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According to the LA Times, Chuck Close, Laddie John Dill and the estate of sculptor Robert Graham are suing the world’s largest auction houses, Sotheby’s and Christie’s, for royalties they say they are entitled to under the California Resale Royalty Act. The auction houses, of course, say the suit is meritless, but the article mentions:
If successful, these suits could be more than a slap against Christie’s and Sotheby’s: They could affect how galleries with resale practices throughout California run their business — or shift that business elsewhere.
Oh, so THAT’S one of the reasons that LA has never been able to build a gallery scene that rivals New York or London.
The California Arts Council has a helpful explanation of the law on their site and a list of artists who they can’t contact (for whatever reason) or those who have not responded to their requests. Here is the case study of how the law works:
For example, in 1981, when Ghiradelli Square in San Francisco was sold, artist Ruth Asawa was paid a $5,000 resale royalty. That sum represented five percent of the appraised value of the fountain she created some years earlier which had been sold along with the rest of Ghiradelli Square. Another interesting case involved Sacramento artist Jack Nielsen. His sculpture was part of an office complex whose owner went bankrupt. When the real estate, including his sculpture, was sold in foreclosure, Nielsen sued claiming that, although the office complex had declined in value, the sculpture he created had appreciated from $30,000 to $125,000 and he was entitled to a resale royalty. He won.
Though, it seems hard to believe that Jennifer Bartlett, John McCracken, George Condo or the estates of Jean-Michel Basquiat and Larry Rivers have yet to respond to their queries.
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.