Displaying items by tag: rosemarie trockel

"Adventures of the Black Square: Abstract Art and Society 1915 – 2015" is a major new exhibition tracing a century of Abstract art from 1915 to the present day, and is to open at the Whitechapel Gallery, London. The exhibition brings together over 100 works by 100 modern masters and contemporary artists including Carl Andre, David Batchelor, Dan Flavin, Andrea Fraser, Piet Mondrian, Gabriel Orozco, Hélio Oiticica, Aleksandr Rodchenko, Sophie Taeuber-Arp, Rosemarie Trockel, Theo Van Doesburg and Andrea Zittel, taking over six exhibition spaces across the gallery.

The show is curated by Iwona Blazwick OBE, Director, and Magnus af Petersens, Curator at Large, Whitechapel Gallery, "Adventures of the Black Square: Abstract Art and Society 1915 – 2015," is international in its scope.

On Wednesday, May 14, Sotheby’s Contemporary Art Evening Sale in New York garnered $364 million, falling well within the auction’s pre-sale estimate of $337 million to $474 million. Of the 79 lots offered, 12 failed to find buyers. While the auction fell short of Christie’s monumental $475 million sale, which took place the evening before, new records were set for twelve artists at Sotheby’s, including Julian Schnabel, Wade Guyton, Rosemarie Trockel, Dan Flavin, Matthew Barney, and Keith Haring.

The top lot of the night was Andy Warhol’s “Six Self-Portraits,” which had resided in a private collection since its creation in 1986. The portraits, which are among the last works created by the pioneering Pop artist, sold for $30.1 million (estimate: $25 million to $35 million). The Warhol works were trailed by Gerhard Richter’s oil-on-canvas painting “Blaud” (1988), which sold to a telephone bidder for $28.7 million (estimate: $25 million to $35 million) and Jeff Koons’ mirror polished stainless steel sculpture with transparent color coating titled “Popeye” (1988), which fetched $28.2 million (estimate on request). The 6 ½-foot tall sculpture was purchased by billionaire casino tycoon and art collector Steve Wynn, who plans to display the work in his Las Vegas casino.

Contemporary art is occupying hallowed halls this season: Andy Warhol at the Met, Matthew Barney at the Morgan Library.

And Conceptualism, which 40 years ago proposed trashing museums altogether, is now assuming old master status in them. It’s even getting a historical survey in “Materializing ‘Six Years’: Lucy R. Lippard and the Emergence of Conceptual Art,” a show that opens at the Brooklyn Museum on Friday and provides the back story for a surprising number of other shows, mostly of new art, coming in the months ahead.

Not that the Brooklyn exhibition has blockbuster potential; if anything, the opposite is true. It’s a compendium of archival odds and ends: postcards, snapshots, arcane pronouncements. And it’s based on a 40-year-old scrapbook of a book with an interminable art-speak title, of which “Six Years: The Dematerialization of the Art Object from 1966 to 1972: A Cross-Reference Book of Information on Some Esthetic Boundaries” is just the first quarter. Compiled by Ms. Lippard, a pioneering feminist writer and curator, and published in 1973, the book remains a founding document of a hugely influential kind of art that emerged from an era of social upheaval and that spurred far-reaching changes in thinking about what art could be — meaning, among other things, unheroic, non-Western, female, ephemeral.