2000s

Billionaires Chasing Warhols Fuel $16 Billion Art Sales

“Billionaires Chasing Warhols Fuel $16 Billion Art Sales”

by Mary Romano via “Bloombergs“

Andy Warhol was the top-selling artist at auction in the past year as increased competition for the most-expensive segment of the market drove global art sales higher.

Collectors bought 1,295 works by the deceased artist totaling $653.2 million, ahead of sales for Pablo Picasso andFrancis Bacon, according to preliminary figures by New York-based researcherArtnet. Auctions worldwide rose 10 percent to $16 billion.

Art sales have more than doubled from $6.3 billion in 2009, as surging financial markets lifted the fortunes of the world’s richest. The top 400 billionaires added $92 billion in wealth this year, for a net worth of $4.1 trillion as of Dec. 29, according to the Bloomberg Billionaires Index. Bidding for the most coveted artists has been driving much of the surge in auctions, said Jeff Rabin, a principal at advisory firm Artvest Partners in New York.

“The headline number is not so much a comment on the art market as it is on global wealth,” Rabin said. “We haven’t seen a considerable increase in the number of objects sold. We have seen price appreciation at the top end.”

A record $2.3 billion of art was auctioned over two weeks in New York in November. As part of those auctions, Christie’s on Nov. 12 sold 75 contemporary works for $852.9 million, a record for an evening auction.

“That total in one evening sale for less than 100 works is extraordinary,” Rabin said.

No Women

At $16 billion, this year’s art sales would be the second-highest on record. The Artnet numbers for 2014 are preliminary, and final figures next week could still surpass the previous record of $16.3 billion, set in 2011. The figures take into account sales of paintings, drawings and sculpture but not other collectibles such as furniture or decorative objects. The numbers also don’t include private sales.

No women were among the top 10 artists in 2014, and only one, Gerhard Richter, 82, is still living.

Warhol, who died in 1987, had two of the most expensive works at auction in 2014. “Triple Elvis,” a 1963 silkscreen of Elvis Presley in a publicity image for the movie “Flaming Star” in which the singer is shown as a cowboy with a gun, sold for $81.9 million.

“Four Marlons,” a 1966 canvas depicting four identical images of a young Marlon Brando wearing a leather jacket and a cap in a still from the movie “The Wild One,” fetched $69.6 million. Both works were sold in November at Christie’s in New York.

Chinese Artists

Picasso was the second-biggest selling artist, with 2,820 of his works fetching $448.7 million. Although he didn’t have an individual work among the top sellers, collectors sought out the artist because he had “an incredible body of work and multiple periods of exceptional work,” Rabin said.

Bacon, Richter and Mark Rothko rounded out the top five artists. Two Chinese artists, Qi Baishi, known for painting shrimp, fish and frogs, and Zhang Daqian, who was famous for his landscapes, ranked sixth and ninth, respectively. Claude Monet was seventh, with $252.1 million of his works sold. Jean-Michel Basquiat was 10th, at $172.2 million. . . .

Artist takes Hit Show Dynamic Yunnan to the Capital Stage

“Artist takes Hit Show Dynamic Yunnan to the Capital Stage”

via “Xinhuanet“

BEIJING, Nov. 18 (Xinhuanet) — The well-loved dance musical, “Dynamic Yunnan” is returning to the Chinese stage on its 10th anniversary. Directed by one of China’s most celebrated dancers, Yang Liping, the show recreates the indigenous musical culture of Yunnan’s diverse minority groups that is slowly effaced by modern life.

Yang has been called the ‘Peacock Princess.’ A title that is far from an exaggeration. Born in China’s Yunnan province, Ms. Yang has created numerous dances inspired by both the rich natural life and ethnic diversity of the region. Yet, no matter what she dances, she’s always strong and poised, much like the spirit of the Peacock.

A peacock dancing to the full moon, one of the enduring images of “Dynamic Yunnan”.

Of course, the dancer isn’t Yang Liping, but one of her successors; Yang Wu. But Yang Wu is ethereal in her portrayal of a young Yang Liping, of many full moons ago.

At the age of 11, she was the youngest of eight dancers selected by Xishuangbanna Prefecture Song and Dance Troupe from her village, to tour the region with the troupe. This tour through the local minority groups, laid the foundation of her aesthetics and became the inspiration for many of her works later in life.

“The Spirit of the Peacock,” choreographed and performed by Yang Liping, is one of them. This dance brought the girl from a Yunnan village to prominence and remains one of the most memorable dances of the last century.

Study Abroad Artwork Showcased in Graham Center

“Study Abroad Artwork Showcased in Graham Center”

**by Ray Boyle via “FIU“**

Giovanni

This summer Eliane Pinillos braved dehydration and sickness to scale the Great Wall of China looking for the perfect scene to paint. Today, her art is on display in the Graham Center.

“This is awesome!” she said of seeing her and her peers’ work in a public space. “I mean, I don’t really consider myself much of an artist, but it’s pretty great to have it showcased.”

This week, the Graham Center Art Gallery houses more than 35 paintings and drawings from study abroad students. They will be on display until Nov. 21.

Pinillos, a speech pathology major, was among two groups of students who participated in David Chang’s summer study abroad programs, one in France, the other in China. Chang is a professor in the College of Education and director of art education.

“I feel very honored and I’m very happy and blessed that I had professor Chang because he’s so knowledgeable,” Pinillos said. “I think that he’s the person that really made this whole experience what it was because without him I would be lost.”

For Chang, the most important aspect of the trip is for his students to learn why artists like Monet and Van Gogh painted, rather than how to paint like them. He brings the students to Monet’s home and the Great Wall of China so they can feel their surroundings instead of “just taking a picture in front of the Eiffel Tower” as he puts it.

“I choose the sites based on the emphasis of the program. If I talk about the development of 19^th century art, then I would choose sites the impressionist painted,” he said. “It’s an immersive program, even though it’s a short period of time. We’re not just going as a tourist.”

Daniella Martinez met Pinillos during the study abroad to France last year. Both came away from the experience knowing they wanted to go to China this year.

China presented a completely different culture from France, from the United States and from Martinez’s native Colombia. It was modern, fast-paced and, she found, impersonal.

“Everyone just kind of wants to go where they want to go and that’s it,” Martinez said of the constant movement and quick interactions, which contrasts with the generally slower-paced lifestyle she knows in Colombia. . .

Coming Exhibition: Future Returns

“Future Returns: Contemporary Art from China”

08 Jin Yangping, “The Mirror of City No.1”, oil on canvas, 200 x 265 cm, 2011

Who:

Eli and Edythe Broad Art Museum

Michigan State University

When: Oct. 28, 2014 – March 8, 2015 (Hours Vary)

Where:

Eli and Edythe Broad Art Museum
547 East Circle Drive
East Lansing, Michigan 48824

More Information: Here and Here.

Over the past three decades China has experienced profound socioeconomic changes that have prompted calls to revisit, reconsider, and redefine the nation’s identity. Although there remains a strong local understanding of Chinese history and heritage, the homogenization of the country’s urban geography and the rapid dissipation of rural life have dramatically altered the cultural landscape. Future Returns: Contemporary Art from China explores the impact of these transformations by bringing together works by contemporary Chinese artists that address China’s metamorphosis from a traditional society into an ultra-modern nation-state.

The pertinent question in today’s China is whether the country’s distinct traditions and values can continue to play a role in its development. The future of China cannot be predicted, yet the psychology of “change, change, change” that pervades the everyday lives of the Chinese allows for a multitude of possibilities. Only in the pursuit of these new potentialities will China be able to build on its distinctive culture. The focused selection of paintings, photographs, installations, and digital art in this exhibition showcases the vision of both emergent and established practitioners who have contributed to China’s celebrated artistic community. Through their works, Future Returns highlights the emergence of a new China, one that is not constrained by closed readings of the past.

Artists and filmmakers featured in the exhibition include: Chen Weiqun, Dong Jun, Geng Yi, He Yunchang, Jiang Ji An, Jin Yangping, Jizi, Li Junhu, Lin Xin, Liu Lining, Meng Baishen, Miao Xiaochun, Pei Li, Qu Yan, Sui Jianguo, Su Xinping, Tian Bo, Wang Chuan, Wang Huangsheng, Wang Yang, Xia Xiaowan, Xu Bing, Zhang Yanfeng, Zhou Gang, and Zhou Qinshan.

New Broad Exhibit Showcases Range, Diversity of Art in China

“New Broad Exhibit Showcases Range, Diversity of Art in China”

by Matthew Miller via “Lansing Journal”

Broad Art Museum 4.jpg

“What’s wrong, I think, is the position of the dragon.”

Wang Chuan was gesturing at one of his own photographs, an image of a bright golden statuette of a dragon — a potent image in Chinese culture, a symbol of the nation itself — presiding over a collection of grimy soup pots.

“This is a stew,” he said, meaning the contents of those pots. “This is in a popular restaurant in a suburb of Beijing. It’s run by the farmers who don’t do farm work anymore. This is the wrong place.”

Wang’s dragon photos, part of “Future Returns,” an exhibition of Chinese contemporary art that opened last month at the Eli and Edythe Broad Art Museum at Michigan State University, are on their face an exploration of the hapless fate of a cultural icon.

In one image, a long costume used in the traditional dragon dance sits crumpled on the back of a three wheeler. Another shows coins tossed for luck onto the image of a dragon at a temple, all of the smallest denominations.

But, in a broader sense, they are a mediation on the erasure of tradition in a fast-changing country.

“Gradually, people begin to care if the tradition is too quick to be erased by the modernization and the development of the economy and the incoming of the culture from the Western world,” Wang said. “The pace of vanishing of all the old things is shocking.”

The exhibition, which includes the work of more than two dozen artists, is the first brought to the museum by Wang Chunchen, a respected art critic and head of the Department of Curatorial Research at the CAFA Art Museum at the Central Academy of Fine Arts China in Beijing who is also an adjunct curator for the Broad.

“China is changed greatly in the past three decades,” Wang said, as he took a group of journalists, artists and translators through the exhibition last month. “So the art I selected her represents, stands for that kind of change, culturally, socially, psychologically.” . . . .