art basel miami beach 2012, issue 4

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UMBERTO ALLEMANDI & CO. PUBLISHING
LONDON NEW YORK TURIN MOSCOW PARIS ATHENS
A RT BA S E L M I A M I BEAC H DAILY ED ITION 8-9 DECEMBER 2012
Artists have the last
word at the fair
Large or small print, in neon or on canvas—text-based art is everywhere at Art Basel Miami Beach
BALDESSARI: © VANESSA RUIZ
ANALYSIS
Miami. “Greedy schmuck”, “So what”,
“Other people think”: the walls of
Art Basel Miami Beach seem noisier
than usual this year, with a profusion
of text-based works. Barbara Kruger’s
huge vinyls, inspired by advertising
slogans, can’t help but catch the
eye throughout the fair—her works
are at Mary Boone Gallery (D9),
Sprüth Magers (L16), L&M Arts (M7)
and Skarstedt Gallery (D10)—while
at Richard Gray Gallery (C3), enormous painted letters by Jack Pierson,
The world is yours, 2002 (which sold
for $450,000), greet visitors at one
of the fair’s entrances.
Smaller but equally conspicuous
neons also grace the walls, including
Alfredo Jaar’s Teach Us To Outgrow
Our Madness, 1995 ($36,000 at Galerie
Lelong, G1), Tavares Strachan’s You
belong here (white), 2012 (up to $25,000
at Galería Elvira González, D13),
and Claude Lévêque’s nostalgic installation We are happy family, 2012
(sold for €65,000 at Galerie Kamel
Mennour, M11).
Didactic works such as Kruger’s
Buy low sell high, 2012, at Sprüth
Magers, and Sam Durant’s Dream
more work less, 2012 (Blum & Poe,
K21), have also proved popular with
buyers: on the fair’s opening day,
the Kruger sold for $275,000 and all
three editions of Durant’s work went
for $35,000 (these works have since
been replaced on the stands). “Text
can be fun, light and ebullient, so it
chimes with the Miami mood,” Tim
Blum says. At Goodman Gallery (C20),
Damon Garstang says visitors are
finding Hank Willis Thomas’s I am
the man, 2012, “quite absorbing”. It
is certainly one of the most popular
pictures for people to be photographed against (a quick ego
boost?), and it has sold for $20,000.
Although working with text is a
well-worn legacy of Conceptual art,
many of the more instantly inviting
works here make their impact by
also being appealing to the consumer-driven market they address
(Buy low sell high being a prime example). “Kruger’s work is charged
with commerce, art, relationships—
that appeals,” says Jim Oliver at
Mary Boone. The gallery’s sales include the artist’s Untitled (Big shot),
2012, and Untitled (Love hurts), 2012,
which went for $250,000 each.
The joy of text: John Baldessari’s Prima Facie (Second State): Puzzled, 2005, at Sprüth Magers (L16)
Not all the text-based work is as
immediately accessible as an advertising campaign. “There are different
activities being invoked when language is applied,” says Beatrix Ruf,
the director of the Kunsthalle Zürich.
John Baldessari’s use of words alongside an image “informs the way you
look at both”, says Andreas Gegner
of Sprüth Magers, in reference to
Baldessari’s large-scale work Prima
Facie (Second State): Puzzled, 2005
($350,000). Kay Rosen’s admiration
for the visual and aural possibilities
of words is evident, and enjoyable,
at Sikkema Jenkins (L12), where her
four-part installation The up and down
paintings, 2000, is on offer for $175,000.
Reading between the lines
Jack Pierson also enjoys the intellectual possibilities of language. “A
lot of my work is about realising
how powerful a word can be,” he
says. Pierson also has pieces on view
at Galerie Thaddaeus Ropac (C11),
Regen Projects (C14) and Christian
Stein (F7). Such processes owe much
to the Conceptual analyses of printing and language realised in works
such as Luis Camnitzer’s A Text Printed
Twice on Canvas, 1972, at Alexander
Gray Associates (K3, sold for $60,000),
and Ed Ruscha’s Rusty Silencers and
Corkscrew Clause, both 1979, at Acquavella Galleries (C4, $320,000 each).
As a direct way of communicating, text can also help an artist’s
preoccupations come to the fore.
“Much of it is political or [is used]
to bring our attention to the pitfalls
of narrative, documentation or ideologies,” says the art adviser Lisa
“Text can be fun, light and ebullient, so it
chimes with the Miami mood”
Schiff. This is evident in Andrea
Bowers’s activist installations, Tree
sitting platform…, 2012, at Andrew
Kreps Gallery (J5, $20,000-$26,000,
two of three sold), and in Glenn
Ligon’s No Room (Gold) #50, 2007,
with Richard Gray ($375,000). There
is also a swathe of feminist artists
who have used text since the 1970s
to get their points across. “It was a
time when women had a lot to say
and text in art was another way to
be heard,” says Sarah Watson of
L&M, in reference to Jenny Holzer’s
1983 LED work Truisms ($400,000).
More often than not, words can
add to a work’s complicated message.
“I find the best of [text art] to be
DESIGN MASTERS
AUCTION
11 DECEMBER
PHILLIPSDEPURY.COM
often even more opaque than an
abstract painting would appear to a
complete novice,” Schiff says. This
is borne out in works such as Joseph
Kosuth’s Error of philosophers #8, 1991—
which includes the phrase “whether
on the other hand all existence is
not an interpreting existence”—at Lia
Rumma (K7, around €100,000), Rosemarie Trockel’s Russian-lettered
NEW YORK
Untitled, 2012, a yarn piece at Gladstone Gallery (H12, sold for around
$700,000) and Antonio Manuel’s multilingual, newspaper-intervention
piece He tied a Goat in Dance of Evil—
Clandestine Series, 1973, at Galeria
Luisa Strina (K14, $350,000).
The profusion of text among the
neon, canvas, vinyl and installation
works at the fair, many of them
made this year, is an example of
the increasing possibilities now available to contemporary artists. “It’s
not necessarily that they are now
more in favour of using text, [but]
that they are working more with
everything now,” Ruf says.
Melanie Gerlis
Miami Beach
could get even
more Art Deco
Portuguese billionaire
keen to lend works
The Portuguese billionaire José
Berardo (right) says he hopes to lend
his collection of more than
300 Art Deco works
to a Miami-based
institution for up
to five years. Berardo, the chairman of the investments company Metalgest,
owns paintings,
statues, ceramics,
glass and silverware by
major Art Deco designers, such as
Émile-Jacques Ruhlmann and René
Jules Lalique.
The entrepreneur has close links
with the Miami art world, and an
exhibition of works from his Modern
and contemporary collection, including pieces by Richter, Bacon
and Warhol, is on show at the Gary
Nader Art Centre in Wynwood (until
30 March 2013). At the opening this
week, Berardo said: “We’ve been
talking about loaning my Art Deco
collection to a Miami institution for
years. If the right place can be found,
I could lend the works for up to
five years. The one condition is that
the city does not charge visitors to
see an exhibition of works drawn
from my collection.”
The mayor of Miami, Tomás Regalado, has welcomed Berardo’s offer. Meanwhile, Cathy Leff, the director of the Wolfsonian-FIU, says
she “could be interested in discussing
possibilities” with the collector.
Gareth Harris
China launch
for The Art
Newspaper
The Art Newspaper has entered into
a partnership with the Beijing-based
Modern Media Group, which will
produce The Art Newspaper China under licence from early 2013. It will
join the network of newspapers
founded by Umberto Allemandi that
comprises The Art Newspaper, Il Giornale dell’Arte, Le Journal des Arts, Ta
Nea Tis Technis, Il Giornale dell’Architettura and The Art Newspaper Russia.
The Art Newspaper China, a Chineselanguage publication, will be distributed with the magazine
Bloomberg Businessweek/China and the
bilingual art-criticism journal Leap.
CONTINUED ON PAGE 2
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
NEW
NEWS
Less frenzy, more serious
Miami may be a party town, but ABMB attracts sober collectors
SALES REPORT
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Miami. Once the frivolous younger
sister to Art Basel in Switzerland,
Art Basel Miami Beach is forging its
own, grown-up identity. Now in its
11th year, the event has become the
pre-eminent US art fair in a crowded
calendar. “[It] has reinforced itself
this year as being a serious art fair.
Almost every major US museum is
represented by someone visiting,”
said the New York gallerist Casey
Kaplan (J4).
Kaplan’s gallery was one of the
many spaces in Chelsea for which
the fair was especially important
after the havoc wrought by Superstorm Sandy in late October (the
gallery is still closed because of flood
damage). “It’s an emotional roller
coaster for us right now, and the
opening day here was very positive.
It’s the first step to getting back to
what we do,” Kaplan said. His gallery’s
sales included Marlo Pascual’s Untitled,
2012, a digital C-print mounted on
plexiglass. The work, which had an
asking price of $24,000, was bought
by the Miami Art Museum.
The mood in the aisles felt less
frenzied than it has in previous
years. “It’s a little lighter on the
Cruzvillegas’s wall piece at Kurimanzutto (G4) sold to a New York collector
robust sales, including Liz Larner’s
Caesura, 2012, for $75,000, and Raymond Pettibon’s No Title (This left
was), 2012, for $325,000. “I think this
fair is every bit as good as it was in
2007,” said Shaun Caley Regen of
the Los Angeles gallery.
The art adviser Allan Schwartzman said: “A great effort was made
to bring some superior works. In
addition, dealers [who brought] more
historical post-war works brought
some special things.”
Although these big-ticket works
normally take longer to sell, the
“The pace has been nice—we haven’t felt
the competitive rush ”
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power crowd. You realise certain
people are missing, but good things
have happened,” said Tim Blum of
LA’s Blum & Poe (K21), where sales
included two paintings by Zhu Jinshi
for $65,000 each.
“It’s going very well. The pace
has been nice—we haven’t felt the
competitive rush, but it is building
up,” said José Kuri of Mexico City’s
Kurimanzutto (G4), who sold works
including Abraham Cruzvillegas’s
Blind Self-portrait as a Hand-Wounded
Jaranero Baboon Demonstrating at Banjwai District, 2012, with an asking
price of $40,000, to the New York
collector Sascha Bauer. Lisson Gallery
(J1) had already sold 18 works by
the third day of the fair, including
Ryan Gander’s marble sculpture
I is… (ii), 2012, which went for $75,000
to a US collector. “For us, this is
one of the top three fairs in the
year,” said Alex Logsdail of Lisson.
Regen Projects (C14) also reported
New York dealer Christophe Van de
Weghe (D8) made two multi-milliondollar sales on the preview day, including Andy Warhol’s Statue of
Liberty, 1986, for $3.85m. At Acquavella Galleries (C4), works by the
younger generation sold immediately—Damian Loeb’s Blue moon
(Amagansett) I, 2012, $200,000, and
Enoc Perez’s Nude, 2012, $220,000—
and two “major deals” for blue-chip
Modern masters were under way on
the second day, said the New York
gallerist Nicholas Acquavella.
The fair was launched in part to
provide a bridge between North
and South America. “Bogota, Lima,
Brazil, Mexico—these places are
boiling. There is a middle class with
a hunger to buy, which is more or
less gone in Europe,” said Jaime
Riestra of Mexico’s Galería OMR
(B19), where sales included Jorge
Méndez Blake’s Hotel Monturio 1,
2011-12, which went to a Midwestern
US collector for $25,000.
The Parisian gallery Yvon Lambert
(L13), which has a representative in
Miami, sold two photographs by
Francesco Vezzoli to a Brazilian and
an Argentinian for $150,000 apiece.
“There are lots of Brazilians here,
but not all of them are buying,”
said Alexandre Gabriel of São Paulo’s
Galeria Fortes Vilaça (B15).
Charlotte Burns and Gareth Harris
In brief
What P. Diddy wants,
P. Diddy gets
The rapper and music producer Sean
“P. Diddy” Combs (below) went on a
shopping spree during the
VIP preview of Art
Basel Miami Beach on
Wednesday. “I want
that—put it on
hold,” he told his
entourage while pointing to a $5,000 sculpture
of a cigarette wielding a placard that
reads: “I’m sorry I got you pregnant.” The
sculpture, on the stand of Fredric Snitzer
(B16), is part of Jon Pylypchuk’s I Won’t
Give Up on You, 2012. Combs then visited
Goodman Gallery (C20), where
he bought Brett Murray’s Manifesto,
2012, for $15,000. The South African
artist is at the centre of a freedom of
expression row after the African National
Congress party objected to a work
depicting the South African president
with his penis on show. C.B. and R.P.
Artists’ oeuvres will
go online
The first digital catalogues raisonnés,
created by Artifex Press, are due to be
launched on 19 December. The first publications focus on paintings by Chuck Close
(from 1967 to the present day) and sculptures by Jim Dine (from 1983 to the present). Catalogues dedicated to Sol LeWitt
and Agnes Martin are planned for 2013,
with seven more in the pipeline. Artifex
Press was founded in 2009 by Marc
Glimcher of the Pace Gallery (C10) and
David Grosz of Artifex. “The digital catalogue raisonné is a superior product to a
book. It is searchable, sortable and
cheaper to produce,” Grosz says. “The
ability to update information and make
corrections is key.” The site will be accessible by invitation only for a limited
period, after which access will be temporarily free. Later in 2013, the site will be
available to paid subscribers only. C.B.
China launch for The Art Newspaper
CONTINUED FROM PAGE 1
Anna Somers Cocks, the founding
editor and chief executive of The
Art Newspaper, says: “The revival of
art in China over the past 30 years
has been one of the most revolutionary developments in that country. It is taken seriously by the Chinese government and is of great interest to the rest of the world. We
look forward very much to this bilateral project that will increase un-
derstanding between China and the
West. We have been fortunate to
find the Modern Media Group, which
has a leading position in Chinese
periodical publishing, with an international outlook and high journalistic standards.”
Thomas Shao, the chief executive
of Modern Media Group, says: “The
Chinese are now curious about the
world of art beyond their frontiers,
so it is vitally important to launch a
professional art newspaper that provides timely and accurate news about
the global art scene. The Art Newspaper’s long experience, unparalleled
reputation and rich content are precisely what the market needs.”
The editor of The Art Newspaper
China will be Ye Ying, currently the
arts editor of Bloomberg Businessweek/
China. She is also the author of a
book on the 798 art district of
Beijing. T.A.N.
CRUZVILLEGAS: © VANESSA RUIZ
2
HAUNCH OF VENISON
LONDON
51 Eastcastle Street
London W1W 8EB
United Kingdom
T +44 (0)20 7495 5050
F +44 (0)20 7495 4050
london@haunchofvenison.com
www.haunchofvenison.com
ISCA GREENFIELD–SANDERS
SECOND STATE
30 November 2012 – 25 January 2013
Isca Greenfield-Sanders, Water Ballet (detail), 2012
Mixed media and oil on canvas, 284.5 × 142.2 cm
4
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
NEWS ANALYSIS
Rolling in it:
Hirst and Dunphy
Agents begin to edge
onto dealers’ turf
Miami. “There’s a buzz at the moment about a post-bricks-and-mortar
model for art galleries,” says the
New York dealer Edward Winkleman,
the organiser of the small art fair
Seven (in Miami, until 9 December).
He is talking about how dealers are
exploring new hybrid structures in
the way they operate, and also how
artists are increasingly turning to
agents to take on many of the roles
that art galleries used to fulfil.
The German dealer Matthias
Arndt, for many years a stalwart of
major art fairs including Art Basel,
moved to Australia earlier this year
and now focuses on “pop-up” projects with Asian and international
artists (such as “Migration”, which
is currently being held in Melbourne). He retains his “white cube”
in Berlin but now defines himself
as a cultural entrepreneur, and acts
as an agent for some of the artists
he shows.
“There is less of a conflict of interest as an agent than when you
are a dealer,” he says. “With the
agent, the artist controls production
and distribution. In the global world,
the artist wants to be in charge. And
the agent/manager makes sure he
gets paid if something goes wrong.”
The trailblazer is the English accountant and business manager
Frank Dunphy, who for years guided
the career of Damien Hirst. In 1996,
Dunphy started renegotiating Hirst’s
gallery contracts, getting up to 90%
for Hirst and taking a 10% cut: he
was dubbed “Mr 10%” as a result.
Dunphy masterminded Sotheby’s
$198m sale of 218 works, direct from
Hirst’s studio, in September 2008.
Dunphy has now retired, but his
role has been taken by James Kelly,
who works directly for the artist,
in Hirst’s company Science Ltd.
“There is a perception
that work sold
directly from the
studio is inferior”
Richard Wadhams, who worked
with Dunphy, has now founded
Artists First Management to manage
artists’ careers. The firm has ten on
its books, including Paul Fryer. Wadhams says that, in a complex world
where artists are represented by
several galleries worldwide, they
Red with Red 2, 2007 © Bridget Riley
)VV[O*/HSS+LJLTILY¶ need business advice. He takes 10%
to manage a project, or 10% on the
60% cut that most established artists
get from an art gallery. Wadhams
also works as a financial adviser
(though not as an agent) to Keith
Tyson (showing at Art Basel Miami
Beach with Pace Gallery, C10) and
Jake and Dinos Chapman (Paragon
Press, A11).
Many in the market, however,
view agents with suspicion. The
New York-based art adviser Lisa
Schiff says: “As far as Hirst is concerned, like Warhol, the commercial
performance is part of his practice.
But when an artist has an agent,
not a gallery, the dealer’s guidance
is no longer there; the work can become ‘made for the market’. This
way of operating is unsettling. There
is a perception—right or wrong—
that work sold directly from the
studio is a bit inferior. Now there
are artists using agents to sidestep
galleries, going directly to auction:
I find it depressing,” she says.
“I know that agents flourish in
performing arts fields, such as music
or fashion, where there is a courtier
system around the stars,” says Paul
Morris, the co-founder of New York’s
Armory Show. “But in most cases, a
dealer brings a unique perspective
to an artist’s career. An agent is not
that close.” Andreas Gegner, a director of Sprüth Magers (L16), says:
“I almost never encountered a serious artist who worked with an agent.
He can help with selling works, but
that’s all. For talking to museums,
placing works in the right hands—
only a gallery can do that.”
Rachel Lehmann, the co-founder
of Lehmann Maupin (K15), sees
agents as part of the changing structure of the market, as artists increasingly show in multiple galleries
internationally. “I fear that the traditional gallery model could be fading away,” she says. “The dealer
looked after everything for the
artist—production, placing the
works, organising exhibitions, contacting museums, producing books.
An artist only used an agent if he
or she felt the gallery wasn’t doing
enough.” But now, she says, “the
artists have become self-producers… and the dialogue with the
gallery is disappearing”.
Where the agent system is useful,
says the art adviser Arianne Levene,
is in emerging markets. “In Asia
and the Middle East, there is definitely a role for artists’ agents, where
the gallery system is less developed,”
she says. Jasdeep Sandhu, the
founder of Singapore’s Gajah Gallery,
says: “In our part of the world, the
notion of exclusive representation
of an artist is new. Artists ended up
going from one gallery to another,
so the gallerist didn’t have a commitment either. Here, an agent looks
after the artist, helps him produce
shows and helps get international
exposure. The agent is often fulfilling
the same role as a dealer.”
Whatever you think about agents,
one thing seems certain. As Rachel
Lehmann puts it, “this is definitely
in the air at the moment”.
Georgina Adam
HIRST: © JORN TOMTER
The changing role of galleries is liberating for some, depressing for others
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INTERNATIONAL CONTEMPORARY + MODERN ART FAIR
INTERNATIONAL EMERGING + CUTTING EDGE ART FAIR
ART MIAMI PARTICIPATING GALLERIES:
101 / Exhibit | Miami Abby M. Taylor Fine Art | Greenwich Adrian Sassoon | London Alan Cristea Gallery | London Aldo de Sousa Gallery | Buenos Aires Alfredo Ginocchio | Mexico Allan
Stone Gallery | New York Alpha Gallery | Boston Antoine Helwaser | New York Arcature Fine Art | Palm Beach Armand Bartos Fine Art | New York Art Forum Ute Barth | Zurich Art Nouveau
Gallery | Miami Arthur Roger Gallery | New Orleans Ascaso Gallery | Miami Barry Friedman | New York Blue Leaf Gallery | Dublin Bolsa De Arte | Porto Alegre Bridgette Mayer Gallery |
Philadelphia C. Grimaldis Gallery | Baltimore Catherine Edelman | Chicago Cernuda Arte | Coral Gables Christopher Cutts Gallery | Toronto Claire Oliver Gallery | New York CONNERSMITH. |
Washington, DC Contessa Gallery | Cleveland Cynthia Corbett Gallery | London Cynthia-Reeves | New York Dai Ichi Arts, Ltd. | New York David Klein Gallery | Birmingham David Lusk Gallery
| Memphis David Richard Gallery | Santa Fe De Buck Gallery | New York Dean Project | New York Denise Bibro Fine Art | New York DeVera.Iglesias | Miami Dillon Gallery | New York Dot
Fiftyone Gallery | Miami Douglas Dawson | Chicago Durban Segnini Gallery | Miami Durham Press | Durham Eckert Fine Art | Millerton Eli Klein Fine Art | New York Evelyn Aimis Fine Art
| Miami Fama Gallery | Verona Ferrin Gallery | Pittsfield Galería Patricia Ready | Santiago Galerie Forsblom | Helsinki Galerie Kleindienst | Leipzig Galerie Olivier Waltman | Paris Galerie
Peter Zimmermann | Mannhein Galerie Renate Bender | Munich Galerie Terminus | Munich Galerie Von Braunbehrens | Munich Galleri Andersson/Sandstrom | Stockholm Galleria Bianconi |
Milan Galleria D’Arte Contini | Venice Goya Contemporary | Baltimore Hackelbury Fine Art | London Haunch of Venison | New York Heller Gallery | New York Hollis Taggart Galleries | New
York Jackson Fine Art | Atlanta James Barron Art | South Kent Jenkins Johnson Gallery | New York Jerald Melberg Gallery | Charlotte JGM. Galerie | Paris Jim Kempner Fine Art | New
York Joel Soroka Gallery | Aspen Juan Ruiz Gallery | Miami June Kelly Gallery | New York KM Fine Arts | Chicago Kreisler Art Gallery | Madrid Lausberg Contemporary | Düsseldorf Leila
Heller Gallery | New York Leon Tovar Gallery | New York Leslie Sacks Contemporary | Santa Monica Leslie Smith Gallery | Amsterdam Lisa Sette Gallery | Scottsdale Lyons Wier Gallery |
New York Magnan Metz Gallery | New York Mark Borghi Fine Art Inc | New York Mayoral Galeria D’Art | Barcelona McCormick Gallery | Chicago Michael Goedhuis | London Michael Schultz
Gallery | Berlin Mike Weiss Gallery | New York Mindy Solomon Gallery | St. Petersburg Modernbook Gallery | San Francisco Modernism Inc. | San Francisco Nancy Hoffman Gallery | New
York Nicholas Metivier Gallery | Toronto Nikola Rukaj Gallery | Toronto Nohra Haime Gallery | New York Now Contemporary | Miami Olyvia Fine Art | London Osborne Samuel | London Pace
Prints | New York Pan American Art Projects | Miami Paul Thiebaud Gallery | San Francisco Peter Fetterman Gallery | Santa Monica Piece Unique | Paris Priveekollektie Contemporary Art &
Design | Heusden Rosenbaum Contemporary | Boca Raton Rudolf Budja Gallery LLC | Miami Santa Giustina | Lucca Schantz Galleries | Stockbridge Schuebbe Projects | Düsseldorf Scott
White Contemporary Art | La Jolla Shaheen Modern and Contemporary Art | Cleveland Simon Capstick-Dale Fine Art | New York Sundaram Tagore | New York Talento / Guijarro de Pablo
| Mexico City Tresart | Coral Gables Unix Contemporary | London Vincent Vallarino Fine Art | New York Waterhouse & Dodd | London Westwood Gallery | New York Wetterling Gallery |
Stockholm William Shearburn Gallery | St. Louis Woolff Gallery | London Yares Art Projects | Santa Fe Zadok Gallery | Miami Zolla/Lieberman Gallery Inc. | Chicago
CONTEXT ART MIAMI PARTICIPATING GALLERIES:
AJLart | Berlin Asymmetrik | New York Atlas Gallery | London Aureus Contemporary | Providence Bankrobber | London Berlin Lounge by LVBG | Berlin Beth Urdang Gallery | Boston Black
Square Gallery | Miami Cancio Contemporary | Bal Harbour Centro De Edicion | San Martin ClampArt | New York CONNERSMITH. | Washington, DC Contemporary by Angela Li | Hong
Kong Curator’s Office | Washington, DC Da Xiang Art Space | Taiwan Dialogue Space Gallery | Beijing Dmitriy Semenov Gallery | Saint-Petersburg Fabien Castanier Gallery | Studio City Frederieke
Taylor Gallery | New York FREIGHT + VOLUME | New York Gaga Gallery | Seoul Galeria Enrique Guerrero | Mexico City Galeria Sicart | Barcelona Galerie cubus-m | Berlin Galerie Kornfeld
| Berlin Galerie Leroyer | Montreal Galerie Paris - Beijing | Paris Galerie Richard | Paris Gering & Lopéz Gallery | New York Glaz Gallery | Moscow J. Cacciola Gallery | New York Jennifer
Kostuik Gallery | Vancouver Kasia Kay Art Projects | Chicago Kavachnina Contemporary | Miami Kit Schulte Contemporary Art | Berlin Kunst Limited | San Jose Licht Feld | Basel Lyle
O. Reitzel Gallery | Santo Domingo Lyons Wier Gallery | New York Magnan Metz Gallery | New York Marcia Wood Gallery | Atlanta The McLoughlin Gallery | San Francisco Merry Karnowsky
Gallery | Los Angeles Morgen Contemporary | Berlin Nina Menocal Gallery | Mexico N O M A D Gallery | Brussels Packer Schopf Gallery | Chicago Patricia Conde Galería | Mexico City Praxis
International Art | New York Robert Klein Gallery | Boston Robert Mann Gallery | New York Swedish Photography | Berlin Traeger & Pinto Arte Contemporaneo | Mexico The Proposition | New
York Torbandena | Trieste Varnish Fine Art | San Francisco Villa del Arte galleries | Barcelona White Room Art System | Positano Witzenhausen Gallery | Amsterdam z2o Galleria | Sara Zanin
| Rome Zadok Gallery | Miami Zemack Contemporary Art Gallery | Tel Aviv zone B | Berlin 532 Gallery Thomas Jaeckel | New York
ART MIAMI + CONTEXT ART MIAMI 2012 | EVENT SCHEDULE
TUESDAY, DEC. 4 - SUNDAY, DEC. 9, 2012 - DURING FAIR HOURS
Art Video | New Media Lounge
Video Program: Girls or Boys? Who Cares?!
The Art Video | New Media Lounge, located in the CONTEXT Art Miami Pavilion,
will showcase a carefully selected group of works sourced from museums, private
collections and art institutions across Europe and the United States. The program is
curated by Julia Draganovic, and Claudia Loffelholz, fouders of LaRete Art Projects.
“Boys or girls? Who cares?!” presents a series of video art works approaching the
polemic gender issues in modern society, and questioning the ongoing debate about
the current roles of men and women.
Video art works include:
Said Atabekov’s Battle for the Square, courtesy of Videoinsight, Turin; Gerald Byrne’s
Homme à Femmes (Michel Debrane), courtesy of Mudam Musèe d’Art Moderne du
Grand-Duc Jean, Luxemburg; Eli Cortiñas’s Dial M for Mother, courtesy of Stiftung
Museum Kunstpalast, Düsseldorf; Oded Hirsch’s 50 Blue, courtesy of Collection
Robert Bielecki, New York; Janet Biggs’ Brightness All Around, courtesy of Tampa
Museum of Art, Tampa (FL), and Carlson/Strom’s Sloss, Kerr, Rosenberg & Moore,
courtesy of Contemporary Collection of Museum of Fine Arts, Boston, USA
BANKSY Out of CONTEXT
CONTEXT Art Miami and photo-sharing platform I PXL U have partnered to exhibit
five walls equaling six-and-a-half-tons in weight, each displaying an iconic stencil by
one of the world’s most prominent graffiti artists.
Sugar & Gomorrah
Peter Anton’s experiential “Sugar & Gomorrah” is the world’s first art installation in
which the viewer journeys in a reworked carnival ride through a modern interpretation
of the destruction of a Sodom and Gomorrah-like world. Attendees will be able to
enjoy the ride as part of the outdoor exhibition area.
Soul of Seoul
Curated by Bernice Steinbaum, this exhibition explores the essence of Korean
artistic sensibility - the commingling of daily life and nature. The exhibition features
an extraordinary range of works that include contemporary art, ceramics, traditional
silver services, hand carved chests and informal modeling of the traditional Korean
dress, the “Hanbok”. An intuitive and innate wisdom and serenity flows from the
natural world to the Korean people and this relationship is prominently seen in the
work of Korea’s most accomplished artists.
LOCATION:
Midtown Miami I Wynwood, 3101 NE 1st Avenue, Miami, FL 33137
PARKING:
Valet and general parking directly across the street from the fair.
DIRECTIONS FROM CONVENTION CENTER:
UÊ/ÕÀ˜ÊivÌÊ>ÌÊLiÊ,i؈VŽÊÛ`É>`iʏÛ`ÊUÊ/ÕÀ˜ÊÀˆ}…ÌÊ>ÌÊ ÊˆV…ˆ}>˜ÊÛi
UÊ/ÕÀ˜ÊÀˆ}…ÌÊ>Ìʏ̜˜Ê,`ÊVœÕ˜Ìˆ˜Õiʜ˜ÊÌœ˜Ê,`ÊUÊiÀ}iʜ˜Ê̜ʇ£™xÊ7
UÊ/>ŽiÊi݈ÌÊÓÊ̜Ü>À`ʈÃV>ޘiʏÛ`É1-‡£ÊUÊ/ÕÀ˜ÊivÌÊ>ÌʈÃV>ޘiʏÛ`É1-‡£
UÊ/ÕÀ˜ÊÀˆ}…ÌÊ>ÌÊ ÊÎÈ̅Ê-ÌÊUÊ/ÕÀ˜ÊivÌÊ>ÌÊ œÀ̅ʈ>“ˆÊÛi°ÊUÊ/ÕÀ˜ÊivÌÊ>ÌÊ ÊÎӘ`Ê-Ì
SHUTTLE BUS SERVICE:
Wednesday 12/5 – Saturday 12/08 | 12:00 PM - 7:00 PM
Miami Beach Convention Center (17th and Washington) to/from Art Miami
>ÃÌÊÅÕÌ̏iʏi>ÛiÃÊÀÌʈ>“ˆÊÈ\ääÊ*Ê`>ˆÞ°Ê-iÀۈViÊi˜`ÃÊÇ\ää*°
Sunday 12/09 | 12:30 PM - 6:00PM: >ÃÌÊÅÕÌ̏iʏi>ÛiÃÊÀÌʈ>“ˆÊx\ääÊ*Ê`>ˆÞ°Ê
-iÀۈViÊi˜`ÃÊÈ\ää*°
GENERAL ADMISSION:
Wednesday, December 5,. . . . . .11am - 7pm
/…ÕÀÃ`>Þ]ÊiVi“LiÀÊÈ] . . . . . . .11am - 7pm
Friday, December 7, . . . . . . . . . .££>“ʇʙ«“Ê
Saturday, December 8, . . . . . . . .11am - 7pm
-՘`>Þ]ÊiVi“LiÀʙ]. . . . . . . . .££>“ʇÊÈ«“
OFFICIAL SPONSORS:
For complete show information
visit www.art-miami.com
Art Miami accepts all other fairs
VIP cards for admittance!
6
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
FEATURE
…but the fun-and-sun capital is starting to see
growth in its grassroots scene. By Cristina Ruiz
W
hen Art Basel
launched its
Miami edition in 2002,
the city was
filled with
excitement. The fair would serve
as a catalyst for the local art market and dealers would prosper
here, said enthusiasts.
None was keener than the
Parisian dealer Emmanuel Perrotin
(G6) whose artists include Takashi
Murakami and Maurizio Cattelan.
He opened a 1,500 sq. m space in
Wynwood in 2005. “I was expecting many galleries to jump to the
city and transform it into the
Berlin of the United States. Real
estate is very cheap and living is
quite cheap so it is an attractive
place for artists to move to,” he
told The Art Newspaper.
But the high-level galleries
never came, and collectors were
thin on the ground outside Art
Basel week. “The community in
Miami was happy to have one big
art date in the calendar and to
hibernate for the rest of the
year,” Perrotin says. Just three
years after opening, he shut his
Miami gallery.
A decade has now passed since
the first Art Basel Miami Beach, but
the top end of the contemporary
art trade in Miami has barely developed. So has the city failed to live
up to its potential as a commercial
centre for contemporary art?
“I think Emmanuel is correct.
When he came, we had hoped that
more galleries of his level would
come here and that collectors and
support for [our programmes]
would follow. That has not happened,” says Fred Snitzer, whose
Miami space is the only local
gallery to be admitted to every edition of Art Basel Miami Beach (B16)
since the beginning. “The city is
still pretty much a fun-and-sun capital and, although the intellectual
climate is much better than it was
15 years ago, there’s still a long
way to go. It’s not a question of
money; there’s plenty of money in
Miami. Whether that money is culturally minded enough to be supporting quality contemporary art is
another matter,” Snitzer says.
Although contemporary art is
more popular in the city than ever
and dozens of galleries have
opened in the last ten years, most
sell “decorative junk”, Snitzer says.
“There’s a very, very elaborate and
busy contemporary gallery scene
here but the quality is patchy. If
there were more collectors who
demanded better quality then
dealers would have to step up.”
Despite the fact that Miami is
home to several major contemporary art buyers such as Don and
Mera Rubell and Marty Margulies,
much of their shopping is done
outside the city, Snitzer says.
“They go to New York,
they go to London, they
go to Los Angeles. It’s
part of the reason
we try to do so
many art fairs; we
have to get out of
town, we have to
be in business
internationally.
That’s also true of
New York galleries
but more so for those
of us in Miami.”
Growing scene
The Wynwood arts district exemplifies the changes in Miami in
the past decade. Once a barren
inner-city neighbourhood made
up of warehouses and factories,
today it is home to more than 50
galleries, numerous arts complexes and artist studios as well as
private collector-run spaces.
On the second Saturday of each
month, the district hosts an “art
walk” when galleries inaugurate
new shows and stay open late. The
event has become “unbearable”,
says Snitzer, whose gallery has
been located in Wynwood for
eight years. Another Wynwood
dealer described the typical participants in the art walks as “kids in
search of free booze”. (The same, it
The Wynwood arts district of Miami. Below, the Pérez Art Museum Miami, due to open next year
should be added, has been levelled
at up-and-coming art areas in cities
such as London and Berlin.)
Others take a more positive
view, seeing the monthly event as
evidence of the growing popularity
of contemporary art. “The openings have become a street party
because more and more of the
general public is becoming interested in the visual arts culture
here; it’s an important phenomenon for a young gallerist,” says
Chana Budgazad Sheldon, executive director of the not-for-profit
Locust Projects.
Sheldon left the Casey Kaplan
gallery (J4) in New York to take up
her position at Locust Projects four
years ago. “Every year that I’ve
been here, the city has become
more sophisticated in terms of its
year-long art programming. It’s a
small, tight community of people
who are incredibly enthusiastic.
It’s been wonderful to be in a
place where you really see the
effect of your work.” A new generation of collectors is emerging, she
adds, and these buyers are supporting a network of younger commercial galleries.
The market for good
quality contemporary art will grow
as these collectors
gain experience,
says Nina
Johnson, who
opened Gallery
Diet in Wynwood
in 2007. “A big part
of what makes the
scene here so unique
is that all the galleries
take on an educational role. We
build our own client base… we are
not just one gallery among 45 that
they’re buying from, we’re a very
small group of galleries that are
guiding new collectors from the
very beginning of their collection.”
One of these new collectors is
John Joseph Lin, the head of communications at the designer shopping complex the Webster, and the
style editor of Ocean Drive magazine.
In the past five years, Lin, 35, has
bought works by Miami artists such
as Bhakti Baxter, José Parlá, Christy
Gast and Federico Uribe, among
others, mostly in the $4,000-to$6,000 price range, assembling a
collection of around 50 works. Like
many art professionals surveyed for
this article, Lin cites the appeal of
belonging to a small, tight-knit con-
temporary art community in Miami
and helping younger galleries grow.
“It’s the main reason I buy from
them,” he says.
There are encouraging signs
that these younger galleries are
moving forward. This year,
Spinello Projects, founded in
2005, has been selected for Art
Basel Miami Beach for the first
time, showing the work of the
Miami-based Argentinian artist
Agustina Woodgate in Art
Positions (P7). Anthony Spinello
describes the growth of the art
scene in Miami as “slow and
steady”. “It’s obvious that there is
market alone miss the dynamism
of the city’s evolving visual arts
culture. Although many events in
the museum calendar were previously focused on the winter
months to coincide with Art Basel,
now there is strong year-round
arts programming. “The summer
is a great time to look at art here
in Miami. Aside from Basel week,
it is our busiest time of year. One
thing that’s really noticeable is
there’s an upsurge of artist-organised initiatives,” Morales says.
Despite these grassroots initiatives, the local art market still faces
challenges. One of the problems,
“Miami can’t turn into New York overnight. The
growth has to be organic and led by gallerists
who are an integral part of the community”
a ton of potential for Miami to be
a commercial centre for contemporary art and we are all working
together to make this happen.”
The failure of Perrotin’s gallery
here was due to the fact that he
wanted too much too soon, Mera
Rubell says. “He probably was
over-ambitious in terms of his programme and his expenditure. You
have to come and build relationships, you don’t overspend, you
give it time to develop.” Another
high-level art professional agrees.
“Miami can’t turn into New York
overnight. The growth here has to
be organic and led by gallerists
that are based in the city year
round and who are an integral
part of the community.”
Challenges and opportunities
All those interviewed by The Art
Newspaper cite the opening next
year of the Miami Art Museum’s
new home, the Pérez Art Museum
Miami, designed by Swiss architects Herzog & de Meuron, as a
pivotal moment in the city’s cultural evolution. “They’ve done a
phenomenal job of creating their
own base of support,” explains
Nina Johnson. “When you go to
MAM events, what you see are people in their mid-30s up until their
early 50s who are learning
through the museum what they
should be looking at and what
they should be buying.”
René Morales, an associate
curator at MAM, who has co-organised “New Work Miami”, the current show of work by Miami-based
artists, believes assessments of the
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
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says Mark Coetzee, the former
director of the Rubell Family
Collection, is the almost complete
absence of any critical debate in
the city. “The city is still developing
many of the components that are
required to be a commercial or cultural capital, such as critical discourse and high-level postgraduate
teaching. There are no art critics in
town, there’s no critical debate
among the institutions. There’s no
ability for the community to critically analyse what’s relevant,
what’s provocative and what’s simply commercial.”
Snitzer, who teaches at the
New World School of the Arts, says
a group of interested parties are
now trying to set up a Master of
Fine Arts at the institution. “We
understand that it’s going to be
another major feature in getting
things moving further. We want to
make that happen.”
The new programme would
have the support of Craig Robins,
the property developer and art collector, who tried to launch a similar initiative in collaboration with
the University of Miami a few years
ago. That project stalled because of
the economic downturn but
Robins believes that adding an
MFA to the curriculum in a Miami
institution would be “tremendously advantageous” for the
development of the cultural and
commercial spheres in the city. He
is optimistic about the future. “The
story is not really about Miami having failed; it’s about a place that
continues to emerge. Miami is a
city of the future.”
NAVY PIER
19—22
SEPTEMBER
2013
WYNWOOD: © JIKATU. PEREZ MUSEUM: SEAN MCCAUGHAN
Miami
market
struggles
to take off
FOR
C U R –
I
–
O–
U
S
MINDS
The Global Forum for Design
5.–9. December 2012/
Meridian Avenue & 19th Street
Miami Beach/ USA
designmiami.com
Design Galleries
Caroline Van Hoek/ Brussels
Carpenters Workshop Gallery/ London & Paris
Cristina Grajales Gallery/ New York
Demisch Danant/ New York
Didier Ltd/ London
Gabrielle Ammann // Gallery/ Cologne
Galerie BSL/ Paris
Galerie Downtown - François Laffanour/ Paris
Galerie Jacques Lacoste/ Paris
Galerie kreo/ Paris
Galerie Maria Wettergren/ Paris
Galerie Patrick Seguin/ Paris
Galerie VIVID/ Rotterdam
Galleria Rossella Colombari/ Milan
Gallery SEOMI/ Seoul
Hostler Burrows/ New York
Industry Gallery/ Washington DC & Los Angeles
Jason Jacques Inc./ New York
Johnson Trading Gallery/ New York
Jousse Entreprise/ Paris
Magen H Gallery/ New York
Mark McDonald/ Hudson
Moderne Gallery/ Philadelphia
Nilufar Gallery/ Milan
Ornamentum/ Hudson
Pierre Marie Giraud/ Brussels
Priveekollektie Contemporary Art | Design/ Heusden
R 20th Century/ New York
Venice Projects/ Venice
Satyendra Pakhalé/ Swan Chair/ 2012/ Gabrielle Ammann // Gallery
Design Talk
Saturday 8. December/
2–4pm
BE OPEN Forum at Design Miami/ 2012
Design Miami/ partners with BE OPEN, a global initiative to foster
innovation and creativity, to launch the BE OPEN Forum.
This series of profile talks acts as a portal to the future of design
practice, and reveals the intellectual curiosity and creative vision
of today¹s most innovative design minds.
Carter Cleveland/ Founder Art.sy
Dawn Goldworm/ Founder 12.29
Zigelbaum+Coelho/ Designers
Tuur van Balen/ Interaction Designer
Marije Vogelzang/ Eating Designer
Moderated by Jeffrey Miller
Design On/Site Galleries
Design Miami/
5.–9. December 2012/
Antonella Villanova/ Florence
presenting Delfina Delettrez
Booo/ Eindhoven
presenting Front
Design Space/ Tel Aviv
presenting Michal Cederbaum & Noam Dover
Erastudio Apartment-Gallery/ Milan
presenting Gaetano Pesce
Mondo Cane/ New York
presenting RO/LU
Victor Hunt Designart Dealer/ Brussels
presenting Sylvain Willenz + CIRVA
Volume Gallery/ Chicago
presenting Snarkitecture
Meridian Avenue & 19th Street/
Adjacent to the Miami Beach Convention Center/
Miami Beach/
designmiami.com
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
9
INTERVIEW
Hilary Weston
THE ART
NEWS
NETWORK
Philanthropist
Grimm in Florida
How art inspired by dark fairytales came to Vero Beach. By Gareth Harris
T
GERT AND UWE TOBIAS: © ALISTAIR OVERBRUCK, COLOGNE
he Whitechapel
Gallery in London
teamed up last year
with one of the
wealthiest families
in Canada in an
unusual public-private partnership; the East End institution
launched a three-year initiative
with a non-profit, privately
owned space, the Gallery at
Windsor in Vero Beach. It is
around 140 miles north of Miami
and is owned by the Torontobased retail magnate Galen
Weston and his wife Hilary. They
are known for their philanthropic
work; the Weston family foundation, the W. Garfield Weston
Foundation, donated $15m to the
Ontario Science Centre in 2003
and $20m to the Royal Ontario
Museum in 2004, among many
other gifts. The gallery forms part
of the private Windsor oceanfront
community, a 416-acre Florida
“village by the sea” on a barrier
island between the Atlantic Ocean
and the Indian River.
The arrangement
Three solo non-selling shows will
be held at the Gallery over three
years. The programme launched
last year with an exhibition
devoted to the Brazilian artist
Beatriz Milhazes. This month, the
second show in the series opens
with works by the Transylvaniaborn twins Gert and Uwe Tobias
(9 December-4 April 2013). “Their
work is symptomatic of a return to
a handmade method of production
and incorporates traditional storytelling… it will feel as if the Tobias
brothers present the dark Central
European forest of Grimms’ fairy
tales,” says Iwona Blazwick, the
director of the Whitechapel
Gallery. The collaboration brings
the London gallery to the attention
of US patrons as well as much
needed funds. “The Whitechapel
receives a consultancy fee of
£60,000 per year, with all costs covered for the delivery of three
shows over three winters,” says a
spokeswoman for the gallery.
The Art Newspaper: Do you
describe yourself as a collector,
entrepreneur or philanthropist?
Hilary Weston: Art is art—it
survives because of patrons,
TURIN
Il Giornale dell’Arte
founded 1983
www.ilgiornaledellarte.com
LONDON
NEW YORK
The Art Newspaper
founded 1990
www.theartnewspaper.com
ATHENS
Ta Nea tis Technis
founded 1992
Gert and Uwe Tobias’s show will travel from well-heeled Windsor, Florida, to London’s East End. Above, Hilary Weston
PARIS
whether in deepest Florida or the
East End of London; the
Whitechapel gallery is in the most
dense, edgy location, the sirens
never stop. The important thing is
that people get to see the works.
Besides, I don’t see myself as a collector in the true sense.
Philanthropy is important and
we’re privileged to be able to support worthy causes in different
ways, in art, literature and
Le Journal des Arts
“Art survives because
of patrons, whether
in Miami or the East
End of London”
outreach work. Neuroscience is
also a new area for us; art is [just]
one aspect of our activities.
How did the Gallery at Windsor
operate before the Whitechapel
Gallery came on board? Did
you show works from your own
collection?
Yes, we have always been very
interested in works on paper, and
initially collected early French and
Italian Renaissance drawings. The
gallery has now been open for ten
years. Our first exhibition,
launched by our daughter Alannah
in 2002, was devoted to Christo
and Jeanne-Claude; we collaborated with the Vero Beach Museum
[of Art] on the show. It felt like we
struck up a real conversation with
the artists as a result of working
together. We have held exhibitions
of works by Peter Doig, Ed Ruscha
and Alex Katz.
How did the collaboration
with the Whitechapel Gallery
come about?
I am a member of the
International Advisory Board at
Sotheby’s, and the Whitechapel
organised a fundraising event
there, where we bought a few
works. We met Iwona for the first
time at the sale. To my mind, she
is one of the most important directors working today.
How did visitors react last
year to the work of Beatriz
Milhazes?
It was very exciting and seemed
appropriate as she is a Latin
American artist, and Miami is a
hub that links the US and South
America. Significantly, she was the
first female artist we had shown at
the gallery.
Why opt for the artists Gert
and Uwe Tobias this year? Did
their technical and thematic
approach appeal to you?
Two years ago at Art Basel Miami
Beach, we discovered the work of
the Tobias brothers; people at the
fair were generally very taken
with the pieces. We ended up buying one of their triptychs and two
other works. The works were
already committed to exhibitions
in Europe so were not delivered to
us until a year later. At that time,
Iwona did not even know that we
had their works in our collection.
When we met to discuss the
future direction of the Gallery,
the twins were at the top of both
our lists. Iwona described the
brothers’ artistic practice, how
they layer and place pieces on the
canvas, almost like a silent dance.
The brothers share a rich folkloric
history that inspires them. At first
glance, the work grabs you, then
you delve in and see a darker side,
which possibly derives from the
twins’ cultural history. It is good
that the show will travel to the
Whitechapel [in April]; it’s nice to
give the artists added value.
Do you collaborate with any
Florida-based museums, for
example, through partnerships
with the Gallery, or as a
museum trustee?
No, but I’m on the board of the
Royal Ontario Museum.
Have you decided which artist
you’ll show next year as part of
the Whitechapel partnership?
We haven’t decided yet but I’m
toying with the idea of sculpture.
Ceramics are also fascinating.
• “Gert and Uwe Tobias” is open by
appointment at the Gallery at Windsor
(9 December-4 April 2013)
founded 1994
www.lejournaldesarts.fr
TURIN
Il Giornale
dell’Architettura
founded 2002
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architettura.com
MOSCOW
The Art Newspaper
Russia
founded 2012
info@theartnewspaper.ru
founded by Umberto
Allemandi in 1983
Watch our exclusive new web series at TheArtNewspaper.tv.
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We will not rest
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10
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
INTERVIEW
A Venetian-style mansion
in Coral Gables provides
the backdrop to The Light
Club of Vizcaya
Josiah McElheny
Artist
The bright lights
of Vizcaya
W
hether he is
recreating a
famous
Bauhaus performance or
producing
elaborate glass installations (he is
an expert glassblower) that reference Modernist design, Josiah
McElheny investigates the past in
order to understand the present,
grappling with the problems
inherent in Modernism’s utopian
ambitions. That impulse is what
drew him to Vizcaya, a pseudoVenetian palace built in Miami’s
mangrove swamps in 1916 by the
Chicago-based agricultural industrialist James Deering. For his film
The Light Club of Vizcaya: a Women’s
Picture, McElheny conflated
Vizcaya’s story with “The Light
Club of Batavia”, a 1912 novella by
the German writer Paul Scheerbart
(1863-1915), which describes a
secret spa in which people bathe
in light.
The Art Newspaper: What got
you interested in “The Light
Club of Batavia”?
Josiah McElheny: I had committed
to doing a project about the
Scheerbart story in 2007, before I’d
ever read it, based solely on a
description. Once I heard a translation of it, I was shocked by its
complexities. I spent a long time
trying to unravel that. And I’ve
become obsessed with it. It’s
about a utopia, and the question
is: who is it for? That’s a question
that isn’t answered by much
Modernist thinking.
“I learned that
Vizcaya was built by
probably the only
gay robber baron”
And why this particular utopia
of bathing in light in a hidden
world—why would it be
hidden?
The setting, I imagine, is important. It takes place at a fauxEuropean hotel in Jakarta in 1909.
So it’s very hot, and there’s this
faux-European palace with a park
and fountain. I always pictured it
being like
the [1961
Alain
Resnais]
film “Last
Year at
Marienbad”.
How was
that vision
transplanted
to Vizcaya?
Vizcaya invited me
to do a project. I had
done a number of
museum interventions
and they probably invited
me thinking, “Well, he’ll probably continue in that same vein.”
When they sent me pictures of
Vizcaya, I thought, “This looks just
like my picture of the Scheerbart
story.” A faux-Venetian palace in a
mangrove swamp. I thought,
“Here’s the set for the movie of
‘Light Club of Batavia’.”
What did you think when you
got there?
It’s more earthy, more deteriorated than pictures suggest.
Delving into Vizcaya’s archive,
I realised there were all these
fascinating parallels to Scheerbart’s story of
building a utopia and hiding that
private utopia. I learned that
Vizcaya was built by probably the
only gay robber baron and that it
was designed by gay people,
photographed by gay people and
inhabited by gay people. Then
there is its collage of clashing
aesthetics, which is also a
stereotype—
perhaps a
negative one,
but a stereotype
nonetheless—of a
gay aesthetic. So I tried
to respond to all of those
issues, to discover why one would
build a hidden utopia about
enlightenment—in the metaphorical sense, but also the literal—the
place is filled with lamps.
Hundreds and hundreds of crazy
lamps. Thomas Edison came there,
and there was this massive
amount of electrical power
distributed throughout the garden
and the house. Building began on
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A glassblower’s take on a Florida utopia. By Sarah Douglas
BIG BANG: PHOTO: ARTWORK BY STACY UTLEY. METAL PARTY: DENNIS COWLEY AND ERIC WEISS. ARTIST PHOTO: ROBERT WADE
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
Vizcaya in 1914—the early days of
electricity, when there was a lot of
excitement about it. And the
Scheerbart story, written in 1912, is
also reflective of that. Electricity,
at that time, represented “enlightenment” ideas, in a certain sense.
Why is your film subtitled “A
Women’s Picture”?
A lot of films were made at
Vizcaya, including one called
“Lessons of Love”, and another
called “The Woman Game”. The
narrator of my film is a young
woman who became a
photographer because of her greatgreat-aunt, a real person named
Mattie Edwards Hewitt. Mattie
Edwards Hewitt and her girlfriend,
Frances Benjamin Johnston, were
two of the most important photographers of wealthy people’s homes
at that time. And they photographed Vizcaya. The whole film
is told, in a certain sense, from
their viewpoint. It’s called “A
Women’s Picture” because it’s
about these groups of women. It’s
an anachronistic use of language,
intended to call attention to itself
in that sense. It’s not a picture of
women, it’s not a picture by a
woman, it’s not a picture by
women—it’s all of those things.
You actually collaborated with
a number of women.
Yes. The poet Rachel Zolf wrote the
script for it. We went down there
and did research together Her
methodology is a kind of collage
methodology, where she borrows
from many sources and weaves
them together, so the script is a
deep interlacing of original
language with quotations from
Scheerbart, the feminist writer
Luce Irigaray, letters by the
designer and the robber baron who
paid for the place, and writing
from Frances Benjamin Johnston.
The film’s editor, Jennifer
Montgomery, is a well-known filmmaker who kindly agreed to collaborate with me. There’s a lot of her
cinematic viewpoint within how
the film is constructed as a kind of
collage of images. And [the artist
and photographer] Zoe Leonard
Biography
Josiah McElheny
Born: Boston,
Massachusetts, 1966;
lives and works in New
York City
Education: 1988
Bachelor of fine arts,
Rhode Island School of
Design 1989–91 Apprenticed to master
glassblowers Jan-Erik Ritzman and SvenÅke Carlsson, Sweden 1992–97
Apprenticed to master glassblower Lino
Tagliapietra, US/Switzerland
Represented by: Andrea Rosen Gallery,
New York
Selected exhibitions: 2007 The Alpine
Cathedral and the City-Crown, installation,
Moderna Museet, Stockholm, Sweden;
“Projects 84”, Museum of Modern Art,
New York 2009 ”A Space for an Island
Universe”, Museo Nacional Centro de Arte
Reina Sofía, Madrid 2012 “Some Pictures
of the Infinite”, Institute of Contemporary
Art, Boston
Current and future shows: The Light Club
of Vizcaya: a Women’s Picture, Vizcaya
Museum & Gardens (until 18 March 2013;
vizcayamuseum.org); “Towards a Light
Club”, Wexner Center for the Arts,
Columbus, Ohio (27 January-7 April 2013;
wexarts.org)
agreed to be the voice of the narrator. For me, as a man, to take on
the history of these two very interesting women photographers, it
was important to me that it be a
project in which these women
would have a huge voice.
What do you think of Miami?
I had never been there before. I
spent almost all my time at
Vizcaya. As part of the project we
went on some boat trips to look at
both Miami and the exterior of
Vizcaya. My main impression—and
this is influenced by what I was
looking at—Miami seems like a
movie set to me.
Your most recent show in New
York, at Andrea Rosen Gallery
last spring, dealt with the idea
of what you call “abstraction
seen through the body”. What
interests you in this place
where abstract art and the
body meet?
It has to do with the way in which
the history of Modernism and art
has unfolded, especially in the
past hundred years. One thing is
the sexism in how it has unfolded,
the prejudices and, let’s say, fallacies and mistakes that run
through the history of Modern art.
An example of that would be the
idea of universalism. The idea that
a world designed in accordance
with Modernist principles—an
overarching vision depicted
according to a Modernist sensibility—would be sufficient for everyone—to me it seems crystal clear
that that is hugely problematic. I
admire the hope for this idea of
something that could be so
11
Crystal clear
• For The Metal Party, a project put on by New York’s
Public Art Fund in 2001, McElheny recreated a party
organised in 1929 by students of the Bauhaus in
Germany. Mimicking the original event’s reflecting costumes, McElheny provided visitors to his installation
with reflective Mylar outfits he designed.
• To make the group of five large, starburst-like glass
pieces illustrating the Big Bang theory that were on display
at his 2012 exhibition at ICA Boston (his first US museum
survey, it focused on the cosmological themes in his art),
McElheny collaborated with David Weinberg, an astronomy professor at Ohio State University.
• Though his ICA show is over, McElheny’s work still has
a prominent placement in the city, in the contemporary
art wing of the Museum of Fine Arts, Boston. Endlessly
Repeating Twentieth Century Modernism, 2007, is a display case filled with glass vessels, which, thanks to mirrored panelling, seem to go on forever.
utopian or perfect that it could
apply to, or speak to, everyone.
But in some sense what one learns
from being alive is that people see
things differently. The diversity
viewpoint—subjectivity—is really
what makes life worth living.
You are doing this unusual
exhibition at two museums, the
Institute of Contemporary Art
Boston and the Wexner Center
in Ohio, displaying two aspects
of your work. It’s very different
from, and seems almost like an
alternative to, the usual travelling mid-career retrospective.
It took three years of conversation
and negotiation to make that
happen. I was trying to respond to
this problem that many artists
face, while still relatively young,
of the survey show. In my case I
feel lucky that I was able to collaborate with these three curators
and that they were willing to
accommodate my desire and
invent with me a way of approaching this problem. We identified
two different sides to my work
that are about two different questions. I feel lucky to have been
able to work with this custom of
the mid-career survey.
• The Light Club of Vizcaya: a Women’s
Picture is being shown at the Vizcaya
Museum & Gardens (until 18 March 2013)
Visit the Private Sales
Online Gallery
Fall Session · Open thru December 21
The Online Gallery offers a convenient and
flexible way to view works available for
private sale outside the auction timeline.
This season’s selection of Post-War and
Contemporary art features works by Andy
Warhol, Robert Indiana, Ugo Rondinone
and Alexander Calder.
Contact
Alexis Klein
Associate Vice President, Specialist
Post-War and Contemporary Art
aklein@christies.com
+1 212 641 3741
christiesprivatesales.com
ROBERT INDIANA (B. 1928)
Love, 1966
oil on canvas
12 x 12 in. (30.5 x 30.5 cm.)
©2012 Morgan Art Foundation /
Artists Rights Society (ARS), New York
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
IN PICTURES
15
Kabinett fever is catching
Four of the 20 specially curated cabinet displays that spice up the fair
1
1
2
4
Left: Joan Semmel, On the Grass,
1978, $150,000. Right: Semmel,
Touch, 1975, $165,000. Alexander
Gray Associates (New York), K3
2
Left: Francesco Vezzoli, Antique Not
Antique: Pedicure, 2012, $60,000.
Right: Vezzoli, Antique Not Antique:
Self-Portrait as a Crying Roman
Togatus, 2012, $220,000. Galleria
Franco Noero (Turin), L10
3
Osvaldo Romberg, The Hanover
Color Constellation, 1982-83/
2012, $150,000. Henrique Faria
Fine Art (New York), B18
4
3
IMAGES: © VANESSA RUIZ; WWW.VANESSARUIZ.COM
Fiona Banner, Unboxing (detail),
2012, $24,000. Galerie Barbara
Thumm (Berlin), C24
16
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
BOOKS
But why is it like that?
Ed Ruscha, Oof, 1962-63
Into the unknown
CHILDREN’S BOOKS
C
ontemporary art
can be bewildering
for many and can
engender a wide
range of responses,
including anger,
shock and puzzlement. It is therefore a difficult, perhaps monumental, task to synthesise concepts
associated with the phenomenon
and present them in a way that is
meaningful to children.
Much has been written about
the role of contemporary art practice in art education. The consensus appears to be that it is an integral and important aspect of
general education; it enables
young people to gain access to
challenging and meaningful material that stimulates their sense of
enquiry and opens up novel ways
of seeing, representing and commenting upon their lives.
After a useful introduction that
sets the tone (“We invite you to get
involved—by looking, exploring,
enjoying and questioning”), What
is Contemporary Art? is divided
into 24 topics, ending (in the manner of a young child’s book) with
“Bedtime”. The topics are, in the
main, child-oriented, with eyecatching titles such as “Bizarre
Beasts” and “Sparkles and
Chocolate”. The text invites some
form of interaction; questions are
posed throughout, such as “Do you
think this work is a painting, a
sculpture – or both?” and “Who or
what do you think [Martin
Kippenberger] is trying to provoke
with this work?”
This, together with the writing
style—lucid and rather jaunty
without being flippant—make the
book potentially attractive as a
“children’s guide”. But what do the
authors mean by “children”? Parts
of the book appear to be aimed at
primary-school pupils, while other
parts seem more suitable for older
children. Most of my own work
with young people and their
understanding of art has been
with adolescents and I would suggest that the general age range for
which the book is suitable is 12-14.
Children need to have an understanding of the concept of “art”
before they can begin to understand the notions of “abstract art”,
“contemporary art” and “conceptual art”. A book about contemporary art that is aimed at children in
the early years of secondary school
needs to ensure that the intended
audience can locate the art discussed within a broader social and
historical context. In addition, the
readers need to be given enough
information about the nature of art
to enable them to distinguish art
objects from non-art objects, and
they need to have some grasp of
criteria that might help to distinguish “good” art from “bad” art”.
Here, the authors appear to have
made assumptions about the level
of understanding that young readers are likely to bring to the text.
It is easy to miseducate young
people about the nature of contemporary art; there is a tendency
in some school art lessons to
equate Modern with contemporary
and both with “abstract”, with
“abstract” often referring to formal elements alone rather than
engaging with the concepts underlying the form. The authors of this
guide have, however, avoided trivialising the works. They have done
a good job of ensuring that their
descriptions and analyses give
enough accurate and insightful
information for young people to
become intrigued, giving them an
incentive to engage further with
contemporary art. Moreover, they
avoid giving too many “correct”
interpretations, which might leave
readers with a superficial, closed
understanding of the subject.
A weakness of the book is that
it is based entirely on the collection of the Museum of Modern Art
in New York. This means that wellknown works that have engendered anger, ridicule and general
controversy (such as Tracey Emin’s
My Bed, 1998, and Carl Andre’s
Equivalent VIII, 1966) are absent.
I was also disappointed that
there is no mention of Dada or of
Marcel Duchamp’s seminal works
(such as Fountain, 1917), which
would have put contemporary art
into a broader aesthetic and historical context. Of course, it is easy to
identify missing elements in a book
of this nature, and it does not claim
to give a comprehensive overview.
It is, in fact, comprehensive in
terms of covering the range of
materials and methods used by
contemporary artists, such as
installations, performances and
film, as well as more traditional
approaches with collage and paint.
The book is replete with goodquality illustrations that are well
chosen and well informed by the
text. The font style is appropriately
child-friendly, but the font size
makes reading the large amount
of text difficult for some younger
readers. Nevertheless, it is a beautifully presented and accessible
book that parents, teachers and
older children will find valuable.
Richard Hickman
What is Contemporary Art?
A Children’s Guide
Jacky Klein and Suzy Klein
Thames & Hudson, 64pp, £12.95 (hb)
RUSCHA: © THE MUSEUM OF MODERN ART, NEW YORK
Sparkles, chocolate and Kippenberger: a new guide has reasonable success
with the difficult task of introducing children to contemporary art
ALEXKATZ
AT ART BASEL MIAMI
VISIT US ON BOOTH C11
PA R I S
F R A N C E 7 R U E D E B E L L E Y M E T E L 3 3 1 4 2 7 2 9 9 0 0 R O PA C . N E T
S A L Z B U R G A U S T R I A M I R A B E L L P L AT Z 2 T E L 4 3 6 6 2 8 8 1 3 9 3
PULSE Miami
Contemporary Art Fair
December 6–9, 2012
The Ice Palace Studios
1400 North Miami Avenue
at NW 14th Street
Miami, Florida
25.28 APR 2013
PARAMOUNT PICTURES STUDIOS
LOS ANG E LES
WWW.PARISPHOTO.COM
M
Miami
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Art FFair
air
December
December 5-9, 2012
C
Contemporary
ontemporary W
Works
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Paper
Suites
Suites of D
Dorchester
orchester
1850 Collins
Collins Avenue
Avenue (19th St)
St)
Aaron
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aron Galleries
Galleries
Childs Gallery
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ine Art
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arlborough Graphics
Graphics
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ixografía®
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aulson B
ott Press
Press
Paulson
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LLeslie
eslie Sacks
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Fine Art
Art
Carl
Gallery
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arl Solway
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allery
Road
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toney R
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TTamarind
amar
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Institute
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TTandem
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Gallery
Susan Teller
Te
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Verne
TThe
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Collection
Start
Start Y
Your
our D
Day
ay with INK M
Miami
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TThursday,
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Show
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Hours
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Wednesday 12 pm - 5 pm
Wednesday
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Saturday 10 am - 7pm
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THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
CALENDAR
Art Basel Miami Beach
KEY
Listings are arranged
alphabetically by category
• Exhibitions
• Commercial galleries
• Art fairs
• Global Caribbean
Exhibitions
19
www.vizcayamuseum.org
UNTIL 16 FEBRUARY 2013
www.theglobalcaribbean.org
Wolfsonian-Florida
International University
2100 Collins Avenue,
Miami Beach
Margulies Collection
at the Warehouse
1001 Washington Avenue,
Miami Beach
• The Endless Renaissance:
Six Solo Artist Projects (right)
591 NW 27th Street, Miami
• Esther Shalev-Gerz:
Describing Labour
Bass Museum of Art
• Selections from the Collection
UNTIL 17 MARCH 2013
UNTIL 28 APRIL 2013
UNTIL 7 APRIL 2013
www.bassmuseum.org
www.margulieswarehouse.com
• Bhakti Baxter: Construction
of Good
Cisneros Fontanals
Art Foundation
Miami Art Museum
UNTIL 7 APRIL 2013
101 West Flagler Street, Miami
1018 North Miami Avenue
• New Work Miami 2013
• Postcards of the Wiener
Werkstätte: the Leonard A.
Lauder Collection
• Unsaid/Spoken
UNTIL 2 JUNE 2013
UNTIL MARCH 2013
www.miamiartmuseum.org
www.cifo.org
UNTIL 31 MARCH 2013
www.wolfsonian.org
Museum of Contemporary
Art (MOCA NoMi)
FURTHER
LISTINGS
Joan Lehman Building, 770 NE
125th Street, North Miami
www.theartnewspaper.
com/whatson
World Class Boxing
170 NW 23rd Street, Miami
• Aaron Angell: Raga for Fishwife
• Bill Viola: Liber Insularum
UNTIL 28 FEBRUARY 2013
UNTIL 3 MARCH 2013
www.worldclassboxing.org
www.mocanomi.org
Norton Museum of Art
De la Cruz Collection
Commercial
23 NE 41st Street, Miami
1451 South Olive Avenue,
West Palm Beach
• From the Collection:
2012 Exhibition
• Sylvia Plimack Mangold:
Landscape and Trees
UNTIL 8 DECEMBER
9 DECEMBER-3 MARCH 2013
UNTIL 31 JANUARY 2013
• Pleat Construction: Jim Drain
• Rob Wynne: I Remember
Ceramic Castles, Mermaids and
Japanese Bridges
www.101exhibit.com
UNTIL 6 OCTOBER 2013
2234 NW 2nd Avenue, Miami
www.norton.org
• Dark Flow Lurking
Rubell Family
Collection
www.davidcastillogallery.com
95 NW 29th Street, Miami
Diana Lowenstein
Fine Arts
UNTIL 8 DECEMBER
Buena Vista Building, 180
NE 39th Street #120, Miami
• Storefront
The Endless Renaissance
UNTIL 8 DECEMBER
Bass Museum of Art, Miami Beach
www.delacruzcollection.org
UNTIL 17 MARCH
10901 Old Cutler Road,
Coral Gables
• Pardo on the Allée
UNTIL 31 MARCH 2013
• Chamberlain at Fairchild
UNTIL 30 APRIL 2013
• Sitting Naturally
It has been said more than once that all art was at some point contemporary, but this show at the Bass
Museum drives the point home with a series of solo projects by contemporary artists responding to the
Renaissance. Opening with a display of the German artist Hans-Peter Feldmann’s reconfigured objects
and images, the series moves on to Eija-Liisa Ahtila’s reconstruction of the common Renaissance theme
of the Annunciation and Ged Quinn’s reworking of pastoral scenes. The show’s goal is to ask how historical and contemporary art can be seen as part of a continuous dialogue, with artists constantly looking
backwards for motivation. (Above, Araya Rasdjarmrearnsook, Two Planets: Manet’s Luncheon on the
Grass and the Thai Villagers, 2012.) P.P.
UNTIL 31 MAY 2013
www.fairchildgarden.org
UNTIL 24 FEBRUARY 2013
UNTIL 21 DECEMBER
Coral Gables
Frost Art Museum—
Florida International
University
• American Sculpture
in the Tropics
• Jacin Giordano: Wound,
Bound, Tied and Knotted
• Christo and Jeanne-Claude:
Prints and Objects
UNTIL 20 MAY 2013
UNTIL 21 DECEMBER
UNTIL 13 JANUARY 2013
10975 SW 17th Street, Miami
thefrost.fiu.edu
• Nicole Eisenman: Intentions
• Art Lab@the Lowe
UNTIL 31 DECEMBER
UNTIL 21 APRIL 2013
• Mark Messersmith
101 NE 40th Street, Miami
• Chambliss Giobbi: Se7n
David Castillo Gallery
UNTIL 31 DECEMBER 2013
www.bassmuseum.org
Fairchild Tropical
Botanic Garden
101 Exhibit
• Alone Together
UNTIL 2 AUGUST 2013
• Oscar Murillo: Work (see p20)
2043 North Miami
Avenue, Miami
UNTIL AUGUST 2013
• Loris Cecchini
www.rfc.museum
UNTIL JANUARY 2013
www.dlfinearts.com
The Triad
180 NE 39th Street,
Unit 222, Miami
Dimensions Variable
• Sumakshi Singh:
Circumferences Reforming
• Odalis Valdivieso
UNTIL 14 DECEMBER
www.dimensionsvariable.net
100 NE 11th Street, Miami
UNTIL 5 JANUARY 2013
www.thetriad.org.uk
Frederic Snitzer Gallery
Vizcaya Museum
and Gardens
2247 NW 1st Place, Miami
• Lucas Arruda:
Desert Model
UNTIL 9 DECEMBER
Locust Projects
www.locustprojects.org
www.lowemuseum.org
• Ivan Navarro
UNTIL 27 JANUARY 2013
3852 North Miami
Avenue, Miami
3251 South Miami
Avenue, Miami
Lowe Art Museum
• Theaster Gates: Soul
Manufacturing Corporation
University of Miami,
1301 Stanford Drive,
• Josiah McElheny: the Light Club
of Vizcaya, a Women’s Picture
• 35th Anniversary Group Show
• To Beauty: a Tribute
to Mike Kelley
Little Haiti
Cultural Center
212-260 NE 59th Terrace
UNTIL 18 MARCH 2013
www.snitzer.com
MAM Ball and after-party
Sunday 9 December
101 West Flagler Street, Miami
Frost Art Museum: Breakfast
in the Park
UNTIL 5 JANUARY 2013
UNTIL 5 JANUARY 2013
Events
$10,000 Malcolm Award.
Art Video Nights: Bliss
Visit of Artist Studios
7PM-11PM
New World Center,
SoundScape Park,
500 17th Street,
Miami Beach
9AM-12PM
The Miami Art Museum holds its
annual fundraising gala, with
tickets starting at $1,000.
Frost Art Museum at FIU, SW
107th Avenue at SW 16 Street
10PM-2AM
Start the day with a lecture by
the sculptor Albert Paley and
tours of the sculpture park.
6PM-6AM
Bring a blanket. From dusk to
dawn, Ragnar Kjartansson’s
12-hour video Bliss is being
screened in the park next to
the New World Center. Filmed
during the Performa festival in
New York last year, the work
includes the artist singing the
final aria of Mozart’s opera
“The Marriage of Figaro”. It won
Kjartansson the biennial’s first
See the studios of Carlos
Betancourt, Robert Chambers,
Clifton Childree, Lynne Golob
Gelfman, Cristina Lei
Rodriguez, Maria MartinezCanas, Manny Prieres, Mette
Tommerup, Typoe and
Agustina Woodgate.
Luna Park
Collins Park, between the
W hotel and the Setai
4PM
The French artist duo Kolkoz is
staging a soccer tournament on
After the gala, join the Crash the
Ball after-party, with tickets
from $75 to $150.
Art Video Nights: Ragnar
Kjartansson’s 12-hour Bliss
the beach on a pitch that looks
like the moon, with teams
made up of artists, collectors,
curators, art critics and gallerists. The final match is played
on Saturday.
9.30AM-12PM
Shaw—discuss their double
lives, moderated by Hans Ulrich
Obrist, the co-director of the
Serpentine Gallery, London.
Parodi Lecture in the
Philosophy of Art: Currency,
Value, Hype
101 West Flagler Street,
Miami
Art Basel Conversations
11.30AM
Güiro Art Bar
Convention Center
Oceanfront, between 21st and
22nd Streets, South Beach
The Artist as Musician
5PM-2AM
Artists who cross the worlds of
visual arts and music—Angela
Bulloch, Rodney Graham,
Ragnar Kjartansson, Ari
Benjamin Meyers and Jim
Miami Art Museum and
University of Miami’s department of philosophy host a lecture on the value of contemporary art presented by Martha
Buskirk, professor of art history
and criticism at Montserrat
College of Art, Massachusetts.
End the night with drinks at the
Art Bar installation created by
the Cuban artist group Los
Carpinteros.
10AM-11AM
BLISS: COURTESY OF PERFORMA.
DON’T MISS:
Saturday 8 December
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
CALENDAR
KEY
Listings are arranged
alphabetically by category
• Exhibitions
• Commercial galleries
• Art fairs
Art Basel Miami Beach
Freedom Tower
600 Biscayne Boulevard, Miami
• Foreverglades: Renzo Nucara,
Carlo Rizzel, Alex Angi, Marco
Veronese, William Sweetlove
and Kicco
Manhattan: Betty Tompkins;
Chahan Gallery: Ceramics by
Peter Lane, Shizue Imai,
Antoinette Faragallah
Miami fairs
UNTIL 9 DECEMBER
Art Basel Miami Beach
www.thembuilding.com
Miami Beach Convention
Center, 1901 Convention
Center Drive
UNTIL 26 JANUARY 2013
www.for-everglades.com
OHWOW
3841 NE 2nd Avenue, Miami
UNTIL 9 DECEMBER
• It Ain’t Fair 2012
www.miamibeach.artbasel.com
125 NW 23rd Street, Miami
UNTIL 9 DECEMBER
• Ohad Meromi: the Working Day
www.oh-wow.com
Miami’s art scene may be known
for its love of young talent but
this year’s Art Basel Miami
Beach (ABMB) is not immune to
the fair circuit’s increasing
appreciation of the past. While it
may lack a timeline as long as
this year’s inaugural Londonbased Frieze Masters (11-14
October), the 11th edition of
ABMB promises strong Modern
material and programmes
exploring links between
generations, and welcomes a
new selection of Modern
galleries into the fold.
Galerie Helene Lamarque
UNTIL 31 DECEMBER
www.galeriehelenelamarque.com
Primary Projects
Gary Nader Fine Art
4141 NE Second Avenue,
Suite 104, Miami
62 NE 27th Street, Miami
• Asif Farooq: Guns
• Masterpieces from
the Berardo Collection
• Rebecca Raney: Raneytown
UNTIL 9 DECEMBER
UNTIL MARCH 2013
UNTIL 26 JANUARY 2013
www.garynader.com
www.primaryprojectspace.com
JW Marriott Hotel
Seven
1109 Brickell Avenue, Miami
2200 NW 2nd Ave, Miami
• Martin Kreloff Retrospective
• Seven galleries team up to
present their own shows:
BravinLee Programs, Hales
Gallery, Pierogi Gallery, P.P.O.W,
Postmasters, Ronald Feldman
Fine Arts, Winkleman Gallery
UNTIL 9 DECEMBER
www.martinkreloff.com
M Building
194 NW 30th Street, Miami
•Gallery shows. Clearing: Harold
Ancart; Galerie Rodolphe
Janssen: Justin Lieberman;
Kukje Gallery/Tina Kim Gallery:
Ghada Amer; Galerie Eva
Presenhuber: Valentin Carron;
Sorry We Are Closed: Artist
Jewellery; Venus Over
The inaugural edition of Untitled takes place in a specially designed tent close to Ocean Drive
Aqua Art Miami
Ink Miami Art Fair
Aqua Hotel, 1530
Collins Avenue
Suites of Dorchester Hotel,
1850 Collins Avenue
UNTIL 9 DECEMBER
UNTIL 9 DECEMBER
UNTIL 9 DECEMBER
www.seven-miami.com
www.aquaartmiami.com
www.inkartfair.com
Organised by a group of Seattle
dealers and held in the eponymous hotel, this contemporary
art fair focuses on emerging and
mid-career artists.
This compact fair has 15
exhibitors and focuses on
contemporary works on paper.
Art Asia Miami
Intercontinental Hotel
Dock next to Bayfront Park,
100 Chopin Plaza
Spinello Projects
2930 NW 7th Ave, Miami
• Closer
UNTIL 5 JANUARY
www.spinelloprojects.com
36th Street and North
Miami Avenue
International Contemporary
Jewelry Fair
UNTIL 9 DECEMBER
UNTIL 9 DECEMBER
www.artasiafair.com
www.expoships.com
This small fair has a new venue
for its fifth edition and will have a
section devoted to contemporary art from South Asia.
The inaugural edition of the
jewellery design fair takes place
at the same mega-yacht venue
used for the Art Greenwich and
Art Sarasota fairs. More than 25
exhibitors are taking part.
Art Miami
3101 NE 1st Avenue
UNTIL 9 DECEMBER
JustMad Mia
www.art-miami.com
Soho Studios,
Wynwood Convention Center,
2136 NW First Avenue
The largest satellite fair in Miami,
which now reaches its 23rd edition, is expanding. The contemporary art fair adds a new section, Context Art Miami, which
takes place in a 45,000 sq. ft
pavilion opposite the main fair.
The new section will feature
more than 65 galleries representing emerging and midcareer artists, while Art Miami
focuses on Modern and contemporary art with 125 galleries.
Hot artist: Oscar Murillo
www.justmadmia.com
Organised by the team behind
MadridFoto, this is the first edition of the fair. It will focus on
emerging art and is due to
include 40 galleries.
The eighth edition of Design
Miami, sited next to ABMB for
the third year running, includes
25% more galleries (bringing the
total to 29) with a greater focus
on American design.
UNTIL 9 DECEMBER
www.scope-art.com
UNTIL 9 DECEMBER
miamiriverartfair.com
Set in downtown Miami, this
contemporary art fair is due to
include more than 42 booth
exhibitors and a riverside sculpture walk.
A new venue for the 12th edition
of this contemporary art fair.
Eighty-five international
galleries are due to take part, in
addition to a section focusing
on around 15 younger galleries.
Sculpt Miami
Pool Art Fair
46 NW 36th Street
and 3011 NE First Avenue
Sky House Marquis,
1100 Biscayne Blvd
www.sculptmiami.com
UNTIL 9 DECEMBER
www.poolartfair.com
This fair aims to create a meeting
place for unrepresented artists
and professionals.
UNTIL 9 DECEMBER
A contemporary sculpture fair
that hosts 26 solo projects.
Select Fair
Catalina Hotel and Beach
Club, 1732 Collins Avenue
Pulse Miami
UNTIL 9 DECEMBER
The Ice Palace,
1400 North Miami Avenue
www.select-fair.com
UNTIL 9 DECEMBER
www.pulse-art.com
Located close to Art Basel Miami
Beach, this contemporary art
fair will feature 64 exhibitors.
Admission is free and a
separate section is devoted to
contemporary prints.
UNTIL 9 DECEMBER
NW 34th Street
and Buena Vista Avenue
www.art-untitled.com
More than 100 exhibitors are
expected to take part in the
tenth edition of the gallery-led
fair run by a not-for-profit organisation. This well established
satellite, which takes place in the
ballrooms of the Deauville, has
been feeling the pressure of late,
not least from the new kid on the
beach, Untitled.
UNTIL 2 AUGUST 2013
Miami River Art Fair
James L. Knight International
Center, 400 SE Second Avenue
Overture
www.newartdealers.org
UNTIL 9 DECEMBER
110 NE 36 Street
and Midtown Boulevard
Deauville Beach Resort,
6701 Collins Avenue
Meridian Avenue, 19th Street
www.designmiami.com
Scope Miami
Nada Art Fair
Design Miami
www.rfc.museum
tional participants there will be
no sculpture park this year.
Set in the Ice Palace Film Studio,
this contemporary art fair’s
eighth edition hosts 86
galleries, more than half of them
from the US.
6-9 DECEMBER
“Work” at Rubell Family Collection, Miami
What’s the hype? The Rubells invited Murillo to set up his studio in
their museum and home as their first artist-in-residence after seeing
his work at the Independent fair in New York earlier this year. “The
work by this 26-year-old London-based, Colombian artist looked fresh,
intriguing and promising,” Mera Rubell writes in the introduction to the
catalogue for his show at the Rubell Family Collection. “His resourcefulness and perseverance didn’t fail him, or us. The paintings we saw
were astonishingly vibrant.”
Where to see him: After spending five weeks with 24-hour access to
the Rubells collection and space, Murillo has come out with a new
body of paintings and installations shown in the gallery they were
created in. The creative process saw Murillo repurposing his own
work—and sometimes the museum’s furniture—to build even more
experimental pieces. H.S.
UNTIL 9 DECEMBER
art fair, organised by artMRKT,
the company that also runs fairs
in Houston, San Francisco and
the Hamptons. Around 65 galleries are expected to take part.
Fountain Miami
Ocean Drive and 13th Street
UNTIL 9 DECEMBER
www.overturemiami.com
This contemporary fair is organised by the non-profit organisation Arts for a Better World, and
includes a selling exhibition of
100 works by Andy Warhol.
The organisers of this new
satellite fair asked the New
York-based curator Omar
Lopez-Chahoud to select the 45
participating galleries, rather
than use a selection panel. The
fair will be in a tent (above)
designed by John Keenan of
K/R Architects.
Red Dot Miami
3011 NE First Avenue
at NE 31st Street
2505 North Miami Avenue
Miami Project
UNTIL 9 DECEMBER
UNTIL 9 DECEMBER
NE First Avenue, NE 30th Street
www.reddotfair.com
www.fountainartfair.com
UNTIL 9 DECEMBER
Thirty-five galleries are due to
take part in the seventh edition
of the contemporary art fair.
www.miami-project.com
More than 80 galleries are due
to take part in the sixth edition
of this fair, up from 51 last year.
To make space for the addi-
This is the inaugural edition of
the contemporary and modern
Untitled
Verge Art Miami Beach
Essex House and Clevelander
Hotels, 1001 Collins Avenue
and 1020 Ocean Drive
UNTIL 9 DECEMBER
www.vergeartfair.com
A contemporary fair that focuses
on emerging art.
UNTITLED: K/R TENT RENDERING; COURTESY OF UNTITLED AND K/R, 2012
20
Absolut Art Bureau is a unit of The Absolut Company AB
AN ART BAR INSTALLATION BY
LOS CARPINTEROS
Open December 5–8
At Oceanfront, Miami Beach
Wednesday–Saturday, 5pm–Midnight
—
Absolut Art Bureau is Associate Sponsor of Art Basel
and Presenting Partner of Art Basel Conversations
—
www.absolutartbureau.com
Rendering of Güiro (2012), an art
bar installation by Los Carpinteros
in collaboration with Absolut Art
Bureau © Los Carpinteros/Courtesy
Sean Kelly Gallery
ENJOY WITH ABSOLUT RESPONSIBILITY®.
ABSOLUT® VODKA. PRODUCT OF SWEDEN. 40% ALC./VOL. DISTILLED FROM GRAIN. ©2012 IMPORTED BY ABSOLUT SPIRITS CO., NEW YORK, NY
AB Gallery
Gagosian Gallery
Hauser & Wirth
October Gallery
Agial Art Gallery
Galerie Brigitte Schenk
Horrach Moya
Ota Fine Arts
Art Sawa
Galerie El Marsa
Hunar Gallery
Paul Stolper Gallery
ARTSPACE
Galerie Enrico Navarra
kamel mennour
SFEIR-SEMLER
Atassi Gallery
Galerie GP & N Vallois
Kerlin Gallery
Simon Lee Gallery
Athr Gallery
Galerie Janine Rubeiz
Kukje Gallery / Tina Kim Gallery
The Breeder
Ayyam Gallery
Galerie Jérôme de Noirmont
Lam Art Gallery
The Park Gallery
Bait Muzna Gallery
Galerie Kashya Hildebrand
Leehwaik Gallery
The Third Line
CDA Projects Gallery
Galerie Thaddaeus Ropac
Leila Heller Gallery
Tina Keng Gallery
Edward Tyler Nahem Fine Art, L.L.C.
Galleria Continua
Lisson Gallery
Waterhouse & Dodd
EOA. Projects
Hanart TZ Gallery
Meem Gallery
THE ART NEWSPAPER ART BASEL MIAMI BEACH DAILY EDITION Saturday 8 to Sunday 9 December 2012
DIARY
Slam dunk
Very few outside events can detract
from the Art Basel Miami Beach
(ABMB) party circuit, but
Thursday’s basketball game
between the New York Knicks and
the Miami Heat found a number of
art-worlders in the audience,
including Ash L’ange from
London’s Herald St gallery and
staffers from Norway’s Standard
Oslo, who watched the Knicks
thrash the home team by a
resounding 20 points. News of the
Knicks’ victory quickly filtered out
of the arena and into the W Hotel
South Beach, where Alex Dellal,
Vito Schnabel and Stavros Niarchos
were hosting a lavish bash. Partygoers were treated to Max Levai of
Marlborough Chelsea shouting:
“I’m so happy!” A bystander
responded: “A good day at the fair?”
“No, the Knicks just won away
from home!” was the gallerist’s
delirious response.
Tracey ♥ Miami
When Tracey Emin made her first
visit to Miami last year, the British
artist rhapsodised about the “amazing” weather, the “fantastic” beach,
the “good hotels” and even the
“The bargains are in Old Master paintings”
THE LOS ANGELES COUNTY MUSEUM OF ART’S DIRECTOR,
MICHAEL GOVAN, TALKING ABOUT THE TOPSY-TURVY ART WORLD
AT ART BASEL CONVERSATIONS ON FRIDAY
airport (“I got through in 15 minutes, which is apparently a world
record”). Now Emin is back in town
to plan her solo show at the
Museum of Contemporary Art
North Miami, which is due to open
in December 2013 and will feature
new neons and tapestries. Emin’s
enthusiasm for the place remains
so strong that she is currently in
the process of buying a beach
house in North Miami. Its sparkling
shores may be rather more lustrous
than the chilly seafront of
Margate—the seaside Kentish town
she grew up in—but Emin sees
strong similarities between the
two. “Miami is just like Margate but
stretched and stretched, and pulled
and pulled,” she says. The
“Sunshine State” certainly seems to
have got her firmly in its clutches.
ART BASEL MIAMI BEACH DAILY EDITION
EDITORIAL AND PRODUCTION
(FAIR PAPERS):
Editors: Jane Morris, Javier Pes
Deputy editor: Helen Stoilas
Production editor: Ria Hopkinson
Copy editors: Anne-Marie Conway, James
Hobbs, Andrew McIlwraith, Iain Millar,
Emily Sharpe
Redesign art director: Vici MacDonald
Designer: Emma Goodman
Editorial researcher: Pac Pobric
Picture research: Katherine Hardy
Contributors: Georgina Adam, Louisa Buck,
Charlotte Burns, Sarah Douglas, Ben
Eastham, Melanie Gerlis, Gareth Harris,
Richard Hickman, Andrew Lambirth, Ben
Luke, Julia Michalska, Javier Pes, Richard
Pinsent, Riah Pryor, Ermanno Rivetti,
Cristina Ruiz, Toby Skeggs, Helen Stoilas,
Nicole Swengley, Christian Viveros-Fauné,
Ossian Ward
Photographer: Vanessa Ruiz
King of the sand hill
Given the proximity of the beach,
it’s no surprise that works incorporating sand are to be found at the
fair and beyond. At the Rubell
Family Collection, a room-sized
installation by Ryan Trecartin features piles of the stuff. In a rented
office space two blocks from the
convention centre, the Still House
Group, a young artist-run organisation from New York, has set up a
sprawling exhibition that includes
a piece by Dylan Lynch featuring a
modest pile of “South Beach’s
finest” gritty stuff. Meanwhile, in
the Art Positions section of ABMB,
the Brazilian artist Paulo Vivacqua
has made a much bigger mound by
filling a whole booth with sand,
along with speakers and a video
projection that creates a trompe-l’oeil
Artoon by Pablo Helguera
A few of Pharrell’s favourite things
“This is the most people I’ve ever seen at a talk at Design Miami,” said
Craig Robins, the fair’s founder, to a standing-room-only crowd on
Friday afternoon. Robins was introducing the rapper, music producer
and designer Pharrell Williams (above right), who had come to the fair
to talk about his new book, Pharrell: Places and Spaces I’ve Been. Among
Williams’s favourite works at the fair were a bookshelf by Charlotte
Perriand and a snazzy 1953 cherry-red desk by Gio Ponti. “He was trying
to make office life fun,” Williams said of the latter. At one point during
the discussion, Williams, who never removed his dark sunglasses, lost
his train of thought and paused to say that he found the whole set-up,
with the bright spotlights on him, a little intimidating. “There are sun
beams coming down on me,” he said. “I feel like a rotisserie chicken.”
Later, he made another observation. “The one thing I hate,” he began,
spelling out the word slowly for emphasis, “H-A-T-E, is interviews. They
always want me to talk about me. It’s so boring.” Responding to the
remark, Robins sheepishly asked: “Is this an interview?” Williams
assured him it was not.
impression of a mountain range.
But you’d be wrong if you thought
the artist’s gallery, Rio de Janeiro’s
Galeria Laura Marsiaj, simply
carted the stuff off the beach.
They had to buy it.
You are getting
sleepy...
ABMB and all its many
ancillary activities can be
stressful. But relief is at hand.
On Thursday, the Standard
Hotel offered “De-stress Group
Hypnosis” for $30. And over at
Locust Projects, the artist Theaster
Gates has arranged for a yoga
instructor to guide his art assistants through some meditative
poses. (His show at the
project space features a mini-art
factory complete with
art workers.)
Friday’s session was
open to the
public, and
the instructor
will be on hand
again on Saturday
from 9.30am to
11.30am. With The Art Newspaper’s
final daily fair issue printed, we
feel ourselves unwinding already.
DIRECTORS AND PUBLISHING
Chief executive: Anna Somers Cocks
Managing director: James Knox
Associate publisher: Ben Tomlinson
Finance director: Alessandro Iobbi
Finance assistant: Melissa Wood
Marketing and subscriptions manager:
Stephanie Ollivier
Office administrator: Belinda Seppings
Head of sales (UK): Louise Hamlin
Commercial director (US): Caitlin Miller
Advertising sales (UK): Kath Boon
Advertising sales (US): Adriana Boccard
Ad production: Daniela Hathaway
PUBLISHED BY UMBERTO ALLEMANDI
& CO. PUBLISHING LTD
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Tel: +1 212 343 0727
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Printed by Southeast Offset, Miami
© U. Allemandi & Co Publishing Ltd, 2012
All rights reserved. No part of this newspaper may be
reproduced without written consent of the copyright
proprietor. The Art Newspaper is not responsible for
statements expressed in the signed articles and interviews.
While every care is taken by the publishers, the contents of
advertisements are the responsibility of the individual
advertisers
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Richard Serra October 26 – December 15
Joel Shapiro February 1 – March 23
Jasper Johns / Bruce Nauman April 5 – May 24
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5 East 73rd Street New York 212.570.1739 Mon-Sat 11-5:30 www.starr-art.com
PHARRELL: © VANESSA RUIZ. YOGA: COURTESY OF LOCUST PROJECTS
22
PAB LO ATCH UGARRY
GALERIA SUR
A RT B A S E L M I A M I B E AC H - B O OT H B .10
D E C E M B E R 6 - 9 / 2 012
Miami Design District
Tuesday December 4 — Sunday December 9
11am – 7pm
The dynamic destination for
design, art, luxury and culture
38th to 41st Streets between
NE 2nd Avenue and N Miami Avenue
Miami, FL 33137
Phone 305.722.7100
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Agnona
Apt 606
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Christian Louboutin
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En Avance
Hermès Editeur
Louis Vuitton
Maison Martin Margiela
Marni
Prada
Adamar Fine Arts: Glamour Reigns
– Warhol & Fendi Casa
Architecture For Dogs: A Kenya Hara Project
Craig Robins Collection
de la Cruz Collection Contemporary Art Space
Design Miami/ Designer of the Year 2012:
Acconci Studio
Inventory 03: Experience of a City
Inventory Projects: Luis Pons
Locust Projects
Luminaire Lab: Nendo & Piet Stockman
Mr. Andre: Love Graffitt
Muñoz & Company: Mestizo City
Ping Pong: Basel & Miami
Poltrona Frau & Le Corbusier: The Interior Of The Cabanon
Ray Azcuy: Inside/Out
ShopBAZAAR
StoreFront
Swampspace: 100 Years Of Artitude
Triad: Circumferences Reforming – Peel Till They Bloom
Until an empty space is transformed into a premier art show, co-directors Annette Schönholzer and Marc Spiegler will not rest.
Until every detail receives the attention it deserves.
Co-directors Annette Schönholzer and Marc Spiegler
plan the Art Basel show in Miami Beach from start to finish
with one simple philosophy in mind:
Details matter. All of them.
We believe in this philosophy too, infusing it
into every commitment we make to our clients.
It’s why UBS is the proud main sponsor
of the Art Basel show in Miami Beach.
And until you’re convinced of our commitment to you...
We will not rest
www.ubs.com/sponsorship
© UBS 2012. All rights reserved.