Posts Tagged ‘Gallery’

Art | ‘Bank’sy?

Saturday, September 3rd, 2011


Stop & Search

Kezsler Gallery, The Hamptons

Not that I would equate the two but if it’s acceptable in the 21st century to hang a 13th century renaissance fresco, torn, by persons unknown, from the Tuscan chapel for which and where it was created in situe, in the likes of London’s National Gallery, The Louvre in Paris, or New York’s Metropolitan Museum of Art, why then is it deemed unacceptable by curators and Banksy fans to carefully slice out a five and a half ton section of a concrete, butcher’s shop wall in Palestine defaced by the artist, sell it to an art dealer, transport it across the Atlantic Ocean to a gallery in The Hamptons, where it is put on sale, restored and stabilised, for around around $450,000.

Authenticated Banksy pieces can sell for as much as $1.6m. The deed, and the story that ensued, of those who removed it trying and failing to sell Stop & Search – it shows an Alice in Wonderland-like young girl figure frisking a soldier – on eBay, at which point the gallerists came into the picture, one of whom defends himself by saying: ‘I have never been involved in the actual removal of Banksy art – I would view that as grave-robbing!’, have lent the piece mythical status’. It might be said that by transforming the graffiti into a 3D object akin to sculpture, the perpetrators of the ‘crime’ have, albeit inadvertedly, lent it more than mere gravitas and that thus it should be a very bankable asset. However, Banksy’s people, Pest Control, rarely authenticate his public works and have refused to endorse Stop &Search and another piece, Wet Dog, which was part of the same consignment.

What is a Banksy worth?

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Swiss goes pop in Düsseldorf

Wednesday, February 23rd, 2011


Zeitgeist & Glamour: The decades of the jet set

February 5th – May 15th, 2011, NRW Forum Düsseldorf, Germany

Diane Arbus, Eve Arnold, Richard Avedon, David Bailey, Harry Benson, Guy Bourdin, Raymond Depardon, Terence Donovan, Elliott Erwitt, Ron Galella, Dennis Hopper, William Klein, Robert Mapplethorpe, Billy Name, Terry O’Neill, Bob Richardson, Jeanloup Sieff, Francesco Scavullo, David Bailey, Lord Snowdon, Bert Stern (Bert Stern’s Twiggy, VOGUE, 1967. © Bert Stern. See above)… just some of of the photographers, whose work is represented in this exhibition, many of whom were or became, alongside the glamorous subjects they followed from the Côte d’Azur, St. Moritz, Paris, London, Rome, and New York– among them, Brigitte Bardot, Jackie Kennedy, Maria Callas, Andy Warhol, Truman Capote, Mick Jagger, Karl Lagerfeld – jet-setters themselves.

On show are 400 photographs, never exhibited before in public, from the Swiss collector Nicola Erni that collectively capture the unique zeitgeist of the 2oth century’s Swinging 60s and early 70s – Warhol’s Factory, Studio 54, Swinging London, Blow up, Pop Art, sex, drugs and rock‘n’roll – as seen through the lens of famous portrait and fashion photographers. Individually, each of these was creating new styles of photography, developing new techniques and forms of presentation that shaped the visual culture of the era. The paparazzi (See picture above – which may well have been the product of a prior arrangement between and in the interests of both subject and photographer(s) – by Giacomo Alexis: Un gelato in faccia di Rino Barillari da Sonia Romanoff in Via Veneto, Roma, 1970. © Giacomo Alexis) are represented, too; a new breed of photographer, who took pictures of famous personalities in their private lives and sold them to whichever newspaper and magazine bid the highest.

Were you around in the 60s & 70s? What do/did you think about all this stuff?
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Very Important Private View

Friday, January 14th, 2011


VIP Art Fair

January 22nd – 30th

Being on Sotheby’s mailing list is useful. I often pop into the auction house just for the chance of seeing something amazing that after its brief public appearance will promptly disappear, once more, into the private collection of whichever buyer – often anonymous – makes the final bid.

I’m on the mailing list of a couple of other galleries too. The other day, one of these, Timothy Taylor Gallery, emailed me a complimentary pass – with the same sort of proportions and curved corners as those of a credit card – to something called the VIP Art Fair, which lasts for a week and is exclusively online. I’m keeping an open mind but for me, it’s important to experience a piece of art in the flesh to be able to tell whether it moves me, or not – for similar reasons, I’ve never bought anything on ebay. Even with something like a flat colour screen print, it’s the effect of it at actual size that gives it allure. I suppose video art may be an exception but even then I like to view it within a gallery context. Online art, though, by definition is produced specifically to be viewed online and not to exist in any other format, so that might work.

My pass has a rather sombre black background. I can’t help wondering whether richer invitees, according to their degree of status, have been sent gold or even platinum versions.

It would interesting to hear what you think. Please leave a comment

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