Part four in Gagosian’s ongoing series of epic Picasso exhibitions is set to hit New York on April 30, and the focus will be work made during the artist’s relationship with Francoise Gilot in the 1940s and early ’50s, Bloomberg’s Katya Kazakina reports in the wire service’s new Pursuits magazine.
For the past month, fashionable New Yorkers and art world connoisseurs have been streaming through a storefront at the 980 Madison Avenue building to pick up spotty souvenirs from a Gagosian-branded “spot shop” that was opened to coincide with the globe-spanning 11-gallery “Complete Spot Paintings” exhibition by Damien Hirst. With the spot show upstairs closing in less than two weeks, the Upper East Side may soon trade spots for espresso as Larry Gagosian is in talks with his landlord, Aby Rosen’s RFR Realty, to open a cafe in the space (call it Cafe Gilbert).
The legal war between Richard Prince and Patrick Cariou, the photographer whose photos Mr. Prince used to create most of the paintings in his 2008 “Canal Zone” series is raging on, and a few hints of the operation of the Gagosian empire are coming to light in new court filings, as Artnet has noted.
News might not have broken last week that the lawsuit between Larry Gagosian and collector Robert Wylde had been settled for $4.4 million if a second lawsuit had not emerged from it. This one was filed last week by lawyers for Jan Cowles, the 93-year-old mother of Charles Cowles who, according to that lawsuit, sold a painting to the dealer by Mark Tansey that was, in fact, partially owned by the Metropolitan Museum of Art (that painting is now fully owned by the museum). The new lawsuit seeks some $14 million from Mr. Gagosian for various alleged misdeeds in the sale of Roy Lichtenstein’s Girl in Mirror, a porcelain-enamel-on-steel work from 1964. It alleges that Mr. Cowles never had the authority to sell the painting, and accuses Mr. Gagosian of misrepresenting the state of the painting when he sold it. Multiple editions of the painting exist, and the complaint, in effect, accuses Mr. Gagosian of using a condition report for another edition of Girl in Mirror as proof that the Cowles version was damaged.
The day after sculptor John Chamberlain died at the age of 84, gallerist Larry Gagosian, who began representing the artist earlier this year, released a statement, which reads as follows:
“John Chamberlain made an indelible mark on the history of art in the twentieth century. He was a spectacular, roaring figure who embodied the Read More
holiday gift guides
Is there a maker or purveyor of spot paintings on your holiday shopping list? Charm that special someone with these joyful and heart-warming gifts! Read More
Shock and Awe
Hot on the heels of Jori Finkel’s Los Angeles Times article about Damien Hirst’s upcoming show of “Spot” paintings at all 11 Gagosian branches, The New York Times‘ Carol Vogel is out with her own report on the spot spectacular. After reading it, Gallerist is a bit confused.
“I think we’re going to leave. My friend fainted.”
That was the very first comment The Observer overheard as we headed into the entertainment portion of our program at the Los Angeles Museum of Contemporary Art’s annual gala on Saturday night.
[See photos of the event here.]
Cocktail hour at the gala had been relatively tame—everyone milling about, chatting each other up and giving each other the up-and-down—outfits are important at this event. Dita Von Teese was resplendent in Gaultier haute couture, while Minnie Driver went contemporary in a Douglas Hannant Andy Warhol camouflage number with Pomellato jewelry – yet she was just as va-va-voom as the diminutive burlesque star. Art patron Mandy Einstein cut a lithe figure in black Thierry Mugler and artist Rosson Crow looked like a happy cake topper in light peach vintage Don Loper. Gwen Stefani—sans husband Gavin—was a standout, and perhaps the centerpiece of this precursor to the evening’s big event… which is to say: dinner. To which, at that moment, we were summoned…
The fall auction season kicked off last night with a disappointing Impressionist and modern art sale at Christie’s that filled the auction room with murmurs and tut-tuts, as fewer than half of the 82 lots on offer sold within or above their pre-sale estimates.