Category Archives: Uncategorized

Morning Links: $3 Billion Art Feud Edition | ARTnews

“Guy Ullens, collector and founder of Beijing’s Ullens Center for Contemporary Art, has announced that he is looking to hand over ownership of the UCCA to someone who can continue to support and develop the institution in the years to come.” [Artforum]

A $3 billion family art feud concerning the collection of a Greek shipping mogul and his wife. “When Balthus’s biographer, Nicholas Fox Weber, visited the couple in Switzerland, he said the paintings rimming their walls ‘made my knees go wobbly.’” [Wall Street Journal]



Artist Pension Trust Makes Its First Financial Distributions to Artists in New York and Los Angeles | ARTnews

When the fish are biting are the flies flying

APT employs around 100 curators to judge applications and decide which artists may join the trust. (Interested artists can apply here.) Notably, APT also attempts to boost the value of its artists by loaning their work out to major international museums such as the Tate Modern, the Museum of Modern Art, and KunstHalle by Deutsche Bank.

In addition to New York and Los Angeles, APT has also set up artist pools in London, Berlin, and Beijing, as well as four other unnamed cities. The company currently owns 14,000 works of art and as a result is considered one of the largest privately-owned collections of contemporary art in the world, the value of which is estimated to be approximately $100 million.

APT, which was founded in 2004, bills itself as “the only service providing long-term financial security to artists.” Its business model requires chosen artists—including Mark Bradford, Nina Beier, Daniel Arsham, and Rob Pruitt, among 2,000 other artists from 75 countries—to give artwork, which is then held in APT’s collection for around 10 years “to generate optimum returns.” When the artwork is sold, the artists receive 40 percent of the sale. A remaining 32 percent goes into a fund benefiting all participating artists, of which each artists receives an annual portion, and the remaining money is put aside for investors and the trust itself. In the pilot sale, $452,085 of work by New York artists was sold, meaning that the artists collectively received $69,529. A total of $234,807 of work by artists from Los Angeles was sold, and that group collectively received $75,138. Sales are not held on a regular basis; according to a 2014 article in the New York Observer, “a committee decides the timing of the sales, which are done privately.”

The Artist Pension Trust, a collection of contemporary art that doubles as a mutual fund, has announced that it has made its first dividends to more than 400 artists participating in its New York and Los Angeles trusts “after a successful sales pilot,” according to a press release. The artists have received payments between $200 to $1,700.



9 Art Events To Attend In New York City This Week | ARTnews

Great Source if you are in the city.


Screening: Beth B and Scott B’s The Trap Door and Shorts at Metrograph Who better to play a deranged therapist than the experimental filmmaker Jack Smith? He finally got to act that part in Beth B and Scott B’s 1980 film The Trap Door, in which a man (John Ahearn) is fired by his boss (Jenny Holzer) and then has a series of strange adventures. Richard Prince, Gary Indiana, and Bill Rice all make appearances at some point, playing characters who are determined to ruin this poor man’s life. In that sense, the film is like many others by Beth B and Scott B, who focused on violence and power systems in their films. Three other short films—all “quintessential, assaultive,” per a summary—will screen with The Trap Door at this showing.Metrograph, 7 Ludlow Street, 8:30 p.m. Tickets $15

Book Launch: René Ricard’s Notebook 2010–2012 at Mast Books Like any other critic or , René Ricard was a fantastic doodler. His notebooks are filled with scribbled ideas and half-sentences, many of which are barely even legible, but are still a fascinating insight into his process no less. Now Mörel Books has published a volume that collects his notebook written toward the end of Ricard’s life, from 2010 to 2012. (He died in 2014.) To celebrate the release of the book, Glenn O’Brien and Luc Sante will be doing readings at Mast Books.Mast Books, 66 Avenue A, 6–8 p.m.

Opening: “Danny Lyon: Message to the Future” at the Originally curated by the Fine Arts Museums of San Francisco, this Danny Lyon retrospective—the first in 25 years—will debut at the Whitney Museum before opening in San Francisco. Comprised of 175 photographs, films, and related objects, this show dives deeply into the social and political focuses of one of the leading American street photographers in the 1960s. As a press release states, “With his ability to find beauty in the starkest reality, Lyon has through his work provided a charged alternative to the bland vision of American life often depicted in the mass media.”Whitney Museum, 99 Gansevoort Street, 10:30 a.m.–10 p.m.

Opening: “Vito Acconci: Where Are We Now (Who Are We Anyway?), 1976” at MoMA PS1 This show is named for Where Are We Now (Who Are We Anyway?), a sculpture in which a long wood plank extends through a window, acting a diving board from which viewers can jump into traffic. Arranged around its sides are a set of stools—do you sit, jump, or stand there? How do you act? Acconci’s work is concerned with how bodies move through space, and this show surveys his early experiments with that subject. Featuring films, photographs, and other documentary materials, the show looks performances Acconci did during the late ’60s and ’70s—notable among them Seedbed (1972), in which the artist lay under the floor of Sonnabend Gallery and masturbated while fantasizing about gallery visitors. —Alex GreenbergerMoMA PS1, 22-25 Jackson Avenue, Queens, 12–6 p.m.

This exhibition celebrates the life and work of fashion illustrator Antonio Lopez, who was born in Utuado, Puerto Rico, in 1943 and died of AIDS complications in 1987. After his family arrived in New York City, his mother, a seamstress, would insist that Lopez draw the flowers for her embroidery work to help keep him off of the streets. Lopez also assisted his father, a maker of mannequins, with the application of makeup to his creations. After graduating high school, Lopez attended the Fashion Institute of Technology, and later began to create illustrations for