Displaying items by tag: Graffiti

Hundreds of paintings were discovered in the 12th century Cambodian temple complex Angkor Wat hiding in plain sight.

Though thousands of people pass through the religious monument every day, nobody had ever noticed the ancient graffiti on the faded walls. Researcher Noel Hidalgo Tan first saw the red and black pigment on the walls of the monument when he visited and decided to investigate, Smithsonian Magazine reports.

Acquavella Galleries in New York is currently hosting the exhibition “Jean-Michel Basquiat Drawing: Works from the Schorr Family Collection.” The show was curated by Fred Hoffman, who was introduced to Basquiat by fellow art dealer Larry Gagosian in 1982. Hoffman helped Basquiat produce five editions of prints, which were published in 1983 by New City Editions in Venice, California. Hoffman also assisted in the production of the artist’s 1984 silkscreen paintings and co-curated Basquiat’s retrospective at the Brooklyn Museum in 2005. He is the Ahmanson Curatorial Fellow at the Museum of Contemporary Art in Los Angeles.

“Jean-Michel Basquiat Drawing” features 22 works on paper and two paintings from the collection of Herbert and Lenore Schorr, Los Angeles-based collectors who met the artist in 1981, before his first exhibition in New York. The Schorrs quickly became Basquiat’s devoted collectors, supporters, and friends. While the couple owns several seminal Basquiat paintings, what makes their holdings so unique is their vast collection of works on paper. Hoffman said, “The Schorrs astutely understood that working on paper was equally central to his practice as painting on canvas. The collection demonstrates both the focus and ambition that the artist invested in the medium of drawing.” Drawing is an essential component of Basquiat’s graffiti-inspired Neo-expressionist and Primitivist works. Between 1980-1988, the artist produced approximately 1,000 works on paper that exemplify his frenetic, bold, and gestural style.

The two paintings on view at Acquavella Galleries include a portrait that Basquiat painted of the Schorrs and “Leonardo da Vinci’s Greatest Hits,” which was part of an exhibition at Fun Gallery in New York in 1983. The show didn’t receive any critical attention and the Schorrs were the only people to buy a painting. “Leonardo da Vinci’s Greatest Hits” is now considered a foremost example of Basquiat’s work. Lenore Schorr said, “We had so much confidence in him from the beginning and couldn’t understand why other people couldn’t see it.”

Today, Basquiat, who died in 1988 at the age of 27, commands extremely high prices at auction. In May 2013, “Dustheads” sold for $48.8 million at Christie’s, setting the record for Basquiat at auction. His work is included in private and public collections throughout the world, including the Broad Art Foundation in California, Centre Georges Pompidou in Paris, Museu d’art Contemporani de Barcelona in Spain, and the Museum of Modern Art in New York.

Acquavella Galleries was founded by Nicholas Acquavella in 1921. The gallery initially specialized in works of the Italian Renaissance, but in 1960, when Acquavella’s son William joined the business, the gallery expanded to major works of the 19th and 20th centuries, including masters of Impressionism, Post-Impressionism, Cubism, and Surrealism. The gallery has since expanded and the entire scope of the 20th century is now represented.

“Jean-Michel Basquiat Drawing: Works from the Schorr Family Collection” will remain on view at Acquavella Galleries through June 13.

Murals of New York City: The Best of New York’s Public Paintings from Bemelmans to Parrish is the first book to curate over thirty of the most important and influential murals located within New York City. Spanning over 100 years, the volume includes full-color images of works by Marc Chagall, Roy Lichtenstein, Maxfield Parrish and more.

From New Deal-era works to graffiti-influenced paintings, Murals of New York City explores the background of each masterpiece and the story behind those who commissioned and created the murals. Along with original photography, the book contains addresses and historical information on each mural, artist and location, including the circumstances in which they were created, restored and preserved.

Murals of New York City by Glenn Palmer-Smith will be available on October 8, 2013 from Rizzoli New York.

In 1979 when Jean-Michel Basquiat (1960-1988) was still an unknown graffiti artist, he shared an apartment with his girlfriend, Alexis Adler, in Manhattan’s East Village. Typical of his street art roots, Basquiat covered the space in murals, his signature scrawled crowns, and other artistic markings. The couple split up a year later, shortly before Basquiat rocketed to art stardom. Sadly, his life and career were cut tragically short by a drug overdose in 1988.

Adler, who now works as an embryologist at New York University, eventually purchased the apartment she once shared with Basquiat and never painted over his work. She also held on to the artist’s notebooks, postcards, painted clothes, photographs, and drawings. After three decades, Adler has begun consulting with advisors in regard to her unparalleled collection of Basquiat ephemera. It has been rumored that she is looking to release a book on her never-before-seen collection, which could entail an exhibition and sale, but has not been confirmed by Adler.      

After his death, Basquiat remained a major figure in the art market and he continues to be the subject of highly anticipated exhibitions. Adler’s holdings will no doubt be a welcomed addition to the Basquiat market presence. In an attempt to ready herself for the frenzy that will undoubtedly ensue, Adler has hired Stephen Torton, Basquiat’s former assistant, to represent her in any future sales. Lisa Rosen of Fine Art Restoration is responsible for refurbishing and removing a wall from the apartment that contains a full Basquiat mural and Sur Rodney Sur, the former director of the Gracie Mansion gallery, has already catalogued the 65-plus items in the collection.

Also included in Adler’s remarkable collection is a script for a play written by Basquiat and rolls of 35mm film documenting the artist at work as well as candidly going about his day. The collection offers a rare glimpse of the artist on the brink of unprecedented fame.

Henry Moore’s (1898-1986) severely damaged sculpture Knife Edge Two Piece (1965) will finally be restored according to the Parliamentary Art Collection. The sculpture, which is prominently displays outside of the Houses of Parliament in London, is England’s most revered work by the British sculptor.

Moore and the Contemporary Art Society donated Knife Edge Two Piece to England in 1967 but the work fell into disrepair after administrative changes left it with no legal owner. Eventually, the British government suggested that the House of Commons take ownership for the sculpture and that the Parliamentary Art Collection take responsibility for the its care.

The bronze sculpture, which is marred by discoloration, deterioration, and incised graffiti, will undergo conservation beginning February 16, 2013. Conservator Rupert Harris will lead the effort, which involves removing the sculpture’s protective lacquer and abrading its surface to eliminate the damage. The work will then be repatinated and treated with wax in order to protect it from future environmental damage.

The conservation project is expected to cost a little over $50,000 with most of the funding coming from the Parliamentary Art Collection. The Henry Moore Foundation will contribute about $17,000 to the effort. The Knife Edge Two Piece restoration project is expected to reach completion at the end of March 2013.

Jean-Michel Basquiat (1960-1988), an obscure graffiti artist who shot to fame in the 1980s thanks to his Neo-expressionist and Primitivist paintings, is the subject of a major exhibition now on view at Gagosian Gallery in New York. Gagosian first featured Basquiat’s work thirty years ago in its Los Angeles gallery.

Since his untimely death at 27, Basquiat has been given a number of posthumous retrospectives including one at the Whitney Museum of American Art in New York (1992-92) and another at the Brooklyn Museum of Art (2005). The first major show to focus on the artist in eight years, the Gagosian exhibition will present over fifty works from public and private collections that span Basquiat’s short but powerful career.

Basquiat, who left his family home in Brooklyn at 15, became a major figure in New York City’s underground art scene. After making a name for himself as a prolific graffiti artist, Basquiat transitioned to painting and hit his artistic stride. Basquiat befriended Andy Warhol (1928-1987), was the subject of an iconic New York Times Magazine feature, and had become a major art star before his life was cut short due to a drug overdose.  

Basquiat’s works will be on view at Gagosian Gallery through April 6, 2013.

Eugène Delacroix’s (1798-1863) celebrated painting Liberty Leading the People was defaced while on view at the Louvre’s satellite location in Lens, which opened in the former mining town in northern France in December 2012. French police have a detained the woman accused of scrawling a graffiti tag along the bottom of the work.

Delacroix, a leader of the Romantic school in French painting, painted Liberty Leading the People to celebrate the July revolution of 1830, which brought down France’s Charles X. The work was featured on the country’s 100-franc banknote before the Euro was adopted and is rumored to have inspired New York’s Statue of Liberty.

Just before the museum closed for the day on Thursday, February 7, 2013, a 28-year-old woman scribbled in 12 inch writing what officials believe to be a reference to a 9/11 conspiracy theory. Officials believe that the work can be easily cleaned, but a restoration expert from the Louvre was being sent to Lens to perform a thorough examination. Museum officials have not yet decided if the painting will need to be removed.    

One of Banksy's most famous works has been defaced in what may be the latest episode of a long-running spat with a rival street artist.

The image above a shop in Bristol, which is generally accepted as the artist's home town, shows a police marksman with a child about to burst a paper bag behind him.

It appeared near Bristol city centre four years ago but has now been defaced with black paint. The vandalism has been signed "Team Robbo" apparently a reference to King Robbo, regarded as a founding father of the London graffiti scene.

The pair, or perhaps their followers, have been blamed for defacing or manipulating the other's work over the past two years.

A key battleground has been a spot under a bridge on Regent's Canal in London where an artist said to be the mysterious and elusive Banksy painted over a section of a 25-year-old mural by King Robbo.

Robbo was thought to have retired but he – or perhaps someone else – emerged to partly restore the work.

Now showing at Los Angeles' Geffen Contemporary museum: "the first major U.S. museum survey of graffiti and street art," an exhibition that reverently displays "installations by 50 of the most dynamic artists from the graffiti and street art community."

Translation: They're having wine and cheese parties surrounded by framed images of urban blight. They're giving the destruction of other people's property a hallowed place in high-art halls.

And they're inviting school groups to tour this retrospective, even - no kidding - selling cans of spray paint (along with books like "Trespass: A History of Uncommissioned Urban Art," $39.99) in the gift shop.

If all that weren't bad enough, this grand celebration of vandalism is slated to come to a museum near you - the Brooklyn Museum - in March.

Which means museum mavens will be sticking their thumbs in the eyes of every bodega owner and restaurant manager who struggles to keep his or her property graffiti-free, not to mention the eyes of all New Yorkers who cringe recalling the days of graffiti-covered subway cars.

They will be doing this with taxpayers' help. While the city spends some $2.4 million a year to battle vandalism, and the transit authority spends plenty more, taxpayers also subsidize the Brooklyn Museum to the tune of about $9 million a year.

Usually a fine investment. Not this time.