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Halloween is past, so candy is supposed to be on sale, right? Not at last night’s Philips de Pury sale when a lucky bidder ended up paying $4.5 million for 200 pounds of blue cellophane-wrapped treats. The candy pile by Felix Gonzalez-Torres was only one of a number of high-selling works at the auction house’s Carte Blanche and Contemporary Art Part I auctions.
With the onrush of the auction season this November came a not entirely-expected string of good news: the art market is coming back, at least in the high end of blue chip artists and modernist work. Auctions broke records for individual artists’ prices as Christie’s November 3rd Impressionist and Modern Evening Sale swept through $231,439,500 and Sotheby’s November 2nd Impressionist & Modern Art Evening Sale cleared $227,561,000. The strong performances from auction houses are in part a result of the recession turnaround but the quality of works on offer is also a factor — this is some high quality schwag.
Other surprises at Philips de Pury include a cool $506,500 for a pair of Felix Gonzalez-Torres lightbulbs (note to collectors: available at Home Depot for $10) and a Warhol “Men in Her Life” screenprint featuring Elizabeth Taylor that exceeded its $50 million estimate at $63.3 million, the second most expensive Warhol ever sold at auction.
In an interesting twist, the Carte Blanche auction was “curated” and organized by an outsider to Philips de Pury, former Christie’s director-cum-gallerist Philippe Ségalot. The choice of curator makes for a sexier auction to be sure, and Ségalot employed his art world pedigree well in convincing artists and collectors to let go of some prized lots. Could this auteur auction mark a new trend for art sales?
For more New York auction insight and discussion, visit Lindsay Pollock’s Art Market Views.
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
Works by Rodolfo Abularach, Mario Bencomo, Denise Carvalho, Pérez Celis, Entes, and Agustín Fernandéz are on view at the NYC gallery through January 7, 2022.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
“Ecosystem X,” an art-based reimagining of life on planet Earth, is the theme of this open call. 10 artists will win $5,000 and one student will receive $5,000 as a scholarship/stipend.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.