July 22, 2014: A Fake Malevich, Mike Kelley at MOCA L.A., and Art Gimmicks
Christie’s sold a record $4.5 billion of artwork during the first half of 2014, marking growth of 22% since the same time last year.
A number of Detroit corporations gifted $26.8M to the Detroit Institute of Arts in hopes of soon reaching the $100 million threshold required to save the institution’s museum collection.
Due to recent suspicions concerning the authenticity of Kasimir Malevich paintings on the Russian art market, Marina Molchanova, one of the country’s leading curators and gallerists, has demanded that an international authentication council be formed.
MoMA has appointed Martino Stierli, of the University of Zurich, as chief curator of architecture and design.
What to See
Nancy Rubins at Gagosian Gallery, New York
Known for her massive blooming metal works composed of objects like canoes, televisions, and trailers, this is the Nancy Rubins’ first major exhibition of sculptures in the city since her last NYC public work was revealed at Lincoln Center in 2006. The pieces on display at Gagosian, the largest of which has dimensions of 17 x 42 x 24 feet, are a remarkable sight to behold.
“Here and Elsewhere” at New Museum, New York
This exhibition opened last week and includes more than 45 artists. In the works included, artists approach their Arab world ties and heritage through a critical lens. The show explores a variety of themes, from identity politics to familial ties to the risks and experiments involved in the art of personal reportage.
Mike Kelley at MOCA, Los Angeles
Closing on July 28th, this retrospective is the first major survey of dark conceptualist Mike Kelley’s work to since 1993. Immeasurably influential in the realm of conceptual art, this exhaustive survey of the artist’s work (which made its premiere at MoMA PS1 earlier this year) is not to be missed.
On the eccentric 20th-century Russian avant-garde art collector, George Costakis, whose collection of pioneering abstract art far surpassed those of Peggy Guggenheim, Gertrude Stein, and the entire Armory Show of 1913. (via London Review of Books)
From the archives of frieze, in praise of gimmicks in art.
Edward Hopper, who was born this week in 1882, defined 20th-century realism with his austere, eerie scenes that conveyed the alienation and isolation of modern life. Nighthawks (1942), a painting of three customers sitting at the counter of a diner late at night, is among his most famous works. The illusion of light pervades his paintings, which depict late 19th-century architecture, coastal views, and scenes of the city. Hopper’s characters, even when painted in groups, seem disconnected and lost in thought. An exploration of Hopper’s influence on photography, which pairs his paintings with the works of influential contemporary photographers, just opened at the Whitney.