The Art Market’s Uneven Recovery Means Feast for Some, Famine for Others
From Bloomberg
Who’s doing well depends on which dealer, and which artist, you talk to.
On the opening day of New York’s Armory Show last week, the dealer Christophe Van de Weghe was standing inside his booth, munching on a croissant and growing increasingly exasperated by questions that implied the art market is in a slump.
That morning, he’d sold a painting by Jean Dubuffet for $650,000. And “yesterday I had a dinner in my gallery for this young artist that I’m showing,” he said, gesturing around him where wispy abstract paintings by an artist named Frederic Anderson hung. “The price is $34,500, and we sold seven,” he continued. “This morning we already sold two paintings here. I mean, I’m doing very well. I’m selling. I don't know what the other guys are doing.”
First Exhibition of Georgia O’Keeffe’s New York Paintings Now on View in Chicago
From Hyperallergic
Overlooked by NY institutions and the male art world, the artist’s experimental depictions of skyscrapers get their own exhibition a century later.
Before Georgia O’Keeffe painted her legendary Southwestern scenes, she spent years depicting a very different kind of landscape: the harsh and smoky urban canyons of New York City. After she married photographer Alfred Stieglitz in 1924, they moved into an apartment on the 30th floor of the Shelton Hotel. Living in what was then the tallest residential building in the world, their bird’s-eye view inspired a masterful series of experimentations with abstraction, perspective, and scale. “My New Yorks would turn the world over,” she said. But she was discouraged from exhibiting these angular, dark paintings, which the art world’s reigning men viewed as too masculine for a woman artist.
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