GLAAD OUTAuction NYC 2008 presented by Bud Light & Deutsche Bank

Lot # 16
Luis Carle
Crowbar 1995
Black & White Silver Print Edition of 4 out of 6
11 x 14 inches
Value $450.00
Courtesy of the Artist

Here is another Art Auction for a good cause. Something to do this Sunday November 23.

There is some great art for auction so more early Holiday shopping to do here. The Crowbar photo by Luis Carle is up for grabs and to some of us here is a bit of nostalgia how fierce NYC was before the baby strollers and boring couples invaded the city.

Check it out!

DATE:
Sunday, November 23, 2008

TIME:
5:00 PM to 9:00 PM

LOCATION:
Metropolitan Pavilion
125 West 18th Street
New York, NY 10011

Dress: Cocktail Chic (You know how its done!)
Hosted: Cocktails and hors d’oeuvres, event catered by Delmonico Catering & Event
Guest DJ: TBA

Honorary Host Committee
Edward Albee, Alan Cumming & John Cameron Mitchell


http://www.glaad.org/events/detail.php?event_id=172

Contemporary art loses its shine...

Contemporary art loses its shine

Please read article by Art-Price.

Enjoy!

The market for contemporary art, the most speculative segment of the art market (+108% since 2003), has not withstood the shocks of the current financial turmoil. The results of the prestigious November sales in New York organised by Sotheby’s and Christie’s on 11 and 12 November are most discouraging. Only 66% of the lots offered during the two prestigious evening sales found buyers and the total sales revenue generated amounted to just $ 204 million, well below the most pessimistic estimates of $ 429 million. Retrospectively, November 2007 increasingly looks like having been the market's peak. At the same evening sales last year, only 9% of the lots remained unsold and the total revenue amounted to $ 399 million, i.e. 20% above the combined low estimates. As at 15 November 2008, the prices of contemporary and post-war art have contracted by 36% compared with December 2007, returned, in just a few months, to their November 2006 levels.

A self-portrait by Francis BACON, a Concetto Spaziale Festa sul Canal Grande by Lucio FONTANA, a sculpture and a painting by Roy LICHTENSTEIN, a nude by Lucian FREUD and an oil painting by Brice MARDEN are among the key lots that remained in the hands of the auctioneers. Even more worrying... 10 of the 13 works by Damien HIRST offered last week were also bought in. Not even the veritable star of the contemporary art market in September with his highly successful Beautiful Inside My Head Forever sale at Sotheby's was able to seduce buyers.

In this black November for the art market there were nevertheless some consolations at Christie’s on the evening of the 12th. Firstly there was Jean-Michel BASQUIAT Untitled (Boxer) dating from 1982 which had belonged to Lars Ulrich and which fetched its low estimate of $ 12 million. An abstract painting by Gerhard RICHTER entitled Abstraktes Bild (710) fetched $ 13.2 million, a little over the $ 12m expected. However these relatively good results turned out to be just a short pause in the massacre as the following lot, a monumental painting by the same German artist entitled Ozu (2.6 x 4 metres) painted in 1987 and estimated at $ 10m ... was bought in. The previous evening at Sotheby’s an Archisponge (RE 11) by Yves KLEIN fetched the highest bid of the week at $ 19m, but well below the $ 25m low estimate. The other star lot of the evening was a painting entitled Beggar's Joys by Philip GUSTON which went under the hammer for $ 9m, significantly below the $ 15m expected. Beggar’s Joys was one of the 65 lots carrying a guaranteed price among the 138 offered (47%). Last year, at the same sales, 48% of the works were guaranteed by the two auction houses.

The week dedicated to Contemporary Art closed on 13 November at Phillips de Pury. Traditionally the works presented there are much more recent than those presented at Christie’s and Sotheby’s. With "emerging art" being a much more volatile sector, it was not surprising that only one of the six works offered above the $ 1m line found a buyer.

Mickalene Thomas Michelle O Print @ Brand X Projects

MICKALENE THOMAS
Michelle O
Screenprint on Rives BFK, 2008
Signed and numbered edition of 40
Image size: 16 x 13 1/2 inches
Sheet size: 25 x 19 1/2 inches

ARTmostfierce is highly recommending this print as not only a great art statement but, for also for its investment quality and its pricing(please contact gallery for pricing).

Since it is an image of our future next first lady Michelle Obama you can also throw in historical value.

Mickalene Thomas art will face any art recession of any kind and her themes and images are not only unique but have a quite lasting quality . Her work like Marilyn Minter is high demand, it is hard to find and I can guarantee you that this is one of the best bargains this season. So jump on it and get some real fierce art by Mickalene Thomas!

http://www.neptunefineart.com/artists/thomas.html

Eli Broad Decides to Build His Own Museum

Photo-Eli Broad

Please read article about how major museum donors and collectors like Eli Broad are flipping the coin these days when deciding what to do with their art collections.I guess that is the main problem for art lovers that collect artwork at any level. You love art you want to keep buying but, then you ran out of space. I like Mr. Broad vision of showing all his art collection instead of hiding from the public, collecting dust in some secluded warehouse.

What do you think art collectors should do when their collections get bigger and they ran out of space?

Broad Decides to Build His Own Museum
By EDWARD WYATT
LOS ANGELES — Less than a year after the Los Angeles County Museum of Art opened a $56 million museum for contemporary art named for Eli Broad, the billionaire philanthropist who is its largest benefactor, Mr. Broad has decided to build his own museum and is considering a site just down the street.

In an Oct. 20 letter to the city manager of Beverly Hills, a lawyer representing Mr. Broad said he was interested “in bringing a first-class public art museum and adjacent foundation offices to the City of Beverly Hills.”

The letter says he is considering a site at the corner of Santa Monica and Wilshire Boulevards, roughly three miles west of the Los Angeles County Museum, whose 20-acre campus sits on Wilshire Boulevard next to the famed La Brea tar pits.

The decision appears to be another reversal for Mr. Broad, who had said he did not intend to build his own museum. In January, he shocked many in the art world when he said he had decided to retain permanent control of his art collection in a private foundation rather than give much of it away.

His move to reconsider his art foundation’s plans comes as museums and art institutions are suffering the effects of a global economic downturn that has diminished the value of their endowments and investments. This month, Mr. Broad told The Los Angeles Times that the value of his foundations had declined by 18 percent in the recent financial market turmoil.

Many local arts institutions are known to be suffering. The Museum of Contemporary Art, a separate, privately financed institution of which Mr. Broad was a founding trustee, is facing severe financial difficulties; it recently announced it would close its Geffen Contemporary annex in downtown Los Angeles for six months beginning in January and postpone several exhibitions. The Getty Museum made cutbacks in staff and adjustments in its operating hours this year.

When the Broad Contemporary Art Museum at the Los Angeles County Museum opened in February, Mr. Broad said he was not interested in building his own museum, as several other wealthy American art collectors had done in recent decades.

Because his collection contains more than 2,000 works, Mr. Broad said he could not build a facility large enough to display them all, and he did not want most of them to sit in storage.

He used the same rationale to explain his decision to retain ownership of the works rather than to give most of his holdings to one or more museums, as he had previously said he would do. Speculation about which institutions would receive the works had long centered on the Los Angeles County Museum, because of his position as a trustee there and in light of his $50 million gift toward the Broad Contemporary.

But Mr. Broad has also said he needed more storage space for his art works. The Broad Art Foundation occupies a building in Santa Monica that it uses both for offices and as a gallery to display a small number of the works in the collection for viewing by artists, students and museum directors. But the gallery is not open to the public.

Mr. Broad has hired Marty Borko of the Gensler architecture firm to advise it on the new museum project, according to the letter, a copy of which was made available by a spokeswoman for Beverly Hills.

A story about Mr. Broad’s interest in the new project first appeared last week in The Beverly Hills Courier. An article published Tuesday on the Bloomberg news service quoted Joanne Heyler, director and curator of the Broad Art Foundation, as saying the foundation hoped to open the new museum in about three years. Neither Ms. Heyler nor Mr. Broad were immediately available for comment.

Michael Govan, the director of the Los Angeles County Museum of Art, said in an interview that he was not surprised that Mr. Broad was considering opening a new facility for his foundation.

“This is not in competition with what we are doing,” Mr. Govan said. “I’m not nervous, unhappy or surprised. I hope he is successful, because it is important for the city of Los Angeles.”

Interview-ON THE ROAD with Bert Teunissen & Gallery Solo Show @Witzenhausen Gallery 11/20/08

Photos On The Road by Bert Teunissen

Artmostfierce has been a fan of Bert Teunissen's work since the discovery of his successful book and series called Domestic Landscapes . Now Bert is ready for a new body of work opening 11/20/08 at the Witzenhausen Gallery along with a book of the same title ON THE ROAD.

I also managed to e-mail Bert a few questions regarding these new series . Please read interview below and see also On The Road show information.

Enjoy!

20 Nov 2008 - 10 Jan 2009
On the Road
reception for the artist:
20 Nov 2008 - 6-8pm

Witzenhausen Gallery New York
547 W. 27th street (between 10 & 11 avenue) at suite 530 (5th floor)10001 NYC, NY

RNSM- Bert, What is the main message that you would like to convey about your show and book On the Road?

BT-On The Road is the first of a series of Travelogs that reflect on my personal state of mind while doing the Domestic Landscape series.
Doing the project for such a long time and being away from home so often, is part of the consequences of doing Domestic Landscapes. Driving through Europe by car, meeting numerous people and being confronted with so many different circumstances does something with a person. That story I try to tell in the Travelogs. The Travelogs are also the stories I have to tell my family after another trip.
On The Road is the intrduction to these Travelogs and it concentrates entirely on the travelling I have done the project Domestic Landscapes.
A dummy with the first 10 volumes is with the publisher right now and will hopefully be printed in 2010.



RNSM- Your book and series Domestic Landscapes is a success. Do you see this book On the Road as a continuation of Domesticated Places? Do you think the public will embrace it differently? Why?

BT-I hope the public will understand that the Travelogs are part of the entire project and that the audience is as interested in my personal story as it has shown interest in the Archive.
The Dom. Landscapes make the archive (over 455 images so far) and the Travelogs are my personal story of doing all that.



RNSM-Do you think that the viewer and reader need to be familiar with Domesticated Places series to comprehend On the Road? Why?

BT-Yes and no: Yes because it is the second layer in the project, No because it can be seen as a thing on it's own and through OTR one can become familiar with D.L.
Many people who respond to On The Road now, have never heard from the Dom. Landscapes series.



RNSM- Which of the body of work series (DL vs. OTR) in your opinion consider more important and why?

BT-They are both important: they are both part of the same project. It is a search for places and the picture of the place is the final step of the search. And then it all starts again from the beginning. All I do is to allow my personal existence be part of the whole thing.


RNSM- Do you think the vision of these series will have a more global impact because in most countries they are roads that we travel on and they all seemed similar?

BT-I think so yes, but also consider that D.L., although entirely shot in Europe, is very popular in the US and also in South America. I guess everybody can reflect to it and recognize something of themselves in the situations that I photograph.



RNSM- Your work is quite sophisticated, elegant and documentary. I can see people in Europe getting your message right away. How do think this body of work will be perceived in America?

BT-I don't think there will be such a big difference. The work is quite universal I think. Even in Japan the reactions were the same.


RNSM- Do you perceive yourself more as a museum artist than a gallery or documentary one? Please explain

BT-More as a museum artist, because the project began so long ago and is still in progress. It is not that I make small series so every year I can make a new show. My work is a historical document and it is just great that it reaches such a big audience.
Next year I will start shooting in Eastern Europe (just received the message that the budget has been granted to me by the European Cultural Fund and by the Blue Earth Alliance. In the next 2 years I will be photographing every country between Turkey and Russia in the East of Europe.


RNSM- How do you feel about the current global economic crisis and how does that might affect your work and you as an artist?

BT-I do not have a lot of knowledge about these things, but I see a lot of opportunities. I am aware of the fact that it affects a lot of people in a very negative way, but I also see that people start dealing with it in different ways. I think that a lot of new perspectives will come out of it and that the world will change again and eventually will become kind of fresher.


RNSM- What would you recommend any aspiring artist in order to achieve success?

BT-Sing your own tune! Initially it has to come from the belly. And never give up!




RNSM-What is next for Bert Teunissen? Are you currently working on something new?

BT- A whole new world lies before me...


http://www.bertteunissen.com/

Zoe '' La Divina'' Strauss America: WE LOVE HAVING YOU HERE '' @ Silverstein Gallery

Photo-We love Having you here by Zoe Strauss



Photo- Kelly Harper by Zoe Strauss

ARTmostfierce is going to be at opening of this show no matter what !

I consider Zoe Strauss not only a friend but also, one of the most promising street and documentary photographers of today. In coordination with her new book AMERICA, Zoe will be having her second solo show at Silverstein Gallery . This show will broadcast how the AMERICA that some of us do not see or want to see has endured the last eight years of the Bush administration.


Zoe Strauss: AMERICA: We Love Having You Here
November 22, 2008 – January 10, 2009
Opening: November 22nd,

Book signing: 6 - 8pm
Books will be available for sale
Party!: 8-10pm starring DJ Cosmo, aka "brother"


Silverstein Photography
535 West 24th Street
New York, NY 10011
P: 212-627-3930

AMERICA: We Love Having You Here, an exhibition featuring works from Strauss’ last eight years of photographing throughout the United States including her most recent excursions. Many of the images in the show are also featured in her forthcoming book of the same title. YOU MUST SEE THIS SHOW!

ACRIA Holiday Sales...HO HO HO!

Looks like the Holidays are already here . With the current economic recession happening, is time to help our dear Non For Profit Organizations. So saying this , if you still have a job and some cash to spare , ARTmostfierce recommends hitting the ACRIA Annual Holiday Sale. At 20% off they are some prints to be had. Here are some of my picks:



1.Brian Ulrich

Gallery: Julie Saul & Robert Koch & Rhona Hoffman
Untitled, 2006 (Thrift 0637)
Pigmented Ink Print
20 x 16 inches
Edition: 10 (1-5)
Price: $1000 - 20% = $ 800.00


Brian Ulrich

Gallery: Julie Saul & Robert Koch & Rhona Hoffman
Untitled, 2006 (Thrift 0637)
Pigmented Ink Print
20 x 16 inches
Edition: 10 (6-10)

Price: $1250 - 20% = $ 1,000.00 No Tax


2. Anthony James
- It has a little dark theme here going on but, in person this print rocks. Reminiscent of the Warhol Car Crash series, it is silkscreen on beautiful handmade paper. Great size for a great price!


Kalos Thanatos, 2008
Silkscreen print on handmade paper
27 x 41 inches
Edition: 20

Price: $500 - 20% = $400.00 No Tax











3.Chris Jordan

Gallery: Paul Kopeikin / Von Lintel
Container Yard #5, Seattle 2003
Epson Archival Inkjet Print
14 x 17 inches
Edition: 30
Price: $750 Unframed -20%= $600.00 No Tax



4. Mitch Epstein
Gallery: Sikkema Jenkins & Co
Child's Bedroom, Cheshire, Ohio 2003
C-print
Image size: approx.17 x 13 inches, Paper size: 20 x 16 inches
Edition: 25
Price: $1250 Unframed- 20%= $1,000.00 No Tax





5.Warren Neidich

Gallery: Magnus Muller
From the Earthling Series. New York Times, London, 2005
C print on archival Fuji paper
8 x 10 inches
Edition: 25
Price: $500 -20%= $400.00 No tax
















6. Dean Isidro
Untitled
Fujiflex print
10 x 8 inches
Edition: 25
Price: $100 Unframed- 20% = $80.00 No Tax




7.Chris Verene

Gallery: Deitch Projects and Twin Palms Publishers
Front Cover for New Monograph, 2008
Archival Gicle Poster Print and Oil
Handwriting
11 x 14 inches with oversize borders
Edition: 15
Price: $800 -20%= $640.00 No Tax


8.Ross Bleckner

Gallery: Mary Boone
Throbbing Hearts, 2005 1
12-color silkscreen print
23 x 21 inches
Edition: 100 to ACRIA from a sold out ed. 250
The original painting in the Guggenheim?s collection:
Link
Price: $1200 Unframed- 20% = $960.00 No Tax

Rita Ackermann : Under Pressure from 2006 to 2007

                        Rita Ackermann- Book Cover- Under Pressure From 2006-2007

Rita Ackermann- GazheartVinyl Record Cover -2 sides -2 different images

ARTmostfierce scored yesterday and wants to share it with you

all . I went to the Rita Ackermann book signing yesterday and had the pleasure to meet Rita. Pretty, friendly, great accent,sexy like a cat and so, soo talented!

I bought the record cover illustrated here and it has a different print on each side. The record off course plays and Rita signed both prints for me!...$26.00 USD

Then...It gets better...She made a limited edition of those prints of 50 and each one side of the record was painted individually and the image was distorted with paint and more drawing . In other words , for only $250.00 USD you can obtain a one of a kind version of it and off course signed by Rita.

I don't buy paintings or drawings anymore but, sorry you can let this one pass up. So hurry and contact Max @Printed Matter and tell him you know me to get one ASAP. Rita is a brilliant artist and in person that same energy emanates from her.Her solo show at Andrea Rosen was one of my favorities of this season so far.Remember only 50 copies and you get 2 different one of kind works 12 x 12 signed by Rita!

Go 4 it!

Rita Ackermann
Rita Ackermann : Under Pressure from 2006 to 2007
Zurich, Switzerland: Nieves. 2008
Synopsis: Under Pressure from 2006 to 2007 was published on the occasion of Hungarian artist, musician, and performer Rita Ackermann’s inclusion in the 2008 Whitney Biennial. It is a collection of recent collage work in which Ackermann deftly combines newspaper clippings, paintings, drawings, and images of women throughout art history to create powerful totems of female sexuality and physicality. Writing in The New York Times, Roberta Smith described the collage works thus: “Ms. Ackermann is equally at home with scissors or ballpoint pen; with finely rendered figures and poetic phrases or words and images clipped from newspapers and magazines; and with clogged compositions or spare ones. Women--as victors, victims or silent witnesses--appear in all situations

Here is more info about the Vinyl Record
Gazheart
Gazheart, Rita Ackermann
Chicago, IL: Locust Music. 2008

"With GazHeart, celebrated visual artist Rita Ackermann (voice) & the No Neck Blues Band's Dave Nuss (found percussion) created a playful spontaneous sound that seemingly bridged the gap between the broken pop sounds of certain strains of the no wave movement, sound poetry and catchy, otherworldly art folk using the barest of resources available to them. One time pressing of this special edition one-sided LP features an original etching by visual artist Rita Ackermann on the flip side. GazHeart is housed in a plain jacket with two opposing drawings for front & back by Ackermann reproduced on high quality archival paper stock." -Forced Exposure

www.printedmatter.org

A Quick Chelsea Art Gallery Stroll...

ARTmostfierce just finished a very quick but, efficient gallery stroll in Chelsea. Only 4 major galleries and let me tell you the work is very strong, quite large in size and in star magnitude. Lets not even ignore the artwork price tags. The question is...Who is buying it?

Folks, you need a lot of serious mula $$$$ to adquire one of these works of art...ok! 

Only extremely established artists (Art World Stars***) dominate this main galleries in solo shows.

Eric Fischl

Ten Breaths: Damage (1/3)
57" by 93" by 124"
bronze
2007-2008

Eric Fischl
Ten Breaths: Congress of Wits (1/3)
87" by 122" by 168"
bronze
2007-2008

Number ONE

Artist Eric Fischl At Mary Boone Gallery.Fischl imbues his figurative sculpture with the same awareness of human form
and frailness, interaction and internal conflict that is characteristic of his painting.This show is quite moving, mind blowing gorgeous and WOW. It is beyond words. Please go and see this show. It is a must see!
This new body of work – first exhibited last Winter at the Kestnergesellschaft
in Hannover, Germany – includes three life-size figural groups and two
diametric single figures, one cast in bronze and the other in glass.
The largest figural group, “Ten Breaths: Congress of Wits”, is based on photographs
taken by Fischl of a Brazilian dance troupe. The exuberance conveyed
by these five dancers is countered by the palpable physical and emotional
weight of the figures in “Ten Breaths: Damage” and “Ten Breaths: Samaritan”.
“Ten Breaths: Tumbling Woman”, a variation on the bronze sculpture Fischl
created in response to 11 September 2001, is here given new context in the
presence of another solitary figure – the striking translucent “Ten Breaths:
Falling Angel” mounted high above the floor of the Gallery.
will run through 20 December 2008.

Michelangelo Pistoletto Senza titolo (Untitled) 2008 Silkscreen print on mirror-polished stainless steel
98 3/8 x 49 1/4 inches (250 x 125 cm

Number TWO

At Luhring Augustine, MICHELANGELO PISTOLETTO in his solo show has rather quite large images painted on mirror surfaces. You can have one for only $250,000.00 USD ...can you believe it in this economy? The images are pretty cool and represent today's themes.This marks the artist's first major solo exhibition in 10 years in New York and is his first with the gallery. Pistoletto is one of Arte Povera's most significant protagonists. His iconic mirror paintings and installations that have earned him rapid and lasting international recognition, represent the artist's dual interest inconceptualism and figurative representation.The largest image is only $1, 250.000.00 ...that's all!

MICHELANGELO PISTOLETTO
NOV 15 - DEC 20, 2008

Andreas Gursky
Hamm Bergwerg Ost,2008
C-print mounted on Plexiglass in Artist frame
120 7/8 x 88 inches

Andreas Gursky
Coccon I
2007
C-Print mouted on Plexiglass in Artist frame
83 3/8 x 199 3/ 8 inches

Andreas Gursky

Untititled XVI
2008 C-Print Mounted on Plexiglass on Artist frame
93 1/2 x 199 1/4 Inches

Number Three

Andreas Gursky- Mathew Marks Gallery

Ok ...do you want to talk about big photographs?..here is the true winner!

This show in particular was not my favorite of Andreas Gursky, but It was interesting and revealing to see a self portrait of the artist himself and his son. Another extremely high price tag show $$$$

Gursky has long been interested in electronic music and for more than a decade his photographs of raves and concerts have made up an important part of his work. For his newest pictures, Gursky has photographed The Cocoon Club in Frankfurt, a famous German nightclub designed by his friend, the DJ Sven Väth. The club resembles a futuristic hive and two of the photographs on view depict nearly 1,000 people dancing. Two other photographs show the club emptied of its clientele, highlighting the unusual architecture. In one, the artist appears for the first time in a self-portrait with his son.

A photograph made in a coal mine near Gursky’s home in Düsseldorf, called “Hamm, Bergwerk Ost”, will also be on view. The photograph shows a locker room ceiling and the innovative way in which the miners store their clothes. Founded in 1873, the mine extends to a depth of 1,500 meters and employs 2,500. Earlier this year it was announced that the mine will be shut in 2010 as part of a government plan to close all coal facilities by 2018 because it has become cheaper to acquire coal from abroad.

That coal mine photograph is the best one of the show in my opinion.

Andreas Gursky will be on view at Matthew Marks Gallery, 523 West 24th Street (between 10th and 11th Avenues) and 526 West 22nd Street, through Wednesday, December 24th, 2008. The gallery is open Tuesday through Saturday, 10:00 A.M. to 6:00 P.M.

Cindy Sherman

Untitled, 2008
color photograph
90-1/2 x 63-1/2 inches (frame)
227.3 x 158.8 cm
Edition of 6
(MP# 470)

Cindy Sherman

Untitled, 2008
color photograph
101-7/8 x 69-1/4 inches (frame)
254.3 x 174.6 cm
Edition of 6
(MP# 466)

Cindy Sherman

Untitled, 2008
color photograph
96.25 x 65.25 inches (frame)
244.5 x 165.7 cm
Edition of 6
(MP# 474)

Number Four

Cindy Sherman at Metro Pictures- Just Fabulous and hilarious!

For her first exhibition of new work since 2004, Cindy Sherman will show a series of color photographs that continues her investigation into distorted ideas of beauty, self-image and aging. Typical of Sherman, these works are at once alarming and amusing, distasteful and poignant.

Working as her own model for more than 30 years, Sherman has developed an extraordinary relationship with her camera. A remarkable performer, subtle distortions of her face and body are captured on camera and leave the artist unrecognizable to the audience. Her ability to drastically manipulate her age or weight, or coax the most delicate expressions from her face, is uncanny. Each image is overloaded with detail, every nuance caught by the artist's eye. No prosthetic nose or breast, fake fingernail, sequin, wrinkle or bulge goes unnoticed by Sherman.

Sherman shoots alone in her studio acting as author, director, actor, make-up artist, hairstylist and wardrobe mistress. Each character is shot in front of a "green screen" then digitally inserted onto backgrounds shot separately. Adding to the complexity, Sherman leaves details slightly askew at each point in the process, undermining the narrative and forcing the viewer to confront the staged aspect of the work.

Sherman's work has been widely collected and exhibited by major museums throughout the world since 1980 and is the subject of numerous monographs.

This is the type of show that justifies large format photographs. I recommend that every new and aspiring photographer interested in portraiture check this show out and learn from a true master!
Photographs are way over the $200,000.00 mark so, that will cover the gallery's rent for a few months to come.I personally think that they are brilliant!

Now after  a day of seeing so much sustained art fabulousness , I am heading over Printed Matter for the Rita Ackermann book signing.

Printed Matter is selling her new book and some records with 2 prints of Ackermann included for only $20.00 . I am getting my prints , book and records  signed by her ...Viola!
Ciao for now!

i-Gavel Auction...Check it out ...a must!!

Cara Phillips, UV Beauty #28, 2008 D1FG























Noah Kalina, Untitled (20080629) D1FG


















Will Steacy, Father and Daughter, New Orleans, 2005 D1FG


ARTmostfierce recommends checking out this auction site. The emerging talent is right on! And so is the prices!
Daniel Cooney has always a good product to offer to the public and this one is a good one. This is the first time his auction features emerging artist...sweet!

So here is even though you might be bidding against me (I challenge you all!) , the photographs themes and series of most of this promising artists are a most have!

Ok, here is some of my favorites:

1. Cara Phillips -UV Beauty # 28- I had the pleasure to assist Cara during one of her sessions of the UV project. It is not only fascinating, intriguing and enticing but, there is a strong message to our society and the current times we live now.I already started collecting Cara's work and will make room for more. Bid for it!

2. Noah Kalina-Untilted - I love this image!
That's all I can say about it.

3. Will Steacy-Father and daughter , New Orleans2005- I also love this image!
It captures the disaster, sadness and hope that the city of New Orleans had to endure during the hurricane Katrina. It is a beautiful memorial to such tragedy. I already started to buy Will's work so...get on it too!

Go 4 it!

Announcing our Emerging Photographers Auction

Online @ iGavel.com





Inquiries:

Daniel Cooney Fine Art
511 West 25th Street, #506
New York, NY 10001
212 255 8158
dan@danielcooneyfineart.com
www.danielcooneyfineart.com
www.iGavel.com

WFMU Art Benefit @ Printed Matter: Dec 6th - 13th

Mitch Epstein - Big Bend Coal Power Station, Apollo Beach, Florida 2005

ARTmostfierce might not be able to be here( since Miami Art Basel is happening the same weekend and oh...my B-day is the same day!

So you, must love me like Evita! and show up there and get one of those fierce print editions !

One for you ...and one for me as my b-day gift..LOL just kidding!

Check it out...looks like a good setting to do Christmas and holiday shopping!


In 2007, the FCC in its benevolent wisdom gave WFMU permission to erect a much needed booster antenna in Manhattan. As any listener in Brooklyn or mid-town Manhattan can attest, the station's signal quality varies greatly from block to block with vast areas of the New York metropolitan area falling into black holes where WFMU's signal is unable to come in.

In order to raise funds for our new antenna and to celebrate WFMU's longstanding relationship with the arts community both in the New York area and beyond, the station will be holding an art benefit show at Printed Matter from December 6th to December 13th and also selling work online at art.wfmu.org. The site will go live shortly after Dec. 6th and will include additional artwork for sale that we were not able to fit into the show due to space constraints.

The opening for the WFMU Art Benefit will take place on Saturday December 6th from 5pm to 7pm. Printed Matter is located at 195 Tenth Avenue between 21st and 22nd Street in Chelsea.

The show's line-up, much the like the station's programming, is decidedly freeform with a mix of well established and emerging artists as well as a wide variety of mediums represented including drawing, painting, photography, print and collage. Many of the pieces in the show are new works that have been created especially for this benefit.

In keeping with the somewhat egalitarian nature of the station it was important to us that much of the art on offer be affordable. To this end WFMU commissioned several artists to create print editions while other
artists have kindly agreed to sell their work for considerably less than their usual retail prices. More often than not, art benefits tend to be structured as auctions, a process which few people other than seasoned art collectors are comfortable with or enjoy. All the pieces in this benefit will be sold at fixed prices and many items will be priced to sell so come early.

Participating artists (subject to change) include:

Brian Alfred
Sarah Bedford
Nina Bovasso
Olaf Bruening
Tom Burckhardt
Ellie Curtis
Michael Dumontier
Ben Eine*
Nicole Eisenman*
Mitch Epstein
Neil Farber
Jad Fair
Kyle Field
Dan Funderburgh*
Matthieu Gafsou
Gelitin
Luis Gispert
Stuart Hawkins
Mark Warren Jacques
Daniel Johnston
Mel Kadel
Mike Kelley
Michael Kreuger
Greg Lamarche
Chris Johanson*
Christian Marclay
Richard Prince
Steve Powers
Andrea Robbins / Max Becher
Alexander Ross*
Cindy Sherman
James Siena*
Casey Jex Smith
Geoffrey Todd Smith
Deb Sokolow
Swoon
Scott Teplin
Jim Torok*
Will Yackulic

* denotes WFMU commissioned print edition

www.printedmatter.org

The Paintings at Terence Koh’s New Show Are Possibly Edible

Terence Koh strikes a pose for the camera

ARTmostfierce has always been intrigued by the nature of Terence Koh's work. Here is another surprise for this master of showmanship.

At last night's blowout opening party for Terence Koh's new show, "Flowers for Baudelaire," questions of taste predominated. Not about whether Koh — who created a scandal in England earlier this year by showing a statue of Jesus with a huge erection — had gone too far, but about whether people had actually tasted the art. The show, which rising 23-year-old dealer Vito Schnabel (son of Julian) curated in the seamless, immaculately white photography studio of the late Richard Avedon's East 75th Street townhouse, featured an ethereal array of 51 white granulated canvases that were hypnotically blurred by the haze of a fog machine. Viewers were encouraged to remove their shoes before entering the space, where Koh, dressed in a black suit and bright white sneakers, was inviting guests to eat little flecks from the paintings. "You can lick them — let me show you, it's very sweet," he said. "I was just trying to make the simplest paintings possible. It's just plain canvases, corn syrup, and powdered sugar."

While one reporter followed his lead, not everyone was so eager to trust the artist, who has been known to use his own bodily fluids and other unpleasant materials in his work. The art dealer Jeffrey Deitch, who deemed the show "magical," wasn't biting. "The question is we don't know if it's powdered sugar or crystal meth," he said. "I travel with an official taster, so I have to wait for my taster to come." Artist Agathe Snow balked too. "I don't taste paintings," she said. "Did it taste like cocaine?" (No, it tasted like sugar.) Schnabel — who had set up the show through his friend Oliver Sarkozy, the half-brother of the French president and the owner of Avedon's finely appointed house — showed his faith in the artist by sampling the work but warned against overindulging. "I just imagine that titanium pigment wouldn't be good to swallow," he said, adding, "There might be some semen in there, I don't know. Who knows."

Upstairs at the party, an art-world crowd featuring Alanna Heiss, Klaus Biesenbach, Kembra Phaler, and Todd Eberle were joined by glossy figures like Anna Wintour and Salman Rushdie, with people spilling out onto a two-story patio. Sarkozy had installed two of Koh's paintings in his living room, and as the night progressed, the jostling of the revelers created a minor snowstorm of powder. Ann Dexter-Jones was wearing a black coat, but the entire back of it was white. "I bought a painting," she said. "I talked to Terence, and I said I needed to have one. And then I accidentally leaned on one and this happened. Now I'm a little worried." Lyor Cohen's black coat was similarly whitened, but only on the sleeves. He said he hadn't gotten near a painting; he'd just run into a lot of powder-covered friends who kept grabbing his arms, saying, "Lyor, how you doing?" Indeed, the paintings were shedding all over Sarkozy's bookshelves, which lined the floor of the room and an entire wall by the bathroom. (The shelves by the bathroom contained dozens of diet books: Digestive Wellness, Marion Nestle's What to Eat, The Omnivore's Dilemna, etc., as well as Connect Four and a DVD titled Scientology: An Overview.) At some point, guests noticed all the powder on the shelves and started making lines, then took turns scampering about the room with a lampshade on their heads. Whatever was in the paintings, they provided fuel for a memorable night, and an excellent show.

Poster Auctions International Sells Over 500 Posters at Auction in New York

Posters featuring the boxers Jack Johnson and Jim Jeffries were estimated at a modest $1500-$2000, the pair attracted the largest number of bidders, reaching an unforeseen total of $10,925.

















Well here is a sector of the ART market that might flourish during these hard economic times...collecting Art POSTERS!

ARTmostfierce has a private stash of them!

From Damien Hirst , Gregory Crewdson, Aleksandra Mir, Richard Serra, Warhol, Robert Rauschenberg,Ed Ruscha and expecting the Obama's Shepard Fairey one in the mail , posters are extremely affordable and valuable if they limited special edition and of course signed by the artist .

If you are lucky to own one of Keith Haring's signed AIDS or Africa posters , they also go for quite a bit of money.

So here is a tip...if you don't have any money (like most of us these days!) start going to art openings and book signings . Sometimes the artist make a poster for their show and the gallery sells them for between $10-$40 USD. At the opening the showing artist is usually signing them.

Another good way of collecting during these times is buying and collecting ART and Photography books. I do have a small stash of those also and again the book signings are crucial for you to get that validation artist signature.

Even in the worst times ahead, art collection must go on!

With the current financial crisis still looming large in the minds of buyers, many auction houses have come to consider themselves lucky if 25-35% of their lots are sold. This was not the case this past Sunday at Poster Auctions International, Inc., where the sale, comprised of over 500 lots of rare, vintage posters, reached a remarkable 44%, for a total of $1,300,000.

While not the record-breaking totals of the last two auctions held at Poster Auctions International, this solid result proves that even in troubled times “the people’s art” is a strong investment. That said, this auction of over 500 lots of rare vintage posters was still far from ordinary.

Of particular interest were two larger-than-life-sized posters featuring the boxers Jack Johnson and Jim Jeffries. Estimated at a modest $1500-$2000, the pair attracted the largest number of bidders, reaching an unforeseen total of $10,925.

Also sparking a enthusiastic response from the public was Alphonse Mucha’s rarely-seen poster for Heidsieck Chmpagne, selling for an impressive $63,250. The same price was met by A.M. Cassandre’s poster for Miniwatt/Philips Radio, far exceeding the predicted estimate.

Another surprise emerged from the Books and Periodicals section of the auction, where a complete set of Les Maitres de l’Affiche sold for $43,700.

What do all of these results mean, you may ask? Jack Rennert, founder and president of Poster Auctions International, I believe sums it up best: “Global markets may lack confidence in asset values, but poster collectors are fully confident in the value of their posters.”