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Subject: What We Learned this Week (2331)
From: Artelligence <artelligence@substack.com>
To: enzo@showfile.com
Message-Id: <20230804170028.3.080f80d9614fdea1@mg-d0.substack.com>
Date: Fri, 4 Aug 2023 17:00:28 +0000
sender: Artelligence <artelligence@substack.com>
References: <post-135719817@substack.com>
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Reply-To: Artelligence
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View this post on the web at https://artelligence.substack.com/p/what-we-le=
arned-this-week-2331

Welcome to Artelligence
This free Artelligence newsletter is published most Friday throughout the y=
ear. Additional newsletters analyzing auction data from LiveArt or featurin=
g our own reporting are for paid subscribers only.
Subscriptions are $12 a month or $120 for a year. For organizations, we off=
er group discounts for 30% for each subscription of two or more. Sharing a =
newsletter on occasion is fine; consistently circumventing group subscripti=
ons is not.=C2=A0
There is also an option to get a 7-day free trial. Just choose the subscrip=
tion plan you want and click on the 7-day trial option before checkout.=C2=
=A0
In This Issue
Lot Watch: Magritte=E2=80=99s Masked Apples to be auctioned at Sotheby=E2=
=80=99s Paris in October
Notes: Paris Plus auctions soft announcement; East Village Elegy; Joyce Lov=
es Wolf
Lisa Yuskavage: Portrait of an artist whose time may have come
For the Love of God: Damien Hirst=E2=80=99s talent for publicity seems to b=
e waning
Lot Watch
This week Sotheby=E2=80=99s announced the sale on October 19th of Ren=C3=A9=
 Magritte=E2=80=99s La Valse H=C3=A9sitation from 1955 with an estimate of =
=E2=82=AC10 million. The sale will take place in Paris during a series of a=
uctions that coincide with Art Basel=E2=80=99s Paris Plus art fair. This wo=
rk has not been exhibited to the public since 1979 when it hung in the Gale=
rie Isy Brachot in Brussels and has been held privately by three different =
Belgian collectors over the last 44 years. The only comparable work, Le pre=
tre marie from 1961 which comes from the same series and depicts the opposi=
te illumination where the apples are bathed in sunlight and the moon shines=
 in a clouded sky, was offered at auction in 2007 where it was estimated at=
 =C2=A32 million and sold for =C2=A35.28 million in fees [ https://link.sbs=
tck.com/redirect/fef031ad-8ce5-408e-9bec-8e83d6448507?j=3DeyJ1IjoiMjdjZXI5I=
n0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ].=C2=A0=C2=A0
Notes
Sotheby=E2=80=99s Soft Announces Paris Plus auction series in October: In a=
ddition to the October 19 sale featuring the Magritte, above, that Sotheby=
=E2=80=99s is calling Modernit=C3=A9s, the auction house will hold a sale o=
f Art Impressioniste et Moderne on the evening of October 20. That same nig=
ht, Christie=E2=80=99s will hold a sale titled Avant-Garde(s) Including Thi=
nking Italian in Paris. In the past, the Italian sale was a feature of the =
October sales in London but one of the effects of Brexit has been to make t=
hat sale less effective because London now lies outside of the EU. The rest=
 of the Fall schedules have not been announced but it is looking like Octob=
er will see two sets of sales a week apart in London and Paris to coincide =
with the now competing art fairs in London and Paris.=C2=A0
Almost Famous [ https://link.sbstck.com/redirect/ebae1a71-3e57-4cf2-8693-07=
f92041decd?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7g=
WdY ] (Artforum): Carlo McCormick both urges you to see the Edward Brezinsk=
i documentary, Almost Famous, about =E2=80=9Cthe East Village scene of the =
1980s, fueled by myriad nostalgias=E2=80=94for old New York, for one of lat=
e modernism=E2=80=99s last bohemian enclaves, or simply for grit and authen=
ticity in this age of endless simulation=E2=80=94and turbocharged by the my=
ths of Keith Haring and Jean-Michel Basquiat.=E2=80=9C At the same time, he=
 laments almost everything about it: =E2=80=9CIn full disclosure, I was ask=
ed to be in this movie but demurred because I couldn=E2=80=99t think of one=
 nice thing to say about Ed. This I honestly regret because it clearly didn=
=E2=80=99t stop anyone else from being in the film. In fact, most of the hu=
mor that makes this such a winning picture comes from everyone describing t=
he stupidity, desperation, and annoying omnipresence that made Ed as pervas=
ive as the smell of alcoholic piss on the streets then.=E2=80=9D
With Zero-Sum, Joyce Carol Oates Reminds Us Life Isn=E2=80=99t Win or Lose =
[ https://link.sbstck.com/redirect/1849d987-d2d9-47fe-980c-9562657c2d46?j=
=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ] (W): I=
n an interview with W, Joyce Carol Oates discusses her interest in the arti=
st Wolf Kahn. =E2=80=9CI have probably two large, beautiful, gorgeous, abso=
lutely gorgeous paintings. And I have smaller paintings of his, and drawing=
s, probably about five or six Wolf Kahn. I never ever get tired of it, I ju=
st sit and stare at them.=E2=80=9D=C2=A0
Taking Lisa Yuskavage Seriously
The New Yorker=E2=80=99s Ariel Levy has a long and artfully composed profil=
e of Lisa Yuskavage in this week=E2=80=99s issue. [ https://link.sbstck.com=
/redirect/aba9d782-b81b-4f8f-a6af-ab344eecb31e?j=3DeyJ1IjoiMjdjZXI5In0.nCNh=
OM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ] You can read it as lesson in narr=
ative and exposition=E2=80=94Levy plays with the idea of Yuskavage as a wor=
king-class outsider using her art to embrace =E2=80=98vulgarity=E2=80=99 bu=
t ends with a very different position on the artist=E2=80=99s biography and=
 its role in her subject matter as well as the artist=E2=80=99s position in=
 the =E2=80=98art world=E2=80=99=E2=80=94or you can simply read it for Levy=
=E2=80=99s window into Yuskavage=E2=80=99s personality opened through brief=
 vignettes and dialogue.=C2=A0
Levy makes this illuminating point about Yuskavage=E2=80=99s subject matter=
:
This is something people in the art world like to tell civilians when talki=
ng about Yuskavage=E2=80=99s work: subject matter is only a small component=
 of a picture, nothing to become overly fixated on. =E2=80=9CPeople are ver=
y content-driven,=E2=80=9D Sarah Sze said. =E2=80=9CBut it=E2=80=99s like s=
aying, =E2=80=98Emily Dickinson=E2=80=99s main subject is death.=E2=80=99 W=
ho cares?=E2=80=9D In the history of Western art, certain subjects=E2=80=94=
the nude, the studio, =E2=80=9CJesus and his friends,=E2=80=9D to borrow Yu=
skavage=E2=80=99s phrase=E2=80=94are so prevalent that they have become alm=
ost incidental, vessels for the artist=E2=80=99s decisions. =E2=80=9CWhen y=
ou look at a lot of paintings, if you=E2=80=99re not a painter, you=E2=80=
=99re not thinking about color,=E2=80=9D Sze continued. =E2=80=9CBut it=E2=
=80=99s all color: that=E2=80=99s all you=E2=80=99re looking at.=E2=80=9D [=
=E2=80=A6]
=E2=80=9CHer color is kind of hypnotic,=E2=80=9D Kerry James Marshall said.=
 =E2=80=9CYou=E2=80=99re compelled to try to penetrate the color to see all=
 the other things that seem to be kind of hidden in there.=E2=80=9D [=E2=80=
=A6] =E2=80=9CThe way the light and the color will just wander all over the=
 place in Lisa=E2=80=99s work, you think about Burt Bacharach,=E2=80=9D Cur=
rin said. =E2=80=9CIt=E2=80=99s like =E2=80=98Pussycat, pussycat . . .=E2=
=80=99 Oh, my God, we=E2=80=99re in a different key, and we=E2=80=99re one =
bar into the song!=E2=80=99 =E2=80=9D
For some Yuskavage admirers, her nudes are just a means to an end. =E2=80=
=9CYes, there are boobs everywhere, but it=E2=80=99s actually so unbelievab=
ly not about boobs,=E2=80=9D James Rondeau, the director of the Art Institu=
te of Chicago, told me. [=E2=80=A6] What Yuskavage ultimately seeks to prov=
oke, in this view, is empathy: for the figure, for the painter, for the vic=
timizer and the victimized, the low and the high, the self who is staring, =
lost, at the conflagration of color.
There=E2=80=99s a couple of other interesting things to note in the story. =
The first is the importance of Philip Guston whom Yuskavage cites more than=
 once. Yuskavage situates her unsettling nudes after Guston=E2=80=99s hoode=
d Klansmen, the controversial and still inexplicable figures Guston painted=
 in the late Sixties,=C2=A0
=E2=80=9CHe had to put on a Klan hood to talk about the ugliness that was g=
oing on=E2=80=94not only out there but in his own heart,=E2=80=9D Yuskavage=
 said. =E2=80=9CI want to be that kind of artist. But how do you do that as=
 a woman? You have to point the finger at yourself. And then you have to al=
low people to call you a misogynist.=E2=80=9D
The most interesting thing about the profile is why now? Of all of the mome=
nts in Yuskavage=E2=80=99s quite visible if not meteorically successful car=
eer 2023 seems fairly undistinguished. The ostensible peg for the story is =
the Paris opening of show of paintings David Zwirner gallery. And there is =
a case to make that Yuskavage deserves a major museum retrospective, someth=
ing the story points out has been mounted for her former roommate John Curr=
in but not her.=C2=A0
The market is definitely beyond the purview of this excellent profile but t=
hat shouldn=E2=80=99t stop us from noticing the painter=E2=80=99s market vo=
latility. Sixteen years ago, two years after she started working with Zwirn=
er, the record price was paid for a Yuskavage at auction. Night from 2000 s=
old for $1,384,000 at Christie=E2=80=99s. It would take fifteen years for a=
nother work to come close. In May of 2022, Studio from 2009 made $1,380,000=
=2E In a scene in the profile, David Zw=
irner is stands next to and discusses=20=
Northview (Impressionist Jacket) from 2000 which he bought at auction for $=
1.1 million at Phillips a week after Studio was sold.=C2=A0=C2=A0
We get a brief glimpse of David Zwirner=E2=80=99s studied sales pitch when =
he is looking at Yuskavage painting in his gallery with Levy. =E2=80=9CThis=
 is a very attractive young woman, right? I mean, you could really . . . ge=
t there,=E2=80=9D Zwirner continued. =E2=80=9CThe male gaze is a big issue,=
 you know what I mean?=E2=80=9D Somehow, that casual attempt to invoke =E2=
=80=9Cthe male gaze=E2=80=9D doesn=E2=80=99t quite roll off Zwirner=E2=80=
=99s tongue without notice.=C2=A0
In terms of significant auction sales, above $500,000 to choose an arbitrar=
y number, there were 10 Yuskavage paintings sold at auction between 2006 an=
d 2010 that made prices above that level. After 2010, auction sales at that=
 level stop. They don=E2=80=99t resume for another nine years when PIggybac=
k from 2006 makes $524,000 at Sotheby=E2=80=99s in November. In addition to=
 the two sales from May 2022 mentioned above, there was a much earlier work=
, Big Blonde with Teacup from 1994, that sold at Sotheby=E2=80=99s in March=
 of 2020 for $450,000.=C2=A0=C2=A0
Artists=E2=80=99 careers wax and wane both on the market and in the popular=
 imagination. The dearth of auction sales may be more credit to Zwirner tha=
n a comment on Yuskavage=E2=80=99s market. She complains in the profile of =
years where her work didn=E2=80=99t sell which would give Zwirner an advant=
age in placing work over the last 18 years artist and dealer have worked to=
gether. Zwirner is quoted suggesting that Yuskavage has benefited from the =
boom in figurative art. With buyers from all over the world, =E2=80=9Cthe e=
ntry point is figurative painting,=E2=80=9D Zwirner says. Levy also adds at=
 another point that Yuskavage=E2=80=99s prices can be as high as $2 million=
 at Zwirner which gives you a sense of where Northview might be going.=C2=
=A0
Damien Hirst=E2=80=99s For the Love of God Rears Its Head
It was announced this week that the Museum of Urban and Contemporary Art in=
 Munich will host an exhibition of Damien Hirst=E2=80=99s work called The W=
eight of Things opening October 26, 2023. The show will comprise 40 works s=
panning Hirst=E2=80=99s career including representative works from his many=
 series including Natural History (formaldehyde sculptures), Spin Paintings=
, Medicine Cabinets, Treasures from the Wreck of the Unbelievable, Cherry B=
lossoms, and spot and butterfly paintings. The show is Hirst=E2=80=99s firs=
t major survey in Germany, according to the release.=C2=A0
The show relatively small for a survey of such a famous artist, one whose a=
bility to capture public attention has waned in recent years. Seemingly att=
empting to address that fact, the show will feature Hirst=E2=80=99s For the=
 Love of God sculpture from 2007. The work is a platinum-plated skull embed=
ded with 8,601 diamonds. Hirst=E2=80=99s publicists say the skull is intend=
ed to =E2=80=9Cserve as a poignant reminder of the transient nature of huma=
n existence, provoking contemplation on the impermanence of life.=E2=80=9D =
If that doesn=E2=80=99t do it for you, they also take a stab at suggesting =
skull =E2=80=9Cembodies Hirst=E2=80=99s fascination with diamonds, emphasiz=
ing the inherent uncertainty surrounding their value. The artwork confronts=
 the competitive nature of the diamond industry and the capitalist society =
that sustains it.=E2=80=9D
Those two themes hardly seem to resonate with today=E2=80=99s cultural conc=
erns. What=E2=80=99s missing from the announcement, which focuses on the di=
amond-encrusted skull over the survey, is the price tag. That was originall=
y an integral part of the skull=E2=80=99s identity as an artwork. It was ab=
surdly expensive, at least, for 2007. The work was a gesture of grotesque l=
avishness, a pointless luxury beyond all luxuries laughing in the face of d=
eath. As such, it was an apt symbol of the credit bubble=E2=80=99s intoxica=
tion with itself.=C2=A0
Sixteen years later, it hits different. No longer shocking=E2=80=94what=E2=
=80=99s shocking about a diamond-encrusted skull after a global pandemic an=
d a Summer of climate fears?=E2=80=94the skull isn=E2=80=99t quite a histor=
ical object yet. Indeed, it may be more of an uncomfortable reminder of art=
=E2=80=99s ability to get carried away with itself or an artist who used to=
 have the ability to stun and mortify=E2=80=94that, too, hits differently a=
fter eight years of Donald Trump=E2=80=94having lost his touch.

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ght:1px !important;width:1px !important;border-width:0 !important;margin-to=
p:0 !important;margin-bottom:0 !important;margin-right:0 !important;margin-=
left:0 !important;padding-top:0 !important;padding-bottom:0 !important;padd=
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one;font-size:1px;color:#333333;line-height:1px;max-height:0px;max-width:0p=
x;opacity:0;overflow:hidden;" class=3D"preview">Magritte in Paris + Yuskava=
ge's Market + Is Damien Hirst Losing His Touch? &#160;&#8204;&#160;&#8204;&=
#160;&#8204;&#160;&#8204;&#160;&#8204;&#160;&#8204;&#160;&#8204;&#160;&#820=
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<td></td><td align=3D"left" width=3D"550" class=3D"content"><div style=3D"f=
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0%" border=3D"0" cellspacing=3D"0" cellpadding=3D"0"><tr><td align=3D"right=
" style=3D"height: 20px;"><table role=3D"presentation" width=3D"auto" borde=
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ebkit-text-decoration-line: underline !important; color: rgb(128, 128, 128)=
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r <a href=3D"https://substack.com/redirect/2/eyJlIjoiaHR0cHM6Ly9hcnRlbGxpZ2=
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rkkL22qXz1KM0?" class=3D"tw-text-substack-secondary tw-underline" style=3D"=
-webkit-text-decoration-line: underline !important; color: rgb(128, 128, 12=
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sx-font-smoothing: antialiased; -webkit-appearance: optimizelegibility; -we=
bkit-font-smoothing: antialiased; appearance: optimizelegibility; color: rg=
b(64, 64, 64); font-family: 'SF Compact Display', -apple-system, BlinkMacSy=
stemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Apple Color Em=
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ld; line-height: 36px; margin: 0;"><a href=3D"https://substack.com/app-link=
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le&isFreemail=3Dtrue&token=3DeyJ1c2VyX2lkIjoxMzMyNjg2NjEsInBvc3RfaWQiOjEzNT=
cxOTgxNywiaWF0IjoxNjkxMTY4NTEwLCJleHAiOjE2OTM3NjA1MTAsImlzcyI6InB1Yi0yMjU5I=
iwic3ViIjoicG9zdC1yZWFjdGlvbiJ9.8F16bJyfJHZCY8GLPtp4_R2SgkuqTT0Nuwm5FzxYwVc=
" style=3D"color: rgb(64, 64, 64); text-decoration: none;">What We Learned =
this Week (2331)</a></h1><h3 class=3D"subtitle" style=3D"-moz-appearance: o=
ptimizelegibility; -moz-osx-font-smoothing: antialiased; -webkit-appearance=
: optimizelegibility; -webkit-font-smoothing: antialiased; appearance: opti=
mizelegibility; color: #808080; font-family: 'SF Compact Display', -apple-s=
ystem, BlinkMacSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif=
, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size: 18px=
; font-weight: normal; line-height: 24px; margin: 4px 0 0; margin-top: 12px=
;">Magritte in Paris + Yuskavage's Market + Is Damien Hirst Losing His Touc=
h?</h3><table role=3D"presentation" width=3D"100%" border=3D"0" cellspacing=
=3D"0" cellpadding=3D"0" class=3D"post-meta" style=3D"align-items: center; =
height: 20px; margin: 1em 0;"><tr><td><table role=3D"presentation" width=3D=
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=3D"0"><tr><td style=3D"vertical-align: middle;"><div class=3D"pencraft fro=
ntend-pencraft-Box-module__reset--VfQY8 frontend-pencraft-Text-module__size=
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x; line-height: 20px; margin: 0; text-decoration: unset; text-transform: up=
percase;"><a style=3D"color: rgb(64, 64, 64); font-family: 'SF Compact', -a=
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Segoe UI Symbol'; font-size: 11px; font-weight: 500; letter-spacing: .2px; =
line-height: 20px; margin: 0; text-decoration: none; text-transform: upperc=
ase;" href=3D"https://substack.com/@artelligence" class=3D"pencraft fronten=
d-pencraft-Box-module__reset--VfQY8 frontend-pencraft-Text-module__size-11-=
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_reset--dW0zZ frontend-pencraft-Text-module__meta--jzHdd">Marion Maneker</a=
></div></td></tr></table></td></tr><tr><td><table role=3D"presentation" wid=
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odule__reset--VfQY8 frontend-pencraft-Text-module__size-11--k1e8b frontend-=
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28); font-family: 'SF Compact', -apple-system, -apple-system, -system-ui, B=
linkMacSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Apple=
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eight: 500; letter-spacing: .2px; line-height: 20px; margin: 0; text-decora=
tion: unset; text-transform: uppercase;"><time dateTime=3D"2023-08-04T17:01=
:09.365Z">Aug 4</time></div></td></tr></table></td></tr></table></td></tr><=
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margin: 1em 0 0.625em 0; position: relative;"><strong>In This Issue</strong=
></h2><ol style=3D"margin-top: 0; padding: 0;"><li style=3D"margin: 8px 0 0=
 32px;"><p style=3D"box-sizing: border-box; color: rgb(64, 64, 64); font-si=
ze: 16px; line-height: 26px; margin: 0; margin-bottom: 0; padding-left: 4px=
;"><strong>Lot Watch: </strong><span>Magritte&#8217;s Masked Apples to be a=
uctioned at Sotheby&#8217;s Paris in October</span></p></li><li style=3D"ma=
rgin: 8px 0 0 32px;"><p style=3D"box-sizing: border-box; color: rgb(64, 64,=
 64); font-size: 16px; line-height: 26px; margin: 0; margin-bottom: 0; padd=
ing-left: 4px;"><strong>Notes: </strong><span>Paris Plus auctions soft anno=
uncement; East Village Elegy; Joyce Loves Wolf</span></p></li><li style=3D"=
margin: 8px 0 0 32px;"><p style=3D"box-sizing: border-box; color: rgb(64, 6=
4, 64); font-size: 16px; line-height: 26px; margin: 0; margin-bottom: 0; pa=
dding-left: 4px;"><strong>Lisa Yuskavage: </strong><span>Portrait of an art=
ist whose time may have come</span></p></li><li style=3D"margin: 8px 0 0 32=
px;"><p style=3D"box-sizing: border-box; color: rgb(64, 64, 64); font-size:=
 16px; line-height: 26px; margin: 0; margin-bottom: 0; padding-left: 4px;">=
<strong>For the Love of God: </strong><span>Damien Hirst&#8217;s talent for=
 publicity seems to be waning</span></p></li></ol><div style=3D"font-size: =
16px; line-height: 26px;"><hr style=3D"background: #e0e0e0; border: none; h=
eight: 1px; margin: 32px 0; padding: 0;"></div><h2 class=3D"header-with-anc=
hor-widget" style=3D"-moz-appearance: optimizelegibility; -moz-osx-font-smo=
othing: antialiased; -webkit-appearance: optimizelegibility; -webkit-font-s=
moothing: antialiased; appearance: optimizelegibility; color: rgb(64, 64, 6=
4); font-family: 'SF Compact Display', -apple-system, BlinkMacSystemFont, '=
Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Sego=
e UI Emoji', 'Segoe UI Symbol'; font-size: 1.625em; font-weight: bold; line=
-height: 1.16em; margin: 1em 0 0.625em 0; position: relative;"><strong>Lot =
Watch</strong></h2><div class=3D"captioned-image-container-static" style=3D=
"font-size: 16px; line-height: 26px; margin: 32px auto;"><figure style=3D"m=
argin: 0 auto; width: 100%;"><table class=3D"image-wrapper" width=3D"100%" =
border=3D"0" cellspacing=3D"0" cellpadding=3D"0" data-component-name=3D"Ima=
ge2ToDOMStatic" style=3D"mso-padding-alt: 1em 0 1.6em;"><tbody><tr><td styl=
e=3D"text-align: center;"></td><td align=3D"left" class=3D"content" width=
=3D"1456" style=3D"text-align: center;"><a class=3D"image-link" target=3D"_=
blank" href=3D"https://link.sbstck.com/redirect/fe4f0ddf-28b1-4826-b8c2-8e6=
c248b68bb?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gW=
dY" rel style=3D"align-items: center; border: none; display: block; flex-di=
rection: column; height: auto; margin: 0; padding: 0; position: relative; t=
ext-decoration: none; width: auto;"><img data-attrs=3D"{&quot;src&quot;:&qu=
ot;https://substack-post-media.s3.amazonaws.com/public/images/c3d345ba-01b2=
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l,&quot;fullscreen&quot;:null,&quot;imageSize&quot;:null,&quot;height&quot;=
:1060,&quot;width&quot;:1456,&quot;resizeWidth&quot;:null,&quot;bytes&quot;=
:null,&quot;alt&quot;:null,&quot;title&quot;:null,&quot;type&quot;:null,&qu=
ot;href&quot;:null,&quot;belowTheFold&quot;:true,&quot;topImage&quot;:false=
,&quot;internalRedirect&quot;:null}" alt width=3D"550" height=3D"400.412087=
9120879" class=3D"wide-image" src=3D"https://substackcdn.com/image/fetch/w_=
2912,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack=
-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2Fc3d345ba-01b2-430e-aac1-31=
c1b80c2f1b_1600x1165.jpeg" style=3D"-ms-interpolation-mode: bicubic; border=
: none !important; display: block; height: auto; margin: 0 auto; margin-bot=
tom: 0; max-width: 100% !important; vertical-align: middle; width: auto !im=
portant;"></a></td><td style=3D"text-align: center;"></td></tr></tbody></ta=
ble></figure></div><p style=3D"color: rgb(64, 64, 64); font-size: 16px; lin=
e-height: 26px; margin: 0 0 20px 0;"><span>This week Sotheby&#8217;s announ=
ced the sale on October 19th of Ren&#233; Magritte&#8217;s </span><em>La Va=
lse H&#233;sitation</em><span> from 1955 with an estimate of &#8364;10 mill=
ion. The sale will take place in Paris during a series of auctions that coi=
ncide with Art Basel&#8217;s Paris Plus art fair. This work has not been ex=
hibited to the public since 1979 when it hung in the Galerie Isy Brachot in=
 Brussels and has been held privately by three different Belgian collectors=
 over the last 44 years. The only comparable work, </span><em>Le pretre mar=
ie </em><span>from 1961 which comes from the same series and depicts the op=
posite illumination where the apples are bathed in sunlight and the moon sh=
ines in a clouded sky, was </span><a href=3D"https://link.sbstck.com/redire=
ct/fef031ad-8ce5-408e-9bec-8e83d6448507?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0=
jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"color: rgb(64, 64, 64); text=
-decoration: underline;">offered at auction in 2007 where it was estimated =
at &#163;2 million and sold for &#163;5.28 million in fees</a><span>.&#160;=
&#160;</span></p><div style=3D"font-size: 16px; line-height: 26px;"><hr sty=
le=3D"background: #e0e0e0; border: none; height: 1px; margin: 32px 0; paddi=
ng: 0;"></div><h2 class=3D"header-with-anchor-widget" style=3D"-moz-appeara=
nce: optimizelegibility; -moz-osx-font-smoothing: antialiased; -webkit-appe=
arance: optimizelegibility; -webkit-font-smoothing: antialiased; appearance=
: optimizelegibility; color: rgb(64, 64, 64); font-family: 'SF Compact Disp=
lay', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Helvetica, Ari=
al, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'; f=
ont-size: 1.625em; font-weight: bold; line-height: 1.16em; margin: 1em 0 0.=
625em 0; position: relative;"><strong>Notes</strong></h2><ol style=3D"margi=
n-top: 0; padding: 0;"><li style=3D"margin: 8px 0 0 32px;"><p style=3D"box-=
sizing: border-box; color: rgb(64, 64, 64); font-size: 16px; line-height: 2=
6px; margin: 0; margin-bottom: 0; padding-left: 4px;"><strong>Sotheby&#8217=
;s Soft Announces Paris Plus auction series in October: </strong><span>In a=
ddition to the October 19 sale featuring the Magritte, above, that Sotheby&=
#8217;s is calling Modernit&#233;s, the auction house will hold a sale of A=
rt Impressioniste et Moderne on the evening of October 20. That same night,=
 Christie&#8217;s will hold a sale titled Avant-Garde(s) Including Thinking=
 Italian in Paris. In the past, the Italian sale was a feature of the Octob=
er sales in London but one of the effects of Brexit has been to make that s=
ale less effective because London now lies outside of the EU. The rest of t=
he Fall schedules have not been announced but it is looking like October wi=
ll see two sets of sales a week apart in London and Paris to coincide with =
the now competing art fairs in London and Paris.&#160;</span></p></li><li s=
tyle=3D"margin: 8px 0 0 32px;"><p style=3D"box-sizing: border-box; color: r=
gb(64, 64, 64); font-size: 16px; line-height: 26px; margin: 0; margin-botto=
m: 0; padding-left: 4px;"><strong><a href=3D"https://link.sbstck.com/redire=
ct/ebae1a71-3e57-4cf2-8693-07f92041decd?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0=
jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"color: rgb(64, 64, 64); text=
-decoration: underline;">Almost Famous</a><span> </span></strong><span>(Art=
forum): Carlo McCormick both urges you to see the Edward Brezinski document=
ary, </span><em>Almost Famous</em><span>, about &#8220;the East Village sce=
ne of the 1980s, fueled by myriad nostalgias&#8212;for old New York, for on=
e of late modernism&#8217;s last bohemian enclaves, or simply for grit and =
authenticity in this age of endless simulation&#8212;and turbocharged by th=
e myths of Keith Haring and Jean-Michel Basquiat.&#8220; At the same time, =
he laments almost everything about it: &#8220;In full disclosure, I was ask=
ed to be in this movie but demurred because I couldn&#8217;t think of one n=
ice thing to say about Ed. This I honestly regret because it clearly didn&#=
8217;t stop anyone else from being in the film. In fact, most of the humor =
that makes this such a winning picture comes from everyone describing the s=
tupidity, desperation, and annoying omnipresence that made Ed as pervasive =
as the smell of alcoholic piss on the streets then.&#8221;</span></p></li><=
li style=3D"margin: 8px 0 0 32px;"><p style=3D"box-sizing: border-box; colo=
r: rgb(64, 64, 64); font-size: 16px; line-height: 26px; margin: 0; margin-b=
ottom: 0; padding-left: 4px;"><strong><a href=3D"https://link.sbstck.com/re=
direct/1849d987-d2d9-47fe-980c-9562657c2d46?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3=
c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"color: rgb(64, 64, 64); =
text-decoration: underline;">With Zero-Sum, Joyce Carol Oates Reminds Us Li=
fe Isn&#8217;t Win or Lose</a></strong><span> (W): In an interview with W, =
Joyce Carol Oates discusses her interest in the artist Wolf Kahn. &#8220;I =
have probably two large, beautiful, gorgeous, absolutely gorgeous paintings=
=2E And I have smaller paintings of his=
, and drawings, probably about five or=
 six Wolf Kahn. I never ever get tired of it, I just sit and stare at them.=
&#8221;&#160;</span></p></li></ol><div style=3D"font-size: 16px; line-heigh=
t: 26px;"><hr style=3D"background: #e0e0e0; border: none; height: 1px; marg=
in: 32px 0; padding: 0;"></div><h4 class=3D"header-with-anchor-widget" styl=
e=3D"-moz-appearance: optimizelegibility; -moz-osx-font-smoothing: antialia=
sed; -webkit-appearance: optimizelegibility; -webkit-font-smoothing: antial=
iased; appearance: optimizelegibility; color: rgb(64, 64, 64); font-family:=
 'SF Compact Display', -apple-system, BlinkMacSystemFont, 'Segoe UI', Robot=
o, Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Se=
goe UI Symbol'; font-size: 1.125em; font-weight: bold; line-height: 1.16em;=
 margin: 1em 0 0.625em 0; position: relative;"><strong>Taking Lisa Yuskavag=
e Seriously</strong></h4><div class=3D"captioned-image-container-static" st=
yle=3D"font-size: 16px; line-height: 26px; margin: 32px auto;"><figure styl=
e=3D"margin: 0 auto; width: 100%;"><table class=3D"image-wrapper" width=3D"=
100%" border=3D"0" cellspacing=3D"0" cellpadding=3D"0" data-component-name=
=3D"Image2ToDOMStatic" style=3D"mso-padding-alt: 1em 0 1.6em;"><tbody><tr><=
td style=3D"text-align: center;"></td><td align=3D"left" class=3D"content" =
width=3D"1456" style=3D"text-align: center;"><a class=3D"image-link" target=
=3D"_blank" href=3D"https://link.sbstck.com/redirect/7ec5a203-1226-4076-a72=
a-c000d3e3f25d?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6=
pp7gWdY" rel style=3D"align-items: center; border: none; display: block; fl=
ex-direction: column; height: auto; margin: 0; padding: 0; position: relati=
ve; text-decoration: none; width: auto;"><img data-attrs=3D"{&quot;src&quot=
;:&quot;https://substack-post-media.s3.amazonaws.com/public/images/2f8e74f6=
-048f-410b-8e32-429ffa19b568_2374x1704.png&quot;,&quot;srcNoWatermark&quot;=
:null,&quot;fullscreen&quot;:null,&quot;imageSize&quot;:null,&quot;height&q=
uot;:1045,&quot;width&quot;:1456,&quot;resizeWidth&quot;:null,&quot;bytes&q=
uot;:5901859,&quot;alt&quot;:null,&quot;title&quot;:null,&quot;type&quot;:&=
quot;image/png&quot;,&quot;href&quot;:null,&quot;belowTheFold&quot;:true,&q=
uot;topImage&quot;:false,&quot;internalRedirect&quot;:null}" alt width=3D"5=
50" height=3D"394.7458791208791" class=3D"wide-image" src=3D"https://substa=
ckcdn.com/image/fetch/w_2912,c_limit,f_auto,q_auto:good,fl_progressive:stee=
p/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F2f=
8e74f6-048f-410b-8e32-429ffa19b568_2374x1704.png" style=3D"-ms-interpolatio=
n-mode: bicubic; border: none !important; display: block; height: auto; mar=
gin: 0 auto; margin-bottom: 0; max-width: 100% !important; vertical-align: =
middle; width: auto !important;"></a></td><td style=3D"text-align: center;"=
></td></tr></tbody></table><figcaption class=3D"image-caption" style=3D"box=
-sizing: content-box; color: #808080; font-size: 14px; font-weight: 400; le=
tter-spacing: -.15px; line-height: 20px; margin-top: 8px; padding-left: 15%=
; padding-right: 15%; text-align: center; width: 70%;">Lisa Yuskavage, The =
Golden Studio (2023)</figcaption></figure></div><p style=3D"color: rgb(64, =
64, 64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0;"><a href=
=3D"https://link.sbstck.com/redirect/aba9d782-b81b-4f8f-a6af-ab344eecb31e?j=
=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel sty=
le=3D"color: rgb(64, 64, 64); text-decoration: underline;">The New Yorker&#=
8217;s Ariel Levy has a long and artfully composed profile of Lisa Yuskavag=
e in this week&#8217;s issue.</a><span> You can read it as lesson in narrat=
ive and exposition&#8212;Levy plays with the idea of Yuskavage as a working=
-class outsider using her art to embrace &#8216;vulgarity&#8217; but ends w=
ith a very different position on the artist&#8217;s biography and its role =
in her subject matter as well as the artist&#8217;s position in the &#8216;=
art world&#8217;&#8212;or you can simply read it for Levy&#8217;s window in=
to Yuskavage&#8217;s personality opened through brief vignettes and dialogu=
e.&#160;</span></p><p style=3D"color: rgb(64, 64, 64); font-size: 16px; lin=
e-height: 26px; margin: 0 0 20px 0;">Levy makes this illuminating point abo=
ut Yuskavage&#8217;s subject matter:</p><blockquote style=3D"border-left: 4=
px solid #653366; margin: 20px 0; padding: 0;"><p style=3D"color: rgb(64, 6=
4, 64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0; margin-left=
: 20px;"><span>This is something people in the art world like to tell civil=
ians when talking about Yuskavage&#8217;s work: subject matter is only a sm=
all component of a picture, nothing to become overly fixated on. &#8220;Peo=
ple are very content-driven,&#8221; Sarah Sze said. &#8220;But it&#8217;s l=
ike saying, &#8216;Emily Dickinson&#8217;s main subject is death.&#8217; Wh=
o cares?&#8221; In the history of Western art, certain subjects&#8212;the n=
ude, the studio, &#8220;Jesus and his friends,&#8221; to borrow Yuskavage&#=
8217;s phrase&#8212;are so prevalent that they have become almost incidenta=
l, vessels for the artist&#8217;s decisions. &#8220;When you look at a lot =
of paintings, if you&#8217;re not a painter, you&#8217;re not thinking abou=
t color,&#8221; Sze continued. &#8220;But it&#8217;s </span><em>all</em><sp=
an> color: that&#8217;s all you&#8217;re looking at.&#8221; [&#8230;]</span=
></p><p style=3D"color: rgb(64, 64, 64); font-size: 16px; line-height: 26px=
; margin: 0 0 20px 0; margin-left: 20px;">&#8220;Her color is kind of hypno=
tic,&#8221; Kerry James Marshall said. &#8220;You&#8217;re compelled to try=
 to penetrate the color to see all the other things that seem to be kind of=
 hidden in there.&#8221; [&#8230;] &#8220;The way the light and the color w=
ill just wander all over the place in Lisa&#8217;s work, you think about Bu=
rt Bacharach,&#8221; Currin said. &#8220;It&#8217;s like &#8216;Pussycat, p=
ussycat . . .&#8217; Oh, my God, we&#8217;re in a different key, and we&#82=
17;re one bar into the song!&#8217; &#8221;</p><p style=3D"color: rgb(64, 6=
4, 64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0; margin-left=
: 20px;">For some Yuskavage admirers, her nudes are just a means to an end.=
 &#8220;Yes, there are boobs everywhere, but it&#8217;s actually so unbelie=
vably not about boobs,&#8221; James Rondeau, the director of the Art Instit=
ute of Chicago, told me. [&#8230;] What Yuskavage ultimately seeks to provo=
ke, in this view, is empathy: for the figure, for the painter, for the vict=
imizer and the victimized, the low and the high, the self who is staring, l=
ost, at the conflagration of color.</p></blockquote><p style=3D"color: rgb(=
64, 64, 64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0;">There=
&#8217;s a couple of other interesting things to note in the story. The fir=
st is the importance of Philip Guston whom Yuskavage cites more than once. =
Yuskavage situates her unsettling nudes after Guston&#8217;s hooded Klansme=
n, the controversial and still inexplicable figures Guston painted in the l=
ate Sixties,&#160;</p><blockquote style=3D"border-left: 4px solid #653366; =
margin: 20px 0; padding: 0;"><p style=3D"color: rgb(64, 64, 64); font-size:=
 16px; line-height: 26px; margin: 0 0 20px 0; margin-left: 20px;">&#8220;He=
 had to put on a Klan hood to talk about the ugliness that was going on&#82=
12;not only out there but in his own heart,&#8221; Yuskavage said. &#8220;I=
 want to be that kind of artist. But how do you do that as a woman? You hav=
e to point the finger at yourself. And then you have to allow people to cal=
l you a misogynist.&#8221;</p></blockquote><p style=3D"color: rgb(64, 64, 6=
4); font-size: 16px; line-height: 26px; margin: 0 0 20px 0;">The most inter=
esting thing about the profile is why now? Of all of the moments in Yuskava=
ge&#8217;s quite visible if not meteorically successful career 2023 seems f=
airly undistinguished. The ostensible peg for the story is the Paris openin=
g of show of paintings David Zwirner gallery. And there is a case to make t=
hat Yuskavage deserves a major museum retrospective, something the story po=
ints out has been mounted for her former roommate John Currin but not her.&=
#160;</p><p style=3D"color: rgb(64, 64, 64); font-size: 16px; line-height: =
26px; margin: 0 0 20px 0;"><span>The market is definitely beyond the purvie=
w of this excellent profile but that shouldn&#8217;t stop us from noticing =
the painter&#8217;s market volatility. Sixteen years ago, two years after s=
he started working with Zwirner, the record price was paid for a Yuskavage =
at auction. </span><em>Night</em><span> from 2000 sold for $1,384,000 at Ch=
ristie&#8217;s. It would take fifteen years for another work to come close.=
 In May of 2022, </span><em>Studio</em><span> from 2009 made $1,380,000. In=
 a scene in the profile, David Zwirner is stands next to and discusses </sp=
an><em>Northview (Impressionist Jacket)</em><span> from 2000 which he bough=
t at auction for $1.1 million at Phillips a week after </span><em>Studio</e=
m><span> was sold.&#160;&#160;</span></p><p style=3D"color: rgb(64, 64, 64)=
; font-size: 16px; line-height: 26px; margin: 0 0 20px 0;">We get a brief g=
limpse of David Zwirner&#8217;s studied sales pitch when he is looking at Y=
uskavage painting in his gallery with Levy. &#8220;This is a very attractiv=
e young woman, right? I mean, you could really . . . get there,&#8221; Zwir=
ner continued. &#8220;The male gaze is a big issue, you know what I mean?&#=
8221; Somehow, that casual attempt to invoke &#8220;the male gaze&#8221; do=
esn&#8217;t quite roll off Zwirner&#8217;s tongue without notice.&#160;</p>=
<p style=3D"color: rgb(64, 64, 64); font-size: 16px; line-height: 26px; mar=
gin: 0 0 20px 0;"><span>In terms of significant auction sales, above $500,0=
00 to choose an arbitrary number, there were 10 Yuskavage paintings sold at=
 auction between 2006 and 2010 that made prices above that level. After 201=
0, auction sales at that level stop. They don&#8217;t resume for another ni=
ne years when </span><em>PIggyback</em><span> from 2006 makes $524,000 at S=
otheby&#8217;s in November. In addition to the two sales from May 2022 ment=
ioned above, there was a much earlier work, </span><em>Big Blonde with Teac=
up </em><span>from 1994, that sold at Sotheby&#8217;s in March of 2020 for =
$450,000.&#160;&#160;</span></p><p style=3D"color: rgb(64, 64, 64); font-si=
ze: 16px; line-height: 26px; margin: 0 0 20px 0;"><span>Artists&#8217; care=
ers wax and wane both on the market and in the popular imagination. The dea=
rth of auction sales may be more credit to Zwirner than a comment on Yuskav=
age&#8217;s market. She complains in the profile of years where her work di=
dn&#8217;t sell which would give Zwirner an advantage in placing work over =
the last 18 years artist and dealer have worked together. Zwirner is quoted=
 suggesting that Yuskavage has benefited from the boom in figurative art. W=
ith buyers from all over the world, &#8220;the entry point is figurative pa=
inting,&#8221; Zwirner says. Levy also adds at another point that Yuskavage=
&#8217;s prices can be as high as $2 million at Zwirner which gives you a s=
ense of where </span><em>Northview</em><span> might be going.&#160;</span><=
/p><div style=3D"font-size: 16px; line-height: 26px;"><hr style=3D"backgrou=
nd: #e0e0e0; border: none; height: 1px; margin: 32px 0; padding: 0;"></div>=
<h4 class=3D"header-with-anchor-widget" style=3D"-moz-appearance: optimizel=
egibility; -moz-osx-font-smoothing: antialiased; -webkit-appearance: optimi=
zelegibility; -webkit-font-smoothing: antialiased; appearance: optimizelegi=
bility; color: rgb(64, 64, 64); font-family: 'SF Compact Display', -apple-s=
ystem, BlinkMacSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif=
, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size: 1.12=
5em; font-weight: bold; line-height: 1.16em; margin: 1em 0 0.625em 0; posit=
ion: relative;"><strong>Damien Hirst&#8217;s For the Love of God Rears Its =
Head</strong></h4><div class=3D"captioned-image-container-static" style=3D"=
font-size: 16px; line-height: 26px; margin: 32px auto;"><figure style=3D"ma=
rgin: 0 auto; width: 100%;"><table class=3D"image-wrapper" width=3D"100%" b=
order=3D"0" cellspacing=3D"0" cellpadding=3D"0" data-component-name=3D"Imag=
e2ToDOMStatic" style=3D"mso-padding-alt: 1em 0 1.6em;"><tbody><tr><td style=
=3D"text-align: center;"></td><td align=3D"left" class=3D"content" width=3D=
"492" style=3D"text-align: center;"><a class=3D"image-link" target=3D"_blan=
k" href=3D"https://link.sbstck.com/redirect/a0ce860b-da7e-403e-b839-d301dc7=
18fdd?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" =
rel style=3D"align-items: center; border: none; display: block; flex-direct=
ion: column; height: auto; margin: 0; padding: 0; position: relative; text-=
decoration: none; width: auto;"><img data-attrs=3D"{&quot;src&quot;:&quot;h=
ttps://substack-post-media.s3.amazonaws.com/public/images/0c4214dc-6d74-4ee=
6-9cd4-80795ff5134f_3939x5000.jpeg&quot;,&quot;srcNoWatermark&quot;:null,&q=
uot;fullscreen&quot;:null,&quot;imageSize&quot;:null,&quot;height&quot;:184=
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uot;image/jpeg&quot;,&quot;href&quot;:null,&quot;belowTheFold&quot;:true,&q=
uot;topImage&quot;:false,&quot;internalRedirect&quot;:null}" alt title widt=
h=3D"492" height=3D"624.4615384615385" class src=3D"https://substackcdn.com=
/image/fetch/w_492,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A=
%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F0c4214dc-6d7=
4-4ee6-9cd4-80795ff5134f_3939x5000.jpeg" style=3D"-ms-interpolation-mode: b=
icubic; border: none !important; display: block; height: auto; margin: 0 au=
to; margin-bottom: 0; max-width: 100% !important; vertical-align: middle; w=
idth: auto !important;"></a></td><td style=3D"text-align: center;"></td></t=
r></tbody></table><figcaption class=3D"image-caption" style=3D"box-sizing: =
content-box; color: #808080; font-size: 14px; font-weight: 400; letter-spac=
ing: -.15px; line-height: 20px; margin-top: 8px; padding-left: 15%; padding=
-right: 15%; text-align: center; width: 70%;">Damien Hirst, For the Love of=
 God (2007)</figcaption></figure></div><p style=3D"color: rgb(64, 64, 64); =
font-size: 16px; line-height: 26px; margin: 0 0 20px 0;"><span>It was annou=
nced this week that the Museum of Urban and Contemporary Art in Munich will=
 host an exhibition of Damien Hirst&#8217;s work called </span><em>The Weig=
ht of Things</em><span> opening October 26, 2023. The show will comprise 40=
 works spanning Hirst&#8217;s career including representative works from hi=
s many series including Natural History (formaldehyde sculptures), Spin Pai=
ntings, Medicine Cabinets, Treasures from the Wreck of the Unbelievable, Ch=
erry Blossoms, and spot and butterfly paintings. The show is Hirst&#8217;s =
first major survey in Germany, according to the release.&#160;</span></p><p=
 style=3D"color: rgb(64, 64, 64); font-size: 16px; line-height: 26px; margi=
n: 0 0 20px 0;"><span>The show relatively small for a survey of such a famo=
us artist, one whose ability to capture public attention has waned in recen=
t years. Seemingly attempting to address that fact, the show will feature H=
irst&#8217;s </span><em>For the Love of God</em><span> sculpture from 2007.=
 The work is a platinum-plated skull embedded with 8,601 diamonds. Hirst&#8=
217;s publicists say the skull is intended to &#8220;serve as a poignant re=
minder of the transient nature of human existence, provoking contemplation =
on the impermanence of life.&#8221; If that doesn&#8217;t do it for you, th=
ey also take a stab at suggesting skull &#8220;embodies Hirst&#8217;s fasci=
nation with diamonds, emphasizing the inherent uncertainty surrounding thei=
r value. The artwork confronts the competitive nature of the diamond indust=
ry and the capitalist society that sustains it.&#8221;</span></p><p style=
=3D"color: rgb(64, 64, 64); font-size: 16px; line-height: 26px; margin: 0 0=
 20px 0;">Those two themes hardly seem to resonate with today&#8217;s cultu=
ral concerns. What&#8217;s missing from the announcement, which focuses on =
the diamond-encrusted skull over the survey, is the price tag. That was ori=
ginally an integral part of the skull&#8217;s identity as an artwork. It wa=
s absurdly expensive, at least, for 2007. The work was a gesture of grotesq=
ue lavishness, a pointless luxury beyond all luxuries laughing in the face =
of death. As such, it was an apt symbol of the credit bubble&#8217;s intoxi=
cation with itself.&#160;</p><p style=3D"color: rgb(64, 64, 64); font-size:=
 16px; line-height: 26px; margin: 0 0 20px 0; margin-bottom: 0;">Sixteen ye=
ars later, it hits different. No longer shocking&#8212;what&#8217;s shockin=
g about a diamond-encrusted skull after a global pandemic and a Summer of c=
limate fears?&#8212;the skull isn&#8217;t quite a historical object yet. In=
deed, it may be more of an uncomfortable reminder of art&#8217;s ability to=
 get carried away with itself or an artist who used to have the ability to =
stun and mortify&#8212;that, too, hits differently after eight years of Don=
ald Trump&#8212;having lost his touch.&#160;</p></div></div><div class=3D"c=
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