Loyal buyers secure a positive start - The Art Newspaper

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Despite nerves on the set-up 

days before the fair, the collectors 

who were invited to 

Art Basel Miami Beach’s 

opening preview yesterday 

soon packed the aisles. The 

sheer turnout lifted the spirits 

of many, and while sales 

were much slower than the 

frenzied buying of earlier 

years, for many it was better 

than they feared. 

“The shocking thing about 

this fair is how much is being 

sold. If you had asked me yesterday 

I would never have 

thought there would have been 

so many sales,” said major 

Miami collector Don Rubell. 

On the opening VIP day Emmanuel 

Perrotin (D2) had 

given over his stand to a solo 

show by Iranian artist Farhad 

Moshiri. It contained just two 

large mixed-media canvases 

valued at $250,000 each—one 

of which was bought by a Belgian 

collector right at the beginning 

of the fair. “I sold 50% 

of my stand within the first 20 

minutes of the fair!” quipped 

Mr Perrotin. 

Others’ reactions to the fair 

were more muted: Daniel 

Buchholz (D1), with galleries 

in Cologne and Berlin, said he 

was pleased to have sold one 

piece from stock in the first 

three hours of the fair. “I didn’t 

expect anything, so I am in a 

good mood,” he said. In Germany, 

where the economy is 

less dependent on the financial 

sector than in New York, he 

DESIGN 

17 DECEMBER 2008 

NEW YORK 

added: “Business is much better. 

Germans haven’t played 

with their money so much.” 

Milan-based dealer Francesca 

Kaufmann (A1) agreed, 

saying: “Europe is not doing 

bad at all. Artissima was actually 

very good and Milan is 

very active. I’ve been selling 

works [there] to people with 

old money rather than fast 

money.” Massimo de Carlo 

(C14) echoed the sentiment, 

but said that unfortunately 

many Europeans were not at 

the fair. However, major collectors, 

including Ingvild 

Goetz from Munich, Ulla 

Dreyfus from Basel, Swiss 

publisher Michael Ringier and 

Harald Falkenberg from Ham- 

burg, could be seen roaming 

the aisles. Hauser & Wirth 

(C16), with galleries in London 

and Zurich, were able to 

report sales of works by Jason 

Rhoades, Mary Heilmann and 

Wilhelm Sasnal, all of which 

sold to European collectors. 

Nevertheless many dealers 

said the major buyers at the 

fair were Americans. Jeff 

Burch, a director of PaceWildenstein 

(H10), said that on 

the opening day almost twothirds 

of the gallery’s visitors 

had been from the US, with 

the rest from Europe. Some 

differences in the US market 

were also apparent: Los Angeles 

dealer Jeffrey Poe of 

Blum & Poe (C17) claimed: 

“Los Angeles collectors have 

really stepped it up. Hollywood 

isn’t as affected by the 

financial markets. People 

have contracts; business plays 

itself out years in advance.” 

By 5.30pm at the fair, Blum 

& Poe had sold 70% of 

its stand, including works 

by Mark Grotjahn, Matt 

Johnson, Friedrich Kunath, 

Dave Muller and Chiho 

Aoshima—all to Americans. 

Perhaps galleries whose 

main hub is New York are 

feeling the pain of the economic 

crisis more acutely than 

galleries elsewhere. A high 

percentage of the local economy 

is based on banking and 

finance; the New York market 

Art crime 

French investigate suspected design fakes 

French investigators have arrested 

a Ukrainian man and 

four members of an artist’s 

family, suspecting them of 

having produced and sold 

fake 20th-century furniture by 

Jean Prouvé, Charlotte Perriand, 

Alexandre Noll and 

Pierre Chareau over the past 

three years. 

The 30-year-old Ukrainian, 

identified only as Dmytro, 

confessed to making fakes, 

according to the French 

provincial newspaper Sud- 

Ouest. He had made them for 

a Parisian painter called 

Christian Duran, who died in 

2006. The artist’s wife, daughter, 

son and his partner along 

with a sixth suspect are under 

investigation, accused of 

counterfeiting, receiving 

counterfeit goods and fraud. 

According to the French investigators, 

the Ukrainian 

started making fakes in 2001 

when Duran asked him to repair 

a piece of furniture. He 

then was asked to copy other 

pieces by well-known designers. 

Investigators discovered 

some 60 pieces of furniture in 

the suspects’ homes, including 

15 Perriand tables, 20 Noll 

sculptures, along with 

Chareau lamps and Prouvé tables. 

Sud-Ouest said other 

pieces had been sold through 

art galleries and at auction between 

2005 and 2008, and a 

Prouvé table had sold for 

$180,000 in the US. G.A. 

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ART BASEL MIAMI BEACH DAILY EDITION 4 DECEMBER 2008 

Opening night report 

Loyal buyers secure a positive start 

Dedicated, long-term collectors turn out to support galleries and artists 

Farhad Moshiri, Run Like Hell, 2008, sold by Emmanuel Perrotin for $250,000 

The real thing: Jean 

Prouvé’s Visiteur armchair, 

1942, at Galerie Patrick 

Seguin at Design Miami 

contained more speculative 

buyers; and the higher you 

rise, the harder you fall. “New 

York is becoming frozen,” 

said Paris-based Kamel Mennour 

of Mennour (N2). 

But some New Yorkers 

were clearly saving their 

money for the fair. Gagosian 

Gallery (E13) claimed business 

was “surprisingly 

strong” with six works sold 

by 5pm, including an Ed 

Ruscha, Woman on Fire, 

1990, two Richard Princes 

and Anselm Reyle’s Untitled, 

2008. Arnold Lehman, the 

director of the Brooklyn Museum, 

said: “There are many 

New York collectors here including 

[MoMA supporter] 

Barbara Schwartz and [US 

fine and applied art collector] 

Janet Kardon: in fact there is 

a good vibe among them.” 

Other collectors at the fair included 

financier Donald Marron 

and MoMA president 

emeritus Agnes Gund, among 

many others. 

Perhaps location mattered 

less overall than the type of 

collector. “People who have 

remained involved—but did 

not feel special once newer, 

more ambitious collectors 

moved in—have returned,” 

said Helene Winer, co-founder 

of Metro Pictures (E10). “It’s 

gone from the mega-scale 

back to human scale. Hedge 

fund collectors and Russian 

oligarchs are not collecting for 

domestic pleasure. It is the return 

of the husband-and-wife 

team who love art.” 

Jeffrey Deitch (A8), who 

has been instrumental in the 

formation of European collections 

like that of Dakis Joannou, 

said: “It’s not about 

specific geographies, but 

about building a network of 

relationships over the years. I 

began building my network in 

1974. When you’ve been 

doing this for 30 years, you 

don’t all of a sudden find yourself 

with no customers. 

“It is like it was before the 

period of irrational exuberance. 

It is like an art fair ten 

years ago. We’ve had an extraordinary 

run, but we don’t 

now sell everything in the first 

half hour,” he added. His 

gallery sold Beatific Barack, 

2008, by Kurt Kauper for 

$65,000 at the end of the 

first day. 

Sarah Thornton 

Additional reporting by 

Georgina Adam and 

Gareth Harris 

Reported sales 

Jason Rhoades, One-Wheel 

Wagon-Wheel Chandelier 

(Moot, Overnight Depository, 

Stuffed Stocking), 2004, 

sold by Hauser & Wirth (C16) 

for $250,000 

Evan Penny, Murray Variation 

#3, 2008, sold by Sperone 

Westwater (F15) $175,000 

Kelley Walker, Untitled, 2008, 

sold by Paula Cooper (D7) to 

a Greek collector for $70,000 

Mickalene Thomas, 

Oh Mickey, 2008, four editions 

sold by Lehmann Maupin (F14) 

for $35,000 each 

www.phillipsdepury.com

2 THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY EDITION 4 DECEMBER 2008 

Diary 

Schnabel’s Faye way 

Charming film star Faye 

Dunaway revealed that her 

artist/filmmaker friend Julian 

Schnabel had been kindly 

acting as her guide around 

Art Basel Miami Beach by 

pointing out hot, emerging 

artists on the stands. 

According to Ms Dunaway, 

an artist that caught the 

illustrious Schnabel’s eye 

was a German practitioner 

apparently called “Volke” 

whose work is both 

“fundamental” and “fragile”. 

Generous words indeed 

from Schnabel. 

Poetry at a price 

An officially anonymous poet 

was peddling his “negotiable 

but expensive” verses outside 

Art Basel Miami Beach 

yesterday, although none 

Milk out, guns in 

ART BASEL MIAMI BEACH DAILY EDITION 

CASEY FATCHETT 

Brooklyn neo-primitivist 

band Gang Gang Dance lived 

up to their moniker as they 

packed the beach with 

throngs of energetic bootyshaking 

fans for the opening 

night concert at Art Positions 

last night. Hundreds of people 

swarmed onto the sand 

and filled the Styrofoam 

sculpted lounge by artist 

Federico Díaz, gingerly 

finding a spot to stand 

among the undulating drifts 

of plastic. Not even the 

nearby containers could 

contain the crowd. 

were quite in the price range 

of US minimalist Carl 

Andre’s own similarly handtyped 

poems, Flags, 1963 on 

sale at Andrea Rosen at a far 

from prosaic $160,000. And 

who should be tempted by 

the typewriter-wielding street 

poet? None other than Glenn 

O’Brien, head honcho of 

Brant Publications and famed 

beatnik bard himself. “Do 

Controversial art held at customs, the saga continues: a 

bronze £150,000 sculpture by Richard Hudson called Milk 

Spider (below, right)—which was meant to take pride of 

place on Olyvia Oriental’s stand at Art Miami—has been 

held up at Miami airport. The piece was shipped from Spain 

and passed through customs but “the work was not released 

by the US Department of Agriculture because the crate 

housing the work was not branded with markings relating to 

fumigation, even though it had original documentation proving 

the work was fumigated,” fumed Hudson. Also nearly 

lost to bureaucracy was Mozambique artist Gonçalo 

Mabunda’s Hope Throne (below, left), welded from deactivated 

weapons and priced $26,000. Gallery Perimeter 

Editions at Design Miami were told by US Customs that it 

would be impossible to import the chair for the fair. But 

after a set of weapon-inspired statuettes by the same artist 

made for the Clinton Foundation’s annual prize-giving ceremony 

were brought into the country without a hitch, the 

gallery decided to throw caution to the wind and just ship 

the work over: it arrived the day before the fair opened. 

Such is the power of the presidential seal of approval. 

Published by 

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you do bar mitzvahs?” 

O’Brien enquired. “I was 

once a performance poet 

too—but now I’m at the very 

top of my trade and on my 

way down.” To which the 

poet pithily replied: “I’m at 

the bottom, on my way up. 

Let’s meet half way.” 

Pirate memories 

It was an historic rematch on 

the fair floor of Art Basel 

Miami Beach yesterday when 

Malcolm McLaren (below) 

found himself once again 

head to head with Michael 

Holman for the first time 

since 1981. For the ever 

youthful Holman was the 

man who introduced the redheaded 

music Svengali to the 

joys of hip hop back in the 

days when he took McLaren 

up to the Bronx to witness the 

likes of Afrika Bambaataa. 

“Malcolm and his guys were 

all dressed as New Romantic 

pirates and I thought, ‘Man, 

we’re gonna get vicked*!’” 

reminisced Holman. (*vick v. 

to be assailed by force.) 

On spec 

To get a look at the most 

expensive work of art, 

pound-for-pound, at Art 

TheArt Newspaper 


daily edition 

Group Editorial Director: 

Anna Somers Cocks 

Managing Director: James Knox 

Editor: Jane Morris 

Deputy Editor: Helen Stoilas 

Production Editor: Eyal Lavi 

Picture Editor: William Oliver 

Senior Copy Editor: Iain Millar 

Copy Editors: James Hobbs, Jen Pinkowski 

Gian Enzo Sperone’s 

Lichtenstein (above) could 

pay for a lot of bricks; 

the New Museum’s bag 

(below) at Nada helps keep 

expansion dreams afloat 


LUCRECIA DIAZ 

Reporters: GeorginaAdam, Judith Dobrzynski, 

Brook Mason, Charmaine Picard, Louisa Buck, 

Adrian Dannatt, Viv Lawes, Sarah Thornton, 

Hande Oynar, Javier Pes,Andrew Goldstein, 

Antonia Carver, Gareth Harris 

Photographers: Casey Fatchett, Lucrecia Diaz 

Project Manager: Patrick Kelly 

Head of Sales US: Caitlin Miller 

Head of Sales UK: Ben Tomlinson 

Advertising Executives: Julia Michalska (UK), 

Justin Kouri (US) 

Printed by Southeast Offset, Miami 

Basel Miami Beach this year, 

take a walk over to James 

Cohan Gallery (C8)— but 

you’ll need a microscope to 

see it. It, 2008, by Shanghai 

artist Xu Zhen, consists of a 

speck of brown dirt 

apparently imprinted with 

Neil Armstrong’s footprint on 

the moon and contained in a 

glass vial. Given its 

fragility—and the possibility 

it might vanish with an errant 

cough—the buyer also gets 

some insurance cover 

included in the $30,000 price. 

It comes in an edition of six. 

Money’s in the bag 

In a flurry of excitement, the 

New Museum unveiled its 

new range of bags at Nada, 

with 50% of profits going to 

the fair and the rest to that 

august New York institution. 

Among a range of different 

artist-invented designs, all 

selling for $35, the runaway 

bestseller was artist Chris 

Caccamise’s creation 

emblazoned with the words 

“I NEED MONEY”. “We 

must have sold at least 50 

already,” boasted a beaming 

New Museum staffer. And 

indeed Lisa Phillips, the 

director herself, was to be 

seen looking highly 

contented, swinging her own 

“MONEY” bag. Surely this 

bodes well for the museum’s 

attempts to raise funds to 

buy the building next door 

on the Bowery. 

Guaranteed to go up 

Also down on the Bowery, 

the dealer Angela Westwater 

hopes to erect another brand 

new gallery building. Its 

construction was announced 

just as Wall Street crashed. 

But help may be at hand 

since Westwater’s other-half, 

Gian Enzo Sperone, has just 

received a $15m cash 

injection from Sotheby’s, 

courtesy of its generous 

guarantee for his 1963 

Lichtenstein Half Face With 

Collar, on which there was 

not one single bid. And as 

David Leiber, the gallery’s 

third director, happily 

revealed in a Collins Avenue 

cab: “Let’s just say that 

money will be going 

elsewhere, put to good use on 

a project dear to us all.” 

Britto break out 

Local boy made good, 

Romero Britto is hitting the 

big time beyond Florida, 

where he is a cult figure. His 

shockingly bright pop 

doodles not only took the 

fancy of Swiss collector Ernst 

Beyeler, who has 

commissioned the artist to 

create his own portrait, but 

have now even taken over the 

Louvre. The once yawning 

gap between the artist’s 

popular status and his 

reputation with critics is fast 

closing, something confirmed 

at his eponymous gallery, 

Britto Central on Lincoln 

Road, where pride of place 

goes to a glowing 

testimonial. “Romero thank 

you very much for being a 

wonderful friend of Moca! 

Your contribution and 

commitment to the museum 

have helped us grow 

tremendously and I’m thrilled 

that you are such a special 

part of Moca. Many thanks! 

Congratulations on your 

stellar career.” And the 

author? None other than 

Bonnie Clearwater herself, 

reigning queen of North 

Miami’s Museum of 

Contemporary Art. 

Raskin’s results 

The first sale at Super Nova 

was of a Jimmy Raskin at 

Miguel Abreu gallery (Q10) 

where his collage-sculpture 

was snapped within seconds 

of the fair opening. As if that 

was not excitement enough, 

young Raskin had not only 

breakfasted with Tommy Lee 

of Mötley Crüe (below) but 

also attended a special 

screening of David Lynch’s 

cascading diamond Cartier 

film where the artist sat with 

Mr Lynch himself: a most 

private screening for two. 

Thus both got to see the film 

hours before the gala premier. 

©2008 TheArt Newspaper Ltd.All rights reserved. No 

part of this newspaper may be reproduced without written 

consent of copyright proprietor. TheArt Newspaper is not 

responsible for statements expressed in the signed articles 

and interviews. While every care is taken by the 

publishers, the contents of advertisements are the 

responsibility of the individual advertisers.

HALUK AKAKÇE–DANIEL A�SHAM–NATHAN COLEY 

MAT COLLISHAW–WIM DELVOYE–JEPPE HEIN 

JOCHEM HEND�ICKS–ANTON HENNING 

ALEXEJ KOSCHKA�OW–ALICJA KWADE–WON JU LIM 

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Trends 

Is glitzy art on the way out? 

The changing market may diversify the works being produced 

Prices aren’t the only thing 

different about the art on offer 

at ABMB this year: tough 

economic conditions have 

also influenced what many 

dealers have brought and 

what many collectors are buying. 

Eventually, the times may 

also affect what art is made. 

In a word—or a few—big, 

glitzy, high-cost art is out, 

replaced by smaller, less 

showy works that don’t 

require artists or dealers to 

take out a mortgage to produce, 

or collectors to build 

showcase museums to display 

their treasures. 

“The art here is more conservative, 

more accessible 

and more residential-compatible,” 

says Ann Richards 

Nitze, who both collects and 

guides other collectors. 

Advisor Todd Levin agrees: 

“That whole big ‘I’m going to 

build a museum, here’s the 

huge coffee-table book’ thing 

has gone ‘poof!’ So all those 

huge installations have disappeared 

from the fair. Now people 

are returning to cocooning, 

so they want domestic-size art 

that they can live with.” 

Diamond-dusted works seem 

to be gone, too, also a casualty 

of the times. The tone is simply 

different this year. 

Some long-time collectors 

welcome the trend as good 

not only for their budgets but 

also for artists, especially 

those who’ve struggled to get 

noticed in the money-driven 

market of the past several 

years. Now people may look 

for these kinds of artists—the 

young or overlooked. “I’ve 

heard collectors saying: ‘I’m 

going back to my roots of collecting 

younger artists’,” says 

Andrea Rosen (C15). 

In fact, this is the kind of 

market that collectors such as 

Agnes Gund, president emerita 

of the Museum of Modern 

Art, says she likes. “The froth 

is gone. There’ll be less 

blingy art,” she says. “The 

market is better for selling 

less-well-known but important 

artists like Lynda 

Benglis. She’s finally coming 

into her own. 

“I’ve sold a lot of Lynda 

Benglis works from the 

1970s to significant collections 

and institutions, and 

she’s not the only one in this 

category,” Ms Rosen adds. 

Something similar happened 

the last time the art 

market plunged. After the 

1991 decline, according to 

Charles Moffatt, a senior vice 

president at Sotheby’s, “people 

looked seriously at art that 

they weren’t looking at seriously 

before, because suddenly 

things that were purchased 

casually became serious purchases.” 

This, he continues, 

“created a more pluralistic 

market, stylistically. There 

was more word-based art, figurative 

art, photography and 

so on. Everyone’s vision 

broadened because of the 

lower price points.” Moffatt 

says that artists like Cindy 

Sherman benefited—her 

work grew in prestige and her 

prices began to rise steadily. 

Quick sale: Isca Greenfield-Sanders, The Lighthouse, 2008 

Examples at ABMB could 

include Isca Greenfield- 

Sanders, a 30-year-old painter 

represented by Berggruen 

Gallery (J4), who makes 

somewhat representational 

works from vintage photographs 

she buys at garage 

sales. “We’ve had two exhibitions 

for her, and we sell 

every work we get,” says 

Gretchen Berggruen. 

Lighthouse, 2008 (shown 

above), sold for around 

Tom Krens, the 

Guggenheim Foundation’s 

former director 

and now senior advisor 

for international projects 

with a brief that 

covers the Guggenheim 

Abu Dhabi, said 

the giant museum, 

scheduled to open in 2013/14, 

has hired an international 

committee to advise on artists 

and acquisitions. In an interview 

with The Art Newspaper, 

he said the group of 12 Middle 

Eastern curators includes 

Sharjah Biennale director Jack 

Persekian; Tirdad Zolghadr, 

independent critic and curator; 

Christine Tohme, director of 

Beirut-based arts organisation 

Ashkal Alwan; William Wells, 

director of Townhouse 

Gallery, Cairo; Vasif Kortun, 

director of Platform Gallery, 

Istanbul; and the Moroccan 

Abdellah Karroum, director 

$50,000 in the first hour of 

the fair. Berggruen puts 

Christopher Brown, who also 

paints in an “abstracted representational 

and figurative” 

style, in the same category, 

and bets that his piece 

Windward, 2008, priced at 

$80,000, will also sell. 

“We work with people who 

are looking for artists that 

were never part of the superinflated 

market, where there’s 

a good record of exhibitions,” 

Guggenheim Abu Dhabi appoints 

informal acquisitions group 

of L’Appartement 22 

in Rabat. 

The group is an 

informal one. “We are 

attempting to imagine 

what the art world will 

be like in ten years’ 

time, and we are looking 

at local, South 

Asian, Asian, Russian, Latin 

American and US artists,” Mr 

Krens said. 

Mr Krens, who described 

the museum as “pharaonic”, 

said its budgets are unaffected 

by the financial crisis. “It’s 

like an ocean liner. There may 

be some storms on the way, 

but it will sail on,” he said. 

The Frank Gehry-designed 

building will have eight open 

spaces in the form of conical 

windtowers, which offer 

11,000 sq. m for large-scale 

commissions (for comparison, 

the Tate Turbine hall is “just” 

3,840 sq. m). “You could have 

Frank Gehry’s mock-up of the Guggenheim Abu Dhabi, 2007 

says Berggruen. “There are 

more people like that now.” 

It’s not just taste that is 

changing what’s available. In 

part, the big installations have 

declined in number, and are 

likely to drop further, because 

they require financing, often 

from the artist’s dealer. “It’s 

not financially prudent to 

fund something for millions 

of dollars,” says Tim Poe, of 

Blum & Poe (C17). Some 

dealers—like James Cohan 

(C8)—say they’ll continue to 

try to help their artists. “When 

given the opportunity to fund 

an important work, it’s impossible 

to say no,” Cohan says. 

But overall, says Barbara 

Gladstone (E11): “There 

won’t be as many things that 

cost a ton of money to make.” 

Gladstone says that the 

economy alone won’t change 

the art of the times, but she 

adds that the recent US election 

may be an influence. “I’d 

look for something more 

political and soulful from 

young artists,” she says. “It’s 

also about objects and change 

and belief again, instead of 

cynicism.” 

So while it may be just spin, 

maybe the drop in prices will 

be a tonic for art, if not for galleries. 

The worst of times 

could bring the best of times. 

Judith H. Dobrzynski 

the Sistine Chapel or the 

Olafur Eliasson Waterfall, 

that’s the scale,” said Mr 

Krens. The museum’s core 

“classical collection” of art 

will be built up by a committee 

that has not yet been finalised, 

but Mr Krens has previously 

said that the crown prince of 

Abu Dhabi is providing 

$781m towards acquisitions. 

“Buying will be through 

galleries, at auction and directly 

from the artists,” said Mr 

Krens. Longer term, in phase 

two of the cultural project, Mr 

Krens said there were plans to 

create three 10,000 sq. m 

spaces “comparable to the DIA 

Beacon or Mass MoCA 

model”. Asked how many visitors 

he expected annually, Mr 

Krens said: “We can’t predict, 

but our best market analysis 

suggests 800,000 per year.” 

Georgina Adam and 

Antonia Carver 

Artists 

Picabia: a star is reborn 

Carried by multiple galleries, the 

dada dandy is the talk of the fair 

At an art fair that seems to be 

embracing quieter works over 

the attention-seeking glitz of 

recent years, Francis Picabia 

(1887-1953) has emerged as 

an unexpected star of ABMB. 

One of the artists spotlighted 

in the Art Kabinett solo displays, 

the dandyish French 

painter, poet and filmmaker— 

whose work ranged from dada 

to pin-up portraits—is making 

a strong showing. His work 

can be seen at Mary Boone 

Gallery (H7), Michael Werner 

Gallery (F13), Francis 

Naumann Fine Art (K2), 

Waddington Galleries (J7) and 

Patrick Painter (C1). 

Lori Spector, of Haas & 

Fuchs (H1), the Berlin gallery 

responsible for presenting 

Picabia in Art Kabinett, says 

the artist’s widespread presence 

suggests “a level of connoisseurship” 

that has returned 

to the fairs. “I think when you 

have changes in the market, 

people re-evaluate why they 

were buying things in the first 

place, and so I think now people 

are actually looking at 

objects a little more carefully 

and doing research about 

Documenta director named 

Correction 

artists, and not necessarily running 

to just buy the next hot 

thing.” Prices range from 

€100,000 to €700,000. 

Picabia’s influence on 

younger artists, from the US 

painter Philip Pearlstein to the 

Swiss sculptor Urs Fischer, 

has led to his recent reconsideration. 

Ron Warren, the director 

of the Mary Boone Gallery, 

says they flanked Picabia’s 

Vision, 1938, with two works 

by the US painter David Salle 

because of the debt the 

younger artist owes the French 

artist. A European collector 

bought Vision for $200,000. 

Warren was surprised to see 

so many Picabias at the fair. 

“It’s really interesting when 

Clockwise from above: 

Composition Abstraite, 1938; 

Personnages Transparence, 

1935; Portrait of a Woman, 

1951 

this happens so suddenly out 

of nowhere—something coalesces 

and you start thinking 

about an artist again,” he said. 

“I don’t think Picabia is an 

artist that people have thought 

about a lot recently.” Anyone 

looking for proof of the artist’s 

relevance needed only go to 

Werner’s stand, where the 

outer wall was given over to 

ten Picabia portraits almost 

seamlessly mixed with nine 

Peter Doigs. “It kind of just 

happened,” said the dealer, 

who sold six of the Picabias— 

which ranged from $175,000 

to $300,000—by 3.30pm. “We 

put them down on the floor 

and the Doigs worked perfectly 

with it.” 

Andrew Goldstein 

Carolyn Christov-Bakargiev has been named as director of 

Documenta 13 (9 June-16 September 2012), the major contemporary 

art exhibition held every five years in the central 

German town of Kassel. Ms Christov-Bakargiev is currently 

chief curator at the Castello di Rivoli Museum of 

Contemporary Art in Turin. She was the artistic director of the 

16th Sydney Biennale (2008). 

Gareth Harris 

On page 4 of yesterday’s paper, we said that the artist’s proofs 

of My Lonesome Cowboy, 1998, and Hiropon, 1997, were “consigned 

[by Murakami] to Marianne Boesky, were broken up, and 

both sculptures eventually hit the block”. In fact, Marianne 

Boesky did not split up the works or deal with the artist’s proofs. 

In 1997 the first edition of Hiropon was sold by Murakami via 

Feature gallery and eventually made its way to Richard Cooper 

(and was later bought by Victor Pinchuk). Ms Boesky later 

received its pair, My Lonesome Cowboy, which she sold in 1998. 

It was then sold to Pinchuk this May via auction at Sotheby’s. 

The pair has now indeed been reunited. Edition two and the first 

artist’s proof were sold by Blum & Poe to the Nortons and 

Vanhaerents respectively. Ms Boesky sold edition three as a pair 

to the Logans to place with SFMOMA.

THE ART NEWSPAPER ART BASEL/MIAMI BEACH DAILY EDITION 4 DECEMBER 2008 5 

Art & finance 

How will Miami’s art scene weather the economic storm? 

Collectors, artists and dealers are cautiously optimistic that the future still looks bright 

In the atrium of Rosa and 

Carlos de la Cruz’s house in 

Key Biscayne, several works 

by the late Félix González- 

Torres commune with each 

other. Two stacks of posters sit 

on the floor between a generous 

heap of candy and a glowing 

string of light bulbs. While 

one poster states, “Nowhere 

better than this place”, the 

other declares, “Somewhere 

better than this place”. The 

conflicted work seems to typify 

the high-low, grungy paradise 

that is Miami. One of the 

most culturally diverse cities 

in the US and the home of 

some of the best collectors of 

international contemporary art, 

Miami is a resort town with a 

cosmopolitan heart. But, at this 

strange economic time, how 

will it and the local art scene 

ride out the next few years? 

Miami collectors Don and 

Mera Rubell are currently 

showing “30 Americans”, an 

exhibition of work by African- 

American artists drawn from 

their collection (Rubell Family 

Collection, until 30 May 

2009). Frequent travellers, the 

Rubells have just returned 

from a marathon of art-viewing 

that had taken them to 

Beijing, Yokohama, Paris, 

Dubai and Washington, DC. 

“We like to think macro but 

only know micro,” say the 

Rubells. The owners of the 

Albion Hotel, Miami Beach, 

they can measure the effect of 

the rise of Art Basel Miami 

Beach (ABMB) and its numerous 

satellites on tourism. “In 

1996, 80% of the visitors to the 

Albion were from the US. 

Over the past two years, 70% 

have been non-American,” 

says Mr Rubell. 

Another consequence of 

ABMB has been that the 

Miami art scene “started seeing 

itself through the eyes of 

people coming from all over 

the world,” he says. Although 

there were always Miami collectors 

besides the Rubells and 

the de la Cruzes who thought 

big—Irma and Norman Braman, 

Marty Margulies and Ella 

“It wouldn’t 

hurt if we could 

have something 

close to CalArts 

or UCLA” 

– Hernan Bas 

' 

' 

' 

Fontanals-Cisneros—“showing 

your collection to people 

from all over the world, 

including tribes of travelling 

art patrons, meant that you had 

to upgrade your collection and 

show at the highest level,” 

says Mr Rubell. “People can 

no longer limit themselves to 

New York and London.” The 

presence of international visitors 

encourages more globally 

minded collecting. “You have 

to follow the geography,” Mrs 

Rubell adds. 

Even if an economic downturn 

dampens foreign travel, 

most Miami insiders believe 

that the international perspective 

is here to stay. Emmanuel 

Perrotin, the Parisian dealer 

who opened Galerie Emmanuel 

Perrotin in Miami in 

December 2004, expects that a 

decline in the number of art 

fairs around the world “will 

actually make Miami a more 

important gathering place”. 

Although he is taking a sabbatical 

from programming the 

gallery from January to 

December next year, he was 

keen to stress that he has not 

cancelled any shows. 

Home grown 

He had shown most of his 

artist roster, and he looks forward 

to coming back. Mr 

Perrotin has an affection for 

Miami. “One of my old dreams 

is that artists from places like 

Berlin can go every winter to 

Miami. Life is more fun when 

there are many artists in town. 

Someone should organise for 

30 artists come to Miami every 

year,” he says. 

Miami-born artist Hernan 

Bas thinks the local artistic 

community has grown in 

recent years. “It’s not hard to 

jump into the scene,” he says. 

“Once you know one artist, 

you get introduced to everyone.” 

He hopes that Miami 

will increasingly become “a 

place where people feel they 

can make art away from the 

hubbub of New York and even 

Los Angeles”. Certainly, life 

“We are not 

afraid of social 

contamination. 

We open the 

house to anyone” 

– Rosa de la Cruz 

Above: Rosa de la Cruz’s atrium with Kelley Walker’s Black 

Star Press: Black Press, Black Star (rotated 90 degrees), 2005, 

and Black Star Press (rotated 180 degrees): Press Star, Press 

Black, 2006. Right: Glenn Ligon, America, 2008, on show at 

“30 Americans” 

is more affordable and you 

can obtain a studio in Miami 

for a quarter of the price of a 

space in New York and half 

the price of one in Los 

Angeles. But, then again, 

nothing beats the property 

prices in Detroit where Bas 

has just bought a house and 

intends to spend his summers. 

Bas attended the New 

World School of the Arts, the 

local, top-ranked, “art magnate” 

high school. The specialist 

school also runs the 

only notable undergraduate 

studio art degree in town and 

is rumoured to be considering 

a masters degree programme. 

With the Rubell Family 

Collection’s director Mark 

Coetzee and dealer Fred 

Snitzer involved in teaching, 

Bas says the staff of the New 

World is “better than ever”. 

But Bas hankers after a more 

intellectual local scene. “It 

“Collecting art 

and design is 

more exciting 

than collecting 

one or the other” 

– Craig Robins 

wouldn’t hurt if we could have 

something close to CalArts or 

UCLA,” he says. 

In the past, the hospitality 

of Miami-based collectors 

who welcomed strangers into 

their art-rich homes has been 

misinterpreted by some as a 

local tendency toward hedonistic 

partying. According to 

Rosa de la Cruz: “The art 

scene has to be about giving. 

If it’s about self-indulgence, it 

will be lost. It needs an activist 

purpose.” Cuban-born, Mrs de 

la Cruz and her husband fled 

to Miami in 1976. “We are 

exiles. So we know what it is 

to make and to lose,” she says. 

“We are not afraid of social 

contamination. We open the 

house to anyone who is interested—the 

Rotary Club, senior 

citizens, school children. 

You don’t have to be a VIP.” 

The De la Cruzes are building 

a new space in Miami’s 

Design District. It will contain 

galleries devoted to artists 

including Ana Mendieta, Félix 

González-Torres and Gabriel 

Orozco, whose work they own 

in depth. It will also contain a 

library. The focus will be on 

their collection, which they 

started to assemble in 1991 

during the last nadir of the art 

market, rather than loan exhibitions 

or events. According to 

Rosa de la Cruz: “We have too 

many events and not enough 

serious year-round involvement 

[in Miami].” Although 

she believes in access, she 

argues that the future should 

“not simply be about inclusion 

but participation”. 

Bonnie Clearwater, the 

director of Moca Miami, has 

an international reputation for 

taking risks by exhibiting 

emerging artists. The art 

museum’s education programme 

and diverse community-building 

projects are perhaps 

less well known but they 

are a crucial contribution to 

the Miami art world’s infrastructure. 

Moca has always 

been run on a “shoestring” and 

recent grants from the Knight 

Foundation have given the 

museum a flexibility that it 

didn’t have before. Like the 

Miami Art Museum, Moca 

Miami is poised to expand, 

tripling the size of its exhibition 

space and including a 

dedicated education wing. 

Consolidation 

One of Craig Robins’ favourite 

words is “opportunity”. 

The successful developer in 

South Beach and of the 

Design District, and the 

founder of Design Miami, 

says, “Miami has an opportunity 

to transform the transcendent 

first years of Art Basel 

and Design Miami into an 

institution.” As ABMB has just 

signed a three-year contract 

with the Miami Beach 

Convention Center, it would 

appear that Messe Schweiz is 

committed to see its art fair 

through to brighter times. Mr 

Robins expects 2009 will see a 

downsizing of the satellite fairs 

and less money for parties, but 

the activities of the first week 

of December are likely to 

“solidify into something like 

the Venice Biennale”. 

“It is going to be a really 

challenging period for us all,” 

says Craig Robins. “One in 

which being creative will be 

much more valued. I’ve 

always been interested in creativity 

as a solution not a luxury.” 

With involvement in 

both the art and design camps, 

Mr Robins sees certain trends 

as staying the course. 

“Collecting art and design is 

more exciting than collecting 

one or the other. It’s geometrically 

expansive on the level of 

experience,” he says. He also 

thinks the days of “plop art— 

when a work gets plopped on a 

plaza”, are over in Miami. 

Public art will be about “site 

specific work that presents 

interesting challenges for 

artists to resolve”. 

So, what next for Miami? 

Even with an increasingly 

vibrant artist community and a 

sturdier public museum scene, 

Miami is still likely to be lead 

by its collectors who will, no 

doubt, continue to acquire and 

display significant art in 

Miami. Most are planning to 

buy this season. In the words of 

Hernan Bas: “There is something 

different about the collectors 

here. Maybe they have a 

tinge of insanity. They are not 

just into art, but really into art.” 

Sarah Thornton 

(Author, Seven Days in the 

Art World) 

C.M. GUERRERO


Vero Beach 

Gated community becomes Florida cultural hot spot 

Private museum for super-rich snowbirds with a taste for contemporary art is a testing ground for mid-career artists 

An exclusive residential community 

in Florida may be an 

unlikely place for a gallery 

that organises museum-quality 

travelling shows but Windsor 

is unlike most gated communities. 

The Canadian retailing 

billionaire Galen Weston and 

his wife Hilary founded it in 

1989 in Vero Beach, 140 miles 

north of Miami. Windsor 

includes many of the amenities 

you would expect in a 

development catering to millionaires: 

sprawling mansions 

(an oceanfront estate with 

seven bedrooms and 12 bathrooms 

is currently available 

for $14m), the obligatory golf 

course and tennis courts and a 

gun club (boasting “new clay 

shooting games from England 

and Europe”). 

What makes Windsor 

unique is its art gallery, which 

opened in 2002. It is run by 

Galen’s daughter, Alannah, a 

branding expert whose day job 

is creative director of the 

upmarket London department 

story Selfridges. At Windsor, 

Ms Weston has overseen an 

ambitious exhibition programme, 

which has included 

shows devoted to Bruce 

Weber, Ed Ruscha and Peter 

Doig. This year the gallery 

hosts “Alex Katz: Seeing, 

Drawing, Making”. 

The Art Newspaper: Why did 

you first open the gallery? 

Alannah Weston: My parents 

had told me they wanted me to 

be the creative director of 

Windsor and to inject the community 

with some new energy. 

I looked at the development 

and said: “this is a fantastic 

village and therefore it must 

have a cultural heart.” 

TAN: How have the residents 

responded? 

AW: There is tremendous support 

for the gallery and I think 

it’s because of the quality of 

shows we’ve done. A lot of 

people who live at Windsor 

are there for six to eight 

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months a year; most of them 

have lives up north or in 

Europe that are built around 

the cultural institutions of 

their region. If you’re an educated, 

sophisticated person 

you’re not going to go without 

culture for half the year. 

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But not everyone loves our 

shows: our inaugural photography 

exhibition on the theme 

of the beach included the 

famous Tierney Gearon pictures 

[which show the photographer’s 

two young children 

nude], which I happen to 

Clockwise, from far left: a 

luxurious Windsor estate; 

the Gallery at Windsor, with 

a Tierney Gearon photo 

displayed at right; gallery 

director Alannah Weston 

own. Somebody actually left 

the community because they 

were so shocked by them but 

my attitude and my parents’ is 

that these are not really the 

sort of people we want at 

Windsor anyway. 

TAN: What is the brief you 

give your curators? 

AW: When we began, the brief 

was quite tight. It was about 

photography and it was about 

themes that made sense in the 

environment. We then started 

to realise that works on paper 

were starting to emerge as a 

theme so the main brief now is 

to work with mid-career artists 

who are established but may 

not have reached the peak of 

their careers. 

The curators we’ve worked 

with have been very perspicacious 

about their choices: Ed 

Ruscha had a Whitney show 

and Peter Doig had a Tate 

show right after we did our 

works on paper exhibitions, so 

the Windsor gallery has 

become like a laboratory 

where the artists can test their 

ideas, see how a group of 

works can sit together. 

If you want to develop an 

institution of this kind that is 

small and only hosts shows 

every year or two, it’s important 

to be incredibly consistent. 

Another important factor 

is the quality of the catalogues 

we publish. 

TAN: How unusual is it to 

have a gallery like yours in a 

residential community? 

AW: There are golf course 

communities that have exhibited 

some sculptures but to 

have a private museum where 

internationally recognised 

shows are being generated is 

very special and is a real talking 

point for the people who 

live there. We’ve had several 

residents who have come to us 

through our exhibitions. 

Our residents want to be 

with like-minded people. 

These are intelligent people 

who have decided they’re 

going to spend time in the 

warm weather; that doesn’t 

mean they’re going to switch 

their brains off completely. 

Interview by Cristina Ruiz 

❏ “Alex Katz: Seeing, Drawing, Making”, 

7 December-20 April 2009. Open by 

appointment. See Listings, p15.

Peace of Mind. 

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Nada 

Fair feels chill winds of change 

Many über-collectors were absent but dealers on opening night said 

emerging artists were selling well 

Miami’s temperature suddenly 

tumbled on the opening 

night of the Nada (New Art 

Dealers Alliance) Art Fair. 

The unseasonable chill 

matched the mood of collectors. 

Last year the words 

“feeding” and “frenzy” 

summed up the way works by 

emerging artists were snapped 

up. Serious collectors including 

Jason and Michelle Rubell 

and Susan and Michael Hort 

turned out on Tuesday, but 

many fellow über-collectors 

were conspicuously absent. 

The sixth edition of Nada 

might not have been kicking 

in terms of done deals, but it 

was far from dead. The Horts 

acquired Adrian Ghenie’s The 

Collector 3, 2008 ($45,000), 

making Mihai Nicodim 

Gallery’s (A12) trip from Los 

Angeles worthwhile. Mr 

Nicodim says: “The same collector 

that would have shown 

an interest in ten artists last 

year would only consider two 

now.” The collector portrayed 

in Ghenie’s work on canvas 

was a sinister chap, a dead 

ringer for the infamous art 

glutton Hermann Goering. 

David Godbold, the codirector 

of Mother’s 

Tankstation (D3), was content. 

The Dublin gallery had 

sold eight of Ian Burns’ Scale 

Model, 2008. A riposte to 

Olafur Eliasson’s Waterfalls 

in New York, Burns has taken 

a kitschy waterfall picture 

typically found on the walls 

of Chinese restaurants and 

added an image of the $15m 

Eliasson public art project. 

The price of each limited edition 

of 15 is $1,000, pointedly 

1/15,000th of the Icelandic 

artist’s budget. 

There were 88 galleries 

from 19 countries at Nada, 37 

of them from Europe. Among 

them was Figge von Rosen 

Galerie (G5), Cologne, making 

its Nada debut. “Our 

hopes are big and our expecta- 

Miller & Shellabarger, Untitled (Pink Tube), 2003-present 

LUCRECIA DIAZ 

tions low,” said Philip Figge, 

who was presenting the work 

of the young artist Bas de Wit, 

the winner of the 2008 Dutch 

Royal Prize for Painting. 

Among de Wit’s fantastical 

sculptures and paintings was 

Brother from Another Mother, 

2008 ($15,000, right). 

Silvia Ortiz, co-owner of 

Madrid gallery Travesia 

Cuatro (D3), says they were “a 

little nervous” about coming to 

Miami, “but we felt a shot of 

optimism the day before we 

left”. Ms Ortiz is showing 

work by the Mexican artist 

José Dávila, including a 

Donald Judd-like set of 

hanging wall boxes made of 

cardboard rather than polished 

steel. Untitled, 2008, is on 

reserve for $16,000 by a 

European curator. Also on 

display is a set of Dávila’s 

photos of famous places with 

the monuments cut out, titled 

Buildings You Have to See 

Before You Die, 2008. An edition 

comprising 100 framed 

images was bought by a US 

collector for $30,000. 

Opening nights at Nada 

never used to be a time for sitting 

around. This year the art 

fair soon became a sedentary 

event for many dealers. 

At Western Exhibitions (G7), 

from Chicago, the husbandand-husband 

artists Miller & 

Shellabarger were sitting pret- 

ty, performing Untitled (Pink 

Tube). Begun in 2003 and 

ongoing, the work shows the 

burly bearded couple sitting 

quietly crocheting pink wool. 

The tube is a metaphor for 

long-term relationships. The 

artists intend to keep 

crocheting for better 

or worse, 

richer or poorer. 

Javier Pes and 

Helen Stoilas 

Brother 

from 

Another 

Mother, 

2008, Bas 

de Wit 

LUCRECIA DIAZ 

Art Miami 

Slow but steady sales 

on first day 

Five figure prices achieved 

The far corridors at Art Miami 

were ghostly as queues 

formed for coffee and beer in 

the VIP lounge. By 8pm the 

hors d’oeuvres were scarce 

and there was no free champagne 

to obliterate the fact 

that the temporary flooring 

wobbled underfoot. Despite 

this atmosphere, sales were 

steady, although slow. 

London whirlwind 

Olyvia Kwok was still 

fuming about the 

impounding of Richard 

Hudson’s Milk Spider, 

2008 (see p2), by the US 

Department of 

Agriculture, but was comforted 

that a new 

American client bought 

Ling Jian’s Guns ’N Lilies, 

2008, for $140,000. Zizo 

Attia, the Cuban owner of Z. 

Bigatti Cosmetics, bought two 

of the Luo Brothers’ unique 

ceramics from “The World’s 

Famous Brands” series, 2007, 

for $35,000 each. 

Barry Friedman, who 

exhibited for the first time last 

year after the organisers shifted 

the event to coincide with 

ABMB, said: “This is a great 

fair. Last year I made $2m in 

the first 24 hours, although 

with the economic climate this 

year, I’ll be ecstatic if I make a 

quarter of that.” On the opening 

night he sold several 

pieces, including Gottfried 

Helnwein’s startling 2003 photographic 

print The Golden 

Age 37 (Marilyn Manson), 

edition 1 of 3, which went to 

an existing New York client 

for $18,000. 

Other dealers reported similar 

sales. Bjorn Wetterling of 

THE INTERNATIONAL 

CONTEMPORARY ART FAIR 

FOCUSED ON CEE 

7 - 10 MAY 2009 

MESSE WIEN 

MESSEPLATZ 1, 1020 VIENNA/AUSTRIA 

Gottfried Helnwein, The 

Golden Age 37 (Marilyn 

Manson), 2003 

Stockholm sold Julian Opie’s 

This is Shahnoza in 3 Parts 

01, 2008, to a Miami collector 

for $14,000 and gained several 

new clients at this level, 

but found it slower than his 

first night at London’s Scope 

in October. 

Dick Solomon of Pace 

Prints, New York, who has 

been in business for 40 years, 

was lavish in his praise for the 

fair. “Art Miami is full of top 

dealers who couldn’t get into 

ABMB because of politics,” 

he said. “Art Basel wants to 

be hip, so it brings in lots of 

new galleries with dreadful 

quality work.” 

He sold a range of works at 

the preview, including several 

of Nicola Lopez’s monoprints, 

which started at $1,800. The 

gallery’s highest price of the 

night was $12,000 for Bell 

Tower, 2008, by Jim Dine. 

Viv Lawes 

WWW.VIENNAFAIR.AT

20th Century Prints 

London 4th & 5th December 2008 

Andy Warhol (1928-1987) Eva Mudocci (after Munch). unique silkscreen 

Est. £70,000-90,000 ($100,000-130,000) 

Fully Illustrated Catalogue Online at www.bloomsburyauctions.com 

Contact Alexander Hayter: alexander.hayter@bloomsburyauctions.com 

Bloomsbury House | 24 Maddox Street | London | W1S 1PP | T +44 (0) 20 7495 9494 | F +44 (0) 20 7495 9499 

info@bloomsburyauctions.com | www.bloomsburyauctions.com 

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Artists at Art Positions 

José Dávila: cutting-edge 

container 

Until recently, the Mexican 

artist José Dávila, who lives 

and works in Guadalajara, has 

found a warmer embrace from 

the dealers of Europe than 

those of America. But that 

changed recently when the 

Renwick Gallery in New York 

became his US gallery. After 

his first solo show there in 

May, Dávila was accepted for 

Art Positions at Art Basel 

Miami Beach. 

His work for Renwick 

(P18) is a shipping container 

sliced up into a series of equalsized 

shallow boxes evenly 

spaced with alternating voids. 

“I wanted to make a game of 

proportions and mathematical 

relationships,” said Dávila, 

Grab 

your copy 

“The Art Newspaper is an invaluable source of 

information about art and the art world”. 

PHILIPPE DE MONTEBELLO, DIRECTOR 

METROPOLITAN MUSEUM OF ART,NEW YORK 

who was influenced by 

Donald Judd’s “Stacks” series. 

“Like Judd, I wanted ten 

evenly sized boxes with gaps 

in between, but my work has 

blown it up in scale and I have 

kept the container on its side 

so that it ‘stacks’ horizontally.” 

Dávila has transformed the 

container from a room in 

which to display works of art to 

a work of art in its own right. 

The outside has been sprayed 

with blue car paint, the inside 

with grey. Although the 

container is highly visible 

squeezed between its orangecoloured 

neighbours, it comes 

into its own when the Miami 

sun creates a chiaroscuro of 

architectural rigour. V.L. 

Drew Heitzler: 

tree of a kind 

The palm trees lining the 

streets of Los Angeles are as 

evocative of the West Coast as 

the Hollywood sign. But many 

of the trees are nearly 100 

years old, and their days are 

numbered. The Los Angelesbased 

artist Drew Heitzler has 

been moved by their imminent 

demise to such an extent that 

he has “brought” one to Art 

Positions. It can be found 

outside Redling Fine Art’s 

container (P15), painted a 

funereal black and looking 

rather forlorn. Heitzler was 

busy sprucing up Untitled 

(Mexican Fan Palm), 2008, 

($35,000) in the hours before 

the opening of Art Positions. 

The recent bad weather has 

given the tree quite a battering, 

so fronds and coconuts had to 

be re-affixed with heavy-duty 

tape. The artist has used 

considerable artistic licence to 

make the arboreal sculpture. 

Rather than the Canary Island 

type that is dying off in Los 

Angeles, the tree is instead a 

thriving Mexican variety. 

Moreover, the transplant 

has come from South 

Carolina, and not Southern 

California. J.P. 

Federico Díaz: winter wonderland 

A chance encounter on a night 

flight from Paris to New York 

changed artist Federico 

Díaz’s life. He got into a brief 

conversation with an urbane 

American, who gave him his 

business card and told him to 

call. The man was Robert 

Buck, a former director of the 

Brooklyn Museum. 

Fast-forward 18 months 

and the half-Argentine, half- 

Czech artist has designed the 

central floor/bar area at Art 

Charlie Hammond: 

tradition turned 

upside down 

Scottish gallerist Sorcha Dallas 

is presenting the work of 

painter Charlie Hammond at 

her container in Art Positions 

(P1). It is the most traditional 

work on view—the paintings 

are framed oils on canvas—but 

Hammond undermines the 

pristine surface of the paint by 

scraping it with paintbrushes 

strapped to drills. Portrait with 

a Black Eye, 2006-08, is 

priced at £4,000. He also 

chops out wedges of paint to 

resemble pie charts, a 

recurring theme in several of 

his works. These geometric 

shapes can be read as 

patterns, figures or faces, and 

it is significant that Hammond 

studied at Glasgow School of 

Art, where the figurative 

tradition was re-born in the 

“Man aged 45 gunned down 

by persons unknown, 

Culiacán, 20 September 2007 

at 10.30 hours.” In front of the 

unsentimental prose of a 

Mexican police report lies 

jewellery studded with fake 

diamonds and shards of glass, 

the latter the remains of the 

windscreen of the victim’s 

pick-up truck. Part of a series 

entitled “21”, 2008, by the 

artist Teresa Margolles, which 

Positions for Art Radio 

International and PS1 

Contemporary Art Center in 

New York, the MoMA 

affiliate that is headed up by 

Alanna Heiss, who happens to 

be a friend of Mr Buck. 

From his Prague studio 

Díaz has created what at first 

sight looks like a winter 

wonderland but is actually a 

high-tech, multi-platform 

installation that represents 

vibrations and radio 

early 1980s with the “New 

Glasgow Boys” group of 

artists such as Peter Howson 

and Ken Currie. Hammond 

renders the human figure 

down to basic geometric 

elements and cites his greatest 

influences as the artist Jean 

Dubuffet and the situationists 

of the 1960s. 

Sorcha Dallas is also 

showing Hammond’s plaster 

and ceramic works. The 

artist’s humour comes 

through in the crumpled, 

ceramic bottles that recall a 

Cézanne still-life, which are 

scattered around the floor. 

“This is a joke about art show 

opening nights,” says Dallas. 

“They start off so formal but 

often end up completely 

debauched.” V.L. 

frequencies in direct reference 

to Díaz’s Art Radio 

collaborators. The white floor 

has amoebic black contour 

lines throughout and glacierlike 

mounds of polystyrene 

rise from it in layers. Some of 

these are studded with 

fragmented black rubber 

tubes that, when viewed from 

above, join up and 

foreshorten to mimic the 

floor’s contour lines. 

There are evening light 

Teresa Margolles: CSI Mexico 

is meant to express her 

outrage at the ongoing 

slaughter caused by gang 

warfare, the bracelet is 

presented in an elegant vitrine 

as if in an upmarket jewellery 

shop. Within Galería Salvador 

Díaz’s (P14) container there 

are ten showcases (priced at 

€20,000 each), representing 

ten police bulletins, 

displaying 21 memento mori 

of lives cut short, all 

NEWS, EVENTS, POLITICS, BUSINESS, ART, MONTHLY 

Unique in its conception and scope, each issue provides over 70 pages of news, interviews, 

features and debate.Reporting on everything from old masters to conceptualism, each 

month THE ART NEWSPAPER brings you the important stories from around the globe. 

WWW.THEARTNEWSPAPER.COM 

ADVERTISING: +44 20 7735 3331 SUBSCRIPTION: +44 1795 414 863 

shows throughout the week, 

with music streaming from 

the DJ’s booth through 

speakers implanted in the 

mounds, and psychedelic 

1960s films projected 

overhead. An interactive light 

projection evades, chases and 

captures visitors’ every move. 

A collector would need to 

cover production costs of 

$300,000 to re-install the 

work at home. 

Viv Lawes 

encrusted with shattered glass 

collected from the crime 

scene by Margolles’ family 

and friends. The artist, who 

was born in Culiacán and 

lives in Mexico City, then 

takes the broken crystals to a 

local jeweller, whose best 

customers are often ironically 

the hit men themselves. The 

result is conceptual bling as 

mourning jewellery. 

Javier Pes 


CASEY FATCHETT

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VIVIEN BITTENCOURT 


Listings Miami 

Alex Katz in his studio 

The sensation of seeing 

From small sketches of live situations to speed painting 

Alex Katz is one of America’s leading 

painters. His work has been the subject 

of nearly 200 solo exhibitions since 

1954. His portraits and landscapes capture 

American life in a flat, elegant and realistic 

style all his own. Now 81, Katz is receiving 

increased attention with solo exhibitions in 

Milan, Paris, Finland, Grenoble and New 

York in 2009. He was honoured on 2 

December in Miami by NetJets at their private 

collectors party. Those previously honoured 

include Richard Prince and Jaume Plensa. 

The Art Newspaper: Your work has received 

attention lately, especially from European 

collectors and museums. What do you 

think accounts for this renewed interest? 

Alex Katz: My work is relevant to what’s 

going on in European art today, where there’s 

been a return to painting. 

TAN: Private Domain [1969] sold in the 

range of $1m at Art Basel in Switzerland 

last year. Did you ever think your work 

could sell for this amount? 

AK: No, I didn’t go into painting to make 

money or to become famous. My first six 

shows were commercial flops, but artists 

started to buy my work, so I felt more secure. 

TAN: You began painting in a hard-edge 

style in the mid-1950s, when artists like 

Jackson Pollock and Franz Kline were 

producing abstract expressionist work. 

What made you want to defy the trend? 

AK: I was painting the sensations of looking at 

people and nature, and I thought it was possible 

to paint something new that was realistic. 

TAN: Were you consciously attempting to 

paint in a post-abstract way? 

AK: Oh yeah, definitely. I was reacting 

against abstract art, but I used the scale and 

grammar from the abstract painters. I thought 

they were terrific. 

TAN: Would you say your painting is more 

influenced by traditional portraiture than 

commercial art? 

AK: Yes, it’s more traditional, but I’ve been 

influenced by billboards and advertising. I 

think my paintings are definitely traditional. 

TAN: Are there any portrait artists who 

have influenced your work? 

AK: The Egyptian sculptor Thutmose 

captures the style I want to convey with his 

portrait of Nefertiti; I think he’s totally 

fabulous. I also like the Japanese artist 

Utamaro, Matthew Brady’s photographs, 

Goya and Velázquez. 

TAN: How do you work? From 

photographs, live models or memory? 

AK: I paint small sketches from live situations, 

which I enlarge. In the early 1950s I used 

photographs because I liked their flatness, but 

by the late 50s I started painting from life. In 

the 70s and 80s, if I saw a photo I liked I’d get 

people to pose in those same positions. 

TAN: It’s well known that you paint quickly. 

How does speed influence your work? 

AK: I try to get in the immediate present and 

to paint the sensation of what I see. The 

preparation process can take months, but the 

actual painting can take six hours. Speed 

allows me to enter into the world of my 

unconscious, and I’m flying when I’m there. 

TAN: Why is it important for you to rid 

your pictures of humanistic and 

psychological content? 

AK: All that stuff is past tense; I’m trying to 

get into the present. Humanistic stuff is heavy 

baggage. I’m trying to paint what I’m looking 

at. It’s optical. I’m trying to define what I see. 

It’s much more of an intellectual challenge. 

Charmaine Picard 

Galleries showing Alex Katz in ABMB: Richard Gray Gallery, 

Chicago (J10); Jablonka Galerie, Cologne (F8); PaceWildenstein, 

New York (H10); Galerie Thaddaeus Ropac, Salzburg (E7) 

Upcoming exhibitions: 

Galleria Monica de Cardenas, via Francesco Viganò, 4, Milan, 

until 31 January 2009 

Galerie Thaddaeus Ropac, 7 Rue Debelleyme, Paris, 14 January- 

14 February 2009 

“Alex Katz: Seeing, Drawing, Making”, The Gallery at Windsor, 

Vero Beach, 6 December-20 April 2009, travels to the Parrish Art 

Museum, Southampton, 7 February-12 April 2010 

Sara Hildén Art Museum, Tampere, Finland, 13 February-3 May 

2009, travels to the Musée Grenoble, France, 4 July-29 

September 2009, Museum Kurhaus Kleve, Germany, 26 October 

2009-7 February 2010 

PaceWildenstein, New York, 8 May-6 June 2009 

Non-commercial 

ArtCenter/ 

South Florida 

800 Lincoln Road, 

Miami Beach 

www.artcentersf.org 

Kaiju Monster Invasion: 

Miami Beach 

Until 4 January 

Bakehouse 

Art Complex 

561 NW 32nd Street, Miami 

www.bacfl.org 

Paraphernalia 

4 December-25 January 

Bass Museum of Art 

2121 Park Avenue, 

Miami Beach 

www.bassmuseum.org 

Russian Dreams 

4 December-8 February 

Boca Raton Museum 

of Art 

501 Plaza Real, 

Boca Raton 

www.bocamuseum.org 

American Modernism 

1920-50 

Until 8 March 

Visiones: 20th-Century 

Selections from the 

Nassau County Museum 

of Art 

Until 7 December 

José Clemente Orozco: 

the Graphic Work 


Color Me New York: 

Photographs by Benn 

Mitchell 


Cartier Dome 

Miami Beach Botanical 

Garden, 2000 Convention 

Center Drive, Miami Beach 

www.fondation.cartier.com 

David Lynch: Diamonds, 

Gold and Dreams 


Center For Visual 

Communication 

541 NW 27th Street, Miami 

www.visual.org 

Rauschenberg in Series: 

a 30-Year Retrospective 

1978-2008 


Cisneros Fontanals 

Art Foundation 

1018 North Miami Avenue, 

Miami 

www.cifo.org 

The Prisoner’s Dilemma: 

Selections from the Ella 

Fontanals-Cisneros 

Collection 

Until 1 March 

Freedom Tower 

600 Biscayne Boulevard, 

Miami 

Fondazione Ambrosiana: 

Leonardo Da Vinci, 

Tiziano Vecellio, Albrecht 

Dürer and Giovanni 

Ambrogio De Predis 


Frost Art Museum 

Florida International 

University, SW 107 Avenue 

& Eighth Street, Miami 

http://thefrost.fiu.edu 

Modern Masters 

from the Smithsonian 

WWW.THEARTNEWSPAPER.TV 

American Art Museum 

Until 1 March 

Simulacra and Essence: 

the Paintings of Luisa 

Basnuevo 

Until 4 April 

Florencio Gelabert: 

Intersections 

Until 28 February 

John Henry: Drawing in 

Space, the Peninsula 

Project Illustrated 

Until 9 March 

Locust Projects 

105 NW 23rd Street, Miami 

www.locustprojects.org 

Inevitable Continuum: 10 

Years of Locust Projects, 

curated by Gean Moreno 

and Claire Breukel 


Lowe Art Museum 

University of Miami, 

1301 Stanford Drive, Miami 

www.miami.edu/lowe 

Charles Biederman: 

an American Idealist 


Margulies Collection 

at the Warehouse 


www.margulieswarehouse.com 

Magdalena Abakanowicz: 

Hurma 1994-95 

Until 25 April 

Isaac Julien: Western 

Union, Small Boats, 2007 


Oil Rich Niger Delta 

by George Osodi 


Photography 

and Sculpture: 

a Correlated Exhibition 


Miami Art Museum 

101 West Flagler Street, 

Miami 

www.miamiartmuseum.org 

MAC@MAM Presents 

Chantal Akerman: Moving 

Through Time and Space 


Yinka Shonibare, MBE: 

a Flying Machine for Every 

Man, Woman and Child 


Objects of Value 


Museum of 

Contemporary Art 

770 NE 125th Street, Miami 

www.mocanomi.org 

Anri Sala: Purchase 

Not by Moonlight 

Until 21 March 

Moca at Goldman 

Warehouse 


www.mocanomi.org 

The Possibility 

of an Island 

4 December-21 March 

Rubell Family 

Collection 


www.rubellfamilycollection.com 

30 Americans 

Until 30 May 

Sagamore Art Hotel 

Sagamore Video Garden, 

South Beach 

between Lincoln Road 

and 17th Street 

www.sagamorehotel.com 

• The new online channel for the art world, bringing you interviews with collectors,curators, dealers and artists, and reportage from the art market. 

• Art world intelligence – broadcast direct to your desktop. 

Screening interviews with key art figures including Frieze directors, Amanda Sharp and Matthew Slotover; dealers Max Wigram, Nicholas Logsdail and Daniella 

Luxembourg; and Italian, Geneva-based collector of contemporary African art Jean Pigozzi; as well as artists, Jonathan Yeo and Jason Martin. 

“We have always insisted on going to primary sources for our stories in the print edition and the online channel will maintain these standards. First-hand comment 

from experts in their respective fields will be the hallmark of our interviews" 

Anna Somers Cocks, founder of The Art Newspaper 

Art world intelligence via web TV! 

Olaf Breuning 


Spanish 

Cultural Center 

800 Douglas Road, Suite 

170, Coral Gables 

www.ccemiami.org 

¡Mujeres al Proyecto! 

Spanish Designers 

for the Habitat: 

Art and Industrial Design 


The Station 

Midblock East, 3250 NE 

1st Avenue/Midtown 

Boulevard, Miami 

www.thestationmiami.org 

The Station 2008 


Wolfsonian 

Florida International 

University, 1001 

Washington Avenue, 

Miami Beach 

www.wolfsonian.fiu.edu 

Democrazy: 

an Installation 

by Francesco Vezzoli 


Thoughts on Democracy 


American Streamlined 

Design: the World 

of Tomorrow 

Until 17 May 

World Class Boxing 

170 NW 23rd Street, Miami 

www.worldclassboxing.org 

Carla Klein: 

Untitled 2005-08 

Until January 

Zoe Strauss: 

Works in Progress 

Until January 

Commercial 

Abba Fine Art 

233 NW 36th Street, 

Wynwood, Miami 

www.abbafineart.com 

Fusion: Group Show 


Adamar Fine Art 

4141 NE 2nd Avenue, 

Suite 107, Miami 

www.popnart.com 

Andy Warhol, Then and 

Now: Works by Andy 

Warhol, Photographs by 

William John Kennedy 


Alejandra von Hartz 

Gallery 

2630 NW 2nd Avenue, 

Miami 

Pablo Siquier 


Al Sabah Art 

& Design Collection 

NE 39th Street 

and 1st Court, 

Miami Design District 

www.alsabahcollection.com 

Al Sabah Collection 

Dubai Gallery Preview 


Altreforme 

4141 Building, 4141 NE 2nd 

Avenue, Design District 

www.altreforme.com 

Launch of Altreforme and 

Aziz Sariyer Collection 

Until 6 December


Listings 

Miami 

Art Rouge Gallery 


Loft #3, Miami 

www.artrouge.com 

Ciria: Box of Mental States 

Until January 

Artformz 

171 NW 23rd Street, 


www.artformz.net 

No Easy Pieces 


Artformz Alternative 

Bayfront Park, 301 N 

Biscayne Boulevard, Miami 

www.artformz.net 

Giants in the City 


Art Fusion Galleries 

1 NE 40th Street, 


www.artfusiongallery.com 

Fusion V: a Global Affair 


Art Photo Expo Miami 

Municipal Parking Lot #54, 

between NE 2nd Avenue 

and NE 1st Court, Miami 

www.artphotoexpo.com 

In Fashion Photo 


ArtSpace/Virginia 

Miller Galleries 

169 Madeira Avenue, 

Coral Gables 

www.virginiamiller.com 

Save As: Contemporary 

Chinese Art Born of 

Ancient Traditions, Cao 

Xiaodong and Li Xiaofeng 


Atelier 

Feyerabend-Hubler 

3863 Shipping Avenue, 

Miami 

www.atelier.bz 

Beyond the Beach 


Banners of Persuasion 

The Loft, NE 1st Court, 

Miami 

www.bannersofpersuasion.com 

Demons, Yarns & Tales 


Bernice Steinbaum 

Gallery 

3550 N Miami Avenue, 


www.bernicesteinbaum 

gallery.com 

Hung Liu: Cycles 

Maria Gonzalez: 

in Your Hands 


Carol Jazzar 

Contemporary Art 

158 NW 91st Street, 


www.cjazzart.com 

GisMo: Limpiezas 

(Cleansings) 


Charest-Weinberg 

Gallery 


Miami, Space 408 

www.charest-weinberg.com 

Roadkills, Skulls + Popes: 

Marc Seguin 


Cremata Fine Art 

1646 SW Eighth Street, 

Miami 

www.crematafineart.com 

Margarita Cano: 

Esperando Waiting 


Curator’s Voice 


Miami 

Lipstick: Rosario Bond 


Daniel Azoulay Gallery 

3301 NE 1st Avenue, 


www.danielazoulaygallery.com 

Exposed 


David Castillo Gallery 



www.castilloart.com 

Five Solo Shows 


Diana Lowenstein 

Fine Arts 



www.dlfinearts.com 

Spill Over 

and Fantastic Voyage 


Diaspora Vibe Gallery 



www.diasporavibe.net 

Caribbean Crossroads 

Series: in Between Time 


Dorsch Gallery 



www.dorschgallery.com 

Shapeshifter 


Rauschenberg: a 30-Year Retrospective 

Center for Visual Communication, until 31 January 

Seven months after Rauschenberg’s death at the age of 82, one of the most significant artists of the postwar 

era is the subject of a major retrospective at the Center for Visual Communication’s new 10,000 sq. ft 

gallery. On display are more than 70 works, including nine complete series and his last project: “The Lotus 

Series,” 12 prints shown together for the first time. Each is characteristic of Rauschenberg’s massively 

influential media mix of painting, printmaking, photography and sculpture. Above, Lotus VIII, 2008. 

541 NW 27th Street, Miami, www.visual.org 

Dot FiftyOne 

Art Space 

51 NW 36 Street, 


www.dotfiftyone.com 

Leslie Gabaldon: 

and Let It Go 


Durban-Segnini Gallery 

3072 SW 38th Avenue, 

Miami 

www.durbansegnini.com 

César Paternosto: Painting 

and Sculpture, 1970-2008 


Empire Fine Arts 


Miami 

www.empireeditions.com 

Reset 


Federico Luger 

Miami 

799 NE 125 Street, 

North Miami 

www.federicolugergallery.com 

Diamonds and Stones, 

My Education: 

Diango Hernández 


Fredric Snitzer Gallery 

2247 NW 1st Place, 

Miami 

www.snitzer.com 

Luis Gispert 


“Entertaining, lucid... 

rigorous, precise reportage.” —Financial —Financial Times Times 

“Thornton gives us a one-stop tutorial on an often insular subculture.... 

Seven Seven Days Days is light-hearted but sociologically acute, allowing us to both 

laugh at and empathize with those for whom ‘contemporary art has become 

a kind of alternative religion.’ Verdict: Read.” —Time —Time magazine 

“The best book yet written about the modern-art boom.... 

A Robert Altmanesque panorama of… 

the most important cultural phenomenon 

of the last ten years.” —The —The Sunday Sunday Times Times 

NORTON 

Independent publishers since 1923 

www.wwnorton.com 

Galerie Bertin-Toublanc 

2534 N Miami Avenue, Miami 

www.galeriebertin.fr 

American Dream: 

Laurent-Elie Badessi 


Galerie Brigitte Schenk 

at 101 Exhibit 


www.101exhibit.com 

Marilyn Manson: 

Trismegistus 

5 December-20 February 

Galerie Emmanuel 

Perrotin 



www.galerieperrotin.com 

The PIG presents: Paola 

Pivi Gelitin, Alfredo Jaar, 

Mario Grubisic, Jeremy 

Deller, Simon Martin, 

Roberto Cuoghi 


Galerie Hélène 

Lamarque 



www.galeriehelene 

lamarque.com 

Beyond the Body: 

an Inaugural Exhibition 


Gallery Diet 


Wynwood, Miami


www.gallerydiet.com 

Brian Burkhardt: Bi(h)ome 


Gary Nader Fine Arts 



www.garynader.com 

The Grand Show: Modern 

and Contemporary Art 

Masters; Fernando Botero: 

Monumental Sculpture; 

and Pablo Atchugarry: 

Sueños Infinitos 


Hamburg Kennedy 

Photography 

120 NE 27 Street, Bay 100, 


www.hkphotographs.com 

Patrick Mimran: 

Temple Steps 


Harold Golen Gallery 

2921 NW 6th Avenue, Miami 

www.haroldgolengallery.com 

Cosmic Blob Show 


Anthony Japour 

1000 South Pointe Drive, 

33rd floor, Miami Beach, 

www.ajjapourgallery.com 

China, Gold! 


Kelley Roy Gallery 



www.kelleyroygallery.com 

Migration: Kevin Paulsen 

and Joe Concra 


Kevin Bruk Gallery 

2249 NW 1st Place, 


www.kevinbrukgallery.com 

New Images/Unisex 


Lawrence Savage 

Galleries and East 

Village Gallery 

4217 Ponce de Leon 

Boulevard, Coral Gables 

www.eastvillagegallery.net 

Portraits: Leonardo 

Hidalgo and Shie Moreno 

Until January 

Mallett 

Mosaic Suite 100, 


www.madebymeta.com 

Meta: Masterpieces 

and Materials Past 

and Present 


Mario Flores Gallery 

12502 NE 8th Avenue, 

North Miami 

www.mariofloresgallery.com 

Jay Lonewolf, Jesus Rojas 

and Mario Flores 


MiArte Gallery 

85 Merrick Way, 

Coral Gables 

www.miartegallery.com 

85@85: Third Annual 

International Juried 

Exhibition 

5-22 December 

Pan American 

Art Gallery 



www.panamericanart.com 

Francis Acea, Tracey 

Snelling, Ana Maria 

Pacheco 


Pierogi, Ronald 

Feldman Fine Arts, 

Hales Gallery 


Miami 

www.pierogi2000.com 

Group exhibitions 


Rizzoli Bookstore 

at Empire Fine Arts 


Miami 

www.empireeditions.com 

Art Books from Rizzoli 

New York 


Ronald Moran 

12504 NE 8th Avenue, 

North Miami 

www.panamericanart.com 

Learning the Lesson: 

Site Specific Installation 

by Ronald Moran 


Sara Meltzer 

Gallery 

Travelling Airstream RV 

touring Miami fairs 

www.sarameltzergallery.com 

Jude Tallichet: Career 

Retrospective as Charms 

for a Charm Bracelet 


Scion 

at the Raleigh Hotel 

1775 Collins Avenue, 

Miami Beach 

www.scion.com/installation 

Installation Five 

4-7 December 

Seth Jason Beitler 


Suite 202, Wynwood, Miami 

www.sethjason.com 

Stephen Gamson: 

Portraits & Symbols 




John Henry: Unveiled 


Spinello Gallery 



www.spinellogallery.com 

Santiago Rubino 


SushiSamba 



www.sushisamba.com 

GinzaTropicalia 

5-7 December 

Townhouse Hotel 

150 20th Street, 

Miami Beach 

www.ruthless-toothless.com 

Ruthless & Toothless 


Tresart 

550 Biltmore Way, 


www.tresart.us 

Latin American Masters 


Wolfgang Roth 

& Partners Fine Art 

201 NE 39th Street, 2nd 

Floor, Miami Design District 

www.wrpfineart.com 

David LaChapelle: 

Jesus Is My Homeboy 


Arne Quinze: Sculptures 


Fairs 


Miami Beach Convention 

Center, Convention Center 

Drive and Washington 

Avenue, Miami Beach 

www.artbaselmiamibeach.com 

The reason the art world 

comes to Miami, this fair 

features a variety of arts 

programming and over 200 

international galleries. 

4-6 December, noon-8pm; 

7 December, noon-6pm 

Aqua Wynwood 


Miami 

http://aquaartmiami.com 

Aqua returns with two locations 

featuring 90 young dealers 

and galleries showing 

contemporary art at the Aqua 

Hotel and in a warehouse in 

the Wynwood district. 

4-6 December, 11am-7pm; 

7 December, 11am-4pm 

Aqua Hotel 


Miami Beach 

www.aquaartmiami.com 



Art Asia 



www.artasiafair.com 

Miami’s first international 

Asian contemporary art fair. 



Art Miami 

Midtown Boulevard (NE 1st 

Avenue) between NE 32nd 

and NE 31st Street, Miami 

www.art-miami.com 

After nearly two decades of 

taking place in January, this 

fair returns for a second year 

in December. 

4 December, 10am-7pm; 

5-6 December, 11am-7pm 


Art Now Fair 

South Seas Hotel, 1751 

Collins Avenue, Miami Beach 

www.artnowfair.com 

The second edition of the 

contemporary fair that 

supports galleries “who are 

committed to artists who 

think outside the box”. 





The Artist Fair 

Shelborne Hotel, 1801 


www.theartistfair.com 

This fair was established to 

give unrepresented artists a 

place to exhibit their work during 

Art Basel Miami Beach. 

4-6 December, noon-8pm; 

7 December, noon-6pm 

Bridge Art Fair 

Miami Beach 

Catalina Hotel, 


Miami Beach 

www.bridgeartfair.com 

Eighty rooms filled with 

contemporary art. 



Bridge Art Fair 

Wynwood 

NE 1st Avenue and NW 

34th Street, Miami 

www.bridgeartfair.com 

After two years in Miami, 

Arman 

Artists Anonymous 

Bachelot Caron 

Rina Banerjee 

Hans Bellmer 

William Blake 

Jacob Boeskov 

Hieronymous Bosch 

Rodolphe Bresdin 

The Bruce High Quality Foundation 

Camille Claudel 

Thomas Couture 

Nicolas Darrot 

Damien Deroubaix 

Jeanne Detallante 

Albretch Dürer 

James Ensor 

Laurent Esquerré 

Lin Esser 

Gabríela Friðriksdóttir 

Léon Gérôme 

Claudia Huidobro 

Natacha Ivanova 

Max Klinger 

Thomas Lerooy 

Lucien Levy 

Dhumer 

Fernand Khnopff 

Kaiju Monster Invasion 

ArtCenter/South Florida 


Inspired by the proliferation of kaiju, or “strange 

monsters”, in post-war Japanese movies, “Kaiju: 

Monster Invasion” features street art and popsurrealist 

artists such as Coop, Ron English, Mark 

Nagata and Skot Olsen forging their own 

interpretations of the radioactive lizard Godzilla, 

the flying turtle Gamera and many other “mutant 

brainchildren” of the anti-nuclear cinema of the 

1950s and 60s. Above, Mark Nagata, Kaiju 

Monster Invasion Miami Beach. 

800 Lincoln Road, Miami Beach, 

www.artcentersf.org 

Bridge is launching a second, 

boutique-style booth fair in 

Midtown Miami to coincide 

with its hotel event. 



Design Miami 

NE 39th Street and 1st 

Court, Miami Design District 

www.designmiami.com 

The specialist fair includes 23 

Gustav Klimt 

John Martin 

Dawn Mellor 

Charles Meryon 

Pierre Molinier 

Adolphe Mossa 

Gustave Moreau 

Florence Obrecht 

Francis Picabia 

Axel Pahlavi 

Bruno Perramant 

Sabine Pigalle 

Paul Elie Ranson 

Odilon Redon 

Auguste Rodin 

Félicien Rops 

Tanja Roscic 

Boo Saville 

Stephane Sednaoui 

Loredana Sperini 

Edouard Stellmacher 

Florence Obrecht 

Hrafnhildur Arnardóttir aka Shoplifter 

Marko Velk 

Franz von Stück 

Jean Luc Verna 

Vuk Vidor 

Viktor Wynd 

NOVEMBER 7, 2008 TO JANUARY 31, 2009 

international dealers as well 

as a series of design related 

programming and events. 


Fountain Miami 


Miami 

http://fountainexhibit.com 

A guerrilla-style art fair that 

features independent galleries. 


The Flowers of Evil Still Bloom 

SPLEEN : LES FLEURS DU MAL 

CUETOPROJECT 551 W 21st Street - New York, New York 10011 www.cuetoproject.com -contact@cuetoproject.com Tel : +1 212 229 2221- Fax : + 1 212 229 1122 US Cell:+1 646 4154444 – EU Cell : + 33 609141916


Listings 

Miami 

Geisai Miami 

Parliament Building of SoHo 

Studios, 2136 NW 1st Ave 

(at NW 21st Street), 

Miami 

www.geisai.us 

Organised by Takashi 

Murakami’s artists’ collective 

Kaikai Kiki, this fair features 

the work of over 20 emerging 

Japanese and US artists. 



Green Art Fair 

3100 NW Midtown 

Boulevard, Miami 

www.greenartfair.com 

An art fair for eco-minded 

artists, curators and collectors 

debuts in Miami. 




Ink Miami 

Suites of Dorchester, 1850 


www.inkartfair.com 

A fair dedicated to works on 

paper that is organised by the 

International Fine Print 

Dealers Association. 

4 December, noon-7pm; 



Nada Art Fair 

The Ice Palace, 


Miami 

www.newartdealers.org 

Organised by the New Art 

Dealers Alliance, the fair 

aims “to foster collaboration 

rather than competition 

between dealers”. 



Photo Miami 

NW 31st Street 

and North Miami Avenue, 

Miami 

www.artfairsinc.com 

Fifty-five galleries present 

contemporary photography 

and media-based art. 



Pool Art Fair 

Cavalier Hotel, 1320 Ocean 

Drive, Miami Beach 

www.poolartfair.com 

A hotel fair comprised 

of 70 contemporary galleries. 

5-7 December, 4pm-10pm 

30 Americans 

Rubell Family Collection 

3 December-30 May 

Mickalene Thomas’s Baby I Am Ready Now, 2007, 

is one of 200 works by both emerging and 

established African-American artists on display in 

this show at the Rubell Family Collection. Other 

notables in the exhibition (which actually includes 

31 artists) include Kerry James Marshall, Rashid 

Johnson, Kara Walker and William Pope.L. The 

show is sponsored by Puma. 

95 NW 29th Street, Miami, www.30americans.com 

Pulse Miami 

Soho Studios, 2136 

NW 1st Ave (at NW 21st 

Street), Miami 

www.pulse-art.com 

Nearly doubling in size to 

feature around 130 galleries, 

Pulse also launches a special 

display of performance art 

and videos. 



Red Dot Miami 

Art Midtown, 

corner of 36th Street 

and NE 1st Avenue, 

Midtown Boulevard, Miami 

www.reddotfair.com 

A fair comprised of 37 

US galleries. 



Scope Miami 

2951 NE 1st Avenue and 

NE 30th Street, Miami 

www.scope-art.com 

Now in its seventh edition, 

this fair has 88 exhibitors 

showing in a new pavilion. 



Sculpt Miami 

46 NW 36 Street, Miami 

www.sculptmiami.com 

A new fair dedicated to 

sculpture showing the work 

of over 30 artists. 



Seafair— 

Rock the Boat 

Collins Avenue 

and 45th Street 

across from the 

Fontainebleau Hotel, 

Miami Beach 

www.expoships.com 

The world’s first floating 

art fair on a custom-designed 

yacht hosts around 20 

international dealers 

displaying art, antiques 

and jewellery. 



6-7 December, noon-7pm 

Vanguard 

Contemporary Art Fair 

Charcoal Studios, 

2135 NW 1st Avenue, 

Miami 

http://genart.org/x/vanguard 

A new fair featuring 

eight avant-garde and 

contemporary art galleries. 

5-7 December, 

10am-6pm 

Zones Art Fair 


Miami 

www.zonesartfair.com 

There is a strong focus 

on local and emerging artists 

at the third edition 

of this fair. 


5 December, 10am-midnight; 

6 December, 10am-1am; 


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AND FEATURES 

Today’s events 

Visit and Breakfast 

@CIFO 

Cisneros Fontanals Art 

Foundation, 1018 North 

Miami Avenue, Miami 

rsvp@cifo.org 

9am-noon 

The exhibition on view is 

“The Prisoner’s Dilemma”. 

Visit the Margulies 

Collection at the 

Warehouse 


Miami 

From 8.30am 

Installations on view include 

Magdalena Abakanowicz’s 

Hurma, 1994-95, and Isaac 

Julien’s Western Union: 

Small Boats, 2007. 

Private View, Rubell 

Family Collection 


8.30am-noon 

Viewing of “30 Americans” 

hosted by Jennifer Rubell 

and Domino magazine. 

Wynwood Art 

District Tour 

Various venues 

9am-noon 

Over 40 art spaces holding 

special exhibitions, including 

Moca at the Goldman 

Warehouse, World Class 

Boxing and Locust Projects. 

Shuttle Tour 

of Art Projects 


Center opposite Entrance 

D in front of the Botanical 

Gardens 

10am, then every 30 min 

from 11am to 9pm 

Shuttle tour around Lummus 

Park and other projects 

locations, around 90 min. 

Art Conversations 

Premier 


Center, Art Guest Lounge, 

Entrance Lobby D 

10am-11am 

Artist talk with veteran New 

York painter Chuck Close 

and artist Vik Muniz, 

moderated by the New 

Museum’s chief curator 

Richard Flood. 

Art Video Lounge 

Botanical Gardens, 2000 

Convention Center Drive 

11am-8pm 

WWW.THEARTNEWSPAPER.TV 

A daily rotating programme 

of video art, curated by Rike 

Frank. Special screening at 

7pm of Harun Farocki’s 

Aufschub/Respite, 2007. 

Nada Performances 

The Ice Palace, 1400 North 

Miami Avenue, Miami 

noon 

Polish artist Zuzanna Janin 

performs Fortune Teller. 

Art Salon 


Center, Art Guest Lounge, 

Entrance Lobby D 

Programme of daily events 

including: 

1pm-1.30pm 

Talk with Chinese artist Ai 

Weiwei and Michele 

Robecchi, editor at Phaidon 

Press, London. 

2pm-2.30pm 

Presentation on the 2nd 

Trienal Poligráfica de San 

Juan with co-curators Jens 

Hoffmann and Julieta 

González, and artistic 

director Adriano Pedrosa. 

4.30pm-5pm 

“This is the End: the Rising 

Tide of Money Goes Out of 

the Artworld and All Boats 

are Sinking” talk with New 

York magazine art critic 

Jerry Saltz. 

5pm-5.30pm 

Talk on the film “Herb and 

Dorothy” with Vanity Fair 

correspondent Bob 

Colacello, film director 

Megumi Sasaki, artist James 

Siena and collectors Herb 

and Dorothy Vogel. 

6pm-6.30pm 

“Will Art Transform the 

Political Face of the Middle 

East?” discussion with New 

York artist Shirin Neshat, 

Cairo artist Lara Baladi, 

writer Judith Greer, Dr 

Lamees Hamdan, 

commissioner of the UAE 

Pavilion for the Venice 

Biennale, Ali Yussef Khadra, 

founder of Canvas, Dubai. 

Scope Lectures Series 

Art Asia Pavilion, NE 1st 

Avenue, Miami 

2pm 

Introductory lecture by 

Jérôme Sans, director, Ullens 

Centre for Contemporary 

Art, Beijing. 

3pm 

“What is the Museum of the 

21st Century in Asia?” 

moderated by Jérôme Sans, 

with Melissa Chiu, director, 

Asia Society, New York, and 

Alexandra Munroe, senior 

curator of Asian art at the 

Guggenheim Museum, 

New York. 

5pm 

“The Global Asian Art 

Market and the Role of the 

Auction House and Gallery” 

moderated by Phil Tinari, 

Artforum correspondent and 

independent curator, with 

specialists Chin Chin Yap of 

Phillips de Pury, Alexandra 

Wang of Sotheby’s, Ingrid 

Dudek of Christie’s and 

dealer Sundaram Tagore. 

Vanguard Panel 

Discussions 

Charcoal Studios, 2135 

NW 1st Avenue, Miami 

2pm-3pm 

“Outsider to Insider”: how 

street artists are moving into 

the establishment, 

moderated by dealer Seth 

Carmichael, with Tate 

Dougherty, director of 

contemporary art, Bonhams 

New York, and filmmaker 

Pablo Aravena. 

Design Miami Talk 

NE 39th Street and 1st 

Court, Miami Design 

District 

5.30pm-6.30pm 

Panel discussion with 

designers Paul Cocksedge, 

Julia Lohmann and Ted Noten. 

Art Perform 

Stage at Art Positions, 

Beachfront at Collins 

Park between 21st and 

22nd Streets 

8pm 

In Jordan Wolfson’s piece 

Dear Clem, two actors recite 

a 1955 letter from artist 

Barnett Newman to critic 

Clement Greenberg. 

Organised by Jens Hoffmann, 

director, CCA Wattis 

Institute, San Francisco. 

Nights at Lummus 

Park 

Lummus Park, between 

10th and 14th Street 

on Ocean Drive 

8pm-10pm 

Evening events with 

performances and guided 

tours of Art Projects. 

“We have always insisted on going to primary sources for our stories 

in the print edition and the online channel will maintain these 

standards. First-hand comment from experts in their respective fields 

will be the hallmark of our interviews" 

Anna Somers Cocks, 

founder of The Art Newspaper

NW 7th Ave 

3rd to 7th | December 2008 

Adam Baumgold Gallery New York \ Alejandra Von Hartz Gallery Miami \ Andrea Meislin Gallery New York \ Arthur Roger Gallery New Orleans 

Barry Friedman Ltd New York \ Barry Singer Gallery Petaluma \ Bellas Artes Santa Fe \ Bernice Steinbaum Gallery Miami 

Betty Cuningham Gallery New York \ Bodhi Art New York \ Brancolini Grimaldi Arte Contemporanea Rome \ Bryce Wolkowitz Gallery New York 

Caren Golden Fine Art New York \ Catherine Edelman Gallery Chicago \ Cernuda Arte Coral Gables \ Charlotte Jackson Fine Art Santa Fe 

ClampArt New York \ Cohen Amador Gallery New York \ Galleria D’ Arte Contini Venice \ Contessa Gallery Cleveland 

Danese New York \ Dot Fiftyone Gallery Miami \ Douglas Dawson Gallery Chicago \ Dunn and Brown Contemporary Dallas 

Durban Segnini Gallery Miami \ Dwight Hackett projects Santa Fe \ EVO Gallery Santa Fe \ Frey Norris Gallery San Francisco 

Galeria Ferran Cano Palma de Mallorca, Beleares \ Galerie Huebner Frankfurt \ Galerie Barbara Von Stechow Frankfurt 

Galerie Nordine Zidoun Luxembourg \ Galerie Piece Unique Paris \ Galerie Renate Bender Munich \ Galerie Terminus GMBH Munich 

Galerie Von Braunbehrens Munich \ Galleria Pack Milano \ Gerald Peters Gallery Dallas \ Goedhuis Contemporary New York 

Graphicstudio/USF Tampa \ Greg Kucera Gallery Seattle \ Hackett-Freedman Gallery San Francisco \ Haines Gallery San Francisco 

Hasted Hunt New York \ Hirschl & Adler Modern New York \ James Graham & Sons New York \ James Kelly Contemporary Santa Fe 

Jerald Melberg Gallery Charlotte \ Jim Kempner Fine Art New York \ Juan Ruiz Galeria Maracaibo Zulia \ Larissa Goldston Gallery New York 

Laurence Miller Gallery New York \ Lausberg Contemporary Toronto \ Leon Tovar Gallery New York \ Leonard Hutton Galleries New York 

Leslie Tonkonow Artworks + Projects New York \ McCormick Gallery Chicago \ McKenzie Fine Art Inc New York 

Michael Hoppen Contemporary London \ Modernism Inc. San Francisco \ Nancy Hoffman Gallery New York \ Nicholas Metivier Gallery Toronto 

Olyvia Oriental Ltd London \ Pace Prints New York \ Paul Thiebaud Gallery San Francisco New York \ Peter Findlay New York 

Photographs Do Not Bend Gallery Dallas \ Randall Scott Gallery Washington D.C. \ Richard Levy Gallery Albuquerque \ Rick Wester Fine Art New York 

Rosenbaum Contemporary Boca Raton \ Rudolf Budja Gallery Salzburg \ SAGE Paris Paris \ Schmidt Contemporary Art St. Louis 

Schuebbe Projects Dusseldorf \ Senior & Shopmaker Gallery New York \ Silverstein Photography New York \ Stephen Bulger Gallery Toronto 

Stux Gallery New York \ Sundaram Tagore Gallery New York \ Susan Sheehan Gallery New York \ Susan Teller Gallery New York 

TAI Gallery Santa Fe \ Tresart Coral Gables \ Van Eyck Galeria de Arte Buenos Aires \ Vincent Vallarino Fine Art New York 

Wetterling Gallery Stockholm \ Wilde Gallery Berlin \ William Shearburn Gallery St Louis \ William Siegal Gallery Santa Fe 

Winston Wachter Fine Art New York \ Xin Dong Cheng Gallery Beijing \ Yancey Richardson Gallery New York 

Art Video | New Media lounge 

Art Miami will have a unique, new media lounge curated by 

Asher Remy Toledo. The 4,000-square-foot new media 

lounge, among the largest of Miami’s art fairs, will present 

works from six, major international art institutions and 

foundations including: 

NW 35th 

NW 2nd Ave 

N. Miami Ave 

NW 34th NE 34th 

NW 33rd 

NW 32nd 

Wynwood Arts District 

Pulse 

NADA 

Design 

District 

NE 36th St 

NE 32nd 

NE 31st 

Photo 

Miami 

Buena Vista Ave 

NE 1st Ave 

Art Asia 

SCOPE 

NE 29th St 

NE 28th 

NE 27th 

NE 26th 

NE 25th St 

Aqua 

NE 24th 

NE 23rd 

NE 22nd 

NE 21st 

NE 20th St 

Red Dot 

Bridge 

Art Fair 

Midtown 

NE 2nd Ave 

Biscayne Blvd 

Venetian Causeway 

Julia Tuttle Causeway 

Michigan 

Ave 

907 / Alton Road 

Convention Ctr Dr. 

Midtown Blvd (NE 1st Avenue) between NE 32nd & NE 31st Street 

The Cisneros Fontanals Art Foundation (CIFO) 

Videos by Magdalena Fernandez, Alexander Apostol, 

Icaro Zorbar, and Amilcar Packer 

The Center for Contemporary Art – Tel Aviv (CCA) 

Videos by artist Sigalit Landau 

The Palazzo Delle Arti Napoli (PAN) 

Bjorn Melhus 2008 nine-channel video installation 

MIAMI 

BEACH 

CONVENTION 

CENTER 

17th St 

Lincoln Rd 

Washington Ave 

Dade Blvd/ Abe Resnick Blvd 

19th St 

18th St 

Collins Ave 

Pine Tree Drive 

Location 

Midtown Blvd (NE 1st Ave) between 

NE 32nd and NE 31st Street 

Parking 

Valet and general parking directly 

across the street from the fair. 

Shuttles 

North Loop - shuttle stops on the N.W. corner of Washington Avenue 

& 17th Street during Art Basel making stops at: Art Miami, In Fashion 

Photo, Red Dot, Photo Miami, Green, Bridge, SCOPE & Art Asia 

Circulator - shuttle stops between the Southern fairs and Northern Fairs 

on the Miami side only making stops at: Art Miami, In Fashion, Red Dot, 

Photo Miami, Green, Bridge, SCOPE & Art Asia, PULSE, NADA, AQUA. 

(Does not go to Miami Beach/convention center) 

Fair Hours 

Wednesday, Dec 3 

Thursday, Dec 4 

Friday, Dec 5 

Saturday, Dec 6 

Sunday, Dec 7 

1-800-432-2132 

www.foresttravel.com 

The Foundation for Art and Creative 

Technology in Liverpool, U.K. (FACT) 

Video by Nick Crowe and Ian Rawlinson 

The Iberia Center for Contemporary Art, Beijing 

Video animation by Zhang Xiaotao 

The Ullens Center for Contemporary Art, Beijing 

Feng Mengbo’s video game 

11am - 7pm 

10am - 7pm 

11am - 7pm 

11am - 7pm 

11am - 5pm 

Directions From Convention Center 

• Turn left at Abe Resnick Blvd/Dade Blvd 

• Turn right at N Michigan Ave 

• Turn right at Alton Rd countinue on Alton Rd 

• Merge on to I-195 W 

• Take exit 2B toward Biscayne Blvd/US-1 

• Slight left at NE 38th St 

• Turn left at Biscayne Blvd/US-1 

• Turn right at NE 36th St 

• Turn left at North Miami Ave. 

• Turn left at NE 31st St 

Art Miami accepts all other 

fairs VIP cards for admittance! 

For complete show information 

visit www.art-miami.com

Loyal buyers secure a positive start - The Art Newspaper

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