fine arts – Bing Gallery http://binggallery.com/ Tue, 15 Mar 2022 03:09:53 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://binggallery.com/wp-content/uploads/2021/04/default-150x150.png fine arts – Bing Gallery http://binggallery.com/ 32 32 US Fine Arts Logistics Market Size and Forecast https://binggallery.com/us-fine-arts-logistics-market-size-and-forecast/ Tue, 15 Mar 2022 03:09:53 +0000 https://binggallery.com/us-fine-arts-logistics-market-size-and-forecast/ New Jersey, United States,- This United States Fine Arts Logistics Market The analysis of the report provides fundamental elements designed to help industry players to make informed business decisions and assert their position in the market. This market research is conducted by combining qualitative and quantitative data, which greatly helps large companies to assess the […]]]>

New Jersey, United States,- This United States Fine Arts Logistics Market The analysis of the report provides fundamental elements designed to help industry players to make informed business decisions and assert their position in the market. This market research is conducted by combining qualitative and quantitative data, which greatly helps large companies to assess the quality of the system or solution they plan to launch. It also shows important business parameters such as population density, quality, development and general industry situation. It also contains essential facts on key industry topics such as market expansion and changing market conditions. This United States Fine Arts Logistics Market study examines key market segments based on type, application and geography.

The United States Fine Arts Logistics Market research report helps to track the potential growth of the organization for the forthcoming years by providing insightful data. It covers a few important factors such as demographics, promotional activities, and business metrics. It further sheds light on the economic disasters caused by COVID-19 and the huge losses suffered by different business sectors around the world. He then talks about the market forecast for the valuation years 2022-2029. The use of a value chain aids in understanding the United States Fine Art Logistics market report.

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This United States Fine Arts Logistics Market study is a valuable way to chart the right direction for business growth. It sheds light on the key dynamics influencing business growth. It also successfully predicts the level of competition for the forecast period 2022-2029. Some of the major segments mentioned in this survey report include manufacturing technology, industrial applications, and definition. Important statistics about the state of the market are discussed here. Important parameters covered in this United States Fine Arts Logistics market report are of great help for market players to take important decisions. A thorough examination of the production, profiles, capacity, value, product specifications, and market share of the various companies provided here immensely helps the business players to make the perfect investment in the market.

Key Players Mentioned in the U.S. Fine Art Logistics Market Research Report:

AGILITY, DHL, IRON MOUNTAIN, YAMATO, DB SCHENKER, Others.

U.S. Fine Art Logistics Market Segmentation:

United States Fine Arts Logistics Market by Product

• Transportation
• Packaging
• Storage room
• Import authorization
• Others

United States Fine Arts Logistics Market by Application

Art dealers and galleries
• Museum and art fair
Auction houses
• Others

Get a discount on the purchase of this report @ https://www.verifiedmarketresearch.com/ask-for-discount/?rid=162371

Scope of the United States Fine Arts Logistics Market Report

ATTRIBUTES DETAILS
ESTIMATED YEAR 2022
YEAR OF REFERENCE 2021
FORECAST YEAR 2029
HISTORICAL YEAR 2020
UNITY Value (million USD/billion)
SECTORS COVERED Types, applications, end users, and more.
REPORT COVER Revenue Forecast, Business Ranking, Competitive Landscape, Growth Factors and Trends
BY REGION North America, Europe, Asia-Pacific, Latin America, Middle East and Africa
CUSTOMIZATION SCOPE Free report customization (equivalent to up to 4 analyst business days) with purchase. Added or changed country, region and segment scope.

Determining the pulse of the market becomes easy with this detailed analysis of the United States Fine Art Logistics Market. Key players can find all competitive data and market size of major regions like North America, Europe, Latin America, Asia-Pacific and Middle East. As part of the competitive analysis, certain strategies are profiled which are pursued by key players such as mergers, collaborations, acquisitions and new product launches. These strategies will greatly help industry players to strengthen their position in the market and grow their business.

Answers to key questions in the report:

1. Who are the top five players in the United States fine art logistics market?

2. How will the US Fine Art Logistics market evolve over the next five years?

3. Which product and application will take the lion’s share of the fine art logistics market in the United States?

4. What are the United States Fine Art Logistics Market Drivers and Restraints?

5. Which regional market will show the strongest growth?

6. What will be the CAGR and size of the United States fine art logistics market throughout the forecast period?

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Verified Market Intelligence is our BI platform for market narrative storytelling. VMI offers in-depth forecast trends and accurate insights on over 20,000 emerging and niche markets, helping you make critical revenue-impacting decisions for a bright future.

VMI provides a global overview and competitive landscape with respect to region, country and segment, as well as key players in your market. Present your market report and results with an integrated presentation function that saves you more than 70% of your time and resources for presentations to investors, sales and marketing, R&D and product development. products. VMI enables data delivery in Excel and interactive PDF formats with over 15+ key market indicators for your market.

Visualize the US Fine Art Logistics Market Using VMI@ https://www.verifiedmarketresearch.com/vmintelligence/

About Us: Verified Market Research®

Verified Market Research® is a leading global research and advisory firm that for over 10 years has provided advanced analytical research solutions, personalized advice and in-depth data analysis to individuals and businesses seeking accurate research, reliable and up to date. data and technical advice. We provide insight into strategic and growth analytics, the data needed to achieve business goals, and help make critical revenue decisions.

Our research studies help our clients make superior data-driven decisions, understand market forecasts, capitalize on future opportunities, and maximize efficiency by working as a partner to deliver accurate and valuable insights. The industries we cover span a wide spectrum, including technology, chemicals, manufacturing, energy, food and beverage, automotive, robotics, packaging, construction, mining and the gas. etc

At Verified Market Research, we help in understanding holistic market indicator factors and most current and future market trends. Our analysts, with their deep expertise in data collection and governance, use industry techniques to gather and review data at all stages. They are trained to combine modern data collection techniques, superior research methodology, subject matter expertise and years of collective experience to produce informative and accurate research.

Having served over 5000 clients, we have provided reliable market research services to over 100 Global Fortune 500 companies such as Amazon, Dell, IBM, Shell, Exxon Mobil, General Electric, Siemens, Microsoft, Sony and Hitachi. We have co-consulted with some of the world’s leading consulting firms such as McKinsey & Company, Boston Consulting Group, Bain and Company for custom research and consulting projects for companies around the world.

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Mr. Edwyne Fernandes

Verified Market Research®

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US toll free: +1 (800)-782-1768

E-mail: sales@verifiedmarketresearch.com

Website:- https://www.verifiedmarketresearch.com/

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Fine Arts Insurance Market Size and Forecast https://binggallery.com/fine-arts-insurance-market-size-and-forecast/ Tue, 15 Mar 2022 01:59:00 +0000 https://binggallery.com/fine-arts-insurance-market-size-and-forecast/ New Jersey, United States,- Such an insightful market research report on the Fine Art Insurance Market highlights the economic downturn caused by the COVID-19 pandemic. It helps key industries generate higher revenues by helping them take the necessary steps to change perceptions. It discusses future opportunities as well as market dynamics. It also highlights industry […]]]>

New Jersey, United States,- Such an insightful market research report on the Fine Art Insurance Market highlights the economic downturn caused by the COVID-19 pandemic. It helps key industries generate higher revenues by helping them take the necessary steps to change perceptions. It discusses future opportunities as well as market dynamics. It also highlights industry growth drivers, latest advancements, and gross sales to help market players drive their businesses and improve brand success. Strategic research techniques, sales effectiveness and future market prospects are also presented here.

Get Sample Full PDF Copy of Report: (Including Full TOC, List of Tables & Figures, Chart) @ https://www.verifiedmarketresearch.com/download-sample/?rid=129391

Different key elements given here in this Fine Arts Insurance market report to expand the market with strength are customer interest and market size. There is clear reflection on core limb development and subjective activity peaks in each area. This market research provides information on income age, current status, financial situation and costs. This market study is a possible enrichment for central members and partners for in-depth reflection on business development factors. This market report sheds light on individual and industry development advancements that identify with their commitment to the overall market.

Key Players Mentioned in the Fine Art Insurance Market Research Report:

Huntington T. Block, Aon plc, Chubb Limited, Progressive Corporation, American International Group, Inc. (AIG), AXA XL, Assicurazioni Generali SpA, Zurich Insurance Group, China Pacific Insurance Co. Ltd., Allianz SE.

Fine Art Insurance Market Segmentation:

Fine Arts Insurance Market, By Product

Home Insurance
• Title insurance

Fine art insurance market, by art

• Carvings
• Paintings
• Visual arts – ceramics, murals, works on paper
• Antiques, collectibles – rare stamps
• Vintage vehicles

Fine Art Insurance Market, By Application Type

• Private
• Commercial

Fine Art Insurance Market, By End User

• Private collectors – individuals and companies
Art dealers
• Art Galeries
Art fund
• Warehousing service providers

Get a discount on the purchase of this report @ https://www.verifiedmarketresearch.com/ask-for-discount/?rid=129391

Scope of Fine Art Insurance Market Report

ATTRIBUTES DETAILS
ESTIMATED YEAR 2022
YEAR OF REFERENCE 2021
FORECAST YEAR 2029
HISTORICAL YEAR 2020
UNITY Value (million USD/billion)
SECTORS COVERED Types, applications, end users, and more.
REPORT COVER Revenue Forecast, Business Ranking, Competitive Landscape, Growth Factors and Trends
BY REGION North America, Europe, Asia-Pacific, Latin America, Middle East and Africa
CUSTOMIZATION SCOPE Free report customization (equivalent to up to 4 analyst business days) with purchase. Added or changed country, region and segment scope.

It becomes easy to determine the pulse of the market with this detailed analysis of the fine art insurance market. Key players can find all competitive data and market size of major regions like North America, Europe, Latin America, Asia-Pacific and Middle East. As part of the competitive analysis, certain strategies are profiled which are pursued by key players such as mergers, collaborations, acquisitions and new product launches. These strategies will greatly help industry players to strengthen their position in the market and grow their business.

Answers to key questions in the report:

1. Who are the five main players in the fine art insurance market?

2. How will the fine art insurance market evolve over the next five years?

3. Which product and which application will occupy the lion’s share of the fine art insurance market?

4. What are the Fine Art Insurance Market Drivers and Restraints?

5. Which regional market will show the strongest growth?

6. What will be the CAGR and size of the fine arts insurance market throughout the forecast period?

For more information or query or customization before buying, visit @ https://www.verifiedmarketresearch.com/product/fine-art-insurance-market/

Visualize the fine art insurance market using verified market intelligence:-

Verified Market Intelligence is our BI platform for market narrative storytelling. VMI offers in-depth forecast trends and accurate insights on over 20,000 emerging and niche markets, helping you make critical revenue-impacting decisions for a bright future.

VMI provides a global overview and competitive landscape with respect to region, country and segment, as well as key players in your market. Present your market report and results with an integrated presentation function that saves you more than 70% of your time and resources for presentations to investors, sales and marketing, R&D and product development. products. VMI enables data delivery in Excel and interactive PDF formats with over 15+ key market indicators for your market.

Visualize the fine art insurance market using VMI@ https://www.verifiedmarketresearch.com/vmintelligence/

About Us: Verified Market Research®

Verified Market Research® is a leading global research and advisory firm that for over 10 years has provided advanced analytical research solutions, personalized advice and in-depth data analysis to individuals and businesses seeking accurate research, reliable and up to date. data and technical advice. We provide insight into strategic and growth analytics, the data needed to achieve business goals, and help make critical revenue decisions.

Our research studies help our clients make superior data-driven decisions, understand market forecasts, capitalize on future opportunities, and maximize efficiency by working as a partner to deliver accurate and valuable insights. The industries we cover span a wide spectrum, including technology, chemicals, manufacturing, energy, food and beverage, automotive, robotics, packaging, construction, mining and the gas. etc

At Verified Market Research, we help in understanding holistic market indicator factors and most current and future market trends. Our analysts, with their deep expertise in data collection and governance, use industry techniques to gather and review data at all stages. They are trained to combine modern data collection techniques, superior research methodology, subject matter expertise and years of collective experience to produce informative and accurate research.

Having served over 5000 clients, we have provided reliable market research services to over 100 Global Fortune 500 companies such as Amazon, Dell, IBM, Shell, Exxon Mobil, General Electric, Siemens, Microsoft, Sony and Hitachi. We have co-consulted with some of the world’s leading consulting firms such as McKinsey & Company, Boston Consulting Group, Bain and Company for custom research and consulting projects for companies around the world.

Contact us:

Mr. Edwyne Fernandes

Verified Market Research®

USA: +1 (650)-781-4080
UK: +44 (753)-715-0008
APAC: +61 (488)-85-9400
US toll free: +1 (800)-782-1768

E-mail: sales@verifiedmarketresearch.com

Website:- https://www.verifiedmarketresearch.com/

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Mermaid Trail 2 Receives County Funding https://binggallery.com/mermaid-trail-2-receives-county-funding/ Sat, 12 Mar 2022 20:10:16 +0000 https://binggallery.com/mermaid-trail-2-receives-county-funding/ Tourism Development Director Tammy Heon will be able to begin forming the second installment of the Florida Mermaid Trail. The county’s $75,000 investment will pay for the creation of six-foot-tall statues modeled after the famous Weeki Wachee mermaids, who will celebrate their 75th birthday in October. The first Florida Mermaid Trail is a 2.2-mile trail […]]]>

Tourism Development Director Tammy Heon will be able to begin forming the second installment of the Florida Mermaid Trail. The county’s $75,000 investment will pay for the creation of six-foot-tall statues modeled after the famous Weeki Wachee mermaids, who will celebrate their 75th birthday in October. The first Florida Mermaid Trail is a 2.2-mile trail through downtown Brooksville where visitors are encouraged to find 21 miniature mermaid statues hidden in locations around town.

The Board of County Commissioners (BOCC) unanimously approved funding for the second Mermaid Trail at the regular meeting on March 8, 2022.
The Heon Tourism Department, in partnership with Brooksville Main Street and the Hernando County Board of Fine Arts, will work together to coordinate the public art project, which is expected to bring new tourists to Hernando County.
Local businesses can sponsor a mermaid statue for $3,500, securing their place along the trail and attracting new customers. The sponsor agreement states that sponsors will agree to a minimum of 3 years to display the siren and may continue to do so for up to 12 years. The proceeds cover trail construction expenses and generate income for the tourism fund.

Chairman Steve Champion started the discussion by asking Heon what the BOCC’s role would be in the development of the Mermaid Trail. “I think it should be a private thing, I don’t think we should put too much money into it.”

Heon explained that eventually private sponsorships will pay for the statues, but his department needs funding to get the project off the ground.

Heon’s presentation listed sixteen potential sponsors who expressed interest in the project.

Heon described the initial $15,000 first phase as “having a lot of moving parts,” including the employment of a live mermaid (we’re assuming a mermaid actor) whose face will be cast for replicas. Each mold will be created from fiberglass by an expert formerly employed by Universal Studios. Local artists will be sought, their creations evaluated and approved. Each artist will receive $1,000 for their work.

Upon completion, the six-foot-tall mermaid will be tied to a four-foot-wide cement platform.

The mold materials will cost around $11,000, and Heon said the remaining $4,000 will be for marketing.

Additionally, smaller statues will be sold at a retail location, to create a source of income to maintain the statues. Heon said she wants experts to be involved in the upkeep of the statues, rather than individual sponsors because of the specialized materials that will be used in their creation.

Commissioner Jeff Holcomb expressed concern about damage and subsequent repairs to the statues, and Heon explained that each sponsor is required to have liability insurance on their statue and ultimately be responsible for any repair costs. Liability insurance would fall under a marine policy “due to the nature of the product”. It may refer to fiberglass material, not because it is mermaids.

Addressing the issue of vandalism, Heon said the statues will be illuminated when placed in a park or outdoor venue. She said her department initially did not want to put fences around the statues, to invite visitors to take photos.

The cost of installing the statues has not yet been determined.

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April 1 Opening date of “One with Eternity: Yayoi Kusama in the Hirshhorn Collection” https://binggallery.com/april-1-opening-date-of-one-with-eternity-yayoi-kusama-in-the-hirshhorn-collection/ Mon, 07 Mar 2022 13:45:29 +0000 https://binggallery.com/april-1-opening-date-of-one-with-eternity-yayoi-kusama-in-the-hirshhorn-collection/ “Visitor experiencing Yayoi Kusama’s Infinity Mirrored Room – My Heart Is Dancing into the Universe (2018), part of the 2022 exhibition One with Eternity: Yayoi Kusama in the Hirshhorn Collection at the Hirshhorn Museum and Sculpture Garden. Photo by Matailong Du. Wood and glass mirror with paper lanterns, 119 5/8 x 245 1/8 x 245 […]]]>

“Visitor experiencing Yayoi Kusama’s Infinity Mirrored Room – My Heart Is Dancing into the Universe (2018), part of the 2022 exhibition One with Eternity: Yayoi Kusama in the Hirshhorn Collection at the Hirshhorn Museum and Sculpture Garden. Photo by Matailong Du. Wood and glass mirror with paper lanterns, 119 5/8 x 245 1/8 x 245 1/8 in. (304 x 622.4 x 622.4 cm) Courtesy Ota Fine Arts and Victoria Miro, London /Venice. © YAYOI KUSAMA. Jointly purchased by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (Joseph H. Hirshhorn Purchase Fund, 2020) and the Albright-Knox Art Gallery, Buffalo, with funds from the George B. and Jenny R. Mathews Fund, by exchange.

Excerpt from a press release:

“The Hirshhorn Museum and Sculpture Garden will launch “One with Eternity: Yayoi Kusama in the Hirshhorn Collection,” a focused look at the celebrated artist’s nearly seven-decade long career, from April 1 through November 1. 27. Featured Almost five years after the Hirshhorn’s landmark exhibition “Yayoi Kusama: Infinity Mirrors”, this exhibition will feature works by Kusama from the museum’s permanent collection, including two recently acquired Infinity Mirror Rooms.

After a 17-month closure of the museum building, ‘One with Eternity’ joins the Hirshhorn’s dynamic spring exhibition calendar by inviting visitors to re-explore all the interior galleries and celebrate the art and ideas of today. today and the artists who paved the way.

“As a highly anticipated milestone in the history of the Hirshhorn, we are thrilled to celebrate the impact of Kusama’s radical practice and welcome three canonical works to the permanent collection,” said Hirshhorn director Melissa Chiu. . “‘One with Eternity: Yayoi Kusama in the Hirshhorn Collection’, along with international exhibitions of his work, demonstrate that Kusama’s legacy extends far beyond a single body of work and impacts the history of the museum. Kusama has built her practice around the ideas of celebration and inclusion. There is no better artist than Kusama and no better reason to welcome visitors to the Hirshhorn again.

The Hirshhorn will issue free, timed same-day passes to “One with Eternity: Yayoi Kusama in the Hirshhorn Collection” on a first-come, first-served basis beginning at 9:30 a.m. daily outside on the museum square. Timed passes are required for this exhibit, but not for entry to the Hirshhorn Museum, other exhibits, and public areas. Among the member-only perks, Hirshhorn Insiders are welcome to preview the exhibit or plan ahead by booking timed passes online. The museum has partnered with Etix to manage the online distribution of passes for members. For more information on timed passes, see the exhibition’s FAQ.

Curated by Hirshhorn Assistant Curator Betsy Johnson, “One with Eternity: Yayoi Kusama in the Hirshhorn Collection” traces the unique practice of Kusama’s studio in the context of the museum’s collections. Among the acquisitions on display will be two of Kusama’s otherworldly Infinity Mirror Rooms, which together represent the continuing trajectory of the artist’s daring investigation of space and time through the illusions of the infinite.

“Infinity Mirrored Room–Phalli’s Field (Floor Show)” (1965/2017) is the 2017 reimagining of Kusama’s groundbreaking installation that debuted in 1965, and “Infinity Mirrored Room–My Heart Is Dancing into the Universe (2018), jointly acquired with the Albright-Knox Art Gallery in Buffalo, New York, is one of the artist’s most recent rooms. As part of the exhibition, additional sculptures, an early work on paper and photographs by the artist will also be on display, giving visitors a comprehensive insight into how the artist continued to innovate and explore new avenues of artistic creation. These include an early painting entitled “The Hill, 1953 A (No. 30)” (1953), “Flowers–Overcoat” (1964) and an immersive presentation of “Pumpkin” (2016) in which viewers are surrounded by walls wrapped in the artist’s signature polka dots. The Hirshhorn has been collecting the artist’s work since 1996.

In 2017, the Hirshhorn welcomed a record 475,000 visitors to the exhibition – its highest spring attendance since the museum opened in 1974, doubling its attendance that year to 1.2 million. The traveling exhibit welcomed more than 800,000 visitors to partner museums across the United States and Canada over the next two years. The social media impact of “Yayoi Kusama: Infinity Mirrors” reached an unprecedented global audience with the exhibit’s hashtag #InfiniteKusama reaching over 172 million Twitter and Instagram accounts and generating over 716 million of impressions. This digital footprint inspired audiences around the world to engage with Kusama’s work on a new scale and demonstrated the transformative power of sharing interactions with Kusama’s work on social media. As audiences continue to share their experiences digitally, “One With Eternity” offers visitors another opportunity to connect with friends and followers around the world.

The exhibition will be activated through the museum’s award-winning smartphone art guide, Hirshhorn Eye (Hi). Visitors can scan the artworks in the exhibition using Hi’s image recognition software to unlock artists’ insights into Hirshhorn’s collection and Kusama’s prolific career.

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A blockbuster exhibition of American art from a transformative era comes to the Virginia Museum of Fine… https://binggallery.com/a-blockbuster-exhibition-of-american-art-from-a-transformative-era-comes-to-the-virginia-museum-of-fine/ Mon, 28 Feb 2022 00:03:06 +0000 https://binggallery.com/a-blockbuster-exhibition-of-american-art-from-a-transformative-era-comes-to-the-virginia-museum-of-fine/ Sunlight, 1909, Frank Weston Benson (American, 1862–1951), oil on canvas. Indianapolis Museum of Art at Newfields, John Herron Fund, 11.1. © The Frank W. Benson Trust the Virginia Art Museum (VMFA) will host the highly anticipated exhibition From Whistler to Cassatt: American Painters in France from April 16, 2022 to July 31, 2022. The exhibition, […]]]>
Sunlight, 1909, Frank Weston Benson (American, 1862–1951), oil on canvas. Indianapolis Museum of Art at Newfields, John Herron Fund, 11.1. © The Frank W. Benson Trust

the Virginia Art Museum (VMFA) will host the highly anticipated exhibition From Whistler to Cassatt: American Painters in France from April 16, 2022 to July 31, 2022. The exhibition, which debuted at the Denver Art Museum, focuses on a group of budding artists who, between the late 19th and early 20th centuries, left the United States to train overseas and then returned home to become one of the biggest influencers in shaping American art.

From Whistler to Cassatt: American Painters in France provides a vivid account of late 19th century France and the cutting-edge opportunities available to expatriate artists at that time,” said Alex Nyerges, Director and CEO of VMFA. “Visitors to the exhibit will see exquisite paintings by some of this country’s greatest artists, created during one of the most complex and transformative periods in American art history.”

Mary Cassatt, Girl at a Window, c. 1883–1884. Oil painting on canvas; 39-1/2 x 25-1/2 in. National Gallery of Art, Washington DC: Corcoran Collection, museum purchase, gallery holdings. Image courtesy of the National Gallery of Art, Washington.

This exhibition is organized by the Denver Museum of Art and curated for VMFA by Dr. Susan J. Rawles, Elizabeth Locke Associate Curator of American Decorative Arts. From Whistler to Cassatt will include more than 100 works by famous American artists, including James Abbott McNeill Whistler and Mary Cassatt, who traveled to France between 1855 and 1913 as part of the first wave of expatriate artists to cross the Atlantic Ocean to Europe. The exhibition also features paintings by renowned artists Cecilia Beaux, Frank Weston Benson, William Merritt Chase, William J. Glackens, Childe Hassam, Robert Henri, Winslow Homer, Maurice Prendergast, Theodore Robinson, John Singer Sargent, Henry Ossawa Tanner and John Henry Twatchman. .

“The period between the mid-19th and early 20th centuries brought a kaleidoscope of social, economic, and political changes that expanded and complicated ideas about democracy, throwing America into a state of flux and challenging its quest for a national identity. It also prompted a question that has haunted historians since the birth of the United States: who and what constitutes the American in American art? said Dr. Rawles.

With its eminent academy, L’École des Beaux-Arts, 19th-century France became the mecca of the arts of the Western world, providing American artists with unprecedented opportunities to train and exhibit their work. From the urban studios of Paris to the rural artistic colonies of Normandy and Brittany, they traveled in communion with their contemporaries, exchanging ideas, exploring new techniques and adopting new styles and subjects.

Entering a dramatic gallery reminiscent of the historic “Salon”, the most important exhibition of works-competition held each year in Paris, visitors to the exhibition From Whistler to Cassatt: American Painters in France will relive the experience of late 19th century art lovers. Although the academy’s preference for classically styled depictions of historical and biblical subjects was championed by many, contemporary painters were not bound by its doctrine. Seeking artistic independence, many American artists began experimenting with technical and thematic conventions. The exhibition highlights this innovative spirit by presenting works in a myriad of styles, including naturalism, realism, tonalism and impressionism. It also highlights the aesthetic philosophies that go with them. James Abbott McNeill Whistler, for example, was guided by a credo of “art for art’s sake” that freed the paintings from moral purpose. His experiments with “tonalism” emphasize the sensory relationship between painting and music.

Henry Ossawa Tanner, The Young Sabot Maker, 1895. Oil on canvas, 47-3/8 x 35-3/8 in. The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: William Rockhill Nelson Trust through the George H. and Elizabeth O. Davis Fund and partial gift from an anonymous donor, 95-22. Photo: Jameson Miller.

“The exhibition testifies to the radicalism of the time. The various artistic movements that were percolating in France at the time responded not only to academic conservatism, but also to the reforming political, social and economic ideas circulating among progressive thinkers,” said Dr Rawles. “Although not all of the technical and ideological components were assimilated by American artists, selective elements of these movements and philosophies came together to inform the direction of American painting. We’ve become so used to styles like Impressionism that we forget how radically wicked it was, or that a handful of American expatriate painters became the country’s first modernists.

John Singer Sargent, A Gust of Wind (Judith Gautier), 1883-85. Oil painting on canvas; 24-3/4 × 15 in. Virginia Museum of Fine Arts, Richmond: James W. and Frances Gibson McGlothlin Collection. Photo by Travis Fullerton. © Virginia Art Museum.

Also radical were the American women artists who went to France determined to become professional painters. Light is shed on the experiences of female artists – Cecilia Beaux, Mary Cassatt and Elizabeth Nourse – featured in From Whistler to Cassatt. Although women artists were not allowed to enter the École des Beaux-Arts until 1897, they could train in private studios and academies like the Académie Julian. In general, these fee-paying academies adopted the same practices as the École and, although separated by sex, allowed women to study from the figure of life, participate in weekly competitions and experiment with various techniques. While Elizabeth Gardner pursued a brilliant career as an academic painter, becoming the first American female artist to receive a medal at the Salon, Mary Cassatt explored more avant-garde practices, becoming the only American artist invited to exhibit with the Impressionists. In addition to this studio experience, the work of copying in the Louvre completes the training of an artist. It was also an opportunity to socialize, as women were excluded from café society.

Ultimately, most American expatriate artists returned to the United States where their work met with mixed reception. Sensitivity to national identity fueled resistance to French influences, and the paintings were often discredited as “un-American”. In response, many returning artists emphasized figurative and landscape subjects that celebrated the rising middle class and its burgeoning hobbies. Announcing this new direction, “The Ten American Painters” turned away from the conservative National Academy of Design and the Society of American Artists to pursue their shared preference for Impressionism. “The Eight” and their successors, the “Independents,” followed more progressive impulses, fueling the push toward modernism.

“In a time full of challenges,” said Dr Rawles, “Frank Benson’s painting, Sunlight, seems like an uplifting metaphor for America. A young woman stands high on the horizon in the bright light of a clear day. Looking across an ocean separating the old world from the new, she stands against the headwinds, but remains strong. For all the tension and discomfort that accompanied America’s growing pains — both physical and philosophical — her youth and spirit signal optimism.

For more information on From Whistler to Cassatt: American Painters in France and to purchase tickets, visit www.VMFA.museum.

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Wichita Artist Ann Resnick Creates Powerful Artwork About ‘Grief and Loss, Love and Death’ https://binggallery.com/wichita-artist-ann-resnick-creates-powerful-artwork-about-grief-and-loss-love-and-death/ Sat, 26 Feb 2022 09:41:48 +0000 https://binggallery.com/wichita-artist-ann-resnick-creates-powerful-artwork-about-grief-and-loss-love-and-death/ The Kansas Reflector welcomes opinion pieces from writers who share our goal of expanding the conversation about how public policy affects the daily lives of people across our state. Emily Christensen is a Wichita-based journalist who writes about arts and culture. Wichita-based artist Ann Resnick has been reading obituaries for as long as she can […]]]>

The Kansas Reflector welcomes opinion pieces from writers who share our goal of expanding the conversation about how public policy affects the daily lives of people across our state. Emily Christensen is a Wichita-based journalist who writes about arts and culture.

Wichita-based artist Ann Resnick has been reading obituaries for as long as she can remember. Their “strange language” fascinated her, and eventually she began to incorporate the notices into her work.

“I want to find a way to talk about grief and loss, love and death,” she says. “The use of the obituary pages seemed quite straightforward.”

Grief and loss, love and death are the themes of ‘Chapter and Verse,’ a solo exhibition of Resnick’s work at Wichita State’s Ulrich Museum of Art, on view through May 7 . The show includes 16 major works from the last 30 years of the artist’s prolific career, and it should cement Resnick’s reputation as an intelligent and methodical observer of the human condition.

In the words of curator Ksenya Gurshtein, “She is a pain data analyst.”

Resnick created “Our Town” over a two-year period, first coloring the obituary pages of the Wichita Eagle, then using a tool to etch intricate designs into the delicate newsprint. (Emily Christensen for Kansas Reflector)

Resnick’s work with obituaries is represented by “Our Town.” She created the 36-foot-long piece over a two-year period, first coloring obituaries of the Wichita Eagle, then painstakingly burning them into a striking web-like pattern. The result, writes Gurshtein in the exhibition text, evokes “both the foliage and the shifting patterns of light seen when looking at the shadows cast by the plants.”

“The thing about journals is that’s where the content is for the work I want to do,” Resnick says.

She still subscribes to the newspaper for the same reason that she buys 200 stamps at a time from the post office.

“I just try to support old institutions,” she says. “I think it’s the ties that bind, in a way.”

On the other side of the gallery is another room that uses newspaper as a medium. “Pessimist’s Index” consists of the first 67 newspaper pages representing several weeks in 2015. Resnick and a list of friends color-coded the pages according to their relative pessimistic content. She made this piece in response to an installation by Christine Wong Yap at Harvester Arts.

“His work was about optimism, and I was like, ‘That’s not me. I’m going to take the opposite view,'” Resnick says.

In contrast to the complex and orderly nature of “Our Town” and “Pessimist’s Index”, two simpler works carry different emotional weight. “Dear Ann, Love” and “We’re So Sorry” extract and enlarge words from handwritten correspondence in large black and white series. Here, as in much of his work, Resnick draws inspiration from his own life to create art that feels expansive rather than specific.

“Dear Ann, Love” (2011), Indian ink on paper, 108×180 inches. (Emily Christensen for Kansas Reflector)

She created “We’re So Sorry” from sympathy notes received after the 2018 death of her husband and creative partner, artist Kevin Mullins. Most of us have been the audience for a chorus of “sorry”, though – and the fact of that is impossible to ignore when viewing this piece.

“Pessimist’s Index,” “Dear Ann, Love,” and “We’re So Sorry” allude to Resnick’s community and the collaborative nature of some of her work. The process of creating the exhibition was another form of collaboration. It started early in the pandemic, after Resnick spoke with Gurshtein, the curator, in preparation for a public conversation.

“That’s when I realized there was so much more than I knew” about Resnick’s work, given that it had been shown relatively little in Wichita, Gurshtein says. “I felt that this work from all these different stages of his career should be shown in dialogue together.”

Working with Gurshtein, Resnick spent months reviewing decades of work accumulated in his studio near downtown Wichita, unrolling and unpacking pieces that hadn’t been seen in years.

“It was mind-blowing in so many ways,” Resnick says. “The project required me to go through 40 years of work.” The process of looking back on one’s life in this way was “equal parts pain and pleasure”.

Both the artist and curator were keen to include series of older prints, created prior to his 1995 move from upstate New York to Wichita. “Jeannesplice” and “Jeannetic Mutation”—references to Resnick’s mother, Jeanne—use partial representations of the Resnick siblings’ faces to explore the random and sometimes confusing nature of genetic connections. In these pieces, Gurshtein sees a direct line to Resnick’s recent and meticulous work.

“Pessimist’s Index” (2015), mixed media on newsprint, 108×252 inches. (Emily Christensen for Kansas Reflector)

The curator wanted the exhibition to reflect the different phases of Resnick’s career and the wide variety of media she used. However, “Chapter & Verse” isn’t exactly a retrospective, but rather a focused look at some of the artist’s recurring themes – Gurshtein notes that they could have selected different works to evoke an entirely different tone.

This choice makes “Chapter & Verse” a bit like an unassembled puzzle: each of the works corresponds to the others. It may take a while for the viewer to recognize these connections, but they are everywhere.

A display case containing the artist’s project notebooks and sketches provides context for Resnick’s style of practice and the works included in “Chapter & Verse.” A online gallery that accompanies the exhibit includes additional images that highlight Resnick’s time and thought processes.

“I feel like that’s a really core thing that defines her as an artist, and that’s not that common in artistic practices — that intense commitment to investing time,” Gurshtein said. “Obviously spending time is a big part of the whole point of creating the work.”

The unusual engraving technique used to create four of the pieces in ‘Chapter & Verse’ is itself a concession to the inexorable forward movement of time. An engraver by training, Resnick discovered that burning paper imparts a line quality similar to that of a woodcut, without the same level of physical effort required to carve blocks of wood. That’s a definite plus for an artist with carpal tunnel and a history of broken wrists.

Still, she can only work for about three hours at a time, she says: “Everything takes its toll, even when you think it won’t.”

“Our Town” (2014-16), newsprint, colored pencil, spray enamel, burnt paper, 22×432 inches. (Emily Christensen for Kansas Reflector)

The Ulrich Museum of Art is open to the public from 11 a.m. to 5 p.m. Monday through Saturday. Free entry.

Two smaller Wichita galleries are also exhibiting Ann Resnick’s work this spring:

“Squeeze Pinch Smoke: Prints & Drawings 1986-1992” can be viewed at the BildLab gallery in the Fisch Haus by appointment until April 17. Free entry.

“So Long Farewell” opens March 3 at Newman University’s Steckline Gallery at DeMattias Fine Arts Center. Resnick will give an artist talk at noon on March 3 in conjunction with Newman’s annual Art and Lit Fest. The gallery will host a reception on the first Friday from 5 to 8 p.m. on March 4 and the exhibition will be on view from 9 a.m. to 4 p.m. Monday through Friday and by appointment until March 25. Free entry.

Through its opinion section, the Kansas Reflector works to amplify the voices of people who are affected by public policies or excluded from public debate. Find information, including how to submit your own review, here.

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Parent of today: Curtis closes the door on a 75-year-old real estate business https://binggallery.com/parent-of-today-curtis-closes-the-door-on-a-75-year-old-real-estate-business/ Thu, 24 Feb 2022 23:55:22 +0000 https://binggallery.com/parent-of-today-curtis-closes-the-door-on-a-75-year-old-real-estate-business/ by Steven Felschundneff | steven@clarremont-courier.com Seventy-five years ago, Jackie Robinson joined the Brooklyn Dodgers. In Long Beach, Howard Hughes took the Spruce Goose on its only flight. Benjamin “Bugsy” Siegel was murdered in Beverly Hills. And the motion picture industry fully entered the blacklist era when Congress cited the Hollywood 10 in contempt. That same […]]]>

by Steven Felschundneff | steven@clarremont-courier.com

Seventy-five years ago, Jackie Robinson joined the Brooklyn Dodgers. In Long Beach, Howard Hughes took the Spruce Goose on its only flight. Benjamin “Bugsy” Siegel was murdered in Beverly Hills. And the motion picture industry fully entered the blacklist era when Congress cited the Hollywood 10 in contempt.

That same year, 1947, Curtis Real Estate officially opened in a small cabin in the village of Claremont, near the corner of First Street and Harvard Avenue.

Like the Folk Music Center, Some Crust Bakery and Walters Restaurant, Curtis has become a Claremont institution with three generations keeping the flame alive. Anyone who has been in the City of Trees for a few orbits around the sun might assume that it will always be part of the fabric of the Village. So it came as a shock to many when current owner Carol Curtis announced last month that she intended to retire and would be closing the real estate office permanently.

“It’s a double-edged sword,” Curtis said of the decision to retire. “It’s exciting to think about new and different things and a more relaxed lifestyle, but of course it’s hard to close the doors of the family business. But it was a great race.

His long-term plan was to work a few more years, but COVID and its complications changed the calculus.

“Several salespeople have decided to leave the business altogether, and one of my salespeople passed away about a year ago. So when you have a small office and four people are suddenly gone… it seemed like maybe it was a good time to speed up retirement instead.

Seventy-five years ago, Florence and Maurice Curtis purchased an insurance business located at 211 W. First St. Soon after, they added real estate sales to balance the business model and Curtis Real Estate was born. However, soon after their marriage dissolved and in 1950 Florence became the sole owner.

In the mid-1950s, she outgrew the small apartment building at First and hired famed modernist architect John Galbraith, a friend of the family, to design a sleek new office at 107 Harvard – the exact spot where Curtis Real Estate was operating until just a few weeks ago.

After college and the Korean War, Carol’s father, Gordon Curtis, taught elementary school for a year or two at Azusa, but decided teaching fourth grade wasn’t for him. So in 1955, when Gordon was still in his twenties, Florence said “Why don’t you come join me in real estate?”

Apparently it was a good fit.

“Gordon Curtis loved the real estate so much that family trips to the beach often ended with tours of area homes,” the COURIER reported in 1993, a week before Gordon was grand marshal of the July 4 parade. of Claremont.

In that same article, Judy Wright, then a council member, said: ‘He considered it a matter of pride to match a house to a family. He considered that this contributed to the quality of life of this family.

Like much of Southern California and the entire country, housing in Claremont in the 1950s and 1960s was segregated. Gordon Curtis played a role in integrating the city when, in the mid-1960s, he sold a house on Northwestern Drive to myrlia Evers-Williams shortly after her husband Medgar was murdered in Jackson Mississippi.

“My kids and I were the second family of color to move here,” Evers-Williams recalls during a panel discussion at Pomona College in 2018. “There were definitely people who didn’t agree with our presence in this town, in this town there were some threats.”

“He got death threats for selling her this house, absolutely, and he went door to door and said who he was and he was selling the house to her and she was a wonderful person and he was hoping they would take him in,” Carol Curtis said.

Florence retired in 1979, at the age of 79, and moved to Mt. San Antonio Gardens and two years later Carol joined the family business after earning a fine arts degree from Pitzer College. .

“It was a bad economy and a tough time to get a first job and I didn’t really know what I wanted to do, and my dad just needed some office help. So I thought I’d do this temporarily until I figured out what I want to do,” Curtis said.

But Gordon developed health problems and had to retire early, so by the time of her death in 1994, Carol Curtis was ready to take over the real estate business.

“I worked with him for a few years which was good because I had the opportunity to learn a lot. Sometimes I wasn’t sure I wanted to be a salesman, but that’s why I I always kept a good sales team so I could focus more on running the office, which was also easier because I had three kids,” Curtis said.

Curtis Real Estate has had a long relationship with the COURIER, including each of the three generations regularly advertising. In the 1960s, then-publisher Martin Weinberger approached Florence Curtis to say that he was going to start running pictures with real estate ads.

His reaction came as a bit of a surprise to Weinberger. ” Do not do that. It’s a terrible idea, so people will know where the house is.

This perfectly illustrates how much the real estate industry has changed, as selling a home now requires virtually the best photography. Even during Carol Curtis’ tenure, the business changed, and not necessarily for the better.

“In the 80s and 90s, real estate agents spent a lot of time with people showing houses. It was a more fun process, the buyers were happy, it was exciting. Now, I think people are a bit stressed about being competitive. An advertisement can receive 20 or 30 offers. People watch and watch and have to pay tens of thousands of dollars over the asking price. They’re not having fun. And so the real estate agent isn’t having fun either,” Curtis said.

Pricing, of course, is another big change as Curtis recalled that at one time $100,000 seemed like a lot of money for a house.

Another big change is the amount of paperwork required to sell a home. Curtis said that in the ’80s a purchase contract was two pages, now it’s 16 pages and the entire sales record would be half an inch if printed. All of this means that everyone has to sign their name often.

“First of all [Curtis] was insurance and real estate. It was so simple you could do both,” Curtis said.

Curtis has no immediate plans for retirement other than spending more time with friends and family, including her husband, Pat Burson, and 89-year-old mother Sallie. She looks forward to a much shorter to-do list, doesn’t set off an alarm in the morning, and could rediscover her love of watercolor painting.

“It’s actually something that would be fun to tackle. I haven’t had much time in the 40 years between now and my senior art show,” she said.

As for the iconic mid-century building where Curtis Real Estate has operated all these years? It will be an art studio and gallery.

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The reception of artists in person from the Meyer Gallery was a long time coming https://binggallery.com/the-reception-of-artists-in-person-from-the-meyer-gallery-was-a-long-time-coming/ Tue, 22 Feb 2022 16:04:30 +0000 https://binggallery.com/the-reception-of-artists-in-person-from-the-meyer-gallery-was-a-long-time-coming/ “Kessel Run,” an oil painting of the Millennium Falcon from “Star Wars,” is one of artist Santiago Michalek’s new works to be featured in an exhibition Friday at the Meyer Gallery. Michalek is known for his works depicting means of transportation.Courtesy of Santiago Michalek The Meyer Gallery will host its first in-person exhibition opening artist […]]]>

“Kessel Run,” an oil painting of the Millennium Falcon from “Star Wars,” is one of artist Santiago Michalek’s new works to be featured in an exhibition Friday at the Meyer Gallery. Michalek is known for his works depicting means of transportation.
Courtesy of Santiago Michalek

The Meyer Gallery will host its first in-person exhibition opening artist reception in nearly a year.

The reception, which will include live music and refreshments, will feature Utah painters Santiago Michalek and Jeffery R. Pugh, will run from 6 to 8 p.m. on the Monthly Gallery Walk in the Park City Gallery Association on Friday February 25.

“It’s a free, family-friendly way to spend an evening,” said gallerist Susan Meyer. “It’s one thing to see the art, but there’s something to the experience of a reception and being able to talk with the artist about a work you like and hearing them talk about technique. Having this in our gallery is something that appeals to me, the artists, the staff and the collectors.”



As for COVID-19 protocols, those who want to wear masks can do so, Meyer said.

“I will wear a mask and masks will be provided at the door,” she said. “But at this point in the pandemic, we don’t demand them.”



The artists will show their works in two separate exhibitions, according to Meyer.

“One will take up our entire upstairs space and the other will take up our entire downstairs,” she said. “It’s something I introduced because there aren’t enough dates for all the artists who deserve to have their own solo shows.”

Michalek, born in Argentina, who paints images of means of transport, prepared 12 to 15 pieces, while Pugh, originally from Utah, known for his rural landscapes, painted 24 works, Meyer said.

“Some of Santiago’s works are very large and a lot of Jeff’s works are small, so it equates to about the same amount of canvas in the exhibits,” she said.

Meyer began representing these artists as soon as they finished their art studies over ten years ago.

Jeffery R. Pugh’s oil paintings, such as “A Day in the Life,” which is on display at the Meyer Gallery, are inspired by rural landscapes.
Courtesy of Jeffery R. Pugh

“Jeff had just graduated from the University of Utah with a fine arts degree, and Santiago had his own business restoring old Volkswagens,” she said. “He was a renowned restorer, but he painted and drew when he was not working. He enrolled in a small art school in Provo that no longer exists and realized that was what he wanted to do.

Their works impressed Meyer on different levels.

“When it comes to painters, I’m looking for good raw talent and skill,” she said. “I review all of their work, as I hope to avoid artists who only have one look at their work. I look for artists who have a wide range of abilities and talents, because I think they are the ones who will last the longest.

Meyer also imagines whether or not she can see an artist’s work hanging in a museum, when deciding who to represent.

“It’s a little test that I do, and it’s served me pretty well in finding young artists and sticking with them,” she said.

A strong work ethic and a degree of professionalism are also factored into Meyer’s decisions.

“These artists are running their own business, and if they can’t meet deadlines, they won’t be useful to galleries, or other professions for that matter,” she said.

Additionally, Meyer generally selects artists whose work exudes a Western flavor that is not considered Western art.

“Jeffery Pugh’s work may be set in Wisconsin or the Midwest, but it reflects the rural Utah countryside very well,” she said. “And the old cars and vintage trains of Santiago is something we certainly see even driving around in the outskirts of Summit County.”

Meyer is grateful that the two artists wanted to attend an in-person reception this month.

“It’s like the difference between watching live music on a screen and being present,” she said. “It’s a whole different experience.”

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The Macklowe collection is back for an encore at Sotheby’s in May. Can the $200 million treasure ignite the same fireworks? https://binggallery.com/the-macklowe-collection-is-back-for-an-encore-at-sothebys-in-may-can-the-200-million-treasure-ignite-the-same-fireworks/ Fri, 18 Feb 2022 13:30:39 +0000 https://binggallery.com/the-macklowe-collection-is-back-for-an-encore-at-sothebys-in-may-can-the-200-million-treasure-ignite-the-same-fireworks/ The Art Detective is a weekly column by Katya Kazakina for Artnet News Pro that lifts the curtain on what is really current on the art market. Get ready for Act II of Macklowe’s auction drama. After the white glove sale in November, Sotheby’s has just unveiled the next batch of the collection of divorced […]]]>

The Art Detective is a weekly column by Katya Kazakina for Artnet News Pro that lifts the curtain on what is really current on the art market.

Get ready for Act II of Macklowe’s auction drama. After the white glove sale in November, Sotheby’s has just unveiled the next batch of the collection of divorced octogenarians Linda and Harry Macklowe.

The upcoming 30 lots are estimated to fetch an additional $200 million in May, a sum that seems almost modest compared to Act I’s $676.1 million windfall. Among the new offerings is a darkly sublime Rothko , Warhol’s camouflage self-portrait, a couple by De Koonings and a monumental seascape by Richter.

“The whole group is such a statement about classical modernism, about the history of abstraction, the dialogue between abstraction and figuration,” said Brooke Lampley, Sotheby’s President and Global Head of Sales for Global Fine Art. “There are great opportunities for connoisseurs at all price points here.”

The second part has an obvious challenge – it comes second. Much of Macklowe’s excitement is built into the market at this point, the story feels familiar, the success of the auction almost predetermined.

Patrick Drahi, billionaire owner of Sotheby’s, and Harry Macklowe at the first sale, in front of Jackson Pollock’s Number 17, 1951. Photo: Katia Kazakina

To keep things fresh, Sotheby’s is looking into marketing. Unlike last time, it unveils the lots in London, not New York. He also brought in Barbican Center artistic director Will Gompertz and curator Eleanor Nairne, who are non-specialists and Sotheby’s executives, to showcase the works before they head to Asia, with stops in Hong Kong and Taipei. Nairne has organized exhibitions on Basquiat, Dubuffet and Krasner. Gompertz is an experienced television presenter and BBC News’ first arts editor. Their lively and impassioned 22-minute conversation amounted to a lightning art history lesson on post-war art.

The launch of Sotheby’s Macklowe 2.0 is timed to coincide with previews of its mid-season auctions in London. Meanwhile, the American art world could be distracted with all eyes on Los Angeles this week, where Frieze LA opened for the first time since the pandemic.

“This is a collection of international significance, so getting it to Europe and Asia was a priority regardless of the art world calendar, fairs and such,” Lampley said. “We find it more effective to have works for low-key viewing time and a particular location, often with an event or cocktail party to invite people. And then keep moving.

Mark Rothko, <i>Untitled</i> (1960).  Photo: Sotheby’s.  ” width=”1024″ height=”959″ srcset=”https://news.artnet.com/app/news-upload/2022/02/Mark-Rothko-Untitled-1960-Est.-35000000-50000000-1024×959 .jpg 1024w, https://news.artnet.com/app/news-upload/2022/02/Mark-Rothko-Untitled-1960-Est.-35000000-50000000-300×281.jpg 300w, https://news. artnet.com/app/news-upload/2022/02/Mark-Rothko-Untitled-1960-Est.-35000000-50000000-50×47.jpg 50w” sizes=”(max-width: 1024px) 100vw, 1024px”/></p>
<p class=Mark Rothko, Untitled (1960). Photo: Sotheby’s.

The Macklowe collection had been eagerly awaited by the market for years, while ex-spouses battled it out in court and the global pandemic further delayed the auction. The sale was ordered by a judge because the couple could not agree on another way to divide their assets.

The works will be offered on May 16 in New York. Sotheby’s decided to split the collection to avoid flooding the market with too many major works by the same artists at once. And while the company promotes the idea that both parties are equal, offers from top performers have significantly lower values ​​in the second group.

Sotheby’s won the treasure, in large part, by offering a higher guarantee than Christie’s and therefore sold the most expensive works before the first auction through irrevocable bids to minimize its risk. He is again accepting offers from investors, Lampley said.

Declining to say which lots, if any, have already been backed by third parties, she added, “Some works are known and people might have proactively reached out to us about them.”

Most of the works were displayed for years in the couple’s apartment, which spanned almost the entire length of the Plaza Hotel’s seventh floor.

“The dialogue between the works themselves is rich, whether they are two different statements about abstraction with the Rothko of 1960 and the De Kooning of 1961,” said Lampley. “Then, shortly after, you have a 1964 Polke, perfectly illustrating this very rapid change in the art world from abstraction to pop.”

Sigmar Polke, <i>The copyist</i> (1982).  Photo: Sotheby’s.  ” width=”799″ height=”1024″ srcset=”https://news.artnet.com/app/news-upload/2022/02/Sigmar-Polke-The-Copyist-1982-Est.-3000000-4000000 -799×1024.jpg 799w, https://news.artnet.com/app/news-upload/2022/02/Sigmar-Polke-The-Copyist-1982-Est.-3000000-4000000-234×300.jpg 234w, https: //news.artnet.com/app/news-upload/2022/02/Sigmar-Polke-The-Copyist-1982-Est.-3000000-4000000-39×50.jpg 39w, https://news.artnet.com/ app/news-upload/2022/02/Sigmar-Polke-The-Copyist-1982-Est.-3000000-4000000-1497×1920.jpg 1497w” sizes=”(max-width: 799px) 100vw, 799px”/></p>
<p class=Sigmar Polke, The copyist (1982). Photo: Sotheby’s.

The best batch of the group is that of Mark Rothko Untitled (1960), estimated between $35 and $50 million. Like at Rothko No. 7 (1951), which grossed $82.5 million in November, was acquired by the Macklowes from Arne Glimcher, the founder of the Pace Gallery and a friend of the couple for 40 years. Pace also sold them the Picasso bronze Young manestimated between 1 and 1.5 million dollars; Untitled #11 by Agnes Martin, estimated between $4 and $6 million; and Robert Ryman’s canvas, Quickestimated between 8 and 12 million dollars.

Richter’s monumental seascape, nearly 10 feet wide and 6.5 feet high, is estimated at $25-35 million. The canvas based on the 1975 photo depicts puffy clouds and misty waters blending into each other, a dreamy marriage of elements. The work arrived at Christie’s in London in 1992, failing to sell for $309,000. The Macklowes purchased it six years later from Anthony Meier Fine Arts in San Francisco.

Now the painting has the potential to become the artist’s most expensive figurative work ever sold at auction, surpassing Cathedral Square, Milan (1968), which grossed $37 million in 2013.

Gerhard Richter <i>Seascape</i> (1975).  Photo: Sotheby’s.  ” width=”1024″ height=”703″ srcset=”https://news.artnet.com/app/news-upload/2022/02/Gerhard-Richter-Seascape-1975-Est.-25000000-35000000-1024×703 .jpg 1024w, https://news.artnet.com/app/news-upload/2022/02/Gerhard-Richter-Seascape-1975-Est.-25000000-35000000-300×206.jpg 300w, https://news. artnet.com/app/news-upload/2022/02/Gerhard-Richter-Seascape-1975-Est.-25000000-35000000-50×34.jpg 50w” sizes=”(max-width: 1024px) 100vw, 1024px”/></p>
<p class=Gerard Richter Seascape (1975). Photo: Sotheby’s.

Another strong point is Large Charcoal Nude (1944) Jean Dubuffet’s first large-scale nude. Estimated between $4 and $6 million, this Art Brut style painting was the only Dubuffet in the Macklowe collection.

by Warhol self-portrait (1986) was part of his final “Fright Wig” series, painted months before his death in February 1987. Estimated at between $15 and $20 million, the 80-by-80-inch work was acquired from the Anthony D’ Offay from London in 1995. It has never been shown in public since then. The most expensive 80-inch self-portrait in the series fetched $24.4 million at Sotheby’s in 2016.

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Plays, Gallery Exhibits and More in Beaufort County, SC https://binggallery.com/plays-gallery-exhibits-and-more-in-beaufort-county-sc/ Tue, 15 Feb 2022 11:00:00 +0000 https://binggallery.com/plays-gallery-exhibits-and-more-in-beaufort-county-sc/ Submitted Resilience is unmistakable among cultural arts artists and performers, and those who appreciate the arts, in Hilton Head and Bluffton. Fortunately, the arts are returning to the greater Lowcountry to a degree that seemed impossible just months ago. Here are some upcoming events worth celebrating. The Continuing Arts CAROLINA COASTAL ARTS CENTER This marks […]]]>

Submitted

Resilience is unmistakable among cultural arts artists and performers, and those who appreciate the arts, in Hilton Head and Bluffton. Fortunately, the arts are returning to the greater Lowcountry to a degree that seemed impossible just months ago. Here are some upcoming events worth celebrating.

The Continuing Arts

CAROLINA COASTAL ARTS CENTER

This marks 26 years of partnership between the Arts Center of Coastal Carolina and the Gullah community. To celebrate this event, the two have teamed up to present a wide range of events for the community. Plan to join in the celebration with Gullah entertainment, special dishes and most importantly the art of the rich Gullah culture.

For those interested in the history and culture of the Gullah people, in general, and art lovers of the Gullah arts, in particular, the popular annual exhibition inside the Walter Greer Gallery is the ‘place where you can attend the annual exhibition and sale of the wonder’Les Aarts Ob We People.’ Inside, you’ll also find displays of original works by renowned artist Amiri Farris, which showcases Gullah life in the Lowcountry and beyond. On the walls and plinths of the gallery are additional works of art by other Gullah artists and members of the Art League of Hilton Head.

Arts Center of Coastal Carolina, 14 Shelter Cove Lane, Hilton Head, SC, for more information call 843 686 3945 or info@artshhi.com

GULLAH MARKET

Arts, Crafts, Music and Food Saturday, February 19, 11 a.m. to 5 p.m., Coastal Discovery Museum, 70 Honey Horn Drive, Hilton Head Island, SC

CELEBRATION OF AFRICAN-AMERICAN AUTHORS

With Bakari Sellers, Saturday, February 26, 12-3 p.m., Rotary Community Center, 11 Recreation Court, Bluffton, SC, 29910

MAYE RIVER GALLERY

Unimaginable, the Maye River Gallery was recently sold. Luckily, I have to share with you that these amazing women from the Maye River Gallery have found a new location and will be moving just up the road to a new development, The Bridge at Calhoun. I remember writing an article about the gallery and the artists, the Maye River Gals, when they first opened in 2007. These talented and graceful women had an impressive goal…they wanted to focus on fine arts and crafts of art, to help and assist their neighbors in the Bluffton community and all the while, to pursue their creative aspirations, personally as women artists in the community they inhabit.

In the meantime, expect a “floor-to-ceiling” art sale throughout February! It will be spectacular! For more information, contact the Maye River Gallery, 37 Calhoun S., Bluffton, SC, phone 843 757 2633.

JCOSTELLO GALLERY

The JCostello gallery welcomed two phenomenal artists to exhibit their superb works.

Dana Montlack has embarked on a decade of exploring the natural elements, with a more recent focus on microscopic and ocean imagery. She actually presents work that blurs the imagined boundaries between the perceived physical entity and its more mysterious underlying reality.

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More artwork on display this month at JCostello Gallery. Submitted

She holds a BFA in Sculpture from the University of California, Santa Cruz and an MFA in Mixed Media from Otis Parsons College of Art and Design in Los Angeles. His work has been exhibited in galleries and museums across the country, and his works are featured in public and private collections across the country.

David Leas’s installation, now in place, “Elemental Experience of Change”, will capture your imagination, as it did at an opening reception. His work is artistically in place on the walls of the JCostello gallery.

J Costello Gallery, Redfish 8 Archer Road, Hilton Head, SC, phone 843 686 6550.

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More artwork on display at JCostello Gallery. Submitted

RED PIANO GALLERY

There is an expanded list of artists, new and familiar, exhibiting at the Red Piano Gallery. Look forward to seeing up close the impressive work of several of them that have recently been featured.

Particularly noteworthy is the new work of Michael B. Karas, Christy Kinard, Sonja Griffin Evans, Joseph Orr, Betty Anglin Smith and a book by Jonathan Green.

OVEN CORNERS FINE ART AND FRAMING

Charlene Gardner invites you to the gallery Local Ladies Show which opens Thursday February 24 and runs through Tuesday March 8…and a reception at the gallery from 5-8 p.m.

The associates of the Gallery, the local ladieswill be there that evening to meet guests and talk about their art.

There are works in a variety of mediums created by Sally Hickman, Leslie Dyas, Fran Kaminsky, Susie Chisholm, Ronda Yono, Nancy Dwight, Nancy Waterhouse, Karen Dale, Marge Agin, Holly Bjorkstrom, Barbara Tedford, Martha Worthy and Pam Brickell Johnson .

Four Corners Framing and Art Gallery, 1263 May River Road, Bluffton, SC For more information: fourcornersbluffton@gmail.com or 843 757 8185

BLUFFTON HIGH SOBA ARTISTS

The society artists from Bluffton will showcase the talents of some of the young artists in the community in February when it hosts “Young Talent” at SOBA’s Old Town Bluffton Gallery. The exhibition runs until February 26 and features a variety of media from the region’s most promising young artists.

The gallery is located in Old Town Bluffton at the corner of Church and Calhoun streets. Visit www.sobagallery.com or call 843-757-6586

SOBA GALLERY

The 28th annual show judged by SOBA features 100 selections from all entries in six categories.

The deadline for applications is March 1. An awards ceremony will be held March 9, 5-7 p.m. SOBA Gallery, 6 Church St., Old Town Bluffton, SC Information sobagallery.com or 843 757 3776.

CONTINUOUS ART

— Art Beyond Tradition: Interpretations — an exhibition of abstract works by 12 local artists. Coastal Discovery Museum, 70 Honey Horn Drive, Hilton Head.

— An exhibition of abstract art, Rose Cofield, guest artist, an exhibition of mixed techniques and abstract art, La Petite Gallerie, 56 Calhoun Street, Bluffton, South Carolina, Information lapetitegallerie.com.

The performing arts

CAROLINA COASTAL ARTS CENTER

The curious incident of the dog in the night: This award-winning play…a play within a play, based on Mark Haddon’s best-selling novel, is the most captivating theatrical experience imaginable. It’s not just the script, which moves in any direction but right away, and in a triumph of understatement, is certainly not predictable, and moreover is brilliantly complex. Curious Incident alternates between gripping sadness and riot. And, it’s live and on our stage at the Center des Arts.

The demanding direction is by Whitaker Gannon, and the cast of compelling, convoluted characters support Mariah Boone’s ideas as the imaginative, resourceful, and inspired Christopher Boone.

This is a unique, breathtaking and thoughtful piece of work, and we at Hilton Head are so fortunate that those involved have focused in such a way that this remarkable script, the cast and behind-the-curtain support have come together. so willingly mobilized to accept the phenomenal challenges of this avant-garde, edgy and completely breathtaking stage production.

The Curious Incident of the Dog in the Night runs through February 22, 2022, at the Arts Center of Coastal Carolina, 14 Shelter Cove Lane, Hilton Head Island, SC, phone 843 842 2787, info@artshhi.com

MAY RIVER THEATER

Steel Magnolias: A delightful comedy, directed by Liz McGinnis, gives us all an up-close look at Southern women who congregate in beauty salons to visit friends as they keep their hairstyles in place, enjoy current gossip and possibly sipping a little refreshment. But clearly this production is much more than that!

This is the 20th anniversary season of the May River Theatre, and many will remember that the Theater was founded by Ed and Jodie Dupuis in 2002. It is especially important to realize that Steel Magnolias was produced during this first season. Everyone involved honors the memory of the founders with this production.

Performances are at 7:30 p.m. on February 25 and 26 and March 4 and 5, and at 2 p.m. on February 27 and March 6. Tickets are $25 and are available online at mayrivertheatre.com or by calling 843 815 5581.

COMMUNITY THEATER ON THE MAIN STAGE

Legally Blond Jr., The Musical: A perfect musical version of the famous and popular movie “Legally Blond!” The musical is at the Main Stage Community Theater with performances March 4-6. Ticket prices are $25 for adults, $15 for students, $5 for youth under 8. For more information, msctheatre.org or 843 689 6246. Hilton Head Prep’s Main Street Theater, 3000 Main St., Hilton Head Island.

I love you, you are perfect, now change: A hilarious and popular musical with music by Joe Dipietro, composer Jimmy Roberts and musical direction by Josh Wall. The performers are Mark Erickson, Jenna Shaffer, Debbie Cort and Daniel Cort.

Shows are at 7:30 p.m. on March 11 and 12 at the Coligny Theater and March 13 at 3 p.m. matinee and 7:30 p.m. at the Bluffton School of Dance. There will be a dinner-show package as well as a show only. All proceeds will support funding for the Live Oak Performing Arts Center. For information: MSCTheatre.org or 843 689 6246.

SLIMMING SET

Doubt: Pulitzer Prize and Tony Award winner by John Patrick Shanley and directed by Nakeilsha Daniel. With Jennifer Brown, Jonathan Dyrud, Katherine LeRoy and Peggy Trecker White.

A rigidly conservative nun takes it upon herself to investigate allegations of misconduct between a beloved, progressive priest and one of the students in his charge. John Patrick Shanley delves into the dark shadows of moral certainty, always balancing the fine line between truth and consequence. Doubt is an exquisite and powerful drama that will raise questions and answer none, leaving the rest of us to grapple with the discomfort of uncertainty.

One weekend only, March 24-27, HHPS Main Street Theatre. For ticket options, visit www.leanensemble.org or call 843 715 6676.

HHI INTERNATIONAL PIANO COMPETITION

— From March 7 to 14, with pianists aged 18 to 30. Tickets are on sale at hhipc.org or by calling the box office at 843 842 2055.

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