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From September 10-18, Christie’s auction house will host a pop-up exhibition of post-war and contemporary art in downtown Los Altos -- an affluent community in California’s booming Silicon Valley. Passerelle, a local real estate and urban planning firm, helped organize the show, which will present major works by Roy Lichtenstein, Jasper Johns, Richard Diebenkorn, and Tracey Emin as well as cutting-edge contemporary art. The exhibition will include works available for private sale as well as highlights from the upcoming fall auctions in New York.

A panel discussion titled “StART Up: Beginning (and Growing) Your Art Collection” will be held on September 13.

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The most famous bed in contemporary art, a tangle of stained and rumpled sheets bearing expensive witness to a time of heartbreak for the artist Tracey Emin, is coming to the Tate gallery on long loan from its new owner, the German businessman and collector Count Christian Duerckheim.

Although Emin described the Tate as "the natural home" for her 1998 "My Bed," the gallery couldn't afford to bid at the recent Christie's auction where it eventually sold for £2.54m, more than twice the top pre-sale estimate.

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Tracey Emin’s bed, strewn with cigarette butts, discarded condoms and empty booze bottles, was among the top pieces at Christie’s 99.4 million-pound ($170.5 million) postwar and contemporary art sale in London yesterday.

The provocative British artist, 50, sat in the front of the packed salesroom as her 1998 piece, “My Bed,” surged from the opening bid of 650,000 pounds to the final price of 2.5 million pounds, including buyer’s commission. The result smashed her previous auction record of 481,875 pounds and more than doubled the expected high target of 1.2 million pounds.

“Not yours here, Tracey,” auctioneer Jussi Pylkkanen said to the artist in jest as he wielded multiple bids from the podium.

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 British collector Charles Saatchi will sell Tracey Emin’s iconic readymade, “My Bed,” on July 1 at Christie’s. The work, which is quite literally the artist’s unmade bed -- complete with empty vodka bottles, cigarette butts, and discarded undergarments -- carries a pre-sale estimate of £800,000 to £1.2 million, which many people feel is too low considering the piece’s storied past.

Emin was a founding member of the Young British Artists (YBAs), a group of visual artists who first began to exhibit together in London in the late 1980s and favored everyday materials, shock tactics, and wild-living. Created in 1998 following a particularly low period in Emin’s life, “My Bed” earned a Turner Prize nomination in 1999, which sparked outrage among the art world. A year later, Saatchi purchased “My Bed” from Emin’s New York dealer, David Maupin, for £150,000, a hefty price tag at the time. 

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Anyone looking to meet the director of the tiny but highly regarded Museum of Contemporary Art here has two choices. Head into the museum, where its interim director, Alex Gartenfeld, has an office. Or go next door to City Hall, where the mayor’s appointee to the same position, Babacar M’Bow, is essentially working in exile.

The dueling directors are just part of the chaos emanating from a bitter showdown that has erupted between MoCA, as the museum is known, and the city that founded it.

The museum’s board wants to leave this working-class city and merge with the Bass Museum of Art in Miami Beach, its wealthier and more glamorous neighbor. It says that North Miami has neglected the museum building and failed to support a needed expansion.

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Looking at the View, a sweeping display of 300 years of British landscape painting, opened at London’s Tate Britain on February 12, 2013. The exhibition coincides with the re-opening of the Tate Britain galleries, which were closed for renovations.

The show is part of the museum’s BP British Art Displays, a series that highlights contemporary and historic British art from its collection. Curated by Tate Britain’s director Penelope Curtis, Looking at the View illustrates the different ways British artists have interpreted and portrayed their surroundings over the past three centuries. The exhibition features works from the Romantic and Pre-Raphaelite periods as well as paintings from the Land Art and other contemporary movements. Artists on view include J.M.W. Turner (1775-1851), John Brett (1831-1902), Henry Lamb (1883-1960), Lucian Freud (1922-2011), and Tracey Emin (b. 1963).

Looking at the View, which presents over 70 works by more than 50 artists, is arranged according to motif and draws connections between artists from vastly different time periods and movements. It is on view at Tate Britain through June 2, 2013.

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David Hickey, one of America’s foremost art critics is known for his acerbic commentary, but his latest tirade against the world of modern art is downright scathing. Hickey, a professor, curator, and author, told the Observer that he will be walking away from contemporary art, a genre he says has been ruined by rich collectors who are more concerned with money and celebrity than quality.

Hickey claims that art editors and critics have lost their edge, spending more time catering to the wealthy people who hold the reigns on the contemporary art market than surveying the actual work (which he says is also lacking). Hickey is not alone in this claim. A number of contemporary art curators, museums, and galleries have deemed the work of such artists as Damien Hirst, Tracey Emin, and Antony Gormley bloated and empty – the result of too much fame and not enough criticism. While the notion of the artist as celebrity is not new, today’s market is saturated with it and gaining status has taken precedence over making revolutionary, ground-breaking art.

A former dealer, Hickey is attuned to considering art in monetary terms but his objections stem from his belief that contemporary art has become too broad, too elitist, and lacks discretion. Hickey’s retirement will remove an important critical voice from the equation. He plans to complete a book on the pagan roots of America, aptly titled Pagan America, as well as a book of essays titled Pirates and Framers.

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It is considered one of the most important contemporary art collections in the world, featuring Tracey Emin’s bed and Grayson Perry’s pots.

So when Charles Saatchi offered to donate the cream of his private collection – valued at upwards of £30 million – to the nation for free, he might have been forgiven for thinking it would be gratefully accepted.

But two years since announcing his generous gift, the collection has yet to find a home.

Instead, the Government has bungled attempts to secure it while a national museum has also passed on the offer.

Saatchi’s bequest includes more than 200 works by several of the world’s leading contemporary artists, among them Jake and Dinos Chapman, the Indian artist Jitish Kallat and Emin, whose unmade bed, My Bed, which came to symbolise the Young British Artist (YBA) movement of the 1990s, is included.

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