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Category Archives: TFAA Blog

Category Archives: TFAA Blog

Frieze New York 2012

Laura Owens, Untitled, 2012 courtesy of Gavin Brown

When I first heard that Frieze was landing in Randall’s Island this year I joked with a colleague, “great, should we book a room in the Bronx for the weekend?”  I was pleasantly surprised by the easiness of travel, although I did have a cab take me, against my protest, to Roosevelt Island one morning.  The fair itself was spacious, light, airy and delightful.  Everything felt fresh.  I left with the impression that perhaps there is no longer room for the Armory Show in the New York art fair extravaganza as Frieze has done it better.

 Here are some highlights from Frieze 2012:

Best Booth:  Stephen Friedman Gallery

At last, a booth that incorporated both design and contemporary art.  How seamlessly they meld.  Friedman’s booth felt fresh and inspiring.

Two Rooms designed by Vance Trimble, Stephen Friedman Gallery

Best Installation:  Jay DeFeo at Galerie Eva Presenhuber

Jay DeFeo, the often overlooked California process oriented artist, had the best installation of fifteen works on paper at Galerie Eva Presenhuber.  Prices started around $90,000 for the modestly sized works, but the installation showed the beautiful transition between her color and black and white works on paper.

Jay DeFeo, Untitled (Eternal Triangle Series), 1980

Other Highlights:

Lari Pittman, How Sweet the Day After This and That, Deep Sleep is Truly Welcomed, 1988 at Regen Projects

Sarah Morris, Big Ben, 2012 at Petzel

Elliot Hundley at Andrea Rosen Gallery

Robin Rhode at Lehman Maupin

Billy Sullivan, Delia, 1972 at Nicole Klagsbrun


Peter Schoolwerth, Portrait of "The Cheat with the Ace of Diamonds" (after De La Tour), 2012 at Miguel Abreu

Ai WeiWei at Lisson


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Art Basel Miami 2011

Richard Mosse, Flower of the Mountain, 2011 at Jack Shainman Gallery

This year’s art fair was jam packed with art, celebrities, performances and MEGA parties.  After navigating through the likes of Diddy (and his bodyguards), Naomi Campbell, Farrell, Michael Douglas and Catherine Zeta Jones, I think we all deserve tee-shirts that read “I survived Art Basel Miami 2011.”

Here are some of my favorites:


Andy Warhol installation at L&M's booth

L&M :  We cannot forget some of this super gallery’s past installations, specifically Frank Stella’s impossibly large wall sculptures.  This year, they wallpapered their entire booth and hung hundreds of beautiful Warhol drawings salon style.  It was blissful and reminded me that Warhol was a wonderful draftsman and not just a mechanical bull.  Bravo.

Nick Cave Soundsuits at Jack Shainman's booth

Jack Shainman:  This gallery really pulled out the stops  with large works by all of its gallery stars.  Up and coming artist, Richard Mosse, is having a standout year and his photograph in Jack’s booth showed why.  Shainman also brought works by Lynette Yiadom-Boakye whose small portraits already have a waiting list a mile long and Jack is selectively selling to museums first.


Invisible Exports at NADA

Invisible Exports at NADA:  Perfectly installed, this gallery really stepped it up this year.  Bravo.

Best Satellite Art Fair:

Snow Globes by LigoranoReese

Pulse:  This art fair pulled together a strong group of galleries that brought their best works.  Yancey Richardson and Yossi Milo both had strong showings as did Artware Editions, which brought their wonderful editioned snow globes by LigoranoReese, perfect for the holidays.

Jeffrey Deitch at LA MOCA Beach Party (photo courtesy of Billy Farrell Agency)

Best Party:

LA MOCA Beach Party:  Soulwax and 2ManyDJ’s rocked the bottle service event and Jeffrey Deitch wore a bright purple suit.








Most New and Exciting Experience:

Dzine's Imperial Nail Salon

Dzine’s Imperial Nail Salon at the Standard Hotel.  Dzine takes the idea of customization a step further to the physical body.  It’s events like this that make Miami special.

Best Museum Show:

Erwin Wurm at the Bass Museum (photo courtesy of Lehman Maupin)

The Bass Museum:  Leave it to Erwin Wurm to give you a good laugh.  This show, which travels to Dallas next, exemplifies Wurm’s conceptual brilliance.  His work is ultimately about the body and, although I will always love the potato body sculptures the most, I was taken aback by Wurm’s somber large scale installation.

Greatest Disappointments:

White Cube’s booth:  Usually a show stopper at the fair, this year’s booth felt predictable and tired.

Kavi Gupta:  We all love Theaster Gates, but this booth was a serious disappointment, especially because there was never anyone actually working the booth.  Face time goes a long way.

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Christie’s November 2011 Contemporary Sale Highlights

Lot 34: Roy Lichtenstein, I Can See the Whole Room!...and There's Nobody in it!, 1961 (est: $35,000,000-45,000,000)

This Fall at Christie’s, we have a veritable art history lesson in the new: from masters of hand-painted pop, to the word wizards of the conceptual and the delight in discovery that characterizes installation art.


Roy Lichtenstein, Look Mickey, 1961, National Gallery of Art, Washington, D.C.

Hand-selected by pioneering gallerist Leo Castelli in the early 1960s, Pop artists emerged from the great shadows of the abstract expressionist school championed by Clement Greenberg and beyond. I Can See the Whole Room!…And There’s Nobody in it!.. is one of the earliest comic book paintings by Roy Lichtenstein. Obscured within a private collection for over twenty years, this is the first time that this iconic work has been on view to the public since exchanging hands in the 1988 auction at Christie’s of the collection of Emily and Burton Tremaine. Truly hand painted, Lichtenstein has left the graphite lines of his preparatory sketch exposed on the white areas of the commercially primed canvas. Unlike Look Mickey! (National Gallery of Art, Washington, D.C.), painted just prior, this painting is the first example of the artist using a make-shift stencil to create his Ben-day dots. Using a hand-punctured aluminum sheet, Lichtenstein imparted the red pigment from the dry-bristled hairs of a paint brush through the narrow perforations. The end effect is areas of slight variation, with overlap and slightly wider spaced dots apparent across the area. The dots in the blue eye wholly hand applied, belie his desire to create a commercially printed look rendered by the artist’s hand. It goes without saying that he quickly mastered this effect; however, the status of this work as a primary example of the havoc on painting that his artistic license would soon produce is indeed incredible!

Lot 36: Andy Warhol, Four Campbell’s Soup Cans, 1962 (est: $7,000,000-10,000,000)

Similarly, Andy Warhol’s Four Campbell’s Soup Cans, is a strong example of how Pop artists created the appearance of the commercially produced paintings that would reinvent the art world. Using photographic negatives of a professional commercial photographer, Edward Wallowitch, Warhol projected the images of the ravaged and re-arranged soup cans onto his store-bought canvases and traced the outlines with a graphite pencil. He subsequently filled in the corresponding areas with a brightly hued paint layer- trace evidence of brushwork and exposed graphite outlines contorting the artist’s attempts to mask his hand in the end result.


Lot 518: Joseph Kosuth, One and Three Coats, 1965 (est. $140,000-180,000)

Like its counterpart in the MoMA (chairs), One and Three Coats, 1965 by Joseph Kosuth is one of the first installations by Conceptual artist Joseph Kosuth to capitalize on the use of language in art. A breakthrough exploration in its time, the work perfectly embodies the spirit and goals of the Conceptual art practice. Immediately accessible and yet cleverly revealing,

Joseph Kosuth, One and Three Chairs, 1965, Museum of Modern Art, New York

Kosuth places a photo of a hanging coat and the print out of the definition of the word coat on either side of a…hanging coat. The visual nuances not to be disregarded (the typeface, selection of black coat and the seamless presentation of the printed paper cards all contribute to the pithy expression of this message) confer an egalitarian spirit of an often overlooked and misunderstood movement. A part of the Anton and Annick Herbert collection, the work (and the museum worthy installation of these pivotal pieces from Arte Povera, minimalism and conceptual art) is not to be missed on our new 20th floor exhibition spaces here at Rockefeller center!

Lot 307: Andres Serrano, Piss Christ, 1987 (est. $200,000-300,000)

Sometimes new can be controversial and inspire new levels of public response. Andreas Serrano’s infamous Piss Christ, 1987, created a media outcry when it was first displayed and has continued to incite protest and horror from multiple factions of society, locally and internationally. Facing physical assault on exhibition and inspiring a dramatic display of a movement for federal censorship in 1989, the photograph of a figurine of Christ and the crucifix submerged in a vitrine of the artist’s urine is certainly one of the artist’s most seminal works and best-known images. From an edition of four, the photograph in this season’s November Post-War and Contemporary Art Day Sale: Session I is an exclusive opportunity to see the sensational work in the flesh.

Christie’s November sales of Post-War and Contemporary Art including Works from the Collection of Peter Norton, New Day, and the Herbert Collection are on view November 4-8 at Christie’s 20 Rockefeller Plaza. The sales will take place November 8-9. www.christies.com


Christie's Kevie Yang, Sara Friedlander and Saara Pritchard with Lot 9: Yoshitomo Nara, Dogs from your Childhood, 1999 (est: $500,000-700,000)

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Freize Art Fair 2011

The Pace Gallery's booth featuring, Ryman, Calder and Martin

The Freize Art Fair has always been one of my favorite art fairs.  The city of London fully embraces the event offering more than just an art fair, but a citywide art extravaganza.  The fair itself was optimistic with many galleries reporting numerous holds on works, if not already sold.  Here are some the highlights of the week:

Mary Corse, White Light Painting, 1990

1. White Cube’s new Bermondsey Space

MoMA SHOULD be jealous.  It’s 58,000 square feet and completely filled with contemporary art.  Bravo to Jay Jopling for dedicating an entire room to Mary Corse.

Gerhard Richter's Forest (3), 1990 and Forest (4), 1990. Private collection and The Fisher Collection, San Francisco © Gerhard Richter Photography: Lucy Dawkins, Tate Photography

2. Gerhard Richter at the Tate Modern

The wonderfully hung show really demonstrated the influence Duchamp had on Richter’s work and has reminded us all there is far more to talk about than just the artist’s market.

Ahmed Alsoudani, Baghdad I, 2008

3. The Christie’s Evening Sale

Art star Gerhard Richter’s iconic Kerze, 1982 (est. £6,000,000-9,000,000) stole the show selling for £10,457,250 or $16,480,626.

Ahmad Alsoudani’s Baghdad I, being sold by Charles Saatchi, (est. £250,000-350,000) sold for £713,250 or $1,124,082.  Already, this young artist’s body of work has convinced the savviest of collectors that he is here to stay.

4. Ryan Gander for ArtAngel

Grayson Perry (b. 1960), The Rosetta Vase, 2011. © Grayson Perry. Courtesy Victoria Miro Gallery, London

This performance/installation piece at an abandoned warehouse continued to haunt us for days after we left.  So much so, I will dedicate an entire blog on the experience next week.  Stay tuned!

5. Grayson Perry: The Tomb of the Unknown Craftsman at the British Museum

Perry’s exhibition consisted of his wonderful ceramic and tapestry works which can look kitchy on their own.  Displayed next to artifacts from the British Museum, they seemed terrifically brilliant and relevant.

Pierre Huyghe's Recollection

6. Pierre Huyghe at the Frieze Art Fair

Huyghe created an aquatic installation with a hermitt crab as it’s star.  The crab migrated in Huyghe’s bronze shell made to look like Brancusi’s Sleeping Muse.


Raqib Shaw, Blossom Gatherer I, 2009-2011

7. Raqib Shaw at White Cube Mason’s Yard

This show proved to be far more controversial than expected.  People either loved it or hated it, but more importantly, this show created a magical discussion about contemporary art.  And no one can deny that Shaw’s new works have progressed without losing his obsessively eccentric style.

Loris Greaud, We Are On Our Own, Darwin Serie, Part 3, 2011

8. The Pace Gallery booth at Freize

So well curated, this booth should set the standard for all galleries.  Newcomer Loris Greaud’s Genius wall sculpture hung across from Sol Lewitt and the Agnes Martin, Calder, Ryman trifecta in the right corner was curatorial genius.











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ArtBinder Launches



With the art world being inundated with new online websites such as the VIP Art Fair and the newly launched Paddle 8, designed to help galleries sell their artwork, there is finally a web service that makes sense, ArtBinder.  ArtBinder is a new App designed to ease any gallery’s ability to track, synch, email and displaying inventory while at an art fair or simply on the road.  This may seem simple, but its simplicity is what makes it a great tool for a gallery.  From the touch of an ipad, a dealer can access any part of his or her inventory and easily display an image for a collector.  The gallery can also update inventory without the help of an office assistant.  Here are some images of ArtBinder’s sleek interface.


A dealer can email clients specific images from the gallery database

Dealers may select the specific information they would like to share

The database is easy to search

A dealer may browse all available inventory

A dealer may browse all available inventory

NEW YORK CITY, NY – ArtBinder, the elegant iPad solution for art galleries, enters Public Beta today. After making

a splash at Art Basel 42 last June, the company has refined the product and is now prepared

to scale its membership base.

The ArtBinder project was born when Alexandra Chemla, formerly of Gavin Brown’s enterprise,

recognized that galleries had a difficult time working with their recently acquired iPads.

“The iPad is the perfect tool for displaying artwork on the go,” said Chemla,

“but the problem was there was no software adapted to the needs of art galleries.”

In June 2010, Chemla,then only 23 years old, courageously hired a team, founded ArtBinder,

and began building a software solution to accommodate the specific requirements of art galleries.

In April 2011 she hired Jeremy Galen, a New York City based technology consultant,

as COO and together they brought the product into private beta just in time for Art Basel.

“What makes ArtBinder unique in the ‘Art Tech’ space,” said Galen, “is that we’re

serving galleries we’re literally selling them software that solves an acute pain point.

We’re not entering into art transactions, nor are we creating a social experience around

the public display of works online.”

ArtBinder worked with such prestigious galleries as The Pace Gallery, Michael Werner Gallery,

David Zwirner, and L&M Arts during Private Beta and the product has evolved to suit the

demands of the clients. The platform features an easy-­‐to-use web interface for configuring

and modifying content, as well as a handsome iPad application that dramatically improves

how gallerists and dealers interact with their inventory on the go.

Highlights include customizable folders for sales meetings, wireless syncing,

and in-­‐app client emailing.

“Now we’re ready to launch this application publicly,”

said Chemla, “and I’m genuinely looking forward to serving our new clients.”

For more information, please visit ArtBinder.com

About ArtBinder

ArtBinder strives to offer art galleries a brilliant platform for displaying a curated selection

of their works. ArtBinder’s iPad solution provides galleries with an intuitive set of tools

to streamline the sales and presentation experience. Founded in 2010 by Alexandra Chemla,

the company launched its first application in Private Beta in late Spring 2011 and has already

welcomed over a dozen of the world’s most prestigious galleries onto the platform.

Media Contact: Alexandra Chemla ArtBinder.com 917-­‐774-­‐2539 alexandra@artbinder.com

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