Art in Print
A Historic District in Sydney is the City’s Newest Must-Visit Destination
In the 80s, Chippendale—a neighbourhood near Sydney’s midtown business district where the drug dealer Warren Lanfranchi was notoriously shot and killed—was considered an unsavoury area. In the aughts, an underground art space and nightclub called Lanfranchi’s Memorial Discotheque sparked an avant-garde movement in the district that has continued to grow ever since.
And now, more than a decade after the area’s iconic 19th-century brewery closed its doors, in 2005, the six-acre complex has been restored as a mixed-use urban village called Central Park. The neighbourhood has remained a breeding ground for exploratory art. British gallery owner Nicky Ginsberg founded the Chippendale Creative Precinct, an organization that supports many of the city’s niche galleries, including Kensington Contemporary 1 & 2 (tiny galleries in renovated workers’ cottages), MOP Projects (an artist-run initiative) and White Rabbit Gallery, which features a significant contemporary Chinese art collection.
Stephen Shore’s Never Before Seen Photos of Andy Warhol’s Factory
By the time Stephen Shore dropped out of Manhattan’s Columbia Grammar and Preparatory School as a senior in 1965, he had already sold three of his photos to the Museum of Modern Art—at the age of 14 and via Edward Steichen, no less—and become one of the main photographers documenting Andy Warhol’s first Factory on East 47th Street.
“I met Andy at Jonas Mekas’s Film-Makers’ Cinematheque the night [Warhol’s 1965 movie] The Life of Juanita Castro was shown alongside a film I made called Elevator,” recalls Shore, who turns 69 this month. He ended up taking his first photos of the Factory scene about six weeks later during the filming of Warhol’s Restaurant. “I don’t remember specifically what I knew about the Factory back then,” Shore says, “but within a couple of days of going there I understood I could just stay as long as I wanted.”
For the next three years Shore did just that, capturing thousands of artfully framed moments—a laconic Lou Reed melting into a velvet sofa beneath the Factory’s silver walls, a wispy Edie Sedgwick consumed by a call on the house pay phone. These images are now the subject ofFactory: Andy Warhol (Phaidon), the photographer’s first examination of the period in two decades, out this month.
Before Warhol, says novelist and art critic Lynne Tillman, “photography was this sacred space, and the subject matter was supposed to be serious. But Warhol did this flip with American culture and what was possible to be looked at. Stephen really took that on. He learned to take seriously things that earlier photographers wouldn’t have. He learned a lot from Warhol, but his eye is his own.”
How to collect art (if you’re super-rich)
May Calil is to be my guide. She has insider knowledge of the creative world. The Wallace Collection, the Royal Academy and the Tate have all employed her. Now she heads her own private arts consultancy, advising artists, institutions, philanthropists and curators and, since she herself also collects, she has particularly strong connections in the confusing contemporary field.
Calil helped to establish Frieze Bespoke two years ago. Its aim is to help ease bewildered neophytes into the complexities of collecting as well as to put in the groundwork for more practised aficionados who just don’t have the time to negotiate the Frieze labyrinth. “Some clients just want a filter,” Calil says. “They want me to construct a tour that will focus on a few things of particular interest and perhaps show them the sorts of pieces that everyone else is talking about.” This year, for instance, you will be missing out if you don’t take a look at the Géricault portrait of a stubborn young Delacroix that hangs on a wall of Jean-Luc Baroni’s stand.
If her clients are collecting, they usually indicate a budget. Not that that necessarily means a lot. Calil remembers a couple coming in with a budget of £80,000. “I turned my back for a minute to chat, and found they had just spent £250,000 on a Pistoletto,” she says, laughing. Who are these people, I wonder? But Calil won’t say. Discretion is essential. “All I will tell you is that often you will recognise their names from the patrons lists of every major museum.”
Via The Times