LOT 23
OLAFUR ELIASSON b. 1967
Colour Vision Kaleidoscope, 2003
Wood and coated glass on wooden tripod. Kaleidoscope 14 x 14 x 42 ins.
This work is from an edition of three.
Dichromatic mirrors of various colours are in a hexagonal kaleidoscope
mounted on a wooden tripod.
Estimate $150,000 – 200,000
SOLD FOR: $192,000
PART I
CONTEMPORARY ART
MAY 17, 2007 – NEW YORK
PHILLIPS de PURY & COMPANY
~OLAFUR ELIASSON/PHILLIPS/May 17 | Posted in The Bomb | By Nancy Smith | May 16th, 2007, 12:58pm
LOT 29
TAKASHI MURAKAMI b. 1963
Tightrope Walker and Hospital, 2002
Two works: both acrylic on canvas. Each 27-5/8 x 39-3/8 ins.
Tightrope Walker signed “Takashi (in English) Murakami (in Japanese)” on the reverse.
Hospital signed and dated “Murakami 02 (in Japanese)” on the reverse.
Estimate $200,000 – 300,000
SOLD FOR: $408,000
PART I
CONTEMPORARY ART
MAY 17, 2007 – NEW YORK
PHILLIPS de PURY & COMPANY
~TAKASHI MURAKAMI/PHILLIPS/May 17 | Posted in The Bomb | By Nancy Smith | May 16th, 2007, 12:51pm
LOT 36
ANDY WARHOL 1928-1987
Camouflage, 1986
Synthetic polymer paint and silkscreen ink on canvas.
76 x 76 ins.
Stamped with Estate and Foundation seals and numbered “PA 85.040” on reverse.
ESTIMATE $800,000 – 1,200,000
SOLD FOR: $1,496,000
PART I
CONTEMPORARY ART
MAY 17, 2007 – NEW YORK
PHILLIPS de PURY & COMPANY
PHILLIPS de PURY & COMPANY
~ANDY WARHOL/PHILLIPS/May 17 | Posted in The Bomb | By Nancy Smith | May 16th, 2007, 12:40pm
. . . OMG – Gelitin digging up CONEY Island – how did we miss this !!!
As part of the CREATIVE TIME PROJECT – ‘SIX ACTIONS FOR NEW YORK CITY’ – GELITIN dug and refilled a hole on Coney Island each day for 7 days –
in this . . . “durational performance piece” that ran from May 7 -13, 2007.
c0-curated by MARK BEASLEY and DAVID PLATZKER
PHOTO: COURTESY: CREATIVE TIME
luckily there’s some great pix on the CREATIVE TIME website:
http://creativetime.org/programs/archive/2007/performance/html
www.gelitin.net/mambo/index.php
~GELITIN on CONEY IS/Creative Time | Posted in The Bomb | By Nancy Smith | May 15th, 2007, 9:00pm
(posted on the artlovers homepage week of: May 8, 2007)
~A Kind of Love/Ai Gallery/Chicago | Posted in The Bomb | By Nancy Smith | May 15th, 2007, 7:21pm
* Shirt Off Your Back *
ART EXHIBITION & AUCTION to BENEFIT: MercyCorps
PRESENTED BY AMPERSAND
Featured Artists include: Ron English, Nathan Fox, Yuko Shimizu, Tristan Eaton,
Matt Eaton, Filth & more . .
SUNDAY MAY 13th, 2007 – 6pm – 12am
LIT LOUNGE/FUSE GALLERY – 93 2nd Avenue, East Village
~SHIRT OFF YOUR BACK/FUSE/PARTY/Sunday | Posted in The Bomb | By Nancy Smith | May 12th, 2007, 11:04am
R. CRUMB opens at DAVID ZWIRNER, to-nite: FRI, MAY 11, 6-8pm
the show runs from May 11 through June 16, 2007
DAVID ZWIRNER – 533 West 19th Street
. . . in case you’re interested, the ballpark figure on the drawings is rumored to be $20,000 a piece.
~R. CRUMB/ZWIRNER/FRI | Posted in The Bomb | By Nancy Smith | May 11th, 2007, 3:05pm
(from left)
TAIYO MATSUMOTO, the original manga creator, Director MICHAEL ARIAS, and ANTHONY WEINTRAUB – the film’s screenwriter – these are the guys that brought TEKKONKINKREET to
life, and well, . . as White says so poetically – “PLANET EARTH, this is Agent White, I’ve just kept peace in the world,
. . for one more day !”
PHOTO: courtesy to artlovers, from the TEKKONKINKREET production crew.
~MICHAEL ARIAS,TAIYO MATSUMOTO, ANTHONY WEINTRAUB/TEKKONKINKREET | Posted in The Bomb | By Nancy Smith | May 11th, 2007, 2:37pm
TEKKONKINKREET Director, MICHAEL ARIAS, arrives at the MoMA theatre for the Sunday
April 29th, 2007 – premiere screening. that’s ASHER WEINTRAUB catching a ride through the streets of midtown Manhattan. Asher is the son of the TEKKONKINKREET screenwriter, ANTHONY WEINTRAUB.
Photo: Nancy Smith
. . a few new miscellaneous notes on the film.
1. apparently the film will have a limited engagement here in New York in mid-July.
2. the DVD was supposed to be coming out in the Fall, but apparently got moved forward to June.
3. when we threw a few questions at him, while taking the photo, Arias told us, that no NECKFACE wasn’t a conscious inspiration for the gangster clan caricatures – but he did say that – quote – . . . “NECKFACE . . is ALL over Japan.”
4. the movie artwork is inspired (in part) by UKIYE-O (18th C Japanese woodblock prints) – and Arias pointed out that the line drawing details in the film are done in brown ink, as opposed to black ink – and that, in turn, helps create the overall ‘tone’ of flatness – and sure enough in the 2nd viewing, we are able to catch the beautiful brown ink line work. we came away from the first viewing, actually thinking there was no shading in the film – but there is – watch out for it – it’s just so subtly done. so non-Western hemisphere. .
5. TEKKONKINKREET is true animation – over 80,000 cells were produced !
6. The remarkable sound design, an animated ‘sound’ experience in itself, was done by – MITCH OSIAS.
7. the background technique that was used is called “perspective mapping” as opposed to “multiplane camera work” – and its best described as parts or elements of the background come forward – like parts of a puzzle – that suddenly become individually empowered as 3D pieces. check out the “5 o’clock” squeeze play on the rooftops in the beginning of the film.
8. there’s also a few “hommages” in the movie, here’s just a few: – you can see a nod to DISNEY , DUMBO the ELEPHANT, . . . somehow there are a lot of animated elephants worked into this Japanese urban gangsta narrative; some of the mayhem is reminiscent of the really over-the-top scary scenes in BATMAN I, – & – I thought I saw a red & white graphic in the distance, a sign in the skyscape that was a “rhino” – ala MARC ECKO ?
. . . there’s even a funny take-off on the eaten apple “APPLE” logo – the ‘STOP’ or, is it a ‘PLANT’/RE-NEW’ sign ? . . . in fact, the cityscape graphics: including billboards, banners & signs that fly by continuously, are a total rush.
9. on the term – anime: MICHAEL ARIAS writes: ” ‘Anime’ is something of an artifical construct
outside of Japan. In Japan when we say ‘anime’ we mean simply ‘animation’. We might be specific and say ‘Disney anime’ or ‘Ghibli anime’ or ‘children’s anime’, but it’s a pretty general term and not specific to Japanese output . . . so by ‘anime’ do we really mean ‘Japanese animation’ (that is, ‘animation from Japan’)? . . . There’s such a great variety of animation coming from Japan it seems a disservice to try and group it all together.”
~MICHAEL ARIAS/MoMA | Posted in The Bomb | By Nancy Smith | May 11th, 2007, 2:25pm
MICHAEL ARIAS, attends the premiere screening of TEKKONKINKREET,
The Museum of Modern Art, New York City, March 31, 2007.
behind him is:
SOL LeWITT, American (1978-2007), ‘Wall Drawing#1144’ (2004),
synthetic polymer paint on wall, Given anonymously, 2004
lobby of the Ronald S. and Jo Carole Lauder Building of
The Museum of Modern Art.
Photo: Nancy Smith
with thanks to BARBARA LONDON,
Associate Curator, Department of Media,
The Museum of Modern Art
The Museum of Modern Art (MoMA)
~MICHAEL ARIAS/MoMA | Posted in The Bomb | By Nancy Smith | May 10th, 2007, 12:50pm
