How Christie’s, Sotheby’s and Phillips are expanding across the globe
Art World News
Artists appreciate growing crowds at Indigenous art markets
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Art Uptown Gallery to close after 43 years in Sarasota
Long live visual arts in Sarasota.
Rising rent is forcing the Art Uptown Gallery to close its doors after 43 years. Despite its name, the gallery is located downtown, at 1367 Main St. It is the second one in the neighborhood to close this year. At the same time, new visual arts destinations are expanding in more affordable parts of town.
Art Uptown Gallery, which houses local artists in studios upstairs, will close permanently at 5 p.m. Saturday, Aug. 26.
“The building has been sold and the gallery was unable to negotiate a lease price that would allow us to continue,” said Melanie Carlstein, gallery board president, in a statement.
Carlstein said the gallery has stocked up with the works of its artists to give patrons the opportunity to buy in the final days of operation.
Art Uptown is the second downtown gallery to shutter in recent months. Dabbert Gallery closed in June after 18 years in business. It was located at 46 S. Palm Ave. Husband-and-wife owners David and Patricia Dabbert have maintained a sales presence online, selling fine painting and sculpture.
The Dabberts were fixtures at the First Friday Gallery Walk downtown. In a Facebook post, the couple cited rising rent as well as new development downtown as the reason for their gallery’s demise.
“The Sarasota art scene is changing,” artist Virginia Hoffman wrote on Facebook. “High-end or high-rent galleries are fading away, and more artists are finding alternative means to present their art. This is a good thing. My only concern is the market might price artists out of the alternative locations.”
While art galleries are getting pushed out of downtown, some are migrating to the nearby Limelight District, which runs along North Lime Avenue between 12th Street and Fruitville Road. The up-and-coming arts district is anchored by the popular shopping emporium, The Bazaar at Apricot and Lime, at 821 Apricot Ave.
Recent arrivals and expansions in the Limelight District include the March 30 opening of the Palmer Modern at 925 N. Lime Ave. and the addition in February of a second space by arts collective Creative Liberties at 927 N. Lime Ave. Its flagship is nearby, at 901B Apricot Ave.
Not far away from the recognized district, Marianne Chapel’s SPAACES gallery at 2051 Princeton St. is seeking to raise $20,000 in a capital campaign it has dubbed the Major Arts District Expansion. MADE, for short, will expand the gallery’s footprint from 4,500 to 7,000 square feet and will include street frontage exposure, which SPAACES currently lacks.
Founded in 2018, SPAACES became a not-for-profit in 2020. According to Chapel, the gallery’s vision is to “see Sarasota recognized as a cutting edge, visual arts town, a place where contemporary art and artists thrive.”
To raise awareness of the visual arts in Sarasota, a town where the performing arts need no help gaining attention, the Sarasota Studio Artists Association has organized Second Saturdays, where artists open their studios to the public and host other events.
Second Saturdays has been spearheaded by Jen Palmer, whose husband, Craig Palmer, owns Palmer Modern.
SAAC has published a map of local art galleries on its website, SRQArtists.com, to encourage buyers and browsers alike to come out for Second Saturday. That’s a hard slog when temperatures are approaching 100 degrees, but foot traffic is expected to pick up during season.
One way to beat the heat is to hold evening events. In late July, Creative Liberties co-founders Barbara Gerdeman and Elizabeth Goodwill hosted a Magic & Mystery Night Faire.
The faire featured performances including stilt walking and illusions, foods including kebabs and candy apples, and sometimes spooky work by local artists. Instead of Christmas in July, the popular event hosted by Main Street retailers in Venice, think Halloween in July.
There’s no question that fine arts galleries are facing pressure from higher rents and encroaching development. But the arts are thriving in Sarasota in unexpected places — church art galleries, pop-up events at Art Ovation Hotel and even the Saturday Farmers Market, where it’s not unusual to see a plein air practitioner armed with paintbrush, palette and an easel.
Over at the Bayfront, Art Center Sarasota is making a push to get the word out that the artists works it displays are for sale. Admission is free to the center, a nonprofit that offers curated and juried exhibitions, workshops and classes.
LGDR, Superstar Art Gallery, Implodes After Just Two Years
Jeanne Greenberg Rohatyn will return to her previous business and Dominique Lévy, Brett Gorvy and Amalia Dayan will continue under a new name.
Just two years after four prominent dealers announced with great fanfare a merger of their Upper East Side operations, the new gallery has come apart, with one prominent member deciding to go back to running her own operation.
On Friday, the group announced that Jeanne Greenberg Rohatyn “will leave the existing partnership to reopen Salon 94, returning her focus to exhibitions at 3 East 89th Street, and to her art advisory practice.”
Dominique Lévy, Brett Gorvy and Amalia Dayan will continue under the banner of Lévy Gorvy Dayan at 19 East 64th St., presenting exhibitions and advising clients as the newly formed Art Family Office.
By putting out the news on a summer Friday — and delaying its announcement for months — the gallery clearly hoped to minimize the impact. On Thursday, Levy said in an email to this reporter’s query: “Truly a non event. We are simply following our heart and respective passion and will continue to work together in different ways.”
But given the financial weight and high profile of the gallery’s four members, the group could hardly have hoped the news would land quietly. Katya Kazakina of Artnet trumpeted: “Just in: Blue-chip gallery LGDR splits up after less than 2 years.”
And the breakup confirms what art market experts were predicting as soon as the merger was first announced: serious friction among four famously strong personalities and the firm’s likely implosion in only a matter of time.
Although the gallery presented some significant shows and put on a good face to the industry, there were obvious growing pains as the firm consolidated under Greenberg Rohatyn’s roof: a neo-Renaissance townhouse on East 89th St. that she had just opened after a major restoration and renovation by the architect Rafael Viñoly (who died in May).
The adjustment was clearly biggest for Greenberg Rohatyn, who suddenly had to share her space and lose her independence after 20 years of running her own show in locations on the Bowery and out of her Upper East Side home.
“It was a natural decision that grew out of 18 months of working together,” Greenberg Rohatyn said in an telephone interview on Friday. “I missed the ability to react quickly and put exhibitions on the floor without multiple people agreeing on it.”
Lévy said on Friday in a phone conversation: “We came in a very organic way to the conclusion that a formalized partnership of the four was not fulfilling. Therefore it became apparent that Jeanne really missed her solo practice and that Amalya, Brett and myself had a much more common language.”
The partners initially dissolved the existing businesses and merged into one entity in 2021, promoting a new model of one-stop shopping with four experienced dealers with different areas of expertise — Lévy’s, Europe; Gorvy’s, Asia; Greenberg Rohatyn’s, contemporary art; and Dayan’s, the Middle East.
The partners also hoped to better compete with the Big Boys: Gagosian, Zwirner, Pace and Hauser & Wirth.
Lévy and Gorvy gave up their Madison Avenue gallery, Lévy Gorvy (Gorvy had left Christie’s to join her in 2016). Dayan had recently left Luxembourg & Dayan, which had closed its New York space. Last spring they all moved to East 64th St.
Lévy Gorvy Dayan will start its fall season with a retrospective of Pierre Soulages, the French abstract painter who died last October. The show will be organized by Lévy, a longtime friend of the artist. The firm will continue exhibitions in London, Paris and Milan under Victoria Gelfand-Magalhaes, its European president, and in Hong Kong as Lévy Gorvy Dayan & Wei in partnership with Rebecca Wei.
In October, Salon 94 will reactivate on East 89th St., with a solo show of the American sculptor Karon Davis, “Beauty Must Suffer,” focusing on the image of the Black ballerina.
In November, the four partners will present their final joint collaboration at East 64th St., an exhibition of the painter Jenna Gribbon, featuring new large-scale portraits of her wife and muse Mackenzie Scott.
On the occasion of the merger in 2021, Lévy said: “Four musketeers are by definition stronger.” Now those four are reduced to three.
Purdue Veterinary Medicine Shines at Art Museum’s Annual Art, Bark, and Brew
Friday, August 18, 2023
The parking lot at the Art Museum of Greater Lafayette was the place to be Saturday, August 12, for people and pooches. That was the site of the sixth annual Art, Bark, and Brew hosted by the museum on their grounds at 102 South 10th Street in Lafayette, and sponsored in part by the Purdue University College of Veterinary Medicine.
The fun event attracted dozens of visitors and their dogs who came to enjoy the outdoor activity on a beautiful late summer day. Free and open to the public and canines, the annual event featured live music, food and brew provided by the EMT Food Truck and Thieme & Wagner Brewery, and interactive booths set up by several organizations. Various art activities, including pottery, were available to attendees, who also could capture a memory of their time at the event in the form of a drawing by a caricature artist of them with their dogs.
As the “Lead Dog” event sponsor, the College of Veterinary Medicine received prominent mention in event promotional materials as well as prime booth space. Kelly Dold, marketing and communications manager for the Purdue University Veterinary Hospital and Animal Disease Diagnostic Laboratory, organized and staffed the booth, which offered information about the hospital and ADDL as well as fun promotional items including veterinary-themed coloring pages and collectible cards and stickers. The event was even more hands-on and interactive this year with a variety of things to do for both owners and their pups.
Other event sponsors included Q106.7 and VCA. The College of Veterinary Medicine’s participation as the Lead Dog sponsor for Art, Bark, and Brew was the latest example of a long collaboration between PVM and the Art Museum of Greater Lafayette. The college was recognized with the museum’s Presidential Award ― the highest honor bestowed by the museum on a business or organization ― in 2020.
Writer(s):
Kelly Dold
| pvmnews@purdue.edu
New women artist-only fair to launch in London during Frieze week
A new art fair focussing on women artists will open in London this October, during the city’s busy autumn art market season. The Women in Art Fair (WIAF) is “dedicated to redressing the gender imbalance in the art industry” and will give women and those identifying as women “an opportunity to show their work, and contribute to the developing exchange of ideas around gender, sexuality and culture”, according to its website.
The first edition will take place from 11 to 16 October, coinciding with Frieze London and Frieze Masters, and will be held at the Mall Galleries in Westminster.
“The [art] industry needs to have a real look in the mirror at its under-representation of women,” says Jacqueline Harvey, the fair’s director. “The gender imbalance is sector-wide: from commercial representation for artists, sales at auction and acquisitions in museums, as well as pay and job opportunities.”
Harvey—who was formerly the managing director of the Mayfair gallery Art Strategics and has worked at fairs including Start, London Art Fair, Masterpiece, Art Basel and Art Bahrain—quotes many statistics to make her point, including the Halperin-Burns 2019 report that claimed that only 2% of the $196.6bn spent at auctions between 2008 and 2019 was on works by women artists.
Jacqueline Harvey, the director of WIAF
The WIAF fair will be split into three sections: the West Gallery will host the 21-booth art fair offering “top names and cutting-edge international galleries” says Harvey. Fees for a booth range from £5,000 to £10,000. The full list of participating galleries will be released in September, but Harvey adds that they are “working closely with Virginia Damsta, the co-founder of Riflemaker, and Cynthia Corbett”. Tickets for the fair will be released on 1 September.
The East Gallery will host a “mostly selling” exhibition called Unnatural Women of “emerging and established female artists whose work explores humankind’s ambivalent relationship with nature”, organised by the artist, writer and curator Rowena Easton. One of the historical stars is Paula Rego whose works will be in conversation with the contemporary rising star Marcelle Hanselaar,” says Harvey. Other featured contemporary artists include Abigail Norris, Olivia Bullock and Angelina May Davies.
In the North Gallery will be a selling-exhibition of works by contemporary women artists along the theme of “The World is a Family”, selected through an open call, which closes on 21 August.
The fair will host additional programming including panel discussions with partners such as the Arts Club, Number 22 and Young Masters. “We are also planning a super big opening reception and after party,” Harvey says.
Comparing WIAF to Frieze, Harvey argues that “Frieze is a great art fair and we really enjoyed the Spotlight selection of female artists last year. However, their fair model does not really allow for fair women artist participation”.
“Gender bias in the art market is real. It’s endemic and structural,” agrees Sigrid Kirk, the co-founder of Awita, a not-for-profit organisation supporting women who work in the art world, which is partnering with the fair. “I’m not sure showing women separately and divorcing them from a market place is the best way of shifting the needle, but it is a powerful call to action and a sign that commercial galleries are not changing or adapting fast enough.” She adds: “By 2025, it is estimated that 60% of the UK’s wealth will belong to women who will want to buy art by women. In terms of a market for art by women this presents an undeniable growth area and one commercially savvy galleries are heeding.”
WIAF was set up as a project in 2018 and its first attempt as a fair was abandoned due to the pandemic. It has received development funding from the Arts Council through the British Library Business and IP Centre and its sponsor is the luxury British building company Chartwell Group.
Christie’s and Sotheby’s Are Competing to Land the Estate of Emily Fisher Landau, Whose Collection Could Fetch Up to $500 Million
As the major auction houses look ahead to their blockbuster November evening sales, Christie’s and Sotheby’s are both vying to secure the estate of Emily Fisher Landau, the noted art collector who died in March at the age of 102.
Whichever house lands the Fisher Landau estate will be hoping the collection—which ARTnews reports could rake in between $375 million and $500 million—will help make up for a lackluster first half for auction results. In May, one of the season’s most-anticipated auctions, of the estate of collector Gerald Fineberg at Christie’s New York, totaled just $153 million, compared to an estimate of $163 million to $235 million.
The Big Three auction houses—Sotheby’s, Christie’s, and Phillips—have seen a 51 percent dip in total sales year-over-year, as reported by the Artnet Intelligence Report. Christie’s sales dropped 23 percent, from $4.1 billion to $3.2 billion, between June and January, while Phillips clocked in at just $453 million for the same period, 39 percent less than the $746 million it brought in the first six months of 2022.
As of press time, neither Christie’s nor Sotheby’s had responded to inquiries from Artnet News.
Jasper Johns, Flags (1986). Collection of Emily Fisher Landau. ©Jasper Johns.
Fisher Landau credited her entree into the world of fine art collecting to the 1969 art robbery of her Upper East Side apartment. The thieves, disguised as air conditioning repairmen, made off with her valuable jewelry collection. But instead of replacing her diamonds, emeralds, and rubies, Fisher Landau used the insurance money to begin what would become one of the premiere contemporary art collections of the U.S.
Among the artists in the collection were Mark Rothko, Georgia O’Keeffe, Cy Twombly, and Andy Warhol, who famously did a silk screen portrait of Fisher Landau.
Her holdings eventually numbered 1,500 works, many of which were for years on view to the public at the Fisher Landau Center for Art, which she opened in a former parachute factory in Long Island City, Queens, in 1991. Suffering from Alzheimer’s disease in her later years, Fisher Landau closed the private museum in 2017.
An influential trustee at New York’s Whitney Museum of American Art for close to a quarter century, Fisher Landau made a major donation of 367 works to the institution in 2010. Said at the time to be worth $50 million to $75 million, the gift featured art by Jasper Johns, William Eggleston, Ed Ruscha, Robert Rauschenberg, and James Rosenquist, among other artists.
Femme à la montre (Woman With a Watch), 1932. Collection of Emily Fisher Landau. ” width=”807″ height=”1024″ srcset=”https://www.mecreates.com/story/news/wp-content/uploads/2023/08/picasso-watch-807×1024.jpeg 807w, https://news.artnet.com/app/news-upload/2023/08/picasso-watch-237×300.jpeg 237w, https://news.artnet.com/app/news-upload/2023/08/picasso-watch-39×50.jpeg 39w, https://news.artnet.com/app/news-upload/2023/08/picasso-watch.jpeg 1140w” sizes=”(max-width: 807px) 100vw, 807px”>
Pablo Picasso, Femme à la montre (Woman With a Watch), 1932. Collection of Emily Fisher Landau.
Last year, Fisher Landau loaned works by the likes of Piet Mondrian, Robert Indiana, Willem de Kooning, Glenn Ligon, and Agnes Martin for a special exhibition at the Norton Museum of Art in West Palm Beach, near her home in Palm Beach.
Among the expected highlights of any Fisher Landau auction will be a major Pablo Picasso work, Femme à la montre (Woman With a Watch), from 1932. (That’s considered the artist’s “annus mirabilis,” and even inspired a 2018 show at London’s Tate Modern.) Two of his works from that year hit the auction block in recent years, with Femme nue couchée selling for $67.5 million at Sotheby’s New York in 2022, and Femme assise près d’une fenêtre (Marie-Thérèse), 30 October 1932 fetching $103.4 million at Christie’s New York in 2021.
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Subtle Hues and Papery Textures Create Intimate Atmospheres in Lea Woo’s Tender Illustrations
All images © Lea Woo, shared with permission
Lea Woo coaxes subtle polarities from her illustrated interactions. Centering on women in moments of quiet affection and admiration, the renderings contrast a vintage style with modern subjects and a largely soft color palette with spots of bolder hues. “Red, a frequently used tone in my works, represents bravery and boldness and green a close relationship with mother nature,” she shares. Grainy, paper-like textures add to the retro feel of the scenes, which convey a warm tenderness between people and the birds, fish, and cats around them.
Based between Shanghai and Hangzhou, Woo draws stark distinctions between her personal works and commissions—recent collaborators include Burberry and The New Yorker. For the latter, she tends to start with a sketch that captures the directive, while other projects are more instinctive. “I open my heart for all possibilities and unexpected ‘accidents,’” the artist tells Colossal. “I collect and save my daily doodles and pictures I took for future use. With less set-ups, more random arrangements, I find it so much fun to freely combine different elements and they turned out to be harmoniously together at the end.”
Woo has prints, postcards, and other goods available in her shop, and you can follow her latest projects on Instagram.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Subtle Hues and Papery Textures Create Intimate Atmospheres in Lea Woo’s Tender Illustrations appeared first on Colossal.
American art market hits record highs in 2022: report
