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 <strong>Art</strong> 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 <strong>Art</strong> 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 <strong>Art</strong> 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 <strong>Art</strong> Miami—has been held up at Miami airport. <strong>The</strong> 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 UmbertoAllemandi & Co. Publishing Ltd In the UK: 70 South Lambeth Road, London SW8 1RL Tel: +44 (0)20 7735 3331 Fax: +44 (0)20 7735 3332 Subscriptions: Tel: +44 (0)1795 414 863 Email: theartnewspaper@galleon.co.uk In the US: 594 Broadway, Suite 406, New York, NY 10012 Tel: +1 212 343 0727 Fax: +1 212 965 5367 email: custsvc_tan@fulcoinc.com 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 <strong>Art</strong> 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 <strong>Art</strong> <strong>The</strong><strong>Art</strong> <strong>Newspaper</strong> <strong>Art</strong> Basel Miami Beach 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 CASEY FATCHETT 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. <strong>The</strong> 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 <strong>Art</strong>. Raskin’s results <strong>The</strong> 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 <strong>The</strong><strong>Art</strong> <strong>Newspaper</strong> Ltd.All rights reserved. No part of this newspaper may be reproduced without written consent of copyright proprietor. <strong>The</strong><strong>Art</strong> <strong>Newspaper</strong> is not responsible for statements expressed in the signed articles and interviews. 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