In the latest edition of ‘Matt About Town,’ WTOP’s Matt Kaufax heads to one of the District’s often-forgotten rinks near the National Mall.
Uncovering how the National Gallery of Art Sculpture Garden Ice Rink is created
Jordan Wolfson’s robotic cube simulates sex and suicide. He says it is his most universal work yet
When the National Gallery of Australia spent millions on the controversial artist’s latest artwork, it was described as a ‘cultural slap in the face’. Wolfson has finally unveiled it
Megacities: life in the cities home to more than 10 million people
At last count, our planet is home to 34 “megacities”: cities with populations of more than 10 million. By 2035, the United Nations estimates there will be 48 megacities; by 2050, it is expected that two out of every three people will live in cities as populations grow, rural areas are absorbed by urban sprawl, and people continue to move in search of work, education and opportunity.
Understanding what it’s like to live in these intense urban environments is the theme of the National Gallery of Victoria’s Megacities exhibition, an immersive multimedia exhibition featuring around 500 images by 10 photographers in 10 megacities.
The NGV’s senior curator of photography, Susan van Wyk, commissioned street photographers living and working in 10 megacities around the world: Hana Gamal in Cairo, Farhana Satu in Dhaka, Mas Agung Wilis Yudha Baskoro in Jakarta, Saumya Khandelwal in Delhi, Gustavo Minas in São Paulo, Chen Ronghui in Shanghai, JT White in Seoul, Yagazie Emezi in Lagos, Mikiko Hara in Tokyo and Francisco Mata Rosas in Mexico City.
Together they have created an intimate portrait of their home cities, documenting people living, working, moving and playing in the streets. The images span quiet, reflective spaces and pockets of nature, as well as more confronting images of crowds and construction on a mass scale, reflecting the fascinating individuality of each city and all the people who live in them.
Megacities often get a bad rap – portrayed as chaotic, polluted and crowded, where competition for resources is intense and many people struggle just to survive: places perceived through the lens of “fear and prejudice”, as Timothy Moore, curator of contemporary design and architecture at NGV, writes in the Triennial catalogue.
But the Megacities exhibition offers more nuanced and individual perspectives of life in these diverse cities. “The people making these images live in these places. It’s not an external visitor or tourist coming in and capturing images that are all about what makes [places] different,” says Van Wyk.
“This is a project that offers up an opportunity for people to present images that are a reflection of the environment in which they live and work … It’s a complex vision of the world today.”
Hana Gamal: Cairo, Egypt (population 22.2 million)
Gamal’s images of Cairo, where she was born, were shot on film and mostly in black and white. “Having a film camera with a limited number of photographs teaches you how to slow down and really be present, to connect with your feelings, and to focus on what you really want to photograph,” she says.
“I have a love-hate relationship with Cairo. I love it so much, but I also hate it sometimes. This contradiction is engraved in the streets, on the walls, in the corners, on the people’s faces.
“One of my favourite photographs in this series is an amusement park gate, where you see a very scary, strange face screaming. This picture depicts so much of the city right now. We’re all screaming inside our hearts with everything happening – not just here in Cairo, but in the world.”
Farhana Satu: Dhaka, Bangladesh (population 21.3 million)
Satu was born in the south of Bangladesh in a forested coastal area. She moved to Dhaka to study when she was 13 and the city was “a shock”, she says.
“It’s so full of life but not at all close to nature, and that was very challenging for me as an artist. But Dhaka is a magical city. Despite the stress, and the traffic jams, people are still joyful. They are still friendly, they are not rude at all,” she adds.
“In Dhaka, you can have the richest men living in luxury on the top floor of a building, while homeless people sleep on the street below. I wanted to focus on that distance between rich and poor, of the two sides of human existence. It’s like sky and ground.”
Chen Ronghui: Shanghai, China (population 40 million)
Ronghui was born in a small village in a province near Shanghai. After living in Hangzhou and New York, he moved to Shanghai in 2014. “This is not just my story,” he says of his migration to the city. “It’s the story of many young Chinese people.
“In my first year in Shanghai, I had no time to enjoy anything. Like many migrants, I lived far from the city in cheap accommodation, travelling an hour or two by train to the centre. But eventually, I started to enjoy the journey to my office, because I could document what I was seeing around me.
“Shanghai is totally different from other cities like New York or Paris. It is half developed, half developing. Half socialism, half capitalism. Everything constantly changes. The facades remain for the tourists, but behind the facades there’s nothing. No local people at all. It’s a fake beauty.”
From Oregon to Alaska: An ice sculpting odyssey
A team of artists from Oregon competed in one of the largest and most renowned ice sculpting events in the world.
How Juergen Teller and Alexander Skarsgård Found Love in a Frozen Place
Ahead of Juergen Teller, i need to live, this winter’s gargantuan, 800-piece exhibition at the Grand Palais Éphémère in Paris, the famed German photographer and his collaborator, wife, and baby mama Dovile Drizyte call up their dear friend, the actor Alexander Skarsgård, to talk babies, fathers, and Men, the scat-centered short Teller and Skårsgard created during a life-altering quest to the Arctic Circle.
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“Late photography legends like Irving Penn and Lee Miller would’ve laughed their pants off if someone told them that towards the end of the century, a working class kid from a small town in Germany without any connections in the industry would burst onto the scene with photographs that shatter the boundaries between commercial photography and contemporary art and establish himself as the greatest photographer of our time.”
—ALEXANDER SKARSGÅRD
———
ALEXANDER SKARSGÅRD: Hey guys.
DOVILE DRIZYTE: Can you hear us?
SKARSGÅRD: Yeah. Can you hear me?
DRIZYTE: Yeah.
JUERGEN TELLER: Hi.
DRIZYTE: Wow. Looking so professional, in black, combed hair.
SKARSGÅRD: This is my professional black shirt that I wear only for hard-hitting interviews.
DRIZYTE: That’s great. Thanks for agreeing to do this, Alex.
SKARSGÅRD: My pleasure. How are you guys?
TELLER: We’re good. Back in Germany. It was a long journey last night. You know how it is with kids.
SKARSGÅRD: It’s like traveling with a circus.
TELLER: Yes. [Laughs]
SKARSGÅRD: We had an interesting 36-hour journey back from France yesterday. There was a bad thunderstorm in Scandinavia, so they canceled a lot of flights. Traveling with an infant or a 1-year-old is a fucking nightmare. [Laughs] I aged 10 years over those 36 hours, but we made it home, finally.
TELLER: I always said, after a holiday with the kids, you need a holiday afterwards.
SKARSGÅRD: [Laughs] Well, let’s jump in. I have a little preface and it goes a little something like this. At 9:42 a.m. on March 13, 2023, I found myself staring into the abyss on a windswept frozen lake north of the Arctic Circle. That abyss was Juergen Teller’s asshole. A year earlier, we had never met, and now I was granted access to parts of his body I’m not even sure his wife had. My version of how we ended up here I shall save for my highly anticipated autobiography, Alexander Skarsgård on Alexander Skarsgård and Other Fascinating Topics He Knows a Lot About. But Juergen, would you please share your version?
TELLER: [Laughs] That’s all very well put. I can’t remember the date when we met, but we met through Interview when the magazine asked me to photograph you [for the March 2022 cover story]. You were in London and I invited you to come to the studio, and of course I admired your work a lot: the things you did with Lars von Trier and the TV series, Big Little Lies or Little Big Lies or whatever it’s called.
SKARSGÅRD: Yeah, Big Little Lies.
TELLER: I thought you were excellent. And much, much later, when we were on a holiday with my two other kids, we watched Zoolander, and my admiration for you jumped even higher.
SKARSGÅRD: [Laughs]
TELLER: But coming back to that Interview shoot, I remember we had very good conversations and enjoyed each other’s company, together with Dovile. And then one thing led to another, and a year later we found each other in New York.
SKARSGÅRD: Right.
TELLER: I had spent some time with Dovile in Lithuania at her parents’ house, and my father-in-law told me a story about when he was living and working in Siberia. It was an absolutely mesmerizing story, which years later, I wanted to reenact, and I needed a partner in crime, and it was you.
SKARSGÅRD: Did it have anything to do with me taking a shit on the South Pole years ago?
TELLER: Well, it could be because you showed me those pictures. No, first of all, I couldn’t have acted out this whole film we did together with just a friend or a neighbor. I needed some Hollywood oomph, otherwise nobody would’ve taken this thing seriously.
SKARSGÅRD: [Laughs]
TELLER: And with your help, it elevated it into an artwork.
SKARSGÅRD: Your shit deserved it. [Laughs]
TELLER: On top of it, when Dovile was nine months pregnant, wading through a meter of snow in minus 15 degrees, filming the whole thing, we both looked at each other and thought, “Fuck, he is such a good actor.”
SKARSGÅRD: Well, to your credit, Juergen, so were you. Playing yourself might sound easy, but it’s actually quite difficult to be comfortable being yourself in front of the camera. But you took that shit like the camera wasn’t around. You really owned that moment, and I admire you for it.
TELLER: Thank you. Once I say it, I do it. You can’t be pussy-fucking around with, “Oh no, that’s a bit too much,” or whatever. It’s actually really quite moving, what we did. It’s about male friendship and it’s a love letter to my father and my father-in-law. It’s hardcore, but it’s very profound and very humorous.
SKARSGÅRD: Was this a decision that grew slowly, or as your father-in-law was telling you this story, did it hit you like a lightning rod that, “Oh, I need to go out and take a shit in the snow and have someone hack my shit out of my asshole?”
TELLER: It took a little time, as you said, to process it and to know what to do with it. And sometimes my ideas sound so absurd that when you say them out loud, you’re like, “The fuck is this?” But when I execute them, they actually do make sense, like the work I did with Charlotte Rampling, for example, and now with you. And I have this partner in crime, which is my wife who works with me. I can say these things, what’s in my head, and she can articulate them, because I’m very often shy about these things. Dovile did ask you, right?
SKARSGÅRD: Yeah. You had told me the story of your father-in-law telling you the story. You were sharing a bottle of vodka, up at night, and he was telling you about how cold it was in Siberia and how his friend had to help him hack the shit out of his ass because it had frozen before it hit the ground. [Laughs]
TELLER: Yes.
SKARSGÅRD: So I’d heard the story, but it was Dovile who asked me if I would do the honor of hacking your shit out of your ass. And of course, I was honored to. The next challenge was finding the right location.
TELLER: We both said, “Let’s go to Siberia.” And then Dovile, of course, thinking more practically, was like, “Hey guys, there’s a war in Russia. We can’t go to Siberia.” And then you immediately came up with this excellent idea. You were like, “I have some friends near the Arctic Circle. Let’s go there.” Then we just had to find a date, and that was another challenging thing, because Dovile was getting more and more pregnant. I have to say, the weekend we had there was so wonderful. Your friends were so sweet.
SKARSGÅRD: Yeah, yeah, yeah. I just want to ask about the process of creating this video. I haven’t seen it edited with the narration that you’re doing, but you mentioned that it’s about your father-in-law, but also your father, and I was curious if that was a conscious decision from the beginning or if, as you were putting it together, you were like, “This has taken on a different meaning?”
TELLER: I had my father in mind because of the strong bond I have with my father-in-law, even though Dovile’s father doesn’t speak a word of English. It all comes from looking into each other’s eyes, drinking some vodka, and having a cigarette. Of course, Dovile translates certain things, but there’s this ease about being together which I never had with my father. He never spoke a word to me. We never had a conversation. So when I’m narrating our film, at the end I say that when I was 16 years old, I wanted to get away from my parents as quickly as I could, so I decided to hitchhike to Sicily. Out of the blue, my father, who was an enthusiastic hobby photographer, handed over his camera and said, “Take some pictures on your travels.” And I’m like, “Fuck you. I don’t want a fucking camera. I don’t want to have anything to do with you.” And it’s funny, I’m a photographer now.
SKARSGÅRD: Has your father-in-law seen the film?
TELLER: He has. He couldn’t believe it. He got really flustered and nervous and asked to have a drink. The next morning he said, “Are you really going to show this?” There was a lot of laughter.
SKARSGÅRD: Oh, good. And just to segue into when you photographed me for Interview last year, it was very obvious how intimately you and Dovile work behind the camera. Together you would find different locations around the house to shoot, or sometimes Dovile would pick up the camera and take some snaps. It felt very playful and fun. I’m sure we all have massive egos, but the atmosphere seemed very egoless. You haven’t known each other for that many years.
TELLER: No.
SKARSGÅRD: And you were 30-plus years into your career when you started collaborating. Has Dovile changed the way you work?
TELLER: It’s funny, when I was doing my work on my own, of course I had assistants and people who helped me, but on some occasions I felt very, very alone. I started working with Dovile when she moved from New York to London. At the beginning, I thought she would help me with the business side and the studio, because Dovile studied political science and she’s very practical. So I left my agents and she was doing all that, but very quickly, we both surprised each other with how creative she is and how much she understands me. It’s been the best thing that ever happened to me, meeting Dovile. We work together, we have a kid together, we’re married—we do everything together. Under normal circumstances you’d get on each other’s nerves and need your space. But for us, it’s not like that at all. Because of her, I’m actually even more me than before.
SKARSGÅRD: Like in terms of helping you go deeper into yourself, or finding your core?
TELLER: To achieve things. For example, it would’ve been a long-winded, complicated thing to ask you to do the shit video. Dovile understood my need to do that film, and that you were perfect for it.
SKARSGÅRD: If I may say so myself, I was born to play that part.
TELLER: [Laughs]
SKARSGÅRD: I was born to crouch as you were squatting, taking a shit in the freezing cold Artic winter. That’s where I belong, in the shadow of your ass.
TELLER: [Laughs] And when you put your hands in the back of my shorts, I thought, “Whoa, we are going a bit off script here.”
SKARSGÅRD: It was a survival instinct. It was so fucking cold and I couldn’t feel my hands, and I realized the only warm part of your body was going to be your ass.
TELLER: [Laughs] But do you understand what I mean when I say Dovile makes me more me?
SKARSGÅRD: Absolutely. There might be barriers or you might be more restrained when you’re on your own and she can unlock that and push you forward.
TELLER: Exactly. And she also protects me, because when you’re completely on your own, you can get manipulated. And so together as a unit, we’re in a good place.
SKARSGÅRD: If you look at photographs before and after you met Dovile, is there any change?
TELLER: Not really. I’m still me. Everything is just more fluid and faster.
SKARSGÅRD: Are you more prolific?
TELLER: I think so. I knew two years ago I was having this big show at the Grand Palais and I wanted to produce quite a lot of new work. Of course, some older works are in it, but there’s a whole lot of organization to do. I can’t do it. She did all of the organizing and I took the glory.
SKARSGÅRD: Yeah. Congratulations by the way, on the upcoming solo exhibition at the Grand Palais.
TELLER: Thank you.
SKARSGÅRD: I’m curious how you approached the design of the exhibition and the display of the artwork, because that venue is such a behemoth.
TELLER: Well, it’s where art fairs like Art Basel Paris have 100 or 200 booths filled with artworks. There are 10,000 square meters to fill. And it has really high ceilings. Pretty early on it became clear that we needed an architect. I wanted to ask Tom Emerson from 6a architects—who actually built my studio, who’s a close friend of ours, and who understands me well and knows my photographs—to do it. And I have this curator called Thomas Weski who worked on the exhibition with us. I wanted it to have really long walls. So basically it ends up like a T-shape and it’s 400 meters of walls. I wanted to do it like a piece of music or a film or a book, so there’s a beginning, a middle, and an end.
SKARSGÅRD: All those photographs will be on this T-shaped 400-meter long cross?
TELLER: Yes. And some of them are large and some of them are framed and some of them are very small. Some of them are a group of works, and some of them are single works. There’s a big variety.
SKARSGÅRD: Because there’s 800-plus pieces, and some are big crowd-pleasers that will inevitably get a lot of attention. If you were to single out a piece that you think might need a little extra love so people won’t miss it, what would it be?
TELLER: I did a school project with the children in the village I grew up in. They wanted to interview my mother about me. The schoolteacher called her up—it’s a village of four-and-a-half thousand people—and I thought, “Hang on a minute. I don’t really want my mom to talk about me. Why don’t I go to the school and they can ask me some questions?” I had an exhibition in a museum in the town next door, and I think the schoolteacher took them to my show. They got really excited about it, and started restaging some of my photographs, and I was completely mesmerized by it. Then I did a two-week project with them. We went into the forest and then I asked them to photograph this and asked them to photograph that, and it was really, really moving. Then the schoolteacher asked the kids questions about what they think about my work, and the questions they asked were really profound, without any irony. I thought that was really important to show.
SKARSGÅRD: Beautiful. And I think after the exhibition, there will be a lot of 7-year-olds around the world that will be excited to reenact our video as well.
TELLER: [Laughs] Totally.
SKARSGÅRD: Well, that’s all I have. What’s our next adventure?
TELLER: Something bizarre would be, we exchange our kids for a weekend.
SKARSGÅRD: Or for 18 years.
TELLER: [Laughs] That’s too weird.
SKARSGÅRD: And then when they turn 18, we’ll tell them it was a bizarre joke. “We’re not your parents, honey.”
TELLER: [Laughs] It’s the other ones over there.
SKARSGÅRD: We’ll find something to do soon. And in the meantime, we’re all very excited to see you in Paris. You’ve got a couple of busy weeks ahead of you.
TELLER: Yeah, it’s like a fast train, and then when the train stops, I’ll be like, “Oh my god, I’m not quite sure what I’m going to do next.” You know that weird feeling?
SKARSGÅRD: Yeah. Well, as you know, having a baby will keep you preoccupied. You don’t really have time to sit around and contemplate life. There’s always a diaper to change.
TELLER: [Laughs] Absolutely.
———
Man, Alexander Skarsgård and Juergen Teller, video stills, Luelå, 2023.
Let there be light! The top 25 aurora photographs of 2023
Advertisement
The Northern and Southern Lights put on quite a show this year – and some of the world’s most talented photographers were on hand to capture them in all their dazzling glory.
As we reveal.
Here we present the best aurora pictures taken around the world in 2023, as carefully chosen by the travel and photography blog Capture the Atlas. The images feature in the blog’s Northern Lights Photographer of the Year collection, which it presents each year to ‘inspire and share the beauty of this natural phenomenon’.
This year’s impressive selection was captured by 25 photographers from across the globe, with images snapped by 13 different nationalities.
Dan Zafra, editor of Capture the Atlas, curates these photos throughout the year. He looks not only for images taken by some of the most renowned photographers, but also for new talent, and for new locations where incredible aurora images are rare.
Capture the Atlas said: ‘We are seeing Northern Lights displays at lower latitudes and aurora images in unique places where they haven’t been photographed before. In this edition, we have aurora images [taken] in Wales, Germany, Italy’s Dolomites, mainland Australia, and even Death Valley National Park.’ And here they are in all their natural glory, scroll down to see the full collection…
!['This is the moment we live for,' said Vincent Beudez of the above image, which he took in northern Norway. He added: '[It was] the most colourful Northern Lights I’ve ever witnessed'](https://www.mecreates.com/story/news/wp-content/uploads/2023/12/78638489-12831861-_This_is_the_moment_we_live_for_said_Vincent_Beudez_of_the_above-m-75_1701943553717.jpg)
![Photographer Kenneth LeRose took this image at the lowest altitude in the U.S - Badwater Basin in Death Valley National Park. It sits 282ft (86m) below sea level. Kenneth said: 'I couldn’t believe my eyes. This was my favorite shot taken from [a] memorable night'](https://www.mecreates.com/story/news/wp-content/uploads/2023/12/78638519-12831861-_I_really_didn_t_believe_I_d_see_the_aurora_at_the_lowest_altitu-a-76_1701943559548.jpg)
Pantone Color of the Year 2024: PANTONE 13-1023 Peach Fuzz
As another year comes to a close, those of us in the design world know it means one thing – the big announcement from Pantone! The global color authority just announced the Pantone Color of the Year 2024 and it’s… PANTONE 13-1023 Peach Fuzz, a warm and welcoming, velvety shade that hovers between pink and orange. With so many living through times of turmoil, the need for care, empathy, and community grows stronger, as does Pantone’s hope for more peaceful times.
A warm and cozy shade highlighting our desire for togetherness with others and the feeling of sanctuary this creates, PANTONE 13-1023 Peach Fuzz presents a fresh approach to a new softness.
“A cozy peach hue softly nestled between pink and orange, PANTONE 13-1023 Peach Fuzz brings belonging, inspires recalibration, and an opportunity for nurturing, conjuring up an air of calm, offering us a space to be, feel, and heal and to flourish from whether spending time with others or taking the time to enjoy a moment by ourselves,” says Leatrice Eiseman, Executive Director, Pantone Color Institute. “Drawing comfort from PANTONE 13-1023 Peach Fuzz, we can find peace from within, impacting our wellbeing. An idea as much as a feeling, PANTONE 13-1023 Peach Fuzz awakens our senses to the comforting presence of tactility and cocooned warmth.”
The announcement of the heartfelt hue marks the 25th anniversary of Pantone’s Color of the Year initiative. Since the introduction of PANTONE 15-4020 Cerulean Blue as the Color of the Year in 1999, the institute has continued to certify their authority throughout global culture when it comes to the significance of color. (See previous Pantone Color of the Year selections.)
“With this year’s Pantone Color of the Year 2024, we see an increased focus on community and people across the world reframing how they want to live and evaluating what is important – that being the comfort of being close to those we love. The color is one whose warm and welcoming embrace conveys a message of compassion and whose cozy sensibility brings people together and enriches the soul,” added Laurie Pressman, Vice President of the Pantone Color Institute. “In the spirit of PANTONE 13-1023 Peach Fuzz, we reflect back on the last 25 years of the Pantone Color of the Year program grateful to provide an avenue where designers and color enthusiasts all over the world can engage in a conversation about color, be inspired by color and showcase their creativity within their communities. We look forward to continuing this for many more years to come.”
Image credit: The Development
Image credit: The Development
Image credit: The Development
Image credit: The Development
In lieu of the Pantone Color of the Year 2024 announcement, Pantone has launched a collection of Pantone Lifestyle goods in Peach Fuzz here.
Pantone is also working with a number of brands on collaborations celebrating the Pantone Color of the Year 2024: PANTONE 13-1023 Peach Fuzz, including Cariuma, Motorola, Ruggable, Shades by Shan, and Spoonflower.
Cariuma
Motorola
Ruggable
Shades by Shan
Spoonflower
Head to Design Milk’s Instagram to tell us what you think of the Pantone Color of the Year 2024 pick!
Dazed Club Spotlight: November 2023
Backstage photoshoots, film stills and magical realism – check out the latest projects from this month’s selected Dazed Clubbers
7December 2023
Giant reindeer sculptures rear ends at war memorial blasted ‘offensive’ by local
Two giant reindeer sculptures showing their rear ends to passers-by at a war memorial have been blasted ‘offensive’ by locals.
Strong sales at Art Basel Miami Beach despite ‘subdued’ start
“I really had no idea how it was going to go,” said the gallerist Xavier Hufkens of this year’s Art Basel Miami Beach fair, echoing the uncertainty of many at this last big art event of the year. Global political tensions have dented art-market confidence for weeks, while the economic downturn has weighed on it throughout what Hufkens describes as a “very strange year”. As such, he felt “relieved” at Wednesday’s opening of the fair — the largest of its kind in the Americas, with 277 exhibitors — describing business as “really good”. Sales included a 2023 painting by Tracey Emin for £1.2mn and an edition of a new bronze and wood sculpture by Danh Võ, which went early on to an American collector for €240,000.
The crowd was “more subdued” this year, noted art adviser Morgan Long, but this, she added, is not such a bad thing: “People used to be in town for parties, now they are here to buy art.” Organised into more distinct zones this year, there was praise from many for the revised floor plan. “I would never normally talk about a new layout, but the fair feels airier and much easier to navigate,” Hufkens said.
The highest reported sale price by far was $20mn for Philip Guston’s “Painter at Night” (1979) through Hauser & Wirth, though most other transactions were made between $50,000 and $500,000. These included Thornton Dial’s “Birds See What the Tiger Can’t” (1991, David Lewis gallery, $275,000) and 2022 canvases by Lonnie Holley for up to $130,000 (Edel Assanti). The much-discussed first Black Painting work by Frank Stella, “Delta” (1958), offered by his family and with an asking price of $45mn at Yares Art, remained unsold after the first day.
Female Old Masters are out in force this winter. In New York, Robilant+Voena has opened a show dedicated to “pioneering women from the Renaissance to the 20th century”, including a work recently attributed to Artemisia Gentileschi, the posterchild for this field in recent years. Her work here, “Penitent Magdalene” (c1625-30), was bought for $129,150 in 2021 from a Florida auction house, catalogued as “After Artemisia Gentileschi”. Subsequent research has confirmed the painting as an autograph Gentileschi and it is offered here for more than $5mn, a level that the artist can now command. Other artists from this period among the 21 on show are Fede Galizia and the lesser-known Orsola Maddalena Caccia, who — like Gentileschi — were trained by their artist fathers.
Virginia Brilliant, the gallery’s director of Old Masters and the show’s curator, says that “all I have heard from museums and collectors since 2019 is that they are really, really keen [to acquire] under-represented artists. The challenge is that good-quality material, backed by scholarship, is hard to find.” A former museum curator, Brilliant is conscious that many institutions “have an annual acquisition budget of about $250,000” and confirms that some of the works, including allegories by Angelica Kauffman (1741-1807), fit that bill.
Female artists held their own at Sotheby’s Old Masters auction in London on Wednesday, where a 1615 still life by the Antwerp painter Clara Peeters sold for £550,000 (£698,500 with fees, est £500,000-£700,000). Next month, the auction house will offer 12 works by French artist Élisabeth Vigée Le Brun (1755-1842), from the collection of the art historian Joseph Baillio (total estimate $2.4mn-$3.5mn).
The estate of American artist James Rosenquist, who died in 2017, will offer about 50 of his prints at Phillips in New York on February 15. The works have a combined estimate of $265,000-$410,000 but “are not being sold as a moneymaking situation”, says Cary Leibowitz, worldwide co-head of Phillips’s editions department. Rather, he says, the estate “felt it was an opportunity to capture a new generation of collectors”. There are, he says, “25-year-olds who don’t know Rosenquist’s name, while he is one of the most important artists of the 1960s”, alongside the likes of Andy Warhol and Roy Lichtenstein.
As with many of his contemporaries, printmaking was core to Rosenquist’s practice and he continued with the medium beyond the 1960s, later working with Ken Tyler of Tyler Graphics to make challenging, often enormous works. The Phillips prints encompass earlier Pop works, with everyday images such as tinned spaghetti strands and the GE logo, and his later, more surreal series, including Welcome to the Water Planet (from 1987). The latter, Leibowitz says, should resonate with a younger audience: “Rosenquist was thinking about the relationship of man and nature, and the precariousness of our planet.”
“We want to de-dust auctions and make them sexy again!” is the manifesto of the Filthy Fox Auction Club, which runs its second sale of work by art students and recent graduates this weekend. It was co-founded by multidisciplinary artist Paula Parole, recently graduated herself, and design manager/fashion model Alexandra Hochgürtel after the pair noticed that “the auction process is underrated by students, who think it is just for the most prestigious collectors to buy secondary-market art,” Parole says. “We want to use it as an exciting tool to support our community.”
Working with an initial £1,000 from a University of the Arts London award, the pair now charges a 20 per cent buyer’s premium to cover costs. These include the hire of a gallery in east London to show the work, host some “surprise performances” and conduct the live sale, also streamed on Instagram.
Last year’s auction of 32 works went down well, with the majority sold, so this year the offering has expanded to 44 works by 14 artists, chosen by Hochgürtel and Parole from art schools including Central Saint Martins, Goldsmiths, Slade and the Royal College of Art. Parole’s work is in the mix this year (from £200), while bidding will start at the lowest possible level for a work by Goldsmiths student Michelle Lee Johnson. The website explains: “To experiment with putting the decision of value on to the audience/viewer, Michelle has decided to start the auction with the minimum bid of £0.”
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