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Subject: What We Learned this Week (2408)
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View this post on the web at https://artelligence.substack.com/p/what-we-le=
arned-this-week-2408
Welcome to Artelligence
This free newsletter is published on Fridays. Additional newsletters contai=
ning analysis of data provided by LiveArt or original reporting are $12 a m=
onth or $120 for a year. If you are a paid subscriber, sharing a newsletter=
on occasion is fine; consistently sharing paid content within your organiz=
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For organizations: We offer group discounts of 30% for each subscription of=
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ontact us directly:
In This Issue
Lot Watch: Brice Marden=E2=80=99s Event seeks $30m at Christie=E2=80=99s in=
May
Lot Watch: 17 Dubuffets to sell in Europe this Winter and Spring
Notes: Elton John=E2=80=99s art sells at market prices
Autonomous Harlem: Denise Murrell=E2=80=99s show steps out of the shadow of=
the Met=E2=80=99s history
Lot Watch
Brice Marden=E2=80=99s $30m Diptych to Appear at Christie=E2=80=99s in May
Brice Marden=E2=80=99s best work usually trade privately. This is a testame=
nt to his stature as an artist and the clout of his dealer, Larry Gagosian,=
who is adept at placing the work with the kinds of collectors who rarely s=
ell or happily sell through Gagosian. Major Mardens don=E2=80=99t often com=
e to auction. When they do, the sometimes struggle against their estimates,=
a reminder that not all valuable artists have strong auction markets. In J=
uly 2020, Complements from 2004, was sold at Christie=E2=80=99s. It made a =
substantial record price for the artist of $30.9 million. But that was belo=
w the estimate once fees were taken into account. Complements had been owne=
d by financier Donald Marron. Marron and his wife had also donated a huge m=
ulti-panel work from the same series to MoMA. At the time of the Christie=
=E2=80=99s auction, much of Marron=E2=80=99s art was being sold privately t=
hrough the galleries that originally supplied the works suggesting Gagosian=
either didn=E2=80=99t have a buyer or the estate was inflexible on price. =
Christie=E2=80=99s announced this week that it would try the top of the Mar=
den market again with Event from 2004-7. The work comes fromThe Propitious =
Garden of Plane Image series. There were two six-panel paintings from the s=
eries; one was the work Marron donated to MoMA. In addition, there were thr=
ee diptychs: Complements, Extremes, which is the collection of the Centre P=
ompidou in Paris, and Event, which will be offered at Christie=E2=80=99s in=
May with a $30 million estimate. Marron=E2=80=99s Complements was sold whi=
le Marden was still alive. The artist died last year. The work is guarantee=
d.=20
Lot Watch
17 Dubuffets from Bloch Family to Sell at Sotheby=E2=80=99s in London & Par=
is
George and Mary Bloch were insatiable collectors. They bought so intensivel=
y in Chinese works of art that their collection of Chinese snuff bottles to=
ok five years and ten auctions to disperse. They applied that same approach=
to their interest in Jean Dubuffet. Over 30 years, they bought 17 works fr=
om across the artist=E2=80=99s body of work. The bulk of the value of the g=
roup lies in two works. Le Guilleret from 1961 is a smaller work from the P=
aris Circus series that dominates the top ten prices for the artist. Some o=
f the bigger, multi-figure works from the Paris Circus series have made auc=
tion prices in the low $20-million range. The Bloch=E2=80=99s single figure=
work is estimated at a tenth of those prices. Dubuffet=E2=80=99s other sou=
ght-after works, the L'Hourloupe series that followed shortly after, is als=
o represented by Le retour du soldat from 1964 that has a =C2=A31.2m estima=
te. Examples from that series which are twice the size of the Bloch=E2=80=
=99s works have reached prices from $6 to $12 million. Average prices in th=
e Dubuffet auction market, according to Live Art=E2=80=99s numbers, almost =
reached all-time high levels in 2021 and 2022. In 2021, average prices were=
$1.46 million; in 2022, they were $1.64m. The previous peak was 2015 when =
average auction prices reached $1.725 million. The number of Dubuffet lots =
at auction peaked in 2019. Although the Bloch works are not major examples =
of Dubuffet=E2=80=99s output, their auction performance may tell us more ab=
out the depth of demand for this important prolific artist. All 17 works wi=
ll be sold in various sales in London and Paris this March and April.
Notes
The Collection of Sir Elton John: [ https://substack.com/redirect/7904adc4-=
e78a-4a15-9901-6f18832b3547?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5i=
RnigHXx6Fx_g6pp7gWdY ] The Elton John sales series at Christie=E2=80=99s op=
ened on Wednesday night with a $7.9 million auction of objects, memorabilia=
, art and photographs. The art and photographs by Keith Haring, Cindy Sherm=
an, Herb Ritts, Julian Schnabel, Banksy, Irving, Penn, Sol Lewitt, Richard =
Avedon, Robert Mapplethorpe, Peter Beard and, even, Deborah Butterfield all=
sold well but within market history and expectations. Elton John=E2=80=99s=
provenance seemed to add little value or might have protected some of the =
value in a softening market. The watches and collectibles did far better.=
=20
The Met Finds the Right Voice for the Harlem Renaissance
The subtext surrounding The Harlem Renaissance and Transatlantic Modernism,=
the new exhibition that opens this week at The Metropolitan Museum of Art =
in New York, is so thick and layered that it can sometimes obscure the show=
itself. Curated by Denise Murrell, who joined the museum in early 2020, th=
e show is haunted by Thomas Hoving=E2=80=99s photography-based Harlem on My=
Mind show which drew 70,000 visitors and angry protests in 1969.=C2=A0Beca=
use the Met lacks significant holdings by African American artists, and bec=
ause the better-known personalities of the Harlem Renaissance were literary=
figures, a lot of the art is borrowed especially from historically Black c=
olleges and universities that absorbed much of the work by the visual artis=
ts who were representative of the period.=C2=A0
Murrell=E2=80=99s work as a curator focuses on the representation of Black =
people in art or how they move from object to subject depending upon the ar=
tist. Her goal in The Harlem Renaissance and Transatlantic Modernism is to =
show how artists associated with the New Negro movement, as the Harlem Rena=
issance was originally conceived by Alain Locke, =E2=80=9Cvisualized the mo=
dern Black subject.=E2=80=9D She does this by presenting the work of a rang=
e of African American artists but also focusing on depictions of the centra=
l figures of the period by artists some of whom were not Black.=20
The Harlem Renaissance and the Transatlantic Modernism does several things =
all at once: it introduces a generation of museum goers to artists like Aar=
on Douglas, William H. Johnson, James Van Der Zee, Archibald Motley, Jr. am=
ong others; it venerates some of the important African American cultural fi=
gures who inspired the Harlem Renaissance like Locke, W.E.B. DuBois, James =
Weldon Johnson and Langston Hughes; it represents lesser-known artists like=
portrait painter Laura Wheeler Waring; situates all of these artists withi=
n international modernism (Kees van Dongen, Edvard Munch and Matisse make a=
ppearances); and ties to address some social and cultural issues within the=
African American community. That=E2=80=99s a lot for one show to accomplis=
h.=C2=A0
What Murrell=E2=80=99s show isn=E2=80=99t concerned with is the multi-media=
exhibition, Harlem on My Mind, that was at the Met more than fifty years a=
go. Nevertheless, Holland Cotter led The New York Times Arts section=E2=80=
=99s package on Murrell=E2=80=99s exhibition by recounting the protests sur=
rounding former Met director Thomas Hoving=E2=80=99s political and social b=
lunder in treating Harlem as the subject of an ethnographic exhibition rath=
er than featuring prominent Black artists from Harlem. Cotter claims at the=
top of his review that as a 22 year old, he =E2=80=9Cwandered into the gal=
leries, and even with scant knowledge of Black history, I knew something wa=
s off.=E2=80=9D It=E2=80=99s a kind of =E2=80=9COkay, Boomer=E2=80=9D boast=
on par with telling someone you saw Hendrix play at Woodstock.=20
Is The Harlem Renaissance and Transatlantic Modernism the show that Hoving =
should have put on in 1969 instead of Harlem on My Mind? Maybe. Hoving=E2=
=80=99s goal=E2=80=94and his myopia=E2=80=94was to make the Met more releva=
nt to a broader audience. He commissioned an outside curator to research an=
d mount a show about Harlem because the curator had been so successful in e=
ngaging audiences previously. Allon Schoener had been lauded for his treatm=
ent three years earlier of the Jewish experience on the Lower East Side. Th=
at too was an enthnographic show with no fine art. But the same ethnic prid=
e that had made crowds line up to see Schoener=E2=80=99s Jewish Museum show=
is exactly what caused the uproar among New York=E2=80=99s Black community=
=2E The Studio Museum in Harlem had on=
ly been founded in 1968 and it wasn=E2=
=80=99t hosting Schoener=E2=80=99s show. Ignoring this crucial difference, =
Hoving and Schoener had been tone deaf to the needs and demands of Harlemit=
es. Ironically, the research for Harlem on My Mind led to the discovery and=
preservation of James Van Der Zee=E2=80=99s photography. Van Der Zee=E2=80=
=99s archive is now managed and preserved jointly by the Studio Museum and =
the Met.
The curious thing about the Harlem on My Mind controversy is that Thomas Ho=
ving remembers its impact more for the reaction to an essay in the museum=
=E2=80=99s catalog than for the protests. In his memoir, Making the Mummies=
Dance, Hoving devotes far more space to addressing the huge conflict cause=
d by the seemingly anti-semitic views of a Black high school student=E2=80=
=99s essay in the catalog. (It would turn out the student had been quoting =
others and Schoener had edited the essay to remove the citations.) The upro=
ar over the essay caused Mayor Lindsay to threaten to revoke The Met=E2=80=
=99s public funding unless the catalog was pulled from distribution. When H=
oving capitulated he received a dressing down from his board of trustees. T=
he lesson of the whole experience was hardly that Hoving had to increase th=
e Met=E2=80=99s holdings of art by African American and artists of the Afri=
can diaspora.
The Met would acquire work by Black artists after the Harlem on My Mind deb=
acle. But it still has a long way to go. The role that HBCUs have played in=
lending works for The Harlem Renaissance and Transatlantic Modernism shoul=
d also remind us of the importance of these institutions as receptacles of =
Modernist art. Georgia O=E2=80=99Keeffe gave Fisk Alfred Stieglitz=E2=80=99=
s 101-piece art collection in 1949. Later, Fisk would accept a deal with Cr=
ystal Bridges Museum to share the art in exchange for much need investment =
of $30 million. After his death, the pioneering mega-collector Albert Barne=
s entrusted HBCU Lincoln University to guide the Barnes Foundation by givin=
g it control over four of the foundation=E2=80=99s five board seats. In the=
compromise that brought the Barnes to Philadelphia=E2=80=99s city center, =
Lincoln=E2=80=99s role was diminished to nominating five of the 15 trustees=
that oversee the Barnes.=C2=A0
The point here is that the African American community and Modernism have a =
longer, deeper and more symbiotic relationship than is suggested by reducin=
g Denise Murell=E2=80=99s exhibition to a Harlem on My Mind do-over. Though=
as a direct response to Harlem on My Mind, the Met created a Community Pro=
grams Department and hired a young Black woman to staff it. She didn=E2=80=
=99t work out. But eventually the Met hired Lowery Stokes Sims who would ev=
entually move into a curatorial role at the Met and, after 27 years on Fift=
h Avenue, become the Executive Director of the The Studio Museum in Harlem.=
=20
Murrell came to the Met through an entirely different career path. She spen=
t decades working in banking and finance before getting a Ph.D. in art hist=
ory. She created a groundbreaking show exploring the depiction of Black mod=
els in 19th Century works by Edouard Manet, Jean-L=C3=A9on Gerome, Thomas E=
akins and others. That show would travel from Columbia University to Paris=
=E2=80=99s Mus=C3=A9e d=E2=80=99Orsay=E2=80=94where it was united with its =
principal subject Manet=E2=80=99s Olympia=E2=80=94where it would expand in =
scope and attract large crowds, much like the current Harlem Renaissance sh=
ow is expect to do as well.
Mounted in 2018, Posing Modernity, whose research was supported by the Ford=
Foundation, contains the seeds of the Met=E2=80=99s Harlem Renaissance sho=
w. In the earlier show, Murrell presented the work of the Harlem Renaissanc=
e artists as an example of the kind of autonomy that allows individuals to =
be depicted as subjects instead of objects. The Met=E2=80=99s show shares a=
nd expands that view. The protestors who were livid about Harlem on My Mind=
could have hoped for nothing more.
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p:0 !important;margin-bottom:0 !important;margin-right:0 !important;margin-=
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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">Brice Marden Seeks a Record=
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ntend-pencraft-Text-module__align-right--PcYkZ frontend-pencraft-Text-modul=
e__size-12--KorQF frontend-pencraft-Text-module__reset--dW0zZ" style=3D"col=
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gin: 0;"><a href=3D"https://substack.com/app-link/post?publication_id=3D225=
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nBvc3RfaWQiOjE0MTk2NTQyMywiaWF0IjoxNzA4NzIyMTIxLCJleHAiOjE3MTEzMTQxMjEsImlz=
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>What We Learned this Week (2408)</a></h1><h3 class=3D"subtitle" style=3D"-=
moz-appearance: optimizelegibility; -moz-osx-font-smoothing: antialiased; -=
webkit-appearance: optimizelegibility; -webkit-font-smoothing: antialiased;=
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Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe=
UI Symbol'; font-size: 18px; font-weight: normal; line-height: 24px; margi=
n: 4px 0 0; margin-top: 12px;">Brice Marden Seeks a Record + A Trove of Dub=
uffets + The Met Brings the Harlem Renaissance back to mind</h3><table role=
=3D"presentation" width=3D"100%" border=3D"0" cellspacing=3D"0" cellpadding=
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medium--x7khA frontend-pencraft-Text-module__transform-uppercase--IDkUL fro=
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0; letter-spacing: .2px; line-height: 20px; list-style: none; margin: 0; te=
xt-decoration: unset; text-transform: uppercase;"><a style=3D"color: rgb(64=
, 64, 64); font-family: 'SF Compact', -apple-system, system-ui, -apple-syst=
em, BlinkMacSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, '=
Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size: 11px; f=
ont-weight: 500; letter-spacing: .2px; line-height: 20px; list-style: none;=
margin: 0; text-decoration: none; text-transform: uppercase;" href=3D"http=
s://substack.com/@artelligence" class=3D"pencraft pc-reset frontend-pencraf=
t-Text-module__color-primary--ud4Z0 frontend-pencraft-Text-module__line-hei=
ght-20--p0dP8 frontend-pencraft-Text-module__font-meta--U_nxy frontend-penc=
raft-Text-module__size-11--k1e8b frontend-pencraft-Text-module__weight-medi=
um--x7khA frontend-pencraft-Text-module__transform-uppercase--IDkUL fronten=
d-pencraft-Text-module__reset--dW0zZ frontend-pencraft-Text-module__meta--j=
zHdd">Marion Maneker</a></div></td></tr></table></td></tr><tr><td><table ro=
le=3D"presentation" width=3D"auto" border=3D"0" cellspacing=3D"0" cellpaddi=
ng=3D"0"><tr><td style=3D"vertical-align: middle;"><div class=3D"pencraft p=
c-reset frontend-pencraft-Text-module__color-secondary--WRADg frontend-penc=
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t-Text-module__weight-medium--x7khA frontend-pencraft-Text-module__transfor=
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craft-Text-module__meta--jzHdd" style=3D"color: rgb(128, 128, 128); font-fa=
mily: 'SF Compact', -apple-system, system-ui, -apple-system, BlinkMacSystem=
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etter-spacing: .2px; line-height: 20px; list-style: none; margin: 0; text-d=
ecoration: unset; text-transform: uppercase;"><time dateTime=3D"2024-02-23T=
21:01:31.163Z">Feb 23</time></div></td></tr></table></td></tr></table></td>=
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<p style=3D"color: rgb(64, 64, 64); font-size: 16px; line-height: 26px; mar=
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align: center;"><a class=3D"button primary" href=3D"https://substack.com/re=
direct/c39966f3-a7b9-41b3-b3ec-2861858b638e?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3=
c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"background-color: #65336=
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pacity: 1; outline: none; padding: 12px 20px; text-align: center; text-deco=
ration: none !important; white-space: nowrap;"><span style=3D"color: #fffff=
f; text-decoration: none;">Contact Us!</span></a></p><div style=3D"font-siz=
e: 16px; line-height: 26px;"><hr style=3D"background: #e0e0e0; 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: optimizelegibility; -webkit-fon=
t-smoothing: antialiased; appearance: optimizelegibility; color: rgb(64, 64=
, 64); font-family: 'SF Compact Display', -apple-system, system-ui, BlinkMa=
cSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Apple Color=
Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size: 1.625em; font-weig=
ht: bold; line-height: 1.16em; margin: 1em 0 0.625em 0; position: relative;=
">In This Issue</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: rgb(64, 64=
, 64); font-size: 16px; line-height: 26px; margin: 0; margin-bottom: 0; pad=
ding-left: 4px;"><strong>Lot Watch: </strong><span>Brice Marden’s Eve=
nt seeks $30m at Christie’s in May</span></p></li><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: 26px; margin: 0; margin-bottom: 0; padding-=
left: 4px;"><strong>Lot Watch:</strong><span> 17 Dubuffets to sell in Europ=
e this Winter and Spring</span></p></li><li style=3D"margin: 8px 0 0 32px;"=
><p style=3D"box-sizing: border-box; color: rgb(64, 64, 64); font-size: 16p=
x; line-height: 26px; margin: 0; margin-bottom: 0; padding-left: 4px;"><str=
ong>Notes:</strong><span> Elton John’s art sells at market prices</sp=
an></p></li><li style=3D"margin: 8px 0 0 32px;"><p style=3D"box-sizing: bor=
der-box; color: rgb(64, 64, 64); font-size: 16px; line-height: 26px; margin=
: 0 0 20px 0; margin-bottom: 0; padding-left: 4px;"><strong>Autonomous Harl=
em:</strong><span> Denise Murrell’s show steps out of the shadow of t=
he Met’s history</span></p><p style=3D"box-sizing: border-box; color:=
rgb(64, 64, 64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0; m=
argin-bottom: 0; padding-left: 4px;"></p></li></ol><div style=3D"font-size:=
16px; line-height: 26px;"><hr style=3D"background: #e0e0e0; border: none; =
height: 1px; margin: 32px 0; padding: 0;"></div><h2 class=3D"header-with-an=
chor-widget" style=3D"-moz-appearance: optimizelegibility; -moz-osx-font-sm=
oothing: antialiased; -webkit-appearance: optimizelegibility; -webkit-font-=
smoothing: antialiased; appearance: optimizelegibility; color: rgb(64, 64, =
64); font-family: 'SF Compact Display', -apple-system, system-ui, BlinkMacS=
ystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Apple Color E=
moji', '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;">=
Lot Watch</h2><h4 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, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Hel=
vetica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI=
Symbol'; font-size: 1.125em; font-weight: bold; line-height: 1.16em; margi=
n: 1em 0 0.625em 0; position: relative;">Brice Marden’s $30m Diptych =
to Appear at Christie’s in May</h4><div class=3D"captioned-image-cont=
ainer-static" style=3D"font-size: 16px; line-height: 26px; margin: 32px aut=
o;"><figure style=3D"margin: 0 auto; width: 100%;"><table class=3D"image-wr=
apper" 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" cla=
ss=3D"content" width=3D"1456" style=3D"text-align: center;"><a class=3D"ima=
ge-link" target=3D"_blank" href=3D"https://substack.com/redirect/06ce460a-6=
6e9-4d78-9eb0-add5bf7c6786?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iR=
nigHXx6Fx_g6pp7gWdY" rel style=3D"align-items: center; border: none; displa=
y: block; flex-direction: column; height: auto; margin: 0; padding: 0; posi=
tion: relative; text-decoration: none; width: auto;"><img data-attrs=3D"{&q=
uot;src":"https://substack-post-media.s3.amazonaws.com/public/ima=
ges/4d554a76-7fb0-43b5-ab48-1fedcbb99841_4000x3000.jpeg","srcNoWa=
termark":null,"fullscreen":null,"imageSize":null,&=
quot;height":1092,"width":1456,"resizeWidth":null,=
"bytes":3682259,"alt":null,"title":null,"=
;type":"image/jpeg","href":null,"belowTheFold=
":true,"topImage":false,"internalRedirect":null}" =
alt width=3D"550" height=3D"412.5" class=3D"wide-image" src=3D"https://subs=
tackcdn.com/image/fetch/w_2912,c_limit,f_auto,q_auto:good,fl_progressive:st=
eep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F=
4d554a76-7fb0-43b5-ab48-1fedcbb99841_4000x3000.jpeg" style=3D"-ms-interpola=
tion-mode: bicubic; border: none !important; display: block; height: auto; =
margin: 0 auto; margin-bottom: 0; max-width: 100% !important; vertical-alig=
n: middle; width: auto !important;"></a></td><td style=3D"text-align: cente=
r;"></td></tr></tbody></table></figure></div><p style=3D"color: rgb(64, 64,=
64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0;"><span>Brice =
Marden’s best work usually trade privately. This is a testament to hi=
s stature as an artist and the clout of his dealer, Larry Gagosian, who is =
adept at placing the work with the kinds of collectors who rarely sell or h=
appily sell through Gagosian. Major Mardens don’t often come to aucti=
on. When they do, the sometimes struggle against their estimates, a reminde=
r that not all valuable artists have strong auction markets. In July 2020, =
</span><em>Complements </em><span>from 2004, was sold at Christie’s. =
It made a substantial record price for the artist of $30.9 million. But tha=
t was below the estimate once fees were taken into account. </span><em>Comp=
lements</em><span> had been owned by financier Donald Marron. Marron and hi=
s wife had also donated a huge multi-panel work from the same series to MoM=
A. At the time of the Christie’s auction, much of Marron’s art =
was being sold privately through the galleries that originally supplied the=
works suggesting Gagosian either didn’t have a buyer or the estate w=
as inflexible on price. Christie’s announced this week that it would =
try the top of the Marden market again with </span><em>Event</em><span> fro=
m 2004-7. The work comes from</span><em>The Propitious Garden of Plane Imag=
e</em><span> series. There were two six-panel paintings from the series; on=
e was the work Marron donated to MoMA. In addition, there were three diptyc=
hs: </span><em>Complements</em><span>, </span><em>Extremes</em><span>, whic=
h is the collection of the Centre Pompidou in Paris, and </span><em>Event</=
em><span>, which will be offered at Christie’s in May with a $30 mill=
ion estimate. Marron’s </span><em>Complements</em><span> was sold whi=
le Marden was still alive. The artist died last year. The work is guarantee=
d. </span></p><div style=3D"font-size: 16px; line-height: 26px;"><hr style=
=3D"background: #e0e0e0; border: none; height: 1px; margin: 32px 0; padding=
: 0;"></div><h2 class=3D"header-with-anchor-widget" style=3D"-moz-appearanc=
e: optimizelegibility; -moz-osx-font-smoothing: antialiased; -webkit-appear=
ance: optimizelegibility; -webkit-font-smoothing: antialiased; appearance: =
optimizelegibility; color: rgb(64, 64, 64); font-family: 'SF Compact Displa=
y', -apple-system, system-ui, BlinkMacSystemFont, 'Segoe UI', Roboto, Helve=
tica, Arial, sans-serif, 'Apple Color Emoji', 'Segoe UI Emoji', 'Segoe UI S=
ymbol'; font-size: 1.625em; font-weight: bold; line-height: 1.16em; margin:=
1em 0 0.625em 0; position: relative;">Lot Watch</h2><h4 class=3D"header-wi=
th-anchor-widget" style=3D"-moz-appearance: optimizelegibility; -moz-osx-fo=
nt-smoothing: antialiased; -webkit-appearance: optimizelegibility; -webkit-=
font-smoothing: antialiased; appearance: optimizelegibility; color: rgb(64,=
64, 64); font-family: 'SF Compact Display', -apple-system, system-ui, Blin=
kMacSystemFont, 'Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Apple Co=
lor Emoji', 'Segoe UI Emoji', 'Segoe UI Symbol'; font-size: 1.125em; font-w=
eight: bold; line-height: 1.16em; margin: 1em 0 0.625em 0; position: relati=
ve;">17 Dubuffets from Bloch Family to Sell at Sotheby’s in London &a=
mp; Paris</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%" borde=
r=3D"0" cellspacing=3D"0" cellpadding=3D"0" data-component-name=3D"Image2To=
DOMStatic" 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"145=
6" style=3D"text-align: center;"><a class=3D"image-link" target=3D"_blank" =
href=3D"https://substack.com/redirect/4f43a8a9-117c-41a8-8e91-fc5d31f10b1b?=
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"{"src":"https:/=
/substack-post-media.s3.amazonaws.com/public/images/3bb3a0db-b639-4755-a3c8=
-444a6b1e1243_1920x1080.png","srcNoWatermark":null,"ful=
lscreen":null,"imageSize":null,"height":819,"=
width":1456,"resizeWidth":null,"bytes":4128410,&qu=
ot;alt":null,"title":null,"type":"image/png&q=
uot;,"href":null,"belowTheFold":true,"topImage&quo=
t;:false,"internalRedirect":null}" alt width=3D"550" height=3D"30=
9.375" class=3D"wide-image" src=3D"https://substackcdn.com/image/fetch/w_29=
12,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-p=
ost-media.s3.amazonaws.com%2Fpublic%2Fimages%2F3bb3a0db-b639-4755-a3c8-444a=
6b1e1243_1920x1080.png" style=3D"-ms-interpolation-mode: bicubic; border: n=
one !important; display: block; height: auto; margin: 0 auto; margin-bottom=
: 0; max-width: 100% !important; vertical-align: middle; width: auto !impor=
tant;"></a></td><td style=3D"text-align: center;"></td></tr></tbody></table=
><figcaption class=3D"image-caption" style=3D"box-sizing: content-box; colo=
r: #808080; font-size: 14px; font-weight: 400; letter-spacing: -.15px; line=
-height: 20px; margin-top: 8px; padding-left: 15%; padding-right: 15%; text=
-align: center; width: 70%;"><span>Jean Dubuffet, </span><em>Le Guilleret</=
em><span> (1961) est. £2m; </span><em>Le retour du soldat</em><span> (=
1964), est. £1.2m</span></figcaption></figure></div><p style=3D"color:=
rgb(64, 64, 64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0;">=
<span>George and Mary Bloch were insatiable collectors. They bought so inte=
nsively in Chinese works of art that their collection of Chinese snuff bott=
les took five years and ten auctions to disperse. They applied that same ap=
proach to their interest in Jean Dubuffet. Over 30 years, they bought 17 wo=
rks from across the artist’s body of work. The bulk of the value of t=
he group lies in two works. </span><em>Le Guilleret</em><span> from 1961 is=
a smaller work from the Paris Circus series that dominates the top ten pri=
ces for the artist. Some of the bigger, multi-figure works from the Paris C=
ircus series have made auction prices in the low $20-million range. The Blo=
ch’s single figure work is estimated at a tenth of those prices. Dubu=
ffet’s other sought-after works, the </span><em>L'Hourloupe</em><span=
> series that followed shortly after, is also represented by Le retour du s=
oldat from 1964 that has a £1.2m estimate. Examples from that series w=
hich are twice the size of the Bloch’s works have reached prices from=
$6 to $12 million. Average prices in the Dubuffet auction market, accordin=
g to Live Art’s numbers, almost reached all-time high levels in 2021 =
and 2022. In 2021, average prices were $1.46 million; in 2022, they were $1=
=2E64m. The previous peak was 2015 when=
average auction prices reached $1.725=
million. The number of Dubuffet lots at auction peaked in 2019. Although t=
he Bloch works are not major examples of Dubuffet’s output, their auc=
tion performance may tell us more about the depth of demand for this import=
ant prolific artist. All 17 works will be sold in various sales in London a=
nd Paris this March and April.</span></p><div style=3D"font-size: 16px; lin=
e-height: 26px;"><hr style=3D"background: #e0e0e0; border: none; height: 1p=
x; margin: 32px 0; padding: 0;"></div><h2 class=3D"header-with-anchor-widge=
t" style=3D"-moz-appearance: optimizelegibility; -moz-osx-font-smoothing: a=
ntialiased; -webkit-appearance: optimizelegibility; -webkit-font-smoothing:=
antialiased; appearance: optimizelegibility; color: rgb(64, 64, 64); font-=
family: 'SF Compact Display', -apple-system, system-ui, BlinkMacSystemFont,=
'Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Se=
goe UI Emoji', 'Segoe UI Symbol'; font-size: 1.625em; font-weight: bold; li=
ne-height: 1.16em; margin: 1em 0 0.625em 0; position: relative;">Notes</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-size: 16=
px; line-height: 26px; margin: 0; margin-bottom: 0; padding-left: 4px;"><st=
rong><a href=3D"https://substack.com/redirect/7904adc4-e78a-4a15-9901-6f188=
32b3547?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY=
" rel style=3D"color: rgb(64, 64, 64); text-decoration: underline;">The Col=
lection of Sir Elton John:</a></strong><span> The Elton John sales series a=
t Christie’s opened on Wednesday night with a $7.9 million auction of=
objects, memorabilia, art and photographs. The art and photographs by Keit=
h Haring, Cindy Sherman, Herb Ritts, Julian Schnabel, Banksy, Irving, Penn,=
Sol Lewitt, Richard Avedon, Robert Mapplethorpe, Peter Beard and, even, De=
borah Butterfield all sold well but within market history and expectations.=
Elton John’s provenance seemed to add little value or might have pro=
tected some of the value in a softening market. The watches and collectible=
s did far better. </span></p></li></ol><div style=3D"font-size: 16px; line-=
height: 26px;"><hr style=3D"background: #e0e0e0; border: none; height: 1px;=
margin: 32px 0; padding: 0;"></div><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: rgb(64, 64, 64); font-fa=
mily: 'SF Compact Display', -apple-system, system-ui, BlinkMacSystemFont, '=
Segoe UI', Roboto, Helvetica, Arial, sans-serif, 'Apple Color Emoji', 'Sego=
e UI Emoji', 'Segoe UI Symbol'; font-size: 1.125em; font-weight: bold; line=
-height: 1.16em; margin: 1em 0 0.625em 0; position: relative;">The Met Find=
s the Right Voice for the Harlem Renaissance</h4><div class=3D"captioned-im=
age-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;"></td><td align=3D"l=
eft" class=3D"content" width=3D"1456" style=3D"text-align: center;"><a clas=
s=3D"image-link" target=3D"_blank" href=3D"https://substack.com/redirect/3e=
504ae6-deba-41a1-a8e4-02f1d0548142?j=3DeyJ1IjoiMjdjZXI5In0.nCNhOM3c1d0jQmMp=
isrMe5iRnigHXx6Fx_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-attr=
s=3D"{"src":"https://substack-post-media.s3.amazonaws.com/pu=
blic/images/ffe24364-2b24-4bcc-b629-43cf87734bec_8026x5119.jpeg","=
;srcNoWatermark":null,"fullscreen":null,"imageSize"=
;:null,"height":929,"width":1456,"resizeWidth"=
;:null,"bytes":9935807,"alt":null,"title":nul=
l,"type":"image/jpeg","href":null,"below=
TheFold":true,"topImage":false,"internalRedirect":=
null}" alt width=3D"550" height=3D"350.9271978021978" class=3D"wide-image" =
src=3D"https://substackcdn.com/image/fetch/w_2912,c_limit,f_auto,q_auto:goo=
d,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2=
Fpublic%2Fimages%2Fffe24364-2b24-4bcc-b629-43cf87734bec_8026x5119.jpeg" sty=
le=3D"-ms-interpolation-mode: bicubic; border: none !important; display: bl=
ock; height: auto; margin: 0 auto; margin-bottom: 0; max-width: 100% !impor=
tant; vertical-align: middle; width: auto !important;"></a></td><td style=
=3D"text-align: center;"></td></tr></tbody></table></figure></div><p style=
=3D"color: rgb(64, 64, 64); font-size: 16px; line-height: 26px; margin: 0 0=
20px 0;"><span>The subtext surrounding </span><em>The Harlem Renaissance a=
nd Transatlantic Modernism,</em><span> the new exhibition that opens this w=
eek at The Metropolitan Museum of Art in New York, is so thick and layered =
that it can sometimes obscure the show itself. Curated by Denise Murrell, w=
ho joined the museum in early 2020, the show is haunted by Thomas Hoving=
217;s photography-based </span><em>Harlem on My Mind</em><span> show which =
drew 70,000 visitors and angry protests in 1969. Because the Met lacks=
significant holdings by African American artists, and because the better-k=
nown personalities of the Harlem Renaissance were literary figures, a lot o=
f the art is borrowed especially from historically Black colleges and unive=
rsities that absorbed much of the work by the visual artists who were repre=
sentative of the period. </span></p><p style=3D"color: rgb(64, 64, 64)=
; font-size: 16px; line-height: 26px; margin: 0 0 20px 0;"><span>Murrell=
217;s work as a curator focuses on the representation of Black people in ar=
t or how they move from object to subject depending upon the artist. Her go=
al in </span><em>The Harlem Renaissance and Transatlantic Modernism</em><sp=
an> is to show how artists associated with the New Negro movement, as the H=
arlem Renaissance was originally conceived by Alain Locke, “visualize=
d the modern Black subject.” She does this by presenting the work of =
a range of African American artists but also focusing on depictions of the =
central figures of the period by artists some of whom were not Black. </spa=
n></p><p style=3D"color: rgb(64, 64, 64); font-size: 16px; line-height: 26p=
x; margin: 0 0 20px 0;"><em>The Harlem Renaissance and the Transatlantic Mo=
dernism </em><span>does several things all at once: it introduces a generat=
ion of museum goers to artists like Aaron Douglas, William H. Johnson, Jame=
s Van Der Zee, Archibald Motley, Jr. among others; it venerates some of the=
important African American cultural figures who inspired the Harlem Renais=
sance like Locke, W.E.B. DuBois, James Weldon Johnson and Langston Hughes; =
it represents lesser-known artists like portrait painter Laura Wheeler Wari=
ng; situates all of these artists within international modernism (Kees van =
Dongen, Edvard Munch and Matisse make appearances); and ties to address som=
e social and cultural issues within the African American community. That=
217;s a lot for one show to accomplish. </span></p><p style=3D"color: =
rgb(64, 64, 64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0;"><=
span>What Murrell’s show isn’t concerned with is the multi-medi=
a exhibition, </span><em>Harlem on My Mind</em><span>, that was at the Met =
more than fifty years ago. Nevertheless, Holland Cotter led </span><em>The<=
/em><span> </span><em>New York Times</em><span> Arts section’s packag=
e on Murrell’s exhibition by recounting the protests surrounding form=
er Met director Thomas Hoving’s political and social blunder in treat=
ing Harlem as the subject of an ethnographic exhibition rather than featuri=
ng prominent Black artists from Harlem</span><em>. </em><span>Cotter claims=
at the top of his review that as a 22 year old, he “wandered into th=
e galleries, and even with scant knowledge of Black history, I knew somethi=
ng was off.” It’s a kind of “Okay, Boomer” boast on=
par with telling someone you saw Hendrix play at Woodstock. </span></p><di=
v 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" cellspaci=
ng=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: cent=
er;"></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://=
substack.com/redirect/53726325-641e-46dd-a788-0db5a5541358?j=3DeyJ1IjoiMjdj=
ZXI5In0.nCNhOM3c1d0jQmMpisrMe5iRnigHXx6Fx_g6pp7gWdY" rel style=3D"align-ite=
ms: center; border: none; display: block; flex-direction: column; height: a=
uto; margin: 0; padding: 0; position: relative; text-decoration: none; widt=
h: auto;"><img data-attrs=3D"{"src":"https://substack-post-m=
edia.s3.amazonaws.com/public/images/2ebfce53-50cf-41bf-83c4-1fa06c747511_69=
33x4927.jpeg","srcNoWatermark":null,"fullscreen":n=
ull,"imageSize":null,"height":1035,"width":14=
56,"resizeWidth":null,"bytes":7876862,"alt":n=
ull,"title":null,"type":"image/jpeg","hr=
ef":null,"belowTheFold":true,"topImage":false,&quo=
t;internalRedirect":null}" alt width=3D"550" height=3D"390.96840659340=
66" 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%2F2ebfce53-50cf-41bf-83c4-1fa06c7=
47511_6933x4927.jpeg" style=3D"-ms-interpolation-mode: bicubic; border: non=
e !important; display: block; height: auto; margin: 0 auto; margin-bottom: =
0; max-width: 100% !important; vertical-align: middle; width: auto !importa=
nt;"></a></td><td style=3D"text-align: center;"></td></tr></tbody></table><=
/figure></div><p style=3D"color: rgb(64, 64, 64); font-size: 16px; line-hei=
ght: 26px; margin: 0 0 20px 0;"><span>Is </span><em>The Harlem Renaissance =
and Transatlantic Modernism</em><span> the show that Hoving should have put=
on in 1969 instead of </span><em>Harlem on My Mind</em><span>? Maybe. Hovi=
ng’s goal—and his myopia—was to make the Met more relevan=
t to a broader audience. He commissioned an outside curator to research and=
mount a show about Harlem because the curator had been so successful in en=
gaging audiences previously. Allon Schoener had been lauded for his treatme=
nt three years earlier of the Jewish experience on the Lower East Side. Tha=
t too was an enthnographic show with no fine art. But the same ethnic pride=
that had made crowds line up to see Schoener’s Jewish Museum show is=
exactly what caused the uproar among New York’s Black community. The=
Studio Museum in Harlem had only been founded in 1968 and it wasn’t =
hosting Schoener’s show. Ignoring this crucial difference, Hoving and=
Schoener had been tone deaf to the needs and demands of Harlemites. Ironic=
ally, the research for </span><em>Harlem on My Mind</em><span> led to the d=
iscovery and preservation of James Van Der Zee’s photography. Van Der=
Zee’s archive is now managed and preserved jointly by the Studio Mus=
eum and the Met.</span></p><p style=3D"color: rgb(64, 64, 64); font-size: 1=
6px; line-height: 26px; margin: 0 0 20px 0;"><span>The curious thing about =
the </span><em>Harlem on My Mind</em><span> controversy is that Thomas Hovi=
ng remembers its impact more for the reaction to an essay in the museumR=
17;s catalog than for the protests. In his memoir, </span><em>Making the Mu=
mmies Dance</em><span>, Hoving devotes far more space to addressing the hug=
e conflict caused by the seemingly anti-semitic views of a Black high schoo=
l student’s essay in the catalog. (It would turn out the student had =
been quoting others and Schoener had edited the essay to remove the citatio=
ns.) The uproar over the essay caused Mayor Lindsay to threaten to revoke T=
he Met’s public funding unless the catalog was pulled from distributi=
on. When Hoving capitulated he received a dressing down from his board of t=
rustees. The lesson of the whole experience was hardly that Hoving had to i=
ncrease the Met’s holdings of art by African American and artists of =
the African diaspora.</span></p><p style=3D"color: rgb(64, 64, 64); font-si=
ze: 16px; line-height: 26px; margin: 0 0 20px 0;"><span>The Met would acqui=
re work by Black artists after the </span><em>Harlem on My Mind</em><span> =
debacle. But it still has a long way to go. The role that HBCUs have played=
in lending works for </span><em>The Harlem Renaissance and Transatlantic M=
odernism</em><span> should also remind us of the importance of these instit=
utions as receptacles of Modernist art. Georgia O’Keeffe gave Fisk Al=
fred Stieglitz’s 101-piece art collection in 1949. Later, Fisk would =
accept a deal with Crystal Bridges Museum to share the art in exchange for =
much need investment of $30 million. After his death, the pioneering mega-c=
ollector Albert Barnes entrusted HBCU Lincoln University to guide the Barne=
s Foundation by giving it control over four of the foundation’s five =
board seats. In the compromise that brought the Barnes to Philadelphia̵=
7;s city center, Lincoln’s role was diminished to nominating five of =
the 15 trustees that oversee the Barnes. </span></p><p style=3D"color:=
rgb(64, 64, 64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0;">=
<span>The point here is that the African American community and Modernism h=
ave a longer, deeper and more symbiotic relationship than is suggested by r=
educing Denise Murell’s exhibition to a </span><em>Harlem on My Mind<=
/em><span> do-over. Though as a direct response to </span><em>Harlem on My =
Mind</em><span>, the Met created a Community Programs Department and hired =
a young Black woman to staff it. She didn’t work out. But eventually =
the Met hired Lowery Stokes Sims who would eventually move into a curatoria=
l role at the Met and, after 27 years on Fifth Avenue, become the Executive=
Director of the The Studio Museum in Harlem. </span></p><p style=3D"color:=
rgb(64, 64, 64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0;">=
<span>Murrell came to the Met through an entirely different career path. Sh=
e spent decades working in banking and finance before getting a Ph.D. in ar=
t history. She created a groundbreaking show exploring the depiction of Bla=
ck models in 19th Century works by Edouard Manet, Jean-Léon Gerome, Th=
omas Eakins and others. That show would travel from Columbia University to =
Paris’s Musée d’Orsay—where it was united with its p=
rincipal subject Manet’s </span><em>Olympia</em><span>—where it=
would expand in scope and attract large crowds, much like the current Harl=
em Renaissance show is expect to do as well.</span></p><p style=3D"color: r=
gb(64, 64, 64); font-size: 16px; line-height: 26px; margin: 0 0 20px 0; mar=
gin-bottom: 0;"><span>Mounted in 2018, </span><em>Posing Modernity</em><spa=
n>, whose research was supported by the Ford Foundation, contains the seeds=
of the Met’s Harlem Renaissance show. In the earlier show, Murrell p=
resented the work of the Harlem Renaissance artists as an example of the ki=
nd of autonomy that allows individuals to be depicted as subjects instead o=
f objects. The Met’s show shares and expands that view. The protestor=
s who were livid about </span><em>Harlem on My Mind</em><span> could have h=
oped for nothing more. </span></p></div></div><div class=3D"container-=
border" style=3D"border-top: 1px solid #e0e0e0; box-sizing: border-box; fon=
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