The Creative & Fine Arts Ministry @ The Foundation

The e-Advocate Quarterly Magazine 1 Timothy 4:14-16

The Creative & Fine Arts Ministry @ The Foundation

“Helping Individuals, Organizations & Communities Achieve Their Full Potential”

Vol. VIII, Issue XXXII – Q-1 January| February| March 2022

The Advocacy Foundation, Inc. Helping Individuals, Organizations & Communities Achieve Their Full Potential

The Creative & Fine Arts Ministry @ The Foundation

Fighting for Changes in the Science of Juvenile Justice Reform

“Helping Individuals, Organizations & Communities Achieve Their Full Potential

1735 Market Street, Suite 3750 | 100 Edgewood Avenue, Suite 1690 Philadelphia, PA 19102 Atlanta, GA 30303

John C Johnson III, Esq. Founder & CEO (855) ADVOC8.0 (855) 238-6280 § (215) 486-2120

www.TheAdvocacyFoundation.org

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Table of Contents The Creative & fine Arts Ministry @ The Foundation

Biblical Authority I.

Introduction

II.

Two-Dimensional Works

III.

Sculpture & Conceptual Art

IV.

Dance, Theater & Film

V.

Music & Education

VI.

Drama & Entertainment

VII. Architecture VIII. Alternative Forms IX.

Art Education

Attachments A. Art on The Edge – 17 Contemporary American Artists B. History of Modern Art (Painting Sculpture Architecture & Photography) C. Contemporary Art Market – ArtPrice Annual Report 2014

Copyright © 2014 The Advocacy Foundation, Inc. All Rights Reserved.

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Biblical Authority ______

1 Timothy 4:14-16 (ESV) 14 Do not neglect the gift you have, which was given you by prophecy when the council of elders laid their hands on you. 15 Practice these things, immerse yourself in them, so that all may see your progress.

16 Keep a close watch on yourself and on the teaching. Persist in this, for by so doing you will save both yourself and your hearers.

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Introduction

In Western European academic traditions, fine art is art developed primarily for aesthetics, distinguishing it from applied art that also has to serve some practical function.

Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with performing arts including theater and dance. Today, the fine arts commonly include additional forms, such as film, photography, conceptual art, and printmaking. However, in some institutes of learning or in museums, fine art and frequently the term fine arts (pl.) as well, are associated exclusively with visual art forms.

One definition of fine art is "a visual art considered to have been created primarily for aesthetic and intellectual purposes and judged for its beauty and meaningfulness, specifically, painting, sculpture, drawing, watercolor, graphics, and architecture." In that sense, there are conceptual differences between the Fine Arts and the Applied Arts. As originally conceived, and as understood for much of the modern era, the perception of aesthetic qualities required a refined judgment usually referred to as having good taste, which differentiated fine art from popular art and entertainment. However in the Postmodern era, the value of good taste is disappearing, to the point that having bad taste has become synonymous with being avant-garde. The term "fine art" is now rarely found in art history, but remains common in the art trade and as a title for university departments and degrees, even if rarely used in teaching.

The word "fine" does not so much denote the quality of the artwork in question, but the purity of the discipline according to traditional Western European canons. This definition originally excluded the applied or decorative arts, and the products of what were regarded as crafts. In contemporary practice these distinctions and restrictions have become essentially meaningless, as the concept or intention of the artist is given primacy, regardless of the means through which this is expressed.

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History & Culture According to some writers the concept of a distinct category of fine art is an invention of the early modern period in the West. Larry Shiner in his The Invention of Art: A Cultural History (2003) locates the invention in the 18th century: "There was a traditional ―system of the arts‖ in the West before the eighteenth century. (Other traditional cultures still have a similar system.) In that system, an artist or artisan was a skilled maker or practitioner, a work of art was the useful product of skilled work, and the appreciation of the arts was integrally connected with their role in the rest of life. ―Art,‖ in other words, meant approximately the same thing as the Greek word techne, or in English ―skill‖, a sense that has survived in phrases like ―the art of war,‖ ―the art of love,‖ and ―the art of medicine.‖ Similar ideas have been expressed by Paul Oskar Kristeller, Pierre Bourdieu, and Terry Eagleton (e.g. The Ideology of the Aesthetic), though the point of invention is often placed earlier, in the Italian Renaissance.

The separation of arts and crafts that often exists in Europe and the US is not shared by all other cultures. In Japanese aesthetics the activities of everyday life are depicted by integrating not only art with craft but man-made with nature. Traditional Chinese art distinguished within Chinese painting between the mostly landscape literati painting of scholar gentlemen and the artisans of the schools of court painting and sculpture. A high status was also given to many things that would be seen as craft objects in the West, in particular ceramics, jade carving, weaving, and embroidery. Latin American art was dominated by European colonialism until the 20th-century, when indigenous art began to reassert itself inspired by the Constructivist Movement, which reunited arts with crafts based upon socialist principles.

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Two-Dimensional Works Painting and Drawing Drawing is a form of visual expression and is one of the major forms within the visual arts.

Common instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, chalk, pastels, markers, stylus, or various metals like silverpoint. There are a number of subcategories of drawing, including cartooning. Certain drawing methods or approaches, such as "doodling" and other informal kinds of drawing such as drawing in the fog a shower leaves on a bathroom mirror, or the surrealist method of "entopic graphomania", in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots, may or may not be considered to be part of "drawing" as a "fine art."

Mosaics Mosaics are images formed with small pieces of stone or glass, called tesserae. They can be decorative or functional. An artist who designs and makes mosaics is called a mosaic artist or a mosaicist.

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Printmaking Printmaking is the process of making artworks by printing, normally on paper. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print is considered an original, as opposed to a copy. The reasoning behind this is that the print is not a reproduction of another work of art in a different medium — for instance a painting — but rather an image designed from inception as a print. An individual print is also referred to as an impression. Prints are created from a single original surface, known technically as a matrix. Common types of matrices include: plates of metal, usually copper or zinc for engraving or etching; stone, used for lithography; blocks of wood for woodcuts, linoleum for linocuts and fabric in the case of screen-printing. But there are many other kinds, discussed below. Multiple nearly identical prints can be called an edition. In modern times each print is often signed and numbered forming a "limited edition." Prints may also be published in book form, as artist's books. A single print could be the product of one or multiple techniques.

Calligraphy Calligraphy is a type of visual art. It is often called the art of fancy lettering. A contemporary definition of calligraphic practice is "the art of giving form to signs in an expressive, harmonious and skillful manner". Modern calligraphy ranges from functional hand-lettered inscriptions and designs to fine-art pieces where the abstract expression of the handwritten mark may or may not compromise the legibility of the letters. Classical calligraphy differs from typography and nonclassical hand-lettering, though a calligrapher may create all of these; characters are historically disciplined yet fluid and spontaneous, improvised at the moment of writing.

Photography Fine art photography refers to photographs that are created to fulfill the creative vision of the artist. Fine art photography stands in contrast to photojournalism and commercial photography.

Photojournalism visually communicates stories and ideas, mainly in print and digital media. Fine art photography is created primarily as an expression of the artist’s vision, but has also been important in advancing certain causes. The work of Ansel Adams in Yosemite and Yellowstone provides an example. Adams is one of the most widely recognized fine art photographers of the 20th century, and was an avid promoter of conservation. While his primary focus was on photography as art, his work raised Page 13 of 56

public awareness of the beauty of the Sierra Nevada and helped to build political support for their protection.

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Sculpture & Conceptual Art Sculpture Sculpture is three-dimensional artwork created by shaping hard or plastic material, commonly stone (either rock or marble), metal, or wood.

Some sculptures are created directly by carving; others are assembled, built up and fired, welded, molded, or cast. Because sculpture involves the use of materials that can be moulded or modulated, it is considered one of the plastic arts. The majority of public art is sculpture.

Many sculptures together in a garden setting may be referred to as a sculpture garden.

Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts. Durable sculptural processes originally used carving (the removal of material) and modelling (the addition of material, as clay), in stone, metal, ceramics, wood and other materials but, since modernism, shifts in sculptural process led to an almost complete freedom of materials and process. A wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast.

Sculpture in stone survives far better than works of art in perishable materials, and often represents the majority of the surviving works (other than pottery) from ancient cultures, though conversely traditions of sculpture in wood may have vanished almost entirely. However, most ancient sculpture was brightly painted, and this has been lost.

Sculpture has been central in religious devotion in many cultures, and until recent centuries large sculptures, too expensive for private individuals to create, were usually an expression of religion or politics. Those cultures whose sculptures have survived in quantities include the cultures of the Ancient Mediterranean, India and China, as well as many in South America and Africa.

The Western tradition of sculpture began in Ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith. The revival of classical models in the Renaissance produced famous sculptures such as Michelangelo's David. Modernist sculpture moved away from traditional processes and the emphasis on the depiction of the human body, with the making of constructed sculpture, and the presentation of found objects as finished art works.

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Materials The materials used in sculpture are diverse, changing throughout history. The classic materials, with outstanding durability, are metal, especially bronze, stone and pottery, with wood, bone and antler less durable but cheaper options. Precious materials such as gold, silver, jade, and ivory are often used for small luxury works, and sometimes in larger ones, as in chryselephantine statues. More common and less expensive materials were used for sculpture for wider consumption, including hardwoods (such as oak, box/boxwood, and lime/linden); terracotta and other ceramics, wax (a very common material for models for casting, and receiving the impressions of cylinder seals and engraved gems), and cast metals such as pewter and zinc (spelter). But a vast number of other materials have been used as part of sculptures, in ethnographic and ancient works as much as modern ones.

Sculptures are often painted, but commonly lose their paint to time, or restorers. Many different painting techniques have been used in making sculpture, including tempera, oil painting, gilding, house paint, aerosol, enamel and sandblasting.

Many sculptors seek new ways and materials to make art. One of Pablo Picasso's most famous sculptures included bicycle parts. Alexander Calder and other modernists made spectacular use of painted steel. Since the 1960s, acrylics and other plastics have been used as well. Andy Goldsworthy makes his unusually ephemeral sculptures from almost entirely natural materials in natural settings. Some sculpture, such as ice sculpture, sand sculpture, and gas sculpture, is deliberately short-lived. Recent sculptors have used stained glass, tools, machine parts, hardware and consumer packaging to fashion their works. Sculptors sometimes use found objects, and Chinese scholars' rocks have been appreciated for many centuries.

Stone Stone sculpture is an ancient activity where pieces of rough natural stone are shaped by the controlled removal of stone. Owing to the permanence of the material, evidence can be found that even the earliest societies indulged in some form of stone work, though not all areas of the world have such abundance of good stone for carving as Egypt, Greece, India and most of Europe. Petroglyphs (also called rock engravings) are perhaps the earliest form: images created by removing part of a rock surface which remains in situ, by incising, pecking, carving, and abrading. Monumental sculpture covers large works, and architectural sculpture, which is attached to buildings. Hardstone carving is the carving for artistic purposes of semi-precious stones such as jade, agate, onyx, rock crystal, sard or carnelian, and a general term for an object made in this way. Alabaster or mineral gypsum is a soft mineral that is easy to carve for smaller works and still relatively durable. Engraved gems are small carved gems, including cameos, originally used as seal rings.

The copying of an original statue in stone, which was very important for Ancient Greek statues, which are nearly all known from copies, was traditionally achieved by "pointing", along with Page 17 of 56

more freehand methods. Pointing involved setting up a grid of string squares on a wooden frame surrounding the original, and then measuring the position on the grid and the distance between grid and statue of a series of individual points, and then using this information to carve into the block from which the copy is made.

Metal Bronze and related copper alloys are the oldest and still the most popular metals for cast metal sculptures; a cast bronze sculpture is often called simply a "bronze". Common bronze alloys have the unusual and desirable property of expanding slightly just before they set, thus filling the finest details of a mold. Their strength and lack of brittleness (ductility) is an advantage when figures in action are to be created, especially when compared to various ceramic or stone materials (see marble sculpture for several examples). Gold is the softest and most precious metal, and very important in jewellery; with silver it is soft enough to be worked with hammers and other tools as well as cast; repoussĂŠ and chasing are among the techniques used in gold and silversmithing.

Casting is a group of manufacturing processes by which a liquid material (bronze, copper, glass, aluminum, iron) is (usually) poured into a mold, which contains a hollow cavity of the desired shape, and then allowed to solidify. The solid casting is then ejected or broken out to complete the process, although a final stage of "cold work" may follow on the finished cast. Casting may be used to form hot liquid metals or various materials that cold set after mixing of components (such as epoxies, concrete, plaster and clay). Casting is most often used for making complex shapes that would be otherwise difficult or uneconomical to make by other methods. The oldest surviving casting is a copper Mesopotamian frog from 3200 BC. Specific techniques include lost-wax casting, plaster mold casting and sand casting.

Glass Glass may be used for sculpture through a wide range of working techniques, though the use of it for large works is a recent development. It can be carved, with considerable difficulty; the Roman Lycurgus Cup is all but unique. Hot casting can be done by ladling molten glass into molds that have been created by pressing shapes into sand, carved graphite or detailed plaster/silica molds. Kiln casting glass involves heating chunks of glass in a kiln until they are liquid and flow into a waiting mold below it in the kiln.

Glass can also be blown and/or hot sculpted with hand tools either as a solid mass or as part of a blown object.

Pottery Pottery is one of the oldest materials for sculpture, as well as clay being the medium in which many sculptures cast in metal are originally modelled for casting. Sculptors often build small preliminary works called maquettes of ephemeral materials such as plaster of Paris, wax, unfired Page 18 of 56

clay, or plasticine. Many cultures have produced pottery which combines a function as a vessel with a sculptural form, and small figurines have often been as popular as they are in modern Western culture. Stamps and moulds were used by most ancient civilizations, from Ancient Rome and Mesopotamia to China.

Wood carving Wood carving has been extremely widely practiced, but survives much less well than the other main materials, being vulnerable to decay, insect damage, and fire. It therefore forms an important hidden element in the art history of many cultures. Outdoor wood sculpture does not last long in most parts of the world, so that we have little idea how the totem pole tradition developed. Many of the most important sculptures of China and Japan in particular are in wood, and the great majority of African sculpture and that of Oceania and other regions. Wood is light, so suitable for masks and other sculpture intended to be carried, and can take very fine detail. It is also much easier to work than stone.

Conceptual Art Conceptual art is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns. The inception of the term in the 1960s referred to a strict and focused practice of idea-based art that often defied traditional visual criteria associated with the visual arts in its presentation as text. However, through its association with the Young British Artists and the Turner Prize during the 1990s, its popular usage, particularly in the UK, developed as a synonym for all contemporary art that does not practice the traditional skills of painting and sculpture.

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Dance, Theater & Film Dance Dance is an art form that generally refers to movement of the body, usually rhythmic, and to music, used as a form of expression, social interaction or presented in a spiritual or performance setting. Dance is also used to describe methods of nonverbal communication (see body language) between humans or animals (bee dance, patterns of behaviour such as a mating dance), motion in inanimate objects (the leaves danced in the wind), and certain musical genres. In sports, gymnastics, figure skating and synchronized swimming are dance disciplines while the Katas of the martial arts are often compared to dances.

The many forms of dance provide entertainment for all age groups and cultures. Dance can be serious in tone, such as when it is used to express a culture's history or important stories; it may be provocative; or it may put in the service of comedy. Since it combines many forms of entertainment – music, movement, storytelling, theatre – it provides a good example of the various ways that these forms can be combined to create entertainment for different purposes and audiences.

Dance is "a form of cultural representation" that involves not just dancers, but "choreographers, audience members, patrons and impresarios ... coming from all over the globe and from vastly varied time periods." Whether from Africa, Asia or Europe, dance is constantly negotiating the realms of political, social, spiritual and artistic influence." Even though dance traditions may be limited to one cultural group, they all develop. For example, in Africa, there are "Dahomean dances, Hausa dances, Masai dances and so forth." Ballet is an example of a highly developed Western form of dance that moved to the theatres from the French court during the time of Louis XIV, the dancers becoming professional theatrical performers. Some dances, such as the quadrille, a square dance that "emerged during the Napoleonic years in France" and other country dances were once popular at social gatherings like balls, but are now rarely performed.

On the other hand, many folk dances (such as Scottish Highland dancing and Irish dancing), have evolved into competitions, which by adding to their audiences, has increased their entertainment value. "Irish dance theatre, which sometimes features traditional Irish steps and music, has developed into a major dance form with an international reputation."

Since dance is often "associated with the female body and women's experiences", female dancers, who dance to entertain, have in some cases been regarded as distinct from "decent" women because they "use their bodies to make a living instead of hiding them as much as possible". Society's attitudes to female dancers depend on the culture, its history and the entertainment industry itself. For example, while some cultures regard any dancing by women as "the most shameful form of entertainment", other cultures have established venues such as strip Page 21 of 56

clubs where deliberately erotic or sexually provocative dances such as striptease are performed in public by professional women dancers for mostly male audiences.

Various political regimes have sought to control or ban dancing or specific types of dancing, sometimes because of disapproval of the music or clothes associated with it. Nationalism, authoritarianism and racism have played a part in banning dances or dancing. For example, during the Nazi regime, American dances such as swing, regarded as "completely un-German", had "become a public offense and needed to be banned". Similarly, in Shanghai, China, in the 1930s, "dancing and nightclubs had come to symbolise the excess that plagued Chinese society" and officials wondered if "other forms of entertainment such as brothels" should also be banned.

Banning had the effect of making "the dance craze" even greater. In Ireland, the Public Dance Hall Act of 1935 "banned – but did not stop – dancing at the crossroads and other popular dance forms such as house and barn dances." In the US, various dances have been banned, either because like burlesque, they were suggestive, or because, like the Twist, they were associated with African Americans. "African American dancers were typically banned from performing in minstrel shows until after the Civil War." Dances can be performed solo (1, 4); in pairs, (2, 3); in groups, (5, 6, 7); or by massed performers (10). They might be improvised (4, 8) or highly choreographed (1, 2, 5, 10); spontaneous for personal entertainment, (such as when children begin dancing for themselves); a private audience, (4); a paying audience (2); a world audience (10); or an audience interested in a particular dance genre (3, 5). They might be a part of a celebration, such as a wedding or New Year (6, 8); or a cultural ritual with a specific purpose, such as a dance by warriors like a haka (7). Some dances, such as traditional dance in 1 and ballet in 2, need a very high level of skill and training; others, such as the can-can, require a very high level of energy and physical fitness. Entertaining the audience is a normal part of dance but its physicality often also produces joy for the dancers themselves (9).

Theater Modern Western theatre is dominated by realism, including drama and comedy. Another popular Western form is musical theatre. Classical forms of theatre, including Greek and Roman drama, classic English drama (Shakespeare and Marlowe comprised), and French theater (Molière included), are still performed today. In addition, performances of classic Eastern forms such as Noh and Kabuki can be found in the West, although with less frequency.

Film Fine arts film is a term that encompasses motion pictures and the field of film as a fine art form.

A fine arts movie theater is a venue, usually a building, for viewing such movies. Films are produced by recording images from the world with cameras, or by creating images using Page 22 of 56

animation techniques or special effects. Films are cultural artifacts created by specific cultures, which reflect those cultures, and, in turn, affect them. Film is considered to be an important art form, a source of popular entertainment and a powerful method for educating — or indoctrinating — citizens. The visual elements of cinema give motion pictures a universal power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles that translate the dialogue.

Cinematography is the discipline of making lighting and camera choices when recording photographic images for the cinema. It is closely related to the art of still photography, though many additional issues arise when both the camera and elements of the scene may be in motion.

Independent filmmaking often takes place outside of Hollywood, or other major studio systems.

An independent film (or indie film) is a film initially produced without financing or distribution from a major movie studio. Creative, business, and technological reasons have all contributed to the growth of the indie film scene in the late 20th and early 21st century.

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Music & Education Music is an art form whose medium is sound. Its common elements are pitch (which governs melody and harmony), rhythm (and its associated concepts tempo, meter, and articulation), dynamics, and the sonic qualities of timbre and texture. The word derives from Greek μουσική (mousike; "art of the Muses"). In its most general form the activities describing music as an art form include the production of works of music, the criticism of music, the study of the history of music, and the aesthetic dissemination of music.

The creation, performance, significance, and even the definition of music vary according to culture and social context. Music ranges from strictly organized compositions (and their recreation in performance), through improvisational music to aleatoric forms. Music can be divided into genres and subgenres, although the dividing lines and relationships between music genres are often subtle, sometimes open to personal interpretation, and occasionally controversial. Within the arts, music may be classified as a performing art, a fine art, and auditory art. It may also be divided among art music and folk music. There is also a strong connection between music and mathematics. Music may be played and heard live, may be part of a dramatic work or film, or may be recorded.

To many people in many cultures, music is an important part of their way of life. Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as "the harmony of the spheres" and "it is music to my ears" point to the notion that music is often ordered and pleasant to listen to. However, 20thcentury composer John Cage thought that any sound can be music, saying, for example, "There is no noise, only sound."

Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. Amateur musicians compose and perform music for their own pleasure, and they do not derive their income from music. Professional musicians are employed by a range of institutions and organizations, including armed forces, churches and synagogues, symphony orchestras, broadcasting or film production companies, and music schools. Professional musicians sometimes work as freelancers, seeking contracts and engagements in a variety of settings.

There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians. In community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles, such as concert bands, orchestras, and other ensembles. In some cases, amateur musicians attain a professional level of competence, and they are able to perform in professional performance settings. A distinction is often made between music performed for the benefit of a live audience and music that is performed for the purpose of being recorded and distributed through the music retail system or Page 25 of 56

the broadcasting system. However, there are also many cases where a live performance in front of an audience is recorded and distributed (or broadcast).

Composition "Composition" is often classed as the creation and recording of music via a medium by which others can interpret it (i.e., paper or sound).

Many cultures use at least part of the concept of preconceiving musical material, or composition, as held in western classical music. Even when music is notated precisely, there are still many decisions that a performer has to make. The process of a performer deciding how to perform music that has been previously composed and notated is termed interpretation. Different performers' interpretations of the same music can vary widely. Composers and song writers who present their own music are interpreting, just as much as those who perform the music of others or folk music. The standard body of choices and techniques present at a given time and a given place is referred to as performance practice, whereas interpretation is generally used to mean either individual choices of a performer, or an aspect of music that is not clear, and therefore has a "standard" interpretation.

In some musical genres, such as jazz and blues, even more freedom is given to the performer to engage in improvisation on a basic melodic, harmonic, or rhythmic framework. The greatest latitude is given to the performer in a style of performing called free improvisation, which is material that is spontaneously "thought of" (imagined) while being performed, not preconceived.

Improvised music usually follows stylistic or genre conventions and even "fully composed" includes some freely chosen material. Composition does not always mean the use of notation, or the known sole authorship of one individual. Music can also be determined by describing a "process" that creates musical sounds. Examples of this range from wind chimes, through computer programs that select sounds. Music from random elements is called Aleatoric music, and is associated with such composers as John Cage, Morton Feldman, and Witold Lutosławski.

Music can be composed for repeated performance or it can be improvised: composed on the spot.

The music can be performed entirely from memory, from a written system of musical notation, or some combination of both. Study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but the definition of composition is broad enough to include spontaneously improvised works like those of free jazz performers and African drummers such as the Ewe drummers.

Notation Notation is the written expression of music notes and rhythms on paper using symbols. When music is written down, the pitches and rhythm of the music is notated, along with instructions on Page 26 of 56

how to perform the music. The study of how to read notation involves music theory, harmony, the study of performance practice, and in some cases an understanding of historical performance methods. Written notation varies with style and period of music. In Western Art music, the most common types of written notation are scores, which include all the music parts of an ensemble piece, and parts, which are the music notation for the individual performers or singers. In popular music, jazz, and blues, the standard musical notation is the lead sheet, which notates the melody, chords, lyrics (if it is a vocal piece), and structure of the music. Scores and parts are also used in popular music and jazz, particularly in large ensembles such as jazz "big bands."

In popular music, guitarists and electric bass players often read music notated in tablature (often abbreviated as "tab"), which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard.

Tabulature was also used in the Baroque era to notate music for the lute, a stringed, fretted instrument. Notated music is produced as sheet music. To perform music from notation requires an understanding of both the rhythmic and pitch elements embodied in the symbols and the performance practice that is associated with a piece of music or a genre. In improvisation, the performer often plays from music where only the chord changes are written, requiring a great understanding of the music's structure and chord progressions.

Improvisation Musical improvisation is the creation of spontaneous music. Improvisation is often considered an act of instantaneous composition by performers, where compositional techniques are employed with or without preparation. Improvisation is a major part of some types of music, such as blues, jazz, and jazz fusion, in which instrumental performers improvise solos and melody lines. In the Western art music tradition, improvisation was an important skill during the Baroque era and during the Classical era; solo performers and singers improvised virtuoso cadenzas during concerts. However, in the 20th and 21st century, improvisation played a smaller role in Western Art music. In Indian classical music, spontaneous improvisation is a core component and an essential criteria of any performance.

Theory Music theory encompasses the nature and mechanics of music. It often involves identifying patterns that govern composers' techniques and examining the language and notation of music. In a grand sense, music theory distills and analyzes the parameters or elements of music – rhythm, harmony (harmonic function), melody, structure, form, and texture. Broadly, music theory may include any statement, belief, or conception of or about music. People who study these properties are known as music theorists. Some have applied acoustics, human physiology, and psychology to the explanation of how and why music is perceived. Music has many different fundamentals or elements. These are, but are not limited to: pitch, beat or pulse, rhythm, melody, harmony, texture, allocation of voices, timbre or color, expressive qualities (dynamics and articulation), and form or structure.

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Pitch is a subjective sensation, reflecting generally the lowness or highness of a sound. Rhythm is the arrangement of sounds and silences in time. Meter animates time in regular pulse groupings, called measures or bars. A melody is a series of notes sounding in succession. The notes of a melody are typically created with respect to pitch systems such as scales or modes.

Harmony is the study of vertical sonorities in music. Vertical sonority refers to considering the relationships between pitches that occur together; usually this means at the same time, although harmony can also be implied by a melody that outlines a harmonic structure. Notes can be arranged into different scales and modes. Western music theory generally divides the octave into a series of 12 notes that might be included in a piece of music. In music written using the system of major-minor tonality, the key of a piece determines the scale used. Musical texture is the overall sound of a piece of music commonly described according to the number of and relationship between parts or lines of music: monophony, heterophony, polyphony, homophony, or monody.

Timbre, sometimes called "Color" or "Tone Color" is the quality or sound of a voice or instrument. Expressive Qualities are those elements in music that create change in music that are not related to pitch, rhythm or timbre. They include Dynamics and Articulation. Form is a facet of music theory that explores the concept of musical syntax, on a local and global level.

Examples of common forms of Western music include the fugue, the invention, sonata-allegro, canon, strophic, theme and variations, and rondo. Popular Music often makes use of strophic form often in conjunction with Twelve bar blues. Analysis is the effort to describe and explain music.

Middle Ages The medieval era (476 to 1400) started with the introduction of chanting into Roman Catholic Church services. Western Music then started becoming more of an art form with the advances in music notation. The only European Medieval repertory that survives from before about 800 is the monophonic liturgical plainsong of the Roman Catholic Church, the central tradition of which was called Gregorian chant. Alongside these traditions of sacred and church music there existed a vibrant tradition of secular song. Examples of composers from this period are LĂŠonin, PĂŠrotin and Guillaume de Machaut.

Renaissance Renaissance music (c. 1400 to 1600) was more focused on secular themes. Around 1450, the printing press was invented, and that helped to disseminate musical styles more quickly and across a larger area. Thus, music could play an increasingly important role in daily life.

Musicians worked for the church, courts and towns. Church choirs grew in size, and the church remained an important patron of music. By the middle of the 15th century, composers wrote richly polyphonic sacred music. Prominent composers from this era are Guillaume Dufay, Giovanni Pierluigi da Palestrina, Thomas Morley, and Orlande de Lassus. However, musical activity shifted to the courts. Kings and princes competed for the finest composers.

Many leading important composers came from the Netherlands, Belgium, and northern France and are called the Franco-Flemish composers. They held important positions throughout Europe, Page 28 of 56

especially in Italy. Other countries with vibrant musical lives include Germany, England, and Spain Baroque The Baroque era of music took place from 1600 to 1750, as the Baroque artistic style flourished across Europe; and during this time, music expanded in its range and complexity. Baroque music began when the first operas were written and when contrapuntal music became prevalent.

German Baroque composers wrote for small ensembles including strings, brass, and woodwinds, as well as choirs, pipe organ, harpsichord, and clavichord. During this period several major music forms were defined that lasted into later periods when they were expanded and evolved further, including the fugue, the invention, the sonata, and the concerto. The late Baroque style was polyphonically complex and ornamental and rich in its melodies. Composers from the Baroque era include Johann Sebastian Bach, George Frideric Handel, and Georg Philipp Telemann.

Classical The music of the Classical Period (1750 to 1830) looked to the art and philosophy of Ancient Greece and Rome, to the ideals of balance, proportion and disciplined expression.

It has a lighter, clearer and considerably simpler texture, and tended to be almost voicelike and singable. New genres were discovered. The main style was the homophony, where prominent melody and accompaniment are clearly distinct.

Importance was given to instrumental music. It was dominated by further evolution of musical forms initially defined in the Baroque period: the sonata, the concerto, and the symphony. Others main kinds were trio, string quartet, serenade and divertimento. The sonata was the most important and developed form. Although Baroque composers also wrote sonatas, the Classical style of sonata is completely distinct. All of the main instrumental forms of the Classical era were based on the dramatic structure of the sonata.

One of the most important evolutionary steps made in the Classical period was the development of public concerts. The aristocracy would still play a significant role in the sponsorship of musical life, but it was now possible for composers to survive without being its permanent employees. The increasing popularity led to a growth in both the number and range of the orchestras. The expansion of orchestral concerts necessitated large public spaces. As a result of all these processes, symphonic music (including opera, ballet and oratorio) became more extroverted.

The best known composers of Classicism are Carl Philipp Emanuel Bach, Christoph Willibald Gluck, Johann Christian Bach, Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Page 29 of 56

Beethoven and Franz Schubert. Beethoven and Schubert are also considered to be composers in evolution towards Romanticism.

Romanticism Romantic music (c. 1810 to 1900) turned the rigid styles and forms of the Classical era into more passionate and expressive pieces. It attempted to increase emotional expression and power to describe deeper truths or human feelings. The emotional and expressive qualities of music came to take precedence over technique and tradition. Romantic composers grew in idiosyncrasy, and went further in the syncretism of different art-forms (such as literature), history (historical figures), or nature itself with music. Romantic love was a prevalent theme in many works composed during this period. In some cases the formal structures from the classical period were preserved, but in many others existing genres, forms, and functions were improved. Also, new forms were created that were deemed better suited to the new subject matter. Opera and ballet continued to evolve.

In 1800, the music developed by Ludwig van Beethoven and Franz Schubert introduced a more dramatic, expressive style. In Beethoven's case, motifs, developed organically, came to replace melody as the most significant compositional unit. Later Romantic composers such as Pyotr Ilyich Tchaikovsky, Antonín Dvořák, and Gustav Mahler used more elaborated chords and more dissonance to create dramatic tension. They generated complex and often much longer musical works. During Romantic period tonality was at its peak. The late 19th century saw a dramatic expansion in the size of the orchestra, and in the role of concerts as part of urban society. It also saw a new diversity in theatre music, including operetta, and musical comedy and other forms of musical theatre.

21st Century Genres With 20th-century music, there was a vast increase in music listening as the radio gained popularity and phonographs were used to replay and distribute music. The focus of art music was characterized by exploration of new rhythms, styles, and sounds. Igor Stravinsky, Arnold Schoenberg, and John Cage were all influential composers in 20th-century art music. The invention of sound recording and the ability to edit music gave rise to new sub-genre of classical music, including the acousmatic and Musique concrète schools of electronic composition.

Jazz evolved and became an important genre of music over the course of the 20th century, and during the second half of that century, rock music did the same. Jazz is an American musical artform that originated in the beginning of the 20th century in African American communities in the Southern United States from a confluence of African and European music traditions. The style's West African pedigree is evident in its use of blue notes, improvisation, polyrhythms, syncopation, and the swung note. From its early development until the present, jazz has also incorporated music from 19th- and 20th-century American popular music. Jazz has, from its early-20th-century inception, spawned a variety of subgenres, ranging from New Orleans Dixieland (1910s) to 1970s and 1980s-era jazz-rock fusion.

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Rock music is a genre of popular music that developed in the 1960s from 1950s rock and roll, rockabilly, blues, and country music. The sound of rock often revolves around the electric guitar or acoustic guitar, and it uses a strong back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as organ, piano, or, since the 1970s, analog synthesizers and digital ones and computers since the 1990s. Along with the guitar or keyboards, saxophone and blues-style harmonica are used as soloing instruments. In its "purest form," it "has three chords, a strong, insistent back beat, and a catchy melody." In the late 1960s and early 1970s, it branched out into different subgenres, ranging from blues rock and jazz-rock fusion to heavy metal and punk rock, as well as the more classical influenced genre of progressive rock and several types of experimental rock genres.

Music Education The incorporation of music training from preschool to post secondary education is common in North America and Europe. Involvement in music is thought to teach basic skills such as concentration, counting, listening, and cooperation while also promoting understanding of language, improving the ability to recall information, and creating an environment more conducive to learning in other areas. In elementary schools, children often learn to play instruments such as the recorder, sing in small choirs, and learn about the history of Western art music. In secondary schools students may have the opportunity to perform some type of musical ensembles, such as choirs, marching bands, concert bands, jazz bands, or orchestras, and in some school systems, music classes may be available. Some students also take private music lessons with a teacher. Amateur musicians typically take lessons to learn musical rudiments and beginner- to intermediate-level musical techniques.

At the university level, students in most arts and humanities programs can receive credit for taking music courses, which typically take the form of an overview course on the history of music, or a music appreciation course that focuses on listening to music and learning about different musical styles. In addition, most North American and European universities have some type of musical ensembles that non-music students are able to participate in, such as choirs, marching bands, concert bands, or orchestras. The study of Western art music is increasingly common outside of North America and Europe, such as the Indonesian Institute of the Arts in Yogyakarta, Indonesia, or the classical music programs that are available in Asian countries such as South Korea, Japan, and China. At the same time, Western universities and colleges are widening their curriculum to include music of non-Western cultures, such as the music of Africa or Bali (e.g. Gamelan music).

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Drama & Entertainment Drama is the specific mode of fiction represented in performance. The term comes from a Greek word meaning action (Classical Greek: δρᾶμα, drama), which is derived from the verb meaning to do or to act (Classical Greek: δράω, draō). The enactment of drama in theatre, performed by actors on a stage before an audience, presupposes collaborative modes of production and a collective form of reception. The structure of dramatic texts, unlike other forms of literature, is directly influenced by this collaborative production and collective reception. The early modern tragedy Hamlet (1601) by Shakespeare and the classical Athenian tragedy Oedipus the King (c. 429 BC) by Sophocles are among the masterpieces of the art of drama. A modern example is Long Day's Journey into Night by Eugene O’Neill (1956).

The two masks associated with drama represent the traditional generic division between comedy and tragedy. They are symbols of the ancient Greek Muses, Thalia and Melpomene. Thalia was the Muse of comedy (the laughing face), while Melpomene was the Muse of tragedy (the weeping face). Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.

The use of "drama" in the narrow sense to designate a specific type of play dates from the 19th century. Drama in this sense refers to a play that is neither a comedy nor a tragedy—for example, Zola's Thérèse Raquin (1873) or Chekhov's Ivanov (1887). It is this narrow sense that the film and television industry and film studies adopted to describe "drama" as a genre within their respective media. "Radio drama" has been used in both senses—originally transmitted in a live performance, it has also been used to describe the more high-brow and serious end of the dramatic output of radio.

Drama is often combined with music and dance: the drama in opera is generally sung throughout; musicals generally include both spoken dialogue and songs; and some forms of drama have incidental music or musical accompaniment underscoring the dialogue (melodrama and Japanese Nō, for example). In certain periods of history (the ancient Roman and modern Romantic) some dramas have been written to be read rather than performed. In improvisation, the drama does not pre-exist the moment of performance; performers devise a dramatic script spontaneously before an audience.

Classical Greek drama Western drama originates in classical Greece. The theatrical culture of the city-state of Athens produced three genres of drama: tragedy, comedy, and the satyr play. Their origins remain obscure, though by the 5th century BC they were institutionalised in competitions held as part of festivities celebrating the god Dionysus. Historians know the names of many ancient Greek dramatists, not least Thespis, who is credited with the innovation of an actor ("hypokrites") who speaks (rather than sings) and impersonates a character (rather than speaking in his own person), Page 32 of 56

while interacting with the chorus and its leader ("coryphaeus"), who were a traditional part of the performance of non-dramatic poetry (dithyrambic, lyric and epic).

Only a small fraction of the work of five dramatists, however, has survived to this day: we have a small number of complete texts by the tragedians Aeschylus, Sophocles and Euripides, and the comic writers Aristophanes and, from the late 4th century, Menander. Aeschylus' historical tragedy The Persians is the oldest surviving drama, although when it won first prize at the City Dionysia competition in 472 BC, he had been writing plays for more than 25 years. The competition ("agon") for tragedies may have begun as early as 534 BC; official records ("didaskaliai") begin from 501 BC, when the satyr play was introduced. Tragic dramatists were required to present a tetralogy of plays (though the individual works were not necessarily connected by story or theme), which usually consisted of three tragedies and one satyr play (though exceptions were made, as with Euripides' Alcestis in 438 BC). Comedy was officially recognized with a prize in the competition from 487 to 486 BC. Five comic dramatists competed at the City Dionysia (though during the Peloponnesian War this may have been reduced to three), each offering a single comedy. Ancient Greek comedy is traditionally divided between "old comedy" (5th century BC), "middle comedy" (4th century BC) and "new comedy" (late 4th century to 2nd BC).

Classical Roman drama Following the expansion of the Roman Republic (509–27 BC) into several Greek territories between 270–240 BC, Rome encountered Greek drama. From the later years of the republic and by means of the Roman Empire (27 BC476 AD), theatre spread west across Europe, around the Mediterranean and reached England; Roman theatre was more varied, extensive and sophisticated than that of any culture before it.

While Greek drama continued to be performed throughout the Roman period, the year 240 BC marks the beginning of regular Roman drama. From the beginning of the empire, however, interest in full-length drama declined in favour of a broader variety of theatrical entertainments.

The first important works of Roman literature were the tragedies and comedies that Livius Andronicus wrote from 240 BC. Five years later, Gnaeus Naevius also began to write drama. No plays from either writer have survived.

While both dramatists composed in both genres, Andronicus was most appreciated for his tragedies and Naevius for his comedies; their successors tended to specialise in one or the other, which led to a separation of the subsequent development of each type of drama.

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By the beginning of the 2nd century BC, drama was firmly established in Rome and a guild of writers (collegium poetarum) had been formed. The Roman comedies that have survived are all fabula palliata (comedies based on Greek subjects) and come from two dramatists: Titus Maccius Plautus (Plautus) and Publius Terentius Afer (Terence). In re-working the Greek originals, the Roman comic dramatists abolished the role of the chorus in dividing the drama into episodes and introduced musical accompaniment to its dialogue (between one-third of the dialogue in the comedies of Plautus and two-thirds in those of Terence). The action of all scenes is set in the exterior location of a street and its complications often follow from eavesdropping.

Plautus, the more popular of the two, wrote between 205 and 184 BC and twenty of his comedies survive, of which his farces are best known; he was admired for the wit of his dialogue and his use of a variety of poetic meters. All of the six comedies that Terence wrote between 166 and 160 BC have survived; the complexity of his plots, in which he often combined several Greek originals, was sometimes denounced, but his double-plots enabled a sophisticated presentation of contrasting human behaviour. No early Roman tragedy survives, though it was highly regarded in its day; historians know of three early tragedians—Quintus Ennius, Marcus Pacuvius and Lucius Accius.

From the time of the empire, the work of two tragedians survives—one is an unknown author, while the other is the Stoic philosopher Seneca. Nine of Seneca's tragedies survive, all of which are fabula crepidata (tragedies adapted from Greek originals); his Phaedra, for example, was based on Euripides' Hippolytus. Historians do not know who wrote the only extant example of the fabula praetexta (tragedies based on Roman subjects), Octavia, but in former times it was mistakenly attributed to Seneca due to his appearance as a character in the tragedy.

Medieval In the Middle Ages, drama in the vernacular languages of Europe may have emerged from religious enactments of the liturgy. Mystery plays were presented on the porch of the cathedrals or by strolling players on feast days. Miracle and mystery plays, along with moralities and interludes, later evolved into more elaborate forms of drama, such as was seen on the Elizabethan stages.

Elizabethan and Jacobean One of the great flowerings of drama in England occurred in the 16th and 17th centuries. Many of these plays were written in verse, particularly iambic pentameter. In addition to Shakespeare, such authors as Christopher Marlowe, Thomas Middleton, and Ben Jonson were prominent playwrights during this period. As in the medieval period, historical plays celebrated the lives of past kings, enhancing the image of the Tudor monarchy. Authors of this period drew some of their storylines from Greek mythology and Roman mythology or from the plays of eminent Roman playwrights such as Plautus and Terence.

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Modern and postmodern The pivotal and innovative contributions of the 19th-century Norwegian dramatist Henrik Ibsen and the 20th-century German theatre practitioner Bertolt Brecht dominate modern drama; each inspired a tradition of imitators, which include many of the greatest playwrights of the modern era. The works of both playwrights are, in their different ways, both modernist and realist, incorporating formal experimentation, meta-theatricality, and social critique. In terms of the traditional theoretical discourse of genre, Ibsen's work has been described as the culmination of "liberal tragedy", while Brecht's has been aligned with an historicised comedy.

Other important playwrights of the modern era include Antonin Artaud, August Strindberg, Anton Chekhov, Frank Wedekind, Maurice Maeterlinck, Federico García Lorca, Eugene O'Neill, Luigi Pirandello, George Bernard Shaw, Ernst Toller, Vladimir Mayakovsky, Arthur Miller, Tennessee Williams, Jean Genet, Eugène Ionesco, Samuel Beckett, Harold Pinter, Friedrich Dürrenmatt, Dario Fo, Heiner Müller, and Caryl Churchill.

Opera Western opera is a dramatic art form, which arose during the Renaissance in an attempt to revive the classical Greek drama tradition in which both music and theatre were combined. Being strongly intertwined with western classical music, the opera has undergone enormous changes in the past four centuries and it is an important form of theatre until this day. Noteworthy is the huge influence of the German 19th-century composer Richard Wagner on the opera tradition. In his view, there was no proper balance between music and theatre in the operas of his time, because the music seemed to be more important than the dramatic aspects in these works. To restore the connection with the traditional Greek drama, he entirely renewed the operatic format, and to emphasize the equal importance of music and drama in these new works, he called them "music dramas".

Chinese opera has seen a more conservative development over a somewhat longer period of time.

Pantomime These stories follow in the tradition of fables and folk tales. Usually there is a lesson learned, and with some help from the audience, the hero/heroine saves the day. This kind of play uses stock characters seen in masque and again commedia dell'arte, these characters include the villain (doctore), the clown/servant (Arlechino/Harlequin/buttons), the lovers etc. These plays usually Page 35 of 56

have an emphasis on moral dilemmas, and good always triumphs over evil, this kind of play is also very entertaining making it a very effective way of reaching many people.

Creative drama Creative drama includes dramatic activities and games used primarily in educational settings with children. Its roots in the United States began in the early 1900s. Winifred Ward is considered to be the founder of creative drama in education, establishing the first academic use of drama in Evanston, Illinois.

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Entertainment

Entertainment is a form of activity that holds the attention and interest of an audience, or gives pleasure and delight. It can be an idea or a task, but is more likely to be one of the activities or events that have developed over thousands of years specifically for the purpose of keeping an audience's attention. Although people's attention is held by different things, because individuals have different preferences in entertainment, most forms are recognisable and familiar.

Storytelling, music, drama, dance, and different kinds of performance exist in all cultures, were supported in royal courts, developed into sophisticated forms and over time became available to all citizens. The process has been accelerated in modern times by an entertainment industry which records and sells entertainment products. Entertainment evolves and can be adapted to suit any scale, ranging from an individual who chooses a private entertainment from a now enormous array of pre-recorded products; to a banquet adapted for two; to any size or type of party, with appropriate music and dance; to performances intended for thousands; and even for a global audience.

The experience of being entertained has come to be strongly associated with amusement, so that one common understanding of the idea is fun and laughter, although many entertainments have a serious purpose. This may be the case in the various forms of ceremony, celebration, religious festival, or satire for example. Hence, there is the possibility that what appears as entertainment may also be a means of achieving insight or intellectual growth.

An important aspect of entertainment is the audience, which turns a private recreation or leisure activity into entertainment. The audience may have a passive role, as in the case of persons watching a play, opera, television show, or film; or the audience role may be active, as in the case of games, where the participant/audience roles may be routinely reversed. Entertainment can be public or private, involving formal, scripted performance, as in the case of theatre or concerts; or unscripted and spontaneous, as in the case of children's games. Most forms of entertainment have persisted over many centuries, evolving due to changes in culture, technology, and fashion. Films and video games, for example, although they use newer media, continue to tell stories, present drama, and play music. Festivals devoted to music, film, or dance allow audiences to be entertained over a number of consecutive days.

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Some activities that once were considered entertaining, particularly public punishments, have been removed from the public arena. Others, such as fencing or archery, once necessary skills for some, have become serious sports and even professions for the participants, at the same time developing into entertainment with wider appeal for bigger audiences. In the same way, other necessary skills, such as cooking, have developed into performances among professionals, staged as global competitions and then broadcast for entertainment. What is entertainment for one group or individual may be regarded as work by another.

The familiar forms of entertainment have the capacity to cross over different media and have demonstrated a seemingly unlimited potential for creative remix. This has ensured the continuity and longevity of many themes, images, and structures.

Storytelling Storytelling is an ancient form of entertainment that has influenced almost all other forms. It is "not only entertainment, it is also thinking through human conflicts and contradictions". Hence, although stories may be delivered directly to a small listening audience, they are also presented as entertainment and used as a component of any piece that relies on a narrative, such as film, drama, ballet, and opera. Written stories have been enhanced by illustrations, often to a very high artistic standard, for example, on illuminated manuscripts and on ancient scrolls such as Japanese ones. Stories remain a common way of entertaining a group that is on a journey. Showing how stories are used to pass the time and entertain an audience of travellers, Chaucer used pilgrims in his literary work The Canterbury Tales in the 14th century, as did Wu Cheng'en in the 16th century in Journey to the West. Even though journeys can now be completed much faster, stories are still told to passengers en route in cars and aeroplanes either orally or delivered by some form of technology.

The power of stories to entertain is evident in one of the most famous ones—Scheherazade—a story in the Persian professional storytelling tradition, of a woman who saves her own life by telling stories. The connections between the different types of entertainment are shown by the way that stories like this inspire a retelling in another medium, such as music, film or games. For example, composers Rimsky-Korsakov, Ravel and Szymanowski have each been inspired by the Scheherazade story and turned it into an orchestral work; director Pasolini made a film adaptation; and there is an innovative video game based on the tale. Stories may be told wordlessly, in music, dance or puppetry for example, such as in the Javanese tradition of wayang, in which the performance is accompanied by a gamelan orchestra or the similarly traditional Punch and Judy show.

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Epic narratives, poems, sagas and allegories from all cultures tell such gripping tales that they have inspired countless other stories in all forms of entertainment. Examples include the Hindu Ramayana and Mahabharata; Homer's Odyssey and Iliad; the first Arabic novel Hayy ibn Yaqdhan; the Persian epic Shahnameh; the Sagas of Icelanders and the celebrated Tale of the Genji. Collections of stories, such as Grimms' Fairy Tales or those by Hans Christian Andersen, have been similarly influential. Originally published in the early 19th century, this collection of folk stories had significant influence in modern popular culture which subsequently used its themes, images, symbols and structural elements to create new forms of entertainment.

Some of the most powerful and long-lasting stories are the foundation stories, also called origin or creation myths such as the Dreamtime myths of the Australian aborigines, the Mesopotamian Epic of Gilgamesh, or the Hawaiian stories of the origin of the world. These too are developed into books, films, music and games in a way that increases their longevity and enhances their entertainment value.

Theater Theatre performances, typically dramatic or musical, are presented on a stage for an audience and have a history that goes back to Hellenistic times when "leading musicians and actors" performed widely at "poetical competitions", for example at "Delphi, Delos, Ephesus". Aristotle and his teacher Plato both wrote on the theory and purpose of theatre.

Aristotle posed questions such as "What is the function of the arts in shaping character? Should a member of the ruling class merely watch performances or be a participant and perform? What kind of entertainment should be provided for those who do not belong to the elite?" The "Ptolemys in Egypt, the Seleucids in Pergamum" also had a strong theatrical tradition and later, wealthy patrons in Rome staged "far more lavish productions".

Expectations about the performance and their engagement with it have changed over time (1).

For example, in England during the 18th century, "the prejudice against actresses had faded" and in Europe generally, going to the theatre, once a socially dubious activity, became "a more respectable middle-class pastime" in the late 19th and early 20th centuries, when the variety of popular entertainments increased. Operetta and music halls became available, and new drama theatres such as the Moscow Art Theatre and the Suvorin Theatre in Russia opened. At the same time, commercial newspapers "began to carry theatre columns and reviews" which helped to make theatre "a legitimate subject of intellectual debate" in general discussions about art and culture. Audiences began to gather to "appreciate creative achievement, to marvel at, and be entertained by, the prominent 'stars'." Vaudeville and music halls, popular at this time in the United States, England, Canada, Australia and New Zealand, were themselves eventually superseded.

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Plays, musicals, monologues, pantomimes, and performance poetry are part of the very long history of theatre which is also the venue for the type of performance known as stand-up comedy. In the 20th century, radio and television, often broadcast live, extended the theatrical tradition that continued to exist alongside the new forms.

The stage and the spaces set out in front of it for an audience create a theatre. All types of stage are used with all types of seating for the audience, including the impromptu or improvised (2, 3, 6); the temporary (2); the elaborate (9); or the traditional and permanent (5, 7). They are erected indoors (3, 5, 9) or outdoors (2, 4, 6). The skill of managing, organizing and preparing the stage for a performance is known as stagecraft (10). The audience's experience of the entertainment is affected by their expectations, the stagecraft, the type of stage, and the type and standard of seating provided.

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Architecture Architecture is frequently considered a fine art, especially if its aesthetic components are spotlighted — in contrast to structural-engineering or construction-management components.

Architectural works are perceived as cultural and political symbols and works of art. Historical civilizations often are known primarily through their architectural achievements. Such buildings as the pyramids of Egypt and the Roman Colosseum are cultural symbols, and are important links in public consciousness, even when scholars have discovered much about past civilizations through other means. Cities, regions and cultures continue to identify themselves with, and are known by, their architectural monuments.

Architecture for Entertainment Purpose-built structures as venues for entertainment that accommodate audiences have produced many famous and innovative buildings, among the most recognisable of which are theatre structures. For the ancient Greeks, "the architectural importance of the theatre is a reflection of their importance to the community, made apparent in their monumentality, in the effort put into their design, and in the care put into their detail." The Romans subsequently developed the stadium in an oval form known as a circus. In modern times, some of the grandest buildings for entertainment have brought fame to their cities as well as their designers. The Sydney Opera House, for example, is a World Heritage Site and The Oâ‚‚ in London is an entertainment precinct that contains an indoor arena, a music club, a cinema and exhibition space. The Bayreuth Festspielhaus in Germany is a theatre designed and built for performances of one specific musical composition.

Two of the chief architectural concerns for the design of venues for mass audiences are speed of egress and safety. The speed at which the venue can be emptied is important both for amenity and safety because large crowds take a very long time to disperse from a badly designed venue and this in turn creates a safety risk. The Hillsborough disaster is an example of how poor aspects of building design can contribute to audience deaths. Sightlines and acoustics are also important design considerations in most theatrical venues.

In the 21st century, entertainment venues, especially stadia, are "likely to figure among the leading architectural genres". However, they require "a whole new approach" to design, because they need to be "sophisticated entertainment centres, multi-experience venues, capable of being enjoyed in many diverse ways". Hence, architects now have to design "with two distinct functions in mind, as sports and entertainment centres playing host to live audiences, and as sports and entertainment studios serving the viewing and listening requirements of the remote audience".

Architects who push the boundaries of design or construction sometimes create buildings that are entertaining because they exceed the expectations of the public and the client and are Page 42 of 56

aesthetically outstanding. Buildings such as Guggenheim Museum Bilbao, designed by Frank Gehry, are of this type, becoming a tourist attraction as well as a significant international museum. Other apparently usable buildings are really follies, deliberately constructed for a decorative purpose and never intended to be practical.

On the other hand, sometimes architecture is entertainment, while pretending to be functional. The tourism industry, for example, creates or renovates buildings as "attractions" that have either never been used or can never be used for their ostensible purpose.

They are instead re-purposed to entertain visitors often by simulating cultural experiences. Buildings, history and sacred spaces are thus made into commodities for purchase. Such intentional tourist attractions divorce buildings from the past so that "the difference between historical authenticity and contemporary entertainment venues/theme parks becomes hard to define". Examples include "the preservation of the Alcรกzar of Toledo, with its grim Civil War History, the conversion of slave dungeons into tourist attractions in Ghana, [such as, for example, Cape Coast Castle] and the presentation of indigenous culture in Libya". The specially constructed buildings in amusement parks represent the park's theme and are usually neither authentic nor completely functional.

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Alternative Forms Alternative forms of Fine Art include, but are by no means limited to: 

Avant-garde music is frequently considered both a performing art and a fine art.



Electronic Media —perhaps the newest medium for fine art, since it utilizes modern technologies such as computers from production to presentation. Includes, amongst others, video, digital photography, digital printmaking and interactive pieces.



Textiles, including quilt art and "wearable" or "pre-wearable" creations, frequently reach the category of fine art objects, sometimes like part of an art display.



Western art (or Classical) music is a performing art frequently considered to be fine art.

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Art Education In the United States an academic course of study in fine art may include the Bachelor of Arts in Fine Art, or a Bachelor of Fine Arts, and/or a Master of Fine Arts degree — traditionally the terminal degree in the field. Doctor of Fine Arts degrees —earned, as opposed to honorary degrees— have begun to emerge at some US academic institutions, however. Major schools of art in the US: 1. Yale University, New Haven, CT - MFA in Painting, printmaking, sculpture, photography, and graphic design. An interdisciplinary degree in film is also offered. The BA in art includes the same areas of study, plus drawing.

2. Rhode Island School of Design, Providence, RI - MFA in Ceramics, Glass, Jewelry + Metalsmithing, Painting, Photography, Printmaking, Sculpture, Textiles; BFA in Film/Animation/Video, Illustration 3. School of the Art Institute of Chicago, Chicago, IL - MFA in Studio, MFA in Writing 4. University of California Los Angeles, Los Angeles, CA - MFA in Ceramics, Interdisciplinary Studio, New Genres, Painting and Drawing, Photography, and Sculpture 5. California Institute of the Arts, Valencia, CA 6. Carnegie Mellon University, Pittsburgh, PA 7. Cranbrook Academy of Art, Bloomfield Hills, MI 8. Maryland Institute College of Art, Baltimore, MD 9. Fordham University, New York, NY - An innovative partnership between Alvin Ailey American Dance Theater and Fordham University, the Ailey/Fordham Bachelor of Fine Arts (B.F.A) degree combines the finest in dance and liberal arts education in a 4-year program. Students complete a diverse curriculum while attending both institutions fulltime.

10. Columbia University, New York, NY - The School of the Arts at Columbia University offers MFA degrees in Film, Theatre Arts, Visual Arts and Writing, an MA degree in Film Studies, a joint JD/MFA degree in Theatre Management & Producing, and a PhD degree in Theatre History, Literature and Theory.

11. Juilliard School, New York, NY - is a performing arts conservatory established in 1905 it educates and trains undergraduate and graduate students in dance, drama, and music. It is widely regarded as one of the world's leading music schools, with some of the most prestigious arts programs.

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References 1. http://en.wikipedia.org/wiki/Fine_art 2. http://en.wikipedia.org/wiki/Music 3. http://en.wikipedia.org/wiki/Drama 4. http://en.wikipedia.org/wiki/Entertainment 5. http://en.wikipedia.org/wiki/Sculpture 6. http://photos.state.gov/libraries/korea/49271/dwoa_122709/Art-on-the-Edge-17Contemporary-American-Artists.pdf 7. http://www.pearsonhighered.com/assets/hip/us/hip_us_pearsonhighered/preface/0205955 517.pdf 8. http://imgpublic.artprice.com/pdf/artprice-contemporary-2013-2014-en.pdf 9. http://en.wikipedia.org/wiki/Wood_carving 10. http://en.wikipedia.org/wiki/Dance 11. http://en.wikipedia.org/wiki/Drama_film 12. http://www.firstpost.com/world/images-japanese-artist-kusama-turns-polka-dots-intoavant-garde-art-447833.html

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Attachment A

Art on The Edge 17 Contemporary American Artists

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on ART theEDGE 17 CONTEMPORARY AMERICAN ARTISTS

P R E F A C E

This book presents a cutting-edge slice of works by the upcoming generation of visual artists working in the United States. Its purpose is, in a modest way, to help increase international understanding. In a nutshell, we believe that those who view this sampling of American art today will experience certain of this nation’s fundamental values — innovation, diversity, freedom, individualism, competitive excellence — in ways that go well beyond words.

According to the U.S. Labor Department, 149,000 people currently make their living as “artists” in the United States. Since this number includes graphic designers and illustrators, one may assume that the pool of fine artists is considerably smaller, though still well up in the thousands, far too great a number to contemplate for the pages of a single book. In choosing artists for inclusion, then, we relied not only on artistic quality but on what critic Stephen Henry Madoff calls the democratic notion of representation — “the one who reflects the many, or the many who reflect the many more.”

This is a joint publication of the State Department’s ART in Embassies Program and the Bureau of International Information Programs. All the artists here have made their work available through the ART in Embassies Program for exhibit in the public rooms of U.S. diplomatic residences around the world. Now in its 40th year, ART in Embassies has served as a kind of global museum for the best in American art. Program curators work directly with new U.S. ambassadors, collaborating on potential themes for the exhibitions. The curators are then responsible for proposing artists and specific works and for negotiating loans for each exhibition. The vast majority of works in these exhibitions are generously loaned by artists, galleries, museums, private collectors, and corporate collections. In making the selection of particular artists for this book, curator Virginia Shore of the Art in Embassies Program has sought to convey the considerable range of artists and diversity of media currently on display in U.S. diplomatic residences.

Here are 17 American artists then. It’s difficult to generalize about them as a group beyond saying that most are on the youthful side of age 40 and that their work as a collection reflects the great imaginative variety of the current American art scene. We offer them to you in the same spirit that Wallace Stevens once wrote a poem titled “Thirteen Ways of Looking at a Blackbird.” The number is arbitrary; the possibilities are infinite.

Cover: “Urban Oldfield: Diagram of a Vacant Lot” (detail), mixed media, work by Stacy Levy, 1998

on ART theEDGE 17 CONTEMPORARY AMERICAN ARTISTS

LIGHTING OUT FOR THE TERRITORY .................................................... 2 PHILIP ARGENT ................................................................................................ 5 GRAHAM CALDWELL .................................................................................... 9 LAUREN CAMP ................................................................................................ 13 NICOLE COHEN ............................................................................................. 17 WILL COTTON ................................................................................................. 21 GREGORY CREWDSON .............................................................................. 25 SANTIAGO CUCULLU .................................................................................. 29 VALERIE DEMIANCHUK .............................................................................. 33 TRISTANO DI ROBILANT ............................................................................. 37 BENJAMIN EDWARDS ................................................................................... 41 JASON FALCHOOK ..................................................................................... 45 TRENTON DOYLE HANCOCK ................................................................. 49 STACY LEVY .................................................................................................... 53 DANTE MARIONI ............................................................................................ 57 MATT SAUNDERS ............................................................................................ 61 HILLARY STEEL .............................................................................................. 65 AMY WHEELER ............................................................................................... 69

LIGHTING OUT FOR THE TERRITORY

BY STEVEN HENRY MADOFF

Think of this book as a map. The land is vast and tumultuous — a big, complicated country with jostling values, and always captivated by the glint of the new. The stakeholders here, as it happens, are American artists, and the language of contemporary art, like the country itself, is polyglot, alive to the influence of its immigrant voices.

For all of those voices there is an idea residing at the heart of the country: the idea of the representative, the one who reflects the many, or the many who reflect the many more.

The word shares its root with a crucial art term, representation, which, in a general way, means a picture that captures, if only for a moment, the essence of a thing. That is what this map of American art means to be: a representative survey that somehow summarizes this teeming, ceaselessly shifting landscape of artists. “Among democratic nations new families are constantly springing up, others are constantly falling away, and all that remain change their condition,” Alexis de Tocqueville wrote 170 years ago in Democracy in America. He could just as well have been talking about art in America today.

Of course, it is a generalization to say that this constant need to reinvent ourselves is as much in the marrow of our art as it is in the marrow of American life — and generalizations bite back. Yet this same likeness is reflected in another pairing: the ideal of equality and the astonishing variety of art-making now. That ideal replaces fixity and hierarchy with fluidity and diversity, and no words better suit contemporary art.

Some recent history: In postwar America, the critic Clement Greenberg was the titan who ruled the art world. He had an explanation, a theory by which he could champion the abstract painting he admired. As he put it in his landmark

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essay “Modernist Painting” from 1960, “visual art should confine itself exclusively to what is given in visual experience, and make no reference to anything given in any other order of experience.”

In fact, it was more than an explanation; it was a command.

The only art that could be of real value and matter (at least to him) would exclude everything but its own devices, its own materials. No references to the world, no figures in a landscape.

Nothing but paint and canvas whose subject was paint and canvas, so that the art object would be acknowledged as the purest of things. For a time, Greenberg’s proscriptions held sway. Abstract Expressionism and its direct descendants were the triumph of this view. And while succeeding generations thumbed their noses at his decree to exclude the world from their work, the idea that art was pulled away from the world, floating in its unique individuality, was irrefutably seductive.

Like Tocqueville’s prophetic sense of Americans’ restless drive, Greenberg’s art objects, freed from any restraints but their self-imposed rules, were a declaration of independence, a license to roam.

The art that you see in these pages, in its eclectic range, is the flowering from these seeds.

Consider the array: from Gregrory Crewdson’s fantastical photographs of Hopperesque women and Spielberg-inspired scenes to the raucous scrawl of Trenton Doyle Hancock’s stories and cartoonish imagery of a protean, prehistoric apeman whose obsession is nature’s beauty; from the coolly calibrated geometries of Benjamin Edwards’ schematic paintings of layered cityscapes to the richly drawn though entirely austere nature studies in pencil and graphite by Valerie Demianchuk; from the domestic voyeurism of Nicole Cohen’s ghostly videos, which inhabit suburban interiors with a dream world of speculations about daily life, to the sandblasted stone and glass of Stacy Levy’s

memorial art, whose task is to celebrate and mourn the ecology of the industrial landscape, still gleaming here and there with magic pockets of the unspoiled. And so on.

Paintings, photographs, installations, sculptures, videos, textiles, assembled or sumptuous blown glass, the individuality and pluralism on view here is a representation of the great sprawl of sensibilities that coexist within the boundaries of American art and beyond them. This is the great flattening, the creation of a maximal equality among mediums, approaches, styles, traditions, technologies, means of construction, and methods of display.

At least across the art world, this is the practice of tolerance with or without consensus. The vista of art in our times is, if anything, like cyberspace: a massively distributed network that exalts in its mutability and carries no single identity. And at its heart, if you can say that something so sprawling has a heart, is a loneliness, an immigrant’s loneliness, exuberant in the freedom of the new, and yet always, somehow, looking for home.

Consider the photographs by Crewdson.

In some images, there is a sense of anomie, of longing or alienation — what are these blank-faced women staring at from their suburban windows as night comes down? In other pictures (and they are gorgeous, big photographs, the size of heroic paintings), you sense a yearning for childhood’s iridescent openness of imagination; the chance that anything can be, that the laws that come with adulthood don’t yet apply as we ponder a brilliant blue cloud of butterflies or the feverish creation of a mysterious flower totem, the way that the actor Richard Dreyfuss in Stephen Spielberg’s film Close Encounters of the Third Kind built a mountain shape from dirt in his backyard, not knowing why.

But we know why. Because these pictures, like the Dreyfuss character, are after something only glimpsed in the back of the mind: a hankering

for community, a need to belong. True, as in so many fairy tales, there is a hint of darkness that all isn’t right. Yet the pictures tender no endings.

They are like the story that your father has left off reading at bedtime. Now you must close your eyes and imagine the rest.

The images in this book reveal something else. The special effects and easy glide between the fantastic and mundane, the large scale that seeks to turn every picture into a spectacle, the interest in pop culture, and the fluent use of technology are essential to so much of this art. The mass media — television, movies, pop music and videos, the Internet, video games, and commercial graphics — are the air in which contemporary art breathes, the mirror in which artists see themselves, the filter through which their objects pass. For the artists on these pages, it is unlikely that the lessons of art history or of their own craft have had any greater influence on them than the last 30 years of film and TV. In essence, what this comes down to is their relationship to the slipperiness of fact. Of course, artists have always moved between the real and the imaginary. But the speed, the fluidity, the sense of weightlessness with which one image is morphed into another, and the saturation of these mass-media effects have rendered the whole atmosphere of the visual as unstable as quicksilver. In this these artists are also the heirs of Greenberg, creating new rules that lift their works free from the laws of the daily world. And while they do not ignore the world, they engage it by making images that always seem to have some aspect of watching, of reflecting on the act of looking, of being the spectator. What could be more natural for the generations grown up as consumers of the mass media?

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Whether it is Matt Saunders’ superimposition of empathy and private feeling on scenes and faces grabbed from the cinema or Santiago Cucullu’s collapse of private narratives and historical ones in a jigsaw-puzzle art of compressed spaces or Amy Wheeler’s psychologically freighted compositions of shimmering urban lights seen from a hovering viewpoint, and always from the outside looking in, there is a simultaneous feeling of nearness and remoteness, of that slipperiness once again in which everything — the private and the public, the personal and the historical, the internal and the external — is mutable, locked down for no more than an instant.

These are some of the contemporary markers on Tocqueville’s map of the American character, so quick to form new families, with others constantly falling away and changing. For all of the media-savvy self-consciousness on view here, there is the counterpoint of work that attunes itself to more purely optical and tactile pleasures. Dante Marioni’s blown-glass vessels, for example, or Hillary Steel’s weavings. But whatever side of the Continental Divide of conceptuallybased art you’re on is blurred again and again in the ceaseless rush forward. On the flood plain of art today, diversity is an expression of an infinitely horizontal momentum — an equality in all things, a mobility that holds invention dearer than history.

This is the impetuous drive that Tocqueville noted, when he wrote about the new Americans, “Those who went before are soon forgotten; of those who will come after, no one has any idea.”

That is the inherent sadness of our Yankee practicality, always bent on rushing ahead, and it is also our inherent optimism. It is our sense of what Tocqueville called “the indefinite perfectibility of man.” Americans are perpetually after the next thing, the better thing, the renovation and

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reinvention of ourselves despite, even in light of, our moral dilemmas. Nostalgia for the past is like Will Cotton’s candy landscapes, bright and sweet and yet everywhere tinged with a cloying sense of the molten danger of looking backward. We have replaced innocence with innovation, which can leave us a little naïve in our hopefulness, though alive with energy.

For all its polish and sophistication, there are still those qualities of the raw and wide open in our art, not wanting to be too constant, too fixed.

And so I amend what I said at the beginning of this essay. This book is an animated map, charting a place continually in flux. The lonesomeness and kick of always looking forward are there, of wanting to find something but not getting stuck.

It is what Huck Finn, says, with his wandering spelling and punctuation that only affirm his ways, outward and onward at the end of Mark Twain’s novel Adventures of Huckleberry Finn: “But I reckon I got to light out for the Territory ahead of the rest, because Aunt Sally she’s going to adopt me and sivilize me, and I can’t stand it. I been there before.”

STEVEN HENRY MADOFF was formerly Executive Editor of ARTnews magazine and an art critic for Time magazine. He is currently a Contributing Editor at ARTnews and writes about art for The New York Times and Artforum magazine. He is the editor of Pop Art: A Critical History in the “Documents of TwentiethCentury Art” series, published by the University of California Press. His book Christopher Wilmarth: Light and Gravity was published in 2004 by Princeton University Press. The book Rebecca Horn: Moon Mirror, of which he is a coauthor, was published in 2004 by German publisher Hatje Cantz.

P H I L I P

PHILIP ARGENT (b. 1962, Southend-on-Sea, Essex, England) attended the University of Nevada, Las Vegas (MFA 1994); the University of Idaho (MA 1990); and the Cheltenham School of Art, England (BA 1985). He has had solo exhibitions at Shoshana Wayne Gallery, Santa Monica, California (2002, 2001); Galerie Jette Rudolph, Berlin, Germany (2002); Tate, New York City (1999); and Post, Los Angeles, California (1999). His work has been shown internationally at venues in Düsseldorf, Germany (2003); Kwangiu, Korea (2002); Graz, Austria (2001); Tenerife, Canary Islands (2000); Turin, Italy (1999); and Zurich, Switzerland (1999). Argent lives and works in Santa Barbara, California.

A R G E N T

These elements are configured to emphasize certain spatial relationships or qualities while a sense of the painting as an abstract surface of graphic form, color, and pattern is retained. I’m interested in showing (within certain formal limitations), how particular combinations of color or surface texture will create these different spatial or optical effects; or how, for instance, a section of implied depth may appear initially as a decorative element or embellishment. This

“Although the influence of virtual/digital

use of formal relationships is both playful

technology and design is often cited as

and analytical and leads to the depiction of

the source for these works (apparent in the

an environment which synthesizes the real

way the visual information is superimposed

and the imaginary.”

in successive layers, windows or screens, for example), my process also involves the arranging and reconfiguring of a variety of observable and physical phenomena, including commercial signage and graphics, and landscape and architectural references.

Philip Argent Window Drop #1, 2000 Acrylic and diamond dust on canvas 42 x 60 in. (106.7 x 152.4 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

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Philip Argent PHC4, 2001 Acrylic on canvas 50 x 70 in. (127 x 177.8 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

Philip Argent Space Debris, 2000-2001 Acrylic on canvas 50 x 70 in. (127 x 177.8 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

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Philip Argent Untitled (Scoop), 2002 Acrylic on canvas 85 x 85 in. (215.9 x 215.9 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

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Philip Argent Untitled (RetroďŹ t), 2001 Acrylic on canvas 38 x 52 in. (96.5 x 132.1 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

Philip Argent Untitled (Incline), 2002 Acrylic on canvas 60 x 84 in. (152.4 x 213.4 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

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Philip Argent Untitled 4.8, 2001 Acrylic and diamond dust on canvas 68 x 68 in. (172.7 x 172.7 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

G R A H A M

GRAHAM CALDWELL (b. 1973, Washington, D.C.) studied glass making at the Rhode Island School of Design, Providence (BFA 1998); the Haystack Mountain School of Crafts, Deer Isle, Maine (1998); the Studio of the Corning Museum of Glass, Corning, New York (1998); Umeleckprumyslova (School of Applied Arts) in Prague, Czech Republic; Pilchuk Glass School, Stanwood, Washington (1997); and Parsons School of Design, New York City (1992-1995).

After completing his studies, Caldwell returned to live and work in Washington, D.C., where his sculptural installations have been on view at Addison/ Ripley Fine Art (2003); the Corcoran Gallery of Art (2003); the Millennium Art Center (2001); and the Octagon Museum of the American Architectural Association (2001).

C A L D W E L L

bifurcations of plants, or the veinwork of the electrical grid. Joints between parts are important events within individual works, and the concept of connection and interdependence is a central theme. The connections often involve lines which open into volumes or congeal into droplets. My sculptures embody the fluidity of glass and its ability to amass light. The parts are purposefully joined together to structure the amorphousness of their arrangement, and to fasten them to their own weightlessness.

“I am interested in the intersection of

They are simultaneously invisible and visible.

the organic and the mechanical, as is

I am looking for the bones of the invisible.”

exemplified by the joints of skeletons, the

Graham Caldwell Entanglement, 1999 Solid and blown glass 58 x 44 x 12 in. (147.3 x 111.8 x 30.5 cm) Courtesy of the artist and Addison/Ripley Fine Art, Washington, DC

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Graham Caldwell Self Propagating Trap, 1998 Solid glass 86 x 54 x 16 in. (218.4 x 137.2 x 40.6 cm) Courtesy of the artist and Addison/Ripley Fine Art, Washington, DC

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Graham Caldwell Elizabeth’s Tears (detail), 2002 Glass, steel, water and wood 96 x 612 x 42 in. (243.8 x 1554.5 x 106.7 cm) overall Courtesy of the artist and Addison/Ripley Fine Art, Washington, DC

Graham Caldwell Untitled, 2003 Solid glass and steel 9 x 16 x 6 in. (22.9 x 40.6 x 15.2 cm) Courtesy of the artist and Addison/Ripley Fine Art, Washington, DC

Graham Caldwell Aquifer, 2003 Glass, steel, concrete and water 96 x 26 x 22 in. (243.8 x 66 x 55.9 cm) Courtesy of the artist and Addison/Ripley Fine Art, Washington, DC

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Graham Caldwell Umbilicus II, 1999 Blown glass 12 x 12 x 10 in. (30.5 x 30.5 x 25.4 cm) Courtesy of the artist and Addison/Ripley Fine Art, Washington, DC

Graham Caldwell Pillow, 1999 Blown glass 15 x 10 x 2 in. (38.1 x 25.4 x 5.1 cm) Courtesy of the artist and Addison/Ripley Fine Art, Washington, DC

Graham Caldwell Extended Conjoined Ring, 2003 Blown glass and steel 13 x 19 x 4 in. (33 x 48.3 x 10.2 cm) Courtesy of the artist and Addison/Ripley Fine Art, Washington, DC

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Graham Caldwell Untitled, 2002 Blown glass and steel 32 x 6 x 10 in. (81.3 x 15.2 x 25.4 cm) Courtesy of the artist and Addison/Ripley Fine Art, Washington, DC

L A U R E N

LAUREN CAMP (b. 1966, New York, New York) attended Emerson College, Boston, Massachusetts (MA 1990), and Cornell University, Ithaca, New York (BS 1988). She is a poet and writer, as well as a visual artist, and often can be found on the airwaves of New Mexico’s public radio stations playing jazz music. Her award-winning fiber pieces are housed in many public collections, including St. Vincent Children’s Hospital, Indianapolis, Indiana, and the Sherwin Miller Museum of Jewish Art, Tulsa, Oklahoma. Her work has been exhibited in performance spaces, cultural centers, and museums in the United States and Europe, including solo shows at the Rocky Mountain Quilt Museum, Golden, Colorado (2004); the Lensic Performing Arts Center, Santa Fe, New Mexico (2002); and Thirteen Moons Gallery, Santa Fe (1999).

Camp lives and works in a small town outside of Santa Fe.

“Why do I make art about jazz? Because I

C A M P

listen, I hear colors and shapes. The sounds I hear are the designs I make with my threadwork. The colors I hear sometimes take my breath away. I like the friction of the colors and the way they sparkle like the music. My art form gives me a way to ‘play’ what I hear — a chance to doodle and delight.

When you think about it, jazz is just like me — creative, improvisational, sometimes moody, sometimes whimsical, curious, demanding, constantly in motion, roots in the blues but head in the clouds, fearless, fanciful, free.”

love the way the music makes me feel.

I am intrigued by the complete sound that comes from several instruments collaborating. I love the education I’ve gotten from listening and reading and looking with a critical ear and eye. When I

Lauren Camp Much, ©2001 Threadwork and laser toner on dyed and layered cotton and other fabric 35 x 46 in.

(88.9 x 116.8 cm) Courtesy of the artist, Santa Fe, New Mexico

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Lauren Camp Meditation, Š2001 Threadwork on layered annel, rayon, cotton and silk 35 x 30 in. (88.9 x 76.2 cm) Courtesy of the artist, Santa Fe, New Mexico

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Lauren Camp Goodbye, ©2002 Mixed media on dyed and layered cotton, silk and other fabric 38 x 28 in. (96.5 x 71.1 cm) Courtesy of the artist, Santa Fe, New Mexico

Lauren Camp Equinox, ©2000 Threadwork, paint and beads on dyed and layered canvas and cotton 35 x 35 in. (88.9 x 88.9 cm) Courtesy of the artist, Santa Fe, New Mexico

Lauren Camp Tres Sambas, ©2001 Threadwork on layered cotton and silk 16 x 56 in. (40.6 x 142.2 cm) Courtesy of the artist, Santa Fe, New Mexico

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Lauren Camp Bless the Child, ©2000 (based on a photo by William Gottlieb ©1979) Threadwork and paint on dyed and layered cotton 39 x 70 in. (99.1 x 177.8 cm) Courtesy of the artist, Santa Fe, New Mexico

Lauren Camp In His Own Language, ©1999 Threadwork and laser toner on silk, cotton and synthetic fabric 36 x 59 in. (91.4 x 149.9 cm) Courtesy of the artist, Santa Fe, New Mexico

Lauren Camp Just Swing, © 2001 Threadwork on dyed and layered silk, cotton, lamé and ultrasuede 50 x 41 in. (127 x 104.1 cm) Courtesy of the artist, Santa Fe, New Mexico

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Lauren Camp Rhythm Sticks, ©2002 (based on a photo by Francis Wolff ©Mosaic Images) Threadwork on dyed and layered cotton and other fabric 33 x 48 in. (83.8 x 121.9 cm) Courtesy of the artist, Santa Fe, New Mexico

N I C O L E

NICOLE COHEN (b. 1970, Falmouth, Massachusetts) attended the University of Southern California, Los Angeles (MFA 1999), and Hampshire College, Amherst, Massachusetts (BA 1992). She received an Artist Space Grant from the City of Brooklyn, New York (2000), and a Southern California Worldwide Grant from the University of Southern California, Los Angeles (1999). She has had solo exhibitions at Shoshana Wayne Gallery, Santa Monica (2003, 2000), and her first solo museum show entitled, My Vie en Rose, was a video installation at Williams College Museum of Art, Williamstown, Massachusetts (20032004). Her work has been included in group shows at the Fabric Workshop and Museum in Philadelphia, Pennsylvania, throughout the United States, and internationally. Cohen lives and works in Los Angeles.

C O H E N

I use pictures of rooms as stages that usually become a screen (the digital print) for the video projection to perform on top of.

As I mostly work with video installation, I aim to experience these ideas and possibilities through performance and by playing them out. This is a way for me to understand how my own views relate to places that are already constructed.

Although I use actors in my practice, my work is made personal by using them to collaborate about ideas for the drama or

“I find inspiration in interior designed spaces

actions that could occur in that location.

that seem to have certain personalities and

Part of the motivation stems from feeling

attitudes already set to accommodate a

pressured to act as prescribed in certain

particular room.

locations and the desire to change that fate.”

Architects and interior designers surely incorporate these behaviors into their own blueprint plans, but then I react and discover possible expectations and set my own stage.

Nicole Cohen Taking Notes from The New York Times, 2000 Video still Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

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Nicole Cohen The Living Room, 1999 Video still Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

Nicole Cohen The Living Room, 2001 Video still Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

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Nicole Cohen Sunday Morning, 2000 Video still Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

Nicole Cohen My Vie en Rose, 2003 Video installation Collection of Williams College Museum of Art, Williamstown, Massachusetts; courtesy of Shoshana Wayne Gallery, Santa Monica, California

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Nicole Cohen Van Fantasy, 2001 Video still Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

Nicole Cohen Near Future, 2003 Video still Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California Nicole Cohen Advantage Me, 2002 Video still Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

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W I L L

C O T T O N

WILL COTTON (b. 1965, Melrose, Massachusetts) attended Cooper Union, New York City (BFA 1987), spending a semester at the École Regionale des Beaux-Arts, Rouen, France. He studied for a year at the New York Academy of Art (1988). His paintings have been included in numerous group shows throughout the United States and Europe, and have been the subject of solo shows at Mary Boone Gallery, New York City (2004, 2000-2002); Jablonka Galerie, Köln, Germany (2001); I-20 Gallery, New York City (1999); and Silverstein Gallery, New York City (1998, 1996, 1995). Cotton lives and works in New York City.

surprised by what I see. Building Candyland is a way of being in it, of making it real for me. The maquettes don’t survive, they melt and deteriorate and rot, so the painting becomes a record of a place which was real but has ceased to exist.

Like the mythological ‘land of Cockaigne,’ Candyland is an imagined utopia whose exact geographical location is elusive.

It’s the idea of a land of plenty where all

“When I began working with confectionary

is pleasure and there’s no such thing as

landscapes as subject matter, I wanted to

work. It’s about imagining the possibility of

approach the idea like an explorer in a new

constant indulgence.”

and strange place. I always start a painting by first building a maquette in the studio.

This allows me to look at the scenery and be

Will Cotton Brittle House, 2000 Oil on linen 36 x 36 in.

(91.4 x 91.4 cm) Courtesy of the artist and Mary Boone Gallery, New York, New York

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Will Cotton Flanpond, 2002 Oil on linen 71 x 71 in. (180.3 x 180.3 cm) Courtesy of the artist and Mary Boone Gallery, New York, New York

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Will Cotton Love Me, 1999-2000 Oil on linen 96 x 120 in. (243.8 x 304.8 cm) Courtesy of the artist and Mary Boone Gallery, New York, New York

Will Cotton Falls, 2002 Oil on linen 75 x 100 in. (190.5 x 254 cm) Courtesy of the artist and Mary Boone Gallery, New York, New York

Will Cotton Chocolate Thaw, 2001 Oil on linen 75 x 100 in. (190.5 x 254 cm) Courtesy of the artist and Mary Boone Gallery, New York, New York

Will Cotton Torrone Mountain, 2002 Oil on linen 71 x 79 in. (180.3 x 200.7 cm) Courtesy of the artist and Mary Boone Gallery, New York, New York

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Will Cotton Root Beer Swamp, 2002 Oil on linen 48 x 60 in. (121.9 x 152.4 cm) Courtesy of the artist and Mary Boone Gallery, New York, New York

Will Cotton Swept Away, 2000 Oil on linen 68 x 80 in. (172.7 x 203.2 cm) Courtesy of the artist and Mary Boone Gallery, New York, New York

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G R E G O R Y

GREGORY CREWDSON (b. 1962, Brooklyn, New York) attended the Yale School of Art, Yale University, New Haven, Connecticut (MFA 1988), and the State University of New York, Purchase (BA 1985). He has shown his work in numerous group exhibitions both in the United States and internationally, and has had solo shows at Galerie Daniel Templon, Paris, France (2004); John Berggruen Gallery, San Francisco, California (2003); the Aspen Art Museum, Colorado (2002); Gagosian Gallery, Beverly Hills, California (2002); Luhring Augustine Gallery, New York City (2002, 2001, 1997); and SITE Santa Fe, New Mexico (2001). Crewdson’s work has been the subject of numerous monographs. Since 1993, he has been on the faculty of the Department of Photography at Yale University; he lives in New York City.

“I’m interested in the question of narrative,

C R E W D S O N

writing and film. This idea of creating a moment that’s frozen and mute, that perhaps ultimately asks more questions than it answers, proposes an open-ended and ambiguous narrative that allows the viewer to, in a sense, complete it. Ultimately, I’m interested in this ambiguous moment that draws the viewer in through photographic beauty, through repulsion, through some kind of tension.”

Interview. Bradford Morrow – Gregory Crewdson.

Gregory Crewdson: Dream of Life. Spain: Ediciones Universidad de Salamance, © 1999

how photography is distinct from, but connected to, other narrative forms like

Gregory Crewdson Untitled, 1997 from The Natural Wonder series C-print, edition of 6 40 x 50 in. (101.6 x 127 cm) Courtesy of the artist and Luhring Augustine Gallery, New York, New York

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Gregory Crewdson Untitled, 2001-2002 from The Twilight series Digital C-print, edition of 10 48 x 60 in. (121.9 x 152.4 cm) Courtesy of the artist and Luhring Augustine Gallery, New York, New York

Gregory Crewdson Untitled, 1987 from The Natural Wonder series C-print, edition of 3 20 x 24 in. (50.8 x 61 cm) Courtesy of the artist and Luhring Augustine Gallery, New York, New York

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Gregory Crewdson Untitled, 1999 from The Twilight series Laser direct C-print, edition of 10 50 x 60 in. (127 x 152.4 cm) Courtesy of the artist and Luhring Augustine Gallery, New York, New York

Gregory Crewdson Untitled, 2002 from The Twilight series Digital C-print, edition of 25 11 x 17 in. (27.9 x 43.2 cm) Courtesy of the artist and Luhring Augustine Gallery, New York, New York

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Gregory Crewdson Untitled, 1993 from The Natural Wonder series C-print, edition of 6 30 x 40 in. (76.2 x 101.6 cm) Courtesy of the artist and Luhring Augustine Gallery, New York, New York

Gregory Crewdson Untitled, 1993 from The Natural Wonder series C-print, edition of 6 30 x 40 in. (76.2 x 101.6 cm) Courtesy of the artist and Luhring Augustine Gallery, New York, New York

28

Gregory Crewdson Untitled, 1994 from The Natural Wonder series C-print, edition of 6 30 x 40 in. (76.2 x 101.6 cm) Courtesy of the artist and Luhring Augustine Gallery, New York, New York

S A N T I A G O

SANTIAGO CUCULLU (b. 1969, Buenos Aires, Argentina) grew up outside of Washington, D.C., but spent time each year visiting Argentina. Cucullu attended the Minneapolis College of Art and Design, Minnesota (MFA 1999), and Hartford Art School, Connecticut (BFA 1992). His awards include residencies at the Glassel Core Program, Houston, Texas (2001-2002), and the Skowhegan School of Painting and Sculpture, Maine (2001-2003), as well as the Jerome Emerging Artist Fellowship, from the Minneapolis College of Art and Design (2000). His work has been exhibited at the Walker Art Center, Minneapolis, Minnesota (2003); and he is currently represented by Julia Friedman Gallery, Chicago, Illinois; Barbara Davis Gallery, Houston, Texas; and Midway Contemporary Arts, St. Paul, Minnesota.

Cucullu lives and works in Minneapolis.

C U C U L L U

watercolors, and works that are purely non-figurative using plastic materials from party stores.

Although very different in their underlying structure, all share similar sensibilities in their final forms, and I do not see them as necessarily exclusive of one another. I am interested in the ways in which all these projects can transcend a type of temporality that is inherent in their materials and their display, while they work toward a structure that is grounded in empiricism.

The origins of the work are the same and

“In the past two years I have been

force a memory and intelligence out

concentrating on making large wall pieces,

of themselves.”

using contact paper to delineate an image,

Santiago Cucullu Portal in the midst of Fermin Salvachea’s barricade in Cadiz acts as a mirror to me now, 2003 Watercolor on watercolor paper 28 x 21 in. (71.1 x 53.3 cm) Collection of Burt Aaron; courtesy of Julia Friedman Gallery, Chicago, Illinois

29

Santiago Cucullu Lunchtime, the best of times, 2002 Plastic tablecloths and shelf 14 x 7-1/2 x 14 in. (35.6 x 19.1 x 35.6 cm) Courtesy of the artist, Julia Friedman Gallery, Chicago, Illinois and Barbara Davis Gallery, Houston, Texas

Santiago Cucullu Come to me (detail), 2002 Plastic table skirting Dimensions variable Courtesy of the artist, Julia Friedman Gallery, Chicago, Illinois and Barbara Davis Gallery, Houston, Texas

30

Santiago Cucullu The thing we do for love, 2001 Contact paper Dimensions variable Courtesy of the artist, Julia Friedman Gallery, Chicago, Illinois and Barbara Davis Gallery, Houston, Texas

Santiago Cucullu Tall Fat Hall, 2003 Contact paper on wall Dimensions variable Courtesy of the artist and Julia Friedman Gallery, Chicago, Illinois

31

Santiago Cucullu Brothers Karamazov, The Led Zeppelin Saga, 1998 Latex paint on wall 96 x 96 in. (243.8 x 243.8 cm) Courtesy of the artist, Julia Friedman Gallery, Chicago, Illinois and Barbara Davis Gallery, Houston, Texas

Santiago Cucullu Videla sits pretty with the T.O.A., from here on out it’s wine women and song, 2001 Watercolor on watercolor paper 12-3/4 x 19-1/2 in. (31.4 x 49.5 cm) Collection of Susan and Rob White, Minnetonka, Minnesota; courtesy of Midway Contemporary Art, St. Paul, Minnesota

Santiago Cucullu 1978 pt2, 1999 Latex paint on wall Dimensions variable Courtesy of the artist and Midway Contemporary Art, St. Paul, Minnesota

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V A L E R I E

D E M I A N C H U K

VALERIE DEMIANCHUK (b. 1972, Kiev, Ukraine) studied at the Pratt Institute, New York City (BFA 1998), and in addition to several grants and scholarships, received a Pratt Circle Award for Outstanding Academic Achievement (1998). She began her studies at Schevchenko Art School in Kiev (1991). Her drawings have been on view at George Adams Gallery, New York City (2001); Arkansas Art Center, Little Rock (2001); Arnot Art Museum, Elmira, New York (2001); and Tatistcheff Gallery, New York City (2000, 1999). Her work is housed in several public collections including those of the Contemporary Museum, Honolulu, Hawaii; and the Greenville County Museum of Art, South Carolina. Demianchuk lives and works in New York City.

“By stripping the represented object of color, graphite drawing has the advantage of directing the viewer’s attention toward that which is intrinsic to the object itself,

such as its shape or the structural relations among its parts. In my drawings, I intensify this focus on the intrinsic nature of objects by freeing them from the viewer’s prior associations and conceptualizations. I do this by extracting objects from their natural (usual or expected) environments and suspending them in the amorphously open and neutrally white space of the drawing paper. I think of the viewer’s interaction with my objects as a solitary visual journey — a private experience made all the more possible by the intimate scale of graphite drawing and its encouragement of very close visual examination.”

Valerie Demianchuk Untitled (Cactus) (detail), 2001 Pencil on paper 29 x 23 in. (73.7 x 58.4 cm) overall Collection of Morley and Jane Safer; courtesy of George Adams Gallery, New York, New York

33

Valerie Demianchuk Self, 2002 Pencil on paper 40 x 30 in. (101.6 x 76.2 cm) Courtesy of the artist and George Adams Gallery, New York, New York

Valerie Demianchuk Wing (detail), 2000 Pencil on paper 20-1/2 x 29 in. (52.1 x 73.7 cm) overall The Contemporary Museum, Honolulu: Purchased with funds given by the REC Fund — Roberta Ching Lee; James Napier; and funds derived from a gift from John Young, by exchange, 2002; courtesy of George Adams Gallery, New York, New York

34

Valerie Demianchuk Dance, 2002 Graphite on paper 57-1/2 x 45 in. (146.1 x 114.3 cm) Collection of Mr. James Dyke; courtesy of George Adams Gallery, New York, New York

35

Valerie Demianchuk Untitled, 2001 Pencil on paper 30 x 38-1/4 (76.2 x 97.2 cm) Collection of Mr. James Dyke; courtesy of George Adams Gallery, New York, New York

Valerie Demianchuk Terra Firma (Dry Land) (detail), 2001 Pencil on paper 30 x 40 in. (76.2 x 101.6 cm) overall Private Collection of Brooke and Daniel Neidich; courtesy of George Adams Gallery, New York, New York

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T R I S T A N O

D I

TRISTANO DI ROBILANT (b. 1964, London, England) works in both sculpture and drawing, using a variety of media from bronze and aluminum to glass. He has shown in various group exhibitions, and has had solo exhibitions at Paolo Curti, Milan, Italy (2001); Annina Nosei Gallery, New York City (2001); Raum für Bilder, Berlin, Germany (1999); and Holly Solomon Gallery, New York City (1995, 1993). Di Robilant lives and works in Rome.

R O B I L A N T

“What I’m attracted to and like to explore is the borderline state, between the domestic — the indoors — and the outside — the larger than life. A sense of awkward scale, but never too far off.”

Tristano di Robilant Untitled, 1995 Bronze 9-7/8 x 15-3/4 x 7-7/8 in.

(25 x 40 x 20 cm) Courtesy of the artist, Rome, Italy

37

Tristano di Robilant Safety for Two Generations, 2001 Silver plated bronze Dimensions variable Courtesy of the artist, Rome, Italy

Tristano di Robilant Vista, 1993 Terracotta and plaster 6-1/4 x 13-3/8 x 4-3/4 in.

(16 x 34 x 12 cm) Courtesy of the artist, Rome, Italy

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Tristano di Robilant Not Just a Question of Seaside Resorts, 2003 Wood and plaster 70-7/8 x 15-3/4 x 15-3/4 in.

(180 x 40 x 40 cm) Courtesy of the artist, Rome, Italy

Tristano di Robilant Building for Angels, 2002 Wood, plaster and iron 57-7/8 x 21-5/8 x 21-5/8 in.

(147 x 55 x 55 cm) Courtesy of the artist, Rome, Italy

Tristano di Robilant Rie Dance, 1998 Bronze 23-5/8 x 31-1/2 x 19-5/8 in.

(60 x 80 x 50 cm) Courtesy of the artist, Rome, Italy

Tristano di Robilant Domestic Temple, 2001 Gouache on paper 7-7/8 x 11-3/4 in.

(20 x 30 cm) Courtesy of the artist, Rome, Italy

39

Tristano di Robilant Two Vases, 2003 Gouache on paper 7-7/8 x 11-3/4 in.

(20 x 30 cm) Courtesy of the artist, Rome, Italy

Tristano di Robilant Inventory, 2001 Gouache on cotton 70-7/8 x 43-1/4 in.

(180 x 110 cm) Courtesy of the artist, Rome, Italy

40

Tristano di Robilant Rain, 2003 Gouache on paper 7-7/8 x 11-3/4 in. (20 x 30 cm) Courtesy of the artist, Rome, Italy

B E N J A M I N

BENJAMIN EDWARDS (b. 1970, Iowa City, Iowa) attended the Rhode Island School of Design, Providence (MFA 1997); the San Francisco Art Institute’s graduate painting program (1992); and the University of California, Los Angeles (BA, 1991).

His first two solo exhibitions were at the Artemis Greenburg Van Doren Gallery, New York City (2004, 2001). He participated in the Prague Biennale, in the Czech Republic (2003); and his work has been in numerous group exhibitions in venues such as the Cleveland Museum of Art, Ohio; Kunstmuseum Wolfsburg, Wolfsburg, Germany (2003); Cranbrook Art Museum, Bloomfield Hills, Michigan; Gallerie Faurschou, Copenhagen, Denmark; and P.S.#1/MoMA Center for Contemporary Art, Long Island City, New York. Edwards lives and works in Washington, D.C.

E D W A R D S

of the mass-cultural landscape which unavoidably, and relentlessly, fall into my perception like droplets into an ocean.

Mixed with aesthetic antennae willfully combing through this junkstream, and a tempered absorption of history and the patterns of past utopias, my hope is that a synthesis greater than the sum emerges, a nostalgically transcendental phenomenon.

This new manifestation of previously unrelated and disorganized facts is an attempt to express something about the

“The initial concept and general visualization

places we inhabit, the ones we have lost, the

for an image always begin for me out of

places we hoped to make, and the ones we

everyday experiences as a consumer, from

hope to never see.”

the subconscious repetition of elements

Benjamin Edwards The Pusan Experience, 2002 Acrylic and mixed media on canvas 72-5/8 x 96-5/8 in.

(184.5 x 245.4 cm) Private Collection, New York; Courtesy of Artemis Greenberg Van Doren Gallery, New York, New York

41

Benjamin Edwards Ramble, 2003 Lithograph, edition of 30 36 x 50 in. (91.4 x 127 cm) Courtesy of the artist and Tandem Press, Madison, Wisconsin

Benjamin Edwards Historical Module #2, 2003 Acrylic on paper 11-5/8 x 18 in. (29.5 x 45.7 cm) Collection of Catherine Levene, New York; Courtesy of Artemis Greenberg Van Doren Gallery, New York, New York

42

Benjamin Edwards Tabla Rasa: The City Rises, 2003 Iris print, edition of 30 20 x 30 in. (50.8 x 76.2 cm) Courtesy of the artist and Artemis Greenberg Van Doren Gallery, New York, New York

Benjamin Edwards Tabla Rasa: We are Building, 2003 Acrylic, mixed media and landscaping foam on canvas 72 x 108-1/4 in.

(182.9 x 275 cm) Collection of Ronald K. Greenberg, St. Louis, Missouri; Courtesy of Artemis Greenberg Van Doren Gallery, New York, New York

43

Benjamin Edwards Decoherence, 2001 Acrylic, mixed media, landscaping foam, pencil and spray paint on canvas 96 x 144 in.

(243.8 x 365.8 cm) Collection of Nick Rohatyn and Jeanne Greenberg Rohatyn, New York; courtesy of Artemis Greenberg Van Doren Gallery, New York, New York

Benjamin Edwards Starbucks, Seattle: Compression, 1998 Acrylic and mixed media on canvas 52 x 76 in. (132.1 x 193 cm) Collection of Kenneth L. Freed, Boston, Massachusetts; courtesy of Artemis Greenberg Van Doren Gallery, New York, New York

44

Benjamin Edwards Proposal for a Megastructure, 2001 Iris print, edition of 8 28 x 42 in. (71.1 x 106.7 cm) Courtesy of the artist and Artemis Greenberg Van Doren Gallery, New York, New York

J A S O N

F A L C H O O K

JASON FALCHOOK (b. 1976, New York, New York) attended the Corcoran College of Art + Design, Washington, D.C. (BFA 1998). Since then, he has exhibited his photographs in the Washington, D.C., area and beyond. He received a grant from the District of Columbia Commission on the Arts and Humanities (2001), and has had solo exhibitions at Fusebox (2002) and Blue Acorn Studio (2000), both in Washington, D.C. He has shown in group exhibitions at Art Basel Miami Beach, in a show organized by the Corcoran Gallery of Art and the U.S. Embassy, Brasilia, Brazil (2002); Signal 66 Art Space, Washington, D.C. (2000); Instituto de Arte Fotografico, Lima, Peru (1999); and the Fort Lauderdale Museum of Art, Florida (1998). Falchook lives and works in Washington, D.C.

With my camera I examine the way buildings, homes, and streets are divided up, and how property lines are demarcated, to consider our connection or disconnection to the spaces we occupy. We are surrounded by boundaries that often go undetected. I’m interested in the effects these boundaries have on us — how certain boundaries can impart limitations for some and create opportunities for others. The spaces we inhabit influence the types of relationships we form and the objects we surround

“I use photography to investigate the

ourselves with. My photographs vacillate

communities we create to observe how we

between presence and absence, light and

live and work within their parameters. I look

dark, proximity and distance, and consider

at the way our neighborhoods and cities

the overlap of public and private space.”

are organized to see how their structure reflects the way we live from day to day.

Jason Falchook Untitled (Airplane), 2003 Inkjet print 12 x 16 in.

(30.5 x 40.6 cm) Courtesy of the artist and Fusebox, Washington, DC

45

Jason Falchook Untitled (Shopping Carts), 2003 Inkjet print 12 x 16 in. (30.5 x 40.6 cm) Courtesy of the artist and Fusebox, Washington, DC

Jason Falchook Untitled (Part), 2003 C-print 20 x 24 in. (50.8 x 61 cm) Courtesy of the artist and Fusebox, Washington, DC

46

Jason Falchook The Consolidation of Misgivings (Trespass), 2002 C-print mounted on Plexiglas, edition of 5 30 x 40 in. (76.2 x 101.6 cm) Courtesy of the artist and Fusebox, Washington, DC

Jason Falchook Untitled (Grass Swath), 2003 Inkjet print 12 x 16 in. (30.5 x 40.6 cm) Courtesy of the artist and Fusebox, Washington, DC

47

Jason Falchook Unfurl/Repose, 2002 C-print mounted on Plexiglas, edition of 5 40 x 50 in. (101.6 x 127 cm) Courtesy of the artist and Fusebox, Washington, DC

Jason Falchook Wholeinsky (Opening/Closing), 2002 C-print mounted on Plexiglas, edition of 5 30 x 40 in. (76.2 x 101.6 cm) Courtesy of the artist and Fusebox, Washington, DC

Jason Falchook Untitled (Bank Reect), 2003 Inkjet print 8 x 10 in.

(20.3 x 25.4 cm) Courtesy of the artist and Fusebox, Washington, DC

48

T R E N T O N

D O Y L E

TRENTON DOYLE HANCOCK (b. 1974, Oklahoma City, Oklahoma) studied at the Tyler School of Art, Temple University, Philadelphia, Pennsylvania (MFA 2000), and at Texas A&M University, Commerce (BFA 1997). His many awards include a grant from the Joan Mitchell Foundation, New York City (1999); a Skowhegan Camille Hanks Cosby fellowship for African-American Artists, Maine (1997); and an Arch and Anne Giles Kimbrough Award from the Dallas Museum of Art, Texas. At the age of 25, Hancock became one of the youngest artists to be included in a Whitney Biennial Exhibition, Whitney Museum of American Art, New York City (2000). He has had solo exhibitions at the Museum of Contemporary Art, North Miami, Florida (2003); James Cohan Gallery, New York City (2003); Dunn and Brown Contemporary, Dallas, Texas (2002); and the Contemporary Art Museum, Houston, Texas (2001).

Doyle’s work has been included in many group exhibitions, and is housed in numerous museum collections including those of the Brooklyn Museum of Art, New York; the Dallas Museum of Art, Texas; the Museum of Fine Arts, Houston, Texas; and the Whitney Museum of American Art. Hancock lives and works in Houston.

“I get a lot of inspiration from garbage that I find, whether it be tops that I pick up out of the bin at the laundromat, or something that I saw on the side of the road and was so inspired that I had to stop the car and get

H A N C O C K

it and put it in the trunk. There’s something about getting something that is free that is appealing to me, for one. But then the things that people throw away ... oftentimes they throw them away because they’re old. I see these objects that have this patina to them, that have this obvious history. It’s been loved and hated and loved again, and ultimately discarded. There are so many stories to be told within these objects. And oftentimes once they’ve been thrown away and you find them in the garbage, they’re pale imitations of what they once were. And it’s just sometimes very intriguing and exciting to see what these objects have become. And so I set them up and then make up my own stories about them.”

Web site: www.pbs.org/art21/artists/hancock/clip1.htm# “Art:21 — Art in the Twenty-First Century” © Art21, Inc. 2001, 2003

Trenton Doyle Hancock Choir (detail), 2003 Installation: For a Floor of Flora Mixed media on canvas 97-5/8 x 137-1/2 in. (248 x 349.3 cm) overall Courtesy of the artist and Whitney Museum of American Art, New York, New York; Purchase, with funds from the Contemporary Committee 2003.194

49

Trenton Doyle Hancock Choir and Flower Bed, 2003 Installation: For a Floor of Flora Mixed media on canvas and wallpaper Dimensions variable Courtesy of the artist and James Cohan Gallery, New York, New York

Trenton Doyle Hancock Introductory wall drawing, 2003 Installation: For a Floor of Flora Acrylic black satin house paint Dimensions variable Courtesy of the artist and James Cohan Gallery, New York, New York

50

Trenton Doyle Hancock We Love You (detail), 2003 Ink, gesso and collage on canvas 68 x 72 in. (172.7 x 182.9 cm) overall Private Collection, New York, New York Courtesy of the artist and Dunn and Brown Contemporary, Dallas, Texas

Trenton Doyle Hancock Bye & Bye (Skeletal Remains), 2002 Etching on paper, 1 of 11 parts 22 x 15 in. (55.9 x 38.1 cm) Courtesy of Dunn and Brown Contemporary, Dallas, Texas and James Cohan Gallery, New York, New York

Trenton Doyle Hancock Our Lood Stiff (detail), 2002 Mixed media on felt 80-1/2 x 81-3/4 in.

(204.5 x 207.6 cm) overall Collection of Donald R. Mullins, Jr., Austin, Texas Courtesy of the artist and Dunn and Brown Contemporary, Dallas, Texas

51

Trenton Doyle Hancock Strudi Flooo (detail), 2002 Mixed media 78 x 127 in. (198.1 x 322.6 cm) overall Collection of Linda Pace, San Antonio, Texas Courtesy of the artist and Dunn and Brown Contemporary, Dallas, Texas

Trenton Doyle Hancock Bye & Bye (Finale), 2002 Etching on paper, 1 of 11 parts 22 x 15 in. (55.9 x 38.1 cm) Courtesy of Dunn and Brown Contemporary, Dallas, Texas and James Cohan Gallery, New York, New York

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S T A C Y

STACY LEVY (b. 1960, Philadelphia, Pennsylvania) attended the Tyler School of Art, Temple University, Philadelphia, Pennsylvania (MFA 1991); Skowhegan School of Painting, Maine (1988); Yale University, New Haven, Connecticut (BA 1984); and the Architectural Association, London, England (1981). Though her degrees are in sculpture, Levy has trained in forestry, environmental science, and landscape architecture.

Invited to exhibit at Documenta 11 in Kassel, Germany (2002), she has also received many public art commissions, and has had numerous solo and group exhibitions. Levy lives and works in Philadelphia.

“The 20th century has employed the scientist as the translator of nature. Yet science uses a limited vocabulary to understand the world around us, and it is often in a language of separation rather than integration. It frequently neglects the presence of the viewer in its focus. The very nature of scientific analysis eliminates the subjective experience in favor of objective data. Art has a freer tongue and many

L E V Y

in which the viewers are both seeing the natural world and are aware of their part in it at the same time.

My installations investigate aspects of the natural processes which make each site as we know it. Bringing the wind indoors to blow across a compass of 1,000 flags, mapping a river with waters from its tributaries and collecting the summer’s rainfall are all sculptural inventions which make the invisible forces of nature more salient to the viewer. In my work I attempt to re-explain the scientific explanation of natural systems by redefining their visual components. Meshing the clarity of diagrams and accessibility of maps with the more visceral sense of the site, I try to create an instant of wonder and understanding for the viewer.”

languages at its disposal. Without a debt to empirical positivism, art can bind the separate views of science and culture to formulate another way of picturing the earth,

Stacy Levy Urban Oldfield: Diagram of a Vacant Lot (detail), 1998 Steel, paper, leather, rubber, mylar, vinyl, plastic, copper, bee’s wax, particle board and sound Dimensions variable Courtesy of the artist and Larry Becker Contemporary Art, Philadelphia, Pennsylvania

53

Stacy Levy Urban OldďŹ eld: Diagram of a Vacant Lot, 1998 Steel, paper, leather, rubber, mylar, vinyl, plastic, copper, bee’s wax, particle board and sound Dimensions variable Courtesy of the artist and Larry Becker Contemporary Art, Philadelphia, Pennsylvania

Stacy Levy Sea Column (detail), 2002 Silkscreen on clear acrylic Dimensions variable Courtesy of the artist and Larry Becker Contemporary Art, Philadelphia, Pennsylvania

54

Stacy Levy Water Sets (detail decanter for Pond Set), 1996 Sandblasted glass, steel brackets, glass shelf and water Dimensions variable Courtesy of the artist and Larry Becker Contemporary Art, Philadelphia, Pennsylvania

Stacy Levy Mold Garden, 1999-2002 Sandblasted glass, agar and mold spores Dimensions variable Courtesy of the artist and Larry Becker Contemporary Art, Philadelphia, Pennsylvania

Stacy Levy Watermap, 2003 Sandblasted stone Dimensions variable Courtesy of the artist and Larry Becker Contemporary Art, Philadelphia, Pennsylvania

55

Stacy Levy Watercourse, 1996 Collected water, plastic cups and vinyl letters Dimensions variable Courtesy of the artist and Larry Becker Contemporary Art, Philadelphia, Pennsylvania

Stacy Levy Leaf Tally, 1994 Sandblasted glass and shelf with forged-steel brackets Dimensions variable Courtesy of the artist and Larry Becker Contemporary Art, Philadelphia, Pennsylvania

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D A N T E

M A R I O N I

DANTE MARIONI (b. 1964, Mill Valley, California) was educated in glass making at Pilchuk Glass School, Stanwood, Washington, and the Penland School of Craft, Penland, North Carolina (1983). His work has been shown widely in both solo and group exhibitions throughout the United States and abroad. His many honors include the Outstanding Achievement in Glass, Urban Glass Award, from the New York Contemporary Glass Center, New York City (1997); the Young Americans Award, from the American Craft Museum, New York City (1988); and the Louis Comfort Tiffany Foundation Award, Oyster Bay, New York (1987). Marioni has taught at numerous academic institutions, and from 1990-2000, at the Pilchuk Glass School. His work is displayed in public collections such as the White House Crafts Collection, Washington, D.C.; the Smithsonian American Art Museum’s Renwick Gallery, Washington, D.C.; the Carnegie Museum of Art, Pittsburgh, Pennsylvania; the Japanese National Museum of Craft, Tokyo; the New Zealand National Museum, Auckland; and the National Museum of Stockholm, Sweden. Marioni lives and works in Seattle.

From Dante Marioni’s Web site (http://www.dantemarioni.com):

“Ask Dante Marioni what his artwork is about and his answer is immediate: ‘It is about glassblowing.’

Marioni has a love and a profound respect for the glassblowing process.

For him, making objects is about ‘the art of glassblowing rather than the blowing of glass art,’ and he is careful to preserve the traditions of the craft as they were passed on to him. His focus and primary interest is the working of glass, and his elegant vessels are the radiant record of his ongoing relationship with the material.”

— Tina Oldknow, Art historian specializing in historic and contemporary glass

Dante Marioni Transparent Leaf Vases, 1998 42 in. greatest height (106.7 cm) Courtesy of the artist, Seattle, Washington

57

Dante Marioni Vase with Ten Handles, 2001 34 x 11 in. (86.4 x 27.9 cm) Courtesy of the artist, Seattle, Washington Dante Marioni Reticello Leaves, 2002 28 in. greatest height (71.1 cm) Courtesy of the artist, Seattle, Washington

Dante Marioni Colored Vessel Display, 2003 27 x 18-1/2 x 5-1/2 in.

(68.6 x 47 x 14 cm) Courtesy of the artist, Seattle, Washington

58

Dante Marioni Black and White Vessel Display, 2003 27 x 18 x 5 in.

(68.6 x 45.7 x 12.7 cm) Courtesy of the artist, Seattle, Washington

Dante Marioni Mosaic Vase, 2002 39 x 8 in. (99.1 x 20.3 cm) Courtesy of the artist, Seattle, Washington

59

Dante Marioni Blue Pair, 2003 28 in. greatest height (71.1 cm) Courtesy of the artist, Seattle, Washington

Dante Marioni Red Trio, 2000 38 in. greatest height (96.5 cm) Courtesy of the artist, Seattle, Washington

Dante Marioni Black and White Gambo Vase, 2000 40-1/2 x 6 in. (102.9 x 15.2 cm) Courtesy of the artist, Seattle, Washington

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M A T T

S A U N D E R S

MATT SAUNDERS (b. 1975, Tacoma, Washington) attended Yale University School of Art, New Haven, Connecticut (2000, MFA Painting/Printmaking), and Harvard College, Cambridge, Massachusetts (1997, BA Visual and Environmental Studies). He has had solo exhibitions in numerous venues including Lombard-Freid Fine Arts, New York City (2003); Galerie Analix Forever, Geneva, Switzerland (2001); and Holyoke Center, Cambridge, Massachusetts (1999). His awards and honors include a Robert Schoelkopf Fellowship (2001), a Louis Sudler Prize (1997), and a Thomas T. Hoopes Prize (1997). Saunders lives and works in Berlin, Germany.

“Performance and self-consciousness, spectatorship and emulation are, by now, well-worn ideas, and mass cultural models have replaced the individual and family as basic units of philosophy and psychology.

The culture market has swollen larger than any language that could describe it. We are, more than ever, finely attuned to the minor movements of things — a hyper-sophisticated, mannered world of virtuosic culture portraying itself. Film, and, in other ways, history are our basic texts — or subtexts. Online and on the streets, we stage elaborate performances of our passions for them. Nevertheless, the

individual film, and the individual viewer, are mostly maudlin. And amazing.

Jack Smith, and, in practice, Warhol, established ways of describing what happens with ‘actors all incandescently amok.’ My work began with an obsession with these recorded, almost intimate moments of performances that break down or never get started, or over-perform. History, too, over-performs (as does painting, usually).

As I worked, the play between these found portraits of actors and their publicity stills went more into manner and style, and the amplification historical moments give to them. I work evenly between painting, drawing, and moving image, and I want my work to be specifically referential, extremely personal, and ultimately generalized and moving. Among other things, the work is self-implicating — a diagram of my own preoccupations. Most recently, it’s gone into the romance time in film, as it overlays lives, careers, plots, performances, and my own viewership.”

Matt Saunders Udo (Egomania), 2001 Oil on linen 39 x 48 in. (99.1 x 121.9 cm) Courtesy of the artist and Lombard-Freid Fine Arts, New York, New York

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Matt Saunders Hairdresser #2 (Udo and Elisabeth), 2003 Oil on linen 44 x 61 in. (111.8 x 154.9 cm) Courtesy of the artist and Lombard-Freid Fine Arts, New York, New York

62

Matt Saunders Udo and Tilda, 2002 Oil on linen 66 x 108 in. (167.6 x 274.3 cm) Courtesy of the artist and Lombard-Freid Fine Arts, New York, New York

Matt Saunders Kracauer (Old), 2003 Ink on mylar 8 x 6-1/2 in. (20.3 x 16.5 cm) Courtesy of the artist and Lombard-Freid Fine Arts, New York, New York

Matt Saunders Fassbinder as Child, 2002 Ink on mylar 8 x 6 in. (20.3 x 15.2 cm) Courtesy of the artist and Lombard-Freid Fine Arts, New York, New York

Matt Saunders Udo (Egomania) #4, 2001 Oil on linen 39 x 48 in. (99.1 x 121.9 cm) Courtesy of the artist and Lombard-Freid Fine Arts, New York, New York

63

Matt Saunders Antlers (Moritzburg) #1, 2002 Ink on mylar 30 x 42 in. (76.2 x 106.7 cm) Courtesy of the artist and Lombard-Freid Fine Arts, New York, New York

Matt Saunders Warren J. Harding’s Pajamas, 2001 Ink on mylar 42 x 30 in. (106.7 x 76.2 cm) Courtesy of the artist and Lombard-Freid Fine Arts, New York, New York

Matt Saunders Asta (Young), 2003 Ink on mylar 8 x 6-1/2 in. (20.3 x 16.5 cm) Courtesy of the artist and Lombard-Freid Fine Arts, New York, New York

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H I L L A R Y

HILLARY STEEL (b. 1959, New York, New York) attended the State University of New York at Buffalo (BA 1980). Since graduation, she has continued her study of textiles through both post-baccalaureate coursework at SUNY, Buffalo (1980-1981 and 1986-1988), and travels to Côte d’Ivoire with Drew University, Madison, New Jersey (1992), and to Peru and Chile (1999). She also studied teaching at the Maryland Institute, College of Art, Baltimore (MA 1997). Her work has been the subject of solo exhibitions at Glenview Mansion Art Gallery, Rockville, Maryland (2002, 1999); Hoyt Institute of Fine Arts, New Castle, Pennsylvania (1995); the Rosewood Centre Arts Gallery, Kettering, Ohio; and has been shown in numerous group exhibitions in such venues as the Artists’ Museum, Washington, D.C. (2003), and Snyderman/Works Gallery, Philadelphia, Pennsylvania (2002, 2001, 2000). Her work is also held by several public collections including that of the Smithsonian American Art Museum’s Renwick Gallery, Washington, D.C.

S T E E L

“Like any of the communicative arts, textiles reflect aesthetic principles — balance, symmetry, movement, rhythm — which are also common to music and language. Like all cultural expressions, cloth embodies a complex creative process as well as the culmination of generations of dyeing and weaving practices. Consequently, its very structure, in addition to the imagery and color of its surface design, offers a multitude of messages, metaphor and history to its viewer. I have been greatly influenced by these textile traditions, and specifically by the resist dye processes of Asia, the Americas, and Western Africa.”

Hillary Steel A Girl’s Spirit Flees...

Returns a Woman’s, 1990 Warp ikat, handwoven cotton, rayon and silk 102 x 102 in.

(259.1 x 259.1 cm) Courtesy of the artist, Silver Spring, Maryland

65

Hillary Steel Untitled Arrangement, 2000 Ikat and shibori on handwoven cotton 60 x 36 x 1 in. (152.4 x 91.4 x 2.5 cm) Courtesy of the artist, Silver Spring, Maryland

66

Hillary Steel Twelve, 2003 Ikat and shibori on handwoven cotton 48 x 33 in. (121.9 x 83.8 cm) Courtesy of the artist, Silver Spring, Maryland

Hillary Steel Many Moons, 2002 Ikat and shibori on handwoven cotton 90 x 80 in. (228.6 x 203.2 cm) Courtesy of the artist, Silver Spring, Maryland

Hillary Steel Set of Six, 2002 Ikat and shibori on handwoven cotton 28 x 24 in. (71.1 x 61 cm) Courtesy of the artist, Silver Spring, Maryland

67

Hillary Steel Current Events (detail), 2001 Handwoven newspaper and cotton 32 x 32 in. (81.3 x 81.3 cm) overall Courtesy of the artist, Silver Spring, Maryland

Hillary Steel Maternity, 1998 Shibori dyeing, silkscreen on silk 106 x 56 x 24 in. (269.2 x 142.2 x 61 cm) Courtesy of the artist, Silver Spring, Maryland

68

Hillary Steel History (detail), 1998 Silkscreen on dyed silk 80 x 60 x 12 in. (203.2 x 152.4 x 30.5 cm) overall Courtesy of the artist, Silver Spring, Maryland

A M Y

W H E E L E R

AMY WHEELER (b. 1968, Los Angeles, California) attended Reed College, Portland, Oregon (BA 1991); continued her studies at the Hochschule der Künste, Berlin, Germany (1994); and taught English in Japan for a year before deciding to return to art school at the Art Institute of Chicago, Illinois (MFA 1996). After graduation, she moved to California, where she has taught advanced painting classes at the University of California, Irvine, and currently lives and works in Los Angeles. She has had solo exhibitions at Shoshana Wayne Gallery, Santa Monica, California (2003, 2001); Bruning + Zischke, Düsseldorf, Germany (1999); Post, Los Angeles, California (1999); and Bronwyn Keenan, New York City (1999). Her abstract canvases have been included in numerous group exhibitions in venues such as the Museum of Contemporary Art, Tucson, Arizona (2002); UCLA Hammer Museum, Los Angeles, California (2001); and the Otis Gallery, Los Angeles (2000).

“I call myself an abstract painter despite the fact that many of my images are somewhat representational. I suppose that by calling my work abstract, I want to foreground that PAINT is really important to me. I love paint and the way it works and I want this love to come across in my work. My pieces explore the qualities inherent in paint and

strive to put them to good use — by spraying it with an airbrush, by loading up a big brush and stroking it across the canvas, by dripping it, by diluting it with medium so it becomes transparent. At the same time, I want my paintings to be approachable and so try to use paint in simple, efficient, clear ways. I don’t ever want my painting to look like a catalogue of paint ‘tricks’. And most importantly, I always want to give equal weight to the image (what I’m depicting with the paint) and the painterliness (how it’s painted).

In terms of content, I think of my paintings as being about desire and its frustration. I know those are big, vague words, but I can’t really think of a better description.

And when I’m working on a painting, it feels pretty simple. My paintings usually depict beautiful, somewhat inaccessible spaces or things. All my paintings somehow depict situations where I literally or figuratively am on the outside looking in.”

Amy Wheeler Los Angeles, 2003 Acrylic on canvas 54 x 54 in. (137.2 x 137.2 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

69

Amy Wheeler Tonight Tonight, 2003 Acrylic on canvas 60 x 54 in. (152.4 x 137.2 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

Amy Wheeler Faster, 2003 Acrylic on canvas 36 x 54 in. (91.4 x 137.2 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

70

Amy Wheeler Wander 2, 2003 Acrylic on canvas 36 x 48 in. (91.4 x 121.9 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

Amy Wheeler Untitled (Prada Series #2), 2001 Acrylic and spraypaint on canvas 60 x 48 in. (152.4 x 121.9 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

Amy Wheeler Untitled (Costume National Series #1), 2000 Acrylic and spraypaint on canvas 53 x 48 in. (134.6 x 121.9 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

71

Amy Wheeler Untitled (Katayone Adeli #5), 2001 Acrylic and spraypaint on canvas 42 x 84 in. (106.7 x 213.4 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

Amy Wheeler Untitled (Costume National Series #2), 2000 Acrylic and spraypaint on canvas 25-1/2 x 29 in. (64.8 x 73.7 cm) Courtesy of the artist and Shoshana Wayne Gallery, Santa Monica, California

72

Photo Credits: 5: left, Tony Mastres; right, Jane Callister 6: top, Tony Mastres 7: Tony Mastres 8: middle, Tony Mastres 9: right, Michael Dibari, Jr. 13: left, Hawthorne Studio; right, Julie Dean 14: Hawthorne Studio 15: Hawthorne Studio (all) 16: Hawthorne Studio (all) 17: right, Melissa P. Lohman 21: right, Kelly Lamb 2003 25: right, Courtesy of Luhring Augustine Gallery 29: right, Santiago Cucullu 33: right, Courtesy of George Adams Gallery 37: right, Guy Bouchet 39: top left & right, Antonio Idini 40: bottom left, Antonio Idini 41: right, Courtesy of Artemis Greenberg Van Doren Gallery 45: right, Courtesy of the artist 49: right, Monica Vidal 53: left, Joe Painter; right, Campbell Plowden 54: top, Joe Painter; bottom, Barbara Hughes 55: top left, Will Brown; right, Stacy Levy; bottom left, Joe Painter 56: top & bottom, Joe Painter

57: left, Roger Schreiber; right, Russell Johnson 58: Roger Schreiber (all) 59: Russell Johnson 60: top left & right, Roger Schreiber; bottom left, Russell Johnson 61: right, Courtesy of Lombard-Freid Fine Arts 65: left, Mark Gulezian; right, Robert Trippett 66: Mark Gulezian 67: Mark Gulezian (all) 68: Mark Gulezian (all) 69: right, Courtesy of Shoshana Wayne Gallery

For the Bureau of International Information Programs Executive Editor: George Clack Editor: Paul Malamud Art Director: Min-Chih Yao Photo Research: Ann Monroe Jacobs

For the ART in Embassies Program Director: Anne S. Johnson Curator: Virginia Shore Curatorial Research: Camille Benton, Sally MansďŹ eld Introduction Steven Henry Madoff

ART IN EMBASSIES PROGRAM AND BUREAU OF INTERNATIONAL INFORMATION PROGRAMS U.S. DEPARTMENT OF STATE http://usinfo.state.gov/

Attachment B

History of Modern Art

Page 51 of 56

HISTOR Y OF MODERN ART

PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION

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HISTOR Y OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION

H.H. ARNASON ELIZABETH C. MANSFIELD National Humanities Center

Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo

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Editorial Director: Craig Campanella Editor-in-Chief: Sarah Touborg Senior Sponsoring Editor: Helen Ronan Editorial Assistant: Victoria Engros Vice President, Director of Marketing: Brandy Dawson Executive Marketing Manager: Kate Mitchell Editorial Project Manager: David Nitti Production Liaison: Barbara Cappuccio Managing Editor: Melissa Feimer Senior Operations Supervisor: Mary Fischer Operations Specialist: Diane Peirano Senior Digital Media Editor: David Alick Media Project Manager: Rich Barnes

This book was designed and produced by Laurence King Publishing Ltd, London www.laurenceking.com Production Manager: Simon Walsh Page Design: Robin Farrow Photo Researcher: Emma Brown Copy Editor: Lis Ingles

Cover photo: Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 (detail). Oil on canvas, 58 ⫻ 35” (147.3 ⫻ 88.9 cm). Philadelphia Museum of Art. page 2: Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–86 (detail).

Oil on canvas, 6’ 91∕2” ⫻ 10’ 11∕4” (2.1 ⫻ 3.1 m). The Art Institute of Chicago.

Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on the appropriate page within text or in the picture credits on pages 809–16.

Copyright © 2013, 2010, 2004 Pearson Education, Inc. All rights reserved. Printed in the United States of America. This publication is protected by Copyright and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or likewise.

To obtain permission(s) to use material from this work, please submit a written request to Pearson Education, Inc., Permissions Department, One Lake Street, Upper Saddle River, New Jersey 07458 or you may fax your request to 201-236-3290.

Library of Congress Cataloging-in-Publication Data Arnason, H. Harvard, author.

History of modern art : painting, sculpture, architecture, photography / H.H. Arnason, Elizabeth C. Mansfield, National Humanities Center. -Seventh Edition. pages cm Includes bibliographical references and index.

ISBN-13: 978-0-205-25947-2 (pbk.)

ISBN-10: 0-205-25947-2 (pbk.)

1. Art, Modern. I. Mansfield, Elizabeth - author. II. Title.

N6490.A713 2013 709.04--dc23 2012029474 10 9 8 7 6 5 4 3 2 1

ISBN 10: 0-205-25947-2 ISBN 13: 978-0-205-25947-2

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Contents

Preface xii Acknowledgments xiii Why Use this Seventh Edition xiv Chapter-by-chapter Revisions xiv

1 The Origins of Modern Art 1 SOURCE :

Théophile Gautier, Preface to Mademoiselle de Maupin (1835) 2 Making Art and Artists: The Role of the Critic 2 A Marketplace for Art 3 CONTEXT : Modernity and Modernism 3 The Modern Artist 3 What Does It Mean to Be an Artist?: From Academic Emulation toward Romantic Originality 4 Making Sense of a Turbulent World: The Legacy of Neoclassicism and Romanticism 5 History Painting 6 TECHNIQUE : Printmaking Techniques 6 Landscape Painting 9

3 Post-Impressionism 42 The Poetic Science of Color: Seurat and the Neo-Impressionists 43 Form and Nature: Paul Cézanne 45 Early Career and Relation to Impressionism 46 Later Career 48 The Triumph of Imagination: Symbolism 50 Reverie and Representation: Moreau, Puvis, and Redon 50 The Naive Art of Henri Rousseau 52 An Art Reborn: Rodin and Sculpture at the Fin de Siècle 53 Early Career and The Gates of Hell 54 The Burghers of Calais and Later Career 56 Exploring New Possibilities: Claudel and Rosso 58 Primitivism and the Avant-Garde: Gauguin and Van Gogh 59 Gauguin 59 SOURCE : Paul Gauguin, from Noa Noa (1893) 61 Van Gogh 62 SOURCE : Vincent van Gogh, from a letter to his brother Theo van Gogh, August 6, 1888 62 A New Generation of Prophets: The Nabis 64 Vuillard and Bonnard 65 Montmartre: At Home with the Avant-Garde 67

2 The Search for Truth: Early Photography, Realism, and Impressionism 14

4 Arts and Crafts, Art Nouveau, and the Beginnings of Expressionism 70

New Ways of Seeing: Photography and its Influence 14 TECHNIQUE : Daguerreotype versus Calotype 15 Only the Truth: Realism 20 France 20 England 22 Seizing the Moment: Impressionism and the Avant-Garde 24 Manet and Whistler 24 From Realism to Impressionism 28 Nineteenth-Century Art in the United States 36 SOURCE : Charles Baudelaire, from his “Salon of 1859” 36 Later Nineteenth-Century American Art 37

“A Return to Simplicity”: The Arts and Crafts Movement and Experimental Architecture 70 Experiments in Synthesis: Modernism beside the Hearth 72 SOURCE : Walter Pater, from the Conclusion to Studies in the History of the Renaissance (1873) 74 With Beauty at the Reins of Industry: Aestheticism and Art Nouveau 74 Natural Forms for the Machine Age: The Art Nouveau Aesthetic 76 Painting and Graphic Art 76 SOURCE : Sigmund Freud, from The Interpretation of Dreams (1899) 78 Art Nouveau Architecture and Design 79 CONTENTS

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Toward Expressionism: Late Nineteenth-Century Avant-Garde Painting beyond France 84 Scandinavia 84 Northern and Central Europe 87

5 The New Century: Experiments in Color and Form 90 Fauvism 90 “Purity of Means” in Practice: Henri Matisse’s Early Career 91 Earliest Works 91 Matisse’s Fauve Period 92 SOURCE : Charles Baudelaire, Invitation to the Voyage (1857) 93 The Influence of African Art 97 “Wild Beasts” Tamed: Derain, Vlaminck, and Dufy 99 Religious Art for a Modern Age: Georges Rouault 101 The Belle Époque on Film: The Lumière Brothers and Lartigue 102 CONTEXT : Early Motion Pictures 102 Modernism on a Grand Scale: Matisse’s Art after Fauvism 103 Forms of the Essential: Constantin Brancusi 106

6 Expressionism in Germany and Austria 111 From Romanticism to Expressionism: Corinth and Modersohn-Becker 112 SOURCE : Paula Modersohn-Becker, Letters and Journal 113 Spanning the Divide between Romanticism and Expressionism: Die Brücke 114 Kirchner 114 TECHNIQUE : Woodcuts and Woodblock Prints 117 Nolde 117 Heckel, Müller, Pechstein, and Schmidt-Rottluff 118 Die Brücke’s Collapse 121 The Spiritual Dimension: Der Blaue Reiter 121 Kandinsky 122 Münter 124 Werefkin 125 Marc 126 Macke 127 Jawlensky 128 Klee 128 Feininger 129 Expressionist Sculpture 130 Self-Examination: Expressionism in Austria 132 Schiele 132 Kokoschka 133 CONTEXT : The German Empire 134

VI

7 Cubism 136 Immersed in Tradition: Picasso’s Early Career 137 Barcelona and Madrid 137 Blue and Rose Periods 137 CONTEXT : Women as Patrons of the Avant-Garde 140 Les Demoiselles d’Avignon 142 Beyond Fauvism: Braque’s Early Career 144 “Two Mountain Climbers Roped Together”: Braque, Picasso, and the Development of Cubism 146 Analytic Cubism, 1909–11 147 Synthetic Cubism, 1912–14 152 TECHNIQUE : Collage 152 Constructed Spaces: Cubist Sculpture 155 Braque and Picasso 155 Archipenko 157 Duchamp-Villon 158 Lipchitz 158 Laurens 159 An Adaptable Idiom: Developments in Cubist Painting in Paris 160 Gris 160 Gleizes and Metzinger 162 Léger 163 Other Agendas: Orphism and Other Experimental Art in Paris, 1910–14 163 Duchamp 166

8 Early Modern Architecture 169 “Form Follows Function”: The Chicago School and the Origins of the Skyscraper 169 SOURCE : Louis Sullivan, “The Tall Office Building Artistically Considered” (1896) 172 Modernism in Harmony with Nature: Frank Lloyd Wright 172 Early Houses 173 The Larkin Building 175 Mid-Career Crisis 176 Temples for the Modern City: American Classicism 1900–15 176 New Simplicity Versus Art Nouveau: Vienna Before World War I 177 Tradition and Innovation: The German Contribution to Modern Architecture 179 Behrens and Industrial Design 180 CONTEXT : The Human Machine: Modern Workspaces 180 Expressionism in Architecture 181 Toward the International Style: The Netherlands and Belgium 183 Berlage and Van de Velde 183 TECHNIQUE : Modern Materials 184 New Materials, New Visions: France in the Early Twentieth Century 184

CONTENTS

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9 European Art after Cubism 186

11 Art in France after World War I 242

Fantasy Through Abstraction: Chagall and the Metaphysical School 186 Chagall 187 De Chirico and the Metaphysical School 188 “Running on Shrapnel”: Futurism in Italy 189 SOURCE : Filippo Tommaso Marinetti, from The Founding and Manifesto of Futurism 189 Balla 191 Bragaglia 192 Severini 192 Carrà 194 Boccioni 194 Sant’Elia 196 “Our Vortex is Not Afraid”: Wyndham Lewis and Vorticism 197 CONTEXT : The Omega Workshops 197 A World Ready for Change: The Avant-Garde in Russia 198 Larionov, Goncharova, and Rayonism 199 Popova and Cubo-Futurism 200 Malevich and Suprematism 202 El Lissitzky’s Prouns 204 TECHNIQUE : Axonometry 204 Kandinsky in the Early Soviet Period 205 Utopian Visions: Russian Constructivism 207 Innovations in Sculpture 207 Tatlin 207 Rodchenko 209 Stepanova and Rozanova 210 Pevsner, Gabo, and the Spread of Constructivism 211

Eloquent Figuration: Les Maudits 242 Modigliani 242 Soutine 243 Utrillo 245 Dedication to Color: Matisse’s Later Career 246 Response to Cubism, 1914–16 246 Renewal of Coloristic Idiom, 1917–c. 1930 247 An Art of Essentials, c. 1930–54 249 CONTEXT : Matisse in Merion, Pennsylvania 250 Celebrating the Good Life: Dufy’s Later Career 250 Eclectic Mastery: Picasso’s Career after the War 250 Parade and Theatrical Themes 252 CONTEXT : Diaghilev’s Ballets Russes 253 Postwar Classicism 254 Cubism Continued 255 Guernica and Related Works 257 Sensuous Analysis: Braque’s Later Career 258 Austerity and Elegance: Léger, Le Corbusier, and Ozenfant 259

10 Picturing the Wasteland: Western Europe during World War I 213 CONTEXT : The Art of Facial Prosthetics 213 The World Turned Upside Down: The Birth of Dada 214 The Cabaret Voltaire and Its Legacy 214 Arp 216 “Her Plumbing and Her Bridges”: Dada Comes to America 218 Duchamp’s Early Career 219 SOURCE : Anonymous (Marcel Duchamp), “The Richard Mutt Case” 221 Duchamp’s Later Career 222 Picabia 225 Man Ray and the American Avant-Garde 226 “Art is Dead”: Dada in Germany 227 Hausmann, Höch, and Heartfield 228 Schwitters 230 Ernst 231 Idealism and Disgust: The “New Objectivity” in Germany 233 Grosz 235 Dix 236 The Photography of Sander and Renger-Patzsch 238 Beckmann 238 CONTEXT : Degenerate Art 240

12 Clarity, Certainty, and Order: De Stijl and the Pursuit of Geometric Abstraction 262 The de Stijl Idea 262 SOURCE : De Stijl “Manifesto 1” (1918, published in de Stijl in 1922) 262 Mondrian: Seeking the Spiritual Through the Rational 263 Early Work 263 Neoplasticism 264 The Break with de Stijl 266 Van Doesburg, de Stijl, and Elementarism 268 De Stijl Realized: Sculpture and Architecture 270 Vantongerloo 271 Van ’t Hoff and Oud 271 Rietveld 272 Van Eesteren 274

13 Bauhaus and the Teaching of Modernism 275 Audacious Lightness: The Architecture of Gropius 275 The Building as Entity: The Bauhaus 277 SOURCE : Walter Gropius, from the Bauhaus Manifesto (1919) 277 Bauhaus Dessau 278 The Vorkurs: Basis of the Bauhaus Curriculum 279 Moholy-Nagy 279 Josef Albers 281 Klee 282 Kandinsky 285 Die Werkmeistern: Craft Masters at the Bauhaus 286 Schlemmer 287 Stölzl 287 CONTENTS

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Breuer and Bayer 288 TECHNIQUE : Industry into Art into Industry 289 “The Core from which Everything Emanates”: International Constructivism and the Bauhaus 289 Gabo 289 Pevsner 291 Baumeister 292 From Bauhaus Dessau to Bauhaus U.S.A. 292 Mies van der Rohe 292 Bauhaus U.S.A. 295

14 Surrealism 297 Breton and the Background to Surrealism 297 CONTEXT : Fetishism 298 The Two Strands of Surrealism 299 Political Context and Membership 299 CONTEXT : Trotsky and International Socialism Between the Wars 300 “Art is a Fruit”: Arp’s Later Career 300 Hybrid Menageries: Ernst’s Surrealist Techniques 302 “Night, Music, and Stars”: Miró and Organic–Abstract Surrealism 304 Methodical Anarchy: André Masson 307 Enigmatic Landscapes: Tanguy and Dalí 308 Dalí 309 SOURCE : Georges Bataille, from The Cruel Practice of Art (1949) 309 Surrealism beyond France and Spain: Magritte, Delvaux, Bellmer, Matta, and Lam 313 Matta and Lam 317 Women and Surrealism: Oppenheim, Cahun, Maar, Tanning, and Carrington 318 Never Quite “One of Ours”: Picasso and Surrealism 322 Painting and Graphic Art, mid-1920s to 1930s 322 Sculpture, late 1920s to 1940s 324 Pioneer of a New Iron Age: Julio González 325 Surrealism’s Sculptural Language: Giacometti’s Early Career 326 Surrealist Sculpture in Britain: Moore 330 Bizarre Juxtapositions: Photography and Surrealism 331 Atget’s Paris 332 Man Ray, Kertész, Tabard, and the Manipulated Image 332 The Development of Photojournalism: Brassaï, Bravo, Model, and Cartier-Bresson 334 An English Perspective: Brandt 337

15 American Art Before World War II 338 American Artist as Cosmopolitan: Romaine Brooks 338 The Truth about America: The Eight and Social Criticism 339 Sloan, Prendergast, and Bellows 339 SOURCE : Robert Henri, excerpts from The Art Spirit, a collection of his writings and notes 341 Two Photographers: Riis and Hine 341

VIII

A Rallying Place for Modernism: 291 Gallery and the Stieglitz Circle 342 Stieglitz and Steichen 343 Weber, Hartley, Marin, and Dove 345 O’Keeffe 347 Straight Photography: Strand, Cunningham, and Adams 349 Coming to America: The Armory Show 350 Sharpening the Focus on Color and Form: Synchromism and Precisionism 351 Synchromism 351 Precisionism 352 The Harlem Renaissance 354 Painting the American Scene: Regionalists and Social Realists 355 Benton, Wood, and Hopper 356 CONTEXT : American Primitives 356 Bishop, Shahn, and Blume 360 CONTEXT : The Sacco and Vanzetti Trial 361 Documents of an Era: American Photographers Between the Wars 361 Social Protest and Personal Pain: Mexican Artists 364 Rivera 364 Orozco 365 Siqueiros 366 Kahlo 367 Tamayo 367 Modotti’s Photography in Mexico 368 The Avant-Garde Advances: Toward American Abstract Art 368 Exhibitions and Contact with Europe 368 Davis 369 Diller and Pereira 370 Avery and Tack 371 Sculpture in America Between the Wars 372 Lachaise and Nadelman 372 Roszak 373 Calder 374

16 Abstract Expressionism and the New American Sculpture 377 Mondrian in New York: The Tempo of the Metropolis 377 CONTEXT : Artists and Cultural Activism 379 Entering a New Arena: Modes of Abstract Expressionism 379 The Picture as Event: Experiments in Gestural Painting 380 Hofmann 380 SOURCE : Clement Greenberg, from Modernist Painting (first published in 1960) 380 Gorky 380 Willem de Kooning 382 Pollock 384 SOURCE : Harold Rosenberg, from The American Action Painters (first published in 1952) 386 Krasner 387 Kline 388 Tomlin and Tobey 389 Guston 390 Elaine de Kooning and Grace Hartigan 391

CONTENTS

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Complex Simplicities: Color Field Painting 392 Rothko 392 Newman 395 Still 396 Reinhardt 396 Gottlieb 397 Motherwell 398 Baziotes 400 Drawing in Steel: Constructed Sculpture 401 Smith and Dehner 401 Di Suvero and Chamberlain 404 Textures of the Surreal: Biomorphic Sculpture and Assemblage 404 Noguchi 404 Bourgeois 405 Cornell 406 Nevelson 407 Expressive Vision: Developments in American Photography 408 Capa and Miller 408 White, Siskind, and Porter 408 Levitt and DeCarava 409

17 Postwar European Art 411 CONTEXT :

Samuel Beckett and the Theater of the Absurd 411 Re-evaluations and Violations: Figurative Art in France 412 Picasso 412 Giacometti 412 Richier 414 Balthus 415 Dubuffet 416 A Different Art: Abstraction in France 418 Fautrier, Van Velde, Hartung, and Soulages 418 Wols, Mathieu, Riopelle, and Vieira da Silva 420 De Staël 422 “Pure Creation”: Concrete Art 423 Bill and Lohse 423 Postwar Juxtapositions: Figuration and Abstraction in Italy and Spain 425 Morandi 425 Marini and Manzù 426 Afro 427 Fontana 428 SOURCE : Lucio Fontana, from The White Manifesto (1946) 429 Burri 430 Tàpies 430 “Forget It and Start Again”: The CoBrA Artists and Hundertwasser 431 Jorn 431 Appel 431 Alechinsky 432 Hundertwasser 433 The Postwar Body: British Sculpture and Painting 433 Hepworth 434 Moore 435 Bacon 435 Sutherland 439 Freud 440

Marvels of Daily Life: European Photographers 442 Sudek 442 Bischof 443 Doisneau 443

18 Nouveau Réalisme and Fluxus 444 CONTEXT :

The Marshall Plan and the “Marilyn Monroe Doctrine” 444 SOURCE : Manifesto of Nouveau Réalisme, signed October 27, 1960 445 “Sensibility in Material Form”: Klein 445 Tinguely and Saint-Phalle 447 Arman 449 César 449 Raysse 450 Christo and Jeanne-Claude 450 Rotella and Manzoni 451 Fluxus 452 CONTEXT : The Situationists 453 Ono and Beuys 454

19 Taking Chances with Popular Culture 456 “This is Tomorrow”: Pop Art in Britain 456 Hamilton and Paolozzi 457 SOURCE : Marshall McLuhan, from Understanding Media: The Extensions of Man (1964) 457 Blake and Kitaj 458 Hockney 459 Signs of the Times: Assemblage and Pop Art in the United States 460 Rauschenberg 460 Johns 462 TECHNIQUE : Encaustic 464 Getting Closer to Life: Happenings and Environments 466 Kaprow, Grooms, and Early Happenings 466 Segal 468 Oldenburg 469 “Just Look at the Surface”: The Imagery of Everyday Life 471 Dine 471 Samaras and Artschwager 472 Rivers 474 Lichtenstein 475 Warhol 476 Rosenquist, Indiana, and Wesselmann 478 TECHNIQUE : Screenprinting 479 Axell, Marisol, and Sister Corita 481 Poetics of the “New Gomorrah”: West Coast Artists 483 Thiebaud 483 Kienholz 483 Jess 484 Ruscha 485 Jiménez 486 Personal Documentaries: The Snapshot Aesthetic in American Photography 487

CONTENTS

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20 Playing by the Rules: 1960s Abstraction 490 Drawing the Veil: Post Painterly Abstraction 490 SOURCE : Clement Greenberg, from Post Painterly Abstraction (1964) 491 Francis and Mitchell 491 Frankenthaler, Louis, and Olitski 493 Poons 496 At an Oblique Angle: Diebenkorn 497 Forming the Unit: Hard-Edge Painting 498 Seeing Things: Op Art 503 Vasarely 503 Riley 504 New Media Mobilized: Motion and Light 505 Mobiles and Kinetic Art 507 Artists Working with Light 508 The Limits of Modernism: Minimalism 510 Caro 511 Stella 512 Smith, Judd, and Morris 514 SOURCE : Tony Smith, from a 1966 interview in Artforum 514 LeWitt, Andre, and Serra 518 TECHNIQUE : Minimalist Materials: Cor-Ten Steel 520 Minimalist Painters 521 Complex Unities: Photography and Minimalism 526

21 Modernism in Architecture at Mid-Century 527 “The Quiet Unbroken Wave”: The Later Work of Wright and Le Corbusier 527 Wright During the 1930s 528 Le Corbusier 531 Purity and Proportion: The International Style in America 535 The Influence of Gropius and Mies van der Rohe 535 Skyscrapers 537 Domestic Architecture 540 Internationalism Contextualized: Developments in Europe, Latin America, Asia, and Australia 541 Finland 541 Great Britain 543 France 543 Germany and Italy 544 Latin America, Australia, and Japan 546 Breaking the Mold: Experimental Housing 549 CONTEXT : Women in Architecture 550 Arenas for Innovation: Major Public Projects 552 Cultural Centers, Theaters, and Museums in America 552 Urban Planning and Airports 556 Architecture and Engineering 557 TECHNIQUE : The Dymaxion House 557

X

22 Conceptual and Activist Art 558 Art as Language 558 Art & Language, Kosuth 559 CONTEXT : Semiotics 559 Weiner, Huebler, and Barry 560 Keeping Time: Baldessari, Kawara, and Darboven 560 Conceptual Art as Cultural Critique 562 Broodthaers, Buren, and Sanjouand 562 Haacke and Asher 565 Lawler and Wilson 566 The Medium Is the Message: Early Video Art 567 Paik 567 Nauman 568 Campus’s Video Art 568 When Art Becomes Artist: Body Art 569 Abromovic and Ulay 569 Schneemann and Wilke 570 Mendieta 571 Acconci 572 Burden 572 Gilbert and George, Anderson, and Horn 574 Radical Alternatives: Feminist Art 575 The Feminist Art Program 575 Erasing the Boundaries between Art and Life: Later Feminist Art 578 Kelly 578 Guerrilla Girls 579 Antoni and Fleury 579 Invisible to Visible: Art and Racial Politics 581 OBAC, Afri-COBRA, and SPARC 581 Ringgold and Folk Traditions 583 Social and Political Critique: Hammons and Colescott 584 The Concept of Race: Piper 586

23 Post-Minimalism, Earth Art, and New Imagists 587 Metaphors for Life: Process Art 588 Arte Povera: Merz and Kounellis 595 Big Outdoors: Earthworks and Land Art 596 Monumental Works 597 CONTEXT : Environmentalism 597 SOURCE : Robert Smithson, from “Cultural Confinement,” originally published in Artforum (1972) 599 Landscape as Experience 601 Public Statements: Monuments and Large-Scale Sculpture 606 Body of Evidence: Figurative Art 610 Photorealism 610 Hanson’s Superrealist Sculpture 614 Stylized Naturalism 614 Animated Surfaces: Pattern and Decoration 618 Figure and Ambiguity: New Image Art 621 Rothenberg and Moskowitz 621 Sultan and Jenney 622 Borofsky and Bartlett 624 Chicago Imagists: Nutt and Paschke 625 Steir 626 New Image Sculptors: Shapiro and Flanagan 627

CONTENTS

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24 Postmodernism 629 CONTEXT : Poststructuralism 629 Postmodernism in Architecture 630 “Complexity and Contradiction”: The Reaction Against Modernism Sets In 631 SOURCE : Robert Venturi, Denise Scott Brown, and Steven Izenour, from Learning from Las Vegas (1972) 632 In Praise of “Messy Vitality”: Postmodernist Eclecticism 632 Venturi, Rauch, Scott Brown, and Moore 632 Piano, Rogers, and a Postmodern Museum 636 Hollein, Stern, and Isozaki 636 Ironic Grandeur: Postmodern Architecture and History 640 Johnson 640 Stirling, Jahn, Armajani, and Foster 641 Pei and Freed 643 Ando and Pelli 646 What Is a Building?: Constructivist and Deconstructivist Architecture 647 CONTEXT : Deconstruction versus Deconstructivism 648 Structure as Metaphor: Architectural Allegories 651 Flexible Spaces: Architecture and Urbanism 654 Plater-Zyberk and Duany 655 Koolhaas and the OMA 656 Postmodern Practices: Breaking Art History 658 Appropriation: Kruger, Levine, Prince, and Sherman 658 Holzer, McCollum, and Tansey 663

25 Painting through History 666 Primal Passions: Neo-Expressionism 666 German Neo-Expressionism: Baselitz, Lüpertz, Penck, and Immendorff 667 Polke, Richter, and Kiefer 670 SOURCE : Gerhard Richter, from “Notes 1964–1965” 672 Italian Neo-Expressionism: Clemente, Chia, and Cucchi 675 TECHNIQUE : Choosing Media 676 American Neo-Expressionism: Schnabel, Salle, and Fischl 676 Searing Statements: Painting as Social Conscience 680 Golub and Spero 680 Coe and Applebroog 682 In the Empire of Signs: Neo-Geo 683 Neo-Geo Abstraction: Halley and Bleckner 683 The Sum of Many Parts: Abstraction in the 1980s 684 Murray 685 Winters 685 Taaffe 686 Scully 686 Taking Art to the Streets: Graffiti and Cartoon Artists 687 Haring and Basquiat 687 CONTEXT : HIV/AIDS and the Art World 689 Wojnarowicz and Wong 690 Rollins and KOS 691 Painting Art History 692 Currin and Yuskavage 692

26 New Perspectives on Art and Audience 695 Commodity Art 695 CONTEXT : National Endowment for the Arts 696 CONTEXT : International Art Exhibitions 697 Postmodern Arenas: Installation Art 701 CoLab, Ahearn, and Osorio 701 Kabakov 702 Viola 704 Strangely Familiar: British and American Sculpture 704 Reprise and Reinterpretation: Art History as Art 710 Representing Art History 710 The Anxiety of Artistic Influence 711 Cutting Art History Down to Size 713 DIY in the Artist's Studio 714 SOURCE : Jorge Luis Borges, On Exactitude in Science (1946, originally published as a mock literary discovery) 717 Reorienting Art History's Centers and Peripheries 717 New Perspectives on Childhood and Identity 719 The Art of Biography 722 Meeting Points: New Approaches to Abstraction 726

27 Contemporary Art and Globalization 729 CONTEXT :

Modern Art Exhibitions and Postcolonialism 729 Lines That Define Us: Locating and Crossing Borders 730 Art and the Expression of Culture 730 Identity as Place 735 Skin Deep: Identity and the Body 742 Body as Self 742 The Sensual Body 742 The Absent Body 746 Occupying the Art World 750 Globalization and Arts Institutions 754 Interventions in the Global Museum 754 CONTEXT : Avant-tainment 756 Designing a Global Museum 757 CONTEXT : Pritzker Prize 759

Glossary 761 Bibliography 763 Index 790 Credits 809

CONTENTS

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Preface

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ince it first appeared in 1968, History of Modern Art has emphasized the unique formal properties of artworks, and the book has long been recognized for the acuity of its visual analysis. To neglect the specifically visual quality of art and architecture would be akin to ignoring the use of language in poetry or the quality of sound in music. Only through close formal analysis can art and its effect on us be fully understood.

Visual analysis does not, however, constitute art history. The book’s original author, H.H. Arnason, directed readers to consider modern art in terms of “everything that we can learn about the environment that produced it.” The seventh edition of History of Modern Art preserves the text’s sensitive approach to visual analysis while deepening its consideration of the social conditions that have affected the production and reception of modern and contemporary art.

Toward this end, the seventh edition retains its chronological organization. While not claiming that modernism’s birth can be traced to a specific moment, History of Modern Art accords particular relevance to the year 1835. Two events in that year anchor the text’s account of modernism: the production of the earliest photographs by William Henry Fox Talbot and the publication of Théophile Gautier’s novel Mademoiselle de Maupin, with its provocative cross-dressing heroine and scandalous endorsement of l’art pour l’art—in other words, Art for Art’s Sake. These events announce the conflicting impulses that have catalyzed the development of modern art since the nineteenth century.

Modern art is the cultural expression of a society shaped as much by scientific rationalism as by transcendent idealism. The tension inherent in this social condition propels modernism, through which these competing worldviews are explored and often synthesized. The appearance of photography and the doctrine of Art for Art’s Sake in the same year testify to the appeal of both viewpoints at this time. For many, photography promised to document the world accurately and objectively, to deliver absolute visual truth. Partisans of Art for Art’s Sake celebrated instead a truth based on subjective aesthetic experiences that transcend lived reality. These two worldviews have continued to collide and commingle to the present day, with moments of resolution and irresolution continually giving rise to new forms of visual culture.

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Talbot’s photography and Gautier’s novel also introduce themes that recur throughout the book. Intersections between art and science, for instance, are noted repeatedly, as is the role of technology in shaping modern art. Other sustained themes include the relationship between modernism and femininity, the influence of criticism on the reception of modern art, the development and effects of the art market, and the persistence of the exotic as an aesthetic ideal. Although these ideas are woven through the whole of History of Modern Art, each chapter maintains a distinct focus, addressing a particular movement or concept. The introductions address social and aesthetic issues particular to each chapter while linking these ideas to the central themes of the text.

Furthering the assertion of modern art’s social import is the inclusion of new artists and artworks. These additions are intended to strengthen the central arguments of the book while also broadening its conception of modernism. Among other changes is the integration of women and African-American artists into the main narrative.

These important contributors to the history of modernism are not cast as extras in an otherwise male, white, and Eurocentric story. Rather, the main narrative encompasses their work while also addressing issues related to their marginalization in traditional histories of modern art. For instance, the relationship between modern art and women involves more than the history of women’s exclusion from the institutions of artmaking and exhibition: it also concerns the significance of the female nude for the history of modernism as well as the decisive influence of women patrons of avant-garde art in the late nineteenth and early twentieth centuries. Likewise, to comprehend the position of African-American artists in this period requires an understanding of contemporary cultural assumptions about race and representation.

History of Modern Art closes with a chapter devoted to globalization, taking into consideration the economic and political conditions currently affecting artists and audiences internationally. The lessons of globalization have not been lost on artists. Many have adapted their practice to new digital media, often by-passing conventional venues for exhibition and instead broadcasting their work via personal websites or through social networking systems like Facebook or Twitter. Few have managed to digitally broadcast their work as effectively as the dissident Chinese

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artist Ai Wei Wei. The so-called “Arab Spring” and Occupy Movements of 2011endowed even greater urgency to artistic interventions with digital media and global capitalism, and these issues are among those given scrutiny in this latest edition of History of Modern Art. Pulsing beneath this account of communications systems and revolutionary politics is the legacy of European and American colonialism, which accompanied the rise of modernity. The most effective analysis of the relationship between imperialism and modernity has come from the field of postcolonial studies. By articulating the causes and consequences of Western imperialism, postcolonial theory has contributed significantly to a reformulation of what it means to be an artist just as it has led some collectors, dealers, and museum professionals to reconsider their practices.

The book concludes with discussions of two controversial museums designed by French architect Jean Nouvel.

The Quai Branly Museum in Paris, which opened in 2006, houses ethnographic collections mostly from France’s former colonial possessions. Designed with an eye toward making visible the outmoded ideologies of racial and sexual inequality that made colonialism possible, Nouvel’s Quai Branly Museum appeals to the clarity promised by postcolonial theory. Yet the museum finds itself ensnared in the vexed history of actual colonial practice. Palpable, too, is the pulse of neocolonialism, which refers to the persistence of unequal political and economic relations between countries formerly bound by colonial practices.

As an ethnographic museum, the Quai Branly testifies to France’s former imperial status even as it attempts to allow the objects collected there to speak on their own account.

But with its crepuscular galleries, interactive video stations, and alcoves animated with piped-in music indigenous to France’s old colonial possessions, the museum recreates the fantasy of easy access and compliant natives that has spurred colonial ambitions since the sixteenth century. Such imaginings were as crucial to Paul Gauguin’s Tahitian sojourns as to the work of contemporary artists like Emily Jacir or Walid Raad, who articulate a visual language of cultural identity and resistance in the face of such imperialist fantasies.

Expressive of a different set of global cultural ambitions is the Louvre Abu Dhabi. Intended as an anchor for the emirate’s culture district, the new museum boasts the name of France’s most prominent arts institution and it will, at least initially, exhibit artworks from the Louvre’s collection.

Nouvel’s daringly innovative design for the museum invites comparison with canopied bazaars, emphasizing the capacity of material culture to serve as a medium of exchange.

Yet it is the cultural patrimony of France, not Abu Dhabi, that will facilitate transactions, a trusted foreign currency sustaining a far-away market. Considered together, the Louvre Abu Dhabi and the Quai Branly Museum express the same tensions and contradictions that have informed modern art since its inception.

Acknowledgments

S

o many colleagues have contributed to my understanding and interpretation of the history of modern art that I cannot possibly name them all here. This revision of History of Modern Art benefited particularly from conversations with Aruna d’Souza, Pepe Karmel, Helen Molesworth, Shelley Rice, Julia Robinson, Kenneth Silver, Andres Zervigon and, especially, Philip Walsh. Their thoughts helped give clarity to the still unfolding history of modernism presented in the following pages. Rachel Federman contributed essential research, updating the bibliography and contributing to the book’s online resources.

Helen Ronan’s perfectly timed and phrased editorial interventions transformed sometimes unwieldy ideas into arguments, and Donald Dinwiddie, Lis Ingles, and Emma Brown at Laurence King Publishing translated these ideas into a thoughtfully designed book.

History of Modern Art is a textbook, and its primary function is to provide an accurate account of the visual culture of modernity. Yet the book’s authoritative voice is intended to provoke discussion among students and their instructors. As confident as the narrative might seem, it is the product of intellectual disagreement as well as consensus, and it is my hope that readers will come away from the text with as many questions as answers about the history of modern art. An essential forum for the kind of scholarly debate required for this project is the process of external review. I am grateful to the following referees, whose anonymous criticisms and suggestions can now be acknowledged: Cynthia Fowler, Emmanuel College; Kim Grant, University of Southern Maine; Sherri Lisota, Viterbo University; Walter Meyer, Santa Monica College; Robert Nauman, University of Colorado at Boulder; Caterina Pierre, Kingsborough Community College, CUNY; Rebecca Reynolds, University of West Georgia; Mysoon Rizk, University of Toledo; and Prudence Roberts, Portland Community College, Rock Creek.

I trust that these scholars, along with the students with whom they work, will agree that this seventh edition of History of Modern Art has been strengthened by their contributions to its revision.

Elizabeth Mansfield February 2012 New York, NY

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Why Use this Seventh Edition In response to requests from instructors and students across the country, History of Modern Art is more user friendly than ever. Every effort has been made to secure as many pictures as possible in full color. In addition to the numerous content improvements to every chapter detailed below, History of Modern Art is now offered in a variety of formats—all with digital images for instructors—to suit any course need. See inside front cover for details.

New Digital Resources Instructor PowerPoints Powerpoints for nearly every image in the book are available to adopting instructors.

To request access to the collection, please visit www.mysearchlab.com MySearchLab with eText

The Pearson eText available within MySearchLab lets students access their textbook any time, anywhere, and any way they want. The eText is enriched with multimedia including video links to Art21 clips and many other resources. Just like the printed text, students can highlight relevant passages and add their own notes. For even greater flexibility, students can download the eText to a tablet using the free Pearson eText app.

MySearchLab with eText offers a variety of research, writing, and citation tools, including Writing About Art by Henry Sayre, to help students hone key skills. With access to various academic journals, news feeds, and primary source readings, students are just a few clicks away from trusted source materials. Quizzes are also available for every chapter, enabling both instructors and students to track progress and get immediate feedback.

Please contact your local representative for ordering details or visit www.pearsonhighered.com/art.

Chapter-by-chapter Revisions Chapter 1 A streamlined introduction to the origins of modern art commences with the famous Whistler vs. Ruskin trial.

Traditional, academic approaches to art making are here explained in order to highlight modernity’s challenges to long-held expectations about the forms artworks should take and the audiences they should address.

Chapter 2 A more nuanced discussion of Realism sharpens the distinctions among the various movements and techniques described under this heading. The role of photography in shaping the idea of Realism in the nineteenth century is given particular attention, contributing to an overall sensitivity to the relevance of medium and technique for understanding progressive art of this period. Impressionism is characterized as both indebted to and departing from Realism, a shift explored in relation to contemporary history as well as aesthetics. Women artists’ contributions are fully integrated into the chapter, as is the significance of the female nude as a persistent subject of modern art.

Chapter 3 Acknowledging the historiography of the unwieldy designation “Post-Impressionism,” this chapter focuses on XIV

the diverse artistic movements that emerged in France in the decades following the devastating Franco-Prussian War and Paris Commune. It now demonstrates that PostImpressionism emerged as much from specific social conditions as from particular aesthetic concerns, and lengthy treatments of artists’ biographies have been replaced with closer analyses of fewer artworks.

Chapter 4 Architecture’s central role for Arts and Crafts and Art Nouveau is made clear by treating together the range of techniques and media addressed by these movements.

Sculpture’s importance, too, receives greater emphasis. The Wiener Werkstätte is now cast in relation to Arts and Crafts, as well as Jugendstil.

Chapter 5 This chapter on Fauvism crystallizes around the work of Henri Matisse and Constantin Brancusi. The relationship between photography and early twentieth-century experiments in expressive form and color is sharpened, with special note taken of Brancusi’s use of photography as part of his artistic process.

WHY USE THIS SEVENTH EDITION/ CHAPTER-BY-CHAPTER REVISIONS

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Chapter 6 Not merely confined to the fine arts, German and Austrian Expressionism produced important works of decorative art and architecture, and examples are now included in order to give a more accurate account of the movement’s scope. Expressionism’s preoccupation with the theme of the female nude receives focused attention, and the theme is examined in relation to contemporary social conventions as well as to broader aesthetic trends within modernism.

Chapter 7 Cubism emerged at a particular moment in European cultural history, and the social conditions particular to France in the early years of the twentieth century are discussed in order to give greater context to the artistic experiments undertaken by Picasso and Braque. Cubism’s distinct aesthetic concerns—as grounded in art-historical tradition as in contemporary innovations by artists like Cézanne—are treated at length, but not as ideas divorced from history.

Chapter 8 To enable a better understanding of early twentieth-century architecture, photographs of buildings have been updated with an eye toward providing as close an interpretation of the sites’ original appearance as possible. Additional plans further augment the chapter’s presentation of architecture. The concept of functionalism has been elaborated to provide a stronger theoretical context for the buildings discussed.

Chapter 9 The international character of the European response to Cubism is conveyed by highlighting the strong connections forged in Paris by artists of diverse nationalities.

Italian and Russian artists are singled out for sustained treatment as conduits for artistic innovations that would lead to the emergence of such movements as Futurism and Constructivism.

Chapter 10 New, sometimes stark, images have been added to this chapter in order to convey the depth of the social and cultural rupture caused by World War I. The intense outrage, confusion, and despair felt by those who experienced the war is unleashed through a variety of cultural strategies, including Dada and the New Objectivity.

Chapter 11 The artistic response to World War I is further explored in a chapter devoted to the Paris scene. There, the importance of art dealers in the promotion of avant-garde art is especially evident, and the role of the dealer is given renewed consideration. Artists, critics, dealers, and patrons were all deeply affected by the war, and each of these groups contributed momentum to the cultural “Call to Order” that characterizes the post-war period .

Chapter 12 New architectural views and plans have been added to enhance this chapter devoted to the de Stijl movement.

The complex significance accorded to abstraction by Piet Mondrian is elaborated, with his ongoing spiritual investigations seen as alternately complementary to and at odds with the materialist social utopianism of the de Stijl project.

Chapter 13 Like the de Stijl movement, the Bauhaus was founded on the principle of arts integration in pursuit of a unified aesthetic. To support this account of the Bauhaus, clearer and more historically accurate images have been introduced.

Chapter 14 Surrealism’s reliance on concepts derived from Freud’s theories contributes to the movement’s presumptions regarding femininity as a dangerous yet irresistibly seductive manifestation of the psyche. The movement’s representation of women, along with its ambivalence toward women artists, now comes under sharper critique. Photographer Dora Maar’s work is now included in the chapter.

Chapter 15 A restyled chapter on modern art produced in America prior to World War II begins with a consideration of Romaine Brooks. Her career provides an entry point for the chapter’s look at American artists’ relationship to the European avant-garde. Social concerns that especially animated progressive American artists are discussed, as well as their visual responses to conditions like urban poverty, child labor, and isolationism.

Chapter 16 Taking a more focused approach to Abstract Expressionism and the emergence of American modernism, this chapter now presents fewer works with more in-depth discussion of selected pieces. This development of narrative allows for a subtler treatment of the contributions of women to modern art in North America. Their current prominence tends to disguise the difficulties artists like Lee Krasner and Grace Hartigan faced in gaining recognition and patronage, even as they produced mature works.

Chapter 17 European art of the immediate postwar period has been contextualized in relation not only to the era’s difficult economic conditions but also to existentialism. An introduction to this worldview provides the backdrop for a consideration of such cultural manifestations of postwar wariness as the Theater of the Absurd and Art Informel. The discussion of Francis Bacon’s painting has been enhanced through the inclusion of new comparative pieces such as a still from Battleship Potemkin and a work

by Velázquez.

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Chapter 18 Nouveau Réalisme and Fluxus now have their own chapter.

This new arrangement encourages readers to understand the decidedly European context of Nouveau Réalisme, a point that can be lost when this material is presented together with Pop art. The international importance of Fluxus as well as its origins in the immediate postwar period are likewise clarified by the movement’s placement in this chapter.

Chapter 19 As the proliferation of excellent new scholarship attests, the importance of Pop art for the history of twentieth- and twenty-first-century art more than justifies a chapter dedicated to this and allied movements. The new chapter’s title, “Taking Chances with Popular Culture,” signals the range of artworks and theories engaged, from Richard Hamilton and Pop to visual responses to the music of composer John Cage. Women involved with Pop are given a stronger presence with the inclusion of French artist Evelyn Axell.

Chapter 20 A subtler treatment of the legacy of Clement Greenberg lends greater accuracy to the treatment of Minimalism, clarifying the movement’s relationship to the contested history of “modernism.” What is brought home in this chapter is the fact that there is no neat, linear development of modernism; instead, readers find that the history of modern art is riven with uncertainty and competing claims, a point made clearly by the Minimalist project.

Chapter 21 This chapter on the International Style and the expressive, sculptural architecture of modernist designers like Wright, Saarinen and Breuer makes a stronger case now that it has been enhanced with new, clearer images and architectural plans. A discussion of the architecture and design work of Eileen Gray has been added.

Chapter 22 Works by Marina Abramovic, Ulay, Jean-Michel Sanejouand, and Sylvia Sleigh are newly added to this chapter, in which Conceptual art, Performance art, feminist art, protest art, and the Situationists are addressed. Josef Beuys’ contribution to Conceptual art is discussed at greater length.

Chapter 23 This chapter on Post-Minimalism, Earth art, and New Imagists offers fewer artworks but more in-depth analysis of

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those presented. Re-organized to give a clearer understanding of the relationship among the various movements that characterized modern art in the 1970s, the chapter now starts with Process art, allowing works by Robert Smithson, Robert Morris, and Eva Hesse to set the keynote.

Chapter 24 Postmodernism—in all its myriad forms—remains the theme of this chapter. The discussion of architecture has been refined in order to convey precisely the differences among Postmodern, Constructivist, and Deconstructivist approaches. The chapter now closes with a single painting

by Mark Tansey.

Chapter 25 This chapter focuses on easel painting, a format that enjoyed a significant resurgence in the 1970s and 1980s.

The social as well as aesthetic context for the renewed interest in painting is broadened, with the addition of several comparative works aimed at giving a more complete account of this phenomenon.

Chapter 26 Since the critical interventions of Conceptual art and Postmodernism, contemporary artists have evinced a willingness to work outside the bounds of established institutions and practices. Exemplary of this attitude is the DIY movement in the visual arts, a movement represented in this chapter with works by Charles LeDray and Guy BenNur. Also newly introduced into this chapter are Christian Marclay and Andrea Fraser, whose distinct confrontations with the culture of the art world offer divergent approaches to institutional critique.

Chapter 27 The concluding chapter has been significantly updated in order to accommodate works of visual art produced in response to postcolonialism, neocolonialism, and globalization. With the so-called “Arab Spring” protests and the global Occupy Movement has come a greater awareness of the role of digital technology in spreading and shaping information. Artists were among the first to recognize this, and the concluding chapter of History of Modern Art includes works that address issues related to digital cultures, personal confrontations with globalization, and with arts in the service of social justice. Artists added to this edition include Walid Raad, Rirkrit Tiravanija, El Anatsui, Do-Ho Suh, Pierre Huyghe, Thomas Hirschhorn, Ai Wei Wei, and Bernadette Corporation.

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Attachment C

Contemporary Art Market Annual Report 2014

Page 52 of 56

contemporary art market 2014 T h e A r t p r i c e a n n u a l r e por t

Nota bene : all given prices refer to hammer prices before fees; all references to the dollar ($) relate to the US dollar; all sales of art works mentioned in this report relate only to Fine Art sales, i.e. paintings, sculptures, installations, drawings, photographs, prints, watercolours and exclude antiques, anonymous cultural goods and furniture.

Artprice.com/en

Artprice.com/fr

Artprice.com is the global leader in databank on Artprices and indices with more than 30 million indices and auction results covering more than 500,000 artists. Artprice Images® offers unlimited access to the largest Art Market resource in the world, a library of 108 million images or engravings of artworks from 1700 to the present day along with comments by Artprice’s art historians.

Artprice.com est le leader mondial des banques de données sur la cotation et les indices de l’Art avec plus de 30 millions d’indices et résultats de ventes couvrant plus de 500 000 Artistes. Artprice.com permet un accès illimité au plus grand fonds du Marché de l’Art au monde, bibliothèque constituée de 108 millions d’images ou gravures d’œuvres d’Art de 1700 à nos jours commentées par ses historiens.

Artprice.com permanently enriches its databanks with information from 4,500 international auction houses and auctioneers and publishes a constant flow of art market trends for the main news agencies and 6,300 international written media.

Artprice.com enrichit en permanence ses banques de données en provenance de 4 500 Maisons de ventes et publie en continu les tendances du Marché de l’Art pour les principales agences et 6 300 titres de presse dans le monde.

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Artprice ist mit seinen Datenbanken der Weltmarktführer im Bereich für Kunstmarktbewertungen und indizes mit mehr als 30 Millionen Indizes und Auktionsergebnissen von 500.000 Künstlern. Artprice Images® bietet Ihnen unbeschränkten Zugang zu einer weltweit einmaligen Bibliothek mit 108 Millionen Abbildungen und Drucken von Kunstwerken von 1700 bis heute.

Artprice es el numéro 1 de las bases de datos de precios e índices del arte con más de 30 millones de resultados detallados de subastas, niveles, índices e indicadores de precios, y cubre 500.000 artistas. Artprice Images® permite un acceso sin límite al fondo documentario más completo del mundo, una biblioteca de 108 millones de imágenes y grabados de catálogos y cualquier publicación de subastas del 1700 al presente.

Die Datenbanken werden von Artprice laufend mit Daten aus 4.500 Auktionshäusern ergänzt. Zudem veröffentlicht Artprice die Trends des Kunstmarkts für die wichtigsten Agenturen, für 6.300 Zeitschriften in aller Welt.

Aumentamos permanentemente nuestras bases de datos con nuevos remates procedentes de 4.500 salas de subastas de todo el mundo. Artprice publica en continuo la tendencias del mercado del arte para las principales agencias de prensa y 6.300 títulos de prensa en el mundo.

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Artprice.com是全球艺术市场的领军者， 它强大的数据库和艺术市场指数包含了来自 超过50万名艺术家 3000多万条成交结果和

指数。 Artprice.com可以让您无限浏览全 球艺术市场 信息，其资料库包括含1.08亿 幅作品图片的拍卖图录及从 1700 年至今的 艺术史学家的艺术品评论记录。

Artprice.com无时无刻不在更新来自全球 4500多家拍卖行的最新拍卖信息，并定期将 其 发 布 给 全 球 630 0 余 间 主 要 通 讯 社 。

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Artprice.com è il leader mondiale delle banche dati sulla quotazione e gli indici dell’arte con oltre 30 milioni di indici e di risultati i vendite coprendo 500 000 artisti. Artprice Images® permette un accesso illimitato al più grande fondo del mercato dell’arte al mondo, biblioteca costituita da 108 milioni di immagini o incisioni d’opere d’arte da 1700 ai nostri giorni commentati dai nostri storici.

Artprice.com arricchisce costantemente

le sue banche dati in provenienza dalle 4 500 case d’aste e pubblica in continuo le tendenze del mercato dell’arte per le principali agenzie e 6 300 giornali nel mondo.

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With the artprice.com multi-user subscriptions no need to wait in line Auction houses, museums, experts, insurers, give your specialists and valuation departments unlimited access to art market data. Check the price of our subscriptions directly online.

T H E W OR L D L EA D ER I N ART MARKET I N F ORMAT I ON T 00 800 2780 0000 (toll free number) | The Universe of Artprice on: web.artprice.com/video Artprice.com is listed on Eurolist (SRD Long Only) by Euronext Paris (PRC 7478-ARTF)

Our customers have no time to waste. We provide them an estimated price range in 72 hours.

Receive your ARTPRICING report within 72 hours that includes an estimated price range for the work, one similar identified work, and possibly up to 3 similar works and the price range trends from 1995 onwards (unit price from â‚Ź49 to â‚Ź29).

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FOREWORD

FOREWORD Each year, Artprice.com draws up an international report on the contemporary art market, as seen through the prism of auction sales. This report, the eighth in the series, is based on an analysis of sales results registered between July 2013 and the beginning of July 20141 for artists classified as “contemporary” according to their year of birth: here, those born after 1945.

The study here analyses the results of hammer prices registered throughout the world and deliberately excludes buyer’s premiums, taxes and private sales carried out by auction houses. Although the figures provided do not include the buyers’ premiums, the total price paid for each work, including the buyer’s premium, can be found in the appropriate footnote.

This exclusive report on the contemporary art market, which comes in six languages, is published by ArtMarketInsight, the Artprice.com press agency, with the Artprice.com econometrics department. It contains original rankings, such as the Top 500 contemporary artists according to turnover.

1 The period under consideration covers 1 July 2013 to 3 July 2014, not 1 July to 30 June as with previous years, in order to include the same sales as the previous years, following a change in the London sales calendar this year.

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the latest trends

THE LATEST TRENDS Records in the art market The 2013-2014 period for the contemporary art sector has never been so competitive or speculative with a record set by Jeff Koons’ contemporary work of art sold €38.8 million, a record number of auction sales reaching the million dollar/euro threshold and a record auction turnover for a Post-War and Contemporary Art sale.1 In four short years, the global turnover achieved in the sale room, irrespective of period, has almost doubled since the slowdown of 2009/2010: a period that registered a price drop of 48%. Affluence has not been slow to return, buoyed up by a market structure that has changed significantly in many respects, including the increased globalisation and dematerialisation of sales. The galloping speculation of the period between 2004 and 2007 is once more to the fore and the Thierry Ehrmann Sculptor, Visual contemporary market is more affluent than during the micro-bubble of 2007: a year of rocketing prices, with revenues for the year up by artist, Artprice.com 50% for a similar number of works sold. A new peak was achieved this and Server Group founder & CEO year – the best in the history of contemporary art at auction in terms of auction turnover, price rises and record bids. The price index of artists born after 1945 has followed the trend, reaching unprecedented heights and even topping

Contemporary Art - Price index Base €100 in 2004

180 160 140 120 100 80 © artprice.com

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1 €477 million, obtained at the Christie’s New York sale on 13 May 2014.

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the levels attained at the height of 2007 by 15%. All in all, the global index of contemporary art prices has risen by over 70% over the decade.

The art business is flourishing in a bubble that never bursts, and in continuing growth as regards works at the very top end of the market. This year, the high-end market acclaimed 13 contemporary works with prices of over €10 million, and designated the most expensive work in the world: a giant Balloon Dog by Jeff Koons, sold for over €38.8 million. The most speculative names in art - considered safe investments by some despite the sector’s volatility and wild fluctuations in price - are driven by powerful trendsetting gallery networks, curators and purchasing consultants, and by various leading players in the art market, of which the leading auction houses form an integral part.

Contemporary Art - Auction Turnover - Breakdown by semester January 2004 - June 2014

M€ 900 M€ 800 M€ 700 M€ 600 M€ 500 M€ 400 M€ 300 © artprice.com

M€ 200 M€ 100 2004

2005

2006

2007

2008

1st half

2009

2010

2011 2nd half

2012

2013

2014

*M = million

Prosperity depends simultaneously on tried-and-tested mechanisms and the voracious appetite of investors bidding from all over the world. The contemporary art market has become an economic UFO with the globalisation of demand, which involves the arrival of extremely rich investors en masse. Attracted by the diversification of investment and exceptional yield rates, demand has increased substantially, meaning that five times more works are sold today than 10 years ago, at price levels that bear no comparison.

The global art market grew by 12% this year1, irrespective of the period of creation, with revenues topping the €10 billion mark. In this early part of the decade, this result reflects a genuine “art rush”, which considerably benefits the contemporary sector (the third most profitable segment after modern and post-war works), now representing over 15% of the global market – a percentage that has gained six points over ten years. Last year, contemporary art achieved its first billion.2 More 1 Between July 2012 and June 2013 and between July 2013 and July 2014.

2 A result up by 15% compared with 2011-2012.

12

the latest trends

Contemporary art: history of record auction prices 1992 - june 2014

€40,000,000

€5,000,000

€0 1992 1994

D.HIRST - Lu €12,752,0 llaby Spring 80 J.KOONS €14,403,9Hanging Heart 00 J.KOONS €14,536,0Balloon Flower 00

1996 1998 2000 2002 2004 2006 2008

2010 2012

© artprice.com

€10,000,000

A.KIEFE €502,16R7- Säulen

€15,000,000

J-M.BAS €2,597,0QUIAT - Self-Portrait 91

€20,000,000

A.KIEFE €516,80R2- Die Königin von S a

ba [...]

€25,000,000

P.DOIG €7,741,8White Canoe 00

€30,000,000

J.KOONS €5,712,3- Mickael Jackson a 74 nd Bubble s

€35,000,000

J-M.BASQ J.KOONS Tulips €33,508,0U5IAT - Dustheads €23,631,0 0 00 J.KOONS €38,859 Balloon Dog (Ora ,600 nge)

precisely, the latest 2012-2013 vintage posted a historic result of €1.126 billion: 1 billion more than ten years ago. The record was comfortably beaten this year, with sales of contemporary works totalling €1.5 billion: a result up by 33% compared with last year, and by 1,078% over the decade. There has been a phenomenal rise in prices, buoyed up by the geographical expansion of the market, the “sound investment” status of art works and other criteria that are symbolic rather than economic – like the aura of a great name. Today, the 100 highest-earning artists in contemporary art have generated €1 billion in 12 months, compared with €102 million exactly 10 years ago. Prices have risen considerably for those at the top of the lists: in ten years, the total result for the three best-performing artists rose by nearly 800%,1 as a result of massive investment. And although this extremely high-end sector only represents a minute share of the market (0.32%), it fosters excessive media coverage and speculation.

2013-2014 was an exceptional year boasting 3,663 new records for artists, and 179 bids of over 1 million: another feat never registered before, and a rise of 61% compared with the previous year. Only nine contemporary works managed to top the million-mark ten years ago. None of their bids came anywhere near €10 million, but today this is not an uncommon occurrence in New York.

2014

1 The sales total of the three highest-performing contemporary artists at auction posted a rise of 797% between the July 2003-June 2004 period, and the July 2013-July 2014 period.

13

Artists making over €10 million The high-end market has gained phenomenally in power: the €10 million threshold was exceeded thirteen times this year,1 compared to four last year.2 The rampup of prices was all the more impressive in that the 2013-2014 vintage accounted for half the contemporary works sold at over €10 million (26 contemporary works have reached this threshold in auction history). Ten years ago, this price level for a contemporary work was not even conceivable. At the time, market players were overjoyed to see Jeff Koons courting a record of €2 million. The same artist now commands figures of around €40 million.

Top artists’ contribution in Contemporary Art global auction turnover July 2013 - June 2014

€1,400,000,000 €1,200,000,000 €1,000,000,000 €800,000,000 €600,000,000 © artprice.com

€400,000,000 €200,000,000 €0

4

200

3/ 200

5

200

4/ 200

6

200

5/ 200

Top 5

7

200

6/ 200

8

200

7/ 200

Top 50

9

200

8/ 200

0

201

9/ 200

Top 500

1

201

0/ 201

2

201

1/ 201

3

201

2/ 201

4

201

3/ 201

Total

Today, the names of Basquiat, Koons and Wool alone represent 22% of the global contemporary art market. All of them now achieve hammer prices of over €10 million: a threshold attained for the first time by Damien Hirst in June 2007 with Lullaby Spring, sold for €12.7 million – double its optimistic estimate.3 Competing with the three current American leaders, who garnered ten of the thirteen hammer prices above €10 million this year,4 three artists moved into the highest sphere of a contemporary market now achieving eight figures: the Chinese artist Zeng Fanzhi, the German artist Martin Kippenberger and the British artist Peter Doig.

1 By Jeff Koons, Jean-Michel Basquiat, Christopher Wool, Zeng Fanzhi, Martin Kippenberger and Peter Doig.

2 Basquiat (three times) and Koons.

3 Damien Hirst, Lullaby Spring, 2002, sold for £8.6 million, or £9.652 million including buyer’s premium, equivalent to €12.7 million, or €14.3 million including buyer’s premium, Sotheby’s London, 21 June 2007.

4 Four for Basquiat and Koons alike, and two for Wool.

14

the latest trends

The ranking of the three best-performing contemporary artists at auction according to their annual auction turnover is similar to the previous year’s, featuring, in the same order, Jean-Michel Basquiat, Jeff Koons and Christopher Wool, but with several millions more on the counter. While Basquiat’s annual sale total remained stable at over €162 million, like last year, those of Koons and Wool posted rises that defied all forecasts. Koons totalled €115 million (an increase of 186% compared with 2012-2013) and Wool €61 million (a rise of 142%). Ten years ago, the total auction turnover of the three top artists at auction came to €35.8 million. This figure is now €339 million, with the number of lots sold up by 13%.

Twelve months of auction sales for these three names represented almost 100 times Japan’s contemporary art revenue for the year!

These three artists have one point in common: they are American and buoyed up by the best performing high-end market imaginable, since their compatriots are past masters at creating stars. In addition, they are (or were, in Basquiat’s case) all supported by the dealer Larry Gagosian, at the head of an empire of fifteen galleries, the most powerful today in terms of creating a market elite. If we seek other similarities between the two artists still alive, Koons and Wall, we can see that as well as the same year of birth, 1955 (meaning that they will soon both be 60), they also have prominent, dynamic careers and are much in the news – all conducive to stimulating sales and purchases, and pushing prices ever higher.

Jeff Koons: the world no. 1

This year, the living artist with the highest price index in the world is benefiting from a first major retrospective in New York at the Whitney Museum of American Art (27 June - 19 October 20141). With over 150 works, this retraces his 35-year career, while the plaza of the Rockefeller Centre is currently home to the monumental sculpture Split-Rocker, consisting of 100,000 flowers, acquired by François Pinault in 2001. A few months before the opening of this retrospective was announced, Christie’s sold a Balloon Dog (as majestic as the one exhibited a few years ago, again by François Pinault, in front of the Palazzo Grassi on the Grand Canal in Venice) for €38.8 million. The orange version of Balloon Dog, a 3 x 4 m sculpture, became the most expensive work in the world on 11 November 2013. The monumental Balloon Dog, which comes in five colours (blue, magenta, orange, red and yellow), is Koons’ most popular creation. The orange version from the collection of Peter Brant (famous for owning the one of the most important private collections of works by Jean-Michel Basquiat and Andy Warhol) constituted a generous financial contribution to the projects of the Brant Foundation Art Study Center in Greenwich, CT. Huge, kitsch, gleaming, beautifully made and immediately recognisable – “iconic” in post-critical contemporary art jargon – it is part of the Celebration series, which re-appropriates the birthday party, distorting its sensual and sexual potential. Three months after this peak, the sculpture Cracked Egg (Magenta), from the same series, achieved €15 million, within its estimated price range.2 As a commodities broker in Wall Street, Jeff Koons had already started working as an artist in 1980, subverting everyday objects. He became properly established in the art world with his exhibition of The New, his first series of objects – vacuum cleaners lit by harsch neon light – in the window of the New Museum in New York.

1 After New York, the exhibition will travel to the Paris Musée National d’Art Moderne in the Centre Pompidou (26 November 2014 – 27 April 2015) and the Guggenheim Museum in Bilbao (5 June –27 September 2015).

2 €17 million including buyer’s premium, on 13 February 2014, Christies London.

15

Koons rapidly became the uncontested master of kitsch and took off in auction rooms in 1999, when the American businessman and collector Peter Brant bought the ceramic sculpture Pink Panther for €1.59 million: a million more than the low estimate.1 By 2011, the price of Pink Panther had risen to €10.4 million.2 With three bids of over €20 million under his belt, this year Jeff Koons, the most expensive artist in the contemporary world, even beats Basquiat, who “only” managed two.3

Zeng Fanzhi: no. 1 in China

The uncontested leader of the Chinese contemporary scene, Zeng Fanzhi achieved a turnover of €59.6 million at auction this year, a mere €2 million behind the global top 3 and Christopher Wool. After making his first appearance in the auction market in 1998, Zeng Fanzhi landed his first million in London in 2007, multiplying his low estimate by eleven. Along with Zhang Xiaogang and Chen Yifei, he then became the spearhead of Chinese contemporary creation, holding his own against the highest-earning Western artists. Collectors and investors rushed to buy his works after this exceptional result in 2007. At the time (between 2005 and 2008), the Chinese avant-garde was riding high during three years of extraordinary speculation, which led to some impressive sales in London, New York, Hong Kong, Shanghai and Beijing. The first soaring prices for Chinese artists at ten times their estimates were posted in November 2005.

Shored up by fast-growing national demand and an international demand fed by artists with explosive price indexes, the first Chinese meteor, Zhang Xiaogang, became the third highest-ranking contemporary artist in 2007, ahead of Jeff Koons.4 The following year, his compatriot, Zeng Fanzhi’s diptych Mask series 1996 No. 6 went for €5.4 million: five times its estimate. 5 Five years later, his record had gained a further €10 million. His highest score came in October 2013, when the hammer fell on The Last Supper at €15.1 million.6 This monumental work completed in 2001 is a reworking of Leonardo’s Last Supper in a “Made in China” version, where the red scarves of the Communist ideal are seen around the necks of the “Christ” and the eleven “apostles”, and an imperial yellow scarf around the neck of Judas. This “Last Supper” - sold at auction by the husband-and-wife collectors Guy and Mariam Ullens de Schooten, who own much contemporary Chinese art - established itself as the fourteenth best hammer price in the history of the contemporary art market, after seven works

by Basquiat, four by Koons and two by Wool. Zheng Fanzhi’s prices are still increasing by the million, including four works bought during the peak period of 2007-2008: a painting from the Mask series (2000), bought for €1.1 million in

1 Jeff Koons, Pink Panther, 1988, sold for $1.65 million, or $1,817,500 including buyer’s premium, equivalent to €1.59 million, or €1.7 million including buyer’s premium, Christie’s New York, 16 November 1999.

2 Pink Panther, sold for $15 million, or $16.88 million including buyer’s premium, equivalent to €10.4 million, or €11.7 million including buyer’s premium, Sotheby’s New York, 10 May 2011.

3 Including a top price for his painting Dustheads (1982), sold for $43.5 million, or $48.8 million including buyer’s premium, equivalent to €35.5 million, or €37.6 million including buyer’s premium, Christie’s New York, 15 May 2013.

4 According to the ranking by total auction turnover.

5 Zeng Fanzhi, Mask series 1996 No. 6, sold for HK$67 million, or HK$75.3 million including buyer’s premium, equivalent to €5.4 million, or €6.1 million including buyer’s premium, Christie’s Hong Kong, 24 May 2008.

6 Zeng Fanzhi, The Last Supper, sold for HK$160 million, or HK$180.4 million including buyer’s premium, equivalent to €15.1 million, or €17.1 million including buyer’s premium, Sotheby’s Hong Kong, 5 October 2013.

16

the latest trends

2007 in Beijing, was sold for €2.3 million in Shanghai in November 2013.1

Christopher Wool adds €12 million to his record

After taking part in the Venice Biennial in 2011 and a first major exhibition in France in 2012 (Musée d’Art Moderne de la Ville de Paris, 30 March-19 August), Christopher Wool appeared at the New York Guggenheim this year (25 October 2013-22 January 2014). During this exhibition, Christie’s put a 1988 painting up for sale in New York, entitled Apocalypse Now. Generously estimated at between €11 and €15 million, when at the time Wool was fetching €5 million at auction, the painting finally soared up to €17.5 million.2 Six months later, Christie’s confirmed the trend with a sale of €15.2 million.3 In adding over €10 million to his previous record, this market phenomenon demonstrated the American strike force in the high-end sector as well. Only 26 contemporary works have topped the €10 million mark in auction history, including seventeen in New York. This is a recent trend, because as we know, this kind of price was registered for the first time in 2007 strictly in the contemporary sector.

Martin Kippenberger rockets sky high

An artist with a short career (he was only 44 when he died from a galloping liver cancer) but a prolific one, Kippenberger forced art to the wall, always going where he was not expected and tirelessly questioning creation, together with its recognition and valuation systems. Nomadic, hyperactive, ironic and irreverent, he established his extraordinary style to avoid any kind of artistic mould. His first works appeared at auction in 1990, the year of his travelling exhibition Cologne/ Los Angeles/New York 1990–91. He then had several shows in Europe, which caused much ink to flow and destabilised as much as they attracted collectors. The first sales produced between €2,000 and €5,000 for drawings and paintings: at the time, such prices reflected his status as an emerging artist of 37. Market acclaim came posthumously, catalysed by his participation in the 50th Venice Biennial in 2003, then by his first major retrospective in the UK at the Tate Modern in 2006.

Martin Kippenberger would have been 60 in 2013. Taking this birthday as a starting point, the Hamburger Bahnhof in Berlin staged a retrospective between 23 February and 18 August 2013. After the exhibition closed, Kippenberger garnered three records at auction,4 including an impressive result of €11.9 million, adding no less than €7.8 million to his previous peak registered six months earlier.5 This untitled painting, which became the twelfth most expensive contemporary work at auction, took him to seventh position among contemporary artists ranked accord-

1 Zeng Fanzhi, Mask, 220 cm x 145 cm, sold for CNY12 million, equivalent to €1.1 million, or €1.2 million including buyer’s premium, Poly International, 30 November 2007, then sold again for CNY19.8 million, equivalent to €2.3 million, or €2.7 million including buyer’s premium, Poly International, 1 December 2013.

2 Christopher Wool, Apocalypse Now, sold for $23.5 million, or $26.4 million including buyer’s premium, equivalent to €17.5 million, or €19.79 million including buyer’s premium, 12 November 2013, Christie’s New York.

3 Christopher Wool, If you, sold for $21 million, or $23.685 million including buyer’s premium, equivalent to €15.2 million, or €17.2 million including buyer’s premium, on 13 May 2014.

4 Between November 2013 and May 2014.

5 Martin Kippenberger, Untitled, 1988, 201.5 cm x 242 cm, sold for $16.5 million, or $18.645 million including buyer’s premium, equivalent to €11.9 million, or €13.5 million including buyer’s premium, Christie’s New York, 12 May 2014.

17

ing to their auction performances for the year, behind Jean-Michel Basquiat, Jeff Koons, Christopher Wool, Zeng Fanzhi, Peter Doig and Richard Prince.

Peter Doig: 28 bids above the million €/$ threshold

Peter Doig has fascinated collectors since a certain exhibition in 2005 entitled The Triumph of Painting, staged by the Saatchi Gallery at the City Hall in London (26 January - 30 October 2005). Here visitors discovered a romantic and mysterious style of painting full of things and beings with undefined contours, like visions dredged up from a dream. A few months after the exhibition, his triumph continued at Sotheby’s London, where Doig landed his first bid of over €1 million with Iron Hill, a large painting from 1991, which beat its high estimate by €600,000, with a final result of €1.4 million.1 This was followed by 27 bids of over €1 million, including the highest, €10.9 million, posted on 1 July 2014 with Gasthof.2 Gasthof is an “abstraction of memory”, in the artist’s words, and is one of his most famous.

It shows two figures in costume standing guard before a low stone wall, with stars reflecting in a lake in the background. At €10.9 million, this single hammer price was the equivalent of a year of contemporary art sales in Germany, lying in fifth position for global contemporary art sales after France.

Art is not necessarily unaffordable At a time when competition is rife in the art market (competition between the top auction houses, between countries wanting to remain or become strongholds or between artists to determine who carries the day) and when the high-end sector is subject to marketing, trends and media hype, what are the real price levels at auction?

Art is not exclusively reserved for well-advised investors or wealthy initiates. The lion’s share of the market remains within reach of those with small or moderate budgets. Each year, between 100,000 and 200,000 works of art produced by clearly identified artists (irrespective of creation period) are sold at auction for less than €10,000 throughout the world, and around 80% of lots can be acquired for under €5,000. There is thus a huge choice, and it is possible to make significant acquisitions without spending a fortune. The spectacular results we see in the media concern a minute proportion in an overall market that is only unaffordable by reputation. In the contemporary field, results higher than €50,000 involve 6% of the lots sold, and hammer prices of several millions only 0.3%. Art is not unaffordable: the largest range in the offer – 66% of contemporary works – consists of pieces that can be bought for less than €5,000.

Within an overabundant offer, should one invest in established names or young artists? In a word, both! Because the youngest artists start out in the auction market at more competitive prices than in a gallery, while the ones with the highest price indexes generally have a range of affordable works alongside their major 1 Peter Doig, Iron Hill, 230 cm x 275 cm, sold for £1 million, or £1.128 million including buyer’s premium, equivalent to €1,464,800, or €1,652,294 including buyer’s premium, Sotheby’s London, 21 June 2006.

2 Peter Doig, Gasthof, 274.5 cm x 200 cm, sold for £8.8 million, or over £9.9 million including buyer’s premium, equivalent to €10.9 million, or €12.4 million including buyer’s premium, Christie’s London, 1 July 2014.

18

the latest trends

pieces. This affordable range concerns half the sold lots from these artists: Andy Warhol, Francis Bacon, Gerhard Richter, Roy Lichtenstein and Alberto Giacometti, and over 40% with those from the great Franco-American artist Louise Bourgeois. Within these price ranges, it is true that we are mainly talking about prints. But we should not play down the merits of these works, which provide a safe investment when they are signed and numbered, without any serious risk of losing value. Apart from the above-mentioned big names in contemporary art, artists born after 1945 can be very lucrative where prints in particular are concerned.

One of the most speaking examples is a lithograph by Christopher Wool, My House I, which rose from €850 in 2004 to €1,600 in 2009, €10,000 in 2012, and finally nearly €16,000 in 2013. Wool – the third best performing contemporary artist this year – is certainly an exceptional example, but he nonetheless demonstrates how likely prices are to rise with multiples by well-established names.

In terms of return on investment, the contemporary sector is naturally riskier than modern or post-war art. The market is less mature and, as we have already said, more speculative and volatile. Nonetheless, contemporary art as a whole covers several generations of artists, and some of those aged over 50 now enjoy a global reputation. Among the more “mature” star artists, some have broadened the field for potential buyers through large-scale editions. Takashi Murakami and Jeff Koons have both grasped the importance of investing in all strata of a market by creating multiples over 2,000 editions. You will need between €2,000 and €5,000 for a ceramic of Balloon Dog by Jeff Koons, for instance. The piece comes in red or blue, with 2,300 examples in each colour, and is now ten times more expensive than it was during the 2000-2001 period, despite its only relative rarity factor. All the same, demand is enormous, and the risk minimal in this price range.

Star names aside, others seem undervalued in this same generation, notably in Europe, where 81% of contemporary lots are sold for less than €5,000 (compared with a global average of 66%), and particularly in France. Take the French artist Gérard Garouste, for example, whose last large painting at auction fetched €16,000 (Untitled, 1974, Artcurial Paris, 5 May 2014) and whose last ink drawing sold for only €700 (Personnages, 1987, Beaussant-Lefevre SARL, Paris, 18 December 2013). We can also mention Jean-Michel Alberola, associated with free figuration, whose gouache of over a metre sold for the equivalent of €3,850 in April 2014 (La Main qui tient, 1998, 112 cm x 91.5 cm, Tajan Paris, 29 April 2014), and Ivan Messac, who was the youngest artist associated with narrative figuration. One of his acrylics on paper of 1975 changed hands for a mere €1,600 at Versailles, again in April 2014 (American Indian Movement, 44 cm x 43.5 cm, Versailles Enchères, 27 April 2014). All these artists are established in major national museums and the history of 20th century art, yet their prices are a long, long way from the massive figures generated by their younger American and Chinese colleagues. Leaving aside trends and names hyped up by the media, all Europe’s art scenes – not only the “emerging” ones – are worth exploring or rediscovering.

In addition, photography offers an excellent alternative as a hotbed of affordable works. The more famous photographers, already well-established in the history of art and the market, have an offer at less than €5,000, like the high priest of Surrealism, Man Ray,1 and the great photographers Helmut Newton (over 40% of works sold at auction) and Irving Penn (10% at auction). Of course, the more important the photograph in the artist’s œuvre, and the better the quality of the print (in terms of date, rarity, technique and condition), the more prices rocket.

1 35 photographic lots sold for under €5,000 during the period July 2013-July 2014.

19

For example, Man Ray achieved $1 million in 2013 for a Rayograph of 1922.1 Our contemporaries follow much the same path: the star of Japanese photography, Nobuyoshi Araki, accounts for more than 80% of lots sold for less than €5,000 thanks to his Polaroids, which have the advantage of being unique original works. This price range still applies to 60% of works by Nan Goldin (whose price index has fallen by 60% over ten years) and more than 30% of works by Vanessa Beecroft (price index down by 26% over ten years), while 40% of works by Cindy Sherman (who has landed six hammer prices over the million threshold) sell for less than €6,000.

It seems a good moment to buy certain big names whose price index has dropped, sometimes after soaring to excessive heights. With other contemporaries whose works sell for reasonable prices at auction, a spirit of curiosity is still the best way of approaching a work if you want something extra in terms of art. When it comes to affordable works with a less spectacular rate of return than those in the high-end range, the watchword is to make an investment based on passion.

Auction Turnover - Breakdown by category July 2013 - June 2014

Drawings 19.2%

Others 0.8%

Paintings 60.4%

Photographs 4.1% © artpr ice. com

Sculptures 14.6%

Prints 0.9%

Bipolarity: China and the United States Contemporary art is a mainstay of both the Chinese and American markets.

Since its spectacular emergence in the auction room, China has established itself as a formidable competitor to the US in a price race with ever higher stakes, where Chinese artists have the advantage. Since 2006, China has caught up impressively with price indexes, facing Western artists mainly sold in London and New York.

Last year, the two powers found themselves neck and neck, each holding 33.7% of 1 Man Ray, Untitled Rayograph, sold for four times its low estimate: $1 million, or $1.2 million including buyer’s premium, equivalent to €780,000, or €938,000 including buyer’s premium, Christie’s New York, 4 April 2013.

20

the latest trends

the global contemporary art market. This year, China has gained the upper hand again with a total of over €601 million, i.e. 40% of the global market, compared with America’s €552 million. The two market strongholds generated nearly 78% of global revenues for contemporary art, compared with 15% for the UK, in third place with a total of €231 million, and less than 2% for France, a pale fourth with €26.3 million. After a brief bad patch for China, marked by an economic slowdown, the increasing scarcity of major pieces, record unsold rates and a model beset by numerous problems of unpaid works, the market has started up again at full throttle. China’s total rose by 42% compared with last year, and the number of lots sold also grew (+33%). There the market is so powerful and speculative that 47 Chinese artists made it into the Top 100 of artists ranked by turnover, compared with 19 Americans. If Japan, the Philippines, Indonesia and Thailand are also included, Asian artists represent 54% of the best auction turnovers of the year.

Lots sold in China and the USA - Breakdown by price range July 2013 - June 2014, Prices in Euros

M10 - M50

China

USA

M5 - M10 M1 - M5 500,000 - M1 100,000 - 500,000 50,000 - 100,000 10,000 - 50,000 5,000 - 10,000

© artprice.com

1,000 - 5,000 500 - 1,000 100 - 500 < 100 30%

20%

10%

0%

0%

10%

20%

30% *M = million

In China, as many works are sold1 as in the US, the UK and France together.

This extraordinary purchasing bulimia – also expressed in a particularly low unsold rate of 21% – has benefitted the entire Asia zone. Taiwan is now no. 6 in the contemporary art market (with a sales total of €9.9 million for the year) behind Germany (€10.9 million). Singapore is seventh with a turnover up by 24% (€5 million), while South Korea is ninth (€4.9 million), between Australia (€5.2 million) and Sweden (€4.8 million). The market has also begun to blossom in the Philippines, Malaysia and Indonesia.

In the ranking of the world’s ten most dynamic cities for the sale of contemporary works, New York came first with a total of €541 million, London and Paris came 1 Around 16,000 contemporary works were sold in China between July 2013 and the beginning of July 2014.

21

© artprice.com

Rank

third and sixth respectively, competing with seven Asian cities, starting with Bejing and followed by Hong Kong, Shanghai, Guangzhou, Nanjing, Hangzhou, and finally Taipei.1 The ranking of the best-performing cities has also changed considerably this year. Beijing, the epicentre of the Chinese market, represents 20% of global revenues for contemporary art, ahead of London this time around, while Shanghai has moved up a place thanks to a total turnover for the year up by 65%. Shanghai is ahead of Paris this year, and is now the fifth contemporary art capital with revenues of €39.3 million: €16 million more than the French capital, thanks to a high-end market that received considerably more support.2 After Hong Kong (where Christie’s and Sotheby’s preside), and Beijing (where Sotheby’s staged its first auction in September 2012), Shanghai is becoming a new Eldorado for the contemporary market, especially since it has been buoyed up by the recent arrival of Christie’s: the only foreign auction house to exercise its business independently in mainland China.3 Unknown in the international scene ten years ago, Chinese artists now represent over 39% of contemporary art revenues (€590 million), compared with 35% for American artists (€530 million), despite a less explosive price index. The most expensive contemporary Top 10 Cities - Contemporary Art (2013 - 2014) Chinese work in the world, Zeng Fanzhi’s The Last Supper, fetched City Auction Turnover €15 million: a threshold already 1 NEW YORK € 541,331,656 passed on twelve occasions in the US (by three artists: Jean-Michel 2 BEIJING € 299,642,537 Basquiat, Jeff Koons and Christo3 LONDON € 230,325,132 pher Wool). Confronted with Bei4 HONG KONG € 187,278,699 jing, Hong Kong and Shanghai, 5 SHANGHAI € 39,386,327 New York remains the epicentre of the very high-end market, with 6 PARIS € 23,113,570 86 hammer prices of over €1 mil7 GUANGZHOU € 21,573,242 lion registered over the course of 8 NANJING € 19,047,333 the year, i.e. 2.6% of lots sold on site. In China, this price segment 9 HANGZHOU € 14,831,548 represents 0.33% of the market 10 TAIPEI € 9,965,738 and 0.16% throughout the world.

The best sale of all time was registered in New York on 13 May 2014 at a Christie’s Post-war and Contemporary art sale. This totalled €477 million, including two records of over €20 million for Jean-Michel Basquiat and Jeff Koons.4 Thus, in a single evening, with only 68 lots, New York was able to generate twice the UK’s annual auction turnover for contemporary art.

Apart from Basquiat, Koons and Wool, the most profitable American artists for auction houses are Richard Prince and Keith Haring, whose annual sales 1 Beijing (2nd with €299 million), then Hong Kong (4 th with €187 million), Shanghai (5th with €39.3 million), Guangzhou (7th with €21.5 million), Nanjing (€19 million), Hangzhou (€14.8 million), and lastly, Taipei (€9.9 million).

2 Some 4,000 contemporary works were sold in Paris and less than 1,500 in Shanghai.

3 Christie’s held its first sale in Shanghai on 26 September 2013: an event considered as important as the opening of Christie’s New York in 1972. Christie’s had already opened a branch in Shanghai in 1994.

4 Jean-Michel Basquiat, Untitled, 1981, $31 million equivalent to €22.5 million or $25.3 million including buyer’s premium; Jeff Koons, Jim Beam - J.B. Turner Train, 1986, $30 million equivalent to €21.8 million or $24.5 million including buyer’s premium.

22

the latest trends

revenues came to €28 million and €18 million respectively. With Chinese artists, the leader Zeng Fanzhi is followed by Luo Zhongli, Chen Yifei, Zhang Xioagang and Zhou Chunya. Only two European artists posted performances comparable to these star names: Peter Doig (total sales of €33.9 million) and Martin Kippenberger (€25.9 million).

Europe: the gap between London and Paris Four European countries featured among the ten strongholds for contemporary art sales: the UK, of course, then France, Germany and Sweden. The same number of Asian countries ranked in the Top 10: China, Taiwan, Singapore and South Korea.

The UK, as uncontested European leader, totalled €231.9 million, €10 million more than the previous year.1 British artists posted fine results for the year and the sales results for 2014 were shored up by several records of over 1 million. The best performances were achieved by the English artist Peter Doig, the world no. 5 with revenues of €33.9 million and a new record of €10.9 million;2 Damien Hirst was no. 15; Glenn Brown, no. 25; Tracey Emin came 47th thanks to a record of €2.7 million for the famous soiled bed entitled My Bed3 (exhibited in the Tate Gallery in 1999, when the artist was nominated for the Turner prize); Antony Gormley, no. 59; Banksy, no. 63; Marc Quinn, no. 70, with a new record of €800,000;4 Jenny Saville, no. 80 with a new record of €2.1 million garnered in London;5 Tony Cragg, no. 85 and Hurvin Anderson, no. 95 with a new record of €1.3 million.6 The London market represents 77% of the European market7 and 10 times the performances of Paris (€23 million). Apart from the vigour of the high-end market in London, Europe attracts a particularly affordable offer, with 81% of lots sold at less than €5,000, 8 while in China, for example, this price level only involves 38% of the market, where price competitions are inevitable, including for the youngest artists.9 France, no. 4 worldwide in terms of total sales, experienced a slowdown with a total for the year down by 10% (€26.3 million, i.e. 1.75% of the global market) 1 The UK totalled €231.9 million, including €230 million in London.

2 Peter Doig, Gasthof, an oil on canvas of 2004, sold for £8.8 million, or £9.9 million including buyer’s premium, equivalent to €10.9 million, or €12.4 million including buyer’s premium, Christie’s London, 1 July 2014.

3 Tracey Emin, My Bed, 1998, sold for £2.2 million or £2,546,500 including buyer’s premium, equivalent to €2.7 million, or €3.1 million including buyer’s premium, Christie’s London, 1 July 2014.

4 Marc Quinn, Myth Venus, painted bronze, 2006, edition of 3, sold for $1.1 million, or $1.325 million including buyer’s premium, equivalent to €800,910, or €964,000 including buyer’s premium, Christie’s New York, 14 May 2014.

5 Jenny Saville, Plan, oil on canvas of 1993, sold for £1.8 million or £2,098,500 including buyer’s premium, equivalent to €2.1 million or €2.5 million including buyer’s premium, Christie’s London, 13 February 2014.

6 Hurvin Anderson, Afrosheen, oil on canvas of 2009, sold for £1.1 million or £1,314,500 including buyer’s premium, equivalent to €1.3 million or €1.6 million including buyer’s premium, Christie’s London, 1 July 2014.

7 The year’s total for sales of contemporary art in Europe was €297 million, including €230 million in London.

8 Including 54% at less than €1,000.

9 The most productive price range in China being that of works priced at between €5,000 and €50,000 (49% of the market).

23

and an unsold rate concerning over half of the lots on offer (51%) compared with a global average of 36%. However, this slowdown should be seen in perspective, because France’s turnover has handsomely doubled since 2007,1 shored up by the sales of not only Christie’s and Sotheby’s Paris but also Artcurial.

The top auction house for contemporary art, Artcurial represents 22% of the market (€5.8 million in total sales), followed by Tajan, which accounted for 10% of contemporary art sales in France. In terms of contemporary art, Artcurial and Tajan are in 23rd and 38th positions respectively among the world’s best-performing auction houses. With the best works reserved for sale in London, Paris cannot compete on a global scale. Nor is it in any way a capital for records, above all for the contemporary art segment, since French artists have not achieved the international standing of German or British artists.

Rank

Top 10 Auction houses - Contemporary art (2013/2014) Auction house

1 Christie's

Auction Turnover

€ 528,737,762

Sold lots

3,225

2 Sotheby's

€ 347,820,789

2,327

3 Poly International Auction Co.,Ltd

€ 140,201,645

2,344

4 Phillips

€ 89,501,946

1,728

5 China Guardian Auctions Co., Ltd.

€ 43,074,790

888

€ 36,665,178

528

7 RomBon Auction of Beijing

€ 18,585,969

996

8 Beijing Hanhai Art Auction Co.Ltd.

€ 14,456,793

578

9 Xiling Yinshe Auction Co.Ltd.

€ 13,558,853

413

€ 10,901,755

206

10 Beijing A & F Auction

© artprice.com

6 Beijing Council International Auctions

Of the 100 best-performing contemporary artists in the world, 47 are Chinese, 19 American, 10 British and 9 German, but there are no French artists in the list.

The leading artist is still Robert Combas, lying in 134th place. There is nothing speculative about the French market, and the best lever for increasing artists’ value is still recognition by London or New York, which favour names that are already firmly established in the history of art rather than young talent. As witness the most expensive artists in the French scene, Pierre Soulages and Martial Raysse, two visual artists who are still alive, born respectively in 1919 and 1936, and are thus not included in so-called “contemporary” rankings according to a date of birth after 1945. Pierre Soulages is now the 26th highest priced living artist in the world (with total sales of €27.3 million) and Martial Raysse the 29th (with €9.6 million). The Paris marketplace has achieved some fine auction results thanks to them, but records are made in London rather than in Paris.

The French art market suffers from globalisation in the form of a closed circle dominated by major investors, leading auction houses that have become trendsetters through the power of their results and dealers whose financial strength has enabled them to open several galleries in the nerve centres of the global market.

Within this new system, where performance is all and money flows like water, small and mid-sized galleries suffer considerably. They also have to contend with high parisian rents, heavy taxes and an economic crisis hardly propitious to the 1 France sold €12 million worth of contemporary works during the period July 2006-June 2007.

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the latest trends

art market. Several major galleries have even closed down over the past few years (including Jérôme de Noirmont and Yvon Lambert, president of the Comité Professionnel des Galeries d’Art), while other professionals are developing different strategies by trying out more auspicious climes, particularly in Belgium.1

1 Daniel Templon, Almine Rech, Nathalie Obadia and Paris-Beijing have opened galleries in Brussels.

25

the emerging markets

THE EMERGING MARKETS When the old Western monopoly was blown to pieces by China’s occupation of pole position on the market, other “emerging countries” – whose status had metamorphosed from exotic delicacy to promising breeding ground – began to equip and prepare themselves to break into the market. Within a decade, the energy expended by these new cultural dynamos had taken a variety of concrete forms, especially the creation of biennials and art fairs and the opening of art houses, galleries and museums, each of which fed into the ongoing transformation and occupied a place in a market increasingly inclined towards globalisation.

Auction Turnover - Breakdown by artist nationality July 2013 - June 2014

India 0.5% Brazil 0.6% United Kingdom 6.6%

Italy 1.4%

Others 8.3%

China 39.2%

Switzerland 0.6% Germany 5.1% France 0.7%

© artpr ice. com

USA 35.2%

Japan 1.7%

The emerging market even became a specialisation in its own right in the 2000s – a crucial development in these embryonic and highly promising regions of vital importance in supplying an art market always in search of new blood.

A host of new curators, advisers, galleries and art fair directors scoured the scenes in Brazil, the Philippines, Indonesia, Turkey, Iran and Africa, advising the acquisition committees of major international museums and in turn guiding the choice of auction houses, who tested out these new breeding grounds through a series of specialised sales. Emerging Turkish, African, Mexican or Brazilian artists featured in London and New York sales – vital milestones in any quest to play a real part on the globalised chessboard of the art market.

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The new trends are expressed in big, themed sales, large-scale exhibitions that stop off at London and New York, and the venues chosen by major auction houses to set up shop. Christie’s, for example, opened in Dubai in 2006, and held its first sale in Shanghai in September 2013, then in Mumbai two months later, announcing with the first hammer strokes in India that the next stage could well be Brazil.

Meanwhile, Sotheby’s has 90 branches throughout the world in countries that will be strategic for the coming years, like Brazil, Argentina and Qatar. In the United Arab Emirates, China, India, Brazil and Turkey, the development strategy of auction houses aims to anticipate markets, educate local perception and attract potential investors.

Mindful of the delicate transition from a local to a global market, and of the vulnerability of establishing rankings that are subject to the speculative impulses dictating the contemporary scene, we here consider some of the most successful artists in the auction arena – those who have won their spurs on the international stage.

Focus on the Philippines Apart from the predominance of the Chinese and Americans in the 100 contemporary artists with the world’s highest price indexes, new names have appeared in the emerging zones. Fresh recruits for whom the market has decreed soaring prices include Nyoman Masriadi from Indonesia and Ronald Ventura from the Philippines.

The vigour of the Philippine market – no. 20 in the global market, ahead of Russia and Switzerland – merits close attention. Demand is enthusiastic there, with an unsold rate of only 9%, and two emerging artists entering the Top 500 this year.

The archipelago of 7,700 islands – surrounded by China, Taiwan and Singapore, now key centres in the art market – is making the most of the prevailing competition. The new art scene in the Philippines has followers in Asian auction rooms (Hong Kong, Shanghai, Singapore), while the market is gaining impetus in situ via two auction houses in Makati: Leon Gallery and Salcedo Auctions. The artists promoted in the bidding game are Geraldine Javier (b. 1970), Annie Cabigting (b.

1971), Jose John Santos III (b. 1970), Mariano Ching (b. 1973), Louie Cordero (b.

1978), Lena Cobangbang (b. 1976) and younger still, Buen Calubayan (b. 1980), Marina Cruz (b. 1982) and Winner Jumalon (b. 1983). Despite their youth, some have already experienced the speculative thrust of the sale room and prices that quadruple or sextuple their estimates – which, incidentally, are often substantial for emerging names. The major international museums have begun to buy these promising artists, starting with the New York Guggenheim, which devoted an exhibition to Philippine artists in 2013 (entitled No Country: Contemporary Art for South and Southeast Asia) and has a number of excellent works in its collections.

At the head of the younger generation of Philippine artists, Ronald Ventura was born in 1973 in Manila, where he now lives and works. His first venture into the auction room came in 2007. At the time, the young man had only exhibited in the Philippines and Singapore, where at Larasati Auctioneers he failed to sell a large charcoal drawing, available at the time for around €3,000.1 A work of this scale would now fetch at least €15,000. A few months after this disappointment at auction, a work of his was presented for the first time in Hong Kong. It easily qua1 Ronald Ventura, Best Before, 2007, bought-in for a low estimate equivalent to €2,900, Larasati Auctioneers, Singapore, 30 April 2007.

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the emerging markets

drupled its estimate when it fetched €24,400, marking the start of a dazzling rise.1 Ventura had his first solo exhibition in the US at Tyler Rollins Fine Art in Chelsea in 2009. Manuel Ocampo also showed some of his work at that gallery. Since then, his works have been seen in solo and group exhibitions throughout Asia and America, as well as in Europe. In 2012, the successes already under his belt gave him a passport to the Emmanuel Perrotin Gallery, which presented him at its stand in the Korea International Art Fair (KIAF). Bids have now been coming in thick and fast for his most recent works. Christie’s posted a new record on 24 May 2014 with Wonderful Bait, a large and visually explosive painting of 2013 (180 cm x 244 cm). In the end, Wonderful Bait multiplied its low estimate by ten, achieving nearly €615,0002 (hammer price of HK$6.5 million, or $837,849, in Hong Kong).

His auction turnover of over €3 million for the year took him to 76th place in the Top 500 contemporary artists.

The success of Ventura, riding high at the head of the artists of his country, has been an extraordinary stimulant to market players’ interest in the Philippine scene.

Another artist ten years his junior is currently emerging: Jigger Cruz (1984). He is selling well in Makati (via Salcedo Auctions and the Leon Gallery) and Hong Kong (Christie’s and Sotheby’s), and had his first and highly successful outing in London in October 2013. The darling of the new Philippine scene, Jigger Cruz is not yet shored up by international awards or support from museums, but was spotted by the Berlin gallery owner Matthias Arndt, a specialist in the Asian scene, who presented him at his stand in Art Stage Singapore in January 2014, alongside well-established names like Stephan Balkenhol, Sophie Calle, Gilbert & George and Agus Suwage. Three months later, the young man landed over €70,000 at Sotheby’s Hong Kong3 with a recent painting of 2013. This work garnered more than €80,000 including the buyer’s premium: a result that puts him in genuine competition with the rising American and European scenes. All in all, Jigger Cruz sold works to the tune of €258,000 this year, taking him to 498th position in the top artists ranked by auction turnover.

The growing interest in contemporary Philippine art has taken shape at many levels. The most speaking evidence can be seen in the steadily rising auction results in Hong Kong and Singapore. At the same time, Manila and Makati are in the process of asserting themselves as new marketplaces within the dynamic Asian sphere. The Philippines even have their own art fair: Art Fair Philippines (AFP).

The second edition was held in Makati in February 2014.

1 Ronald Ventura, Transporter, 2008, sold for HK$300,000, or HK$367,500 including buyer’s premium, equivalent to €24,400, or €29,900 including buyer’s premium, HK$ 367,500 including buyer’s premium, equivalent to €24,400 or €29,900 including buyer’s premium, Christie’s Hong Kong, 24 May 2008.

2 Ronald Ventura, Wonderful Bait, 2013, sold for HK$6.5 million, or HK$7.8 4 million including buyer’s premium, equivalent to €614,770, or €741,500 including buyer’s premium, Christie’s Hong Kong, 24 May 2014.

3 Jigger Cruz, Stranded Beyond the Scream of Symmetries, sold for HK$750,000, or HK$937,500 including buyer’s premium, equivalent to €70,000, or €88,200 including buyer’s premium, Sotheby’s Hong Kong, 6 April 2014.

29

Africa and the Middle East

Overview of the in situ and ex situ market

The most dynamic regions for the sale of contemporary art in the broadest sense in Africa and the Middle East are Turkey, the United Arab Emirates, South Africa, Iran and Morocco.1 They occupy places in the top 50 marketplaces in the world, with Istanbul out in front, despite falling sales this year.

In 20th place behind Munich and Tokyo, the Istanbul art market is the most dynamic in the region, despite a 47% drop in revenue in comparison with last year. The revenues for contemporary art amount to €3.6 million in the country, as against €3.2 million for the United Arab Emirates, elevating Turkey – the crossroads between the Middle East and Europe – to 14th place in the contemporary art auction sales market.

Like the United Arab Emirates, Turkey is supported by a booming local cultural fabric, including the construction of major new museums dedicated to modern and contemporary art and international art fairs which are beginning to prove themselves over time.2 It is also supported by London, the capital of the European market and a great talent scout: the exhibition on the contemporary Turkish scene at Saatchi in 20113 for example, held in partnership with Phillips de Pury & Company, led to a number of sales at Sotheby’s and Bonhams in London. Moreover, the five most successful contemporary Turkish artists at auction4 - Canan Tolon (born in 1955), Kemal Önsoy (born in 1954), Ahmet Oran (born in 1957), Selma Gürbüz (born in 1960), Mustafa Ata (born in 1945) – all made use of the London springboard. A network of exchange and influence has been forged for the last couple of years, not without difficulty, between Istanbul, Dubai and London.

This fabric has been woven with the most dynamic local art houses for the contemporary sector, including Beyaz Pazarlama ve Muzayedecilik, Antik AS and Macka Mezat in Turkey; Stephan Welz & Co. in Johannesburg and Strauss & Co. in the Tokai neighborhood of Cape Town for South Africa; Tehran Auctions in Tehran for Iran; ArtHouse Contemporary Ltd. in Lagos for Nigeria and the Compagnie Marocaine des Œuvres & Objets d’Art (CMOOA) for Morocco. The latter is to celebrate its 10th anniversary as an auction company in 2014. Created on the initiative of Hicham Daoudi, a Moroccan businessman and president of Art Holding Morocco (AHM), the company has helped shape the art market in Morocco. The AHM holding is also involved in the development of museums and cultural events such as the Marrakesh Art Fair, which has struggled to stay afloat since the 2010 and 2011 editions. Art Dubai and the Beirut Art Fair, founded in 2006 and 2009 respectively, are putting up a better fight.

Outside the local network, the international influence of the artists owes much to the local infiltration of the major American and English auction houses, as well as to the specialised sales organised by these same companies in London and New York. When Christie’s opened its office in Dubai in 2005, it was the first international auction house at the time to set up a real operation in the Mid-

1 Turnover for contemporary art sales between July 2013 and July 2014: Turkey, €3.6 m, 14th; UAE, €3.2 m, 15th; South Africa, €2.1 m, 19th; Iran, €1 m, 28th; Morocco, €491,000, 37th.

2 9th edition of Contemporary Istanbul, from 13 to 16 November 2014.

3 Exhibition Confessions of dangerous minds - Contemporary art from Turkey, from 16 to 30 April 2011.

4 Annual auction turnover – July 2013/July 2014 – the Turkish top five represented €1.34 million out of the €3.6 million in annual revenue for contemporary art.

30

the emerging markets

dle East. Three years later, Bonhams also opened an office in Dubai – but this proved to be a short lived experiment, as its last sale there dates back to 2011.

The American Sotheby’s meanwhile, set its sights on Doha, with an inaugural sale in March 2009 – the first international auction ever held in Qatar. Christie’s and Sotheby’s strategies vary from one sale to the next – the former focused its two most recent sales on Arab, Iranian and Turkish1 Modern and Contemporary art, while the latter is basing its next sale on a strictly contemporary selection, with a blend of artists from the Middle East and top-flight international names – a good way of stimulating an international caucus of art lovers. Sotheby’s last sale in Doha dates back to April 2013 and the next one is scheduled for 13 October 2014. Those 18 months between the two sales suggest that the local market has not yet reached cruising speed, despite the power wielded by Qatar, one of the biggest buyers on the planet. But remember that the artistic growth of the Qatari capital, led by the Emir’s daughter Sheikha Al Mayassa, began with the acquisition of works and the construction of museums in order to establish Doha as a cultural centre of the highest order – the first milestone on the way to one day becoming a leading art market.

While the development of an art market on the ground is no easy matter, the same applies to boosting the rankings of African and Middle Eastern artists in Western auction houses. In London, New York and Paris, the pioneers of themed sales sometimes struggle to find their feet and their trial runs are not always conclusive.

Specialised sales

When Sotheby’s organised its first sale dedicated to contemporary Turkish art in London in March 2009 (73 lots, 53 artists), it set its sights on an annual event and on building an international audience for artists who were still unknown. The first trial run, whose impact was less than major, nevertheless drew a third of its new buyers from the Middle East, Asia and North America. Too fragile and too unprofitable, the contemporary Turkish art market was only subjected to a second dedicated sale at Sotheby’s London in 2011. In the same year, Bonhams also tried its hand in London, but met with equally disappointing results (two thirds of the lots were unsold) before abandoning its focus on Turkey and concentrating on the African scene,2 with a range of star artists, including El Anatsui, Yinka Shonibare, Romuald Hazoumé, Skunder Boghossian, Bruce Onobrakepeya and Chéri Samba. Meanwhile, Phillips de Pury & Company attempted a first sale of contemporary African art in New York in May 2010, with a dense Africa catalogue of 233 lots. With an unsold rate approaching 40 %,3 the experiment was not repeated, despite very creditable results for Yinka Shonibare, Chéri Samba and William Kentridge. In Europe, apart from the leader Bonhams, the French auction house Gaïa appeared from 2007 onwards as a pioneering force in the field of non-western art, including contemporary African works. Following in the footsteps of Gaïa, the Pierre Bergé and Artcurial companies focused on the sector from 2010 onwards.

1 The sale of 19 March 2014 generated €7.9 million, including buyer’s premium – a 65% rise compared to the same sale in the spring of 2013.

2 The first Bonhams Africa Now sale dates back to 2009. It is now an annual event.

3 Africa, 15 May 2010 at Phillips de Pury & Company in New York.

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Africa: influence and mobility

The awakening of international demand is all the more crucial because, despite the scale of a continent such as Africa, the market remains restricted. It will take some time before artists recognised on the international scene but largely unknown to compatriots catch up, despite the initiatives already undertaken by the Polly Street Center (South Africa), Ulli Beier and Suzanne Wenger in Oshogbo (Nigeria), Frank McEwen’s Workshop School (Zimbabwe), and more recently by the Ouidah Museum1 (Benin), the first museum dedicated to contemporary African art in Sub-Saharan Africa (outside South Africa). Moreover, Africa’s biggest contemporary art museum is currently under construction in Cape Town: the exhibition spaces of the 6,000 m² Zeitz MOCAA will open late 2016, and will house the collection of Jochen Zeitz, in addition to temporary exhibitions.

The strong price indexes thus built up are undeniably a result of the sizeable influence that began around 20 years ago, with the repeated presence of certain artists at art fairs, biennials and major international exhibitions. A series of major events familiarised the public with the key actors on the African arts scene, including exhibitions such as Les Magiciens de la Terre at the Centre Pompidou in Paris in 1989, Africa Explores: 20th Century African Art at the New Museum of Contemporary Art in New York in 1991 and Africa Remix, an exhibition that travelled between Düsseldorf, London, Paris, Tokyo, Stockholm and Johannesburg (between 2004 and 2007).

A certain number of artists – either African or of African origin – have since acquired international stature. Take for example William Kentridge, Kendell Geers and Marlene Dumas (South Africa), Romuald Hazoumé, Georges Adeagbo and Meshac Gaba (Benin), Barthélémy Toguo, Joseph-Francis Sumégné and Pascale Marthine Tayou (Cameroon), Bodys Isek Kingelez and Chéri Samba (Congo), El Anatsui (Ghana), Frédéric Bruly-Bouabré (Ivory Coast), Malick Sidibé, Seydou Keïta, Abdoulaye Konaté (Mali), Samuel Fosso (Nigeria), Ousmane Sow and Soly Cissé (Senegal). A new generation is now emerging, supported by backers such as London’s Saatchi Gallery with the exhibition Pangaea: New art from Africa and Latin America in 2014, and the Tate Modern, which has pursued a programme of exhibitions and acquisitions of the works of African artists, in partnership with the Guaranty Trust Bank since 2012.

The best-represented artists of African origin on the international scene are often either mobile or live outside Africa. For example, Barthélemy Toguo (Cameroonian, born in 1967, lives between Paris and Bandjoun), Pascale Martine Tayou (Cameroonian, born in 1967, lives in Belgium), Chris Ofili (British, of Nigerian origin, born in 1968) or Yinka Shonibare (British, of Nigerian origin, born in 1962), continue to maintain strong links with Africa. There is no doubt that living in London or New York improves their chances of success, particularly at auction. The Manchester-born Chris Ofili won the Turner Prize in 1998 and has posted two million-pound auctions since; the Londoner Yinka Shonibare has posted four sales over €100,000 since being nominated for the Turner prize in 2004. Kenyan artist Wangechi Mutu (born in Nairobi in 1972) chose New York and posted his first sale of over €100,000 before entering the London and Paris marketplaces; Ghada Amer (born in 1963 in Cairo) studied in Paris before heading to New York and earning her first spurs at auction in 2001. Since then her works have crossed the €100,000 threshold on two occasions. Julie Mehretu,

1 The Ouidah Museum opened in 2013 with the works of Frédéric Bruly-Bouabré, Romuald Hazoumé, Chéri Samba and Samuel Fosso.

32

the emerging markets

one of today’s most highly ranked contemporary artists, also chose the path of mobility.

Julie Mehretu

Featured in the Pinault collections, as well as those in the MoMA, the Tate Modern, the Whitney Museum of American Art, the National Gallery of Art, and the Smithsonian Institution, amongst others, Julie Mehretu has the wind in her sails and an auction record of €3 million under her belt.1 The artist was born in 1970 in Addis Ababa in Ethiopia, grew up in Michigan, studied in Dakar and Rhode Island,2 and then finally settled in New York. It was there that her career took off, with her first collective exhibitions, including Greater New York, at the P.S.1 Contemporary Arts Center in 2000, at which point the rewards began to flow in.3 Her first auction sale took place in New York in 2003 – the year in which several of her works were presented during the exhibition Ethiopian Passages (National Museum of African Art, Smithsonian Institution). Her entry into the auction arena was an immediate success with a large drawing selling at twice its high estimate. This first auction experience posted a result of €54,000, which of course stimulated collectors and investors.4 Until 2009, the art houses essentially tested out affordable works (despite two sales of over €100,000) before taking things up to the next level: in 2009, she set a record of €234,680,5 then €1.433 million in 2010,6 and over €3 million in 2013. Since July 2013 Mehretu has crossed the million-euro threshold on another three occasions.

Ranked the 15th most successful contemporary artist in the United States, with €4.4 million generated by the sale of 14 works this year, Julie Mehretu is one of the most popular artists on the current contemporary scene.

William Kentridge

The number three in video art after Bill Viola and Nam June Paik, William Kentridge (born in 1955 in Johannesburg, where he lives and works) is the decade’s most successful South African artist, witness a price index that’s risen 158% since 2004 and a record sale finally amounting to €997,000 – three times the high estimation – for the installation Procession in March 2013.7 Kentridge created his first animation in 1989 with a technique which has characterised his work ever since: charcoal drawings succeeding each other on the same sheet of paper. Ultimately,

1 Julie Mehretu, Retopistics: A Renegade Excavation, mixed technique on canvas, sold for $4 million ($4.6 million – €3.5 million – including buyer’s premium) on 15 May 2013, Christie’s New York.

2 Obtained a Master of Fine Arts at the Rhode Island School of Design.

3 Including the Penny McCall Award (2002), the MacArthur Prize (2005), that of the Whitney Museum of American Art (2005), that of the Rhode Island School Design Award (2006), the Berlin Prize: Guna S. Mundheim (2007).

4 Ringside, 1999, 183 cm x 213 cm, sold for the equivalent of $74,000 including buyer’s premium (€64,500), Christie’s New York, 23 September 2003.

5 Dervish, sold for £200,000, i.e. £241,250 or €283,000, including buyer’s premium, Sotheby’s London, 25 June 2009.

6 T he Seven Acts of Mercy, sold for $2 million i.e. $2,322,500 or €1.66 million including buyer’s premium, Sotheby’s New York, 9 November 2010.

7 William Kentridge, Procession, Installation of 25 bronze sculptures, Ed. 1/7, sold for $1.3 million, or $1,538, 500 and €1.18 million including buyer’s premium, 7 March 2013, Sotheby’s New York.

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William KENTRIDGE - Price index

January 2004 - June 2014, Base €100 in 2004

450 400 350 300 250 © artprice.com

200 150 100 50 2004

2005

2006

2007

2008

2009

2010

2011

2012

2013

2014

the mobile image retains traces of these sequences. Preparing the Flute1 enabled him to step onto the podium of best video art sales. An illusionist magic made up of basic special effects, Preparing The Flute is the mock-up of a proscenium theatre in which extracts from Mozart’s Magic Flute are dotted with animated sequences.

It was sold for the equivalent of €348,000 in 2011. More recently the video installation Four Soho Eckstein Films,2 sold for €164,000 (over €200,000 including buyer’s premium) in November 2013 at Christie’s New York, outstripped the best sale of the year by Bill Viola, the high priest of contemporary video.3 His market accelerated dramatically from 2010 onwards, the year of a retrospective at the Musée du Jeu de Paume.4 The revenue generated by the sale of these works at auction rose from under €1 million in 2010 to €1.4 million in 2011 (up 40%), nearly €2.2 million in 2012 (up 57%) and €3.8 million in 2013 (up 76%). These impressive performances largely explain the seldom-discussed dynamism of the South African market. It is there however, between Johannesburg and Cape Town – that 32% of Kentridge’s sales have taken place, versus 41% in the United States and 24% in London.

Marlene Dumas

Marlene Dumas (born in Cape Town in 1953) is the world’s 40th most successful living artist 5 with an auction turnover of nearly €15 million since her auction debut in the mid-1990s. Originally from South Africa, Marlene Dumas settled

1 Preparing the Flute, sold for $500,000 on 11 May 2011 at Sotheby’s New York (the equivalent of €420,000 including buyer’s premium).

2 William Kentridge, Four Soho Eckstein Films: Johannesburg - Second Greatest City after Paris, sold for $220,000, i.e. $269,000 including buyer’s premium, on 13 November 2013 at Christie’s New York.

3 For the period July 2013 - July 2014, Bill Viola fetched €115,600, i.e. €142,500 including buyer’s premium,with Last Angel, sold on 13 November 2013 at Christie’s New York.

4 Retrospective William Kentridge, cinq thèmes featuring, I am not me, the horse is not mine, amongst others.

5 Based on living artists born after 1945, irrespective of category and nationality.

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the emerging markets

in the Netherlands after studying the visual arts at the Michaelis School of Fine Art (1972-1975) and joining the Atelier ‘63 in Haarlem (1976-1978). She then took courses in psychology at the University of Amsterdam (1979-1980) before her first exhibition took place in Paris in 1979. Her work focuses on the human figure from the 1980s onwards. She explores existential themes: racism, sexuality, religion, notions of guilt and forgiveness, innocence, violence, motherhood and childhood – recurring notions with which she juxtaposes questions concerning her own history.

Her first inroads into public auctions date back to 1994 and began in her adopted country: the Netherlands. That year, in just a few months, the acrylic and pencil on canvas The Girl can’t help it rose from under €1,000 to €2,500 at auction.1 Interest was already apparent – on a small scale. It certainly grew in the following years. 1999 marked a turning point in her career with her first exhibition at the Hedendaagse Museum in Antwerp, and the repercussions were soon felt on her prices. It was then that Dumas crossed the €20,000 threshold.

Two years later, the Centre Pompidou and the New Museum of New York organised the first travelling exhibitions of her works on paper, Name No Names: and her prices began to rise accordingly. Christie’s New York began by setting a new record of nearly €42,000 for Candle Burning,2 and the artist then broke the €100,000 barrier on three occasions in 2003, before reaching a total of €2.3 million in 2005.3 Nine new million-euro sales have been posted since and her record now stands at €3.563 million.4 Apart from the generalised price spike in the contemporary market in 2008, Dumas’ record was upheld by the Museum of Contemporary Art in Los Angeles and then by the New York MoMA the same year.5 Dumas has not repeated a million-euro sale this year but has once again broken the million-dollar barrier with her oil on canvas Horns and Tail, which went for $1 million ($1.2 million including buyer’s premium – the equivalent of €900,000 including buyer’s premium on 12 November 2013 at Christie’s New York). Horns and Tail is an erotic striptease produced in 1999-2000 – a time when the artist often visited peepshows in the company of Dutch photographer Anton Corbijn, in order to create works around her pet subjects: nudity, sexuality, eroticism and voyeurism.

Chéri Samba

The works of Zairian artist Chéri Samba (born in 1956), who lives and works in Kinshasa, feature in the collections of the Centre Georges Pompidou in Paris and the Museum of Modern Art in New York. Chéri Samba arrived in the Zairian capital Kinshasa in order to learn the art of sign painting. He then delved into the world of cartoons and popular culture became his favourite playground, his means of expression and his audience. The artist adopted

1 T he Girl can’t help it, sold at Bukowskis, Stockholm on 13 April 1994 then at Christie’s Amsterdam, on 7 December 1994.

2 Candle Burning, sold for $42,000, i.e. $50,190 including buyer’s premium – equivalent to €50,000 on 11 November 2002, Christie’s New York.

3 Marlene Dumas, The Teacher (Sub a), oil on canvas from 1987, 160 cm x 200 cm, sold for £1.6 million against an estimate of £350,000-£450,000, on 9 February 2005 at Christie’s London.

The result corresponds to a hammer price of €2,234,960 or more than €2.6 million including buyer’s premium.

4 Marlene Dumas, The visitor, oil on canvas 1995, 180 cm x 300 cm, sold for £2,820,000. The final price is equivalent to €4 million including buyer’s premium. Sotheby’s London, on 1 July 2008.

5 Retrospective Measuring Your Own Grave.

35

cartoon speech bubbles and underlined his pictures with concise texts dealing with social issues – quickly turning him into the most popular artist in Kinshasa. In 1989 he drew attention to himself outside Africa when he took part in the famous exhibition Les Magiciens de la Terre at the Centre Georges Pompidou in Paris, whereupon Paris, New York and Venice opened up their doors.

To him, his ranking rose a notch after an exhibition at the Fondation Cartier pour l’art contemporain, in Paris in 2004 ( J’aime Chéri Samba), when the Parisian art house Calmels-Cohen sold a canvas entitled L’espoir fait vivre, twice its high estimate. L’espoir fait vivre went for €32,000, nearly €39,000 including buyer’s premium.1 Two major exhibitions helped further establish his rating and notoriety in 2006 and 2007. First came his participation in the exhibition.

100% Africa at the Guggenheim in Bilbao, then in the Italian pavilion at the 52nd Venice Biennial (Think with the Senses Feel with the Mind). These events led to a first major sale at New York in 2008 (a painting from the series J’aime la Couleur sold for the equivalent of €44,600 2) followed by a record of €64,000.

Two years later, still in New York. 3 The artist is followed today by European collectors (especially French, Italian, Belgian and English) as well as Africans and Americans but prices have not soared, with repeated opportunities to buy oils on cardboard for under €3,000.

El Anatsui

Had he been born a year later, the Ghanaian artist El Anatsui would have turned the ranking of best artists of African origin on its head. Born in 1944 4 in Anyako (in what was then the Gold Coast), El Anatsui has lived and worked in Nigeria for around 30 years. His work – sculptures and installations which use clay, wood, ceramics, recycled objects in an adaptation of the traditional weaving technique – has been presented in several exhibitions around the world, since his first participation in the Venice Biennial in 1990. Recently, his exhibition Gravity & Grace: Monumental Works made a much-remarked stopover in New York (Brooklyn Museum, February-August 2013), before heading via the Des Moines Art Center (Iowa, October 2013 - February 2014) to the Bass Museum of Art in Miami (April-September 2014). Since the beginning of this travelling exhibition, three new records have been set at auction, from London to New York, involving hammer prices ranging from €681,000 to €875,000. The absolute record dates from May 2014 with the sale of a major piece, Paths to the Okro Farm, for over €1 million, including buyer’s premium, at Sotheby’s. 5 While a first million-euro sale at the age of 70 is certainly a superb achievement, his ranking remains well behind his Western acolytes of similar age. Only recently has he made a splash at auctions, with a first peak of €372,000 posted in 2008 (after two fruitless attempts to sell his work at Bonhams London in 2000), shortly after a work of his appeared in the heart of the 2007 Venice Biennial, masterfully adorning the facade of the Palazzo Fortuny. Since then, he has also stirred the art market into action in Lagos (Nigeria) with three “old” works (late

1 9 June 2005.

2 €49,000 including buyer’s premium Sotheby’s, on 14 February 2008.

3 J’aime la Couleur, €79,000 including buyer’s premium, Phillips de Pury & Company New York, on 15 May 2010.

4 The analysis is based on artists born after 1945.

5 Paths to the Okro Farm, sold for $1.2 million, or $1.445 million including buyer’s premium, or €1.053 million, on 15 May 2014 Sotheby’s New York.

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the emerging markets

1980s and early 1990s), which sold for between €24,000 and €57,000.1

Middle East: the example of Iranian artists

Artists from the Middle East have also featured in the major international programmes: the Guggenheim in New York, the British Museum in London, and the Contemporary Art Biennial in Venice, which welcomed artists from Africa for the first time in 2007, then the United Arab Emirates in 2009. Two years later, much ink was spilt over an event that took place during the 54th Venice Biennial: the major pan-Arabic exhibition entitled The Future of a Promise, produced by Edge of Arabia with artists from Lebanon, Egypt, Syria, Algeria, Saudi Arabia, Tunisia, Morocco, Palestine, Jordan and Iraq. The selection featured a number of artists who were already popular with collectors such as Mounir Fatmi, Mona Hatoum, Kader Attia, Abdulnasser Gharem, Yto Barrada and Ahmed Alsoudani.

Rank

Top 5 Iranian Artists (2013 – 2014) - Contemporary Art Artist

Auction Turnover

€ 722,601

2 BANISADR Ali (1976) 3 DERAKSHANI Reza (1952)

Sold Lots

Max. Hammer price

7

€ 212,490

€ 392,081

4

€ 200,433

€ 307,897

5

€ 166,500

4 SHISHEGARAN Koorosh (1945)

€ 143,323

3

€ 72,039

5 PIRHASHEMI Afshin (1974)

€ 134,597

3

€ 94,406

© artprice.com

1 MOSHIRI Farhad (1963)

The contradictions of modern Iranian society have fed into the country’s artistic scene. The work of these artists – often settled in New York when they haven’t chosen Tehran – reflects daily life and the socio-political climate in Iran, all the while trying to combat the prejudices widespread in the West. Just like their native country, caught between tradition and modernity, artists of Iranian origin combine a strong creative desire with an unstinting respect for tradition. Their works, rooted in history and often politically conscious, have led influential museums such as London’s Tate Modern, the Centre Pompidou in Paris, and the Guggenheim in New York to steadily acquire works. For their part, art galleries, auction houses, collectors and other players in the art world soon proved equally curious. The first specialised auction in Middle Eastern art, held at Christie’s Dubai in May 2006, certainly made waves and gave the artists from that part of the world a leg up into the international market. Between 2006 and 2008, auctions revealed a genuine boom for the Middle East, including Iranian art, culminating in the sale in the Christie’s Dubai sale held on 30 April 2008, which set a new record in the history of Middle Eastern auctions (modern and contemporary art segment). The market slowed down sharply after the spike in 2008. It is currently finding its feet and stabilising. The highest-ranking Iranian artist Farhad Moshiri, whose prices flirted with €600,000 in 2008, had to wait five years to pass this price level and confirm the high status of his auctions. In that year, his best hammer price was no higher than €212,000, a far cry from the million-dollar euro sales posted by American, European, Chinese, Indian and Brazilian artists.

1 Mirror Image (1994), wood sculpture, sold for the equivalent of €24,350 on 22 November 2010; Flight (1989), oil on wood, sold for the equivalent of €24,600, on 7 May 2012; Grandma’s cloth series vi (1992), sold for the equivalent of €57,000 on 26 November 2012. All three sales were posted at ArtHouse Contemporary.

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The club of five most successful Iranians artists this year collectively represents total sales of €1.7 million.1 This sum is a little higher than the five best Turkish artists (top 5 at €1.34 million), but the Iranians are outpaced by other emerging artists, especially by the Filipinos (top 5 at €3.97 million), the Brazilians (top 5 at €7.84 million) and the Indians (top 5 at €7.84 million). The Iranians chosen few are Farhad Moshiri (born in 1963, lives in Tehran), Ali Banisadr (born in 1976, lives in New York), Reza Derakshani (born in 1952, lives between Tehran, the United States and Europe), Koorosh Shishegaran (born in 1945) and Afshin Prirhashemi (born in 1974, lives in Tehran). The price indexes of these artists have been built in the auction rooms of Doha, Dubai, Casablanca and Tehran. Those auctions which have extended beyond the region have generally been held in London, occasionally posting new sales records. The Dubai-London axis is currently the gateway towards a successful breakthrough. Paris and New York have attempted tests of miniscule proportions, but far less frequently since 2010. New York, the holy grail of the market, does not immediately seem to be a required rite of passage for this generation of artists, for whom the market awoke less than 10 years ago. Shirin Neshat (born in 1957), the most famous artist of Iranian origin since she won the Golden Lion at the 18th Venice Biennial in 1999, made her maiden appearance at auction in 2000 in her adopted city of New York. Since 2007, her best sales results have nevertheless been posted on the new market of Dubai, and not in the Big Apple. Collectors from the Middle East and the United Arab Emirates, keen to leverage their own artists, are therefore transforming the structure of certain markets. This is certainly the case for a genuinely international artist such as Shirin Neshat who now generates 38% of her turnover in the United States, 31% in the United Kingdom, but also 19% in the United Arab Emirates. Her record is equivalent to €141,000, twice the high estimate, since the sale of Whispers at Christie’s Dubai in 2008.2 However, certain artists who have arrived more recently on the Dubai market are already enjoying a higher price index. The short-winded speculation of 2007-2008 rapidly inflated the prices of Farhad Moshiri, Ali Banisadr and Reza Derakshani, who all broke Shirin Neshat’s record. The soaring prices of Farhad Moshiri are indicative in this respect: between May 2006 and October 2007, his auction revenues passed from €31,000 - €347,000. Nicknamed the Iranians “Damien Hirst” or “Jeff Koons”, Moshiri has amassed a total of €627,000 3 , four times Neshat’s record, since the sale of Secret Garden on 16 April 2013 at Christie’s Dubai. His works, characterised by an encounter between Western pop art and Iranian craft work, have won all the international buyers. Moreover he is represented not only by the Perrotin Gallery (Paris, New York, Hong Kong) but also by the Third Line Gallery in Dubai. His results for this year remain within the estimated range, with €212,490 garnered at Phillips in London, for a major embroidery of pearls on canvas from 2012 entitled Natural4.

Casualties of this headlong overbidding, young artists have been left by the wayside for a while. Take Golnaz Fathi (1972) for example, whose powerful emergence on the second market with €62,000 at Bonhams Dubai in 2008 has seen him unable to pass the threshold of €15,000 since 2011, or the thirty-somethings Rokni Haerizadeh (1978) and Shirin Aliabadi (1973) who have also failed to repeat their performances of 2008.

1 2 3 4

Global auction turnover of 5 contemporary Iranian artists between July 2013 and July 2014.

Sale of 30 April 2008. €755,000 including buyer’s premium.

Natural, sold for €258,000 including buyer’s premium.

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the emerging markets

Latin America The growing interest in Latin American art is apparent on several levels. Museum and private initiatives have proliferated over the last decade in Europe, the United States and in the Middle East. They were designed to forge solid links, create opportunities for dialogue and thus to constitute the critical mass and the archives essential for orchestrating the most relevant acquisition. The initiative led by the Guggenheim Museum is a case in point. The museum is working together with the Mexican-born curator Pablo León de la Barra on the young generation of artists and works destined for permanent collections in a bid to keep up to date with the major trends of Latin American art in the 20th and 21st centuries. This work led in particular to the exhibition Under the Same Sun: Art From Latin America Today, from 13 June to 1 October 2014,1 which brought together 37 artists and collectives from 15 countries, including Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Cuba, Guatemala, Honduras, Mexico, Panama, Peru, Uruguay and Venezuela.

The commitment of the Guggenheim Museum is no solitary exception. Major museums such as the Centre Georges Pompidou in Paris, London’s Tate Modern and New York’s MoMA, are all gathering information and works from Latin America, sometimes drawing on specialised acquisition funds, such as the MoMA’s Latin American and Caribbean Fund.

International awareness is also raised by biennials and art fairs such as the annual Pinta Art Fair, launched in 2007, based in New York and London and dedicated to modern and contemporary Latin American art. Such showcasing beyond the borders of Latin America is essential because, despite the growing network of local collectors and the obvious interest of foreign buyers, the domestic market – while making steady progress – is unable to compete with the current art market capitals. The Latin American zone represents a mere 0.14% of the global contemporary art market. If confined to the limits of the local market, the vast majority of artists would therefore remain in the shadows, but this lack of visibility is offset by the commitment of large international auction houses to this creative niche. For many years, Christie’s, Sotheby’s and Phillips have held auctions entirely dedicated to Latin American art. The first specialised sale in New York – the capital of the market – dates back to 17 October 1979. It was then that Sotheby’s initiated the emergence of a “special” genre. Christie’s and Sotheby’s have devoted two sales per year to the niche (as against one for Phillips) since 2009.

It is clear that prices are undeniably on the rise for the “historic” artists of the 20th century, as they are for certain chosen “contemporaries”.2 The leading artists of the 1960s have been heavily revalued in recent months, as witness the latest records of the Brazilian Sergio de Camargo (1930-1990) or the Swiss-born Brazilian artist Mira Schendel (1919-1988), to whom the Tate Modern dedicated a major retrospective between September 2013 and January 2014.3 These six and seven-figure records are among the best performances in sales dedicated to the Latin American market. Artists of the young generation such as Oscar Murillo and Beatriz Milhazes, for whom demand has rapidly spread around 1 Organised by Pablo León de la Barra and the Guggenheim’s UBS MAP Global Art. 2 i.e. born after 1945.

3 Sergio de Camargo: white sculpture Untitled (1964) sold for $1.8 m on 20 November 2013 at Sotheby’s New York, equivalent to a hammer price of €1.3 m or €1.6 m including buyer’s premium. Mira Schendel: Sem Título (Objeto Gráfico), circa 1967-1968, sold for $700,000 on 28 May 2014 at Sotheby’s New York, i.e. €513,100, or more than €619,000 including buyer’s premium.

39

the world, are also included in this type of specialised sale, but their notoriety also justifies their presence in prestigious contemporary art catalogues, irrespective of their geographical origin.

For over 30 years now, the market has supported and distributed Latin American art via the great international auction houses. However, this specific niche – more discreet than that of Chinese or Indian contemporary art – did not miss out on the speculative highpoint of 2008 – a period marked by great interest in the so-called “emerging” markets. That year, the two leading auction houses, Christie’s and Sotheby’s 2008, sold Latin American works for $71.5 million excluding buyer’s premiums and for across all periods – an exceptional result, driven by the euphoria of the times, prior to a drop of 40% in 2009.

The masters of the market are now speaking of a “rediscovery” of Op art and kinetic art, involving a revaluation of the Venezuelan artists Jesús Rafael Soto (born in 1923 in Ciudad Bolivar, arrived in France in 1950, dead in 2005 in Paris) and Carlos Cruz-Diez (born in 1923). The former is now being represented by the Emmanuel Perrotin gallery (since June 2014), which is preparing an exhibition of his work in New York in 2015; the latter has its own foundation. Both artists have recently crossed the €500,000 threshold at auctions (three times for Soto between 2010 and 2012, followed by Carlo Cruz-Diez in 2013). Jesús Rafael Soto and Carlos Cruz-Diez are not the only artists to be driving the market forward.

The stock of certain Latin American artists is higher still and some of them have become multimillionaires at auctions. These mothers and fathers of contemporary art include the major Mexican artists Frida Kahlo (1907-1954), Diego Rivera (1886-1957), Rufino Tamayo (1899-1991) and Alfredo Ramos Martinez (18721946), along with the Colombian Fernando Botero (born in 1932), the Venezuelan Alejandro Otero (1921-1990), the Cuban-born French artist Wifredo Lam (19021982), the Chilean Roberto Matta (1911-2002), the Uruguayan Joaquín Torres García (1874-1949), and the Brazilians Candido Torquato Portinari (1903-1962), Emiliano di Cavalcanti (1897-1976), Sergio de Camargo (1930-1990) and Lygia Clark (1920-1988).

All these artists form part of the “high-end” echelon of Latin American art sales and stand side-by-side, in one catalogue after another, with the new guard, including already very established artists such as the Cuban Felix Gonzalez-Torres (1957-1996) and the majority of Brazilian artists such as Cildo Meireles (born in 1948), Os Gemeos (born in 1974), Ernesto Neto (born in 1964), Adriana Varejão (born in 1964), Beatriz Milhazes (born in 1960), Vik Muniz (born in 1961), Tunga (born in 1952) and Ana Mendieta (1948-1985).

Spotlight on Brazil

How safe a bet is Brazil, on which all eyes are trained? This is, after all, a country of paradoxes: with 200 million inhabitants and the first economy of Latin America, the country nevertheless suffers from a ruinous economic context and social unrest exacerbated by the launch of this year’s football World Cup. The World Cup effect bears witness to this very paradox, caught between an unstable social and economic fabric and the optimistic aspiration to an international role.

This role, which is becoming more evident every day, is helping generate a growing popularity with a knock-on effect on the world of art and artists. Otavio and Gustavo Pandolfo have certainly exploited the spotlight shone on their country.

The Brazilian graffiti artists, known by the pseudonym Os Gemeos (“the twins” in Portuguese) surfed the wave, turning the Boeing 737 that carried the Brazilian 40

the emerging markets

national team from city to city during the World Cup into a flying work of art, which brought them international exposure. The influence of Brazil has certainly been enhanced by current events, but in fact its artistic ecosystem has been stirring since the 1990s, having first opened up after the military dictatorship (between 1964 and 1985), and the national art market has evolved considerably in recent years with the growth in the population and the number of millionaires. The Brazilians have long been interested in art, and this interest extends way beyond the elite into the middle classes – witness the record attendance figures for major exhibitions. In 2011, the Maurits Cornelis Escher exhibition organised at the Centro Cultural Banco do Brasil (CCBB) in Rio (for which admission was free) turned out to be the most popular in the world, with an average of 9,700 visitors per day and a total of around 1.2 million visitors.1 Art is becoming part of people’s daily way of life, in Rio as in São Paulo, the home of the world’s oldest art biennial after Venice. Created in 1951, the Sao Paolo Biennial has hosted works by Pablo Picasso, Alberto Giacometti, Constantin Brancusi and René Magritte and is preparing for its 31st exhibition (2 – 7 December 2014) with some of today’s leading artists including Cildo Meireles and Tunga. São Paulo is the country’s economic and cultural engine, and galleries have opened immense spaces there: London’s White Cube opened a 300 m² gallery in December 2012 while the Raquel Arnaud Gallery opened its 900 m² space in 2011. Sotheby’s and Christie’s have positioned themselves strategically in Rio and São Paulo, each opening offices in both cities, where the most dynamic local auction houses are located ( James Lisboa Escritorio de Arte, Tableau Arte & Leilões and Companhia das Artes are in São Paulo, while Bolsa De Arte operates in Rio) – a momentum to be put in perspective, as Brazil only represents 0.06% of contemporary art sales at auction.

The third most important cultural centre is Belo Horizonte, which today attracts the greatest collectors, artists and curators, thanks to the nearby Inhotim contemporary art centre, located in Brumadinho. This museum-garden was created on the initiative of the mining and steel magnate Bernardo Paz, to house a personal collection which hasn’t stopped growing. There, among the giant orchids and water lilies, the 35-hectare park has been transformed into a mecca for contemporary art and its reputation has spread worldwide. The often monumental works are as striking as the artists are famous, with Olafur Eliasson, Matthew Barney, Paul McCarthy, Giuseppe Penone, Chris Burden, Yayoi Kusama featuring alongside Latin American artists such as Cildo Meireles, Tunga, Vik Muniz, Hélio Oiticica or Adriana Varejao.

Inhotim is home to one of the world’s greatest international art collections – not an easy task in a country where the burdens imposed by laws and taxes exercise a real stranglehold on market development. Import taxes in particular put a brake on the forging of an international network of auction houses and foreign galleries, as they do for the development of international art collections on site. Well aware of this major problem, the organisers of the ArtRio and São Paulo SP-Arte fairs negotiate with the Brazilian government so that the 43% tax on imported art to Brazil is reduced to 23% during the events. What is more, this is not the only applicable tax – the traffic of goods and services is subjected to a further 18% tax in São Paulo and 19% in Rio de Janeiro, not to mention the federal VAT at 9.25%.

These obstacles still constitute too much of a hindrance for other major galleries to set up shop. For the time being, these galleries are in fact opting for prudence 1 T he Magical World of Escher. Source: “Attendance survey 2011: Brazil’s exhibition boom puts Rio on top ” Javier Pes and Emily Sharpe, The Art Newspaper, number 234, April 2012.

41

and building their networks by exhibiting at Brazil’s art fairs, such as the SP-Arte in São Paulo and ArtRio. David Zwirner, Gagosian, Hauser & Wirth therefore supply the local market while Brazilian galleries earn their stripes at major international art shows such as Art Basel or London’s Frieze.

In the wake of the World Cup, Brazil’s artistic influence is unlikely to run out of steam any time soon. On the contrary – Qatar, which has become the number one art buyer in its bid to stock its prestigious museums, has the country in its sights.

An adept of soft power, Qatar is forging economic and cultural links with Brazil via the Qatar Brazil 2014 programme – a large-scale initiative orchestrated by the Qatar Museum Authority. Brazilian art appeals to the market and there is no lack of enthusiasm.

The top-ranking Brazilian artists

Adriana Varejão Born in Brazil in 1964, Adriana Varejão lives and works in Rio de Janeiro, from where she draws her source material inspired by colonial history, the memory of slavery, baroque art, architectural ruins, natural sciences and theatre. The traditional dimension of her work encapsulates the complexity of the Brazilian identity and of its multi-faceted culture. Now established as a master in the art of visceral trompe-l’œil, she first came to public prominence in the mid-1990s with her canvases imitating the blue and white squares of the azulejos, a traditional form of painting on earthenware that the Portuguese imported to Brazil during colonial times. But she injected another element into this tradition by offering up a violent contrast – adding flesh and guts to a canvas painted like a cold tiled surface, as superbly exemplified by her current record sale: Parede com Incisões a la Fontana II (Wall with Incisions a la Fontana II) features a wall of yellowing tiles, in which bloodred blisters emerge from its incisions. By fetching a price of £1,105,250 including buyer’s premium, i.e. over €1.13 million (16 February 2011 at Christie’s in London), the trompe-l’oeil easily tripled its maximum estimate.

In reality, the artist has been successful at exporting her work, developing a presence and slowly but surely winning over the international scene. This has largely occurred since the 1990s thanks to regular exhibitions in Europe, including a show at the “Fondation Cartier pour l’art contemporain” in 2005 – as well as at prestigious galleries and institutions in the United States and Japan. Her official consecration dates back to 2008 – the year when her country dedicated a permanent pavilion to her at the Inhotim contemporary art centre in São Paulo and when France made her a Chevalier des Arts et des Lettres. Three years later, the Brazilian President Dilma Roussef awarded her the Order of Cultural Merit (9 November 2011). Exhibited and acclaimed at an international level, holder of a short–lived record auction sale for a living Brazilian artist in 2011 (before being unseated by Beatriz Milhazes), Adriana Varejão remains however a discreet presence at auctions. Only three works entered the sales room throughout 2013 and only one work in the first six months of 2014. The latter, a furious oil on canvas from 1985, entitled O Dilúvio and sold by the sales company Bolsa De Arte in Rio, was significant for being the first sale by auction to garner over €100,000 in Brazil, for the artist has already passed this threshold 17 times between London and New York (the work went for 400,000 BRR, on 6 February 2014).

Such a consecration by the market of a female artist is rare enough to be worth noting. In fact Varejao is part of a highly closed circle of 14 living female artists who have earned over €1 million at auctions, as against 163 men, the lat42

the emerging markets

ter representing 93% of the global high-end market. The 13 other most highly rated women today are Yayoi Kusama, Marlène Dumas, Rosemarie Trockel, Julie Mehretu, Bridget Riley, Cindy Sherman, Jenny Saville, Vija Celmins, Lee Bontecou, Tauba Auerbach, Elizabeth Peyton, Cecily Brown including one Brazilian, Beatriz Milhazes.

Beatriz Milhazes - a millionaire twice-over The works of Beatriz Milhazes (1960) are a riot of colours and decorative motifs with an undeniable Brazilian flavour. Her sources of inspiration draw on the classical and popular traditions of her native country – ceramics, jewellery, lace, baroque architecture, bossa nova – the influence of great abstract artists such as Frantisek Kupka, Wassily Kandinsky and Sonia Delaunay, the intense colours of Henri Matisse and the structured compositions of Piet Mondrian. Lush plant life, a source of genuine fascination for the artist, appears in her omnipresent arabesques, flowers and tropical plants. Her work draws on a particular technique inspired by transfers: Beatriz Milhazes applies paint to plastic sheets and then transfers the pigment to the canvas. The surface of the canvas is therefore perfectly smooth, with no sign of any brushstrokes. This disciplined and meticulous working method enables her to produce only a few canvases every year, generally under 10. This is a small number indeed, given the scope of private and institutional international demand, and that her network of dealers is no less dense, with Fortes Vilaça in São Paulo, James Cohan in New York, London’s Stephen Friedman Gallery and the Max Hetzler Gallery in Berlin.

She emerged in the auction market at the end of the 1990s. At the time various influential players in the art world kept a close watch on her work, including Richard Armstrong, the director of the Solomon R. Guggenheim Museum in New York, who invited her to the Carnegie International in Pittsburgh. In 1996, a series of exhibitions in New York, Madrid, Paris and London gave her a new impetus, but the real turning point in her career dates back to 2003 – the year in which she featured in the Brazilian Pavilion at the 50th Biennial in Venice. The impact was immediate. At the end of that same year, 2003, Christie’s auctioned a large oil on canvas which handsomely doubled its high estimate, garnering a total of almost €53,000.1 A number of major public commissions followed, including a mural painting for the restaurant in the Tate Modern in London in 2005.

Once again, institutionnal success had a positive impact on her price level and for the first time Beatriz Milhazes passed the €100,000 mark, including buyer’s premium, in London in 2005.2 The auction market continued to bubble, leading to her first work to go under the hammer for over a million in 2012. The colourful explosion of the monumental Meu Limão (“My lemon” in Portuguese), doubled the already high estimate of $900,000. In the end, the work reaped over $2 million – more than €1.65 million – including buyer’s premium.3 The shortage of works has led to fierce auctions, with prices rising by 100% between 2010 and 2012. When it succeeded in including a major canvas from the right period in its May 2014 sales (the collective prizes works from the end of the 1990s and the 2000s most highly), Christie’s did not skimp on the estimate, setting a range of between $1 million and $1.5 million for Palmolive, a 198.7 cm x 250 cm canvas. The million-euro barrier 1 Mundo civilizado, 1998, 150 cm x 250 cm sold for $62,000, or $74,090 including buyer’s premium, on 18 November 2003.

2 With Romantico Americano, 1998, on 9 February 2005, sold for £60,000, (£72,000 including buyer’s premium) at Christie’s.

3 Meu Limão, acrylic on canvas 2000, 248.9 cm x 318.8 cm, Sotheby’s New York.

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was crossed once again, with a final price equivalent to €1.2 million.1 Today, her works are no longer confined to the Latin American sections of Phillips, Sotheby’s and Christie’s. So global has become her influence that they also feature in prestige contemporary art sales. The artist also excels at engraving, with large-format prints similar to the concept of her paintings. Although being much more affordable, they remain highly valued. The latest silk screens put up for auction were sold at between €6,000 and €20,000 on average, while some exceeded €30,000.

The 54-year-old artist is already a safe bet: her paintings are found in the collections of the world’s major museums, including the Museum of Modern Art, the Guggenheim and the New York Metropolitan. Her first major American retrospective - Beatriz Milhazes: Jardim Botânico, from 19 September 2014 to 18 January 2015 at the Perez art museum in Miami – demonstrates the increasing involvement of auction houses such as Christie’s, which is backing her in the organisation of her exhibitions.

Ernesto Neto’s discreet market

Although the second market reflects neither the magnitude of this work nor his influence, no survey of the Brazilian art scene is complete without mentioning Ernesto Neto, born in Rio de Janeiro in 1964 and having just completed, aged 50, a major retrospective at the Guggenheim Museum in Bilbao (Ernesto Neto: the body that carries me, from 14 February to 18 May 2014). While his performances at auction lag way, way behind those of Adriana Varejão, Beatriz Milhazes or Felix Gonzalez-Torres, this is partly because the market is always wary of fragile installations. Perhaps not for monumental works, because a Balloon Dog rising to over 3 m by Jeff Koons can fetch as much as €40 million in the auction room,2 but certainly for works in which experience is an intrinsic component and whose materials reflect the impermanence of all living things.

His auction record dates back a long way to 2001 – a hammer price of €51,0003 – and current estimates seem very attractive in terms of his reputation. Right in the middle of his retrospective at the Guggenheim, the auction house Phillips offered a sizeable installation for sale, which nevertheless stopped short of monumentalism,4 and was therefore accessible to a wider array of private collectors, with a low estimate of $25,000. The winning bid doubled this cautious forecast for a final result equivalent to €36,000 – or €45,000 including buyer’s premium. His amorphous sculptures, filled with polythene or fragrant spices, represent sensorial installations for the viewer. The second market – hardly overflowing with this type of piece – occasionally offers biomorphic sculptures made of wood or some other affordable material (Papai Mamãe, produced in 21 copies, were sold for the equivalent of €2,460 on 6 February 2014 at Bolsa De Arte in Rio) or a few drawings available for less than €500. In the auction game, Ernesto Neto has thus far escaped speculative surges – partly for practical reasons. But for how long?

Away from the limelight and the million-dollar prices, Neto’s discreet market echoes the rhythm of the auction sales for Tunga, another great figure of Brazil-

1 Palmolive, sold for $1.4 million ($1.685 m including buyer’s premium) on 13 May 2014, in New York.

2 Balloon Dog (Orange) fetched $52 m on 12 November 2013 at Christie’s New York, i.e. a hammer price of nearly $39 m ($43.6 million including buyer’s premium).

3 Or just under $60,000 including buyer’s premium, It happens in the Frictions of the Bodies, Sotheby’s New York, 14 November 2001.

4 Ernesto Neto, Untitled, 2006, 152.4 cm x 182.9 cm x 182.9 cm, Phillips, New York, 29 May 2014.

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the emerging markets

ian contemporary art, born in 1952 in Palmares and living in Rio de Janeiro.

Never exposed to the major speculative impulses in the auction rooms, the poetic work of Tunga, exhibited throughout the world, including the Louvre no less,1 has consolidated his rating with an auction record set in 2014 at Christie’s for a sculptural masterpiece entitled Palíndromo incesto, which doubled its original estimate and finally reaped over €108,000 including buyer’s premium2 – relatively little, given the prices obtained by the American or European artists of his stature and his generation. A paltry sum also in view of the market prices for the select few twenty-somethings, more expensive than their fathers, such as the 28-year-old Oscar Murillo, who has broken Tunga’s record on 25 occasions since 2013.

Outside Brazil Felix Gonzalez-Torres

The short career of Felix Gonzalez-Torres, a Cuban artist born in 1957 and who died in 1996 in Miami, was highly prolific. Having moved to New York in 1979, he began his career in the 1980s and made a mark on the American art scene from 1990 onwards. Deeply influenced by conceptual and minimalist movements and

by Walter Benjamin’s theories of “reproducibility”, he managed to imbue his work with a real human element, sensitively and poetically exploring the fragility of life using a real economy of means – particularly by the appropriation of everyday objects: mirrors, light bulbs, candy, paper, etc. His approach is also bound up with the ravages of AIDS, politics, homosexuality and the health system. HansUlrich Obrist explains that “This is a brief body of work (1986/1995), captured in a dozen gestures: the montages and c-prints from 1986, the photostats, puzzles and clocks from 1987, the stacks of posters and blood works from 1988, the curtains, posters and portraits from 1989, the pile of sweets from 1990, the strings of bulbs and beaded curtains from 1991. One thing immediately becomes obvious: all of these works, except the montages and the blood works, are reproductions.”.3 Felix Gonzalez-Torres is the archetype of the artist who earned post-mortem acclaim from the market. He was conspicuously absent from this consecration by auction. His first sales took place in the year of his death, with photographs going for between $3.500 and $5.000 on average. His ranking was consolidated in the late 1990s with installations, explorations of the experience of loss, such as piles of papers – ephemeral monuments printed in unlimited quantities, which were quoted at between $30,000 and $50,000 in 1997, according to their dimensions.

In 2012, their price had risen tenfold: a pile of papers went for over €600,000.4 The most dramatic increase took the form of the dispersion of emblematic installations such as those made of sweets. They were an invitation to gluttony, ultimately heralding death: a work which highlights his own fragility, while evoking the contamination of the disease. One of them, Untitled, Rossmore, garnered over €145,000 in 1998 and another achieved its auction record in 2010, with a hammer

1 In the context of Brazil Year in France in 2005.

2 Palíndromo incesto was estimated at $40,000-$60,000, and sold for $120,000 i.e. $149,000 including buyer’s premium.

3 Conversation with Hans-Ulrich Obrist for Museum in progress, Vienna, 1994 quoted in Eric Watier, «Felix Gonzalez-Torres: un art de la reproductibilité technique».

4 Untitled (Blue Mirror), sold for $640,000, or $770,500 including buyer’s premium, Sotheby’s New York, 14 November 2012.

45

price equivalent to €2.8 million.1 His market remains tenuous. Few works feed into it – a few prints which often go for between €600 and €1,000 can be seen in the sales rooms, the photos reap an average of €30,000-€60,000 while installations fetch €300,000.

The case of Oscar Murillo

Colombian, not yet thirty years old and one of the most sought-after artists on the international scene. How has Oscar Murillo risen to such rapid and powerful prominence on the auction market? Oscar Murillo, born in Colombia in 1986 and living in London, is one of the most coveted emerging artists on the international scene, thanks to a strong network of influence woven in under two years. He is now the most highly ranked artist of Latin American origin, with breath-taking results at auction: since January 2013, his 40 auctioned works have garnered $5.8 million in sales proceeds (or €4.3 million). Murillo is an UFO on a Latin American scene which often struggles to punch above its weight. But remember that he lives in London. Latin American artists of his age are scarce in auction rooms and, as against the €4.3 million posted by their leader, none of them has generated more than €3,000 in sales in a year and a half of auctions. Besides the intrinsic qualities of the work, international openness is the big difference between those who succeed and those who shrivel.

The stages of the meteoric success of Oscar Murillo can be traced back to a few specific points – typical examples of strategic milestones in the successful launch of an international artist. In December 2011, 15 paintings were presented at the NADA Miami Art Fair, on the stand of François Ghebaly, a gallery owner in Los Angeles. The works, available at the time for between $2,500 and $8,500, were all sold. This was an early positive sign: the demand was there. The following year, the artist was invited to the Serpentine Gallery by the curator Hans Ulrich Obrist.

With this endorsement from one of the most influential critics in the world, he began to access prestigious private collections. Between December 2012 and August 2013, he was given a solo exhibition at the Rubell Foundation in Miami. The 50 paintings exhibited were the result of five months of residency supported by the influential collectors Mera and Don Rubell. His entry into the auction world was strategically orchestrated during this exhibition. The three most important auction houses for contemporary art, Christie’s, Sotheby’s and Phillips, included him by turns in their catalogues. It was impossible to escape the young artist in contemporary sales in London and New York starting from May 2013 until the end of the year. The hammer came down again and again: 24 canvases and a sculpture were sold, going from €19,000 to €247,000, without a single work going unsold.

Murillo was the must-buy artist of the moment. In September 2013, another key development in his career was publicised: he joined the David Zwirner gallery.

The news quickly circulated among collectors and the impact in auction rooms was immediate. On 19 September 2013, Phillips in New York sold the canvas Untitled (Drawings off the wall) for $330,000, (nearly €247,000 and almost €300,000 including buyer’s premium), or 11 times the low estimate. At the time, this was a record for the artist, who has now notched up five sales of over €200,000. And his ranking has only been enhanced by the fast-moving news: David Zwirner devoted an exhibition to him in New York from 24 April to 14 June (A Mercantile Novel), and

1 Untitled, Rossmore, sold for £95,000 or £106,000 including buyer’s premium, Christie’s London 22 April 1998 and Untitled (Portrait of Marcel Brient), Phillips de Pury & Company New York on 8 November 2010, sold for $4 million, or $4,562,500 including buyer’s premium.

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the emerging markets

the year ahead is full of events – he is also awaited in New York at Marian Goodman’s Gallery (We don’t work Sundays, 23 May – 18 July), an exhibition dedicated to the Latin American scene at the Saatchi Gallery in London, in the Netherlands (Amsterdam), in Italy (Turin), and in France (Rennes).

Oscar Murillo is one of a kind among Latin American artists of his age. Those young Latin American artists who are beginning to sell in auction rooms post much poorer results and rarely achieve notoriety beyond local level. For the time being none of them has achieved the stature of Murillo and their works generally sell for a few hundred euros. However, once the beginning of a career is supported by a major player with a quality pedigree, success and a rise in rankings are only a matter of time. On the other hand, it’s a race against the clock – one disadvantage of a large market dominated by speculation.

Recent works (5 years old or less) - Auction sales turnover and number of sold lots development July 2003 - June 2014

M€ 350

14,000

M€ 300

12,000

M€ 250

10,000

M€ 200

8,000

M€ 150

6,000

M€ 100

4,000

M€ 50 €0 ©

0

om

e.c

ic tpr

ar

2,000

2003/04 2004/05 2005/06 2006/07 2007/08 2008/09 2009/10 2010/11 2011/12 2012/13 2013/14 Auction Turnover

Lots sold at auction

47

48

the emerging markets

Rank

Top 10 young Contemporary artists (under 30) - breakdown by turnover Artist

Auction Turnover

Sold Lots

Max Hammer Price

2013-2014 1 MURILLO Oscar (1986)

€ 3,876,867

38

€ 246,807

2 SMITH Lucien (1989)

€ 2,083,305

29

€ 239,487

3 KASSAY Jacob (1984)

€ 1,174,068

19

€ 194,584

4 MI Qiaoming (1986)

€ 534,586

5

€ 144,120

5 HAO Liang (1983)

€ 533,724

6

€ 199,815

6 ITO Parker (1986)

€ 403,744

11

€ 54,535

7 SULLIVAN Ryan (1983)

€ 389,959

7

€ 111,870

8 SCOTT-DOUGLAS Hugh (1988)

€ 345,761

10

€ 53,681

9 CRUZ Jigger (1984)

€ 258,170

9

€ 70,560

€ 210,165

7

€ 106,470

1 COLEN Dan (1979)

€ 472,446

6

€ 235,040

2 ROKKAKU Ayako (1982)

€ 320,835

64

€ 24,264

3 KAO Yu (1981)

€ 298,141

15

€ 46,480

10 CHEN Chengwei (1984) 2008-2009

4 CHOI So Young (1980)

€ 295,815

5

€ 156,944

5 HAN Yajuan (1980)

€ 185,425

11

€ 31,522

6 CHEN Ke (1978)

€ 183,513

8

€ 68,705

7 HAERIZADEH Rokny (1978)

€ 135,403

3

€ 57,531

€ 97,262

3

€ 45,960

9 PENG Si (1980)

€ 87,959

3

€ 36,995

10 JI Yong Ho (1978)

€ 77,568

3

€ 49,379

1 LAMMI Ilkka (1976-2000)

€ 52,600

4

€ 38,000

2 WONG Su-En (1973)

€ 25,577

3

€ 21,010

3 REN Zhong (1976)

€ 17,328

1

€ 17,328

4 KEOWN Mary Therese (1974)

€ 12,600

3

€ 4,600

5 GARDNER Tim (1973)

€ 10,154

1

€ 10,154

6 OLIVER Thomas (1979)

€ 5,322

4

€ 1,425

7 DZAMA Marcel (1974)

€ 5,179

2

€ 3,301

8 SALA Anri (1974)

€ 5,000

1

€ 5,000

€ 4,600

2

€ 2,600

€ 4,438

3

€ 2,152

8 LI Qing (1981)

2003-2004

© artprice.com

9 GIANVENUTI Alessandro (1974) 10 EDWARDS Simon (1975)

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Our clients are investors, we speak their language Investing on the Stock Market requires a solid knowledge of the markets.Investing in art is not different.

Our interactive graphs and easy-to-read market data cover the artists of your portfolio for a reliable decision-making.

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Top 500 Contemporary Artists (2013/2014) Sales from 1st July 2013 to 3rd July 2014

USA USA USA CN GB USA DE CN CN CN USA CN USA USA GB CN CN IT CN CN CN CN JAP USA GB USA USA CN USA CN CN CN IN CN DE CN JAP CN DE CN CN USA DE CH CN DE GB DE ETH USA

€ 162,277,646 € 115,039,516 € 61,759,209 € 59,608,941 € 33,925,162 € 28,132,760 € 25,902,248 € 24,740,054 € 22,778,655 € 20,785,876 € 18,592,616 € 17,506,383 € 15,003,432 € 14,244,489 € 12,474,905 € 12,282,183 € 12,262,155 € 11,991,229 € 11,872,887 € 11,314,464 € 11,233,520 € 10,665,082 € 10,320,166 € 9,084,731 € 8,401,679 € 8,164,171 € 7,891,673 € 7,814,540 € 7,443,611 € 7,405,840 € 7,344,289 € 7,047,501 € 6,697,901 € 6,689,188 € 6,547,641 € 6,502,230 € 6,319,347 € 6,182,790 € 5,430,069 € 5,249,110 € 5,228,326 € 5,152,555 € 5,066,972 € 4,952,061 € 4,808,139 € 4,799,828 € 4,671,174 € 4,660,038 € 4,455,677 € 4,388,884

Sold Lots

Auction Turnover

Country of Birth

Rank

Artist BASQUIAT Jean-Michel (1960-1988) KOONS Jeff (1955) WOOL Christopher (1955) ZENG Fanzhi (1964) DOIG Peter (1959) PRINCE Richard (1949) KIPPENBERGER Martin (1953-1997) LUO Zhongli (1948) CHEN Yifei (1946-2005) ZHANG Xiaogang (1958) HARING Keith (1958-1990) ZHOU Chunya (1955) GUYTON Wade (1972) GROTJAHN Mark (1968) HIRST Damien (1965) LIU Wei (1965) LIU Dawei (1945) STINGEL Rudolf (1956) ZHU Xinjian (1953-2014) HE Jiaying (1957) WANG Yidong (1955) LIU Ye (1964) MURAKAMI Takashi (1962) SHERMAN Cindy (1954) BROWN Glenn (1966) CURRIN John (1962) BRADFORD Mark (1961) FANG Chuxiong (1950) TANSEY Mark (1949) YUE Minjun (1962) AI Xuan (1947) XU Bing (1955) KAPOOR Anish (1954) WANG Mingming (1952) SCHÜTTE Thomas (1954) CHENG Conglin (1954) NARA Yoshitomo (1959) SHI Guoliang (1956) GURSKY Andreas (1955) YANG Feiyun (1954) FAN Yang (1955) COLEN Dan (1979) KIEFER Anselm (1945) FISCHER Urs (1973) GU Wenda (1955) TROCKEL Rosemarie (1952) EMIN Tracey (1963) RUBY Sterling (1972) MEHRETU Julie (1970) CONDO George (1957)

85 52 54 64 70 63 71 91 38 42 310 88 29 27 257 48 105 24 853 73 45 48 419 78 8 15 14 352 9 35 53 69 35 157 25 8 155 108 30 20 212 27 23 10 37 32 49 28 20 53

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Top Hammer Price € 22,527,700 € 38,859,600 € 17,561,550 € 15,172,800 € 10,985,920 € 5,451,750 € 11,993,850 € 4,518,200 € 6,638,100 € 7,806,980 € 3,058,020 € 2,770,080 € 3,786,120 € 3,816,225 € 1,124,280 € 1,702,440 € 1,741,450 € 1,566,180 € 272,739 € 840,700 € 2,161,800 € 3,508,710 € 1,517,280 € 2,402,730 € 3,663,580 € 2,912,400 € 1,640,760 € 285,840 € 2,428,725 € 955,199 € 702,690 € 856,800 € 1,092,150 € 657,800 € 3,343,740 € 2,972,500 € 1,222,780 € 1,165,220 € 1,477,250 € 1,501,250 € 152,625 € 1,889,940 € 707,085 € 2,184,300 € 1,563,900 € 3,130,830 € 2,746,480 € 1,061,140 € 1,711,890 € 508,998

© artprice.com 1987-2014 - www.artprice.com

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50

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IE CN CN CN USA DE CN COL GB CN CN CN GB CN BRE CN CN CN CN GB CN USA CN CN CN PH USA DE USA GB ID CN CN CN GB JAP TAI DE CN USA CN CN USA BRE GB IT CN CN CN CN

€ 4,224,566 € 4,196,908 € 4,182,074 € 4,138,843 € 4,087,227 € 4,043,242 € 3,950,195 € 3,876,867 € 3,811,311 € 3,719,846 € 3,623,206 € 3,622,962 € 3,573,098 € 3,504,153 € 3,449,263 € 3,440,824 € 3,435,334 € 3,418,985 € 3,279,782 € 3,197,167 € 3,189,743 € 3,098,676 € 3,028,132 € 3,021,507 € 3,015,941 € 3,009,252 € 2,966,551 € 2,927,914 € 2,866,989 € 2,705,748 € 2,678,280 € 2,673,730 € 2,651,808 € 2,635,387 € 2,572,709 € 2,534,839 € 2,534,699 € 2,515,652 € 2,515,165 € 2,397,751 € 2,346,780 € 2,339,597 € 2,333,795 € 2,323,406 € 2,297,202 € 2,290,921 € 2,208,987 € 2,165,848 € 2,163,721 € 2,089,082

Sold Lots

Auction Turnover

Artist SCULLY Sean (1945) CHEN Yanning (1945) XU Lei (1963) HE Duoling (1948) AUERBACH Tauba (1981) OEHLEN Albert (1954) XUE Liang (1956) MURILLO Oscar (1986) GORMLEY Antony (1950) LI Jinkun (1958) CHEN Yongqiang (1948) TIAN Liming (1955) BANKSY (1974) FANG Lijun (1963) MUNIZ Vik (1961) ZHAN Wang (1962) REN Zhong (1976) LIU Yi (1957) LI Jin (1958) QUINN Marc (1964) XU Lele (1955) GOBER Robert (1954) PAN Gongkai (1947) LONG Rui (1946) WANG Xijing (1946) VENTURA Ronald (1973) LONGO Robert (1953) FÖRG Günther (1952-2013) LIGON Glenn (1960) SAVILLE Jenny (1970) MASRIADI I Nyoman (1973) CHEN Danqing (1953) YANG Ermin (1966) WANG Guangyi (1957) CRAGG Tony (1949) SUGIMOTO Hiroshi (1948) CHIU Ya Tsai (1949-2013) STRUTH Thomas (1954) LIU Xiaodong (1963) LOWMAN Nate (1979) LI Xiaoxuan (1959) FANG Xiang (1967) PEYTON Elizabeth (1965) MILHAZES Beatriz (1960) ANDERSON Hurvin (1965) CATTELAN Maurizio (1960) YUAN Wu (1959) ZHANG Enli (1965) LI Guijun (1964) AI Weiwei (1957)

51 44 24 19 26 22 84 38 32 78 272 79 112 39 122 11 41 20 103 53 146 13 11 64 114 34 87 123 22 2 18 22 12 33 36 91 60 34 9 18 109 139 18 10 6 26 54 14 18 24

Top Hammer Price € 806,000 € 533,280 € 391,050 € 1,040,380 € 1,093,950 € 1,123,560 € 816,680 € 246,807 € 1,021,019 € 307,530 € 476,400 € 178,500 € 505,764 € 702,100 € 125,170 € 1,986,180 € 384,320 € 840,700 € 150,384 € 800,910 € 154,700 € 2,616,120 € 1,564,200 € 697,970 € 372,310 € 614,770 € 413,104 € 284,736 € 1,599,180 € 2,181,420 € 459,063 € 576,480 € 1,321,100 € 856,800 € 330,000 € 400,000 € 135,798 € 684,574 € 747,182 € 529,848 € 215,280 € 285,840 € 1,057,485 € 1,017,380 € 1,373,240 € 969,540 € 744,620 € 517,440 € 720,600 € 705,450

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Country of Birth

Rank

Top 500 artists

USA DE CN KOR CN USA CN GB CN CN TAI CN CN GB USA CN CN CN CN ESP CN CN RO CN CN CN CN CN CN MX USA CN USA FR CN CN CN SUD CN USA CN GB CN USA USA IT CN FR SUD CN

€ 2,083,305 € 2,043,931 € 1,979,268 € 1,967,300 € 1,950,532 € 1,947,665 € 1,944,497 € 1,929,006 € 1,919,423 € 1,894,177 € 1,885,716 € 1,864,646 € 1,842,852 € 1,825,354 € 1,802,622 € 1,794,467 € 1,787,860 € 1,783,905 € 1,783,787 € 1,775,686 € 1,774,598 € 1,764,322 € 1,699,722 € 1,693,754 € 1,678,856 € 1,661,412 € 1,658,560 € 1,643,740 € 1,594,549 € 1,592,149 € 1,547,760 € 1,545,700 € 1,499,813 € 1,476,065 € 1,447,813 € 1,439,206 € 1,438,387 € 1,430,548 € 1,428,322 € 1,413,899 € 1,390,117 € 1,376,148 € 1,344,912 € 1,334,372 € 1,306,052 € 1,300,294 € 1,282,844 € 1,275,100 € 1,274,604 € 1,268,713

Sold Lots

Auction Turnover

Country of Birth

Rank

Artist SMITH Lucien (1989) RAUCH Neo (1960) ZHANG Youxian (1954) OH Chi Gyun (1956) YAN Pei-Ming (1960) KELLEY Mike (1954-2012) YE Yongqing (1958) OFILI Chris (1968) CAI Guoqiang (1957) CHEN Wuji (1963) LI Chen (1963) JIA Aili (1979) FENG Yuan (1952) BROWN Cecily (1969) PETTIBON Raymond (1957) PANG Maokun (1963) XU Qinsong (1952) JIANG Hongwei (1957) YU Xiaofu (1950) BARCELO Miquel (1957) HONG Ling (1955) ZHOU Jingxin (1959) GHENIE Adrian (1977) LU Yushun (1962) GUO Runwen (1955) ZHAO Bandi (1966) WANG Yong (1948) MAO Lizi (1950/51) TANG Yongli (1951) OROZCO Gabriel (1962) SCHNABEL Julian (1951) ZHANG Yudong (1995) BRADLEY Joe (1975) COMBAS Robert (1957) XU Hualing (1975) SUI Jianguo (1956) CAO Li (1954) DUMAS Marlene (1953) ZHAO Jiancheng (1949) FORD Walton (1960) FENG Dazhong (1949) MCEWEN Adam (1965) WANG Shaolun (1968) KAWS (1974) MAPPLETHORPE Robert (1946-1989) PENONE Giuseppe (1947) XIAO Han (1945) ORLINSKI Richard (1966) KENTRIDGE William (1955) ZHANG Huan (1965)

29 28 122 48 15 20 26 19 18 50 19 7 36 11 52 30 57 56 13 38 60 95 6 72 15 5 45 3 47 24 23 1 7 180 31 9 31 24 19 8 35 24 8 31 91 20 13 18 82 21

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Top Hammer Price € 239,487 € 1,066,472 € 1,059,100 € 151,800 € 521,565 € 1,164,960 € 359,950 € 946,530 € 455,184 € 480,400 € 211,541 € 491,816 € 344,680 € 449,084 € 800,910 € 309,140 € 108,090 € 272,090 € 859,100 € 569,593 € 265,870 € 150,750 € 1,499,040 € 148,625 € 424,200 € 1,071,000 € 276,690 € 1,561,300 € 189,280 € 409,365 € 728,100 € 1,545,700 € 581,520 € 68,000 € 138,115 € 1,211,125 € 297,500 € 747,300 € 224,770 € 873,720 € 435,600 € 262,116 € 592,000 € 182,325 € 120,000 € 264,770 € 363,320 € 650,000 € 164,076 € 288,840

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AT CN CN CN CN GB CN USA USA CN CN CN CN CN USA BRE DE ESP CN CN CN CN CN DE CN CH CN CN CUB USA ID USA CN CN USA CN USA CN CN CN CN CN CN CN CN CN CN CN DE CN

€ 1,252,659 € 1,247,498 € 1,244,454 € 1,216,812 € 1,198,379 € 1,195,020 € 1,188,486 € 1,180,698 € 1,174,068 € 1,137,617 € 1,135,799 € 1,134,343 € 1,132,354 € 1,126,041 € 1,100,247 € 1,085,694 € 1,076,325 € 1,067,289 € 1,062,966 € 1,059,300 € 1,038,543 € 1,036,528 € 1,035,759 € 1,014,589 € 1,014,247 € 1,002,783 € 998,080 € 987,817 € 969,386 € 967,929 € 964,336 € 960,773 € 951,975 € 951,383 € 949,976 € 923,078 € 922,195 € 895,561 € 890,178 € 875,158 € 873,967 € 873,573 € 868,706 € 864,526 € 855,755 € 852,710 € 841,642 € 839,632 € 825,606 € 819,871

Sold Lots

Auction Turnover

Artist WEST Franz (1947-2012) WANG Xingwei (1969) PAN Dehai (1956) DING Yi (1962) LIU Wei (1972) LUCAS Sarah (1962) LENG Jun (1963) BARNEY Matthew (1967) KASSAY Jacob (1984) CHAO Ge (1957) XU Jiang (1955) NAN Haiyan (1962) ZHANG Peili (1957) SHI Chong (1963) LEVINE Sherrie (1947) VAREJAO Adriana (1964) OSTROWSKI David (1981) MUÑOZ Juan (1953-2001) LU Huaizhong (1945) SUN Lixin (1955) CUI Xiaodong (1964) ZENG Jianyong (1971) WANG Yancheng (1960) REYLE Anselm (1970) MAO Yan (1968) FISCHLI Peter & WEISS David (1952/46) LIU Kongxi (1952) YU Hui (1960) GONZALEZ-TORRES Felix (1957-1996) ISRAEL Alex (1982) AY TJOE Christine (1973) FLOOD Mark (1957) CHEN Ping (1960) YAN Ping (1956) GRELLE Martin (1954) ZHU Wei (1966) KRUGER Barbara (1945) JIA Guangjian (1964) YANG Xiaoyang (1958) JIANG Shanqing (1961) HUO Chunyang (1946) XIN Dongwang (1963-2014) WANG Huangsheng (1956) LONG Liyou (1958) DUAN Jianwei (1961) YUAN Qingyi (1960) CHEN Fei (1972) LIU Dan (1953) RUFF Thomas (1958) LI Huayi (1948)

43 6 8 16 8 15 20 18 19 9 9 43 4 12 15 3 9 14 5 1 33 32 7 25 11 11 4 64 5 2 14 23 39 22 17 8 22 46 9 14 115 14 48 10 14 2 7 7 73 4

Top Hammer Price € 159,610 € 372,310 € 946,400 € 397,236 € 290,223 € 546,075 € 285,600 € 728,100 € 194,584 € 600,500 € 304,512 € 147,875 € 481,200 € 719,200 € 447,480 € 524,664 € 175,196 € 401,922 € 319,680 € 1,059,300 € 310,000 € 120,100 € 428,220 € 150,168 € 433,985 € 590,250 € 571,200 € 132,110 € 633,930 € 617,865 € 357,428 € 123,980 € 124,845 € 226,100 € 364,800 € 616,395 € 306,306 € 130,790 € 273,470 € 148,000 € 56,208 € 216,540 € 143,400 € 297,250 € 228,570 € 780,650 € 552,460 € 199,794 € 109,071 € 474,000

© artprice.com 1987-2014 - www.artprice.com

151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200

Country of Birth

Rank

Top 500 artists

CN CN USA CN USA SWE CN BE CN GB CN IR GB CN CN CN USA GB CN USA CN CN CN CN BE ARG CN JAP USA CN CUB CN CN GB CN CN CH CN CH NZ GB CN CN CN CN CN CN CN AU CN

€ 819,694 € 816,630 € 810,186 € 792,612 € 786,372 € 772,374 € 761,811 € 753,665 € 744,938 € 734,520 € 733,460 € 722,601 € 721,080 € 717,785 € 712,888 € 707,131 € 682,048 € 680,457 € 679,073 € 675,558 € 671,786 € 662,480 € 660,997 € 655,676 € 655,537 € 653,807 € 652,931 € 650,611 € 647,596 € 641,413 € 637,925 € 636,667 € 636,435 € 632,810 € 632,246 € 626,436 € 625,012 € 621,884 € 620,437 € 619,648 € 615,796 € 609,931 € 609,030 € 605,504 € 604,547 € 594,500 € 594,500 € 593,960 € 592,475 € 589,622

Sold Lots

Auction Turnover

Country of Birth

Rank

Artist WU Chengwei (1973) LIANG Wenbo (1956) SCHUTZ Dana (1976) WANG Guanjun (1976) WALKER Kelley (1969) ANDERSSON Karin Mamma (1962) LIU Jiutong (1977) ALYS Francis (1959) TU Hongtao (1976) YIADOM-BOAKYE Lynette (1977) CHEN Ren (1963) MOSHIRI Farhad (1963) WARREN Rebecca (1965) QIU Xiaofei (1977) SZETO Lap (1949) QIU Zhijie (1969) JOHNSON Rashid (1977) BESHTY Walead (1976) SHI Liang (1963) MCCARTHY Paul (1945) LI Yuandong (1964) CHEN Zhiguang (1963) YU Shui (1955) JI Dachun (1968) DELVOYE Wim (1965) KUITCA Guillermo David (1961) MENG Xiangshun (1956) SAITO Makoto (1952) KOSUTH Joseph (1945) MO Yan (1955) SANCHEZ Tomás (1948) XUE Song (1965) ZHANG Li (1958) BRANDT Nick (1966) LIN Rongsheng (1958) LIU Ergang (1947) BOVE Carol (1971) WU Guannan (1950) RONDINONE Ugo (1964) HAMMOND Bill (1947) HUME Gary (1962) PENG Si (1980) LI Siyun (1969) SONG Yulin (1947) HE Shuifa (1946) ZHAN Shan (1964) XING Dong (1962) CHAN Wallace (1956) STORRIER Timothy Austin (1949) BI Jianxun (1962)

4 4 5 6 5 9 14 18 12 10 1 7 7 15 14 28 15 23 7 12 18 1 61 29 22 10 5 7 23 27 10 24 7 37 28 101 8 88 17 22 17 9 2 67 33 1 1 1 33 6

page 57

Top Hammer Price € 375,720 € 452,200 € 364,650 € 473,200 € 208,404 € 566,151 € 99,907 € 218,789 € 124,215 € 141,636 € 733,460 € 212,490 € 378,176 € 331,030 € 333,200 € 167,300 € 118,050 € 61,990 € 396,990 € 472,720 € 154,830 € 662,480 € 61,516 € 59,450 € 180,525 € 139,270 € 369,300 € 254,835 € 120,000 € 52,546 € 161,260 € 110,025 € 360,300 € 43,518 € 77,285 € 20,349 € 200,961 € 47,560 € 106,369 € 168,560 € 412,046 € 136,735 € 344,810 € 103,074 € 214,200 € 594,500 € 594,500 € 593,960 € 216,607 € 248,640

© artprice.com 1987-2014 - www.artprice.com

201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250

page 58

KOR DE CN CN SWE USA CN CN DE GB GB CN CN TAI CN GB CN CN CN CN USA CN CN ID KOR CN USA DE CN BRE CN CN BE CN CN USA IT DE CN CN FR TAI USA JAP CN CA BE FR CN CN

€ 587,207 € 585,557 € 584,136 € 581,780 € 578,075 € 572,702 € 572,227 € 567,115 € 563,378 € 561,577 € 559,903 € 558,816 € 558,060 € 557,732 € 554,248 € 550,251 € 547,185 € 540,803 € 534,586 € 533,724 € 533,403 € 532,400 € 531,823 € 526,796 € 525,138 € 523,927 € 523,497 € 522,728 € 522,690 € 521,565 € 516,495 € 514,911 € 509,676 € 508,332 € 507,102 € 507,093 € 505,190 € 503,547 € 503,496 € 503,472 € 502,834 € 498,589 € 497,705 € 497,080 € 495,739 € 495,506 € 493,300 € 492,429 € 491,122 € 490,770

Sold Lots

Auction Turnover

Artist KIM Hong-Joo (1945) GENZKEN Isa (1948) MAO Tongqiang (1960) WANG Yin (1964) LIDEN Klara (1979) SALLE David (1952) RAN Jinsong (1963) PENG Wei (1974) IMMENDORFF Jörg (1945-2007) WHITEREAD Rachel (1963) OPIE Julian (1958) CHEN Ke (1978) CHAO Hai (1955) YE Ziqi (1957) CHEN Yiming (1951) HOUSEAGO Thomas (1972) XU Mangyao (1945) YANG Shaobin (1963) MI Qiaoming (1986) HAO Liang (1983) LACHAPELLE David (1968) WANG Chuanfeng (1967) LE Zhenwen (1956) MANTOFANI Rudi (1973) SUH Do Ho (1962) YANG Jiechang (1956) VENA Ned (1982) RICHTER Daniel (1962) HE Jialin (1961) OS GEMEOS (1974) XIA Xing (1958) GUAN Jun (1964) BRUYCKERE de Berlinde (1964) SU Xinping (1960) SU Baijun (1951) QUAYTMAN Rebecca (1961) PALADINO Mimmo (1948) FETTING Rainer (1949) ZENG Laide (1955) QIU Deshu (1948) PASQUA Philippe (1965) YANG Shihong (1947) SEEN (1961) TAKANO Aya (1976) CHEN Shuzhong (1960) WALL Jeff (1946) SCHUITEN François (1956) TEXIER Richard (1955) SHI Dawei (1950) WANG Yuqi (1958)

28 9 2 6 7 20 6 12 77 10 52 11 4 6 9 9 8 6 5 6 36 1 23 12 3 13 16 30 21 10 3 44 2 5 28 3 57 37 14 13 54 18 21 19 11 6 26 18 65 1

Top Hammer Price € 102,000 € 255,000 € 574,560 € 142,725 € 406,759 € 215,847 € 136,010 € 178,500 € 153,439 € 312,100 € 60,595 € 110,492 € 384,320 € 211,310 € 178,350 € 164,076 € 144,240 € 302,656 € 144,120 € 199,815 € 64,999 € 532,400 € 147,250 € 284,490 € 470,300 € 119,600 € 74,730 € 135,000 € 85,608 € 87,885 € 330,820 € 120,600 € 259,996 € 251,370 € 120,200 € 291,240 € 106,369 € 75,000 € 68,266 € 139,473 € 90,277 € 61,509 € 80,619 € 191,040 € 133,975 € 472,119 € 30,000 € 433,050 € 35,336 € 490,770

© artprice.com 1987-2014 - www.artprice.com

251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300

Country of Birth

Rank

Top 500 artists

YU USA CN USA BRE TUR AT USA CN GB JAP CN USA CN USA USA DE GB CN FR AT CN BRB CN USA CN CN GB CN RUS CN USA CN IRQ RUS CN KOR USA CN USA CN DK CN CN CN CN CN CN AU USA

€ 477,350 € 472,696 € 472,672 € 468,102 € 467,883 € 464,884 € 462,881 € 462,561 € 462,264 € 461,157 € 461,042 € 460,389 € 459,884 € 459,491 € 458,403 € 458,138 € 457,893 € 455,580 € 454,560 € 454,500 € 452,979 € 452,780 € 452,188 € 450,183 € 449,621 € 448,020 € 446,880 € 442,215 € 441,880 € 439,383 € 438,067 € 434,338 € 432,552 € 432,392 € 431,008 € 430,470 € 419,264 € 418,061 € 418,042 € 416,658 € 416,191 € 415,653 € 411,963 € 411,024 € 410,964 € 409,755 € 408,424 € 406,671 € 404,385 € 403,744

Sold Lots

Auction Turnover

Country of Birth

Rank

Artist BILAL Enki (1951) HALLEY Peter (1953) LIU Qinghe (1961) NOLAND Cady (1956) MEIRELES Cildo (1948) TOLON Canan (1955) WURM Erwin (1954) WILEY Kehinde (1977) RUAN Rongchun (1950) BRAAQ (1951-1997) SENJU Hiroshi (1958) TANG Zhigang (1959) FISCHL Eric (1948) NIE Ou (1948) GATES Theaster (1973) FAIREY Shepard (1970) BALKENHOL Stephan (1957) REES Dan (1982) KE Liang (1949) SFAR Joann (1971) HELNWEIN Gottfried (1948) ZHOU Song (1982) BICKERTON Ashley (1959) YANG Liqi (1979) PRUITT Rob (1965) SUN Xiaoyun (1955) ZENG Chuanxing (1974) MARTIN Jason (1970) WANG Shengyong (1971) FAIBISOVICH Semyon (1949) XIA Xiaowan (1959) SMITH Josh (1978) CHEN Yuming (1958) ALSOUDANI Ahmed (1976) GURYANOV Georgy (1961-2013) LOU ZhengGang (1966) KANG Hyung-Koo (1954) LUND Israel (1980) ZHENG Baichong (1945) PIERSON Jack (1960) MAO Xuhui (1956) ELIASSON Olafur (1967) JIAO Xingtao (1970) ZHANG Yibo (1966) DING Fang (1956) CHEN Yupu (1946) TANG Zheming (1970) WANG Guangle (1976) ONUS Lin (1948-1996) ITO Parker (1986)

19 18 21 3 17 10 25 13 2 28 23 6 15 64 8 121 42 11 1 31 23 2 7 44 7 60 11 15 14 5 9 25 14 4 5 2 4 7 41 19 8 21 3 6 8 39 8 5 11 11

page 59

Top Hammer Price € 129,000 € 74,430 € 73,780 € 305,298 € 164,076 € 91,900 € 109,215 € 83,869 € 423,720 € 66,880 € 208,428 € 161,772 € 185,325 € 59,535 € 104,202 € 52,000 € 63,821 € 70,908 € 454,560 € 42,500 € 83,363 € 236,600 € 134,514 € 36,890 € 187,100 € 29,725 € 115,934 € 62,420 € 92,742 € 120,000 € 154,700 € 44,430 € 80,444 € 236,059 € 185,581 € 224,770 € 171,936 € 94,162 € 49,686 € 111,870 € 115,353 € 84,245 € 381,440 € 116,620 € 336,280 € 58,900 € 85,816 € 157,563 € 230,111 € 54,535

© artprice.com 1987-2014 - www.artprice.com

301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350

page 60

FR CN CN CN CN SUD CN CN CN DE CN IR CN USA ARG DE CN CN USA CN CN CN IN CN CN CN USA CN PR USA CN USA USA CN USA CA CN CN USA CN CN GB SAU CN CN USA USA CN USA FR

€ 403,688 € 402,119 € 400,669 € 400,276 € 397,346 € 396,202 € 396,113 € 393,892 € 393,846 € 393,642 € 392,099 € 392,081 € 391,910 € 389,959 € 388,484 € 382,266 € 381,857 € 380,598 € 378,197 € 377,347 € 376,039 € 373,850 € 372,533 € 372,203 € 370,403 € 369,315 € 367,982 € 367,390 € 366,888 € 365,790 € 365,518 € 363,897 € 361,759 € 360,146 € 352,351 € 350,386 € 349,723 € 348,266 € 348,033 € 347,090 € 346,730 € 345,761 € 345,399 € 341,196 € 340,367 € 337,125 € 336,973 € 336,280 € 335,717 € 335,100

Sold Lots

Auction Turnover

Artist JENKELL Laurence (1965) HE Jianning (1960) ZHANG Jian (1972) HUANG Dan (1979) ZHAO Man (1976) ALEXANDER Jane (1959) WEI Jia (1975) JIANG Ji'an (1967) LI Laoshi (1957-1996) TILLMANS Wolfgang (1968) YAO Mingjing (1959) BANISADR Ali (1976) YUAN Gong (1960) SULLIVAN Ryan (1983) CORDERO Horacio (1945-2014) MEESE Jonathan (1971) WANG Tiande (1960) YIN Zhaoyang (1970) WOODMAN Francesca (1958-1981) XIE Tianci (1948) LI Zhengzheng (1974) JIANG Huan (1964) SHAW Raqib (1974) ZHU Penggao (1958) SONG Yanjun (1976) ZHANG Fujun (1960) The Bruce High Quality Foundation (2004) QIU Hanqiao (1958) PEREZ Enoc (1967) ELROD Jeff (1966) SUN Liang (1957) DUNHAM Carroll (1949) BAECHLER Donald (1956) WEI Xiaorong (1957) FRAZIER Luke (1970) GOLDSTEIN Jack (1945-2003) HU Yongkai (1945) FANG Chuqiao (1953) GALLAGHER Ellen (1965) JUN Shou (1961) SHU Qun (1958) SCOTT-DOUGLAS Hugh (1988) GHAREM Abdulnasser (1973) XIAO Huirong (1946) HUANG Yihan (1958) HOLZER Jenny (1950) HODGES Jim (1957) CAO Yong (1963) HUBBARD Alex (1975) RANCINAN Gérard (1953)

12 6 10 19 19 5 10 6 9 32 23 4 3 7 2 48 16 8 11 24 7 2 4 7 8 12 8 3 14 5 6 5 50 25 18 7 51 25 2 2 2 10 4 2 5 19 7 1 5 8

Top Hammer Price € 207,000 € 336,280 € 190,400 € 33,299 € 105,480 € 347,712 € 115,519 € 166,600 € 78,606 € 41,101 € 130,130 € 200,433 € 155,350 € 111,870 € 279,794 € 78,000 € 84,070 € 105,380 € 103,375 € 29,725 € 73,780 € 204,170 € 287,316 € 77,285 € 153,790 € 48,960 € 261,030 € 188,320 € 126,531 € 124,083 € 141,960 € 232,992 € 27,621 € 96,240 € 236,002 € 200,961 € 33,292 € 59,450 € 328,185 € 228,190 € 192,160 € 53,681 € 326,070 € 264,908 € 118,900 € 104,412 € 148,260 € 336,280 € 94,544 € 260,000

© artprice.com 1987-2014 - www.artprice.com

351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400

Country of Birth

Rank

Top 500 artists

CN CN CN CN IT TUR USA DE CN GB PT JAP CN RUS THA BE DE JAP ESP RUS CN POL CN CN ESP FR IR RUS CN CN USA USA CN CN SWE CN CN CN CN CN CN USA USA CN CN CN USA IN KE CA

€ 332,920 € 332,840 € 332,784 € 332,061 € 332,033 € 330,376 € 329,431 € 328,697 € 328,360 € 326,507 € 325,948 € 323,261 € 322,350 € 322,150 € 320,068 € 315,101 € 314,169 € 313,947 € 311,757 € 310,775 € 310,419 € 310,353 € 309,847 € 309,620 € 309,452 € 308,600 € 307,897 € 305,943 € 304,720 € 304,454 € 303,052 € 302,006 € 301,916 € 301,861 € 300,182 € 300,155 € 300,123 € 297,949 € 297,640 € 297,315 € 296,854 € 296,810 € 294,155 € 293,012 € 292,388 € 291,688 € 291,303 € 291,193 € 290,497 € 290,098

Sold Lots

Auction Turnover

Country of Birth

Rank

Artist WANG Mai (1972) WANG Maofei (1969) CHEN Xinhua (1950) LI Songsong (1973) CHIA Sandro (1946) ÖNSOY Kemal (1954) SERRANO Andres (1950) WEISCHER Matthias (1973) MIAO Zaixin (1953) PERRY Grayson (1960) VASCONCELOS Joana (1971) ISHIDA Tetsuya (1973-2005) ZHU Jinshi (1954) RAZOUMOV Constantin (1974) UTARIT Natee (1970) BORREMANS Michaël (1963) DEMAND Thomas (1964) MIYAKE Ikki (1973) CABELLUT Lita (1961) PURYGIN Leonid (1951-1995) FAN Bo (1966) SASNAL Wilhelm (1972) YIN Xiong (1963) MO Ke (1949) PLENSA Jaume (1955) CRECY de Nicolas (1966) DERAKSHANI Reza (1952) NOVIKOV Timur Petrovich (1958-2002) HAN Yulong (1957) HE Baili (1945) OWENS Laura (1970) PARRINO Steven (1958-2004) WANG Keju (1956) LI Dongwei (1961) NORDSTRÖM Jockum (1963) ZHU Daoping (1949) LI Xiaogang (1958) CAI Yushui (1963) XU Zhen (1977) DANG Zhen (1973) GUAN Ce (1957) JONONE (1963) ACHEFF William (1947) SUN Weimin (1946) JIANG Guofang (1951) TANG Wei-Min (1971) MORRIS William (1957) KALLAT Jitish (1974) MUTU Wangechi (1972) POLIDORI Robert (1951)

1 58 8 4 61 19 23 10 19 12 21 2 3 63 10 7 15 2 9 13 7 19 11 2 15 38 5 12 2 16 6 6 10 27 17 50 9 10 5 15 5 36 19 9 8 11 18 6 4 21

page 61

Top Hammer Price € 332,920 € 30,635 € 84,070 € 114,180 € 36,357 € 62,543 € 109,394 € 87,388 € 96,080 € 78,773 € 69,052 € 210,000 € 190,240 € 21,000 € 95,150 € 209,244 € 79,904 € 256,041 € 65,961 € 103,818 € 226,290 € 38,256 € 107,550 € 180,150 € 189,088 € 60,000 € 166,500 € 65,851 € 164,080 € 36,236 € 189,306 € 82,761 € 61,568 € 57,072 € 257,468 € 49,077 € 180,150 € 116,620 € 76,876 € 106,470 € 131,450 € 56,000 € 37,660 € 105,688 € 131,712 € 78,540 € 58,728 € 129,312 € 119,088 € 45,000

© artprice.com 1987-2014 - www.artprice.com

401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450

page 62

IN IT CN CN DE CN CN CN CN TAI CN CN AU USA CN USA USA CN CN CN DK CN CN CN CN DE CN CN CN CN CN EGY CN USA CN USA CN CN USA CN GB CN USA CN CN CN CN PH CN DK

€ 289,827 € 288,932 € 288,493 € 288,440 € 288,094 € 287,820 € 286,193 € 285,692 € 285,404 € 284,885 € 284,510 € 283,182 € 282,480 € 282,202 € 280,961 € 280,952 € 280,568 € 280,174 € 279,838 € 279,503 € 278,899 € 278,677 € 277,447 € 276,230 € 276,139 € 275,558 € 275,522 € 275,337 € 275,270 € 270,932 € 270,325 € 270,125 € 268,668 € 266,188 € 265,421 € 265,115 € 264,560 € 264,220 € 263,801 € 263,773 € 262,808 € 262,583 € 262,539 € 259,814 € 259,086 € 258,586 € 258,414 € 258,170 € 256,479 € 256,145

Sold Lots

Auction Turnover

Artist GUPTA Subodh (1964) LO GIUDICE Marcello (1957) YANG Fudong (1971) QIN Ai (1973) RIEDEL Michael S. (1972) LIU Guang (1969) LI Qing (1981) SONG Yuming (1954) ZHANG Fei (1980) LIU Yong (1949) ZHAO Wei (1957) TAN Ping (1960) MELGAARD Bjarne (1967) CREWDSON Gregory (1962) CAI Guangbin (1962) HORN Roni (1955) THOMAS Mickalene (1971) JI Zefu (1945) SONG Dong (1966) CAI Jin (1965) KVIUM Michael (1955) SONG Kun (1977) WU Yueshi (1945) QU Zhi (1968) CHEN Liangmin (1951) ESSER Elger (1967) JIN Feng (1962) LIN Jiabing (1945) WANG Zijiao (1977) SHEN Ling (1965) LI Tianyuan (1965) AMER Ghada (1963) CAO Jun (1966) WALKER Kara (1969) LI Shuang (1957) MCGINLEY Ryan (1977) WANG Keping (1949) LI Tang (1962) MINTER Marilyn (1948) FENG Zhengjie (1968) FUSS Adam (1961) LU Hao (1969) VIOLA Bill (1951) MAN Weiqi (1954) LI Xiang (1962) GUO Shifu (1945) SHEN Shaomin (1956) CRUZ Jigger (1984) ZHENG Li (1964) JENSEN Sergej (1973)

4 14 5 6 2 3 8 20 6 7 39 5 20 26 6 15 7 4 5 7 29 6 17 1 4 18 5 7 3 7 2 9 7 9 4 38 12 4 20 16 18 6 7 13 5 23 4 9 15 4

Top Hammer Price € 107,760 € 48,804 € 112,896 € 74,209 € 181,725 € 216,180 € 73,780 € 45,258 € 92,820 € 114,168 € 47,320 € 180,150 € 35,000 € 47,996 € 84,070 € 79,254 € 59,664 € 114,095 € 103,488 € 119,700 € 37,548 € 89,175 € 83,230 € 276,230 € 102,085 € 69,008 € 105,210 € 93,520 € 96,080 € 180,450 € 240,600 € 54,742 € 57,072 € 177,912 € 192,160 € 27,000 € 77,350 € 66,055 € 27,599 € 37,769 € 54,480 € 143,400 € 115,599 € 54,694 € 90,225 € 41,615 € 107,550 € 70,560 € 69,774 € 94,653

© artprice.com 1987-2014 - www.artprice.com

451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500

Country of Birth

Rank

Top 500 artists

work by thierry Ehrmann dixit

THE ARTPRICE HEADQUARTERS

Headquarters of the Server Group and Artprice.com Saint-Romain-au-Mont-dâ&#x20AC;&#x2122;Or, Lyon - FRANCE All of the images since 1999 available at www.flickr.com/photos/home_of_chaos/ http://blog.ehrmann.org

Contemporary Art Museum

The Alchemy between the Abode of Chaos, The Server Group and Artprice The Abode of Chaos and its universe is indissociable from the incredible history of Artprice, world leader in art market information, and The server Group, historic pioneer of online databases in Europe since 1987.

bed (and filed) 110 million works of art with high definition photos - all accessible online.

One of the principal axiums of the Abode of Chaos is to regenerate the knowledge revolution that took place during the

Our visitors are always intrigued by the two faces of the Abode of Chaos. They find it hard to imagine that under the heliport there are cleanrooms with close to 900 servers distributing knowledge throughout the world on Internet via our own optical fibre networks. At the same time, on the ground and first floors, a team of nearly 90 people works round-the-clock in relay to steer and direct the major flows of information we produce and disseminate on Internet worldwide.

A little higher, at the heart of the central building, the catalogue and manuscript rooms - with more than 290,000 auction catalogues from 1700 to the present day - provide the material for our researchers and editors to compile and scan contributing to what is now recognised as the largest source of art market history on the planet. So far we have written more than one million biographies and descri-

European Renaissance, and particularly in Lyon, a major city at the time. In my view, the European Renaissance was codependent with one invention above all - that of printing - and the new horizons of knowledge that this invention allowed via the dissemination of knowledge. The simple fact of being able to duplicate information (mechanically) contributed to the emergence of humanist thought: writers and scholars could at last compare their ideas, refer to ancient manuscripts, publicise their different philosophical heritages and expound their personal visions to a relatively large audience. This technical revolution was accompanied by a â&#x20AC;&#x153;boomâ&#x20AC;? in travelling and expeditions with the sole aim of discovering the world: in this way, knowledge began a rapid horizontal, geographical and missionary expansion; thinking was focused on progress, the motor of a purely Western history.

64

THE ARTPRICE HEADQUARTERS

This era, initiated by Gütenberg, is coming to an end today at a time when the Earth is entirely covered with communication networks reaching into its most hidden corners via Internet. In this contemporary schema, I see the Abode of Chaos as a Global Internet eXchange (gix), a genuine modal hub of a knowledge grid disseminating outwards through its network.

ment as a sculptor and author over the last 25 years with my role as founder of Artprice, The server Group and its 12 subsidiaries, is often criticised, sometimes violently, by a conservative and conformist business community. However this duality does allow me - assisted by the dream-like atmosphere of the place - to host the most learned academics and experts capable of wining in any economic system, and on

The Abode of Chaos houses Artprice.com’s archives of hundreds of thousands of manuscripts, art books and catalogues from 1700 to the present day, covering 108 million artworks.

The Abode of Chaos is a “state within a state”, a veritable kernel of the Republican system.

The duality of my existence as a founder of The server Group and Artprice (listed on the Paris Euronext Premier Marché) and my life over the last 25 years as an artist is reflected and complemented by the duality of the place. The “Organe” Museum, for its part, is a place where the public are welcome - an open-air free museum visited each year by 120,000 people who come to see the Demeure’s collection of thousands of art works, but also to discover how art lives with proteiform 21st century industry.

The Abode of Chaos is a place where scholars work; but it is also my personal residence and that of my clan. Without any concession, I mark each stone, each roof, each floor, each tree of my works in accordance with the axium of 09/12/1999.

This duality that confronts my commit-

any continent. The impressive number and diversity of the nationalities on the site bears witness to this new digital Babylon that the Demeure du chaos has evolved into.

The incisive and pertinent remarks of the French Financial Markets Authority (AMF) in our now famous reference documents for the regulated market translate the evolution of my artistic thought and its mutation into action in the economic sphere. Certain regulated agreements between the Abode of Chaos and the group have become self-fulfilling prophecies where the power of art invites itself into the world of finance. My dual approach provides both spiritual enrichment for the Abode of Chaos - and material: our 18,000 shareholders…

How can one build, from nothing, Artprice, a mythic company providing copy for 90� of the global art market 65

press - without being oneself, both in mind and in body, an artist with a passion for art history?

The Abode of Chaos is a redoubtable war machine, a Trojan horse at the heart of the financial markets. It produces and diffuses unimaginable quantities of knowledge about the art market, law, the economy and science, while day and night, our other artists occupy 9,000 m2 to (re)write - with our artistic viewpoint - the “history of the world without subtext”.

Our radical deconstruction of the traditional barrier between living space and work space and of furniture in these spaces has had an impact on the 2,500 sq.m of offices where The server Group, its subsidiaries and Artprice are resident. This humanist approach is shared by the artists and employees of the two Groups.

The Abode of Chaos has two faces: that of Alchemy (The Spirit of the Lizard) and that of hypermodernity. But it also has two incarnations: physical embodiment, with its 3,123 works (sculptures, paintings, installations) engraved in its flesh, and its “double” on Internet with more than 1,200,000 sites presenting photos and videos taken during visits to the Abode of Chaos. In November 2007, if you search Google with “Abode of Chaos” and “Abode of Chaos”, you get 1,413,000 results leading to millions of photos and videos of the Abode of Chaos.

In fact, I am convinced that the Internet is a metaphor for the Divine, if not, for God

him /her/itself. The dry voice that illuminates the Abode of Chaos bestows the gift of ubiquity between the physical world and the world of ideas.

When I began using Internet in 1987, we were less than 50,000 users worldwide; but I was convinced we were on the brink of a major revolution that would radically alter the history of human progress.

Internet has been my universe for 21 years and I founded Net Nobility (QED Time Magazine) so that - in accordance with the will of the pioneers - there should remain forever this Internet which, for me, is the natural progeny of Proudhon and Bakunin.

Here at the Abode of Chaos we are in the process of rebuilding the great library of Alexandria!

“Memory of the world” according to Philippe Quéau of UNESCO, the Internet ignores frontiers and destroys in its passage all regimes hostile to the free circulation of information. This dematerialisation by Internet of our old world and of its economy is creating a digital empire on the cusp of the 21st century in the form of an enormous and chaotic “glocal” village (global and local) that would have been very much to the taste of the sociologist Marshall Mc Luhan.

«Les Cages de l’Enfer» (Hell’s cages)

Thus, education, research, trade, the economy and the general organisation of in66

THE ARTPRICE HEADQUARTERS

formation will experience - in a very short period of time - unimaginable changes.

Never in the history of mankind has a technical revolution had such an impact on people’s lives in such a short period and so ubiquitously around the world.

Thus more than 230 nation-states, each with 2 to 3 centuries of accumulated legislation and regulatory frameworks are being overshadowed by a technical revolution that abolishes territories and disregards time. This mutation from territorial to cyberspace constitutes one of the major shocks to human organisation and it is particularly important that we should understand its significance as it is clearly leading to a major transformation of the very nature of our perceptions and of our social relations.

In the frenetic world of Internet and the digital revolution, companies must be much more flexible, capable of changing their profiles literally overnight in order to adapt to new and draconian economic conditions. According to certain English language media publicatins, the Abode of Chaos, headquarters of The server Group and Artprice, is the ultimate form of an evolution towards a more cerebral economy, so to speak, in which the product is access to time and to intellectual activity.

Everyday, the Abode of Chaos and its collection of works take us into another world that is much more cerebral and immaterial, a world of platonic forms, of ideas, of images and of archetypes, of concepts and of scenarios. A world governed by the logic of access to knowledge and by the logic of the Internet network. Ideas become the raw material of economic activity, and the ultimate goal is universal knowledge via information servers.

Let us not forget that the relatively modern notion of “property”, characterised by private possession, exclusivity and exchange values was one of the central institutions of the industrial era.

After five hundred years of hegemony, this vision of civilisation based on commerce between buyers and sellers of property has been subjected to a radical deconstruction

which fits in with the conceptual axium that I wrote on 9 December 1999 about the Abode of Chaos.

The new horizon of the era is defined by the logic of access to knowledge by servers - which leads us to rethink economic relations, political action and our perception of our own identity such as it emerges from the depths of our consciousness.

The Abode of Chaos is a medieval town where, deep within its bowels, we are working to modify the vision of the world. A well-known financial analyst at Goldman Sachs once summarised the whole thing very succinctly : “There is Alchemy everywhere, even in your shares which have posted the strongest growth of all listed companies on all markets. You have created an Alchemy between your artistic madness and your vision of industry in the third thierry Ehrmann, sculptor millennium within The server Group”. “With Artprice and its 1,300,000 subscribers, you have pushed the entire art market into hypermodernity by dematerialising it.”

When our economic visitors leave the Abode of Chaos somewhat shaken by this dual vision of our activities, I can’t resist telling them: “you ain’t seen nothing yet!”

What we will experience over the next few years will far exceed many of the existing anticipatory or science fiction writings on the matter.

To better summarize my dual reasoning as an artist and knowledge builder, I would quote my old master Pythagoras, the first philosopher for whom everything was numbers except for the essences which are human emotions that are unquantifiable, inexpressible and number defying… thierry Ehrmann 67

«The Nail»

by thierry Ehrmann

Steel sculpture, 9 m. high

68

LE SIÈGE SOCIAL D’ARTPRICE

L’Alchimie entre La Demeure du Chaos, groupe Serveur et Artprice L’univers de La Demeure du Chaos est indissociable de l’incroyable histoire d’Artprice, leader mondial de l’information sur le marché de l’art et du Groupe Serveur, pionnier historique en Europe des banques de données sur Internet depuis 1987.

Nos visiteurs sont toujours interpellés par le double visage de La Demeure du Chaos. Il est dur pour eux d’imaginer que, sous l’héliport, il y a des salles blanches machines où opèrent près de 900 serveurs qui distribuent le savoir dans le monde par Internet à travers nos propres fibres optiques. De même, au rez-de-chaussée et au premier étage, près de 90 personnes se relaient jour et nuit sans aucune interruption pour piloter et aiguiller à travers le monde, les grands flux d’informations que nous produisons et faisons transiter par l’Internet.

Un peu plus haut au cœur du bâtiment central, les salles de catalogues et manuscrits, avec plus de 290 000 catalogues de ventes de 1700 à nos jours, accueillent nos chercheurs et rédacteurs qui les commentent et les numérisent pour former ce qui est désormais reconnu comme le plus grand fonds de l’histoire du marché de l’art. Ainsi, nous avons écrit plus d’un million de biographies et commenté puis répertorié, 110 millions d’œuvres d’art avec leurs photos haute définition accessibles par l’Internet.

Un des postulats de La Demeure du Chaos est de reformer cette révolution du savoir que l’on a connue pendant la Renaissance européenne et notamment à Lyon, qui fût une grande métropole. La Renaissance européenne est, selon moi, inséparable d’une invention, celle de l’imprimerie, et du nouveau paradigme du savoir que

celle-ci permit, sa diffusion. C’est la possibilité de dupliquer mécaniquement des informations qui a favorisé l’émergence de la pensée humaniste : l’érudit pouvait enfin comparer les idées, se référer à de lointaines sources manuscrites, faire connaître l’héritage philosophique et propager sa vision individuelle à une relative grande échelle. A cette révolution technique se joignit l’essor des voyages de découverte : le mouvement de la connaissance est alors horizontal, géographique, missionnaire; la pensée s’oriente vers le progrès, moteur d’une histoire purement occidentale.

Cette époque, initiée par Gütenberg, s’achève aujourd’hui, au moment où la terre se voit entièrement recouverte de réseaux d’information, arpentée dans ses moindres recoins par Internet où La Demeure du Chaos, devient pour moi un

Global Internet eXchange (gix), véritable nœud modal d’un savoir en grid où se diffuse la connaissance à travers le reseau.

La Demeure du Chaos est un état dans l’état, un véritable kernel du système républicain.

La dualité entre ma qualité de fondateur du Groupe Serveur, d’Artprice, qui est cotée en bourse sur le premier marché réglementé, et ma vie de plasticien depuis 25 ans, rejoint l’autre dualité qui est le lieu. Le 69

«Hoc Signo Vinces» Installation of 9 monumental sculptures (3 x 3 m), a collective work created in situ (2009/2012) at the Abode of Chaos by Christian Maas and thierry Ehrmann

musée l’Organe est, quant à lui, un établissement recevant le grand public, un musée à ciel ouvert et gratuit ou transitent chaque année 120 000 visiteurs qui viennent voir les milliers d’œuvres de la Demeure, mais aussi découvrir comment l’art vit avec l’industrie protéiforme du XXIème siècle.

La Demeure du Chaos est le lieu du labeur où travaillent les érudits, mais aussi ma résidence personnelle et celle de mon clan.

Sans aucune concession, je marque chaque pierre, chaque toit, chaque sol, chaque arbre, de mes œuvres, comme conformément au postulat du 09/12/1999.

Cette dualité qui confronte mon engagement de sculpteur plasticien et auteur depuis 26 ans, à ma transversalité de fondateur d’Artprice, du Groupe Serveur et de ses 12 filiales, est à l’origine de critiques parfois violentes d’un patronat conservateur et étriqué mais elle me permet, en échange, par l’atmosphère onirique du lieu, d’accueillir des scientifiques de premier plan et mutants capables d’affronter n’importe quel système économique quelque soit le continent. Le nombre impressionnant de nationalités diverses et variées témoigne de cette nouvelle Babylone du numérique qu’est La Demeure du Chaos.

Les remarques incisives et pertinentes de l’Autorité des Marchés Financiers dans nos désormais célèbres documents de

référence pour le marché réglementé, traduisent l’évolution de ma pensée artistique et du passage à l’acte dans le monde économique. Certaines conventions réglementées entre La Demeure du Chaos et les groupes deviennent des prophéties autoréalisantes où le pouvoir de l’art s’invite dans le monde de la finance. Ma démarche duale enrichit de manière spirituelle La Demeure du Chaos, et de manière matérielle nos 18 000 actionnaires…

Comment peut-on bâtir ex-nihilo Artprice, société mythique qui source 90% de la presse mondiale sur l’information du marché de l’art, sans être soi-même, dans sa chair et son âme, un plasticien passionné d’histoire de l’art ?

La Demeure du Chaos est une redoutable machine de guerre, un cheval de Troie au cœur des marchés financiers. Elle produit et diffuse des sommes de connaissances inimaginables sur le marché de l’art, du droit, de l’économie, de la science pendant que jours et nuits, nous autres plasticiens, intervenons sur les 9 000 m2 pour (ré)écrire avec notre regard d’artiste, l’histoire du monde dé-légendée.

Nos interventions radicales sur la déconstruction de l’habitat professionnel et personnel ainsi que du mobilier a impacté les 2 500 m2 de bureaux où travaillent le Groupe Serveur, ses filiales, et Artprice.

Cette démarche humaniste est partagée 70

LE SIÈGE SOCIAL D’ARTPRICE

entre les artistes et les collaborateurs des deux groupes.

La Demeure du Chaos possède deux visages : celui de l’Alchimie (L’Esprit de la Salamandre) et celui de l’hyper modernité. Mais elle a aussi deux incarnations : celle de l’incarnat physique, avec ses 4 509 œuvres (sculptures, peintures, installations) gravées dans sa chair, avec son double sur Internet où plus de 1 800 000 sites/homepage/blog restituent en photos ou en videos tous les regards du monde sur les entrailles de La Demeure du Chaos lors de leurs visites. Sur Google, en novembre 2007, sur les requêtes “Demeure du Chaos” et “Abode of Chaos”, il sort 1 413 000 résultats pointant sur des millions de photos et vidéos de La Demeure du Chaos.

En effet, je suis persuadé que l’Internet est la métaphore du Divin, si ce n’est le Divin lui-même. La voix sèche qui illumine La Demeure du Chaos lui donne le don d’ubiquité entre le monde physique et celui des idées.

Lorsque j’ai démarré Internet en 1987, nous étions moins de 50 000 dans le monde mais j’avais la foi dans la plus grande révolution de toute l’histoire du progrès humain. Internet est mon univers depuis 21 ans où j’ai fondé Net Nobility (cf Time Magazine) pour que demeure toujours, par la volonté des pionniers, cet Internet qui est pour moi, le fils naturel de

Proudhon et Bakounine.

Nous sommes en train à La Demeure du Chaos de participer à la reconstruction de la bibliothèque d’Alexandrie de nos pères.

Mémoire du monde selon Philippe Quéau de l’UNESCO, Internet se joue des frontières, du pouvoir des nations et abolit au passage tous les régimes hostiles à la libre circulation de l’information. Cette dématérialisation de notre ancien monde et de son économie par Internet crée son empire numérique sur le parvis du XXIème siècle sous la forme du grand village glocal (globale et locale) et chaotique, cher au sociologue Marshall Mc Luhan.

Ainsi, l’éducation, la recherche, le commerce, l’économie et l’organisation générale des informations vont connaître, en un laps de temps extrêmement réduit, des mutations inimaginables. Jamais dans l’histoire de l’humanité, une révolution scientifique n’a impacté autant de gens, en aussi peu de temps, en tout endroit du monde.

Ainsi, plus de 230 états nations qui ont chacun 2 à 3 siècles de cadre législatif et réglementaire s’annihilent devant une révolution scientifique qui abolit le territoire et le temps. Ce passage du territoire au cyber espace constitue un des grands bouleversements de l’organisation humaine, et il est d’autant plus important d’en comprendre le sens qu’il entraîne une transformation 71

majeure de la nature même de nos perceptions et de nos rapports sociaux.

Dans l’univers effréné de l’Internet et de la révolution numérique, les entreprises doivent se montrer beaucoup plus protéiformes, capables de changer de profil en un clin d’œil pour s’adapter à de nouvelles conditions économiques draconiennes.

La Demeure du Chaos, quartier général du groupe Serveur et d’Artprice, est selon la presse économique anglo-saxonne une forme d’aboutissement ultime d’une économie plus cérébrale, pourrait-on dire, dont l’objet est l’accès au temps et à l’activité de l’esprit.

Tous les jours, par La Demeure du Chaos et ses œuvres, nous entrons dans un tout autre monde, beaucoup plus cérébral et immatériel, un monde de formes platoniciennes, d’idées, d’images et d’archétypes, de concepts et de scénarios. Un monde gouverné par la logique de l’accès au savoir et du réseau Internet, ce sont les idées qui deviennent la matière première de l’activité économique, et le but suprême est la connaissance universelle à travers les serveurs d’information.

N’oublions pas que la notion moderne de propriété, caractérisée par la possession privée, l’exclusivité et l’échange marchand, était une des institutions centrales

de l’ère industrielle. Au bout de cinq cents ans d’hégémonie, cette vision de la civilisation reposant sur l’échange marchand entre vendeurs et acheteurs de propriété est soumis à une déconstruction radicale qui rejoint le postulat conceptuel que j’ai écrit le 9 décembre 1999 de La Demeure du Chaos. Le nouvel horizon de l’époque est défini par la logique de l’accès au savoir par les serveurs, qui nous amène à repenser les rapports économiques, l’action politique et la perception de notre propre identité telle qu’elle émerge du plus profond de la conscience humaine.

La Demeure du Chaos est une cité médiévale où, dans l’ombre de nos entrailles, nous travaillons à modifier la vision du monde.

Un célèbre analyste de Goldman Sachs résume fort bien le tout : “L’Alchimie est présente partout, même dans vos actions en bourse qui ont connu la plus forte croissance, toutes sociétés confondues. Vous avez créé une Alchimie entre votre folie artistique et votre vision de l’industrie du troisième millénaire dans groupe Serveur”. “Avec Artprice et ses 1 300 000 abonnés, vous faites basculer le marché de l’art dans l’hyper modernité en le dématérialisant”.

Quand nos visiteurs économiques repartent ébranlés par cette vision duale de nos groupes dans La Demeure du Chaos, je ne peux m’empêcher de leur dire: vous n’avez encore rien vu ! Ce que nous allons vivre dans les toutes prochaines années dépassera de très loin tous les écrits d’anticipation et de science fiction…

Pour comprendre la dualité de ma démarche de plasticien et de bâtisseur du savoir, je reprendrai la citation de mon vieux maître Pythagore le premier des philosophes pour lequel tout est nombre, à l’exception des essences que sont les émotions humaines non quantifiables, indicibles et se jouant des nombres. thierry Ehrmann 72

French-English Collector, the book of the decade (1999/2013)

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504 pages - 4.5 kg 11.8 in. x 11.8 in and 1.97 inch-thick Edition bound

504 pages that will take you deep into the secretive and breathtaking realm of the Abode of Chaos. Thousands of never before seen photographs, video stills, illustrations, handwritings, sketches, 3D modelling images, plans, maps and drawings.

504 pages - 4,5 kg format30 x 30 cm 5 cm d’épaisseur dos cousu

504 pages qui vous font plonger dans l’univers secret et vertigineux de la Demeure du Chaos. Des milliers de photos, textes, croquis, plans 3D, visuels intimes, jamais vus du public. Ce travail démentiel a demandé près de 18 mois de création, de recherches, d’archives, d’images censurées.

Founder and CEO : Thierry Ehrmann A limited company with capital of € 6,405,451 - RCS Lyon 411 309 198 - BP 69 - F 69270 St-Romain-au-Mont-d’Or - France Tel + 33 (0)4 78 22 00 00 - Fax + 33 (0)4 78 22 06 06 Publication Director: thierry Ehrmann Editorial Director: Nadège Ehrmann Writing and Editing: Artprice’s Editorial Department as well as Céline Moine Art Director: Marc del Piano, Graphic Designer: Audrey Savoye Market Analysis and Econometrics: Martin Bremond Artprice.com is listed on (SRD long only) by Euronext Paris (PRC 7478-ARTF) Artprice.com is a company of S.A.S. Capital € 63,000,000 - RCS Lyon 408 369 270 All rights reserved for all countries - © Artprice 2014

: For journalists

t data Need specific art marke for your stories?

Please contact us @a rtprice.com by email: econometrics 6 or fax: +33 (0)478 220 60 vide you We will be happy to prostatistics. with relevant data and

Copyright © Artprice.com 1987/2013 - Indexed auction records are based on Fine Art and Design cataloged auctions (paintings, sculptures, drawings, photographs, prints, watercolors, etc) recorded by artprice.com, except antiques and furniture. Artprice declines all responsibility for any use made of the provided information. Any reproduction or representation of all or part of the information or graphics by any means whatsoever that does not include a mention stating source © Artprice.com or copyright © Artprice is illegal and represents a breach of copyright.

To the knowledge of the publisher, as this document lists no repurchases, the works listed in this book were actually sold at the prices indicated. Auction houses and auctioneers were questioned to this effect. The editor declines any responsibility for uses made of this publication. The prices indicated may in no way be considered as professional appraisals and have a purely indicative value. No data contained in this publication may be reproduced, transcribed or indexed, whether by means of analogical or digital storage systems, nor distributed via electronic, mechanical or other means without the prior written agreement of the copyright holder. Any unauthorised reproduction, in whole or in part, by any means whatsoever, of the data contained in the present publication is illegal and constitutes a forgery (law of 11 March 1957 art. 40/41 Penal code art. 425). This is a non contractual document - Artprice S.A. company reserves the right to modify any data or products characteristics.

To fulfill our clients’ passion for art, access to our databases is unlimited Auction records, upcoming auctions, artists’ biographies, signatures, indexes, Artprice Indicator. All our subscriptions give an unlimited access to our databases and images.

T H E W OR L D L EA D ER I N ART MARKET I N F ORMAT I ON T 00 800 2780 0000 (toll free number) | The Universe of Artprice on: web.artprice.com/video Artprice.com is listed on Eurolist (SRD Long Only) by Euronext Paris (PRC 7478-ARTF)

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