Displaying items by tag: photography

Known for his fashion and portrait photography, Cecil Beaton (1904–1980) also served as a wartime photographer, snapping more than 7,000 pictures between 1940 and 1945. It wasn’t until recently that 120 of these images were discovered in London’s Imperial War Museum’s Photograph Archive. Depicting life in Britain during the World War II, the photographs entered the Museum’s collection in 1948 when the Ministry of Information’s photo archive was transferred to the museum. The photographs, which had been filed by subject matter rather than photographer, had remained unattributed until now.

To celebrate the hidden treasure, the Museum will hold the exhibition “Cecil Beaton: Theatre of War through January 1, 2013.

The Andy Warhol Foundation for the Visual Arts and Christie's jointly announced today that the Foundation has engaged Christie's for future sales of Andy Warhol's work from its collection. Recognizing that the arts community needs its support now more than ever, the Foundation seeks to significantly increase its endowment in order to ensure and expand its long-term support of the visual arts. Toward this goal, Christie's will conduct phased sales over a period of years using multiple platforms, including single artist live auctions, private sales and continuing online auctions, bringing a wide range of Warhol's art - much of which has never before been seem by the public at large - to existing as well as new collectors worldwide. At the same time, the Foundation also plans to mark its 25th Anniversary by making additional gifts of significant works to museums, continuing its long history of donating Warhol's art.

The Andy Warhol Foundation for the Visual Ats was created at the late artist's direction for the purpose of advancing the visual arts. Since its founding in 1987, the Foundation has pursued that mission by making nearly $250 million in grants to hundreds of museums and non-profit arts organization nationwide; through grants made to individual artists and arts writers through its sister foundation Creative Capital; and through the Andy Warhol Museum, which it founded and endowed with a permanent collection of nearly 4,000 iconic artworks as well as with archival materials.

A prophet in the wilderness of modernity, the photographer Robert Adams has devoted almost five decades to decrying what fecklessly industrious humans have done to the landscape of the American West.

“Robert Adams: The Place we Live,” a splendid retrospective exhibition of more than 250 prints dating from the 1960s to 2009 at the Yale University Art Gallery here, surveys an oeuvre that is as compelling for its understated style as for its moral ferocity. Accompanied by a beautiful three-volume catalog produced by Yale University Press in collaboration with Mr. Adams, the exhibition was organized by Joshua Chuang, the gallery’s assistant curator of photographs, and Jock Reynolds, its director.

Picasso’s lovers, Richard Serra's steel and Andreas Gursky’s yacht-studded Monaco are the highlights of a $130 million trove Gagosian Gallery is taking for its first expedition to Brazil next month.

The occasion is the second annual ArtRio in Rio de Janeiro, a fair spread over 7,500 square meters (80,730 square feet) in four warehouses on Guanabara Bay. It will feature 120 galleries, including David Zwirner and White Cube, as well as events hosted by Christie’s and Sotheby's. The size and participants reflect a growing interest in the world’s sixth-largest economy.

As the world economy began to tank about five years ago, a curious thing happened at the top level of the international art market: It started to boom. At the annual spring art auctions at Sotheby's and Christie's in New York and their branches around the globe, deep-pocketed bidders snapped up Braques and Bacons, Klimts and Kandinskys, often at record prices.

Now with the global recession officially over but the American and European economies still shaky, auction records for blue-chip modern and contemporary art continue to be shattered. Just a few months ago, a pastel version of Edvard Munch’s "The Scream" (1895) fetched an astounding $119.9 million at Sotheby’s, by far the highest price ever paid at auction for a work of art, surpassing the winning bid of $106.5 million for Picasso's "Nude, Green Leaves and Bust" (1932) at Christie’s two years earlier. A week after the gavel fell on the Munch, Mark Rothko's "Orange, Red, Yellow" (1961) went for nearly $87 million, the artist’s personal best at auction.