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artMarket APRIL 2018 #39


Special Coverage:


Editor & Founder : Dafna Navarro Content Editor : Emma Gotenberg Graphic Design :

Ziv Kay

Photography : Ariel Sucary Marketing Director:

Facebook Page: Tel: +972502343318

Roman Gutman Contributors: Doron Azuri Miguel Bermudez Asaf Rolef Ben-Shahar, PhD Paula Soito Anastasia Tsypkina Tim Hale

Underwater by Julia Johnson Copyrights to Julia Johnson. Artexpo NY Š All rights reserved. See Article on Page. 14


Dafna Navarro, CEO and Founder, Art Market Magazine. Curator and art appraisals, Editor in Chief of Art Market Magazine. Dafna Navarro was born in Jerusalem and lives in Tel Aviv, Israel. She is a known figure in the Israeli art world as a lecturer, curator and appraiser of art and collectibles. Dafna has lectured at the academies of visual art and design with years of experience working in advertising and media. Her education started at Technion University studying interior design followed by general design studies with the artist Ilana Goor. She later obtained a diploma in curatorial studies and art appraisals. Dafna Navarro is the creator of Art Market Magazine and its current editor-in-chief, She is the main creative driving force behind the magazines rise and success, shows no signs of slowing down, with new features and interviews, coverage of international exhibitions, and all the latest news regarding fine and contemporary art from across the world. The growth that Art Market has seen in these four years has been nothing short of remarkable. Starting as a niche art magazine that covered the various aspects of the Israeli art community, Art Market Magazine’s rise in popularity amongst international readers led to a more expansive publication that has since gone on to cover all manner of fine and contemporary art from all corners of the globe. Dafna is also the CEO, Founder&Editor of the International Lens Magazine for for fine art photography and the Israeli Art Market Online Gallery.

Stanley Spencer, 1891-1959 Patricia Preece 1933 Oil paint on canvas 839 x 736 mm Southampton City Art Gallery, Hampshire Š The Estate of Stanley Spencer/Bridgeman Images See Article on Page. 52


































104/ THE MET
















CONTRIBUTORS ASAF ROLEF BEN-SHAHAR, PHD I am a psychotherapist, writer and international trainer in psychotherapy. I founded two psychotherapy programmes in Israel and UK and am teaching regularly worldwide. I am Editor-in-Chief of the International Body Psychotherapy Journal, and an editor of three other journal, and have written numerous papers and book chapters. I have written four books on body and psychotherapy: Anatomy of therapy (Hebrew),


Doron Azouri born in 1961 in Tel Aviv-Jaffa, Israel. artist and designer. Studied philosophy and Art history at the Hebrew University in Jerusalem, graduated with honours from the Visual & communication department at Betzalel Academy Arts & Design in Jerusalem (B.A.). He won a scholarship by the Italian Government to continue his (M.A.) studies in Italy at "Accademia di Belle Arti di Brera" Milan.

Touching the relational Edge, When hurt remains and Speaking of Bodies. Aside of the world of therapy, I am a father to two lovely girls, am a novice DJ and love nature and animals.

As a young artist he won the "Dizengoff Prize" for painting depicting "the pioneer builders in Tel-Aviv". He won an award for excellence at the Betzalel Academy "the Sandberg award" (1988) for outstanding achievement in Graphic Design. He also won twice the "America-Israel Foundation scholarship"(1988-1989) and exhibited works at the Helena Rubinstein Pavilion in Tel-Aviv.

PAULA SOITO I was born in Weisbaden, Germany on a military base in the 1960's. It was during the height of the Vietnam War and my parents, two young Americans, returned to the U.S. when I was 2 years old. I grew up in rural California as an only child. I knew two things for certain as a little girl. I loved the arts and I wanted to be around people. So, I studied at California State University, Chico and



received a Bachelor of Arts in Liberal Studies with an emphasis on arts instruction. I then taught art to children for 22 years. Now my life has taken a new direction and I help artists everywhere connect to the people around them. I teach artists how to grow their business with the added bonus of tongue and cheek humor.

MIGUEL BERMUDEZ. MEB 3 I have attended most major art and antiques shows in the United States and Europe including The New York Winter Show at the Armory, The Chelsea Show in London, Le Biennale de Paris, The European Fine Art Fair (TEFAF) in Maastricht and antiques shows in Zurich, Vienna, Munich, Prague, Milan, Geneva and Basel. I frequently participate in auctions in London, Amsterdam, Vienna, Copenhagen, New York, San

Francisco, Paris, Munich, Berlin and Milan and have published academic articles and contributed research to The Orders & Medals Research Society of Great Britain, The Vatican Secret Archives, The Chancellery of the Order of the Thistle in Scotland, Sotheby’s Orders and Medals, The Chancellery of the Orders of Knighthood of the Kingdom of the Netherlands and many others.

ANASTASIA TSYPKINA Anastasia - half jewish and half russian started with the studies of linguistics and literature in Russia and after graduation in 2016 decided to get master`s degree on faculty of arts in Brno, Czech republic. Her main fields of interests and hobbies are not limited only by the world of literature, actually she wants to know everything about everything.



Art, architecture, travelling and meeting creative people – That's what she considers as the main sense and purpose of life. What makes her especially happy? - To share what she sees, hears and experiences with readers, with someone who wants to go ahead of routine and be involved in LIFE FROM ALL ITS SIDES AND VIEWS.


Copyrights to Allan Kliger © All rights reserved.


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Founded in 2014, Art Market magazine offers comprehensive coverage of the world of fine art and beyond. We bring you inside the global art world with more access and insight to auctions and art events around the world. Inside each issue, we review, we profile, we showcase, we interview. The arts and cultures covered in Art Market are as varied as they are extensive. Art Market Magazine is known for its quality publication, bringing the readers a deeper focus on auctions, art fairs and exhibitions from all over the world, article and exclusive interviews with emerging

and most known artists in the world today, including Jeff Koons, Cindy Sherman, Yayoi Kusama, Antony Micallef, Andrew Salgado and many more. The honorable Art Market Magazine’s GOLD LIST Special Edition gets a full distribution and exposure to over 50,0000 readers around the world, with a direct distribution in Digital & Print at Barnes & Noble’s Booktores in the US, Steimatzky Bookstores in Israel, Direct distribution to Art Galleries directors, museum and gallery curators, Art collectors, investors and to the people who makes the art industry of today.

Art Market Magazine is a media sponsor and has a full collaboration with main international Art Fairs around the world, Our publication has a full distribution for free at the art fairs and at the Art Fair’s official bookstores. Expected amount of visitors in each Art Fair: more than 30,000 readers. FULL DISTRIBUTION AT THE UPCOMING ART FAIRS: ArtExpo Las Vegas / ArtExpo New York / [SOLO] / [FOTO SOLO] / Art Santa Fe / Art San Diego / Spectrum Miami / Red Dot Miami / Florence Biennale


Art Market Magazine is a media sponsor and has a full collaboration with main international Art Fairs around the world. FULL DISTRIBUTION AT THE UPCOMING ART FAIRS: ArtExpo New York / [SOLO] / [FOTO SOLO] / Art Santa Fe / Art San Diego / ArtExpo Las Vegas / Spectrum Miami / Red Dot Miami / Florence Biennale /



ARTEXPO NEW YORK CELEBRATES 40 YEARS OF EXCELLENCE IN ART World’s largest international fine art marketplace returns to Pier 94, April 19—22, 2018 Redwood Media Group, the nation’s leader in exhibitions and event production, media, and marketing for the global fine art community, announces its highly anticipated four-day annual showcase and most coveted fine art experience that marks an unprecedented 40-year anniversary milestone. Artexpo New York returns to Pier 94, located at 711 12th Avenue in Manhattan, from Thursday, April 19th to Sunday, April 22nd. Exhibitor or trade registration and purchasing of show passes or general admission tickets is now open at

The annual fine art destination will once again offer Three Shows Within One Venue at the heart of Midtown Manhattan, across 135,000 square foot of uninterrupted convention space, known as “The Art & Design Pier.” Artexpo New York XL will host more than 400 innovative exhibiting artists, galleries and publishers from across the globe, showcasing original artwork, prints, paintings, drawings, sculptures, photography, ceramics, giclee, lithographs and glass works among other contemporary and fine art. 15


o celebrate 40 years of excellence in art, Artexpo New York presents [MAGNIFY] as the curatorial theme for 2018 – examining four decades of artistic expression through a retrospective lens. During its 40-year history, Artexpo New York has hosted the likes of Andy Warhol, Robert Rauschenberg, Keith Haring and Leroy Neiman; intensifying the discourse on today’s most pressing industry challenges and magnifying the very best the fine art world has to offer. In addition to coming to see the world’s largest fine art trade show, more than 35,000 avid art enthusiasts and industry leaders will return to enjoy [SOLO] highlighting established and independent emerging artists and [FOTO SOLO] featuring fine art photography from some of the world’s finest abstract, contemporary and realist photographers. Artexpo New York XL will also feature its annual lineup of interactive and educational programming covering the industry’s topics and trends.


“This year’s Artexpo New York commemorates a very special milestone within the fine art industry,” says Eric Smith, president and CEO of Redwood Media Group.

“For 40 years and counting, Artexpo New York has been changing the way people buy and sell art. Our annual curated expo brings the biggest publishers, galleries and collectors face-to-face with hundreds of established and emerging artists. [MAGNIFY] as our curatorial theme for this year’s expo offers a retrospective lens through which four decades of artistic excellence will be represented, examined and immortalized during all three shows. With giant canvases, monumental sculptures and immersive installations, Artexpo New York is going to be larger than life – both in scale and conception.”

Torn Evan Rachel Wood by Andrew Schwartz Copyrights to Andrew Schwartz. Artexpo NY © All rights reserved.


Talking Eyes by Riya Sharma Copyrights to Riya Sharma. Artexpo NY © All rights reserved.


osting more than 35,000 avid art enthusiasts, including 5,000+ trade representatives every year, Artexpo New York is the largest international gathering of qualified trade buyers— including gallery owners and managers, art dealers, interior designers, architects, corporate art buyers, and art and framing retailers. Attendees will have an opportunity to browse thousands of innovative new works of art and enjoy education seminars, cocktail parties, live entertainment and other special events. [SOLO] offers established and emerging independent artists the opportunity to showcase their work on an international stage. Over the decades, [SOLO] has become the ultimate venue for independent artists to be discovered— not only by gallery owners and art publishers, but also by collectors and enthusiasts. [FOTO SOLO] includes collections of fine art photography by some of the world’s most acclaimed independent photographers. The show has continued to partner with industry publishing experts, Digital Photo 18

Pro and Outdoor Photographer, to reinforce its philosophy of supporting career opportunities of independent artists. As part of the interactive schedule of programming, this year’s Artexpo New York will include Art Labs, featuring specially curated site-specific projects by prominent galleries, art institutions, and art collectives within the show; Spotlight Program, providing collectors with a focused look at several prominent artists and galleries that will each be creating a site-specific exhibition, and the LaunchPad Artist Program, showcasing an emerging and unrepresented artist who is selected to create an exhibition at the show, resulting from a collaboration among local art institutions, galleries, and Artexpo New York. This year’s expo also features the Topics & Trends Education Program, which includes four days of complimentary seminars and conference classes offering expert perspectives on subjects

Underwater by Julia Johnson Copyrights to Julia Johnson. Artexpo NY © All rights reserved.


ranging from art and the economy, small business management and art marketing to design and decor trends and social media management for artists. The full schedule of programming activity will be announced in April. An addition to this year’s Artexpo New York will include an artists Sculpture Garden – a dedicated installation at the rear of Pier 94, with more than 10 of today’s leading sculptors exhibiting their most impressive work. This area will also provide seating, allowing attendees to relax while they browse a number of exhibition partner and vendor stands in the surrounding vicinity. Some examples of exhibitors already confirmed for this year’s Artexpo New York include: Sammoun Fine Art, Quebec; Art Link International, Miami; Blink Group Gallery, Miami; Mecenavie Gallery, Paris; Gallery Edel, Osaka; Mattson’s Fine Art, Atlanta; Novem Fine Art, Ontario, Canada; Arte Collective, Miami/New York; Getty Images Gallery, New York; ADC Fine Art, Cincinnati; Artblend, Fort Lauderdale; Anna Art Publishing, Ontario, Canada; Contemply, Florence, Italy; Roka Art Gallery, Padua, Italy and Sarona Gallery, Tel Aviv, Israel. Maison Louis Jadot, one of the most renowned Burgundy Houses, is a premium sponsor of the show and the exclusive wine sponsor. Each year, thousands of art industry insiders flock to Artexpo New York in search of the art and the artists that will shape trends in galleries worldwide. Over the past several years, Pier 94 has quickly become a recognizable event space in New York City, utilized for high end shows and large scale events. Artexpo New York XL will follow The Armory Show, completing the trendy convention center’s month-long critically acclaimed offering of exhilarating and prominent art fairs in New York City. 20

Bubbles by Shrodrick Spikes Copyrights to Shrodrick Spikes. Artexpo NY Š All rights reserved.


he annual Opening Night Preview Party for Artexpo New York will take place from 4 p.m. to 8 p.m. on Friday, April 20. Tickets for the Opening Night Preview Party are priced at $20. Tickets for Artexpo New York are priced at $20 for general admission. A multiday pass that includes access to all three shows from Friday, April 20 to Sunday, April 22 is priced at $40. For further information on Artexpo New York or to purchase tickets, please visit For more information on Redwood Media Group, visit


JULIA JOHNSON ORGANIC FORMS With unnatural material

Julia Johnson. “White Petals” 14x11” Detail. Copyrights to Julia Johnson. Artexpo NY © All rights reserved.



JULIA JOHNSON ORGANIC FORMS With unnatural material


ulia Johnson was born in Des Moines, Iowa and grew up in Florida, Delaware, and Tennessee. She relocated to Philadelphia in 2007, falling in love with paper sculpture at Drexel University’s Antoinette Westphal College of Media Arts & Design. She earned the Outstanding Senior Thesis award in her graduating class for her prototype design of an interactive paper sculpture calendar. Over seven years she expanded her artistic repertoire from illustration to sculpture using new synthetic papers and original shaping techniques. With her signature organic, elegant forms, Julia creates innovative, eco-friendly, modern artworks. Essential to Julia’s sculptural work is a delicate aesthetic, executed in a durable synthetic paper material. In this way her work is a marriage of sumptuous beauty and pragmatism. The synthetic paper is waterproof, tear-proof, tree-free, and recyclable. Each component is individually cut and shaped by hand. In addition to her interpretive sculptural pieces, Julia is a mixed media illustrator and painter, with specific interest in the human form. Julia’s work has exhibited throughout the Greater Philadelphia Area, from the up-and-coming showcase “Pancakes and Booze” in Philadelphia, to a solo exhibition in Kennett Square, Pennsylvania. Her work has also exhibited at the Black Moth Art Gallery in Ardmore, Pennsylvania, and in the COCA gallery in Greenville, Delaware.


With my pieces, I explore organic forms with unnatural material. The pieces are made with synthetic paper, manipulated into hardened, bony white forms.

Julia Johnson. “Large Water Petals”. 30x30” Copyrights to Julia Johnson. Artexpo NY © All rights reserved.


I create the abstracted forms to juxtapose the unique properties of synthetic paper with the organic subject matter. The leaf shapes can be made smooth and fractal, and can then morph into something entirely different. When the clean, comfortable geometry is puckered and curled and melted, it becomes something more fauna than flora. This series includes forms inspired by magnolia and lotus flora, and underwater figures. 26

Julia Johnson. “Medium Lotus”. 11x14” Copyrights to Julia Johnson. Artexpo NY © All rights reserved.

Top: Julia Johnson. “Underwater II”. 21x17” Detail. Copyrights to Julia Johnson. Artexpo NY © All rights reserved. Left: Julia Johnson. “Underwater II”. 21x17” Copyrights to Julia Johnson. Artexpo NY © All rights reserved.


Julia Johnson. “Small Lotus”. 12x12” Detail. Copyrights to Julia Johnson. Artexpo NY © All rights reserved.


Julia Johnson. “Small Lotus”. 12x12” Copyrights to Julia Johnson. Artexpo NY © All rights reserved.

JULIA JOHNSON ORGANIC FORMS With unnatural material

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Copyrights to Michel Leroy Š All rights reserved.


Exclusive Interview with

MICHEL LEROY by Yasmin Sucary

The Alchemy


Copyrights to Michel Leroy Š All rights reserved.


Exclusive Interview with

MICHEL LEROY by Yasmin Sucary


ichel Leroy is a New York based entertainment and advertising photographer with a produced style that captures an authentic connection to real personalities. From celebrity chefs to olympic athletes, the images reveal a level of comfort and vitality shared amongst friends. The Alchemy series is a collaboration with photographer Michel Leroy and a range of professional athletes that explores the tension between sensuality and physicality. The images are simple in form, but rich in ideas and emotions. Moments of sculptural balance, anticipation and strength define the graceful lines and impossible gestures of this vivid Black and White series. In these nudes the artist creates bodypositive images that are exaggerated and explicit without sexual objectification. The images are a celebration of athletic confidence and vitality at its most pure. By emphasizing form over identity, he seduces the viewer to reveal empathy for body acceptance that transcends the self-image obsession of social media. The process of transmuting the skin metallic unites the constellation of skin tones and strips bare preconceptions while illuminating physical radiance.

The images are notable for the tactile permanence of flesh revealed through the unique in-camera style he has developed over a year of experimentation. The technique is of great relevance and bears witness to the labour-intensive process reminiscent of a Daguerreotype in the pixel age. The result is a series that balances poise and precision celebrated through the singular beauty of the human form. 33

Copyrights to Michel Leroy Š All rights reserved.


Copyrights to Michel Leroy Š All rights reserved.

Michel Leroy, a New-York based entertainment and advertising photographer. In addition to working with many celebs, major brands and other high-profile clients, Leroy has recently created an independent art exhibition regarding the theme of nudity: The Alchemy series. We have reached out to him to hear about his life, past and current works and his well-respected career in the field of photography in general. Yasmin Sucary: Hello, Michel! Thank you

for doing this interview with us.

Please tell our readers about yourself: where did you grow up? Do you have formal training in photography? And how did you get into photography in the first place? Michel Leroy: The contrast between my

early childhood, growing up in rural Montana, and my later years studying and living internationally really helped giving

me perspective and taught me that people are basically the same wherever you go. As for photography, in high school I took a photography elective and I fell in love with the language of visual storytelling. I was hooked from that first roll of T-Max! I followed my initial passion with a BFA in Photography from the University of Dayton and worked as a photographer for the UD Public Relations department and the Dayton Daily News to help pay my way through college. 35

Copyrights to Michel Leroy Š All rights reserved.


Y.S: Would you say your background of growing

up in the American West has affected your artistic style? If so, how? M.L: I was surrounded by the magnitude and

grandeur of ‘Big Sky’ country and that absolutely affects my artistic style and everyday approach to life. In the course of a single day in Montana you can witness nature that is both serene and savage. Growing up amidst those two extremes in one of the most beautiful places on earth imprints a recognition of and respect for nature. Y.S: You are a successful entertainment and

advertising photographer, and while your individual artistic talent is clearly apparent, you chose to focus on the commercial aspect of photography in your career. What made you decide this way? M.L: I started as a photojournalist documenting the

relevance of our time through people and it wasn’t commercial at all. I only transitioned to commercial and advertising out of a personal desire to create images rather than just be witness to them. There is a fundamental difference between documenting something, which has a lot to do with being in the right place at the right time and creating an image from your own imagination. I have made a business of photography because there is nothing else I rather do. Decades later and I’m still as passionate about the language of storytelling as I was the first time I saw a contact sheet materialise in the dim red glow of my high school darkroom.


Copyrights to Michel Leroy Š All rights reserved.

Y.S: Looking at your work, we mainly see

portraits. What is it that draws you so deeply to photographing people?

basis. How does it feel to be in this position, as a photographer? Did you achieve your career goals?

M.L: I am drawn to the human element in

M.L: My goal was and has always been

everything. When you meet someone who is passionate about what they do, which can be anything from a local carpenter building a bookcase to an engineer building a monumental hydroelectric dam, they bring a level of experience and depth of knowledge that makes whatever they do fascinating. My interest in the people drew me to photojournalism and has been a defining element of my entire career. Y.S: Your photography work has been

repeatedly used in national campaigns and you have worked with famous, important characters, such as celebrities and professional athletes, on a regular 38

to photograph people with passion. After graduating I moved to New York City because this town rewards talent and initiative more than any other place I know. Living in NYC and being relentless has allowed me to learn everything I can about commercial photography at the highest level. Having said that it wasn’t always easy. Like many, I had to work my way up from coffee-runner to running the show. On the merit of hard work and dedication, more than sheer talent, I have grown a client base who trusts me to travel the globe on assignment photographing the people that define our time.

Copyrights to Michel Leroy Š All rights reserved.


Copyrights to Michel Leroy Š All rights reserved.


How does it feel… that is a great question. I envy people who map everything out and have a clear path to success with action steps. My approach is more organic in the sense that my goals have changed over time as I have grown as an artist and professional but one thing has remained constant from the beginning, all I ever wanted was to create portraits and that singular focus has kept me trending in the right direction if not exactly hitting pre-planned milestones. Some achieve instant success and others, like myself, work tirelessly for 20 years to reach the same level. Whatever the path, I am committed to a career of passion just like the people I seek to photograph. Y.S: Tell us about the

challenges of being a commercial photographer? M.L: Where do I start! People

will say things like ‘oh you get to work whenever you want’ and maybe it looks that way from the comfort of a regular paycheck but the reality is you have to work whenever a client calls. Rain or shine, 115º in the baking summer sun of Death Valley or -15º in the shade of an ice canyon outside Ouray Colorado in the dead of winter. It’s not all as glamorous as it may seem. The real challenge of being a commercial photographer is learning to run your own business and the constant hustle for new clients and new work,

don’t let anybody try and tell you otherwise. Learning to run a “business” and understanding cash flow is essential to sustain yourself and your creative vision over a career. Taking pictures is easy by comparison. In my experience taking pictures, the part we all love so much, is a small percentage of the actual work of being a professional photographer. Having said that, I wouldn’t trade it for the world. Y.S: You clearly have an

impressive, full resume. What were the “ups” and “downs” of your career? What was your biggest challenge, and would you say you have managed to overcome it? M.L: The ups and downs

never stop, they are simply the nature of the our business. You have to learn to pilot your own course despite the ups and downs. Photography, like many industries has witnessed monumental changes in the past 20 years that crush businesses who are too set in their ways or too slow to react to major shifts in the marketplace. The shift from film to digital was a paradigm shift for a generation of photographers followed by the great recession a few years later and the rise of social media. If you aren’t ready and willing to change course your business might not make it when something as trivial as #iphoneonly becomes a badge of honor for young photographers. 41

I try and keep true to my vision and accept that sometimes I’m riding the wave and sometimes I’m getting knocked about by it. Y.S: How would you describe

your style of photography? Has it developed over the years? If so, what were the factors that affected the transformation, and how are their effects manifested in your work? M.L: My style is “produced” for sure but

it wasn’t always. I think your style evolves as you do as a photographer and mine absolutely has. I came from a journalism background where my idea of lighting involved an on-camera flash with a 3x5” notecard held on with a rubber band to bounce some light around. When I transitioned to advertising it became clear very quickly there are no excuses for an image not coming out when there are 15 people on set and you have the talent for a total of 5 minutes. When the stakes are that high you can’t rely on a sunny day or mild weather for the success of an image, instead you have to create the results you want through solid concepts, collaboration and sheer force of will. This level of production and lighting control doesn’t have to get in the way, in fact it can free you because there are no barriers between your raw ideas and your ability to translate them into tangible images.


Y.S: In your project, “Alchemy”, which

is presented here, you created blackand-white nude photos of athletes in different positions. How did you get the idea for this project? What are you trying to say or express through the nudity, and through the project as a whole? M.L: Alchemy is an exploration for me

as an artist more than a professional photographer. I wanted to create something that tapped into my own passion for the singular image without all the constraints of client work. After years of shooting assignmentto-assignment I craved a long-term project with depth that would allow me to create images that are beautiful on their own merits. I also wanted to keep revisiting a single idea again and again over time. The concept for Alchemy came from wanting to create something unlike anything I had ever seen. The human form as a theme runs through the entire history of photography, painting and all visual art to be sure but I wanted to create something new. To achieve this I knowingly broke every rule I could think of as a portrait photographer. It’s also really important to point out that for me, and the athletes I collaborate with, the Alchemy series is not about nudity, it’s about movement, poise and precision celebrated through the human form.

Copyrights to Michel Leroy Š All rights reserved.


The truth is I also couldn’t think of any clothes that would add to the singular beauty of the images so I eliminated them.

M.L: I have photographed so

have since I started shooting. My commercial portfolio is filled with black and white and I think it reveals texture and detail that captivates the viewer. The Alchemy series deals in the basic elements of photography - light and shadow, form and texture. Again my decision to shoot black and white was kind of like my decision about clothes, color would not add anything to the images so I eliminated it.

many athletes, mostly clothed, in my career and know how they move with a body-awareness and confidence that transcends the average. Directing professional athletes, women or men, isn’t as hard as you might guess. More than just capturing amazing bodies in action I wanted to create bodypositive images that are inclusive of size and diversity, images that unite and celebrate the human form without sexual objectification. This series is empowering to all body types and puts emphasis on movement and control over nudity and sexuality. My hope is the resulting images transcend traditional nude photography and feel sculptural with weight and presence.

Y.S: What is your favorite work

Y.S: How was creating this

Y.S: Why did you specifically

choose to create the photographs in black and white? M.L: I love black and white and

from this project, and why?

M.L: We are saturated with images

Y.S: How did you feel, working

with nude male and female models? Was making this project your first time doing so in your career? 44

M.L: The creative process for this

project has been professionally rejuvenating and personally gratifying. Instead of recreating an idea an art director illustrated that was approved by a committee of clients I am freely exploring. In this case I am the client and my only goal is to create amazing images. This series is a collaboration and sharing the images with the athletes as I shoot allows us to explore the pose and create better images together. I shoot tethered and have a 27” monitor on set so subjects can see exactly what we shot as it happens. Athletes look at the images and say things like “I need to engage my lats and depress my scapulae”.

Copyrights to Michel Leroy © All rights reserved.

every moment, from advertising to Instagram, we consume thousands of images a day. To engage viewers you have to hold their gaze with images that inspire and challenge. With the wider shots in the Alchemy series I am creating moments of sculptural balance, anticipation and strength that imply motion and activate the figure. The details challenge your assumptions because you know it is a body but you aren’t always sure if it’s a knee or shoulder. My favorite images are the ones you have to look more than once to figure them out.

project different from your work as a commercial photographer, in terms of process and your emotions?


Copyrights to Michel Leroy Š All rights reserved.


I don’t even know what the means. I simply don’t know bodies the way they do so I encourage them to perfect the movement while I concentrate on the shape so we are both excited by the final image. Y.S: What gear and processing

software do you use? How does this gear, in particular, help you express your vision? M.L: This project would not be

possible without a digital workflow. I shoot with a customized Canon DSLR on a Manfrotto Carbon tripod, customized monolights, TetherTools cables into Capture One C1 Pro tether software into a Apple Macbook Pro laptop. My editing is done back in the studio with Photoshop and a calibrated Eizo monitor. I pick my gear based on just two factors, ease of use and reliability. It took months of experimenting with different techniques and combinations of digital and film equipment to achieve this unique in-camera look. It is the combination of gear and lighting that gives the skin the unique dark metallic look not body paint or Photoshop. The technique is a labourintensive process that forces me to be very deliberate and accurate when I shoot. Because I am using studio strobes I can capture fast movement but the process itself is very slow. I’m sure someone will post a YouTube video by the end of today with a tutorial on how to achieve this look with a few clicks in Photoshop but for me it’s important to show the athletes what we are creating as we shoot, it motivates them because they can see the amazing results live which feeds our collaboration. 47

Y.S: Finally, is there

something that you know now, and wish you had known in the beginning of your career? What advice can you give aspiring photographers? M.L: Make time for your

creative practice because that is what feeds your soul and ultimately what leads to more work. If you spend all your time going after the money jobs you will lose site of what drew you to photography in the first place. If you lose your lust for the creative process, photography as with anything, becomes a job in which case you won’t be the passionate person that draws people to your images. For what it’s worth clients are always drawn to my personal work then turn around and hire me to shoot commercial work. The last time I did a large scale personal project was eight years ago when I took a few months to travel around the American West photographing rally bikers. I got more work as a result of showing my biker series than any single image or campaign I have ever put in a portfolio. It’s easier said than done to shoot for yourself but essential to sustaining a career throughout your life. Y.S: let’s pretend for a

minute: if you hadn’t gotten into photography, what would have been your path in life? Why? M.L: I can’t even imagine a life

without photography. 48

Copyrights to Michel Leroy Š All rights reserved.


Copyrights to Michel Leroy Š All rights reserved.



The Alchemy





A landmark exhibition at Tate Britain next year will celebrate how artists have captured the intense experience of life in paint. All Too Human: Bacon, Freud and a Century of Painting Life will showcase around 100 works by some of the most celebrated modern British artists, with Lucian Freud and Francis Bacon at its heart. It will reveal how their art captures personal and immediate experiences and events, distilling raw sensations through their use of paint, as Freud said: ‘I want the paint to work as flesh does’. Bringing together major works by Walter Sickert, Stanley Spencer, Michael Andrews, Frank Auerbach, R.B. Kitaj, Leon Kossoff, Paula Rego, Jenny Saville, Lynette YiadomBoakye and many others, this exhibition will make poignant connections across generations of artists and tell an expanded story of figurative painting in the 20th century.


Jenny Saville (b.1970) Reverse 2002-3 Oil paint on canvas 2134 x 2438 mm Š Jenny Saville. Courtesy of the artist and Gagosian.




roups of major and rarely seen works by Lucian Freud and Francis Bacon will give visitors a chance to immerse themselves in the rich sensuality and intimacy of these two modern masters. Key paintings spanning Freud’s career will explore his studio as both context and subject of his work and will show how his unflinchingly honest depictions of models became more sculptural and visceral over time, in works such as Frank Auerbach 1975-6 and Sleeping by the Lion Carpet 1996. In contrast to Freud’s practice of working from life, the exhibition will look at Bacon’s relationship with photographer John Deakin, whose portraits of friends and lovers were often the starting point for Bacon’s work, including Portrait of Isabel Rawsthorne 1966. Earlier works by Bacon like Study after Velazquez 1950 will be shown alongside a sculpture by Giacometti, both artists having explored the enduring presence of isolated figures. Looking to earlier generations, the exhibition will show how this spirit in painting had been pursued by artists like Walter Sickert and Chaïm Soutine – key precedents for portraying an intimate, subjective and tangible reality. The teaching of William Coldstream at the Slade School of Fine Art and David Bomberg at the Borough Polytechnic also proved hugely influential. Employing Freud as a fellow tutor, Coldstream encouraged the likes of Michael Andrews and Euan Uglow to fix the visible world on canvas through


Lucian Freud, 1922-2011 Girl with a White Dog 1950-1 Oil paint on canvas 762 x 1016 mm © Tate



Francis Bacon, 1909-1992 Portrait 1962 Oil paint on canvas 1980 x 1415 mm Museum fßr Gegenwartskunst Siegen. The Lambrecht-Schadeberg Collection/Winners of the Rubens Prize of the City of Siegen Š The Estate of Francis Bacon. All rights reserved. DACS, London.


intense observation, while Bomberg’s vision led students like Frank Auerbach, Leon Kossoff and Dorothy Mead to pursue a more tactile, embodied experience of life. This generation’s work encompassed a wide variety of subjects, from Auerbach’s and Kossoff’s enduring fascination with London’s streets and public spaces to F.N. Souza’s spiritual and symbolic figures, and from Coldstream’s and Freud’s focus on the body in isolation to Michael Andrews’s and R.B. Kitaj’s interest in group scenes and storytelling.


Paula Rego, born 1935 The Family 1988 Acrylic paint on canvas backed paper 2134 x 2134 mm Marlborough International Fine Art © Paula Rego

he exhibition also sheds light on the role of women artists in the traditionally maledominated field of figurative painting. Paula Rego explores the condition of women in society and the roles they play over the course of their lives, while always referring to autobiographical events, as in The Family 1988. Her work underwent a particularly profound change in the late 1980s and 1990s when she returned to working from life. The exhibition also celebrates a younger generation of painters who continue to pursue the tangible reality of life in their work. 57


Michael Andrews 1928-1995 Melanie and Me Swimming 1978-9 Acrylic paint on canvas 1955 x 1959 x 77 mm Tate Š The estate of Michael Andrews

Contemporary artists like Cecily Brown, Celia Paul, Jenny Saville and Lynette Yiadom-Boakye work in dialogue with this tradition while also taking the painting of figures in new directions. 58

All Too Human: Bacon, Freud and a Century of Painting Life is curated at Tate Britain by Elena Crippa, Curator, Modern and Contemporary British Art, and Laura Castagnini, Assistant Curator. It is accompanied by a fully illustrated catalogue and a programme of talks and events in the gallery.

The exhibition will tour to the Museum of Fine Arts, Budapest later in 2018.

ALL TOO HUMAN BACON, FREUD AND A CENTURY OF PAINTING LIFE Stanley Spencer, 1891-1959 Patricia Preece 1933 Oil paint on canvas 839 x 736 mm Southampton City Art Gallery, Hampshire © The Estate of Stanley Spencer/Bridgeman Images



Francis Bacon, 1909-1992 Study for Portrait of Lucian Freud 1964 Oil paint on canvas 1980 x 1476 mm The Lewis Collection Š The Estate of Francis Bacon. All rights reserved. DACS, London Photo: Prudence Cuming Associates Ltd.


Bacon portrait of Freud to be shown for the first time since 1965 A large-scale painting by Francis Bacon of his friend Lucian Freud is being shown in Tate Britain’s landmark exhibition All Too Human: Bacon, Freud and a Century of Painting Life. The work was only seen in public shortly after it was completed – firstly in London in 1964 and then in Hamburg and Stockholm in 1965. It has since remained in private hands and has not been exhibited for over half a century. Bacon and Freud had a deep and complex friendship, and were often viewed as artistic rivals. They first met in the mid-1940s and were inseparable for years, seeing each other almost daily in Soho’s bars and clubs as well as visiting each other’s studios and occasionally sitting for portraits. The portrait on show at Tate Britain is an angst-ridden image of the human figure, bare chested and curled into the corner of a dark room beneath a single lightbulb. The painting stands over six feet high and was originally part of a triptych which Bacon then split into separate works. It was first unveiled in 1964 at the group exhibition Aspects of XX Century Art held at Bacon’s gallery Marlborough Fine Art. It then travelled from the Kunstverein Hamburg to the Moderna Museet in Stockholm over the following year as part of a solo show of Bacon’s work, but has not been seen in public since. The work is one of several key Bacon paintings on loan to Tate Britain for All Too Human. These include an important portrait of Bacon’s lover Peter Lacy made in 1962, the year of Lacey’s death, and not seen in the UK since. It shows him seated with a scowling expression and is the first time Bacon portrayed the nude body with its internal organs on display, seemingly bursting through the surface of its skin. An extraordinary Bacon triptych from 1974-77, on loan from a private collection, is also exhibited for the first time in a UK public gallery in over 30 years. A final homage to George Dyer, the great love of Bacon’s life, it shows a contorted body beneath a black umbrella on a cold stretch of beach. Alex Farquharson, Director, Tate Britain said: ‘This is an unmissable opportunity to see some truly extraordinary paintings, many of which have not been seen for decades. With this exhibition we want to show how British figurative painters found new and powerful ways to capture life on canvas throughout the 20th century, and Bacon’s portraits are some of the greatest examples of that endeavour.’ 61

Lynette Yiadom-Boakye Coterie Of Questions 2015 Oil paint on canvas 2000 x 1300 x 37 mm Private collection. Courtesy Corvi-Mora, London and Jack Shainman Gallery, New York Š Lynette Yiadom-Boakye


Celia Paul (b.1959) Painter and Model 2012 Oil paint on canvas 1372 x 762 mm Š Celia Paul, courtesy the artist and Victoria Miro, London / Venice


Top: Cecily Brown, born 1969 Boy with a Cat 2015 Oil, pastel on linen 1092 x 1651 mm Collection of Danny and Lisa Goldberg © Cecily Brown Photo: Richard Ivey Left: Walter Richard Sickert, 1860-1942 Nuit d'Été c.1906 Oil paint on canvas 500 x 400 mm Private Collection, Ivor Braka Ltd








Part of The EY Tate Arts Partnership, with additional support from the Picasso Exhibition Supporters Circle, Tate Americas Foundation, Tate International Council, Tate Patrons and Tate Members The Eyal Ofer Galleries

45 years after the artist’s death, Tate Modern stages its first ever solo exhibition of Pablo Picasso’s work, one of the most ambitious shows in the museum’s history. The EY Exhibition: Picasso 1932 – Love, Fame, Tragedy takes visitors on a month-by-month journey through 1932, a time so pivotal in Picasso’s life and work that it has been called his ‘year of wonders’. More than 100 outstanding paintings, sculptures and works on paper demonstrate his prolific and restlessly inventive character, stripping away common myths to reveal the man and the artist in his full complexity and richness. 1932 was an extraordinary year for Picasso, even by his own standards. His paintings reached a new level of sensuality and he cemented his celebrity status as one of the most influential artists of the 20th century. Over the course of this year he created some of his best loved works, including Nude Woman in a Red Armchair, an anchor point of Tate’s collection, confident colour-saturated portraits and Surrealist experiments, including 13 seminal ink drawings of the Crucifixion. 66

His virtuoso paintings also riffed on the voluptuous sculptures he had produced some months before at his new country estate. In his personal life, throughout 1932 Picasso kept a delicate balance between tending to his wife Olga Picasso (nee Khokhlova) and their 11-yearold son Paulo, and his passionate relationship with Marie-Thérèse Walter. The exhibition brings these complex artistic and personal dynamics to life

Pablo Picasso Le Rêve (The Dream) 1932 Private collection, © Succession Picasso/DACS London, 2018


with an unprecedented range of loans from collections around the world, including the Musée national Picasso-Paris and major international museums, as well as many works held in private hands. Highlights include Girl before a Mirror, a signature painting that rarely leaves The Museum of Modern Art, and the legendary The Dream, a colour-saturated rendering of Walter in dreamy abandon which has never been exhibited in the UK before. 1932 was a time of both reflection and rejuvenation. Having recently turned 50, in collaboration with Christian Zervos, Picasso embarked on the first volume of what remains the most ambitious catalogue of an artist’s work ever made, listing more than 16,000 paintings and drawings. Meanwhile, a group of Paris dealers beat international competition to stage the first ever retrospective of his work, a major show that featured new paintings alongside earlier works in a range of different styles. Realist portraits of Olga and Paulo Picasso from a decade earlier revealed the artist’s pride in and tender feelings for his family, while the first public showing of his most recent paintings inspired by Walter made public what had previously been a wellkept secret affair. The paintings from March including Nude, Green Leaves and Bust, Nude in a Black Armchair and The Mirror were immediately recognised as a pinnacle of Picasso’s artistic achievement of the inter-War period. This dazzling group is reunited at Tate Modern for the first time in 86 years. 68

Pablo Picasso Reclining Nude, 1932. Oil Paint on Canvas. 1300x1610 mm Private Collection. © Succession Picasso/DACS London, 2018.


Pablo Picasso, "Nu au fauteuil noir" (Nude in a black armchair) 1932 . Oil paint on canvas. 1613x1295mm, Private Collection USA © Succession Picasso/DACS, London

Picasso’s split existence between his homes and studios in Boisgeloup in Normandy and central Paris capture the contradictions of his life at this pivotal moment: divided between countryside retreat and urban bustle, established wife and recent lover, painting and sculpture, sensuality and darkness. The year ended traumatically when Walter fell seriously ill after swimming in the river Marne, losing most of her iconic blonde hair. In his final works of the year, Picasso transformed the event into scenes of rescue and rape, creating at the same time an analogy for the thunderclouds gathering over Europe: from the crisis of the Great Depression and mass unemployment, to the rise of Fascism including in his native Spain. The result is a dramatic finale to a year of love, fame and tragedy that pushed Picasso to the height of his creative powers. 70

Pablo Picasso. The Mirror (Le Mirroir). 1932. Oil paint on canvas. 1300x970mm, Private Collection © Succession Picasso/DACS, London

Achim Borchardt-Hume, Director of Exhibitions, Tate Modern, and co-curator of the exhibition said: Picasso famously described painting as “just another form of keeping a diary”. This exhibition invites you to get close to the artist, to his ways of thinking and working, and to the tribulations of his personal life at a pivotal moment in his career. Visitors will be able to walk through 12 months of Picasso’s life and creative decision-making, to see many of his most ground-breaking and best-loved works in a surprising new light.

Pablo Picasso, 1932 by Cecil Beaton Š The Cecil Beaton Studio Archive at Sotheby's

Nancy Ireson, Curator of International Art, Tate, and co-curator of the exhibition said: We are thrilled to be reuniting some of Picasso’s greatest works of art for the first time in 86 years, many of which are rarely shown in public. Displaying them in the order in which they were made demonstrates just how intensely creative 1932 was for Picasso, revealing his explosive energy to a new generation. 71

Pablo Picasso. Girl before a Mirror. Paris, March 14, 1932. Oil paint on canvas. 1623x1302 mm. The Museum of Modern Art, NY, Gift of Ms. Simon Guggenheim 1937. © Succession Picasso/DACS, London 2018


The EY Exhibition: Picasso 1932 – Love, Fame, Tragedy is curated by Achim Borchardt-Hume, Director of Exhibitions, and Nancy Ireson, Curator, International Art, with Assistant Curators Juliette Rizzi and Laura Bruni. The exhibition is organised in collaboration with the Musée national Picasso-Paris, where it was curated by Laurence Madeline with Virginie PerdrisotCassan, Curator of Sculpture and Ceramics.

Pablo Picasso – Self Portrait, Late 1901. Oil paint on canvas. Musée national Picasso-Paris. Dation Pablo Picasso. 1979 © Succession Picasso/DACS, London 2018






By Miguel Bermudez

hether it is learning about, collecting or admiring art, provenance provides a fascinating aspect that greatly enhances the significance of a piece. Examining hundreds of catalogs enables us to find the most interesting pieces of information that describe the trajectory of the piece through history. This is particularly relevant for those interested in works that have existed for hundreds of years. Provenance can tell us about what was happening in society at a particular point and can also provide insight into

the rationale for commissioning a piece or acquiring it from a given artist. Provenance tells us about the artist that produced the work and what he or she was asked to or chose to create. Finally, provenance also tells us about everyone that temporarily owned the artwork. With this information, we can then try to construct a fascinating journey, full of meaning that reflects the human spirit through history. To anyone wishing to take this voyage, provenance greatly enhances the experience of art and makes it come to life. 75


o illustrate the incredible adventure that one can have by researching the historical provenance of art, we have selected three pieces- a sculpture, a painting and a tapestry. The first two pieces were recently exhibited at The European Fine Art Fair, TEFAF Maastricht 2018 by two of the most distinguished art dealers in the world in their respective categories. The third piece, the tapestry, is in the collection of The J. Paul Getty Museum in Los Angeles. Each of these works has its unique and fascinating historical arc. The theory that we propose concerning some aspects of the provenance for the sculpture and the painting is through our own research. There is no proof, thus far, to corroborate what we will describe. These theories were also not developed by the galleries. They are simply interesting premises, perhaps even quite plausible explanations to demonstrate how a little research can illuminate an entirely new world.



Giovanni Battista Bissoni, Called the Veneziano (c. 1600-1610-Genoa-1657). Ivory. The cross in ebonized pearwood with silver terminals. The base in Sicilian jasper. Italy, Genoa, c. 1630 – 1640. Height 72.5 cm; 2 ft. 4 ½ in. Width 49.5 cm; 1 ft. 7 ½ in. PROVENANCE ▪ Elena of Montenegro, Queen Consort of Italy (1873-1952) ▪ Marquise Guglielmina Campello della Spina (born Boncomparni Ludovisi, (1881-1973), as gift from the Queen, c. 1920. Private collection Naples, Private collection, Rome. ▪ Currently offered by Mullany / Haute Epoque Fine Art


his is a very important and incredibly rare ivory carved Christ that has been thoroughly researched by Mullany Fine Arts. In order to establish our theory as to why or how this piece come to be in the possession of Elena of Montenegro, let’s first look at a short description. “The body of Christ of this exquisitely carved crucifix is made from one large section of tusk allowing the author to exploit expertly the natural curvature of the material to convey the anguish of the suffering Savior. The anatomy of the torso, the highlighted outline, and details of the rib cage and contracted abdomen, is extraordinary. The legs, carved with equal skill, appear bent by the weight of the body, the right protruding further forward than the left, the finesse of the kneecaps noteworthy. The perizonium, carved separately, consists of soft folds of material, wrapped repeatedly on a double rope tie terminating in two ruffled flourishes. The surface of the arms, hands, and feet is characterized by an extensive network of veins and tendons represented with great naturalism. The head of Christ is tilted to the right, his hair parted, flowing wavy

locks falling over his shoulders.” Mullany goes on to point out the following about its provenance: “This masterpiece belonged to Elena Petrović (1873 – 1952), sixth daughter of Nicholas I of Montenegro (1841 – 1921), who was married to Victor Emmanuel III of Italy (1869 – 1947) and crowned Queen of Italy in 1900. During the 1920s the work was gifted by the Queen to the Countess Wilhelmina Boncompagni Ludovisi (1881 – 1973), courtier and wife of Count Pompeo Campello della Spina (1874 – 1927). Although the precise circumstances remain unknown, there can be no doubt, given its considerable size, the preciousness of the materials used and the virtuosity of the carving, that the present crucifix was created pursuant to a highly prestigious commission.” Princess Elena of Montenegro, one of the owners of this work was raised in the Eastern Orthodox church and had to convert to Catholicism to marry the Crown Prince, the heir to the Italian throne. Other princesses that were under consideration were not eligible since they were not willing to undergo conversion.



rincess Elena’s baptism was not without controversy. Her own mother Milena Vukoctiç, Queen Consort of Montenegro was so distressed by her daughter’s conversion, that she refused to attend the ceremony. The baptism had to take place on a ship, on the Adriatic Sea, between Montenegro and Italy. We can appreciate the significance of this important step taken by Princess Elena, despite her mother’s opposition. We can think of no better occasion, apart from her own wedding ceremony, on which an appropriate and important gift would have been given to the newly baptized Princess. We propose that it is likely that Queen Margherita (Elena’s future mother in law) would have given the crucifix to Princess Elena as an important gift of


appreciation for having accepted and completed the required conversion. This could explain how this magnificent piece came to be in the possession of the future Queen Consort of Italy.

in Italy. There is no doubt that the original commission of this sculpture came from a very high member of the nobility probably for private use in one of the many palace chapels in Italy.

We suggest this theory since the possibility of this Cristo Vivo being in possession of the House of Savoy prior to being gifted to Princess Elena, makes a lot more sense than the piece being already in Princess Elena’s possession prior to her arrival

It remains a mystery as to why Queen Elena subsequently gifted the piece to her Lady -in -Waiting, Wilhelmina Boncompagni Ludovisi who came from a very old and aristocratic family, related to Popes. She was born Princess

Boncompagni-Ludovisi and her family built the Palazzo Margherita on Via Veneto which today houses the U.S. Embassy in Rome. One of her relatives was the second governor of Rome from 1928 to 1935. A grateful queen must have held Wilhelmina in high regard to justify such a splendid gift. Additional research could provide clues as to how Wilhelmina became the subsequent owner.


View of the Interior of the Basilica of St. Peter’s, Rome. By Wilhelm Schubert van Ehrenberg (c. 1630 – c. 1676) Oil on canvas 166.4cm (65 ½ in.) high 136,5 cm (53 ¾ in.) wide



View of the Interior of the Basilica of St. Peter’s, Rome.

his impressive and striking painting of St. Peter’s Basilica recently exhibited at TEFAF Maastricht 2018 by Tomasso Brothers is another incredible piece of art that we have chosen to help illustrate the intriguing world of Provenance. Let’s provide some detail as to the possible rationale of Pope Pius VII in gifting this painting to Colonel Rottiers. The Gallery explains that “The present canvas, signed and dated 1665, perfectly embodies van Ehrenberg’s painterly vocabulary and exemplifies his tremendous skill as an artist. The central nave of St Peter’s Basilica, looking towards Gian Lorenzo Bernini’s famous Baldacchino, is rendered in its every detail, yet its sheer scale is heightened by the painter’s choice of viewpoint and by his dramatic depiction of light, with the foreground darker and the background diaphanously illuminated. The almost minuscule figures also highlight the church’s grand size, yet also make it accessible to the viewer in a way that a cold, empty interior could never be. The name of Charles Emmanuel Biset (1633-1710), who often collaborated with van Ehrenberg, has been suggested for these.” Tomasso Brothers go on to say that “The unique character of this painting

becomes all the more evident once we consider its provenance, recorded as early as the second half of the eighteenth century as Pope Pius VII. The pontiff then gifted it to the Belgian Colonel Bernard Eugène Rottiers, whose collection of antiquities is now part of the Rijksmuseum van Oudheden, from whom it then entered the collection of Lord Charles Townshend, which included paintings by other Flemish masters such as Rubens and Van Dyck.” Colonel Rottiers was an interesting military man. He had made a career with the Austrian and Dutch armies, he was a prisoner in Paris for three years, released by King Louis Napoleon, he served the Czar of Russia, lived in Tbilisi, Georgia, and ended his military career as a full Colonel of the Russian Army. He then traveled through Turkey, Greece, Italy, France, and England. He began collecting antiquities while still in Russia and participated in many excavations in Turkey, Greece, and possibly Italy. He subsequently sold his collection to the Leiden Museum. It is plausible that given the great interest of Pope Pius VII in promoting the excavations taking place in Ostia, near Rome, that Colonel Rottiers might have financed part of the excavations.


▪ Pope Pius VII (1742-1823), Rome, by whom gifted to, ▪ Colonel Bernard Eugène Rottiers (1771-1857), Belgium ▪ Lord Charles Townshend (1785-1853), by 1853 ▪ Dr. Anderson ▪ H.L. Bischoffsheim; his sale, Christie's, London, 7 May 1926, lot 32 (65 gns. to Goldschmidt) ▪ Anonymous sale [Ralph Vicars]; Christie's, London, 25 February 1949, lot 111 (30 gns. to Arcade Galleries) ▪ Anonymous sale [Miss D.E. Brahmall]; Christie's, London, 15 June 1956, lot 147 (190 gns. to Drey) ▪ Anonymous sale; Sotheby's, London, 18 November 1959, lot 77 (£300 to Vaughan) ▪ Currently offered by Tomasso Brothers 81

Adding an element of mystery, there is an interesting letter written by Caspar Reuvens, who became the first director of the Rijksmuseum van Oudheden, and the man who dealt with Rottiers on acquiring his collection. While dealing with one of the acquisitions, namely a bronze bust found in Pompeii, Mr. Reuvens writes the following: “At the same time that I was warned in Antwerp about this head, I was told that Mr. Rottiers had bought a fine painting and had asked for a document of authenticity from the Academy of Fine Arts. When subsequently he acquired a copy of the same painting, he sold the good picture in England, and the fake in Russia, using the certificate of the Academy”. (Scholars, Travelers and Trade….)


Does this letter refer to the view of the interior of St. Peter’s Basilica? Was this

the way in which the painting ended up in England and then in the hands of Lord Townshend? Thus, we have two scenarios to consider, first that the painting was an actual and forthright gift by a grateful Pope to someone who may have financed his desired excavation projects; or secondly, a Pope in need of financial resources having sold the painting to a well-known character in the antiquities market. One way to find out which painting the letter refers to would be to research the files of the Academy of Fine Arts, the entity that gave Rottiers the document of authenticity. In whatever manner this incredibly beautiful painting ended up with Colonel Rottiers, we have a glimpse of a fascinating character and his connection with Pope Pius VII.

Tapestry: La Collation, from L'Histoire de l'empereur de la Chine Series ARTIST/MAKER:

After cartoons by Guy-Louis Vernansal (French, 1648 - 1729) and Jean-Baptiste Monnoyer (French, 1636 1699) and Jean-Baptiste Belin de Fontenay (French, 1653 - 1715) Beauvais Manufactory (French, founded 1664) woven under the direction of Philippe Béhagle (French, 1641 - 1705)

Date: about 1697–1705 Medium: Wool and silk Dimensions: 309.9 × 422.9 cm (122 × 166 1/2 in.) Signed: Woven at the lower center of the scene, in the border of carpet: "VERNANSAL.INT.ET.PU" Markings: The border of the tapestry bears the woven coat of arms and monogram of LouisAlexandre de Bourbon, Comte de Toulouse and Duc de Penthièvre (1678-1737). 83


oncluding our discussion of provenance is an example of an extremely well-documented piece of art such as this tapestry. We know when the order was placed (late 1702-early 1703) and completed (1706). We know the quoted price (10,565 livres). We know to whom it belonged and even where the entire set hung at the Chateau de Rambouillet. We have a great deal of information about its journey all the way to the J.P. Getty Museum in Los Angeles. What we would like to examine briefly is the reason for its subject matter and what it meant at the time when Louis-Alexandre de Bourbon, Comte de Toulouse placed the order. Spices held great importance and an exotic dimension in European history and have a great deal to do with this impressive piece. Louis XIV was very interested in furthering contacts with China and the Far East. The court of Versailles was fascinated and entertained by some very rare visits from travelers and delegations from the Far East. Michael Alphonus Shen fun-Tsung was a Chinese convert to Christianity that appeared at Versailles in 1684. This visit was followed by the splendid and welldocumented arrival of a trade delegation from Siam in 1686. These visits enabled the French King with an economic benefit. The King wanted to compete with the Dutch East India Company to give France an opening into the lucrative spice market. By presenting the Emperor Kangxi emperor of China as an equal peer and ally, Louis XIV used these tapestries as diplomatic and propaganda tools. Nine individual scenes were created to show the private and ceremonial lives of the Emperor. These visits to Versailles by Far East individuals also helped to champion Chinese art. Information that came through accounts collected by the Dutch and the tapestries that were produced fueled enormous interest and fascination with chinoiserie. As a result, we can find displays of chinoiserie in many palaces of Europe.


PROVENANCE: ▪ by 1705 – 1737 Louis-Alexandre de Bourbon, Comte de Toulouse and Duc de Penthièvre, French, 1678 - 1737, by inheritance to his son, Louis-Jean-Marie de Bourbon, 1737. ▪ 1737 – 1793 Louis-Jean-Marie de Bourbon, Duc de Penthièvre, French, 1725 - 1793, by inheritance to his daughter, Louise-Marie-Adélaïde de Bourbon, 1793. ▪ 1793 – 1821 Louise-Marie-Adélaïde de Bourbon, French, 1753 - 1821, by inheritance to her son, Louis-Philippe d'Orléans, 1821. ▪ 1821 – 1852 Louis-Philippe d'Orléans, king of France, 1773 - 1850 [sold, Domaine de Monceaux, January 28, 1852, lot 8, as one of six tapestries to Armand Géraud Victurnien Jacques Emmanuel de Crussol, Duc d'Uzès.] ▪ 1852 – 1872 Armand Géraud Victurnien Jacques Emmanuel de Crussol, Duc d'Uzès, French, 1808 - 1872, by inheritance to his son, Amable Antoine Jacques Emmanuel de Crussol, Duc d'Uzès, 1872. ▪ 1872 – 1878 Amable Antoine Jacques Emmanuel de Crussol, Duc d'Uzès, French, 1840-1878, by inheritance to his son, Jacques Marie Géraud de Crussol, Duc d'Uzès, 1878. ▪ 1878 – 1893 Jacques Marie Géraud de Crussol, Duc d'Uzès, French, 1868-1893, by inheritance to his brother, Louis Emmanuel de Crussol, Duc d'Uzès, and Thérèse d'Albert de Luynes d'Uzès, Duchesse d'Uzès, 1893. ▪ 1893 – 1925 Louis Emmanuel de Crussol, Duc d'Uzès, French, 1871-1943 -and Thérèse d'Albert de Luynes d'Uzès, Duchesse d'Uzès, French, 1876 - 1941, sold to Georges Haardt and Company, 1925. ▪ 1925 – 1930 Georges Haardt and Company, Inc. French and Company, Inc., stock nos. 279652 through 27965-6. John Thompson Dorrance, Sr., American, 1873-1930, by inheritance to John Thompson Dorrance, Jr., 1930. 1930 – 1983 John Thompson Dorrance, Jr., American, 1919 - 1989, sold to Rosenberg & Stiebel, Inc., 1983. 1983 Rosenberg & Stiebel, Inc., sold to the J. Paul Getty Museum, 1983.



hen one stands in front of this tapestry at the Getty Center in Los Angeles, we should imagine the uproar and excitement that a visit from someone as far away as China and Siam may have produced at the court of Versailles. We should try to imagine the life of Monsieur le Comte de Toulouse, the legitimized son of King Louis XIV with Madame de Montespan, and…. we should appreciate how seven tapestries from the nine that constitute this series arrived together at the Getty Center for millions to admire. “To me, my works of art are all vividly alive. They are the embodiment of whoever created them – a mirror of their creator’s hopes, dreams, and frustrations”. J. Paul Getty. We can also say that by following the history of each of the pieces, we further enrich our experience with art by making the individuals that owned them for a certain period of time, come to life.

Meb3 86

Contact Miguel Bermudez

SOURCES Mullany Haute Epoque / Fine Art. Catalog entry. Regine e Dame alla corte dei re d’Italia. Claudio Alberto Andreoli. Edmond. 2010. Italy and its Monarchy. Denis Mack Smith. 1992. Jelena. Tutto il racconto della vita della Regina Elena di Savoia. Luciano Regolo. 2002. Nikola and Milena, King and Queen of the Black Mountain: The Rise and Fall of Montenegro’s Royal Family. Marco Houston. 2003. Tomasso Brothers Fine Art Catalogue entry: Pope Pius VII. 1800-1823 His Life, Times and Struggle with Napoleon in the aftermath of the French Revolution. Robin Anderson. 2000. Rijksmuseum van Oudheden. Reuvens. Scholars, Travelers, and Trade. The pioneer years of the National Museum of Antiquities in Leyden, 1818-1840. R.B. Halbertsma. Published by Routledge, London, 2003. Chapter of “The Greek Collections of B.E.A. Rottiers. The J. Paul Getty Museum Catalogue entry. Tapestry: La Collations, from L’Histoire de l’empereur de la Chine Series. Tapestry in the Baroque. Threads of Splendor. The Metropolitan Museum of Art. 2007. “The Collation” by Charissa Bremer-David. French Tapestries & Textiles in the J. Paul Getty Museum. Charissa Bremer-David. 1997. Our thanks for their superb help, and for the many beautiful photographs which are reproduced here with their kind permission: Nicholas Mullany. Mullany Haute Eopoque Fine Art. Tomasso Brothers and Pippa Roberts Publicity & Communications. The J. Paul Getty Trust, Amy Hood from Getty Communications and Charissa Bremer-David, Curator of Sculpture and Decorative Arts.

MEB3 Absorbing Art By Miguel Bermudez

I have attended most major art and antiques shows in the United States and Europe including The New York Winter Show at the Armory, The Chelsea Show in London, Le Biennale de Paris, The European Fine Art Fair (TEFAF) in Maastricht and antiques shows in Zurich, Vienna, Munich, Prague, Milan, Geneva and Basel. I frequently participate in auctions in London, Amsterdam, Vienna, Copenhagen, New York, San Francisco, Paris, Munich, Berlin and Milan and have published academic articles and contributed research to The Orders & Medals Research Society of Great Britain, The Vatican Secret Archives, The Chancellery of the Order of the Thistle in Scotland, Sotheby’s Orders and Medals, The Chancellery of the Orders of Knighthood of the Kingdom of the Netherlands and many others. My experience providing research, acquisition and sales of important Italian and Spanish eighteen century antiques to galleries in the United States has given me the opportunity to develop direct contact experience with collectors, interior designers, architects, fine art galleries and museums. I bring my international business experience to the Fine Art world.


Marilyn Oil on Canvas. 36" x 48". Signed. Copyrights to TOMASZ RUT © All rights reserved.


An Interview with

TOMASZ RUT By Paula Soito

Tomasz Rut is a Polish born artist named one of the most collectable living artists by the Robb Report. His works were recently added to the Vatican Collection. From pop art contemporary figurative paintings, Tomasz blends the Classical tradition of mythical Greco-roman with modern western culture creating a unique mixture that is astonishingly mesmerizing. I recently met him in ArtExpo Las Vegas 2018, and had the honor to have an interview with him for Art Market Magazine.

Paula Soito: You grew up in Poland with

wonderful exposure to the arts. What was it like growing up with a mother, herself a painter trained at the Academy of Fine Arts in Warsaw? How did that impact your childhood and your future as an artist? Tomasz Rut: My mother was always busy

with her artwork and in some ways I felt abandoned. But seeing her creativity gave me a strong impulse to create myself and that was furthered by easy access to all the art materials at her studio where I’d hang out. And she certainly gave me a lot of encouragement by being the first admiring critic of my work. P.S: I understand your father was also quite

accomplished winning a bronze medal for the hammer throw in the Olympics. Did your father's talents have an influence in your works as well?

T.R: Yes, I’ve always admired my father’s

athleticism and he could be said to be my first model. Watching his strength and dynamic movements of the hammer throw was fascinating and probably inspired many of my dynamic compositions. But ironically, he was quite disappointed I chose to follow the arts rather than his legacy. P.S: Your credentials are fascinating. Do you

mind telling us a bit about your education?

T.R: I feel a bit over-educated, ha-ha! In my

earlier days I was much more interested in the technique than the content. Somehow I got this misguided idea that ALL the modern art is a fraud. That’s why after a semester at Pratt Institute, which offered me a grant for what I thought were doodles, I went back to Poland and for years studied how the paintings were made and how to restore them. 89

FIDES CARITAS SPES Oil on Canvas. Copyrights to TOMASZ RUT © All rights reserved.


HORSE STUDY Oil on Canvas. 24" x 21". Signed. Copyrights to TOMASZ RUT © All rights reserved.

P.S: Your expertise in restoration has led

you to work with some highly prestigious institutions helping to restore large-scale works at the Smithsonian and the U.S. Treasury Department. That kind of work must be highly rewarding. Did your work in restoration help to shape you in any way as an artist?  T.R: I can’t say I felt extremely rewarded

despite the accolades. In the back of my mind, I never felt that art conservation was my calling and I found it a bit boring. But yes, it did yield an idea that there is a unique beauty in decay with its historical connotations that I try to convey in some of my artwork.

P.S: Which famous artists do you most

identify with? Do you feel any are represented in some way in your works? T.R: Michelangelo would come to

mind with his renditions of the athletic figures and fresco technique, but I’d say I’ve learned from many other classical, figurative artists of the past, borrowing what I found attractive and what I could put together in my own unique interpretations. P.S: Your pieces are stunning and the

monochromatic palette really allows you to focus on the form. How did you decide upon this element of your design? 91

T.R: I talk about it in my blog

under “Monochromatic painting” https://www.tomaszrutstudio. com/single-post/2017/09/18/ Monochromatic-painting P.S: As a contemporary artist

who paints in the classical figurative form, do you find that there are few works today representing this style? Or have more classical figurative artists begun to come on the art scene? Why or why not? T.R: I don’t see how classical

art can ever stop inspiring new artists, even if they are not aware of it. As a style of its own, it may have lost some of its appeal and commercial value, but new interpretations keep popping up continuously as in the apocalyptic works of Odd Nerdrum and in many other forms that may be considered quite modernistic. P.S: I read that you prefer to

choose objects that project positivity and beauty in your work. Can you talk a bit about your decision to approach your work this way and how you've blended this approach with the classics to create your amazing pieces? T.R: The vast majority of classical

art has traditionally celebrated the human form and ability, rather than nullifying it. It’s nothing new and we certainly have enough bad news around us on a daily basis not to give the positive some importance.


SUNSET MOTH Oil on Canvas. 54" x 40" . Copyrights to TOMASZ RUT © All rights reserved.


P.S: Your travels have clearly

influenced your works. Do you think you may continue traveling to see works around the world and do you think that will again influence you? T.R: Wherever I go, I get some

ideas that inspire my artwork. There’s not much I haven’t seen in terms of our Western civilization so perhaps it’s time to see something more exotic. 94

P.S: What are your plans for the

future? What will your studio look like in 10 or 20 years?

T.R: It might look quite different.

I’m currently working on a very new group of paintings that are a big departure from my classical style. I call them POP REALISTIC as they blend elements of pop art and Photorealism. Please visit my new website:

HIPPOPILION Oil on Canvas. 24" x 18" . Copyrights to TOMASZ RUT © All rights reserved.

PALETTE Oil on Canvas. 41" x 57" . Copyrights to TOMASZ RUT © All rights reserved.


BLOODY MARY Oil on Canvas. 38" x 59" . Copyrights to TOMASZ RUT © All rights reserved.


BLUE MARTINI Oil on Canvas. 36" x 48" . Copyrights to TOMASZ RUT © All rights reserved.


Top: BUTTERFANT Oil on Canvas. 24" x 18" . Copyrights to TOMASZ RUT © All rights reserved. Left: HYPNOS Oil on Canvas. 54" x 36" . Copyrights to TOMASZ RUT © All rights reserved.


IN TONO Oil on Canvas. 17" x 36" . Copyrights to TOMASZ RUT © All rights reserved.


CAMPBELL'S Oil on Canvas. 36" x 42" . Copyrights to TOMASZ RUT © All rights reserved.



Paula Soito, CEO and Founder of artsrow. com, Art consultant and journalist at Art Market Magazine.

Contact Paula Soito CEO / Founder -

A self-starter with a soft-spot for the wildly creative, a thought leader for the next generation of artists and an established teacher and writer, Paula Soito’s mission is to help artists become as successful as they’re meant to be by using their talents to change the world around them, as well as to change their own. Paula was born in Germany in the late 60’s to American parents and grew up in rural California with a love for music, poetry and the arts. She attended art classes throughout college and went on to become a teacher. She’s now the founder and CEO of, the first website of its kind solely dedicated to connecting hundreds of American Artists to patrons by location, helping them grow their fan base, followers and patronage. She’s also the creator of, a site that will provide business development and growth of a global audience of arts professionals and amateurs. Paula was a contributing journalist at Art Market Magazine in the past two years. 101


WELCOME TO VEGAS Oil on Canvas. 100" x 61" . Copyrights to TOMASZ RUT © All rights reserved.




Exhibition Dates: March 12–July 29, 2018 Exhibition Location: The Met Fifth Avenue, Lower Level, Robert Lehman Wing, Galleries 964-965 104

Georges Seurat (French, 1859–1891) Study for “A Sunday on La Grande Jatte,” 1884 Oil on canvas 27 3/4 x 41 in. (70.5 x 104.1 cm) The Metropolitan Museum of Art, New York, Bequest of Sam A. Lewisohn, 1951


Eugène Atget (French, 1857–1927) Versailles—Cour du Parc, 1902 Albumen silver print from glass negative 8 7/16 x 7 1/16 in. (21.5 x 17.9 cm) The Metropolitan Museum of Art, New York, Gilman Collection, Purchase, Mr. and Mrs. Henry R. Kravis Gift, 2005.


ollowing in the footsteps of 19th-century artists who celebrated the out-of-doors as a place of leisure, renewal, and inspiration, the exhibition Public Parks, Private Gardens: Paris to Provence, opening March 12 at The Metropolitan Museum of Art, explores horticultural developments that reshaped the landscape of France and grounded innovative movements—artistic and green—in an era that gave rise to Naturalism, Impressionism, and Art Nouveau. As shiploads of exotic botanical specimens arrived from abroad and local nurserymen pursued hybridization, the availability and variety of plants and flowers grew exponentially, as did the interest in them. 106

Claude Monet (French, 1840–1926) The Parc Monceau, 1878 Oil on canvas 28 5/8 x 21 3/8 in. (72.7 x 54.3 cm) The Metropolitan Museum of Art, New York, The Mr. and Mrs. Henry Ittleson Jr.

The opening up of formerly royal properties and the transformation of Paris during the Second Empire into a city of tree-lined boulevards and parks introduced public green spaces to be enjoyed as open-air salons, while suburbanites and country-house dwellers were prompted to cultivate their own

flower gardens. By 1860, the French journalist Eugène Chapus could write: "One of the pronounced characteristics of our Parisian society is that . . . everyone in the middle class wants to have his little house with trees, roses, and dahlias, his big or little garden, his rural piece of the good life."


Edouard Vuillard (French, 1868–1940) Garden at Vaucresson, 1920; reworked 1926, 1935, 1936 Distemper on canvas 59 1/2 x 43 5/8 in. (151.1 x 110.8 cm) The Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund, 1952



he important role of parks and gardens in French life during this period is richly illustrated by paintings, drawings, photographs, prints, illustrated books, and objects in The Met collection by artists extending from Camille Corot to Henri Matisse, many of whom were gardeners themselves. Anchored by Impressionist scenes of outdoor leisure, the presentation offers a fresh, multisided perspective on best-known and hidden treasures housed in a Museum that took root in a park: namely, New York's Central Park, which was designed in the spirit of Parisian public parks of the same period. The exhibition is made possible by the Sam and Janet Salz Trust, the Janice H. Levin Fund, and The Florence Gould Foundation.

Mary Cassatt (American, 1844–1926) Lydia Crocheting in the Garden at Marly, 1880 Oil on canvas. 25 13/16 x 36 7/16 in. (65.6 x 92.6 cm) The Metropolitan Museum of Art, New York, Gift of Mrs. Gardner Cassatt, 1965


Drawn from seven curatorial departments at The Met and supplemented by a selection of private collection loans, Public Parks, Private Gardens: Paris to Provence features some 150 works by more than 70 artists, spanning the late 18th through early 20th century. 109

In the spotlight


GAGOSIAN GALLERY, LONDON 17–19 Davies Street London W1K 3DE T. 44.207.493.3020 F. 44.207.493.3025 Hours: Tue–Sat 10-6

Every material has a different density, different weight . . . Every hand squeezes differently. In finding your place in sculpture, you need to find the material that offers you just the right resistance. As it turns out, car metal offers me the correct resistance so that I can make a form—not overform it or underform it. —John Chamberlain Gagosian is pleased to present “ENTIRELYFEARLESS,” an exhibition of metal sculpture by John Chamberlain. Organized in collaboration with the Estate of John Chamberlain, the exhibition is the first in London since “New Sculpture” at Gagosian Britannia Street in 2011. Chamberlain’s distinctive metal sculptures, often made of crushed and torqued automobile steel, reveal both the stately grace and the expressive plasticity of industrial materials. Exploring the interplay of color, sheen, weight, and balance, Chamberlain taps into the dynamic energy of Abstract Expressionism, the


John Chamberlain, MURMUR, 2002, painted and chrome-plated steel, 16 × 26 × 19 inches (40.6 × 66 × 48.3 cm) © 2018 Fairweather & Fairweather LTD / Artists Rights Society (ARS), New York. Photo by Rob Camille Bernard, Harvest (Catching), 2016.McKeever Courtesy the artist.


John Chamberlain ENTIRELYFEARLESS, 2009 Painted and chrome-plated steel 85 1/2 × 44 1/2 × 42 1/4 inches (217.2 × 113 × 107.3 cm) © 2018 Fairweather & Fairweather LTD/ Artists Rights Society (ARS), New York


pre-manufactured elements of Pop and Minimalism, and the provocative curves and swells of high baroque. In this exhibition, large-scale floor sculptures and wall-mounted works made over the course of four decades attest to the seemingly infinite variations of shape and color that Chamberlain explored throughout his career. The centerpiece, ENTIRELYFEARLESS (2009), towers over the viewer, its scrunched red sides bracketed by car bumpers in shiny silver chrome. As fluid as folded drapery, and arresting as a marble monument, it subverts expectations of both abstraction and representation, while exuding a subtle figural quality. In BISHOPBUDD (2009), a nest of twisted metal strips sits atop a huddle of larger contorted planes of black and white steel—the robust, doming form recalling both an elegant tree and a menacing mushroom cloud. Chamberlain fostered a keen appreciation for poetry during the year he spent at Black Mountain College in 1955, and began to consider language as an integral part of his aesthetic approach. His dynamic titles— usually in all caps without spacing— often act as semiotic echoes of the sculptures themselves. WANDERINGWHISPER (1986) and MURMUR (2002) show the evolution of Chamberlain’s use of color, with a rosette-like swirl of silver, orange, and red in the former, embellished with occasional scratches and dents, and bold turquoise, green, and purple in the latter, brightly reminiscent of the graphics, graffiti, and decals of the early 2000s. On the wall, the more muted tones of Rebel Ruckus (1975) contrast with GLEAMINGSPOTLIGHT (1992), in which rust peeks out from the twists

and folds of polished metal, creating distorted, overlapping reflections. John Chamberlain was born in Rochester, Indiana, in 1927, and died in New York in 2011. Collections include Tate, London; Stedelijk Museum, Amsterdam; Museum für Moderne Kunst, Frankfurt; Museum moderner Kunst Stiftung Ludwig, Vienna; Museu Coleção Berardo, Lisbon; Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Dia: Beacon, NY; Chinati Foundation, Marfa, TX; Menil Collection, Houston; Los Angeles County Museum of Art; and Museo Jumex, Mexico City. His first retrospective at the Solomon R. Guggenheim Museum, New York (1971) was followed by more than one hundred solo exhibitions, including “John Chamberlain: Sculpture, An Extended Exhibition,” Dia Art Foundation (1982–85); “John Chamberlain: Sculpture, 1954–1985,” Museum of Contemporary Art, Los Angeles (1986); “John Chamberlain,” Staatliche Kunsthalle BadenBaden, Germany (1991); “John Chamberlain: Sculpture,” Stedelijk Museum, Amsterdam (1996); “John Chamberlain: Foam Sculptures (1966– 79); Photographs (1989–2004),” Chinati Foundation, Marfa (2005–06); and “John Chamberlain: American Tableau,” Menil Collection, Houston (2009). A second retrospective at the Solomon R. Guggenheim Museum, “Choices,” took place in 2012. Other recent exhibitions include “John Chamberlain: It Ain’t Cheap,” Dan Flavin Art Institute, Dia Art Foundation, Bridgehampton, NY (2014); and “John Chamberlain,” Inverleith House and Royal Botanic Garden, Edinburgh (2015).


In the spotlight

OPEN EXHIBITIONS LONDON Sadie Benning Sleep Rock 19 April - 24 June 2018

Camden Arts Centre, London Arkwright Road NW3 6DG London , UK +44 (0)20 7472 5500 Open: 10am-6pm Tue-Sun, 10am-9pm Wed

For this exhibition, New-York based artist Sadie Benning has created over 20 new wall-based works that occupy a hybrid space between painting, photography and sculptural relief. Discover the work of JeanMichel Sleep Rock is the first solo exhibition in the UK by New Yorkbased artist Sadie Benning. The exhibition’s title evokes a dream state where perception is blurred by the merging of memory, vision and association. Installed sequentially in the galleries, this new body of work reads with a filmic register – frame by frame – as pictures are apprehended from a distance, or seen in detail close-up. An important operation of scale is brought into play, both in the varying sizes of the panels and in Benning’s use of images. Fragments are enlarged or brought closer, photographs dissolve into painterly 114

abstraction and images remain mutable, reflecting an indexical relationship to the multiplicity of meanings projected onto them. Sleep Rock includes a series made with a completely new approach to materials: transparencies, analogue photos and digital prints are embedded within layers of resin, enamel and spray paint on wall-based panels. In other works, Benning cuts large panels into pieces, layering the components with aqua-resin before reassembling them to create works that hover between painting and sculpture. Benning’s approach to images, materials and installation reveals a hybrid approach that actively resists categorisation and fixity. This in-between quality reflects decades of enquiry into the operation and influence of cultural material, beginning with Benning’s earliest video works made in the late 1980s and subsequent explorations in drawing, painting

190.39 px Sadie Benning, Sleep Rock, 2018. Wood, aqua resin, resin, enamel paint, photograph, and transparencies, 24.77 x 19.05 x 1.91 cm. Courtesy the artist and Susanne Vielmetter Los Angeles Projects. Photo: Chris Austin


Sadie Benning, Pee Wee, 2018. Wood, aqua resin, resin, enamel paint, and transparencies, 24.77 x 20.7 x 1.91 cm. Courtesy the artist and Susanne Vielmetter Los Angeles Projects. Photo: Chris Austin


and music production. The process of amassing, recontextualising, editing, sequencing, and destabilising both found and original content continues to propel Benning’s current practice. Sadie Benning (b. 1973 Milwaukee, Wisconsin, USA) lives and works in New York, USA. Benning has had solo exhibitions at Renaissance Society, Chicago, IL, USA (2016); Kunsthalle Basel, Switzerland (2017); the Whitney Museum of American Art, New York, USA (2009), The Power Plant, Toronto, Canada (2008), Dia Foundation for the Arts, New York, USA (2007); and Walker Art Center, Minneapolis, MN, USA (2005). Benning’s work has been included in group shows including Trigger: Gender as a Tool and a Weapon at New Museum, New York, USA (2017); Painting 2.0: Expression in the Information Age, Museum Brandhorst, Munich, Germany; and MuMOK, Vienna, Austria (both 2016); Macho Man, Tell It to My Heart: Collected by Julie Ault, Kunstmuseum Basel, and Artists Space New York, USA (2013). Benning has participated in The Carnegie International, Carnegie Museum of Art, PA, USA (2013); Annual Report: 7th Gwangju Biennale, South Korea (2008); the Whitney Biennial, New York, USA (2000 and 1993) White Columns Annual, New York, USA (2007); and the Venice Biennale, Italy (1993). Public collections include: ICA Boston, USA; BFI, London, UK; Centre Georges Pompidou, Paris, France; Hammer Museum, Los Angeles, USA; MCA, Chicago, USA; Walker Art Center, Minneapolis. USA; Whitney Museum of American Art, New York, USA; MOMA, New York, USA; and Museum of Fine Arts, Boston, USA.

Sadie Benning, Pills, 2018. Wood, aqua resin, resin, enamel paint, and transparencies, 24.77 x 20.7 x 1.91 cm. Courtesy the artist and Susanne Vielmetter Los Angeles Projects. Photo: Chris Austin


In the spotlight



GAGOSIAN gallery, NY 522 West 21st Street New York, NY 10011 T. 212.741.1717 F. 212.741.0006 Hours: Mon–Sat 10-6 +1 212 399 2636 Open: 11am-6pm Tue-Sat

The image cannot be dispossessed of a primordial freshness which ideas can never claim. —John Crowe Ransom, “The World’s Body” (1938) Gagosian is pleased to present the first career-spanning exhibition of drawings and works on paper by Cy Twombly, organized in association with the Cy Twombly Foundation. The exhibition marks the completion of the Cy Twombly: Catalogue Raisonné of Drawings, with the eighth and final volume. Edited by Nicola Del Roscio, president of the Cy Twombly Foundation, the catalogue raisonné is published by Schirmer/Mosel with the support of the Cy Twombly Foundation. The catalogue’s first volume was published in 2011. Throughout his career, Twombly sustained an active engagement with drawing, gesture,


Cy Twombly Untitled (In Beauty it is finished), 1983–2002 (detail) Acrylic, wax crayon, pencil and pen on handmade paper in unbound handmade book, 36 pages Each page: 22 3/8 × 15 3/4 inches (56.8 × 40 cm) © Cy Twombly Foundation


and making marks on paper. His urgent, meandering lines embody the intimate energies that carry over into his paintings, sculptures, and photography. Despite their enigmatic qualities, Twombly’s drawings are strikingly articulate in their rhythm, line, and allusions. At once economical and deeply sensual, they contain a timeless language, mediating between ancient and modern culture.

changing preoccupations in Twombly’s work and thinking, as he plunged further into poetic and mythic sources. While continuing to work in various locations— including his hometown of Lexington, Virginia, and his final residence in Gaeta, Italy—places, landscapes, and natural forms came to figure prominently in drawings, collages, and watercolor series.

In the 1950s, when Twombly was a young artist, Abstract Expressionism radically disrupted the conventions of easel painting. Although he was a contemporary of Robert Rauschenberg and Jasper Johns, his work eventually departed from the aims of American postwar abstraction. While prevailing movements of the period, such as Minimalism and Pop art, sought to abandon historical narratives altogether, Twombly, who began to spend time in Europe during this period, directed his focus to classical, modern and ancient poetic traditions.

Volume 8 presents the final, valedictory phase of Twombly’s works on paper. Many of these, which remained in his studio after his death, will be shown for the first time. With sebaceous materials such as oil stick and wax crayon, the late works reveal, in their lyricism and sensuousness, what Twombly described as his “irresponsibility to gravity.” The work that lends its title to the show is a book, constructed by the artist with handmade paper, comprising thirty-four pages of markings, begun in December 1983 and finished in 2002, with unruly smears of red, orange, and blue flowerlike forms, a text from a Navajo night chant, and a haiku by Tan Taigi (1709–1771).

One of the earliest works included in the exhibition is from a 1951 sketchbook. Several drawings feature cascades of pencil markings, subtle gradations, erasures, and other evidence of Twombly’s intense contact with the paper. In the late 1950s Twombly moved to Italy, and works from volume 2, which documents this period, include colorful, diagrammatic works such as Ode to Psyche (1960), featuring erotic allusions and jokes while maintaining an abstract charge. Through the 1960s, sensuousness and color pervade the drawings, eventually evolving into more austere gray and blue “blackboard” works. Works from later volumes present


Marking what would have been Twombly’s ninetieth birthday, this exhibition will coincide with the presentation of his epic ten-part painting Coronation of Sesostris (2000) and related works at Gagosian 980 Madison Avenue. A fully illustrated catalogue will accompany the exhibition. The catalogue raisonné of drawings will be available for sale at Gagosian Shop and through Gagosian. Cy Twombly was born in 1928 in Lexington, Virginia, and died in 2011 in Rome, Italy. Collections include the Museum of Modern Art, New York; Tate, London;

Cy Twombly Untitled, 2001 Acrylic, wax crayon, and cut-and-pasted paper on paper 48 7/8 × 39 inches (124 × 99 cm) © Cy Twombly Foundation Photo by Rob McKeever


Cy Twombly Untitled (Gaeta), 1990 Acrylic, wax crayon, and pencil on handmade paper 30 5/8 × 21 5/8 inches (77.8 × 54.8 cm) © Cy Twombly Foundation


Menil Collection, Houston; Museum Brandhorst, Munich; Louvre Abu Dhabi; and Centre Georges Pompidou, Paris. Recent exhibitions include Tate Modern, London (2008); “Cy Twombly: The Natural World, Selected Works 2000–2007,” Art Institute of Chicago (2009); “Cy Twombly: Sensations of the Moment,” Museum Moderner Kunst, Vienna (2009); “Cy Twombly: Sculptures,” Philadelphia Museum of Art (2013); “Cy Twombly: Paradise,” Museo Jumex, Mexico City (2014, traveled to Ca’ Pesaro, Venice in 2015–16); “Cy Twombly: Treatise on the Veil,” Morgan Library & Museum, New York (2014); and the major retrospective “Cy Twombly,” at Centre Georges Pompidou, Paris (2016). In 2010, Twombly’s permanent site-specific painting Ceiling was unveiled in the Salle des Bronzes at the Musée du Louvre; at the same time he was made a Chevalier of the Légion d’honneur by the French government.

"Cy Twombly: In Beauty it is finished: Drawings 1951–2008" Installation view at Gagosian West 21st Street, New York Artworks © Cy Twombly Foundation Photo by Rob McKeever

all images © the gallery and the artist(s)


In the spotlight

OPEN EXHIBITIONS NEW YORK Danh Vo: Take My Breath Away Fri 9 Feb 2018 to Wed 9 May 2018 Guggenheim Museum, New York 1071 Fifth Avenue NY 10128 New York , USA +1 212 423 3618 Open: 10am-5.45pm daily, closed Thurs, open late Sat

The first comprehensive survey in the United States of work by Danish artist Danh Vo (b. 1975, Bà Ria, Vietnam) fills the ramps of the Guggenheim’s rotunda, offering an illuminating overview of Vo’s production from the past 15 years, including a number of new projects created on the occasion of the exhibition. Vo’s installations dissect the power structures, cultural forces, and private desires that shape our experience of the world. His work addresses themes of religion, colonialism, capitalism, and artistic authorship, but refracts these sweeping subjects through intimate personal narratives—what the artist calls “the tiny diasporas of a person’s life.” Each project grows out of a period of intense


Danh Vo, She was more like a beauty queen from a movie scene, 2009. Mixed media, 96.5 x 54.5 cm. Collection Chantal Crousel. Photo: Jean-Daniel Pellen, Paris


research in which historical study, fortuitous encounters, and personal relationships are woven into psychologically potent tableaux. Subjected to Vo’s vivid processes of deconstruction and recombination, found objects, documents, and images become registers of latent histories and sociopolitical fissures. Danish artist Danh Vo (b. 1975, Bà Rịa, Vietnam) dissects the public forces and private desires that define individual experience. His work addresses sweeping cultural and political themes, but refracts them through intimate personal narratives—what the artist calls “the tiny diasporas of a person’s life.” Seen together in this survey exhibition, the sculptures, photographs, and works on paper


that he has created over the past fifteen years circle a central paradox: that the self is plural and inherently fluid, yet decisively shaped by larger power structures. Emerging from personal relationships and fortuitous encounters, Vo’s projects take their final form as objects and images that have accrued shifting layers of meaning in the world, whether through their former ownership, their proximity to specific events, or their currency as universal icons. A son’s last letter home from a distant land, a father’s cherished wristwatch, a marriage certificate, and a glittering chandelier become charged conduits of history and identity. Vo sometimes presents these items untouched, allowing their

Installation view: Danh Vo: Take My Breath Away, Solomon R. Guggenheim Museum, New York, February 9, 2018–May 9, 2018. Photo: David Heald

Installation view: Danh Vo: Take My Breath Away, Solomon R. Guggenheim Museum, New York, February 9, 2018–May 9, 2018. Photo: David Heald

internal contradictions to quietly unravel through a simple act of recontextualization. Others are dismembered or combined with new partners in a vivid compression of themes and eras. Within this approach, the artist’s family history—which arcs from wartime Vietnam through displacement and immigration to Europe—is used as a readymade material like any other, intertwining with the many lives and deaths spanning centuries and continents that are evoked over the course of the exhibition.

at the heart of the artist’s recurrent focus on the self-image of the United States, a country whose recent past is enmeshed with that of his birthplace. Vo probes the myths and symbols that frame the nation’s identity with characteristic duality, amplifying both its brightest ideals and bleakest corruptions. At the same time, his work questions the very idea that culture can be contained by national boundaries, revealing instead an entity in constant flux, subject to transformative processes of migration and exchange.

Vo’s work is animated by the act of possession, not just of material belongings and geographic territory, but of the body, faith, and the imagination. An excavation of the residue of colonial occupation and other global power shifts can be traced throughout his oeuvre, accompanied by a meditation on the notion of freedom in different guises. These subjects are

This exhibition is organized by Katherine Brinson, Daskalopoulos Curator, Contemporary Art, with Susan Thompson, Associate Curator, and with additional support from Ylinka Barotto, Assistant Curator. Funding for Danh Vo: Take My Breath Away is provided by Art Mentor Foundation Lucerne. all images © the gallery and the artist.


In the spotlight

OPEN EXHIBITIONS BERLIN Image Spaces: Biology and Building Fri 20 Apr 2018 to Mon 21 May 2018 Museum of Photography, Berlin Jebensstraße 2 D-10623 Berlin , Germany +49 (0)30 / 266424242 Open: 10am-6pm Tue-Sun and 10am-8pm Thurs

Coincidence or evolution? Microscopic diatoms and post-war domed structures often exhibit the same underlying structural features, even though we have evidence that these coincidences were not deliberately intended by the architect. Inspired by this surprising discovery, in 1961 biologist Gerhard Helmcke and architect Frei Otto founded the interdisciplinary working group at the Technische Universität Berlin. The objective of this collaboration was to reach a better understanding of biology, technology and architecture, and to outline the principles of “natural


building”. Their research aims first of all to bring about an improved understanding of our surroundings, but also to ensure that the future of our architectural environment is informed by the tension between technology and nature. Three-dimensional electron microscopy, early methods of computer-based graphics (like Konrad Zuse’s Graphomat) and other methods of visualization make it possible to identify analogies between nature and technology. Building upon the collaboration between Helmcke and Otto, this exhibition takes a

look at research in the field of architecture, art and science that deals with the relationship between perception, image and knowledge. It was curated in collaboration with students from the Design Faculty and the Institute for History and Theory of Design at the Universität der Künste Berlin, and from the History of Science Module in Faculty I at the Technische Universität Berlin.

Diatoms, from: J.G. Helmcke, W. Krieger, J. Gerloff, Diatom Shells in Electromicroscopic Imaging © Verlag Bild und Forschung 1962, Berlin

An exhibition by the Universität der Künste Berlin and the Kunstbibliothek of the Staatliche Museen zu Berlin all images © the gallery and the artist(s)


Top: Diatoms, from: J.G. Helmcke, W. Krieger, J. Gerloff, Diatom Shells in Electromicroscopic Imaging © Verlag Bild und Forschung 1962, Berlin

Right Page from Top : Frei Otto. Tensed structures for the Munich 72 Olympic Games. Olympic Stadium and park. Munich Germany © Jorge Royan / Pier Luigi Nervi. Salt Warehouses. Tortona Italy © CC-BY-SA-4.0


Frei Otto. Tensed structures for the Munich 72 Olympic Games. Olympic Stadium and park. Munich Germany © Jorge Royan / / CC BY-SA 3.0


In the spotlight

OPEN EXHIBITIONS HONG KONG Doug Aitken Tue 27 Mar 2018 to Sat 19 May 2018 Massimo De Carlo, Hong Kong, Hong Kong Hong Kong, Central, Pedder St, 12號 301 3 Floor Pedder Building Hours: Closed ⋅ Opens 10:30AM Sat Phone: +852 2613 8062

Massimo De Carlo presents a solo exhibition by American artist Doug Aitken, the artist’s first in China. In his practice Doug Aitken (b. 1968, Redondo Beach, California) develops and explores the perception of images and narratives in an ongoing investigation of communication in the 21st century and urban, globalized contemporary life. Through monumental billboards, site-specific environments, sound works, photography, sculptures, and immersive video installations the artist investigates the spatial and temporal dislocation of images and the vulnerability of individuals, in a period of massive industrial and environmental changes. In this new exhibition the artist presents three works, created specifically for this show. Inside me, a brand new creation, is a vast and extraordinarily


materic composition created with clear mirror, aluminum, resin and concrete: the hexagon sculpture conveying both stillness and perpetual kaleidoscopic movement. On the other side of the gallery, largescale aluminum and stainless steel letters spell the world Future, part of an iconic bodywork made of text pieces. This sculpture is a new development of the series where the artist experiments with stainless steel instead of mirror. About this body of work the artist said: “I felt that our society is moving so fast with information that one of the more radical

things I could do is actually to preserve it all, crystallize it all.” The sculpture embodies Aitken’s reflection on acceleration, and the experience of time being more fragmentary in contemporary society. Mirage is a mesmerizing four-minute video piece that depicts different views of the site- specific installation set in the Southern California desert (situated at the juncture where the rugged San Jacinto mountain range gives way to the Coachella valley) that is composed of reflective mirrored surfaces and modeled on the form of a ranchstyle suburban American house. This work extracts the recognizable and repetitious

essence of the suburban home into a game of lights and shadows, architecture and landscapes, lines and reflections. All three works convey the ethereal dream like quality but are also grounded in their materiality. Aitken’s practice allows the viewer to operate as a spectator, actor and voyeur, and the artwork creates thoughtprovoking self-reflexivity. Doug Aitken has had notable museum exhibitions such as “Sleepwalkers,” commissioned by the Museum of Modern Art, New York which displayed 7 video screens across the building’s full city block,


and the projection of ‘Song 1’ onto the iconic facade Hirshhorn Museum’s in Washington DC. The Deste Foundation in Athens, and Enel Contemporanea in Rome organized similar outdoor video projections. Important solo presentations have been organized by: Museum of Contemporary Art, Los Angeles (2017) Schirn Kunsthalle, Frankfurt (2015); Nam June Paik Art Center, South Korea (2013); Hirshhorn Museum (2012); Tate Liverpool (2012); Inhotihm, Brazil (2009); Museum of Modern Art, New York (2007). Doug Aitken was the recipient of the Golden Lion in the 1999 Venice Biennale. Photo Credits iMAGE28. Courtesy Massimo De Carlo, Milan/London/Hong Kong all images © the gallery and the artist(s)



In the spotlight

OPEN EXHIBITIONS TEL AVIV ISRAELI ART MARKET Announcing The Opening Of The BIG PASSOVER EXHIBITION Israeli Art Market Online Gallery HTTP://ISRAELIARTMARKET.COM march 25 - may 10, 2018 One of the Biggest Art Exhibitions Held Online with the Largest Collection of Art from Israeli and International Artists The BIG Passover Exhibition is an annual event for celebrating the Passover Season, with the purpose of providing exposure and recognition to a host of incredible artists and photographers not only from Israel, but across the globe. To coincide with this massive exhibition, Israeli Art Market is offering phenomenal prices for all featured pieces, not to mention FREE worldwide shipping on every order! It’s a fantastic selection of artwork and photography for sale throughout the Big Exhibition, including contemporary, original, and traditional Judaica art, lithographs, and quality art prints.The Big Exhibition has recently begun on the 25th March 2018, and will run until 15th May 2018, with various paintings and photographs available for purchasing and


Yosi Lubalsky - Harvest in the Jezreel Valley. Oil on Canvas. Lithography. Limited edition 1/50. Manually signed and numbered. 120x90cm


Ora Nissim - My Jerusalem. Original Art. Oil on canvas. Signed. 160x65cm

an excellent offer of low prices with Free Shipping Worldwide! Dafna Navarro, CEO and Founder of Lens Magazine and Art Market Magazine, first founded the Israeli Art Market more than five years ago and in doing so, created the first and only online gallery dedicated to solely to the exhibition and sale Israeli Original Art for collectors and buyers from all over the globe. With over a 200 exhibitions for sale, all of which have been meticulously curated by Dafna Navarro herself, dozens of Israelis and international’s finest artists and photographers finally have a location to help showcase all of their breathtaking work of art. All exhibitions are available on a temporary basis, making them all unique works of art that are truly one-of- a-kind. Works available on Israeli Art Market include exhibits of original art, Judaica Art, Fine Art Photography, lithographs and quality fine art prints for sale. A special promotion is also running with the Big Exhibition, where all purchases come with free shipping worldwide! Purchases are 100% safe and secure, shipping directly from the artist’s studio.


Some of the most renowned names in all of Israeli art can be found here, including Kadishman and Oded Feingersh, International GOLD LIST Artists that were chosen by the judges team of Art Market Magazine, Beyond that, new emerging talents can be found too, with the chance to snap up early work from those that can only grow in name and recognition. The art community within Israel is that of a thriving and constantly growing one, already home to many prominent artists, not to mention the countless emerging young talents looking to establish themselves. These artists never truly had a platform to exhibit their work on a global scale, with it very much being kept within Israel art community and rarely reaching a broader, more international audience. That has all changed thanks to Israeli Art Market. Again, Israeli Art Market is the first ever online exhibition dedicated to Original Israeli Art that is available to a global audience, and to date remains one of the sole providers of contemporary fine art, original Art and Judaica for sell. It is the biggest online gallery coming from Israel.

Oded Feingersh- Fishing boat in Jaffa port. Original Art. Oil on canvas. 2012. Signed. 110x140cm


Lika Ramati - Cracked Porcelain. Digital Art. Quality photo print. Limited Edition 1/8. Signed Manually and numbered. 100x87cm

Inna Merkish - Spring bouquet. Photography. Digital technique, Quality Print on Canvas. Signed Manually. 50x50cm

Israeli Art Market is part of a larger company that also features two very well famous and popular art magazines – The International Art Market Magazine and Lens Magazine for Fine Art Photography. These well based international magazines have covered the main Art Fairs in the US, Featured exclusive interviews with the strongest figures in the art and photography fields around the world, and became unheralded stars of the global art scene. There is a close partnership with the magazine publications and the Israeli Art Market gallery, with each magazine covering some of the best and brightest names in both Israeli art and photography. Concepts are explored in each issue, with the artists given an outlet to showcase their work, and tell the stories behind them. Both magazines have a worldwide distribution in Digital and Print, and the GOLD LIST Special Edition of Art Market Magazine is being distributed in more than 550 bookstores in the US & Canada, Special distribution at Main Art Fairs in the US


Marco Battaglini - TO THE MOON AND BACK Digital Art. Quality Print on Fine Art Paper. Limited Edition 1/20. Manually Signed. 100x85cm

including Artexpo NY, Red Dot Miami and Many more. In Israel, you can find the GOLD LIST in more than 120 Bookstores of Steimatzky. Many artists that have been featured in these magazines have work available at the Big Exhibition, allowing international and domestic readers the chance to purchase the work of these artists for the first time.

For Israel’s art community to grow in size and reputation, the artists themselves need an outlet to showcase their work, as well as to earn an income doing what they love to do. This makes Israel Art Market immensely proud to be at the forefront of this, helping both established and new talents make the most out of their professions and paint a very bright future for Israelis artists.


Marco Battaglini - TO THE MOON AND BACK Digital Art. Quality Print on Fine Art Paper. Limited Edition 1/20. Manually Signed. 100x85cm

Motti Shoval - Enchantment energy of Lesvos olive trees opus 2. Original Art. Pastel on paper. 2012. Signed. 70x50cm

Elbaz Almandine Mally - Untitled. Original Art. Mixed Media. Acrylic, oil and ink on Canvas. Manually Signed. 120x80cm


Yitzhak Nir - Heading home- Jaffa Port. Semi Original, Quality print with manually painting on top, Oil on canvas. Signed and Numbered. Limited Edition 1/20. 2016 70x100cm


Inbar Reich - To be the Being. Original Art. Acrylic and pigments on Canvas Fabric. Signed. 70x100cm

Zahava Lupu - Abstract, Original Abstract Art. Oil on Paper. Manually Signed. 57X76 cm

Arik Baltinester- Israeli Beauty #17. Quality Print on Canvas or on Aquarelle Paper‬‫‏‬. Available in Various sizes. Manually Signed. 70X50cm





1- Lucio Fontana 1899 - 1968

2- Alberto Burri 1915 - 1995










cm 22x27

cm 73x60

Estimate 246,948 - 370,422 USD

Eseguito nel 1967

LOT SOLD. 425,985 USD

Estimate :

Arte Moderna e Contemporanea

1,234,740 - 1,852,110 USD

18 APRIL 2018 - 19 APRIL 2018 |

LOT SOLD. 2,974,489 USD


Arte Moderna e Contemporanea

Sotheby's Auction House

18 APRIL 2018 - 19 APRIL 2018 | 7:00 PM CEST | MILAN Sotheby's Auction House

3- Arnaldo Pomodoro N. 1926 SFERA BRONZE. EXECUTED IN 1990 IN AN EDITION OF 9 + 2 A.P. THIS WORK IS REGISTERED IN THE ARCHIVIO ARNALDO POMODORO, MILAN, UNDER N. 634 firmato e numerato 8/9 sulla base bronzo diam. cm 50 Estimate 308,685 - 432,159 USD LOT SOLD. 425,985 USD Arte Moderna e Contemporanea 18 APRIL 2018 - 19 APRIL 2018 | 7:00 PM CEST | MILAN Sotheby's Auction House






Mimmo Rotella 1918 - 2006 TRA CINEMA E PUBBLICITÀ SIGNED AND DATED 62, TITLED AND DATED 1962 ON THE REVERSE; DÉCOLLAGE ON CANVAS. THIS WORK IS ACCOMPANIED BY A PHOTOGRAPH SIGNED BY MIMMO ROTELLA firmato e datato 62; intitolato e datato 1962 sul retro décollage su tela cm 81x116 Estimate 111,127 - 148,169 USD LOT SOLD. 123,474 USD Arte Moderna e Contemporanea 18 APRIL 2018 - 19 APRIL 2018 | 7:00 PM CEST | MILAN Sotheby's Auction House




Banksy B. 1974 SMILING COPPER spraypaint and acrylic on cardboard 200 by 78 cm. 78 3/4 by 30 3/4 in. Executed in 2003, this work is from an unnumbered edition. Estimate 42,624 - 56,832 USD LOT SOLD. 195,360 USD Contemporary Curated 11 APRIL 2018 | 10:30 AM BST | LONDON Sotheby's Auction House

Sam Taylor-Johnson B. 1967 BRAM STOKER'S CHAIR VII c-print 121.9 by 96.5 cm. 48 by 38 in. Executed in 2005, this work is artist's proof II of II aside from the edition of 6. Estimate 17,050 - 25,574 USD LOT SOLD. 26,640 USD Contemporary Curated 11 APRIL 2018 | 10:30 AM BST | LONDON Sotheby's Auction House


Gerhard Richter B. 1932 UNTITLED signed, dated 25. Oct. 2013 and variously inscribed on the reverse lacquer on paper 10.5 by 15.2 cm. 4 by 6 in. Estimate 9,946 - 14,208 USD LOT SOLD. 24,864 USD Contemporary Curated 11 APRIL 2018 | 10:30 AM BST | LONDON Sotheby's Auction House




ANDY WARHOL (1928-1987) The Scream (After Munch) unique screenprint in colors, on Lenox Museum Board, 1984, one of a small number of unique impressions, the proposed edition was never realized, with the 'The Estate of Andy Warhol' and 'Andy Warhol Art Authentication Board' inkstamps and annotated 'UP 34.24' in pencil on the reverse, the full sheet, in generally very good condition, framed Sheet: 40 x 32 in. (1016 x 813 mm.) Estimate USD 250,000 - USD 350,000 LOT SOLD. USD 275,000 Prints and Multiples New York | 19 - 20 April 2018 CHRISTIES AUCTION HOUSE


ROY LICHTENSTEIN (1923-1997) Bull Profile Series the complete set of six lithograph, screenprint and line-cuts in colors, on Arjomari paper, 1973, each signed, dated in pencil and numbered 89/100 (there were also thirteen artist's proof sets), published by Gemini G.E.L., Los Angeles, with their blindstamps and inkstamp on the reverse, each the full sheet, in very good condition, framed Each Sheet: 27 x 35 (686 x 889 mm.) Estimate USD 80,000 - USD 120,000 LOT SOLD. USD 175,000 Prints and Multiples New York | 19 - 20 April 2018 CHRISTIES AUCTION HOUSE



Art Market Magazine Is A Media Sponsor of International Art Fairs Around the globe. Founded in 2014, Art Market magazine

in the world today, including Jeff Koons,

Art Market Magazine is a media

offers comprehensive coverage of the

Cindy Sherman, Yayoi Kusama, Antony

sponsor and has a full collaboration

world of fine art and beyond. We bring

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the world, Our publication has a full

more access and insight to auctions

The honorable Art Market Magazine’s

distribution for free at the art fairs and

and art events around the world. Inside


Special Edition gets a

at the Art Fair’s official bookstores.

each issue, we review, we profile, we

full distribution and exposure to over

Expected amount of visitors in each Art

showcase, we interview. The arts and

50,0000 readers around the world, with

Fair: more than 30,000 readers.

cultures covered in Art Market are as

a direct distribution in Digital & Print at

varied as they are extensive.

Barnes & Noble’s Booktores in the US,


Art Market Magazine is known for

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its quality publication, bringing the

distribution to Art Galleries directors,

ArtExpo Las Vegas / ArtExpo New York

readers a deeper focus on auctions, art

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/ [SOLO] / [FOTO SOLO] / Art Santa

fairs and exhibitions from all over the

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Fe / Art San Diego / Spectrum Miami

world, article and exclusive interviews

who makes the art industry of today.

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with emerging and most known artists


artMarket Facebook Page: Tel: +972502343318 Copyright to Dafna Navarro. Art Market Š 2014, All rights reserved. No part of this magazine may be re-used without the written permission of the publisher. The content of this magazine is for informational purposes only and is, to the best of knowledge, correct at the time of publication.

Art Market Magazine Issue #39 April 2018  

★ Artexpo NY Coverage ★ What a pleasure to publish this issue, Dedicated to quality Art Fairs, Exhibitions and International Artists from a...

Art Market Magazine Issue #39 April 2018  

★ Artexpo NY Coverage ★ What a pleasure to publish this issue, Dedicated to quality Art Fairs, Exhibitions and International Artists from a...