Winter in Review 2022/2023
/A recap in photos of what we’ve been up to this past winter season. Click for descriptions.
Artwork Spotlight - John Cage
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John Cage, “Not Wanting to Say Anything about Marcel”, 1969
Imagine finding your seat for a concert–you wait patiently with fellow audience members as the orchestra tunes its instruments. You anticipate the first notes as the pianist finally takes his seat, and then . . . nothing! Such was the scene when John Cage’s composition 4’33” was first performed in 1952 in a concert hall in Woodstock, New York. Fed up with the ubiquitous Muzak, which proliferated in public spaces in the post-war years, and with the aim of drawing attention to the silence–or rather, the ambient noise–that becomes perceptible only when you listen for it, Cage created a composition that would exist only in the random sounds of that particular place and time.
Not Wanting to Say Anything About Marcel was Cage’s first work of visual art. Although he is well-known for his avant-garde musical compositions, he was also involved in the evolution of modern dance (with his partner, Merce Cunningham) and was close friends with major figures in the visual art world, including Peggy Guggenheim, Piet Mondrian, Jackson Pollock and Marcel Duchamp, to name a few.
When Duchamp (famous for his “Readymades” and his contributions to Dada and the avant-garde) died in 1968, Cage and his close friend Jasper Johns were approached by a patron of the arts who suggested Duchamp’s passing might be a catalyst for creating new works in homage to the art giant. Johns was so saddened by the loss that he responded, “I don’t want to say anything about Marcel.” But Cage was inspired, and proceeded to create this work and name it for the sentiment of his friend: Not Wanting to Say Anything About Marcel.
Created in 1969, this work is dedicated to the idea of randomness in art. Cage wanted to remove as much of his own artistic influence as possible. The work consists of eight “Plexigrams”, silkscreens printed on acrylic in a wood base. The Plexigrams are printed with partial words, phrases, and images which were selected randomly using a dictionary, coin tosses, and the I Ching. Most of the artistic decisions to be made in the work were left up to these “chance operations”: the position, font and size of the text, which letters would be missing from words, which images would be used, etc. The Plexigrams stand vertically in the base allowing the viewer to look through the clear panels and experience the multi-layered random arrangement of words and images floating in space. By leaving out parts of words and images, Cage wanted to engage the human brain’s tendency to “fill in the blanks.” For example, which word will you think of first when you see an M, an A, and an L in proximity? The response is individual, and therefore, the viewer makes some decisions about how they experience the piece. The Plexigrams can be rearranged as the viewer sees fit, furthering the individual experience. Rearranging the plates should, of course, be done at random!
Similar works appear in the permanent collections of MOMA, Crystal Bridges, Art Gallery of NSW and Norton Simon Museum, among others. Arnoult Fine Art Consulting is pleased to offer this historically significant work at an approachable price point. The sculpture is accompanied by the original booklet with Cage’s notations, a transparency, and the original storage box.
Learn more in this presentation.
Please enquire to schedule a viewing and for pricing information.
video credit: Harwood Taylor
Modern Luxury Houston/Designer Collaboration
/We are thrilled to have been mentioned in Modern Luxury Houston in a story highlighting an award-winning project by Pamela Hope Designs. It’s always wonderful collaborating with Pamela!
Interview
/15 Minutes with Houston Art Consultant
Elise Arnoult Miller
By UGallery.com November 23, 2021
“I feel extremely fortunate to be doing what I do. I absolutely love being able to experience art every day. ”
Elise Arnoult Miller is personable, engaging and approachable, characteristics which complement her sophisticated style and keen instincts as a respected Houston, Texas art consultant. She established her bona fides early in her career with museum and gallery work, before launching Arnoult Fine Art Consulting. There she provides expert art advice and appraisals, primarily to private collectors, with clients all over the country. Elise’s love of art and depth of knowledge are evident in her flawless execution of each project, the natural result of someone deeply passionate about their craft.
We were pleased that Elise was able to share her experiences with us, and shed light on what you should look for and expect when hiring an art consultant.
What is your background and when did you get into the art consultant business?
I studied Art and Anthropology, then worked in various art-related businesses including galleries, a museum, and an auction house. These experiences helped me solidify my path in art. I launched my own consultancy in 2010 with a vision of helping people connect with art and artists.
Camille Pissarro
What project are you currently working on?
My focus is on private collections, so I’m continually on the lookout for pieces that may be of interest to a client. When something comes across my desk that I know is a good fit for a certain collector, I’ll share it. These client relationships can last for decades, so in effect, these projects are indefinite.
Most recently, I was excited to place two wonderful impressionist works sourced from London and Paris, a minimalist sculpture by an Israeli artist working in Los Angeles, and an important work on paper by a well known Texas contemporary artist.
When should someone consider hiring an art consultant?
There are lots of instances, but two of the most important ones are:
When just starting out. A consultant who listens carefully to a new collector can help them identify and focus on areas that will be most rewarding and enjoyable for them to build on going forward.
When considering any significant purchase. A consultant has the knowledge and experience to vet a piece, checking for quality, condition, and provenance. I analyze how the piece fits into the artist’s overall body of work, and help determine the appropriate price. I offer these services for any piece, whether or not I sourced the work being considered. It’s good to have an expert in your corner when making these decisions.
Reuven Israel Kinetic sculpture
What does an art consultant offer that is different than what can be achieved procuring art on your own?
Expertise: The art world is vast. It’s a huge advantage to have a professional to act as a guide. A good consultant can help a collector make good decisions and avoid costly mistakes.
Variety: Unless you are able to visit dozens of galleries around the country and abroad on a regular basis, a consultant will be able to provide a greater variety of works than you are likely to find on your own.
Access: If a certain artist of interest is in high demand, having a consultant represent you to the gallery, or estate controlling the market can be a big advantage.
Connections: Consultants have a network of galleries, dealers, conservators, and other art professionals at their fingertips which makes us a great resource for procurement, divestment, or any art-related need.
What is one thing you wish people knew about working with an art consultant?
One need not be a “serious collector” or have an enormous budget to benefit from the services of a consultant. Even if you’re looking for one piece, a consultant will have quick access to great options that it might take weeks to assemble on your own.
What should people expect from working with an art consultant?
Seasoned expertise in the area of interest, and full-service assistance from selection, to framing, installation, and conservation, etc.
What has been your favorite project and why?
I habitually fall in love with a piece I’m working on sourcing, or a collection I’m helping to build. I suppose my favorite project is the one I’m working on at any given time. Truly, the greatest pleasure is knowing I’ve had a hand in building a relationship between a client and a work of art. Knowing a work will bring enjoyment to someone for years to come is incredibly rewarding.
Tell me about a project where something surprising happened.
I was researching a piece by a major French Impressionist for a client, when I discovered a discrepancy between the catalogue raisonné description and the actual piece. This resulted in the catalogue raisonné entry being updated. Although this discovery had little bearing on the value or importance of the piece, I was pleased to help contribute something to the record of this artist’s oeuvre for future generations.
Roger Foster Sculpture Installation
Tell me about your most unique installation.
A very challenging one comes to mind. It involved placing a large limestone sculpture at a lake house. It was the middle of August in 100-degree heat. The sight, behind the house, was sloped, and the only path from the street to the pad for the piece was quite narrow, and covered in large river stones. It took a team of stone movers working for most of the day, and a variety of carts, pulleys, and scaffolding to get it into place, but was well worth it in the end. It looks fantastic!
What is unique about being an art consultant in Houston?
I’m lucky to have opportunities to work with clients and art professionals all over the world, but I always enjoy working in Houston because it’s such a vibrant, growing city with wonderful breadth and diversity in art and cultural happenings. I love the open-mindedness of Houstonians and their eagerness to learn about works from regional, national and international artists. The art community here is friendly and accessible.
Anything else you would like to share?
I’m also a certified fine art appraiser. This additional training and education makes me a more well-rounded consultant. I’m able to use an analytical eye when assessing a work, which benefits my clients.
Many thanks to Elise Arnoult Miller and Arnoult Fine Art Consulting. To learn more about Elise’s work, check out her website.
NFTs - Here to stay?
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You may have read the headline about a Non-Fungible Token (NFT) by artist, Beeple being sold at Christie’s for a record-breaking $69.3 million earlier this year. There are now galleries who specialize in NFTs as well as curators and museums who focus on the medium. Could this be an indication that NFTs are a segment of the art market that’s here to stay?
According to Wikipedia, an NFT is “a unique and non-interchangeable unit of data stored on a digital ledger (blockchain).” An NFT can be anything transmissible as a digital file: a work of digital art, or just an image of a work of art, an animation, GIF, or an audio recording. NFTs have been created from texts, tweets, and even song lyrics. NFTs are attractive because of their uniqueness. The “non-fungibility” means the owner of the file owns something very specific (although the artist may retain copyright and reproduction rights). Because it’s stored on the blockchain, the details of ownership, past present and future are clearly documented.
There can also be an advantage for artists selling NFTs who can potentially earn a commission each time a piece is sold. However, with high fees to post and sell on the various platforms, it can sometimes end up costing the seller more than the sale price.
For the collector, of course, there is no physical “thing” to hang on a wall or share with one’s friends and family. The digital file remains in the ether, and is therefore, susceptible to loss - whether a forgotten password, a crashed website, or failed server.
The main drawback to all of that high-security blockchain technology is the environmental impact. The energy required to power the network of computers needed for blockchain verification is staggering, prompting many artists and potential buyers to opt-out, at least for now.
Nevertheless, the idea of using blockchain technology to track an artwork’s provenance will be a great development for art historians, collectors, and art professionals, if it becomes environmentally feasible and common practice for more traditional “IRL” media as well.
Regardless of the current pitfalls, NFTs will certainly remain part of the zeitgeist of this technological era, especially “crypto-collectables” like trading cards and video game accessories. It will be interesting to see how NFTs evolve and what position they will hold in the art market of the future.
A Plein Air Commission Project
A few months ago, some good friends and clients asked me to help source a painting for their newly renovated dining room. After a few conversations, we realized what they really wanted was the feel of a landscape, but with a contemporary, abstracted approach. I immediately thought of a young artist from Dallas, Erika Huddleston. I was intrigued by Huddleston’s process of “recording” a certain spot in a landscape at a certain time by painting it en plein air. Since available inventory was limited, I proposed a commission.
The clients had recently purchased some property in the Texas Hill Country that would become the site of their future retirement home. What better location for the artist to create a work that would be especially personal and meaningful? Erika took advantage of the beautiful spring weather to capture the scene. A few weeks later, the painting arrived and we all gathered for the “unveiling”.
The painting arrives
The happy clients with the artist
The resulting work is not only a beautiful fit for the current space, but also a piece the clients will take with them to their future home and cherish for many years to come.
Preliminary installation
Final installation. A simple, wood float frame both compliments the piece and sets it off in the room,
Painting Log
“Landsccape Recording Static/Dynamic: Guadalupe River I”, 2020
…5:09pm black butterfly, birds, wind, sound of flowing water, low sun, gnats in the grass… 7:40pm a hawk flapping its wings and flying low…8:45pm fireflies, big box turtle, about 1 ft long, lying in the shade on the grass…
(excerpts from the artist’s “landscape recording”)
Updates from the Art World
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Art Fairs – Many major art fairs scheduled for 2020 have either been postponed or cancelled all together. Such was the case with the granddaddy of them all, Art Basel, Switzerland which normally takes place in June. However, over 4,000 of the works on offer were accessible for remote viewing in online "viewing rooms." Reactions from exhibitors and collectors have been quite good.
Galleries – Although there have been numerous gallery closings and many continue to struggle, galleries that have been able to scale back and cut expenses seem to be faring well. Taking a cue from the fairs, there has been a rush among galleries to create online viewing rooms to show their inventory, and to present exhibitions virtually. The concept of fine art fairs moving online is a welcome one for galleries who have in the past felt the pressure to participate in numerous fairs each year with all of the work and expense that entails.
Museums – A large number of museums have reopened with limited capacity and new safety precautions despite major layoffs at institutions worldwide earlier in the year.
Auctions – Perhaps best positioned to pivot to the new reality, the major auction houses have been offering online, absentee, and phone bidding for years. Some live sales have been postponed or switched to online only sales for the time being, and viewings are by appointment. In July, Christie's executed a "global" sale of 20th-century art called ONE taking place in Hong Kong, Paris, London and New York in live-streaming consecutive sessions.
Collectors – Despite the ongoing pandemic, it seems collectors (often spending more time at home) are continuing to collect. There hasn't been a mad rush to divest collections as some had predicted. In fact, many collectors report that they are willing to purchase a piece sight unseen, especially when already familiar with the artist’s work. And, with galleries and dealers offering generous “on approval” terms, there is little risk.
Artists – Of course, without artists, there would be no art fairs, galleries or art auctions. Countless artists have been and will continue to be affected by the global pandemic in some way. Here are some ways to help:
Artist Relief, organized by a group of small to mid-sized national arts grantmakers, is distributing $5,000 grants to artists in need.
Greater Houston Area Arts Relief Fund for artists and arts workers will provide grants to cover basic needs for artists and arts managers who have lost wages during the pandemic.
Looking Forward...
Time will tell what lasting effects the pandemic will have on the art world, if any. So far, market values of works, whether in the primary or secondary market, have not been noticeably affected. We expect the online viewing rooms of galleries and art fairs are here to stay as well as a possible reduction in the number of fine art fairs held each year. We are optimistic that this "reset" of sorts in the art world will lead to a more transparent, pared-down, diverse, artist-focused future.
Pietro Rotari, Girl Looking through a Telescope
Art in a Time of Social Distancing
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Renee Magritte “The Lovers”, 1928
As Picasso once said, “Art washes away from the soul the dust of everyday life.”
In stressful times I always find joy in looking at art and beautiful things in general. While museums and galleries are closed and travel is at a standstill, here are some wonderful online resources to help wash away the dust!
Artsandculture.google.com has a wealth of content to explore. One of my favorites is the Art Time Explorer with artworks arranged chronologically by period from antiquity to present day.
Hundreds of museums now have a portion of their collections available virtually. Some of the major ones include The Guggenheim, Tate Modern, The National Gallery of Art, The Louvre, The Met, The Uffizi, and The Vatican.
Or, if you’re feeling creative, download a coloring page and re-imagine some masterworks with your own palette.
And if you’d like to chat about art, I’m now offering virtual art consultations. Send a request here.
Be well!
Another Great Night
/It was another great night indeed, at CAMH’s Another Great Night in November ladies-only event at the lovely home of Erika Toussaint. I enjoyed meeting new friends and seeing lots of familiar faces, like that of Houston’s art maven, Catherine Anspon.
(L-R) Amara Huang, Yamaki Dharrampaul, Catherine D. Anspon, Elise Arnoult Miller
Consulting Journal - A Fortuitous New Find for a Long-Term Client
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Robert Motherwell, Blue and White on Orange No. 1
Recently, I received a notice about a private collection being offered for sale in New York. As I looked over images from the collection, several of the works reminded me of a particular client I had first worked with more than a decade ago.
When I first met this client she was looking for one or two paintings for specific areas in her high-rise. Later, when she moved to a larger home, I helped her acquire several more pieces to fit her new space. That was a few years ago, but I had gotten to know her tastes and her existing collection quite well, and I identified a few pieces in the New York collection that I believed would be of interest to her, so I got in touch.
Indeed, she did like the selections, and was particularly drawn to a vibrant Robert Motherwell work. After I performed my research on the piece and negotiated the price, I arranged a viewing in New York so my client and I could see the piece in person and complete the purchase.
Building long-term relationships with clients is one of the things I love most about my work. In fact, most of my client relationships extend well beyond the initial transaction. As I get to know clients over time, I become acutely aware of their aesthetics, likes and dislikes. Then, even when I’m not actively looking on behalf of a particular client, I will automatically think of them when something that suits their taste crosses my desk. It’s as if I’m their eyes and ears in the art world.
Likewise, clients sometimes contact me again after a period of years. Perhaps they’re in the market for a new piece, or they might be ready to sell works from their collection, or simply need an appraisal. It’s always a pleasure to reconnect with clients, no matter how long it’s been, because developing relationships (consultant-client partnerships, really) is what it’s all about.
Visit to Frederick Meijer Gardens & Sculpture Park
/Meijer Gardens in Grand Rapids, MI features 158 acres of beautiful botanical gardens and one of the most comprehensive collections of modern and contemporary outdoor sculpture in the world. Definitely worth a visit!
MFAH Contemporary Patron Group Art Tour at The Lancaster
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What: The Museum of Fine Arts, Houston toasts The Lancaster Hotel
Where: The Lancaster Hotel
PC Moment: The Contemporary@MFAH patron group works to highlight and expand the role of contemporary art at the MFAH, and the unique synergy between its mission statement and the newly restored and renovated “art palace” The Lancaster hotel in downtown Houston embodied its ideals.
Gathering at the historic Theater District location – The Lancaster is the city’s oldest operating hotel – Contemporary@MFAH members toured the hotel’s expansive and important collection filled with Texas artists. The hotel’s lobby, restaurant, halls, and rooms showcase choice Houston talents such as Mark Flood, Trenton Doyle Hancock, and Terrell James, alongside other Lone Star state faves, including Robert Rauschenberg and Luis Jiménez.
The intimate crowd took in The Lancaster’s trove of art while enjoying bites from the hotel’s recently re-imagined downtown dining destination, the restaurant Cultivated F+B. Artist and Lancaster visionary – the Dallas-based Jay Shinn, CEO of Magnolia Lodging, which owns and operates the hotel – alongside Alison de Lima Greene, the MFAH’s Isabel Brown Wilson Curator of Modern and Contemporary Art, and artists Margo Sawyer (in from Austin) and UH department of art professor Aaron Parazette (both proudly featured at the hotel) gave greetings and short remarks about the dynamic partnership between Contemporary@MFAH and The Lancaster’s informed curation of Texas works.
After toasts, guests enjoyed browsing The Lancaster’s collection featuring more than 100 Texas artists, which also includes works by Donald Judd, James Surls, Helen Altman, Ed Blackburn, Matt Kleberg, Tommy Fitzpatrick, and Donald Moffett (born in San Antonio).
PC Seen: Curator Clint Willour and Reid Mitchell; top collectors Jereann Chaney, Minnette Robinson, Leigh and Reggie Smith, and Dorene and Frank Herzog; gallerists Betty Moody, and Deborah Colton with husband William Colton; art consultant Elise Arnoult Miller; Polly and David Roth; Ann Jackson; Carol Fleming; Lesley and Gerald Bodzy; patrons Shirley Rose and Bettie Cartwright; and artist Chong-Ok Lee Matthews.
DIY Steps to Hanging Art
/DIY-ers who want to hang artworks on their own at home can achieve professional results by following these steps. The less ambitious can save themselves the trouble by calling on AFAC for help. We can advise on art placement and bring professional installers.
Framing note: When having works framed, ask your framer to install two D-rings on the piece. No wire necessary. Check to be sure the two D-rings are equal distance from the top of the piece.
Tools: Pencil, tape measure, level (either a ruler with a level in it, or a laser level), art hanging hooks, hammer, Magic Rub eraser.
Step 1: Find the center point of the wall where you’d like to hang the piece, or if centering over furniture, the center point of the furniture. Mark this point with a pencil on the wall.
Step 2: Hold the piece in place at the desired height. No hard and fast rule here, but consider how the piece will be viewed—will the viewer be standing right next to it, looking at it from a distance, or mostly from a sitting position? Mark the bottom edge of the piece on the wall.
Step 3: On the back of the piece, measure the distance between the bottom edge and the top of one D-ring (where the hook will be). On the wall, measure up from the bottom edge mark this distance and mark it on the wall.
Step 4: Using a ruler with a level or a laser level. line up this mark with the center mark you made in step one. Move your mark as necessary to line up with the center mark vertically.
Step 5: On the piece, measure the distance between the two D-rings at the tops of the “D”s where the hooks will go, and divide by two. This is the distance you will measure on each side of your new center mark. Mark each distance on the wall. Using the level, adjust these marks as necessary so that the two hook marks line up with the center mark horizontally.
Step 6: Using special art-hanging hooks (see image above), hammer the hooks into place so that the bottom edges of the hooks line up with your marks. Be sure to use a hook in the appropriate size for the weight of the piece. They come in one, two and three-nail sizes.
Step 7: Erase your pencil marks with a Magic Rub eraser. Do not use the eraser on the end of a pencil. Hang your piece and check to be sure it is level.
Because the piece is now hanging from two points, it will never need straightening.
Displaying Art in Your Home - Houston Chronicle
/I was pleased to offer a few thoughts for this article by Diane Cowen on art lighting. Read the full article HERE.
Photo by Julie Soefer
Private Collection Tour
/I had the good fortune of meeting Houston collector Brad Boucher and touring his fascinating collection of contemporary art. Inside a building with a nondescript exterior is a wonderland of art, including installation, video, sculpture, kinetic works, paintings and works on paper—even a James Turrell light piece. Boucher has an admirable, thoughtful approach to collecting, focusing on works that are meaningful to him personally, which is evident in his ability to share a backstory for each piece.
Jasper Johns at the Menil Drawing Institute
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The opening of the much-anticipated and architecturally stunning Menil Drawing Institute included quite a party! It also brings a fantastic exhibition of drawings by Jasper Johns. The works are grouped by theme, instead of chronologically, allowing the viewer to follow the artist through a sometimes years-long exploration of a concept.
Kudos to Assistant Curator Kelly Montana, who has a palpable enthusiasm for the works paired with an intimate knowledge of each piece in the exhibit. The Condition of Being Here will continue through January 27th. If you have a chance to hear Montana speak, don’t hesitate.
Arnoult Fine Art Consulting at the Texas Contemporary Art Fair
/AFAC had a wonderful time exhibiting at the Texas Contemporary Art Fair—seeing friends and colleagues, meeting new collectors, and talking about art!
Texas Contemporary Art Fair VIP Kickoff
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What: VIP Kickoff for the 2018 Texas Contemporary Art Fair
Where: BeDesign
PC Moment: The glamorous interiors enclave BeDesign was the site of an intimate but chic cocktail kickoff for the seventh installment of the Texas Contemporary Art Fair, which is proudly returning after Hurricane Harvey postponed the Fair a year ago.
Co-owners Adrián Dueñas and Marcelo Saenz invited the art-savvy crowd for a toast to the Fair and to pick up their VIP pass cards.
BeDesign, in collaboration with Contour Interior Design, has created a smartly designed VIP Lounge for the Fair, which kicked off Thursday, October 4, at the George R. Brown Convention Center. The Fair runs through Sunday, October 7.
Dueñas told PaperCity the VIP Lounge will offer retrospectives of some of the signature designers BeDesign represents, including Zanotta, B&B Italia and Molteni & C.
Find information about obtaining a VIP pass, which provides access to this curated lounge here.
Who: Fair director Kelly Freeman; Contour Interior Design’s Tanner Doggett and Elyse Krueger; Texas Contemporary’s event planner Matt Johns; Houston Symphony’s Liam Bonner with wife Meredith Bonner; exhibiting dealers including Galeria Moro’s Rodrigo Rosquete-Leonardi, in from Venezuela, Enrique Guerrero of Mexico City and Houston, and exhibiting consultant Elise Arnoult Miller; Elise Glattier-Hollingsworth and Denzil Hollingsworth (he with The Houston Design Center); collector Ken Christie; interior designer Anne Breux; Karen Lix; marketing guru Sofia Gambara; Marcela Astralaga; Ivan and Dr. Ted Voloyiannis; Denise Partridge; Nicole De Bacco and Raul Martinez, set to wed next month in Venezuela; Art of the World’s Mauricio Sampogna; and PaperCity‘s Mary Hoang-Do.
Art Lover's Library
/A selection of recent releases for your consideration. One of these may just make the perfect addition to your collection or a thoughtful gift for another art lover.
HANS AND JEAN ARP: TWENTY SKETCHBOOKS
The diverse oeuvre of Hans Arp (1886-1966)—primarily consisting of sculptures, reliefs, drawings, collages and prints—is world-renowned, yet his sketchbooks remain relatively unknown. 20 Sketchbooks seeks to remedy this by reproducing as meticulous facsimiles 20 of Arp's small sketchbooks and spiral-bound pads, made between 1950 and 1966 and today held at the Fondazione Marguerite Arp-Hagenbach, located in Arp's last atelier in Locarno, Switzerland.
This publication allows us for the first time to "hold" Arp's sketchbooks in our hands and gain new insight into his working processes. Some sketches reveal themselves as drafts for fully realized artworks, yet the majority are exploratory works in themselves. 20 Sketchbooks contains over 400 sketches as well as written notes by the artist. The 20 volumes, each produced at its original size, are presented in a handmade box following the design of the carton in which they were found in Arp's archive.
Published by Gerhard Steidl Druckerei und Verlag, November 20, 2018
ISBN: 9783958293366
Edition of 1,000
$450
YAYOI KUSAMA: FESTIVAL OF LIFE
Yayoi Kusama’s work has transcended two of the most important art movements of the second half of the twentieth century: pop art and minimalism. Her extraordinary and highly influential career spans paintings, performances, room-size presentations, outdoor sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures, which allude at once to microscopic and macroscopic universes.Yayoi Kusama: Festival of Life documents the artist’s exhibition at David Zwirner’s Chelsea location in New York in late 2017, featuring a selection of paintings from her iconic My Eternal Soul series, new large-scale flower sculptures, a polka-dotted environment, and two Infinity Mirror Rooms. The monograph includes new scholarship on the artist by Jenni Sorkin, as well as sixty-five color reproductions and a special foldout poster.
Published by David Zwirner Books, September 25, 2018
ISBN: 9781941701812
$70
A BUYER’S GUIDE TO PRINTS by Helen Rosslyn
For the prospective buyer, the world of printmaking can be overwhelming. Intaglio, lithography, aquatint and sugarlift―even the terms used have the potential to confuse. Helen Rosslyn, a prints and drawings specialist and Director of the London Original Print Fair, provides her expert insider advice in this straight-talking guide. She explains the techniques used by today’s printmakers, accompanied by a brief history of printmaking. A comprehensive glossary elucidates printmaking terms, including the newer language of digital printmaking. Rosslyn answers the commonly asked questions to help the reader navigate this often mysterious world. There are tips and expert advice from artists, print dealers, paper conservators, picture framers and art handlers, alongside reproductions of some of the finest prints from the collection of the Royal Academy of Arts, making this book the perfect companion for anyone interested in buying or collecting prints, whether old master or contemporary.
Published by the Royal Academy of Arts, November 20, 2018
ISBN: 9781912520084
$15