleries. I've been to Chelsea several times before but it doesn't fail to intimidate me. The "gallerinas" are as intimidating as ever with their designer clothes and scowls (do they hire them because they have such nasty looks on their faces?). I wondered if things would get a bit more friendly as the economic downturn pulls into its third, fourth...fifth (when will this even be over?) month. 

Art sales are noticeably down but either these girls can't seem to understand what it means to welcome someone into a space or their faces really are just stuck like that. Last month at Art Basel, dozens (if not hundreds) of galleries felt the sting of diminished pocketbooks and shocked stock portfolios. Fortunately, few people's hopes were high enough to warrant any real shock at the result. 

What will happen, I think, is that the galleries that have gotten lackluster results even in high times will be whittled away until only the strongest and most innovative survive. They don't call it Survival of the Fittest for nothing.  We are going to see some major changes in the coming months and years. The question stands as to what sort of changes and innovation will save the gallery (and what form it will take in the coming future).