Today is World Heart Day! Created by the World Heart Federation, this day is to inform that Cardiovascular disease is the world’s leading cause of death, claiming 18.6 million lives each year, and to educate that by controlling risk factors such as tobacco use, unhealthy diet, and physical inactivity, at least 80% of premature deaths from heart disease and stroke could be avoided.Continue reading
Celebrating the LGBTQ+ Community in the Arts
In June, Canadians and the International community gather for Pride Month where we celebrate the history and diversity of the LGBTQ+ community. We recognize the progress that has been made and acknowledge that there are still many barriers to overcome.
The contributions made to the art world by members of the LGBTQ+ community are profound. Despite the adversity and discrimination they were confronted with, several artists from the LGBTQ+ community fearlessly opened up new paths of creativity in the art world.
To celebrate Pride Month, Robin Rosenberg highlights some of the most unforgettable artworks that honour their love, adversity and resilience and artworks that beautifully render the complexity of sexuality and the intersectionality of gender, including Andy Warhol’s portrait of Basquiat; Nan Goldin’s Jimmy Paulette and Taboo! Undressing, NYC; Robert Mapplethorpe’s Self Portrait, and many more.
Featured are just a few of the iconic contributions of the brilliant LGBTQ+ community to the arts. Please contact us if any of these works or artists are of interest, or if you are interested in selling your art or investing in fine art.
Julie Mehretu, Corner of Lake and Minnehaha, 2022, 17-Run screenprint, Ed. of 45, 47.5 x 37 in
Keith Haring painting, Gérard Van Kal Mon sculpture, Andy Warhol portrait of Basquiat
Zanele Muholi, Thatha II, Sheraton Hotel, Brooklyn, 2019, Site-specific photographic mural, Ed. of 2,138 in
David Hockney, Ipad Drawing Untitled 346, 2010, 8 color inkjet print, Ed. of 250, 22 x 17 in
Nan Goldin, Jimmy Paulette and Taboo! Undressing, NYC, 1991, Cibachrome print, Ed. of 25, 39.5 x 26.5 in
Tamara de Lempicka, Self Portrait (Tamara in a Green Bugatti), ca. 2014, Gouttelette print on paper, Ed. of 100, 28 x 21 in
Catherine Opie, Rainbow Falls #2, 2015, Pigment print, Ed. of 5, 45 x 30 in
Robert Mapplethorpe, Self Portrait, 1980
History in the Making!
Happy International Women’s Day to all; a wonderful opportunity to celebrate the social, economic, cultural and political achievements of women. We would like to take advantage of this day to showcase just a few of the incredible women artists who inspire us and our followers. Though the fight is certainly far from over, we applaud the strength of the women who have achieved such high levels of success despite the adversity they have faced.
As always, if any artists are of interest, please do not hesitate to be in touch with us.
Nina Chanel Abney, Two Years and Counting, 2018, Relief print in colours, Edition of 35, 65 9/10 x 39 2/5 inches
Artemesia Gentileschi, Self-Portrait as the Allegory of Painting, Oil on canvas, 38.8 x 29.6 inches (left), Hannah Wilke, S.O.S. Starification Object Series, Performalist Self Portrait with Les Wollam, 1974, Photograph, 42 1/4 x 29 3/8 inches
Beatriz Milhazes, Figo, 2007, Woodblock and screenprint, Edition of 30, 70 x 47 inches
Alex Prager, Lois, 2009, Chromogenic print, 47 5/8 x 70 inches, Edition of 3
Simone Leigh, Jug, 2019, Bronze, 84 1/2 x 49 3/5 inches
Polly Apfelbaum, Atomic Series, 2018, Monoprint
Lucy Sparrow, Nil By Mouth at 32, Felt, Acrylic, and Thread, Edition of 20, 23 x 20 x 5 inches
Louise Nevelson, Wood sculpture, private collection
Joan Mitchell, Oil on canvas
Nadia Myre, [in]tangible tangles, 2021, Digital print, Edition of 7, 8 1/2 x 8 1/2 inches
Sarah Anne Johnson, DTAW3, 2021, Pigment print with oil paint, 60 x 40 inches
Tracey Emin, I Know, I Know, I Know, Neon tube installation
Kara Walker, Fons Americanus, 2019, Tate Modern, London (left), Lynda Benglis, An Alphabet of Forms, 2021, Pace Gallery, New York
Celebrating Contemporary Indigenous Artists.
June 21st marks National Indigenous Peoples Day in Canada, an opportunity to recognize various talented Indigenous artists across the country. Beyond traditional forms of artistry such as totem poles, elaborate masks, and textile work typically associated with First Nations culture, there is also a vast network of notable artists of Indigenous ancestry operating within the mainstream contemporary art scene. While highly personal in terms of style and expression, these artists’ works are nevertheless informed by their shared heritage. As the recent discovery of mass burial sites at residential schools demonstrates, the traumatic Indigenous experience is not merely a distant memory crystallized in the past but permeates the present. It is no surprise that Indigenous artistry is heavily imbued with themes of socio-political critique, cultural appropriation, and identity politics.
Nadia Myre, Indian Act, 1999-2002, Stroud cloth and glass beads
Nadia Myre is a visual artist of Algonquin heritage living in Montreal whose work explores her tumultuous cultural history. She is well-known for her subversive artwork entitled, Indian Act, a three-year project in which the artist enlisted over 200 people to help her painstakingly bead over the 56 pages of the federal government’s 1876 Indian Act – a document that painfully reminds us of the discriminatory erasure of Indigenous culture. The artist frequently employs the traditional medium of beading in her artistic endeavors, often mixing the ancestral craft with modern photographic technology.
Nadia Myre, Meditations on Black: Philosophical, 2012, Digital archival print on rag paper, 44 x 44 inches
Brian Jungen is another Indigenous artist of Cree ancestry whose use of medium is central to his oeuvre. He employs ordinary objects of everyday life and manipulates them to create masterfully intricate works that initiate a complex dialogue between traditional Indigenous motifs and mainstream global consumer culture. For instance, in his series, Prototypes of New Understanding, the artist deconstructed Nike Air Jordan sneakers to create ceremonial masks reminiscent of those used within Pacific Northwest tribes.
Brian Jungen, Prototype for New Understanding #23, 2005, Nike air jordans and human hair, 19 x 20 inches
Arguably one of the most well-known contemporary Indigenous artists is Toronto-based Cree artist, Kent Monkman, who has recently been commissioned by the Metropolitan Museum of Art in New York to create two large artworks, both of which align with the artist’s general aim of upending conventional historical narratives of European settlers. The paintings feature Monkman’s recurring gender-fluid alter ego, Miss Chief Eagle Testickle, who dons rainbow-coloured earrings and stilettos and who is celebrated as a character signaling a reversal of the colonial gaze.
Kent Monkman, Welcoming the Newcomers, 2019, Acrylic on canvas, 132 x 264 inches, The Metropolitan Museum of Art, New York
These artists represent only a few of the contemporary Indigenous artists celebrated in the artworld. If you are interested in these artists or would like to learn more, please contact us.
Can the Artworld Take a Joke?
Maurizio Cattelan, Comedian, for sale from Perrotin at Art Basel Miami Beach, 2019
For centuries, April Fool’s Day has been celebrated on the first day of the month, a frivolous, unofficial holiday filled with practical jokes and pranks. During these heavy times, we could all use some lightheartedness, so we are taking this opportunity to highlight memorable pranks that have been played on the art world.
Some may recall the fake glasses incident that occurred at the San Francisco MoMA in 2016. Puzzled by some of the overly simplistic conceptual art pieces they encountered, two teenagers strategically placed a pair of eyeglasses underneath a wall placard in the hopes of duping visitors. Within minutes, bystanders stopped to ponder the glasses and take photos, treating them as if they were a bona fide artwork in the museum’s exhibition.
Glasses placed on the floor at the San Francisco Museum of Modern Art, 2016
While this case was a harmless teenage scheme, pranks have also been enacted by high profile artists. Most famously, Banksy orchestrated the destruction of one of his artworks during a live Sotheby’s auction that occurred in London in 2018. Immediately after the hammer pounded to solidify the sale of a Bansky painting for 1.4 million dollars, an alarm sounded and the artwork’s bottom half slid through an automatic shredder the artist himself concealed within its frame. This shocked the audience members as well as the auction house staff. The buyer ultimately decided to keep the partially destroyed artwork, whose titled officially changed from Girl with Balloon to Love in the Bin.
The most recent prank to send shockwaves throughout the art world was the infamous banana incident at Art Basel in Miami two years ago. The public became both bewildered and utterly fascinated by Maurizio Cattelan’s artwork showcased at the fair entitled, Comedian, which featured a ripe banana duct taped to the wall. Unbeknownst to the artist, performance artist David Datuna casually approached the artwork, grabbed the fruit off the wall and proceeded to eat it. This stunt elicited even more attention around the controversial piece. It is worth noting that three editions of this conceptual artwork sold, the first two selling at $120,000 before the price was raised to $150,000.
While certainly entertaining, these art pranks are not merely fatuous instances of harmless fun, as these spectacles catapulted these artworks into the canon of art history, potentially increasing their value significantly.
Banksy, Love is in the Bin, aerosol paint and acrylic paint on canvas, 40 x 31 inches, 2018 (originally Girl with Balloon, 2006)
We hope these artworks make your HeARTs happy!
If any of these artworks or artists are of interest, please contact us.
Damien Hirst series (Source: Architectural Digest)
Paul Solberg, Spell, 2016, archival pigment inks with flocking, edition of 35, 45 x 30 inches
Polly Apfelbaum, There Are Many Hearts 3, 2020, woodblock monoprint, 14 x 14 inches
Jim Dine, Poem on Main Street, 2017, edition of 4, 52.5 x 39 inches
Marilyn Minter, Prism, 2009, photograph, edition of 27, 20 x 16 inches
Donald Baechler, Brown Rose, 2015, silkscreen, edition of 35, 40 x 31 inches
Artworld Year in Review
Virtual viewing room, Frieze Art Fair 2020
2020 is a year that reshaped nearly all spheres of activity on a global scale – the artworld being no exception. Despite gallery closures and fair cancellations, the artworld has managed to persist through the pandemic, demonstrating a strong and resilient market.
With access to brick and mortar denied, the artworld largely moved online where virtual viewing rooms have become a staple. Even with the lack of hustle and bustle and the throngs of elite that usually pervade art fair convention centres, gallerists from major art fairs are touting strong sales from their online efforts. Similarly, auction houses acted swiftly to move their art auctions exclusively virtual with equally successful outcomes. Sotheby’s has reported global sales of over 5 billion for the year 2020, an increase from their 2019 of 4.8 billion.
El Anatsui, Metas III, 2014 – Sold for $1.5 million at Frieze Art Fair 2020
The industry’s successful launch into the virtual sphere during this unprecedented year is an indication that buyers are still actively investing in art and that they are comfortable purchasing artwork sight unseen. When presented with quality art from trusted sources, the pandemic has proven not to be a roadblock for art collectors, investors, and dealers.
If you are looking to add to your collection, invest in fine art, or sell art, or if you need an art consultant or appraiser, contact Robin Rosenberg Fine Art!
Roy Lichtenstein, Nude with Joyous Painting, 1994, Sold at Christie’s New York for $46.2 million in July 2020
Richard Prince, Park Avenue Nurse, 2002, inkjet print and acrylic on canvas, 72 x 45 inches.
The RRFA team will continue to work on our projects, but will do so remotely.
Dear Friends and Colleagues,
We would like to take a moment to wish communities worldwide the utmost health and safety during these precarious times. As we are all aware, COVID-19 has developed rapidly over the past couple of weeks and the gravity of the situation has called for self-isolation. With several projects underway, we feel it is prudent and respectful to continue working remotely.
Without making light of the situation, we present Richard Prince’s Park Avenue Nurse in honour of all the courageous healthcare professionals (like Robin’s sister), along with the other heroes who have been working tirelessly on the frontlines. This includes the grocery workers, taxi and bus drivers, food inspectors, law enforcement, among many others.
Stay well and stay home,
Artistic duo Eva and Adele at Gagosian’s booth at Art Basel (Featuring Koons, Ruscha and Lichtenstein)
The number of sales in the art market proves that it means big business
The art market has managed to shield itself from the apprehensive outlooks on global trade and economic welfare, proving to be stronger than ever. This past Spring auction season yielded more than $2 billion in New York city alone. The artworld does have a history of performing strongly despite economic woes. A noteworthy example is Sotheby’s New York who hosted a successful sale on the very day the Lehman Brothers collapsed in 2008.
The recent auctions boasted an unprecedented amount of record shattering numbers for approximately 50 artists ranging from European Old Masters to Contemporary American artists. Claude Monet’s Haystacks sold for $110.7 million, a record for an Impressionist work and Jeff Koons reclaimed his record for the most expensive artwork by a living artist when his silver bunny sculpture sold for $91.1 million. Milestones were established for many other artists, including several for female and black artists.
Jeff Koons, Rabbit, 1986, Stainless steel, 41 x 19 x 12 inches
Last month’s auctions established a favourable precursor to Art Basel’s 49th edition that I had the pleasure of attending this past week. Of the hundreds of global art fairs, Basel Switzerland is the most significant of them all, where gallerists offer their most important artworks to their biggest spending clients. There was an overwhelming amount of artwork to behold with seemingly endless rows of booths displaying serious and mostly original artworks, devoid of anything trendy or overly commercial.
Strong sales were prevalent from the outset. David Zwriner notably sold a Gerard Richter painting for $20 million, Levy-Gorvy sold a Christopher Wool for about $6 million as well as a Mark Grotjahn for about $5 million. Although no red dots were visible, more often than not, when I inquired about a piece I was informed it had already been sold.
The staggering Spring auction results and Basel’s fast and furious sales prove that the art market means big business, which is not only attractive to collectors, but to the more mainstream investment community in general.
Claude Monet, Meules, 1891, Oil on canvas, 28 5/8 x 36 3/4 inches
May 16th marks the International Day of Light, a global initiative that engenders an appreciation of light and the varied roles it plays in culture.Continue reading