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EVENTS, POLITICS AND ECONOMICS - SPECIAL EDITION FRIDAY 3 DECEMBER 2004
Commercial-public interface
The fair is MOCA Miami’s chance
to show the world what it can do
Bonnie Clearwater,
director of the Museum of
Contemporary Art since
1997, organises exhibitions
on an annual budget of only
$2 million and a staff of
eight full-time employees.
In seven years, she has
acquired 400 works for the
permanent collection. The
Art Newspaper asked her
about
ArtBasel/Miami
Beach’s impact on her institution.
The Art Newspaper: What
has ABMB done for you?
Bonnie Clearwater: The
presence of the international
art world in Miami during
the week of the fair provides
great exposure for our exhibitions and simultaneously
educates our members and
patrons. Unless you’re a
VIP, it is difficult to go to all
the events, so we take our
patrons to meet artists and
dealers—and hopefully the
result is that they will end up
buying something for the
museum!
Two years ago, our
patrons bought us a work by
Anne Chu from the Donald
Young Gallery. Based on
what we saw at the fair this
year, we are now organising
a major show of her work
for next spring.
Last year there was a
boxed set of etchings by
Trenton Doyle Hancock—
whom we had shown here the
previous year—at the James
Cohan Gallery, and one of
our patrons later bought a
work for us.
This year one of our
patrons has anonymously
donated an early Christian
Marclay collage acquired
from the Paula Cooper
Gallery.
The fair focuses international attention on the entire
city. The exposure is wonderful. MoCA is often the
first place work is shown
before travelling elsewhere.
Two years ago we premiered
Sarah
Morris’s
film
“Miami” during fair week,
then Tate in London showed
it shortly after us. We also
showed Christian Marclay’s
“Sounds of Christmas” and
it is due to be seen soon in
London, also at Tate. Glenn
Scott Wright [director of
Victoria Miro in London]
saw Hernan Bas’s work
with us and is now showing
him in London. So fair
week is not just about art
coming to Miami, but also
about how we can contribute to the international
art world.
Why have so many major
collectors in Miami chosen
to show art in their own
spaces rather than donate
it to museums in the city?
BC: It’s a very natural
course for collectors to
build their collections, live
with them, develop them,
and then determine what’s
going to happen. A number
of them are under 50—significantly under 50!—and
others are not even 65. I
think they have the right to
enjoy their art; when the
time comes, decisions will
be made as to what happens
to
their
collections.
Meanwhile, they are still
able to support us. We have
some of the top collectors in
the city on our board: Irma
Braman is our chairman and
she and Norman are among
the top collectors in the US.
Rosa and Carlos de la Cruz
(see pp.4-5) have given us
Facts
1,500
Over
artists are represented
at ABMB, of which:
180 are from Germany
over 400 are from the US
over 130 are from Latin-America
1 was born in Taiwan
1 was born in Pakistan
over 40 are under 30, of which 4 are under 25,
more than
including 23-year-olds Francesca Woodman
and Jiae Hwang
over
100 were born before 1900
many works by younger
artists and provided funds to
buy works. Craig Robins
has also been supportive of
our exhibitions.
MoCA’s board is more
national than regional. Paul
Berg and his wife Estelle
are collectors in Miami,
Michael and Joan Salke are
collectors from Naples,
Florida, and Francie Bishop
Good and her husband
David Horvitz from Fort
Lauderdale collect contemporary female artists. But
we also have Louis Nerman
of Kansas City, Rosalind
Jacobs who is a collector of
surrealist art in New York,
and Heidi Steiger who is a
collector of emerging
artists, also from New York.
We mostly tend to acquire
newer works rather than
established “brand” names.
Janet and Robert Liebowitz
have been helping us buy
work by younger artists: last
year they contributed to our
acquisition of a work by
Laura Owens.
The first major work
acquired for the collection
was Jack Pierson’s foundletter Los Angeles hotelsign piece “Paradise”. We
acquired it in 1996 in a
campaign called “Keep
Paradise in Miami”, where
patrons could sponsor the
acquisition of a single letter. Leonard and Evelyn
Lauder bought the “E” in
“Estee”. J.E.K.
Leipzig artist Neo Rauch leads a school of painting that is
currently hotly favoured by influential collectors. See p. 6
Ed Ruscha comparative shopping list
Photo: Dona Ruscha
MIAMI.
The future’s
German
Museum der bildenden Künste, Leipzig courtesy Galerie EIGEN + ART Leipzig/Berlin Photo © Uwe Walter
UMBERTO ALLEMANDI & CO. PUBLISHING
■ Number of galleries listed in the ABMB catalogue
as exhibiting his work: 14
■ Number of galleries who
had already sold their
major Ruscha works before
coming to the fair: C&M
Gallery; Kukje Gallery;
Anthony
Meier,
Berggruen (a beautiful
1969 painting.)
■ Most expensive Ruscha
on show at fair: “Black and
pink ball” (20x24 inches),
detail right, 1972, yours for
$650,0000. With Richard
Gray. Previously belonged
to the First City National
Bank, Houston, Alan N.
Press of Chicago and a private collector from Seattle
who bought this same painting from Richard Gray in
October 1999.
■ Fastest selling Ruscha:
“Manual mobility”, acrylic
on canvas (60x84), 1994,
the very first thing sold at
Paul Kasmin on the morning of the first day: price
undisclosed.
■ Earliest Ruscha on
show: one of the seven
“Annie” drawings, this one
of the first, from 1961, a
bargain at $85,000 from
Peter Freeman.
■ Most recent Ruscha
work on show: Gagosian,
who represents the artist, is
showing two super fresh
paintings in the artist’s latest, not totally convincing
mode.
The
larger
“Southwestern systems”
costs $600,000 and “Fat
box” is on offer for
$350,000. Rather more
tempting was a classic 1972
“VANISH”, gunpowder on
paper on offer for $200,000.
■ Most beautiful Ruscha
on offer (but also the work
most seen by the market):
Van de Weghe has a classic
sunset spelling out the word
Kiss. Its actual title is
“KAY-EYE-DOUBLE-S”,
1980, price $450,000. A
decade ago this painting
was at the Mugrabi mansion
in New York and has subsequently gone through auction and been offered by
Richard Gray.
■ Most elegant small
painting: “L is for
Lumens”, 1993, $95,000, at
Pepe Cobo.
■
Least
expensive
Ruscha: four b/w prints,
“Rooftops” shot in Los
Angeles in 1962 and never
printed
until now for
Patrick Painter. On offer
for $25,000 for the set of
four, signed edition of 35.
Adrian Dannatt
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ART BASEL/MIAMI BEACH DAILY NEWSPAPER • FRIDAY 3 DECEMBER 2004
2 • THE ART NEWSPAPER
Gossip
Do it yourself art
Fair afloat
The ever energetic ubercurator Hans
Ulrich Obrist chose ABMB as the place
to launch his DIY guide to making other
people’s art yourself, in which big name
artists generously provide mere mortals
with instructions on how to recreate
their oeuvre. Artists in attendance at the
launch in the botanical gardens included
the splendidly bearded duo Laurence
Weiner and John Baldessari and the ever
magnificent Marina Abramovic, who
instructed the audience to follow what
she declared to be a Florida friendly
recipe, namely, to “Mix Fresh Milk
From the Breast/With Fresh Milk of the
Sperm/Drink on Earthquake Nights.”
However, while the doyenne of performance art conceded that these tasks
could be carried out off site, she then
went on to insist that everyone present in
the botanical gardens lie down and
scream for two minutes. After some persuasion, the crowd duly did this but their
cathartic cries were drowned out by the
buzz of a cheeky plane which repeatedly
circled overhead trailing the offputting
banner, HI THERE! FROM TFS
MIAMI.COM—a message which, suitably enough for Miami, came from a
real estate company.
Spotted scouring the ABMB aisles
Wednesday and Thursday were David
and Lee Ann Lester who sold their miniFloridian fair empire to the British Daily
Mail Group for $18 million back in
2001. The Lesters, like practically all
other fair organisers, never miss an
opportunity to pick up pointers from
competitors. “Samuel Keller has pulled
off a fantastic show,” says Mr Lester,
who praised the set up, the endless staff
to answer questions and attend to maintenance. “The only question, is how do
they make any money?” says Mr Lester,
who is known for his ability to ratchet up
profit margins in a nano-second.
Currently, the Lesters are fine-tuning
their next show venture, SeaFair, a
multi-million dollar ship loaded with art
set to ply the inland waterways by 2006.
Already, the London Pelham Gallery
and Manhattan Berry Hill Galleries have
signed up.
Putting DIY
into practice
New York artist Eric Doeringer has
taken Mr Ulrich Obrist’s advice to heart.
He has copied the work of more than 40
contemporary artists, in a series known
as “The bootlegs” and now plans to set
up shop outside -scope Miami at the
Townhouse hotel with a giant rolling
suitcase full of work. Unless ejected by
staff, he plans to remain there for the
duration of the fair. His past stints as
shopkeep on the front steps of ArtBasel
in Switzerland, the Whitney Biennial,
and the Armory have gone by relatively
unimpeded, and his clients are often art
collectors who own work by the artists
he is copying. Of course, Doeringer’s
versions, priced at between $60 and
$100, are somewhat more affordable
than the originals by the artists whose
work he is inspired by.
THE ART NEWSPAPER
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THE ART NEWSPAPER
ART BASEL/MIAMI BEACH DAILY EDITION
Group Editorial Director: Anna Somers Cocks
Editor: Cristina Ruiz
Art Market Editor: Georgina Adam
Correspondents: Marc Spiegler, Jason Edward Kaufman,
Louisa Buck, Adrian Dannatt, Brooke Mason, Mark
Clintberg, Carolina Wonder, Jose C. Diaz
Picture editor and editorial coordinator: Helen Stoilas
Production Manager: Eyal Lavi
Associate Publisher: Iain Aitken
Marketing Manager: Patrick Kelly
Marketing Officer: Neil Carty
ABMB: mogul
territory
When it comes to cruising the fair early,
mighty titans get there first. On Tuesday,
Manhattan takeover giant Henry Kravis
was led through ABMB by überdealer
Larry Gagosian. Among the crowds
flooding the fair was a slew of financial
and entrepreneurial wizards. It included
the beleaquered Mike Ovitz, whose
$140 million severance package from
Disney is being contested in the
Wilmington, Delaware courts. Mr
Ovitz, who has a multi-million dollar
collection of Ming furniture and Brice
Marden paintings, lingered on Luhring
Augustine’s stand. Also spotted at the
fair was Steve Tisch, whose family owns
the hotel and entertainment giant Loews.
Taking a pause from his family of five
children, Mr Tisch snapped up a Martin
Kippenberger at Zwirner & Wirth on
Wednesday. “It’s a beautiful painting,”
says Mr Tisch, whose collection
includes important examples by Arthur
Dove, Marsden Hartley and Richard
Prince.
In
addition,
Stephen
Schwarzman, the billionaire founder and
CEO of Blackstone Group, the boutique
investment house, was careening
through the aisles. As chairman of the
Kennedy Center in New York as well as
board member of the NYC Ballet and
Public Library, Mr Schwarzman has
appointed himself a patron of the arts.
He picked up John D. Rockefeller
Junior’s former abode, a 24-room apartment at 740 Park Avenue for more than
$30 million to house his family and art
collection.
Jeffrey Deitch’s coat
of many colours
His triumph as a rock n’ roll promoter
seems to have had a strange effect on
Jeffrey Deitch’s dress sense: the night
before his Scissor Sisters triumph there
was his much commented-upon wearing
of very flashy dark glasses throughout
the de La Cruz party, and all day yesterday he was resplendent on his stand clad
in a modishly multicoloured customised
suit courtesy of Deitch Project protégés
dearraindrop. We eagerly anticipate his
further sartorial statements…
Too much lounging
in the video lounge
The comfortably moulded foam
loungers inside ABMB’s art video
lounge provide a welcome respite from
the relentless hoofing that is the lot of
the art fair visitor. However, it is not
only art lovers who are benefiting from a
relaxing recline in an air-conditioned
environment: the local homeless are also
finding this a much more pleasant environment than bunking down on the hot
sands of South Beach, with the result
that it is often difficult to hear the sound
tracks of this carefully selected programme of video artists (both established and emerging) above the snores of
the lounge’s dozing itinerant population,
who seem to be taking little interest in
the works on show.
Naughty nudes at
Alexander/Cobo/Mai
Nothing attracts attention like a few
saucy pictures—at least this is the view
of gallery triumvirate Brooke Alexander,
Galeria Pepe Cobo and Mai 26, united
on Booth 28 and also pooled their considerrable gallery recourses to create
what Brooke Alexander describes as a
“Total Nudie Wall” to draw in and entertain passers-by. Arranged along a pucepainted wall are some 17 explicit pieces
catering for all tastes, ranging from
Robert Mapplethorpe and Andy Warhol
to Pierre Molinier, Thomas Ruff and
Nobuyoshi Araki. Although all works
are individually priced, Mr Alexander
informed The Art Newspaper that, for a
negotiable price between $175,000 and
$200,000 the entire wall can be yours:
“If you buy the whole thing, we’ll even
paint your wall pink too,” he added.
Auction house scandal
still hot
Christopher Mason was at the
Books&Books booth at ABMB earlier
this week to sign copies of The Art of the
Steal, his account of the auction house
commission fixing scandal. “The scandal still seems to be a hot topic to art
people,” reports Mr Mason, a selfdescribed “chronicler of the human
comedy.” “They know all the characters,
and everyone keeps asking me, ‘Is
Alfred [Taubman] out of prison yet?’”
(He is, of course.) “Lots of people said,
‘I read it, and I loved it, but I didn’t buy
it.” The author added that the book has ,
indeed, been selling and that he will be
dropping by the booth to sign copies for
the remainder of the fair.
Spock comes to town
NADA continues to attract the stars of
big and small screen, with actor Leonard
Nimoy better known as Star Trek’s
pointy-eared Vulcan, Mr Spock, who
was seen wandering through the booths
at the opening yesterday.
Richard Meier’s 70th
At the party in honour of Richard Meier’s
40 years of architectural practice, held at
the penthouse of the Raleigh Hotel last
night, who should be seen holding the
centre of the room but the monumental
millionaire playboy and amateur paparazzo Jean Pigozzi. He was animatedly discussing details of the celebrity shutterflapping trade with Patrick McMullen
and the svelte artist Alison Jackson,
fabled for her celebrity lookalike miseen-scènes. She has managed to turn her
Doppelgänger snaps into a one-womanindustry, covering both gallery walls and
advertising campaigns. Both Mr Pigozzi
and Mr McMullen, despite their own
renowned status, were not shy to admit
they envied Ms Jackson her breakthrough
idea which, as they quipped,” anyone
could have thought of.”
The Bulgari
art
conversations
B
ulgari and ABMB hosted the
inaugural panel discussion in
the Art Conversations series last
night. Artists, curators, and critics
gathered for an evening of cocktails
and musings. The Art Newspaper was
there. Here follows a selection of what
was said.
SHOULD COLLECTORS BUILD THEIR
OWN MUSEUMS?
Liam
Gillick: The
idea of the
“museum” is
not stable,
despite
everything
that people
would like to
think. Even
the more
boring magazines in New York talk about the contemporary section of MoMA being
dull. We rely on private museums to
provide a new model. They can be
irritating, irresponsible, idiosyncratic—these things are all very interesting because they introduce...the idea
of refusal...from an artist’s perspective, the idea of the collection being
something complicated that brings up
ideas of refusal, of behaviour. When it
becomes boring is when it becomes a
mirror reflection of the museum museum.
SHOULD ARTISTS BE CELEBRITIES?
Jeff Koons:
I think the
reason that
people get
involved in
art has to
do with peoples’ insecurities. I
think art is
about love,
about wanting to love, and if anyone really loves
art and focuses on it, it will take them
past wanting to be loved to loving.
ARE CURATORS FAILED ARTISTS?
Daniel Birnbaum: It used to be the
fact that people [in the art world]
came from all kinds of worlds: Harold
Szeeman was a failed theatre person,
or a good
one, I don’t
know, so
maybe that
was a good
thing. I’m
afraid that
today the
whole art
world,
including
curators,
have become so professional—everyone’s becoming educated, even to
become a curator so they are no
longer failed artists.
IS LOCATION IMPORTANT
FOR ART?
Janet Cardiff: If you’re having sex,
location is really important.
Graveyards
are actually
pretty good.
For an art
work it
depends
where it is
built, it
always influences the art
whether it’s
in MoMA or in Central Park, whether
it’s in a gallery or in somebody’s
basement, especially when you have
wood panelling next to it. Yes, location is seriously important.
■ Art Conversations continue today, see p.11.
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ART BASEL/MIAMI BEACH DAILY NEWSPAPER • FRIDAY 3 DECEMBER 2004
4 • THE ART NEWSPAPER
The
collector
as curator
chez elle
© BMW/Thomas Loewy
Cuban-born Carlos
and Rosa de la Cruz
receive 5000 visitors
a year in their house,
which has become
a personal Kunsthalle
EXCLUSIVE: read collector Charles Saatchi’s
opinions in the interview
with The Art Newspaper that was extensively
quoted by all the London press last week
In this month’s issue...
Seventy-six pages of news, views and What’s On
covering the international art world
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in selected book stores and by subscription.
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osa and Carlos de la Cruz have
a pretty large house, but they
have only one bedroom now.
The rest is given over to art.
It all began 16 years ago, at the
same time as their grand daughter was born. Carlos is more for
painting, and especially the Germans;
there is a huge Sigmar Polke in the doublecube central room of the house, of the view
of Afghanistan from a spy satellite. Rosa
was particularly influenced by the conceptual artist, Felix Gonzales-Torres, who
died of Aids. In the corner of one room she
has a famous work of his, the pile of
sweeties of which one is invited to partake,
in symbolic sharing of a dead friend’s
sweetness.
Mrs de la Cruz has found her vocation as
private curator and collector. She changes
the displays in her house regularly. For
ABMB she has had a big installation piece
made for the upstairs gallery by assume
vivid astro focus, known to New Yorkers
from their installations at Deitch Projects
and the last Whitney Biennial. It would
take too long to describe it here, but it is
colourful, densely patterned and eclectic in
the extreme: artists’ wallpapers, two go-go
dancers’ illuminated platforms, a brick
wall, a changing video show, music, and on
the opening night, a performance by Los
Super Elegantes. This last had the couple
being trailed by a snapping paparazzo, a
comment on the intrusiveness of today’s
obsession with celebrities.
Carlos and Rosa left Havana with the revolution. America has lived up to its myth and
brought them fortune (among their activities are the distribution of Budweiser and a
Coca Cola bottling plant in Puerto Rico).
“My husband and I believe in giving something back to the community”, says Mrs de
la Cruz, a small, slender and eloquent
blonde in her early 60s, the grand-daughter
of the man who built the Capitol in Havana.
She admits about 5,000 people a year–
from school children to aerobics clubs–go
around her austerely post-modern house
overlooking the sea . “All they have to do
is email me,” she says. An extra 3,000 will
be coming round during ABMB, twice the
ART BASEL/MIAMI BEACH DAILY NEWSPAPER • FRIDAY 3 DECEMBER 2004
number of last year. “People think I am an
institution and write to me ‘Dear Sir,
please send photos...’, but there is only me
and my assistant, Alicia”.
She likes nothing better than working with
artists: “Whenever I see their work, it’s in
terms of a show rather than as single trophies. I think of this house as a theatre,
where the works of art play off each other.
I don’t like to pigeon-hole things”. She
travels widely to see and buy art. Among
the fairs, she goes to Art Basel in
Switzerland, has been twice to Berlin and
will go again, she says. She used to go to
Arco in Madrid, but has not been for five
years. Then there is the Armory in New
York, Artissima in Turin, and Frieze, the
new and highly successful London fair,
where she bought a lot of painting this
year.
Her next show will, in fact, be of painting,
reflecting what she calls “the new feeling
for this traditional art form; the descendants of Philip Guston, but with a
grotesque twist”. Coincidentally, London
mega-collector Charles Saatchi has also
announced that his next show will be of
painting. For both collectors, the Germans,
especially the Leipzig School, are high on
their lists.
She is enthusiastic about what Art
Basel/Miami Beach has done for the city,
acting as a kind of linking element
between Miami’s important collectors
such as the Margulies and Rubells, who
are all working away rather independently
on their various projects. “The fair has
brought the world to Miami, which has
been great for artists here,” she adds. It has
also extended the audience for her gallery
down in the Design District, the Moore
Space. Previously, it was only artists,
curators and the like who came to this
Kunsthalle in downtown Miami. Now the
local bourgeoisie also visits, says its curator Sylvia Karman Cubiña.
The space is a collaboration with the property developer Craig Robins, another
Miami collector. Since 2001, when the
first Basel fair would have happened had it
not been for 11 September, he has let Rosa
de la Cruz have the space free to put on
Mr and Mrs de la Cruz are prepared to live with works of art that strongly affect
their sorroundings, such as the installation (above) by assume vivid astro focus
and the purple hyena eating a pink flamingo (right)
four exhibitions a year. Currently, it has a
brilliantly coloured installations by
Providence-based artists Jim Drain and
Ara Peterson, and a paintings show by the
Miami artist Hernan Bas (until 31 March
2004), both of which open to the public
today. There is no plan, however, for this
space to start having a collection of its
own. “We want to remain unencumbered
and responsive to the art scene outside”
says Ms Cubiña, a view that is held strongly by Mrs de la Cruz: “The moment I
become an institution, this will all lose its
character. We have to remain small, in the
same way that famous Italian companies
like Alessi are good because they are
small”.
Anna Somers Cocks
■ Rosa and Crlos de la Cruz’s collection is open to the public
by appointment: email Rdlacr@aol.com
THE ART NEWSPAPER • 5
6 • THE ART NEWSPAPER
ART BASEL/MIAMI BEACH DAILY NEWSPAPER • FRIDAY 3 DECEMBER 2004
Focus on nations: Germany
Global trade
Miami collectors are among the flight towards painting
How art and film fairs
compete to survive
Leipzig School to the fore: “They didn’t know painting was dead”
A
F
ilm
director
Paul
Morrisey is presenting
Andy Warhol’s movie
“Trash” tomorrow as part of
ABMB’s “Art Loves Film”
programme and tonight there
is an outdoor preview screening of HBO Films’ “The life
and death of Peter Sellers” in
the grounds of the Raleigh
Hotel. But the connections
between the worlds of art and
film extends to international
fairs such as this current one.
Any art fair worried by the
success of ABMB (the
Armory, to name but one)
would do well to note the
recent crushing of Italy’s longstanding fair for film distributors Fiera Milano (MIFED).
There had always been an
overt antagonistic rivalry
between the American Film
Market (AFM) in Santa
Monica and MIFED in Milan.
The AFM used to take
place in February with
MIFED in November. In a
determined bid to crush
MIFED, AFM decided to
move
their
event
to
November. MIFED re-scheduled its opening to start three
weeks earlier but most of the
major film sellers and buyers
failed to materialise. And so,
on the anniversary of its 71st
fair last month, “Fiera
Milano” was dealt a probable
death blow with the open mar-
This untitled work by Martin Kippenberger, 1982, is in the Dacra Collection, Miami Beach
rary art is driven by cycles,
fashions and a touch of restlessness. People have been
tiring of video works and
installations, which, in addition, are not easy to display:
they are ready to move onto
something new.
Add in the influence of a
few major collectors such as
the Rubells or Britain’s
Charles Saatchi (who is
devoting next year’s show at
his London gallery to paintings) and other buyers will
quickly follow. “It may sound
idealistic, but I believe that in
the long run, good work wins
BMW as a cultural motor
MIAMI BEACH.
When ABMB visitors stroll past the BMW stand in the visitors’ lounge, they
see not a single one of the German auto giant’s one million cars produced annually. Rather
they are drawn to the impressive roster of art programmes sponsored by BMW. “The point
is not to publicise our cars but to demonstrate our role in art,” says Thomas Girst, BMW
group head of cultural communications. He believes that the shuttle service with its 30 BMW
autos, sponsored by BMW, as well as a daily edition of The Art Newspaper at the fair, is also
an effective way to reach a sophisticated audience far beyond the South Florida shores, to
Latin America , Europe and North America. Another way the auto giant has been ahead of
the pack is by commissioning work from major artists. More than two decades ago, BMW
commissioned Gerhard Richter to create the first of three mural-sized paintings for its headquarters. BMW sponsors more than 100 art events globally, from the Bayreuth Jazz fest to
South African musicians. Twenty years ago, BMW also launched its art car programme.
American sculptor Alexander Calder painted the first BMW and Jenny Holzer the most
recent, in 1999. Visitors to the stand can study the 30 years of the BMW art car collection,
or take a simulated spin through the new buildings under construction in Germany. “Other
stands are set up to sell art”, says Mr Girst, “our goal is to educate”. Brook S. Mason
out”, said Art Cologne director Gerard Goodrow, speaking to The Art Newspaper in
October. “The academy system means that artists here
are better educated. Even
when they do ‘bad painting’,
it’s really well executed”. A
former teacher in Leipzig’s
Artists’ School for Graphic
and Book Illustrations is the
hugely successful painter
Neo Rauch. “People in
Leipzig didn’t know painting
was dead,” says dealer Gerd
Harry Lybke from Eigen +
Art, “and the girls in Leipzig
like painters,” he jokes.
Collectors whose interest
has been raised by exhibitions
of these artists at private collections should note that
Eigen + Art have sold incredibly well recently. The gallery
has such reduced stock that
they have only brought work
by Martin Eider to this year’s
fair. Mark Clintberg
Miami Art Museum thanks the voters of Miami-Dade County
for approving by a 65 percent majority a community-wide bond program on November 2.
The $2.9 billion bond program, which supports projects of both neighborhood and regional
importance, provides MAM with $100 million for the creation of a new world-class building and sculpture
park. Miami Art Museum will match the county’s investment to establish a significant operating
endowment fund for the museum. Miami Art Museum thanks the City of Miami for designating
a waterfront site at Bicentennial Park in downtown Miami for MAM’s expansion in the years ahead.
The Miami Art Museum is at the very center of one of the world’s most vibrant cities, bringing
international art of the 20th and 21st centuries to life through exhibitions, programs and collecting.
miamiartmuseum.org
ket deciding the winner.
MIFED may decide to invite
all buyers and pay their
expenses (just as a select
handful of collectors is flown
to Miami) but essentially the
sales calendar has now been
rationalised, reducing the
number of major markets
from three to just two: Cannes
in May and Santa Monica in
November. Indeed the AFM
seems so confident in having
wiped out the competition that
last month, it opened a second
Loews hotel for further
screenings. An editorial in the
trade
paper,
Screen
International, could as well be
The Art Newspaper covering
the market for international art
fairs: “Acknowledging our
own vested interest in any
market’s success, we also
know that long-term prospects
are not helped by promulgating hype. Truth is, this paper
has learnt to balance the sellers’ natural buoyancy against
the buyers’ inveterate cynicism. Nor do we trust the registration numbers; they might
signal an event’s momentary
vibrancy, but they offer few
clues as to how many are actually buying, which of them are
paying full whack, or how
many deal terms end up being
re-negotiated once contracts
are exchanged at the end of a
market.” Adrian Dannatt
Courtesy Dacra
n impressive Museum
of Fine Arts opens
today in Leipzig after
a five-year construction period, further whetting collectors’ appetites for German art.
In the last year, Germany has
attracted a lot more attention
from the international art
community, replacing the
YBAs [Young British Artists]
as the new hot topic. A
German magazine cover was
even headlined “Brit-Art war
Gestern!” (Brit Art was
Yesterday!), reporting Korean
collector C.I. Kim’s BerlinLeipzig buying spree.
This new gang of painters
includes David Schnell,
Matthias Weischer, Tim Eitel,
Martin Eder, and Christoph
Ruckhaberle. During ABMB
this year, Rosa de la Cruz, the
Rubells, and Dacra all
exhibiting German painters.
Currently the Rubells have on
display five Eitels, four
Ruckhaberles, three Schnells,
four Weischers, and more
than half a dozen Havekosts.
The Dacra collection has
acquired a number of
Kippenbergers, as well as
other works by German
painters including Eberhard
Havekost, Kai Althoff and
Katharina Wulff.
So why have all these collectors all taken such an interest? A mild mannered David
Schnell is unsure why his
work has become so sought
after. “I think that for some
[collectors] it might be that
we learned from an old
school technique. The school
was changing. Photos and
media art were rising, and
because of this we had to take
a clear position against that,
so we didn’t use painting in
an ironic way. Instead we
made painting in a traditional
way.”
The fact is that contempo-
Mattias Rastofer:
my Miami
THE ART NEWSPAPER asked
Mattias Rastofer of Galerie
Gmurzynska to recommend
his favourite places in
Miami.
Restaurant I have to choose
Bed, which is a very unusual
restaurant, where clients are
actually served in bed, on
rattan trays. It is run by good
friends of mine. The first
year of Art Basel/Miami
Beach we organised a major
event there with Karl
Lagerfeld, and it was really
amusing because when we
arrived he refused to lie
down and eat, and he had
such tight jeans on that he
couldn’t sit down. So at two
o’clock in the morning we
pitched up at my other
favourite restaurant, Nobu at
the Shoreclub, where finally
we found a barstool Mr
Lagerfield could perch on:
Bed, 929 Washington
Avenue, Miami Beach.
☎+1 305 532 9070
Nobu, 1901 Collins Avenue,
Miami Beach.
☎+1 305 695 3232
Bar Mynt Lounge. Again in
the first year, we organised a
party jointly with Art Basel,
for 300 guests, and we had
1,000 who wanted to get in!
It made us very popular with
all those who couldn’t
squeeze their way in.
Mynt Lounge, 1921 Collins
Avenue, Miami Beach.
☎786 276 6132
Club The Nikki Beach Club.
It’s outside and warm, that’s
the fun for us northern
Europeans.
Nikki Beach, 1 Ocean Drive,
South Beach, Miami Beach.
☎+305 538 1111
BULGARI.COM
A V A I L A B L E E X C L U S I V E LY F O R P R I V A T E V I E W I N G A T S E L E C T E D B U L G A R I S T O R E S W O R L D W I D E
Focus on nations: :Latin America
Dealers bone up on their Spanish as market develops
A new generation of collectors is emerging but it will take a couple of generations before the market gains depth
M
iami may be in
the US, but from
an economic perspective it is best
viewed as the capital city of
Latin America’s elite. Many
of the continent’s wealthiest
families have sunk fortunes
into mansions or luxury condominiums along the city’s
oceanfront, and even those
without such prodigious
pieds-à-terre know Miami
intimately.
This Latin connection
played a huge role in the
choice of Miami as the site
for ArtBasel’s American
offensive. Yet when the city’s
selection was announced in
2000, this seemed a pretty
precarious justification to
many art-market insiders.
Three years later, there is
no question that the Latin
American market for international contemporary art has
expanded rapidly. Suddenly,
European dealers have started boning up on their
Spanish. When event coordinator Isabela Mora arranged
a tour of Rio de Janeiro, São
Paulo and Buenos Aires this
September, the group of Alist collectors, curators and
dealers she assembled easily
equalled that of the best
gallery dinners in New York
or London.
Four years ago, Ms. Mora
recalls, it was a different
story: “I was doing projects
in Europe and had to convince people that Latin
American collectors such as
Eugenio Lopez or Juan
Vergez were important. Now
people would kill to have
them present anywhere.”
Most close observers
agree the watershed event in
validating Latin America to
the international market was
the 2000 opening of Mr
Lopez’s La Collecion Jumex
in Mexico City. His peers
saw that art-collecting conferred social status, galleries
started opening, and Mexican
artists began to pop up regularly
in
biennials.
“International dealers now
think of Mexico as a market
with great potential,” says
Zelika Garcia, co-founder of
Mexico City’s MACO fair,
the April 2004 debut of
which included participants
such as Happy Lion from Los
Angeles, Arndt + Partner
from Berlin and Michele
Maccarone from New York.
And though Mr Lopez has
justifiably drawn the international spotlight, Ms Garcia’s
husband Enrique Rubio
points out that the country
also has a host of other major
collectors, such as Agustin
Coppel, Ignacio GarzaMedina,
and
Patrick
Charpenel.
Recently, the country’s
second
largest
city,
Guadalajara, has become a
nexus of new collecting (and
as reported in the December
edition
of
The
Art
Newspaper, the city appears
to
have
landed
the
Guggenheim’s
Latin
American franchise after the
expansionist museum’s Rio
efforts foundered). “A few
years ago, only three people
were collecting international
contemporary art,” recalls
José Noe, a collector whose
family ceramics factory has
executed projects with artists
such as Rirkrit Tiravanija,
Jason Rhoades and John
Baldessari. “Now there are 15
to 20 collectors and they
immediately started to collect
beyond Mexican artist—
artists such as Thomas Ruff,
Jim Lambie, Angelo Bulloch,
Jorge Pardo, Yang Fudong
and Yutaka Sone.” Mr Noe
has actively promoted collecting among his peers,
bringing them along to fairs
and organising galleries such
require a lot of time to build
and a real effort to understand the culture, more so
even than in Japan.” Even in
restaurants and hotels,
Enrique Rubio points out, a
certain level of attention, or
even flirtation, plays a critical role in sealing the deal,
and the Mexican market will
surely favour dealers whose
tactics might be considered
pushy or presumptuous in,
say, Germany or England.
While Mexico may be the
flashpoint of the Latin market, Ms Mora points out that
there are new developments
across much of the continent.
“Buenos Aires is changing a
lot,” she notes. “Juan Vergez
is one of the most passionate
collectors I have ever seen.
He buys huge installations
and installs them in his warehouses, in a really lively way.
And now many of his friends
are also getting involved.”
German dealer Karsten
Greve is still waiting for
the promised influx of
Latin American collectors
to ABMB
as New York’s Casey Kaplan
and David Zwirner, 1301 PE
of Los Angeles and Berlin’s
Arndt and Partner to make
private presentations to incipient Guadalajara collectors.
Such personal touches are
critical in Latin America.
“People in Europe and the
US misinterpret Latin culture—they assume that
because so much of it is sexy
and sensual, personal relationships should be easy to
establish,” says New York art
advisor Darlene Lutz, who
has added several Latin
American clients recently.
“But business relationships
Encouraging his fellow
Mexicans to collect: José
Noe
To Argentina’s north,
Brazil has the longest history
of collecting on the entire
continent, including the
Chateaubriands of São Paulo,
whose Old Master collection
underpins the MASP museum. Currently, the tax laws
make importing international
art onerous, but for collectors
with lavish means, such as
metals magnate Bernardo
Paz, that is clearly no obstacle. Part of Ms Mora’s
September tour was the overthe-top opening of Mr Paz’s
Centro
de
Arte
Contemporãnea Inhotim, an
arts complex erected in three
years with major works
installed from artists such as
Albert Oehlen, Dan Graham
and Janet Cardiff. “I can’t
understand a world divided
into foreign and Brazilian
artists,” Mr Paz explains.
“Humanity prevails over cultural differences, especially
today in our globalised
world.”
Introduced to Paz by
Roland
Augustine,
of
Manhattan gallery Luhring
Augustine, who has been
active in Latin America for
more than a decade, Berlin
dealer Max Hetzler travelled
to Brazil three times in the
last three years. This year, he
had three German artists in
the São Paulo Biennial:
Thomas Struth, Vera Lutter
and Oehlen. He also imported work from Brazil, showing
installation
artists
Ernesto
Neto,
Beatriz
Milhaizes and, soon, Marape.
“I love the country for its culture more than for its art market,” Hetzler says. “But I
have to say that when I spoke
with the dealers and collectors there during the São
Paulo biennial, you could see
a really heartfelt passion for
contemporary art.”
That said, German dealer
Karsten Greve says he is still
waiting for the promised
surge of Latin collectors at
ABMB. “There’s no doubt
Latin America has a huge
potential, but I think if I
wanted to really reach the
Latin market, I would do better to go to São Paulo for a
month during the biennial.
Also, what I really miss here
is the Latin American curators. I think for those who are
not consulting private collectors, coming to the fair is too
expensive, so maybe the fair
should focus on inviting
them.” Then again, Greve’s
prices may simply be too
high for many of the new
Latin collectors, who may
have to work up to buying
pieces in the six-figure-plus
price ranges common among
classic contemporary art.
Indeed, despite the prominence of collectors such as Mr
Vergez, Ms Lopez or Ms Paz,
and the surge in art-market
activity, it’s important to keep
things in perspective: the
Latin market for international
contemporary art still lacks
depth. And it may take another generation or two for a truly
substantial cohort to emerge.
“Art collecting is fashionable
now among the Latin
American elite,” observes 43year-old
collector
Luiz
Augusto Teixeira de Freitas, a
Rio native. “Suddenly, it’s
trendy to have interesting
artists at your home. But even
among the very rich collectors
of contemporary art remain a
small minority, because the
level of education and information on contemporary art
remains so very different from
places such as Germany.”
Marc Spiegler
From the publishers of The Art Newspaper
Salvador Dalí’s amazing jewels
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This book
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H
ard on the heels of Giuliana
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Repertorio del design italiano
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Two hardback volumes in slipcase
€ 180, $ 211, £ 127.30
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in fifteen countries bring you hard news, opinion and reportage.
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ART BASEL/MIAMI BEACH DAILY NEWSPAPER • FRIDAY 3 DECEMBER 2004
THE ART NEWSPAPER • 11
Around Miami
Museum of
Contemporary
Art
770 NE125th Street
at NE 8th Avenue
☎ +305 893 6211
www.mocanomi.org
CUT/Film as found
object
Until 30 January 2005
A travelling exhibition
of large-scale video
projections by nine
contemporary artists,
including Paul Pfeiffer,
Pierre Huyghe and
Douglas Gordon.
Bass Museum
of Art
2121 Park Avenue Miami
Beach ☎ +305 673 7530
www.bassmuseum.org
Paris Moderne
Until 23 January 2005
Art Deco works on loan
from the Musée d’Art
Moderne de la Ville de
Paris, including more than
40 paintings and 30 works
of decorative art.
The Rubell
Family
Collection
95 NW 29th Street,
Wynwood Art District,
Miami ☎ +305 573 6090
This newly expanded
building housing one
of the country’s top
collections of contemporary art re-opens with:
Aernout Mik
project room
Until 6 February 2005
Eberhard Havekost
project room
Until 27 February 2005
Northern light:
Leipzig in Miami
Until 27 February 2005
Memorials of identity,
new media from the
Rubell Family Collection
Until 6 March 2005
American dream,
collecting Richard Prince
for 27 years
Until 27 March 2005
Supersize
Until 31 July 2005
The Margulies
Collection
at the
Warehouse
591 NW 27th Street
☎ 305 576 1051
www.marguliesware
house.com
The inaugural exhibition in
the newly-expanded space.
WolfsonianFIU
770 NE125th Street
at NE 8th Avenue
☎ +305 893 6211
www.mocanomi.org
Streets and faces:
Jazz Age Paris, London,
Berlin and New York
Until 20 March 2005
Illustrations by the French
artist Chas Laborde (18861941), depicting life in
Paris during
the “roaring 20s”.
Miami Art
Museum
101 West Flager Street
Miami ☎ +305 375 3000
www.miamiartmuseum.org
Fabian Marcaccio:
Miami-Paintant
Until 23 January 2005
For his first solo exhibition in the US, Argentine
artist Fabian Marcaccio
has created a 100 footlong, 13 foot-high, sitespecific installation that
incorporates elements
of painting, digital
photography, printmaking
and sculpture.
Light and atmosphere
Until 30 January 2005
A show of recent acquisitions examining the use of
light in art and including
artists such as Sean Scully
and Teresita Fernandez.
Miami Art
Central
5960 SW 57 Avenue Miami
☎ +305 455 3333
www.miamiartcentral.org
How do we want
to be governed?
Until 30 January 2005
Curated by Ruth Noack
and Roger M. Buergel,
artistic director of
Documenta 12, this travelling show brings together
some 20 international
artists whose work
explores the relationship
between government and
self. Mr Buergel describes
the exhibition as a “threedimensional film” where
art and its viewers interact.
The Moore
Space
4040 NE 2nd Avenue,
☎ 305 438 1163
www.themoorespace.org
Wiggin Village
3 December-31 March
2005
A large-scale, abstract
installation by Jim Drain
and Ara Peterson, curated
by Lawrence Rinder,
adjunct curator at the
Whitney Museum
Soap-Operatic
3 December-31 March
2005
An exhibition of paintings
by the Miami artist
Hernan Bas.
Today’s events
ArtBasel Coversations
10:00-11:30am
Miami Beach Convention
Center, Art Collectors
Lounge
Panel discussion on the
theme of collecting and
exhibiting art, with Antoine
de Galbert, collector and
founder of La Maison
Rouge in Paris and
Marieluise Hessel, founder
of the Center for Curatorial
Studies at the Bard College
in New York, among others.
☎ 646 486 0252
A live, puppet rock-opera,
directed by Dan Graham,
with videos by Paul
McCarthy and Tony Oursler
and songs written by
Rodney Graham.
Happy Hour at Art
Positions
7:00-9:00pm
Collins Park
Cocktails and music, with
DJs Mark Leventhal and
Stephan Luke.
Jeff Koons book signing
3:00pm
The artist attends Taschen’s
stand at ABMB, Hall D,
booth X1.
Art Loves Puppet Rock
5:00-6:00 pm
2000 Convention Center
Drive, Miami Beach
Botanical Garden, check
Trans>booth in the
Convention Center
for tickets
Art Sound Lounge and
Art Bar noon-late
Pool Bar at the Delano
Hotel,
1685 Collins Avenue
☎ 305 673 1242
Audio work
by contemporary artists
installed around the pool
of this landmark hotel.
Art Lounge
10:00pm-late
Skybar at The Shore Club
Hotel, 1901 Collins
Avenue
ABMB after-party hot
spot.
Art Pallette party, 10:00
pm-late
Crobar, 1445 Washington
Avenue
An evening of music,
dancing and videos in the
bar at Miami’s historic,
Art Deco Cameo Theater.
Jeff Koons signs books
at the Taschen stand
today
ArtBasel/Miami Beach
noon-8:00 pm
Miami Beach Convention
Center
☎ 305 674 1292, www.artbasel.com
The international contemporary art fair.
NADA art fair, 12:009:00 pm
The Ice Palace Film
Studios
59 NW 14th Street
www.newartdealers.org
Contemporary art fair
organised
by the New Art Dealers
Alliance (NADA).
-scopeMiami
12:00-8:00 pm
Townhouse Hotel, 150
20th Street at Collins
Avenue
☎ 212 268 1522
www.scope-art.com
Seventy exhibitors take
over a hotel, with special
performances, panel discussions and guided tours
for museum groups.