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Search resuls for: "Agnes Martin"


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Every few years the Museum of Modern Art asks an artist to sift through its vast holdings and assemble a chamber-music-scale exhibition. Past guest curators have included Ellsworth Kelly, Elizabeth Murray and Amy Sillman. This year the invitation went to the London-based designer Grace Wales Bonner and what a fantastic work of poetic research she’s orchestrated in the show she calls “Spirit Movers.”The idea of sound embodied in material is her foundational theme. In 36 objects she covers a wide modern-contemporary cultural field, which includes figures well-known and overlooked, several with links to the Afro-Atlantic world. The resulting harmonic convergence of these various objects unfurls with a welcoming anthem in the form of Terry Adkins’s monumental wind instrument ensemble, “Last Trumpet,” and with a glowing fanfare in Agnes Martin’s 1963 gold-leaf painting “Friendship.”
Persons: Ellsworth Kelly, Elizabeth Murray, Amy Sillman, Grace Wales Bonner, Terry, Agnes Martin’s, Organizations: of Modern Art Locations: London
As is almost always the case now with auctions of major single-owner collections, Sotheby’s secured the Fisher Landau consignment by guaranteeing the sellers an overall minimum price. Picasso’s 1932 painting “Femme à la montre,” the star lot of the Fisher Landau collection, was one of 24 lots in the Nov. 9 evening sale backed by irrevocable bids. This was knocked down to one bid of $22.2 million, incurring Sotheby’s a substantial loss, but preserving the prestige of a 100 percent selling rate. (His Fine Art Group spent $4.8 million for a 1995 Agnes Martin painting at the Fisher Landau evening session.) The art adviser Josh Baer, reporting on the Fisher Landau auction in his Baer Faxt newsletter, said, “profitability for auction houses is not always going to happen.
Persons: Sotheby’s, Fisher, , Fisher Landau, Rothko, ” Hoffman, Agnes Martin, Josh Baer, Baer Organizations: Sotheby’s, Art
In “The Slip,” Prudence Peiffer’s tenderly researched group biography, six visual artists in different seasons of life and seeking different aesthetic ideals met Barr’s challenge with an unlikely spirit of concert. Beside him is his art school friend Jack Youngerman, painter of shaggy color fields in organic, almost floral forms. Grown bored in postwar Paris, the Jersey boy and the Kentuckian relocated to the abandoned sail-making lofts of Coenties Slip, an old manufacturing block in the toe of Manhattan. From 1956 to around 1964, an artist colony and some truly epochal art took shape there. That scene has long fascinated critics but never been the subject of a researched narrative history until now.
Persons: Prudence Peiffer, , Alfred H, Barr Jr, Jackson Pollock, Barr, Prudence Peiffer’s tenderly, Ellsworth Kelly, Jack Youngerman, Youngerman, Youngerman’s, Delphine Seyrig, Agnes Martin, James Rosenquist, Lenore Tawney, Robert Indiana Organizations: New York, Museum of Modern Locations: Paris, Jersey, Manhattan, New Mexico, Minnesota, Chicago, Europe
In 1967, Agnes Martin left New York for the New Mexico desert, avoiding the art world for years. Now, another New York artist is making a unique and provocative exit. On Darren Bader’s humorously named website, aaronbader.com, a sign reads: “20 Yrs: Selling My Practice.”“It’s been a good ride,” he says on the site. If he finds a buyer, he will be prohibited from being Darren Bader the contemporary artist, and that identity will be taken over by the buyer. He’s often (unflatteringly) called a prankster, but if this is a prank, it’s the kind that comes with an eight-page contract, drawn up with the attorney David Steiner (also known as artist Alfie Steiner).
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