Mark Bradford + Kerry James Marshall: ‘Black Art’ for American Art Flippers Mark Bradford + Kerry James Marshall: 'Black Art' for American Art Flippers
right wall: Mark Bradford “Helter Skelter I” @ Phillips, London, 2018/3/8
Please cross-check these postings:
“Black Artist” vs. “Yellow Artist” in the context of “Henry Taylor @ Blum & Poe Tokyo” (2018/5/12)
Mark Bradford + Kerry James Marshall: ‘Black Art’ for American Art Flippers (2018/5/14)
バーゼル市立美術館の学芸員フィアスコ：「ブラック・マドンナ」(キリスト教) vs. 「ブラック・天皇」(神道) (2018/7/1)
Curatorial Fiasco at the Kunstmuseum Basel: “Black Madonna” (Christianity) vs. “Black Tenno” (Shintoism)
A fictional conversation between an art dealer and a collector
Time: January 2018
Location: Los Angeles, USA
Place of conversation: Wirtshaus “Art as Financial Investment”
Herr Wirt: I’m really fucked up, Eri. I need your help.
Herr Brot: Ian, well, I gave you already a nice piece of land for your gallery. Anyway, why did you fire Paul?
Wirt: Paul’s & your involvements with the local museums, I know. Money problems, – plus my wife couldn’t stand him anymore… sorry, let’s get to our real problem: Mark Bradford’s painting had been flipped just 2 years after the creation. That bastard Jay Jopling let it happen in 2014, the year when I took him away Mark. Shit hit the fan again, as in March, one painting I sold in Zürich 2014 pops up at Christie’s, plus, Philipps auctions that huuuge one which belongs to tennis star John McEnroe.
My wife doesn’t give me the millions to buy the paintings back. Can you help me out?
Brot: What? You already sold me 6 – 7 paintings of Mark! And btw, you influential Zürich guys didn’t let win America, win Los Angeles, win Mark any prize at the Venice Biennale!
Wirt: I know, sorry. Eva, Maja and Beatrix said unisono: “Fuck the American art market.”
Let’s get back to McEnroe: Mark’s coming sale will receive huuuge global publicity, a golden opportunity to get a new record for Mark!!
You and me have to protect Mark, right? He’s our local artists’s hero in L.A., crucial for the future of L.A.’s commercial real estate and art business.
Brot: Got it. I’ll buy that painting through shill bidding to get Mark’s record. Simultaneously I’ll throw one of your minor Bradfords into the auction circus, probably at Christie’s New York in May.
Wirt: Deal done, win win. Thx Eri. Btw, how are your Kusamas and Murakamis developing—?
Brot: Japanese, Asian tourists are pouring in en masse… commercial mission accomplished.
For artists, the frenetic secondary market sales can produce major anxiety, affecting both their primary market sales and reputation. This particular auction season, Mark Bradford and Kerry James Marshall works will be tested at all 3 major auction houses. Their representative galleries will fear the worst, as Phillips announced publicly, too much Bradford “material” had been offered for consignment. It shows that the interest in their work is, at least partly, speculative. Art Flippers in the U.S. see their chance to pocket a profit.
Attached are the screenshots from each auction house, as proof and document.
Further on, from Japan’s art market perspective, one wonders why collector MAEZAWA Yusaku, several weeks ago, bought one painting of Bradford for the sum of around 4 Mio US$ at Hauser & Wirth, Hongkong.
Following an overview regarding the “Black artists’s” auction events in New York, starting after tomorrow at Sotheby’s. See also my texts from April 9th and two days ago:
“Black Artist” vs. “Yellow Artist” in the context of “Henry Taylor @ Blum & Poe Tokyo”
Hauser & Wirth opens with Mark Bradford in Hong Kong, next will be Tokyo?
Contemporary Art Evening Auction
2018/5/16 Sothebys New York LOT 1 Mark Bradford “Speak, Birdman” 2018, estimate 2-3 Mio US$
up-date: LOT SOLD. 6,776,200 USD
2018/5/16 Sothebys New York LOT 27 Mark Bradford “Visible Giant” 2014, est. 4 – 6 Mio US$
up-date: LOT SOLD. 4,631,100 USD
Post-War and Contemporary Art Evening Sale
2018/5/17 Christie’s New York LOT 20B Mark Bradford “Boreas” 2007, est. 5 – 7 Mio US$
up-date: Price realized USD 7,625,000
20th Century &Contemporary Art Evening Sale
2018/5/17 Phillips New York LOT 11 Mark Bradford “Black Venus” 2005, est. 5 – 7 Mio US$
up-date: SOLD FOR $6,052,500
KERRY JAMES MARSHALL:
Contemporary Art Evening Auction
2018/5/16 Sothebys New York LOT 5A Kerry James Marshall “Past Times” 1997, estimate 8-12 Mio US$
up-date: LOT SOLD. 21,114,500 USD
Post-War and Contemporary Art Evening Sale
2018/5/17 Christie’s New York LOT 54B Kerry James Marshall “You Must Suffer if You Want to be Beautiful” 1991, est. 2 – 3 Mio US$
up-date: Price realized USD 2,292,500
20th Century &Contemporary Art Evening Sale
2018/5/17 Phillips New York LOT 28 Kerry James Marshall “Untitled (Blanket Couple)” 2014, est.3.5 – 5.5 Mio US$
up-date: SOLD FOR $4,335,000
Provenance: Billionaire Eli Broad, owner of THE BROAD Museum Los Angeles
マーク・ブラッドフォード Mark Bradford @ ハウザー＆ワース Hauser & Wirth、「My Head Became a Rock」個展のオープニング、チューリヒ Zürich 2014年6月14日
Hauser & Wirth Zürich、Mark Bradford個展のオープニング。左側：White Cube, Londonのアートディーラー、ジェイ・ジョリング氏 Jay Jopling、2014年6月14日
“Hauser & Wirth represents several artists from Los Angeles, including their long-term collaborator Paul McCarthy, the late Mike Kelley, Diana Thater and Mark Bradford, a rising star who defected from White Cube in 2014”
2014年6月14日。（2013年-2017年）Hauser Wirth & Schimmel ハウザー・ワース＆シンメルのPaul Schimmel ポール・シンメル氏。
Mark Bradford “Smear” 2015 @ Mnuchin Gallery, Art Basel 2017
Davide Nahmad speaks about the $120m Picasso, LINDA la bouquetière
Kerry James Marshall on painting, politics and P Diddy’s record-breaking purchase of his work
The Art Newspaper, Hasani Dithers, 3rd June 2018
“This is probably the first instance in the history of the art world, where a Black person took part in a capital competition and won.” Marshall says the community of African American collectors is growing. “It’s becoming the case that people have more disposable resources that they can apply to buying things like art work,” he says, adding: “But if you think about the history of art—where were Black people when [capitalism and markets were forming] 500, 600 years ago? Black people in the Western hemisphere—from 1865 until now, that’s less than 200 years out from being considered chattel property, being bought and sold themselves.”
Visualizing the Numbers: See Infographics Tracing the Representation of African American Artists in Museums and the Market
See visualizations of our findings.
Julia Halperin & Charlotte Burns, September 20, 2018
African American Artists Are More Visible Than Ever. So Why Are Museums Giving Them Short Shrift?
Our research finds that less than three percent of museum acquisitions over the past decade have been of work by African American artists.
Julia Halperin & Charlotte Burns, September 20, 2018
Soul of a Nation: Art in the Age of Black Power
September 14, 2018–February 3, 2019
Brooklyn Museum, New York
BROOKLYN, NY.- The Brooklyn Museum presents the critically acclaimed exhibition Soul of a Nation: Art in the Age of Black Power, an unprecedented look at a broad spectrum of work by African American artists from 1963 to 1983, one of the most politically, socially, and aesthetically revolutionary periods in American history. Soul of a Nation considers the varied ways that Black artists responded to the demands of an urgent moment and brings together for the first time the disparate and innovative practices of more than sixty artists from across the country, offering an unparalleled opportunity to see their significant works side by side. The Brooklyn Museum is the only East Coast venue for this exhibition, which was organized by Tate Modern in London and traveled to Crystal Bridges Museum of American Art in Bentonville, Arkansas, in early 2018. The Brooklyn presentation will remain on view through February 3, 2019.
Soul of a Nation features more than 150 works of art in a sweeping aesthetic range, from figurative and abstract painting to assemblage, sculpture, photography, and performance. Among the influential artists of the time highlighted in the exhibition are Emma Amos, Frank Bowling, Sam Gilliam, Barkley Hendricks, Betye Saar, Alma Thomas, Jack Whitten, and William T. Williams. The Brooklyn presentation will also include several works by artist and scholar David Driskell, Suzanne Jackson’s Triplical Communications (1969), and a large-scale draped painting by Sam Gilliam titled Carousel Merge (1971). In addition, a monochromatic work by Emma Amos will be on view, as well as two large-scale paintings by British Guyana-born artist Frank Bowling and an abstract push-broom painting by Ed Clark from the late 1970s, which recently joined the Museum’s permanent collection.
The show begins in 1963, before the emergence of the Black Power Movement later in the decade, with the Spiral collective. This group of New York-based painters, including Romare Bearden, Norman Lewis, and Emma Amos, worked in diverse aesthetic styles and explored the role of Black artists in the struggle for civil rights. Also active in New York at the time was the Kamoinge Workshop, a group of photographers who responded to the lack of institutional support and mainstream representation of Black artists by conducting workshops and producing their own gallery shows and portfolios.
The exhibition goes on to trace how artists across the country continued to work in collectives, communities, and individually during the rise of the Black Power Movement. In Los Angeles, years of urban unrest propelled a number of artists to experiment with assemblage and sculpture. Artists such as John Outterbridge and Noah Purifoy made works inspired by the aftermath of the Watts Rebellion of 1965. Emory Douglas, who served as the minister of culture for the Black Panther Party, founded in Oakland, California, in 1966, created striking graphics and illustrations that became powerful symbols of the movement — 24 of which are included in the exhibition. In Chicago, a group of artists formed AfriCOBRA, whose manifesto and aesthetic philosophy aimed to empower Black communities. Works by its founding members are on display, including Gerald Williams’s Say It Loud (1969), whose vibrant colors, graphic lettering, and use of black figures were emblematic of the AfriCOBRA style. In New York, painters incorporated symbols of protest, solidarity, and Black pride, while many organized for institutional inclusion. Also featured is artist and professor David Driskell, who drew upon similar themes in his painting, as he worked to organize university art departments across the South and promote scholarship of African American art.
The show also addresses formal concerns and aesthetic innovations across abstraction and figuration in painting and sculpture, featuring such works as Sam Gilliam’s April 4 (1969), Barkley Hendricks’s Blood (Donald Formey) (1975), Frank Bowling’s Texas Louise (1971), and Martin Puryear’s Self (1978). With its central triangular form, Jack Whitten’s powerful Homage to Malcolm (1970) recalls the pyramids that Malcolm X visited on a trip to Africa in 1964, and was painted as a memorial to the late activist. Other works show the emergence of integral figures in Black feminism such as Kay Brown, Faith Ringgold, and Betye Saar, highlighting an important moment of visibility for female artists. The exhibition concludes with a section on Just Above Midtown (JAM), the first commercial gallery space dedicated to showing the work of avant-garde Black artists, notably including artists working in performance, such as Lorraine O’Grady, David Hammons, Senga Nengudi, and others.
The timely exhibition extends the Brooklyn Museum’s trailblazing commitment to a vital period in American art, following its exhibitions Witness: Art and Civil Rights in the Sixties (2014) and We Wanted a Revolution: Black Radical Women, 1965-85 (2017), as well as the Museum’s major acquisition of 44 works from the Black Arts Movement in 2013.
“With Soul of a Nation, we are honored to highlight the truly exceptional work produced by African American artists during one of the most significant moments in U.S. history and to honor these artists and all those arts professionals, here in Brooklyn and beyond, who have long supported their work,” said Anne Pasternak, Shelby White and Leon Levy Director of the Brooklyn Museum.
Ashley James, Assistant Curator of Contemporary Art, adds: “Artists in this exhibition bravely and variously created art responsive to an urgent time of social, political, and aesthetic rupture, resulting in some of the most striking works created in the late twentieth century. This exhibition adds to an already existing and growing focus on the art produced during the Black Power Movement, an indication of the period’s important and continued resonance with our present as well as the absolute excellence that defines the art of the era.”
Soul of a Nation: Art in the Age of Black Power shines light on a broad spectrum of Black artistic practice from 1963 to 1983, one of the most politically, socially, and aesthetically revolutionary periods in American history. Black artists across the country worked in communities, in collectives, and individually to create a range of art responsive to the moment—including figurative and abstract painting, prints, and photography; assemblage and sculpture; and performance.
Many of the over 150 artworks in the exhibition directly address the unjust social conditions facing Black Americans, such as Faith Ringgold’s painting featuring a “bleeding” flag and Emory Douglas’s graphic images of beleaguered Black city life. Additional works present oblique references to racial violence, such as Jack Whitten’s abstract tribute to Malcolm X, made in response to the activist’s assassination, or Melvin Edwards’s contorted metal sculptures. Working as a collective, members of the AfriCOBRA group presented images of uplift and empowerment. Barkley Hendricks, Emma Amos, and others painted everyday portraits of Black people with reverence and wit. All the artists embraced a spirit of aesthetic innovation, but some took this as their primary goal, often through experiments with color and paint application.
This exhibition brings together for the first time the excitingly disparate practices of more than sixty Black artists from this important moment, offering an unparalleled opportunity to see their extraordinary works side by side.
Soul of a Nation: Art in the Age of Black Power is organized by Tate Modern in collaboration with the Brooklyn Museum and Crystal Bridges Museum of American Art, Bentonville, Arkansas, and The Broad, Los Angeles, and curated by Mark Godfrey, Senior Curator, International Art, and Zoe Whitley, Curator, International Art, Tate Modern. The Brooklyn Museum presentation is curated by Ashley James, Assistant Curator, Contemporary Art, Brooklyn Museum.
Leadership support for this exhibition is provided by the Ford Foundation, the Terra Foundation for American Art, Universal Music Group, and the Henry Luce Foundation. Additional support is provided by the Brooklyn Museum’s Contemporary Art Committee, the Arnold Lehman Exhibition Fund, Christie’s, Raymond Learsy, Saundra Williams-Cornwell and W. Don Cornwell, Crystal McCrary and Raymond J. McGuire, Megan and Hunter Gray, the Hayden Family Foundation, Carol Sutton Lewis and William Lewis, Valerie Gerrard Browne, Hales Gallery, Tracey and Phillip Riese, Connie Rogers Tilton, and Jack Shainman Gallery.
Kerry James Marshall on Painting Sale: Chicago ‘Has Wrung Every Bit of Value They Could from the Fruits of My Labor’
ARTnews, Sarah Douglas POSTED 10/03/18
At the opening of his new exhibition at David Zwirner gallery in London, artist Kerry James Marshall commented on the recent decision by the city of Chicago to sell—for a price estimated between $10 million and $15 million by Christie’s in New York, where it will go to auction this fall—a mural he created for a branch of the Chicago Public Library.
“I am certain they could get more money if they sold the Picasso sculpture in Daley Plaza,” Marshall said in a comment that was shared with ARTnews. “Considering that only last year Mayor [Rahm] Emanuel and Commissioner [of the Department of Cultural Affairs Mark] Kelly dedicated another mural I designed downtown for which I was asked to accept one dollar, you could say the City of Big Shoulders has wrung every bit of value they could from the fruits of my labor.” (That other mural of Marshall’s is a large work, measuring 132 by 100 feet, now on the facade of the Chicago Cultural Center.)
By coincidence, several paintings in Marshall’s Zwirner exhibition depict artists’ names next to their auction prices, in the style of a supermarket circular.
The city plans to use the funds from Marshall’s library mural, Knowledge and Wonder (1995), to upgrade the branch where it has long been on display, the Legler Library, and turn it back into a regional library. (In 1977, the Legler was decommissioned and made a regular library branch.) According to an article in the Chicago Tribune, the sale of the painting would support “longer hours, significantly more services and programs for adults and children, and collections unique to the surrounding West Side community.” Additional services could include a new STEM-focused children’s library, studio space for an artist-in-residence program, and a sound studio for teens. The money would also go toward Chicago’s public art program.
The Tribune reported that Brian Bannon, Chicago’s library commissioner, said that “city officials have shared their plans with Marshall and that he is supportive.” However, the article added that at press time, “Marshall could not be reached for comment.”
Bannon said the library is not equipped to maintain and secure the painting, which was commissioned for $10,000 in 1993 as part of the Chicago’s “Percent for Art” program. The mural depicts a group of figures, 15 in all, in front of a panorama of books as well as things like planets and molecules and shooting stars. A ladder in the painting has been said to represent the notion of higher learning.
Since it was announced on Monday, the city’s plan has met with controversy. Earlier on Wednesday, the Art Newspaper ran a story quoting figures in Chicago who are critical of the move. Lisa Yun Lee, a professor of art history at the University of Illinois and the director of the National Public Building Museum in Chicago, told the paper, “This is not right. Someone should buy it and give it back to Legler on a long-term loan and then work with AAM [American Alliance of Museums] to stop public art theft through these acts of deaccessioning.” In the same article, Barbara Koenen, a longtime veteran of Chicago’s cultural affairs department, suggested that the city should sell instead Richard Serra’s Reading Cones sculpture currently at home in Grant Park. Of Serra’s work, Koenen said, “He has no connection to Chicago and the city has never known where to put it. It would be happy somewhere else.”
Is This the Victory Lap We Were Hoping For? Why We Must Keep Women and Artists of Color From Becoming the Next Victims of Market Speculation
Artists like Avery Singer and Njideka Akunyili Crosby are deserving of rising prices, but should they be at auction?
Lisa Schiff, October 12, 2018
A shift has taken place in the media in recent years wherein talk of the art market has almost completely supplanted talk of art itself. Art-as-investment, price indices, predictions, statistics, and graphs are the new norm for framing art-world discussions. Large sums of money are reported as trading and, although there is little understanding of how these numbers are achieved or guaranteed, a new breed of buyer has entered the market focused solely on a false perception of liquidity. The result is that we see intense bumps in prices for short periods of time, without any substantive data backing them. The spikes can be so high that a free fall feels inevitable.
I don’t think the work of artists this young should be coming to auction at all, nor should there be any resale situation involving prices so high above their primary markets. A healthier situation is a long, slow burn with real context and institutional support.
Could it be the result of the calculating profit drive of a few men of privilege? I can’t answer that, but I know some in the game.
photos: cccs courtesy creative common sense