Artelligence Podcast

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Synopsis

The Artelligence Podcast unpacks the mysteries of the global art market through interviews with collectors, dealers, auction house specialists, lawyers, art advisors and the myriad individuals who make the art market a beguiling mixture of sublime beauty and commercial acumen.

Episodes

  • David Norman on Fall 2017 Impressionist and Modern Auctions

    11/01/2018 Duration: 01h13s

    David Norman talks through the results from November's Impressionist and Modern auctions in New York. Norman discusses the use of guarantees, the differences between the public and private markets, the relative strength of different types of work by Pablo Picasso, the tastes of Asian buyers and the impact of private museums on that Modern market.

  • Cheyenne Westphal, Chairman, Phillips

    14/12/2017 Duration: 36min

    Cheyenne Westphal speaks, after two full New York sales cycles with Phillips, about the company's strategy moving forward to carve out a place for itself in a Contemporary and Modern art market dominated by two larger houses. Speaking a few days before the November Evening sale, Westphal talks about attracting buyers and sellers, the increased use of guarantees, collectors' interest in identifying new artists and the use of shows with unexpected focus to bring attention to historically undervalued art.

  • Bendor Grosvenor on Leonardo's Salvator Mundi

    29/11/2017 Duration: 39min

    The $450m sale of Leonardo da Vinci's Salvator Mundi was surrounded by a the near constant repetition of the erroneous idea that there are doubts about the work's authenticity. From news reports to essays by Contemporary art critics miffed at the growing spectacle, writers ignored the consensus among scholars and scientific researchers that the work is the lost work of the Renaissance master. In this podcast, Bendor Grosvenor, an Old Master dealer credited with numerous 'sleeper' finds and the host of "Britain's Lost Masterpieces," discusses the 2011 National Gallery show on Leonardo that admitted the Salvator Mundi into the canon of the few recognized works by the artist. Grosvenor also addresses the tone of the Old Masters market, his hopes that this sale will remind art collectors of the enduring popularity of Old Master paintings and spur more attention to the field.

  • Michael FIndlay on Seeing Slowly

    17/10/2017 Duration: 01h01min

    Michael Findlay, the author of The Value of Art, has a new book out about changing the way we approach a work of art. In Seeing Slowly, Findlay suggests we put our experience of the art itself first. Ignore the wall labels, avoid pontificating to your companion and simply look at the art informed by own connoisseurship, the experience of having looked at art in the past, and your own cultural awareness. In this podcast, Findlay explains what he means and why he thinks we would all be better off approaching art this way. Then he talks about Instagram and the way that the business of selling art has changed—and how buyers and sellers would benefit from seeing slowly.

  • Nicholas and Alex Logsdail on Lisson Gallery's 50 yrs

    26/09/2017 Duration: 40min

    Nicholas Lisson on his philosophy of running an enduring gallery business: "The money will come if the art is good enough." Lisson Gallery's father-son duo Nicholas and Alex Logsdail discuss the history of their gallery, its more than 500 exhibitions over 50 years now only partially captured in a book of 1,200 pages. In this intimate conversation between Elena Platonova and the Logsdails we learn about the path both men took from pursuing their own artistic visions—Nicholas as a painter; Alexander as a musician—to running a transatlantic gallery. We hear about their plans for further global expansion and their own fifty-year rule for gauging the quality of an artist.

  • Lisanne Skyler, Producer of "Brillo Box (3¢ Off)" on HBO

    14/08/2017 Duration: 35min

    Lisanne Skyler's parents were art collectors in the 1970s. Her father was a young lawyer in Manhattan who spent his weekends going to gallery shows looking for exciting young artists. To buy new paintings he often had to sell the works he already owned. That's how he came in 1969 to buy from the OK Harris gallery a small yellow Brillo Box sculpture made by Andy Warhol. Two years later, Skyler sold the work to buy a drawing by another artist who, at the time, seemed like he was going to have a career that would eclipse the faltering Warhol's.  Over time, the Skylers' Brillo Box passed through the hands of collectors like Charles Saatchi and other anonymous figures before landing among the possessions of Robert Shapazian, a noted gallerist who ran Gagosian in Los Angeles. When Shapazian's estate was sold at Christie's in 2010, the little yellow Brillo Box made $3m, a shock to Lisanne Skyler who was now an adult.  Curious about her family's glancing role in the art world, Lisanne made a documentary film now avai

  • Amy Cappellazzo on Barkley Hendricks

    26/06/2017 Duration: 25min

    Amy Cappellazzo talks about her record setting sales of three works by Barkley Hendricks, the recently deceased artist whose unique portrait style, developed in the 1960s and 70s, has been gaining attention for the last decade since the Nasher Museum held a retrospective of his work called, The Birth of Cool. In this podcast, Cappellazzo talks about having encountered the artists work and then getting the rare opportunity a few decades later to sell three works from one collection as it came to market. Faced with a series of choices about how to position and market the work, Cappellazzo walks us through her thinking and strategy. The record prices ultimately achieved were the product of a combination of cultivating new buyers, personal selling and the value of a sense of discovery.

  • Timothy Taylor on Alex Katz, Ding Yi and Running a Global Art Gallery

    05/06/2017 Duration: 37min

    Timothy Taylor has a space in New York that measures 16 x 34 feet. The intimacy of the gallery appealed to his artist Alex Katz who helped create a show around one of his student sketchbooks. The small works set in a small space offer a very different experience of the artist known for his work at scale. In this podcast, Timothy Taylor talks about the changing ways in which art dealers must operate to represent their artists well while coping with the constraints of ever-rising retail space rents in major metropolitan centers and the growing interest in art from collectors in far-flung cities across Asia and the West. Taylor, who has just opened a show of Ding Yi's new work in his London space, has also brought Alex Katz and Sean Scully to China. He sees the way that dealers represent their artists requires thinking creatively and hints that the future of art dealing may already be upon us.

  • May 2017 Imp - Mod Recap with Brooke Lampley & David Norman

    01/06/2017 Duration: 57min

    David Norman, formerly head of the Impressionist and Modern department at Sotheby's, and Brooke Lampley, formerly the head of the same department at Christie's (and scheduled to join Sotheby's in 2018,) get together to discuss the results of the Impressionist and Modern art auctions in May of 2017. From the stunning performance of a number of sculptures to the quandary of Monet's results to the use of guarantees and mix of lots in the Evening sales, Norman and Lampley offer their insights into the sometimes opaque bidding. The buyers of Impressionist and Modern art are changing. Their approach and objectives are different from the way in which buyers in the category used to see Impressionist and Modern art. Lampley and Norman illuminate these shifting trends.

  • Stefania Bortolami

    25/05/2017 Duration: 34min

    Elena Platonova sits down with Stefania Bortolami to talk about her new gallery in Tribeca, Daniel Buren's show inaugurating the space and her ambitious plan to get art across America including into former fast food outlets. In this podcast, Bortolami and Platonova discuss: *Has Chelsea left galleries no more room for error? *Will TriBeCa take over from the Lower East Side as the next gallery neighborhood? *Daniel Buren—"the Stripe Guy"—his latest exhibition and his career? *Her program to bring art exhibitions to cities around the US. Next up, New Haven's remarkable Marcel Breuer masterpiece.

  • Sam Gilliam interviewed by Jonathan Binstock

    17/05/2017 Duration: 55min

    Sirius XM produced this interview between artist Sam Gilliam and Jonathan Binstock, the director of Rochester's Memorial Art Gallery and a Gilliam scholar. On the occasion of Gilliam's return to the Venice Biennale 45 years after he represented the United States, this far-ranging conversation covers the artist's entire career. Born in Louisville, Kentucky where Cassius Clay, Sr. (Muhammed Ali's father) was a prominent painter, Gilliam encountered a European refugee Ulfert Wilke at the Louisville and became his studio assistant. He also eventually encountered the Gutai artists in Japan, Bob Thompson and moved eventually to Washington, DC where Kenneth Noland was at the center of the Color Field movement and the city was "a town of connection." Throughout this conversation Gilliam talks of the lifelong struggle to make art and make a life as an artist. His career followed no clear trajectory but has been punctuated by encounters with an endless cast of 20th Century artistic influences culminating in his mo

  • Mike Tansey and Barry Ellsworth on Art Dealing in Santa Fe

    10/05/2017 Duration: 40min

    Santa Fe, NM has long been a center of the visual arts in the United States. For more than a century, modern artists have retreated to the dry climate. The region is also home to a rich array of native and Spanish artists and artisans that have attracted visitors for hundreds of years. With a large number of vacation homes and occasional visitors, a long-running international opera that attracts foreign visitors and being a major tourist have made Santa Fe a magnet for art dealers as well as art buyers. There are more than 200 galleries in the city spread across four major neighborhoods. SITE Santa Fe, a national and international Contemporary art venue, re-opens in expanded form this Fall. Mike Tansey and Barry Ellsworth are two prominent gallerists in the city, they talk about the culture of art dealing in Santa Fe.

  • Margit Rowell on Miro's Constellations at Acquavella

    02/05/2017 Duration: 36min

    Acquavella galleries has brought together the 23 gouaches in Joan Miró's Constellations series that were last seen together in 1993 at the Museum of Modern Art. Considered by many to be the height of Miró's achievement as an artist, these works gain power and impact from being shown all together. Indeed, the condition for many of the loans was that the entire series had to be on view. The suite of images was produced between January of 1940 and September of 1941—but it was not until 1958 that André Breton named them “Constellations." When Miró and his family fled France for Spain ahead of the German invasion in June of 1940, he took virtually nothing with him apart from the portfolio of his ten completed Constellations. "Since they were first exhibited at Pierre Matisse’s gallery in New York in early 1945, after having been smuggled out of Europe, the Constellations have been celebrated as one of the most powerful artistic statements of the 20th century," said Bill Acquavella. Margit Rowell is an art h

  • Adam Lindemann on Bernard Buffet: Paintings from 1956-99

    07/04/2017 Duration: 33min

    Adam Lindemann discusses hisVenus Over Manhattan gallery's presentation of a survey of Bernard Buffet's paintings: The exhibition, organized in collaboration with the Estate of Bernard Buffet, marks the first major solo presentation of Buffet’s work in New York in nearly three decades. While Bernard Buffet (b. 1928, Paris, France; d. 1999, Tourtour, France) was once hailed as the next Picasso in France and internationally, the artist’s work has weathered dizzying cycles of acclaim and rejection. Immensely popular – and always commercially successful – at numerous points in his career, Buffet suffered long spells of vicious critical repudiation, when his work was considered the ultimate embodiment of poor taste. But curatorial attention has returned to his oeuvre in the years since his death, culminating in a major retrospective of his work at the Musée d’Art Moderne de la Ville de Paris in 2016, organized by the museum’s director, Fabrice Hergott. At this moment of renewed relevance, Bernard Buffet: Paintin

  • Phillips CEO Edward Dolman

    29/03/2017 Duration: 40min

    "This is why Phillips positioning is right. We essentially believe in an international Contemporary art marketplace and we believe most tastes converge at some point." ——Edward Dolman, CEO Phillips Auction House In the two and a half years since Edward Dolman took over the helm of Phillips auction house, he has been engaged in a remaking of the firm from an upstart auction house focusing on the fringes of the Contemporary art market to a serious alternative to Sotheby's and Christie's with a seat at the table when the biggest art deals are being made. In this podcast, Dolman talks about how the expansion of the Contemporary art market has made Phillips's strategy viable and profitable. He talks about the new team he has spent the last two years hiring—with leading specialists who decamped from Christie's and Sotheby's—and how their arrival will position the auction house to expand into new collecting fields and penetrate other regions of the world. He discusses the growing financialization of the art mar

  • David Norman on London's Impressionist & Modern Sales, March 2017

    23/03/2017 Duration: 55min

    David Norman looks at the results of the March 2017 auctions of Impressionist and Modern art at Sotheby's and Christie's. The surprisingly strong sales came in the context of a nervous art market wondering what the future might hold. In part because of that uncertainty, few of the works on offer were considered the kinds of trophies that would motivate bidders to aggressively pursue these works. Nonetheless, they did. Buyers, especially from Asia, were out in force. Although, as Norman points out, the bidding was tactical and sober. Buyers are keen on acquiring works of art but not at any price. With that in mind, Norman follows up on the previous sales of many of the works and points out that very few of the works auctioned in this March cycle lacked market exposure. Some did well against previous prices; others fared poorly. But the market showed that it could distribute familiar material efficiently and with strong prices even if the sales lacked an estate or other fresh material that might excite "a

  • Simon Hornby of Crozier Fine Art

    22/02/2017 Duration: 42min

    Art storage is one of the most overlooked aspects of the global art market. Crozier Fine Art is one of the first dedicated art storage firms specializing in storage, transport and transaction support. Simon Hornby discusses the firm's history and orientation toward serving the needs of collectors, dealers and museums. He also talks about the ways in which the art storage industry has grown into a custodial and service role to enable the new global art dealing that is based in art fairs around the world. Firms like Crozier provide support to the professionals who manage legal and tax concerns for collectors, dealers and institutions. Finally, Crozier's recent acquisition by Iron Mountain, the document and records storage concern, has initiated a new phase of expansion for Crozier both geographically and into broader areas of tangible asset storage.

  • Mnuchin Gallery's Robert Mangold: A Survey 1965-2003

    13/02/2017 Duration: 29min

    Mnuchin Gallery's founder, Robert Mnuchin, discusses the work of Robert Mangold and his gallery's show, "Robert Mangold: A Survey 1965-2003." The exhibition begins with a selection of early works from the 1960s in which the artist inaugurates his mode of tracing hand-drawn geometric figures within the outline of a shaped support, and continues through the 1970s, featuring examples of Mangold’s Circle paintings and A Triangle Within Two Rectangles paintings. In the early 1980s, the geometric forms of the paintings’ interior compositions—in this case, Xs and +s—began to dictate the shapes of the canvases themselves. The show also includes examples of Mangold’s work from the 1990s and 2000s, including the Attic Paintings, the Plane / Figure Paintings, and the Column Paintings, speaking to the evolution of Mangold’s interest in art history.

  • Loretta Wurtenberger describes turning the Hans Arp estate in a new direction

    01/02/2017 Duration: 40min

    “Sell as little as possible but as much as necessary.” --Loretta Wurtenberger on the Arp estate's guiding principle. Loretta Wurtenberger is one of the founders of the Institute for Artists’ Estates (http://www.artists-estates.com/)and has been managing the estate of Hans Arp since 2009. The prospect of managing artists’ estates has become a new topic lately, so we’re presenting the audio of Dr. Wurtenberger’s talk from the Keeping the Legacy Alive conference held in Berlin in September of 2016. Entitled Back to Square One, Wurtenberger’s talk describes the seven-year odyssey the Hans Arp estate made from controversy over posthumous casts to a vibrant discussion of the artist in the academic world, museums and on the art market. The talk begins with a brief biography of Arp, the conditions of the from Arp’s death in 1966 through the mismanagement of a German dealer and the controversies surround posthumous castings. In 2009, when Wurtenberger took over the the strategic management of the estate, Arp

  • Eykyn Maclean's Nicholas Maclean on the Private Market

    26/01/2017 Duration: 41min

    Nicholas Maclean spent nearly a decade as the co-head of Christie's Impressionist and Modern art department along with his partner, Christopher Eykyn, before opening his own New York and London-based gallery, Eykyn Maclean, 11 years ago. In this podcast, Maclean talks about the often overlooked private market where many substantial collectors who do not buy or sell through auction houses conduct a surprising amount of business that potentially dwarves the public art market. Maclean also talks about the difficulties for dealers in acquiring new work in today's art market where the overall public sales volume has fallen substantially without having an effect of weakening prices. In this climate, Maclean points to Italian Pop art as a potential area for collectors to find high quality work at prices that have yet to equalize with the rest of the global art market. Finally, Maclean shares his thoughts on new collectors and their behavior in the art market.

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