is sexy really a measure?

With Art Basel Hong Kong 2020 cancelled, art institutions and openings in China delayed, important spring art auctions in New York postponed, New York’s Art Week 2020 postponed, private museums closing, travel impeded by the COVID-19 virus, wildfires raging in Australia, and floods in Venice, we may rightly ask what the heck is going on.

Henry Moore: Two Piece Reclining Figure No. 5

Behaviors and institutions that we may have taken for granted – art fairs, travel, museums, museum openings, art loans, traveling exhibitions, gallery openings, the buildings that house works and collections of art, cities, heritage – show themselves as vulnerable.

Vulnerable to various risks – geopolitical, natural (flood, fire), illness, travel (viruses are clever particles, requiring host cells in order to replicate; when host cells travel, so do viruses), funding, disengagement, generational change, wrongdoing, and “art-washing” among them.

In a country where there has always been more space than people, where the land and wildlife are cherished like a Picasso, nature is closing in. Fueled by climate change and the world’s refusal to address it, the fires that have burned across Australia … are forcing Australians to imagine an entirely new way of life.”

(Damien Cave and Matthew Abbot writing in The New York Times, The End of Australia as We Know It, 15 February 2020)

Buildings are deteriorating faster than ever before. It’s indicative of the changing environment and climate.”

Syfur Rahman, Department of Archeology of Bangladesh, quoted in
Heritage on the Edge, How people around the world are protecting their cultural sites against climate change,”
Google Arts & Culture in collaboration with CyArt and ICOMOS

Our shared history is at risk”

(“Heritage on the Edge, How people around the world are protecting their cultural sites against climate change,” Google Arts & Culture in collaboration with CyArt and ICOMOS)

The thousand-year equilibrium long maintained in Venice may, in the space of a century, have been destroyed. With little regard for the safeguards balance provides, risks of flooding, loss of habitats, and loss of livelihoods are increasing.

Venice is “a city that for over a thousand years has built a wonderful equilibrium between a human component, ecological component, art, nature. And in the last century, we have basically almost destroyed that balance.”

(Shaul Bassi, director of the Center for Humanities and Social Change at Ca’ Foscari University of Venice, quoted in Sylvia Poggioli, “With Waters Rising And Its Population Falling, What Is Venice’s Future?”, NPR, 30 November 2019).

In the face of protests, coronavirus, and the cancellation of Art Basel Hong Kong 2020, Tim Schneider of Artnet News asks

Did the coronavirus merely provide a politically agnostic opportunity to call off an event that many Western exhibitors alleged had already lost viability after the ongoing pro-democracy protests convinced a significant number of their buyers and artists to opt out months earlier? 

“And if so, did the organization take until February 6 to decide strictly because its international galleries were facing shipping deadlines? Or was something else entirely at work?”

He suggests that

“To decipher the answers, it turns out that we may have to look in what many, if not most, people view as the single unsexiest realm of arcana in the entire art market: insurance policies.”

(Tim Schneider, “The Gray Market: Why the Coronavirus Canceled Art Basel Hong Kong When the Protests Couldn’t (and Other Insights),” Artnet News, 10 February 2010)

Is sexy really a measure? Is insurance so arcane?

Let’s for a moment look at insurance, and risk, from another angle: able to track perils in real time, Swiss Re is changing the way it understands and models risk. Assessing risk and underwriting risk using real-time data rather than past data, Swiss Re will offer insurance products structured not only as ex ante compensation products but also as anticipative risk management services.

“With new insights from an ability to track perils in real time, we are able to change the way we model and understand risk. This will allow new means of risk assessment and underwriting, augmenting our traditional process of using past data. These shifts will see the nature of insurance products begin to change from ex ante compensation packages to anticipative risk management services.”

(“Underwriting: The Next Generation,” Edi Schmid, Chairman Swiss Re Institute and Group Chief Underwriting Officer, 30 April 2019)

Real value may be developed through collaboration with stakeholders, public and private, globally, together with expertise and capital offered by organizations such as Swiss Re.

What are forward-looking modeling and understanding of risk? What might a shift from ex ante compensation packages to the provision of anticipative risk management services enable?

How might long-term value be developed while using real-time data to anticipate and manage risk?

Let us work to better understand risk and risk management. We might then position ourselves to better enable long-term protections of works and collections of art together with the heritage, information, and value they represent.

See:

Virus,” Science Daily

Underwriting: The Next Generation,” Edi Schmid, Chairman Swiss Re Institute and Group Chief Underwriting Officer, 30 April 2019,

Damien Cave and Matthew Abbott, “The End of Australia as We Know It,” The New York Times, 15 February 2020

Georgina Adam, “Not here to stay: what makes private art museums suddenly close,” The Art Newspaper, 13 February 2020

Elizabeth A. Harris, “As Virus Tightens Grip on China, the Art World Feels the Squeeze,” The New York Times, 13 February 2020

You Want to Pull Your Hair Out’: Artists and Gallerists Respond to the Long-Awaited Cancellation of Art Basel Hong Kong,” Ysabelle Cheung, Artnet News, 7 February 2020

Tim Schneider, “The Gray Market: Why the Coronavirus Canceled Art Basel Hong Kong When the Protests Couldn’t (and Other Insights),” Artnet News, 10 February 2020

Alexander Walter, “Opening of Tadao Ando’s He Art Museum in China delayed due to coronavirus fears,” Archinect, 3 February 2020

Heritage on the Edge, How people around the world are protecting their cultural sites against climate change,” Google Arts & Culture in collaboration with CyArt and ICOMOS

Sylvia Poggioli, “With Waters Rising And Its Population Falling, What Is Venice’s Future?”, NPR, 30 November 2019

Image: Henry Moore’s “Two Piece Reclining Figure No. 5” (bronze, 1963-1964) overlooking the Øresund at the Louisiana Museum of Modern Art, Humlebæk, Denmark. Donated to the museum by the Ny Carlsbergfondat.

 

Gustave Caillebotte (1848-1894): “La Rue Halévy, vue du sixième étage”

Offered at the Sotheby’s New York Impressionist & Modern Art Evening Sale of 14 May 2019 with an estimate of US $6 – $8 million, Gustave Caillebotte’s “La Rue Halévy, vue du sixième étage” (oil on canvas, 1878) sold for US $13,932,000 (with fees).

Hasso Plattner, co-founder of the German software company SAP, SE, is said by The Canvas to have purchased the painting. Mr. Platter founded the Barberini Museum that opened in Potsdam in 2017. A member of “The Giving Pledge” established by Bill Gates and Warren Buffett, per Forbes magazine he is the 94th richest person in the world.

Gustave Caillebotte, “La Rue Halévy, vue du sixième étage” (oil on canvas, 1878)

Hasso Plattner’s collecting focus is the art both of the Impressionists and of the German Democratic Republic. He is said to be the buyer also of Monet’s “Meules” of 1890. “Meules” remained in the collection of Bertha Honoré Palmer and her family for nearly a century, also selling at Sotheby’s Impressionist & Modern Art Evening Sale of 14 May 2019 for $97 million (hammer) / $110,747,000 (with fees).

Caillebotte (1848 – 1884) exhibited “La Rue Halévy, vue du sixième étage” in the Fourth Impressionist Exhibition of 1879.

Napoleon III had introduced ambitious reforms during the 1860s, charging Georges-Eugène Haussmann with a radical reconfiguration of the then medieval city.

Space was created by razing many parts of Paris, developing a grid of straight roads, avenues, boulevards, and modern apartment buildings with grand balconies and large windows that faced the street, offering views of the boulevards below.

Caillebotte – lawyer and engineer by training as well as artist – explored the modern Paris in his work, adopting viewpoints high above the busy city streets.

The elevated vantage point of “La Rue Halévy, vue du sixième étage” afforded Caillebotte the freedom to view and manipulate perspective, tilting the ground of the picture plane in a manner that has been considered characteristic of his work and one of his greatest contributions in the move towards Modernism.

See:

Art Industry News: Did a German Software Billionaire Buy Monet’s $111 Million Haystacks? + Other Stories,” Artnet News, 16 May 2019

Gustave Caillebotte, “La Rue Halévy, vue du sixième étage,” Lot 17, Impressionist & Modern Art Evening Sale, 14 May 2019, Sotheby’s New York, Catalogue Note

Kelly Crow,”Monet Sells for $110.7 Million, Setting Artist and Impressionist Records,” Wall Street Journal, 14 May 2019

Kelly Crow, @KellyCrow, Tweet, 14 May 2019;

Kelly Crow, @KellyCrowWSJ, Tweet, 15 May 2019

Katya Kazakina, @theartdetective, Tweet, 14 May 2019

Catherine Hickley, “Software billionaire plans to turn decaying Potsdam restaurant into museum for East German art,” The Art Newspaper, 2 April 2019

the compounding costs of California’s year-after-year wildfires

The compounding costs of California’s year-after-year wildfires are making it increasingly difficult for any party to absorb the expenses.

So observes Mark Cooper, Yale PhD, former Yale University and Fulbright Fellow, and Senior Research Fellow for Economic Analysis at the Institute for Energy and the Environment of Vermont Law School currently working on Energy Assessment.

PG&E electrical equipment, including power lines and poles, has been found to be responsible for at least 17 of 21 major Northern California fires of autumn 2017.

While the cause of California’s Camp Fire has not yet been determined, PG&E, one of California’s largest utilities, disclosed to the SEC on 9 November that an outage and damage to a transmission tower were reported in the area shortly before the fire started.

In the SEC Form 8-K of 9 November, PG&E declared that it may face billions of dollars in potential liabilities, far more than its insurance would cover, for the wildfires of 2018.

The Form 8-K reads, in pertinent part:

On November 8, 2018, a wildfire began near the city of Paradise, Butte County, California (the “Camp Fire”), located in the service territory of the Utility.  The California Department of Forestry and Fire Protection’s (“Cal Fire”) Camp Fire Incident Report dated November 13, 2018, 7:00 a.m. Pacific Time (the “incident report”), indicated that the Camp Fire had consumed 125,000 acres and was 30% contained.  Cal Fire estimates in the incident report that the Camp Fire will be fully contained on November 30, 2018.  In the incident report, Cal Fire reported 42 fatalities.  The incident report also indicates the following: structures threatened, 15,500; single residences destroyed, 6,522; single residences damaged, 75; multiple residences destroyed, 85; commercial structures destroyed, 260; commercial structures damaged, 32; and other minor structures destroyed, 772.

The cause of the Camp Fire is under investigation. On November 8, 2018, the Utility submitted an electric incident report to the California Public Utilities Commission (the “CPUC”) indicating that “on November 8, 2018 at approximately 0615 hours, PG&E experienced an outage on the Caribou-Palermo 115 kV Transmission line in Butte County. In the afternoon of November 8, PG&E observed by aerial patrol damage to a transmission tower on the Caribou-Palermo 115 kV Transmission line, approximately one mile north-east of the town of Pulga, in the area of the Camp Fire. This information is preliminary.” Also on November 8, 2018, acting governor Gavin Newsom issued an emergency proclamation for Butte County, due to the effect of the Camp Fire.

As previously reported, during the third quarter of 2018, PG&E Corporation and the Utility renewed their liability insurance coverage for wildfire events in an aggregate amount of approximately $1.4 billion for the period from August 1, 2018 through July 31, 2019. For more information about wildfire insurance and risks associated with wildfires, see PG&E Corporation and the Utility’s quarterly report on Form 10-Q for the quarter ended September 30, 2018.

While the cause of the Camp Fire is still under investigation, if the Utility’s equipment is determined to be the cause, the Utility could be subject to significant liability in excess of insurance coverage that would be expected to have a material impact on PG&E Corporation’s and the Utility’s financial condition, results of operations, liquidity, and cash flows.

United States Securities and Exchange Commission, Form 8-K, filed by PG&E on 9 November 2018

Citigroup estimates that PG&E’s exposure to liability for at least 17 of 21 major Norther California fires that took place in autumn 2017 is $15 billion. Citigroup estimates further that if it is found responsible for the Camp Fire, PG&E could face another $15 billion in claims. This number could rise, the fire is as yet only partially contained.

PG&E’s customers, both business and residential, may find themselves responsible for covering the bill for the company’s liabilities through higher costs.

California state  legislators took steps this year to shield PG&E and the state’s other investor-owned utilities from overwhelming legal claims, allowing them to pass the expense on to ratepayers.

California Senate Bill 901, signed into law on 21 September 2018, applies to fires beginning in 2019, and to some that occurred in 2017.

The bill enables utilities to sell bonds to cover liability costs and pay them off over time through higher rates.

(14) The existing restructuring of the electrical services industry provides for the issuance of rate reduction bonds by the California Infrastructure and Economic Development Bank for the recovery of transition costs, as defined, by electrical corporations. Existing law authorizes the PUC to issue financing orders, to support the issuance of recovery bonds, as defined, by the recovery corporation, as defined, secured by a dedicated rate component, to finance the unamortized balance of the regulatory asset awarded Pacific Gas and Electric Company in PUC Decision 03-12-035.

This bill would, under specific circumstances, authorize the PUC, upon application by an electrical corporation, to issue financing orders to support the issuance of recovery bonds to finance costs, in excess of insurance proceeds, incurred, or that are expected to be incurred, by an electrical corporation, excluding fines and penalties, related to wildfires, as provided.

SB 901, Dodd. Wildfires.

PG&E’s company shares dropped by more than 20 percent yesterday (Wednesday). More than half of its market value has been lost since late last week as the fires have spread.

Shares of other investor-owned utilities in California, Edison International (operated Southern California Edison) and Sempra Energy (owns San Diego Gas and Electric), dropped earlier this week.

California’s power supply is likely not to be at risk. PG&E could face bankruptcy if it cannot cover the liabilities it faces. Such a bankruptcy would eliminate shareholders’ equity and affect bondholder investments.

See:

California Utility Customers May Be on the Hook for Billions in Wildfire Damage,” Ivan Penn and Peter Eavis, The New York Times, 14 November 2018

SEC Form 8-K filed by PG&E, dated 9 November 2018

California Senate Bill No. 901

collections care & engineered resilience

As the markets for works of art, collections care, and engineered resilience in the built environment (private collections, museums – public and private, galleries, fairs, corporate and university collections, etc.) converge, renewable energy will be a factor.

“Underlying property increases in value by virtue of the fact that positive externalities associated with the performance of the resilience investments represents a superior outcome to the status quo – even when netted out by any costs.” (Keenan et.al.)

Companies have signed long-term contracts to purchase solar and wind energy in 28 markets.

Cost declines and efficiency improvements are making renewables cost-competitive with wholesale power prices of more traditional sources of electricity.

While larger corporations are entering into corporate power purchase agreements (PPA),

smaller companies are increasingly pooling electricity demand together to access economies of scale achieved through solar and wind projects.

This is called “aggregation.”

“Aggregation” might be a workable model for entities in the art market concerned about the long-term resilience of structures and care and value of works and collections.


See: 1) Jesse M. Keenan, Thomas Hill, Anurag Gumber, “Climate Gentrification: From Theory to Empiricism in Miami-Dade County,” IOPScience, 23 April 2018; 2) “Corporations Already Purchased Record Clean Energy Volumes in 2018, and It’s Not an Anomaly,” Bloomberg New Energy Finance, 9 August 2018

 

#art #artmarket #museum #privatemuseum #collection #contemporaryart #energy #co2 #wind #solar #renewableenergy #resilience #resilienceengineering #architecture #design #engineering #NewYork #Miami #LosAngeles #London #Paris #Amsterdam #Stockholm #Oslo #Berlin #Vienna #Dubai #HongKong #Shanghai #Beijing #Tokyo #Delhi #realestate

Art Basel ・ Joan Mitchell

Reports from this year’s Art Basel indicate how well the works of artist Joan Mitchell (1925-1992) are performing.

Joan Mitchell’s “Composition” of 1968, is reported to have been sold by gallery and dealer Hauser & Wirth to a European collector for $14 million.

Marion Maneker of Art Market Monitor suggests the “sale was arranged before the fair and concluded upon viewing.”

Nate Freeman of Artsy reports the following market-oriented observations:

“‘It was obviously a time for a correction in perception, and in price, for her – as with a lot of women.'”

Iwan Wirth, co-owner, Hauser & Wirth

“‘When you have a strong market force, the prices change – shortly, we’re going to see $20 million to $30 million Mitchells.'”

Brett Gory, co-founder, Lévy Gorvy

Gorvy observes that Mitchell (who spent much of her life in France) has long been collected by the Germans and Swiss.

“‘The new interest is everywhere else – we’ve been showing her in the Basel art fair for years…. There’s a hunger in the market. She’s being recognized as one of the greatest Abstract Expressionists, and it helps that now there’s all this interest in art made by women.'”

Howard Read, gallery co-owner, Cheim & Reid 

“‘I think they could be $30 million or $50 million. If Franz Kline can be, why not Joan Mitchell?'”

John Cheim, gallery co-owner, Cheim & Reid

 

See:

At Art BaselOpening, a Pair of $14 Million Joan Mitchell Sales Shows Surge in Market for Women Artists,” Nate Freeman, Artsy, 12 June 2018;

Art Basel Sales Report,” Marion Maneker, Art Market Monitor, 12 June 2018

 

#art #artmarket #artbasel #joanmitchell #abstractexpressionism #contemporaryart #postwarart #collection #collector #collectionsmanagement #newyork #london #zurich #vienna #oslo #amsterdam #dubai #hongkong #seoul #tokyo #luxury #architecture #design #realestatedevelopment

Hans Hofman ・pictorial space & the hidden inherent laws of the picture surface.

Across time, space, and generations, the magic and spirit of Hans Hofmann, teacher to many, continues.

A composition of warm and vivid hues, geometric blocks of color, a surface that is rich in both visual and textural details, highlighting the materiality and thickness of the paint and the flatness of the canvas.

“Into Outer Space,” Hans Hofmann (oil on panel, 1957), at the Chrysler Museum of Art, Norfolk, VA (Gift of Walter P. Chrysler, Jr., 1971)

Action painter? Abstract expressionist?

“While critic Robert Coates first used the term Abstract Expressionism in his review of Hofmann’s 1946 solo exhibition at the Mortimer Brandt Gallery in New York, histories of postwar American art, have always focused on the youth, vitality, and uniquely American experiences of the generation of artists who matured in the 1940s.”

Lowery Stokes Sims, former Curator of 20th Century Art at The Metropolitan Museum of Art and organizer of the exhibition of 1999, “Hans Hofmann at the Metropolitan Museum of Art“.

Hofmann does not fit the narrative of such postwar histories. Born in 1880, Hofmann immigrated to the US from Germany in 1932 when in his fifties, developing a new style and creating a whole new body of work in his seventies and eighties.

During the course of his life Hofmann was a contemporary of and acquainted with Picasso, Braque, Matisse, and the Delaunays (both husband and wife). He had a lifelong interest in nature, science, music, poetry, and science. He crossed more significant barriers, national and aesthetic, than almost any other twentieth-century painter.

He was never a follower, nor an expressionist, fauvist, a cubist, or a surrealist.

I am often asked how I approach my work,” Hofmann wrote in 1962 on the importance of the act of painting.

“Let me confess: I hold my mind and my work free from any association foreign to the act of painting. I am thoroughly inspired and agitated by the actions themselves which the development of painting continuously requires….This seems simple but it is actually the fruit of long research”

H. Hofmann, “Hans Hofmann on Art,” in Art Journal, Vol. 22, Spring 1963, p. 18; quoted in Lot Essay, Hans Hofmann, “Auxerre,” Lot 36B, Christie’s, Post-War and Contemporary Art Evening Sale, New York, 13 May 2015

William Chapin Seitz, the first scholar to receive a PhD from Princeton University in the field of modern art (it took him more than a year to convince the Princeton art history graduate committee that the work of living artists was a topic worthy of graduate study) and formerly Associate Curator of Painting and Sculpture Exhibitions at New York’s Museum of Modern Art, organized the 1963 MoMA exhibition, “Hans Hofmann”.

Dr. Seitz observes,

“When one looks back at the years after 1945, when the “New American Painting” was taking form, it is apparent that one of its aesthetic determinants was the desire felt by many artists to incorporate in their work tendencies of style and feeling previously thought to be contradictory. Both the temper of Hofmann’s mind and his supranational development led him in this direction.”

It has been said that Hofmann is an “automatic” painter; he has also been called an “action painter” because of his direct enactment of emotional content. Yet his automatism has never been mere psychic catharsis, his activity is never purely physical, and his fury, like his delicate lyricism, is that of nature as well as himself. And even in the most passionate of his works the adjustment of formal relationships can be as precise as in the compositions of Mondrian or Malevich.”

Hofmann admired Mondrian for the purity of his abstract structure. He admired Kandinsky — whom he once called an “anti-plastic” painter — for his automatism and fluid color.

The architectural basis of his own painting derives from a study of Cezanne, and from cubism, yet (at least in his representational paintings).

By synthesizing such diverse materials, Hofmann developed his own metier: the unhampered autonomy of lines and planes; the elevation of color to a primary means; the maintenance of clear “intervals” between color planes; the preservation of physical gestures in pigment. He cast aside the dross of systematic perspective, tonal modeling, literature, and illusionism.”

Hans Hofmann with selected writings by the artist,” William Chapin Seitz, The Museum of Modern Art, 1963

Believing in the innate integrity of the pictorial space, Hofmann theorized the “push and pull” within a painting, describing how he used balance and contrast between colors and forms to create pictorial dynamism. Rejecting the traditional practice of creating depth through graduations of tone, Hofmann created space without denying the flatness of the picture’s surface.

Hofmann wrote in a late essay,

“Pictorial space is an aesthetically created space and is as such as real as nature. Its reality is based on the reality of the hidden inherent laws of the picture surface.”

H. Hoffman, quoted in S. Hunter, Hans Hofmann, New York, 1963, p. 44.

See:

Hans Hofmann with selected writings by the artist,” William Chapin Seitz, The Museum of Modern Art, 1963.

Hans Hofmann,” September 11 – December 1, 1963, The Museum of Modern Art

William C. Seitz: Defending the Modern,” The Museum of Modern Art

Hans Hofmann at the Metropolitan Museum of Art,” April 13 – October 17, 1999,

Hans Hofmann at the Metropolitan Museum of Art,” exhibition catalogue, Lowery Stokes Sims, 1999.

“Post-War and Contemporary Art Evening Sale,” Lot 36B, Hans Hofmann’s “Auxerre,” Christie’s, New York, 13 May 2015, Lot Essay

“Post-War and Contemporary Art Evening Sale,” Lot 20B, Hans Hofmann’s “Lava,” Christie’s, New York, 15 November 2017, Lot Essay

#art #artmarket #arthistory #history #hanshofmann #science #physics #pictorialspace #modernart #postwarart #contemporaryart #picasso #braque #delaunay #matisse #mondrian #malevich #jacksonpollock #actionpainting #abstractexpressionism #met #metropolitanmuseumofart #moma #museumofmodernart #christie’s #germany #newyork #sanfrancisco #london #berlin #oslo #vienna #milan #dubai #hongkong #seoul #tokyo #architecture #design #luxury #urban #urbanliving #realestatedevelopment

“Let’s create some strange and weird things.” – 元永 定正

Let’s create some strange and weird things.” – Motonaga Sadamasa

Sadamasa Motonaga (元永 定正, 1922-2011), a founding member of Japan’s post-World-War-II crucible of abstraction, the Gutai Art Association (具体美術協会 Gutai Bijutsu Kyōkai), reaffirmed the Gutai artists’ use of “all possible techniques and materials in their creations”.

Motonaga mastered the use of spray painting techniques while in New York on a grant from 1966 to 1967.

In the 1970s he created lively and varied two-dimensional images, a modern take on the Ukiyo-e characteristics of Japan’s Edo period, selecting organic and mobile qualities, some from everyday life, as visual elements.

The artist once observed how

“this type of form and colour execution is inspired by nocturnal views from Mount Rokko near the city of Kobe, Japan.

“The neon light that outlines the mountains’ contours appears as if in a dreamscape and renders an effect of motion.

“The painting style of hard-edged, clear flowing lines in a twisting form exhibits a human-like appearance but has the dynamics of water, like a coiled up or continuously rotating and extending organism that leads the viewer’s gaze to wander along the arc of the curve.”

Sadamasa Motonaga’s “Tapa Tapa” sold at Christie’s Hong Kong in November 2015 for nearly five times the high estimate.

Explore the work of Sadamasa Motonaga during this week’s Art Basel at Natalie Seroussi and at Tokyo Gallery+BTAP (Beijing Tokyo Art Projects) (東京画廊+BTAP).

 

See: “Asian 20th Century & Contemporary Art (Evening Same),” Lot 35, “Tapa Tapa“, Christie’s Hong Kong, 28 November 2015.

 

 

#art #artmarket #arthistory #sadamasamotonaga #gutai #japan #tokyo #kobe #mountrokko #natalieseroussi #tokyogalleryBTAP #contemporaryart #abstraction #collection #collector #newyork #london #oslo #vienna #milan #dubai #asia #hongkong #artadvisory #artconsultancy #interiordesign #design #architecture #realestatedevelopment

Liu Wei (劉韡): “Sandwiches No. 13” (oil on canvas, 2015)

Born in Beijing in 1972, Liu Wei (劉韡) graduated from the National Academy of Fine Arts, Hangzhou in 1996.

Manhattan-, Hong Kong-, and Seoul-based gallery Lehmann Maupin describes 劉韡‘s work:

Liu Wei “explores 21st century socio-political concepts such as the contradictions of contemporary society and the transformation of developing cities and the urban landscape.

“In many of his sculptural and installation works, he uses found materials that are re-contextualized to draw new meanings out of the materials from which they are made.”

Liu Wei’s works are exhibited and collected globally. Institutional and private collectors include Seoul’s Leeum, Samsung Museum of Art; the M+ in Hong Kong, and the Rubell Family Collection in Miami.

Examine Liu Wei’s entire œuvre. This work documents an eye and sense for the universal appeal of line, color, and composition.

Lehmann Maupin is highlighting Liu Wei’s work during this week’s Art Basel.

Look for the extraordinary “Library V-II” (books, wood, and iron) of 2015-2018.

See: Liu Wei, Lehmann Maupin

#art #artmarket #arthistory #liuwei #beijing #hangzhou #lehmannmaupin #newyork #miami #london #berlin #zurich #vienna #oslo #milan #dubai #hongkong #seoul #tokyo #collection #portfolio #tangibleasset #collector #leeumsamsungmuseumofart #leeumsamsung #M+ #rubellcollection #architecture #design #interiordesign #fashion #urban #urbanliving #modernization #luxury #line #color #abstraction #realestatedevelopment