 Robert Rauschenberg (1925-2008) [May 08]
Robert Raushcenberg died on Monday 12 May at the age of 82. The turning point in his career came in 1964 at the Venice Biennial. Robert RAUSCHENBERG was the first American Painter to receive the Grand Prize for Painting. Thereafter, all eyes were focused on the new artistic scene in America which captured the limelight from the Ecole de Paris artists. The Grand Prize and a retrospective exhibition in London the same year, crowned 10 years of innovative work in which the artist practiced the art of re-using “leftovers”... Numerous exhibitions followed and he soon became internationally recognised. Although recognised as a major contemporary artist for close to half a century, it wasn’t until 2006 that his auction prices really accelerated: after a decade of stability his price index shot up 270% between 2006 and the beginning of 2008. In 2007 his cumulative auction revenue amounted to over 20 million euros, representing more than the total generated over the five previous years (between 2002 and 2005)! During the same year, four of his works sold above the million-dollar line: three at the May 2007 sales and one in November: a very large - but relatively recent - acrylic entitled Primo Calle Roci Venezuela (measuring over 5 metres, dated 1985, for 2.3 million dollars, at Sotheby's). Three Robert Rauschenberg paintings were sold on the 14th of this month at Sotheby’s big New York Contemporary Art sale. The most sought-after piece, Overdrive - a large mixed-technique work on canvas - had been in a private European collection since 1963. The work went under the hammer within its estimated price range at 13 million dollars, establishing a new price record for the artist. The following two works came form the Helga and Walther Lauffs collection: the combine-painting SLUG (1961) failed to reach its low estimate of 3 million dollars and sold for $2.5m. Rauschenberg’s RED BODY, a lively work on paper dated 1969 and mixing pencil, gouache and solvent transfer elicited more enthusiasm: estimated at between $500,000 and $700,000 it finally sold for $850,000. Rauschenberg’s works are indeed hotly disputed at auction as the supply of his major works - not already in private collections or museums - is undeniably drying up. On the other hand, the rising prices may well prompt some collectors into reselling, which could offer the market a small number of exceptional quality pieces... as was the case for Overdrive on May 14 last. |
mercredi 28 mai 2008
6- Robert Raushenberg-1925-2008/Artprice source
mardi 27 mai 2008
5 - De la culture en Amerique- Frederic Martel- Gallimard
Superbe photographie de Pierre Kimm
"La boulangerie"
Un art a la Francaise!
Un livre toujours d'actualite, qu'il est interessant de lire et de relire.
Une reference pour la France et les Etats Unis.
De la culture en Amérique
Frederic Martel, Ancien conseiller culturel à Boston.
"Du fait de la dimension universelle que les Etats-Unis et la France ont respectivement donnée à leur Révolution, nombre de nos concitoyens sont convaincus que les premiers sont le pays de l’argent roi et la seconde la nation de la culture. La chose méritait donc examen.
Frédéric Martel a entrepris une grande enquête, sans précédent, sur la vie culturelle aux Etats-Unis. Il a rencontré des acteurs de la vie culturelle (cinéastes, galeristes, auteurs, théâtreux, danseurs, conservateurs, critiques, etc.) dans les villes qui nous paraissent des métropoles culturelles, mais également sur les campus, dans les États ruraux, ou les parcs de loisirs — forme avérée aussi de la vie culturelle de masse. Il a épluché les dispositions fiscales, rencontré les fonctionnaires des administrations, publiques et privées, de la culture, plongé dans les archives fédérales des grandes présidences (Kennedy, Johnson, Roosevelt, Reagan, etc.). Il en résulte un tableau riche en nuances et qui vient ébranler nos certitudes. Car les Etats-Unis n’ont pas de Ministère de la Culture, mais ils ont une politique culturelle. Pas de Ministère : le fédéralisme a toujours pesé pour que les États gardent l’initiative contre le gouvernement fédéral en matière culturelle, à l’exception de la mobilisation des artistes et acteurs par Roosevelt dans sa lutte contre le chômage à la fin des années trente. Il y a là une double crainte, historiquement : qu’une culture officielle s’instaure, qu’elle soit le reflet des élites urbaines aux dépens des curiosités du peuple. La culture américaine entend être celle, démocratique, de l’homme ordinaire, du citoyen sans qualité.
Il en résulte que la culture peut alors devenir « une nouvelle frontière », comme le voulait Kennedy, dans la lutte effective pour les droits civiques, contre les inégalités sociales et raciales. Qu’une agence fédérale fut créée dans les années soixante, le National Endowment, dont le législateur votait annuellement les subsides destinés à promouvoir une politique culturelle sans précédent en Occident, même si l’administration républicaine, dès Reagan, voulut lui rogner ses ailes. Le bilan ? Avec l’aide des États, une décentralisation de la vie culturelle où acteurs et créateurs vont à la rencontre des citoyens aux quatre coins du pays ; avec l’aide des fonds privés de la philanthropie et du mécénat, une politique réelle de diffusion culturelle de qualité, le secteur privé se chargeant de l’industrie de divertissement. Avec l’aide des campus et des universités, une création d’avant-garde qui, au fil des ans, s’instille dans tous les autres mondes constitutifs de la vie culturelle américaine.
Si le Ministère de la Culture est nulle part, la vie culturelle est partout".
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Extrait :
Etat contre société civile, argent public contre manne privée : en matière de culture, tout sépare a priori la France des Etats-Unis. Pourtant, budgets, équipements et pratiques culturelles se révèlent finalement assez proches des deux côtés de l'Atlantique. La cause est entendue. Sur le terrain culturel, il n'y a pas plus opposés que les modèles américain et français. D'un côté, le plus grand pays du monde fait de la culture un des produits privés à exporter partout sur la planète. De l'autre, la France mène une politique publique et affirme que « la culture n'est pas une marchandise » face à l'envahisseur américain. De la culture en Amérique (Gallimard), relance ce débat.
lundi 26 mai 2008
4- Rasha El Ameer of Dar al-Jaheed
Hirschhorn’s earlier
books of poetry:
unsettling His verse reveals a man who is both a humanist and a humorist whose focus remains on the rich details of personal experience rather than the abstractions of larger events. (Kirkus Reviews, www.amazon.com .)
These are surprising poems that explore the cycles of life, renewal and death. (Nick Bolet, The Wolf, UK.)
subject-matter. His language is eloquent, his ideas uncommon and perceptive. The poems examine themes like exile, famine, war, atrocity, spiritual wisdom, suffering, and sacrifice. He tackles weighty issues without becoming preachy and his
descriptions of horrific events never cross over into rant or melodrama. (Rob Mackenzie, Sphinx, UK.)
dimanche 25 mai 2008
3- Exhibition at a glance
Seyhoun Gallery- Melrose-Los Angeles.
Mrs Maryam Seyhoun
Seyhoun Gallery
9007 Melrose Ave West Hollywood-CA
www.seyhoungallery.com
Los Angeles
The Herculaneum Women
J.Paul Getty Museum
Nov 8, 2007 - Oct 13, 2008
Paris
Sadegh Tirafkan
Galerie Nikki-Diana Marquart
Apr 28, 2008 - May 31, 2008
New York
Three Gutenberg Bibles
The Morgan Library and Museum
May 20, 2008 -Sept 28, 2008
Leipzig
Eva Walker: Hey Puppchen
Galerie Emmanuel Post
May 9, 2008 - May 31, 2008
St Petersburg
Fabulous Fiber Summer Exhibitions
The Arts Center
May 23, 2008 - Aug 16, 2008
2-Books of the Month
Art and the Market
Roger Fry on Commerce in Art, Selected Writings, Edited with an Interpretation
Craufurd D. Goodwin
Foreword by Lord Asa Briggs
Roger Fry, a core member of the Bloomsbury Group, was involved with all aspects of the art market as artist, critic, curator, historian, journalist, advisor to collectors, and gallery operator. He is especially remembered as the person who introduced postimpressionist art to Britain.
Reprinted in this volume are seventeen of Fry's works on commerce in art. Although he had no formal training in economics, Fry addressed the art market as a modern economist might do. It is therefore fitting that his writings receive here an original interpretation from the perspective of a modern economist, Craufurd D. Goodwin. Goodwin explores why Fry's work is both a landmark in the history of cross-disciplinary thought and a source of fresh insights into a wide range of current policy questions.
The new writings included contain Fry's most important contributions to theory, history, and debates over policy as he explored the determinants of the supply of art, the demand for art, and the art market institutions that facilitate exchange. His ideas and speculations are as stimulating and provocative today as when they were written.
How to buy & sell Art
By Michael Reid
Published 205 - Allen and Unwin- Art as an investment
The art world can be an intimidating one for the experienced buyer let alone the aspiring collector, but with this handbook to the world of collecting, Michael Reid arms buyers with a no-nonsense, informative map to the issues surrounding the buying and selling of art. No matter what your budget or your collecting interest, How to Buy and Sell Art answers all the questions you might have taking you from your first visit to an art gallery all the way to the high drama of an auction room. Michael Reid offers advice on everything from when and when not to buy art, artists to keep an eye on, collecting categories, tax and superannuation matters, collecting groups and how to buy Aboriginal art.With an Australia-wide listing of galleries, fine art auction houses, conservators and restorers, and collecting associations together with a glossary of key terms, How to Buy and Sell Art is an invaluable resource for anybody with an interest in art.After a decade of arts experience with Christie's London, Michael Reid is now a leading Australian art market commentator, dealer and consultant. He advises both private and corporate clients and has since the mid 1990s written as art market analyst in a weekly column for The Australian.
samedi 24 mai 2008
1-Poet of the Month: Poetry Ambassadeur, Majid Kafai
Majid Kafai is not only a Poetry Ambassador but also a very interesting painter. If ,often, he chooses the non-figurative world, it is because that world is vaster than the real one. There is more to discover in the unknown than the known. If the limit of the known is the unknown, the reverse does not seem to him to be true.
In this indefatigable observer, there is a serene but ardent love of the world, of the humanity.
Prose is the face. Poetry is the mask. It imposes the distance which makes all faces one-impassive as a tragic mask. The face is the motif; the painting is its mask.
Starting in 1978 the forms appear to be freed of any reliance on reality. The absence of figuration came from a desire to interiorize the worldby evoking arcane memories.
The form, the tone and the lines are the true alphabet of the painter.
بیدار شو
مونترآل
30 اردیبهشت ماه 2567
19 ماه می 2008
rough translation
Wake up !
This Earth
Is a particle in the sky
Our galaxy
Is a drop inside the ocean of the world
In such a vast space
Galaxies have no value
Let alone human beings
Human beings
Are tiny ants on the Earth
<SPANSTYLE="FONT-SIZE: 14pt?>Galaxies in the Universe
Are like ourselves
Oh! asleep!
This world is much superior
Than you and me
Than prophets and
People of religion
Know!
Religion
Has a legend nature
And is a way for spreading nonsense
Is a story told to a child in bed
Is talking
Out of want
About trope
But HE
Who is above want
Does not need those idle words
Clean your heart
From deceit and hypocrisy
Greed and avidity
Oppression and agression
If you be good and do good deeds
You need not follow any religion
You are free from that opium and bhang.
Majid kafai Canadian. Iranian
Art Shows : Paris, Nice, Montreal, Ottawa and Hull
Books : The Tree of Existence ( Poems in Persian ) printed in Paris
An Enlightened Death ( Bio of Khorasani ) printed in Tehran
Le vin du silence ( Poems in French language ) printed in Ottawa
Adam & Eve and the myth of The Hidden Imam printed in Ottawa
The Child Within ( poems in English) printed in Ottawa
CD Albums : The Magic of Poetry ( Poems in English language ) recorded in America
The Candle of Times ( Poems in Persian language ) recorded in Ottawa
Kafaϊ and the Darling from Shiraz(satire poems in Persian) rec Montreal
Oh! You that are drowned in your pool (philosophical poem) in English
Oh! You that are drowned in your pool ( Philosophical poem ) in Persian
Poetry Ambassador : recognized as such by The International Library of
Poetry in America in 2006 & 2007 & 2008
Conferences : Ottawa, Montreal, Toronto
Voluntary Work : On the Board of Directors of OCISO (1984) and
President of Multilingual Media Association of Ottawa
TV lectures in Montreal on Persian history and literature
Familiarity with languages : English ,French ,German, Italian, Russian,
Persian and Arabic
Special Interest : Poetry, photography, painting, writing and playing chess
* Have an opportunity to purchase his unique poems and pieces of Art.
Artist of the Month:Florence Bachelier, The blue Note
Los Angeles, May 2008, The Blue note
It swings lile a Jazz quartet. It is a swing painting with a continuous pulse that keeps the pieces moving right along. The melody is introduiced and moved from one color to another, incorporating improvisation, full of fresh joy and vigor.
A swing painting like music to be danced to, offering no changes in rythm or tempo, combining Jazz with dance. It offers the harmonies and improvisations as Jazz does, with a more emphasized rhythm of colors underneath it. It is a dynamic style emerging with syncopated rhythms of colors; the "colors of Liberty".
Some of her paintings are full of agitated energy, while others are more lyrical, creating a visual moment of near silence. The colors and the forms are reacting to each other, particularly the dancing rhythm of her very specific light blue touch. like a leitmotiv. Her paintings represent the feeling of Jazz, even though it might not be evident a first glance.
The colors and forms are reacting to each other, particularly the dancing rhythm of her very specific light Blue touch, like a leitmotiv
Her paintings represent the feeling of Jazz, even though it might not be evident a first glance. The use of warm colors shows the unpredictability of Jazz, as well as the vibrancy of that music form.
The tension, between, apparently, conflicting themes of warped harmonies and dissonances of Jazz adds energy to the picture.
It is rocking and rolling.
She produced paintings full of lyricism and humor. It gives us a sense of connection with the popular world and ourselves. It allows us to feel as if we are not alone. Like music, her works of art share our good times and bad, and with that we see how it affects our emotions.
The fact is that the paintings of Florence Bachelier are incredibly vibrant, powerful, spontaneous, and penetratingly emotional.
I just wanted to say that there is more to her paintings that what we see. Her painting could attain an emotive power comparable to that of music. Some reveled in its explosive energy and the exotism.
Like Pollock we have the feeling, that Florence Bachelier “thinks, it should be enjoyed, just as a music is enjoyed”
It is a notated work of improvisation and rhythm, a blue note.
Florence Bachelier is a very interesting French artist, she is "La vie parisienne".
* Have an opportunity to purchase her works, it will change your life! www.florencebachelier.com
