Art Basel 2014
“Capitalist Realism” is a term used some 50 years ago by German artists Manfred Kuttner (1937–2007), Konrad Lueg (1939–96), Sigmar Polke (1941–2010) and Gerhard Richter (born in 1932) to describe their work. It was a reaction to Pop from a postwar Germany divided between East and West. From happening-like shows organized in abandoned former Read More
As collectors descend on Art Basel this week, they can expect to see a fair number of Gerhard Richters. The Fondation Beyeler has a major survey of the artist’s work in series, which it is billing as the largest Richter show ever to hit Switzerland. Meanwhile, a decent number of dealers showing in the Messeplatz are bringing works by the 82-year-old artist, whose prices have soared in Read More
Jessie Washburne-Harris has become a director at Marian Goodman gallery. She started at the gallery this week, and is based in New York. “The gallery is expanding and it seemed like a great opportunity,” she told Gallerist. Ms. Goodman, who runs one of the world’s most prominent galleries and represents artists such as Gerhard Richter and Read More
It’s so rare in one’s art life to experience absolute completeness, to see every work—even if only in a single medium—by an artist. But right now, in Cologne, Germany, you can do just that with Gerhard Richter. Through May 17, Bonhams is currently hosting an exhibition of every single one of Mr. Richter’s artist books, or Künstlerbücher as they say in German. You can take a peek at them over on the artist’s remarkably comprehensive website.
Sotheby’s saw its highest-ever auction total last night during a spirited, two-hour-long postwar and contemporary sale in which auctioneer Tobias Meyer hammered $375.1 million worth of art, including buyer’s premium, a sum that peaked just over the house’s high estimate of $374.7 million for the 69 lots on offer. Fifty-eight of those works sold, for a respectable 84.1 percent sell-through rate by lot, with new artist records for a number of Abstract-Expressionists—Jackson Pollock, Franz Kline, Robert Motherwell, Arshile Gorky and Hans Hofmann—and for the 40-year-old painter Wade Guyton.
An untitled 1986 work by Gerhard Richter—an oil-on-paper work measuring about two feet by three feet—led the first Sotheby’s contemporary art sale of the fall season, bringing in $842,500, more than double its high estimate of $350,000. The sale, which took place on Friday, Sept. 21, in New York, brought in about $12.3 million, which was comfortably within its pre-sale estimate of $9.7 to 13.8 million, with 71.1 percent of lots selling.
Look at This!
At its post-war and contemporary sale on Nov. 14, Christie’s will auction off Gerhard Richter’s Prag 1883. The painting, made in 1983, comes from the collection of hedge fund maven Steven A. Cohen and is estimated “in the region of $15 million.”
The news first appeared in Carol Vogel’s column yesterday. Brett Gorvy, Christie’s Read More
This special edition of Gallerist’s “Look at This!” presents selections from Gerhard Richter’s 2011 book Patterns, which is officially being released by Distributed Art Publishers tomorrow.
To generate the images in the 488-page book, Mr. Richter took one of his 1990 abstract paintings and digitally dissected it. First he cut it into two separate strips, mirrored them and repeated them across the length of the page to produce two hallucinogenic waves of abstraction. Then he cut the painting into four strips and followed the same process, repeating each mirrored strip so that each of the four final resulting images are the same length. Next came divisions of eight, 16, 32, 64, 128, 256, 512, 1,024, 2,048 and 4,096. Works from that last division are simply straight horizontal lines of color, each one generated by minuscule cuts of the painting.
Christie’s announced this morning that it will have six works by Gerhard Richter at its spring postwar and contemporary sale.
The move follows Sotheby’s, which had a eight works by the artist at its contemporary sale this past fall. The eight sold for $74 million together at hammer, which means the Christie’s estimate of Read More
When someone steals a Bansky mural, who has the right to get angry? Annie Shaw contemplates the problems of authenticating Banksys. [The Art Newspaper]