Archives for posts with tag: Art Market

The late paintings of De Kooning have always fascinated me. Here a man with alzheimer’s who has painted all his life continues to paint when he is detached and unaware of the outside world around him and yet still paints with consistently and with coherence! I went to a big exhibition of his at Pompidou Paris what a rush, I was just out of college and all my conceits about modernism and the abstract painters were called to question briefly. I saw the late paintings much later but respect to the geezer, after Alzheimer’s was diagnosed in his late eighties in the following years he painted more than 300 abstract paintings!

De Kooning was declared unfit to handle his affairs 22 years ago, shortly after the death of his wife, Elaine. From that time, information ceased to be available about artworks in his possession, including those still being worked on. His oeuvre was controlled primarily by Lisa de Kooning, his only child and heir; attorney John Eastman, the son of de Kooning’s longtime attorney Lee Eastman; and John Silberman, an attorney who represented Lisa and Eastman in their court application to be appointed as de Kooning’s conservators and later represented his estate. Lisa, Eastman, and Silberman largely determined how the artist’s works were cared for, exhibited, and sold during the last eight years of his life and after his death at the age of 92. 

When the estate was closed, in 2003, the foundation received 1,344 works, valued at $53.7 million. Lisa received works of an unspecified quantity and value and began collaborating with Gagosian to exhibit and sell them. “A lot of the good things are picked over,” says a source familiar with Lisa’s collection, which primarily contains paintings from the ’60s through the late ’80s. “The de Kooning estate is really just a name. There is volume but not necessarily quality.”

The foundation’s collection—which contains works of all periods, predominantly works on paper and a collection of paintings from the 1960s onward, including a significant number of 1980s paintings—is thought to be considerably more valuable than its initial valuation. This collection has never been represented by a dealer.

According to its IRS filings, three years ago the foundation sold a 1987 painting for $3.4 million (reported inventory value: $199,750); around the same time, it sold a 1984 painting for $3.9 million (reported inventory value: $246,750). Silberman won’t disclose who bought the works but says that the foundation does not sell to dealers or at auction.
Since its establishment in 2001, the foundation has sold 18 works for a total of $13 million. Silberman says that works are sold to pay for the administration of the foundation—whose stated purpose is to catalogue and maintain its own collection and archive and facilitate museum exhibitions and scholarly research about de Kooning. (Or, as Eastman describes its mission: “De Kooning is the greatest American artist ever. Prove it.”)

You can draw your own conclusions about their actions in the matter, but whatever the truth of his last years watching a video of this frail and vulnerable old man going instinctively about his painting struck a cord.

Untitled XII

Willem de Kooning
Date: 1983
Medium: Paintings
Size: unframed 80 x 70 x inches
Institution: Walker Art Center

“Your vision will become clear only when you look into your heart. Who looks outside, dreams. Who looks inside, awakens.” –Carl Gustav Jung

by Charlie Finch

The Julian Schnabel fine art revival commenced at Sperone Westwater Tuesday night when Al Pacino hurried through the opening in a houndstooth overcoat and electroshock hair. Savvily, the gallery has priced the “Navigation Drawings,” which Schnabel wished to sell at $100,000 apiece, at a bargain basement price of $60,000 each, loss leaders for the anticipated auction boom in Schnabelia.To own a work by Schnabel is not really owning a work of art. It is more like having a souvenir from the circus. The ringmaster himself was giving a tour of the drawings, as the usual crowd of hangers-on littered the room: Harvey Keitel, Dick Cavett, Charlie Rose. Pointing at the blobs of flesh and yellow paint with which he defaced a map of Hawaii, Schnabel announced to the crowd that he had been inspired by a sunset.

Last night in the Toscana restaurant in Kemang, Jakarta over a glass of wine or two my wife asked me to write about my life and my work. I have never thought it (my life) that interesting or that my views differ from a great many others, so the need to write about my life does not resonate or sit too well with me.

I continued thinking about our conversation and thought that my work does present an aspect of what my life is about, but it is never autobiography. After all the Irish have a saying ‘never let the truth get in the way of a good story’.  Did Beuys get rescued by Tartars? So I have been reflecting on the purpose of an autobiography. A personal truth?

What did strike me was that talking about the creative process is a different thing, that although autobiographical it has a critical gap that edits outside the author.

This video, an interview conducted by Tim Marlow (great suits Tim!) with Anselm Kiefer, this is what an artists interview should be: not about them but about the discipline of creation.

So for my beautiful caring wife I shall make an attempt to write. In the meantime enjoy this interview it is great.

The Catcher in the Rye by Richard Prince.

Supporting Courseware

“Style is something you can use, and you can be like a magpie,  just taking what you want.  The idea of the rigid style seemed to me then something you needn’t concern yourself with, it would trap you.”

–David Hockney

David Hockney’s philosophy on art appears to be perfectly manifesting itself in his personal style above. In his younger days, there was this cool juxtaposition between the artsy-fartsy, graphic form of the harsh, black-framed glasses and Warhol-ian mop-top, mixed with his rumpled, old school ease from the neck down–  prepster rugby shirt, chinos and battered tennis shoes.  Style– Just take what you want, don’t let it trap you.

Source of some of the photo’s and text is:

This photo by Peter Schlesinger taken in 1970 is a personal favourite of Lottie and mine. A newspaper cutting was on our kitchen wall in London for ages until it faded. Hockney was an inspiration to a working class boy who managed to enter the hallowed halls of the RCA. Although it has not always been ‘trendy’ as an artist to say so, I like him and whatever I feel about some of his work, I love his style and posing. He still inspires and I don’t give a fuck what people think, way to go David. Check out the socks.

It is 50 years since David Hockney graduated from the Royal College of Art wearing a gold lamé jacket. Within a few years he had earned a reputation as an enfant terrible whose risqué autobiographical work touched upon the taboo subject of homosexuality. With his oversized spectacles and hair dyed silvery blond, he became Brit art’s first celebrity: a charmer whose personality beguiled the public as much as his work.

Fast-forward half a century, and Hockney is still feted and adored. He shed his skin of provocative wunderkind long ago, fashioning instead a role as a plain-speaking chain-smoker specialising in common sense.

A Bigger Splash was required viewing on our Foundation Course at Mid Cheshire School of Art. I loved it, it seemed so happening smelt of London and provocative life styles. I decided then that I would go to the RCA!

Andy Warhol TV! Love the titfer, David ‘Just William’ or what?

The Hockney Poser continues

Celia and OssiePrint By Celia Birtwhistle

In 1996, 54 year old Ossie was stabbed to death in his council flat in Kensington and Chelsea, London,[1] by his then 28 year old Italian former lover, Diego Cogolato.[2] Cogolato was convicted of manslaughter on the grounds of diminished responsibility and jailed for six years. Wikipedia

Sixties or What, Georgie Best, Ossie Clarke, Kings Road, Carnaby Street, Swingeing London, Mars Bars, Mick Jagger, Keith Richard, the list could go on and on.

footage from what was until recently an uniquely simple film. It’s called ‘Football as Never Before’ – the East German director Hellmuth Costard and the rest of his crew; Manfred Treutel, Stanislav Szomolányi
Dieter Matzka, Fritz Schwennicke,
Wolfgang Fischer, Jürgen Jürges and
Peter Kaiserhad; trained their 16mm cameras exclusively on George Best before, during and after Manchester United played Coventry City in a league game at Old Trafford on the 12th of September 1970.

This Film was a precursor to Douglas Gordan’s Zidane film,

As a Chelsea fan it grates to put M Utd on a blog so here is the goal you have all been waiting for; Osgood is good.

Check out Jackie Charltons friendly nudge!!

My hero at the time was Alan Hudson

IN THE EARLY Sixties, London was already ‘swinging’, and as far as the arts were concerned, almost anything seemed to be possible. London was fast becoming an epicentre for the weird and the wonderful.

At the highly fashionable Royal College of Art, David Hockney was buying his gold lame jacket and Ken Russell was filming Pop Goes the Easel. Over in the RCA’s recently established school of Film & TV Design (which later mutated into The Film School) a group of students were being approached by the executive producer of Tempo, an arts programme produced by ABC Television and screened on Sunday afternoons. He invited them to take over a studio, to write, direct, produce – and act – in their own programme, the inventing and making of a television comment. At that time, it was a first, but even forty years later, it might still be regarded as pretty progressive.

I loved Pop goes the Easel-Ken Russel, then years later Derek Boshier [more in another post] interviewed at my entrance examine to the RCA.

This excerpt of Pauline Boty is mad, love it. Great name!

TateShots Issue 6- Pauline Boty

Once a Print-maker always a Print-maker, I was introduced to Printmaking on my Foundation course and went on to study it at Leeds [then Polytechnic] and the Royal College of Art the department was in Exhibition Road behind the V&A, it was run by Alastair Grant and Alf Dunn. Alastair produced the paintings for ‘The Rebel’ starring Tony Hancock.

The Rebel, a Technicolor movie shot at Elstree, was directed by Robert Day and featured a number of major British actors. Day (b. 1922) is not one of the world’s best known directors. He began his film career as a cameraman and before The Rebel he made comedy, horror and space movies. Afterwards he directed Tarzan films and then worked more and more for television. The Rebel’s script was written by Galton and Simpson from an original story by themselves and Tony Hancock. The musical score was supplied by Frank Cordell, who is known to art and design historians as one of the members of the Independent Group of the ICA who met in the early 1950s to discuss popular culture. The competent paintings seen in the film were executed by Alistair Grant, an artist exhibiting in London in the 1950s.

Back to the Gold Lame jacket;,6,POI.html


And to today:

This one is for Fritz and Otto

Paper Pools

This is for Annie and Mikel in memory of a great day at Salts Mill 2011

And one last print for the PrintMakers of the world

For me Hockney is a great printmaker not that his paintings are not worthy but his prints are better, but then I am biased I am a printmaker!

Pete Nevin Jakarta 2012

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