Archive for the ‘Contemporary art prints’ Category
May 1, 2012
With private collections constantly evolving, collectors are always looking for innovative forums to discuss and market their desirable, high-quality works.
Though these artworks may no longer fit within the narrow focus of one collection, they may be a great acquisition for another.
During the summer months, June through September, Contemporary Wing will present OFF THE WALL, a series of collaborations which bring together serious collectors and the artwork they wish to exchange or acquire with other collectors who share a common passion.
If you have an exceptional work to propose, or a collecting sector you would like to expand, please contact info@contemporarywing.com.
Seeking:
Street Art
Works on Paper/Prints/Photography
Emerging Artists
Established Contemporary Artists
Works by African American Artists
19th Century/Old Masters
Design
Tags:19th Century/Old Masters, A Collector Forum, Contemporary Wing, Design, Emerging Artists, Established Contemporary Artists, Lauren Gentile, OFF THE WALL, Street Art, Works by African American Artists, Works on Paper/Prints/Photography
Posted in 14th Street Corridor, American art market, American Photography Market, Andy Warhol, art market, auction market, auction records, British art market, Chinese art market, Chinese contemporary art, collecting emerging art, collecting works on paper, contemporary art, Contemporary art prints, contemporary collectors, Contemporary Wing, DC, Dutch art market, global art market, International art market, investing in art, investing in fine art, Italian art market, Lauren Gentile, Modern Photography, print editions, Specullector, submissions, Washington, washington DC, young collectors | Leave a Comment »
June 13, 2009
Program and Events for Street/Studio
Lineup: Shepard Fairey (LA), Swoon (NY), Gaia (Brooklyn), Imminent Disaster (Brooklyn), Oliver Vernon (Brooklyn), James Marshall (Dalek) (NY and Raleigh, NC), EVOL (Berlin), and PISA73 (Berlin).
June 17-20: On-site wall murals and installations in progress
Artists will create murals and installations in the alley and rear of the gallery at 14th and P Streets. Preview day: Friday, June 19, 1:00-4:00PM.
Above: new works by James Marshall (Dalek). Arcylic on panel, 10 x 10 and 14 x 14 inches each
June 19: Public Program: Katzen Arts Center, American University Museum, 7:00 PM
Panel discussion on the impact of street art in the contemporary artworld with curators and artists. Panelists include Pedro Alonzo (Independent Curator, and Curator of the Shepard Fairey Retrospective at the Boston Institute of Contemporary Art), Anne Goodyear (Assistant Curator, Smithsonian National Portrait Gallery), and artists Oliver Vernon, EVOL, Pisa73, and Gaia. Moderator: Martin Irvine, Director, Irvine Contemporary. Katzen Arts Center, American University Museum, Washington, DC.
EVOL (Berlin, Germany) Berlin Shroud, 2009. Spray paint, stencil on cardboard. 20 x 20 inches
June 20: Opening Reception and Alley Block Party, 6:00-11:00 PM
Join us for an opening reception with the artists and block party in the alley behind the Irvine Contemporary gallery, 14th and P Streets, NW, Washington, DC. Live music by DJs Iona Rozeal Brown and Jahsonic. New wall murals and installations by the artists will be on view.
Gaia Brooklyn, NY) Hand print on found plywood, street mural, 2009.
New print edition by Gaia for the exhibition published by Irvine Contemporary. Three-color screenprint on Kitakata paper. Edition of 30. Printed by Pyramid Atlantic, Silver Spring, MD.
Gaia, Bear. 2009. 3 color screenprint on Kitakata paper, ed. of 30. 20 x 13.5 inches
Tags:Anne Goodyear, EVOL, Gaia, Imminent Disaster, Iona Rozeal Brown, Irvine Contemporary, Jahsonic, James Marshall (Dalek), Lauren Gentile, New Gaia print, Oliver Vernon, Pedro Alonzo, PISA73, Shepard Fairey, Specullector, Street/Studio Washington DC, Swoon, Washington DC street art
Posted in 14th Street Corridor, collecting emerging art, contemporary art, Contemporary art prints, Dalek, DC, Irvine Contemporary, Lauren Gentile, New Dalek work, print editions, Specullector, Washington, washington DC | Leave a Comment »
November 5, 2008
When you have a friend call you on a Sunday night, asking you to write a new post because, “Frankly Lauren, I’m bored” you realize it’s time to get over the PTSD from selling 450 Shepard Fairey prints (more on that subject) and blog about something.
My apologies, here is what has happened in the last 2 weeks:
1. Rich people are still rich. If you click on the link, that IS a Degas image Art Daily used to lead the story – ?
KAZIMIR MALEVICH (1879-1935) SUPREMATIST COMPOSITION sold $60,002,500
2. I really don’t have ptsd from selling the Rose Girl print and was happy to help out people that could not make it in to the gallery from Australia, the Philippines, California… to acquire one. What I wasn’t happy about was the presumptuous flippers that POSTED THE PRINT ON EBAY BEFORE I EVEN SENT IT TO THEM.
Listen, I’ve been doing this for 10 years and I’m not some bimbo (and once you read the next line, also obviously crazy). I went under an assumed Ebay name “Rosa Grrl” (creative right?) and found out what edition numbers were being sold, checked my records, and pulled them before they were shipped.
So if you didn’t get your print yet, this is why, I have already sold it to someone else and please don’t waste any more of my time by contacting me. AND to the young man in NJ whose “girlfriend” flipped the print (right after she bought it) I hope you broke up with her like I asked you to.
3. The art market has not crashed, everything is going to be okay, just keep a close eye on the European banks because if something big and bad happens over there before Miami… I don’t need to finish that sentence, but you will be able to find me crying in booth 180 at SCOPE. What I am also keeping a close eye on are the winter auction catalogues, will there be works from the former AIG and Lehman Brother’s collections? I bet so
4. In regards to my promised review of The International Art Markets: The essential guide for collectors and investors, I kinda left the book on a Croatian Airlines flight and just got it back this weekend… so Kogan Page, Limited, it’s coming soon – I promise!
5. If you live in DC, there are some important dates to mark on your calendar.
November 14 – Fixation
November 15 – Transformer Auction
November 15 – 22 – FotoWeek
December 3 – 7 – Miami
December 13 – Aspect:Ratio Opening
6. Update on a post I made a while back about an MFA at the Corcoran – The MFA program is still being worked on and the estimated launch date is for 2012.
7. I hope that is enough for now (Mike, still bored?). Off to the election night parties with my stuffed donkey!
Tags:AIG art collection, art market bubble burst, art market crashed, Aspect:Ratio Opening, Banks and the Art Market, Corcoran MFA, Fixation, flipping Shepard Fairey prints on Ebay, FotoWeek, he International Art Markets: The essential guide for c, Lauren Gentile, Lehman's art collection, Rose Girl print, SCOPE MIami 2008, Shepard Fairey, Specullector, SUPREMATIST COMPOSITION sold $60, Transformer Auction
Posted in American art market, art fairs, art market, contemporary art, Contemporary art prints, Contemporary Photography, global art market, Hedge funders fine art, International art market, investing in fine art, Lauren Gentile, Master of Fine Arts in DC, Specullector, washington DC | 4 Comments »
January 18, 2008
Immediately after the death/sucide of Jeremy Blake was announced there was a spike in readers brought to the blog by search terms such as “buy jeremy blake”, “buy blake prints”, “jeremy blake prices” etc.
At cocktail parties I’ve heard from amateur specullectors that an artists’ death is the easiest way for their art collections to appreciate. While basic Keynesian theory supports that, it’s not always the case. Thus, the following information may be disappointing to some, but I promise it is true and common practice:
Jeremy Blake, whose suicide last summer was all but incomprehensible to the career-obsessed art world, has had his beautifully mounted retrospective homage at Kinz, Tillou and Feigen Gallery [his dealers] … Fans may be slightly daunted however by the fact Blake did not often sign his digital prints, they have no edition number and, choicest of all, there are no actual, vulgar prices given for any works. Instead you have to leave your name and contacts and wait to see if you are deemed suitable. It’s an elegant system that keeps collectors on tenterhooks.
Don’t Call Us, We’ll Call You by Adrian Dannatt – The Art Newspaper, Jan 08, p. 36
Luckily there is still a way to enjoy Blake’s work where right of entry does not rely on pedigree or contacts. Check out Wild Choir: Cinematic Portraits by Jeremy Blake at the Corcoran Gallery of Art through March 2nd.
Jeremy Blake, Working still from Glitterbest, 2006, digital video and sound (Courtesy Kinz, Tillou + Feigen, New York)
Tags:Adrian Dannatt, American art market, blake prints, buy jeremy blake, contemporary art, Contemporary art prints, contemporary collectors, Corcoran, Corcoran Gallery of Art, eremy blake prices, investing in art, investing in fine art, Jeremy Blake, Jeremy Blake missing, Kinz, Lauren Gentile, New York, Specullector, The Art Newspaper, The Corcoran Gallery of Art, Theresa Duncan, Tillou + Feigen
Posted in Adrian Dannatt, American art market, blake prints, buy jeremy blake, contemporary art, Contemporary art prints, contemporary collectors, Corcoran, Corcoran Gallery of Art, eremy blake prices, investing in art, investing in fine art, Jeremy Blake, Jeremy Blake missing, Kinz, Lauren Gentile, New York, Specullector, The Art Newspaper, The Corcoran Gallery of Art, Theresa Duncan, Tillou + Feigen | Leave a Comment »
September 4, 2007
Collecting works on paper is a great entry into collecting fine art, especially in the past decade. Collecting works on paper has become very desirable because pieces by emerging artists can be acquired at low price points and there is a lot of innovative work being done in the medium. Collectors are attracted to the uniqueness of works on paper, as opposed to prints, and to the experimental nature, exploration and story-telling through the intimacy of paper.
Works of art on paper include drawings (in any media), collages and other paper-based methods, but not prints (prints are made by drawing a stone or metal surface, not on paper or canvas, from which an image is printed a number of times).
Works on paper are delicate and can be easily damaged, so proper care is a must. When unframed, works on paper must be handled using cotton gloves to protect the paper’s ph-balance from the natural oils in your skin. Poor framing and exposure to strong light are also issues. The paper should be framed using acid-free materials because the acid from regular paper or cardboard will eat into the paper and stain it. You can choose between museum-quality, UV retardant glass or Plexiglas to reduce fading. Cleaning agents should never be used on the glass or Plexiglas because it removes the UV protection and the paper should never be in direct contact with glass; use a spacer. Once framed, a work on paper should not be hung in very humid areas which will cause fungus to grow, this is known as foxing (small brown spots). Also environments that are too dry or cold will cause the paper to become brittle and crack and dust and pollution are also variables that can damage all works of art. In regards to lighting, if at all possible one should avoid halogen and florescent lights and use tungsten light instead. Works on paper should never be rolled in tubes for mailing or rolled for extended periods of storage. They should be stored flat, between acid-free tissue paper or glassine.
If properly taken care of, works on paper should retain their value and can potentially increase the integrity and synchronicity of a collection overall.
Chuck Close, Self Portrait – colored and pressed paper pulp.
Tags:art market, Chuck Close pulp portrait, collecting works on paper, contemporary art, Contemporary art prints, contemporary collectors, fine art conservation, Irvine Contemporary, Lauren Gentile, paper conservation, Specullector, The Present Group
Posted in art market, Chuck Close pulp portrait, collecting works on paper, contemporary art, Contemporary art prints, contemporary collectors, fine art conservation, Irvine Contemporary, Lauren Gentile, paper conservation, Specullector, The Present Group | Leave a Comment »
July 23, 2007
Tags:Andy Warhol, Andy Warhol Estate, Andy Warhol Foundation, art market, Contemporary art prints, contemporary collectors, Joe Simon-Whelan, Lauren Gentile, Specullector
Posted in Andy Warhol, Andy Warhol Estate, Andy Warhol Foundation, art market, Contemporary art prints, contemporary collectors, Joe Simon-Whelan, Lauren Gentile, Specullector | 3 Comments »
July 20, 2007
A while back I wrote a snarky post about the Young Benefactor’s Society of the Smithsonian asking me for a donation.
Well, I was once a young intern looking for a break and a sweet girl (who was a helluva of a follow-upper) got me to donate a framed Dalek (James Marshall) print.
Please go bid! for the good of the Smithsonian!
Tags:Contemporary art prints, contemporary collectors, Dalek, Irvine Contemporary, Lauren Gentile, Smithsonian, Smithsonian Young Benefactor’s Ball, Specullector, Washington, washington DC
Posted in Contemporary art prints, contemporary collectors, Dalek, Irvine Contemporary, Lauren Gentile, Smithsonian, Smithsonian Young Benefactor's Ball, Specullector, Washington, washington DC | Leave a Comment »
July 17, 2007
This has been going on for a while, but unless you live in the UK you may not have known…
So basically, the estate of Andy Warhol has been accused of manipulating the market for decades. Joe Simon-Whelan, owner of a 24 x 20 in. silk-screen Self-portrait, has filed a $20 million lawsuit the Foundation and the Authentication board which partnered up in 1995.
His work was authenticated several times by the Warhol estate before the partnership began and now that he has an opportunity to sell the work (for $2 million) they have twice rejected the work in 2001 and 2003. Perhaps, and according to Simon-Whelan, their dismissals are helping to create scarcity in the market?
He also alleges that the Andy Warhol Foundation has sold $150 million worth of Warhol’s work at artificially inflated prices and that the foundation is trying to dominate the Warhol market with “enforcers”, “secret meetings” and “doctored files”.
FYI – this guy is not the first collector or dealer to allege misconduct by the secretive, four-person board which meets three times a year to authenticate Warhol’s work.
The worst part about this – the “denied” stamp they put on the piece has bled through the back of the canvas and is now visible from the front.
Joe Simon-Whelan bought this Warhol self-portrait for $195,000 in 1989
Tags:American art market, Andy Warhol, Andy Warhol Estate, Andy Warhol Foundation, art authentication boards, art market, auction market, contemporary art, Contemporary art prints, Joe Simon-Whelan, Lauren Gentile, Specullector, Warhol Authentication Board
Posted in American art market, Andy Warhol, Andy Warhol Estate, Andy Warhol Foundation, art authentication boards, art market, auction market, contemporary art, Contemporary art prints, Joe Simon-Whelan, Lauren Gentile, Specullector, Warhol Authentication Board | 2 Comments »
July 1, 2007
Damien Hirst, procurer of the quote “Art is the most fabulous currency” has been kind enough to make For the Love of God available for all of us to own! The platinum sculpture is of a skull and is the most expensive piece of art available. With its 8,601 flawless diamonds and a price tag of £50 million ($100 million), White Cube (London) and Hirst have created the peak of the alpha market.
For the Love of God, 2007
Platinum, diamonds and human teeth
6 3/4 x 5 x 7 1/2 in. (17.1 x 12.7 x 19.1 cm)
So far, George Michael and his partner have been the only collectors to express interest in the work (still unsold as of friday); but Hirst, who was once the protégé of the marketing genius and art market master Charles Saatchi, has made skulls for all collecting levels. Multiples are being offered first for the beta market buyers, in an edition of 20 with a price tag of £25,000. The 8 inch replica is in plastic with “spin art“. For the delta market, in an edition of 250, you can choose between 3 different diamond dust silkscreen prints, 40 x 30 in and £10,000 each. And for those of you in the gamma market, in an edition of 2,000 - a 13 x 10 screenprint for £900 (or $2000).
You can even buy some t-shirts for £30 each – if only Hirst could remerchandise the Phillips Collection gift shop…
All in all, anyone who buys anything in an edition of 2,000 is insane – that is not fine art, it is memorabilia – it will not gain value, it will not even retain its value. So before you spend $2000 please remember that 1,999 others also will own a copy of your cherished 10 x 13 inch diamond skull picture
Hirst could even decide to produce artist proofs in the future – for the love of god…
Tags:art market, art market quotes, “Damien Hirst For the Love of God”, British art market, Charles Saatchi, contemporary art, Contemporary art prints, contemporary collectors, diamond skull Hirst, International art market, investing in art, investing in fine art, Lauren Gentile, print editions, Specullector, White Cube
Posted in "Damien Hirst For the Love of God", art market, art market quotes, British art market, Charles Saatchi, contemporary art, Contemporary art prints, contemporary collectors, diamond skull Hirst, International art market, investing in art, investing in fine art, Lauren Gentile, print editions, Specullector, White Cube | 1 Comment »
