Leonardo DiCaprio and Kenny Schachter in the late 1990s. MARCO BRAMBILLA Could we be in for a rough ride this fall in the high-flying, gravity-defying top end of the contemporary art market? That was the billion-dollar question on the lips of the summer art crowd from...
Schachter wearing Daniel Steegmann Mangrané’s Phantom (2015) at the New Museum. The first part of Shachter’s Armory Week report is here. On my second day in New York the snow was so heavy that I feared I would be forced to spend a terrifying night at the...
Razvan Boar, Ass Smile, 2015. There should be a rule in art journalism: always lead with Damien Hirst. Hirst is having a fuck-all, wildly ambitious (over-produced?) show to coincide with his soon-to-be-released tell-all book, written with help from James Fox, who...
Simcho Che. I am convinced that the art market is in an extended bull run the likes of which have never been seen before. Sure, nothing goes up forever, but we are experiencing fundamentals fostering the fever to buy more art at ever escalating prices. A qualified...
Installation view of Korakrit Arunanondchai, 2557 (Painting with history in a room filled with men with funny names 2), 2014, at Carlos Ishikawa. The Best of London in 2014 Let us put aside the oodles of money, the stupefying levels of celebrity worship and the trend...
Miami Beach.For weeks I’d been telling myself, and anyone who would listen, that I was going to skip the 2014 edition of Art Basel Miami Beach. It had been a busy fall. October’s Frieze London fair is at least on my home turf, but then there were whirlwind trips to...
Jeff Koons’s Balloon Monkey (Orange) (2006–13) outside Christie’s last week. In The Graduate, the hapless protagonist is given career advice in a single word: Plastics. Today, that word would be art. Just as in the ’60s there appeared to be a great future in plastics,...
FIAC. LILI ROSBOCH FOR ARTNEWSOn the heels of the Frieze art fair in London, I was off to FIAC in Paris, a breather before November’s monster modern and contemporary art auctions in New York. FIAC, which has been spiffed up over the past decade and returned to its...
An untitled work by Sigmar Polke from 1998, which sold for £1.06 million ($1.69 million) on a £600,000–£800,000 ($955,000–$1.27 million) estimate at Christie’s London. It must have been an omen of sorts. When I arrived at the extravagant new London headquarters of...
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