Support Hyperallergic’s independent arts journalism.
Today, October 11, Sotheby’s fueled the continued, gripping saga of Banksy’s recent stunt, where he deployed the self-destruction of a 2006 painting of his, just as the gavel banged down on its $1.3 million sale. Banksy has “re-authenticated” the painting, originally titled “Girl With a Balloon” (2006). Its post-auction moniker is “Love Is In the Bin” (2018).
Despite its newly-shredded state, Sotheby’s tweeted, “We are pleased to announce that the winning bidder on Banksy’s ‘Girl with Balloon’ last Friday night in London has confirmed their decision to acquire the new work that was created in our salesroom.”
In another tweet, the auction house said, “The buyer, a female European collector and a long-standing client of Sotheby’s, is proceeding with the purchase at the same price as was achieved in the room on the night.”
This may not come as a surprise to most. All sorts of conspiracy surrounding the antics have come about — some have accused Banksy of faking the stunt, while others have accused Sotheby’s of being in on the rouse the whole time for publicity.
In a statement, the work’s owner, who remains anonymous, said, “When the hammer came down last week and the work was shredded, I was at first shocked, but gradually I began to realize that I would end up with my own piece of art history.” This decision comes after a week of negotiations.
Sotheby’s called it “the first artwork in history to have been created live during an auction.”
“Love Is In the Bin” (2018) will go on view at Sotheby’s galleries in London on October 13 and 14.
‘Love is in the Bin’ will be on view to the public in Sotheby’s #London galleries on Saturday and Sunday 13th and 14th October from noon until 5pm. Final entry to the galleries at 4.40pm. https://t.co/aEgKriCpnc #LoveIsInTheBin #Banksy pic.twitter.com/jILCjKlAuN
— Sotheby’s (@Sothebys) October 11, 2018
New works by one of Bangladesh’s most prominent photojournalists, writers, and activists are on view at the Chicago art space through November 27.
Council often uses humor as a political tool to expose systems of power and inequality in a society in which even death carries a high price tag.
An exhibition at the San Francisco Opera House pairs the work of incarcerated artists with Beethoven’s story of unjust imprisonment.
Many works take disruption and repetition as their themes, and many artists resurface in different sections, creating multiple affinities.
Hear from Holly Jean Buck, Carolina Caycedo and David de Rozas, Simon Denny, Elizabeth Hoover, Renee Kemp-Rotan, Joseph Kunkel, and more at this free public event.
In Cooking with Paris, Hilton capitalizes on her portrayal of being a competent woman, while highlighting its anachronism through her absurd performance. Rosler manipulates the camera in the same way.
EFA Open Studios offers a portal into the creative habitats of over 65 artists working in Manhattan’s longest-running studio program, including Dannielle Tegeder, Wafaa Bilal, Cui Fei, and Anina Major.
A man says Blue Bayou took details of his life without his permission. Several women who appear in the documentary Sabaya say they did not consent to be filmed. How can filmmakers avoid these ethical pitfalls?
Ursula Biemann, Nicolas Bourriaud, and others said they will no longer participate in the event.
There is an official ban against the public mourning of Tiananmen Square victims in Hong Kong and mainland China.