It’s the middle of August, the slowest time of the year in the art world, so Larry Gagosian is probably just waking up in his mansion at Flamand’s Beach on St. Barth’s. And then here comes Ron Perelman trying to ruin his day: the billionaire investor is soldiering ahead with his lawsuit over the 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
Last June, at a dinner following a talk between Matthew Barney and Tina Brown at Kunstmuseum Basel, during that city’s annual art fair, Alexandra Chemla found herself seated with several fellow graduates of her alma mater Brown University.
“My rugby team at Harvard used to go down to the Brown campus to meet girls,” said Marc Glimcher, the president of Pace Gallery, one of the few members of the table who did not matriculate at Providence (the Observer was another). “I could sell my whole booth and it wouldn’t be as good as winning a rugby game.”
As small talk ensued, conversation centered on ArtBinder, Ms. Chemla’s startup that she founded as a 24-year-old gallery assistant at Gavin Brown’s Enterprise, after years of slaving over massive physical binders full of printouts of art.
Koons Kountdown 2014
Only the conversation topic of Andy Warhol could lure to East Hampton, on a Sunday morning no less, such a stacked panel of the big guys: Peter Brant, Alberto Mugrabi, Aby Rosen, Larry Gagosian, Whitney chief curator Donna De Salvo, and Factory superstar Jane Holzer. One had to doubt whether all would actually show up. Yet, there they were all at Guild Hall, all eager to discuss all things Warhol. And they came to talk with a moderator who has been, at various times, Warhol’s biographer, nurse, magazine editor, party pal, lackey, leader, wingman, acolyte, enemy, scourge—Bob Colacello.
The West Coast
“Dad! Dad! Dad! Dad! Dad!” screamed Eric Koons, who at six years old is the second youngest of Jeff Koons’ seven children. The mop-haired rascal had been briefly separated from his father outside of the Whitney Museum, which last night hosted a cocktail party for “Jeff Koons: A Retrospective,” a massive day-glo celebration of all Read More
When my plane broke through the Los Angeles smog on an afternoon in early spring, I imagined I had willed the town into existence by nothing more than my arrival. It’s the city’s foundational myth—perpetually born yesterday. I was there to cover an art fair called Paris Photo, which was being held at that most mythic of L.A. landmarks—Paramount Studios—and to report on the city’s art world. If New York had a say in the matter, it was something of an accident of history that there were ever artists in Los Angeles at all. The dealers and collectors were always in New York. And who could force the entertainment industry to care? For decades, the most noteworthy thing about successful Los Angeles artists—aside from a core group—was that they left for the East Coast.
The reality is more complicated. New York changed. Downtown ceased being a squatter’s free-for-all and became an outdoor shopping center. The S&M clubs and taxi garages of Chelsea gave way to galleries stacked on top of one another. Increasingly, the creatively minded transplants who migrated each day to New York from all over the country came with expiration dates. Ten years would go by, if you were lucky, before the inevitable fatigue set in. So many migrants have gone to California as a solution to some problem that it’s become an American trope. But in a town where the front page of the largest daily newspaper reports the unsubstantiated rumor that industry blogger Nikki Finke would be fired from Deadline Hollywood, the arts have quietly carved out a home. New York just got more and more expensive.
Just in case anyone was worried that Larry Gagosian is slowing down, he announced today that he will open a third gallery in London. Carol Vogel of The New York Times has the story in her Inside Art column.
The new 22,000-square-foot space is in the capital city’s Mayfair District, where rivals David Zwirner, Michael Werner and Pace have opened galleries recently. It sports 15 foot ceilings.
People like to say that Larry Gagosian almost never gives interviews, but recently he has granted them to various international publications fairly regularly. In the past few years he’s chatted with The Financial Times, Abu Dhabi’s The National, The Wall Street Journal, Paris Match, Le Figaro, British Vogue and Interview with Peter Brant, letting slip that his forthcoming Upper East Side restaurant will serve waffles and chili. (Really looking forward to that, for the record.)
Yayoi Kusama will join David Zwirner, The New York Times‘ Carol Vogel writes. Shortly after Art Basel Miami Beach last year, The Art Newspaper reported that she was parting ways with Gagosian Gallery. She had her first one-person show with the gallery in 2009. A recent profile of Mr. Gagosian in New York magazine said that a representative for the artist told the gallery last summer that she wanted to cease working together. In late December, the German newspaper Die Welt reported the widely circulating rumor that Ms. Kusama was set to join Zwirner in New York. And now the official word has arrived.
And in another item from Carol Vogel’s Inside Art column in The New York Times: the Dia Foundation has just begun a campaign to repair and better conserve Walter De Maria’s The Lightning Field, originally commissioned by that organization and completed in 1977.