Studies show that—despite the rapid appreciation in value of works by Lucien Smith, Oscar Muillo, Israel Lund, Alex Israel and others, and the fact that dealers are selling these works months after purchase and barely a year after their creation for up to ten times what they were once worth—the art market is no more Read More
Most of the children involved with the Department of Homeless Services have surely never imagined a place like the Brant Foundation Art Study Center in Greenwich, Connecticut, the massive estate that contains a barn-turned-art museum, a lush green polo field, and masterful sculptures dotting the property—not to mention the Jeff Koons Puppy across the street. Read More
Neuehouse, the members-only workspace and host to many a screening, press conference and panel discussion, will expand to Los Angeles early next year, the company announced today. In what’s the first expansion since the flagship opened in its sumptuous Flatiron headquarters—a hip mahogany-lined club room that’s serves as low-key office space for a “curated” group of high-paying habitués—NeueHouse will Read More
Kenny Schachter is a London-based art dealer, curator and writer. His writing has appeared in books on architect Zaha Hadid and artists Vito Acconci and Paul Thek, and he is a contributor to the British edition of GQ. The opinions expressed here are his own.
The current resale market for contemporary art has the attention span of a teenager. To switch metaphors, it’s a nuclear hot potato. How many of today’s 25 hottest will be tomorrow’s stone coldest? It’s always in the back of my mind that the pretty young painting things of today can suddenly become progeroid, stricken by a premature aging ailment in their early market lifespans.
THE UPPER EAST SIDE ART SCENE sure is getting wild. Long the preserve of the staid and genteel (old masters, modern masters and the like), the neighborhood has recently been seeing more adventurous fare. Three gallery shows that exemplify the trend—and a fourth farther uptown—are of work by artists who share elements of the same profile: the bad-boy avant-gardist with machismo to spare, rebelling against aesthetic conventions, social norms or both.
Barry Manilow and David Lee Roth—present in the form of grotesquely distorted photo collages—weren’t the only celebrities at the opening of artist Mark Flood’s career survey, “The Hateful Years,” at Upper East Side gallery Luxembourg & Dayan the other night. Cameron Diaz was on hand, and paused to pose for photographer Mary Barone (remember her people pics from the sadly now-defunct Artnet magazine?) along with Mr. Flood and the artist Dan Colen.
Examining two gum paintings by Dan Colen included in his Gagosian New York show in 2010, Times co-chief art critic Roberta Smith wrote that “you may even begin to wonder about the kind of painter Mr. Colen might become if he ever decides to grow up.” (It was a pretty scathing review and noted in passing that “juvenile nastiness… informs everything here.”)
“It’s sort of guerilla warfare,” said Vito Schnabel, the curator and art dealer.
If you haven’t already, you should head over to New York art critic Jerry Saltz’s Facebook page where the pundit has sounded off on the current Nate Lowman, Dash Snow and Dan Colen shows in Rome at the moment.
He has some concerns!