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Subject: What We Learned this Week (2323)
From: Artelligence <artelligence@substack.com>
To: enzo@showfile.com
Message-Id: <20230609120023.3.34bb624e37915f86@mg-d0.substack.com>
Date: Fri, 9 Jun 2023 12:00:23 +0000
sender: Artelligence <artelligence@substack.com>
References: <post-126777342@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-2323

Welcome to Artelligence
The Artelligence newsletter combines auction data from LiveArt and commenta=
ry formerly on Art Market Monitor. The newsletter comes out every Friday wi=
th What We Learned this Week. Depending on the art market calendar or news =
cycle, you will receive other emails from this account on an irregular basi=
s.
We are eager to hear from you. If you have questions, tips or suggestions f=
or coverage, contact us here. Feel free to forward the email to anyone you =
think would like to subscribe.
Please check your spam folder! Some new subscribers may not have received t=
he newsletter in their inbox immediately.
In This Issue
Lot Watch: =C2=A34m Fra Angelico at Christie=E2=80=99s=20
Deep Cuts: Etel Adnan, Serge Poliakoff
Notes:=C2=A0Mainland buyers were back at Christie=E2=80=99s in HK; Zach Las=
ry develops LA=E2=80=99s new gallery district; Is being a museum director r=
eally different now?; A Solomonic solution to the Benin Bronzes?; The Warho=
l foundation dodges its own bullet; Keith McNally remembers Francoise Gilot=
=2E=20
Lot Watch
Rediscovered Fra Angelico Comes to Market with =C2=A34m Estimate
Discovered in 1996, this Fra Angelico panel has been in the family of the 2=
nd Lord Ashburton since he died in 1864. It wasn=E2=80=99t until 1996 that =
it was identified as a Fra Angelico by Christie=E2=80=99s deputy chairman F=
rancis Russell. The work is the surviving center panel of a devotional trip=
tych made for a patron some time between 1419 and 1424. The work will be of=
fered on July 6th during Christie=E2=80=99s Classic Week in London.=20
Deep Cuts
Etel Adnan
Etel Adnan=E2=80=99s market continues to develop after her death in Novembe=
r, 2021. At Christie=E2=80=99s Paris sale, this untitled later work from 20=
14 was offered with an attractive =E2=82=AC60,000 estimate but was bid up t=
o =E2=82=AC239,400 with fees [ https://substack.com/redirect/aaa202ac-ad4f-=
4c72-a75a-745678dbb764?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigH=
Xx6Fx_g6pp7gWdY ]. That=E2=80=99s the artist=E2=80=99s 9th highest price at=
 auction. A better illustration of the change in Adnan=E2=80=99s market is =
shown by this untitled work from the same year, 2014, that sold in May at S=
otheby=E2=80=99s for $215,900 [ https://substack.com/redirect/ce2bf952-6d52=
-4245-8cc9-4035c398426f?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnig=
HXx6Fx_g6pp7gWdY ]. It was bought in 2018 at Sotheby=E2=80=99s in London fo=
r $52,479. That=E2=80=99s a more than 4x rise in five years.
Serge Poliakoff
The art market is global=E2=80=94except when its not. Some artists remain g=
eography bound. Serge Poliakoff is great example. With so much interest rem=
aining the market for mid-century abstraction, the School of Paris member h=
as been getting strong bidding interest in European auctions. Two works off=
ered at Berlin=E2=80=99s Van Ham were bid well above the estimates. A 1967 =
abstract offered at =E2=82=AC250,000 made nearly =E2=82=AC700,000  [ https:=
//substack.com/redirect/d728ff6d-8f13-4737-af51-877abdef0918?j=3DeyJ1IjoiMj=
djZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ]with fees; a 1957 wo=
rk offered at =E2=82=AC120,000 made =E2=82=AC316,800 [ https://substack.com=
/redirect/a4e4c802-edf2-448a-99de-475636a4a8aa?j=3DeyJ1IjoiMjdjZXI5In0.nCNh=
OM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ], approximately the same hammer ra=
tio. Meanwhile, at Sotheby=E2=80=99s, 1954 work offered at =E2=82=AC250,000=
 made =E2=82=AC419,100 with fees [ https://substack.com/redirect/677090c0-0=
227-4f17-8884-c509132b91a7?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iR=
nigHXx6Fx_g6pp7gWdY ].=20
Notes
Christie=E2=80=99s Hong Kong Spring Auctions See Return of More Mainland Ch=
inese and Southeast Asian buyers, but sales remain subdued [ https://substa=
ck.com/redirect/1b0cd5df-ae7f-476e-be0b-c4b52341cd34?j=3DeyJ1IjoiMjdjZXI5In=
0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ]: SCMP=E2=80=99s Enid Tsui r=
eports that Christie=E2=80=99s recent HK sales cycle saw 90% of the 3000 lo=
ts offered find buyers=E2=80=94a very impressive statistic for sales that w=
ere retreating from previous highs seen last year. One important wrinkle th=
at Tsui identifies was this:=C2=A0 =E2=80=9CThe contribution of mainland Ch=
inese buyers in the modern and contemporary art category =E2=80=A6 during t=
he auction house=E2=80=99s annual spring sales was double the level of a ye=
ar ago.=E2=80=9D
How David Zwirner Turned a Forgotten Block in LA into Prime Real Estate [ h=
ttps://substack.com/redirect/315156b8-ddbe-4f5c-9f8b-7c620f334e56?j=3DeyJ1I=
joiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ]: You have to h=
and it to Nate Freeman for turning a story about a few galleries opening ar=
ound David Zwirner=E2=80=99s new LA outpost into a pretty good yarn about Z=
ach Lasry=E2=80=99s burgeoning real estate development. Here=E2=80=99s Free=
man touring the complex of properties that Lasry has assembled: =E2=80=9CLa=
sry wasn=E2=80=99t there to just show me the Zwirner spaces. Within three b=
locks, galleries including Mor=C3=A1n Mor=C3=A1n and Clearing were already =
open with exhibitions welcoming viewers. Nearby were near-complete spaces t=
hat were set to be inhabited by New York transplants such as Sargent=E2=80=
=99s Daughters, Shrine, a new gallery from dealer Emma Fernberger, and the =
second-ever space for James Fuentes. The acclaimed Filipino eatery Kuya Lor=
d sat across the street from a space that will house the second location of=
 Dimes Square pie-slinger Scarr=E2=80=99s, and the womenswear brand CO will=
 have an outpost right next to the Zwirner spaces.=E2=80=9D
What Does it Take to Run a Museum? The Job Description Is Changing [ https:=
//substack.com/redirect/bf67e1f8-1d84-4afd-9877-757bcbd9ca7e?j=3DeyJ1IjoiMj=
djZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ]: The New York Times=
 story about the Guggenheim=E2=80=99s search for a new director and the cha=
llenges to finding museum leaders who are diverse seems to have gotten hija=
cked by the headline writers. Who is the Guggenheim looking at? The story d=
oesn=E2=80=99t tell us. Instead, we=E2=80=99re presented with a series of q=
uotes from bystanders either reinforcing what we already know or trying to =
distract from the main issue=E2=80=94how to move the leadership of museums =
rapidly towards a more representative group of executives. The two key quot=
es trying to elevate the story beyond the lack of information about the Gug=
genheim search come from a consultant and a museum director.
Andras Szanto, the consultant, says, =E2=80=9CThe traditional functions of =
the museum are being expanded very rapidly. In addition to collecting and p=
reserving, now museums are expected to be community-facing, inclusive, enga=
ged in the debates of our time.=E2=80=9D=20
Anyone familiar with the history of American museums would have a hard time=
 believing that museums were ever divorced from the debates or their time o=
r were anything but community facing. Shaping the beliefs of the community =
is one of the main reasons museums were established. The difference now is =
that there is a widespread effort to re-orient those beliefs in a world whe=
re the concept of high culture as all but evaporated.=C2=A0
The director of the Brooklyn Museum, Ann Pasternak, is quoted saying, =E2=
=80=9CYou have to be an octopus, and the new generation of museum directors=
 will have to be entrepreneurs.=E2=80=9D=20
It=E2=80=99s hard to think of celebrated museum director=E2=80=94from Alfre=
d Barr to Thomas Hoving, from Michael Govan to Thelma Golden=E2=80=94who ha=
sn=E2=80=99t already been entrepreneurial.
Who Owns the Benin Bronzes? The Answer Just Got More Complicated [ https://=
substack.com/redirect/35752b59-a693-44de-93cf-d9fd76f73bbd?j=3DeyJ1IjoiMjdj=
ZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ]: The New York Times r=
an a bit of a late-to-the-party story on out-going Nigerian president Muham=
madu Buhari=E2=80=99s last-minute decision in March to give title over the =
restituted Benin Bronzes to Ewuare II, the oba of Benin, the region=E2=80=
=99s hereditary nobleman. The move was a surprise but not wholly unexpected=
=2E As David Frum mapped out in The Atl=
antic last October [ https://substack.=
com/redirect/fed4a849-bf45-4eef-8168-264481daa25c?j=3DeyJ1IjoiMjdjZXI5In0.n=
CNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ], the looted art works don=E2=
=80=99t have an obvious home either in Nigeria or the world. Frum makes a c=
ase that the great encyclopedic museums of the world, despite their roots i=
n imperialism and colonialism are the best domicile for these cultural trea=
sures. Whatever criticism his conclusions received, it did map out the thre=
e-way battle between the Nigerian government, the Oba and a private group l=
ed by wealthy Nigerians like Philip Ihenacho to be the custodians of the br=
onzes. The case against the Nigerian government was that it is a political =
entity that succeeded the kingdom of Benin as much by its own imperialism a=
s the British. Nigeria=E2=80=99s current government has also yet to show it=
 can secure cultural patrimony from corruption and official looting. Buhari=
=E2=80=99s decision, at least, removes the Nigerian government from the equ=
ation. With Western museums racing to return these works of art to Africa, =
the final question was whether the entity with the best hope of creating a =
cultural institution in Benin City. On one side was Ihenacho and a group of=
 wealthy supporters. On the other was the oba, a ceremonial figure with muc=
h to gain from control over the bronzes. For the outside moralists who beli=
eve there are easy answers here, it is important to remember that the Kingd=
om of Benin became rich providing slaves to sugar producers. Meanwhile, the=
 wealthy Nigerians have benefited at the expense of the 200+ million ordina=
ry citizens who often lack electricity. The oba=E2=80=99s popularity seems =
to have been the deciding factor in final decision, if Frum=E2=80=99s repor=
ting is correct. Frum is also probably right that more people will see the =
bronzes and learn of Benin=E2=80=99s cultural heights if the art remains in=
 Western museums. But Phillip Ihenacho has the final word when he castigate=
s the Western pundits who believe they are stewards of Benin=E2=80=99s past=
=2E =E2=80=9CTo these commentators,=E2=80=9D=20=
he wrote in  [ https://substack.=
com/redirect/e18dfb41-c44a-4114-99b7-f5174ccb192e?j=3DeyJ1IjoiMjdjZXI5In0.n=
CNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ]The Art Newspaper [ https://sub=
stack.com/redirect/e18dfb41-c44a-4114-99b7-f5174ccb192e?j=3DeyJ1IjoiMjdjZXI=
5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ], =E2=80=9Cit seems fine =
for the West to take more than a hundred years to begin to act on restituti=
on, but unforgivable that Nigeria does not resolve complex domestic and his=
torical issues instantaneously.=E2=80=9D
Look to the Purpose, not the Meaning=E2=80=94Supreme Court Rejects Warhol F=
oundation=E2=80=99s Fair Use Defense Against Lynn Goldsmith:  [ https://sub=
stack.com/redirect/8cb618e7-2fb2-4713-a292-4f8b885dc3ff?j=3DeyJ1IjoiMjdjZXI=
5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ] Nicholas O=E2=80=99Donne=
ll is an art lawyer who submitted an amicus brief in the Supreme Court case=
 Andy Warhol Foundation for the Visual Arts, Inc. v Goldsmith. On his law f=
irm=E2=80=99s blog, he makes an important-but-little-recognized distinction=
 about what the SCOTUS decision does and does not do [ https://substack.com=
/redirect/8cb618e7-2fb2-4713-a292-4f8b885dc3ff?j=3DeyJ1IjoiMjdjZXI5In0.nCNh=
OM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ]. O=E2=80=99Donnell points out the=
 SCOTUS ruling goes out of its way to say the fair use issue here is confin=
ed to whether Cond=C3=A9 Nast could have easily used either the Goldsmith p=
hotograph or the Warhol artwork to illustrate a commemorative issue for Pri=
nce in 2016. (Vanity Fair had commissioned the image years earlier to illus=
trate a story about Prince. Warhol then made artworks that he sold from the=
 image. The case and ruling is about the Vanity Fair commission and its sub=
sequent use in the 2016 Prince Cond=C3=A9 Nast commemorative issue.)=C2=A0 =
Here's the relevant language from the SCOTUS ruling [ https://substack.com/=
redirect/8663e6be-b886-485b-9369-d7606078e6e5?j=3DeyJ1IjoiMjdjZXI5In0.nCNhO=
M3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ]: =E2=80=9CThe Court limits its ana=
lysis to the specific use alleged to be infringing in this case=E2=80=94AWF=
=E2=80=99s commercial licensing of Orange Prince to Cond=C3=A9 Nast=E2=80=
=94and expresses no opinion as to the creation, display, or sale of the ori=
ginal Prince Series works. In the context of Cond=C3=A9 Nast=E2=80=99s spec=
ial edition magazine commemorating Prince, the purpose of the Orange Prince=
 image is substantially the same as that of Goldsmith=E2=80=99s original ph=
otograph.=E2=80=9D So, to repeat, the case doesn=E2=80=99t affect Warhol=E2=
=80=99s art work, including the canvases that Warhol made from Goldsmith=E2=
=80=99s image. (That=E2=80=99s what =E2=80=9CPrince Series=E2=80=9D refers =
to.) O=E2=80=99Donnell also points out that Warhol himself was aware of the=
 commercial rights issues when he made a point of getting a license from Go=
ldsmith for the original use of the image for a magazine illustration. The =
great mystery here is why the Warhol Foundation didn=E2=80=99t simply renew=
 the license when asked. Instead, the foundation chose the nuclear option b=
y suing Goldsmith peremptorily, not the other way around.  That choice cost=
 the foundation far more than the likely four-figure license renewal. This =
isn=E2=80=99t the first time the Warhol Foundation has been its own worst e=
nemy. It dissolved its own authentication board in 2011 after stumbling thr=
ough a dispute with Joe Simon-Whelan [ https://substack.com/redirect/5b76fd=
8c-c77f-4c98-950b-8503b6fbbb76?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrM=
e5iRnigHXx6Fx_g6pp7gWdY ] caused by its own over-zealous policing of the ar=
tist=E2=80=99s legacy. That was another very costly multi-year legal battle=
=2E Unfortunately, the effects of th=
e Warhol foundation=E2=80=99s retreat fro=
m authenticating had much broader implications. Most other artists=E2=80=99=
 foundations also fled the responsibility; that left the market without an =
important protection. The unexpected result was to turn the Warhol foundati=
on into a rent-seeker on the artist=E2=80=99s IP, not a guardian of his leg=
acy. That decision made the foundation no different from Goldsmith (except =
that the Warhol foundation uses its rents to make grants.) So far, unlike t=
he authentication issue, the blast radius of the grenade the Warhol foundat=
ion dropped at its own feet has been relatively contained. Had they won, th=
ey might have opened up Warhol=E2=80=99s own work to overly broad fair use =
claims. They didn=E2=80=99t lose so bad that the Warhol market would be dis=
rupted; imagine the calamity if all of the found images in all of those War=
hols were now in doubt? (Phew!) And other appropriation artists don=E2=80=
=99t seem to be affected because of the narrow scope of the Supreme Court=
=E2=80=99s ruling. Now, the art world can only hope the Warhol foundation d=
oesn=E2=80=99t get embroiled in anything else =E2=80=A6.
Keith McNally shares his memory of meeting Francoise Gilot [ https://substa=
ck.com/redirect/4194340d-c2d9-46a4-9989-2f7177ed9ff2?j=3DeyJ1IjoiMjdjZXI5In=
0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY ]: Gilot died this week at 10=
1. The unlikely feminist restaurateur Keith McNally posted on Instagram thi=
s reminder of Gilot=E2=80=99s brave memoir of her life with Picasso.  Gilot=
 was the first to puncture Picasso=E2=80=99s mystique and expose his abusiv=
e behavior toward the women in his life. McNally wrote a letter to two of h=
is children at the time he read the memoir stating, =E2=80=9CPicasso was a =
genius, but a monster to live with. Gilot was the only woman strong enough =
to leave him. The book was less about Picasso and more about Gilot's gradua=
l liberation.=E2=80=9D=20
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@media (max-width: 420px) {
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}


@media screen and (min-width: 420px) and (max-width: 600px) {
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@media (max-width: 420px) {
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@media (max-width: 600px) {
  .typography .markup .install-substack-app-embed .install-substack-app-emb=
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}


@media screen and (min-width: 481px) {
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}


@media screen and (min-width: 481px) {
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}


@media screen and (max-width: 480px) {
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@media screen and (max-width: 480px) {
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@media screen and (max-width: 650px) {
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}


@media screen and (max-width: 1000px) {
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  .congrats-box .congrats-box-right {
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}


@media screen and (max-width: 500px) {
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}


@media screen and (min-width: 541px) {
  .settings-add-pub-modal-wrapper .container .add-recommending-pub-modal-co=
ntainer {
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}


@media screen and (min-width: 541px) {
  .settings-add-pub-modal-wrapper .container .add-recommending-pub-modal-co=
ntainer .footer {
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}


@media screen and (max-width: 840px) {
  .header-with-anchor-widget .header-anchor-widget,
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}


@media screen and (min-width: 768px) {
  .post {
    padding: 32px 0 0 0;
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}


@media screen and (max-width: 650px) {
  .post .post-header .post-label {
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}


@media screen and (max-width: 650px) {
  .post .post-header .meta-author-wrap.alternative-meta .meta-right-column =
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}


@media screen and (max-width: 650px) {
  .post .footer-facepile-container {
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}


@media screen and (max-width: 650px) {
  .post .post-footer.use-separators {
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}


@media screen and (max-width: 650px) {
  .post .post-footer.next-prev {
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@media screen and (max-width: 650px) {
  .post-contributor-footer .post-contributor-bio-table {
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  .post-contributor-footer .post-contributor-bio-userhead-cell,
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  .post-contributor-footer .post-contributor-bio-body-cell {
    flex-grow: 1;
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  .post-contributor-footer .post-contributor-bio-controls .button.primary {
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}


@media screen and (min-width: 768px) {
  .post-silhouette {
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}


@media screen and (max-width: 650px) {
  .post-silhouette .post-silhouette-title {
    margin-top: 10.44225025px;
    height: 120px;
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}


@media screen and (max-width: 650px) {
  .post-silhouette .post-silhouette-meta {
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}


@media screen and (max-width: 650px) {
  .post-silhouette .post-silhouette-meta.with-byline-image {
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}


@media screen and (max-width: 650px) {
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}


@media screen and (max-width: 370px) {
  .use-theme-bg .post-meta.alternative-meta .post-meta-item,
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}


@media screen and (max-width: 650px) {
  .use-theme-bg .post-meta.alternative-meta .post-meta-item.guest-author-pu=
blication,
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}


@media screen and (max-width: 370px) {
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}


@media screen and (max-width: 370px) {
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}


@media screen and (max-width: 650px) {
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}


@media screen and (max-width: 650px) {
  .post-preview .post-preview-image {
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}


@media screen and (max-width: 650px) {
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}


@media screen and (max-width: 650px) {
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}


@media all and (-ms-high-contrast: none), (-ms-high-contrast: active) {
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}


@media screen and (max-width: 650px) {
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}


@media screen and (max-width: 370px) {
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}


@media screen and (max-width: 650px) {
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scribe {
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}


@media screen and (max-width: 650px) {
  body .markup div.subscription-widget-wrap .subscription-widget.show-subsc=
ribe,
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e {
    padding: 24px;
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}


@media screen and (max-width: 650px) {
  body .markup div.subscription-widget-wrap .subscription-widget.show-subsc=
ribe .subscription-widget-subscribe .button,
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e .subscription-widget-subscribe .button {
    padding: 10px 12px;
    min-width: 110px;
  }
}


@media (max-width: 650px) {
  body .markup .tweet {
    padding: 12px;
  }
}


@media (max-width: 650px) {
  body .markup .tweet .tweet-text {
    font-size: 14px;
    line-height: 20px;
  }
}


@media (max-width: 650px) {
  body .markup .tweet .tweet-photos-container.two,
  body .markup .tweet .tweet-photos-container.three,
  body .markup .tweet .tweet-photos-container.four {
    height: 200px;
  }
}


@media (max-width: 650px) {
  body .markup .tweet a.expanded-link .expanded-link-img {
    max-height: 180px;
  }
}


@media (max-width: 650px) {
  body .markup .tweet a.expanded-link .expanded-link-description {
    display: none;
  }
}


@media screen and (max-width: 650px) {
  body .markup .apple-podcast-container {
    width: unset;
  }
}


@media (max-width: 420px) {
  body .markup .install-substack-app-embed img.install-substack-app-embed-i=
mg {
    margin: 0 auto 16px auto;
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}


@media screen and (min-width: 420px) and (max-width: 600px) {
  body .markup .install-substack-app-embed .install-substack-app-embed-text=
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    max-width: calc(100% - 100px);
    width: initial;
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}


@media (max-width: 420px) {
  body .markup .install-substack-app-embed .install-substack-app-embed-text=
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    margin: 0 0 12px 0;
    max-width: 100%;
    width: auto;
    text-align: center;
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}


@media (max-width: 600px) {
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    margin-top: 16px;
    width: 100%;
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}


@media screen and (min-width: 500px) {
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    height: 42px;
    border-radius: 8px;
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}


@media screen and (max-width: 420px) {
  body .subscription-receipt table:first-of-type .subscription-amount .subs=
cription-discount {
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}


@media screen and (min-width: 481px) {
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}


@media screen and (max-width: 480px) {
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}


@media screen and (max-width: 650px) {
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}


@media screen and (min-width: 500px) {
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}


@media screen and (max-width: 650px) {
  .comments-page .container .comment-list .collapsed-reply {
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}


@media screen and (max-width: 650px) {
  .comment > .comment-list {
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}


@media screen and (max-width: 650px) {
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}


@media (max-width: 650px) {
  .reader2-text-b3 {
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}


@media screen and (max-width: 650px) {
  .reader2-text-h4 {
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}


@media screen and (min-width: 541px) {
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}


@media screen and (max-width: 650px) {
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}


@media screen and (min-width: 541px) {
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}


@media screen and (max-width: 650px) {
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}


@media screen and (max-width: 768px) {
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}


@media screen and (max-width: 768px) {
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}


@media screen and (max-width: 768px) {
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}


@media only screen and (max-width: 650px) {
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}


@media only screen and (min-width: 630px) {
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}


@media screen and (min-width: 541px) {
  .audio-player-wrapper .audio-player {
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}


@media screen and (max-width: 650px) {
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}


@media screen and (max-width: 650px) {
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progress-bar .audio-player-progress-bar-popup {
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}


@media screen and (max-width: 650px) {
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}


@media screen and (max-width: 650px) {
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layer-progress-bar .audio-player-progress-bar-popup {
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}


@media (min-width: 250px) {
  .audio-player-wrapper-fancy .audio-player {
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  .audio-player-wrapper-fancy .audio-player .btn-group {
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}


@media (min-width: 300px) {
  .audio-player-wrapper-fancy .audio-player .btn-group {
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}


@media (min-width: 350px) {
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  .audio-player-wrapper-fancy .audio-player .audio-player-title {
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  .audio-player-wrapper-fancy .audio-player .audio-player-hero-image-contai=
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  .audio-player-wrapper-fancy .audio-player .audio-player-substack-logo {
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}


@media (min-width: 350px) {
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ner {
    padding-top: 25%;
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  .audio-player-wrapper-fancy .audio-player .btn-group .button:first-of-typ=
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}


@media (min-width: 400px) {
  .audio-player-wrapper-fancy .audio-player .audio-player-hero-image-contai=
ner {
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}


@media (max-width: 400px) {
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  .audio-player-wrapper-fancy .audio-player .btn-group .button {
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    padding: 6px 12px;
    height: auto;
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}


@media (min-width: 600px) {
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ner {
    padding-top: 55%;
    width: 55%;
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}


@media (max-width: 650px) {
  .poll-editor-modal {
    min-width: calc(100% - 20px);
  }
}


@media (max-width: 750px) {
  .poll-embed .poll-anchor-target .poll-anchor-copy-button {
    left: 8px;
    top: 45px;
  }
}


@media screen and (min-width: 541px) {
  .poll-embed .poll-wrapper.poll-web .poll-dialog .modal-table .modal-row .=
modal-content > .container {
    width: 552px;
    padding: 26px 24px;
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}


@media screen and (max-width: 650px) {
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modal-content > .container {
    padding: 40px 0;
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}


@media screen and (max-width: 650px) {
  .poll-embed .poll-wrapper.poll-web .poll-dialog .modal-row .modal-cell .m=
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}
</style></head><body class=3D"email-body" style=3D"font-kerning: auto;"><im=
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30iigE" alt=3D"" width=3D"1" height=3D"1" border=3D"0" style=3D"height:1px =
!important;width:1px !important;border-width:0 !important;margin-top:0 !imp=
ortant;margin-bottom:0 !important;margin-right:0 !important;margin-left:0 !=
important;padding-top:0 !important;padding-bottom:0 !important;padding-righ=
t:0 !important;padding-left:0 !important;"/><div style=3D"display:none;font=
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y:0;overflow:hidden;" class=3D"preview">The Warhol foundation saved from it=
s own mistakes + Benin's Bronzes + Etel Adnan, Serge Poliakoff &#160;&#8204=
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#160;&#8204;&#160;&#8204;&#160;&#8204;</div><table role=3D"presentation" wi=
dth=3D"100%" border=3D"0" cellspacing=3D"0" cellpadding=3D"0" class=3D"emai=
l-body-container"><tr><td></td><td width=3D"550" class=3D"content"></td><td=
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<div style=3D"font-size: 16px; line-height: 26px; margin: 0 auto; max-width=
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on" width=3D"100%" border=3D"0" cellspacing=3D"0" cellpadding=3D"0"><tr><td=
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ubstack-secondary" style=3D"color: #808080 !important; font-family: SF Pro =
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portant; font-size: 13px !important;"><a href=3D"https://open.substack.com/=
pub/artelligence/p/what-we-learned-this-week-2323?utm_source=3Demail&redire=
ct=3Dapp-store" class=3D"tw-text-substack-secondary tw-underline" style=3D"=
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er graphic-header" style=3D"border-spacing: 0; padding: 16px 0 32px;"><tr><=
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tps://substack.com/redirect/2/eyJlIjoiaHR0cHM6Ly9hcnRlbGxpZ2VuY2Uuc3Vic3RhY=
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><img role=3D"presentation" width=3D"550" height=3D"110" src=3D"https://sub=
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</table><div dir=3D"auto" class=3D"post typography" style=3D"font-size: 16p=
x; line-height: 26px; padding: 16px 0 0 0;"><div class=3D"post-header" styl=
e=3D"font-size: 16px; line-height: 26px;"><h1 class=3D"post-title published=
" style=3D"-moz-appearance: optimizelegibility; -moz-osx-font-smoothing: an=
tialiased; -webkit-appearance: optimizelegibility; -webkit-font-smoothing: =
antialiased; appearance: optimizelegibility; color: #404040; font-family: '=
SF Compact Display', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto,=
 Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Sego=
e UI Symbol'; font-size: 32px; font-weight: bold; line-height: 36px; margin=
: 0;"><a href=3D"https://substack.com/app-link/post?publication_id=3D2259&p=
ost_id=3D126777342&utm_source=3Dpost-email-title&isFreemail=3Dtrue&token=3D=
eyJ1c2VyX2lkIjoxMzMyNjg2NjEsInBvc3RfaWQiOjEyNjc3NzM0MiwiaWF0IjoxNjg2MzEyMjE=
0LCJleHAiOjE2ODg5MDQyMTQsImlzcyI6InB1Yi0yMjU5Iiwic3ViIjoicG9zdC1yZWFjdGlvbi=
J9.laLFYUge7933d_VKMkdnADjAjeIXkeaRoucb00WPHRA" style=3D"color: #404040; te=
xt-decoration: none;">What We Learned this Week (2323)</a></h1><h3 class=3D=
"subtitle" style=3D"-moz-appearance: optimizelegibility; -moz-osx-font-smoo=
thing: antialiased; -webkit-appearance: optimizelegibility; -webkit-font-sm=
oothing: antialiased; appearance: optimizelegibility; color: #808080; font-=
family: 'SF Compact Display', -apple-system, BlinkMacSystemFont, 'Segoe UI'=
, Roboto, Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoj=
i', 'Segoe UI Symbol'; font-size: 18px; font-weight: normal; line-height: 2=
4px; margin: 4px 0 0; margin-top: 12px;">The Warhol foundation saved from i=
ts own mistakes + Benin's Bronzes + Etel Adnan, Serge Poliakoff</h3><table =
role=3D"presentation" width=3D"100%" border=3D"0" cellspacing=3D"0" cellpad=
ding=3D"0" class=3D"post-meta" style=3D"align-items: center; height: 20px; =
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ion" width=3D"auto" border=3D"0" cellspacing=3D"0" cellpadding=3D"0"><tr><t=
d style=3D"vertical-align: middle;"><div class=3D"pencraft frontend-pencraf=
t-Box-module__reset--VfQY8 frontend-pencraft-Text-module__size-11--k1e8b fr=
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font-size: 11px; font-weight: 500; letter-spacing: .2px; line-height: 20px;=
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"color: #404040; font-family: 'SF Compact', -apple-system, -apple-system, -=
system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-s=
erif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size: =
11px; font-weight: 500; letter-spacing: .2px; line-height: 20px; margin: 0;=
 text-decoration: none; text-transform: uppercase;" href=3D"https://substac=
k.com/redirect/cdbcfcc4-5ce1-42f2-b57d-84679ba7686a?j=3DeyJ1IjoiMjdjZXI5In0=
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6pp7gWdY" class=3D"pencraft frontend-pe=
ncraft-Box-module__reset--VfQY8 frontend-pencraft-Text-module__size-11--k1e=
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ext-module__weight-medium--x7khA frontend-pencraft-Text-module__font-meta--=
U_nxy frontend-pencraft-Text-module__color-primary--ud4Z0 frontend-pencraft=
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et--dW0zZ frontend-pencraft-Text-module__meta--jzHdd">Marion Maneker</a></d=
iv></td></tr></table></td></tr><tr><td><table role=3D"presentation" width=
=3D"auto" border=3D"0" cellspacing=3D"0" cellpadding=3D"0"><tr><td style=3D=
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le__reset--VfQY8 frontend-pencraft-Text-module__size-11--k1e8b frontend-pen=
craft-Text-module__line-height-20--p0dP8 frontend-pencraft-Text-module__wei=
ght-medium--x7khA frontend-pencraft-Text-module__font-meta--U_nxy frontend-=
pencraft-Text-module__color-secondary--WRADg frontend-pencraft-Text-module_=
_transform-uppercase--IDkUL frontend-pencraft-Text-module__reset--dW0zZ fro=
ntend-pencraft-Text-module__meta--jzHdd" style=3D"color: #808080; font-fami=
ly: 'SF Compact', -apple-system, -apple-system, -system-ui, BlinkMacSystemF=
ont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Apple Color Emoji',=
 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size: 11px; font-weight: 500; le=
tter-spacing: .2px; line-height: 20px; margin: 0; text-decoration: unset; t=
ext-transform: uppercase;"><time dateTime=3D"2023-06-09T12:02:36.823Z">Jun =
9</time></div></td></tr></table></td></tr></table></td></tr></table><table =
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0;">&#160;</td></tr><tr><td><table role=3D"presentation" width=3D"100%" bor=
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p></div><div style=3D"font-size: 16px; line-height: 26px;"><hr style=3D"bac=
kground: #e0e0e0; border: none; height: 1px; margin: 32px 0; padding: 0;"><=
/div><h2 class=3D"header-with-anchor-widget" style=3D"-moz-appearance: opti=
mizelegibility; -moz-osx-font-smoothing: antialiased; -webkit-appearance: o=
ptimizelegibility; -webkit-font-smoothing: antialiased; appearance: optimiz=
elegibility; color: #404040; font-family: 'SF Compact Display', -apple-syst=
em, BlinkMacSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, '=
Apple Color Emoji', 'Segoe 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>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: b=
order-box; color: #404040; font-size: 16px; line-height: 26px; margin: 0; m=
argin-bottom: 0; padding-left: 4px;"><strong>Lot Watch:</strong><span> &#16=
3;4m Fra Angelico at Christie&#8217;s </span></p></li><li style=3D"margin: =
8px 0 0 32px;"><p style=3D"box-sizing: border-box; color: #404040; font-siz=
e: 16px; line-height: 26px; margin: 0; margin-bottom: 0; padding-left: 4px;=
"><strong>Deep Cuts:</strong><span> Etel Adnan, Serge Poliakoff</span></p><=
/li><li style=3D"margin: 8px 0 0 32px;"><p style=3D"box-sizing: border-box;=
 color: #404040; font-size: 16px; line-height: 26px; margin: 0; margin-bott=
om: 0; padding-left: 4px;"><strong>Notes:&#160;</strong><span>Mainland buye=
rs were back at Christie&#8217;s in HK; Zach Lasry develops LA&#8217;s new =
gallery district; Is being a museum director really different now?; A Solom=
onic solution to the Benin Bronzes?; The Warhol foundation dodges its own b=
ullet; Keith McNally remembers Francoise Gilot. </span></p></li></ol><div s=
tyle=3D"font-size: 16px; line-height: 26px;"><hr style=3D"background: #e0e0=
e0; border: none; height: 1px; margin: 32px 0; padding: 0;"></div><h2 class=
=3D"header-with-anchor-widget" style=3D"-moz-appearance: optimizelegibility=
; -moz-osx-font-smoothing: antialiased; -webkit-appearance: optimizelegibil=
ity; -webkit-font-smoothing: antialiased; appearance: optimizelegibility; c=
olor: #404040; font-family: 'SF Compact Display', -apple-system, BlinkMacSy=
stemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Apple Color Em=
oji', 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size: 1.625em; font-weight:=
 bold; line-height: 1.16em; margin: 1em 0 0.625em 0; position: relative;">L=
ot Watch</h2><h4 class=3D"header-with-anchor-widget" style=3D"-moz-appearan=
ce: optimizelegibility; -moz-osx-font-smoothing: antialiased; -webkit-appea=
rance: optimizelegibility; -webkit-font-smoothing: antialiased; appearance:=
 optimizelegibility; color: #404040; font-family: 'SF Compact Display', -ap=
ple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-=
serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size:=
 1.125em; font-weight: bold; line-height: 1.16em; margin: 1em 0 0.625em 0; =
position: relative;">Rediscovered Fra Angelico Comes to Market with &#163;4=
m Estimate</h4><div class=3D"captioned-image-container-static" style=3D"fon=
t-size: 16px; line-height: 26px; margin: 32px auto;"><figure style=3D"margi=
n: 0 auto; width: 100%;"><table class=3D"image-wrapper" width=3D"100%" bord=
er=3D"0" cellspacing=3D"0" cellpadding=3D"0" data-component-name=3D"Image2T=
oDOMStatic" 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"38=
6" style=3D"text-align: center;"><a class=3D"image-link" target=3D"_blank" =
href=3D"https://substack.com/redirect/4660c0dd-167d-44e5-a88a-20e83d65d815?=
j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel st=
yle=3D"align-items: center; border: none; display: block; flex-direction: c=
olumn; height: auto; margin: 0; padding: 0; position: relative; text-decora=
tion: none; width: auto;"><img data-attrs=3D"{&quot;src&quot;:&quot;https:/=
/substack-post-media.s3.amazonaws.com/public/images/3f658b70-4d2c-4432-875f=
-ef1efe9ee888_2467x4000.jpeg&quot;,&quot;fullscreen&quot;:null,&quot;imageS=
ize&quot;:null,&quot;height&quot;:2361,&quot;width&quot;:1456,&quot;resizeW=
idth&quot;:386,&quot;bytes&quot;:8279936,&quot;alt&quot;:null,&quot;title&q=
uot;:null,&quot;type&quot;:&quot;image/jpeg&quot;,&quot;href&quot;:null,&qu=
ot;belowTheFold&quot;:true,&quot;topImage&quot;:false,&quot;internalRedirec=
t&quot;:null}" alt width=3D"386" height=3D"625.9244505494505" class src=3D"=
https://substackcdn.com/image/fetch/w_386,c_limit,f_auto,q_auto:good,fl_pro=
gressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%=
2Fimages%2F3f658b70-4d2c-4432-875f-ef1efe9ee888_2467x4000.jpeg" style=3D"-m=
s-interpolation-mode: bicubic; border: none !important; display: block; hei=
ght: auto; margin: 0 auto; margin-bottom: 0; max-width: 100% !important; ve=
rtical-align: middle; width: auto !important;"></a></td><td style=3D"text-a=
lign: center;"></td></tr></tbody></table><figcaption class=3D"image-caption=
" style=3D"box-sizing: content-box; color: #808080; font-size: 14px; font-w=
eight: 400; letter-spacing: -.15px; line-height: 20px; margin-top: 8px; pad=
ding-left: 15%; padding-right: 15%; text-align: center; width: 70%;">Fra An=
gelico, The Crucifixion with the Virgin, Saint John the Baptist and the Mag=
dalen at the Foot of the Cross, est. &#163;4,000,000</figcaption></figure><=
/div><p style=3D"color: #404040; font-size: 16px; line-height: 26px; margin=
: 0 0 20px 0;">Discovered in 1996, this Fra Angelico panel has been in the =
family of the 2nd Lord Ashburton since he died in 1864. It wasn&#8217;t unt=
il 1996 that it was identified as a Fra Angelico by Christie&#8217;s deputy=
 chairman Francis Russell. The work is the surviving center panel of a devo=
tional triptych made for a patron some time between 1419 and 1424. The work=
 will be offered on July 6th during Christie&#8217;s Classic Week in London=
=2E </p><div style=3D"font-size: 16px;=20=
line-height: 26px;"><hr style=3D"backg=
round: #e0e0e0; border: none; height: 1px; margin: 32px 0; padding: 0;"></d=
iv><h2 class=3D"header-with-anchor-widget" style=3D"-moz-appearance: optimi=
zelegibility; -moz-osx-font-smoothing: antialiased; -webkit-appearance: opt=
imizelegibility; -webkit-font-smoothing: antialiased; appearance: optimizel=
egibility; color: #404040; font-family: 'SF Compact Display', -apple-system=
, BlinkMacSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Ap=
ple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size: 1.625em; =
font-weight: bold; line-height: 1.16em; margin: 1em 0 0.625em 0; position: =
relative;">Deep Cuts</h2><h4 class=3D"header-with-anchor-widget" style=3D"-=
moz-appearance: optimizelegibility; -moz-osx-font-smoothing: antialiased; -=
webkit-appearance: optimizelegibility; -webkit-font-smoothing: antialiased;=
 appearance: optimizelegibility; color: #404040; font-family: 'SF Compact D=
isplay', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, Helvetica, =
Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'=
; font-size: 1.125em; font-weight: bold; line-height: 1.16em; margin: 1em 0=
 0.625em 0; position: relative;">Etel Adnan</h4><div class=3D"captioned-ima=
ge-container-static" style=3D"font-size: 16px; line-height: 26px; margin: 3=
2px auto;"><figure style=3D"margin: 0 auto; width: 100%;"><table class=3D"i=
mage-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"le=
ft" class=3D"content" width=3D"1187" style=3D"text-align: center;"><a class=
=3D"image-link" target=3D"_blank" href=3D"https://substack.com/redirect/0f7=
24192-d5de-403d-a2e8-02d1f2131174?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpi=
srMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"align-items: center; border: none;=
 display: block; flex-direction: column; height: auto; margin: 0; padding: =
0; position: relative; text-decoration: none; width: auto;"><img data-attrs=
=3D"{&quot;src&quot;:&quot;https://substack-post-media.s3.amazonaws.com/pub=
lic/images/035829c4-b08d-4e36-a239-bdaf9bea5ce2_1187x960.jpeg&quot;,&quot;f=
ullscreen&quot;:null,&quot;imageSize&quot;:null,&quot;height&quot;:960,&quo=
t;width&quot;:1187,&quot;resizeWidth&quot;:null,&quot;bytes&quot;:165121,&q=
uot;alt&quot;:null,&quot;title&quot;:null,&quot;type&quot;:&quot;image/jpeg=
&quot;,&quot;href&quot;:null,&quot;belowTheFold&quot;:true,&quot;topImage&q=
uot;:false,&quot;internalRedirect&quot;:null}" alt width=3D"550" height=3D"=
444.8188711036226" class=3D"wide-image" src=3D"https://substackcdn.com/imag=
e/fetch/w_2374,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%=
2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F035829c4-b08d-4e=
36-a239-bdaf9bea5ce2_1187x960.jpeg" style=3D"-ms-interpolation-mode: bicubi=
c; border: none !important; display: block; height: auto; margin: 0 auto; m=
argin-bottom: 0; max-width: 100% !important; vertical-align: middle; width:=
 auto !important;"></a></td><td style=3D"text-align: center;"></td></tr></t=
body></table></figure></div><p style=3D"color: #404040; font-size: 16px; li=
ne-height: 26px; margin: 0 0 20px 0;"><span>Etel Adnan&#8217;s market conti=
nues to develop after her death in November, 2021. At Christie&#8217;s Pari=
s sale, </span><a href=3D"https://substack.com/redirect/aaa202ac-ad4f-4c72-=
a75a-745678dbb764?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx=
_g6pp7gWdY" rel style=3D"color: #404040; text-decoration: underline;">this =
untitled later work from 2014 was offered with an attractive &#8364;60,000 =
estimate but was bid up to &#8364;239,400 with fees</a><span>. That&#8217;s=
 the artist&#8217;s 9th highest price at auction. A better illustration of =
the change in Adnan&#8217;s market is shown by this untitled work from the =
same year, 2014, </span><a href=3D"https://substack.com/redirect/ce2bf952-6=
d52-4245-8cc9-4035c398426f?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iR=
nigHXx6Fx_g6pp7gWdY" rel style=3D"color: #404040; text-decoration: underlin=
e;">that sold in May at Sotheby&#8217;s for $215,900</a><span>. It was boug=
ht in 2018 at Sotheby&#8217;s in London for $52,479. That&#8217;s a more th=
an 4x rise in five years.</span></p><h4 class=3D"header-with-anchor-widget"=
 style=3D"-moz-appearance: optimizelegibility; -moz-osx-font-smoothing: ant=
ialiased; -webkit-appearance: optimizelegibility; -webkit-font-smoothing: a=
ntialiased; appearance: optimizelegibility; color: #404040; font-family: 'S=
F Compact Display', -apple-system, BlinkMacSystemFont, 'Segoe UI', Roboto, =
Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe=
 UI Symbol'; font-size: 1.125em; font-weight: bold; line-height: 1.16em; ma=
rgin: 1em 0 0.625em 0; position: relative;">Serge Poliakoff</h4><div class=
=3D"captioned-image-container-static" style=3D"font-size: 16px; line-height=
: 26px; margin: 32px auto;"><figure style=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;"></t=
d><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://substack=
=2Ecom/redirect/7f6645e1-15b5-4433-95a=
e-56841e054ae9?j=3DeyJ1IjoiMjdjZXI5In0.=
nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"align-items: cent=
er; border: none; display: block; flex-direction: column; height: auto; mar=
gin: 0; padding: 0; position: relative; text-decoration: none; width: auto;=
"><img data-attrs=3D"{&quot;src&quot;:&quot;https://substack-post-media.s3.=
amazonaws.com/public/images/611f5701-c2dc-42a2-b296-0ebcb61d8411_1870x799.j=
peg&quot;,&quot;fullscreen&quot;:null,&quot;imageSize&quot;:null,&quot;heig=
ht&quot;:622,&quot;width&quot;:1456,&quot;resizeWidth&quot;:null,&quot;byte=
s&quot;:1653861,&quot;alt&quot;:null,&quot;title&quot;:null,&quot;type&quot=
;:&quot;image/jpeg&quot;,&quot;href&quot;:null,&quot;belowTheFold&quot;:tru=
e,&quot;topImage&quot;:false,&quot;internalRedirect&quot;:null}" alt width=
=3D"550" height=3D"234.9587912087912" class=3D"wide-image" src=3D"https://s=
ubstackcdn.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=
%2F611f5701-c2dc-42a2-b296-0ebcb61d8411_1870x799.jpeg" style=3D"-ms-interpo=
lation-mode: bicubic; border: none !important; display: block; height: auto=
; margin: 0 auto; margin-bottom: 0; max-width: 100% !important; vertical-al=
ign: middle; width: auto !important;"></a></td><td style=3D"text-align: cen=
ter;"></td></tr></tbody></table><figcaption class=3D"image-caption" style=
=3D"box-sizing: content-box; color: #808080; font-size: 14px; font-weight: =
400; letter-spacing: -.15px; line-height: 20px; margin-top: 8px; padding-le=
ft: 15%; padding-right: 15%; text-align: center; width: 70%;">From left to =
right: 1967, &#8364;698,500; 1954, &#8364;419,100; 1957, &#8364;316,800</fi=
gcaption></figure></div><p style=3D"color: #404040; font-size: 16px; line-h=
eight: 26px; margin: 0 0 20px 0;"><span>The art market is global&#8212;exce=
pt when its not. Some artists remain geography bound. Serge Poliakoff is gr=
eat example. With so much interest remaining the market for mid-century abs=
traction, the School of Paris member has been getting strong bidding intere=
st in European auctions. Two works offered at Berlin&#8217;s Van Ham were b=
id well above the estimates. </span><a href=3D"https://substack.com/redirec=
t/d728ff6d-8f13-4737-af51-877abdef0918?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0j=
QmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"color: #404040; text-decorati=
on: underline;">A 1967 abstract offered at &#8364;250,000 made nearly &#836=
4;700,000 </a><span>with fees; a </span><a href=3D"https://substack.com/red=
irect/a4e4c802-edf2-448a-99de-475636a4a8aa?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c=
1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"color: #404040; text-deco=
ration: underline;">1957 work offered at &#8364;120,000 made &#8364;316,800=
</a><span>, approximately the same hammer ratio. Meanwhile, at Sotheby&#821=
7;s, </span><a href=3D"https://substack.com/redirect/677090c0-0227-4f17-888=
4-c509132b91a7?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6=
pp7gWdY" rel style=3D"color: #404040; text-decoration: underline;">1954 wor=
k offered at &#8364;250,000 made &#8364;419,100 with fees</a><span>. </span=
></p><div style=3D"font-size: 16px; line-height: 26px;"><hr style=3D"backgr=
ound: #e0e0e0; border: none; height: 1px; margin: 32px 0; padding: 0;"></di=
v><h2 class=3D"header-with-anchor-widget" style=3D"-moz-appearance: optimiz=
elegibility; -moz-osx-font-smoothing: antialiased; -webkit-appearance: opti=
mizelegibility; -webkit-font-smoothing: antialiased; appearance: optimizele=
gibility; color: #404040; font-family: 'SF Compact Display', -apple-system,=
 BlinkMacSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'App=
le Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size: 1.625em; f=
ont-weight: bold; line-height: 1.16em; margin: 1em 0 0.625em 0; position: r=
elative;">Notes</h2><ol style=3D"margin-top: 0; padding: 0;"><li style=3D"m=
argin: 8px 0 0 32px;"><p style=3D"box-sizing: border-box; color: #404040; f=
ont-size: 16px; line-height: 26px; margin: 0; margin-bottom: 0; padding-lef=
t: 4px;"><strong><a href=3D"https://substack.com/redirect/1b0cd5df-ae7f-476=
e-be0b-c4b52341cd34?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6=
Fx_g6pp7gWdY" rel style=3D"color: #404040; text-decoration: underline;">Chr=
istie&#8217;s Hong Kong Spring Auctions See Return of More Mainland Chinese=
 and Southeast Asian buyers, but sales remain subdued</a><span>: </span></s=
trong><span>SCMP&#8217;s Enid Tsui reports that Christie&#8217;s recent HK =
sales cycle saw 90% of the 3000 lots offered find buyers&#8212;a very impre=
ssive statistic for sales that were retreating from previous highs seen las=
t year. One important wrinkle that Tsui identifies was this:&#160; &#8220;T=
he contribution of mainland Chinese buyers in the modern and contemporary a=
rt category &#8230; during the auction house&#8217;s annual spring sales wa=
s double the level of a year ago.&#8221;</span></p></li><li style=3D"margin=
: 8px 0 0 32px;"><p style=3D"box-sizing: border-box; color: #404040; font-s=
ize: 16px; line-height: 26px; margin: 0; margin-bottom: 0; padding-left: 4p=
x;"><strong><a href=3D"https://substack.com/redirect/315156b8-ddbe-4f5c-9f8=
b-7c620f334e56?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6=
pp7gWdY" rel style=3D"color: #404040; text-decoration: underline;">How Davi=
d Zwirner Turned a Forgotten Block in LA into Prime Real Estate</a><span>:<=
/span></strong><span> You have to hand it to Nate Freeman for turning a sto=
ry about a few galleries opening around David Zwirner&#8217;s new LA outpos=
t into a pretty good yarn about Zach Lasry&#8217;s burgeoning real estate d=
evelopment. Here&#8217;s Freeman touring the complex of properties that Las=
ry has assembled: &#8220;Lasry wasn&#8217;t there to just show me the Zwirn=
er spaces. Within three blocks, galleries including Mor&#225;n Mor&#225;n a=
nd Clearing were already open with exhibitions welcoming viewers. Nearby we=
re near-complete spaces that were set to be inhabited by New York transplan=
ts such as Sargent&#8217;s Daughters, Shrine, a new gallery from dealer </s=
pan><strong>Emma Fernberger,</strong><span> and the second-ever space for J=
ames Fuentes. The acclaimed Filipino eatery Kuya Lord sat across the street=
 from a space that will house the second location of Dimes Square pie-sling=
er Scarr&#8217;s, and the womenswear brand CO will have an outpost right ne=
xt to the Zwirner spaces.&#8221;</span></p></li><li style=3D"margin: 8px 0 =
0 32px;"><p style=3D"box-sizing: border-box; color: #404040; font-size: 16p=
x; line-height: 26px; margin: 0 0 20px 0; margin-bottom: 0; padding-left: 4=
px;"><strong><a href=3D"https://substack.com/redirect/bf67e1f8-1d84-4afd-98=
77-757bcbd9ca7e?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g=
6pp7gWdY" rel style=3D"color: #404040; text-decoration: underline;">What Do=
es it Take to Run a Museum? The Job Description Is Changing</a><span>:</spa=
n></strong><span> The New York Times story about the Guggenheim&#8217;s sea=
rch for a new director and the challenges to finding museum leaders who are=
 diverse seems to have gotten hijacked by the headline writers. Who is the =
Guggenheim looking at? The story doesn&#8217;t tell us. Instead, we&#8217;r=
e presented with a series of quotes from bystanders either reinforcing what=
 we already know or trying to distract from the main issue&#8212;how to mov=
e the leadership of museums rapidly towards a more representative group of =
executives. The two key quotes trying to elevate the story beyond the lack =
of information about the Guggenheim search come from a consultant and a mus=
eum director.</span></p><p style=3D"box-sizing: border-box; color: #404040;=
 font-size: 16px; line-height: 26px; margin: 0 0 20px 0; margin-bottom: 0; =
padding-left: 4px;">Andras Szanto, the consultant, says, &#8220;The traditi=
onal functions of the museum are being expanded very rapidly. In addition t=
o collecting and preserving, now museums are expected to be community-facin=
g, inclusive, engaged in the debates of our time.&#8221; </p><p style=3D"bo=
x-sizing: border-box; color: #404040; font-size: 16px; line-height: 26px; m=
argin: 0 0 20px 0; margin-bottom: 0; padding-left: 4px;">Anyone familiar wi=
th the history of American museums would have a hard time believing that mu=
seums were ever divorced from the debates or their time or were anything bu=
t community facing. Shaping the beliefs of the community is one of the main=
 reasons museums were established. The difference now is that there is a wi=
despread effort to re-orient those beliefs in a world where the concept of =
high culture as all but evaporated.&#160;</p><p style=3D"box-sizing: border=
-box; color: #404040; font-size: 16px; line-height: 26px; margin: 0 0 20px =
0; margin-bottom: 0; padding-left: 4px;">The director of the Brooklyn Museu=
m, Ann Pasternak, is quoted saying, &#8220;You have to be an octopus, and t=
he new generation of museum directors will have to be entrepreneurs.&#8221;=
 </p><p style=3D"box-sizing: border-box; color: #404040; font-size: 16px; l=
ine-height: 26px; margin: 0 0 20px 0; margin-bottom: 0; padding-left: 4px;"=
>It&#8217;s hard to think of celebrated museum director&#8212;from Alfred B=
arr to Thomas Hoving, from Michael Govan to Thelma Golden&#8212;who hasn&#8=
217;t already been entrepreneurial.</p></li><li style=3D"margin: 8px 0 0 32=
px;"><p style=3D"box-sizing: border-box; color: #404040; font-size: 16px; l=
ine-height: 26px; margin: 0; margin-bottom: 0; padding-left: 4px;"><strong>=
<a href=3D"https://substack.com/redirect/35752b59-a693-44de-93cf-d9fd76f73b=
bd?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel=
 style=3D"color: #404040; text-decoration: underline;">Who Owns the Benin B=
ronzes? The Answer Just Got More Complicated</a><span>:</span></strong><spa=
n> The New York Times ran a bit of a late-to-the-party story on out-going N=
igerian president Muhammadu Buhari&#8217;s last-minute decision in March to=
 give title over the restituted Benin Bronzes to Ewuare II, the oba of Beni=
n, the region&#8217;s hereditary nobleman. The move was a surprise but not =
wholly unexpected. </span><a href=3D"https://substack.com/redirect/fed4a849=
-bf45-4eef-8168-264481daa25c?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5=
iRnigHXx6Fx_g6pp7gWdY" rel style=3D"color: #404040; text-decoration: underl=
ine;">As David Frum mapped out in The Atlantic last October</a><span>, the =
looted art works don&#8217;t have an obvious home either in Nigeria or the =
world. Frum makes a case that the great encyclopedic museums of the world, =
despite their roots in imperialism and colonialism are the best domicile fo=
r these cultural treasures. Whatever criticism his conclusions received, it=
 did map out the three-way battle between the Nigerian government, the Oba =
and a private group led by wealthy Nigerians like Philip Ihenacho to be the=
 custodians of the bronzes. The case against the Nigerian government was th=
at it is a political entity that succeeded the kingdom of Benin as much by =
its own imperialism as the British. Nigeria&#8217;s current government has =
also yet to show it can secure cultural patrimony from corruption and offic=
ial looting. Buhari&#8217;s decision, at least, removes the Nigerian govern=
ment from the equation. With Western museums racing to return these works o=
f art to Africa, the final question was whether the entity with the best ho=
pe of creating a cultural institution in Benin City. On one side was Ihenac=
ho and a group of wealthy supporters. On the other was the oba, a ceremonia=
l figure with much to gain from control over the bronzes. For the outside m=
oralists who believe there are easy answers here, it is important to rememb=
er that the Kingdom of Benin became rich providing slaves to sugar producer=
s. Meanwhile, the wealthy Nigerians have benefited at the expense of the 20=
0+ million ordinary citizens who often lack electricity. The oba&#8217;s po=
pularity seems to have been the deciding factor in final decision, if Frum&=
#8217;s reporting is correct. Frum is also probably right that more people =
will see the bronzes and learn of Benin&#8217;s cultural heights if the art=
 remains in Western museums. But Phillip Ihenacho has the final word when h=
e castigates the Western pundits who believe they are stewards of Benin&#82=
17;s past. &#8220;To these commentators,&#8221; </span><a href=3D"https://s=
ubstack.com/redirect/e18dfb41-c44a-4114-99b7-f5174ccb192e?j=3DeyJ1IjoiMjdjZ=
XI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"color: #40=
4040; text-decoration: underline;">he wrote in </a><em><a href=3D"https://s=
ubstack.com/redirect/e18dfb41-c44a-4114-99b7-f5174ccb192e?j=3DeyJ1IjoiMjdjZ=
XI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"color: #40=
4040; text-decoration: underline;">The Art Newspaper</a><span>,</span></em>=
<span> &#8220;it seems fine for the West to take more than a hundred years =
to begin to act on restitution, but unforgivable that Nigeria does not reso=
lve complex domestic and historical issues instantaneously.&#8221;</span></=
p></li><li style=3D"margin: 8px 0 0 32px;"><p style=3D"box-sizing: border-b=
ox; color: #404040; font-size: 16px; line-height: 26px; margin: 0; margin-b=
ottom: 0; padding-left: 4px;"><strong><a href=3D"https://substack.com/redir=
ect/8cb618e7-2fb2-4713-a292-4f8b885dc3ff?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d=
0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"color: #404040; text-decora=
tion: underline;">Look to the Purpose, not the Meaning&#8212;Supreme Court =
Rejects Warhol Foundation&#8217;s Fair Use Defense Against Lynn Goldsmith: =
</a><span> </span></strong><span>Nicholas O&#8217;Donnell is an art lawyer =
who submitted an amicus brief in the Supreme Court case </span><em>Andy War=
hol Foundation for the Visual Arts, Inc. v Goldsmith</em><span>. On his law=
 firm&#8217;s blog, </span><a href=3D"https://substack.com/redirect/8cb618e=
7-2fb2-4713-a292-4f8b885dc3ff?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe=
5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"color: #404040; text-decoration: under=
line;">he makes an important-but-little-recognized distinction about what t=
he SCOTUS decision does and does not do</a><span>. O&#8217;Donnell points o=
ut the SCOTUS ruling goes out of its way to say the fair use issue here is =
confined to whether Cond&#233; Nast could have easily used either the Golds=
mith photograph or the Warhol artwork to illustrate a commemorative issue f=
or Prince in 2016. (Vanity Fair had commissioned the image years earlier to=
 illustrate a story about Prince. Warhol then made artworks that he sold fr=
om the image. The case and ruling is about the Vanity Fair commission and i=
ts subsequent use in the 2016 Prince Cond&#233; Nast commemorative issue.)&=
#160; </span><a href=3D"https://substack.com/redirect/8663e6be-b886-485b-93=
69-d7606078e6e5?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g=
6pp7gWdY" rel style=3D"color: #404040; text-decoration: underline;">Here's =
the relevant language from the SCOTUS ruling</a><span>: &#8220;The Court li=
mits its analysis to the specific use alleged to be infringing in this case=
&#8212;AWF&#8217;s commercial licensing of Orange Prince to Cond&#233; Nast=
&#8212;and expresses no opinion as to the creation, display, or sale of the=
 original Prince Series works. In the context of Cond&#233; Nast&#8217;s sp=
ecial edition magazine commemorating Prince, the purpose of the Orange Prin=
ce image is substantially the same as that of Goldsmith&#8217;s original ph=
otograph.&#8221; So, to repeat, the case doesn&#8217;t affect Warhol&#8217;=
s art work, including the canvases that Warhol made from Goldsmith&#8217;s =
image. (That&#8217;s what &#8220;Prince Series&#8221; refers to.) O&#8217;D=
onnell also points out that Warhol himself was aware of the commercial righ=
ts issues when he made a point of getting a license from Goldsmith for the =
original use of the image for a magazine illustration. The great mystery he=
re is why the Warhol Foundation didn&#8217;t simply renew the license when =
asked. Instead, the foundation chose the nuclear option by suing Goldsmith =
peremptorily, not the other way around.  That choice cost the foundation fa=
r more than the likely four-figure license renewal. This isn&#8217;t the fi=
rst time the Warhol Foundation has been its own worst enemy. It dissolved i=
ts own authentication board in 2011 after </span><a href=3D"https://substac=
k.com/redirect/5b76fd8c-c77f-4c98-950b-8503b6fbbb76?j=3DeyJ1IjoiMjdjZXI5In0=
=2EnCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g=
6pp7gWdY" rel style=3D"color: #404040;=20=
text-decoration: underline;">stumbling through a dispute with Joe Simon-Whe=
lan</a><span> caused by its own over-zealous policing of the artist&#8217;s=
 legacy. That was another very costly multi-year legal battle. Unfortunatel=
y, the effects of the Warhol foundation&#8217;s retreat from authenticating=
 had much broader implications. Most other artists&#8217; foundations also =
fled the responsibility; that left the market without an important protecti=
on. The unexpected result was to turn the Warhol foundation into a rent-see=
ker on the artist&#8217;s IP, not a guardian of his legacy. That decision m=
ade the foundation no different from Goldsmith (except that the Warhol foun=
dation uses its rents to make grants.) So far, unlike the authentication is=
sue, the blast radius of the grenade the Warhol foundation dropped at its o=
wn feet has been relatively contained. Had they won, they might have opened=
 up Warhol&#8217;s own work to overly broad fair use claims. They didn&#821=
7;t lose so bad that the Warhol market would be disrupted; imagine the cala=
mity if all of the found images in all of those Warhols were now in doubt? =
(Phew!) And other appropriation artists don&#8217;t seem to be affected bec=
ause of the narrow scope of the Supreme Court&#8217;s ruling. Now, the art =
world can only hope the Warhol foundation doesn&#8217;t get embroiled in an=
ything else &#8230;.</span></p></li><li style=3D"margin: 8px 0 0 32px;"><p =
style=3D"box-sizing: border-box; color: #404040; font-size: 16px; line-heig=
ht: 26px; margin: 0 0 20px 0; margin-bottom: 0; padding-left: 4px;"><strong=
><a href=3D"https://substack.com/redirect/4194340d-c2d9-46a4-9989-2f7177ed9=
ff2?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" re=
l style=3D"color: #404040; text-decoration: underline;">Keith McNally share=
s his memory of meeting Francoise Gilot</a></strong><span>: Gilot died this=
 week at 101. The unlikely feminist restaurateur Keith McNally posted on In=
stagram this reminder of Gilot&#8217;s brave memoir of her life with Picass=
o.  Gilot was the first to puncture Picasso&#8217;s mystique and expose his=
 abusive behavior toward the women in his life. McNally wrote a letter to t=
wo of his children at the time he read the memoir stating, &#8220;Picasso w=
as a genius, but a monster to live with. Gilot was the only woman strong en=
ough to leave him. The book was less about Picasso and more about Gilot's g=
radual liberation.&#8221; </span></p><div style=3D"font-size: 16px; line-he=
ight: 26px;"><hr style=3D"background: #e0e0e0; border: none; height: 1px; m=
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