Art in Print
How David Chipperfield plans to remodel the Royal Academy of Arts
The remodeling of the institution, by David Chipperfield, reveals the colourful history of the two grand buildings. It’s halfway through its biggest expansion in 150 years and is in the process of constructive ruination, poised between tumbling away decades of crass insertions and the shaping of new volumes in concrete and steel.
The aim is to connect Burlington House on Piccadilly, built from the 17th century as an aristocratic house but the RA’s home since 1867, with 6 Burlington Gardens, the substantial palazzo behind. This latter was originally London University’s Senate House and later served as the Museum of Mankind.
With a budget of £50 million to be spent on acres of new gallery space and on an up-hill and down-dale route between the two frontage streets the project opens up parts of the complex never seen by the public and will connect the north and south entrances. It will be a third parallel thread through this city block, joining those of the Burlington Arcade and the Albany.
Due for completion in 2018, The Burlington Project, is the third attempt to knit together the pair of grand buildings that have barely been on speaking terms for generations, that are at different ground levels, and whose central hallways are off-axis from each other.
Via: Evening Standard
The man behind the masks
The Royal Academy invites Luc Tuymans to curate a show by a fellow Belgian, James Ensor. Tuymans can without question be counted among the most significant contemporary painters with his oddly bleached pictures that seem reticent as ghosts. It is through this curative process that the influences of Tuymans work reveal themselves.
In Intrigue, a concentrated display of work by James Ensor, Tuymans sets out to “reactivate” the work of an artist who remains marginalised in Britain despite being well recognised on the Continent — he influenced German expressionism and French surrealism, and such significant figures as Emil Nolde, Paul Klee and Ernst Ludwig Kirchner acknowledged their debt to him. However, although Tuymans insists that he wants to “minimise [his] own presence” (only a couple of his enigmatic images are included).
The show takes its title from the big 1890 picture by Ensor that hangs at its heart. Tuymans first encountered it in an Antwerp museum as a teenager and was immediately captivated by its aura of unease and its theatrical power. Ensor presents a garishly painted crowd of carnivalesque figures, each jostling for a place in the foreground. What is in no doubt, however, is that you are in the presence of an eccentric talent.
Intrigue: James Ensorby Luc Tuymans is at the Royal Academy until 29 January 2017.
Via: The Times
The Art Market: French and connected -
New chief at Christie’s; Calder controversy; Masterpiece chief quits; London dealer opens in Naples
Named as the next chief executive this week, Guillaume Cerutti seems a well-judged choice to take on the challenge of Christie’s new chief.
He has considerable experience outside the art world, including in France’s political arena — he was chief of staff for the minister of culture Jean-Jacques Aillagon between 2002 and 2004 and has worked in France’s Finance Ministry. How will he navigate Christie’s through tough times? “The market is difficult, but we have a stable and strong team ready to face the challenges,” Cerutti says. One priority, he says is “convincing clients to sell. It is our responsibility to make them confident.”
Art is notoriously a “buyer beware” market, but even prolific professionals can get caught out. Micky Tiroche, a private dealer in London and co-founder of the Tiroche Auction House in Israel, bought “Sun and Stars”, a gouache credited to Alexander Calder, for £28,800 (with fees) at Bonhams, London in 2007. The purchase was made through his art dealing company, Thomas Holdings, which has about 160 works on paper by Calder.
In 2013, the gouache was submitted, along with other works, to the Calder Foundation in New York, which doesn’t officially authenticate the artist’s works but gives them an inventory number (known as an “A-number” because the digits are prefixed with the letter A). “Sun and Stars” was not given an A-number, making it effectively unsellable. Christie’s, Sotheby’s and now Bonhams will not sell Calder works that do not have an A-number.
Tiroche, who buys frequently at Bonhams as well as elsewhere, says that he asked the auction house for a refund and was refused. He has suggested alternative, less visible ways of refunding (such as deducting its value from other works) and legal letters have been exchanged, but to no avail.
After four years at the helm of London’s Masterpiece fair, chief executive Nazy Vassegh is stepping down at the end of this year. Philip Hewat-Jaboor, Masterpiece chairman since 2012, will step in until a replacement for Vassegh is found.
“I’ve hugely enjoyed my time and have done what I set out to achieve,” Vassegh says. She was largely responsible for the fair’s focus away from luxury goods (designer clothes and fast cars had featured previously) and towards a higher quality of fine art, though still with wide appeal and in keeping with London’s summer season.
Hewat-Jaboor says that Vassegh “upped the game” while at Masterpiece. Vassegh has yet to decide what to do next.
The London dealer Thomas Dane is taking a different route from the mega-galleries and opening a new space and artist residency in a 19th-century palace in Naples, Italy.
“It’s about thinking through the artists and not just through collectors,” Dane says. “Naples is a city that they love and are fascinated by,” he says, adding that those he has told, including Cecily Brown, are enthusiastic. Plus, he says, “People want an excuse to go to the Amalfi coast.”
Dane expects around two or three shows a year when he opens in late 2017.